Packed with some of the worlds best photography, unique trends and cutting edge music.. this issue of MAMi Magazine is a real winner.

Meanwhile plans are underway to launch a multi-media version of MAMi for iPads, Android, Nokia and Windows frameworks.. given the volatile nature of app development at this stage we are anticipating a clear launch of our multi-media apps early 2011.

“The re-launching of MAMi Magazine at this juncture is critical because of the simultaneous launching of MAMi Muzik” says Mr. deWitt.. “we are in a position to offer free self produced high quality music and music videos from popular local and national artists to our customers”.

But now that it has made its way to the blinged world of luxury, here’s what goes into the making of world’s most expensive tattoo. Valued at $924,000, the world’s most expensive tattoo is created by the South African brand Shimansky by encrusting 612 Shimansky Ideal Cut .5 carat diamonds on their model’s skin, using a water-based adhesive to show off the luxury brand’s wares. While money shouldn’t be an object when it comes to tattoos, you might consider the painstaking eight hours to get one “encrusted.” So, for those who are up for all the pain and moolah can get one across the eight local and four international Shimansky stores.

Read more: http://www.bornrich.org/page/3/#ixzz0qoOHCCQp

This limited edition Bugatti Veyron Diamond is the result of the unique fusion between Robert Gulpen of Munich & Stuart Hughes of Liverpool to impress all those people who value and enjoy the perfection on both large and small scales. This 1:18 scale model in solid 24ct gold and platinum with 7.2ct single cut flawless diamond weighs approx 7kg and comes with functional steering and operational hoods, certification of authenticity, glass house, aluminum case and photo documentation of the manufacturing process. Priced at £2 million, this mammoth and intricate job took 2 months to finish and will be available in a limited edition of just three.

check it out.

Via: CrystalRoc

On May 13, 2010, Forbes, CNN, Fox and many other news sources reported that a very rare 1 BC – 2 AD gold artifact, symbolically named as “The Pleiades Star Crescent Necklace & Amulet”, became internationally available for acquisition on www.KingsNecklace.com.

Other than the appraisal for 35 Million USD there is no other price on the provided website. Through other sources it is reported that the necklace and amulet is to be offered at 8.5 Million USD.

Luxury Lifestyle magazine has already labeled this to be the most sensational sale of the year stating that: “This year the pedestal belongs to the artifact poetically named ‘The Pleiades Star Crescent Necklace’ dated to 1st Century BC – 2nd Century AD. This interesting calling unveils its most unique attribution as this necklace is one of the most ancient jewelery representations of The Crescent Moon and The Star that is more commonly known as the Holy Symbol of Islam.” (www.LuxuryLifestyle.com)

The BillionaireXchange auction takes pride in their ability to directly connect high-end buyers and sellers together while providing secure and very private transactions which can appeal to many VIP buyers who wish to partake in such events outside of auction-floor bazaar and in privacy of their quarters.

The auction is set to begin early this week and is expected to attract many private buyers. It must also be mentioned that the auction rules and time-line are much different from the standard auctioneering practices.

Essentially the BillionaireXchange auctions are a combination of a continuous sale combined with auction-style bidding that can last longer than normal one day auctions – in short, the item is auctioned until sold. This unusual practice mixed with their high-end clientele accounts for BillionaireXchange and its excellent sales success rate.

Representing Japan at the World Expo in Shanghai, Inax Corp. Dubbed the “Regio” toilet, this gilded piece automatically kills bacteria, cleans and flushes, as well as playing music through its built-in digital sound system. Priced at $20K to 40K, Inax Corp. will install two exclusive “golden” toilets at the Japan Industry Pavilion of the World Expo in Shanghai at the end of this month.

Via: 3Yen/Japan Times

Taping into the thick of things, MTS – DOC has introduced multitouch Table Baroque in combinations of wood (oak, beech, cherry, maple, mahogany, larch) and metal parts to choose from. The Table Baroque is done specifically for libraries, museums and institutions and perhaps your house if the interiors are up to match the antique make of the table. Measuring 78 x 112 x 95cm, the Table Baroque is quad core powered computer that runs XP, Vista, Windows 7. The edges of the multitouch Table Baroque are made from oak, 3x lacquer and 3x polished, while leg holders made from pure brass and the ventilator grilles are covered in gold.

Via: Multi Touch
Read more: http://www.bornrich.org/entry/multitouch-table-baroque-is-luxurious-surface-for-your-riches/#ixzz0q7ppdiW7

For the benefit of its members, Artists United formed The Friends of Friends Network, which is the primary communication link between network members and its programs, services and activities. It has also created added-value partnerships with companies within the network, and constantly addresses its members’ concerns and questions regarding the network and membership.

The AU Solutions educational portion is an on going series that began in 2008 where The Artists United brings in veteran entertainment professionals who provide ideas and solutions to the problems that arise and exist within the entertainment industry through sharing their knowledge and experiences.

Past presenters include Dyana Williams, Radio One On-Air Personality; Helen Scott of The Three Degrees; Chuck Gamble, Exec. VP of Philadelphia International Records; Warren Haskins of The Dell East Music Business Institute; and Dee Wellmon, President of Visions East Productions. In 2009, For more information on The Artists United, you may contact them via e-mail at friendsoffriendsnetwork@gmail.com or call 215-586-3196.

Her death was announced by her son-in-law, Kevin Buckley.

Horne might have become a major movie star, but she was born 50 years too early, and languished at MGM in the 1940s because of the color of her skin, although she was so light-skinned that, when she was a child, other black children had taunted her, accusing her of having a “white daddy.”

Horne was stuffed into one “all-star” musical after another — “Thousands Cheer” (1943), “Broadway Rhythm” (1944), “Two Girls and a Sailor” (1944), “Ziegfeld Follies” (1946), “Words and Music” (1948) — to sing a song or two that could easily be snipped from the movie when it played in the South, where the idea of an African-American performer in anything but a subservient role in a movie with an otherwise all-white cast was unthinkable.

”The only time I ever said a word to another actor who was white was Kathryn Grayson in a little segment of ‘Show Boat’” included in “Till the Clouds Roll By” (1946), a movie about the life of Jerome Kern, Horne said in an interview in 1990. In that sequence she played Julie, a mulatto forced to flee the showboat because she has married a white man.

But when MGM made “Show Boat” into a movie for the second time, in 1951, the role of Julie was given to a white actress, Ava Gardner, who did not do her own singing. (Horne was no longer under contract to MGM at the time, and according to James Gavin’s Horne biography, “Stormy Weather,” published last year, she was never seriously considered for the part.) And in 1947, when Horne herself married a white man — the prominent arranger, conductor and pianist Lennie Hayton, who was for many years both her musical director and MGM’s — the marriage took place in France and was kept secret for three years.

Horne’s first MGM movie was “Panama Hattie” (1942), in which she sang Cole Porter’s “Just One of Those Things.” Writing about that film years later, Pauline Kael called it “a sad disappointment, though Lena Horne is ravishing and when she sings you can forget the rest of the picture.”

Even before she came to Hollywood, Brooks Atkinson, the drama critic for The New York Times, noticed Horne in “Lew Leslie’s Blackbirds of 1939,” a Broadway revue that ran for nine performances. “A radiantly beautiful sepia girl,” he wrote, “who will be a winner when she has proper direction.”

She had proper direction in two all-black movie musicals, both made in 1943. Lent to 20th Century Fox for “Stormy Weather,” one of those show business musicals with almost no plot but lots of singing and dancing, Horne did both triumphantly, ending with the sultry, aching sadness of the title number, which would become one of her signature songs. In MGM’s “Cabin in the Sky,” the first film directed by Vincente Minnelli, she was the brazen, sexy handmaiden of the Devil. (One number she shot for that film, “Ain’t It the Truth,” which she sang while taking a bubble bath, was deleted before the film was released — not for racial reasons, as her stand-alone performances in other MGM musicals sometimes were, but because it was considered too risque.)

In 1945 the critic and screenwriter Frank Nugent wrote in Liberty magazine that Horne was “the nation’s top Negro entertainer.” In addition to her MGM salary of $1,000 a week, she was earning $1,500 for every radio appearance and $6,500 a week when she played nightclubs. She was also popular with servicemen, white and black, during World War II, appearing more than a dozen times on the Army radio program “Command Performance.”

”The whole thing that made me a star was the war,” Horne said in the 1990 interview. “Of course the black guys couldn’t put Betty Grable’s picture in their footlockers. But they could put mine.”

Touring Army camps for the USO, Horne was outspoken in her criticism of the way black soldiers were treated. “So the USO got mad,” she recalled. “And they said, ‘You’re not going to be allowed to go anyplace anymore under our auspices.’ So from then on I was labeled a bad little Red girl.”

Horne later claimed that for this and other reasons, including her friendship with leftists like Paul Robeson and W.E.B. DuBois, she was blacklisted and “unable to do films or television for the next seven years” after her tenure with MGM ended in 1950.

This was not quite true: as Gavin has documented, she appeared frequently on “Your Show of Shows” and other television shows in the 1950s, and in fact “found more acceptance” on television “than almost any other black performer.” And Gavin and others have suggested that there were other factors in addition to politics or race involved in her lack of film work

Although absent from the screen, she found success in nightclubs and on records. “Lena Horne at the Waldorf-Astoria,” recorded during a well-received eight-week run in 1957, reached the Top 10 and became the best-selling album by a female singer in RCA Victor’s history.

In the early 1960s Horne, always outspoken on the subject of civil rights, became increasingly active, participating in numerous marches and protests.

In 1969, she returned briefly to films, playing the love interest of a white actor, Richard Widmark, in “Death of a Gunfighter.”

She was to act in only one other movie: In 1978 she played Glinda the Good Witch in “The Wiz,” the film version of the all-black Broadway musical based on “The Wizard of Oz.” But she never stopped singing.

She continued to record prolifically well into the 1990s, for RCA and other labels, notably United Artists and Blue Note. And she conquered Broadway in 1981 with a one-woman show, “Lena Horne: The Lady and Her Music,” which ran for 14 months and won both rave reviews and a Tony Award.

Horne’s voice was not particularly powerful, but it was extremely expressive. She reached her listeners emotionally by acting as well as singing the romantic standards like “The Man I Love” and “Moon River” that dominated her repertory. The person she always credited as her main influence was not another singer but a pianist and composer, Duke Ellington’s longtime associate Billy Strayhorn.

”I wasn’t born a singer,” she told Strayhorn’s biographer, David Hajdu. “I had to learn a lot. Billy rehearsed me. He stretched me vocally.” Strayhorn occasionally worked as her accompanist and, she said, “taught me the basics of music, because I didn’t know anything.”

Strayhorn was also, she said, “the only man I ever loved,” but Strayhorn was openly gay, and their close friendship never became a romance. “He was just everything that I wanted in a man,” she told Hajdu, “except he wasn’t interested in me sexually.”

Lena Calhoun Horne was born in Brooklyn on June 30, 1917. All four of her grandparents were industrious members of Brooklyn’s black middle class. Her paternal grandparents, Edwin and Cora Horne, were early members of the National Association for the Advancement of Colored People, and in October 1919, at the age of 2, Lena was the cover girl for the organization’s monthly bulletin.

By then the marriage of her parents, Edna and Teddy Horne, was in trouble. “She was spoiled and badly educated and he was fickle,” Horne’s daughter, Gail Lumet Buckley, wrote in her family history, “The Hornes.” By 1920 Teddy had left his job with the New York Department of Labor and fled to Seattle, and Edna had fled to a life on the stage in Harlem. Horne was raised by her paternal grandparents until her mother took her back four years later.

When she was 16, her mother abruptly pulled her out of school to audition for the dance chorus at the Cotton Club, the famous Harlem nightclub where the customers were white, the barely dressed dancers were light-skinned blacks, Duke Ellington was the star of the show and the proprietors were gangsters. A year after joining the Cotton Club chorus she made her Broadway debut, performing a voodoo dance in the short-lived show “Dance With Your Gods” in 1934.

At 19, Horne married the first man she had ever dated, 28-year-old Louis Jones, and became a conventional middle-class Pittsburgh wife. Her daughter Gail was born in 1937 and a son, Teddy, in 1940. The marriage ended soon afterward. Horne kept Gail, but Jones refused to give up Teddy, although he did allow the boy long visits with his mother.

In 1938, Horne starred in a quickie black musical film, “The Duke Is Tops,” for which she was never paid. Her return to movies was on a grander scale.

She had been singing at the Manhattan nightclub Cafe Society when the impresario Felix Young chose her to star at the Trocadero, a nightclub he was planning to open in Hollywood in the fall of 1941. In 1990, Horne reminisced: “My only friends were the group of New Yorkers who sort of stuck with their own group — like Vincente, Gene Kelly, Yip Harburg and Harold Arlen, and Richard Whorf — the sort of hip New Yorkers who allowed Paul Robeson and me in their houses.”

Since blacks were not allowed to live in Hollywood, “Felix Young, a white man, signed for the house as if he was going to rent it,” Horne said. “When the neighbors found out, Humphrey Bogart, who lived right across the street from me, raised hell with them for passing around a petition to get rid of me.” Bogart, she said, “sent word over to the house that if anybody bothered me, please let him know.”

Roger Edens, the composer and musical arranger who had been Judy Garland’s chief protector at MGM, had heard the elegant Horne sing at Cafe Society and also went to hear her at the Little Troc (the war had scaled Young’s ambitions down to a small club with a gambling den on the second floor). He insisted that Arthur Freed, the producer of MGM’s lavish musicals, listen to Horne sing. Then Freed insisted that Louis B. Mayer, who ran the studio, hear her, too. He did, and soon she had signed a seven-year contract with MGM.

The NAACP celebrated that contract as a weapon in its war to get better movie roles for black performers. Her father weighed in, too. In a 1997 PBS interview, she recalled: “My father said, ‘I can get a maid for my daughter. I don’t want her in the movies playing maids.’”

Horne is survived by her daughter, Gail Lumet Buckley. Her husband died in 1971; her son died of kidney failure the same year.

Looking back at the age of 80, Horne said: “My identity is very clear to me now. I am a black woman. I’m free. I no longer have to be a ‘credit.’ I don’t have to be a symbol to anybody; I don’t have to be a first to anybody. I don’t have to be an imitation of a white woman that Hollywood sort of hoped I’d become. I’m me, and I’m like nobody else.”

Via: Perpetuelle

funny thing is the Glenn Lewis version has been confused as the original demo.

Chance has also just been named the spokesperson for the “Trailblazers Freedom Traveling Trunk Program” for the African American Museum in Philadelphia. This is an outreach program that brings the museum to the kids by visiting their classrooms. It is a series of pieces that guide today’s youth through important facts of our history that many social studies’ books miss.

Asbury Park, which is a town located in Central Jersey’s shore region, has a cast of actors from New York plus one actor from Philadelphia – Chance Harlem Jr. The film is about redemption and forgiveness from both a man’s family and the people in his town.

What’s important is that the film shows that people make mistakes, that bad things sometimes happen. However, it is more important what a person does in the aftermath that can show the type of person that he or she is or wants to become. This is something that’s important for the people of Philadelphia right now, since many of its children are being led in the wrong direction, but they too have a chance at redemption and controlling the rest of their lives.

Philadelphia-based screen writer and film critic David Greenberg gave the film a very positive review on IndieTalk.com, where he rated the film 5 out of 5 stars. There was also a feature article of Asbury Park in the TriCity News, an online and print newspaper, written by Craig Dowd. Asbury Park also was the Cover Story for SALT Magazine, an entertainment/lifestyle magazine in New Jersey.

This film was the Grad School final project for director Robert Andersen, and it shows what beautiful work can be done with putting time, efforts and thought into a school project.

At the Garden State Film Festival, Asbury Park was highlighted as one of 8 films “working looking into” out of more than 130 films in the festival. Also at this festival, Asbury Park was the first film in its 8 year history to ever sell out prior to the screening. The festival had to add an emergency additional screening to accommodate for all those that did not have tickets for the original screening.

To date, Asbury Park has been accepted and screened in 16 film festivals in state across the country, including the Atlanta Film Festival – which is one of 50 film festivals in the entire world granted the distinction of an Academy Award Qualifying Festival. The film screened to very warm reception at Atlanta’s festival. There have been some amazing write ups about the film since the festival. The most recent acceptance was from the Official Selection Asbury Park received for Philadelphia’s Urban Suburban Film Festival, which is from June 17-19. There are still more festivals that Asbury Park is expecting to screen at.
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Written by Karen Taylor Bass on April 15, 2010 for Black Enterprise

The more career altitude you gain, the more necessary supportive relationships become

As you pound the pavement and scour the Internet in search of a job, client or opportunity – an important task to add to your to-do list for career advancement is securing a mentor.

While the job landscape has changed with the advent of social media, what a mentor does has not. A mentor is still someone who has specific skills, knowledge and abilities to help groom you for success, provides strategic business advice and assists you with the tools to negotiate and conquer the corporate terrain. A mentor can be especially helpful for women who have the two-fold challenge of navigating the sexism of the business world while still maintaining a home and children. Choosing the right mentor will help maintain sanity as you climb the ladder.

“For African Americans mentoring is like oxygen; mentorship helps one uncover the opportunities and possibilities that are beyond the stratosphere,” says Kimberly Reed, human resource consultant and managing partner of The Reed Development Group.

read more of this artilcle

On February 28th, Elam suffered a serious heart attack leaving the Massachusetts native in a coma for a short period of time. Shortly after, Elam underwent a successful surgery the following Monday. The doctors expected a full recovery and showed no indication that Elam could suffer any further.

While the exact cause of Guru’s death has yet to be determined, Elam has been enduring an ongoing battle with cancer for quite some time now.

Solar, Guru’s right hand man, released a statement saying, “The world has lost one of the best MCs and Hip-Hop icons of all-time — my loyal best friend, partner, and brother, Guru. Guru has been battling cancer for well over a year and has lost his battle! This is a matter that Guru wanted private until he could beat it, but tragically, this did not happen. The cancer took him. Now the world has lost a great man and a true genius.”

In the early 80’s, Guru joined forces with NY DJ/producer, DJ Premiere to form the legendary hip-hop group, Gangstar. The duo released over five highly respected projects becoming a pillar in the hip-hop community. Shortly after Guru and Premiere parted ways, Elam then created Grand Records with hip-hop producer, Solar.

Guru’s first solo album came in 2005 titled Version 7.0: The Street Scriptures. The project was well received on the underground circuit but failed to garner any mainstream success or acceptance. Version 8.0: Lost & Found was released May 2009 but again failed to grab the mainstream’s attention.

Before passing, Guru penned a letter to his faithful followers explaining everything that was said to be left in question about his family, organizations and his ex partner, DJ Premiere. Read below.

I, Guru, am writing this letter to my fans, friends and loved ones around the world. I have had a long battle with cancer and have succumbed to the disease. I have suffered with this illness for over a year. I have exhausted all medical options.

I have a non-profit organization called Each One Counts dedicated to carrying on my charitable work on behalf of abused and disadvantaged children from around the world and also to educate and research a cure for this terrible disease that took my life. I write this with tears in my eyes, not of sorrow but of joy for what a wonderful life I have enjoyed and how many great people I have had the pleasure of meeting.

My loyal best friend, partner and brother, Solar, has been at my side through it all and has been made my health proxy by myself on all matters relating to myself. He has been with me by my side on my many hospital stays, operations, doctors visits and stayed with me at my home and cared for me when I could not care for myself. Solar and his family is my family and I love them dearly and I expect my family, friends, and fans to respect that, regardless to anybody’s feelings on the matter. It is my wish that counts. This being said I am survived by the love of my life, my sun KC, who I trust will be looked after by Solar and his family as their own. Any awards or tributes should be accepted, organized approved by Solar on behalf myself and my son until he is of age to except on his own.

I do not wish my ex-DJ to have anything to do with my name likeness, events tributes etc. connected in anyway to my situation including any use of my name or circumstance for any reason and I have instructed my lawyers to enforce this. I had nothing to do with him in life for over 7 years and want nothing to do with him in death. Solar has my life story and is well informed on my family situation, as well as the real reason for separating from my ex-DJ. As the sole founder of GangStarr, I am very proud of what GangStarr has meant to the music world and fans. I equally am proud of my Jazzmatazz series and as the father of Hip-Hop/Jazz. I am most proud of my leadership and pioneering efforts on Jazzmatazz 4 for reinvigorating the Hip-Hop/Jazz genre in a time when music quality has reached an all time low. Solar and I have toured in places that I have never been before with GangStarr or Jazzmatatazz and we gained a reputation for being the best on the planet at Hip-Hop/Jazz, as well as the biggest and most influential Hip-Hop/Jazz record with Jazzmatazz 4 of the decade to now. The work I have done with Solar represents a legacy far beyond its time. And we as a team were not afraid to push the envelope. To me this is what true artists do! As men of honor we stood tall in the face of small mindedness, greed, and ignorance. As we fought for music and integrity at the cost of not earning millions and for this I will always be happy and proud, and would like to thank the million fans who have seen us perform over the years from all over the world. The work I have done with Solar represents a legacy far beyond its time and is my most creative and experimental to date. I hope that our music will receive the attention it deserves as it is some of the best work I have done and represents some of the best years of my life.

RIP GURU.

Sincerely

LowKey

Via: Robb Report

Via: Fashioning Tech

Aphrodite

She Walks

Bottega Veneta has enough detail to become your arm candy. Bottega Veneta proposed this crocodile tote Cocolave in its spring/summer collection 2010 and was also presented during the parade Milan Fashion Week. Made from the crocodile leather in bright green and combined with fine Italian craftsmanship, this crocodile tote Cocolave is priced at $22,400.

Also we carry vintage / pre-owned authentic brands from ; Herme ,RRL, Dries Van Norton, Schott, Prada, Paul Smith, & Burberry etc. Along with decorative produced by Gio Ponti , Milo Bauhgman ,Mies Van der Rohe , Paul McCobb , Vladimir Kagan ….. just to name a few

Some services we provide include, wardrobe customizing , personal stylist .Also interior decorating & prop rental.
Artke “Hamid”Holloman, cell: 267 670 3468, email: sygnol1@gmail.com

Taji Nahl, cell:215 866 8589, email:shopraoof@gmail.com

blogs: www.mesedesignstudio.blogspot.com
www.houseofraoof.blogspot.com

Orchestrated by director and filmmaker, Littles -the video features appearances by Chingy, Young Spiffy & the St. Lunatics’ Murphy Lee and Kyjuan. Huey wrote the appreciative rap ode to thank those who motivate him to be better through their attempts to bring him down. “I know it’s the opposite of what you thought I would say but I’m cool and relaxed so I just smile & wave,” he writes. Cool and relaxed is not what many would expect from anyone who survived an attempt on their life.

According to documented reports a shoot-out that resulted in a triple homicide was a direct intention to end the life of the rapper who used his talent to rise above hood stereotypes and become nationally recognized for a song created from a skit. In St. Louis all the “Pop, Lock & Drop It” craze along with MTV & B.E.T spins meant nothing to some. The crabs in a barrel ideology will always flourish when nihilism (the loss of hope) becomes an accepted way of thinking and living. Huey was trying to rise but he seemed to have gotten caught up in the crossfire of jealousy and success.

The incident changed his mind-set. Three people were dead. This was real life. He had traveled around the country being embraced for his talent by strangers only to realize that what would hurt him the most was that which was closest to him. Huey became reclusive and seemed to take a backseat in his own life observing from a distance as everyone else participated in their perception of his life and what they thought they knew. Huey’s relationship with his record label, Jive Records was questioned. The direction of his career under A&R expert and B.E.T’s The Deal host- Memphitz Wright fell under scrutiny. An earlier dispute between Nelly that is now non-existent also complicated the focus of Huey’s mere artistry as an MC. Rumors ran rampant and in St. Louis the status of Huey’s mere existence became a guessing game of whether he was dead, alive or incarcerated. Vibe, The Riverfront Times, XXL and almost every hip hop blog published their versions of what happened that deadly night.

Huey remained silent. He just wrote.

For a moment, anger had developed and the comical, fun rapper thing diminished through every insult administered towards him and the realization that he could have been dead. Ironically a sense of urgency to excel and bring his city together erupted out of months spent sequestered from the public, clubs and shows. “I learned a lot from my surroundings. I learned a lot from my management and Hitz committee. Hitz is cool. I learned from my label. I learned from my city. Now I’m moving into a new direction”. Huey’s new single, “Smile & Wave” features Dorrough and “On Another Planet” featuring Lil’ Wayne seems to be a favorite for many.

In the universe of fine watches, time moves slowly, but it was always waiting for solar energy to power its movement. This groundbreaking technology has found home in Sol Invictus, the world’s first commercial utilization of this groundbreaking technology. This refined timepiece has come from the house of Cabestan, which has previously brought us the Nostromo watch “grown in space.” The masterpiece has bought drums and vertical tourbillon from the WTV and combined them with a revolutionary new technique for producing and treating silicium crystals that can be used to produce highly efficient solar cells suitable for small surfaces and low luminosity. The combined craftsmanship of Jean-François Ruchonnet and Marc Alfieri succeeded in placing this impressive vertical Cabestan movement in the center of the timepiece, where they added two solar panels mounted in metal frames perfectly held in place at 12 o’clock and 6 o’clock. Priced at $560,000, this amazing system is based on the designs of 19th-century scientist Léon Foucault.

Via: Hodinkee

She is exactly who she says she is and proves it.

She is an artist of many talents. She attended creative and performing arts high school where she studied dance and art. Also, Fletcher Art School, Progressive Center for Dance and private music lessons since the age of three. She also attended Drexel University, and Nesbitt College of designing Art.

Nyeta has won several art contests over the years and Performs regularly at local night clubs. It’s amazing that someone could be so talented at so many things, Where did she come from, many ask, a phenomenal woman indeed, The mother, The artist, The poet, The Singer, The Photographer, The Designer, The Actress, The Interior Decorator, and she is able to pull them all off leaving you impressed again.

If you don’t know her then you should. Nyeta turns heads and makes them talk. She is a person to be remembered.

Nyeta is the creator of Clothing Line called Happy Couture which consists of casual wear to high fashion. She is also the creator of a children’s line in the called Jabulani Creations. Recently she completed her long awaited cd entitled the Voice Project /Split Personality. The sound is hot; her voice is deep sultry and inviting.

Prepare to be moved when meeting this young lady. She has a warm smile and a dynamic personality. Nyeta is also a member of the Black Holocaust Museum of Slavery where she spends time giving tours and teaching about our role as women in slavery. Nyeta Is an Erotic poet with no pretense, no hiding. She’s upfront, in-your-face always real, using her own distinctive poetry to breathe life into words, digging inside to bring forth the accompanying emotion. Summing it all up, her song Laugh at You is for all the non believers that thought and said that this young lady wouldn’t make it. I say, whatever it is, let it be that, Art is the answer she says, whether it is painting, writing, dancing, acting , or singing whatever, Take what you have and manifest it, And Give all Praise to the most High , That’s Who Nyeta Helene Allen Is…