raven riley Un Official Fan Site Tribute

raven riley : This Is An Un Official Fan Site Tribute
Sarah Frances Pate
Porn Queen Actress Superstar

whose goal was to break into mainstream horror movie production.[3] Evil Motion Pictures released its first horror porn film starring Riley in November 2007, which was entitled Succubus.
Raven Riley is an American former pornographic actress, appearing online and on DVDs. Riley won the top spot on Front magazine's "Top 20 Girls of the Web" and appeared on its March 2007 cover. Contents 1 Career 2 Online scam 3 References 4 External links Career Riley started modeling in 2004 after first accompanying a friend to a bikini model shoot. She met Jay Man, who was a content producer, and he shot her for amateurfacials.com. Jay Man, his business partner, and Riley started a company called Third Pentacle which launched her solo website in December 2004.[2] Riley, with partners from jaYManCash and Third Pentacle, started Evil Motion Pictures,

In May 2008, Thomas Leach, the owner of jaYManCash, announced that the rumors that Riley was leaving the adult industry were true,[5] saying "while no official documents have been signed, Raven has communicated that the adult industry is no longer in her future and she was going to leave the adult industry."[6] Riley contacted XBIZ and disputed the rumors and reports: "I am still here and I’m not retired... That was false information that was given."[7] As a result of a lawsuit, Leach took full ownership of Third Pentacle. This dispute also affected their relationship with Interactive Life Forms, the company that makes Fleshlight. Leach sued both Riley and ILF, alleging trademark infringement for continuing to use Riley's name in selling their Fleshlight. Leach settled with ILF in 2010.[8] Her last shoot for her site was posted in 2012, and the site was taken offline in 2014 with the page showing only a link to The Wayback Machine and their PetaBox.[9] As of April 2018, the domain redirects to religious material. On June 3, 2016, documentary filmmaker David Pilot debuted Skin in the Game: The Raven Riley Story at the New Haven Documentary Film Festival in New Haven, Connecticut, following Raven's rise into and departure from online pornography.[10] Online scam Raven Riley's photos have been used by online scammers to defraud men looking for sexual encounters through social networking sites since at least 2007 Movie Title Year Distributor Notes Rev Formats Raven Riley Fucked My Pussy 2006 Naughty Allie LezOnly O Succubus 2007 Evil Motion discover in the distant echoes What the coming years may hold in store. The nocturnal darkness with a thousand Binoculars is focused onto me. Take away this cup, O Abba, Father, Everything is possible to Thee. I am fond of this Thy stubborn project, And to play my part I am content. But another drama is in progress, And, this once, O let me be exempt. But the plan of action is determined, And the end irrevocably sealed. I am alone; all round me drowns in falsehood: Life is not a walk across a field.[82] According to Ivinskaya, At this point, the persons stage-managing the proceedings decided the ceremony must be brought to an end as quickly as possible, and somebody began to carry the lid toward the coffin. For the last time, I bent down to kiss Boris on the forehead, now completely cold... But now something unusual began to happen in the cemetery. Someone was about to put the lid on the coffin, and another person in gray trousers... said in an agitated voice: "That's enough, we don't need any more speeches! Close the coffin!" But people would not be silenced so easily. Someone in a colored, open-necked shirt who looked like a worker started to speak: "Sleep peacefully, dear Boris Leonidovich! We do not know all your works, but we swear to you at this hour: the day will come when we shall know them all. We do not believe anything bad about your book. And what can we say about all you others, all you brother writers who have brought such disgrace upon yourselves that no words can describe it. Rest in peace, Boris Leonidovich!" The man in gray trousers seized hold of other people who tried to come forward and pushed them back into the crowd: "The meeting is over, there will be no more speeches!" A foreigner expressed his indigation in broken Russian: "You can only say the meeting is over when no more people wish to speak!"[81] The final speaker at the graveside service said, God marks the path of the elect with thorns, and Pasternak was picked out and marked by God. He believed in eternity and he will belong to it... We excommunicated Tolstoy, we disowned Dostoevsky, and now we disown Pasternak. Everything that brings us glory we try to banish to the West... But we cannot allow this. We love Pasternak and we revere him as a poet... Glory to Pasternak![83] As the spectators cheered, the bells of Peredelkino's Church of the Transfiguration began to toll. Written prayers for the dead were then placed upon Pasternak's forehead and the coffin was closed and buried. Pasternak's gravesite would go on to become a major shrine for members of the Soviet dissident movement.[77] Legacy Pasternak on a 2015 stamp of Albania After Pasternak's death, Olga Ivinskaya was arrested for the second time, with her daughter, Irina Emelyanova. Both were accused of being Pasternak's link with Western publishers and of dealing in hard currency for Doctor Zhivago. All of Pasternak's letters to Ivinskaya, as well as many other manuscripts and documents, were seized by the KGB. The KGB quietly released them, Irina after one year, in 1962, and Olga in 1964.[84] By this time, Ivinskaya had served four years of an eight-year sentence, in retaliation for her role in Doctor Zhivago's publication.[85] In 1978, her memoirs were smuggled abroad and published in Paris. An English translation by Max Hayward was published the same year under the title A Captive of Time: My Years with Pasternak. Ivinskaya was rehabilitated only in 1988. After the dissolution of the Soviet Union, Ivinskaya sued for the return of the letters and documents seized by the KGB in 1961. The Russian Supreme Court ultimately ruled against her, stating that "there was no proof of ownership" and that the "papers should remain in the state archive".[84] Olga Ivinskaya died of cancer on 8 September 1995.[85] A reporter on NTV compared her role to that of other famous muses for Russian poets: "As Pushkin would not be complete without Anna Kern, and Yesenin would be nothing without Isadora, so Pasternak would not be Pasternak without Olga Ivinskaya, who was his inspiration for Doctor Zhivago.".[85] Meanwhile, Boris Pasternak continued to be pilloried by the Soviet State until Mikhail Gorbachev proclaimed Perestroika during the 1980s. In 1988, after decades of circulating in Samizdat, Doctor Zhivago was serialized in the literary journal Novy Mir.[86] In December 1989, Yevgenii Borisovich Pasternak was permitted to travel to Stockholm in order to collect his father's Nobel Medal.[87] At the ceremony, acclaimed cellist and Soviet dissident Mstislav Rostropovich performed a Bach serenade in honor of his deceased countryman. A 2009 book by Ivan Tolstoi reasserts claims that British and American intelligence officers were involved in ensuring Pasternak's Nobel victory; another Russian researcher, however, disagreed.[53][54] When Yevgeny Borisovich Pasternak was questioned about this, he responded that his father was completely unaware of the actions of Western intelligence services. Yevgeny further declared that the Nobel Prize caused his father nothing but severe grief and harassment at the hands of the Soviet State.[52][43] The Pasternak family papers are stored at the Hoover Institution Archives, Stanford University. They contain correspondence, drafts of Doctor Zhivago and other writings, photographs, and other material, of Boris Pasternak and other family members. Since 2003, the novel Doctor Zhivago has entered the Russian school curriculum, where it is read in the 11th grade of secondary school.[4] Commemoration In October 1984 by decision of a court, Pasternak’s dacha in Peredelkino was taken from the writer's relatives and transferred to state ownership. Two years later, in 1986, the House-Museum of Boris Pasternak was founded[88] (the first house-museum in the USSR). In 1990, the year of the poet’s 100th anniversary, the Pasternak Museum opened its doors in Chistopol, in the house where the poet evacuated to during the Great Patriotic War (1941-1943),[89] and in Peredelkino, where he lived for many years until his death.[90] The head of the poet’s house-museum is Natalia Pasternak, his daughter-in-law (widow of the youngest son Leonid).[91] In 2008 a museum was opened in Vsevolodo-Vilva in the house where the budding poet lived from January to June 1916.[92][93] In 2009 on the City Day in Perm the first Russian monument to Pasternak was erected in the square near the Opera Theater (sculptor - Elena Munc).[94][95] Boris Pasternak Street Zoetermeer, Netherlands A memorial plaque was installed on the house where Pasternak was born.[96] In memory of poet's three-time stay in Tula, on 27 May 2005 a marble memorial plaque to Pasternak was installed on the Wörmann hotel's wall, as Pasternak was a Nobel laureate and dedicated several of his works to Tula.[97][98] On 20 February 2008, in Kiev, a memorial plaque[99] was put up on the house ?9 on Lipinsky Street, but seven years later it was stolen by vandals.[100] In 2012 a monument to Boris Pasternak was erected in the district center of Muchkapsky by Z. Tsereteli. In 1990 as part of the series "Nobel Prize Winners" [101] the USSR and Sweden ("Nobel Prize Winners - Literature")[102] issued stamps depicting Boris Pasternak. In 2015 as part of the series "125th Annive. of the Birth of Boris Pasternak, 1890-1960" Mozambique issued a miniature sheet depicting Boris Pasternak.[103] Although this issue was acknowledged by the postal administration of Mozambique, the issue was not placed on sale in Mozambique, and was only distributed to the new issue trade by Mozambique's philatelic agent. In 2015 as part of the series "125th Birth Anniversary of Boris Pasternak" Maldives issued a miniature sheet depicting Boris Pasternak.[104] The issue was acknowledged by the Maldive postal authorities, but only distributed by the Maldive philatelic agent for collecting purposes. On the occasion of the 50th anniversary of B. Pasternak's Nobel Prize, the Principality of Monaco issued a postage stamp in his memory.[105] On 27 January 2015, in honor of the poet’s 125th birthday, the Russian Post issued an envelope with the original stamp.[106] On 1 October 2015, a monument to Pasternak was erected in Chistopol. Cultural influence A minor planet (3508 Pasternak) discovered by Soviet astronomer Lyudmila Georgievna Karachkina in 1980 is named after him.[107] Russian-American singer and songwriter Regina Spektor recites a verse from "Black Spring", a 1912 poem by Pasternak in her song "Apres Moi" from her album Begin to Hope. Russian-Dutch composer Fred Momotenko (Alfred Momotenko) wrote a companion composition to Sergej Rachmaninov's All-Night Vigil Op 37. based on the eponymous poem from the diptych Doktor Zhivago Na Strastnoy Adaptations The first screen adaptation of Doctor Zhivago, adapted by Robert Bolt and directed by David Lean, appeared in 1965. The film, which toured in the roadshow tradition, starred Omar Sharif, Geraldine Chaplin, and Julie Christie. Concentrating on the love triangle aspects of the novel, the film became a worldwide blockbuster, but was unavailable in Russia until Perestroika. In 2002, the novel was adapted as a television miniseries. Directed by Giacomo Campiotti, the serial starred Hans Matheson, Alexandra Maria Lara, Keira Knightley, and Sam Neill. The Russian TV version of 2006, directed by Aleksandr Proshkin and starring Oleg Menshikov as Zhivago, is considered more faithful to Pasternak's novel than David Lean's 1965 film. Work Poetry Thoughts on poetry According to Ivinskaya: In Pasternak the 'all-powerful god of detail' always, it seems, revolted against the idea of turning out verse for its own sake or to convey vague personal moods. If 'eternal' themes were to be dealt with yet again, then only by a poet in the true sense of the word – otherwise he should not have the strength of character to touch them at all. Poetry so tightly packed (till it crunched like ice) or distilled into a solution where 'grains of true prose germinated,' a poetry in which realistic detail cast a genuine spell – only such poetry was acceptable to Pasternak; but not poetry for which indulgence was required, or for which allowances had to be made – that is, the kind of ephemeral poetry which is particularly common in an age of literary conformism. [Boris Leonidovich] could weep over the 'purple-gray circle' which glowed above Blok's tormented muse and he never failed to be moved by the terseness of Pushkin's sprightly lines, but rhymed slogans about the production of tin cans in the so-called 'poetry' of Surkov and his like, as well as the outpourings about love in the work of those young poets who only echo each other and the classics – all this left him cold at best and for the most part made him indignant."[108] For this reason, Pasternak regularly avoided literary cafes where young poets regularly invited them to read their verse. According to Ivinskaya, "It was this sort of thing that moved him to say: 'Who started the idea that I love poetry? I can't stand poetry.'"[108] Also according to Ivinskaya, "'The way they could write!' he once exclaimed – by 'they' he meant the Russian classics. And immediately afterward, reading or, rather, glancing through some verse in the Literary Gazette: 'Just look how tremendously well they've learned to rhyme! But there's actually nothing there – it would be better to say it in a news bulletin. What has poetry got to do with this?' By 'they' in this case, he meant the poets writing today."[109] Translation Reluctant to conform to Socialist Realism, Pasternak turned to translation in order to provide for his family. He soon produced acclaimed translations of Sándor Petofi, Johann Wolfgang von Goethe, Rainer Maria Rilke, Paul Verlaine, Taras Shevchenko, and Nikoloz Baratashvili. Osip Mandelstam, however, privately warned him, "Your collected works will consist of twelve volumes of translations, and only one of your own work."[34] In a 1942 letter, Pasternak declared, "I am completely opposed to contemporary ideas about translation. The work of Lozinski, Radlova, Marshak, and Chukovski is alien to me, and seems artificial, soulless, and lacking in depth. I share the nineteenth-century view of translation as a literary exercise demanding insight of a higher kind than that provided by a merely philological approach."[34] According to Ivinskaya, Pasternak believed in not being too literal in his translations, which he felt could confuse the meaning of the text. He instead advocated observing each poem from afar to plumb its true depths.[110] Pasternak's translations of William Shakespeare (Romeo and Juliet, Antony and Cleopatra, Othello, King Henry IV (Parts I and II), Hamlet, Macbeth, King Lear)[111] remain deeply popular with Russian audiences because of their colloquial, modernised dialogues. Pasternak's critics, however, accused him of "pasternakizing" Shakespeare. In a 1956 essay, Pasternak wrote, "Translating Shakespeare is a task which takes time and effort. Once it is undertaken, it is best to divide it into sections long enough for the work to not get stale and to complete one section each day. In thus daily progressing through the text, the translator finds himself reliving the circumstances of the author. Day by day, he reproduces his actions and he is drawn into some of his secrets, not in theory, but practically, by experience."[112] According to Ivinskaya: Whenever [Boris Leonidovich] was provided with literal versions of things which echoed his own thoughts or feelings, it made all the difference and he worked feverishly, turning them into masterpieces. I remember his translating Paul Verlaine in a burst of enthusiasm like this – Art poétique (Verlaine) was after all an expression of his own beliefs about poetry.[113] While they were both collaborating on translating Rabindranath Tagore from Bengali into Russian, Pasternak advised Ivinskaya, "1) Bring out the theme of the poem, its subject matter, as clearly as possible; 2) tighten up the fluid, non-European form by rhyming internally, not at the end of the lines; 3) use loose, irregular meters, mostly ternary ones. You may allow yourself to use assonances."[110] Later, while she was collaborating with him on a translation of Vítezslav Nezval, Pasternak told Ivinskaya: Use the literal translation only for the meaning, but do not borrow words as they stand from it: they are absurd and not always comprehensible. Don't translate everything, only what you can manage, and by this means try to make the translation more precise than the original – an absolute necessity in the case of such a confused, slipshod piece of work

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