The boldest and most aggressive of the hummingbirds I came across in Costa Rica last January. This beautiful fellow came back to the same perch time after time and eventually became unconcerned about my presence. He was the virtual ruler of the feeding stations. A particularly handsome and bold example of a beautiful bird..

Rencontre du 3ème type

Quand elle est avec Lewis Elsa course les moutons le long de la clôture, mais Pâquerette qui a toujours été la plus hardie des quatre, est venue faire connaissance.

 

Close Encounters of the Third Kind

When she is with Lewis Elsa chases the sheep along the fence, but Pâquerette who has always been the boldest of the four, came to meet her.

Mickey Mouse as 'The Sorcerer's Apprentice' from Disney's Fantasia. Released in 1940, it represented Walt Disney's boldest experiment to date. Bringing to life his vision of blending animated imagery with classical music. What had begun as a vehicle to enhance Mickey Mouse's career, Fantasia blossomed into a full-blown feature that remains unique in the history of animation even today.

 

This image was taken at Disney's Hollywood Studios just after my family had our photo taken with Mickey (as the Apprentice).

 

Technical Information:

Camera - Nikon D7200 (handheld)

Lens – Nikkor 18-300mm Zoom

ISO – 800

Aperture – f/5

Exposure – 1/40 second

Focal Length – 18mm

 

The original RAW file was processed with Adobe Camera Raw and final adjustments were made with Photoshop CS6.

 

"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11

"The cowboy Baronet" - Sir Genille Cave-Browne-Cave, 12th Baronet of Cave (1869-1929). My colorization of a 1911 Bain News Service photo in the Library of Congress archive. Sir Genille, who called himself "Harrison" when working as a cowboy in the U.S., was an adventurer (in the positive sense of the word). He returned to his home country after succeeding his father as the 12th Baronet of Cave in 1907.

The Esoteric Curiosa blog has re-published an article from 1909 on Sir Genille. Here are a few extracts from the article:

"It may seem odd that an English tenderfoot, a member of the English aristocracy at that, should go out to the Wild West and beat expert lariat throwers from Wyoming, Arizona, and Colorado, at their own game; yet, Sir Genille Cave-Browne-Cave did it, and his world’s record of 19 ½ seconds, made in 1907 for chasing, catching, roping, throwing and tying a steer, stands and probably will stand until a better cowboy is found.

But there is no mystery in Sir Genille to those who know him. He was born with the spirit of adventure in his blood. Had he lived in the Middle Ages he would have been one of the boldest of the Crusader Knights, as in fact was one of his ancestors. As it was, the roughest life of the British cavalry in Indian and African campaigns was too tame for him. Then he heard the call of the Wild American West. He led a life of reckless daring, among kindred spirits." --

"When the eleventh Baronet of Stretton Hall, Stretton-en-le-Field, Derbyshire died in 1907, it was said that his son had been killed in a duel in Arizona. A cousin of the young man, serving in the British navy, would have succeeded to the estate, but the Crown is slow to bestow titles. It was so in this case. Search was instituted on the plains and in the canyons of the far west. Cave-Browne-Cave was found on a ranch in Colorado. There was nothing in his appearance to indicate that he had ever seen a baronial hall. He had the manner and the apparel of a bronco buster. The red of the sundown land was in his face. The dust from the wake of the coyote was in his hair." --

"The homecoming of the wanderer to Stretton Hall, Stretton-en-le-Field, Derbyshire was an unhappy one. Stretton Hall estate is six miles out from the village of Ashby-de-la-Zouche, an old Norman settlement, and the big rambling house goes back to the early history of England. Sadly, the house had fallen into disuse. It had been neglected so long that a light could not have been seen through the window pane. The halls were empty. The hedges of the grounds were untrimmed. The grass about the doors was tangled so that a hare could not have made its way through it. The opening of a door or a gate created reverberating echoes. The effect was ghostly. The dust on the mirrors in the great carved frames was so thick that the prodigal could see no reflection of his face. All that was left of the estates were huge mortgages and an empty title. A romantic touch is added by the fact the secret passages exist, although now blocked up, connecting Stretton Hall with a water mill, a quarter of a mile away, on the river Mease." --

"Last August when the RMS Lucania was warped into her dock in New York a steerage passenger came ashore. He had traveled incognito. But some of the passengers said he had spent more money for beer for his fellow passengers than a first class cabin ticket would have cost. The steerage passenger wore a bangle bracelet on his wrist. He talked in the lingo of the ranch. When his identity became known it made no difference in his manner. He laughed when somebody called him m’lord. He said that his estate was scattered, and then he added, “I guess I am going home.”

He quickly tired of talking of his estates. He held up the wrist from which the bangle bracelet dangled. “It was put there by the sweetest little blossom that ever bloomed,” he said, with charming abandon. “She lives in Denver,” he continued. “She locked the bracelet there. I am going back west to her get. In two months we will be back in England.”

He had met “the blossom” at a cattle puncher’s contest at which prizes were offered. She admired his riding, and he heard of it. With true gallantry he sought the young woman’s brother and asked permission to meet the sister. To her he was just plain Mr. Cave. So far as she knew all that he possessed was the horse which he rode. The acquaintances ripened into the sort of affection which seems to be stronger under Western skies than it is elsewhere, for the reason, perhaps, that the people out there are more ardent in their manner than they are elsewhere. Not until after he had won his “blossom” did he tell her his history.

When the young Baronet sailed from New York for Liverpool he had $100 to his name and his favorite horse, “Blue Dog.” He showed his true nature when he sailed traveling in a fashion quite characteristic of him on board a cattle ship of the Atlantic Transport Company, actually serving as a cattleman, roughing it as he had done for many year in the past, and in order that he might look after his horse during the voyage.

The finale of the story is pitiful. On his return from England, while he was waiting to begin his journey to the west to claim his “western blossom,” he received a letter which had been sent to him in England and which had been forwarded to New York. The letter told of the death of his sweetheart, Miss May Harrington. While driving her automobile near Denver in company with her brother Robert, the machine slid at a sharp curve, struck a tree and overturned. Miss Harrington and her brother were killed. The young girl’s heart was pierced by an iron rod from the steering gear." --

"Thus, once a cowboy, always a cowboy, and while visiting Liverpool in 1908, the “Bronco Baronet”, met two of his cowboy chums, who were with Colonel Cummins’s Wild West Show at New Brighton, the Coney Island of Liverpool; who with Frank Small, the Tody Hamilton of England, persuaded him to put on once again the cowboy togs and ride a mustang in the arena.

“Just for a lark,” he did it, making his return appearance as a circus performer.

Sir Genille Cave-Browne-Cave, bart., whose exploits were heralded across the Continent over the course of 1907-08, has now become a showman in England. After the Wild West entertainment of Colonel Cummins’s went out of business at New Brighton last fall, Sir Genille engaged some of the cowboy talent, girl riders, Indians and ponies and organized a “wild” venture of his own. It opened at the Hippodrome in London last December and to say the least, it was a “hit” from the send-off. Currently, it is keeping the pace at the Imperial exhibition. After its run is over at the Imperial, Sir Genille expects to tour the provinces with his exhibition. Then, if all goes according to his expectations he will bring the venture to America. He hopes to attain such success as will enable him to restore Stretton Hall to its former glory and rescue his ancestral estates from creditors."

(theesotericcuriosa.blogspot.com/.../bronco-buster...)

I have not found any information about whether Sir Genille was able to restore Stretton Hall to its former glory. Probably he was not able to do it, because after use in WWII to billet soldiers and house Italian prisoners of war, Stretton Hall was demolished in 1945, Sir Genille himself chose a less adventurous lifestyle - he became the Rector at the Alls Saints Church in Londesborough, Yorkshire.

SOOC (straight out of the camera with only the signature added)

#ABFav_Autumnal

Sambucus is a genus of flowering plants in the family Adoxaceae.

The various species are commonly called elder or elderberry.

  

There is evidence elderberries may have anti-viral properties so whip up a batch of this delicious syrup ahead of cold and flu season.

 

"Elder" comes from the Anglo-Saxon 'aeld', meaning fire, because the hollow stems were used to blow air into the centre of a hearth.

It was thought that if you burned elder wood you would see the Devil, but if you planted elder by your house it would keep the Devil away.

 

The foliage was used to keep flies away and branches were often hung around dairies.

There are still those who believe a rub down with elder leaves will keep the dreaded Scottish midge at bay. Good luck with that!

 

Elder trees were the sources of many coloured dyes used historically to make lushly-patterned Harris Tweed.

Blue and purple from the berries; yellow and green from the leaves; grey and black from the bark.

 

Vitamin and nutrient packed as they are, the berries have long had a health-boosting reputation.

 

But can they really get rid of colds and flu?

 

A little online research reveals those making the boldest claims for elderberry extract are usually linked to selling it.

But more sober and impartial scientific voices seem convinced there is evidence elderberry has antiviral properties - and might knock a few days off the duration of symptoms even if not offering total prevention or cure.

Given elderberry syrup won’t hurt and even tastes great, why not. I grew up with it, whenever a cough: a soupspoon before bed and hey, sleep like a rose.

 

Do not consume raw berries, can induce vomiting and diarrhoea.

 

With love to you and thank you for ALL your faves and comments, M, (* _ *)

  

For more: www.indigo2photography.com

 

IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved

 

It has been 9 years ago since Southwest Airlines introduced their third colour scheme in the form of the Heart livery which is most certainly their boldest colour scheme in their operating history so far... Of course, Southwest Airlines operates a huge single-fleet of Boeing 737s and the repainting wasn't going to happen over night, but there is light at the end of the tunnel as the repainting process is almost over.

At the time of writing, just one Boeing 737-800 retains the Canyon Blue livery, with the penultimate example being N8647A currently in the paint-shop into the Heart livery. Once the last Boeing 737-800 gets repainted that would mean an end to the repainting programme that started back in 2014.

Whilst the repaint programme will end once the last Boeing 737-800 gains Heart livery, that doesn't mean no other aircraft retains Canyon Blue colours... One Boeing 737 MAX 8 was painted in Canyon Blue as their special livery dedicated to the late Colleen Barrett who was President emerita with the low-cost carrier. There are also 11 Boeing 737-700s that retain Canyon Blue however will not see a repaint as they are earmarked for retirement as more Boeing 737 MAX 8s arrive.

For me, Canyon Blue is the livery for me that reminds me of Southwest Airlines; for others it is Desert Gold which also appears on a new Boeing 737 MAX 8 that replaced 2 Boeing 737-700s that have since been retired from service. Going to miss the Canyon Blue livery and glad to have seen it during my time in the United States.

Currently, Southwest Airlines operates 800 Boeing 737s, which includes 410 Boeing 737-700s, 207 Boeing 737-800s and 183 Boeing 737 MAX 8s. Southwest Airlines have 165 Boeing 737 MAX 7s and 265 Boeing 737 MAX 8s on-order.

November Eight Six Four Seven Alpha is one of 207 Boeing 737-800s operated by Southwest Airlines, delivered new to the low-cost carrier on 15th August 2014 and she is powered by 2 CFM International CFM56-7B27E engines.

Boeing 737-8H4(WL) N8647A on short finals into Runway 27 at San Diego (SAN), California on WN1159 from Dallas-Love Field (DAL), Texas.

Lanzo is fed by the Stura stream. The area’s most characteristic architectural construction, the Ponte del Diavolo, spans the stream. Legend has it that this bridge, with a single arch over 37 metres in length, was constructed in just one night by the devil in person. However, it is more probable that its name refers to the exclamation "Al diavolo il ponte!" (To hell with the bridge!), voiced by the valley-dwellers who were vexed by the rises in wine duties required to meet the construction costs. What is certain is that the Ponte del Diavolo of Lanzo is one of the boldest and most unique Medieval bridges that has reached the present era. Also called “Ponte del Roc”, it joins the slopes of Monte Basso with those of Buriasco and is part of the Buriasco Preservation Area.

The boldest Noraa found XD

Welcome Home to His Majesty Sultan Qaboos

His Majesty’s return to Oman this week sparked outpourings of joy and huge celebrations on the streets as the country united to show love for their leader, writes Felicity Glover

From tears of joy, to dancing and singing the national anthem in the streets and celebratory gunshots in the air, the people of Oman came together this week to celebrate the return of Sultan Qaboos Bin Said Al Said after eight months of “successful” medical treatment in Germany.

As news spread of His Majesty’s homecoming, thousands of people poured onto the streets in Muscat and around Oman as joy erupted across the country.

Many gathered around the Royal Opera House Muscat, a landmark building in the capital and a legacy of His Majesty, who first ordered it to be built in 2001, with construction beginning in 2007.

Children in pushchairs were draped in Omani flags, youngsters leaned out of car windows waving and the sounds of hundreds of car horns simultaneously honking to mark the return of their leader filled the air.

Impromptu singing broke out as flags fluttered from car windows. Some wore Oman hats or the Omani colours of red, white and green. Roads around the Opera House and Shatti were gridlocked with traffic, although nobody was in a particular hurry to go anywhere.

Police cars closed off some roads to divert traffic away from residential areas and officers stood on patrol. The joyful celebrations continued long into the night.

“This means so much to us,” said Tariq al Balushi, 22. “We have been waiting a long time for His Majesty to come home. My heart is full tonight.”

The student and his friends had headed out in the evening upon hearing the news. “We are so happy. I will cry tears of happiness tonight,” said his friend, Abdul.

Shortly after his arrival, the Diwan of Royal Court released a statement confirming His Majesty’s return. It also assured the country that His Majesty’s medical treatment had been successful.

“Encompassed by Allah’s care, His Majesty Sultan Qaboos Bin Said returned to the dear homeland enjoying full health and wellbeing after His Majesty’s successful completion of the medical programme in the Federal Republic of Germany, thanks be to Allah,” the Diwan of Royal Court said.

After eight months of uncertainty, in which international media speculated about His Majesty’s health and the future leadership of Oman, some are saying that the Sultanate has now “come back to life”.

Ahmed al Balushi, a student at the Caledonian College of Engineering, was dining at Volare Pizzeria in Shatti with some of his friends when he heard the news.

“The moment I got the good news of the return of His Majesty the Sultan, I was overjoyed,” he said. “I knew my country would come back to life as all of us have been waiting for this wonderful occasion for a long time now. I immediately knew that celebrations and joyous moments would continue for several days to come.

“I can say from today’s celebrations that these will be in our memories for a very long time. I just want to say to everyone that I am very happy on the return of our Sultan and pray that Allah gives him a long and healthy life.”

Sultan Qaboos travelled to Germany in July last year for “medical tests”, leaving many to wonder how long he would be away and exactly what was wrong.

But in a video message that was broadcast on state television to coincide with his birthday on November 18 last year, His Majesty assured the country that he was doing well and his medical tests were continuing.

“The divine will has dictated that the occasion this year falls while we are outside the dear homeland for reasons you know,” Sultan Qaboos said in the video message.

“But, by God’s grace, He prepared the good results that will require a follow-up in accordance with the medical programme during the coming period,” he added, without elaborating.

While the Diwan of Royal Court announced last October that Sultan Qaboos was in good health, it did not say what kind of tests he was undergoing or what he might be suffering from.

However, some privately expressed concerns regarding reports that Sultan Qaboos was suffering from cancer, although this has not been confirmed by the authorities.

Also in his November video message, His Majesty greeted Oman’s armed forces, saying he was committed to “equip them with whatever is necessary to carry out their duties and to deliver on their noble task of protecting the homeland and safeguarding its gains”.

Since November, there has been no news of His Majesty’s health or when he was coming home – until this week, that is.

Haitham, another diner at Volare, which was giving away free meals to celebrate, said he had no words to describe how he felt.

“I don’t know what to say, it’s the best news I have had in these eight months – the return of His Majesty is something we have all been waiting for and to be able to realise this happy moment is such a gift from the Almighty,” Haitham told Y Magazine.

“I heard that Volare were giving away free meals for the occasion and I thought why not come and join the celebrations. Right after this, we are heading to the streets of Shatti [beach] area where we will join the colourful parade. We have flags and scarves in our car, which we will use to show our love to the Sultan and the people of Oman.”

 

Sayyid Fahd Bin Mahmoud Al Said, the Deputy Prime Minister for the Council of Ministers, said there was overwhelming joy in the Sultanate that His Majesty had returned fully recuperated.

“An overwhelming pleasure has prevailed in the Sultanate now that the Almighty Allah has endowed His Majesty Sultan Qaboos Bin Said with full recuperation and a safe return home under His divine care,” he said in a statement. “Sentiments of self-denial and allegiance to the country’s monarch can never be articulated in any number of words because these affectionate feelings stem from hearts that are filled with enormous love.”

Just a day after his arrival, His Majesty the Sultan had already issued a royal pardon for a group of 246 prisoners, who represent 76 different nationalities, to celebrate his homecoming, while more celebrations are expected in the coming weeks.

“I am sure every Omani and everyone living in this country is very happy today, the Sultan has done so much for everyone living in this country and we can’t thank him enough,” said Haitham.

“I pray that the Almighty gives him good health, may he continue to rule this beautiful country for years to come.”

A LIFE OF ACCOMPLISHMENTS

November 18, 1940: Sultan Qaboos Bin Said Al Said is born in Salalah.

1958: The Sultan travels to the UK to complete his studies.

1960: Joins the Royal Military Academy at Sandhurst as an officer cadet, where he spends two years before joining a British infantry regiment.

1964: Returns to Oman.

July 23, 1970: Sultan Qaboos becomes the leader of Oman and begins the country’s modernisation programme.

1981: Oman becomes a founding member of the six-nation GCC.

1997: Sultan Qaboos decrees that women can stand for election to – and vote for – the Majlis Al Shura, or Consultative Council.

2002: Sultan Qaboos extends voting rights to all citizens over the age of 21.

2003: The first elections to the Majlis Al Shura are held, allowing all citizens over 21 to vote.

2004: Sultan Qaboos appoints Oman’s first female minister with a portfolio.

2006: Oman and the US sign a free trade deal.

2009: Oman’s population is estimated at 3.4 million.

2010: Britain’s Queen Elizabeth II pays a four-day visit to the Sultanate to coincide with the 40th anniversary of the Renaissance under the leadership of Sultan Qaboos.

2011: Lawmaking powers are granted to officials outside the Royal family in the boldest reforms yet. Sultan Qaboos officially opens the Royal Opera House Muscat.

April 2014: Oman’s population passes the four million mark.

July 2014: Sultan Qaboos travels to Germany for medical treatment.

November 2014: Sultan Qaboos addresses the nation via a televised video address.

March 23, 2015: Oman celebrates as Sultan Qaboos returns home after eight months in Germany.

Source : www.y-oman.com/2015/03/welcome-home-to-his-majesty-sultan...

 

The Dance Season fashions came in four variations and were quite spectacular. I dare say this is the boldest of them all and very hard to come by.

 

I guess due to a combination of it not being that popular and if it were purchased it didn't withstand a child's play. The dark purple strands of fabric in the skirt are easily torn.

 

This frock was sold with mauve slingback high heels and golden droplets earrings (these are replicas).

___________________________________

 

I couldn't for the life of me get a decent, focused photo of her. My camera is about to throw in the towel for good.

 

This image is part of a chromatic triptych, the other 3 images in the triptych are Grooves in the Snow and Grooves in the Snow (Black & White, Split Tone Yellow/Blue) (II). Grooves in the Snow is the "original" colour photograph, this photograph is a straight black and white conversion, while Grooves in the Snow (Black & White, Split Tone Yellow/Blue) (II) is Split Tone Yellow/Blue black and white conversion. Like of my diptychs and triptych, my aim here was to explore how different processing techniques affect the expressivity of the resulting photograph, this black and white conversion is, in my opinion, the boldest of the 3 images.

The Postcard

 

A postally unused carte postale published by F. Chapeau of Nantes.

 

Although the card was not posted, someone has written a date on the back:

 

"5. 12. 32".

 

Le Château des Ducs de Bretagne

 

Le Château des Ducs de Bretagne is a large castle located in the city of Nantes in the Loire-Atlantique département of France.

 

It is located on the right bank of the Loire, which formerly fed its ditches. It was the residence of the Dukes of Brittany between the 13th. and 16th. centuries, subsequently becoming the Breton residence of the French Monarchy.

 

The castle has been listed as a Monument Historique by the French Ministry of Culture since 1862.

 

Restoration of the Château

 

Starting in the 1990's, the town of Nantes undertook a massive programme of restoration and repairs to return the site to its former glory as an emblem of the history of Nantes and Brittany.

 

Following 15 years of works and three years of closure to the public, it was reopened on the 9th. February 2007, and is now a popular tourist attraction. Night-time illuminations at the castle further reinforce the revival of the château.

 

The restored edifice now includes the new Nantes History Museum, installed in 32 of the castle rooms. The museum presents more than 850 objects of interest with the aid of multimedia devices.

 

The château and its museum try to offer a modern vision of the heritage by presenting the past, the present and the future of the city.

 

The 500-metre round walk on the fortified ramparts provides views not just of the castle buildings and courtyards but also of the town.

 

The Sale of Liquor

 

So what else happened on Monday the 5th. December 1932?

 

Well, on that day, a joint resolution was introduced to the U.S. Congress repealing the Eighteenth Amendment, and turning the regulation of liquor over to the individual states.

 

British War Debts

 

Also on that day, the British government suggested issuing bonds to cover its war debts to the United States.

 

'Jane'

 

Also on that day, the comic strip 'Jane' by Norman Pett first appeared in the British tabloid newspaper the Daily Mirror.

 

Little Richard

 

The 5th. December 1932 also marked the birth, in Macon, Georgia, of Little Richard.

 

Richard Wayne Penniman, known professionally as Little Richard, was an American musician, singer, and songwriter. He was an influential figure in popular music and culture for seven decades.

 

Described as the "Architect of Rock and Roll", Richard's most celebrated work dates from the mid-1950's, when his charismatic showmanship and dynamic music, characterized by frenetic piano playing, pounding back beat and raspy shouted vocals, laid the foundation for rock and roll.

 

Richard's innovative emotive vocalizations and uptempo rhythmic music also played a key role in the formation of other popular music genres, including soul and funk.

 

He influenced numerous singers and musicians across musical genres from rock to hip hop, and his music helped shape rhythm and blues for generations.

 

"Tutti Frutti" (1955), one of Richard's signature songs, became an instant hit, crossing over to the pop charts in both the United States and the United Kingdom. His next hit single, "Long Tall Sally" (1956), hit No. 1 on the Billboard Rhythm and Blues Best-Sellers chart, followed by a rapid succession of fifteen more hits in less than three years.

 

Richard's performances during this period resulted in integration between the white Americans and black Americans in his audience.

 

In 1962, after a five-year period during which Richard abandoned rock and roll music for born again Christianity, concert promoter Don Arden persuaded him to tour Europe.

 

During this time, the Beatles opened for Richard on some tour dates. Richard advised the Beatles on how to perform his songs, and taught Paul McCartney his distinctive vocalizations.

 

Richard is cited as one of the first crossover black artists, reaching audiences of all races. His music and concerts broke the color line, drawing black and white people together despite attempts to sustain segregation.

 

Many of his contemporaries, including Elvis Presley, Buddy Holly, Bill Haley, Jerry Lee Lewis, the Everly Brothers, Gene Vincent and Eddie Cochran, recorded covers of his works.

 

Impressed by Richard's music and style, and personally covering four of Richard's songs on his own two breakthrough albums in 1956, Presley told Richard in 1969 that his music was an inspiration to him, and that he was "the greatest".

 

Richard was honored by many institutions. He was inducted into the Rock and Roll Hall of Fame as part of its first group of inductees in 1986. He was also inducted into the Songwriters Hall of Fame.

 

Richard was the recipient of Lifetime Achievement Awards from The Recording Academy and the Rhythm and Blues Foundation.

 

In 2015, Richard received a Rhapsody & Rhythm Award from the National Museum of African American Music for his key role in the formation of popular music genres, and for helping to bring an end to the racial divide on the music charts and in concerts in the mid-1950's.

 

"Tutti Frutti" was included in the National Recording Registry of the Library of Congress in 2010, which stated that:

 

"Richard's unique vocalizing over the

irresistible beat announced a new era

in music".

 

Little Richard - The Early Years

 

Richard Wayne Penniman was the third of twelve children of Leva Mae (née Stewart) and Charles "Bud" Penniman. His father was a church deacon and a brick mason, who sold bootlegged moonshine on the side, and who also owned a nightclub called the Tip In Inn. Richard's mother was a member of Macon's New Hope Baptist Church.

 

Initially, his first name was supposed to have been "Ricardo", but an error resulted in "Richard" instead. In childhood, he was nicknamed "Lil' Richard" by his family because of his small and skinny frame.

 

The Penniman children were raised in a neighborhood of Macon called Pleasant Hill. A mischievous child who played pranks on neighbors, he began singing in church and taking piano lessons at a young age.

 

Possibly as a result of complications at birth, Richard had a slight deformity that left one of his legs shorter than the other. This produced an unusual gait, and he was mocked for his allegedly effeminate appearance.

 

Richard's family were very religious, and joined various A.M.E., Baptist, and Pentecostal churches, with some family members becoming ministers. He enjoyed the Pentecostal churches the most, because of their charismatic worship and live music.

 

Richard later recalled that people in his neighborhood sang gospel songs throughout the day during segregation to keep a positive outlook, because:

 

"There was so much poverty, so

much prejudice in those days".

 

He had observed that:

 

"People sing to feel their connection

with God, and to wash their trials and

burdens away."

 

Gifted with a loud singing voice, he recalled that:

 

"I was always changing the key upwards,

and I was once stopped from singing in

church for screaming and hollering so loud.

My singing gave me the nickname "War Hawk".

 

Richard recalled that:

 

"As a child, I would beat on the steps

of the house, and on tin cans and pots

and pans, or whatever, while I was

singing, and this used to annoy the

neighbors."

 

Richard's initial musical influences were gospel performers such as Brother Joe May, Sister Rosetta Tharpe, Mahalia Jackson, and Marion Williams.

 

Joe May, a singing evangelist who was known as "The Thunderbolt of the Middle West" because of his phenomenal range and vocal power, inspired Richard to become a preacher. He credited the Clara Ward Singers for one of his distinctive hollers.

 

Richard attended Macon's Hudson High School, where he was a below-average student. He eventually learned to play alto saxophone, joining the school's marching band while in fifth grade.

 

While still in high school, Richard got a part-time job at Macon City Auditorium for local secular and gospel concert promoter Clint Brantley. He sold Coca-Cola to crowds during concerts of star performers of the day such as Cab Calloway, Lucky Millinder, and his favorite singer Sister Rosetta Tharpe.

 

Little Richard's Music Career

 

(a) 1947–1955: Beginnings

 

In October 1947, Sister Rosetta Tharpe overheard the fourteen-year-old Richard singing her songs before a performance at the Macon City Auditorium, and she invited him to open her show.

 

After the show, Tharpe paid Richard, inspiring him to become a professional performer. Richard stated that his piano style was greatly influenced by Ike Turner's piano intro on "Rocket 88".

 

In 1949, Richard began performing in Doctor Nubillo's traveling show. He was inspired to wear turbans and capes in his career by Nubillo, who also:

 

"Carried a black stick and exhibited

something he called 'the devil's child'—

supposedly the dried-up body of a

baby, with claw feet like a bird, and

horns on its head."

 

Nubillo told Richard:

 

"You're gonna be famous, but you'll

have to go where the grass is greener".

 

Before entering the tenth grade, Richard left his family home and joined Hudson's Medicine Show in 1949, performing Louis Jordan's "Caldonia". Richard recalled that the song was the first secular R&B song he learned, since his family had strict rules against playing R&B music, which they considered "devil music".

 

Little Richard was influenced by Jordan. In fact, the whoop sound on Jordan's record "Caldonia" sounds eerily like the vocal tone Little Richard adopted, in addition to the "Jordan-style pencil-thin mustache".

 

Richard also performed in drag during this time, performing under the name "Princess LaVonne".

 

In 1950, Richard joined his first musical band, Buster Brown's Orchestra, where Brown gave him the name Little Richard. Performing in the minstrel show circuit, Richard, in and out of drag, performed for various vaudeville acts such as Sugarfoot Sam from Alabam, the Tidy Jolly Steppers, the King Brothers Circus, and Broadway Follies.

 

Having settled in Atlanta at this point, Richard began listening to rhythm and blues, and frequented Atlanta clubs, including the Harlem Theater and the Royal Peacock, where he saw performers such as Roy Brown and Billy Wright onstage.

 

Richard was further influenced by Brown's and Wright's flashy style of showmanship, and was even more influenced by Wright's flamboyant persona. Inspired by Brown and Wright, he decided to become a rhythm-and-blues singer, and after befriending Wright, began to learn how to be an entertainer from him.

 

Richard began to sport a pompadour hairdo similar to Wright's, as well as a pencil mustache, using Wright's brand of facial pancake makeup and wearing flashier clothes.

 

Impressed by his singing voice, Wright put him in contact with Zenas Sears, a local D. J. Sears recorded Richard at his station, backed by Wright's band. The recordings led to a contract that year with RCA Victor. Richard recorded a total of eight sides for RCA Victor, including the blues ballad, "Every Hour", which became his first single, and a hit in Georgia.

 

The release of "Every Hour" improved his relationship with his father, who began regularly playing the song on his nightclub jukebox. Shortly after the release of "Every Hour", Richard was hired to front Perry Welch and His Orchestra, and played at clubs and army bases for $100 a week.

 

Richard left RCA Victor in February 1952 after his records for the label failed to chart; the recordings were marketed with little promotion from RCA Victor, although ads for the records showed up in Billboard Magazine.

 

After his father´s death in 1952, Richard began to find success, RCA Victor re-issued the recordings on the budget RCA Camden label. He continued to perform during this time, and Clint Brantley agreed to manage Richard's career.

 

Moving to Houston, he formed a band called the Tempo Toppers, performing as part of blues package tours in Southern clubs such as Club Tijuana in New Orleans, and Club Matinee in Houston.

 

Richard signed with Don Robey's Peacock Records in February 1953, recording eight sides, including four with Johnny Otis and his band that were unreleased at the time. Like Richard's venture with RCA Victor, none of his Peacock singles charted, despite Richard getting knocked out by Robey during a scuffle.

 

Disillusioned by the record business, Richard returned to Macon in 1954. Struggling with poverty, he settled for work as a dishwasher for Greyhound Lines.

 

While in Macon, he met Esquerita, whose flamboyant onstage persona and dynamic piano playing deeply influenced Richard's approach to performance. That year, he disbanded the Tempo Toppers, and formed a harder-driving rhythm and blues band, the Upsetters, which included drummer Charles Connor and saxophonist Wilbert "Lee Diamond" Smith.

 

In 1954, Richard signed on to a Southern tour with Little Johnny Taylor. The band supported R&B singer Christine Kittrell on some recordings, then began to tour successfully, even without a bass guitarist, forcing drummer Connor to thump "real hard" on his bass drum in order to get a "bass fiddle effect". Around this time, Richard signed a contract to tour with fellow R&B singer Little Johnny Taylor.

 

At the suggestion of Lloyd Price, Richard sent a demo to Price's label, Specialty Records, in February 1955. Months passed before Richard got a call from the label. Finally, in September of that year, Specialty owner Art Rupe loaned Richard money to buy out of his Peacock contract, and set him to work with producer Robert "Bumps" Blackwell.

 

Upon hearing the demo, Blackwell felt that Richard was Specialty's answer to Ray Charles. However, Richard told him that he preferred the sound of Fats Domino. Blackwell sent him to New Orleans, where he recorded at Cosimo Matassa's J&M Studios, recording there with several of Domino's session musicians, including drummer Earl Palmer and saxophonist Lee Allen.

 

Richard's recordings that day failed to produce much inspiration or interest (although Blackwell saw some promise). Frustrated, Blackwell and Richard went to relax at the Dew Drop Inn nightclub. According to Blackwell, Richard then launched into a risqué dirty blues he titled "Tutti Frutti".

 

Blackwell felt that the song had hit potential, and hired songwriter Dorothy LaBostrie to replace some of Richard's sexual lyrics with less controversial ones. He also changed the microphone placement, and pushed Richard's voice forward.

 

Recorded in three takes in September 1955, "Tutti Frutti" was released as a single that November, and became an instant hit, reaching No. 2 on Billboard magazine's Rhythm and Blues Best-Sellers chart and crossing over to the pop charts in both the United States and the United Kingdom. It reached No. 21 on the Billboard Top 100 in America, and No. 29 on the British singles chart, eventually selling a million copies.

 

(b) 1956–1962: Initial Success and Conversion

 

Richard's next hit single, "Long Tall Sally" (1956), hit number one on the R&B chart and number thirteen on the Top 100 while reaching the top ten in Great Britain. Like "Tutti Frutti", it sold over a million copies.

 

Following his success, Richard built up his backup band, The Upsetters, with the addition of saxophonists Clifford "Gene" Burks and leader Grady Gaines, bassist Olsie "Baysee" Robinson and guitarist Nathaniel "Buster" Douglas.

 

Richard began performing on package tours across the United States. Art Rupe described the differences between Richard and a similar hitmaker of the early rock and roll period by stating that:

 

"While the similarities between Little Richard

and Fats Domino for recording purposes were

close, Richard would sometimes stand up at

the piano while he was recording and onstage,

whereas Domino was plodding, and very slow,

Richard was very dynamic, completely uninhibited,

unpredictable, and wild. So the band took on

the ambience of the vocalist."

 

Richard's performances, like most early rock and roll shows, resulted in integrated audience reaction during an era where public places were divided into "white" and "colored" domains. In these package tours, Richard and other artists such as Fats Domino and Chuck Berry would enable audiences of both races to enter the building, albeit still segregated (e.g. blacks on the balcony and whites on the main floor).

 

As his later Producer H. B. Barnum, explained, Richard's performances enabled audiences to come together to dance. Despite broadcasts on television from local supremacist groups such as the North Alabama White Citizens Council warning that rock and roll "brings the races together", Richard's popularity was helping to shatter the myth that black performers could not successfully perform at "white-only venues", especially in the South where racism was most overt.

 

Richard's high-energy antics included lifting his leg while playing the piano, climbing on top of his piano, running on and off the stage and throwing souvenirs to the audience. He also began using capes and suits studded with multi-colored stones and sequins. Richard said he began to be more flamboyant onstage so that no one would think he was "after the white girls".

 

Little Richard recalled:

 

"A lot of songs I sang to crowds first

to watch their reaction. That's how I

knew they'd hit."

 

Richard claims that a show at Baltimore's Royal Theatre in June 1956 led to some women throwing their panties onstage at him, resulting in other female fans repeating the action, saying that it was "the first time" that had happened to any artist.

 

Richard's show stopped several times that night due to fans being restrained from jumping off the balcony and then rushing to the stage to touch him.

 

Overall, Richard produced seven singles in the United States alone in 1956, with five of them also charting in the UK, including "Slippin' and Slidin'", "Rip It Up", "Ready Teddy", "The Girl Can't Help It" and "Lucille".

 

Immediately after releasing "Tutti Frutti", which was then protocol for the industry, "safer" white recording artists such as Pat Boone covered the song, sending the song to the top twenty of the charts, several positions higher than Richard's.

 

His fellow rock and roll peers Elvis Presley and Bill Haley also recorded his songs later that same year. Befriending Alan Freed, Richard was given a role in "rock and roll" movies such as Don't Knock the Rock, and Mister Rock and Roll.

 

Richard was given a larger singing role in the 1956 film, The Girl Can't Help It starring Jayne Mansfield. That year, he scored more hit successes with songs such as "Jenny, Jenny" and "Keep A-Knockin,'" the latter becoming his first top ten single on the Billboard Top 100.

 

By the time he left Specialty in 1959, Richard had scored a total of nine top 40 pop singles and seventeen top 40 R&B singles.

 

Richard performed at the famed twelfth Cavalcade of Jazz held at Wrigley Field in Los Angeles on the 2nd. September 1956.

 

Also performing that day were Dinah Washington, The Mel Williams Dots, Chuck Higgins' Orchestra, Bo Rhambo, Willie Hayden & Five Black Birds, The Premiers, Gerald Wilson and his 20-Piece Recording Orchestra, and Jerry Gray and his Orchestra.

 

Shortly after the release of "Tutti Frutti", Richard relocated to Los Angeles. After achieving success as a recording artist and live performer, Richard moved into a wealthy, formerly predominantly white neighborhood, living close to black celebrities such as boxer Joe Louis.

 

Richard's first album, Here's Little Richard, was released by Specialty in March 1957, and peaked at number thirteen on the Billboard Top LPs chart. Similar to most albums released during that era, the album featured six released singles and a number of "filler" tracks.

 

In October 1957, Richard embarked on a package tour in Australia with Gene Vincent and Eddie Cochran. During the middle of the tour, he shocked the public by announcing that he intended to follow a life in the ministry.

 

Richard claimed in his autobiography that during a flight from Melbourne to Sydney, his plane was experiencing some difficulty, and he claimed to have seen the plane's red hot engines, and felt that angels were "holding it up".

 

At the end of his Sydney performance, Richard saw a bright red fireball flying across the sky above him, and claimed that he was "deeply shaken". Though he was eventually told that it was the launching of the first artificial Earth satellite Sputnik 1, Richard took it as a "sign from God" to repent from performing secular music and his wild lifestyle at the time.

 

Returning to the States ten days earlier than expected, Richard later read that the flight he had originally planned to take had crashed into the Pacific Ocean, He regarded this as a further sign to "do as God wanted".

 

After a "farewell performance" at the Apollo Theater and a "final" recording session with Specialty later that month, Richard enrolled at Oakwood College in Huntsville, Alabama, to study theology.

 

Despite his claims of spiritual rebirth, Richard admitted his reasons for leaving were more monetary. During his tenure at Specialty, despite earning millions for the label, Richard complained that he was unaware that Speciality had reduced the percentage of royalties he was to earn from his recordings.

 

In early 1958, Specialty released Richard's second album, Little Richard, which didn't chart.

 

Specialty continued to release Richard's recordings, including "Good Golly, Miss Molly" and his unique version of "Kansas City", until 1960. Finally ending his contract with the label, Richard agreed to relinquish any royalties for his material.

 

In 1958, Richard formed the Little Richard Evangelistic Team, traveling across the country to preach. A month after his decision to leave secular music, Richard met Ernestine Harvin, a secretary from Washington, D.C., and the couple married on the 11th. July 1959.

 

Richard ventured into gospel music, first recording for End Records, before signing with Mercury Records in 1961, where he eventually released King of the Gospel Singers, in 1962, produced by Quincy Jones, who later remarked that Richard's vocals impressed him more than any other vocalist that he had worked with.

 

Richard's childhood heroine, Mahalia Jackson, wrote in the notes of the album that:

 

"Richard sings gospel the

way it should be sung".

 

While Richard was no longer charting in the U.S. with pop music, some of his gospel songs such as "He's Not Just a Soldier" and "He Got What He Wanted", and "Crying in the Chapel", reached the pop charts in the U.S. and in the UK.

 

(c) 1962–1979: Return to Secular Music

 

Mick Jagger said of Richard:

 

"I heard so much about the audience

reaction, I thought there must be some

exaggeration. But it was all true.

He drove the whole house into a

complete frenzy ... I couldn't believe

the power of Little Richard onstage.

He was amazing."

 

In 1962, concert promoter Don Arden persuaded Little Richard to tour Europe after telling him his records were still selling well there.

 

With soul singer Sam Cooke as an opening act, Richard, who featured a teenage Billy Preston in his gospel band, figured it was a gospel tour and, after Cooke's delayed arrival forced him to cancel his show on the opening date, performed only gospel material during the show. This led to boos from the audience, who were expecting Richard to sing his rock and roll hits.

 

The following night, Richard viewed Cooke's well-received performance. Bringing back his competitive drive, Richard and Preston warmed up in darkness before launching into "Long Tall Sally", resulting in frenetic, hysterical responses from the audience.

 

A show at Mansfield's Granada Theatre ended early after fans rushed the stage. Hearing of Richard's shows, Brian Epstein, manager of the Beatles, asked Don Arden to allow his band to open for Richard on some tour dates, to which he agreed.

 

The first show for which the Beatles opened was at New Brighton's Tower Ballroom that October. The following month they, along with Swedish singer Jerry Williams and his band The Violents, opened for Richard at the Star-Club in Hamburg.

 

During this time, Richard advised the group on how to perform his songs, and taught Paul McCartney his distinctive vocalizations.

 

Back in the United States, Richard recorded six rock and roll songs with his 1950's band, the Upsetters for Little Star Records, under the name "World Famous Upsetters", hoping this would keep his options open in maintaining his position as a minister.

 

In the fall of 1963, Richard was called by a concert promoter to rescue a sagging tour featuring The Everly Brothers, Bo Diddley and the Rolling Stones. Richard agreed, and helped to save the tour from flopping.

 

At the end of that tour, Richard was given his own television special for Granada Television titled The Little Richard Spectacular. The special became a ratings hit, and after 60,000 fan letters, was rebroadcast twice.

 

In 1964, now openly re-embracing rock and roll, Richard released "Bama Lama Bama Loo" on Specialty Records. Due to his UK exposure, the song reached the top twenty there, but only climbed to number 82 in the U.S.

 

Later in the year, he signed with Vee-Jay Records, then on its dying legs, to release his "comeback" album, Little Richard Is Back. Due to the arrival of the Beatles and other British bands as well as the rise of soul labels such as Motown and Stax Records and the popularity of James Brown, Richard's new releases were not well promoted, nor well received by radio stations.

 

In November 1964, Jimi Hendrix joined Richard's Upsetters band as a full member.

 

In December 1964, Richard brought Hendrix and childhood friend and piano teacher Eskew Reeder to a New York studio to re-record an album's worth of his greatest hits. He went on tour with his new group the Upsetters to promote the album.

 

In early 1965, Richard took Hendrix and Billy Preston to a New York studio where they recorded the Don Covay soul ballad, "I Don't Know What You've Got (But It's Got Me)", which became a number 12 R&B hit.

 

Three other songs were recorded during the sessions, "Dance a Go Go" aka "Dancin' All Around the World", "You Better Stop", and "Come See About Me." However "You Better Stop" was not issued until 1971, and "Come See About Me" has yet to see official release.

 

Around this time, Richard and Jimi appeared in a show starring Soupy Sales at the Brooklyn Paramount, New York. Richard's flamboyance and drive for dominance reportedly got him thrown off the show.

 

Hendrix and Richard clashed over the spotlight, as well as Hendrix's tardiness, wardrobe and stage antics. Hendrix also complained over not being properly paid by Richard. In early July 1965, Richard's brother Robert Penniman "fired" Jimi. However, Jimi wrote to his father, Al Hendrix, that he quit Richard because:

 

"You can't live on promises when

you're on the road, so I had to cut

that mess aloose".

 

Hendrix had not been paid for five-and-a-half weeks, and was owed 1,000 dollars. Hendrix then rejoined the Isley Brothers' band, the IB Specials.

 

Richard later signed with Modern Records, releasing a modest charter, "Do You Feel It?" before leaving for Okeh Records in early 1966.

 

His former Specialty labelmate Larry Williams produced two albums for Richard on Okeh - the studio release The Explosive Little Richard, which utilised a Motown-influenced sound and produced the modest charters "Poor Dog" and "Commandments of Love." Secondly Little Richard's Greatest Hits: Recorded Live! which returned him to the album charts.

 

Richard was later scathing about this period, declaring Larry Williams "the worst producer in the world". In 1967, Richard signed with Brunswick Records, but after clashing with the label over musical direction, he left the label the following year.

 

Richard felt that producers on his labels failed to promote his records during this period. Later, he claimed they kept trying to push him to record in a style similar to Motown, and felt he wasn't treated with appropriate respect.

 

Richard often performed in dingy clubs and lounges with little support from his label. While Richard managed to perform at huge venues in England and France, in the U.S. Richard had to perform on the Chitlin' Circuit.

 

Richard's flamboyant look, while a hit during the 1950's, failed to help his labels to promote him to more conservative black record buyers. Richard later claimed that his decision to "backslide" from his ministry, led religious clergymen to criticise his new recordings.

 

Making matters worse, Richard said, was his insistence on performing in front of integrated audiences at the time of the black liberation movement shortly after the Watts riots and the formation of the Black Panthers. This caused many black radio disk jockeys in certain areas of the country, including Los Angeles, to choose not to play his music.

 

By then acting as his manager, Larry Williams convinced Richard to focus on his live shows. By 1968, he had ditched the Upsetters for his new backup band, the Crown Jewels, performing on the Canadian TV show, "Where It's At".

 

Richard was also featured on the Monkees' TV special 33⅓ Revolutions per Monkee in April 1969.

 

Williams booked Richard shows in Las Vegas casinos and resorts, leading Richard to adopt a wilder, flamboyant, and androgynous look, inspired by the success of his former backing guitarist Jimi Hendrix.

 

Richard was soon booked at rock festivals such as the Atlantic City Pop Festival, where he stole the show from headliner Janis Joplin. Richard produced a similar show stealer at the Toronto Pop Festival with John Lennon as the headliner.

 

These successes brought Little Richard to talk shows such as the Tonight Show Starring Johnny Carson, and the Dick Cavett Show, making him a major celebrity again.

 

Responding to his reputation as a successful concert performer, Reprise Records signed Richard in 1970, and he released the album, The Rill Thing, with the philosophical single, "Freedom Blues", becoming his biggest charted single in years.

 

In May 1970, Richard made the cover of Rolling Stone magazine. Despite the success of "Freedom Blues", none of Richard's other Reprise singles charted, with the exception of "Greenwood, Mississippi", a swamp rock original by guitar hero, Travis Wammack, who incidentally played on the track.

 

It charted only briefly on the Billboard Hot 100 and Cash Box pop chart, also on the Billboard Country charts; it made a strong showing on WWRL in New York, before disappearing.

 

Richard became a featured guest instrumentalist and vocalist on recordings by acts such as Delaney and Bonnie, Joey Covington and Joe Walsh, and was prominently featured on Canned Heat's 1972 hit single, "Rockin' with the King".

 

To keep up with his finances and bookings, Richard and three of his brothers formed a management company, Bud Hole Incorporated. On American TV, Richard announced that he would appear in a Rock Hudson motion picture, playing "The Insane Minister". (The appearance has never seen the light of day.)

 

Richard also mentioned a new project involving Mick Jagger and Joe Cocker, celebrating his 20 years in show business, though it was never realized.

 

By 1972, Richard had entered the rock and roll revival circuit, and that year, he co-headlined the London Rock and Roll Show at Wembley Stadium with his musical peer Chuck Berry, Richard would come on stage and announce himself as "The King of Rock and Roll", fittingly also the title of his 1971 album with Reprise, and told the packed audience there to "let it all hang out".

 

Richard, however, was booed during the show when he climbed on top of his piano and stopped singing; he also seemed to ignore much of the crowd. To make matters worse, he showed up with just five musicians, and struggled through low lighting and bad microphones.

 

When the concert film documenting the show came out, his performance was considered generally strong, though his fans noticed a drop in energy and vocal artistry. Two songs he performed did not make the final cut of the film.

 

The following year, he recorded a charting soul ballad, "In the Middle of the Night", released with proceeds donated to victims of tornadoes that had caused damage in twelve states.

 

Richard did no new recordings in 1974, although two "new" albums were released. In the summer, came a major surprise for fans, "Talkin' 'bout Soul", a collection of released and unreleased Vee Jay recordings, all never before on a domestic LP. Two tracks were new to the world: the title tune and "You'd Better Stop", both uptempo.

 

Later that year came a set recorded in one night, early the previous year, called "Right Now!", and featuring "roots" material, including a vocal version of an unreleased Reprise instrumental "Mississippi", released in 1972 as "Funky Dish Rag"; his third try at his gospel-rock "In the Name"; and a 6 minute plus rocker, "Hot Nuts", based upon a 1936 song by Li'l Johnson ("Get 'Em From The Peanut Man").

 

1975 was a big year for Richard, with a world tour, and acclaim over high energy performances throughout England and France. His band was perhaps his best to date. He cut a top 40 single (US and Canada), with Bachman-Turner Overdrive, "Take It Like a Man".

 

Richard worked on new songs with sideman, Seabrun "Candy" Hunter. He told Dee-Jay, Wolfman Jack, that he planned on releasing a new album with Sly Stone, but it never materialized.

 

In 1976, he decided to retire again, being physically and mentally exhausted, having experienced family tragedy and the drug culture. He was talked into once again re-cutting his greatest hits, for Stan Shulman in Nashville. This time, they did not use new arrangements, but stuck to the original arrangements.

 

Richard re-recorded eighteen of his classic rock and roll hits for K-Tel Records, in high-tech stereo recreations, with a single featuring the new versions of "Good Golly Miss Molly" and "Rip It Up," with both tracks reaching the UK singles chart.

 

Richard later admitted that he was heavily addicted to drugs and alcohol. By 1977, worn out from years of drug abuse and wild partying, as well as a string of personal tragedies, Richard quit rock and roll again and returned to evangelism, releasing one gospel album, God's Beautiful City, in 1979.

 

At the same time, while touring once again as a minister and returning to talk shows, a controversial album was released by the discount label, Koala, taken from a 1974 concert.

 

It includes an 11 minute discordant version of "Good Golly, Miss Molly". The performances are widely panned as subpar, and the album has gained some notoriety amongst record collectors.

 

(d) 1984–1999: Comeback

 

In 1984, Richard filed a $112 million lawsuit against Specialty Records, Art Rupe and his publishing company, Venice Music, and ATV Music for not paying royalties to him after he left the label in 1959. The suit was settled out of court in 1986.

 

According to some reports, Michael Jackson allegedly gave him monetary compensation for his work, which he co-owned with Sony-ATV, songs by the Beatles and Richard.

 

In September 1984, Charles White released the singer's authorized biography, Quasar of Rock: The Life and Times of Little Richard, which put Richard back in the spotlight. Richard returned to show business in what Rolling Stone referred to as "a formidable comeback" following the book's release.

 

Reconciling his roles as evangelist and rock and roll musician for the first time, Richard stated that the genre could be used for good or evil. After accepting a role in the film Down and Out in Beverly Hills, Richard and Billy Preston penned the faith-based rock and roll song "Great Gosh A'Mighty" for its soundtrack.

 

Richard won critical acclaim for his film role, and the song found success in the American and British charts. The hit led to the release of the album Lifetime Friend (1986) on Warner Bros. Records, with songs deemed "messages in rhythm", including a gospel rap track.

 

In addition to a version of "Great Gosh A'Mighty", cut in England, the album featured two singles that charted in the UK, "Somebody's Comin,'" and "Operator".

 

Richard spent much of the rest of the decade as a guest on television shows and appearing in films, winning new fans with what was referred to as his "unique comedic timing."

 

In 1988, he surprised fans with a serious tribute to Otis Redding at his Rock and Roll of Fame induction ceremony, singing several Redding songs, including "Fa Fa Fa (sad song)", "These arms of mine", and "Dock of the Bay ".

 

He told Otis' story, and explained how his 1956 tune "All Around the World" was Redding's reference on his 1963 side, "Hey, Hey Baby".

 

In 1989, Richard provided rhythmic preaching and background vocals on the extended live version of the U2–B.B. King hit "When Love Comes to Town". That same year, Richard returned to singing his classic hits following a performance of "Lucille" at an AIDS benefit concert.

 

In 1990, Richard contributed a spoken-word rap on Living Colour's hit song, "Elvis Is Dead", from their album Time's Up. That same year he appeared in a cameo for the music video of Cinderella's "Shelter Me".

 

In 1991, he was one of the featured performers on the hit single and video "Voices That Care" that was produced to help boost the morale of U.S. troops involved in Operation Desert Storm.

 

The same year, he recorded a version of "The Itsy Bitsy Spider" for the Pediatric AIDS Foundation benefit album For Our Children. The album's success led to a deal with Walt Disney Records, resulting in the release of a hit 1992 children's album, Shake It All About.

 

In 1994, Richard sang the theme song to the award-winning PBS Kids and TLC animated television series The Magic School Bus based on the book series created by Joanna Cole and Bruce Degen. He also opened Wrestlemania X from Madison Square Garden on the 20th. March that year, miming to his reworked rendition of "America the Beautiful".

 

Throughout the 1990's, Richard performed around the world and appeared on TV, film, and tracks with other artists, including Jon Bon Jovi, Elton John and Solomon Burke.

 

In 1992 he released his final album, Little Richard Meets Masayoshi Takanaka, featuring members of Richard's then current touring band.

 

(e) 2000–2020: The Later years

 

In 2000, Richard's life was dramatized for the biographical film Little Richard, which focused on his early years, including his heyday, his religious conversion and his return to secular music in the early 1960's.

 

Richard was played by Leon Robinson, who earned an NAACP Image Award nomination for his performance.

 

In 2002, Richard contributed to the Johnny Cash tribute album, Kindred Spirits: A Tribute to the Songs of Johnny Cash. In 2004–2005, he released two sets of unreleased and rare cuts, from the Okeh label 1966/67 and the Reprise label 1970/72. Included was the full Southern Child album, produced and composed mostly by Richard, scheduled for release in 1972, but shelved.

 

In 2006, Little Richard was featured in a popular advertisement for the GEICO brand. A 2005 recording of his duet vocals with Jerry Lee Lewis on a cover of the Beatles' "I Saw Her Standing There" was included on Lewis's 2006 album, Last Man Standing.

 

The same year, Richard was a guest judge on the TV series Celebrity Duets. Richard and Lewis performed alongside John Fogerty at the 2008 Grammy Awards in a tribute to the two artists considered to be cornerstones of rock and roll by the NARAS.

 

That same year, Richard appeared on radio host Don Imus' benefit album for sick children, The Imus Ranch Record. In June 2010, Richard recorded a gospel track for an upcoming tribute album to songwriting legend Dottie Rambo.

 

In 2009, Richard was Inducted into The Louisiana Music Hall Of Fame in a concert in New Orleans, attended by Fats Domino.

 

Throughout the first decade of the new millennium, Richard kept up a stringent touring schedule, performing primarily in the United States and Europe. However, sciatic nerve pain in his left leg and then replacement of the involved hip began affecting the frequency of his performances by 2010.

 

Despite his health problems, Richard continued to perform to receptive audiences and critics. Rolling Stone reported that at a performance at the Howard Theater in Washington, D.C., in June 2012:

 

"Richard was still full of fire, still a master

showman, his voice still loaded with deep

gospel and raunchy power."

 

Richard performed a full 90-minute show at the Pensacola Interstate Fair in Pensacola, Florida, in October 2012, at the age of 79, and headlined at the Orleans Hotel in Las Vegas during Viva Las Vegas Rockabilly Weekend in March 2013.

 

In September 2013, Rolling Stone published an interview with Richard who said that he would be retiring from performing. He told the magazine:

 

"I am done, in a sense, because I don't

feel like doing anything right now.

I think my legacy should be that when I

started in showbusiness there wasn't no

such thing as rock'n'roll.

When I started with 'Tutti Frutti', that's

when rock really started rocking."

 

Richard performed one last concert in Murfreesboro, Tennessee in 2014.

 

In June 2015, Richard appeared before a benefit concert audience, clad in sparkly boots and a brightly colored jacket at the Wildhorse Saloon in Nashville to receive the Rhapsody & Rhythm Award from and raise funds for the National Museum of African American Music.

 

He charmed the crowd by reminiscing about his early days working in Nashville nightclubs. In May 2016, the National Museum of African American Music issued a press release indicating that Richard was one of the key artists and music industry leaders that attended its third annual Celebration of Legends Luncheon in Nashville.

 

In 2016, a new CD was released on Hitman Records, California (I'm Comin') with released and previously unreleased material from the 1970's, including a cappella version of his 1975 single release, "Try to Help Your Brother".

 

On the 6th. September 2017, Richard participated in a long television interview for the Christian Three Angels Broadcasting Network, appearing in a wheelchair, clean-shaven, without make-up, dressed in a blue paisley coat and tie, where he discussed his lifelong Christian faith.

 

On the 23rd. October 2019, Richard addressed the audience after appearing to receive the Distinguished Artist Award at the 2019 Tennessee Governor's Arts Awards at the Governor's Residence in Nashville, Tennessee.

 

Little Richard's Personal Life

 

(i) Relationships and Family

 

Around 1956, Richard became involved with Audrey Robinson, a sixteen-year-old college student, originally from Savannah, Georgia. Richard and Robinson quickly got acquainted, despite Robinson not being a fan of rock and roll music.

 

Richard said in his 1984 autobiography that he invited other men to have sexual encounters with her, including Buddy Holly, although Audrey denied those statements.

 

Richard proposed marriage to Robinson, but she refused. Robinson later became known under the name Lee Angel as a stripper and socialite. Richard re-connected with Robinson in the 1960's, though she left him again after his drug abuse worsened.

 

Robinson was interviewed for Richard's 1985 documentary on The South Bank Show, and denied Richard's statements. According to Robinson, Richard would use her to buy food in whites-only fast food stores, as he could not enter any, due to the color of his skin.

 

Richard met his only wife, Ernestine Harvin, at an evangelical rally in October 1957. They began dating that year, and wed on the 12th. July 1959 in California. According to Harvin, she and Richard initially enjoyed a happy marriage with "normal" sexual relations.

 

When the marriage ended in divorce in 1964, Harvin said it was due to her husband's celebrity status, which had made life difficult for her. Richard said the marriage fell apart due to his being a neglectful husband and because of his sexuality.

 

Both Robinson and Harvin denied Richard's statements that he was gay, and Richard believed they did not know it because:

 

"I was such a pumper

in those days".

 

During the marriage, Richard and Harvin adopted a one-year-old boy, Danny Jones, from a late church associate. Richard and his son remained close, with Jones often acting as one of his bodyguards. Harvin later married McDonald Campbell in Santa Barbara, California, on the 23rd. March 1975.

 

(ii) Little Richard's Sexuality

 

In 1984, Richard said that he just played with girls as a child, and was subjected to homosexual jokes and ridicule because of his manner of walking and talking. His father brutally punished him whenever he caught him wearing his mother's makeup and clothing.

 

The singer said he had been sexually involved with both sexes as a teenager. Because of his effeminate mannerisms, his father kicked him out of their family home when he was fifteen. In 1985, on The South Bank Show, Richard explained:

 

"My daddy put me out of the house.

He said he wanted seven boys, and

I had spoiled it, because I was gay."

 

Richard got involved in voyeurism in his early twenties. A female friend would drive him around picking up men who would allow him to watch them having sex in the backseat of cars.

 

Richard's activity caught the attention of the Macon police in 1955, and he was arrested after a gas station attendant reported sexual activity in a car Richard was occupying with a heterosexual couple. Cited on a sexual misconduct charge, he spent three days in jail, and was temporarily banned from performing in Macon.

 

In the early 1950's, Richard became acquainted with openly gay musician Billy Wright, who helped in establishing Richard's look. Billy advised Richard to use pancake makeup, and to wear his hair in a long-haired pompadour style similar to his.

 

As Richard got used to the makeup, he ordered his band, the Upsetters, to wear makeup too, in order to gain entry into predominantly white venues. He later stated:

 

"I wore the make-up so that white

men wouldn't think I was after the

white girls.

It made things easier for me, plus

it was colorful too."

 

In 2000, Richard told Jet magazine:

 

"I figure if being called a sissy would

make me famous, let them say what

they want to."

 

Richard's look, however, still attracted female audiences, who would send him naked photos and their phone numbers.

 

During Richard's heyday, his obsession with voyeurism and group sex continued, with his girlfriend Audrey Robinson participating. Richard wrote that Robinson would have sex with men while she sexually stimulated Richard.

 

Despite saying he was "born again" after leaving rock and roll for the church in 1957, Richard left Oakwood College after exposing himself to a male student. The incident was reported to the student's father, and Richard withdrew from the college.

 

In 1962, Richard was arrested for spying on men urinating in toilets at a Trailways bus station in Long Beach, California. However he still participated in orgies, and continued to be a voyeur.

 

On the 4th. May 1982, on Late Night with David Letterman, Richard said:

 

"God gave me the victory. I'm not gay

now, but, you know, I was gay all my

life. I believe I was one of the first gay

people to come out.

But God let me know that he made

Adam be with Eve, not Steve.

So, I gave my heart to Christ."

 

In his 1984 book, while demeaning homosexuality as "unnatural" and "contagious", he told Charles White that he was "omnisexual".

 

In 1995, Richard told Penthouse that he always knew he was gay, saying "I've been gay all my life". In 2007, Mojo Magazine referred to Richard as "bisexual".

 

In October 2017, Richard once again denounced homosexuality in an interview with the Christian Three Angels Broadcasting Network, stating that:

 

"Homosexual and transgender identity

is an unnatural affectation that goes

against the way God wants you to live."

 

(iii) Little Richard's Drug Use

 

During his initial heyday in the 1950's rock and roll scene, Richard was a teetotaler, abstaining from alcohol, cigarettes, and drugs. Richard often fined bandmates for drug and alcohol use during this era.

 

By the mid-1960's, however, Richard began drinking large amounts of alcohol, as well as smoking cigarettes and marijuana. By 1972, he had developed an addiction to cocaine. He later lamented that period:

 

"They should have called me

Lil Cocaine, I was sniffing so

much of that stuff!"

 

By 1975, he had developed addictions to both heroin and PCP, otherwise known as "angel dust". His drug and alcohol misuse began to affect his professional career and personal life. He later recalled:

 

"I lost my reasoning."

 

Of his cocaine addiction, Richard said that he did whatever he could to use cocaine. Richard admitted that his addictions to cocaine, PCP and heroin were costing him as much as $1,000 a day.

 

In 1977, longtime friend Larry Williams once showed up with a gun and threatened to kill Richard for failing to pay his drug debt. Richard said that this was the most fearful moment of his life; Williams' own drug addiction made him wildly unpredictable.

 

Richard did acknowledge that he and Williams were "very close friends," and when reminiscing about the drug-fueled clash, he recalled thinking:

 

"I knew he loved me—

I hoped he did!"

 

Within that same year, Richard had several devastating personal experiences, including his brother Tony's death from a heart attack, the accidental shooting of his nephew whom he loved like a son, and the murder of two close personal friends – one a valet at "the heroin man's house."

 

These experiences convinced the singer to give up drugs and alcohol, along with rock and roll, and return to the ministry.

 

(iv) Little Richard and Religion

 

Richard's family had deep evangelical (Baptist and African Methodist Episcopal) Christian roots, including two uncles and a grandfather who were preachers. He also took part in Macon's Pentecostal churches, which were his favorites, mainly due to their music, charismatic praise, dancing in the Holy Spirit and speaking in tongues.

 

At the age of ten, influenced by Pentecostalism, he would go around saying that he was a faith healer, singing gospel music to people who were feeling sick, and touching them.

 

He later recalled that they would often say that they felt better after he prayed for them, and would sometimes give him money. Richard had aspirations of being a preacher due to the influence of singing evangelist Brother Joe May.

 

After he was born again in 1957, Richard enrolled at Oakwood College in Huntsville, Alabama, a mostly black Seventh-day Adventist college, to study theology. It was also at this time that he became a vegetarian.

 

Richard returned to secular music in the early 1960's. He was eventually ordained a minister in 1970, and resumed evangelical activities in 1977. Richard represented Memorial Bibles International, and sold their Black Heritage Bible, which highlighted the Book's many black characters.

 

As a preacher, he evangelized in anything from small churches to packed auditoriums of 20,000 or more. His preaching focused on uniting the races, and bringing lost souls to repentance through God's love.

 

In 1984, Richard's mother, Leva Mae, died following a period of illness. Only a few months prior to her death, Richard promised her that he would remain a Christian.

 

During the 1980's and 1990's, Richard officiated at celebrity weddings. In 2006, in one ceremony, Richard wedded twenty couples who had won a contest.

 

Richard used his experience and knowledge as an elder statesman of rock and roll to preach at funerals of musical friends such as Wilson Pickett and Ike Turner.

 

At a benefit concert in 2009 to raise funds to help rebuild children's playgrounds that were destroyed by Hurricane Katrina, Richard asked guest of honor Fats Domino to pray with him and others. His assistants handed out inspirational booklets at the concert, a common practice at Richard's shows.

 

Richard told a Howard Theatre, Washington, D.C. audience in June 2012:

 

"I know this is not Church, but

get close to the Lord. The world

is getting close to the end. Get

close to the Lord."

 

In 2013, Richard elaborated on his spiritual philosophies, stating:

 

"God talked to me the other night.

He said He's getting ready to come.

The world's getting ready to end,

and He's coming, wrapped in flames

of fire with a rainbow around His

throne."

 

Rolling Stone reported that Richard's apocalyptic prophesies generated snickers from some audience members as well as cheers of support. He responded to the laughter by stating:

 

"When I talk to you about Jesus, I'm

not playing. I'm almost 81 years old.

Without God, I wouldn't be here."

 

Little Richard's Health Problems and Death

 

In October 1985, having finished his album Lifetime Friend, Richard returned from England to film a guest spot on the show Miami Vice. Following the taping, he accidentally crashed his sports car into a telephone pole in West Hollywood. He suffered a broken right leg, broken ribs and head and facial injuries.

 

Richard's recovery from the accident took several months, preventing him from attending the inaugural Rock and Roll Hall of Fame ceremony in January 1986 where he was one of several inductees. He instead supplied a recorded message.

 

In 2007, Richard began having problems walking due to sciatica in his left leg, requiring him to use crutches. In November 2009, he entered hospital to have replacement surgery on his left hip.

 

Despite returning to performing the following year, Richard's problems with his hip continued, and he was brought onstage in a wheelchair, only being able to play sitting down.

 

On the 30th. September 2013, he revealed to CeeLo Green at a Recording Academy fundraiser that he had suffered a heart attack at home the week before. Taking aspirin and having his son turn on the air conditioner saved his life, according to his doctor. Richard stated:

 

"Jesus had something for me.

He brought me through."

 

On the 28th. April 2016, Richard's friend Bootsy Collins stated on his Facebook page that:

 

"Richard is not in the best of

health, so I ask all the Funkateers

to lift him up."

 

Reports began being posted on the internet stating that Richard was in grave health, and that his family were gathering at his bedside. On the 3rd. May 2016, Rolling Stone issued a rebuttal by Richard and his lawyer. Richard stated:

 

"Not only is my family not gathering

around me because I'm ill, but I'm still

singing. I don't perform like I used to,

but I have my singing voice, I walk

around, I had hip surgery a while ago,

but I'm healthy.'"

 

His lawyer said:

 

"He's 83. I don't know how many

83-year-olds still get up and rock

it out every week, but in light of

the rumors, I wanted to tell you

that he's vivacious and conversant

about a ton of different things, and

he's still very active in a daily routine."

 

Though Richard continued to sing into his eighties, he kept away from the stage.

 

On the 9th. May 2020, after a two month illness, Richard died at the age of 87 at his home in Tullahoma, Tennessee, from a cause related to bone cancer. His brother, sister, and son were with him at the time.

 

Richard received tributes from many popular musicians, including Bob Dylan, Paul McCartney, Mick Jagger, John Fogerty, Elton John, and Lenny Kravitz, as well as many others, such as film director John Waters, who were influenced by Richard's music and persona.

 

Richard was laid to rest at Oakwood University Memorial Gardens Cemetery in Huntsville, Alabama.

 

Little Richard's Legacy

 

Richard claimed to be "The Architect of Rock and Roll", and history would seem to bear out his boast. More than any other performer—save, perhaps, for Elvis Presley, Little Richard blew the lid off the Fifties, laying the foundation for rock and roll with his explosive music and charismatic persona.

 

On record, he made spine-tingling rock and roll. His frantically charged piano playing and raspy, shouted vocals on such classics as "Tutti Frutti", "Long Tall Sally" and "Good Golly, Miss Molly" defined the dynamic sound of rock and roll.

 

Richard's music and performance style had a pivotal effect on the sound and style of popular music genres of the 20th. century. As a rock and roll pioneer, Richard embodied its spirit more flamboyantly than any other performer.

 

Richard's raspy shouting style gave the genre one of its most identifiable and influential vocal sounds, and his fusion of boogie-woogie, New Orleans R&B and gospel music blazed its rhythmic trail.

 

Richard's innovative emotive vocalizations and uptempo rhythmic music also played a key role in the formation of other popular music genres, including soul and funk.

 

He influenced numerous singers and musicians across musical genres from rock to hip hop; his music helped shape rhythm and blues for generations to come.

 

Combining elements of boogie, gospel, and blues, Richard introduced several of rock music's most characteristic musical features, including its loud volume and vocal style emphasizing power, and its distinctive beat and innovative visceral rhythms.

 

He departed from boogie-woogie's shuffle rhythm, and introduced a new distinctive rock beat, where the beat division is even at all tempos. He reinforced the new rock rhythm with a two-handed approach, playing patterns with his right hand, with the rhythm typically popping out in the piano's high register.

 

His new rhythm, which he introduced with "Tutti Frutti" (1955), became the basis for the standard rock beat, which was later consolidated by Chuck Berry.

 

"Lucille" (1957) foreshadowed the rhythmic feel of 1960's classic rock in several ways, including its heavy bassline, slower tempo, strong rock beat played by the entire band, and verse–chorus form similar to blues.

 

Richard's voice was able to generate croons, wails, and screams unprecedented in popular music. He was cited by two of soul music's pioneers, Otis Redding and Sam Cooke, as contributing to the genre's early development.

 

Redding stated that most of his music was patterned after Richard's, referring to his 1953 recording "Directly From My Heart To You" as the personification of soul, and that:

 

"Richard has done a lot for

me and my soul brothers

in the music business."

 

Cooke said in 1962 that:

 

"Richard has done so

much for our music".

 

Cooke had a top 40 hit in 1963 with his cover of Richard's 1956 hit "Send Me Some Loving".

 

James Brown and others credited Richard and his mid-1950's backing band, The Upsetters, with having been the first to put funk in the rock beat. This innovation sparked the transition from 1950's rock and roll to 1960's funk.

 

Richard's hits of the mid-1950's, such as "Tutti Frutti", "Long Tall Sally", "Keep A-Knockin'" and "Good Golly, Miss Molly", were generally characterized by playful lyrics with sexually suggestive connotations.

 

AllMusic writer Richie Unterberger stated that:

 

"Little Richard merged the fire of

gospel with New Orleans R&B,

pounding the piano and wailing

with gleeful abandon. While other

R&B greats of the early 1950's had

been moving in a similar direction,

none of them matched the sheer

electricity of Richard's vocals.

With his high-speed deliveries,

ecstatic trills, and the overjoyed

force of personality in his singing,

he was crucial in upping the voltage

from high-powered R&B into the

similar, yet different, guise of rock

and roll."

 

Emphasizing the folk influences of Richard, English professor W. T. Lhamon Jr. wrote:

 

"His songs were literally good

booty. They were the repressed

stuff of underground lore.

And in Little Richard they found

a vehicle prepared to bear their

chocked energy, at least for his

capsulated moment."

 

Ray Charles introduced him at a concert in 1988 as:

 

"A man that started a kind of music

that set the pace for a lot of what's

happening today."

 

Richard's contemporaries, including Elvis Presley, Buddy Holly, Bill Haley, Jerry Lee Lewis, Pat Boone, the Everly Brothers, Gene Vincent and Eddie Cochran, all recorded covers of his works.

 

As they wrote about him for their Man of the Year – Legend Category in 2010, GQ magazine stated that:

 

"Richard is, without question, the

boldest and most influential of the

founding fathers of rock'n'roll."

 

Little Richard's Influence on Society

 

In addition to his musical style, Richard was cited as one of the first crossover black artists, reaching audiences of all races. His music and concerts broke the color line, despite attempts to sustain segregation.

 

As H. B. Barnum explained in Quasar of Rock:

 

"Little Richard opened the door.

He brought the races together."

 

Barnum described Richard's music as follows:

 

"It wasn't boy-meets-girl-girl-meets-boy,

they were fun records, all fun. And they

had a lot to say sociologically in our

country and the world."

 

Barnum also stated that:

 

"Richard's charisma was a whole

new thing to the music business.

He would burst onto the stage

from anywhere, and you wouldn't

be able to hear anything but the

roar of the audience. He might

come out and walk on the piano.

He might go out into the audience."

 

Barnum also stated that Richard was innovative in that he would wear colorful capes, blouse shirts, makeup and suits studded with multi-colored stones and sequins, and that he also brought flickering stage lighting from his show business experience into performance venues where rock and roll artists performed.

 

In 2015, the National Museum of African American Music honored Richard for helping to shatter the color line on the music charts and changing American culture for ever.

 

Ian "Lemmy" Kilmister of the heavy metal band Motörhead spoke highly of Little Richard, stating:

 

"Little Richard was always my main

man. How hard must it have been

for him: gay, black and singing in

the South? But his records are a

joyous good time from beginning

to end."

 

The Influence of Little Richard

 

Richard influenced generations of performers across musical genres. Quincy Jones stated that:

 

"Richard was an innovator whose

influence spans America's musical

diaspora from Gospel, the Blues &

R&B, to Rock & Roll, & Hip-Hop."

 

James Brown and Otis Redding both idolized him. Brown allegedly came up with the Famous Flames debut hit, "Please, Please, Please", after Richard had written the words on a napkin.

 

Redding started his professional career with Richard's band, The Upsetters, and first entered a talent show performing Richard's "Heeby Jeebies", winning for fifteen consecutive weeks.

 

Ike Turner claimed that most of Tina Turner's early vocal delivery was based on Richard, something Richard reiterated in the introduction to Turner's autobiography, Takin' Back My Name.

 

Bob Dylan first performed covers of Richard's songs on piano in high school with his rock and roll group, the Golden Chords; in 1959 when leaving school, he wrote in his yearbook under "Ambition": "to join Little Richard".

 

Jimi Hendrix was influenced in appearance (clothing and hairstyle/mustache) and sound by Richard. He was quoted in 1966 saying:

 

"I want to do with my guitar what

Little Richard does with his voice."

Built in 1938-1940, this Modern International-style concert hall was designed by Eliel Saarinen and Eero Saarinen to house performance spaces for the Buffalo Philharmonic Orchestra and other local musical organizations. Named by Edward L. Kleinhans, whom donated the money for the building’s construction in 1934, the building was named in the memory of his wife, Mary Seaton Kleinhans, and his mother, Mary Livingston Kleinhans. The performance hall was partially funded with money from the New Deal-era Public Works Administration (PWA), with local architects F. J. and W. A. Kidd assisting with the building’s design and construction, with lighting consultant Stanley McCandless and acoustical consultant Charles C. Potwin assisting with the design of the building’s performance spaces. The building was opened on October 19, 1940 with a concert by the Buffalo Philharmonic Orchestra. In 1964, the concert hall was the site of a speech by Robert F. Kennedy, whom was running to be elected as a Democratic Senator representing New York, which he gave in front of an audience of 6,000 people, and in 1967, Dr. Martin Luther King, Jr. gave a speech in the building’s main auditorium titled “The Future of Integration.”

  

The footprint of the building features two opposing parabolic curves, which make up the walls at the rear of the larger main auditorium and the smaller Mary Seaton Room, with the main auditorium being shaped like a triangle with curved sides and a curved vertex at the rear of the building, with a low one-story wing framing the main auditorium, consisting of offices and support spaces, as well as slender canopies and entrance vestibules. On the sides of the exterior of the main auditorium are stair-stepping walls that contain stairways to the upper balcony inside the auditorium, and a lobby cuts through the building between the two auditoriums, connecting the entrance vestibules on either side of the building, which contains open stairways to an upper level that provides access to the balcony of the main auditorium. The building’s exterior is clad in buff brick with limestone trim panels on the canopies, framing the entrance doors, the Mary Seaton Room, and on the walls framing the front reflecting pool, with an aluminum curtain wall containing exit doors and glazing on either side of the rear portion of the Mary Seaton Room, providing a visual break in the building’s exterior between the main volume of the performance hall and the larger adjacent structure that houses the lobby and main auditorium. The building’s interior is relatively simple with unadorned walls, clean lines, wood paneling and doors, ceilings in the auditoriums with ceilings featuring multiple bulkheads that conceal lightings and vents, as well as improve the acoustics of the performance spaces, and cantilevered stairways in the lobby.

  

The Kleinhans Music Hall is a notable early example of Modernism and the International Style in the United States, and is also notable for being one of the boldest early designs by Eliel and Eero Saarinen, the latter going on to design the Gateway Arch in St. Louis, Dulles Airport Terminal in Virginia near Washington, DC, and the TWA Terminal at New York City’s John F. Kennedy Airport during the 1960s, with the parabolic curves utilized in this building being more heavily emphasized in those later structures. The building was listed on the National Register of Historic Places and designated as a National Historic Landmark in 1989. Today, the building remains a major concert hall in the city of Buffalo, and still houses the Buffalo Philharmonic Orchestra and Buffalo Chamber Music Society, with the building’s various performance, lobby, and rehearsal spaces being rented out for local performing arts groups and events.

...Once more the liberal year laughs out

 

O'er richer stores than gems or GOLD:

 

Once more with harvest song and shout

 

Is nature's boldest triumph told....!!!

  

Location : Road side...on the way to mymensingh,Bangladesh

The boldest of Paro's cubs, now nearly 2.5 years old and on her own.

a lunchtime run down to Mount Stewart and got this little lady within 20 mins and very little else. One of boldest squirrels I've seen for a while it sat 8 feet from me and munched away. Surprisingly there were next to no small birds about at the feeder site and they are normally needed to bring the squirrels in.

Photo by Belen Overland

 

Theme: Trends 5 years in the future.

 

STYLE CARD:

 

Top |!Lyrical B!zarre Templates! - Ambra top (original texture by Jenni Eros)

Sleeves |A&Y - Aeon Cyber top black

Pants |Meli Imako - MI963004 Armour Spikes pants (modified original textures by Jenni Eros)

Belt |Meli Imako - Wide Black Leather Belt With Large Buckle (color modified by Jenni Eros)

Shoes|Blueberry - Unbothered Leather Ankle boots black

Collar |[sYs] - DEVOTION black collar

Earrings |Cae - Blessed Cross earrings gold

Rings & Nails |**RE** - Glam Nails & Rings

Hair | A&Y - Aeon hair black with red streaks

  

BACKSTORY:

 

After being in a coma for five years, Greek designer, Jenni Eros, stands atop the, now defunct, armored truck. Her homeland has seen many years of decline. The economy collapsing then the pandemic and further destruction of the entire world's finances. She surveys the amusement park that held so much joy for her as a child and now is nothing but decay. Her heart swells with longing for a better day and is determined to make it happen. Her first design after returning to the woke world is a reflection of her ideals.

 

Upon awakening, she was reading a magazine article about ancient Greek pottery. She was inspired by the rich orange, red, gold, and black colors. Quickly she got to work on her newest, boldest creation reflecting those colors in the texture of the top and accent on the pants. She chose a wide, high, pleated, cowl neckline because it was original and outrageous. The material was linen with a diamond and fire-like pattern, something she had not seen before. Then she elected for black leather sleeves. She continues this style with the pants, opting for sleek folded leather, intermingling the unique top texture on the spikes. From head to toe, this new masterpiece will be a trend setter.

 

She shakes off the memories and turns to hop off the van. After looking around at the desolation one last time, she slips into the rental car. On to London Fashion Week Fall/Winter 2025 where her dreams and future await!

Photo by Belen Overland

 

Theme: Trends 5 years in the future.

 

STYLE CARD:

 

Top |!Lyrical B!zarre Templates! - Ambra top (original texture by Jenni Eros)

Sleeves |A&Y - Aeon Cyber top black

Pants |Meli Imako - MI963004 Armour Spikes pants (modified original textures by Jenni Eros)

Belt |Meli Imako - Wide Black Leather Belt With Large Buckle (color modified by Jenni Eros)

Shoes|Blueberry - Unbothered Leather Ankle boots black

Collar |[sYs] - DEVOTION black collar

Earrings |Cae - Blessed Cross earrings gold

Rings & Nails |**RE** - Glam Nails & Rings

Hair | A&Y - Aeon hair black with red streaks

  

BACKSTORY:

 

After being in a coma for five years, Greek designer, Jenni Eros, stands atop the, now defunct, armored truck. Her homeland has seen many years of decline. The economy collapsing then the pandemic and further destruction of the entire world's finances. She surveys the amusement park that held so much joy for her as a child and now is nothing but decay. Her heart swells with longing for a better day and is determined to make it happen. Her first design after returning to the woke world is a reflection of her ideals.

 

Upon awakening, she was reading a magazine article about ancient Greek pottery. She was inspired by the rich orange, red, gold, and black colors. Quickly she got to work on her newest, boldest creation reflecting those colors in the texture of the top and accent on the pants. She chose a wide, high, pleated, cowl neckline because it was original and outrageous. The material was linen with a diamond and fire-like pattern, something she had not seen before. Then she elected for black leather sleeves. She continues this style with the pants, opting for sleek folded leather, intermingling the unique top texture on the spikes. From head to toe, this new masterpiece will be a trend setter.

 

She shakes off the memories and turns to hop off the van. After looking around at the desolation one last time, she slips into the rental car. On to London Fashion Week Fall/Winter 2025 where her dreams and future await!

The most spectacular ritual of Vanuatu is probably the naghol or land diving practised in the southern part of Pentecost island. It has both an initiation and an agrarian significance as it takes place in April and May just after the first yams have been harvested. The men throw themselves from the top ofa tower built of branches that can be up to 30m high. Pieces of vine tied around their ankles prevent them from hitting the ground and killing themselves. Each man builds his own jumpingplatform a sort of diving board at his preferred height and cuts his own length of vine. The pieces of vine are carefully chosen: if they are too dry they will snap and if they are too long the man will hit the ground and kill himself. The ground around the tower is cleaned and softened because the divers' heads must lightly brush the ground. On the day of the dives the men and women of the village gather at the base of the tower. The men sing and sway in a hypnotic movement while the women merely dance with Croton leaves in their hands

Between 20 and 60 men will perform the land dives. The youngest go first. Their platform is set at a modest height. The most experienced and the boldest go last and dive from the top of the tower. The divers balance themselves on the edge of their platform concentrate and lift one or both arms to the sky. Some make short speeches to the spectators. Then they dive with their arms crossed over their chests and their knees bent. Somewhat groggy on their arrival on the ground they are helped to their feet and praised by the spectators who chop off the remaining vines from their ankles with a machete.

 

Le rituel le plus spectaculaire du Vanuatu est probablement le saut dans le vide, ou naghol, pratiqué dans le sud de l’île de Pentecôte. À la fois rite initiatique et agraire, il a lieu aux mois d’avril et de mai, peu après la récolte des premières ignames. Les hommes se jettent du haut d’une tour construite en branches, qui peut atteindre trente mètres. Ils sont attachés aux chevilles par des lianes qui leur évitent de s’écraser au sol. Chaque homme construit sa plate-forme, utilisée comme une sorte de plongeoir, à la hauteur de son choix. Il coupe à la longueur nécessaire ses lianes. Le choix de la liane est d’une importance critique : trop sèche elle peut se briser, trop longue elle peut entraîner la mort. Le terrain, au pied de la tour, est nettoyé et amolli car le crâne du participant doit effleurer le sol. Le jour du saut, hommes et femmes se réunissent au pied de la tour. Les hommes chantent en se balançant en un mouvement hypnotique tandis que les femmes, feuilles de croton à la main, se contentent de danser. Entre 20 et 60 hommes vont s’élancer dans le vide. Les plus jeunes débutent. Leur plate-forme est située à une hauteur modeste. Les plus expérimentés ou les plus audacieux passeront en dernier et se jetteront du sommet de la tour. Les sauteurs se tiennent en équilibre au bord de leur plate-forme. Ils se concentrent, lèvent un bras ou les deux vers le ciel. Ils peuvent aussi adresser un petit discours à l’assistance. Puis ils se jettent, les bras repliés sur la poitrine et les jambes fléchies. Légèrement groggy à son arrivée au sol, le sauteur est remis sur pied et fêté par des assistants qui coupent ses lianes à l’aide d’une machette.

Of all the bronze doors with figural scenes dating back to the Middle Ages, the Bernward Doors are the oldest, with what is probably one of the earliest great sculptural cycles of images north of the Alps and one of the boldest works of all medieval castings in ore. 16 panels depict the biblical story of Salvation in extraordinary vividness and in a manner that is unbelievably dramatic for the time in which they were made.

www.dom-hildesheim.de/en/content/bernward-doors

Cicindela splendida

 

The broad middle band on this exquisite beauty separated it from the other beetles on the bank. This is the boldest broadest band I have seen on a claybank species so far.

The peaks of the Teton Range, regal and imposing as they stand nearly 7,000 feet above the valley floor, make one of the boldest geologic statements in the Rockies. Unencumbered by foothills, they rise through steep coniferous forest into alpine meadows strewn with wildflowers, past blue and white glaciers to naked granite pinnacles.

I was downtown today and decided to sketch at Riverfront Park. The Willamette Queen is docked at the park and makes excursions up the river. I had about an hour before it left for its dinner cruise. I sat at the top of the bank in the shade of a large tree and had a good view of the boat with the Center Street bridge behind it. I did a fairly detailed pen and ink sketch using a bent nib pen with grey ink. I varied the weight of the line work with the boldest line in the foreground and the thinnest line in the background. Next I applied watercolor starting at the top and worked my way down the page. I worked wet-in-wet in both the background and the foreground and drier with more control in the middle in order to keep the focus on the boat. As the watercolor was drying, I added more darks and some detail with the pen. Finally I used watercolor pencils to add some colors to the flags and trim of the boat.

 

Strathmore 7.75 x 9.75 inch 500 Series softcover journal, Sailor Fude fountain pen with Noodler's Lexington Grey ink, Connoisseur #10 round brush, Daniel Smith watercolors, and Faber Castell watercolor pencils.

Faith, like the light of Sirius, flows through the world. It exists in the flower, the monkey and the stone, but it is strongly exemplified in the nature of the dog. It is a fiery force which, when flaunted without discrimination or when wrongly focussed, can scorch or drive to madness. But nurtured in its proper season and trained with loving care, it is the fertile key that gives birth to a higher level of insight into the heart of things unseen by the personal man. The homing instinct, so wonderfully manifested in the dog and so much a part of his love and faith in his Master, becomes in man the guide through the intangible realms leading to his spiritual home. Not by sight or smell or hearing but by intense love for a beloved master, the dog is guided home. Man has come on a very long journey, taking him a long way from his spiritual abode. On the way he, like the gods, has been accompanied by the dog. It is fitting, nay poignantly just, that the dog should follow him and sometimes guide him on the long journey home. Weaving back and forth across the boundaries of life and death, guided by a faith that overcomes any uncertainty between the two, the dog unravels the complexities of conditioned existence and pierces to the deathless source of love.The faith that is cleansed of false hopes and objects is the gateway to higher intuition. The instinct of a dog can be described as the "direct perception of what is right within its own realm", whilst intuition is the direct cognition of the truth in all things, the memory of the knowledge of one's past existing in one's real nature. The instinct of the dog is universal in Nature and endowed by the Spirit of Deity, a divine spark entering conscious development in the higher animals. This can be guided by the intelligence within or by influences from without. As the dog's instinct is modified by exposure to a sensitive human being, the animal learns to rely increasingly on the "intuitive prompting from within", thus becoming a channel for pure reflected Buddhi. It cannot be said that the dog possesses the faculty of reason, nor does it recall its past lives, but through the inherent power of its uplifting nature it can become an acting template for its master's own yet to be consciously understood intuitions. A faithful dog can know, long before the event, of danger threatening the object of his love. A human being who knows of this potential will adjust his approach to the dog so that love, justice, honour and truth will be reflected through their daily relationship. These are qualities of the soul which can spring to life through contact with the soul in man. As a perceptive Lt.-Colonel in charge of British war-dogs during the First World War put it, "AH the dog knows about God must come to him through us." One might add to this that man, not fully merged with the Master within, can learn from the dog's yearning love and faithful assimilation of his own master's qualities.As guide or witness or guardian, the dog seems to exemplify fidelity. Even as harbinger of war and death, it demonstrates a faithful execution of its master's desire. Its faithfulness includes and goes beyond death, and so it is said to be a fidelity surviving death, to be reborn again and again. It was this perception of the death-defying power of faith that caused the Greeks to recognize in the dog the companion of healers like Aesclepius, whose temples were frequented by canines of all sorts. The sick who came to these places for cures believed the dog to have a healing tongue. They thought that if the animals licked their wounds while they observed an 'incubation' period (sleeping at the temple), or if the dogs appeared to them in dreams, a cure was heralded and would soon come into effect. Thus, through the transference of the power inherent in the faithfulness of the dog, death was surmounted and life recommenced. Such beliefs demonstrate on a simple thaumaturgic level a profound metaphysical conception of faith and a deep insight into the essential inner qualities of familiar creatures. Plutarch felt that the dog symbolized the conservative and watchful principle of life and, like Plato, characterized it as a philosopher. This perhaps suggests a witness who, like the Shawnee Grandmother's dog, existed from the very beginning of things. Apuleius described the dog as "raising his rough neck, his face alternately black and golden, denoting the messenger going hence and thence between the higher and infernal powers". In the Shawnee myth the dog is the unraveller, but here the stress is upon his role as a weaver, coming and going between worlds. As companion of the dead on their crossing to the nether region, the dog is indeed weaving its way in the role of a guide to those who do not know the way. In Hindu myth Indra's dog, Sarama, mothered the Sarameyas, the four-eyed dogs of Yama who run between this world and the nether region, summoning men and women to the other side. Many an Eastern ritual calls for the participation of a dog at the time of death. The Parsees traditionally introduced one to the deathbed and it accompanied the funeral procession. The death of a woman in childbirth required two dogs in order to accommodate two souls. In old Tibet sacred dogs were kept in the monasteries to devour the remains of the dead before the influence of Buddhism encouraged the spread of cremation.Northern Buddhists identify this virtue in the lion-dog guardian who is the defender of the Law. Watching, motionless and in complete obedience, the guardian-dog has subjugated all passions through the Law. No bright rag or tasty morsel can divert its attention from the faithful performance of its appointed task.If the dog is a guide to the realm of the dead, it is also a keeper of the boundary between the two worlds. Like the great mastiff of Charon, it guards the entrance way and none can pass without its acquiescence. But on the field of battle the dog throws himself into the fray. He is at once messenger, watcher, combatant and guard. He weaves his way back and forth from the living to the dead or wounded if trained to do so, or he becomes a Hound of Hell fighting along with the boldest soldier on the field. It is said that dogs larger than wolves accompanied the Celts when they attacked Delphi in 273 B.C. Terrifying the Greeks, they raised havoc like Hecate's own hounds of war, against whom regular soldiers had little effect. Often pictured with war-gods and heroes, the dog has been placed in the role of a witness of death as well as its guide.Satisfied that she had thoroughly made her point, the old story-teller tucked the children in, herself a grandmother finishing up the day. Behind closed eyes the children's thoughts drifted along the rim of the world and explored the details of the tale They had heard. Had the ancient Grandmother existed before the dog? Did the dog exist before the world? Had there always been dogs waiting and watching? They wondered about these things and about the Creator, who took his dog with him when he created the world. The questions merged with dreams for the children, but asleep or awake, anyone might wonder if the dog may have been around forever. It seems to appear always, even in the oldest myths and in quaint scratches on the walls of caves. To the Egyptians and the Greeks the dog was esteemed as a companion of Hermes, who, as the good shepherd, is both messenger and presiding deity of the mind and goes about accompanied by his faithful dog, Sirius, the 'all-seeing vigilance'. For many people of the world, the dog itself has been a messenger: between the gods and man and between life and death. Revered as a fire-bringer and solar herald, seen by many as the Hound of Heaven, the dog inspires awe, whilst in its guise as harbinger of death it is dreaded and reviled. A companion in life, it continues to be such in death and so weaves the two together in a pattern of perpetual coming and going, a continual design of birth, death and rebirth. For this reason the dog is also associated with resurrection and fertility, leaving one to ponder whether Yudhishthira was not motivated by something in addition to compassion when he insisted that his faithful dog accompany him to heaven.Imagine, my little ones, the ancient Grandmother of the Earth. Since the beginning of time she has sat, huddled, on the rim of existence. Humming over and again to herself the most pristine harmony, she tirelessly weaves the great basket called the world. Slowly by day the woven pattern emerges while her dog patiently waits. His eyes never cease to follow her nimble hands, recording and remembering the pattern as it grows. Until she rests from her work at nightfall, he watches and waits and then begins to unravel every strand. The Old One sleeps and the dog unwinds the knotted strands of day. By morning, all has been undone and the patient weaver begins again. She never rises from her task to chase the dog away nor does she fail to feed him from her exhaustless store. Every day and night proceed like those that went before: so it has always been; so it shall always be. We of the Shawnee Tribe have never doubted this, and I have heard it said that others believe it too. Do not the Kato people say that 'when the First Mover was going around the world creating, he took his dog'?"

www.theosophytrust.mobi/704-dog#.WB-B6oZPeEc

At the dawn of this new year 2025, I would like to share with you an inspiring reflection that makes sense in this moment of renewal.

 

"Believe in your dreams and they may come true.

 

Believe in yourself and they will surely come true. ”

 

This quote reminds us that self-confidence is the real driver of our success. In 2025, I invite you to cultivate this inner strength that will allow you to transform your aspirations into concrete realities.

 

May this new year be one where your ambitions take off, driven by your determination and conviction. Success is not simply a matter of luck, but the result of unwavering confidence in one's abilities.

 

Together, let's make 2025 the year when our boldest dreams become our most brilliant reality!

 

F/A-18E Super Hornet from the USN's oldest active squadron caught on a low level, high speed pass through Star Wars Canyon.

402 Commercial Avenue.

"This ornate brick building, the first of its kind in Skagit County, was constructed by Lewis & Dryden Engineers of Portland, Oregon. It was originally chartered as the Bank of Anacortes. The Bank closed during the depression of 1893. Two vaults and other bank-related features have survived alterations."

- City of Anacortes.

 

"The Platt Building on the SW corner of P/Commercial and 4th was the first brick building on Fidalgo Island. It was built by John Platt during the summer of 1890. The ANACORTES AMERICAN reported on 7-31-1890, "Platt bank building will be done in 30 days." On 10-9-1890, "The New Bank ... Fine store and Offices ... To John Platt is due the credit and honor of building and occupying the first brick block to be erected upon Fidalgo Island."

The building had several names, such as Post Office Building (Post Office housed here from 1895 to at least 1898) and, in 1901, the Wells Building after it was purchased by W. V. Wells. The structure also housed the first telephone company."

anacortes.pastperfectonline.com/photo/96E694C9-0FE0-46F1-...

 

They're always the boldest - the pale pink and white flowers follow, but these are the joyous heralds of "real" spring in our neighbourhood!

 

The camellia's cousin, Camellia sinensis, the tea plant, is of major commercial importance because tea is made from its leaves.

As promised...all are doing well, Mia is becoming more maine coon-ish and fiesty each day and apparently one of the boldest of the bunch. Though it was so hard I think we made the right decision in picking her, she's just sounding like our kind of cat! (Don't get me wrong though, I easily could've taken all three of them home) ;).

 

Again, the breeder's pictures. I will get some of my own when we visit her between Christmas and New Year.

 

Hope you all have a good weekend!

and Happy Caturday ;)

The biggest, boldest knitwit bangle I have made so far!

When it comes to trees and beautiful colors the fall season gets all the glory. But I think the colors of the spring bloom are equally as stunning and deserve more attention. The Norway Spruce,Picea abies "Acrocona" pops out these absolutely beautiful pinkish red cones that rival the boldest of any fall colors to be found. This one has a couple of mayfly looking bugs either hatching from under the cone petals or laying eggs under them, I had not noticed that until I edited the photo.

This is the last one folks, it's being posted to show the behavior of these very active and mischievous little kittens. I have many of this behavior but most very obscure but hope you can get the idea of what they were doing, this was the boldest of the group, thank you for your indulgence and have a great day.

 

Please just press the "L" key to view on black.

the boldest and brightest splash of colour in my garden right now ....

One of the boldest sunsets I have seen. It looked like a painting that night as the sun descended in ATL. via 500px ift.tt/2aKulBi

New York City Department of Correction

Processed with snapseed

via Instagram ift.tt/2bqDnTI

🎨 Wandering through Le Panier, Marseille’s oldest and boldest district – every wall is a canvas, every alley a story

From graffiti to paste-ups, art peeks out of every corner

☀️ The salty breeze, pastel facades and raw textures breathe life into this Mediterranean maze

Here, street art isn’t decoration – it’s identity. Le Panier is Marseille at its most authentic.

A 1957 Chevrolet sporting its tail fins.

 

Please View On White. Thanks!

 

Per 57classicchevy.com "The 1957 Chevrolet received major restyling and some important engineering upgrades, including a big boost in horsepower. The new styling was the finest of the 1955-57 "Classic Chevy's". Chevy advertised it's '57 as "Sweet, Smooth and Sassy! Chevy goes one better for '57 with a daring new departure in design (looks longer and lower, and it is!), exclusive new Turboglide automatic transmission with triple turbines, a new V-8 and a bumper crop of new ideas including fuel injection!" said one ad. "You'll love Chevrolet's new light-touch driving! You'll never put hand and foot to a car so quick, smooth and easy to control - a light touch does it, Chevy's solid on the road - and that goes for the way it's put together, too!" said another.

 

The 1957 Chevrolet was smaller than the competition so the styling was deliberately fashioned to make it look as large as possible and it had the boldest and biggest look among low priced cars. The massive new bumper and grille is just one example. Front fenders were stretched across the top of the head lights and the unique and distinct rear fins, that all 1957 Chevy fans love, helped to make the car look much larger and lower."

 

EXPLORE #205 for June 30, 2009. Thank you for your views and comments. It is very much appreciated.

They're the boldest best shouters. Never lost for words. I loved how this one seemed to be shouting down from high above me: "Don't even look, it's my tree!"

The Fins & tail lights of the '59 Cadillac will never, ever be replicated. Classic. Bigger than Life. Extravagant. Who didn't want one? Who still wouldn't? Over 20 feet long and weighing almost 2.5 tons, the '59 Caddy was and remains one of America's boldest statements in automotive design.

The most spectacular ritual of Vanuatu is probably the naghol or land diving practised in the southern part of Pentecost island. It has both an initiation and an agrarian significance as it takes place in April and May just after the first yams have been harvested. The men throw themselves from the top ofa tower built of branches that can be up to 30m high. Pieces of vine tied around their ankles prevent them from hitting the ground and killing themselves. Each man builds his own jumpingplatform a sort of diving board at his preferred height and cuts his own length of vine. The pieces of vine are carefully chosen: if they are too dry they will snap and if they are too long the man will hit the ground and kill himself. The ground around the tower is cleaned and softened because the divers' heads must lightly brush the ground. On the day of the dives the men and women of the village gather at the base of the tower. The men sing and sway in a hypnotic movement while the women merely dance with Croton leaves in their hands

Between 20 and 60 men will perform the land dives. The youngest go first. Their platform is set at a modest height. The most experienced and the boldest go last and dive from the top of the tower. The divers balance themselves on the edge of their platform concentrate and lift one or both arms to the sky. Some make short speeches to the spectators. Then they dive with their arms crossed over their chests and their knees bent. Somewhat groggy on their arrival on the ground they are helped to their feet and praised by the spectators who chop off the remaining vines from their ankles with a machete.

 

Le rituel le plus spectaculaire du Vanuatu est probablement le saut dans le vide, ou naghol, pratiqué dans le sud de l’île de Pentecôte. À la fois rite initiatique et agraire, il a lieu aux mois d’avril et de mai, peu après la récolte des premières ignames. Les hommes se jettent du haut d’une tour construite en branches, qui peut atteindre trente mètres. Ils sont attachés aux chevilles par des lianes qui leur évitent de s’écraser au sol. Chaque homme construit sa plate-forme, utilisée comme une sorte de plongeoir, à la hauteur de son choix. Il coupe à la longueur nécessaire ses lianes. Le choix de la liane est d’une importance critique : trop sèche elle peut se briser, trop longue elle peut entraîner la mort. Le terrain, au pied de la tour, est nettoyé et amolli car le crâne du participant doit effleurer le sol. Le jour du saut, hommes et femmes se réunissent au pied de la tour. Les hommes chantent en se balançant en un mouvement hypnotique tandis que les femmes, feuilles de croton à la main, se contentent de danser. Entre 20 et 60 hommes vont s’élancer dans le vide. Les plus jeunes débutent. Leur plate-forme est située à une hauteur modeste. Les plus expérimentés ou les plus audacieux passeront en dernier et se jetteront du sommet de la tour. Les sauteurs se tiennent en équilibre au bord de leur plate-forme. Ils se concentrent, lèvent un bras ou les deux vers le ciel. Ils peuvent aussi adresser un petit discours à l’assistance. Puis ils se jettent, les bras repliés sur la poitrine et les jambes fléchies. Légèrement groggy à son arrivée au sol, le sauteur est remis sur pied et fêté par des assistants qui coupent ses lianes à l’aide d’une machette.

 

As I was leaving Fairchild Garden with my Russian friend Dmitry, a family of raccoons crossed the road in front of us. He had never seen raccoons before so he was amazed at the way they moved. And the one or two we saw at first, turned into a whole family crossing the road to reach a thicket of ripe palm seeds, obviously a treat. But a challenging experience for the gangly babies, who struggled to balance themselves as they reached for the fruit and shoved it in their mouths.

 

This one was the boldest, watching us but ignoring us, preferring to eat as many seeds as it could as fast as it could. Fuzzy, scraggly, alert ears, wiry-tailed, he or she munched away.

 

Fairchild Tropical Botanic Garden, Miami FL

www.susanfordcollins.com

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This Space Shuttle tile was fitted for the first flight of Columbia in early 1981 (STS-1). In the many months prior to first flight, the novel heat tiles were inspected and several were replaced. This one was scrapped and given to NASA Senior engineer Charlie Mars for his work on the Shuttle Program. Below the Shuttle Tile ID number, they added "IN APPRECIATION OF YOUR SUPPORT OF STS-1".

 

Felt vibration isolation insulation material is on the back (see blow). This ITAR controlled technology was sold in the American Space Museum charity auction.

 

Today is the 40th anniversary of the first shuttle flight, which NASA described as "the boldest test flight in history." It was the only time humans piloted the first flight of a new launch vehicle. It was the first time Americans launched with solid-fuel rockets. It was the first flight with no abort capability during the full burn of the solid rockets. Astronauts Young and Crippen helped design the spacecraft controls, including 2,214 switches and displays in the cockpit — about three times as many on the Apollo command module.

He came to me.

 

Greylag goose @ Southport Marine Lake looking for a free feed.

They are definitely the boldest of (wild) birds that I've met.

en.wikipedia.org/wiki/Greylag_goose

David Gruber has built his life around listening to the hidden languages of nature. For years, he focused on light, diving among coral reefs and uncovering a world that most people never see. He and his team discovered that many fish and corals glow in living colors invisible to the human eye. They even revealed the first biofluorescent sea turtle. These discoveries reshaped what we know about the ocean and suggested that much of life is carried out in ways that remain beyond human perception. More recently, Gruber’s attention has shifted from light to sound, from the shimmer of coral to the deep, resonant clicks of whales. His current undertaking, Project CETI, may be the boldest attempt yet to enter into dialogue with another species.

Sperm whales communicate in bursts of clicks known as codas. These sequences vary in timing and rhythm, and scientists have long suspected that they may form a kind of language. The whales live in family groups, travel immense distances, and appear to pass down cultural knowledge across generations. For decades, researchers have recorded their sounds, hearing patterns but unable to make sense of them. Gruber recognized that the same advances in artificial intelligence that had transformed human translation might finally make it possible to understand the voices of whales.

Project CETI, which he founded, brings together a wide constellation of minds: biologists, linguists, cryptographers, engineers, and experts in AI. They have built recording systems able to capture whale sounds over wide areas of ocean, creating the largest archive of non-human communication ever assembled. Robotic hydrophones drift through the deep, gathering data night and day. On shore, advanced algorithms sift through the recordings, searching for repetitions and contexts that might reveal structure and meaning. The aim is not only to map the system of codas but to begin the work of translation, to find out if whales use syntax, if they name one another, if they share knowledge and stories.

The project is striking not only for its technical ambition but for its philosophical reach. Gruber speaks of it as an act of listening rather than decoding. To translate another species is to admit that intelligence is not uniquely human, and that we live alongside beings who have their own cultures, memories, and ways of understanding the world. He has said that success in this work could shift our view of life as profoundly as the moment when Copernicus showed that Earth is not the center of the universe. Imagine, he suggests, a civilization of whales that has endured for millions of years, carrying forward a culture based not on writing but on sound. To recognize and understand such a world would transform our sense of what it means to share a planet.

Gruber’s own path to this moment has been anything but linear. He trained as a biologist but was shaped as much by his time in the water as by the lab. His explorations of marine biofluorescence earned him recognition as a National Geographic Explorer and respect as a scientist who combines technical innovation with a naturalist’s eye. Moving from glowing corals to whale codas may seem like a leap, but for him it reflects a single thread. In both cases, he is searching for the hidden languages of life, whether carried in light or in sound.

Project CETI has already captured international attention. It has been supported by the Audacious Project and other institutions that see in it both scientific promise and cultural urgency. Within the next decade, the team hopes to show the beginnings of a working translation. If they succeed, the results will challenge not only how we understand whales but how we see ourselves. To hear the voices of another intelligent species is to recognize their presence in a way that cannot be ignored. It would change how we imagine the oceans, and perhaps how we measure our responsibility to them.

For Gruber, the work is about more than science. It is about humility, about listening to the world around us with new attention. He envisions a future where our children might learn whale stories as part of their education, just as they learn human history. To cross the boundary between species, even partially, would mark a turning point in our understanding of life. His project asks us to pause, to listen, and to imagine that the Earth is speaking in many voices, some of which we are only just beginning to hear.