Related: Watching Candy Melt in Reverse to Classical Music Is the Best Rainbow-Schmeared Unicorn Toast Brings Whimsy to Breakfast Behold, The Most Immaculate Gingerbread House Ever
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With an unparalleled majesty and an eye for the most immaculate shot, an Australian underwater photographer travels the breadth of the Pacific Ocean to follow humpback whales as they undergo the trip to their native breeding ground.
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They are where stars — big and small and everyone in between — go to put on their most immaculate face and promote their current projects, show off their style, and, most importantly, make an impression on all who may be watching.
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From the chaotic, thunderous opening of "Dark Spring" to the relieving calmness of the album's closing tracks (perhaps their most immaculate triumvirate of back-to-back-to-back songs so far), it's a dualistic record—one twisted up in peril and perfection.
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When Sultan Yunus Khan returned a second time from Khorasan, Amir Sayyid Ali had died, and Saniz Mirza had sought the assistance of Yunus Khan. Yunus Khan in those days, often went backwards and forwards to Kashghar. At that time, the Khan sent Amir Zia- ud-Din, who was one of the most eminent Sayyids of Kashghar, to Sultan Muhammad, in Badakhshan, to ask one of his most immaculate daughters in marriage. Sayyid Zia-ud-Din brought Shah Begum back with him to Kashghar, and delivered her over to the Khan.
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" In 1993, the album was nominated for a Grammy Award for Best Alternative Music Album, but lost to Tom Waits' Bone Machine. Colin Larkin rated the album five stars out of five in The Encyclopedia of Popular Music, and ranked "The Ballad of Peter Pumpkinhead" at number 85 in his list of the 100 best singles ever. Among retrospective reviews, Oregano Rathbone of Record Collector gave the album a perfect score, calling it "a paragon of peerless songwriting and enchanted, inimitable musicianship." Stephen Thomas Erlewine of AllMusic described Nonsuch "modest, minor masterpiece" and the band's "most immaculate album to date," finding the album's content to be "carefully composed and crafted.
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" She concludes the review by saying, "The highs are high, the lows barely exist, and the rest is finely crafted: the work of a mind that has styled its interior down to the most immaculate detail." Jem Aswad from Variety also points out influences, noting, "occasional quavering Portisheadian moods", "FKA Twig-ish elements", and, "swooning string arrangements that recall Siouxsie & the Banshees circa “Dazzle”". She points out several tracks on the EP, including "Energ1", where "a particularly beautiful moment occurs in the middle of... when a driving beat underpins an aching string quartet, then the beat starts to fracture as her voice, treated to sound ghost-like, floats in", and "Observer", which she states is "one of the most commercial-leaning songs she’s ever done", while noting "its relative normal-ness is as disorienting as the odder tracks that precede it." She summarises, "It all gets very high-concept at times... but while it commands the listener’s attention, it’s rarely jarring or unpleasant.
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The Cambridge theologian John Pearson, who was made Bishop of Chester in 1672, in his celebrated book An Exposition of the Creed affirmed both the Immaculate Conception and the perpetual virginity of Mary, writing, "We believe the Mother of our Lord to have been not only before and after his Nativity, but also for ever, the most immaculate and blessed Virgin." Pearson explicated the basis for a proper Marian devotion: > If Elizabeth cried out with so loud a voice, 'Blessed art thou among women,' > when Christ was but newly conceived in Mary's womb, what expressions of > honour and admiration can we think sufficient now that Christ is in heaven > and that Mother with Him! Far be it from any Christian to derogate from that > special privlilege granted her which is incommunicable to any other. We > cannot bear too reverent a regard unto the Mother of our Lord, so long as we > give her not that worship which is due unto the Lord Himself.
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In February 1959 Case Study House #21 was published in Arts & Architecture and was lauded as “some of the cleanest and most immaculate thinking in the development of the small contemporary house.” As was standard for all CSHP participants, the house was opened to the public for several weeks of viewing. A year later in 1960, a photographer named Julius Shulman (himself a Case Study client) was invited to photograph the Bailey House. The photographs he took would later become iconic symbols of California Modernism. As one article for L’Uomo Vogue described, Shulman's architectural photographs of Case Study House #21 and #22 have “an enduring resonance and iconic power. Taken on the eve of America’s involvement in Vietnam they record the last glorious moments of American post-war hegemony and self-confidence and its unquestioned belief in the benefits of progress and technology.” Nearly thirty years later in 1989 Shulman's photographs of the Case Study Houses were exhibited at the Los Angeles Museum of Contemporary Art in an exhibit titled “Blueprints for Modern Living” which would ignite a “groundswell of interest in Modernism” and renewed appreciation for Koenig's contribution to the California Modern movement, which had been largely forgotten during the 1970s and ‘80s.
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