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Nepal - Boudhanath - Tsamchen Gompa - Mural - Wheel Of Life (Bhavacakra) - 31 by Manfred Sommer

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The bhavacakra (Sanskrit; Pāli: bhavacakka; Tibetan: srid pa'i 'khor lo) is a symbolic representation of saṃsāra (or cyclic existence) found on the outside walls of Tibetan Buddhist temples and monasteries in the Indo-Tibetan region. In the Mahayana Buddhism, it is believed that the drawing was designed by the Buddha himself in order to help ordinary people understand Buddhist teachings.

The bhavacakra is popularly referred to as the wheel of life, and may also be glossed as wheel of cyclic existence or wheel of becoming.

ORIGIN

Legend has it that the historical Buddha himself created the first depiction of the bhavacakra, and the story of how he gave the illustration to King Rudrāyaṇa appears in the anthology of Buddhist narratives called the Divyāvadāna.

The bhavacakra is painted on the outside walls of nearly every Tibetan Buddhist temple in Tibet and India. Dzongsar Jamyang Khyentse Rinpoche states:

One of the reasons why the Wheel of Life was painted outside the monasteries and on the walls (and was really encouraged even by the Buddha himself) was to teach this very profound Buddhist philosophy of life and perception to more simple-minded farmers or cowherds. So these images on the Wheel of Life are just to communicate to the general audience.

EXPLANATION OF THE DIAGRAM

OVERVIEW

The meanings of the main parts of the diagram are:

The images in the hub of the wheel represent the three poisons of ignorance, attachment and aversion.

The second layer represents karma.

The third layer represents the six realms of samsara.

The fourth layer represents the twelve links of dependent origination.

The fierce figure holding the wheel represents impermanence.

The moon above the wheel represents liberation from samsara or cyclic existence.

The Buddha pointing to the moon indicates that liberation is possible.

Symbolically, the three inner circles, moving from the center outward, show that the three poisons of ignorance, attachment, and aversion give rise to positive and negative actions; these actions and their results are called karma. Karma in turn gives rise to the six realms, which represent the different types of suffering within samsara.

The fourth and outer layer of the wheel symbolizes the twelve links of dependent origination; these links indicate how the sources of suffering - the three poisons and karma - produce lives within cyclic existence.

The fierce being holding the wheel represents impermanence; this symbolizes that the entire process of samsara or cyclic existence is impermanent, transient, constantly changing. The moon above the wheel indicates liberation. The Buddha is pointing to the moon, indicating that liberation from samsara is possible.

HUB: THE THREE POISONS

In the hub of the wheel are three animals: a pig, a snake, and a bird. They represent the three poisons of ignorance, aversion, and attachment, respectively. The pig stands for ignorance; this comparison is based on the Indian concept of a pig being the most foolish of animals, since it sleeps in the dirtiest places and eats whatever comes to its mouth. The snake represents aversion or anger; this is because it will be aroused and strike at the slightest touch. The bird represents attachment (also translated as desire or clinging). The particular bird used in this diagram represents an Indian bird that is very attached to its partner. These three animals represent the three poisons, which are the core of the bhavacakra. From these three poisons, the whole cycle of existence evolves.

In many drawings of the wheel, the snake and bird are shown as coming out of the mouth of the pig, indicating that aversion and attachment arise from ignorance. The snake and bird are also shown grasping the tail of the pig, indicating that they in turn promote greater ignorance.

Under the influence of the three poisons, beings create karma, as shown in the next layer of the circle.

SECOND LAYER: KARMA

The second layer of the wheel shows two-half circles:

One half-circle (usually light) shows contented people moving upwards to higher states, possibly to the higher realms.

The other half-circle (usually dark) shows people in a miserable state being led downwards to lower states, possibly to the lower realms.

These images represent karma, the law of cause and effect. The light half-circle indicates people experiencing the results of positive actions. The dark half-circle indicates people experiencing the results of negative actions.

Ringu Tulku states:

We create karma in three different ways, through actions that are positive, negative, or neutral. When we feel kindness and love and with this attitude do good things, which are beneficial to both ourselves and others, this is positive action. When we commit harmful deeds out of equally harmful intentions, this is negative action. Finally, when our motivation is indifferent and our deeds are neither harmful or beneficial, this is neutral action. The results we experience will accord with the quality of our actions.

Propelled by their karma, beings take rebirth in the six realms of samsara, as shown in the next layer of the circle.

THIRD LAYER: THE SIX REALMS OF SAMSARA

OVERVIEW

The third layer of the wheel is divided into six sections that represent the six realms of samsara. These six realms are divided into three higher realms and three lower realms.

The three higher realms are shown in the top half of the circle; the higher realms consist of the god realm, the demi-god realm and the human realm. The god realm is shown in the top middle and the human realm and demi-god realms are on either side of the god realm.

The three lower realms are shown in the bottom half of the circle; the lower realms consist of the hell realm, the animal realm and the hungry ghost realm. The hell realm is shown in the bottom middle of the circle, with the animal realm and hungry ghost realm on either side of the hell realm.

WHAT IS SAMSARA?

The six realms are six different types of rebirth that beings can enter into, each representing different types of suffering. Samsara, or cyclic existence, refers to the process of cycling through one rebirth after another.

Patrul Rinpoche states:

The term samsara, the wheel or round of existence, is used here to mean going round and round from one place to another in a circle, like a potter's wheel, or the wheel of a water mill. When a fly is trapped in a closed jar, no matter where it flies, it can not get out. Likewise, whether we are born in the higher or lower realms, we are never outside samsara. The upper part of the jar is like the higher realms of gods and men, and the lower part like the three unfortunate realms. It is said that samsara is a circle because we turn round and round, taking rebirth in one after another of the six realms as a result of our own actions, which, whether positive or negative, are tainted by clinging.

A BRIEF DESCRIPTION OF THE SIX REALMS

Six realms of existence are identified in the Buddhist teachings: gods, demi-gods, humans, animals, hungry ghosts and hells. These realms can be understood on a psychological level, or as aspects of Buddhist cosmology.

These six realms can be divided into three higher realms and three lower realms. The three higher realms are:

GOD REALM: the gods lead long and enjoyable lives full of pleasure and abundance, but they spend their lives pursuing meaningless distractions and never think to practice the dharma. When death comes to them, they are completely unprepared; without realizing it, they have completely exhausted their good karma (which was the cause for being reborn in the god realm) and they suffer through being reborn in the lower realms.

DEMI-GODS REALM: the demi-gods have pleasure and abundance almost as much as the gods, but they spend their time fighting among themselves or making war on the gods. When they make war on the gods, they always lose, since the gods are much more powerful. The demi-gods suffer from constant fighting and jealousy, and from being killed and wounded in their wars with each other and with the gods.

HUMAN REALM: humans suffer from hunger, thirst, heat, cold, separation from friends, being attacked by enemies, not getting what they want, and getting what they don't want. They also suffer from the general sufferings of birth, old age, sickness and death. Yet the human realm is considered to be the most suitable realm for practicing the dharma, because humans are not completely distracted by pleasure (like the gods or demi-gods) or by pain and suffering (like the beings in the lower realms).

The three lower realms are:

ANIMAL REALM: wild animals suffer from being attacked and eaten by other animals; they generally lead lives of constant fear. Domestic animals suffer from being exploited by humans; for example, they are slaughtered for food, overworked, and so on.

HUNGRY GHOST REALM: hungry ghosts suffer from extreme hunger and thirst. They wander constantly in search of food and drink, only to be miserably frustrated any time they come close to actually getting what they want. For example, they see a stream of pure, clear water in the distance, but by the time they get there the stream has dried up. Hungry ghosts have huge bellies and long, thin necks. On the rare occasions that they do manage to find something to eat or drink, the food or water burns their neck as it goes down to their belly, causing them intense agony.

HELL REALM: hell beings endure unimaginable suffering for eons of time. There are actually eighteen different types of hells, each inflicting a different kind of torment. In the hot hells, beings suffer from unbearable heat and continual torments of various kinds. In the cold hells, beings suffer from unbearable cold and other torments.

Generally speaking, each realm is said to be the result of one of the six main negative emotions: pride, jealousy, desire, ignorance, greed, and anger. Dzongsar Khyentse states:

So we have six realms. Loosely, you can say when the perception comes more from aggression, you experience things in a hellish way. When your perception is filtered through attachment, grasping or miserliness, you experience the hungry ghost realm. When your perception is filtered through ignorance, then you experience the animal realm. When you have a lot of pride, you are reborn in the god realm. When you have jealousy, you are reborn in the asura (demi-god) realm. When you have a lot of passion, you are reborn in the human realm.

Among the six realms, the human realm is considered to offer the best opportunity to practice the dharma. Dzongsar Khyentse states:

If we need to judge the value of these six realms, the Buddhists would say the best realm is the human realm. Why is this the best realm? Because you have a choice ... The gods don't have a choice. Why? They're too happy. When you are too happy you have no choice. You become arrogant. The hell realm: no choice, too painful. The human realm: not too happy and also not too painful. When you are not so happy and not in so much pain, what does that mean? A step closer to the normality of mind, remember? When you are really, really excited and in ecstasy, there is no normality of mind. And when you are totally in pain, you don't experience normality of mind either. So someone in the human realm has the best chance of acquiring that normality of mind. And this is why in Buddhist prayers you will always read: ideally may we get out of this place, but if we can't do it within this life, may we be reborn in the human realm, not the others.

Sometimes, the wheel is represented as only having five realms because the God realm and the Demi-god realm are combined into a single realm.

In some representations of the wheel, there is a buddha or bodhisattva depicted within each realm, trying to help sentient beings find their way to nirvana.

SANSKRIT TERMS FOR THE SIX REALMS

The Sanskrit terms for the six realms are:

Deva realm: God realm

Asura realm: Demi-god realm

Manuṣya realm: Human realm

Tiryagyoni realm: Animal realm

Preta realm: Hungry Ghost realm

Naraka realm: Hell realm

OUTER RIM: THE TWELVE LINKS

The outer rim of the wheel is divided into twelve sections that represent the Twelve Nidānas. As previously stated, the three inner layers of the wheel show that the three poisons lead to karma, which leads to the suffering of the six realms. The twelve links of the outer rim show how this happens - by presenting the process of cause and effect in detail.

These twelve links can be understood to operate on an outer or inner level.

On the outer level, the twelve links can be seen to operate over several lifetimes; in this case, these links show how our past lives influence our current lifetime, and how our actions in this lifetime influence our future lifetimes.

On the inner level, the twelve links can be understood to operate in every moment of existence in an interdependent manner. On this level, the twelve links can be applied to show the effects of one particular action.

By contemplating on the twelve links, one gains greater insight into the workings of karma; this insight enables us to begin to unravel our habitual way of thinking and reacting.

The twelve causal links, paired with their corresponding symbols, are:

Avidyā lack of knowledge – a blind person, often walking, or a person peering out

Saṃskāra constructive volitional activity – a potter shaping a vessel or vessels

Vijñāna consciousness – a man or a monkey grasping a fruit

Nāmarūpa name and form (constituent elements of mental and physical existence) – two men afloat in a boat

Ṣaḍāyatana six senses (eye, ear, nose, tongue, body, and mind) – a dwelling with six windows

Sparśa contact – lovers consorting, kissing, or entwined

Vedanā pain – an arrow to the eye

Tṛṣṇa thirst – a drinker receiving drink

Upādāna grasping – a man or a monkey picking fruit

Bhava coming to be – a couple engaged in intercourse, a standing, leaping, or reflective person

Jāti being born – woman giving birth

Jarāmaraṇa old age and death – corpse being carried

THE FIGURE HOLDING THE WHEEL: IMPERMANENCE

The wheel is being held by a fearsome figure who represents impermanence. The 14th Dalai Lama states:The fierce being holding the wheel symbolizes impermanence, which is why the being is a wrathful monster, though there is no need for it to be drawn with ornaments and so forth ... Once I had such a painting drawn with a skeleton rather than a monster, in order to symbolize impermanence more clearly.

This figure is most commonly depicted as Yama, the lord of death. Regardless of the figure depicted, the inner meaning remains the same–that the entire process of cyclic existence (samsara) is transient; everything within this wheel is constantly changing.

Yama has the following attributes:

He wears a crown of five skulls that symbolize the impermanence of the five aggregates. (The skulls are also said to symbolize the five poisons.)

He has a third eye that symbolizes the wisdom of understanding impermanence.

He is sometimes shown adorned with a tiger skin, which symbolizes fearfulness. (The tiger skin is typically seen hanging beneath the wheel.)

His four limbs (that are clutching the wheel) symbolize the sufferings of birth, old age, sickness, and death.

THE MOON: LIBERATION

Above the wheel is an image of the moon; the moon represents liberation from the sufferings of samsara.

Thubten Chodron states:

The moon is nirvana [i.e. liberation]. Nirvana is the cessation of all the unsatisfactory experiences and their causes in such a way that they can no longer occur again. It's the removal, the final absence, the cessation of those things, their non-arising. The Buddha is pointing us to that.

Chögyam Trungpa states:

The truth of cessation is a personal discovery. It is not mystical and does not have any connotations of religion or psychology. It is simply your experience ... Likewise, cessation is not just a theoretical discovery, but an experience that is very real to you–a sudden gain. It is like experiencing instantaneous good health: you have no cold, no flu, no aches, and no pains in your body. You feel perfectly well, absolutely refreshed and wakeful! Such an experience is possible.

Some drawings may show an image of a "pure land" to indicate liberation, rather than a moon.

THE BUDDHA POINTING TO THE MOON: THE PATH TO LIBERATION

The upper part of the drawing also shows an image of the Buddha pointing toward the moon; this represents the path to liberation.

Thubten Chodron states:

So the Buddha's gesture is like the path to enlightenment. It's not that the Buddha is the cause of nirvana. The Buddha is a cooperative condition of our nirvana. He indicates the path to us, he points out to us what to practice and what to abandon in order to be liberated. When we follow the path, we get the result, which is nirvana.

Chögyam Trungpa states:

The nature of the path is more like an exploration or an expedition than following a path that has already been built. When people hear that they should follow the path, they might think that a ready-make system exists, and that individual expressions are not required. They may think that one does not have to surrender or give or open. But when you actually begin to tread on the path, you realize that you have to clear out the jungle and all the trees, underbrush, and obstacles growing in front of you. You have to bypass tigers and elephants and poisonous snakes.

Mark Epstein states:

The entire Wheel of Life is but a representation of the possibility of transforming suffering by changing the way we relate to it. As the Buddha taught in his final exhortation to his faithful attendant Ananda, it is only through becoming a "lamp unto yourself" that enlightenment can be won. Liberation from the Wheel of Life does not mean escape, the Buddha implied. It means clear perception of oneself, of the entire range of the human experience ...

According to the Buddhist tradition, the Buddha told his followers:

I have shown you the path that leads to liberation

But you should know that liberation depends upon yourself.

INSCRIPTION

Drawings of the Bhavacakra usually contain an inscription consisting of a few lines of text that explain the process that keeps us in samara and how to reverse that process.

PSYCHOLOGICAL INTERPRETATION

From a psychological point of view, different karmic actions contribute to one's metaphorical existence in different realms, or rather, different actions reinforce personal characteristics described by the realms.

Mark Epstein states:

The core question of Buddhist practice, after all, is the psychological one of "Who am I?" Investigating this question requires exploration of the entire wheel. Each realm becomes not so much a specific place but rather a metaphor for a different psychological state, with the entire wheel becoming a representation of neurotic suffering.

WITHIN THE THERAVADA TRADITION

T. B. Karunaratne states:

Though in Theravāda literature there is no mention of an actual pictorial execution of a "Wheel of Life," yet the concept of comparing Dependent Origination to a wheel is not unknown. In the Path of Purification (Visuddhimagga), the famous commentator Buddhaghosa Acariya says:

"It is the beginningless round of rebirths that is called the 'Wheel of the round of rebirths' (saṃsāracakka). Ignorance (avijjā) is its hub (or nave) because it is its root. Ageing-and-death (jarā-maraṇa) is its rim (or felly) because it terminates it. The remaining ten links (of the Dependent Origination) are its spokes (i.e. karma formations [saṅkhāra] up to process of becoming [bhava])."

WIKIPEDIA

Existence magazine by Magdalena

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Those forces that manipulate the world, so that they can work undisturbed, want to accomplish two things: first and foremost that their existence be questioned, and if this does not work, they would at least like to appear undefeatable. by Traditional Quotes and Symbols

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307. Those forces that manipulate the world, so that they can work undisturbed, want to accomplish two things: first and foremost that their existence be questioned, and if this does not work, they would at least like to appear undefeatable.

528. Modern culture is the culture of anti-spirituality and anti-traditionality. Consequently, it can only be considered as pseudo-culture, or rather, counter-culture. This term denotes counter-cultivation, that is, the cultivation of man and the world in such a way and to such a degree that they are continually becoming more fit to receive the dark instead of the light.

344. Modernity is not a stiffened, static reality, but a dynamic process, which is continuously working to make itself darker and darker.

361. Today’s man has gradually built a denatured world for himself: he has already been cut off from the supernatural, and now he is about to take leave of the natural.

366. A machine is demonic for it contributes to the emergence of a considerable alienation between producer, production and product - and this is always accompanied by an inner alienation.

9. The »ideal« of dark tendencies is the person without world-views.

29. In the background of the modern world’s conceptions, elaborated by a vast rational apparatus, there work manias which are generated by demonic forces.

58. Amalgamation most extremely contrasts with unity.

137. The case when someone ignores essentiality involves not only that the most important thing starts missing but that there can be found something else in its place.

138. Sticking to the only-human leads not to remaining in the human sphere but to becoming sub-human. For persisting in something is to loose it: to loose that which was intended to be retained.

307. Those forces that manipulate the world, so that they can work undisturbed, want to accomplish two things: first and foremost that their existence be questioned, and if this does not work, they would at least like to appear undefeatable.

309. Disintegration can also be seen on the surface. The act of disintegration, however, is forever under the surface which makes it even more difficult to notice it.

310. The path leading to chaos is not yet chaotic, only in its ultimate phase. For, though a chaos-creating force is creating chaos in its course, it necessarily gets structured into dark order of things.

314. That which is in opposition to what transcends life, ultimately, is in opposition to what belongs to the domain of life - for life gets life from what transcends life.

315. As the forces of modernity first annihilate the connection with the supernatural and ruin man’s relationship with nature and only then destroy nature, in the same way they destroy the connection with what transcends life first and only then annihilate life itself.

317. First, only he who maintains his principles is considered a fool (though he is not), then it comes true that only the fool maintains his principles...

318. Those things which are usually referred to as superstitions are in fact innocent and harmless superstitions. The harming and harmful superstitions appear in totally different forms such as evolutionism, antihierarchical views, beliefs in the equality of mankind and as all those phenomena which, philosophically speaking, belong to the realm of humanism.

328. Modernity is the way to conformity - the way to conformity forever in the direction of the lowest.

329. Kali-yuga is characterised mainly by the passionate clinging to the continuous deterioration and disintegration of consciousness.

331. »Being devoured«: this is the fundamental word for what the rule of darkness realises; being devoured, which is followed by annihilation.

332. Kali-yuga is not merely a state but a threatening and devouring throat.

333. The disintegrating forces of darkness are living forces, living forces that bring death.

335. The forces of darkness can gain power in the world only because they have already gained power in the soul.

341. Kali-yuga is present in the consciousness, in the strict sense of the word, in the human psyche, in the spiritual manifestations and deeds of man, just as it is present in the surrounding world, in buildings, in music, in the different manifestations of artistic trends and in the very processes of nature. Wherever man directs his attention, be it inward or outward, he is everywhere surrounded and ruled by a world which is under the aegis of antitraditionality - that is being cut off from God, heaven, transcendence, superiority and the essence.

344. Modernity is not a stiffened, static reality, but a dynamic process, which is continuously working to make itself darker and darker.

361. Today’s man has gradually built a denatured world for himself: he has already been cut off from the supernatural, and now he is about to take leave of the natural.

364. The specific blindnesses of the dark age as a rule cloak themselves in rationalism.

366. A machine is demonic for it contributes to the emergence of a considerable alienation between producer, production and product - and this is always accompanied by an inner alienation.

375. The forces of darkness and the forces of light in a way want the same in the present age: to make the kali-yuga progress to its end. But whereas the forces of darkness tend to annihilate the true values as well, the forces of light tend to maintain the true values in the course of kali-yuga so as to serve in the building up of a future golden age.

376. One has to accommodate himself to the modern world so that his powers will not wear him out - but not in the sense of bending and assimilating to it, but as a kind of acclimatisation; for he who gets acclimatised will not »serve« the climate but resists the climate.

377. Despite all its losing track, deterioration and dissipation, today’s world and the tendencies operating in it show one direction: the direction of nothingness.

381. The postmodern state, in which everything can be manifested without any real consequence, and in which everything will be free, but nothing will matter, must be accomplished before everything falls apart in postmodernity. Without this, the final disintegration will not come about, since there would always be left certain positive remnants.

404. As light magnetises certain insects, so spiritual darkness attracts the overwhelming majority of people.

427. Everything that is against the supernatural also turns, sooner or later, against the natural.

488. Liberalism not only represents the view according to which every man is equal (to one another), but it also does its best to abolish quality in order to make every men equal.

528. Modern culture is the culture of anti-spirituality and anti-traditionality. Consequently, it can only be considered as pseudo-culture, or rather, counter-culture. This term denotes counter-cultivation, that is, the cultivation of man and the world in such a way and to such a degree that they are continually becoming more fit to receive the dark instead of the light.

529. Counter-culture does not simply mean being a poor hand at culture or that man’s world is inundated with cheap things instead of higher values. The real meaning of counter-culture is that man and his world turn in a completely different direction to the one they ought to, since instead of dominating and cultivating the light, he dominates and cultivates the dark.

531. That which is called the Enlightenment today was, unambiguously, darkening; and exactly that which was dark in it resulted in it being called »Enlightenment«: the denial of the spirit.

533. Turning towards the earth clearly reveals darkening and decay. But how degenerated this [materialistic] view has become is really shown by the fact that it is called »Enlightenment« instead of »Endarkenment«.

[The contemporary manifestations of these kinds of processes at the time were similarly criticised by Plato, according to whom this attitude originated in »grievous ignorance which, however, appears to be the greatest discretion.« (Laws 886B).]

538. The bulk of negative processes and tendencies, be they communism, environmental pollution or economic crises, might be suppressed and reversed. However, there is one process which cannot be held back, and there is not even a wish to hold it back, namely, the rapidly increasing »not-anything-like-ness« or »not-any-kind-of-ness«.

738. Each world that has lost its origin-awareness is characterized by annihilation.

773. Since the return to the origin is only possible from well-ordered states, anti-traditional forces and powers primarily attack the internal and external order of man. This way they create such counter-conditions from which the return to the origin becomes impossible, or almost impossible.

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Metaphysical aphorisms by András László

www.tradicio.org/english/solumipsum.htm

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Painting by Tadeus Brzozowski

Return to Forever IV-Chick Corea, Stanley Clarke, Lenny White Frank Gambale, Jean-Luc Ponty by PeterTea

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

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

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

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

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

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

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

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

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

Final album (1977)

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

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

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

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

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

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

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

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

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

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

Final album (1977)

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

Reunion (2008)

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

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

Silent existence 噓～ by Yu-lung Chang

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A7+Contax G Zeiss Sonnar*T 90mm f2.8

Lizard by Christine

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The world class boanical collections in Waimea Valley owe there existence to Mir. Keith Woolliams, a dedicated botanical horticulturist who was trained at the Royal Botanic Garden at Kew, on the outskirts of London.

Keith led a rich life traveling around the globe studying botanical collections in England, Japan, Papua New Guinea and Bermuda. He brought to Hawaii his expertise and knowledge of uncommon horticultural treasures, and he acquired seeds, plants, and cuttings from remote places and botanical gardens all over the world. In pre-internet days dozens of letters and packages were dispatched and received daily.

His theme of "Conservation Through Cultivation" resulted in a balance of rare and useful native and Polynesian-introduced plants among exotic horticultural specimens.

What was once an ungroomed valley, filled with koa haole and ravaged by feral cattle was transformed into what you see today by Keith and the many dedicated people he inspired. They oversaw the design, landscaping and construction of the pathways, stone walls and stairs that frame the gardens. Keith's high standards for record keeping and signage persist to this day. He left us in 1998 with a library full of his propagation knowledge, cultivation practices and plant lore which survives to ensure that the precious life forms brought to this valley will thrive here long into the future.

Keith was an inspiring advocate for Hawatian plant conservation and he influenced many young people across the state. He connected Waimea with state, federal and international agencies such as the Center for Plant Conservation, the International Union for the Conservation of Nature, and the Botanical Gardens Conservation International - partnerships that Waimea Valley continues to uphold today.

Keith was instrumental in bringing in critically endangered plants from Japan's Ogasawara Islands, hibiscus relatives from all over the world, and with international colleagues he tried to assemble wild-source collections of every species of Erythrina in the world. In the periodical, "Notes from Waimea Arboretum and Botanical Garden" published twice a year until 1992 he stated "Waimea is a labeled and documented collection of plants for educational and scientific purposes, a living gene pool for future generations".

It is with great honor and gratitude that we remember Mr. Keith Woolliams and his dedication to Waimea Valley.

1984 by Bill Lile

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In a dystopian 1984, Winston Smith endures a squalid existence in the totalitarian superstate of Oceania under the constant surveillance of the Thought Police. The story takes place in London, the capital city of the territory of Airstrip One (formerly "either England or Britain").

Winston works in a small office cubicle at the Ministry of Truth, rewriting history in accordance with the dictates of the Party and its supreme figurehead, Big Brother. A man haunted by painful memories and restless desires, Winston is an everyman who keeps a secret diary of his private thoughts, thus creating evidence of his thoughtcrime — the crime of independent thought, contrary to the dictates and aims of the Party.

His life takes a fatal turn when he is accosted by a fellow Outer Party worker — a mysterious, bold-looking girl named Julia — and they begin an illicit affair. Their first meeting takes place in the remote countryside where they exchange subversive ideas before having sex. Shortly after, Winston rents a room above a pawn shop (in the supposedly safe proletarian area) where they continue their liaison. Julia — a sensual, free-spirited young woman — procures contraband food and clothing on the black market, and for a brief few months they secretly meet and enjoy an idyllic life of relative freedom and contentment together.

It comes to an end one evening, with the sudden raid of the Thought Police. They are both arrested and it's revealed that there is a telescreen hidden behind a picture on the wall in their room, and that the proprietor of the pawn shop, Mr. Charrington, is a covert agent of the Thought Police. Winston and Julia are taken away to be detained, questioned and brutally "rehabilitated", separately. Winston is brought to the Ministry of Love, where O'Brien, a high-ranking member of the Inner Party whom Winston had previously believed to be a fellow thoughtcriminal and agent of the resistance movement led by the archenemy of the Party, Emmanuel Goldstein, systematically tortured him.

O'Brien instructs Winston about the state's true purpose and schools him in a kind of catechism on the principles of doublethink — the practice of holding two contradictory thoughts in the mind simultaneously. For his final rehabilitation, Winston is brought to Room 101, where O'Brien tells him he will be subjected to the "worst thing in the world", designed specifically around Smith's personal phobias. When confronted with this unbearable horror — which turns out to be a cage filled with wild rats — Winston's psychological resistance finally and irretrievably breaks down, and he hysterically repudiates his allegiance to Julia. Now completely subjugated and purged of any rebellious thoughts, impulses, or personal attachments, Winston is restored to physical health and released.

In the final scene, Winston returns to the Chestnut Tree Café, where he had previously seen the rehabilitated thoughtcriminals Jones, Aaronson and Rutherford (themselves once prominent but later disgraced members of the Inner Party) who have since been "vaporized" and rendered unpersons. While sitting at the chess table, Winston is approached by Julia, who was similarly "rehabilitated". They share a bottle of Victory Gin and impassively exchange a few words about how they have betrayed each other. After she leaves, Winston watches a broadcast of himself on the large telescreen confessing his "crimes" against the state and imploring forgiveness of the populace.

Upon hearing a news report declaring the Oceanian army's utter rout of the enemy (Eurasian)'s forces in North Africa, Winston looks at the still image of Big Brother that appears on the telescreen, then turns away and almost silently says "I love you" - a phrase that he and Julia repeatedly used during their relationship, indicating the possibility that he still loves Julia. However, he could also be declaring his love for Big Brother instead. The novel unambiguously ends with the words: "He loved Big Brother," whereas the movie seems to deliberately allow for either interpretation. Earlier, during Winston's conversation with Julia in the rented room, he stated that "if they can make me change my feelings, they can stop me from loving you, that would be real betrayal". In the final scene, the "real betrayal" has therefore either been committed or averted, depending on whether the "you" that Winston loves is Big Brother or Julia.

1961 Holiday House Geographic Vintage Travel Trailer Restored by Flyte Camp by Ryan Smith

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The Holiday House Geographic, is among the most desirable vintage travel trailers in the world. One of only two currently known to be in existence, the body of this trailer was designed by world renowned industrial engineer, Chuck Pelly, designer of the Scarab race car and founder of Designworks USA, which is BMW's California Studio.

David Holmes, President of "Harry & David" fruit company, began producing the Holiday House travel trailers in November of 1959, in Medford, Oregon. These were aluminum and wood constructed trailers as many of their counterparts of this era, however, the Holiday House trailers stood out as distinctive due to their highly progressive and futuristic design.

In 1958 David Holmes enlisted Chuck Pelly to design the Geographic model, also known as Model X, as a super limited production model, which he dubbed the "Trailer For The Rich". The styling was unlike any trailer of it's time. There are thought to have only been parts of 7 of these strikingly futuristic fiberglass trailers ever made with a price tag of almost $8,500. The Holiday House factory burned down in 1962, and the molds that survived were discarded years later.

This 1961 Holiday House Geographic has been completely restored from the frame up with no expense spared, by Flyte Camp, in Bend, OR.

This trailer would make a wonderful addition to any collection, and is fully equipped as a modern luxury travel trailer.

The Holiday House Geographic Serial Number 007:

The exterior was tastefully re-finished with Axalta finishing systems and coatings, in a two-toned champagne and moss green with bronze colored pin-stripping. The entire running system was upgraded with new axels, brakes, wheels, and 10-ply Diamond Back white wall trailer tires. The exterior is completed with a vintage style fabric awning.

The interior features Black Walnut wall skin, cabinetry and black walnut hard wood flooring with custom aluminum detailing. The bathroom/dressing room features Marmoleum flooring, Walnut & Marmoleum countertops and a Stainless Steel shower with a Teak hardwood shower floor insert. Through out the coach original vintage light sconces are combined with LED lighting. Warm LED strip lighting accents the cabinetry, with lighting in cabinet, under cabinet and along the floor in the living area. The kitchen is outfitted with a stainless two burner cook top, a two drawer stainless 3-way fridge, and a stainless sink with a built-in drain board. Stainless kitchen countertops, and luxury upholstery fabric, in moss, accented with high end custom pleated and lined drapery complete the interior finishes. Behind the scenes an LP on-demand hot water heater provides a steady flow of limitless hot water. Off grid the water holding system is made up of a 35 gallon fresh water tank, a 35 gallon black water tank and 40 gallon grey water holding. The 2000 watt Go Power! inverter system is powered by 4 Trojan 6-volt AGM batteries, and is solar capable. There are both 110 outlets, and 12 volt ports throughout the trailer. The A/V system includes a 32” TV, surround sound and a DVD/Bluetooth stereo system. The Air-conditioning system has a heat pump and is tastefully concealed under the front couch. The front L shaped sofa, is 30” deep with pillows removed and can comfortably sleep two. The gaucho couch also extends to sleep two. There is ample storage, with full extension drawers. Aluminum trim and detailing has been added to the bottom of the cabinetry. No detail has been overlooked including the stainless steel front door threshold which has been laser etched with "Geographic".

The icing on the cake was having Chuck Pelly attended the Palm Springs Modernism event in February of this year to see the completed Geographic, and he added his personal signature to the trailer both inside and out!

This may be the only opportunity to own this priceless piece of history. Please contact Flyte Camp with any questions, and for additional detail photos if desired. We accept payment by Cashiers Check if the check is drawn off of an Institution with a Branch in Bend, Oregon. Otherwise, we accept wire transfer. Please let us know if you have any questions regarding payment, or to schedule pickup. Buyer is responsible for all shipping arrangements. Trailer should be picked up within 30 days of auction end. Contact us if you are an international buyer.

Media:

This trailer will be featured on the official 2018 Hot August Nights poster. Hot August Nights is the largest collectable car show in the US, being held August 7-12th, 2018 in Reno, NV.

The Geo was featured on the cover of the June 2018 edition of Vintage Camper Trailers Magazine. The Geographic took the trophy for Best of Modernism at the 2018 Palm Springs Modernism Vintage Travel Trailer Show, and Best Mobile Mansion at the Pismo Coast Rally in May of 2018. The trailer has also been filmed for an upcoming episode of Extreme RVs on the Travel Channel. Please check out footage of the build on the Flyte Camp YouTube Channel.

Photos curtesy of Hal Thomas Photography, Tim Cash of Far From Earth Films, and Anna Scribner of Flyte Camp, LLC.

Credit: Flyte Camp

Source: eBay

Our existence by U-ichiro

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TURKEY: Gümbet - June 2010 by CovBoy2007

Gümbet Beach. ❤

The beach is the reason for Gümbet's existence, a curving kilometre or so of sand that is lined the whole way with hotels, bars & restaurants, all of whom put out sunbeds & umbrellas that are free to use as long as you keep drinking.

Waiters run up and down the beach to serve you while a little further out, grown men in lobster pink are falling off banana boats & ringos.

The more adventurous can try windsurfing, jet skiing & paragliding. There is an official topless beach a short distance out of town (not something normally permitted in Turkey).

Quorn. Pichi Richi Railway train trip with rail carriages in SAR South Australian Railways livery and colours. Scene at Quorn Railway Station before a trip to Woolshed Flat towards Port Agusta. by denisbin

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Quorn.

The first European squatters and pastoralists arrived in the Quorn area in the 1850s but the town did not come into existence until 1875. It was named after Quorn in Leicestershire by Governor Jervois whose private secretary came from there. South Australian Railways chose the site for the town of Quorn and in 1878 the government sold the first blocks of land. In 1879 Quorn became the first terminus of the Great Northern Railway line from Port Augusta. The current station with its charming Dutch gables was built in 1916. However Quorn’s greatest period of importance as a railway centre was between 1917 and 1937 when it was the junction for both the western line to Perth and the northern line to Oodnadatta and Alice Springs. This importance continued during World War II when over 400 people in the town were employed by the railways as it was a major troop stop over point with the Country Women’s Association providing over 1 million meals to the servicemen. The establishment of a new standard gauge railway to Marree and the Leigh Creek coal fields west of the Flinders Ranges in 1956 saw the town decline. The various hotels in the main street located to service the needs of travelling rail passengers then became a movie set for several films including: The Sundowners, Sunday Too Far Away, Robbery under Arms, The Shiralee and more recently Gallipoli.

Quorn’s early development was similar to that of many SA towns. One of the first structures (1878) was a flour mill for the wheat farmers built by Mr Cowan. Mr Dunn the wealthy flour miller of Mt Barker built a second three storied flour mill in 1879. It was converted to a motel in the 1960s and is now a backpacker’s accommodation centre. Other early buildings were the Austral Hotel (1878), where many of us will stay, and the Criterion Hotel built in 1881 and the Transcontinental Hotel in 1878. The first National Bank opened in 1878, along with the Post Office, the Court House (1879) and Matthews Emporium (1886). The first church in town was a Methodist Church in 1880, followed by the Anglican (1880 replaced in 1897), Catholic (1883), the Salvation Army Hall in 1884(now a gallery) and the Lutheran Church in 1890. Three years after its founding, Quorn had a population of 540 and was the 19th largest town north of Adelaide! A reservoir was made for the railways and the town. Other important public town buildings were the Institute (1881) and the Town Hall (1907). A school started soon after the founding of the town and in 1909 it became a Higher Primary School and then in 1914 it became a High School. It was the first high school in the north of SA. Quorn continued to grow in importance once the railway was extended from Quorn through to Oodnadatta in 1891.

Colebrook Home in Quorn was established by the Australian Aborigines Mission. It began as a children’s home for Aboriginals in Oodnadatta in1926 .In 1927 the home moved to Quorn with 12 children in residence. In 1933 the Mission got a new house, 2 miles outside Quorn and in 1935 the 30 resident children were sent to Magill for the summer holidays. This practice continued until 1940 when the children spent the summer holidays at Eden Hills. Following this, the Mission established Colebrook Children’s Home at Eden Hills. Among the children raised at Colebrook were several prominent Aboriginal leaders in SA including Lowitcha O’Donoghue, Faith Thomas and Ruby Ahchee( Hammond).