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Sculpture entitled "The Spirit of American Youth Rising from the Waves" by Donald De Lue.
Photographed at the Normandy American Cemetery and Memorial, Colleville-sur-Mer, France, June 1992.
Cemetery web site:
www.abmc.gov/cemeteries-memorials/europe/normandy-america...
(Scanned 35mm color negative)
Photograph entitled ‘Ballyhaise House, March 1855’, Co. Cavan. This property was built for the Newburghs, a local landowning family, in the 1730s. In 1885 it was owned by William Humphreys, High Sheriff of Co Cavan.
From Photograph album containing twenty-one black and white photographs probably taken by the Honorary Hugh Annesley. The album is endorsed on the front inside cover as H. Annesley. Scots Fusilier Guards. March 1855.
Date: March 1855
Reference: D1854/5/1/1
Actually entitled "Une Veuve" (A Widow), by James Jacques Joseph Tissot (1836-1902).
Falcon Gallery De-luxe Puzzle No. 3468.
1000 pieces, used and incomplete (3 pieces missing).
485 x 680 mm.
19 x 26 3/4 in.
From the back of the box:
'This painting is the most sophisticated of a group of paintings commenced in the late 1860s in which the artist focussed on the figure of a woman. Tissot began to concentrate on these figures after his early involvement with historical themes. This painting "Une Veuve" (The Widow), was first shown at The Paris Salon in 1869. Tissot has splendidly captured the wistful look of the young widow, the restlessness of the young child, and the complacency of the older woman chaperone. Tissot was to return to the theme of bereavement in several of his other paintings later in his career.'
It's a mystery to me why Falcon decided to rename this jigsaw.
Unfortunately we discovered early on that there were three pieces missing, although it didn't detract from our pleasure in completing it.
performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.
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academy-emergency-art.blogspot.dk/2014/05/why-should-berl...
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Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?
ARE BIENNALES DANGEROUS ?
Art Formats : ( including Emergency Art )
www.emergencyrooms.org/formats.html
Biennalist:
www.emergencyrooms.org/biennalist.html
THE EMERGENCY WILL REPLACE THE CONTEMPORARY
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----more about Berlin Biennale ---#BB8
Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art
KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.
Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).
The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.
Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.
Curators have been:
1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist
2nd Berlin Biennale (2001): Saskia Bos
3rd Berlin Biennale (2004): Ute Meta Bauer
4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick
5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic
6th Berlin Biennale (2010): Kathrin Rhomberg
7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza
The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).
The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.
KW Institute for Contemporary Art
Berlin Biennale für zeitgenössische Kunst
Auguststraße 69
#BB8
---artists participating ---
52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.
Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.
This is a video of the the finished 3D Painting entitled Centurion. Watch in HD with red/cyan 3D Glasses.
See the full slide show in the Epic Journey in the Transformation of this 3D Painting here.
www.flickr.com/photos/57605784@N06/sets/72157625891634410...
When I first saw this picture I know I had to paint it, full credit to the original artist, it is a masterpiece. Bursting out of the Colosseum, on the left you have the elements of history and tradition, and on the right you have the future, which looks like a space craft, and in the middle you have the Centurion, signalling, forward...the past and future being lead by the present, how it should be.
Working full time as well, this picture may take me 3 to 4 days to complete, every night I will post more & more stages to completion. If you click on the Slideshow link below you can watch a Slideshow showing the many stages in the painting of the picture, iv uploaded 11 so far, it may take as many as 30 until im happy with it. Every night if you click on the same link you will see the new additions automatically added to the slidehow, giving you an insight into how 3D Paintings are created.
Transformation Slideshow :
www.flickr.com/photos/57605784@N06/sets/72157625891634410...
As with all civilisations, nations & empires, its not how strong you are, its what you stand for that counts , it is these values, not military might & brute force, that determines longevity & prosperity.
Many things have been said about the Romans, the recent film released 2010 entitled Centurion is a good example, as was Spartacus, and the birth & life of Jesus Christ. When all is said & done the Romans lasted an aweful long time, they must have been doing something right.
There demise was started with the emergence of a movement that put forth to mankind a much higher set of values, not a stronger military force. That movement is Christianity.
The Roman civilisation tried to Adapt, tried to absorb, but its decline was inevitable. The Catholic Church is what remains of the Roman branch of Christianity.
THE SUN, Friday, December 18, 1992
Pages 2, 3, and 5
Aggrieved police who fail to get convictions think they are entitled to take over the role of prosecutor
WILLIAM NIMMO-SMITH, QC
Exclusive by Sun Reporters
BOGUS journalist Derek Donaldson spent an hour grilling top QC William Nimmo-Smith about his inquiry into an alleged gay legal ring.
He used a voice-activated recorder to tape their conversation. This is a transcript of the
interview:
Donaldson: Mr Nimmo-Smith how do you do.
Nimmo Smith: Fine, fine. You came by taxi I take it. I’ll just lead the way shall I? You don't mind if I ask you for some form of identification do you?
D: Well, I’ll see what I've got. . . Basically, we've been given so many different stories from so many different people who are not trustworthy.
NS: Who have you been talking to? You mention this man Terry Smith on the phone.
D: Well I’ve actually never spoken to Smith myself. I think he's . . .
NS: I think you would need a very long spoon to sup his story.
D: The way we're looking at it we don't really want to talk to the likes of Smith and there's another gentleman who contacted us, his name is Glenold or Glen.
NS: Michael Glen.
D: Yes. We spoke to Michael Glen who basically told us that he is working hand in hand with the Crown Office over this investigation.
Outline
NS: I am very interested in you saying that —- it is completely untrue . . .
Let's have some half on-the-record first. This stuff is unattributable but you can use it for background . . .
Nimmo-Smith then gives a broad outline of now the police investigation was carried out into an alleged gay conspiracy among the legal profession. It was prompted by MP Tarn Dalyell and the report was later leaked to the press. NS admits a policeman must have, copied and leaked it
NS: Tam Dalyell MP wrote a letter to Sir William Sutherland Chief Constable, I know a great deal more but I'm not going to. . - (tape unintelligible). The Chief Constable decided to instruct an internal report.
D: A copy was obviously made by one of his own officers.
NS: Yes...
(unintelligible).
D: Do you want me to stop writing?
NS: No, no, no. On the 11th September in the Edinburgh Evening News which is our local paper . . . (unintelligible). Do you have a copy of the report?
D: I think everybody's got a copy...
NS: There’s another case called Duncan the Rent Boy.
D: Robert or Neil Duncan?
NS: This is one called Robert Duncan, sorry Neil Duncan.
D: Did he not get a period of imprisonment?
NS: He got four years but the Crown let a number of the accused off.
D: Are they not supposed to be involved in some sort of homosexual ring?
NS: Yes that's right.
D: Is Mr Duncan still in prison?
NS: . . . Conroy tends to muddle it, I've some idea that the Crown were being induced to throw its hand in. If you've got report look at paragraphs 5.10 and 5.13 D; I don't have the report on me.
NS: Well I don't either. We are the only people who are keeping it confidential (laughing)..
N S: We hope to report early next year. But we have not set ourselves any deadline, we are conducting this inquiry entirely in our own way.
(At this point NS hands over a copy of his confidential remit from the Lord Advocate. This outlines who he may interview for his own inquiry including the Lord Advocate, Solicitor General and any Fiscal or Crown Office staff).
I'll hand you a photocopy. I think I've got a spare one. Really our approach to this has developed since this was drawn up.
Mr Friel had an identical letter,. . you can read it in light of what I have been saying to you. So really we have had complete autonomy. Our powers include the power to interrogate the Lord Advocate himself.
D: Lord Rodger?
NS: Yes.
NS: You can take it we have interrogated him. Indeed if we thought he was part of this conspiracy we would report him to the Prime Minister instead of Lord Rodger . . . We've inter-viewed 90 or so people . . .
D: In the difficult circumstances that you find yourself in. That's a colleague of mine who's actually not involved with our particular newspapers who had a request from Mr Conroy for him to go and see him. He went along to see Conroy and Conroy basically told him that he wants to come clean and that he has an appeal that's coming up in December, January.
NS: It's the end of December. He's appealing against his sentence. Ho got six years for fraud.
D: That's right. And I think he's looking for some sort of result with that and he wanted to come clean. He wanted the newspapers to report what he had said to the police. What he had done subsequently and said to other members of the judiciary with the exception of yourself were lies and that he was forced to say what he said, he was blackmailed, threatened and had all sorts of inducements on charges. And we actually, we're looking at that and we think that's nearer the mark, . .
The Scottish Sun had it emblazoned over its front page for several days about this report and it's implications etc. And quite frankly we don't contribute to that at all. We simply don't believe it.
NS: I have to keep my sense of humour in working order. I call people who make these allegations alligators. There's enough alligators here to fill a swamp.
D: You've got the alligators but do you have the evidence. Is there evidence?
NS: I don't think I should com-m e n t on that other than to make an o observation. (unintelligible)
D: But they fire a salvo anyway?
NS: But you then end up with allegations that don't actually fasten on to anybody as it were.. I think that these tabloid editors probably don't care about the truth. There's a small amount, number of judges in Scotland. There's only about 24 of them and they all feel sullied by that kind of smear campaign which doesn't identify any one of them. I don't know how many rumours you have collected but if you are an insidious collector . . .
D: Half the judiciary in Scotland. This is absolute nonsense.
NS: If you bear in mind that Lord Dervaird resigned when the allegations about him which were sensational. You can quibble about which allegations you relate to. But he did resign over a matter of that nature that's well understood . . . But it (unintelligible) to protect him . . . But why shouldn't it have been to protect others?
D: He was fairly young as well wasn't he?
NS: Yes (unintelligible}. He was 53 when he went on the bench.
D: That was a very sad case that.
NS: Well the point that needs to be reflected on is quite simply he got himself into trouble and he went. That was it.
D: He did the honourable thing didn't he?
NS: What do you think he did?
(Laughter from both parties).
Impression
NS: I don't know what he did or didn't do but the mere fact of his resignation speaks for itself. We are yet to find any plausible explanation for why he should go. But the position remains we haven't yet reached a conclusion.
Donaldson later quizzes the QC on the conclusions of his inquiry.
D: This is a personal impression and you can correct me if I'm wrong but at the end of the day it's going to be inconclusive.
NS: Inconclusive? (Startled)
D: Well I think it may be inconclusive in as much as that what is it you say up here in courts?" Not proven perhaps?
NS: What's not proven about it?
D: The allegations.
NS: What allegations? This is a conspiracy to pervert the course of justice . . .
D: I would be extremely surprised if you found these alleged conspirators guilty as charged. I'm not writing anything, I'm not. I would be extremely surprised, would I be on the right tracks?
NS: I have no idea. As I say, why should one not be able to come in with a verdict of not guilty?
D: Absolutely.
NS: You seem to think I would come out with a verdict of not proven.
D: I was just trying to get a reaction from yourself
NS: But I'm not going to tell you what I think.
D: No, I understand that.
NS: I think you'll find in the report that it will be pretty conclusive.
D: You will be fairly conclusive in your report?
Donaldson later refers to various policemen who he says interviewed Conroy.
D: A detective sergeant Brown. I think he's a fraud squad officer.
NS: He's a sergeant now.
D: Is that the one who was transferred to uniformed duties. (unintelligible) I've got Brown, a Souter, he's in the same branch as Brown was.
NS: Was. He's off sick at the moment in Australia and he's not back yet.
Time
D: He's in Australia? An extended holiday perhaps. And Hiddleston. He retired, resigned or whatever. Does he have any role in this at all?
NS: I don't think I can comment,
NS: I tell you what I've been finding. A number of journalists are working on the story. You do appreciate there are aspects of the so-called Fettesgate, the leak business, the break-in at police headquarters some people say is connected. But it is not our function equally (unintelligible).
D: The so-called Fettes raider
NS: That is not our problem.
D: It's not connected at all then?
NS: No. It is not part of our investigation. Indeed, if you read our remit . . .
Later the pair return to the subject of Terry Smith. NS says Smith claims he was "fitted up." And the pair discuss further allegations about Conroy and Michael Glen.
D: I really don't want to see the man (Smith). I don't like my time being wasted.
NS: He is so unquestionably manipulative. He will manipulate people.
Later still referring to Smith.
NS: (Laughing) I'm not going to tell you what he said. I am not going to confirm whether or not we've seen him.
D: Have you received the co-operation you have been expecting from the police? The no-nonsense about policemen being cagey and what they are saying to you, have they been very co-operative?
NS says they have helped at the top but adds: On an individual basis that has been another matter.
D: What about the troops (lower ranks)?
NS: Well the troops are a lot of individuals.
D: Do you get the impression, I get the impression that the report was leaked as an act of vindictiveness not just against the senior command of Lothian and Borders Police but also to have a damn good go and this was an excellent opportunity to have a damn good go at Regent road. (Crown Office address).
NS: Probably, yes.
D: Yeh, that's a personal impression. It's like I've said at the beginning you've said no comment to quite a lot of my questions and I understand that and I am not even going to think of pressing you on it. But I think, although I have not been personally involved. I think I have got a good gist of what's going on. I think I know what the backbone of this is.
Important
NS: I wouldn't do anything to discourage you in your line of thought let me put it that way.
D: I appreciate that.
NS: It's just that I am reluctant. I wouldn't have kept talking to you if I thought you were on the wrong beam.
The pair then talk about why the police may have made the allegations about a gay conspiracy.
NS: I think the question that should be addressed is why the rumours, why the public appetite for rumours, how so such rumours originate and why a willingness by people who should know better to have an appetite for such rumours?
D: Is there anything we can do to help? I'm being perfectly serious.
NS: Perfectly serious ... I think it's been a great trouble to us ...
You do not spend quarter of a century nearly as I have done working with a system which you are very proud under the rule of law and not feel two things. Firstly, there is something far more important than . . . Even if you happen to tread on someone else's toes.
D: It's just a pity the police didn't think the same way.
NS: Of course.
In the next passage, NS drops another bombshell. The laws regarding homosexuality are not being enforced. The Lord Advocate is not encour-
Continued on Page Five
Continued from Page Three
aging prosecutions unless they involve teenagers below the age of 18.
D: Can I ask you a question? It’s more a personal type question as to whether being a homosexual should be a bar, pardon the pun, to be a member of the legal establishment in Scotland?
NS: Certainly not.
D: Would it help if the age of consent for homosexuals … I believe it is 20 or 21 … would it help if it was reduced. From a purely personal point of view.
NS: I can’t really express a view on that, not whilst I’m engaged to this inquiry. Well the Lord Advocate can issue guidelines to the procurator fiscals although the law says 21. The guidelines currently say 18 and I know there are respectable arguments for saying that boys and girls should be treated the same (i.e. down to 18).
NS finishes with a devastating attack on the police. He backs D’s assertions that the gay conspiracy allegations are nonsense but the police still deliberately leaked them. And he agrees action should be taken against them.
D: Well I mean I’ve sat here and listened to everything you’ve said. You’ve been very helpful, you haven’t said a lot but what you have said has been extremely helpful.
Scandal
You really confirmed what I have thought right from the beginning that the whole thing as far as I can see and I’m looking at it from a distance is nonsense, it is scandalous that the press latched on to this. It’s scandalous that the police have leaked it.
I think some backsides should be severely kicked. I think the people who have helped fuel the fire should have some action taken against them and this is basically what I’m looking to do and if I can help in any way I fully propose to do it.
NS: Well if those are your personal views I would like to see your paper come out strongly with them. I have to say, after the report is published.
D: I know several members of the Scottish legal profession, several senior members. I’m not going to mention their names. No comment. And I’m absolutely convinced this is a sc less report. It was disgraceful. It’s not true.
I think that, yes, this Brown and Souter and Huddleston have got a lot to answer for.
NS: Careful with Hiddleston. I think I’ve said too much already.
D: No I understand. But what I would say to you Mr Nimmo-Smith is Hiddleston’s name is at the bottom of the report. He was head of CID. He should never have put this name on a report without checking the facts.
NS: Em.
D: He should have made absolutely sure and I’m also convinced that there are a number of officers in police headquarters in Edinburgh who are homophobic, vindictive, having a wee go at their boss Sir William.
Failure
They’re having a wee go, or should I say a big go, at the legal establishment because they are incompetent, because they couldn’t get the convictions that they wanted. They need someone to blame.
NS: Yes, the one thing that you have got to keep right at the front of this is that prosecution decisions are not taken by the police and it is quite deliberate in that respect. The police report the result of their investigations to the fiscal and it is the fiscal who decided whether or not to prosecute on the basis of that report.
Plus any further investigation the procurator may see fit. And if you get police officers who are being aggrieved about the failure to get convictions or have cases not proceeded further by the prosecution that means you’ve got police who think that they are entitled to take over the function of the prosecutor which is one of the greatest safeguards we have under our system of justice and that is something that’s well worth thinking about.
NS: I think that’s my wife opening the door to the taxi.
An expert at Strathclyde University has confirmed that the voice on Donaldson’s tape is William Nimmo-Smith.
Originally entitled "dj quasimodo". Then find out someone's actually using that name. Ditto for "dj hunchback". Nobody's got "dj hinchback" yet, so it's mine now. Mine, I tells ya!
In 1943/44 my dad, who was enlisted in the Royal Canadian Navy, travelled with the Navy Show which was entitled, "Meet the Navy". Not sure he was actually in the cast, so I'll have to pull his file at Archives Canada in Ottawa. Since he was a Certified Public Accountant, he might have watched the books. The show went across Canada by train. I know that Dad was not with the production that went overseas in 1945.
Dad is second from the right in the above photo. Here's the story of the Navy Show:
From my Herbert Charles Barber Collection
www.flickr.com/photos/21861018@N00/collections/7215760076...
"Meet the Navy" was a Royal Canadian Navy musical revue produced during World War II under the supervision of Capt Joseph P. Connolly, director of Special Services for the RCN. Rehearsals began in June 1943 at Hart House in Toronto. The production staff and company were recognized officially, though somewhat after the fact, by a Government of Canada Treasury Board order-in-council, 13 Aug 1943, as 'an Establishment to be known as "The Navy Show" for the... Entertainment of Naval, Army and Air Force personnel on Active Service; Promotion of recruiting; [and] Maintenance of public morale and goodwill'.
The show itself, called "Meet the Navy" and directed by Louis Silver (a Hollywood producer) and Larry Ceballos (a Broadway choreographer), was premiered for servicemen 2 September at Toronto's Victoria Theatre and opened to the public 4 September. It opened in Ottawa 15 September at the Capitol Theatre (Ottawa). During a year-long national tour, which covered some 10,000 miles by train, Meet the Navy entertained about a half-million Canadians. It travelled in 1944 to Britain, opening 23 October in Glasgow and touring England (11 cities in the provinces), Ireland, and Wales and playing at the Hippodrome in London (1 Feb-7 Apr 1945, including a command performance 28 February). Performances followed in Paris' Théâtre Marigny, the Brussels Music Hall, and Amsterdam's Carré Theatre. Meet the Navy closed 12 September in Oldenburg in occupied Germany. In 1945 the National Film Board produced the film Meet the Navy on Tour. Though plans for a Broadway run fell through, the show itself was filmed in November in Britain.
Meet the Navy included skits, dance routines, and several songs: 'In Your Little Chapeau,' 'Rockettes and the Wrens,' 'Brothers-in-Arms,' 'Meet the Navy,' and 'Beauty on Duty,' all by R.W. Harwood (words) and P.E. Quinn (music); 'The Boys in the Bellbottom Trousers' by Quinn; 'Shore Leave' by Noel Langley and Henry Sherman (words) and Quinn; and the showstopper (sung by John Pratt) 'You'll Get Used to It', with words by Pratt to music by Freddy Grant. Eric Wild (who conducted the pit orchestra) and Robert Russell Bennett arranged the music.
Leading roles were taken by Pratt, Robert Goodier, Cameron Grant, and Lionel Merton. Other featured performers included Dixie Dean, Ivan Romanoff (who conducted a balalaika orchestra and a chorus in 'Scena Russki'), Carl Tapscott (who did choral arrangements), the bass Oscar Natzke, and the dance team Alan and Blanche Lund. Members of the 25-piece orchestra included the violinists Victor Feldbrill, Bill Richards, and Joseph Sera, the trombonist Ted Elfstrom, and the saxophonist-clarinetist Howard 'Cokie' Campbell.
After the London debut of Meet the Navy, Beverley Baxter wrote in the London Evening Standard: 'Why is this piece so exhilarating, so completely satisfying and, since the first class always touches the emotions, why was it so stirring? Perhaps the answer is that quite outside the professional slickness and the terrific pace of the whole thing, we were seeing the story of Canada unconsciously unfolding itself to our eyes'.
In 1980, to celebrate the 70th anniversary of the Canadian navy, the Nova Scotia government revived Meet the Navy with several members of the original cast.
Phillips, Ruth. 'The history of the Royal Canadian Navy's World War II show Meet the Navy,' unpublished manuscript (1973)
Southworth, Jean. 'Actor revives his wartime role,' Ottawa Journal, 19 Aug 1980
From: The Encyclopaedia of Music in Canada
From my set entitled “Lamium”
www.flickr.com/photos/21861018@N00/sets/72157607217474399/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Deadnettle
Lamium (deadnettle) is a genus of about 40-50 species of flowering plants in the family Lamiaceae, of which family it is the type genus. They are all herbaceous plants native to Europe, Asia, and north Africa, but several have become very successful weeds of crop fields and are now widely naturalised across the temperate world.
The genus includes both annual and perennial species; they spread by both seeds and stems rooting as they grow along the ground.
The common name refers to their superficial resemblance to the unrelated stinging nettles, but unlike those, they do not have stinging hairs and so are harmless or apparently "dead".
Lamiums are frost hardy and grow well in most soils. Flower colour determines planting season and light requirement: white- and purple-coloured flowered species are planted in spring and prefer full sun. The yellow-flowered ones are planted in fall (autumn) and prefer shade. They often have invasive habits and need plenty of room. Propagate from seed or by division in early spring
Virginia creeper or five-leaved ivy (Parthenocissus quinquefolia) is a woody vine native to eastern and central North America, in southeastern Canada, the eastern and central United States, eastern Mexico, and Guatemala, west as far as Manitoba, South Dakota, Utah and Texas.
It is a prolific climber, reaching heights of 20 to 30 m in the wild. It climbs smooth surfaces using small forked tendrils tipped with small strongly adhesive pads 5 mm in size. The leaves are palmately compound, composed of five leaflets (rarely three leaflets, particularly on younger vines) joined from a central point on the leafstalk, and range from 3 to 20 cm (rarely 30 cm) across. The leaflets have a toothed margin, which makes it easy to distinguish from poison-ivy, which has three leaflets with smooth edges.
The flowers are small and greenish, produced in clusters in late spring, and mature in late summer or early fall into small hard purplish-black berries 5 to 7 mm diameter. These berries contain oxalic acid, which is poisonous to humans and other mammals, and may be fatal if eaten. However, accidental poisoning is uncommon, likely because of the bad taste of the berries. Despite being poisonous to mammals, they provide an important winter food source for birds. Oxalate crystals are also contained in the sap, and can cause irritation and skin rash [1]
From my set entitled “Smokebush”
www.flickr.com/photos/21861018@N00/sets/72157607213776358/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Smoketree or Smoke bush (Cotinus) is a genus of two species of flowering plants in the family Anacardiaceae, closely related to the sumacs (Rhus). They are large shrubs or small trees, native to the warm temperate Northern Hemisphere. The leaves are deciduous, alternate, simple oval shape, 3-13 cm long. The flowers are clustered in a large open terminal panicles 15-30 cm long with a fluffy grayish-buff appearance resembling a cloud of smoke over the plant, from which the name derives. The fruit is a small drupe with a single seed. Often classified in Rhus in the past, they are distinguished by the leaves being simple (not pinnate) and the 'smoke-like' fluffy flower heads.
The American Smoketree (Cotinus obovatus, syn. Rhus cotinoides) is native to the southeastern United States, from Tennessee south to Alabama and west to eastern Texas. It is a larger plant, frequently becoming a small tree up to 10-12 m tall and with a trunk up to 25 cm diameter. The leaves are also larger, 6-13 cm long; it also has varied but very bright fall color, usually brighter than the Eurasian species. The flower heads are usually sparser than in C. coggygria.
The smoketrees, particularly C. coggygria, are popular garden shrubs. Several bronze or purple-leaved cultivars of C. coggygria have been selected, with warm pink inflorescences set against purple-black foliage; the commonest in commerce are 'Notcutt's Variety' and 'Royal Purple'. When brought into cultivation together, the two species will form hybrids; some garden cultivars are of this parentage.
Cultivation is best in dry, infertile soils, which keeps the growth habit more compact and also improves the autumn colour; when planted in fertile soil, they become large, coarse and also tend to be short-lived, succumbing to verticillium wilt disease. Both species can be coppiced in early spring, to produce first-year shoots up to 2 m tall with large handsome leaves, but no "smoke".
Fellini Couture is proud to present it's latest release entitled "Audace" which means "bold" in French. Audace is indeed bold, dramatic, and makes a wonderful fashion statement. But it is an outfit you will reach for again and again because of its feminine sophistication and chic, effortless styling.
The unique top comes in four pieces (1) the beautiful see-through black lace embroidered top with attached black, textured corset, (2) a layer of prim lace embroidery which covers both the front and back, fitting over the shoulder pieces (3) a sheer piece of black, sleeveless organza which completely surrounds the bodice area, and (4) the magnificent prim shoulder pieces with long, flowing black fringe that flow with your every movement. The effect is stunning!
The elaborate full, ruffled slacks are smart and refined. Included is a sheer prim belt with criss-cross detail in the center, to add another touch of fashionable styling to this outfit.
And for the hair, two long-stemmed black roses, crossed together in the center, are included and will fit nicely into whatever your hair choice is.
If you love to mix and match your styling, Audace is perfect for that -- all in black, different textures, different effects and easy to incorporate with other pieces in your wardrobe. You can really make this outfit into something unique, just for you!!
You will be "dressed to the nines" when you wear Audace. Get ready for lots of compliments, ladies!
slurl.com/secondlife/Avenue%20Champs%20Elysees/164/192/31
Model: Carilynn OHare
Photographer: Joy Fellini
(Thank you to Joy and Fauve for everything - this past year has been so very special for me and the opportunity you gave me to represent your brand will remain so precious to me always! xoxox)
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
Front cover of a brochure entitled The Centenary Year of Timothy Taylor & Co. Ltd. (1858-1958). The 24-page brochure contains a history of the Keighley-based brewery and an account of brewing itself, accompanied by line drawings. It was used as a promotional item.
Timothy Taylor & Co. Ltd. (maltsters and brewers) was founded by Timothy Taylor in December 1858. It originally operated from a brewery in Cook Lane, Keighley, before moving to Knowle Spring in 1863 where larger premises could be constructed. Timothy Taylor was born in Bingley in 1826. He was originally in the tailoring trade, with a shop on Low Street, Keighley. He married Charlotte Aked and his two sons (Robert Henry and Percy) continued the brewing business after Timothy's death in January 1898. Within a year of starting, the company had two licensed houses - the Volunteer Arms in Lawkholme Lane and the New Inn at Bocking. A well was sunk at Knowle Spring in 1894 that continues to provide the water for the brewing to this day. Timothy Taylor's became a limited company in 1929. The firm's championship-winning ale Landlord was created in 1952. Further sons and nephews continued to run the business. Timothy's grandson John Taylor, later Conservative peer Lord Ingrow, was the last direct descendant to run the company. He was replaced in 1995 by Charles Dent, who married John Taylor’s daughter Annie. Tim Dewey took over as chief executive in October 2014.
Item loaned for scanning by Tim Neal in October 2019. Part of the Keighley and District Local History Society digital archive.
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
From my set entitled “Peonies”
www.flickr.com/photos/21861018@N00/sets/72157607186459134/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.
Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.
The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower
The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.
The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.
In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".
Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.
In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.
Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).
Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.
Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.
Peonies are a common subject in tattoos, often used along with koi-fish.
First official news...
I am publishing a new book (2023 edit: now delayed by very personal events) entitled England's Livery Wars which will take a detailed look at the period popularly but incorrectly known as the Wars of the Roses.
This will be a fairly dry history book but I plan to open with something much more visceral. A brief fictional account of how it might have been to take part in a battle. The title below is a nod towards Shakespeare, a great playwright but a lousy historian!
Polite warning, what follows is grim... literally...!
*** *** ***
GRIM VISAGED WAR…
The smell of camp food, smoke and old sweat; the smell of faeces both horse and human. Drums are beating, trumpets sounding and men are chanting the name of their lord or their favourite saint. The first bang, like a summer thunderclap, then the whistling rush of a stone or lead ball passing low overhead. Then another bang and long drawn out screams and cries of agony nearby - the other side have found the range! Will they fire again?
The first hiss of clothyard shafts, hundreds, taking to the air as our archers shoot in reply to theirs. You look up but the old soldier punches you on the arm and tells you to look down, look down! Put the crest of your helmet towards those incoming clothyards tipped with sharp unyielding steel, not your vulnerable face! As if to make his point an arrow spangs off your helmet and into the ground beside you. You stand stock still, frozen, looking at the ground at your feet, the steel brim of your sallet protecting your face. You pray, you pray harder than you have ever prayed before.
Trumpets sound the advance and you walk through the trampled grass and soft mud; a man is howling and calling to the Blessed Virgin with an arrow in his bloody cheek; he looked up! Another has an arrow deep in his chest, blood in his mouth, his sightless eyes also look up. They will look up until he is stripped and buried. You grasp your bill - a wooden shaft of seven feet with a vicious steel blade on the end - as your company of bills dressed in red livery passes through friendly red archers. A last few shafts arrive, almost horizontal now, as the other sides’ archers fall back behind a line of men in white and blue jackets holding their own wicked-looking bills and glaives. The white and blue archers drop their longbows and draw their swords to stand behind their billmen. “Remember boy, hit the ones in white and blue… the ones in red are ours…” the old soldier says.
The lines close as the steady determined walk turns into a short trot and then the first awful clash of steel on steel. Metallic at first but then punctuated by screams, threats, oaths…terrible oaths. Blood begins to fly through the air and stain the mud. The howling, begging and praying begins. The two lines are still holding but the relentless blades are working up and down, side to side. Thrusting and then slashing, looking for weaknesses, looking for the flesh and blood behind the cloth and steel. Any man whose legs are cut from under him will go down and he is lost; he will join the bleeding, screaming, praying, writhing, urinating bodies on the ground. The lines have broken into groups; 20, 30, 40 men in tight little companies clustered together, men from the same family, the same village, the same estate, standing back-to-back or surging forward side-by-side, slashing at their enemies and then falling back for a breather and something from the leather bottle being passed around. Then one red group surges forward again and does not fall back. They have advanced. We are gaining ground, the white and blues are falling back! This is the wicked battlefield scrum of flickering steel and faltering, screaming, bleeding men.
Suddenly the other side breaks and our men in red surge forward. The wounded on the ground are trampled and stabbed, the wretched white and blue runners throw off their helmets to gasp for air and so they can look over their shoulders to see who is behind them intent on bloody murder. This is no longer a battle, it is a rout. It is bill, dagger and war hammer work now, cut their legs from under them, stove in their face or head and move on. If they have a purse take it! They will not need money where they are going.
Purgatory is free, or so the old soldier says!
Horsemen thunder past. Ours! They wear the green of our lord’s brother. They are his prickers and staves, the riders who sat behind our line and prevented us running away are now leading the pursuit, levelling their light staves and spearing running white and blue men like wild boars or slashing at their bare heads with war hammers. You halt, breathless, as men in red run past and enemies fall. Somewhere a cheer goes up and your lord’s banner is raised high and waved from side to side. There is blood on your bill, where did that come from? Your leg is wet, wet, wet. Blood? No, something far more human. “That is the water of fear boy” says the old soldier, with a belly laugh as he drains the leather bottle.
You have survived your first battle.
This is ‘grim visaged war’. This is as near to the reality as we can get today. Remember this as you read about England’s Livery Wars…
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
Reading Abbey Exhibition, preparatory work for joint exhibition with artist Keith Lawrence entitled "Journeying"
For the past six weeks I've been working at some new artworks based on Reading Abbey and the town's historic churches. The exhibition will be held in the middle of Reading near the site of its ancient Abbey ruins at Abbey Baptist Church whose foundations were laid in 1642 close to the Holy Brook. These illustrations/prints are still in their early stages. One tends to start a few things to see how certain ideas will work together. I hope to show a selection of about ten of these in September, it's great to look at buildings I've been familiar with one way or another throughout my adult life. I'm not idealising them in any way; I want to show Reading as the busy modern place it is a shopping Mecca, whose medieval past is somehow forgotten, and yet the towers of St Laurence, Mary Minster and the classical portico of St Mary's Castle Street remind one that this was not always the case. Over the past few weeks I've been drawing various people on their way to work on foot, bike or car to fit the theme of Journeying. Gradually the compositions are coming together. At this stage I'm blocking in colour so they appear rather jagged brash and angular in some ways. So far I've started about fourteen works. I have taken hundereds of photographs to aid me, and have studied some of the history in Reading Museum.
From top left St Giles (Church Street), St Laurence (Friar Street), St Laurence, Tower, Reading Abbey and Prison and St Mary Castle Street. Early colour map layouts for prints uncorrected.
I hope to cover some of the following themes in this series:-Reading Gaol/ Abbey Ruins/Contemporary Reading/Trades ancient modern cloth to computers/shopping People walking, cars on bikes/The Holy Brook/ The Kennet/ Ancient paths streets.
The massive Cluiac Abbey of Reading was founded by William of Malmesbury in 1121, many of the town's churches date back to this early period, however with the dissolution of the monestaries and the great upheavals of the C16 and C17 left Reading's ecclesiastical buildings forever changed. Unlike Oxford, Reading had no historic university (until 1892), and its town's history was shaped by trade and its important location on the road between London and Bath and the rivers Kennet and Thames.
Reading's prosperity has meant that its town churches were all heavily restored in the nineteenth century, St Laurence (also recently re-ordered), St Mary Minster (Butts) , Greyfriars and St Giles all have medieval origins and some remains. St Mary Castle Street (Episcopalian) 1798 was by its fine facade with six giant Corinthian columns and pediment is impressive. Its cupola was lost during last century. The portico is by H&N Briant. The church largely dates from 1840-42.
This creation is entitled “Charleston Mansion.” This mansion is an example of antebellum architecture which typifies the homes along the battery of Charleston Harbor in South Carolina. The mansion has three floors flanked by galleries, a large attic with a dormer window and is crowned with a belvedere from where one can view Fort Sumter across Charleston Harbor. It has a private balcony on the third floor as well as a two-story solarium at the back of the house. The mansion is 22 inches wide, 21 inches in length and 27 inches tall and is landscaped with lush shrubbery, flowers and palmetto trees.
This photographic portfolio entitled “ANCESTRAL LANDSCAPES” is the result of an incredible journey in Scotland through breathtaking natural landscapes. Scotland landscape is a permanent theater, a mysterious drama in which the initial plot seems to come from ancient feuds or the echo of legends. Contrasting like its climate, Scotland offers a range of light and shadow carried by the impetuousness of the elements. Weather reports are more like predicting the future than science. As frustrating as it may sound, it forces you to make your day unexpected. The turbulence of time exacerbates the green of the hills, the darkness of the mountains and the density of the ocean. The caledonian bad weather offers atmospheres that seem to come out of the most fantastic tales and legends. In this interplay of shades and contrasts, Scotland is a perpetual painting that offers aesthetes the violence of its brushstrokes. Consistently tackling the elements in Scotland grabs you literally and figuratively. The wind blows across the plains, the rain draws a curtain over the landscape and the proud mountains impress. Scotland is home to some of the most stunning landscapes I have ever seen. Shaped by landslides and tectonic movements that have completely sculpted their surroundings, these landscapes instantly immerse you in an almost supernatural fantasy world. One does not expect to discover such an exciting landscape. Vastness constantly echoes within us through our eyes.
Painting entitled "Adelita" by Alfredo Arreguin, seen at the National Museum of Mexican Art and Culture in Chicago, Illinois.
The Adelitas, also referred to as soldaderas or women soldiers, were women who played a crucial role in the fight for the Mexican Revolution (1910-1920) . They participated in various capacities, ranging from commanding officers to combatants and camp followers. Adela Velarde is believed to have inspired the famous corrido (ballad) "La Adelita," a popular song that arose during the Mexican Revolution, and for which the women soldiers who fought in the Mexican Revolution received their popular name Adelitas.
-- Perplexity.ai
St Pancras New Church (so entitled to differentiate it from an older building that remains several blocks away to the north east) was built in 1819-22 to the designs of William & Henry Inwood and is a remarkable example of the then prevalent taste for Neo-Classical architecture. Few churches can claim to be as Grecian in style as this one, which boasts the unique features of two porticoes flanking the east end copied directly from the famous caryatid porch of the Erectheum on the Athenian Acropolis, complete with column figures in terracotta (molded in sections around cast-iron columns). The spindly octagonal tower is a major landmark to visitors arriving at nearby Euston Station just over the main road (as it has welcomed me on many visits to the capital).
The interior of the church continues the theme of Classical severity, with a broad flat coffered ceiling spanning the nave with the apse beyond adding a touch of enrichment. The Victorian glass in the windows does make the space a little gloomier than it could be. The galleries remain and create side aisles beneath them but otherwise the interior retains the impression of a large unified space.
I am unsure what normal opening times are for this church but I believe it is usually open in office hours during the day.
In 1943/44 my dad, who was enlisted in the Royal Canadian Navy, travelled with the Navy Show which was entitled, "Meet the Navy". Not sure he was actually in the cast, so I'll have to pull his file at Archives Canada in Ottawa. Since he was a Certified Public Accountant, he might have watched the books. The show went across Canada by train. I know that Dad was not with the production that went overseas in 1945.
Dad is second from the right in the above photo. Here's the story of the Navy Show:
From my Herbert Charles Barber Collection
www.flickr.com/photos/21861018@N00/collections/7215760076...
"Meet the Navy" was a Royal Canadian Navy musical revue produced during World War II under the supervision of Capt Joseph P. Connolly, director of Special Services for the RCN. Rehearsals began in June 1943 at Hart House in Toronto. The production staff and company were recognized officially, though somewhat after the fact, by a Government of Canada Treasury Board order-in-council, 13 Aug 1943, as 'an Establishment to be known as "The Navy Show" for the... Entertainment of Naval, Army and Air Force personnel on Active Service; Promotion of recruiting; [and] Maintenance of public morale and goodwill'.
The show itself, called "Meet the Navy" and directed by Louis Silver (a Hollywood producer) and Larry Ceballos (a Broadway choreographer), was premiered for servicemen 2 September at Toronto's Victoria Theatre and opened to the public 4 September. It opened in Ottawa 15 September at the Capitol Theatre (Ottawa). During a year-long national tour, which covered some 10,000 miles by train, Meet the Navy entertained about a half-million Canadians. It travelled in 1944 to Britain, opening 23 October in Glasgow and touring England (11 cities in the provinces), Ireland, and Wales and playing at the Hippodrome in London (1 Feb-7 Apr 1945, including a command performance 28 February). Performances followed in Paris' Théâtre Marigny, the Brussels Music Hall, and Amsterdam's Carré Theatre. Meet the Navy closed 12 September in Oldenburg in occupied Germany. In 1945 the National Film Board produced the film Meet the Navy on Tour. Though plans for a Broadway run fell through, the show itself was filmed in November in Britain.
Meet the Navy included skits, dance routines, and several songs: 'In Your Little Chapeau,' 'Rockettes and the Wrens,' 'Brothers-in-Arms,' 'Meet the Navy,' and 'Beauty on Duty,' all by R.W. Harwood (words) and P.E. Quinn (music); 'The Boys in the Bellbottom Trousers' by Quinn; 'Shore Leave' by Noel Langley and Henry Sherman (words) and Quinn; and the showstopper (sung by John Pratt) 'You'll Get Used to It', with words by Pratt to music by Freddy Grant. Eric Wild (who conducted the pit orchestra) and Robert Russell Bennett arranged the music.
Leading roles were taken by Pratt, Robert Goodier, Cameron Grant, and Lionel Merton. Other featured performers included Dixie Dean, Ivan Romanoff (who conducted a balalaika orchestra and a chorus in 'Scena Russki'), Carl Tapscott (who did choral arrangements), the bass Oscar Natzke, and the dance team Alan and Blanche Lund. Members of the 25-piece orchestra included the violinists Victor Feldbrill, Bill Richards, and Joseph Sera, the trombonist Ted Elfstrom, and the saxophonist-clarinetist Howard 'Cokie' Campbell.
After the London debut of Meet the Navy, Beverley Baxter wrote in the London Evening Standard: 'Why is this piece so exhilarating, so completely satisfying and, since the first class always touches the emotions, why was it so stirring? Perhaps the answer is that quite outside the professional slickness and the terrific pace of the whole thing, we were seeing the story of Canada unconsciously unfolding itself to our eyes'.
In 1980, to celebrate the 70th anniversary of the Canadian navy, the Nova Scotia government revived Meet the Navy with several members of the original cast.
Phillips, Ruth. 'The history of the Royal Canadian Navy's World War II show Meet the Navy,' unpublished manuscript (1973)
Southworth, Jean. 'Actor revives his wartime role,' Ottawa Journal, 19 Aug 1980
From: The Encyclopaedia of Music in Canada
Great Hellhole also entitled as The furnace of Linden, Hell, Devil's limekiln, Devil's cave, Devil's oven, Cave of Linden manor, Cave of Linden, Devil's chamber. Great Hellhole rocks are formed from slightly tinted sandstone. It boasts of 3 big arches that remained from much larger cave holes. Out of the Cave flows cult spring dropping down valuable natural water. Great Hellhole has been an ancient cult size. The Great Hellhole for the first time was mentioned in 1791, but the cave is considered to be one of the oldest tourist attractions in Latvia. Liepas Great cave hall is archaeological and geological monument of national importance since 1974. The Great Hellhole has emerged as a result of rock mechanical erosion. Possible the cave is more than 7'000 years old.
.... anyone remember the movies entitled simply 'HOTEL' and don't forget the books. I can still remember the hotel detective, but even before that there was "HOT L BALTIMORE." The first almost adult sitcom. Well now, if you enjoyed those presentations, you'll need to check out "HOTEL BABYLON." The visual are scruptious and intrigue is rampant. I've watched the first three episodes and am hooked. .... VIDEO AT TEN.....maybe, unless my nap runs overtime.
,,, Wikipedia says, "Hotel Babylon is a BBC television drama series based on the book of the same name by Imogen Edwards-Jones, that aired from 19 January 2006 to 14 August 2009, produced by independent production company Carnival Films for BBC One. The show followed the lives of workers at a glamorous five-star hotel.
Actress Alexandra Moen (who plays PR Manager Emily James) mentioned in an interview that the show was cancelled after its fourth series, leaving the series 4 finale cliffhanger unresolved. One reason might have been due to the fall in ratings."
[ CPP Project example - January 2000 ]
This is a part of an ongoing & experimental photo project of mine entitled "Corpse Photo-Poetics." ( This was was composed by myself & old friend Andrew Williams) It was conceived as a sort of abstraction of the Surrealist game, "Exquisite Corpse."
I can't locate my formal description of the project, but I'll try to succinctly state its simplicity:
With E.C., partipants divide a piece of a paper into thirds or quaters, choosing, for instance, the human form. Each participant chooses a section of the form to complete, covering their work, leaving only lines to give the next player a starting point for the next section of the piece. The result can be something quite surprising and, sometimes even good! ;)
I chose to use double exposure photographs. The CPP images have mostly been produced directly in the camera (35mm). With no fixed form in mind, each person grabs an image to be integrated with the photograph of another in the camera, and hopefully the result is just as surprising and, even good!
This is a randomly chosen example -- I have very few digital copies at this time, but will try to change that soon. I'm working on new methods and am always looking for new collaborators.
Let's see, thank you for taking a look, reading about this crazy project & LMK if you are interested. ;)
OK. Here's further description that I e-mailed to one recent participant, the amazing Ms. LaDonna Chaos:
Let’s see… I'll do my best to b-r-I-e-f-l-y describe the project off the top o' my chaotic head here.
Firstly, I've hand-picked only a few collaborators for this admittedly odd little project. I plan future gallery shows (a close friend is currently shopping it around NYC, for instance) and even [gasp> a coffee table book.
OK. But first, here' how it started:
In the 90s -- yes, WAY BACK THEN -- I began d-a-b-b-l-i-n-g in photography, and became QUICKLY fascinated w/ multiple exposures when an old Arette 35mm I tried had a broken winding mechanism, producing these wonderful, almost halucinatory double & triple exposures.
I began to then INTENTIONALLY use the double exposure technique (with a properly functioning camera this time) in my compositions.
OK. One day, whilst traveling the long, lonely stretches of the 95 through rural Georgia, it occurred to me to try abstractly applying the dAdAists' and surealists' exquisite corpse game to photography.
With my game -- CPP: Corpse Photo-Poetics -- two photographers each contribute a photo or exposure w/o knowing what the other person had done to see what kind of final composition or new form, if you will, they end up with.
Here's how we'd do this: I'll take a roll of pictures (none of them needing to be complete compositions, not necessarily), and when I'm finished, I'll rewind leaving the film leader extending from the roll so that it can be reloaded into another camera.
THEN, you'll indeed (or so I hope that you’ll want to =) load the roll into your camera and shoot over my set of images, producing (no doubt ;) some AbFAB double exposure photographs -- CPP's!!!
OK. I hope that made SOME sense. ;)
One thing to keep in mind is that many of these won't work out, but there will NO DOUBT be GEMS, my dear.
Well, I t-r-e-m-e-n-d-o-u-s-l-y look forward to discussing this further and to working with you on this!! I AM QUITE honored by your interest!!!
Incidentally, this is the primitive, FUN technique, but I will soon move to enact some refinements to the process. In any case, I just thought that we could have some fun for now in this still early stage of things. What do you reckon?
From my set entitled “Boats and Ships”
www.flickr.com/photos/21861018@N00/3206986832/in/set-7215...
In my collection entitled “Transportation”
www.flickr.com/photos/21861018@N00/collections/7215761271...
In my photostream
www.flickr.com/photos/21861018@N00/
From my set entitled “Jamestown”
www.flickr.com/photos/21861018@N00/sets/72157606230698243/
In my collection entitled “Virginia: Beach, Williamsburg, Jamestown, Yorktown: May 2008”
www.flickr.com/photos/21861018@N00/collections/7215760622...
Reproduced from Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Jamestown,_Virginia
Jamestown (originally also called "James Towne" or "Jamestowne") is located on the James River in what is currently James City County in the Commonwealth of Virginia. The site is about 40 miles (62 km) inland from the Atlantic Ocean and the entrance to the Chesapeake Bay and about 45 miles (70 km) downstream and southeast of the current state capital city of Richmond. Both the river and the settlement were named for King James I of England, who was on the throne at the time, granted the private proprietorship to the Virginia Company of London's enterprise.
The location at Jamestown Island was selected primarily because it offered a favorable strategic defensive position against other European forces which might approach by water. However, the colonists soon discovered that the swampy and isolated site was plagued by mosquitoes and tidal river water unsuitable for drinking, and offered limited opportunities for hunting and little space for farming. The area was also inhabited by Native Americans (American Indians).
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
Despite inspired leadership of John Smith, chaplain Robert Hunt and others, starvation, hostile relations with the Indians, and lack of profitable exports all threatened the survival of the Colony in the early years as the settlers and the Virginia Company of London each struggled. However, colonist John Rolfe introduced a strain of tobacco which was successfully exported in 1612, and the financial outlook for the colony became more favorable. Two years later, Rolfe married the young Indian woman Pocahontas, daughter of Wahunsunacock, Chief of the Powhatan Confederacy, and a period of relative peace with the Natives followed. In 1616, the Rolfes made a public relations trip to England, where Pocahontas was received as visiting royalty. Changes by the Virginia Company which became effective in 1619 attracted additional investments, also sowing the first seeds of democracy in the process with a locally-elected body which became the House of Burgesses, the first such representative legislative body in the New World.
Throughout the 17th century, Jamestown was the capital of the Virginia Colony. Several times during emergencies, the seat of government for the colony was shifted temporarily to nearby Middle Plantation, a fortified location on the high ridge approximately equidistant from the James and York Rivers on the Virginia Peninsula. Shortly after the Colony was finally granted a long-desired charter and established the new College of William and Mary at Middle Plantation, the capital of the Colony was permanently relocated nearby. In 1699, the new capital town was renamed Williamsburg, in honor of the current British king, William III.
After the capital was relocated, Jamestown began a gradual loss of prominence and eventually reverted to a few large farms. It again became a significant point for control of the James River during the American Civil War (1861–1865), and then slid back into seeming oblivion. Even the Jamestown Exposition of 1907 was held elsewhere, at a more accessible location at Sewell's Point, on Hampton Roads near Norfolk.
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Beginning in 1893, 22.5 acres of the Jamestown site were acquired by the Association for the Preservation of Virginia Antiquities. A crucial sea wall was built in 1900 to protect the shoreline near the site of James Fort from further erosion. In the 1930s, the Colonial National Historical Park was established to protect and administer Jamestown, which was designated a National Historic Site. The U.S. National Park Service acquired the remaining 1,500 acres (6.1 km²) of Jamestown Island through eminent domain in 1934.
For the 350th anniversary in 1957, Jamestown itself was the site of renewed interest and a huge celebration. The National Park Service provided new access with the completion of the Colonial Parkway which led to Williamsburg, home of the restored capital of Colonial Williamsburg, and then on to Yorktown, the other two portions of Colonial Virginia's Historic Triangle. Major projects such as the Jamestown Festival Park were developed by non-profit, state and federal agencies. Queen Elizabeth II of Great Britain and Prince Philip attended. The 1957 event was a great success. Tourism became continuous with attractions regularly updated and enhanced.
The two major attractions at Jamestown are separate, but complementary to each other. The state-sponsored Jamestown Settlement near the entrance to Jamestown Island includes a recreated English Fort and Native American Village, extensive indoor and outdoor displays, and features the three popular replica ships. On Jamestown Island itself, the National Park Service operates Historic Jamestowne. Over a million artifacts have been recovered by the Jamestown Rediscovery project with ongoing archaeological work, including a number of exciting recent discoveries.
Early in the 21st century, in preparation for the Jamestown 2007 event commemorating America's 400th Anniversary, new accommodations, transportation facilities and attractions were planned. The celebration began in the Spring of 2006 with the sailing of a new replica Godspeed to six major East Coast U.S. cities, where several hundred thousand people viewed it. Queen Elizabeth II and Prince Phillip joined America's festivities on an official state visit to Jamestown in May 2007.
Lenders really need to let go. They blew it. It’s over. Just let it die. Both the lender and the borrower pay a price — or at least they are supposed to. Instead, we bail them out, and we pay the price. Don’t forget about us who pay for their mistakes. Part of the price we pay i... at Loan Modifications Succeed by Increasing Borrower Entitlements
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The material began life as a Cosmopolitan magazine serial entitled A Letter To Five Wives. The first draft of the script whittled it down to four, and subsequent drafts to the trio implied by the title . . .
The letter is sent by the never-seen Addie Ross (her voice was supplied by an uncredited Celeste Holm, who brings surprising subtlety to the catty character), a "classy" woman who is the feminine ideal for all three husbands of our married heroines (Addie's actual husband went out for a paper one evening and never came back). On the day she's supposed to accompany her "dearest friends" on a charity outing for a local orphanage, she skips town sending a short note that states she has run off with one of their husbands. Unable to contact said husbands (this was the days before smart phones and wi-fi), each of the wives is left to ponder why their husband might have skipped town with Addie . . .
And all three marriages are under pressure; Deborah Bishop (Jeanne Crain) fears that she is too much a hayseed to fit in with her wealthy husband's ((Jeffrey Lynn) friends and that he still pines for his old girlfriend Addie. Rita Phipps (Ann Sothern) makes more money in a month as a radio writer than her school-teaching husband (Kirk Douglas) does in a year; also, he has a certain amused contempt for most commercial radio and thinks she has become too much a creature of her professional surroundings. Lora Mae Hollingsworth (Linda Darnell) started dating her department-store owning husband (Paul Douglas) in a cynical effort to get a promotion to help her struggling family, and keeps playing hardball until he marries her. The resolution of the story is both amusing and surprisingly touching and feels very "right," which is rare in commercial films.
Even with the same script (by Joseph Mankiewicz, who also directed), the film wouldn't have worked as well without the cast he put together. Ann Sothern had been wasted in one too many "B" movies at MGM over the past decade and would soon be lost to television--this was her first really meaty role in a long time and she was splendid as the smart, funny woman who is very aware of the pitfalls of soap-opera writing, but also of the compensations (such as the weekly salary of "one hundred pieces in the most restful shade of green"); Jeanne Crain, gets a chance to show not only her dramatic chops, but to let loose in a bit of farce (her drunken waltz on the dance floor at the country club is a genuine hoot), and Linda Darnell, given the most complicated character in the film delivers a layered and touching performance as someone whose ideas may be wrong, but they ARE definite and she's going to live by them, even if it leads to pain. This is the sort of movie that people mean when they talk about smart entertainment, something you're more likely to find on television than in movie theaters these days. Which is a pity.
From my set entitled “Peonies”
www.flickr.com/photos/21861018@N00/sets/72157607186459134/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.
Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.
The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower
The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.
The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.
In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".
Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.
In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.
Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).
Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.
Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.
Peonies are a common subject in tattoos, often used along with koi-fish.
entitled "your boy, my boy"
Show how awesome and hot you think your boy is with this design. And yes, this one comes in men's sizes as well.
Buy it here:
www.orangemoonapparel.com/store/oma.cgi/oma.orangemoonapp...
This engraving, entitled "Capture of New Orleans -- The Fleet Passing Forts on the Mississippi," shows an artist's conception of the 1862 naval battle. The capture of this Confederate stronghold was a major victory for the Union. The ships are all labeled at the bottom of the engraving, and include the 'Hartford,' Admiral David Glasgow Farragut's flagship in the center distance. At the time, Farragut and his family lived in Hastings-on-Hudson.
I thought I've seen it all. Taking a tour of the Entitlement City of Detroit, just across the border of another story, Dearborn, I find this. At first I thought it was a campaign headquarters stop. This is just too much.
From my set entitled “Tuberous Begonia”
www.flickr.com/photos/21861018@N00/sets/72157607213634242/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Begonia is a genus in the flowering plant family Begoniaceae. The only other member of the family Begoniaceae is Hillebrandia, a genus with a single species in the Hawaiian Islands. The genus Symbegonia is now included in Begonia. "Begonia" is the common name as well as the generic name for all members of the genus.
With ca. 1500+ species, Begonia is one of the ten largest angiosperm genera. The species are terrestrial (sometimes epiphytic) herbs or undershrubs and occur in subtropical and tropical moist climates, in South and Central America, Africa and southern Asia. Terrestrial species in the wild are commonly upright-stemmed, rhizomatous, or tuberous. The plants are monoecious, with unisexual male and female flowers occurring separately on the same plant, the male containing numerous stamens, the female having a large inferior ovary and two to four branched or twisted stigmas. In most species the fruit is a winged capsule containing numerous minute seeds, although baccate fruits are also known. The leaves, which are often large and variously marked or variegated, are usually asymmetric (unequal-sided).
Because of their sometimes showy flowers of white, pink, scarlet or yellow color and often attractively marked leaves, many species and innumerable hybrids and cultivars are cultivated. The genus is unusual in that species throughout the genus, even those coming from different continents, can frequently be hybridized with each other, and this has led to an enormous number of cultivars. The American Begonia Society classifies begonias into several major groups: cane-like, shrub-like, tuberous, rhizomatous, semperflorens, rex, trailing-scandent, or thick-stemmed. For the most part these groups do not correspond to any formal taxonomic groupings or phylogeny and many species and hybrids have characteristics of more than one group, or fit well into none of them.
The genus name honors Michel Bégon, a French patron of botany.
The different groups of begonias have different cultural requirements but most species come from tropical regions and therefore they and their hybrids require warm temperatures. Most are forest understory plants and require bright shade; few will tolerate full sun, especially in warmer climates. In general, begonias require a well-drained growing medium that is neither constantly wet nor allowed to dry out completely. Many begonias will grow and flower year-round but tuberous begonias usually have a dormant period, during which the tubers can be stored in a cool and dry place.
Begonias of the semperflorens group are frequently grown as bedding plants outdoors. A recent group of hybrids derived from this group is marketed as "Dragonwing Begonias"; they are much larger both in leaf and in flower. Tuberous begonias are frequently used as container plants. Although most Begonia species are tropical or subtropical in origin, the Chinese species B. grandis is hardy to USDA hardiness zone 6 and is commonly known as the "hardy begonia". Most begonias can be grown outdoors year-round in subtropical or tropical climates, but in temperate climates begonias are grown outdoors as annuals, or as house or greenhouse plants.
Most begonias are easily propagated by division or from stem cuttings. In addition, many can be propagated from leaf cuttings or even sections of leaves, particularly the members of the rhizomatous and rex groups.
The cultivar Kimjongilia is a floral emblem of North Korea.
In 1943/44 my dad, who was enlisted in the Royal Canadian Navy, travelled with the Navy Show which was entitled, "Meet the Navy". Not sure he was actually in the cast, so I'll have to pull his file at Archives Canada in Ottawa. Since he was a Certified Public Accountant, he might have watched the books. The show went across Canada by train. I know that Dad was not with the production that went overseas in 1945.
Dad is second from the right in the above photo. Here's the story of the Navy Show:
From my Herbert Charles Barber Collection
www.flickr.com/photos/21861018@N00/collections/7215760076...
"Meet the Navy" was a Royal Canadian Navy musical revue produced during World War II under the supervision of Capt Joseph P. Connolly, director of Special Services for the RCN. Rehearsals began in June 1943 at Hart House in Toronto. The production staff and company were recognized officially, though somewhat after the fact, by a Government of Canada Treasury Board order-in-council, 13 Aug 1943, as 'an Establishment to be known as "The Navy Show" for the... Entertainment of Naval, Army and Air Force personnel on Active Service; Promotion of recruiting; [and] Maintenance of public morale and goodwill'.
The show itself, called "Meet the Navy" and directed by Louis Silver (a Hollywood producer) and Larry Ceballos (a Broadway choreographer), was premiered for servicemen 2 September at Toronto's Victoria Theatre and opened to the public 4 September. It opened in Ottawa 15 September at the Capitol Theatre (Ottawa). During a year-long national tour, which covered some 10,000 miles by train, Meet the Navy entertained about a half-million Canadians. It travelled in 1944 to Britain, opening 23 October in Glasgow and touring England (11 cities in the provinces), Ireland, and Wales and playing at the Hippodrome in London (1 Feb-7 Apr 1945, including a command performance 28 February). Performances followed in Paris' Théâtre Marigny, the Brussels Music Hall, and Amsterdam's Carré Theatre. Meet the Navy closed 12 September in Oldenburg in occupied Germany. In 1945 the National Film Board produced the film Meet the Navy on Tour. Though plans for a Broadway run fell through, the show itself was filmed in November in Britain.
Meet the Navy included skits, dance routines, and several songs: 'In Your Little Chapeau,' 'Rockettes and the Wrens,' 'Brothers-in-Arms,' 'Meet the Navy,' and 'Beauty on Duty,' all by R.W. Harwood (words) and P.E. Quinn (music); 'The Boys in the Bellbottom Trousers' by Quinn; 'Shore Leave' by Noel Langley and Henry Sherman (words) and Quinn; and the showstopper (sung by John Pratt) 'You'll Get Used to It', with words by Pratt to music by Freddy Grant. Eric Wild (who conducted the pit orchestra) and Robert Russell Bennett arranged the music.
Leading roles were taken by Pratt, Robert Goodier, Cameron Grant, and Lionel Merton. Other featured performers included Dixie Dean, Ivan Romanoff (who conducted a balalaika orchestra and a chorus in 'Scena Russki'), Carl Tapscott (who did choral arrangements), the bass Oscar Natzke, and the dance team Alan and Blanche Lund. Members of the 25-piece orchestra included the violinists Victor Feldbrill, Bill Richards, and Joseph Sera, the trombonist Ted Elfstrom, and the saxophonist-clarinetist Howard 'Cokie' Campbell.
After the London debut of Meet the Navy, Beverley Baxter wrote in the London Evening Standard: 'Why is this piece so exhilarating, so completely satisfying and, since the first class always touches the emotions, why was it so stirring? Perhaps the answer is that quite outside the professional slickness and the terrific pace of the whole thing, we were seeing the story of Canada unconsciously unfolding itself to our eyes'.
In 1980, to celebrate the 70th anniversary of the Canadian navy, the Nova Scotia government revived Meet the Navy with several members of the original cast.
Phillips, Ruth. 'The history of the Royal Canadian Navy's World War II show Meet the Navy,' unpublished manuscript (1973)
Southworth, Jean. 'Actor revives his wartime role,' Ottawa Journal, 19 Aug 1980
From: The Encyclopaedia of Music in Canada
This illustration and the one entitled "Fairies I" are both exemplars of a personal artistic hijira, dedicated to coming to terms with the aesthetic allure of Fairies. I had always been a bit put off and mystified (pardon the pun) by the omnipresence of this particular type of imagery in American (or, dare I say, Western) pop culture. As I toiled on one of these pieces while traveling on public transportation one evening, a man that I have a passing acquaintance with made a passing glance at my work. When I had attempted to broach the subject of Fairies and their meaning, he made the following insightful remark: "Fairies are very difficult to capture, but everyone always tried to catch one, anyway."
Incidentally, the models in this and the piece entitled "Fairies 001" are based upon models gleamed from "The Playboy book of brunettes."
And, yes, that would be a very minimalist depiction of The Delectable, Infamous Bettie Page on the left.
From my set entitled “Tuberous Begonia”
www.flickr.com/photos/21861018@N00/sets/72157607213634242/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Begonia is a genus in the flowering plant family Begoniaceae. The only other member of the family Begoniaceae is Hillebrandia, a genus with a single species in the Hawaiian Islands. The genus Symbegonia is now included in Begonia. "Begonia" is the common name as well as the generic name for all members of the genus.
With ca. 1500+ species, Begonia is one of the ten largest angiosperm genera. The species are terrestrial (sometimes epiphytic) herbs or undershrubs and occur in subtropical and tropical moist climates, in South and Central America, Africa and southern Asia. Terrestrial species in the wild are commonly upright-stemmed, rhizomatous, or tuberous. The plants are monoecious, with unisexual male and female flowers occurring separately on the same plant, the male containing numerous stamens, the female having a large inferior ovary and two to four branched or twisted stigmas. In most species the fruit is a winged capsule containing numerous minute seeds, although baccate fruits are also known. The leaves, which are often large and variously marked or variegated, are usually asymmetric (unequal-sided).
Because of their sometimes showy flowers of white, pink, scarlet or yellow color and often attractively marked leaves, many species and innumerable hybrids and cultivars are cultivated. The genus is unusual in that species throughout the genus, even those coming from different continents, can frequently be hybridized with each other, and this has led to an enormous number of cultivars. The American Begonia Society classifies begonias into several major groups: cane-like, shrub-like, tuberous, rhizomatous, semperflorens, rex, trailing-scandent, or thick-stemmed. For the most part these groups do not correspond to any formal taxonomic groupings or phylogeny and many species and hybrids have characteristics of more than one group, or fit well into none of them.
The genus name honors Michel Bégon, a French patron of botany.
The different groups of begonias have different cultural requirements but most species come from tropical regions and therefore they and their hybrids require warm temperatures. Most are forest understory plants and require bright shade; few will tolerate full sun, especially in warmer climates. In general, begonias require a well-drained growing medium that is neither constantly wet nor allowed to dry out completely. Many begonias will grow and flower year-round but tuberous begonias usually have a dormant period, during which the tubers can be stored in a cool and dry place.
Begonias of the semperflorens group are frequently grown as bedding plants outdoors. A recent group of hybrids derived from this group is marketed as "Dragonwing Begonias"; they are much larger both in leaf and in flower. Tuberous begonias are frequently used as container plants. Although most Begonia species are tropical or subtropical in origin, the Chinese species B. grandis is hardy to USDA hardiness zone 6 and is commonly known as the "hardy begonia". Most begonias can be grown outdoors year-round in subtropical or tropical climates, but in temperate climates begonias are grown outdoors as annuals, or as house or greenhouse plants.
Most begonias are easily propagated by division or from stem cuttings. In addition, many can be propagated from leaf cuttings or even sections of leaves, particularly the members of the rhizomatous and rex groups.
The cultivar Kimjongilia is a floral emblem of North Korea.
From my set entitled “Peonies”
www.flickr.com/photos/21861018@N00/sets/72157607186459134/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.
Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.
The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower
The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.
The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.
In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".
Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.
In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.
Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).
Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.
Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.
Peonies are a common subject in tattoos, often used along with koi-fish.
In 1943/44 my dad, who was enlisted in the Royal Canadian Navy, travelled with the Navy Show which was entitled, "Meet the Navy". Not sure he was actually in the cast, so I'll have to pull his file at Archives Canada in Ottawa. Since he was a Certified Public Accountant, he might have watched the books. The show went across Canada by train. I know that Dad was not with the production that went overseas in 1945.
Dad is second from the right in the above photo. Here's the story of the Navy Show:
From my Herbert Charles Barber Collection
www.flickr.com/photos/21861018@N00/collections/7215760076...
"Meet the Navy" was a Royal Canadian Navy musical revue produced during World War II under the supervision of Capt Joseph P. Connolly, director of Special Services for the RCN. Rehearsals began in June 1943 at Hart House in Toronto. The production staff and company were recognized officially, though somewhat after the fact, by a Government of Canada Treasury Board order-in-council, 13 Aug 1943, as 'an Establishment to be known as "The Navy Show" for the... Entertainment of Naval, Army and Air Force personnel on Active Service; Promotion of recruiting; [and] Maintenance of public morale and goodwill'.
The show itself, called "Meet the Navy" and directed by Louis Silver (a Hollywood producer) and Larry Ceballos (a Broadway choreographer), was premiered for servicemen 2 September at Toronto's Victoria Theatre and opened to the public 4 September. It opened in Ottawa 15 September at the Capitol Theatre (Ottawa). During a year-long national tour, which covered some 10,000 miles by train, Meet the Navy entertained about a half-million Canadians. It travelled in 1944 to Britain, opening 23 October in Glasgow and touring England (11 cities in the provinces), Ireland, and Wales and playing at the Hippodrome in London (1 Feb-7 Apr 1945, including a command performance 28 February). Performances followed in Paris' Théâtre Marigny, the Brussels Music Hall, and Amsterdam's Carré Theatre. Meet the Navy closed 12 September in Oldenburg in occupied Germany. In 1945 the National Film Board produced the film Meet the Navy on Tour. Though plans for a Broadway run fell through, the show itself was filmed in November in Britain.
Meet the Navy included skits, dance routines, and several songs: 'In Your Little Chapeau,' 'Rockettes and the Wrens,' 'Brothers-in-Arms,' 'Meet the Navy,' and 'Beauty on Duty,' all by R.W. Harwood (words) and P.E. Quinn (music); 'The Boys in the Bellbottom Trousers' by Quinn; 'Shore Leave' by Noel Langley and Henry Sherman (words) and Quinn; and the showstopper (sung by John Pratt) 'You'll Get Used to It', with words by Pratt to music by Freddy Grant. Eric Wild (who conducted the pit orchestra) and Robert Russell Bennett arranged the music.
Leading roles were taken by Pratt, Robert Goodier, Cameron Grant, and Lionel Merton. Other featured performers included Dixie Dean, Ivan Romanoff (who conducted a balalaika orchestra and a chorus in 'Scena Russki'), Carl Tapscott (who did choral arrangements), the bass Oscar Natzke, and the dance team Alan and Blanche Lund. Members of the 25-piece orchestra included the violinists Victor Feldbrill, Bill Richards, and Joseph Sera, the trombonist Ted Elfstrom, and the saxophonist-clarinetist Howard 'Cokie' Campbell.
After the London debut of Meet the Navy, Beverley Baxter wrote in the London Evening Standard: 'Why is this piece so exhilarating, so completely satisfying and, since the first class always touches the emotions, why was it so stirring? Perhaps the answer is that quite outside the professional slickness and the terrific pace of the whole thing, we were seeing the story of Canada unconsciously unfolding itself to our eyes'.
In 1980, to celebrate the 70th anniversary of the Canadian navy, the Nova Scotia government revived Meet the Navy with several members of the original cast.
Phillips, Ruth. 'The history of the Royal Canadian Navy's World War II show Meet the Navy,' unpublished manuscript (1973)
Southworth, Jean. 'Actor revives his wartime role,' Ottawa Journal, 19 Aug 1980
From: The Encyclopaedia of Music in Canada
From my set entitled “Hosta”
www.flickr.com/photos/21861018@N00/sets/72157607213588660/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Hosta (syn.: Funkia) is a genus of about 23–40 species of lily-like plants native to northeast Asia. They were once classified in the family Liliaceae but are now included in the family Agavaceae by the Angiosperm Phylogeny Group. The scientific name is also used as the common name; in the past they were also sometimes called the Corfu Lily, the Day Lily, or the Plantain lily, but these terms are now obsolete. The name Hosta is in honor of the Austrian botanist Nicholas Thomas Host.[1]The Japanese name Giboshi is also used in English to a small extent. The rejected generic name Funkia, also used as a common name, can be found in some older literature.
Hostas are herbaceous perennial plants, growing from rhizomes or stolons, with broad lanceolate or ovate leaves varying widely in size by species from 1–15 in (3–40 cm) long and 0.75–12 in (2–30 cm) broad. Variation among the numerous cultivars is even greater, with clumps ranging from less than 4 in (10 cm) across to more than 6.5 ft (2 m) across. Leaf color in wild species is typically green, although some species (e.g., H. sieboldiana) are known for a glaucous waxy leaf coating that gives a blue appearance to the leaf. Some species have a glaucous white coating covering the underside of the leaves. Natural mutations of native species are known with yellow-green ("gold") colored leaves or with leaf variegation (either white/cream or yellowish edges or centers). Variegated plants very often give rise to "sports" that are the result of the reshuffling of cell layers during bud formation, producing foliage with mixed pigment sections. In seedlings variegation is generality maternally derived by chloroplast transfer and is not a genetically inheritable trait.
The flowers are produced on erect scapes up to 31 in (80 cm) tall that end in terminal racemes. The individual flowers are usually pendulous, 0.75–2 in (2–5 cm) long, with six tepals, white, lavender, or violet in color and usually scentless. The only strongly fragrant species is Hosta plantaginea, which is also unusual in that the flowers open in the evening and close by morning. This species blooms in late summer and is sometimes known as "August Lily".
Taxonomists differ on the number of species; as such, the list at the right may be taken loosely. The genus may be broadly divided into three subgenera. Interspecific hybridization is generally possible, as all species have the same chromosome number (2n = 2x = 60) with the exception of H. ventricosa, a natural tetraploid that sets seed through apomixis. Many varieties formerly described as species have been taxonomically reduced to cultivar status, while retaining Latin names resembling species (e.g., H. 'Fortunei').
Though Hosta plantaginea originates in China, most of the species that provide the modern shade garden plants were introduced from Japan to Europe by Philipp Franz von Siebold in the mid-19th century. Newer species have been discovered on the Korean peninsula as well.
Hostas are widely-cultivated ground cover plants, particularly useful in the garden as shade-tolerant plants. Hybridization within and among species and cultivars has produced numerous cultivars, with over 3000 registered and named varieties, and perhaps as many more that are not yet registered. Cultivars with golden- or white-variegated leaves are especially prized. Popular cultivars include 'Francee' (green leaves with white edges), 'Gold Standard' (yellow leaves with green edges was discovered by Pauline Banyai) 'Undulata' (green leaves with white centers), 'June' (blue-green leaves with creamy centers), and 'Sum and Substance' (a huge plant with chartreuse-yellow leaves). Newer, fragrant cultivars such as 'Guacamole' are also popular. Pictures of hosta species and cultivars, along with other information, may be found at www.hostalibrary.org.
The American Hosta Society and the British Hosta and Hemerocallis Society support Hosta Display Gardens, often within botanical gardens.
Hostas are notoriously a favourite food for deer, slugs and snails, which commonly cause extensive damage to hosta collections in gardens. Poisoned baits using either metaldehyde or the safer iron phosphate work well for the latter, but require repeated applications. Deer control tends to be variable, as anything other than fencing tends to work for a few years then cease to work as they become accustomed to it.
Foliar nematodes, which leave streaks of dead tissue between veins, have become an increasing problem since changes in attitudes about pesticides since the mid-1990s in many countries have caused a resurgence in this once-controlled pest. There are no effective means for eliminating nematodes in the garden, although they can be controlled to the point where little or no symptoms are seen.
A virus called Hosta Virus X has become common since 2004 and plants that are infected must be destroyed. It can take years for symptoms to show, so symptomless plants in infected batches should also be considered infected.
Otherwise they are generally easy and long-lived garden plants, relatively disease free, requiring little care other than watering and some fertilizer to enhance growth. Some varieties are more difficult to grow, as can be expected with 5,000+ cultivars, but most are easy enough for beginners.
An exhibition entitled “Contemporary Mexican Design with a Vision towards the Future” was held on the sidelines of the Assemblies of WIPO Member States, which met from October 2-11, 2017.
The exhibition featured the work of young designers who capture the fine tapestry of cultural pluralism of Mexico, and who bind together the exquisite substance of identity, traditions and crafts with excellence in contemporary shapes, materials and functionality. WIPO co-organized the event with the Government of Mexico.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
From my set entitled “Peonies”
www.flickr.com/photos/21861018@N00/sets/72157607186459134/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.
Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.
The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower
The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.
The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.
In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".
Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.
In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.
Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).
Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.
Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.
Peonies are a common subject in tattoos, often used along with koi-fish.
Late turned the Austrian Academy of Sciences itself to its Nazi history: The Learned Society was more deeply involved than it seemed. More than half of its members were party members.
By Marianne Enigl and Christa Zöchling
At its inception in 1847, the Academy of Sciences should be a haven of free thought, research and publishing. The complete independence the imperial family had guaranteed. The Oriental Studies and the Natural Sciences soon acquired a reputation beyond the borders of the Habsburg empire. Here worldwide the first institute was established to study the radioactivity.
With the end of the monarchy became the illustrious circle, who had been appointed by the Emperor, the Republic of Scholars, which chose its members.
All this abandoned the professors in 1938. On 18 March they sent Hitler a telegram of submissivity. As the scholars the "leader" five days after the German invasion insured their loyalty in the noble halls of their Vienna's city palace, SA, SS and Gestapo had already begun mass arrests.
For the 75th Anniversary of the so-called "Anschluss" is the Austrian Academy of Sciences for the first time based keeping track its history in the National Socialism. profile there has present the as yet unpublished study, which will be presented on 11th March 2013. ("The Academy of Sciences in Vienna from 1938 to 1945," edited by Feichtinger/ Matis/ Sienell/ Uhl, Austrian Academy of Sciences, 2013, the exhibition catalog)
Many Academy members had for years offered their servises as illegal Nazis the new rulers. The highest administrative staff of the Academy, in which all the threads of the learned society came together, had been as "Old Fighter" since 1933 in the NSDAP.
Their high level of education put the men assiduously in the service of Nazi policies. Just a year before, in 1937, they had discussed in a joint meeting with the German Academies on the exclusion of Jewish colleagues.
Under its new president, the historian and admirer of Adolf Hitler Heinrich Srbik, in 1939 they were "free of Jews", as noted in a log. The Vienna Academy had 21 of their most respected members excluded. Among them three Nobel Prize winners.
Absolutely thrilled, anthropologists, historians, geographers, biologists, medical physicists put themselves into the service of the Nazis, wanted the racial fanatism, the conquests, the enslavement of the "Easterners" "scientifically substantiate". For the "racial science" and measurement of prisoners of war, the scientists had even actively applied.
Only the mounting of a Hitler Bust, the Academy offered, she refused. For cost reasons.
When the war ended in 1945, more than half of the members of the Academy of Sciences were National Socialist Party members . A denazification was practically non-existent. Even an SS-Sturmbannführer was recorded "resting" after a few years of membership.
What the German historian Hans-Ulrich Wehler noted for society as a whole, was especially valid for the circle of top scholars: "Not Hitler's individual psychopathology is the real problem but the condition of a society that had him ascended and ruled till April 1945".
Who moved with the time
Henry Knight of Srbik: (1878-1951), whose ancestors had been poor Czech peasants in spite of his proud name, which throughout his life he tried to hide, was up in the sixties considered as one of the most important Austrian historians. The passage of time can be seen in his attitude. The imperial period, he conducted research - towards the Habsburgs friendly disposed - ober the dominions, after the collapse of the monarchy, he published essays, which suggested a closeness to social democracy. In time for the seizure of power by the National Socialists in Germany, he published his major work "The German unity", a witness of German megalomania an a plea for German living space. The time of Nazi rule were Srbiks best years. In May 1938 his application for membership to the Nazi Party, in which he had introduced himself as "the founder of the all-German conception of history", was approved. Srbiks anti-Semitism was based on the belief in the superiority of the German "race". He got honorary a low member number of the NSDAP to which otherwise only illegal members had been entitled. For president of the Academy of Sciences in Vienna him the Nazi rulers suggested. Adolf Hitler personally sent him to the German Reichstag.
In his inaugural speech as the new president of the Academy in 1938 Srbik thanked "the genius of our leader", and urged the "communion of the blood the earth, the spirit and the heart and the epochal changes of the body of the Reich and the German people". Science should not be in "complete objectivity lose", it had to put itself in the "service of the German people". The Nazi bombast ran through each of his appearances. In the academy, he performed the exclusion of all Jewish scientists and the occupation of their positions with meritorious Nazi party supporters. In one case, his employment for a candidate has been documented who "was recommended by the Party as an illegal".
From 1943, when the German Wehrmacht in Russia was on the decline and Stalingrad had been lost, there were exhortations to hold out. Srbik praised the "sacrifice of his own life for the mission of the nation". It must "burn pure life so that it illuminates the world as a flame of sacrifice".
In March 1945, the President of the Academy went off and away to the Tyrolean Ehrwald. Srbik owned a second home there. Vienna, he should never enter again. Now in his numerous publications, he represented a cultural Austria-German patriotism. As a sign of detachment from the Nazi regime, he led the denazification process, he had the Nazi Party candidate and poet Max Mell awarded the Grillparzer Prize, although propaganda minister Joseph Goebbels did not fully appreciate this. And he had insisted on the term "archives for the Austrian history". Srbiks Friends brought after the war in his favor, he had allowed to quote "non-Aryan" scientists.
Srbik was then already 70 years old. Over the intervention of the Social Democratic Interior Minister Oskar Helmer him was undiminished awarded his pension. Some of his students made great careers in the Second Republic: in his lectures the openly anti-Semitic World Trade Professor Taras Borodajkewycz however triggered the largest post-war protests and was forced to retire in 1966. Christian Broda, who had doctoral work at Srbik 1940 "People and Leadership" was SPÖ Minister of Justice. Srbiks former student was ÖVP Chancellor Josef Klaus.
Srbiks Nazi past had been concealed or glossed over in the postwar period Legends arose. He is said to have as president of the Academy rescued Dutch cultural historian Johan Huizinga, who had been transferred to a concentration camp as a hostage. In fact, he had written a letter, but his request was denied. Huizinga was released for health reasons at the end. The historian and Srbik-expert Martina Pesditschek considers it "unlikely" that Srbiks intervention was decisive.
When Henry Srbik died in 1951, his three honorific obituaries were written in the context of the academy. The uncritical praise lasted until the late seventies. In Ehrwald today is even a street named after him.
Expelled and persecuted
Karl Bühler: (1879-1963), psychologist and philosopher, teacher of Karl Popper, was appointed in the twenties from Dresden to Vienna University, where he with his wife Charlotte, inter alia, set important stimuli in the Gestalt and child psychology. From 1934 he was a corresponding member of the Academy of Sciences. 1938 Buhler lost on "racial" grounds his professorship, was imprisoned, escaped with his wife in the United States. In October 1940, he was expelled from the Academy of Sciences.
Victor Franz Hess (1883-1964), born in Styria, working as a physicist at the famous Institute for Radium Research of the Academy - the first to explore the radioactivity worldwide. Hess was awarded the 1936 Nobel Prize in Physics for the of him in 1912 in Vienna discovered cosmic radiation. Professorships at several universities in Austria (he initiated the station Hafelekar, Innsbruck), cooperation in the construction of the Radium Corporation in the United States, 1938 loss of professor in Graz, imprisonment and exile with his Jewish wife to the USA. Corresponding member of the Academy since 1933, exclusion from the Academy in 1940.
Stefan Meyer (1872-1949), born in Vienna, Ludwig Boltzmann's assistant at the Physics Institute of the University of Vienna and later professor here, directed the Academy-Institute for Radium Research. After the "Anschluss" of "racial" reasons persecuted, survived retreated in Bad Ischl. Member of the Academy since 1921, declared himself his resignation in late 1938, and so he forestalled his exclusion.
Erwin Schrödinger: (1887-1961), Vienna, taught theoretical physics at Jena, Zurich, Berlin, 1933 Nobel Laureate in Physics. In the same year emigrated to England. From 1936 professor in Graz, in 1938 flight to Ireland. Member of the Academy of Sciences in 1928, 1940 excluded. He was taken in 1945 again .
Nazi careers
Victor Christian: (1885-1963), member of the NSDAP and SS -Hauptsturmführer. The Viennese philologist in 1938 was dean at the University of Vienna and head of the SS Research Centre "Ancestral Heritage" in 1939, the Academy elected him as a full member. In 1945 he was one of four with Nazi heavily burdened whose membership was declared "extinct" than five years later resumption.
Fritz Knoll: (1883-1981), the Styrian-born was a botanist, a German National, emerged as "Illegal" desolate agitating at the University of Vienna in leather boots and black riding pants on, the secret police recorded 1937 in Knolls Institute reign a "provocative Nazi majority". After the "Anschluss" of Austria in March 1938, he was Acting Rector of the University and immediately launched the "wild expulsions" (historian Gerhard Botz) until the end of April 1938 250 teachers were removed of "racial" or political reasons. At the same time, "Your Magnificence" Knoll end of March was politely asked by the Presidium of the Academy of Sciences", ... to take over the interests of the Nazi Party" in the academy. The following year, Academy President Srbik declared himself Nazi officer, Knoll received the honor of full membership. 1945, this was listed as "extinct". Three years later, Knoll was resumed, the Academy president wrote to him". It will be my pleasure to welcome you at the next meeting again". At the University the ex-rector further had ban on entering the house, at the Academy of Sciences, should he ascend the late fifties to the Secretary General. The Republic honored Knoll, who had once proudly proclaimed", the Jew is gone from our science and indeed for all times", with the Cross of Honor for Science and Art, First Class, the academy thanked itself with the medal "Bene Merito".
Oswald Menghin: (1888-1973) was born in Merano, prehistory at the University of Vienna, mid thirties Rector and active in the integration of "Illegal" in the corporate state. Member of the NSDAP in 1938 as minister of education responsible for political and "racial" cleansing of the universities. 1945, the "first List of war criminals", U.S. internment, then escape to Argentina. Membership in the Academy were suspended in 1945, resumed in 1959.
Josef Nadler: (1884-1963), German scholar from Bohemia, appointed with his literary history of the German estates to professor, since 1934 regular Academy member. NSDAP-party member; in National Socialism director of Germanic Languages at the University of Vienna. 1945 was banned from teaching at the University of Vienna, his academy membership were suspended, reactivated from 1948.
Gustav Ortner: (1900-1984), physicist, born in Styria, "Illegal", took over in 1938 the famous Institute for Radium Research of the Academy. Ortner 1945 was seized by the University of Vienna with teaching ban, put his academy affiliation dormant and reactivated in 1948. Ortner 1960 was a professor at the Vienna University of Technology, 1961, he was Head of the Atomic Institute of the Austrian Universities.
www.profil.at/articles/1306/560/352237/die-ns-geschichte-...
This piece, entitled "Beach at Mackinaw", is from page 26 of Anna Jameson's sketch book, donated to the library by the Bain family in 2000.
Title: Sketchbook
Creator: Anna Brownell Jameson, 1794-1860
Date: 1837
Identifier:jameson-album-044-p26-cropped
Format: Picture
Rights: Public domain
Courtesy: Toronto Public Library.
More information: View more images by Anna Jameson
A cultural event entitled “Follow Georgia” featuring an exhibition of work by contemporary Georgian artist Ms. Tamara Kvesitadze and a music performance by ethno-jazz band “Shin” was held on the sidelines of the Assemblies of WIPO Member States, which met from October 2-11, 2017.
Ms. Tamara Kvesitadze’s works take roots in antiquity and mythology as well as in surrealism, which successfully combine art and construction. The music of the Shin smoothly combines Georgian folk melodies with jazz, which is the sound of Georgia’s musical encounter with the world.
WIPO co-organized the event with the Government of Georgia to mark the 25th Anniversary of the National Intellectual Property Center of Georgia – SAKPATENTI.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Photo entitled Reading the Proclamation at Newport Isle of Wight 1902
This looks to be the Town Hall . What was the proclamation ? My only guess would be the end of the 2nd Boer War but would this have led to a speech ? I am wondering if there was anything which occurred locally on the IOW which would have led to a proclamation and who gave the speech ?
This album was bought from Age Uk in Kendal and dates back to the early 1900's. The original owner must have travelled between Cumbria England and Australia . It contains over 190 photographs, the majority annotated and include the following places - River Duddon, Santa Cruz Harbour, Ruskins Grave Coniston, Tennysons Monument I of W, Botanical Gardens Melbourne, Cliff Street Freemantle, The Keep Carisbrook Castle, Salisbury Cathedral, SS Empress Of China, St Pauls School Barrow In Furness, Bournemouth, Rusland Valley, River Medina, Conway Castle, Furness Abbey, Urswick Church, Near Windermere, The Needles Isle Of Wight, Hove Brighton, Old Drawing Office & Staff J S White & Co 1902 Cowes, The Quay Marseilles, Brighton, Near Haversham, Cowes Green, Dalton Fire Engine at Urswick Tarn, Kalguri Gold Mine Kalgoorlie, City Cross Winchester
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
Virginia creeper or five-leaved ivy (Parthenocissus quinquefolia) is a woody vine native to eastern and central North America, in southeastern Canada, the eastern and central United States, eastern Mexico, and Guatemala, west as far as Manitoba, South Dakota, Utah and Texas.
It is a prolific climber, reaching heights of 20 to 30 m in the wild. It climbs smooth surfaces using small forked tendrils tipped with small strongly adhesive pads 5 mm in size. The leaves are palmately compound, composed of five leaflets (rarely three leaflets, particularly on younger vines) joined from a central point on the leafstalk, and range from 3 to 20 cm (rarely 30 cm) across. The leaflets have a toothed margin, which makes it easy to distinguish from poison-ivy, which has three leaflets with smooth edges.
The flowers are small and greenish, produced in clusters in late spring, and mature in late summer or early fall into small hard purplish-black berries 5 to 7 mm diameter. These berries contain oxalic acid, which is poisonous to humans and other mammals, and may be fatal if eaten. However, accidental poisoning is uncommon, likely because of the bad taste of the berries. Despite being poisonous to mammals, they provide an important winter food source for birds. Oxalate crystals are also contained in the sap, and can cause irritation and skin rash [1]
Virginia creeper or five-leaved ivy (Parthenocissus quinquefolia) is a woody vine native to eastern and central North America, in southeastern Canada, the eastern and central United States, eastern Mexico, and Guatemala, west as far as Manitoba, South Dakota, Utah and Texas.
It is a prolific climber, reaching heights of 20 to 30 m in the wild. It climbs smooth surfaces using small forked tendrils tipped with small strongly adhesive pads 5 mm in size. The leaves are palmately compound, composed of five leaflets (rarely three leaflets, particularly on younger vines) joined from a central point on the leafstalk, and range from 3 to 20 cm (rarely 30 cm) across. The leaflets have a toothed margin, which makes it easy to distinguish from poison-ivy, which has three leaflets with smooth edges.
The flowers are small and greenish, produced in clusters in late spring, and mature in late summer or early fall into small hard purplish-black berries 5 to 7 mm diameter. These berries contain oxalic acid, which is poisonous to humans and other mammals, and may be fatal if eaten. However, accidental poisoning is uncommon, likely because of the bad taste of the berries. Despite being poisonous to mammals, they provide an important winter food source for birds. Oxalate crystals are also contained in the sap, and can cause irritation and skin rash [1]
Dejan Stojanović: Razgovori, 1999
*Dejan Stojanović, Razgovori (Conversations), Knjizevna rec, Beograd (Belgrade), 1999*
A book of interviews from 1990 to 1992 in Europe and America, entitled *Conversations*, contains a selection of interviews with several major American writers, including Nobel Laureate Saul Bellow, Charles Simic, and Steve Tesich [the third section of the book, entitled *Chicago (1991-1992)]*.
The second section, entitled *Paris (1990)*, contains interviews with Petar Omčikus, Ljuba Popović, Miloš Šobajić and Jacques Claude Villard.
The first section, entitled *Beograd (1990),* contains interviews with Alek Vukadinovic, Momo Kapor, Nikola Milosevic and Sava Rakocevic.
The last section contains a selection of articles.
For this book, Dejan Stojanovic received the prestigious *Rastko Petrovic* Award from the Society of Serbian Writers.
About the Book
Knjiga novinskih tekstova i intervjua Dejana Stojanovića nastala je početkom devedesetih. Sklon istraživanju, autor ove knjige, koji je pre svega pesnik po vokaciji, završio je kao i najbolji predstavnici naše književne reči—u inostranstvu.
Izgnanstvo je večna prisutnost naše knjizevnosti, i kao po pravilu njeni predstavnici su naša najbolja pera. Tako su prisilni izgnanici bili Dučic i Rastko Petrović, a dobrovoljni Kiš i Pekić. U tom društvu našao se Dejan Stojanović. Njegovo izgnanstvo je dobrovoljno. Nakon deset godina ispalo je da je dobrovoljno da ne bi bilo prisilno. Posebna simbolika Stojanovićevog izgnanstva jeste u tome da je otadzbinu napustio u godini tri veka seobe Srba pod patrijarhom Arsenijem Čarnojevićem.
Poznavajući pre svega svoju kulturu, Stojanović se na kratko zadržao u Beogradu, a prva destinacija je bio san svih nasih predratnih i poratnih umetnika—Pariz. Odatle je ka nasim redakcijama potekla reka intervjua sa nasim najpoznatijim slikarima koji već decenijama žive i stvaraju u tom gradu.
Nakon Pariza Stojanović se skrasio u Čikagu, najvećem srpskom gradu u dijaspori. Odatle su stigli izvanredni intervjui sa nasim, pre svega kulturnim radnicima, koji su svoju slovensku i srpsku osobenost tako uspešno ugradili u američku kulturu. Zato možda i nije čudno što je Stiv Tešić bio jedan od najvećih američkih dramskih pisaca, a Charles Simic je trenutno jedan od vodećih američkih pesnika.
Stojanovićev izgnanički trougao Beograd-Pariz-Čikago doneo nam je ovu knjigu. Stojanovic je pre svega pesnik, ali i izvanredan intervjuer. On poseduje ono što mnogi intervjueri nemaju: apsolutnu obavestenost o delu sagovornika i dar za slušanje. On sagovornika ne muči pitanjima, nego naizgled lakim podpitanjima iz njega izvlači ono najvaznije. U tome je najveća vrednost ove knjige.
-Aleksandar I. Popović
UMETNOST INTERVJUISANJA
Poslednjih desetak godina u Srbiji se ustalio običaj da se intervjui sa stvaraocima koji imaju šta da kažu, posle kratkotrajnog žurnalističkog života iz masovnih medija sele među korice knjiga. Ovakvoj aktuelizaciji u svetu visokotiražne, dijaloške proze, koja korene vuče iz antičke Grčke (sofisti) poesbno je doprinela edicija "Razgovori s piscima" gde je BIGZ publikovao više izvanrednih kolekcija odabranih intervjua sa našim klasicima: Crnjanskim, Andrićem, Kišom, Pekićem, Pavićem . . . A toj, sve brojnijoj, populaciji domaćih "razgovornih publicista" nedavno se priključio pesnik i novinar Dejan Stojanović, sada nastanjen u Americi. Njegova knjiga "Razgovori" donosi četrnaest komunikativnih i, često, provokativnih intervjua, nakon kojih su, umesto epiloga, štampane i tri Stojanovićeve reportaže o odnosu Srba prema "ostatku čovečanstva". Ovde se radi o prilozima nastalim početkom, za nas kataklizmične poslednje dekade XX veka, od kojih su većina objavljeni u tada prestižnom kragujevačkom magazinu "Pogledi" , kada su u njima svoje mladalačke radove štampali neki od vodećih stvaralaca nove generacije (Gojko Božović, Biljana Srbljanović, Ivan Medenica, Djordje Milosavljević, a tiraž premašivao 200 hiljada prodatih primeraka. Osim toga, ovi intervjui slede i liniju Stojanovićevog emigrantskog putešestvija koja, od zavičajne Metohije, vodi preko Beograda (gde su nastali razgovori sa Momom Kaporom, Alekom Vukadinovićem, Nikolom Milosevićem i Savom Rakočevićem) i Pariza (Omčikus, Ljuba Popović, Šobajić, Ž. K. Vilar), do Čikaga (Charles Simic, Saul Bellow, Stiv i Nadja Tešić, Branko Mikašinović).
Stvarnost ove zanimljive knjige opredeljena je dakle, dramatičnim posmatranjima na svetskom planu: rušenjem berlinskog zida, demontiranjem komunizma i krvavim komadanjem Titove Jugoslavije. Zato je logično što su se Stojanovićevi sabesednici manje bavili svojim poetičkim nacelima, a više, kao intelektualci odgovorni pred budućnošću, analizirali stranputice kojima se zaputila civilizacija. Čak i onda kada je novinar nastojao da ih navede da razotkriju pojedine nivoe svojih autorskih strategija, intervjuisani su se držali prividno sigurnijeg a, u stvari, neuporedivo "klizavijeg" terena društvene zbilje, opasno ruinirane mnoštvom suprotstavljenih energija. Tako su, neretko, nastajale situacije u kojima su ovi, nesumnjivo umni, ljudi demonstrirali zadivljujucu dozu naivnosti u poznavanju ključnih principa vezanih za planetrani transfer uticaja, insistirajući na uverenju da će razborita moć razuma, uvek i svuda, biti kadra da porazi ogoljenu destruktivnost sile. Znamo, brojna zbivanja širom zemljine kugle, naročito u Srbiji, nažalost, užasno su ih demantovala, ali je ovim "Razgovorima", bar, i to bi mogao biti njihov važan kvalitet, demistifikovan potroseni romantičarski status intelektualca modernog doba kao beskompromisnog Prometeja ili, makar, poželjnog Don Kihota. Štaviše, ovde je on sam sebe sveo na marginalizovanog popisivača što ugled stiče argatujući u najbezazlenijim kartotekama političke moći.
Navedeno, naravno, ne znači da su Razgovori kolekcija promašenih procena. Upravo suprotno, reč je o naslovu u kome ce svaki čitalac moći da stavi na probu mnoštvo ličnih stavova bude li spreman da se liši svog, standardno pasivnog položaja. Pri tom, snažnu podršku će mu pružiti baš pozicija Dejana Stojanovića, jer je on u intervjue ulazio bez kompleksa, sa savršeno jasnom namerom i vizijom konačnog cilja. Uzrok takvog njegovog pristupa je, očito, danas tako retka, gotovo dečačka, posvećenost obavljanju žurnalističkog zadatka, što je za posledicu imalo jedno, nesporno, intelektualističko, ali i prijateljsko raspričavanje veoma ozbiljnih tema. Mozda tajna lakoće i skladnosti ovih intervjua leži u Stojanovićevoj konstataciji da je "svojim sagovornicima prilazio manje kao profesionalni novinar, a više kao umetnik koji želi da neke svoje uvide produbi u razmeni mišljenja sa istaknutim stvaraocima za koje veruje da bolje od većine razumeju svet". Posebno dragoceno je to što je on svoju intervjuersku strast i dar za improvizaciju i domišljanje posredovao i na autoritete s kojima je razgovarao, i uz čija se akademska zvanja prakticno podrazumeva teorijska akribija, pa i hermetičnost, zbog čega je ova knjiga očišćena od teško prohodnih mesta i visokoučenosti koje bi mogle da opterete percepciju "prosečne publike". Autorova usredsređenost i podrobna obaveštenost o svim momentima od vitalnog značaja za dramaturgiju razgovora, koji su ga oslobodili iluzije da se gomilom podataka, razmeće pred svojim sagovornicima ili, ne daj Bože, pokuša da im "ukrade dušu", najbolje dolazi do izražaja kada se Stojanović, na najmanju digresiju ili asocijaciju u razmeni misljenja, transformise iz diskretnog slušaoca u minucioznog ispitivača koji ume da nametne svoj ritam razgovora. Na taj način stiče se važan osećaj da tekst "Razgovora", uprkos svojoj, nuzno, izlomljenoj strukturi, nema grubljih oscilacija, nego da sledi nit prirodnosti.
Mada su u "Razgovorima" objavljeni intervjui sa takvim imenima kao što su nobelovac Saul Bellow ili matematičar-pesnik Žak Klod Vilar, do kojih su ovdašnji novinari retko uspevali da stignu, kao najinteresantnije Stojanovićeve "mušterije" su se nametnuli scenarista Stiv (Stojan) Tešic i pesnik Charles (Dusan) Simić. Naime, to su Era i Šumadinac koji su, u najboljem maniru prekookeanskih "sapunica", materijalizovali svoj "američki san" kroz "Oskara" (Tešic) i "Pulicera" (Simić), čitavo vreme u svom radu, ponekad i nehotično, istrajavajući na prozimanju tradicije usvojene u rodnom kraju sa prizemnim standardima "o'kay" kulture nove domovine.
Konačno, bilo bi neoprostivo zanemariti činjenicu da kompletnom zadovoljstvu pri čitanju ove knjige doprinsi i njen vrhunski i rastresit prelom teksta, za što zasluge pripadaju art-direktoru "Književne reči", Radu Tovladijcu i stripocrtaču Zoranu Tuciću koji je uradio portrete svih četrnaest intervjuisanih stvaralaca, i samog Dejana Stojanovića.
-Dušan Vidaković
Zbilja, broj 62/63, novembar/decembar 2000.
Table of Contents
BEOGRAD (1990)
Alek Vukadinović 7
Momo Kapor 19
Nikola Milošević 29
Sava Rakočević 39
PARIS (1990)
Petar Omčikus 49
Ljuba Popović 57
Miloš Šobajić 67
Jacques Claude Villard 77
CHICAGO (1991-1992)
Saul Bellow 89
Steve Tesich 103
Branko Mikašinović 117
Charles Simic 125
Nadja Tesich 131
Sava Rakočević 149
DODATAK
Mi u svetu 159
Šetam kafanama Pariza 163
Molitva na Mičigenskom jezeru 167
Beleška o autoru 173
Razgovori (Conversations)
Series: Biblioteka Horizonti (Belgrade, Serbia); Source records: Library MARC record; Language: Serbian; LCCN: 00279201; LC: PG1404 .S78 1999 ; Genre: Interviews. Subject: Authors, Serbian - 20th century - United States - Chicago - Paris - Belgrade - Interviews
Dejan Stojanović.
Published 1999 by Književna reč in Beograd (Belgrade), Serbia .
Written in Serbian.