It’s not a secret that there was an active secondary market for Facebook common shares.
And it looks like there continues to be significant interest in the common stock. VentureBeat reports that Facebook employees are selling $150M worth of common shares to a combination of new and existing…
Hey shipwreckd: Stop stealing images without crediting the artists.
Gerda Gottlieb Wegener Porta (1886 - 1940) was a Danish illustrator and painter.
Originally from the provinces and the daughter of a clergyman, she moved to Copenhagen to pursue her education at the Royal Art Academy, and married fellow artist Einar Wegener (1882-1931) in 1904. After moving to Paris in 1912, she found much success both as a painter and illustrating for Vogue, La Vie Parisienne, Fantasio, and many other magazines. As she found fame in Paris, Gerda also developed a following in her home country. She held exhibitions at Ole Haslunds gallery in Copenhagen at regular intervals. Her career relied on a phenomenal talent but perhaps even more so on her notorious diligence, and the advantages her unusual marriage brought her.
Einar Wegener, who by many at the time was considered a more talented artist, toned down his own work and profile to help his wife in her artistic endeavors. In a female guise, “Lili”, he became Gerda’s favorite model. Einar Wegener eventually came out as a transsexual woman, and had the first publicly known sex reassignment surgery, in 1930, taking the name Lili Elbe. Gerda Wegener supported Elbe throughout her transition. The king of Denmark declared the Wegeners’ marriage null and void in October 1930.
In 1931, Gerda Wegener married Major Fernando Porta (born 1896), an Italian officer, aviator, and diplomat, and moved with him to Morocco, specifically Marrakech and Casablanca. She divorced Porta in 1936 and returned to Denmark in 1938. She held her last exhibition in 1939, but by this time she was largely out of fashion.
How the DC Relaunch Addresses One of the Biggest Problems in Comics [Video]The Escapist takes on the the line-wide relaunch at DC Comics, which releases its first major round of books today, in a video that discussing the half-reboot of DC Universe continuity (not actually less confusing) but also why they believe the biggest obstacle facing comics isn’t continuity, but rather marketing:
Comic books in America do not have some big, doom-bringing, apocalyptic continuity problem. What they have is a marketing problem. I mean, think about it. People get into serialized storytelling in the middle all the time… Every day thousands of people tune into a TV show for the first time near the middle or even end of its overarching story. Do you think everyone who’s into Doctor Who or Lost or Mad Men or whatever started watching it with the first episode? No! Every other continuity and/or mythology-driven narrative medium in popular fiction draws new readers and viewers just fine without constantly hitting the reset button… How do they do this? Because new readers and viewers and other potential fans hear about them and can easily find them… You don’t need to reboot to get more people reading comic books. You need to tell them why they should consider reading comic books, and then put comic books where they can buy them.
Incidentally, if you want to buy any of the new #1 DC Comics out today (like Detective Comics, Action Comics, Batgirl, Animal Man, Swamp Thing, and more) you can purchase them digitally right now at ComiXology.
The marketing campaign for 50/50 is in full force and seems to count on internet buzz.
Coming Soon, /SlashFilm and JoBlo are giving away tickets to advanced screenings in Austin, Boston, Chicago, Houston, Los Angeles, New York, Philadelphia, San Francisco, Seattle and Washington, D.C. on August 30th (with the exception of Austin, which is on Aug. 29).
Get your tickets here:
its pretty self explanitory. Love conquers all. It can solve anything. It is the most powerful force in the universe. http://pennyforurthoughts.tumblr.com
MEN ARE FROM MARS, WOMEN MAIM YOUR PENIS
by Tess Lynch
Why do horror films exist? This is, apparently, a question that people other than me ask. Why do we like to be scared and uncomfortable? Why will we pay for this experience? Some theories: because society is violent we want to see…