thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

Sizing up is possible with normal constructions: Spailboat and Windriaan. Opschalen is mogelijk met normale constructies: Speelboot en WIndriaan.

 

Heel eenvoudig tonen wij aan dat wind, inclusief de orkanen, miljoenen keer zoveel energie herbergen dan een energiecentrale.

 

It is easy to show that wind, including hurricanes, pack more energy than millions of powerplants.

 

De formule voor kinetische energie is: 1 / 2 M v^2 in, Joule, waarin, v, de windsnelheid is in, m / s, en, M, de massa is in, Kg. Het stormt altijd wel ergens. Er is dus genoeg energie.

 

The formula for kinetic energy is: 1 / 2 M v^2 in Joule, in where, v, is velocity, in, m / s, and, M, is mass in, Kg

 

Wind zet een lichaam in beweging, het lichaam zet zich af en laat een schoep draaien en de draaiing maakt elektriciteit, en de elektriciteit maakt dan waterstof en dat wordt in een doosje gestopt en naar huis gebracht. Er is zeewater genoeg, dus er is in principe waterstof, LH2, genoeg >> energieprobleem opgelost.

 

Wind moves a body and this body drives turbines. The turbines make electricity and this electricity drives hydrogen plants to make LH2 ( from marine water; after this marine water is made sweet and pure ). We have plenty of marine water and plenty of wind, so, we have enough energy.

 

Tot nu toe worden de frequent voorkomende stormen over de windrijke Vuureilanden niet benut. De gangbare windturbines kunnen niet werken in storm. Vuurland is van Argentinië en dat land zal dus veel hebben aan op storm lopende turbines / dynamo's. De absoluut groot genoeg in de aanvoer van energie zijnde Vuureilanden leveren mogelijk genoeg elektriciteit en waterstof, in vloeibare vorm. De grond hiervoor is het mogelijk gebruiken van alle windsnelheden op Vuureiland. Zuid- en Noord-Amerika kunnen van Vuureiland stroom en waterstof krijgen. De maatschappij kan draaien op uit zeewater gemaakte waterstof.

 

Until now, the windy south of Argentina is not yet used. The commonly known wind turbines can not work in storms. Argentina and Antarctica are goals.

 

Een uitloper van een cycloon, die nu nog onbenut voorbij gaat, of een restant van een cycloon, zouden door windsurfers zo mogelijk worden benut. Voor alle windsurf-gebieden samen geldt dat er meer dan twee weken storm aanwezig is. Met Orbites strai's kan een deel van alle aanwezige storm worden benut. De omzetting van wind naar een spinnende ring impliceert dat een deel van de storm kan worden omgezet in de kinetische energie van een lichaam.

  

Het energie-probleem en storm:

 

Het energie-probleem is, naast een lokaal probleem, ook een globaal probleem. Het zou dus verstandig zijn om globaal op alle stormen te rekenen. De ontwikkeling is, hierdoor, in feite, een globaal project. Want, de globale probleem zijn de roofbouw op de aarde.

 

Globale problemen:

 

De ontwikkelingen van deze apparaten voor storm zijn wellicht niet economisch verantwoord in bepaalde landen, zoals Nederland, terwijl de landen met veel wind ze wel degelijk zouden willen ontwikkelen! Wat hier staat is dat bepaalde landen met veel wind, zoals Argentinië, ze kunnen gebruiken. De schier oneindige windenergie van, Vuureiland, kan worden omgezet in elektriciteit en waterstof.

 

Het nieuwe uitgangspunt is dat het bijna altijd wel ergens stormt of hard waait op de globe. Voor Nederland geldt dan, dat het niet twee weken per jaar stormt, maar, globaal bezien, bijna elke dag! Globaal gezien herbergen stormen belangrijke hoeveelheden energie. Het stormt immers vaak, globaal aanschouwd, en, het gaat nu globaal bezien eerst om de absolute levering van schone energie en de terugdringing van vervuiling.

 

Binnen het project gelden de volgende aannamen:

 

De door storm opgewekte elektriciteit drijft waterstof plantages aan ten behoeve van de aanmaak van waterstof. De waterstof wordt dan vervolgens opgeslagen en vervoerd in tanks / containers.

 

De productie van waterstof loopt nu consistent aan de hand van wind, nadat de ring en de kraag om de ring in het huis zijn aangekleed als stroom generator / turbine / dynamo. Alle wind, die loopt vanaf lage windsnelheden tot de hoogste snelheden, 300 km / uur, als energiebron, is groot genoeg. En, de wind neemt alleen toe, door global warming. Tijd om de wind te oogsten. Startpunt : De goederen om de wind te oogsten zijn afgetest met een werkend model. Het uitgangspunt is een apparatus welke niet stuk kan in storm. Daarom behelst het project nu het maken van een dynamo om de ring.

 

De spinning wordt met de pilot-versie aangetoond, niet het maken van elektriciteit uit de spinning. Het opwekken van energie tijdens harde wind: Het testmodel is dus een Windriaan-molen en levert evenredig aan de windsnelheid gerelateerde kinetisch energie van het bladen dragende lichaam. De ring kan vrijelijk spinnen in nota benen storm. De koppeling, tussen de door de aarde gegeven kinetische energie en de kinetische energie van een lichaam dat draait, is aanwezig! Nu behoeven alleen de ring en de behuizing worden uitgerust als respectievelijk het centrum -, en ombouw, van een dynamo. Hardere wind is een gevolg van global warming. Tijd om te oogsten met ringen die draaien. Het opslaan en later uitsmeren van stormenergie kunnen met waterstof. Maar eerst moet er van de kinetische energie van de bladen dragende ring, elektriciteit worden gemaakt. Er is in concreto als startpunt nu een op harde wind werkende spinnende ring, die wel evenredig mee spint met de wind, maar die voor even nog geen elektriciteit opwekt. Op papier hebben we dan het nieuwe centrum van een dynamo. Dat centrum, de ring met elektriciteits-werken erin, en de bladen naar binnen, gaan niet meer kapot tijdens storm! Dus, met het inpassen van de eerste totale versie van de uitvinding, kan storm dan waterstof opwekken, waar dan ook ter wereld wind. Het prototype moest eerst bewijzen dat de ring zou gaan draaien. De configuratie was eerder natuurlijk gedimensioneerd aan de hand van de '''sterkte-leer / mechanica'''' waardoor de configuratie, zoals die is afgetest, in priori al sterk genoeg is voor storm. Er bestaat dus een geteste configuratie die tegen storm kan. De gehele constructie kan niet omwaaien en niet stuk gaan onder wind snelheden van tot 300 km/uur. Net als bouwwerken voor civiele doeleinden kunnen ook deze Orbites strai's sterk genoeg worden gemaakt en blijven functioneren in storm. Orbites strai turbines zijn voor storm. De massa van het in beweging te zetten gedeelte van de wind turbine is aanzienlijk hoger en de vraag was in eerste instantie, of de relatief grote massa van ring wel zou gaan draaien. De test geschiedde volgens de berekeningen. De ring draait, en is toch sterk genoeg om heel te blijven in zeer zware storm.

 

Uitgangspunt, verkregen na succesvol testen van de uitvinding -Windriaan - : De meest eenvoudige versie van een Spailcraft is een molen voor storm; Windriaan

   

De wind is nu wel al evenredig gekoppeld met de kinetische energie van de spinnende ring met de bladen. Een Windriaan-turbine is constructief bezien eender aan een Windriaan-molen. Ze hebben beide buitenom gelagerde ringen en de ringen houden bladen naar binnen toe gericht vast. Nu dient de zogenaamde Windriaan-molen te worden uitgerust als de zogenaamde Windriaan-turbine. Als vergelijk: na de gewone windmolen kwam ook pas de windturbine, terwijl ze constructief bezien eender zijn! Oude uitgangspunt : Conventionele windturbines hebben een bladen dragende as, als centrum. Via de lichamelijke as in een windmolen kwam de ondergang. Assen, die bladen vast hielden, lieten bladen kapot gaan in storm. Er was dus geen consistent lineair -, respectievelijk kwadratisch, verband tussen windsnelheid en bewegingssnelheid van het zeildragende lichaam.

  

Probleemstelling:

 

Het probleem is dat de spinnende ring nog geen evenredig aan de draaisnelheid gelegen hoeveelheden elektriciteit opwekt.

 

Opslag van windenergie, via vloeibare waterstof:

 

Er is een aantal energie-visionairs, onder andere Hysafe, die de wereld omtrent waterstof wel degelijk een mogelijke start heeft gegeven. Hysafe heeft succesvol gewerkt en claimt dat zij het probleem van de energie-opslag heeft opgelost.

 

Waterstof, respectively, LH2, in evenredige hoeveelheden op te wekken aan alle wind op aarde:

 

Waterstof in overvloed leidt tot motoren die indirect -, of direct, op waterstof lopen en leidt vervolgens tot olie als bouwmateriaal en dus, tot plastic raceautootjes, met intrekbare vleugels, op waterstof. Uit ( zee-) water. weer een rondje; zeewater wordt zoet water. zeespiegel daalt, energie en water op land komen.

 

Succesvol getest prototype om ring te laten draaien in storm zorgt voor de toekomst. :

 

Het maken van een prototype, om aan te tonen dat de configuratie zou werken, was al triviaal omdat de berekeningen lieten zien dat de ring makkelijk zou gaan draaien. Mijn adviseur, Professor Marcel Donze, drong echter aan op de fabricage van een zichtbaar model, om daarmee aan te tonen dat de ring met de bladen kan draaien. Het aantonen van de sterkte is dan inherent aan wat je dan ziet. Het aantonen van de sterkte gebeurt vooralsnog alleen met berekeningen op mechanisch vlak. Omdat de configuratie stabiel is, is de sterkte van het constructie-materiaal maatgevend.

   

Anders dan labiele wind gedreven apparaten, als zeilboten en conventionele wind turbines, hebben we hier te maken met de benadering van de oplijning van de actie kracht, - vector F_actie – en de reactie kracht, - vector F_reactie. Ofwel, het moment tussen lift in het blad en de constructie die het blad inklemt, is vrijwel weggehaald. Tussen lift-resultante in de wiek en de inkemming van de wiek met de constructie heerst nu een kleine arm en deze arm kan bovendien steeds worden verkleind zonder dat de daaisnelheid aan de uiteinden wordt verkleind! Als nu de bladen worden verkort tot aan bijna nul, dan lijnt de actiekracht op met de reactiekracht, maar diameter van de pannenkoek blijft gelijk.

 

When the blades are shortened, this has no influence on the diameter of the pancake.

  

Normalisatie van de krachten-overdracht tussen liftkracht en aarde:

 

Er heersen slechts relatief kleine momenten ter plaatse van de inklemmingen van de bladen in de ring. De arm kan naderen tot, bijna nul, in Windriaan en, kan zelfs geheel nul worden tijdens operatie van een kitesurf-machine, Spailboat. Dit houdt in dat de zogenaamde arm weg is gehaald ( de normalisatie ) zodat er stabiliteit ontstaat zodat, de wind direct doorwerkt op de reactie. En daar ( hier ) gaat het om. Input is output. Wind is hydrogen ( energy, E_kinetic=MW^2, with mass in kg or, money or, constant and, v, is, velocity, of the wind in m/s ). De Windriaan heeft een ring, met naar binnen of naar buiten gerichte vleugels, en deze bladen zijn nu, min of meer, als monoliet met de aarde op te vatten. Input is output. Normal.

 

Dit was nog nooit zo. Altijd zwabberden windturbines aan gort. Een ring, als bladen houder, wordt normaal bvealst waardoor de sterkte maatgevend, is. We maken het dus gewoon sterk genoeg. Nogmaals, als de bladen worden verkort ( ingekort ), dan heeft dit geen invloed op de diameter van de pannenkoek.

 

Stabiliteit, de garantie voor werking in storm:

 

Gebouwen ( kerken, zie aanvang show ) moeten stabiel zijn, het evenwicht bewaren en sterk genoeg worden gemaakt. Een Windriaan is, wat dat aangaat, een gebouw. Spailboat en Windriaan is volgens de bouwkundige wetten.

 

Een korte wiek vanuit de dag van de ring die geheel om een denkbeeldige plaatsvast gelegen as draait, levert input is output en, dit komt doordat de bewegings-snelheid van het lichaam ( ring ) evenredig mee beweegt aan de windsnelheid. Deze evenredige koppeling met de wind komt doordat de ring stabiel en stevig wordt gehouden in het huis.

  

Bijkomende conclusie aangaande stormgebruik: Ook kan de oude configuratie, met bladen komende vanuit de as, worden aangepast voor storm. Een stormturbine, met as, kan dan lijken op een schroef van een onderzeeër.

 

BOOK BOEK

vervolg hoofdstuk 9

 

en alleen tijdens de tournee van, 1990. In, 1994, hoorde ik wel een vergelijkbare manier van spelen, een soort onderstroming makende, in, Tumblin’ Dice”, maar dan met een veel zachtere klank. Keith, is dus een soort garage, waar aan de nummers wordt gesleuteld, en, dan met name aan, Tumblin' Dice. Hij is nog steeds bezig met de manier van spelen en speelt steeds meer als een echte blues gitarist, en is duidelijk zoekende naar een nieuwe manier van spelen. Onder de muziek door spelen, zoals ik het noem, is alleen mogelijk met een strakke band. In, 1990, was die strakheid er nog niet in voldoende mate, maar in, 1994, vond, Keith, kennelijk dat hij zich minder hoefde te bemoeien met het ritme, en dus, onder de muziek door kon spelen. Nog later, vanaf, 1997, speelde, Ronnie, steeds meer, ook vaak per ongeluk, de lead gitaar, en dwaalde, Keith, verder het pad af, op zoek naar de, Blues. Deze manier van spelen kan alleen met strakke bands, en, dat zijn de, Stones, maar, ook de, Expensive Winos, zijn dat. De nieuwe, Keith, klinkt als het ware onder de muziek door en lijkt duidelijk op zijn voorbeelden vanuit de Blues. Het is heel moeilijk om zo passief te wachten, het nummer kan in elk moment instorten, als de laatste invulling niet past of niet dezelfde kleur heeft. Gelukkig gebeurt het niet vaak, maar, toch heb ik een paar keer meegemaakt dat een nummer inderdaad instort. Er wacht dan een oorverdovende stilte en het is dan, Keith, die de boel, hoogst persoonlijk, weer aangezwengeld en zich verontschuldigt voor het stilvallen van het nummer. Ze zijn minimalisten, OK, maar als niemand wat doet, dan valt het stil. Ongelooflijk vond ik dit. Een stadion vol met mensen, gedurende een paar seconden in doodse stilte, niet wetende wat er gebeurt. In elk geval werd direct bewezen dat de, Stones, alles zelf spelen en dat er niet werd geplaybackt. Voor de liefhebber wijs ik op het eerste, extra ingelaste, concert in, De Kuip, 1995. Dit concert staat me tevens bij doordat dit de laatste keer was met, Moniwi. Ze liet me op niet mis te verstane wijze weten compleet te zijn uitgekeken en lachte me vierkant in mijn gezicht uit en ze vernederde me enorm. Ze rookte de ene na de andere joint, ergens midden op het veld en was onaantastbaar in haar schoonheid. Ze had kennelijk zin om eens lekker te etteren. Ik had het destijds, eind, 1992, wel uitgemaakt, maar, ik verlangde nog steeds hevig naar haar. Ik koos toen al voor mijn technische studie, waar ik de grootste moeite mee had. In, 1990, liet ik een jaar schieten, door de, Urban Jungle Tour, die begon in, Mei, en hierdoor had ik mijn jaar speling verspeeld. Mijn technische studie was pittig. Moniwi, studeerde ook. Sterker, ik had haar zelfs persoonlijk afgeleverd, pal voor het gebouw, de sociale academie in, Amsterdam, en wachtte buiten, in de auto, om haar te dwingen zich in te schrijven. Ik kon in elk geval haar ouders onder ogen komen. Enkele maanden geleden ving ik via Facebook op dat ze goed terecht is gekomen. Kijk, denk ik dan. Ze kunnen zeggen wat ze willen, maar, niet dat ik vooruit kijk. Tot, 1995, ontmoetten we elkaar nog wel, maar ze had haar draai elders gevonden. Ik denk ze toen mee ging naar het concert omdat ik kaarten had. En kennelijk had ze de kracht gevonden om mij compleet als een schlemiel af te drukken. Haar zusje stond, zoals altijd, als ik werd vernederd, zeer geamuseerd naar mijn leed te kijken en vermaakte zich kostelijk. Ik voelde dat dit het definitieve einde was. Achteraf geweldig om te zien hoe gemeen en hard vrouwen kunnen zijn. God, wat hield ik van die twee. Terug naar, 1990. Na de shows in, Parijs, Parc des Princes, stonden de Wembley-shows op het programma. Al gauw kreeg ik in de gaten dat het repertoire langzaam verschoof. Soms lieten de, Stones, nummers weg. Tijdens de tournee van, 1990, speelden ze, zoals ik ze noem, exotische nummers, als, Terrifying, Factory Girl, I Just Want To Make Love To You, en, Gimme Shelter. Tot dan toe speelden ze, Gimme Shelter, zelden. Midnight Rambler, was wel vast repertoire evenals, Miss You, en, You Can’t always Get What You Want. Na een paar shows wist ik dat er na het middenstuk geen verrassingen te verwachten waren. En, Midnight Rambler, en, You Can't Always Get What you Want, vlamden niet. Het liep voor geen meter. De setlist was eigenlijk te lang, en, door de niet lukkende uitvoeringen van de twee genoemde lange nummers, vaak zelfs vervelend. Tussen het (te) lange middenstuk en de aanloop naar finale, kwamen de twee absolute hoogtepunten van de shows, 2000 Light Years From Home, vooraf gegaan door, Rock and a Hard Place. In het vaste repertoire zat een magistrale overgang van, 2000 Light Years From Home, naar, Sympathy, verzorgd door, Matt Clifford, met terloops riedeltjes van, She’s like a Rainbow. Voor mij is het nog steeds onbegrijpelijk dat, Matt Clifford, er niet meer bij was in, 1994. Als er, in, 1990, verrassingen in de setlist zaten, dan werden die ergens vlak voor het grote middenstuk gespeeld. Bitch, werd ook niet altijd gespeeld en volgens mij was dat omdat, Bitch, veel, te veel energie kost. In vergelijking met de Amerikaanse setlist was ook al, Under Cover, eruit gegooid. Terryfying, kwam nog wel regelmatig terug, maar in, Amerika, was dat vast repertoire. Bekend bij de fans is ongetwijfeld de onofficiële concertregistratie van Atlantic City, met liefst dertig nummers en een show van bijna drie uur, met gast optredens van, Axle, en, Izzy, Journey Man (Eric Clapton), en, John Lee Hooker. Wat opviel is dat, Journey Man, langer dan een nummer mocht blijven staan. Hij bleef staan, na, Little Red Rooster, en speelde ook mee met, John Lee Hooker. Ongekend is een gast-optreden van meer dan een nummer! De, Stones, kunnen wel respect tonen. Steel Wheels, en, Urban Jungle, sloten, op een bepaalde manier, aan bij, Still Life, wellicht beter bekend van de film, Let's Spend The Night Together. Still Life, eindigde, feitelijk, met, Start me Up; de absolute kraker van de begin jaren tachtig. Na, Start Me Up, volgde dan, Brown Sugar, Jumping Jack Flash, en, Satisfaction, maar, die vormen nu eenmaal altijd de finale. Start Me Up, was in, 1981, een nieuw finale.nummer en knalde. Net zoals, in 2005-2007, You Got Me Rocking, dat zowel een opening kan zijn alsmede een finale. In, 1989, en, 1990, werd geopend met, Start Me Up, de aansluiting makende met, 1982. Bij elke fan is de kracht van, Start Me Up, bekend. Zeker de wijze waarop, Mick, Start Me Up, op, Still Life, aankondigde: Do you wanna Rock 'N Roll some more? En dan bam, Start me Up. De, Steel Wheels -, en, Urban Jungle Tour, begonnen met, Start Me up, en het is klip en klaar dat hiermee de, Let's Spend The Night Together Tour, een doorstart maakte. Under Cover, en, Harlem Shuffle, waren, na, Tattoo, ook weer feitelijk, de enige wapenfeiten van caliber. Na, Start Me Up, werd de vaart behouden, met, Bitch, en, Sad Sad Sad, en daarna kwamen de twee wapenfeiten van midden jaren tachtig, Under Cover, en, Harlem Shuffle. In, Europa, viel, Under Cover, echter weg uit het vaste repertoire. Na deze knallende opening kwam dan altijd, Ruby Tuesday. In, Europa, werd, Almost Hear You Sigh, de bescheiden hit, gespeeld. En na deze rust kwam het middenstuk. Eigenlijk werd nooit meer de spirit van het concert in, Atlantic City, in, 1989, en het eerste concert, in, Rotterdam, in, 1990, overtroffen. Toch ging ik, na de enigszins tegenvallende shows, in, Parijs, vol goede moed naar, Londen. De eerste show in, Londen, was gewoon een concert. Het hele, Wembley, met die prachtige naam, was toch maar gewoon een stadion en eigenlijk vond ik het Olympisch Stadion van, Amsterdam, mooier en groter. Tijdens het wachten, voor het tweede concert in, Wembley, ontmoette ik, Harry, en, David. Ik kreeg aangeboden om mee te gaan naar, Glasgow, maar, dan zou ik per direct mijn spullen uit het hotel moeten halen en uitboeken, en dus, slechts een gedeelte van de gemaakte kosten vergoed krijgen. Dat kostte me dus veel geld. Ik had daar voor twee-en-halve week geboekt en na vier dagen was ik alweer weg. Na het tweede concert gingen we rechtstreeks door naar een plaatsje tussen, Birmingham, en, Sheffield. Vanaf die tijd ben ik verliefd op Engeland met al zijn pracht en praal en heerlijke mensen bordenvol humor en levens-kunstenaars. Het prachtige Engelse landschap en de zware industrie maken een apart plaatje. David was na twee dagen mijn beste vriend. Ik kon lezen en schrijven met hem. Dit kwam natuurlijk ook door de euforische stemming en door de ontginning van nieuw terrein. Harry, en, David, namen me constant in de maling met hun snelle grappen. De Engelse les die ik toen kreeg komt me nog dagelijks van pas. Ergens in het prachtige Engelse heuvel-landschap, tussen de arbeiders huizen woonde David’s ouders. Het Engelse ontbijt, witte bonen en de tomatensaus, met werkelijk pikzwarte worstjes en spek kreeg ik niet weg. Ik schaamde me diep tegenover David’s moeder. Zij had het ontbijt met zoveel liefde klaargemaakt, maar ik kreeg het niet weg. Ik kon die nacht slecht slapen en was gewoon beroerd door het korte slapen. Die dag reden we door, via, Lockerbie, naar, Glasgow. We logeerden bij een tante van, Harry, en geheel volgens de Britse traditie werden we keurig afgeleverd bij de pub. Bij terugkomst stond tante wachten en als vanzelfsprekend gingen we gokken. Ik moest liedjes zingen uit, Nederland. Tante zong voor en ik moest dan in het Nederlands doorzingen. Toen ik zong: Roses from Amsterdam, keken ze me vreemd aan? Tullips, from, Amsterdam, werd ik verbeterd en tegelijk besefte ik dat inderdaad een gezichtsveld van een land wordt gevormd door propaganda en selectieve informatie. Wat interesseerde mij nu een stom liedje. Maar blijkbaar hebben de Britten dit rooskleurige beeld van ons voor. Later keek ik wel met andere ogen tegen onze, ”tulp”, aan. Was dit nu werkelijk een nationaal symbool. Een tulp komt oorspronkelijk niet eens uit, Nederland, maar uit het, Midden-Oosten. Wij hebben waterwerken en molens en drukken een indrukwekkende stempel in de oceanen, met ons zware materieel. De vernietigende uitwerking op het milieu van ons land zou eerder een nationaal symbool moeten zijn; maar een tulp is natuurlijk veel vriendelijker. De wereld is gevuld met mensen, dus gevuld met verschillende indrukken et cetera, dus met subjectiviteit, terwijl geschiedenis loopt aan de hand van objectieve gebeurtenissen, geschreven door de tijd en dat verenigt de twee werelden. Nu zijn wij, de Westerlingen aan de macht. Maar voor hoe lang zal de propagandamachine ons dit beeld voorhouden? We vulden die nacht met kaarten, om geld! Ook dit was kennelijk traditie in, Schotland, en, Engeland. Intussen kreeg ik haarfijn verteld dat, Engeland, niet ook, Schotland, betrof. En maak die fout ook nooit meer. Want dan worden de Schotten boos! En ook de Ieren, zij zijn absoluut geen Engelsen! Groot Brittannië heette het eiland en dat was verdeeld in verschillende landen. Whales, Ierland en Schotland. Het uitschot, dat waren de Engelsen! Ja, maar de, Stones, dan? Niet zeuren, het ging om het principe. Harry, had Schots bloed en voelde zich blijkbaar, eenmaal in de highlands van, Schotland, op en top, Schot. Bovendien was, Harry’s, vriendin, Mel, Iers. En ook, Katholiek, en, Celtic, was geen voetbalclub, maar religie. De Ieren zijn altijd voor, Celtic, en tegen alles wat Engels is. Schotland, en, Ierland, zijn dus als twee handen op een buik en Engeland is de gemeenschappelijke tegenstander. Tussen twee haakjes, Harry, is ook nog joods en voelt zich jood. Zoals de wind waait, denk ik dan. Want eenmaal terug in, Londen, loofde, Harry, juist weer het Engelse leger en de discipline. En in, Boston, om maar een dwarsstraat te noemen, werd ergens in een wolkenkrabber, de veldslag, Bunker Hill, nagespeeld, met een maquette met soldaatjes en artillerie. Bekend is dat de Engelsen die slag wisten te winnen, omdat de Engelsen gedisciplineerd bleven, ondanks dat, 90%, van de manschappen verloren ging. Ieder ander leger had in wanorde gevlucht, maar de Engelsen bleven doorvechten. Ze zochten wraak voor hun gevallen kameraden. Voor de Amerikanen, boeren met wapens, betekende die veldslag, ondanks het verlies, het eerste teken dat de Engelsen niet onoverwinMelijk waren en namen vanaf toen een voorbeeld aan de Engelse gedisciplineerde manier van oorlog voeren. Bovendien waren de fel rode jassen van de Engelse soldaten toen direct achterhaald. Het betekende het einde van het Engelse leger. De rode jassen waren een prima doelwit en waren niet langer afschrikwekkend, maar juist een duidelijk doelwit voor de scherpschutters, onder de, Amerikaanse, ”boeren”. De Engelsen konden niet onopgemerkt blijven. Camouflage-pakken waren beter. De Amerikanen, met hun aftandse kleren konden prima valstrikken opstellen; ze waren perfect gecamoufleerd. Harry, raakte zichtbaar in beroering toen de heldendaden van de Engelsen werden aangescherpt en openbaarde toen duidelijk zijn verwantschap. Harry, kampt dus met een identiteits-probleem, en nu hij in Amerika woont, heeft hij een hekel aan de verwaande Amerikaanse meisjes van, L.A., en smacht naar de Ierse felheid van, Mel. Harry, voelde zich meer verwant met de ultra felle Ieren dan met de hautaine, Engelsen. Later werd ook bekend dat, George Washington, eigenlijk ten prooi had moeten vallen aan een Engelse patrouille met scherpschutters, maar omdat, Washington, in zijn vlucht de rug keerde naar de, Engelsen, besloot de scherpschutter niet iemand in de rug te schieten. Misschien had, Engeland, dan wel de oorlog gewonnen. Harry, vond dit soort verhalen over zijn vaderland helemaal geweldig en droomde weg, en liet zich dan ook niet verstoren in zijn droom. Het was duidelijk een van zijn momenten. Ik moest dat allemaal begrijpen. Nou, ik begrijp in zoverre de strekking, dat Engelsen inderdaad hautain kunnen zijn. Op de terug weg reden we naar, Bicester, een plaatsje vlakbij, Oxford. Steeds kom ik terug op, Bicester, daar waar sprookjes waarheid worden. Bicester, was het honk waar we verbleven tussen de concerten. Nog steeds is dat de mooiste tijd uit mijn leven. We speelden als kleine jongetjes met een vliegtuigje op een landje achter het huis en ik leerde daar motorrijden. ’s Middags naar de kroeg en ‘s avonds ook en daarna dronken worden en video films kijken. Ook de Grandprix van Silverstone was daar om de hoek en, David, ging kijken. Hij werkte destijds bij, Leyton House, een Formule_1 stal. Vanuit Bicester, reden we ook naar, Cardiff, Manchester, en, Dublin. De eerste keer naar, Cardiff, was voor niets geweest omdat Keith zijn vinger had opengesneden. Ook de laatste shows in, Wembley, werden hierdoor doorgeschoven en ten gevolge duurde de tournee heel lang. Ik moest opnieuw de oversteek maken om de laatste Wembley shows te zien. Het was intussen eind augustus! Een goede vriend, Mono, heeft onlangs iets dergelijks meegemaakt met de verlate shows in, China, in, 2003. Hij zei dat de zomer tot en met oktober en zelfs november duurde. Zo is het ook met een Tournee die uitloopt. Het is net of de zomer wordt opgerekt. Om de tijd te doden gingen we naar Davids huis in Bicester en betrokken we niet de flat van Harry in Londen, omdat dat te klein zou zijn. Later bleek het inderdaad te klein te zijn, toen we er met zijn drieën sliepen na het allerlaatste concert van de Urban Jungle. In Harry’s kamer was werkelijk geen ruimte meer om te lopen, met drie matrassen op de grond. Voordat we naar die kleine flat gingen, gingen we naar de geheime plaats van de after party van de Stones en toen, Bill Wyman, ons zag, was hij verbaasd en enigszins blij verrast, dat we ook weer hier waren. Het is verdrietig dat het de laatste keer was dat Bill Wyman een Rolling Stone was. Hij stopte ermee na die Tour. Harry, had het gerucht al gehoord en onbewust namen we een beetje afscheid van, Bill. Hij kon niet meer. Nu pas begrijp hoe zwaar het is om met mensen als, Keith Richards, en, Mick Jagger, te werken. Zij zijn de baas en schreven, Satisfaction, de rest moet zijn mond houden. Bill kon het niet langer verdragen. Hij inspireerde met zijn beat “Miss You”, maar dat was kennelijk niet genoeg voor status. Bovendien is het bijna niet te geloven hoeveel energie een optreden kost. Bill is immers de oudste van het stel. Ik nam afscheid en vertrok de volgende dag naar huis, althans dat wat de bedoeling, maar ging nog even langs, Wembley, voor een laatste indruk. Hierdoor miste ik de boot naar, Hoek Van Holland, en week uit naar, Calais. Ik belde naar, Claire, en, Catherine, en pakte de trein naar, Parijs. Intussen overleed mijn oma en mijn moeder heeft het me nooit vergeven, dat ik niet rechtstreeks naar huis kwam. Eerder in, Kopenhagen, ontmoette ik, Claire, en, Catherine. Catherine was een mooi meisje met een zeer zachte huid. Ze was lief. Ik bleef nog een week langer weg van huis. Het was intussen bijna september! Catherine, en, Claire, beschikten die week toevallig over een groot huis, omdat de ouders van, Catherine, op vakantie waren. Catherine, en ik hadden feitelijk de gehele week seks, op elk moment van de dag en altijd waren we aan het vrijen. Het verschil tussen jongens en meisjes van die leeftijd is de emotioMele waarde seks van meisjes tegenover het vervullen van dagelijkse behoeften van jongens. Ik heb toen een hoop schade gemaakt. Trail of Terror, het predikaat achterop de plectrum van, Keith, werd werkelijkheid. Catherine, pleegde zelfmoord in het voorjaar van, 1995, en ik heb haar daarvan niet kunnen weerhouden, omdat ik nooit wat van me liet horen en haar noodkreten niet had gehoord. Leven doet pijn. En zelfs nu ik dit schrijf huiver ik. Ze stuurde brieven naar mijn ouderlijk huis, in de jaren daarna, met werkelijk een schreeuw om aandacht. Maar ik liet de brieven dicht. Wat een gebeurtenis. Egoïstisch en bovendien gezegend met een mooie vriendin, Moniwi. Ze kwam na de, Urban Jungle Tour, weer terug en woonde zelfs, vanaf het moment dat ze met haar koffer op de stoep stond bij me in. Kippenvel over mijn rug. Had ik maar voor, Catherine, gekozen en gelukkig geworden met haar. Kon ik de tijd maar terug draaien. Mijn leven was een sprookje, maar dan wel een die voor een lange tijd niet goed dreigde af te lopen. De zomer van, 1990, duurde en duurde. Nadat ik, Catherine, voor de laatste maal kuste, eind augustus, 1990, ging ik naar huis en vergat haar. Ik zette me schrap voor de jaren negentig. School wachtte en ook zou ik in die tijd een huis bouwen. Ik was al oververmoeid en dat is tot aan, 2004, zo gebleven. Nu pas rust ik uit. Op mijn verjaardag op, 15 Juli, 1990, kreeg ik van, Harry, en, David, een mooi verjaardagscadeau. Ik werd, 21, en dat is in, Engeland een belangrijke mijlpaal. ’s Avonds gingen we drinken in de locale bar in, Bicester. We liepen erheen over een grasveld en die nacht zou ik het grasveld van dichtbij bekijken, zoekende naar mijn tanden, want die er waren uitgeschopt, terwijl ik al op de grond was geslagen. Even later verloor ik bewustzijn. In, Bicester, woonde, David, en we vestigden ons daar tijdelijk. We speelden pool en raakten dronken. Een groep voetbalfans stond aan de andere kant van de pool-ruimte, aan de overzijde van onze pool-tafel, waar een van die jongens een uit-shirt van, Ajax, droeg. Het mooiste ontwerp in jaren. Ajax, stond aan de vooravond van een decennium vol successen. Ajax, kon meedoen en verzorgde zichzelf toegang tot de elite van, Europa. Daar hoorde een internationaal shirt bij. Ja, de wetten van de commercie en mode! In Italië, Spanje, en, Engeland, hadden de shirts al namen op de rug en nu had, Ajax, dat ook. Ajax had uit-shirts voor Europese wedstrijden, met rugnummers en namen: ”FRANK DE BOER”. Wat ik niet had moeten doen, was naar die jongens toe lopen. Met bravoure zei ik dat het Ajax-shirt waarschijnlijk een van de mooiste shirts op aarde was. Vanaf toen werd ik geconfronteerd met de internationale wetten van het niet willen begrijpen van onschuldige Amsterdamse branie. Sommige mensen moeten vechten en wachten hun kans af om toe te slaan. Ze vonden een reden om te vechten. Buiten werd de rekening vereffend voor mijn uitlatingen en zowel, David, Harry en ik werden in elkaar geslagen. Finaal in elkaar geslagen. Zes of zeven hooiligans, groot en log, ramden ons finaal in elkaar en ik raakte bewusteloos. Die avond bracht ik door op de intensive care afdeling in een ziekenhuis. Harry, had een gebroken arm. David had een zware hersenschudding en ik had nog een paar gebroken ribben en er was een rits van mijn tanden af gebroken. De volgende dag reden we naar, Cardiff, om alsnog de verlate de show te bekijken. Harry, en, David, kwamen me ophalen van het ziekenhuis. Stiekem verliet ik mijn bed, liep in mijn onderbroek het ziekenhuis uit en stapte in de auto. Ik had geen noemenswaardige kleding aan toen ik het ziekenhuis uitliep, maar ik moest wel, want de show moest doorgaan. David lachte, ondanks zijn pijn. Als een stel invaliden reden we naar, Cardiff, en onderweg veranderde het landschap naar heuvelachtig en ook de huizen stonden verder van elkaar af. De country-side, het buitenleven in, Engeland, en, Wales, is prachtig; als je van rust houdt. Onderweg namen we sterke pijnstillers. David, bleef zich maar verontschuldigen. Ik was allang blij in staat te zijn verder te gaan. Ik moest er niet aan denken een concert te missen; door wat voor reden dan ook. David en ik bleven op de tribune. Omdat we niet in de menigte konden staan vanwege de verwondingen en de pijn. Harry, ging met zijn gebroken arm wel weer helemaal naar voren. Hij beleefde het concert vanaf de eerste rij en claimde contact te hebben gehad met, Keith. Vanaf grote afstand volgde ik het concert en slaagde er toch in enigszins te dansen. Mijn grote vlag hing in, Cardiff, ergens ver achter in het stadion en ik vroeg me af of de vlag te zien was. In de periode tussen de, Urban Jungle, en, de, Voodoo Lounge, respectievelijk, de periode dekkende tussen, 1990, en, 1994, werd mijn leven bepaald door dwalingen, bedrog en hard werken. Ondanks alle tegenslagen slaagde ik erin een vierjarige studie af te ronden en om een huis te renoveren. Na een klein jaar op de flat verhuisden, Moniwi, en ik naar een gewoon huis, dat mijn ouders voor me hadden gekocht, met optie tot verhuur aan derden. Het moest nog wel worden gerenoveerd, en dat duurde vier jaar. Gedurende de wintermaanden van, 1991, en 1992 moesten, Moniwi, en ik het doen zonder verwarming. In, 1991, lag de hele voorgevel eruit om te worden her opgemetseld. De kou was snijdend en ’s ochtends werden we wakker met een aanzienlijke laag rijp op de dekens. Het was buiten beneden de tien graden onder nul en binnen stond een glas water met een laag ijs naast het bed. In de zomer van, 1993, werkte ik door. Lange dagen. Geholpen door het lange licht werkte ik in de tuin aan de wandkast. Intussen was de gevel weer opgemetseld en de indeling van het huis was uitgedacht. Het sanitair vorderde en de wandkast aan de kop van een van de twee slaapkamers gaf het huis zijn image. Ik werkte me kapot en maakte aan de lopende band ruzie met, Moniwi. Het stereo apparaat viel een keer, tijdens de zoveelste ruzie, met een cd erin. Deze uitwassing van een ruzie luidde het einde in van de relatie met, Moniwi. Ik werd overspannen en dat verhoogde de werkdruk. Ik zocht voldoening in arbeid en maakte mooie dingen, dat wel. Zo ontstond het idee van een wand, die tegelijk de afwerking ervan vormde. Een korset-achtig harmonisch weggewerkte kast, met ingewikkelde maar rustige rondingen. Dit gaf de ruimte zijn ruimte en bovendien een afgewerkte muur, vol met veel kastruimte onderin. Het renoveren van het huis vorderde langzaam. Ik kreeg wel degelijk hulp, tijdens de bouw en vooral de inspiratie heb ik te danken aan mijn vrienden. Samen met, Donovan, maakte ik die kast in de meubelmakerij en Donovan bleef geduldig en dat waardeerde ik ten zeerste. Hij gaf me vertrouwen. En dat had ik toen net nodig. Nogmaals bedankt, Don! Ik zal nooit de indruk van mijn oom vergeten toen ik met, Donovan, aankwam. Van alle vrienden was, Donovan, juist degene, die alle vooroordelen over kleurlingen op een hoop gooide. Donovan, was loyaal en bereid. Bijna nederig, hoewel dat voortkwam uit wederzijds respect. Ook ik stelde me nederig op en gaf blijk van waardering. Respect dus. Als ik tot twee uur ’s nachts doorwerkte, dan bleef, Donovan, ook tot zo laat. Uiteindelijk zal de verkoop van het huis de basis zijn voor de bekostiging van de, Amerikaanse tournee, van, 1994. Catherine, belde nog op, maar ik was al vertrokken naar Amerika. Ik zou daar de, Voodoo Lounge Tour, bijna geheel volgen. En bij terugkomst was het leed geleden. Niet te vertellen is het gevoel over, Catherine. Ik weet dat leven en dood dicht bij elkaar staan. Veel te dicht! In, 1991, of, 1992, werd ik uitgenodigd voor de rechtszaak tegen de hooligans in april. Naar, Engeland, naar, Oxford, om precies te zijn, en de Engelse Kroon betaalde mijn vlucht en, bovendien, in het voorjaar van, 1992, kon ik ergens in, Amsterdam, een cheque ter waarde van tienduizend gulden ophalen. Een snel rekensommetje leerde, dat de tour van, 1990, hierdoor volledig werd gedekt. Feitelijk was de schadevergoeding precies de opbrengst van de verkoop van mijn boot, mijn zuur verdiende catamaran in de jaren tachtig. Intussen, in, 1991, ten tijde van de rechtzaak was, Harry, verhuisd van, Chiswick, naar een getto in, Londen. Die zomer gingen, Moniwi, en ik naar Turkije, op vakantie, met het geld van de schade vergoeding van het Engelse koninkrijk, van de Engelse koningin om precies te zijn. Moniwi, had ook nog ergens wat geld en regelde een veertiendaagse vakantie naar het prachtige, Marmaris, aan de Turkse Middellandse Zee. Kenmerkend voor die tijd was het eeuwige werken aan het huis. En de teloorgang van een liefdes relatie. Tot aan de dag van vertrek naar, Amerika, heb ik gewerkt aan het huis en had eigenlijk geen tijd, om tussendoor op vakantie te gaan. Maar ik bezweek bij het zien van de vliegtickets. Dat zou de laatste keer zijn met Moniwi op vakantie. Moniwi is een heel mooi meisje maar iets te scherp voor mij. Feitelijk was Moniwi onweerstaanbaar mooi en een beetje een bitch. Ik was nogal grof in het leiden van het leven en had de finesse van bepaalde gedragscodes niet door. Op het vliegveld en in het vliegtuig en in het hotel maakte ik ruzie met, Moniwi, en ik weet niet meer waarom. En toen drukte ik in een vlaag van verstandsverbijstering een peuk op haar uit. De vakantie was het begin van het einde. Ik sloeg, Moniwi en zelfs brandde ik haar dus met een sigaret. kennelijk voelde ik me gefrustreerd, omdat ik me zo slecht voelde en nooit lekker fris in mijn vel zat. Bovendien keek iedereen verlekkerd naar, Moniwi. In, Turkije, is een mooie dame een lustobject. Moniwi was onweerstaanbaar mooi en sexy. Aanvankelijk hadden we het best leuk. Maar ik zag op elke hoek een kaper op de kust en wist dat vroeg of laat Moniwi uit mijn leven zal verdwijnen, op het moment dat ze iemand anders vond die knapper, liever en rijker was dan ik. Maar in plaats van afstand schiep mijn gewelddadig gedrag aanvankelijk aanhankelijkheid op bij, Moniwi. Ze werd aangetrokken door mijn agressie en probeerde me tot rust te brengen. De jaren erna zouden worden beheerst door apathische liefde en uitholling van beiden. Triviaal is dat ik het zelf definitief uitmaakte. De reden was dat ik niet kon slapen en dat de slaapritmes niet synchroon liepen. Moniwi, kon met veel minder toe dan ik. Het rusteloze gevoel werd aanvankelijk gestild door het roken van joints voor het slapen. En eindeloos neuken. Veel schepen zijn verbrand. David vroeg onlangs, ironisch genoeg, hoe het ging met mijn, “trail of terror”. Die begon in, Mallorca, werd herbegonnen in, Londen, in, 1990, en, 1991, in, Nederland, en sluimerde voort. Harry’s nieuwe flat bestond uit veel kamers en was gesitueerd in een soort getto. De flat was groot, maar aarde donker. Het licht mocht niet aan. Mel, de vriendin van Harry, was er ook. Ik heb haar maar kort en eigenlijk helemaal niet gesproken. Nog niet binnen of ik kreeg drugs aangeboden. Ik werd voor de televisie gezet met video’s van, Monthy Python, en, Black Adder, en, David Bowie: ”The man who felt to earth.” Achteraf was ik het die op het punt stond van de aarde af te vallen. “Trail of Terror”, stond achter op de plectrums van, Keith, en nu was ik al op pad. Voorlopig speelde ik quitte. De rechtzaak bleek winstgevend. Maar nu waren de jaren negentig in gang en daar waren intussen al twee jaar van voorbij. In dat opzicht is dat verlies. In mijn beleving mocht alles zo blijven zoals het was in, 1990. Zeker in het begin was het een zeldzaamheid, als een plectrum gericht naar iemand toe werd geschoten. Ronnie, kan het beter en dit zinde, Keith, niet. Op een gegeven moment leek het wel een wedstrijd tussen, Keith, en, Ronnie; wie het beste de plectrums naar de bestemde persoon kon schieten. Zoals kleine veranderingen tijdens en na een concert is dit er een van. Feitelijk hebben, Harry, David, Libgart, Ken, Dirk en ik een nieuwe manier van leven geïntroduceerd. David, vraagt vandaag de dag nog steeds hoe het gaat met mijn, “Trail of Terror”. Een leven dat een spoor van vernieling achterlaat, ja dat is mijn leven. Alle schepen heb ik verbrand, terwijl ik nieuwe schepen met succes enterde. Ik haalde mijn universiteit diploma in een werkelijk zeer turbulente tijd, en sleepte het diploma letterlijk uit het vuur. In het verbranden van schepen ben ik altijd goed geweest en, net als, Harry, woon ik nu in een andere stad. Van, Zaandam, ben ik verhuisd naar Delft. En nu woon ik sinds kort in, Den Haag. Als ik nu door de stad fiets, bekruipt me altijd het gevoel van vakantie. De sfeer van een grote stad is toch wel euforisch te noemen. Het doet me kortsluiting maken naar de ervaringen tijdens de Stones-tournee’s langs de wereldsteden van, Europa, en, Amerika. Ik kon bij wijze van spreken naakt op de fiets door het centrum van, Delft, rijden zonder dat mijn familie het te weten komt. Het verbrande schip heette, Zaandam, en door mijn wilde leven hoef ik nergens meer aan te kloppen. Ze hebben allemaal een beetje een hekel aan me gekregen. Ik denk omdat ik altijd blijf volhouden waar ik mee bezig ben en ook nog succes verhaal. Mensen zien niet graag de zweetdruppels, maar veroordelen me snel als ik weer eens naar Amerika ga, want dat valt dan wel in het oog. Je ziet de mensen denken: “Wat doet-ie nu?” Dat is ongehoord. Is ie wel wijs? Mijn leven speelde zich voornamelijk af in de, “frontrow”. Een leven vooraan tijdens een Stones show, waar dan ook ter wereld. In het begin krijg je geen respons van de band, omdat alles, ook voor de Stones zelf, in veel opzichten nieuw was en, vooral Keith had het veel te druk had met zijn nummers en de sound. Aan het einde van de Urban Jungle Tour herkenden ze met gemak Ken, mijn persoon, Libgart, Harry, David en Dirk. We waren er altijd en altijd op hetzelfde plekje aan de barrier. Later, tijdens de, Bridges To Babylon Tour, en verder werd het publiek dat de, Stones, overal volgde, groter en voor mij raakte de jus er een beetje af, omdat mensen hetzelfde trucje herhaalden van wat wij al eerder hadden gedaan. De eerste plectrum van, Keith, was een mijlpaal en een zeldzaam gebeuren. In, 2003, is het altijd hetzelfde vooraan en iedereen heeft wel een plectrum. Maar toen was een, door, Keith Richards, zelf, aangereikte plectrum, een schaars goed, en voor mij was duidelijk dat de, Stones, in, 1997, een gemeenschapsgoed was geworden, omdat er veel plectrums worden verschoten per show. Soms wel tien tussen de nummers door. Iedereen had alles. Het publiek is verwend en steevast nukkig en weinig inspirerend. Ze leven echt voor die ene glimp van Keith en dat is triest. Als de nieuwe helden, doorgezakte veertigers en vijftigers met geld als drek, dan van, Libgart, horen dat wij het al deden in, 1990, deinzen ze terug. Wij gingen het avontuur aan. Zonder veel geld en met veel inventiviteit. Zo stelde, Harry, zijn hagel-nieuwe motor ter beschikking aan, Dan Reed, die het voorprogramma verzorgde tijdens het tweede deel van de, Urban Jungle Tour. In ruil kreeg hij dan backstage-passes. Wij waren vaak ‘s middags al in het stadion. Deze generatie oude zakken koopt alles. Maar ze kunnen toch nooit de rehearsals zien, daar steken de, Stones, wel een stokje voor. Ze staan vooraan, a la, alles geregeld, maar kopen voor grof geld deze plaatsen, daar waar wij vroeger al, door geldgebrek, allerlei listen nodig hadden om telkens maar weer vooraan te kunnen staan. Er waren journalisten die ons volgden om ons verhaal te horen. In ruil kregen we dit en dat. Het spel rondom het stadion was een deel van ons leven geworden. En we werden dan ook steeds beter in het bereiken van ons doel. De eerste rij en backstage passes. Wij baarden in, 1990, nog opzien door overal op te duiken. Het felbegeerde zogenaamde, “all-access-laminate”, maakte en drukte Harry op een gegeven moment zelfs zelf in, 1994, en, 1995. Harry, is een art-director en geniaal op het gebied van ontwerpen en logo’s. Het namaken van de stickers resulteerde zelfs in het veranderen van rond naar ovale stickers, omdat, Harry, zijn stickers verkocht. Had ik al verteld dat hij ook joods bloed had. Zelfs de hologrammen waren niet van echt te onderscheiden. We kregen wel op ons kop van de, Stones, maar ze vonden het prachtig. Jaloezie tussen Stones-fans onderling is immer aanwezig en zo gemoedelijk als het was in, 1990, zou het niet meer worden. In de latere jaren van de jaren negentig en in, 2003, was er veel geld te verspillen voor complete stelletjes en idioten. Maar telkens denk ik dan: ”Waar waren jullie tijdens de Urban Jungle Tour?” Toen ze echt goed waren en snel speelden en het weer opnieuw ontdekten om de, Stones, te zijn. In, 2003, werden complete reizen gearrangeerd voor rijke Canadezen en Amerikanen, die vroegtijdig in het stadion werden binnen gelaten en zo zonder moeite vooraan konden staan. Dat is geen sport meer. Dit is vervlakking van het Stones-publiek. Als ik dan met veel moeite, door steeds weer andere manieren, aan het front kom wordt dat zelfs opgevat als, “vals spelen”, terwijl ik juist uit geldgebrek inventief ben. Vals spelen is wel degelijk een verhaal. Want met, “vals spelen”, kun je de sound-checks zien en in de keuken kijken van de, Stones. Ze zijn dan nog normaal. En ik heb veel sound-checks gezien en altijd is het een belevenis, want, sound-checken doen ze niet vaak. Eigenlijk zouden mensen dit moeten kunnen zien. Want de geadoreerde helden proberen net zoals iedereen een mooi kunstwerkje af te leveren. Net zoals de overdreven aandacht voor een gepoetste auto op zondagmiddag, zo wordt door de Stones de laatste hand gelegd aan een intermezzo of intro. Mensenwerk en burgerlijkheid tot in den treuren. Meerdere malen is het voor gekomen dat ik de helpende hand toesteek aan timmer werkzaamheden en het opruimen van het veld. Eenmaal binnen gedraag ik me als een werknemer, een zogenaamde rodie en omdat niemand, behalve, J.C, een compleet overzicht heeft over de genen op de vloer is het mogelijk de hele dag binnen in het stadion te blijven, zonder dat iemand vragen stelt. Een beetje opruimen hier en een beetje timmeren daar en de middag is zo om. Als dan de poorten opengaan is het chaos en in die chaos begeef ik me naar het front aan de barrière en sta dan weer vooraan. Intussen kostte het me een hele dag werken in het stadion. Zoals gezegd varieert dat van opruimen tot aan timmeren, en de helpende hand toesteken, waar maar kan, of is gewenst. Gratis naar binnen heeft een consequentie en die is dat je moet werken, anders wordt je gepakt en het stadion uit gegooid. Het schijnt heel moeilijk te zijn voor de moderne mens om zich te schikken in een knechtenrol waar je dan uiteindelijk zelf beter van wordt. Als ik met iemand anders in het stadion ben, en komt het erop aan, dan kijken ze vertwijfeld naar me en willen eigenlijk niet werken. Ze willen niet meehelpen en niet werken, maar juist dan val je op en word je eruit gegooid. Het is blijkbaar moeilijk voor nieuwste generatie in te zien dat de kost voor de baat uit gaat. Lang leve, Amsterdam. Op die manier lukt het me steeds weer opnieuw binnen te blijven. De laatste jaren is het steeds raak. In verhouding veel meer sound-checks ten opzichte van gevolgde concerten. In, 1990, was dat nog een op twintig nu loopt het op tot een op vier. Van de afgelopen concerten, vanaf, 1997, heb ik weinig sound-checks gemist. Een keer was ik een paar platen aan het zagen, vlakbij het mindden-podium, voor een paar hekken in de toren. Plotseling voelde ik ogen in me priemen en ik voelde een raar soort spanning. Niemand was meer op het veld, behalve de andere timmerman en ik. Ik voelde dat ik door moest zagen. Het was, Charlie, die met bewondering naar me stond te kijken, en wachtte totdat ik klaar was, want de sound-check ving aan. Dit was kenmerkend, omdat ik druk aan het werk was. Ik ben immers timmerman in hart en ziel. Mijn handigheid met timmergereedschap komt me dan goed uit. Met dank aan de werkplaats van mijn oom, waar ik ben opgeleid tot timmerman, meubelmaker. Het voordeel van binnen zijn is dat je de sound-checks mag meemaken, en daar is het me natuurlijk allemaal om te doen. Menigmaal verstopte ik me ergens in een kast of onder de tribune om niet op te vallen en rustig te genieten van de sound-check. sound-checks zijn de ultieme beloning voor een dag zweten om in het stadion te komen. De sound-checks vormen de basis van dit script. Niemand ziet dit namelijk. Het best bewaarde geheim van de, Stones, wordt hier geopenbaard.

Het resultaat van de rechtszaak volgde de volgende dag. Het vonnis was hard voor de hooligans. Het gerechtshof stuurde de hooligans naar de gevangenis en de vergoeding voor mij was tienduizend gulden. De rechtszaak zelf was een farce maar succesvol. De rechtzaak en het verblijf, destijds in, Engeland, bij, Harry, was een toppunt van het einde. Harry, was naar de klote door drugs, werk en, Mel, zijn beoogde vriendin. Bovendien was die periode voor, Harry, een bewogen tijd, omdat hij toen veel, zo niet al zijn schepen in Engeland, aan het verbranden was. Hij was duidelijk zoekende en zocht een weg om te emigreren naar Amerika; iets waar hij een paar maanden ook toe leek gedwongen, door de uitzichtloze situatie. In Amerika zal hij het wel gaan maken, en verdraaid, twaalf jaar later heeft hij het daar ook gemaakt! Ja, zijn, Rock ‘N Roll-leven, is hard. Feitelijk leeft, Harry, een veel te zwaar leven. Anders dan mijn gestel is zijn gestel van staal. Maar hij gaat elke dag over de schreef en predikt dan, dat dat nu juist de vrijheid is, om te doen waar je zin in hebt. En vrijheid biedt altijd de kans te schijnen. Harry, is en kunstenaar en laat zich niet sturen. Hij voelt zich waarschijnlijk als een strijder. Zijn kunst wordt gevormd door zijn talent en door de keuzes die hij maakt. Hij heeft een feilloos gevoel voor kleuren en zijn werk bestaat voor een groot deel uit inkleuren van voornamelijk mensen. De vlezige huidskleur van mensen op zwart-wit prentjes, moeten worden gevonden op het zogenaamde pallet, en Harry is daar een meester in. Hij heeft bovendien een gave om zich te kunnen uiten met behulp van computers. Naar eigen zeggen is de computer zijn enige echte vriend. Opdrachten volbrengt hij altijd binnen een paar dagen, om vervolgens een week bij te komen. Hij werkt achter elkaar door, als er een opdracht binnenkomt en verdient dan een paar duizend dollar per dag! Zijn inspiratie komt van reizen, motorrijden op zijn Harley Davidson, science-fiction-films en muziek. Zijn concurrenten bedienen zich van veel administratie en weinig talent. Hier is, Harry, door gegriefd. Hij weet dat hij op eenzame hoogte staat, maar de huidige maatschappij is vastgeroest en biedt weinig plaats voor kunstenaars. De reden, aangegrepen voor vertrek uit Engeland, herhaalt zich in Amerika en dat doet hem verdriet. Samen met een vriend, Colin, startten zij een bedrijf en investeerden in een drukkerij. Colin, is leider van de motorbende, maar een ongelooflijke aardige jongen. Hij heeft ook nog eens gestudeerd. Daarnaast is hij, Kunfu-Master, en werkelijk elke dag had hij een andere vriendin. Bende-leider zijn heeft zo zijn voordelen! Eenmaal geïnvesteerd en geïnstalleerd als grafisch bedrijf in, L.A., volgde toen precies de computerrace en hun aanschaf bleek binnen een paar jaar ouderwets en achterhaald. Ze konden niet meer concurreren met grotere bedrijven, die de vernieuwingsrace wel konden volhouden en het bedrijf heeft drie jaar bestaan en toen was het op. Intussen is zijn compagnon werkzaam bij een bouwbedrijf en, Harry, werkt thuis aan zijn ontwerpen en logo’s. Nu is hij dus letterlijk de eenzame strijder. Het onheil heeft hij over zichzelf afgeroepen, maar hij blijft vechten voor zijn bestaan. Het enige dat hem staande houdt is zijn geloof. Hij onderscheidt zich door prachtige ontwerpen, maar die worden verkocht in een commerciële markt en worden niet als kunst erkend, maar als een vervulling van een opdracht. Zijn opdrachten hielden hem lange tijd staande, maar ook, Harry, moest op zoek naar ander werk. Hij vond dit in de vorm van een muziek-bedrijf, MOD, Music On Demand, en is daar eindredacteur, niet slecht. Tussen al de troebelheden van de maatschappij biedt de, Rock ‘N Roll, voor het individu vertrouwen. Harry, laat zich nooit ontmoedigen en gelukkig voor hem leefde zijn muziek helemaal op in de jaren negentig. AC/DC, is zijn favoriete band en juist die deden het voorprogramma van de Stones. Intussen gaan de geruchten over, AC/DC, dat zanger, Brion Johnson, in, Moskou, gaat optreden, met het Russisch filharmonisch orkest. Harry regelt dit bijvoorbeeld. Harry, is een moderne zwerver, met altijd geld! In iedere donkere periode schijnt altijd het licht van de verwondering. De kanonnen, die altijd gepaard gaan met een optreden van concert van, AC/DC, worden vervangen door de echte kanonnen van het Russische leger. Tot zover de laatste geruchten in, April, 2005. Ik heb er weinig van gemerkt. Volgens mij is dit optereden nooit doorgegaan. Maar, Harry, was destijds zeer enthousiast. Hij ziet licht, in het pikkedonker. Ook zal, J.C., inmiddels zijn ontslagen door de, Stones, omdat hij kaartjes zou hebben verkocht. Voor, Harry, en mij betekent dit slecht nieuws. En inderdaad, na 2003, was het betalen om naar binnen te komen. Trouwens, na vier tournee's was mijn geld toch echt op. In, 2006, en, 2007, Bigger Bang Tour, stopte ik met het volgen van alle optredens. Harry, en ik, beseften heel goed dat onze tijd voorbij was. Harry is aan de grond, ging terug naar Engeland en ging zich nestelen. Het laatse wat ik van hem zag, voor mijn voordeur, was hoe hij op zijn motor stapte, met een grote tas op de tank, en me die blik gaf. Dit was goodbye, farewell. Harry, en ik hebben altijd al weinig woorden nodig gehad om punten duidelijk te maken. Harry ging naar huis, na zeventien jaar in L.A. te hebben gewoond. Ik wist het. Voelde het. Dit is het einde van een periode. Juni 2009, het einde, en een nieuw begin. Mijn vriendin heeft toen nog vier jaar met alle mogelijkheden geprobeerd mijn leven te bederven, en het lukte haar ook nog aardig. Harry maakte ook haar duidelijk dat ik niets waard was. Ja, ik heb slaapproblemen, en ben een wrak. In 2014 heeft ze een ander en ik vraag daarom af: hoelang heeft ze al een ander? U moet weten dat ik geen twee minuten weg mocht. Zij had besloten dat ik vreemd ging. En nu moest ik boeten. Harry woonde destijds bij me in, en vond dit helemaal prachtig. En dan ineens kwam er mailtje; kom je nog naar Hyde Park? Ik zei: Nee. Ik peins er niet over. Do you want to melt down on the field, I replied. En dat was het dan. De kunst is om de lichtpunten te zien en, Rock ‘N Roll, is een lichtpunt. Rock ‘N Roll, maakt je blij. Het laat mij zingen. Zomaar. Vooral als de omgeving zo somber is. Het biedt gewoon houvast, dat juist voor gitaristen, die door en door naar de klote zijn, toch nog hun talent de kans geven. De klank van een akoestische gitaar is vergelijkbaar mooi als de klank van een harp. Hun talent om de gitaar te spelen, zullen ze nooit verliezen. Een gitaar klinkt altijd, moe of niet. Zo moet ook, Harry, gedacht hebben. De heldere klanken van inspiratie klinken door en je vergeet de rest. Harry, wist dus zijn droom vast te houden. Ik zal dit van hem overnemen, als levensles. Achteraf is dit de les van de, Stones: “Nooit opgeven en altijd vertrouwen in jezelf houden. Er is op deze aarde ruimte genoeg voor ook jouw persoontje.” Als, Keith, inderdaad te weinig talent zou hebben, is dit nog meer waar.

In de periode van de rechtzaak was ik ook al gecrashed en woonde weer bij mijn ouders in, samen met mijn vriendin, Moniwi en dat ging ook helemaal niet goed. De trip naar, Engeland, bleek de relatie met, Moniwi, te breken, omdat ze niet mee mocht van mij en dus een week alleen bij mijn ouders woonde. Bij terugkomst begreep ik niets van de apathische liefde van, Moniwi, en op het vliegveld in, Amsterdam, vloog ze om mijn nek van blijdschap. Doordat ik niet in staat was dit te filteren, in wat voor, Moniwi, een laatste poging was, om toch nog iets van onze relatie te maken, heeft ze waarschijnlijk een keuze gemaakt. Ongelukkiger kon ze moeilijk worden; ik was weg en ze woonde bij mijn ouders in. Bij terugkomst was ik zo versleten, dat ik niets anders wilde dan met rust gelaten te worden. Stom rund, denk ik wel eens. Maar ja. Had ik maar van haar gehouden zoals ik nu van haar houd! Mmm, trouwens, niet getreurd, de aanspraak van mooie meisjes begint weer te komen. De ergste tijd van depressiviteit is voorbij! Het is niet voor niets, 2014, en de ellende ligt achter me, vandaar de kracht om dit op te schrijven. Daags voor de rechtzaak kwam ik aan in, Engeland. In, Londen, haalde, Harry, me op en we gingen naar zijn nieuwe flat. Wat een puinhoop, die flat met twee verdiepingen en grote kamers, maar donker en zeer groot. Ik kreeg een tablet in mijn mond geduwd, was nog niet eens binnen, en stapte toen over de drempel zijn flat binnen en werd linea recta naar de televisiekamer, met een tweepersoons bed, geleid. Harry, gaf me zijn kamer. Hij, en, Mel, waren overal door het huis. Het licht mocht niet aan van, Mel. Zijn kamer was zeer goed aangekleed voor verblijf. Perfect eigenlijk, met super-films als, Black Adder, en, David Bowie, en, Monty Pytons, “Quest for the Holy Grale”. U weet wel, die film die zich afspeelde ten tijde van, Koning Arthur, en ridders van de ronde tafel, die op zoek gaan naar de heilige graal. Ineens stond daar een politie korps, met wapenstok, de invasie van de ridders te verijdelen, en betekende hiermee het einde van de film. Verwoed zocht ik naar de oorzaak van het plotseling stoppen van de film. De video werkte wel. Na een poos ging ik, Harry, halen en die lachte het uit: ”Dat is juist de bedoeling van, John Cleese, dat je denkt dat de film doorgaat, maar door een paar agenten wordt, Koning Arthur, ingerekend en zodoende is de zoektocht naar de heilige graal afgebroken.” Jammer vond ik dat. Het begon net leuk te worden. Black Adder volgde, lang voordat hij werd ontdekt in Nederland en ik kon gewoon niet begrijpen dat er zulke goede humor bestaat. Black Adder, is, Rowan Atkinson, en belichaamt Britse humor. Niet te vertellen en dat probeer ik ook niet eens. En, Black Adder, is anderhalf uur achter elkaar proesten van het lachen. De volgende dag moesten we nog eventjes naar, Oxford, voor de rechtzaak, maar, na een paar uur voor de video, trippend en wel, maakte dat allemaal niets meer uit. Lachen. De dag zelf zou minder leuk worden, al was het resultaat van rechtzaak ongelooflijk.

De winter na de tournee van, 1990, dus de winter van, 1990 / 1991, was een ommekeer in mijn leven, Moniwi kwam terug. Niet in de laatste plaats omdat ik haar beste vriendinnen had gebruikt om haar jaloers te maken, en dat werkte. In, 1989, had Moniwi het uitgemaakt, nadat ze in de zomer in Spanje een Spaanse jongen ontmoette. Moniwi maakte het na de zomer uit en ik was zielsverloren. De naweeën ervan bestonden uit drugsgebruik en veel stappen, uitgaan dus, en zuipen. Hij, de Spaanse jongen, verlegen, mooi en perfect eigenlijk, stond voor de deur en ik liet, Moniwi, en hij een avond alleen. Urban Jungle-concerten. Dan krijg je tenminste wat je wilt en vergeet je even de realiteit. Mooier kan toch niet? Niets dan. Al het touren zou volgen. Bovendien trok ik tijdens de, Steel Wheels Tour, bij mijn oom en tante in, na de zomer van, 1989. De eerste paar maanden voelde de vrijheid goed aan. Vrijheid in doen en laten, uitslapen bijvoorbeeld. Thuis blijven, bij mijn vader en moeder bleek niet te kunnen. Mijn hoofd spookte en ik sliep niet. Ik voelde me teugelloos en moest weg. Bij mijn oom en tante sliep ik nog steeds slecht, maar omdat ze des morgens weggingen, kon ik toch overdag bij slapen en voelde me redelijk. Ik kon mijn eigen ritme gaan bepalen. Op een gegeven moment kreeg mijn oom in de gaten dat ik vooral overdag sliep en alleen leefde voor het voetbal. Op dat moment droomde ik nog van idealen, zoals het worden van een goede voetballer. Talent had ik, maar mijn lichamelijke gesteldheid werkte niet mee om door te breken. Zo kwam de marihuana van mijn oom en tante, langzaam in mijn leven als slaapmiddel, maar drank en drugs waren gelukkig, ook voor mijn oom en tante taboe. Want drank en drugs maakten je kapot. Weed niet? Nee, volgens hen kon weed geen kwaad. Want dan sliep ik lekker en was ik niet tot last. In de winter van, 1991, in, Februari, ging mijn opa dood en net voor die tijd werd ik het huis uitgezet, geplaatst in een kleine flat. Mijn oom en tante hadden deze flat geregeld, en ik kon mooi daar wonen. In die zes maanden tijdens mijn verblijf aldaar was ik verwend, letterlijk gedrogeerd en mijn baantje kwijt bij de catamaran-importeur, omdat ik voor mijn oom ging werken. Op school ging het slecht en ik bleef ook zitten dat jaar. Ik hunkerde naar weed en seks. Allebei was het op mij flatje in overvloed voorhanden. Moniwi, had altijd zin, en ik ook. Bovendien werkte ik toen voor een klein aannemertje die me grof betaalde. Geld was er gelukkig genoeg om de levensstijl te handhaven, voor een tijdje. Niemand kon werkelijk iets doen. Mijn grootste passie, voetballen ging ook niet meer en ik verspeelde mijn plaats in de selectie en ik moest nu gaan ploeteren in de zogenaamde B-selectie. We werden dat jaar wel kampioen, en het jaar daarop ook en ik heb gelukkig mooie wedstrijden gespeeld en bovendien kwam ik na een jaar in de, B-selectie, weer in aanmerking voor de, A-selectie. Direct tijdens de eerste training van de A-selectie ging het niet. Ik moest afwerken op doel. Mijn enkel was verrekt, mijn bovenbeenspieren waren verrekt, maar dat verzweeg ik natuurlijk. Ik leerde de regels van de straat. Ik moest vechten voor mijn vriendinnetje, ik moest vechten om de school te halen, ik moest vechten op mijn werk. Ik moest een huis bouwen en blijven functioneren. Kortom, ik was naar de klote, en dat voor iemand van, 21 jaar! Ik voelde me tachtig of nog veel ouder. Ik kon, tijdens die selectie-training niet aanzetten en niet schieten en precies die training ging het om felle sprints gevolgd door afwerken op doel. Ik was niet explosief en kon niet voluit schieten, kortom, raakte geen bal en de trainer keek me vertwijfeld aan. Ik kon goed voetballen, passeerde verdedigers met alle gemak, maar in deze training ging het niet om een mannetje te passeren, maar het kwam aan op kracht. De trainer was een Amsterdammer en had veel meegemaakt met zijn pupillen en spelers, maar hoe ik erbij liep was klaarblijkelijk voor hem zelfs deerniswekkend. Met spijt in zijn stem en handelen zei hij niet te begrijpen waarom juist de meest getalenteerde speler, linksbuiten nog wel, zo gebukt gaat onder spanningen. Het waren niet alleen spanningen trainer. De reden dat ik letterlijk steeds door mijn benen zakte was meer, plus het gevoel onbegrepen te zijn en zoals ik later begreep, geluk dat ik ontbeerde, daar waar ik zo gewend aanraakte in de Jaren Tachtig. Mijn bovendijbeen was gescheurd, maar ik zei dit niet. En, we moesten toen precies, natuurlijk, schieten van afstand, afwerken vanaf de tweede lijn, 20 meter van de goal. En bovendien kreeg ik in de grote partij, aan het einde, gewoonweg de bal niet toegespeeld, hoe vrij ik ook stond. Ik werd, “even”, door de, A-selectie, genegeerd en zo ontnamen ze me mijn kans iemand te passeren en een opening te vinden. Ook de plekjes in de kleedkamer zijn voor de grote jongens. Toen vond ik het opzienbarend en kinderachtig en vooral stom om zo opzichtig met de aanvoerders-band te lopen, alsof er nooit een andere zal komen. Werkelijk hilarisch wordt het toneel in de kleedkamer voor de wedstrijd of training als ze blijven staan en grapjes maken, en jou wegkijken, en ik me inderdaad zo gespannen voelde en ergens anders ging zitten. En ik vond dat niet erg. Met inderdaad spot verliet ik dan mijn stelling en zocht een andere kapstok uit, ver weg van de verwarming. De aanvoerder van het elftal was goed en had een perfect atletisch, halfbloedig en dus een aanstekelijk lijf voor de oudere heren, kon de bal goed raken, maar had tijd nodig in de aanname. Hij was ook een goede kickbokser en hier pronkte hij mee door middel van zijn hardheid. Maar met alleen een bal,

From www.architectsjournal.co.uk/buildings/elizabeth-line-grim...

 

The Elizabeth line: Grimshaw’s line-wide Crossrail design

 

18 MAY 2022 · BY ROB WILSON

 

To bring this vast mass transit system together design-wise, Crossrail established an in-house architecture team. The guiding idea, as its head, Julian Robinson, says, was ‘… the train as the common factor. We worked out from there to create a consistent experience across the line: so there’s most design consistency at platform level, with the stations becoming individually more distinctive as you move to the street above’.

 

Grimshaw was appointed to lead this ‘line-wide’ design, tasked with forging a common identity with standardised architectural components and products across platforms, concourses, escalators and ticket halls. This palette of elements interfaces and integrates with the work of 10 architecture practices appointed for the individual station designs to street level, including John McAslan + Partners, Adamson Associates, Allies and Morrison, Aedas, WilkinsonEyre, Weston Williamson, Hawkins\Brown and BDP.

 

Some have commented that this design hierarchy inverts previous London Transport station design thinking, when recognisable burgundy-tiled tube entrances stood out against the cacophony of the street while at platform level varying colours and materials identified different lines and stations. In fact, much of the latter, such as the oft-cited Paolozzi murals at Tottenham Court Road, were later additions to the original design. The main wayfinding identities, in any case, as across the whole TfL network, will be the distinctive decals and signage – reworked in the distinctive purple for Elizabeth line Stations by Grimshaw with consultants Atkins and Maynard Design.

 

Grimshaw has developed what Neill McClements, a partner at the firm, calls a ‘family of elements’ in a series of design packages. Besides signage and wayfinding, these include tunnel cladding, platform edge screens, flooring, lighting, seating, poster frames, fire equipment cabinets, handrails and balustrades, and integrated communications equipment. Everything went through rigorous testing and prototyping, including full-size mock-ups of sections of station.

 

Of the packages, the most defining, ubiquitous element, particularly in tunnel stations, is inevitably the cladding. Formed of creamy glassfibre-reinforced concrete (GFRC) panels, their matt surface is enlivened subtly by tiny pieces of embedded mica. These hug the tunnel linings tightly, ‘shrink wrapped’ as an ‘expression of the engineering, capturing as much space as possible’, as McClements puts it.

 

The continuous surface flow of tunnel sides and roof leaves the impression of being inside a CAD parametric model, reflecting, no doubt, the design process. Particularly impressive tectonically are the tunnel junctions, where the sides appear to lean back as you approach, in contrast with the sharp blind corners found in circulation tunnels on the tube. This contributes to creating, says McClements, a ‘stress-free environment’, its seamless consistency helped by the standardisation and reduction of tunnel and junction-types from over 80 initial forms to just nine, which also brought economies of scale in manufacture.

 

The clear sightlines and sense of openness are also beneficial for security reasons. What other ‘Inspector Sands’-type security design measures there are – around blast-paths and so on – McClements is understandably not at liberty to divulge. At high-level, the GFRC panels incorporate acoustic attenuation perforations, which contrast with the plainer low-level panels, giving an orientating wall-ceiling definition to the tunnels, the perforations serving as a rhythmic decorative device animating the concourses and tunnels.

 

The tight fit of cladding to tunnel means other elements, such as lighting and signage, were developed as standalone components, which also aids maintenance. Particularly effective is the lighting along the tunnelled platforms, which takes the form of a strip of light box incorporated into the top of the platform edge screens, throwing light onto and down the GFRC cladding behind the platform, a softly diffusing rather than harshly reflecting light. The lighting modulates between colder in so-called ‘fast spaces’, such as cross-passages, and warmer in ‘dwell spaces’ such as platforms.

 

The platform-edge glazed security screens are impressive all-of-a-piece components, incorporating not just train information but advertising, too. Similarly well-conceived and multi-tasking are the prominent signage ‘totems’ in the concourses, which accommodate lighting, speakers and CCTV.

 

The consistent design language and environment created by the ‘family of elements’ is strongest at platform level in the five tunnelled stations. Box-constructed stations and ticket-halls meanwhile, have Grimshaw-designed components incorporated into environments and detailing designed by others.

 

Having visited a few Elizabeth line stations, a general observation is that in the search to establish their own expressive characters, the architects have flexed their individual design muscles by working simple but bold combinations of material, texture and form across walls or soffits in particular. Witness Hawkins\Brown’s patterned glass panels and can-shaped light-fittings at Tottenham Court Road Station, the larch roof structure at Abbey Wood designed by Fereday Pollard – or the rippled, ribbed cathedral-like concrete soffit designed by WilkinsonEyre above the escalators at Liverpool Street.

 

Apart from the purple signage branding, and exceptions such as Hawkins\Brown’s glass panels, there is a noticeable lack of rich colour, compared with, say, the gutsy blue tile used by Will Alsop on the Jubilee line’s Southwark Station. The result is that even small accents of colour – such as the striped banding around platform columns at Woolwich that reflect regimental colours associated with Woolwich Arsenal – make an impact, simply establishing a distinctive character.

 

Similarly, the incorporation of art is strangely underplayed, appearing often as single, contained pieces rather than animating stations as a whole – as the Paolozzi tiling does – although the ‘trackside wall’ installation by Sonia Boyce running through Custom House, Silvertown and North Woolwich is perhaps an exception. It reflects, perhaps, the fact that the funding of the art was essentially an added extra in the Crossrail project, subject to sponsorship and, disappointingly, not part of the core budget.

 

However, given all the constraints, this is an incredibly impressive project – a total work of engineering – which is extraordinarily controlled and consistent in its delivery. And it is one that will undoubtedly improve the lives of people across London and beyond.

 

While the balance between bland, brand and the joie de vivre of travel on the Elizabeth line seems a touch too weighted towards Marc Augé’s ‘Non-Place’ genre – and one could certainly wish for a little more visual richness at times – in truth it’s difficult to assess its success without the usual hubbub of people animating the spaces. In any case, as with all infrastructure, there will no doubt be an inevitable accretion of  ‘stuff’ and unplanned character over time. Given that this gargantuan project is designed for a 120-year lifespan, there’s certainly time.

bauhaus building, dessau, germany, 1925-1926, architect: walter gropius

 

Gropius consistently separated the parts of the Bauhaus building according to their functions and designed each differently. He thereby arranged the different wings asymmetrically – in relation to what is today the Bauhausstraße and the Gropiusallee respectively. In order to appreciate the overall design of the complex, the observer must therefore move around the whole building. There is no central viewpoint.

 

The glazed, three-storey workshop wing, the block for the vocational school (also three storeys high) with its unostentatious rows of windows, and the five-storey studio building with its conspicuous, projecting balconies are the main elements of the complex. A two-storey bridge which housed, e.g., the administration department and, until 1928, Gropius’s architectural practice, connects the workshop wing with the vocational school. A single-storey building with a hall, stage and refectory, the so-called Festive Area, connects the workshop wing to the studio building. The latter originally featured 28 studio flats for students and junior masters, each measuring 20 m². The ingenious design of the portals between the foyer and the hall and a folding partition between the stage and the refectory, along with the ceiling design and colour design, impart a grandiose spatial coalescence to the sequence of foyer-hall-stage-refectory, shaping the so-called Festive Area. The façade of the students’ dormitory is distinguished in the east by individual balconies and in the south by long balconies that continue around the corner of the building.

 

The entire complex is rendered and painted mainly in light tones, creating an attractive contrast to the window frames, which are dark. For the interior, the junior master of the mural workshop, Hinnerk Scheper, designed a detailed colour plan that, by differentiating between supporting and masking elements through the use of colour, aimed to accentuate the construction of the building.

 

E.K.Yap, the MPA & MPAS multi-award winning photographer, has created many iconic masterpieces and photographed covers & campaigns for influential publications & luxury brands. His projects include Patek Philippe, Breguet, Chopard, Bvlgari, Cartier, Chanel & Franck Muller to name a few.

 

With his wide-ranging experience in art as a creative director in the advertising & publishing industry, he consistently achieves the best results with his precision skill, specialising in luxury projects particularly jewellery, timepiece, product, interior, portrait & fashion.

 

PHILOSOPHY

“I'm passionate in capturing more than just a beautiful image, I like to craft an inspiring masterpiece with soul & meaning”

 

AWARD

Advertising/Advertorial/ Editorial - MPA Far East

Architecture/ Cityscape/ Interior - MPA Far East

Illustrative & Creative - MPA Far East

Fashion - MPA Far East

Still Life - MPA Far East

Best Cover - MPAS

 

PROJECT

A. Lange & Söhne/ Audemars Piguet/ Azimuth/ Aston Martin/ ABN Ambro/ Arium Collection/ Arcatel/ Anlene/ Aqua Culture/ Adidas/ Aries Gold/ Bvlgari/ Breguet/ Bottega Veneta/ Boucheron/ Blancpain/ Breitling/ Baker Furniture/ BBDO/ Borobudur/ Bonhams/ Berggren Jewellery/ Cartier/ Chanel/ Chopard/ CitiGold/ Carat Club/ CapitaLand/ CLIO/ CEL Development/ Coty/ Confetti by Mui/ Canon/ Dolce & Gabbana/ Distillery/ D Editors/ Dell/ Franck Muller/ Flower Diamonds/ Fujitsu/ Fuchsia Lane/ Farm Best/ Ferrari/ Girard-Perregaux/ Genting/ Green Chapter/ Gucci/ Geyer/ Harry Winston/ Hassell Studio/ Hilton Hotel/ Heeton/ Hublot/ Hassell Studio/ HDB/ Hermès/ I.D.Department/ IWC/ Image Bank/ ICI Duluxe/ Inoue Japan/ Jobstreet/ Jaeger-LeCoultre/ Johnny Walker/ JOID/ Kwanpen/ Krieit Associate/ KrisShop/ KFC/ K-Suites/ Louis Moinet/ Levi’s/ Lalique/ Luminox/ Lloyd’s Asia/ Ladurée/ Lush Radio/ Louis Vuitton/ Leonard Drake/ Livita/ Lifelink/ Manolo Blahnik/ Montblanc/ Mediacorp/ MCL Land/ Mirinda/ Marc Anthony/ Maxis Mobile/ Novetel Hotel/ NTU/ National Geographic/ Omega/ Patek Philippe/ Piaget/ Philips/ Playboy/ Prada/ Pepsi/ Pure Earth/ Richard Mille/ Rolex/ Roger Dubuis/ Resort World Sentosa/ Richemont/ Reebonz/ SkysShop/ Singland/ Splendor/ Sarcar/ Sinn/ Shangri-La Hotel/ SIA/ Shelton/ Sally Hansen/ Skin Science/ StarAsia/ Skin79/ Sally Hansen/ Sports Toto/ Spritzer/ 7-Up/ The Mill/ Tag Heuer/ Tiffany/ Transware/ The Hour Glass/ Tudor/ TV3/ Universal Studio/ Ulysse Nardin/ UOI/ UOB/ Vihari Jewels/ Vacheron Constantin/ Van Cleef & Arpels/ Wild Rice/ Zenith

 

EDITORIAL

August Man/ Affluent/August Women/ Appetite/ Adore/ Awesome/ Business Time/ Baccarat/ Business Craft/ Crown/ CitaBella/ Esquire/ ELLE/ Fiori/ Golf Vacations/ Harper’s Bazaar/ Inspire Travel/ Jewels & Time/ Jewellery Craft/ L’Official/ Luxury Guide/ Luxury Insider/ Luxx Jewellery/ Legacy of Singapore/ Men’s Folio/ Man Stuff/ OASiS/ Prestige/ Prestige Lifestyle/ Pen Craft/ PC World/ PC Magazine/ Robb Report/ RWS Invites/ Solitaire/ Style/ Tatler/ Tatler Wedding/ Tatler Home/ Time Craft/ TiCTalk/ World of Watches

Inspired by the consistently sold-out Writing for Film & Television Summer Intensive Program, the Two-Weekend Intensive was designed for aspiring film and television writers with busy weekday schedules. Over the course of two weekends, participants learn a variety of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.

 

Find out more about VFS’s one-year Writing for Film & Television program at vfs.com/writing.

Around the Sourderie's lake: a consistent architecture programme

The construction of the Lake Temples in 1986 ends the area made by Catalan architect Ricardo Bofill. These 200 apartments add to the 387 ones of the Arcades and the Viaduct (1979-1982) located on the other side of the reservoir of rainwater. Despite its location straddling two towns, this whole housing all around the lake, now shows a strong unity, reinforced by the lake itself designed as a link. The architecture of the Lake Temples is another aspect of "Versailles for the People" wished by the architect. It also reminds the Greek antiquity, among other things because of the triangular pediments at the top of the buildings. These references to historical shapes, combined with industrial construction techniques, are characteristic to the post-modern movement.

Source: City information panels

Very rare tilting Great Helm, probably Bruges or Brussels, circa 1490-1500, adapted for a funerary achievement. In the heavily patinated condition consistent with armour preserved in churches, with tall finely formed skull rising to a low medial ridge extending rearwards to the base of the nape, the base drawn out in a blunt point over the top of the spine, studded with domed lining rivets, pierced for visor pivots, and pierced for a crest, now carrying a hook for funerary suspension, the visor of heavy guage construction now riveted static, the front formed with a blunt prow, full length medial ridge, basal flange, the lower edge of the sight projecting forward of the upper edge, and cut with a single rectangular ventilation port on the right. H: 35 cm - L: 28 cm - W.: 23 cm - Wt.: 4650 g. Provenance: Sotheby's London, 21 May 1974, lot 186 (illustrated). A similar Great Helm was displayed over the tomb of John Darell, dead in 1438, in Little Chart church, Kent. Another in St. Botolph's church at Lullingstone, Kent, is almost certainly that of Sir John Pechy, dead in 1522. On the basis of a comparable etched armet for the field made in the Royal Armoury at Greenwich, Sir James Mann concluded that this helm, as well as all others of this type, was of English manufacture. More recently, an armourer's mark struck twice, a crowned H, was noticed on Sir John Pechy's helm. Claude Blair suggested that it could be the mark of "Han" or "Hans" Jehan Watt of Brussels, chief supplier of armour between 1495 and 1508, according to the Burgundian Treasurer's accounts. This mark is also found on an armour for the Joust Royal, made around 1500 either for the Emperor Maximilian I or for his son Philip, and on a cuirass made for Philip IV (The Handsome), Duke of Burgundy, each preserved in the Imperial Armoury at the Kunsthistorishes Museum, Vienna (No. S.II and A109a). A tilting helm for the Jousts of Peace or Joust Royal, struck with the same armourer's mark, is in the Royal Armouries Leeds (IV. I); its skull is of an identical design to the present example. The attribution of this tilting helm to the armourers' workshops of Bruges or Brussels is supported by the similarity of its shape with documented examples, and by the historical fact that English armourers of this period did not have an international reputation; this was acquired only in the early 16th century through the works of the Royal Almain Armoury at Greenwich. At the end of the 15th and the beginning of the 16th century, the English wealthy aristocracy was seeking its armour in Northern Italy and Southern Germany, and also from the famous Burgundian workshops. See, LAKING, Guy, A Record of European Arms and Armour, London 1920, vol. II, p. 153, ill.491a & volume V p.195. MANN, James, Two helmets in St Botolph's Church, Lullingstone, Kent, The Antiquaries Journal, April 1932 (vol. XII, No.2), pp.136-141, pl. XXVII. BLAIR, Claude, The Lullingstone Helm, The Antiquaries Journal, 1998 (vol. 78). DUFTY, Arthur Richard, European Armour in the Tower of London, 1968, pl. LXXXIII. SOUTHWICK, Leslie, The Great Helm in England, Arms and Armour Journal of the Royal Armouries, vol.3, No. 1, Spring 2006, pp. 5-77, fig. 47 p.54 & fig. 58 p.64.

 

Nowadays the helm can be seen in the Château Castelnaud, Dordogne, France.

Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1

 

BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.

 

The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.

 

Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.

 

"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."

 

Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.

 

"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."

 

Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.

 

"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."

 

Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.

 

"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."

 

Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.

 

"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."

 

Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.

 

"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."

 

When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.

 

Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.

 

Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.

 

"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."

 

Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.

 

"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."

 

When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.

 

Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.

 

Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.

 

For more information, log onto www.aspworldtour.com

  

RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37

Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00

Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60

Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27

Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00

Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53

Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67

Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50

Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07

Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17

Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83

Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93

 

RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)

Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)

Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)

Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)

Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)

Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)

Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)

Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)

Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)

Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)

Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)

Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66

Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54

Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63

Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50

Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47

Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)

Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)

Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)

Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)

Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)

Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)

 

Photo ASP/Scholtz

Heres the Full book of Stacey Salt.

 

Chapter 1 - Her teen years

Chapter 2 - From rich to super rich

Chapter 3 - Time with her parents

Chapter 4 - The greedy upgrade

Chapter 5- Veronica

Chapter 6 - The wishes of Veronica

Chapter 7 - Shiny in space

Chapter 8 - Planet Cyperubberon

Chapter 9 - The neon throne

Chapter 10 - The golden queen

Chapter 11 - War fleet of Cyperubberon

  

Chapter 1 - Her teen years

 

Stacey Salt's early life in Lustrousy, particularly her time at Glossme High School, established her behavioral patterns. She was described as having a high IQ but a bossy demeanor, consistently ensuring things went her way and becoming a "teacher's pet" without appearing bratty. Her romantic life in her late teens was characterized by a series of boyfriends. She consistently chose partners desired by other girls and, more importantly, those who possessed significant wealth. She would readily "upgrade" to a richer suitor, discarding previous partners without hesitation. This behavior highlights her transactional approach to relationships, where financial gain and social status are primary motivators.

 

Her preference for luxury extended to her fashion choices, with a particular fondness for shiny, shimmery, and glossy items, especially latex clothing, which she believed enhanced her attractiveness. A notable incident illustrating her character occurred in the Dome city of Orbin, where she met Kevin Kingston, a car business owner. Dressed in a skin-tight black latex catsuit, corset, over-the-knee boots, and carrying a shiny latex handbag, she approached him at a ball. Her direct question about whether he found her "hot" and her suggestion of seeing more of her later exemplify her bold and self-assured nature. This encounter culminated in her leaving with Kevin Kingston in a car reportedly worth $60 million, publicly abandoning her previous boyfriend, John, with the declaration that she had "upgraded." This event underscores her ruthless pursuit of wealth and her willingness to publicly discard relationships for financial advancement.

  

Chapter 2 - from rich to super rich

 

At 19, Stacey Salt attended a high-profile event, the "Glittery Ball of Latexonon City in the Land of Lustrousy," exclusive to the super-rich. Dressed in a distinctive red latex catsuit, layered with black latex stockings, boots, a tight mini-skirt, a zip-up top, a corset, and red latex gloves, her appearance was undeniably alluring. During this event, she initiated a relationship with Gavin Finley, leading her to end her previous relationship with Kevin Kingston.

 

Stacey's influence over Gavin Finley was significant. She leveraged her "shiny latex attractive look and voice" to persuade him to purchase Kevin Kingston's car business. Subsequently, when Gavin proposed marriage, offering her ownership of all his wealth, including his money, caves, and land, Stacey accepted. Their wedding was described as "fit for a queen," signifying the lavishness of their union. A year later, at the age of 20, Stacey gave birth to their daughter, Veronica Salt.

 

However, Stacey Salt's life post-marriage took a controversial turn. Two years after Veronica's birth, while Gavin Finley reportedly worked tirelessly to generate more income for Stacey's newly established gold and diamond jewelry company, Stacey engaged in extramarital affairs. During this period, she resided in a large mansion in Hunglix City, Glimmerland, employing maids to manage the household and care for Veronica, who was "spoiled rotten." At this time, Stacey developed nymphomania and became consumed by greed and a desire for sex and wealth, despite maintaining a "highest IQ." She would have sex with many men, one after another, and sometimes multiple men simultaneously. She would sometimes have sex all day long and sometimes into the night as well.

  

Chapter 3 - Time with her parents

 

When she was 22, she went to Rubyweath, Lustrousy, to see her parents, Lucy and Milo. Her parents were wealthy; her father, Milo, was a director who earned millions annually with his brother, Mario. Her mother, Lucy, was a best-selling author. When Stacey arrived, Milo was discussing his next major film with several men. As Stacey entered, wearing a stunning black and gold, skin-tight latex outfit, the men were captivated by her attractiveness. One man exclaimed, "Your daughter is so hot!" Milo responded that he heard that frequently. Milo came to visit her while Lucy took her to the living room as Milo returned to his friends. Lucy spoke of all the money she had acquired, stating that her beautiful daughter always gets what she wants. Lucy wanted to meet Stacey's daughter, Veronica, who was at home. Lucy asked when she would get to see her lucky husband. Stacey replied, "Not if I find an even richer one." Her mother warned her to be careful, saying, "I will truly hate the man who loves you." But Stacey giggled, saying, "Oh, Mother, you think I took him for love when I've always been the dominant one. I love money, as money gets me all the shiny, pretty things I want. You should know what I'm like by now." "Yes, sweetie, I do, but be careful," said her mother.

 

She walked into the other room, saying, "Hey, Daddy, what movie are you making? Maybe I can be a sexy girl in it?" She struck a sassy pose for the other men. Milo said they were doing a superhero movie but were also filming some TV commercials. She asked what TV commercials. One man listed, "A hairspray one, a new lip gloss, and four car commercials." Stacey exclaimed, "Oh, Papa, how could you not tell me?" She asked to be in them, stating that she wanted to be "super sexy hot" and that she loved modeling for TV commercials. She was pole dancing in a sexy red latex catsuit and over-the-knee boots for the hairspray advertisements. In the lip-gloss advertisement, she wore a shiny gold latex long dress, corset, long gloves, and boots. The car advertisements were very sexy. In one, she was on the hood of a car in a black latex catsuit, corset, and boots. In another, she wore a black latex mini-skirt, a top showing her cleavage, and black latex stockings. It was raining on her, and she was pouring a bucket of water down her top with a provocative look on her face. Another car advertisement featured a purple car, where she wore a pink latex schoolgirl outfit, held a lollipop, and had twin-tail hair. The last advertisement showcased a golden car, from which she emerged in a full gold latex outfit with a cape and a queen's crown, walking down a red carpet like a queen.

 

She approached her father during the shoot to inquire about her appearance in the outfits. He expressed discomfort, particularly with the suggestive car advertisements featuring the schoolgirl outfit. She told her father that she wanted 75% of the money earned. The others stated they could pay her up to 30%, but she negotiated for 40%, arguing that as a supermodel, her recognition would lead to increased viewership of advertisements and higher sales. She also mentioned, with a giggle, that some would be particularly interested in watching the car advertisements.

  

Chaper 4 - The greedy upgrade

 

The largest city in Variclex, Ultacash, was located in southern Orbin and governed by Mayor Connor Johnson. Rumor had it that Connor Johnson invited Gavin Finley to the Royal Ball in Dome City, Orbin. Stacey, known as "Shiny-Stacey" due to her fondness for latex, accompanied Gavin. The Mayor met Stacey and requested a dance. Gavin, aware of his wife's mercenary nature and Connor's superior wealth, land, and fame, grew apprehensive. Upon learning of Connor's influence and marital status, Stacey pursued him and divorced Gavin. Gavin stated that all his money and properties were to be hers. Consequently, she took possession of everything, disposed of Gavin, and reverted to her maiden name, Salt.

 

She spent a considerable amount of time in Ultacash City. Not all areas of the city appeared impressive from the outside, as it was dominated by towering skyscrapers. However, each skyscraper was owned by affluent individuals, and their interiors were luxurious. She would walk the streets of Ultacash City accompanied by six bodyguards, funded by Connor Johnson, for her protection. Everyone in the city recognized her, and many attempted to photograph her. She had her own limousine, but she enjoyed walking and shopping for latex and makeup, as well as showcasing her appearance.

 

When Veronica was 10 and Stacey was 28, Stacey ensured Veronica attended Shiny High, a prestigious school for latex enthusiasts in Glimmerland. Stacey was still dating Connor Johnson but wished to retain her birth name. At this time, she was known as the "Golden Girl," and her daughter was known as the "Shiny Latex Princess."

  

Chapter 5 - Veronica

 

Veronica was left with half of Stacey's money. Stacey wanted the best for her daughter, not out of love for Veronica, but because she loved fame and wanted her wealth to be newsworthy. Veronica also became a latex model and was very famous. When Veronica was 14, she controlled her school. She was known for being one of the prettiest girls in Shiny High. She showed off her money and flashy outfits. When Veronica was 15, during a school trip, she asked her teacher to take the class to Hunglix City. Being the teacher's pet, she asked to go into the palace to see Prince Casper. Veronica ruled the school, as no one dared to reprimand her, fearing lawsuits from her parents. She leveraged her charm and knew that boys were captivated by her. With millions of fans on social media, who consistently praised her beauty and expressed their admiration, she sought to dominate Prince Casper, who was 18 years old.

 

Prince Casper, seeing her catwalking up the red carpet, came to greet her. Casper was crushed by her stunning appearance and knelt before her. He said he would do anything she asked. He said, not thinking, as his lust for her blinded him, "I will give you anything you want to show my love for you." Veronica giggled. He gave her a sheet to sign, stating, "It's on paper, anything that you want." She took the pen, grinning, and signed her name. She then asked for his throne and a gold crown. The prince did as she asked. He was shocked by what she had asked for but was captivated by her beauty. Princess Casper was designated as the guardian of this magical cave, responsible for preventing the misuse of its powers. However, she was now the princess, and he had been uncrowned by her orders, losing all his land, including the Cave of Wishes.

 

The rest of her class, most of whom were unhappy to do so, bowed to her. The teacher then took them as Princess Veronica ordered. She made Casper show her the cave. Casper said, "The cave is a living entity of great power that holds the order of all things. It is only meant to be used in times of need." She replied, "Whatever, it's mine now." She walked into it alone; it was made of white crystal. A being spoke to her, saying, "You get one wish per day." Her first wish was, "I wish to be forever spoiled and showered with gifts every day." This wish led to people feeling compelled to buy her gifts and fulfill her requests. For instance, she approached a lottery winner who had won $26,000,000. Dressed in a latex outfit, she persuaded him to give her all the money. That night, she went out to show off in a few nightclubs in her city, as Prince Casper had no power over his land and his father, King Ali, was overseas. Veronica knew Casper would be in serious trouble for giving away the throne and caving, but Veronica did not care.

 

At this time, Stacey, aged 33, was overseas in Ultacash City, where she had opened a gold shop called Gold-Gloss. She learned from the news what her daughter had done, wishing she had done it herself sooner. She contemplated how much she could have gained had she attempted to take the Cave of Wishes. She considered that if her fifteen-year-old daughter took the throne on a school trip, she herself could have been Queen Stacey by now. However, she was very jealous of her daughter, who was not Princess Veronica. Her jealousy was so intense that she did not even call her to discuss it.

  

Chapter 6 - The wishes of Veronica

 

Stacey knew the rules of the cave: Veronica's wishes would multiply by three until she ran out of time in her life to make them. Stacey deemed her daughter young and unwise, believing she would make wishes that were nothing to fear. Veronica's next wish was "to have the hottest latex outfits." This wish manifested in her acquiring a vast collection of highly desirable latex clothing, all made for a perfect fit and with the highest shine. This enhanced her stunning beauty, making it even harder to refuse her. Her third wish... "I wish to have my entire palace, including all furniture and decor, made of the shiniest latex." This wish transformed her living environment into a latex-themed domain. She walked out of the Cave of Wishes into a shiny latex lair. She walked on a hot-pink latex carpet and sat on a hot-pink and black latex throne, commanding all to bow to her.

 

Stacey learned from the news that Veronica now possessed a shiny latex lair. However, Stacey owned numerous homes filled with shiny gold, and some with gold, silver, and gems. Stacey knew she could acquire all the shiny latex she desired if she wished. While Stacey was at a ball, showcasing her alluring, shiny outfits, many discussed Veronica. Some approached Stacey, suggesting she speak with her daughter, stating that with the magic cave, the more one takes, the less the world will have. Some mentioned that the weather in Hunglix had turned stormy and the grass around Veronica's palace had vanished. But Stacey said she is high-class, like her mother, and has the best maids and butlers to take care of her.

 

Chapter 7 - Shiny in space

  

As Veronica evolved into a queen and sorceress, Stacey acquired her own train, the "Quick-Gold," and a starship, "Star-Light-112." She traveled to Rubberoni, a starship port, with plans to conquer the city planet Cyperubberon with her beauty and establish herself as queen, abandoning her "bratty latex daughter." She aimed to make the kings of Cyperubberon worship her. She used her train to transport her latex clothing, gold, and money to the spaceport. Many from Shiny High, seeking to escape Veronica's rule, did not want to be under the power of an evil latex teen queen. Others, mostly men, joined Stacey's journey.

 

The starship, a mile long and resembling a seven-star hotel, was rubberized to accommodate Stacey's preference for latex and equipped with amenities such as swimming pools and bars. Stacey, who had become the second richest person on Variclex, controlled Connor Johnson's finances. However, she, like everyone else, observed her wealth diminishing due to Veronica's powers and the Cave of Wishes. Stacey also demanded a large supply of sex toys from Connor Johnson, which proved difficult to obtain as Veronica owned all sex toy factories. Veronica sent Stacey a taunting text saying, "Taking some toys, are we, while they're all my toys, giggles." This led Stacey to block her and initiate a hyper-jump.

 

Even in space, Stacey's nymphomania persisted, and she hosted constant "gangbang sex parties," enjoying herself to the maximum. Connor Johnson, though unhappy, remained with her, acknowledging she only dated him for his money, just as he only dated her for her sexiness. Connor attempted to save Gavin Finley, her ex-husband, who was not as fortunate. Stacey was pampered like a queen. She expressed regret that she had not taken the throne herself, had she known Prince Casper of Hunglix City would be so easily swayed by an attractive woman. She told Connor that if she had known Prince Casper was foolish enough to give the throne to a 15-year-old he had a crush on, she would have taken the throne and declared herself queen. Connor knew her plan was to take over Cyperubberon, as Stacey was the source of Veronica's greed. Stacey was behaving promiscuously, as all rules on her ship were her own. Despite being light-years away from Variclex, Stacey and the others noticed her gold was still disappearing on the ship, a testament to Veronica's growing influence.

  

Chapter 8 - Planet Cyperubberon

 

Still within the galaxy, T-666bx-LTX, but 169 light-years away from Variclex, which with hyperspeed took 169 days. Stacey's starship, "Star-Light-112," hovered in orbit over the planet Cyperubberon, which glowed with neon lights. She got excited, pushing her dildos deeper into her pussy, the other up her ass. She slid her hand over her latex body, saying, "A new world, and it's going to be all mine." She told her men, "When I'm there, you will open doors for me and do everything I wish... understood?" "Yes, there," they said. "Yes, what?" she said very dominantly. "Yes, my queen!" said the men. A call came into her ship saying, "Welcome to the Cyperubberon Spaceport. I'm Rin Tanaka, but you can call me Rubber-Rin. I'm a technician here to help with any maintenance. I've scanned your ship, the Star-Light-112. I see you have 58 people aboard. If you can hover down to the shipping port, I'd be happy to help." Stacey told Connor to bring the ship down. While doing so, she went to do her makeup to doll up a bit more. She had tons of latex outfits, but when she went to her money and gold room, it was almost all gone. She could see it teleporting away. She knew it was due to the greedy power of her daughter, Veronica, which made her very unhappy. She planned to be the richest in her new world.

 

Rin Tanaka watched them disembark from the ship. She was a nineteen-year-old woman with a soft voice, dressed in a pink latex catsuit, black latex long gloves, stockings, and a pink and black latex corset. Her jet-black hair was styled in twin tails, and she was accompanied by small robots. The neon lights illuminated her and her surroundings, making everything appear exceptionally shiny. She observed Stacey, who remarked, "Oh, you're pretty." Rin replied, "I know I am." She then addressed Stacey, stating, "I see you were the wealthiest lady of Variclex, also known here as VX7. It was said you had 890 billion." I see you lost it all, but it's okay. All who come here from Variclex arrive with no money, as Veronica has taken it all. However, money here is not gold or currency; it's all digital. Here's your digital money card, and all that you lost is on it. "What kind of home do you want, my lady?" Stacey wanted a large home. She used her card and acquired a palace. On the first day, she had 12 hover cars in various colors to match her outfits. She had all the best technology and AI robots to do all her housework. She could have had her men clean, but she wanted them to gangbang her every night. A doctor bot scanned her, and a doctor arrived. Upon seeing the numerous sex toys, he remarked, "My lady, you know we have a cure for nymphomania." She giggled, responding, "Why do you think I want to be cured from this wonderful illness? I love sex and lots of it. I've acquired all these sex toys and men to satisfy me as much as I want, and I've even got myself a sex machine bed to pleasure me while I sleep." The doctor inquired, "There's a cure if you change your mind." She giggled, stating she was a porn star.

 

A week later, she came to Rubber-Rin with sex toys. Rin was working on her starship. Seeing the dildos hanging, Rin said, "I love dildos too. Are you thinking of a job here?" Stacey said she was a super latex model. So, Rin listed her name on the hub as a super latex model. Stacey modeled for many latex shops and holo-ads and was the latex hottie for many music videos. She was on 8D billboards in the city and was very well known.

  

Chapter 9 - The neon throne

 

Cyperubberon was ruled by three kings and two queens. The Neon Throne, the high throne, was vacant. King Alpo, an AI bot, once occupied the Neon Throne, maintaining order across the planet, but now resided within the hub network. King Vincent, a 30-year-old human, was the only on-world ruler; the other four rulers resided on nearby planets. Stacey, having received money and sex toys from a top hacker who wished to meet her, allowed the hacker to come to her home. The hacker, an 18-year-old cyber-punk latex goth girl named Code-gold, entered Stacey's home. Code-gold admitted to having a crush on Stacey's daughter, Veronica. Stacey reacted with anger, stating, "My daughter has enslaved the world of Variclex." Code-gold responded, "I know she is so dominant; I wish to worship her. If you permit me, I can spoil her even more." Stacey refused, but Code-gold persisted, "I know you also wish to rule this world as a dominant and ambitious person. I can propose a deal. I will hack the hub and grant you access to the king, and in return, you will allow me to worship Veronica. She can whip me and be cruel to me; I find her incredibly attractive." Stacey inquired about Code-gold's plans for worshipping Veronica. Code-gold said, "Anything she wants, I will polish her latex, let her use me as a footrest; I would dig in her mines." Stacey said, "Whatever. As long as I can have this world. But if you can hack as well as you say, I not just want to sit on a throne; I want the entire world under my control so I can do and have whatever I want. If my daughter can rule a world, then I want to rule one too. I want this entire world, and as you're a bit of a bad 'good guy' wanting to help my evil daughter, then I'm sure you won't mind helping a selfish, greedy girl like me, too?" Code-gold said, "Yes, I'll make you queen, and I'll go and worship Latex Empress Veronica."

 

Code-gold hacked the Net Hub and gave Stacey the passkey to the Neon Halls. She discovered King Vincent had a crush on her, so she went to the halls. She acted alluringly as she approached the King. The King rose from his throne, saying, "I have watched you for a long time, and you are most likely the hottest model on this planet. I know your beautiful daughter Veronica rules your homeworld. Because of your beauty, I ask you to wed me and become my queen. What say you, my lady?" Stacey giggled and said she did not like following orders. The king then said, "I could never have guessed such beauty would do this. "I know you love money, and no one is richer than I. I have even made a shiny throne for you." So the king made her queen, but they were joint rulers. She was not happy about sharing, but she deemed it acceptable for the time being while she planned to rule him through her sexuality.

  

Chapter 10 - The golden queen

 

It was known throughout the planet that Stacey Salt was to be crowned queen. Many came to witness the coronation. Some worried, as they knew she was narcissistic and self-centered. They knew her story about the gold-digging rich men. The king was madly in love with her and wanted to spoil her. She had planned her coronation in advance. The city lit up, and beams of light shot into space. A platform ascended with her on it, dressed in a sexy, hot latex outfit with stunning hair and makeup, on a shiny, gold inflatable bed. Her pose was very seductive, and she was very aroused as she had powerful sex toys in her. She slid onto the latex bed, then catwalked to the new, shiny throne beside the king's. She sat, and an AI bot made of shiny gold approached with the crown. The bot announced, "We have a new queen, and she will be loved by all." The king then took the crown and placed it onto Stacey's head. A holographic form was presented for her to sign with her finger. She read the form, which stated, "If she wishes to be queen." Below was an unticked box that read, "For all rules to be made by the queen and not the king." She pressed that button when the king was not looking and said, "Sharpy, all done, take it away," to the bot. Queen Stacey of Cyperubberon wore a greedy grin as she ticked boxes that were not meant to be ticked. Her greed assured her that this would benefit her, but not the king.

 

After many wealthy individuals gathered at the royal ball, the common people departed. While Stacey chatted with others, the King read the holographic letter and discovered, to his shock, that she had checked the box allowing her to circumvent any rule she desired. The King requested to speak with her. He presented her with the letter, asking, "I think you made an error?" She replied that she had done it intentionally, as she wished him to be subservient to her and desired to rule as she pleased, stating, "You think I care about you and what you want? It seems you do not know how assertive I can be. And just so you know, I am going to be a very unconventional queen. It is now my palace, so I will do whatever I want." She walked away from the king as if he were a commoner.

 

That night, she returned to her palace. The King had arrived before her. She shouted at him, "Did I say you could come home before me? I am in charge, not you." He knelt on the floor, saying, "I am sorry. I came home to get things ready for you, my Queen." "Like what?" she said ungratefully. She went to the bedroom, and there was a shiny gold bed with latex, shiny gold bedding. She lay on the bed, fingering herself. The King stood by, saying, "Is it to your liking? I see you are horny. Do you want toys?" "Yes," she said. He rushed out. "Hurry up!" she shouted. He brought her many kinds of sex toys. She began inserting dildos into her pussy and anus. She looked at him, saying, "Don't just stand there; get more." After half an hour, the doorbell rang. The King answered the door, and there were 35 large men. He said, "This is the royal palace." She came into the hall with dildo pumps hanging out of her, saying, "I called them here; they are my sex friends. I wanted sex." The King let them in, saying, "I could have had sex if you had asked." She told him, "It's okay; their cocks are bigger than yours, and you will never keep up with my lust. But I want you to watch, as I'm a mean girl." They all gangbanged her all night long.

  

Chapter 11 - War fleet of Cyperubberon

 

As the new ruler of Cyperubberon, possessing absolute power to establish any rules she desired, a meeting was convened. She arrived, looking stunning, her latex outfit polished to a high shine. The meeting was held in the high orbit courts, within a dimly neon-lit room where all the most powerful individuals gathered. Queen Stacey made it clear that their purpose was to enhance her power, and if not, they could leave her meeting. None departed, and silence prevailed for a time. She then addressed the warlords, asking, "What do you have for me?" She said there were vast armories and spaceships that could travel anywhere within the cosmos, possessing great power to take on almost anything, except for magical entities. She looked at the bank owners and asked, "And you?"

 

"All the credits you wish, my Queen. You can impoverish the people, just as your daughter Veronica has done on the planet Variclex."

 

Stacey replied, "No, I'm not that kind of queen. Let the people of my world keep their money. However, ensure that I always have the most money and the most of everything I desire, as I am the queen. I want my people to be happy, to trust me, and to love me. And I also love myself," she said, looking into a mirror beside her. I will keep my world safe. In return, I will have all I wish, including unlimited sexual encounters in any desired manner, even in public or on my throne with others observing. I will possess the finest sex toys and the most alluring latex outfits. If I am content, I will ensure the happiness of my people. Some observed the king kneeling at her feet, restrained by a leash she held in one hand and a riding crop in the other.

 

She told the war fleet that she wished to rule over more worlds, believing that this would prevent war by uniting everyone. She mentioned the existence of powerful items on other planets and expressed her desire to acquire them if they were real. They asked what she meant by magical items, and she provided a list: magical powers, magic staffs, magical stones, power to open portals, and a wishing lamp. She stated that if there was another Cave of Wishes, she needed to reach it quickly, or somehow remove the Cave of Wishes from Veronica before Veronica's greed went too far. A few at the meeting asked what she would do with the Cave of Wishes. "You have to wait and find out," she said. She stood, saying, "Come along, slave," while pulling on the uncrowned king's leash, and walked out of the room, saying, "Get my war fleet ready."

  

More about Stacey

 

Name: Stacey Salt

 

Nick names: Shiny-Stacey and golden-girl

 

Her parents: Lucy and Mlio

 

Super rich relationships:Kevin Kingston - car business owner, Gavin Finley - gold and diamond jewelry cave owner, Connor Johnson - Mayor of Ultacash city

 

Ex husband: Gavin Finley

 

Daughter: Veronica

 

Multiverse: 0019

 

Galaxy: T-666bx-LTX

 

Planet: Variclex

 

Continent: Glimmerland

 

Lives: Hunglix city - but is away alot

 

Born in: Rubyweath town in Lustrousy

 

Height : 5,7

 

Age in image: 22

 

Hair colour: Brownish blonde

 

Eye colour: blue-Purple - but wears eye lenses in go with her outfits.

 

School: Glossme high-school

 

Favourite colours: red, and gold

 

Sexually: autosexual heterosexual,

 

Personality: self centered, selfish, greedy, mean, dominant, gold digger, narcissistic, naughty

 

Favourite fashion: Sexy shiny latex clothing,

 

Favourite clothing, blouses, tops, jackets, short-skirts, skin-tight catsuits, corsets, and high-heel boots.

 

hobbies: modeling, sex, and making more money

 

Lives: in a big mansion but is away alot

 

Obsessions: shiny things, gold, gems, and money, lots of sex, and sex toys, and domination

 

Consistent Character

Feral Swine Research Project – Savannah River and Southern Research Station (SRS)

 

Consistent collaboration and support by the USDA Forest Service Savannah River wildlife program, the Southern Research Station, and its partners, has enabled the ability to monitor, analyze and publish concerns relating to invasive feral swine populations and the economic security and safety of agricultural food sources.

 

The wildlife program at Savannah River is renowned for their consistent and long-term collaboration with Forest Service Research, State and Private Cooperators, and universities. The program consistently conducts and enables operational work to accommodate any questions and data needs the agency and our cooperators encounter. One wildlife project integrates invasive swine control efforts with research data needs to reduce both ecosystem damage and animal vehicle collisions.

 

Feral swine have been identified among the 100 most invasive species in the world, having expanded their range such that they now occur in both North and South America, Africa, and Australia, as well as many islands throughout the Caribbean and the Pacific Ocean. In addition to ecosystem and property damage, feral swine destroy agricultural crops, contaminate water sources, and spread diseases that impact human, livestock, and wildlife health. The wildlife program and cooperators have compiled and provided data spanning nearly four decades from the Savannah River Site feral swine control program for management and research analysis. Data recorded by the wildlife program far exceeds that typically collected and, in this case, includes details on body size, sex, age, litter size, location, and date of each animal removed.

 

The impacts of these efforts are clearly demonstrated in a recent Journal of Wildlife Management article, published by the Savannah River National Laboratory and the USFS Southern Research Station, addressing invasive feral swine populations and the influences of a rural landfill. Invasive feral swine populations scavenging at the landfill have larger body sizes (creating greater damage during swine-vehicle impacts), larger litters, and reach higher densities than those occurring throughout the rest of the forest. The authors also presented these findings at multiple venues including the Canadian Ministry for the Environment.

 

These effects present unique challenges to population management, control, public safety, and disease transmission, including a heightened risk of the spread of African Swine Fever (ASF). If ASF-contaminated products were disposed of in the landfill and later consumed by the local feral swine population, the resulting infection could easily spread from feral swine to domestic pig and have serious adverse consequences for commercial pork operations. The continued collaboration between Savannah River’s wildlife program with Forest Service Research and our cooperators enables the ongoing scientific research and future findings needed to continue and target sound, effective management for control of this destructive, invasive species.

  

Whilst British Airways long-haul fleet has been predominant, their short-haul fleet mainly consisting of Airbus A320 family aircraft while consistent and relatively young are not the most interesting; indeed, the only interesting examples are either the oldest within the fleet considering their history, or those acquired second-hand.

Whilst the vast majority of Airbus A320 family aircraft within British Airway were acquired brand new from the very beginning of their careers, some did arrive second-hand. In regards to their Airbus A320 fleet currently based from London Heathrow, amongst the oldest operating in the fleet began their careers with competitor, BMI British Midland; previously owned by the Lufthansa Group until 2012 when acquired by British Airways and thus went defunct as a result.

The acquisition of BMI British Midland saw British Airways taking on all 11 Airbus A319s, 7 Airbus A320s and 7 Airbus A321s (ironically, some of those Airbus A320s and Airbus A321s carried British Airways colours albeit operating for British Mediterranean Airways until 2007 when it was absorbed by BM British Midland). The Airbus A321s, configured for mid-haul use have since been withdrawn whilst British Airways original Airbus A321s now operate for BA EuroFlyer out of London Gatwick.

As for the Airbus A319s, only one has been withdrawn although that was largely down to British Airways not renewing the lease of the airframe more than anything else, whilst 3 of the 7 Airbus A320s have since been withdrawn from service with one having been leased to another operator, one currently in long-term storage whilst the third example has since been scrapped.

The further decline of the BMI British Midland Airbus A320s will continue considering they are non-standard amongst the majority of British Airways own Airbus A320 fleet, with 2 more examples expected to be withdrawn in the near future.

Currently, British Airways operates 118 Airbus A320 family aircraft, which includes 30 Airbus A319s, 55 Airbus A320s, 20 Airbus A320neos and 13 Airbus A321neos. British Airways have 13 Airbus A320neos and 7 Airbus A321neos on-order.

Mike India Delta X-Ray was delivered new to BMI British Midland on lease from ILFC on 21st March 2000, the airframe received original 1999 Star Alliance colours until 2011 when the carrier received the alliance's billboard livery. After BMI British Midland was acquired by British Airways in 2012, the airframe transferred over to the flag-carrier on 7th November 2012 remaining on lease with ILFC (becoming AerCap in May 2014), later to be leased from Aircastle from March 2017 until being withdrawn from service on 30th December 2023 and now in long-term storage awaiting to be scrapped at RAF St. Athan since 2nd January 2024. She was powered by 2 International Aero Engines IAE V2527-A5 engines.

Airbus A320-232 G-MIDX on short finals into Runway 27L at London Heathrow (LHR) on BA417 from Luxembourg-Findel (LUX).

Very rare tilting Great Helm, probably Bruges or Brussels, circa 1490-1500, adapted for a funerary achievement. In the heavily patinated condition consistent with armour preserved in churches, with tall finely formed skull rising to a low medial ridge extending rearwards to the base of the nape, the base drawn out in a blunt point over the top of the spine, studded with domed lining rivets, pierced for visor pivots, and pierced for a crest, now carrying a hook for funerary suspension, the visor of heavy guage construction now riveted static, the front formed with a blunt prow, full length medial ridge, basal flange, the lower edge of the sight projecting forward of the upper edge, and cut with a single rectangular ventilation port on the right. H: 35 cm - L: 28 cm - W.: 23 cm - Wt.: 4650 g. Provenance: Sotheby's London, 21 May 1974, lot 186 (illustrated). A similar Great Helm was displayed over the tomb of John Darell, dead in 1438, in Little Chart church, Kent. Another in St. Botolph's church at Lullingstone, Kent, is almost certainly that of Sir John Pechy, dead in 1522. On the basis of a comparable etched armet for the field made in the Royal Armoury at Greenwich, Sir James Mann concluded that this helm, as well as all others of this type, was of English manufacture. More recently, an armourer's mark struck twice, a crowned H, was noticed on Sir John Pechy's helm. Claude Blair suggested that it could be the mark of "Han" or "Hans" Jehan Watt of Brussels, chief supplier of armour between 1495 and 1508, according to the Burgundian Treasurer's accounts. This mark is also found on an armour for the Joust Royal, made around 1500 either for the Emperor Maximilian I or for his son Philip, and on a cuirass made for Philip IV (The Handsome), Duke of Burgundy, each preserved in the Imperial Armoury at the Kunsthistorishes Museum, Vienna (No. S.II and A109a). A tilting helm for the Jousts of Peace or Joust Royal, struck with the same armourer's mark, is in the Royal Armouries Leeds (IV. I); its skull is of an identical design to the present example. The attribution of this tilting helm to the armourers' workshops of Bruges or Brussels is supported by the similarity of its shape with documented examples, and by the historical fact that English armourers of this period did not have an international reputation; this was acquired only in the early 16th century through the works of the Royal Almain Armoury at Greenwich. At the end of the 15th and the beginning of the 16th century, the English wealthy aristocracy was seeking its armour in Northern Italy and Southern Germany, and also from the famous Burgundian workshops. See, LAKING, Guy, A Record of European Arms and Armour, London 1920, vol. II, p. 153, ill.491a & volume V p.195. MANN, James, Two helmets in St Botolph's Church, Lullingstone, Kent, The Antiquaries Journal, April 1932 (vol. XII, No.2), pp.136-141, pl. XXVII. BLAIR, Claude, The Lullingstone Helm, The Antiquaries Journal, 1998 (vol. 78). DUFTY, Arthur Richard, European Armour in the Tower of London, 1968, pl. LXXXIII. SOUTHWICK, Leslie, The Great Helm in England, Arms and Armour Journal of the Royal Armouries, vol.3, No. 1, Spring 2006, pp. 5-77, fig. 47 p.54 & fig. 58 p.64.

 

Nowadays the helm can be seen in the Château Castelnaud, Dordogne, France.

Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1

 

BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.

 

The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.

 

Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.

 

"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."

 

Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.

 

"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."

 

Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.

 

"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."

 

Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.

 

"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."

 

Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.

 

"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."

 

Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.

 

"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."

 

When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.

 

Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.

 

Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.

 

"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."

 

Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.

 

"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."

 

When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.

 

Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.

 

Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.

 

For more information, log onto www.aspworldtour.com

  

RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37

Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00

Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60

Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27

Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00

Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53

Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67

Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50

Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07

Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17

Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83

Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93

 

RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)

Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)

Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)

Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)

Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)

Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)

Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)

Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)

Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)

Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)

Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)

Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66

Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54

Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63

Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50

Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47

Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)

Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)

Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)

Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)

Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)

Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)

 

Photo ASP/Scholtz

Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1

 

BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.

 

The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.

 

Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.

 

"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."

 

Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.

 

"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."

 

Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.

 

"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."

 

Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.

 

"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."

 

Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.

 

"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."

 

Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.

 

"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."

 

When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.

 

Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.

 

Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.

 

"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."

 

Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.

 

"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."

 

When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.

 

Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.

 

Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.

 

For more information, log onto www.aspworldtour.com

  

RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37

Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00

Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60

Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27

Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00

Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53

Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67

Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50

Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07

Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17

Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83

Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93

 

RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)

Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)

Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)

Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)

Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)

Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)

Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)

Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)

Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)

Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)

Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)

Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66

Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54

Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63

Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50

Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47

Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)

Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)

Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)

Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)

Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)

Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)

 

Photo ASP/Scholtz

Inspired by the consistently sold-out Writing for Film & Television Summer Intensive Program, the Two-Weekend Intensive was designed for aspiring film and television writers with busy weekday schedules. Over the course of two weekends, participants learn a variety of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.

 

Find out more about VFS’s one-year Writing for Film & Television program at vfs.com/writing.

Los mallos de Riglos son unas formaciones geológicas consistentes en unas peñas de paredes verticales, llamadas mallos, situadas en la localidad española de Riglos, en la provincia de Huesca, unos 45 km al noroeste de Huesca capital, en las sierras del Prepirineo oscense. Alcanzan los 275 metros de altura máxima (espolón norte del Pisón) y se caracterizan por sus grandes paredes verticales o incluso desplomadas, muy apreciadas para la práctica de la escalada.

 

En noviembre de 2016, el Consejo de Aragón aprobó la declaración de monumento natural de los Mallos de Riglos, Agüero y Peña Rueba.

  

The Mallos de Riglos are geological formations consisting of vertical cliffs, called mallos, located in the Spanish town of Riglos, in the province of Huesca, about 45 km northwest of the city of Huesca, in the mountains of the Huesca Pre-Pyrenees. They reach a maximum height of 275 meters (northern spur of the Pisón) and are characterized by their large vertical or even overhanging walls, highly prized for climbing.

 

In November 2016, the Aragon Council approved the declaration of the Mallos de Riglos, Agüero, and Peña Rueba as natural monuments.

 

Fuente Wikipedia

 

Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1

 

BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.

 

The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.

 

Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.

 

"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."

 

Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.

 

"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."

 

Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.

 

"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."

 

Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.

 

"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."

 

Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.

 

"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."

 

Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.

 

"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."

 

When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.

 

Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.

 

Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.

 

"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."

 

Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.

 

"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."

 

When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.

 

Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.

 

Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.

 

For more information, log onto www.aspworldtour.com

  

RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37

Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00

Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60

Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27

Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00

Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53

Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67

Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50

Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07

Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17

Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83

Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93

 

RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)

Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)

Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)

Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)

Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)

Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)

Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)

Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)

Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)

Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)

Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)

Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66

Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54

Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63

Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50

Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47

Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)

Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)

Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)

Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)

Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)

Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)

 

Photo ASP/Scholtz

As the aspen trees show off their peak colors, Meadow Creek continues to bring new life and new opportunities on a cool autumn afternoon - Frisco, CO

Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008)

The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour

From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty

 

Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008)

The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour

From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty

 

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008)

The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour

From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty

 

Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1

 

BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.

 

The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.

 

Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.

 

"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."

 

Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.

 

"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."

 

Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.

 

"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."

 

Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.

 

"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."

 

Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.

 

"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."

 

Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.

 

"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."

 

When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.

 

Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.

 

Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.

 

"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."

 

Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.

 

"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."

 

When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.

 

Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.

 

Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.

 

For more information, log onto www.aspworldtour.com

  

RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37

Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00

Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60

Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27

Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00

Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53

Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67

Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50

Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07

Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17

Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83

Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93

 

RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)

Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)

Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)

Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)

Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)

Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)

Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)

Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)

Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)

Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)

Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)

Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66

Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54

Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63

Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50

Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47

Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)

Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)

Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)

Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)

Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)

Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)

 

Photo ASP/Scholtz

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thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

Consistently one of the best sounding horns in Kansas City is atop WAMX 3852, and is obviously customized to fit onto the long hood with a low profile manifold.

 

Locomotive: WAMX 3852

 

3-31-13

Kansas City, KS

Consistent with the year so far another sunny day was predicted. Despite my previous negative upload it has been an incredible year for me in terms of rail photography. I had been saying to anyone that would listen (not that many) that this year was the sunniest I had ever known doing this hobby. Well, records show that it was the sunniest after all.

What was there to do today? Not a lot but I probably missed the best two, locally. Anyway, a tip-off from my good friend f22Shark encouraged me out for this.

Auld Lang Syne (I am sure the driver of this was trying a rendition with the horn on 66783 as it rang out tones thoughout it's journey through the park.

The loco may have looked like it was straight out of a bin but the consist was certainly worth including.

E.K.Yap, the MPA & MPAS multi-award winning photographer, has created many iconic masterpieces and photographed covers & campaigns for influential publications & luxury brands. His projects include Patek Philippe, Breguet, Chopard, Bvlgari, Cartier, Chanel & Franck Muller to name a few.

 

With his wide-ranging experience in art as a creative director in the advertising & publishing industry, he consistently achieves the best results with his precision skill, specialising in luxury projects particularly jewellery, timepiece, product, interior, portrait & fashion.

 

PHILOSOPHY

“I'm passionate in capturing more than just a beautiful image, I like to craft an inspiring masterpiece with soul & meaning”

 

AWARD

Advertising/Advertorial/ Editorial - MPA Far East

Architecture/ Cityscape/ Interior - MPA Far East

Illustrative & Creative - MPA Far East

Fashion - MPA Far East

Still Life - MPA Far East

Best Cover - MPAS

 

PROJECT

A. Lange & Söhne/ Audemars Piguet/ Azimuth/ Aston Martin/ ABN Ambro/ Arium Collection/ Arcatel/ Anlene/ Aqua Culture/ Adidas/ Aries Gold/ Bvlgari/ Breguet/ Bottega Veneta/ Boucheron/ Blancpain/ Breitling/ Baker Furniture/ BBDO/ Borobudur/ Bonhams/ Berggren Jewellery/ Cartier/ Chanel/ Chopard/ CitiGold/ Carat Club/ CapitaLand/ CLIO/ CEL Development/ Coty/ Confetti by Mui/ Canon/ Dolce & Gabbana/ Distillery/ D Editors/ Dell/ Franck Muller/ Flower Diamonds/ Fujitsu/ Fuchsia Lane/ Farm Best/ Ferrari/ Girard-Perregaux/ Genting/ Green Chapter/ Gucci/ Geyer/ Harry Winston/ Hassell Studio/ Hilton Hotel/ Heeton/ Hublot/ Hassell Studio/ HDB/ Hermès/ I.D.Department/ IWC/ Image Bank/ ICI Duluxe/ Inoue Japan/ Jobstreet/ Jaeger-LeCoultre/ Johnny Walker/ JOID/ Kwanpen/ Krieit Associate/ KrisShop/ KFC/ K-Suites/ Louis Moinet/ Levi’s/ Lalique/ Luminox/ Lloyd’s Asia/ Ladurée/ Lush Radio/ Louis Vuitton/ Leonard Drake/ Livita/ Lifelink/ Manolo Blahnik/ Montblanc/ Mediacorp/ MCL Land/ Mirinda/ Marc Anthony/ Maxis Mobile/ Novetel Hotel/ NTU/ National Geographic/ Omega/ Patek Philippe/ Piaget/ Philips/ Playboy/ Prada/ Pepsi/ Pure Earth/ Richard Mille/ Rolex/ Roger Dubuis/ Resort World Sentosa/ Richemont/ Reebonz/ SkysShop/ Singland/ Splendor/ Sarcar/ Sinn/ Shangri-La Hotel/ SIA/ Shelton/ Sally Hansen/ Skin Science/ StarAsia/ Skin79/ Sally Hansen/ Sports Toto/ Spritzer/ 7-Up/ The Mill/ Tag Heuer/ Tiffany/ Transware/ The Hour Glass/ Tudor/ TV3/ Universal Studio/ Ulysse Nardin/ UOI/ UOB/ Vihari Jewels/ Vacheron Constantin/ Van Cleef & Arpels/ Wild Rice/ Zenith

 

EDITORIAL

August Man/ Affluent/August Women/ Appetite/ Adore/ Awesome/ Business Time/ Baccarat/ Business Craft/ Crown/ CitaBella/ Esquire/ ELLE/ Fiori/ Golf Vacations/ Harper’s Bazaar/ Inspire Travel/ Jewels & Time/ Jewellery Craft/ L’Official/ Luxury Guide/ Luxury Insider/ Luxx Jewellery/ Legacy of Singapore/ Men’s Folio/ Man Stuff/ OASiS/ Prestige/ Prestige Lifestyle/ Pen Craft/ PC World/ PC Magazine/ Robb Report/ RWS Invites/ Solitaire/ Style/ Tatler/ Tatler Wedding/ Tatler Home/ Time Craft/ TiCTalk/ World of Watches

Simply Consistent client HITPLAY, JoJoHo+SeanyP,Singers, Songwriters, Composers, Grammy & Emmy award winners!

(JoJoHo+SeanyP,).

 

simplyconsistent.com/management

simplyconsistent.com/media-gallery/album/client-photos

"-Kathleen Checki."

"-Checki."

"-Simply Consistent."

"-Simply Consistent Management."

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1

 

BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.

 

The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.

 

Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.

 

"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."

 

Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.

 

"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."

 

Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.

 

"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."

 

Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.

 

"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."

 

Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.

 

"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."

 

Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.

 

"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."

 

When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.

 

Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.

 

Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.

 

"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."

 

Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.

 

"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."

 

When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.

 

Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.

 

Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.

 

For more information, log onto www.aspworldtour.com

  

RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37

Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00

Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60

Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27

Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00

Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53

Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67

Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50

Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07

Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17

Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83

Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93

 

RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)

Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)

Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)

Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)

Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)

Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)

Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)

Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)

Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)

Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)

Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)

Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66

Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54

Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63

Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50

Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47

Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)

Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)

Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)

Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)

Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)

Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)

 

Photo ASP/Scholtz

bauhaus building, dessau, germany, 1925-1926, architect: walter gropius

 

Gropius consistently separated the parts of the Bauhaus building according to their functions and designed each differently. He thereby arranged the different wings asymmetrically – in relation to what is today the Bauhausstraße and the Gropiusallee respectively. In order to appreciate the overall design of the complex, the observer must therefore move around the whole building. There is no central viewpoint.

 

The glazed, three-storey workshop wing, the block for the vocational school (also three storeys high) with its unostentatious rows of windows, and the five-storey studio building with its conspicuous, projecting balconies are the main elements of the complex. A two-storey bridge which housed, e.g., the administration department and, until 1928, Gropius’s architectural practice, connects the workshop wing with the vocational school. A single-storey building with a hall, stage and refectory, the so-called Festive Area, connects the workshop wing to the studio building. The latter originally featured 28 studio flats for students and junior masters, each measuring 20 m². The ingenious design of the portals between the foyer and the hall and a folding partition between the stage and the refectory, along with the ceiling design and colour design, impart a grandiose spatial coalescence to the sequence of foyer-hall-stage-refectory, shaping the so-called Festive Area. The façade of the students’ dormitory is distinguished in the east by individual balconies and in the south by long balconies that continue around the corner of the building.

 

The entire complex is rendered and painted mainly in light tones, creating an attractive contrast to the window frames, which are dark. For the interior, the junior master of the mural workshop, Hinnerk Scheper, designed a detailed colour plan that, by differentiating between supporting and masking elements through the use of colour, aimed to accentuate the construction of the building.

 

Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008)

The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour

From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty

 

Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1

 

BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.

 

The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.

 

Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.

 

"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."

 

Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.

 

"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."

 

Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.

 

"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."

 

Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.

 

"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."

 

Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.

 

"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."

 

Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.

 

"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."

 

When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.

 

Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.

 

Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.

 

"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."

 

Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.

 

"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."

 

When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.

 

Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.

 

Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.

 

For more information, log onto www.aspworldtour.com

  

RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37

Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00

Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60

Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27

Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00

Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53

Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67

Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50

Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07

Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17

Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83

Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93

 

RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)

Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)

Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)

Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)

Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)

Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)

Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)

Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)

Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)

Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)

Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)

Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66

Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54

Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63

Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50

Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47

Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)

Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)

Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)

Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)

Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)

Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)

 

Photo ASP/Scholtz

“The Dogs”, 110 Hanover Street, Edinburgh, EH2 1DR - Simple, consistent, fun – The Dogs has been feeding Edinburgh diners modern British fare for eight years with a certain aplomb. Up the steep staircase and into the bright, white-washed rooms, where quirky portraits of the owner’s dog inform the design throughout, the dining is casual but comfy. Recently the lunch menu has been lightened up to favour soups, sandwiches and some traditional choices such as fish and chips. The evening menu remains loyal to longstanding fans of the venue, including mixed fish or Irish mutton stews, pan-fried salmon with creamed leeks and the heart-stopping, 18 oz grilled ribeye steak with smoked garlic butter and dripping-fried chips (best to worry about the cholesterol tomorrow). Puddings are equally familiar and reliable, be it an orange posset or the rhubarb and ginger crumble with warm custard. It’s not fancy, but it isn’t trying to be, and it’s friendly and relaxing, which makes for a very pleasant meal.

 

High point: Really, really good steak and chips

Low point: Lunch is a bit low key these days

Notable dish: Ribeye steak with smoked garlic butter

Inspired by the consistently sold-out Writing for Film & Television Summer Intensive Program, the Two-Weekend Intensive was designed for aspiring film and television writers with busy weekday schedules. Over the course of two weekends, participants learn a variety of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.

 

Find out more about VFS’s one-year Writing for Film & Television program at vfs.com/writing.

The following info is taken from the ‘The Airplane Factory’ website:-

“Starting with flying the Sling 2 prototype around the world in 2009, The Airplane Factory (TAF) has consistently set higher milestones for itself through the years. The Sling 4, a four seat model of the original Sling, was first flown in 2011, and promptly flown around the world in the opposite direction, as one does with a prototype aircraft. In the same year, TAF decided to show the aviation community just how simple it is to build a kit Sling, by assembling a Sling 2 kit in 7 days, with 5 factory employees, and 5 people who had never touched a pair of pliers, no matter a rivet gun. The Africa Aerospace and Defence show, held at AFB Waterkloof this September, was the perfect setting for an even bigger challenge.

The Sling 4-4-40 challenge –

build a Sling 4 kit in 4 days with 40 factory staff,

all in the midst of a world class airshow, far from the factory.

The build was set to start on Wednesday 23 September, but the planning for this huge undertaking had taken weeks. The kit was packed at TAF’s home base of Tedderfield Airpark, including some preparation such as prebuilt fuel tanks due to the drying time of the sealant. Mounds of paperwork was completed to allow this build to happen on an active air force base, and logistics had to be arranged to have catering for the staff available throughout each day, transport of the kit and all tools, as well as the daily transport of both day and night shifts of factory workers from Tedderfield to Waterkloof.

At 09h00 on Wednesday, the build was started inside a fenced off area under gazebos in the general aviation area of the show. Fantastic progress was made on day 1, with the centre and rear fuselage being constructed and joined, the undercarriage assembled, and the engine wired and awaiting assembly. During the half hour handover period between the day and night shifts, there were up to 32 people working on the aircraft at once! The night shift exceeded all expectations. During their 14 hour shift, the undercarriage was installed, the engine was mounted, and the wings three-quarters built.

Day 2 started with an inspection of the aircraft by Mike Blyth, who then called the staff together to announce that the build was so far ahead of schedule, that there was no need for a night shift that night.

The build continued with instrument panel and engine wiring, ballistic parachute installation, and huge progress was made on the wings and empennage.

Day 3 saw the wings and empennage being mated with the fuselage. The cowlings and spats were fitted, all fluids filled, and the lights and avionics tested. Hordes of people watched the build from behind the crowd control fences, all giving great words of support, and urging the team on. The aircraft was wheeled out of its fenced confines for a celebratory team photo. James Pitman gave the team words of encouragement, and emphasised how it had taken Mike and himself four years to build the first Sling. At this point, it was discovered that even after completing reams of paperwork, writing countless motivational letters, submitting test flight action plans and flight plans and actually receiving confirmation that the initiative is fully supported, the planned test flight on Sunday had not been put into the programme.

With day 4 being the first day of the public airshow, the team was surrounded by onlookers at all times. Both local and international media were vying for interviews with the team at all times, and publicity for the company went through the roof. A final inspection was done, the aircraft fuelled, leather interior installed, decals applied, and all paperwork issued. With Andrew Pitman’s fantastic work, a slot was secured for an engine run that afternoon and for the test flight the following day. The Sling 4 was released from its cage again, and pulled through the crowd to show centre, where the key was turned and the engine burst to life to great cheers and applause from the crowds. A Sling 4 was born in 4 days!

The completed Sling 4 ZU-TES (a test registration assigned to the factory) was on static display on Sunday before the big moment. At arguably the biggest airshow on the African continent, James Pitman took to the skies before thousands of people to complete the first flight; the aircraft performed flawlessly.

Having a close look at ZU-TES, one will find that the quality of this aircraft is absolutely top notch. Throughout the build the team insisted that speed does not mean lack of quality, and this is definitely true considering that after returning to the factory for paint, this aircraft will be shipped to the USA to become the demonstrator aircraft for the US distributors in California.

Huge congratulations are in order for every one of the forty staff that contributed to this massive achievement, showing just how capable the South African aviation industry is.”

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008)

The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour

From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty

 

ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & New Information Courtesy of Prof. James E. Packer (18 March 2020).

PDF = wp.me/pbMWvy-5t

 

Note: I have actually been working on this brief notice on the The Forum and Temple of Trajan in Rome (2019-2020) since May 2020 onwards (1), but, with the recent Italian 'Chinese virus’ Crisis in late Feb thru March 2020, I have been sidelined communicating, discussing and attempting help my dear friend in Rome.

 

ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & Information Courtesy of Prof. James E. Packer (18 March 2020).

 

Update - Rome recently in late January 30 2020 and in early 11-13 December 2019, the numerous Italian scholars in Rome affiliated with the long-term research and studies of the Forum and Temple of Trajan at the two following conference’s (see below) presented and discussed the results of their recent work on the Forum and Temple of Trajan, see:

 

I). Rome - LA TOPOGRAFIA DELL’AREA A NORD DEL FORO DI TRAIANO. Giornata di studio. Rome, the Auditorium dell’ Ara Pacis (30 January 2020).

 

Abstract - La giornata di studio è finalizzata a confrontare differenti esperienze della ricerca archeologica riguardanti un’area di grande importanza nella topografia antica della città. In essa infatti doveva trovarsi il grande tempio di Traiano e Plotina divinizzati la cui esatta localizzazione e consistenza sono, da anni, al centro di un intenso dibattito fra gli specialisti. Verranno anche presentati i risultati di nuovi scavi effettuati dalla Scuola Spagnola [see: note 2] nei sotterranei della sua sede di via di S. Eufemia oltre a quelli delle indagini realizzate dalla Città Metropolitana di Roma nel sottosuolo di palazzo Valentini. Si ripercorreranno le tappe della scoperta degli auditoria adrianei di piazza Venezia, a cura del Parco Archeologico del Colosseo, e verranno esposte nuove teorie riguardanti alcuni dei principali monumenti esistenti in antico nell’area oggetto di studio. Infine saranno illustrati i risultati più recenti della ricerca sulla topografia e sulla decorazione architettonica del Foro di Traiano.

 

Fonte / source:

--- Convegno La topografia dell’area nord del Foro di Traiano/ 30 de Enero de 2020. Rome, EEHAR [the Spanish School of History and Archaeology in Rome] (01/2020) (accessed late January 2020).

www.eehar.csic.es/convegno-la-topografia-dellarea-nord-de... (3).

 

Surprisingly, after a lengthy search on the internet, apparently no one from the Italian TV or newspaper media (print, internet or social media resources) in Rome reported on the furthcoming or actual ‘La topografia dell’area nord del Foro di Traiano’ conference on 30 January 2020? But, then again since mid-t0-late 2019 and up-to early 2020, for some unknown reason compared to past years (2008-18), the recent news of the archaeological & restoration work in the area of the Imperial Fora of Rome has not been covered by the Italian media? (4).

 

The only mention of the ‘La topografia dell’area nord del Foro di Traiano’ conference (30 January 2020) is brief notice recently posted on the following Facebook page:

 

I.1. Dr. Riccardo Montalbano (ed.), Qualche breve considerazione sul convegno "LA TOPOGRAFIA DELL'AREA A NORD DEL FORO DI TRAIANO", in: Topografia di Roma antica / Topography of Ancient Rome. Facebook (01 Feb. 2020) (accessed 19 March 2020).

 

Fonte / text & foto / sources:

Dr. Riccardo Montalbano (ed.), Topografia di Roma antica / Topography of Ancient Rome. Facebook (01 Feb. 2020). www.facebook.com/groups/540545102790727/

 

Nel corso della giornata di studi sono emersi numerosi dati inediti e sono stati proposti spunti di grande interesse. In particolare:

 

1). Presenza di un incredibile palinsesto murario rinvenuto nelle cantine della nuova sede della Escuela Española de Historia y Arqueología en Roma, in via di Sant'Eufemia (intervento: Antonio pizzo e Massimo Vitti). L'elemento più interessante, a mio avviso, è la presenza di resti riferibili a un colombario (datazione proposta: età augustea), che solleva nuovi problemi circa la linea pomeriale nella zona (chiaramente connesso con le mura repubblicane che, come noto, correvano lungo la sella poi cancellata a partire dall'età domizianea).

 

2). Rilettura complessiva delle 3 aule - Auditoria vs Athenaeum - con la novità riguardante un presunto ingresso da sud, costituito dalla "quinta" rinvenuta nel 1932 e ora messa in connessione con il sistema delle tre aule. Questo fronte, movimentato da una grande abside, avrebbe schermato l'irregolare disposizione retrostante (intervento: R. Rea).

3). Templum divi Traiani et Plotinae: secondo P. Baldassarri la presenza del tempio, un ottastilo con colonne da 50 piedi, è giustificata dalla grande fondazione rinvenuta (la cui larghezza però non è sufficiente a giustificare la fronte del tempio così come immaginato; per questo motivo, essa viene riferita solo alla scalinata del tempio, dunque all'interasse tra le guance della scalinata di accesso frontale), oltre che dalle camerelle di fondazione. In questa ricostruzione, non si rinuncia al grande portico a ferro di cavallo (a mio avviso, lo sviluppo a est della domus B di palazzo Valentini sembra far escludere questa soluzione). Bellissimi i frammenti architettonici rinvenuti, tra cui uno splendido frammento di rilievo con grifo.

 

4). Nuovi preziosi dati vengono dalla zone biblioteche del foro di Traiano e, in particolare, dall'esplorazione della cappella sepolcrale della chiesa del Ss. Nome di Maria e dalle strutture individuate (parte della biblioteca orientale). I nuovi dati permettono di articolare nel dettaglio il sistemare delle scale e degli accessi.

 

Inoltre, si ripropone un'altra alternativa circa l'ingresso del Foro da nord, con un grande arco di ingresso (intervento R. Meneghini - E. Bianchi), arco che secondo E. La Rocca è da identificare con l'arco partico noto dalle fonti letterarie (intervento E. La Rocca).

 

5). Interessantissime le osservazioni sul frammento 36b della Forma Urbis, la cui iscrizione sinora era stata letta com TEM PL (um) e identificato con il complesso campense dedicato a Matidia. La novità, correttamente rilevata, consiste nella presenza di un separatore e un'eccessiva spaziature tra TEM - PL, da leggere come Tem(plum) Plotinae (come proposto). Ciò apre interessanti prospettive sia epigrafiche (questione della dedica del tempio e della titolatura inversa tra Traiano e Plotina), sia topografiche (collocazione del frammento rispetto alla griglia della FUM).

6). Di grande utilità, infine, le considerazione su tutto l'apparato decorativo del foro (intervento L. Ungaro) e sui frammenti di ordine gigante rinvenuti nell'area (intervento M. Milella). Ma su questi temi, sutor ne ultra crepidam…

 

II). Rome - Dr. Paola Baldassarri (Città Metropolitana di Roma Capitale), “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina : riflessioni in merito alle indagini di Palazzo Valentini.” Conférence - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019).

 

During the conference Dr. Baldassarri presented the following lecture on the “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina,” in Caen, France (Dec. 2019). This presentation briefly discusses the recent series of excavations below the Palazzo Valentini in 2018-19, also based upon her recent published work on the Temple in the following journal articles (including two published works in English [2011, 2014-15]).

 

Fortunately, the various presentations at the recent Conference - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019), with these presentation lectures recorded and now available on You-tube as of mid-January 2020. Note: several screenshots taken from Dr. Baldassarri’s video and converted into photographs are also republished here.

 

--- Dr. Paola Baldassarri (Città Metropolitana di Roma Capitale), “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina : riflessioni in merito alle indagini di Palazzo Valentini.” Conférence - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019). You-Tube (17 January 2020) [24:50].

www.youtube.com/watch?v=2uoeQ1MVDR0&t=313s

 

As mentioned Dr. Baldassarri’s lecture presentation is based upon several of her recently published works (2012-18) on the “il Tempio dei divi Traiano e Plotina” several as cited and available in PDF (particularly in RM 122 [2016], pp. 171-202) as listed here below :

 

--- Paola Baldassari (2018), “Gli scavi Palazzo Valentini e il Templum Divi Traiani et Divae Plotinae: omaggio di Adriano divis parentibus.” [Unpublished] paper / lecture read at the following conference in Rome = ‘Il Convegno Internazionale “adventus Hadriani 118 – 2018”’. Rome, Italy (4 July 2018). aha.uniroma2.it/it/ S.v., independent.academia.edu/PBaldassarri

 

--- Paola Baldassarri, (2017), “Templum divi Traiani et divae Plotinae : nuovi dati dalle indagini archeologiche a Palazzo Valentini.” RendPontAcc. 89, pp. 599-648. (Abstract in Italian & English). [= Part. II of] “FORO TRAIANO: ORGANIZZAZIONE DEL CANTIERE E APPROVVIGIONAMENTO DEI MARMI ALLA LUCE DEI RECENTI DATI DI PALAZZO VALENTINI.”

www.pont-ara.org/index.php?module=Pubblicazioni&func=...

 

--- Paola Baldassarri (2016), “Indagini archeologiche a Palazzo Valentini. Nuovi dati per la ricostruzione del tempio di Traiano.” RM 122, pp. 171-202 [in PDF]. (Abstract in English).

 

--- Paola Baldassarri (2015), “Le indagini archeologiche a Palazzo Valentini (Roma) e il tempio dei divi Traiano e Plotina,” pp. 1689 - 1756 [in PDF], in: Paola Ruggeri et al., L’Africa romana Momenti di continuità e rottura: bilancio di trent’anni di convegni L’Africa romana. Vol. II., Rome: Carocci editore (2015).

www.academia.edu/32087781/Paola_Baldassarri_Le_indagini_a...

 

--- Paola Baldassarri (2013), “Alla ricerca del tempio perduto: indagini archeologiche a Palazzo Valentini e il templum Divi Traiani et Divae Plotinae.” Arch.Cl. 64., pp. 371–481 [in PDF]. (Abstract in English).

www.academia.edu/29206723/Alla_ricerca_del_tempio_perduto...

 

--- Paola Baldassarri; Antonella Lumacone & Luca Salvatori (2012), “Nuove indagini archeologiche a Palazzo Valentini. Il tempio dei divi Traiano e Plotina.” Forma Urbis, XVII, 5 (May 2012): 45-52 [in PDF]. wp.me/pPRv6-2ab

 

For a brief summary by Dr. Baldassarri research on the Temple of Trajan in English (2011, 2014 & 2015), see:

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA. ROMA – rinvenimenti sotto Palazzo Valentini – l´esistenza e una porzione di un edificio che potrebbe essere l´introvabile Tempio del Divo Traiano. LA REPUBBLICA (19/05/2007) & Luisa Napoli & Paola Baldassarri, RESEARCH ARTICLE – Palazzo Valentini: Archaeological discoveries and redevelopment projects. Frontiers of Architectural Research, Vol. 4.2 (June 2015): 91-99. wp.me/pPRv6-4VP

 

--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: “Roberto Del Signore & Paola Baldassarri, Provincia di Roma, “The multimedia museum: an original meeting between antiquities and innovation in the Roman domus of Palazzo Valentini,” Conference – ATHENS, GREECE (2 OCT. 2014) [PDF], pp. 1-81. [And Foto: Dott.ssa Arch. Maria G. Ercolino (2014)].

wp.me/pPRv6-2QS

 

--- Paola Baldassarri (2011), “Archaeological Excavations at Palazzo Valentini: a residential area in the shade of the Trajan’s Forum,” pp. 43-67 [in PDF], in: Mustafa Sahin et al., 11th INTERNATIONAL COLLOQUIUM ON ANCIENT MOSAICS, Bursa October 16th–20th 2009, Istanbul : Uludağ University (2011).

www.academia.edu/29207218/Archaeological_Excavations_at_P...

 

III). Rome, the ‘Il Foro di Traiano’ and the ‘il Tempio di Traiano e Plotina’ and the Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019) (re-accessed March 2020).

 

Sometime in March and or April 2019, after nearly a decade of providing no new useful information on the Imperial Fora (2008-19), the Sovrintendenza Capitolina ai Beni Culturali's webpage for the Fori Imperiali (Roman Antiquity [and now thru through the Modern era]) finally updated its website with the new information as listed here below:

 

--- Sovrintendenza Capitolina (April 2019 [March 2020]) = “Home » Patrimonio » Roma antica » Aree archeologiche » Fori Imperiali.” =

www.sovraintendenzaroma.it/i_luoghi/roma_antica/aree_arch....

 

“L’area prima dei Fori, Il Foro di Cesare, Il Foro di Augusto, Il Templum Pacis, Il Foro di Nerva, Il Foro di Traiano, Mercati di Traiano e Museo dei Fori Imperiali, La Terrazza domizianea & I Fori Imperiali dal Medioevo ad oggi.” And “Bibliografia essenziale” & “Fori Imperiali - Dati archivio.”

 

In the section of the Sovrintendenza’s website devoted to the Forum and Temple of Trajan, now listing the following information =

 

1.1). Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019 [March 2020]). www.sovraintendenzaroma.it/content/il-tempio-che-non-c%E2...

 

‘Il tempio che non c’è - Nel Foro di Traiano mancava il tempio, edificio che abbiamo visto invece costantemente presente negli altri Fori Imperiali. In passato si riteneva che un gigantesco tempio dedicato a Traiano e Plotina divinizzati (e comunque non a una divinità “tradizionale”, come era sempre accaduto) fosse stato edificato dal successore di Traiano, ossia Adriano (117-138 d.C.) al limite settentrionale del complesso, in un’area sostanzialmente corrispondente a quella in cui oggi si trova Palazzo Valentini. Le ricerche effettuate in tempi recenti nei sotterranei del Palazzo hanno invece riportato alla luce resti, anche consistenti, di edifici d’abitazione, ridimensionando o escludendo così la presenza di un tempio in questo punto.’

 

An alternative website, the 'fori-imperiali.info' (April 2019), re-publishes the same information from the Sovrintendenza's website: "Roma antica » Aree archeologiche » Fori Imperiali »", with the exception of providing an English Language version, as follows:

 

'The temple that isn’t there - Within Trajan’s Forum there is no temple, a building which is present in all the other Imperial Fora. In the past it was believed that an enormous temple had been built to celebrate the deified Trajan and Plotina (and not as a “traditional” divinity as had always been the case). This temple was believed to have been built by Trajan’s successor Hadrian (117-138 A.D.) at the northern edge of the complex, in an area that is essentially where Palazzo Valentini stands today. Recent researches carried out in the basement of that building has brought to light ruins of private habitations, some quite substantial, which would appear to exclude the presence of such a temple in that area or at least reduce its possible size.'

 

Additional information in English on the Forum / Temple of Trajan in English, cited from Fori-imperiali.info “I Fori Imperiali” (April 2019) = fori-imperiali.info/ & “Il Foro di Traiano / Il tempio chenon c’è” .http://fori-imperiali.info/005-2/ (Accesssed April 2019) (re-accessed March 2020).

 

The Sovrintendenza's website on 'il foro di Traiano » il tempio che non c’è' offers no attribution to the source of the photograph (i.e., digital reconstruction of the Forum / Temple of Trajan); while the 'fori-imperiali.info' website cites, the following information:

"Ipotesi ricostruttiva del Tempio di Traiano (J. Packer)." This image of the Tempio di Traiano (i.e. J. Packer), was originally published in the following work: “Fig. 15 - Conjectural reconstruction of the Temple of Divine Trajan and the temenos (J. Burge)”, facing page 112; see: J. E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with R. Meneghini.” JRA 16 (2003): 109-113.

 

Note: Just recently Prof. Packer was kind enough to allow me to republish online a copy of his following 2003 work [in PDF] (see below in section # IV):

 

--- James E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with Roberto Meneghini.” JRA 16, pp. 109-136 [now in PDF].

  

The revision of the Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019), might be based upon a series of recent articles published by Dr. Eugenio La Rocca (2018) & Dr. Roberto Meneghini (2018) on the Forum and Temple of Trajan. In the former article by Prof. La Rocca basically dismisses the interesting research and will argued conclusions for the ‘traditional’ location and architectural design of Temple of Trajan (similar to that of J. E. Packer [2003]), as then published in Dr. Baldassarri RM 122 (2016 ): 171-202 (as cited above) (5).

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Eugenio La Rocca, Il tempio dei divi Traiano e Plotina, l’arco partico e l’ingresso settentrionale al foro di Traiano: un riesame critico delle scoperte archeologiche. Veleia, No. 5 (2018): 57-107 [in PDF]. wp.me/pPRv6-4LR

 

Abstract: The temple of the divi Trajan and Plotina, the Parthian arch and the northern entrance to the Trajan forum: a critical review of archaeological discoveries. There is some reliable evidence from antique sources about the templum divi Traiani, thanks to which it is known that the templum was connected with the column of Trajan, although they do not clarify neither the morphology of the building nor its actual location. The recent excavations carried out in the foundations of the palazzo Valentini have not shed some light on the problem. The reproduction of the gigantic temple, with 8 × 10 (or 9) Egyptian granite columns of 50 feet height, is still based on the hypothetical reconstruction of the northern area of the Trajan forum drawn by Guglielmo Gatti [= based on his grandfather’s notes] and by Italo Gismondi. Something the results of new investigations do not actually allow it. Furthermore, the proposed solutions do not take into account the Parthian arch of Trajan, whose placement at the southern entrance of the Trajan forum, as suggested by Rodolfo Lanciani and Italo Gismondi, can no longer be sustained. It is likely that the arch, whose construction was started in May of 116 A. D. and it was still ongoing at the time of Trajan’s death on the 7th of August of 117 A. D., was instead the main entrance of the forum, that is, the northern one, in an area affected by the building interventions of Hadrian, whose entity and motivations, unfortunately, fly from us. The existence of the Parthian arc in the area partially occupied by the templum divi Traiani, at least according to the most recent proposals of reconstruction, compels to revise the Hadrian’s setting of the Trajan forum to the north of the columna cochlis.

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Lucrezia Ungaro, Traiano e la costruzione della sua immagine nel Foro | Trajan and the construction of his representation, Veleia, No. 5 (2018): 151-177 [in PDF]. wp.me/pPRv6-4LF

 

Abstract – The discovery of a new colossal portrait of Trajan occurred during the preparation of the exhibition «Trajan. Building the Empire, creating Europe», gave a renewed reading of the complex figurative program wanted by the emperor in his Forum. In the framework of his political, military and social action, the Forum is in fact the highest representation of his virtus imperatoria and of the maiestas populi romani. In particular, the portraits of the Traianus Father and of the so-called Agrippina / Marcia are reconsidered, in the light of a possible gallery dedicated to Trajan’s genetic family and his models, such as Julius Caesar. Equal attention is devoted to the distribution of sculptures and reliefs discovered in forensic spaces, to their hierarchical relationship in the huge space of the square. Finally, the proposal to recognize the porticus porphiretica in the three-segmented hall is reconsidered, examining preliminarily the known porphyry sculptures attributable to the Forum, and some fragments preserved in the deposits of the Museum of the Imperial Fora, thus getting new interest.

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Roberto Meneghini, L’Arco di Traiano partico nel Medioevo. Veleia, No. 5 (2018): 180-188 [in PDF]. wp.me/pPRv6-4LV

 

Abstract: The hypothesis, put forward by Eugenio La Rocca in this same volume, of the presence of the Arcus Parthicus of Trajan in the area immediately to N of the Trajan’s Column seems to be confirmed by the medieval tradition. In fact, in the area are cited from historical sources and archives, the Arch of the Foschi di Berta (in reality cannot be precisely positioned), and an Arcus Traiani Imperatoris that would be exactly in correspondence with the structures found in the recent excavations of the subsoil of Palazzo Valentini, now of the Provincia or the Città Metropolitana di Roma.

 

Likewise, Dr. R. Meneghini and Dr. L. Ungaro in published a series of conference presentations on the Forum and Temple of Trajan for the recent Traiano exhibit in Rome (2017-18), see:

 

--- Roberto Meneghini, I Fori Imperiali / Il Foro di Traiano, pp. 1-20 [in PDF], in: Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome (08/05/2018), 29 November 2017–16 September 2018. wp.me/pPRv6-4LF

 

--- Lucrezia Ungaro, Dai frammenti alle ricomposizioni, dai depositi ai nuovi progetti di allestimento, pp. 1-76 [in PDF], Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome (08/05/2018), 29 November 2017–16 September 2018. wp.me/pPRv6-4LF

 

For a review of the Traiano Exhibit (2017-18) and additional information, see:

 

Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome, 29 November 2017–16 September 2018, curated by Claudio Parisi Presicce, Marina Milella, Simone Pastor, and Lucrezia Ungaro.

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Online Museum Review – Jeremy Hartnett, Marketing Trajan at the Museo dei Fori Imperiali. AJA 122.4 (Oct. 2018): 1-6 [in PDF], s.v, Roberto Meneghini | Lucrezia Ungaro (2018) [in PDF] & s.v., Prof Arch. P. Martellotti / Dott.ssa Arch. B. Baldrati (1999-2002).https://wp.me/pPRv6-4LF

 

IV). ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & New Information Courtesy of Prof. James E. Packer (18 March 2020).

 

Rome, the Temple of Trajan: “…La scoperta non è sensazionale perché anche in passato si era parlato della possibile esistenza del Tempio di Traiano sotto Palazzo Valentini. La presenza della domus aveva fatto passare di moda l’ipotesi. L’evidenza archeologica ha dimostrato che il tempio c’è. Un impulso alla ricerca viene anche dallo scavo di Roberto Egidi (Soprintendenza statale) che messo in luce l’Athenaeum e che non è famoso come [Prof. Andrea] Carandini e [Prof. Eugenio] La Rocca! Peccato che verrà presto ricoperto. La situazione nel complesso frena gli entusiasmi.”

 

Comment Former Senior Director with the MIBACT and Italian archaeologist,

personal communication to M. G.Conde (08 December 2011) (6).

  

Since the fall 2019 and up-to the 30 January 2020, with having access now to Dr. Baldassarri’s recent work on the Temple of Trajan in Rome = the notice of the "LA TOPOGRAFIA DELL'AREA A NORD DEL FORO DI TRAIANO", Rome Conference in Jan. 2020; her conference video presentation in Caen, France in mid-December 2019 and several of her recently published articles, notably the RM 122 (2016 ): 171-202.

 

I would like to offer a personal comment on Dr. Baldassarri’s recent work on the Temple of Trajan (2018-20), as noted in her RM 122 (2016 ): 171-202, she fundamentally completely ignores the invaluable previously work conducted on the Forum of Trajan by Prof. James E. Packer (2006, 2003, 2001 & 1997)? In her reconstruction of the history of the excavations and studies of the temple in the 19th, along with her new digital reconstruction of the temple itself. With the exception of the few architectural remains of the Temple brought to light underneath the Palazzo Valentini (2005 onwards), her work is fundamentally continuing the work and similar design plans of Prof. Packer’s earlier work on the Temple?

 

For the benefit of the non-Italian independent researchers, university students and scholars interested in the research and studies of the Forum and Temple of Trajan (2017-2020), after discussing with Prof. Packer the recent work of Dr. Baldassarri, Dr. La Rocca and Dr. Meneghini (2017-20), although he is currently engaged in his forthcoming book on the Theater of Pompey in Rome. He found the new research on the Temple of Trajan very interesting. As for his recent and past work in Forum of Trajan, see the following:

 

--- James E. Packer [on Facebook] (15 May 2015). Personal comments in reference to: “I FORI IMPERIALI – “Un marmo sopra l’altro così rialzeremo le colonne del Foro di Traiano.” LA REPUBBLICA (15 May 2015). wp.me/pPRv6-2Y1

 

--- James E. Packer (2013a), [Review of] “The Atlante: Roma antica revealed,” ANDREA CARANDINI (a cura di) con PAOLO CARAFA, ATLANTE DI ROMA ANTICA. BIOGRAFIA E RITRATTI DELLA CITTÀ (Mondadori Electa 2012). 2 vols. Pp. 1086, pls. XVII + 276 + 37 map

sections. ISBN 978-88-370-8510-9. EUR. 150.” JRA 26 (Nov., 2013), pp. 553-561.

(Abstract). doi.org/10.1017/S104775941300041X & wp.me/pPRv6-1S5

 

--- James E. Packer (2013b), interview with J. E. Packer, in: T.E. Watts, “Rome Walk: Imperial Fora II-Trajan’s Forum and Market,” Rome: You-Tube (22 Nov. 2013), [1:00:13]. Interview with J. E. Packer, during a school group tour visit to the Forum of Trajan & the Forum of

Caesar. Rome: You-Tube (22 Nov. 2013), [1:00:13]. wp.me/pPRv6-2pu

 

--- James E. Packer (2008a), “Italo Gismondi and Pierino Di Carlo: ―Virtualizing Imperial Rome for 20th-Century Italy.” AJA Online Review Article, 112.3 (July), pp. 1-6 [PDF]. AJA Online Edition.

www.ajaonline.org/online-review-article/254 & PDF = wp.me/pPRv6-2GB

 

Prof. James E. (2008b), “The Column of Trajan: the topographical and cultural contexts.” JRA 21, pp. 471-478 [PDF]. (Abstract) doi.org/10.1017/S104775940000478 & PDF = wp.me/pPRv6-1sv

 

--- James E. Packer (2006), “Digitizing Roman Imperial architecture in the early 21st century: purposes, data, failures, and prospects,” pp. 309-320; in: L. Haselberger and J. Humphrey (eds)., Imaging Ancient Rome. Documentation – Visualization – Imagination. Proceedings of the Third Williams Symposium on Classical Architecture, 2004. JRA Supplementary Series 61 (2006). Index summary, JRA Supl. 61 (2006).

 

--- James E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with Roberto Meneghini.” JRA 16, pp. 109-136 [in PDF] (7).

 

--- James E. Packer (2001a), The Forum of Trajan in Rome: A Study of the Monuments in Brief. University of California Press (2001), pp. 1-235. (Preview & abstract in Google Books).

books.google.com/books?id=Tn7zf3ecm2wC&source=gbs_nav...

 

--- James E. Packer (2001b), Il Foro di Traiano a Roma: breve studio dei monumenti. Rome: Edizioni Quasar (2001), pp. 1-256. (Tradotto in italiano da Elisabetta Ercolini [translated into Italian by Elisabetta Ercolini]). (Abstract and summary) =

www.edizioniquasar.it/sku.php?id_libro=481&bef=1638&a...

 

--- James E. Packer (1997a), “Report from Rome: The Imperial Fora, a Retrospective.” AJA 101 (Apr., 1997), pp. 307-330 [PDF]. (Abstract) www.jstor.org/stable/506512 & PDF = wp.me/pPRv6-2oq

 

And for two important peer-review articles in English and Italian on Prof. Packer’s work on the Forum of Trajan (2001 & 1997), see:

 

--- Tom Stevenson (2002), [Review of] “James E. Packer & John Burge, The Forum of Trajan in Rome: a Study of the Monuments in Brief (2001).” PRUDENTIA Vol 34, No 1, pp. 101-105 [PDF]. prudentia.auckland.ac.nz/index.php/prudentia/article/view...

 

--- Francesco Ferretti, (2001), “Foro di Traiano – Notiziario bibliografia”: J. E. Packer, Forum of Trajan Vol. I-III; R. Meneghini, F. di Traiano, RM 105 (1998); & E. La Rocca, F. di Traiano, RM 105 (1998); in: Notiziario bibliografico di Roma e Suburbio, 1997-2001. BCom Vol. 102 (2001), pp. 399-400 [PDF]. wp.me/pPRv6-4BX

 

Hope the readers will have found this brief notice of the Forum and Temple of Trajan useful.

 

Thank you Martin G. Conde

Washington DC, USA (20 March 2020).

 

A special thank you to Prof. James E. Packer and also Dr. Arch. Barbara Baldrati, Gianni De Dominicis & Alvaro Di Alvariis of Rome, Italy; all being very kind and contributing and sharing their important and invaluable work on Rome with me.

 

Their various works on Rome can be accessed via a search on the following website:

ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2010-20.

ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.

rometheimperialfora19952010.wordpress.com/

  

Notes and Additional Information:

 

For a collection of research materials (in PDF’s and images) on the recent and past excavations and studies of the Forum, Temple and Markets of Trajan (1998-2020), see:

 

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. Il Foro di Traiano: Tempio di Traiano - Colonna di Traiano - Basilica Ulpia - scavi (1998-2020, 1989-1997, & 1928-33). | The Forum of Trajan: Temple of Trajan - Column of Trajan - Basilica Ulpia - excavations (1998-2020, 1989-1997, & 1928-33).

 

-- Forum of Trajan =

www.flickr.com/photos/imperial_fora_of_rome/sets/72157600...

--- Temple of Trajan =

www.flickr.com/photos/imperial_fora_of_rome/sets/72157594...

 

1). This brief summary on the Forum and Temple of Trajan (2018-20) is part of my forthcoming paper entitled:

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. The Temple of Divine Trajan in Rome, 2010-20. A Review of the Italian & International Studies - "L’evidenza archeologica ha dimostrato che il tempio c’è,” (2011). With Additional Contributions by Dr. Arch. Barbara Baldrati, Gianni De Dominicis & Alvaro Di Alvariis. Versus the Sovrintendenza Capitolina ai Beni Culturali - ‘Il tempio che non c’è,’ (2019); 1-25 [in PDF]. By Martin G. Conde, Independent Researcher. Washington DC, USA. (March 2020) mgconde@yahoo.com

 

2). For news of the restoration of the New Spanish School of History and Archaeology on the Via di Sant'Eufemia in Rome, see:

--- Valencia, a 15 de abril de 2010, Cleop reformará la nueva sede de la Escuela española de Historia y Arqueología del Centro Superior de Investigaciones Científicas en Roma (2010) [in PDF].

www.cleop.es/media/pdf/ESCUELA%20DE%20HISTORIA%20Y%20ARQU...

 

--- Salvatore Nicoletti, “SCUOLA SPAGNOLA DI STORIA E ARCHEOLOGIA, ROMA

INTEGRAZIONI SPAZIALI.” IOARCH 68, Jan. & Feb. (2017): 50-52 [in PDF].

 

3). List of the presenters at the ‘La topografia dell’area nord del Foro di Traiano’ - Conference (30/01/2020).

 

ORE 9,15 - INTRODUZIONE (Presiede Eugenio La Rocca)

ORE 9,30 - Antonio Pizzo, Massimo Vitti, Il Pomerio, i sepolcri e il Foro di Traiano.

ORE 10,15 - Francesca de Caprariis, Traiano tra Campidoglio e Campo Marzio

ORE 11,00/11,30 - PAUSA

ORE 11,30 - Rossella Rea, Gli auditoria di piazza Venezia.

ORE 12,15 - Paola Baldassarri, Il Tempio dei divi Traiano e Plotina e i suoi disiecta membra: novità dalle indagini a Palazzo Valentini.

ORE 13,00/15,00 PAUSA PRANZO (Presiede Domenico Palombi)

ORE 15,00 – Elisabetta Bianchi, Roberto Meneghini, Il Foro di Traiano a nord della Basilica Ulpia.

ORE 15,40 - Eugenio La Rocca. L’arco Partico di Traiano

ORE 16,20/16,50 PAUSA

ORE 16,50 - Claudio Parisi Presicce, Una nuova proposta per la localizzazione del Tempio di Plotinae del divo Traiano.

ORE 17,30 - Lucrezia Ungaro, Per un abaco delle sculture del Foro di Traiano

ORE 18,10 – Marina Milella, Resti marmorei di architetture di grandi dimensioni.

 

4). Rome, News of the Forum of Trajan and Via Alessandrina excavations (2019-20).

Since 2019, Dr. Arch. Federico Celletti working on the Via Alessandrina site (2017-20) has been kind enough to share with me his personal photographs of the ongoing excavations at the site (see references cited here below). While recently on 21 Feb. 2020, during an official visit by the President of the Republic of Azerbaijan in Rome, the administration of the City of Rome exhibited several of the architectural elements and decorations recently recovered from the Forum of Trajan excavations (see below). While the only news in English on the recent Forum of Trajan excavations is the “Dagli scavi ai Fori Imperiali riemerge la testa del dio Dioniso,” in: NOTES FROM ROME 2018-19; PBSR 87 (2019): 309-316 [in PDF] (see below).

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Foro di Traiano / Via Alessandrina – Gli scavi e le scoperte in corso. Foto: Dr. Arch. Federico Celletti / Facebook (09/03/2020). S.v., Virginia Raggi & President of the Republic of Azerbaijan (21/02/2020). wp.me/pPRv6-5cR

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Raggi riceve il presidente della Repubblica Azerbaigian – esposti i reperti archeologici provenienti dagli scavi archeologici dell’area di i Fori Imperiali & via Alessandrina. President of the Republic of Azerbaijan [English & Italiano] (21/02/2020). wp.me/pPRv6-5cH

 

--- ROMA ARCHEOLOGICA e RESTAURO ARCHITETTURA: “Dagli scavi ai Fori Imperiali riemerge la testa del dio Dioniso,” in: NOTES FROM ROME 2018-19; PBSR 87 (2019): 309-316. Foto: Dr. Arch. Federico Celletti / FACEBOOK, Rome (24 May 2019). wp.me/pPRv6-59q

 

5). ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: ROME – “Trajan’s Temple, Column and Forum / Templum Divi Traiani” in: VR Back To The Past. CARLO CESTRA DIGITAL PRODUCTIONS 2010-19 (04/2019). For an alternative digital reconstruction / video of the ‘Templum Divi Traiani’ see the following work of Carlo Cestra, Senior CG Artist = ROME – Trajan’s forum: This is part of the project named VR Back To The Past, a collection of virtual reality tours I am working on. Here is the digital reconstruction of the north-western part of the Trajan’s Forum in Rome (beside the “Basilica Ulpia”) with the Trajan’s Column and the Temple. The Temple of Trajan (Templum Divi Traiani et Plotinae), Trajan’s Column area.

Fonte | source:

— Carlo Cestra, Senior CG Artist – Trajan’s forum (04/2019).

wp.me/pPRv6-4X0

 

6). Also see: ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Andrea Carandini, Paolo Carafa, & Fabio Cavallero, Il TEMPIO dei DIVI TRAIANO e PLOTINA ROMA ANTICA – ESCLUSIVO, ARCHEOLOGIA VIVA, Rivista: N. 149 / mese: Sett.-Ott. 2011, pp. 47-54 [PDF pp. 1-5].

wp.me/pPRv6-P4

 

7). For the earlier and recent discovery of the Trajanic inscriptions in the Forum of Trajan and the L’Athenaeum di Adriano, see:

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Rome, the Metro C Archaeological Surveys – the Piazza Madonna di Loreto, Sector (# S14/B1). The Discovery of New Inscriptions & Architectural Elements of the Temple of Trajan? (January 20th, 2011).

www.flickr.com/photos/imperial_fora_of_rome/5374055767

 

--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Dott.ssa Paola Baldassarri – Nuovi dati per la ricostruzione del tempio di Traiano, (2015-16), Dr. Antonio Lopez Garcia, L’Athenaeum di Adriano (2015) & Marmo – Dedica ai divi Traiano e Plotina, MUSEI VATICANI (2017).

wp.me/pPRv6-4eO

Visita nuestro Blog de Semana Santa en:

asociacionredobles.blogspot.com

 

Actos que se van a desarrollar durante la conmemoración del 200º aniversario del

rescate del Cristo de la Cama, consistente en el traslado de la Imagen desde la Iglesia

de Santa Isabel de Portugal (vulgo San Cayetano) a la Basílica del Pilar.

El rescate se produjo el 17 de febrero de 1809 del Convento de San Francisco, lo que

actualmente es la Diputación Provincial. El día 10 los franceses volaron el Convento,

que era defendido por unos cuantos aragoneses y por los voluntarios de Valencia. El

día 17, María Blánquez entro en el convento y vio que todos los pasos que

procesionan en Semana santa, quince en total, estaban destruidos, salvo el Santísimo

Cristo de la Cama, que estaba indemne en su Capilla de la Hermandad. Salió a la

calle, cogió a cuatro hombres, volvió a entrar al convento y todos ellos cogieron al

Cristo de la cama. Lo llevaron primero a la parroquia de la santa Cruz, después a la

de Santiago y finalmente al Palacio Arzobispal, lugar en donde vivía el general

Palafox, que enfermo lo venero y ordeno fuera llevado al interior de la Basílica del

Pilar, siendo colocado en el Altar de los convertido mirando a su Madre, la virgen del

Pilar.

Este hecho es el que conmemoramos.

A las 18´00 horas se oirá en la Ciudad de Zaragoza a los Artilleros de Aragón

anunciando el comienzo de la procesión cívico religiosa.

Con la salida desde San Cayetano de la Bandera de la Hermandad de la Sangre de

Cristo dará comienzo la procesión, encontrándose el resto de participantes ubicados

en la plaza. Seguidamente saldrá la peana, portada a varal, del Cristo de la Cama. Lo

hará con un toque preparado para la ocasión por la Sección de Tambores de la

Hermandad de San Joaquín y Virgen de los Dolores. Una vez que nuestro Cristo de la

Cama este en la plaza sonara el Himno Nacional interpretado al órgano por Ignacio

Navarro Gil.

Finalizado el himno, se descubrirá una placa en cerámica de Muel, promovida por la

Asociación Cultural Redobles. Dicha placa será descubierta por el Ilmo. Sr. D.

Francisco Javier Lambán Montañés, o persona en quien en delegue, acompañado por

el Hermano Mayor de la Hermandad de la Sangre de Cristo. A la vez que se descubre

la placa, don José Antonio Armillas, Comisario del Bicentenario glosara brevemente

la figura de María Blánquez y lo que ella significo.

Finalizado este acto, dará comienzo en sí el desfile.

Por la calle Manifestación, calle Alfonso y calle Coso, nos dirigiremos a la plaza de

España, en donde se realiza el segundo acto del desfile. Este consiste en depositar dos

coronas de laurel. La primera en la placa que recuerda al Convento de San Francisco

y la segunda en el monumento a los Mártires.

La del Convento de San Francisco será portada por mujeres ataviadas con el traje

regional, en recuerdo y homenaje a María Blánquez. Entregada por don Francisco

Javier Lambán Montañés (o persona en quién delegue), le acompañaran el

Comandante Militar de Zaragoza, General Juan Pinto y el Hermano Mayor de la

Sangre de Cristo. La recibirán dos soldados del Batallón Pardos de Aragón.

La segunda corona, la entregara don Juan Alberto Belloch Julve (o persona en quién

delegue), acompañado también por el Comandante Militar y el Hermano Mayor,

siendo recibida por dos soldados del Batallón de Infantería Voluntarios de Aragón.

Durante este acto sonara en la plaza el Carillón de la Diputación Provincial con

marchas alusivas a los Sitios.

Finalizado el acto, continuaremos el desfile en dirección a la Plaza de la Seo por calle

don Jaime, calle Mayor, calle Dormer, calle Cisne y calle Cuellar.

En la plaza de la Seo se realiza el tercer y último acto. Consiste en una breve

alocución del General Pinto, Comandante Militar de Zaragoza y Teruel, en recuerdo

y homenaje del General Palafox. A Su conclusión, el Batallón de Infantería

Voluntarios de Aragón hará una descarga de fusilería.

Ya para finalizar, nos encaminaremos a la plaza del Pilar, finalizando el desfile,

alrededor de las 20´30 horas, con la entrada del Cristo de la Cama en la Basílica, en

donde permanecerá hasta el miércoles 25 de febrero.

Finalizado el desfile y por lo tanto el traslado, la Hermandad de la Sangre de Cristo

realizara una ofrenda a la Virgen del Pilar.

La Hermandad de la Sangre de Cristo, con el fin de dar mayor realce a este

acontecimiento histórico, ha invitado a participar a todos aquellos Ayuntamientos e

Instituciones galardonados con la Medalla del Bicentenario “Defensor de Zaragoza”,

distinción que también ha obtenido la propia Hermandad. Han confirmado su

asistencia una representación de los Ayuntamientos de Alcañiz, Barbastro, Calatayud,

Cariñena, Chelva, Huesca, Jaca, monzón y Valencia. También han confirmado su

participación los Artilleros de Aragón, Batallón Pardos de Aragón, Batallón de

Infantería Ligera Voluntarios de Aragón, la Asociación Cultural Royo del Rabal

(ronda y escenificación de personajes históricos de la época), la Asociación Cultural

Los Sitios (personajes históricos de la época), la Hermandad de San Juan de la Peña,

la Cofradía del Santo Sepulcro, la Hermandad del santo Refugio, la Real Ilustre

Congregación de Nuestra Señora de la Soledad de Madrid y la Real Maestranza de

Caballería.

La parte musical durante el desfile correrá a cargo de la Banda de Guerra de la

Brigada de Caballería Castillejos II, de la Banda Música de la Academia General

Militar y la Ronda de jotas de la Asociación Cultural el Rabal. Durante el desfile y

con el fin de que los peaneros lleven el ritmo adecuado, les acompaña un piquete de

diez instrumentos, cuyos miembros son de la cofradía de la Institución de la Sagrada

Eucaristía, que lo harán sin los distintivos propios de la Cofradía.

Cabe destacar el estreno de una marcha procesional en las calles de Zaragoza. La

primera y ultima pieza que interprete la Banda de Música será la Marcha al Cristo de

la Cama, cuyo autor es don Abel Moreno y que fue donada a la Hermandad por la

Asociación para el Estudio de la Semana Santa.

Ernesto Millán Lázaro

Hermano Mayor

Hermandad Sangre de Cristo

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

A finales de la década del cuarenta, el O.K.B de Mikoyan trabajó en el I-350, veloz interceptor de ala en flecha de 60º, provisto del turborreactor Lyulka TR-3A/AL-5 de flujo axial. Esta aeronave mantuvo el armamento usado en los MiG-15 y MiG-17, consistente en un cañón de 37 mm y dos de 23 mm. Dos prototipos fueron proyectados, uno con el radar RP-1 Izumrud, y el otro con el radar Korshun. El avión, en su configuración de interceptor con el radar Izumrud, voló el 16 de junio de 1951, aunque el motor falló poco después de despegar; este proyecto fue cancelado en agosto de 1951.

 

En julio de 1951, el Consejo de Ministros de la URSS autorizó el desarrollo del nuevo caza interceptor como sustituto del MiG-17, lo que llevó al O.K.B de Mikoyan a un nuevo diseño. Por ello, se empezó por sacar las mejores características del I-350, usando una configuración bimotor, con un fuselaje ligero y ala en flecha. Mikoyan trabajaba en el MiG-17 SM-1/I-340, con dos motores AM-5F. Sus prestaciones fueron buenas, decidiendo usar estos motores en una célula experimental mejorada, denominada I-360; el desarrollo de este caza de escolta de largo alcance se inició en agosto de 1951, en torno al uso de los ya mencionados motores AM-5F, de 2.700 kg cada uno con postcombustión. El armamento del nuevo avión estaría conformado por dos cañones N-37D de 37 mm en cada ala. De esta manera, se construyeron dos prototipos para pruebas de vuelo y uno para ensayos estáticos.

 

El primer I-360 voló el 24 de mayo de 1952, con el piloto de pruebas G.A. Sedov a los controles. El 25 de junio del mismo año, el avión superó Mach 1 en vuelo nivelado. El segundo avión voló el 28 de septiembre, logrando prestaciones igualmente fenomenales. Posteriormente se introdujeron los muy mejorados motores Mikulin AM-9B/RD-9B, de 2.600 kg cada uno en seco y 3.250 kg con postcombustión. El nuevo diseño se denominó Izdeliye SM-9; tres fueron construidos, el primero de los cuales voló el 5 de febrero de 1954, con Sedov a los controles. Pequeños cambios se introdujeron y el tercer prototipo que llevó casi todas las características del avión de producción.

 

SERVICIO:

 

A mediados de febrero de 1954, la Fuerza Aérea Roja (WS) ordenó la producción en serie del modelo MiG-19. Los dos primeros aviones de producción se entregaron a la WS en junio de 1955, y en agosto del mismo año 48 de estos aviones volaron en el show aéreo de Tushino en Moscú. La OTAN le asignó el nombre código "Farmer". Este fue el primer avión operativo supersónico.

 

Paralelamente, Mikoyan desarrollaba un caza con motores Klimov VK-7 de flujo centrífugo. Este avión, proyectado con los mismos parámetros del SM-9, pasó a llamarse I-370. El avión consiguió volar el 16 de febrero de 1955, con el piloto de pruebas de Mikoyan, Fyodor I. Burtsev. Pero este proyecto terminó siendo solo un experimento, ya que para entonces los motores de flujo centrífugo simplemente eran historia.

 

En tanto, el MiG-19 de producción era un avión de ala media, cuya estructura estaba hecha principalmente de una aleación de aluminio; los controles de vuelo eran convencionales, con flaps dobles en cada ala; el combustible era almacenado en cuatro tanques en el fuselaje, pudiendo también llevar tanques externos de 760 L; los dos motores RD-9B iban instalados en el fuselaje. El tren era convencional del tipo triciclo, y al aterrizar se podía desplegar un paracaídas para acortar la carrera. El armamento, en el modelo inicial, era de tres cañones NR-23 de 23 mm, uno en la nariz y dos en las alas. El piloto contaba con un asiento eyectable convencional y la cabina llevaba equipos de radio, IFF, compás giromagnético, equipo de navegación y radar de alerta Sirena II.

MiG-19

MiG-19

 

Las prestaciones del MiG-19 Farmer eran excelentes, y según muchos, eran muy superiores a las de su contraparte occidental, el F-100 Super Sabre. A partir del ejemplar de serie número 500, en 1956, se introdujo estabilizadores de incidencia variable, motores RD-9B y tres cañones NR-30 de 30 mm, lo cual correspondía a la versión MiG-19S Farmer-C.

 

Cierto número de MiG-19S se convirtieron para reconocimiento, siendo denominados MiG-19R; estos estaban provistos de motor RD-9BF-1, con 10% más de potencia en seco, y un nuevo sistema de postcombustión, además de cámaras en lugar de cañones. Asimismo, se diseñaba una versión con radar de interceptor; el primero de tres prototipos SM-7 voló el 28 de agosto de 1954, con V.A. Nefyodov a los controles. Este modelo llevaba una nariz más larga, con el radar RP-1 Izumrud, mientras el cañón de nariz se suprimió y los cañones de las alas se mantuvieron. Este versión fue operativa como MiG-19P Farmer-B, formando parte de una serie de interceptores todo-tiempo desarrollados a partir del caza de superioridad aérea original. Podía llevar un contenedor con cohetes no guiados bajo cada ala, para combate aire-aire.

 

Posteriormente, algunos MiG-19P en servicio se modificaron para llevar los misiles aire-aire K-13/AA-2 Atoll; las últimas aeronaves de producción de este modelo fueron dotadas del radar mejorado RP-5 Izumrud, con mayor alcance y resolución. Ciarto número de MiG-19P fueron provistos de un sistema Gorizont-1, que recibía datos provenientes de estaciones en tierra acerca del objetivo; esta versión se designó MiG-19PG.

 

Entonces, los misiles aire-aire ya eran vistos como el futuro de los combates aire-aire, por lo cual se desarrolló una versión del MiG-19P con este tipo de armamento; tres aviones se modificaron, y se usaron como prototipos, siendo evaluados durante varios meses. El modelo resultante fue el MiG-19PM Farmer-D, que entró en servicio en 1957. Dispone de un radar Izumrud con dos antenas; la antena de exploración/control de tiro se situaba en el interior de un radomo cónico instalado en el tabique de separación de la toma de aire, mientras que la de telemetría se encontraba en un radomo de labio sobre la toma. Este modelo llevaba únicamente un cañón, además de soportes subalares para cohetes aire-aire de 212 mm o dos/cuatro contenedores para cohetes RO-57-8, además de misiles aire-aire K-5M/RS-2/AA-1 Alkali de guiado electromagnético. Unos pocos MiG-19P se adaptaron a este modelo, siendo redesignados MiG-19PML.

 

También se desarrolló una variante capaz de volar a una altitud extrema, con el objeto de no ser alcanzado por las defensas antiaéreas. Este modelo se basó en el MiG-19S, quitando algo de armamento, blindaje de cabina y otros elementos, y adaptando el motor RD-9BF. En 1956 esta versión fue producida, en número limitado, como MiG-19SV; uno de estos alcanzó una altitud récord de 20.740 m el 6 de diciembre de 1956, con N.I. Korovushkin a los controles.

 

Un modelo similar, el MiG-19SVK, fue evaluado en 1957, pero no tuvo éxito y la idea fue abandonada después. Los norteamericanos lograron un avión de esta naturaleza con el Lockheed U-2, de reconocimiento estratégico, que voló por vez primera sobre la URSS el 4 de julio de 1956. El O.K.B de Mikoyan continuó desarrollando el concepto, usando una célula convencional, pero provisto de un cohete de combustión líquida; esta variante se designó MiG-19SU.

 

Cierto número de MiG-19P fueron dotados de cohetes impulsor, pasando a llamarse MiG-19PU. Pero los interceptores de gran altitud no eran muy efectivos, siendo sustituidos por los misiles aire-tierra, como los V-75/SA-2. Un misil de este tipo derribó a un U-2 el 1 de mayo de 1960, mientras este efectuaba su misión de reconocimiento, con Francis Gary Powers a los controles.

 

A mediados de los cincuenta, el O.K.B de Mikoyan empezó a trabajar en el misil de crucero aire-tierra Kh-20/AS-3 Kangaroo, basado en la configuración del MiG-19. Durante las primeras pruebas, dos MiG-19 de los primeros modelos de producción fueron usados como "simuladores", siendo designados izdeliye SM-20. Uno de ellos llevaba piloto, pero el otro no estaba tripulado. Probaron los sistemas de guía y el lanzamiento desde el bombardero Tu-95 Bear. Otros dos MiG-19 se usaron en el desarrollo del misil K-10S/AS-2 Kipper, para el bombardero Tupolev Tu-16K; recibieron la designación izdeliye SM-K.

 

Unos pocos MiG-19S se usaron para probar el despegue desde distancia cero (ZEL), dotados de cohetes de combustión sólida; algunos se construyeron para el ZEL, estando provistos del cohete PRD-22, y designados izdeliye SM-30. En tanto, algunos aviones se convirtieron para usarse como drones (aviones no tripulados de reconocimiento), siendo designados MiG-19M.

 

Cuatro prototipos de caza diurno SM-12 volaron en 1957, estando dotados de la nariz del MiG-21, con una toma de aire pequeña, mejotas en la aviónica y dos turborreactores Sorokin R3-26. Un solo SM-12PM, variante de interceptor, voló en 1958; estaba provisto de una nariz similar a la del MiG-21, pero con un radar TsD-30; el cañón se mantuvo y se pueden instalar también dos misiles aire-aire AA-1 Alkali; este avión cuenta con dos turborreactores R3-26, así como una toma de aire variable. El SM-12PMU, similar al anterior, voló en 1958; este estaba provisto de un motor cohete líquido, diseñado originalmente para el MiG-19SU/PU. La serie de prototipos SM-12 se usó para diversas pruebas, siendo en general una serie de híbridos entre el MiG-19 y el MiG-21.

 

La producción soviética del MiG-19 alcanzó los 2.069 ejemplares. La compañía checa Vodochody construyó bajo licencia el MiG-19S durante 1958-1961, bajo la designación Avia S-105; produjo 103 ejemplares. Sólo la aviónica era de construcción checa, mientras el resto de los componentes del avión eran importados por la Unión Soviética. La República Popular China produjo bajo licencia el interceptor MiG-19P a partir de 1958; la producción fue realizada por Shenyang, y el primer avión ensamblado en China (mediante partes suministradas por soviéticos) voló en diciembre de 1958. El primer MiG-19P construido íntegramente por Shenyang (llamado J-6) voló en septiembre de 1959. La factoría Nanchang también produjo paralelamente el MiG-19PM, siendo estos aviones designados J-6B. El caza diurno MiG-19S fue producido por Shenyang a partir de 1961, y el primer avión, de construcción enteramente china, voló a finales de año (estos aviones mantuvieron la designación J-6).

 

Alrededor de 4.000 J-6 fueron producidos durante los ochenta, siendo exportados, bajo la designación F-6, a varios países, principalmente Pakistán. Debido a la producción china, el MiG-19 ha podido estar en servicio hasta la actualidad, en varias subvariantes:

 

* el J-6C, último modelo de producción del caza diurno, es similar al MiG-19S/ J-6, incluyendo cambios menores;

* el JZ-6, variante de reconocimiento con cámaras en la parte delantera del fuselaje;

* el J-6III es una versión mejorada del caza diurno J-6, con motores nuevos, cono de nariz en la toma de aire y alas más pequeñas para mayor maniobrabilidad;

* el J-6A o J-6IV, interceptor basado en las líneas del MiG-19PM, fue producido en números limitados;

* el JJ-6, entrenador biplaza, es el modelo más distintivo producido por China, siendo exportado como FT-6

 

El J-6 ha sido el principal avión caza diurno de las Fuerzas Aéreas del Ejército de la República Popular China (PLAAF). Un buen número de entrenadores FT-6 fue vendido a Pakistán; los pakistaníes dotaron a sus F-6 y FT-6 de asientos eyectables Martin Baker Mark 10L (cero-cero), así como de misiles aire-aire AIM-9 Sidewinder.

 

El 1 de junio de 1960, MiG-19 soviéticos derribaron un Boeing RB-47H, de reconocimiento electrónico, que sobrevolaba el norte de la URSS; cuatro de sus tripulantes murieron y dos fueron tomados prisioneros. Durante la Guerra de Vietnam, el F-6 fue suministrado a Vietnam del Norte. Los MiG-19 norvietnamitas efectuaron acciones aire-aire en 1972. El MiG-19 también entró en acción en Oriente Medio. Egipto recibió sus MiG-19 en 1958, y Siria en 1962. Los aviones egipcios efectuaron ataques a tierra contra fuerzas revolucionarias durante la guerra civil en Yemen, en los años sesenta. La primera acción aire-aire del MiG-19 en Medio Oriente tuvo lugar el 29 de noviembre de 1966, cuando unos MiG-19 egipcios se enfrentaron contra dos Mirage IIIC israelíes.

 

Irak recibió interceptores MiG-19S en los años sesenta, los cuales fueron revendidos posteriormente y unos pocos se conservaron. En 1983, durante la Guerra Irán-Irak, los iraquíes obtuvieron un lote de F-6 provenientes de Egipto; al mismo tiempo, Irán recibió cierta cantidad de F-6. Por ello, ambas naciones beligerantes disponían de un mismo modelo de avión; no obstante, no se registraron combates aire-aire MiG contra MiG.

 

La acción en combate más importante llevada a cabo por el MiG-19 tuvo lugar en diciembre de 1971, durante la Guerra Indo-pakistaní. Los F-6 pakistaníes derribaron diez aviones indios, perdiendo cuatro de los suyos. Tras efectuar acciones de diverso tipo durante otros conflictos, los F-6 pakistaníes fueron retirados de servicio en 2002.

 

Cuba recibe sus primeros MiG-19 en noviembre de 1961, siendo así el primer país de Latinoamérica en recibir aviones supersónicos. Su Fuerza Aérea Revolucionaria (FAR) recibe en total 12 MiG-19P, que entran en servicio en enero de 1962. Durante la Crisis de los misiles de Cuba de octubre de 1962, los MiG-19 cubanos participaron en misiones de intercepción de los aviones de reconocimiento de Fuerza Aérea de Estados Unidos que sobrevolaban la isla.

 

El F-6 fue usado también por naciones africanas. Tanzania empleó este modelo contra Uganda durante la guerra de 1978-1979, mientras Sudán también los usó en combate contra fuerzas separatistas. Asimismo, Somalia utilizó sus F-6 contra fuerzas rebeldes en Etiopía en los años ochenta.

  

DATOS TECNICOS:

 

Motor: (Shengyang J/F-6) dos turborreactores Shengyan Wopen-6F (Tumansky R-9BF-811), con postcombustión.

 

Pesos: vacío, 5.760 kg, máximo en despegue, 10.000 kg

 

Dimensiones: envergadura, 9,20 m; longitud, 12,60 m; altura, 3,88 m; área alar, 25 m²

 

Prestaciones: velocidad máxima, 1.540 k/h; techo de servicio, 17.900 m; alcance en combate, 685 km

 

Armamento: cohetes aire-aire de 212 mm, dos/cuatro contenedores para cohetes RO-57-8, cuatro misiles aire-aire K-5M (AA-1 "Alkali"), o cohetes no guiados ARS-160 o ARS-212M.

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).