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The New Fantastic Four
18th March– 5th April 2010
Private View Thursday 18th March 6:00 – 9:00 pm
First Thursdays 1 April 6:00 – 9:00 pm
Directed by Daphné Polski
COME DOWN IN YOUR SUPER-HERO COSTUME AND YOU WILL GET A FREE “NEW FANTASTIC 4” COMIC BOOK
After foiling the Dastardly Taco Mans plan, The Fantastic 4 Street Artists are re-united and the diaphanous dragonfly Daphné leads them to Pure Evil’s underground fortress.. Who knows what lurks beneath the streets of darkest east Londinium ? … To be continued......................................... at Pure Evil Gallery
Featuring:
REMED aka Giulo aka “The Re-illusionist”
" Remed takes every style past its due date and makes it fresh. Art Nouveau and "Free to be You and Me" graphics of the seventies are made strikingly contemporary. If you were to synthesize into a single body of work, the "New Image" of the early eighties with the graffiti writers who entered the New York art world around the same time. . . . Remed would emerge. Experienced with a limited time frame for execution, Remed solves color interactions quickly and accurately. The English language is manipulated with formidable typographic skill and a vicious sense of style. You know Remed is special when you see his transmutation of the curved arms of the French avant-garde. He's paid his dues, he's dubbing over history. "
Brooklynite gallery NY
GREMS aka “Captain Orgasmo”
An artist with multiple facets from graffiti artist to graphic designer, rapper, producer, brand director, autodidact…
A graduate of the “Beaux Arts” in Bordeaux, Grems exhibited worldwide: Georges Pompidou in Paris, Laboratori Arte Alameda in Mexico, Galerie Parcour in Pekin… and then turned to graphics.
In 2007, he produced the campaign “Imagin R” for the RATP; collaborated with prestigious brands such as Nike, Artoyz, Oxbow and Six Pack… and did the front covers of Graffiti Art and l’Humanité magazines. Then, in 2009, he created two watches for the Swatch collection as well as the watch for the Club Swatch limited edition.
Grems has been recently published by edition populaire (Just after BomK, Gutter and Dran)
3TTMAN aka “The Thing”
His spontaneous, painterly style has affinities with traditional painters, cartoons and everything that surrounds him in his everyday life, combining bold compositions and often garish colours with sometimes brutal imagery.
His name derives from the French trois têtes man, or three headed man – a recurring figure in his work, which reflects a divided, often directly contradictory spirit. What he portrays, is not just the good/evil or ugly/beautiful inside battle, but the human behaviour imbalance and complexity in its whole staged by this simple character, often using an ironic or even humoristic style not to fall in fatalism. Londoners will recognise his work from the huge piece he did on the front of the Tate Museum in 2008.
ZBIOK aka Sławomir Czajkowski aka “Road-Runner”
Zbiok`s works are rooted in street art. It is a painting with a profound message – the artist takes part in the dispute concerning problems of the modern world in the global sense. He has developed a style that is both recognisable and convincing. Czajkowski feels at ease in the realm of signs and symbols of popular culture. He can use them and process them for his own purposes, conscoiusly and creatively.
And with the collaboration of PURE EVIL aka ‘Taco Man’
4 free-minded artists, who enjoy playing with texts and colourful characters create a new form of Art expression, with echoes of “the automatic writing” techniques developed by the surrealists.
TAKING BACK THE STREETS ONE WALL AT TIME.
"The world is a noah's ark on the sea of eternity containing all the
endless pairs of things, irreconcilable and inseperable, and heat will
always long for cold and the back for the front and smiles for tears
and mutt for jeff and no for yes with the most unutterable nostalgia
there is." -Diane Arbus
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While walking around Perth Amboy, NJ two years ago, I was approached by a woman outside the post office who asked me if I would like to buy one of her drawings for a dollar. It was a gentle sort of panhandling (and rather endearing) so I said sure and she took out this folder of legal sized photocopies of many quickly made but thought out line drawings of mostly fictional characters from decades past.
And this was the drawing that she handed me. It took a moment or so to place the title and just what exactly the figures were up to, but when the two aligned and I made sense of it, everything around me seemed to just stop in place.
The above quote by Diane Arbus is something i've had in my notebook for the last eight years. When I first saw it on the wall at her exbition in the Getty, I quickly copied it down on whatever scrap of paper I had at the time. This one quote has a singular resonance, probably on the level of no more then a handful of others. I've mentioned before Sylvia Plath's Ariel poems, this is of the same feverishly cold death-gripped voice. It's something i've known at a certain point in my life, and impossible to ever fully dissociate from. It is not neccesarily an easy thing to keep close, and one can't go around always thinking about it, but it feels neccessary not to lose the fundamental awareness.
to grasp and perceive the underlying deterministic fatalism of our bodies, to acknowledge to onself the inherent limitations of such an existence, and to then tether oneself willfully to the world through a belief in the redemptive virtue of action, of creation, of beauty and care, seem to me about the only good and honest way to live.
Walking off from the post office, with this drawing folded carefully in my camera bag, I was nearly floating in the exuberance of sensation. The great confluence of particulars. The illusion of meaning fully subscribed to and invested in. The single moment payoff where it all comes together and holds and is made to feel as if all is one. As if there is some purpose, some silent collusion, tilting things in your favor. The beauty of a grasping mind finding it's footing, if only briefly.
Suspended Animation Classic #311
Originally published December 11, 1994 (#50)
(Dates are approximate)
Johnny Dynamite and Slacker Comics
By Michael Vance
“Johnny Dynamite” #s 1-4, $2.95, 26 pages each from Dark Horse Comics/words: Max Allan Collins, art: Terry Beatty/available in comics shops and by mail.
Sleazy dames, murder, perversion, violence as justice, underlying fatalism, the mob, drugs, and dirty money are as common as day to detective Johnny Dynamite. But the nights are filled with the living dead, zombies.
Johnny is the stepson of Mike Hammer and dozens of hardboiled private eyes of lurid paperbacks and film noir movies. His real father is a comic book series by Pete Morisi published in the mid-1950s that refuses to be forgotten.
Johnny’s adopted parents have long memories and a gut-level obsession with tough guy private eyes. No one has ever done this sub-genre better than Collins and Beatty. Now, Collins and Beatty have done it better.
A penny-ante thug, shot in the gut and left to rot in the desert, strikes a deal with a red horned devil; a soul for a crime empire. Only Johnny can crush this reign, wading through death at the hand of the dead.
“ … it occurred to us,” writes Collins, “that the one-eyed wild man from Chicago would make an ideal protagonist for a cross-genre tale … a crime story that veered into horror and fantasy … Mickey Spillane and George Romero collaborating on a version of ‘Faust’ …”
Living life in the faust lane has proven a stroke of genius. Collins’ words sweat toughness. His plot twists, staccato dialog and fatalistic characters force excitement onto every page. Beatty’s clean, dynamic art and visual storytelling packs a punch that shames many of the cluttered, scratchy, ‘hot’ superhero artists of today.
This is great, entertaining reading. It doesn’t get any better.
Marked with violence, sexual innuendo, and fatalism, this is not for children. But for adults who love tight-fisted, non-stop action set in the black side of the soul, “Johnny Dynamite” comes highly recommended.
MINIVIEW: “Slacker Comics” #1. The impotent, self-righteous, anger of the ‘grunge’ generation done with a giggle from a promising new talent.
- Since you agreed to participate in this shit, then you will have to participate. Well, and... come what may, - Svetlana said with a completely Russian fatalism.
Svetlana prepared for the penetration, as always, very carefully: a leather coat, a scarf, easily transformed into a veil if necessary, dark glasses and black leather gloves that squeaked slightly. In her purse were her tools - a set for opening locks and safes, and right there was an illegal "walker", given to her by Vanessa. Sveta was not going to kill anymore, but the gun gave her confidence.
- Phew, let's go! - the girl quietly said, pleased with her appearance in the mirror, and went down to the car, in which her faithful friend and eternal accomplice, Nelya, was waiting for her at the wheel.
Most folks don't want to read postings on the same topic unless they happen to be about sex or food. MUSTANG ROLLING is largely a sex free web log, but it is not exactly low fat. We have an old Clemson buddy who is fond of the performing arts as longs as venue is a road house and the stage has a single brass pole around which the actresses perform their gymnastics and are unfettered by garments. That old boy can watch the same set of gals go through the same paces time after time all night.
The only brass poles we're familiar with are those in the fire stations which we've visited and photographed. For our part we're quite happy for an endless series of seatings in Barbecue restaurants along the roads down which we roll. We revisit many old favorites as new found BBQ joints. The only stripping we know of is when the cooks pull the meat from the bones after the slow pit cooking process.
We should be clear that not all barbecued pork is slowly pit cooked the old fashioned way. Some places simply buy the meat from suppliers, but many do the cooking in a real pit on the property. Here at McCabe's " Old Fashioned " Bar-B-Q in Manning , SC, they do everything the old fashioned way.
To the right of the restaurant is annexed a long series of old weathered buildings in which the entire process takes place. We didn't snoop at the windows or take pictures back there since they all have their secret ways of preparation and we consider that to be the intellectual property of the indivisual BBQ joint. Copying McCabe's methods is certainly not as easy as cloning a CD. There's nothing fast or easy about the process.
McCabe's has pretty negative curb appeal to those who value a cafeteria's gleaming tubular stainless steel runways for their troughs or brightly lit gleaming Formica surfaces over which cheerful coed faces greet and serve them. It's located in a dismal section of North Brooks Street and recessed slightly from the neighboring frontage. We had to cut a sharp U-turn as we nearly missed the place even though we knew its location.
As to our specifications for BBQ joints, McCabe's is flirting with a fourth star. First, it's a bona fide concrete block structure with vaguely colored paint just now peeling. They have a simulated hitching post type of railing and it appears that some conscious effert was beind the faux western motif. Their sign is well posted and weathered with just the type of homestyling we love.
On entering we found the usual dedicated family team which manages the place with a quiet courtesy. They've received every sort of clumsy complement and fielded so many predictable questions that they usually smile in unmoved ways regardless of what is said. You know that they are family because such places cannot afford or won't pay or tolerate outside help. There is a serenity in the fatalism which has cast them in these roles.
Once inside it's all there. It is everything we have come to expect from such a place. The tables and fixtures are aging nicely. The walls are adorned with several fading pictures and a host of casually framed articles and awards which probably puzzle them more than those who visit. There lemon juice is in that usual green bottle which as a little something left over in the thread of the neck. No fresh lemon has been seen there. There is Texas Pete and several yellowed plastic squirt bottles of their wonderful vinegar and pepper sauce.
This is not the mustard based BBQ, but that old Williamsburg County style which has sauce cooked into the meat. The pork is penetrated with the sause rather than being coated as with the mustard variety. They have traditional side orders the best of which is their uncommonly tender tiny butter beans. The hash is darker than most, very tasteful and mysterious of origin as we want it to remain.
The food at McCabe's is very, very good.
As an extra treat we spotted a UFO at about 10 O'Clock high over the roof. The Air Force will not allow us to show such objects in full focus so just take our word on that as with everything we say.
Dont ask me what is possession.
Whether it is satanism.
Whether it id devilry.
All I know it is a sordid situation of a human mind captured in orbit , non function-able unaware of reality surrounding it.
I think much of this voodoo , shaman stuff is to entrap minds into emptying out their life's savings.
At Hussain Tekri Jaorah I was shooting Pain , I did not take the picture readings of a light that fell on this pain.The pain I shot was not only people possessed but the pain of their parents, the pain of their children.
Actually the child is not aware of this sudden change in the mothers mind and her physical faculties , but he knows something is wrong that is why they have come her to invoke a sleeping God to wake him up from his slumber , so they can get their earlier better mom back..
This one is a selfish mom..
A poet at Poemhunter commented on my poem that I suffered from a fatalism of religion..
What could I tell him that religion is a aphrodisiac for flaccid limp souls...where monuments built by laborers with their sweat of their brow become larger than Man..
Houses of God too have been infiltrated by corrupt ideology, corrupt preachers , I fail to understand Jehad , go fuck kill yourself why take innocent people to your instant satanic paradise..but to sensationalize a losing cause , the bigot does anything.
The one thing that needs to be done is remove the authority of God from Man..
I heard a voice of the atheist he says why not remove God from Man..
So it goes on , the hunter and the hunted both are Man.
A theocratic state yet the Muslim man is bound in chains, rob rape carry drugs they behead you , but kill others , create havoc , you are lauded as Osama Bin Laden the soldier of God...
Here no punishment against Sharia..
The most corrupt race is those who corrupt through false preachings, preachings of Hate..for all Mankind , save those that are its followers..
The Glasgow incident the Bangalore connections its horrifying to say the least , if learned men can be polluted than God save the man on the street who for a single meal would slit the throat of his own mother...
Yes it is a bad lesson , silence everywhere in the Islamic World only one thing remains the call of the Muezzin..
Allah Ho Akbar ...
On the cybernet the chant is worse than a serpents bite.. that divides Islam, killing a thought from within..urging others to kill Shias ..kill the moderate Muslim
This cybernetic Hate one day will be a greater curse than what has happened at the Lal Masjid.. It is not just Pornography on the Internet that destroys but only the flesh, the soul is also at the mercy of such radical elements..paid for by petro wahabbi dollars spokesmen for the Talibans.,.. Yes Allah Ho Akbar,, This is what I read when I read with my inner eyes words on water running as acid to corrode the values of all men.
Mosque stand-off sparks campaign in border stronghold
Zahid Hussain in Islamabad
www.timesonline.co.uk/tol/news/world/asia/article2045932.ece
Pakistan took the battle against Islamic extremists to its borderlands with Afghanistan yesterday, as violence spread from a military stand-off with militants sheltering in a mosque in Islamabad, the capital.
Troops were deployed to the North West Frontier Province after a militant mullah declared holy war on the Government because of its handling of the six-day siege at Lal Masjid – the Red Mosque.
The deployment came as a special forces colonel was shot dead while he tried to blow holes in the perimeter wall surrounding the mosque complex. The Government says that 24 people have been killed in the stand-off but a spokesman for the radical cleric, who is besieged inside the mosque with hundreds of women and children, claimed that 305 people were killed in an overnight bombardment by government troops.
President Musharraf gave the militants an ultimatum to “surrender or die” late on Saturday. They claim that the rebel cleric, Abdul Rashid Ghazi, is supported by 60 well-armed militants in the mosque.
In a statement carried in Pakistani newspapers, Mr Ghazi said he had chosen “martyrdom” over negotiations and hoped that his death would spark an Islamic revolution in Pakistan.
The Government claimed yesterday that among the radicals inside the mosque were members of a proscribed group, Harkat Jihad-e-Islam, which is suspected of killing Daniel Pearl, the Wall Street Journal reporter, and of executing a bomb attack that killed 11 French engineers in 2002.
Thousands of troops have surrounded the mosque and an adjoining seminary for women over the past six days.
Security forces have also seized control of a seminary a few miles away that is also run by clerics from the Red Mosque. The authorities have described the Jamia Faridia madrassa as a “powerhouse” for the mosque and said that several of its students were involved in the stand-off.
Yesterday the Government rushed troops to Malakand and Dir district in the North West Frontier Province, where militant mullahs have established Taleban-style Sharia rule and intensified attacks on security forces.
The move came after Maulana Fazlullah, a firebrand cleric, declared holy war against the Government over the military operation at the Red Mosque. Pakistani security officials say that there are close links between the mosque and militant Islamic groups in northern Pakistan.
On Friday suspected Islamic militants killed an army major and three soldiers in a suicide attack on an army convoy near Sawat. It was the second attack on the security forces in the past week. The area is a stronghold of a banned Islamic militant group known as Tehreek-e-Nafaz-e-Shariate-Mohammadi (Movement for the Enforcement of Islamic Laws).
Reports said that government troops were ready to launch an operation in Sawat on the headquarters of Fazlullah, the group’s leader. The movement, which was banned by General Musharraf in 2002, has emerged as one of the most powerful religious factions in the North West Frontier Province and Fazlullah has developed a large following in Pashtun areas bordering Afghanistan.
Pakistani security officials said that the group presented the most potent threat to national security because of links to al-Qaeda. The group has been involved in several deadly attacks on Pakistani security forces.
Last night unidentified gunmen shot dead three Chinese in Peshawar, the northwestern provincial capital.
According to the RKD, the text around the rim says "wensen op sterven doet vreugd derven", i.e. "Wishing to die makes happiness go away".This may be correct, I read the first word as "Wachten" ("waiting") instead of "Wensen" ("wishing"), which seems to me to make more sense: many people spend their life waiting to die, more than wishing to die.
It seems to me to be a Contra-reformation sentiment, against the more Calvinist view of Fatalism: no need to live all your life waiting for your death. Cease the day, carpe diem! No idea if that really was the intention, but it certainly is a nice and unusual step away from the usual vanitas and memento mori paintings you get from the Northern Netherlands.
Source: auctionaugur
auctionaugur.blogspot.com/2017/11/nice-collection-at-gale...
rkd:
rkd.nl/nl/explore/images#filters[kunstenaar]=Hemessen%2C+Catharina+van
Suspended Animation Classic #434
Originally published April 13, 1997 (#15)
(Dates are approximate)
Still Weird
By Michael Vance
Gahan Wilson is like a box of chocolates. Wait long enough and you’ll get maggots and spiders.
That’s because cartoonists Wilson, Chas Addams (“The Addams Family”), and Gary Larson (“The Far Side”), are masters of macabre humor.
Macabre what?
Macabre humor means not ha ha funny, but maliciously hehehe funny.
Like the hunter who stands with smoking rifle as his bird dog fetches the corpse of the witch the hunter has just shot. Her broomstick lies somewhere behind her and the hound’s bloody paw prints.
He He He.
Like the polite tea party on the porch where benign Harry sits covered with spiders as he wife explains, “Spiders just can’t resist Harry!”
See. Spiders already, and you’re just on page twelve.
He He … well, you get the idea.
Macabre humor is all about weird ideas, and no one is more weird that Gahan Wilson.
True, Chas Addams’ work is darker and Gary Larson’s lighter. So Wilson must be middle-of-the-road weird, like road kill.
These cartoons have appeared in “Playboy”, “The New Yorker”, “Weird Tales” and “The National Lampoon”. Wilson has also illustrated children’s books -- “The Bang Bang Family” and “Harry the Fat Bear Spy” adventures. Wilson has even written horror he he short stories.
“Still Weird” offers lots of bizarre cartoons, and one hundred are new ones never before reprinted.
Or resurrected, which seems more appropriate.
“Still Weird” is highly recommended even if you, like I, are cheap … hehehe, and wait to buy it from the bargain table.
Gahan Wilson’s “Still Weird”/286 pages, published at $13.95, remaindered at $4.98, b Forge/sold at major book stores.
MINIVIEW: “Black Cross” Dirty Work” [Dark Horse]. Black Cross is a predator in a world where the strongest survive by butchering the weak. Excellent art, story, and dialog raise his violent, selfish, and ultimately suicidal tale to a high artistic level. If you can accept art and ignore gore, filthy language, and fatalism, this is among the best of its genre. MV
According to the RKD, the text around the rim says "wensen op sterven doet vreugd derven", i.e. "Wishing to die makes happiness go away".This may be correct, I read the first word as "Wachten" ("waiting") instead of "Wensen" ("wishing"), which seems to me to make more sense: many people spend their life waiting to die, more than wishing to die.
It seems to me to be a Contra-reformation sentiment, against the more Calvinist view of Fatalism: no need to live all your life waiting for your death. Cease the day, carpe diem! No idea if that really was the intention, but it certainly is a nice and unusual step away from the usual vanitas and memento mori paintings you get from the Northern Netherlands.
Source: auctionaugur
auctionaugur.blogspot.com/2017/11/nice-collection-at-gale...
rkd:
rkd.nl/nl/explore/images#filters[kunstenaar]=Hemessen%2C+Catharina+van
I'm not sure I agree with the idea, but this person was apparently using fatalism to encourage hope.
St Andrew, Ilketshall St Andrew, Suffolk
St Andrew is one of the Saints, a group of twelve remote, scattered and traditionally lawless parishes not far from the Norfolk border. There is a sense in which St Andrew is in the Saints, but not of them: it looks away from the others to north and east for the other parishes in its shared benefice. There is no real village here, but that is par for the course with the Saints of course: only three of them have a proper village in their parish. St Andrew has more houses than most, but they are scattered around commons, separated by winding hedged lanes. All in all, the parish is rambling and incoherent, and somewhat difficult to grasp.
This grand round-towered church sits at a bend in the road with the former rectory for company. As is common in this part of East Anglia, the tower has an octagonal bell stage, and although some round towers were built from scratch in the 13th and 14th centuries, it is likely that this top was built onto a Norman tower, probably contemporarily with the body of the nave, which despite the acquisition of later Perpendicular windows is essentially a long Norman church. The chancel was probably added at the time the tower was topped off. A good modern statue of St Andrew gazes out from the niche on the porch, which was built right on the eve of the Anglican Reformation. The graveyard he looks out on is a delight: there has been almost no clearance of the older gravestones, and it must be a genealogist's dream.
In December 2001, workmen undertaking a repair to the south wall uncovered a remarkable scheme of wall paintings. They bear a similarity to the 14th century wall paintings at nearby North Cove, but what makes them unusual is the main subject, the depiction of a wheel of fortune. It is the only known example in East Anglia, although it is possible that the painting on the south wall at Barton Bendish St Mary in Norfolk may show something similar. The wheel of fortune is a variation on the usual Judgement scene, with a seated figure at the top, and two other figures apparently tied to the wheel, one rising and the other falling. The image of a wheel of fortune was a potent one in late medieval times. It was derived from a work called the Consolation of Philosophy, by the 6th Century Roman philosopher Boethius. By the 13th and 14th centuries, this book was the most widely copied work of secular literature in Europe, central to a university education and formation for the Priesthood. As such, it informed and infused English medieval Christianity, particularly at the time of the Black Death and afterwards.
Famously, Boethius has Fortune tell us that inconstancy is my very essence; it is the game I never cease to play as I turn my wheel in its ever changing circle, filled with joy as I bring the top to the bottom and the bottom to the top. Yes, rise up on my wheel if you like, but don't count it an injury when by the same token you begin to fall, as the rules of the game will require This fatalism is also seen expressed in such more common wall painting scenes as the Three Living and the Three Dead, where the noblemen out hunting are reminded by corpses in various states of decay that as you are, so once was I, as I am so you must be, therefore prepare to follow me. The suggestion is that it is of no use to store up earthly treasures, but the wheel is also intended to remind the viewer of the temporality and uncertainty of material things, and that it is far better to concentrate the mind on higher thoughts.
In the 15th century, there was a move away from classical mysticism towards an enforcement of the orthodoxy of the Catholic Church, mainly because of the way in which the increasing wealth of a rising middle class was paying for reminders of the significance of praying for the dead at that time of pestilence and disease. These wall paintings were probably covered up during the 15th century, a century or so before the protestant iconoclasts came along. Around the wheel are other figures, including the dead rising from their graves, and east of the window are a queen and an angel, probably part of a larger scene. The pitting in the figure of the queen is almost certainly not iconoclasm, but simply the way that the surface has been prepared for a covering of plaster.
For many years this church had been a woefully neglected place, full of dust and dirt. But the discovery seems to have galvanised the local parish. The great carved royal arms of Charles II were swept off to Cambridge to be restored, the unicorn's manhood gilded in magnificent fashion, which may well explain the gloomy look on the envious lion's face. The church is now beautifully kept, and - at last - after many years of being kept locked without a keyholder notice, it is now open every day.
9 Columbia Street East, New Westminster, BC.
Heritage Inventory: Yes.
Heritage Designation: Status uncertain.
Why Endangered: Fire, in need of interior renovation or restoration. Development pressure.
The endangerment by fire is devastating, not only because of the actual damage of a fire, but because of the fatalism in approach to a heritage site that it creates. Some heritage properties have been significantly damaged by fire and been restored – one property listed below burned and was restored three times. All too often, fire damaged buildings are dismissed without any proper assessment on prospects for recovery.
The large Craftsman Style Nurses Lodge with tudor revival influences was constructed between 1920 and 1922, designed by Henry Whitaker. Some 25 nurses resided here at any given time. Wood craftsmanship and detailing are strong features of the exterior, with open beamed porches and intersecting gable roofscapes in a T plan. A monumental split stair case leads to the front porch. The concrete foundation has stucco rendering. Overall, the exterior of the building has “a strong quality and detail.” The interior features wood trim and fittings throughout of excellent quality, including fireplace mantles, detail on door and window casings, and stair posts and balustrades. Cast iron radiators also remain. Plaster and lath walls and ceilings are featured with hardwood flooring. The original cedar shingle roof has since been covered with asphalt shingle.
A 2002 heritage assessment by McGinn Engineering and Preservation gave the Nurses Lodge the highest rating of the buildings on the Woodlands site.
A recent fire is said to have gutted the interior of the site, but the frame remains standing. The fire damaged the interior of the main floor, and rose in a chute to some damage on the second floor. It’s not known how extensive that damage is, but the exterior of the building remains intact. From the nearby streets, the structure of the building appears to be sound, whatever the damage inside.
An independent assessment should be made before plans to preserve the Nurses Lodge before any consideration is given to abandoning the initial goal for the property in the development plan. In fact, the fire doesn’t seem to conflict with the plans for the building as outlined in the 2002 heritage assessment, which planned to preserve only the exterior.
The recommendation was to, “retain and restore exterior with new use accommodating heritage interiors.” While heritage buildings, especially those suffering neglect, can be particularly vulnerable to fire, all too often fire is an excuse to proceed with development. In fact, some Royal City heritage properties have been restored after far more significant fires, such as the J.J. Johnston home.
“freedom for the thought that we hate”
there is a trait that cannot be crossed...
www.saatchiart.com/art/New-Media-freedom-for-the-thought-...
HATE SPEECH
www.thefire.org/issues/hate-speech/
by FIRE
March 28, 2019
There is no “hate speech” exception to the First Amendment.
Contrary to a common misconception, most expression one might identify as “hate speech” is protected by the First Amendment and cannot lawfully be censored, punished, or unduly burdened by the government — including public colleges and universities.
The Supreme Court of the United States has repeatedly rejected government attempts to prohibit or punish “hate speech.” Instead, the Court has come to identify within the First Amendment a broad guarantee of “freedom for the thought that we hate,” as Justice Oliver Wendell Holmes described the concept in a 1929 dissent. In a 2011 ruling, Chief Justice John Roberts described our national commitment to protecting “hate speech” in order to preserve a robust democratic dialogue:
Speech is powerful. It can stir people to action, move them to tears of both joy and sorrow, and—as it did here—inflict great pain. On the facts before us, we cannot react to that pain by punishing the speaker. As a Nation we have chosen a different course—to protect even hurtful speech on public issues to ensure that we do not stifle public debate.
In other words, the First Amendment recognizes that the government cannot regulate “hate speech” without inevitably silencing the dissent and dialogue that democracy requires. Instead, we as citizens possess the power to most effectively answer hateful speech—whether through debate, protest, questioning, laughter, silence, or simply walking away.
As Justice Louis Brandeis put it, the framers of the Bill of Rights “believed that freedom to think as you will and to speak as you think are means indispensable to the discovery and spread of political truth; that without free speech and assembly discussion would be futile; that with them, discussion affords ordinarily adequate protection against the dissemination of noxious doctrine; that the greatest menace to freedom is an inert people; that public discussion is a political duty; and that this should be a fundamental principle of the American government.”
Justice Brandeis argued that our nation’s founders believed that prohibiting “evil counsels”—what today we might call “hate speech”—would backfire:
They recognized the risks to which all human institutions are subject. But they knew that order cannot be secured merely through fear of punishment for its infraction; that it is hazardous to discourage thought, hope and imagination; that fear breeds repression; that repression breeds hate; that hate menaces stable government; that the path of safety lies in the opportunity to discuss freely supposed grievances and proposed remedies; and that the fitting remedy for evil counsels is good ones. Believing in the power of reason as applied through public discussion, they eschewed silence coerced by law — the argument of force in its worst form. Recognizing the occasional tyrannies of governing majorities, they amended the Constitution so that free speech and assembly should be guaranteed.
Banning “hate speech” without restricting political speech is prohibitively difficult because of the target’s inherent subjectivity. Each American all but certainly has a different understanding of exactly what expression should lose First Amendment protection as “hate speech.” One citizen’s hateful screed is another’s religious text; one citizen’s slur is another’s term of endearment; or, as the Court put it, “one man’s vulgarity is another’s lyric.” As a result, crafting a generally applicable definition of “hate speech” is all but impossible without silencing someone’s “legitimate” speech.
“Hate speech” is also a moving target, making a workable definition still more elusive. Conceptions of what constitutes “hate” do not remain stable over time. As ideas gain or lose acceptance, political movements advance or recede, and social commitments strengthen or erode, notions of what is unacceptably “hateful” change, too. Today’s majority viewpoint should not be allowed to foreclose that of tomorrow. For example, thirty years ago, the Board of Regents of Texas A & M University sought to deny recognition to a gay student organization because it believed that “[s]o-called ‘gay’ activities run diabolically counter to the traditions and standards of Texas A & M.” At the time, the Board may have voiced the majority view, which found the gay students’ speech to be beyond the pale. Today, the opposite characterization might be true.
Contrary to another common misconception, however, the First Amendment’s protection is not absolute. The Supreme Court has identified narrow exceptions to the First Amendment, including but not limited to speech that constitutes unlawful incitement, true threats, intimidation, or discriminatory harassment. Some of these carefully-defined exceptions encompass speech that one might identify as “hate speech.”
FOR MORE ON “HATE SPEECH”…
“It is quite clear that the perceived benefits of censoring psychically harmful hate speech are far outweighed by the costs of such suppression. The plus side, from the perspective of those who seek speech suppression, is quite limited. That is because the new suppression would extend to only a subset of hate speech, since we already punish hate speech that causes specific tangible harms: threats, harassment, incitement, and hate crimes. Of that newly suppressible subset–psychically harmful hate speech–we would only punish yet another subset, consisting of the most blatant expression. In contrast, even advocates of restricting psychically harmful hate speech acknowledge that free speech principles would nonetheless protect more subtle expressions of racism, sexism, and other bias. Yet, it is likely that these more subtle expressions may well be the most damaging precisely because they cannot as easily be dismissed as biased. On the cost side, permitting the government to punish psychically harmful hate speech would undermine equality and exert an incalculable chilling effect on any speech that challenges the prevailing orthodoxy in any community.”
Nadine Strossen, “Freedom of Speech and Equality: Do We Have to Choose?,” Journal of Law and Policy, December 2, 2016.
“There is no general 1st Amendment exception allowing the government to punish “hate speech” that denigrates people based on their identity. Things we call “hate speech” might occasionally fall into an existing 1st Amendment exception: a racist speech might seek to incite imminent violence against a group, or might be reasonably interpreted as an immediate threat to do harm. But “hate speech,” like other ugly types of speech we despise, is broadly protected.”
Ken White, “Actually, hate speech is protected speech,” Los Angeles Times, June 8, 2017.
“The big problem for proponents of hate-speech laws and codes is that they can never explain where to draw a stable and consistent line between hate speech and vigorous criticism, or who exactly can be trusted to draw it. The reason is that there is no such line.“
Jonathan Rauch, “A new argument for hate-speech laws? Um … no,” Washington Post, Feb. 4, 2014.
“The proposed remedies for ‘hate speech’ tend to be administrative. So in practical terms if you demand the policing of speech, what you want is to beef up the university administration. You are accelerating a process, already under way, toward bloating up the administrative apparatus in an increasingly corporatised university. It can’t be a good thing to turn the development of a culture of coexistence and decency—which is what you were rightly proposing—to turn it into a police matter. I think that is misguided, however motivated.”
Rosemary Bechler and Todd Gitlin, “Safe spaces, the void between, and the absence of trust,” openDemocracy, January 4, 2016.
“Defining hate speech is not just difficult; it’s impossible, as evident from the vastly different definitions surveyed by Sellars. This inability to agree on even a basic framework underscores the futility of creating a definition narrow enough to protect free speech yet broad enough to cover any discernible category of expression. Sellars’ research encompassing hundreds of irreconcilable definitions has yielded no happy medium, only the realization that the United States already strikes this balance through the narrow categories of speech unprotected by the First Amendment.”
Zach Greenberg, “Law review article ‘Defining Hate Speech’ attempts the impossible,” FIRE, April 4, 2017.
© theFIRE.org
FIRE’s mission is to defend and sustain the individual rights of students and faculty members at America’s colleges and universities. These rights include freedom of speech, freedom of association, due process, legal equality, religious liberty, and sanctity of conscience—the essential qualities of liberty. FIRE educates students, faculty, alumni, trustees, and the public about the threats to these rights on our campuses, and provides the means to preserve them.
FIRE was founded in 1999 by University of Pennsylvania professor Alan Charles Kors and Boston civil liberties attorney Harvey Silverglate after the overwhelming response to their 1998 book The Shadow University: The Betrayal Of Liberty On America’s Campuses.
FIRE’s work to protect fundamental rights on campus concentrates on four areas: freedom of speech and expression; religious liberty and freedom of association; freedom of conscience; and due process and legal equality on campus. Ultimately, FIRE seeks to end the debilitating fatalism that paralyzes students and faculty by bringing public attention to the issue while providing protection to those who are now helpless in the face of abuses of power on campuses across the nation.
The artist is grateful to this FIRE’s publication for optimally revealing the “hate speech” problem and way of its solution.
The artist expresses gratitude to the memory of the photographer Lucien Clergue whose work has changed our view of the world.
Lucien Clergue © Copyright 2018. All Rights Reserved | Mentions Légales
The artist will donate personal income from the sale of all the originals and posters of this Artwork sold at Saatchi Art, as his charitable assistance personally to anyone who really needs help on request.
Belief that each person is unique, special and a basic unit of nature. Open society that ideally treats everyone equally directness in relations with others a right to be well off and physically comfortable.
_______________________________________
Cordially, © Bohdan Rodyuk Chekan von Miller Esq.
It is, in fact, that time of the year again. I used to love putting together my end of the year list, and in many ways I still do. But what it seems to be turning into is a yearly reminder that I'm either getting old and falling out of touch, or that there are far fewer great records coming out than there used to be. I'm pretty sure that it's the former and my age is finally catching up to me. If I'm being honest, I probably spent more time listening to early 90s hip hop than I did most new records.
There are exceptions, of course. The PLOSIVS record is pretty much the best record I have heard in the last 10 years or so. I have been a long time supporter of John Reis and have loved pretty much every record he's ever been involved in, but even with expectations that high for his work, PLOSIVS still managed to surprise me and knock me on my ass. I think it's perfect and I cannot wait to hear more from them. John Reis and Rob Crow are a potent combo.
It was also wonderful to see Denny from Sicko, one of my favorite songwriters, back in the saddle with The Drolls. That's the other record I probably spent the most time with this year. Lots of other goodies in here from long time favorites like Skimmer, Snuff, Boat, Archers of Loaf, and Built To Spill. I also made two exceptions for the list this year.
My rule is that I never put any reissues or records that came out on PopKid on the list. But, I had to include Dereliks and Gentlemen Rogues if I am really making a list of the best 2022 records. Gentlemen Rogues had half of the songs on their album come out on CD a few years ago. The other half were digital only. Since half of them never got a physical release before and the other half was never on vinyl, I decided they needed to be on the list.
Dereliks is a four LP set. One of the LPs is a reissue of an old 12" that came out in 1995. The other three LPs are either songs off of demo tapes, from an old compilation CD or songs never released before. There's enough stuff on here that's new to some and definitely new to me, that I had to include it. Especially considering how many times I listened to it this year.
Lots of good tunes on this list and everything is pretty much worth checking out in some capacity. Even the Superchunk record that I was pretty down on has its moments if you can get through some of the songs that are kind of a bummer. I have next week off from work, so I'm probably not going to fire back up with more reviews right away, but before January is out, I'll be back with more nonsense. Merry new year.
01 - PLOSIVS - PLOSIVS - Swami
02 - The Drolls - That Puget Sound - Snappy Little Numbers
03 - Swami John Reis - Ride The Wild Night - Swami
04 - Dereliks – Broken Cyphers: The Anthology – Self Released
05 - Boat - No Plans to Stick the Landing - Magic Marker
06 - Czarface - Czarmageddon - Silver Age
07 - Quaker Wedding - Total Disarray - Salinas
08 - Skimmer - All Fired Up - Bloated Kat / Waterslide / Council Pop
09 - Snuff - Crepuscolo Dorato Della Bruschetta Borsetta Calzetta Cacchetta Trombetta Lambretta Giallo Ossido, Ooooooh Cosi Magnifico! - 10 Past 12 / SBÄM
10 - Meat Wave - Malign Hex - Swami
11 - Lawsuit Models - Unknown Ghosts -Motorcycle Potluck / Snappy Little Numbers
12 - Archers of Loaf - Reason In Decline - Merge
13 - Night Court - Nervous Birds Too - Snappy Little Numbers
14 - Gentlemen Rogues - A History of Fatalism - Snappy Little Numbers / Rocket Heart
15 - Built To Spill - When The Wind Forgets Your Name - Sub Pop
16 - Good Grief – Shake Your Faith - Everything Sucks / Happy Happy Birthday To Me
17 - Bear Away - A Drastic Tale of Western Living - Brassneck / Waterslide / Engineer / Sell The Heart / Shield
18 - Jacob Turnbloom - Laughter in the Forever After - Half Way Home
19 - More Kicks - Punch Drunk - Dirtnap / Stardumb
20 - Superchunk - Wild Loneliness - Merge
Up the Huntington incline, down the Huntington incline, inbound arrival at Symphony. In the last part you can hear my whiny, nasal voice and perpetual fatalism, as I say "of course" the train would be packed after a 20 minute wait. It would only get worse at Prudential when a horde of mall rats crammed in. It was bad but not 66 bus slave galley bad. And I got to stand on the steps in back where I can hold the parallel bars on either side, my 3d favorite spot. (1st the seat right by the front door so I can look out the front; 2d, any other seat.
Hind foot of a field rat.
Rodent outbreaks have had overwhelming consequences—economically, socially, and politically—in the areas where they occur. More than 1 billion people suffer chronic hunger, widespread diseases, and severe crop losses that are attributed to rodent pests.
Such events throughout history have resulted in an attitude of acceptance and fatalism for some people, particularly rural folks, who seem resigned to the onslaught of rodents.
That should not be the case.
A new book, titled Rodent Outbreaks: Ecology and Impacts, shows how understanding the ecology and the factors that cause population outbreaks of rodents can help in managing the problem. A central message the book contributors hope to convey is the strong advances that were made in understanding the factors that lead to outbreaks, providing a modern appraisal to an age-old problem.
Part of the image collection of the International Rice Research Institute (IRRI).
Rodent outbreaks have had overwhelming consequences—economically, socially, and politically—in the areas where they occur. More than 1 billion people suffer chronic hunger, widespread diseases, and severe crop losses that are attributed to rodent pests.
Such events throughout history have resulted in an attitude of acceptance and fatalism for some people, particularly rural folks, who seem resigned to the onslaught of rodents.
That should not be the case.
A new book, titled Rodent Outbreaks: Ecology and Impacts, shows how understanding the ecology and the factors that cause population outbreaks of rodents can help in managing the problem. A central message the book contributors hope to convey is the strong advances that were made in understanding the factors that lead to outbreaks, providing a modern appraisal to an age-old problem.
Part of the image collection of the International Rice Research Institute (IRRI).
Monument to the Burghers of Calais, Rodin. First cast in 1895 (which stands in Calais), this is the fourth cast which was made in 1908 and moved to London in 1915.
From Wikipedia:
England's Edward III, after a victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.
Edward offered to spare the people of the city if any six of its top leaders would surrender themselves to him, presumably to be executed. Edward demanded that they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates. It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death that Rodin captured in his sculpture, scaled somewhat larger than life.
Although the burghers expected to be executed, their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming that their deaths would be a bad omen for her unborn child.
The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845. Two prior artists were prevented from executing the sculpture: the first, David d'Angers, by his death and the second, Auguste Clésinger, by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.
Rodin's design was controversial. The public had a lack of appreciation for it because it didn't have "overtly heroic antique references" which were considered integral to public sculpture. It was not a pyramidal arrangement and contained no allegorical figures. It was intended to be placed at ground level, rather than on a pedestal. The burghers were not presented in a positive image of glory; instead, they display "pain, anguish and fatalism". To Rodin, this was nevertheless heroic, the heroism of self-sacrifice.
In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them. Only later was his vision realised, as in 1926 the sculpture was moved in front of the newly completed town hall of Calais, where it rests on a much lower base.
St Andrew, Ilketshall St Andrew, Suffolk
St Andrew is one of the Saints, a group of twelve remote, scattered and traditionally lawless parishes not far from the Norfolk border. There is a sense in which St Andrew is in the Saints, but not of them: it looks away from the others to north and east for the other parishes in its shared benefice. There is no real village here, but that is par for the course with the Saints of course: only three of them have a proper village in their parish. St Andrew has more houses than most, but they are scattered around commons, separated by winding hedged lanes. All in all, the parish is rambling and incoherent, and somewhat difficult to grasp.
This grand round-towered church sits at a bend in the road with the former rectory for company. As is common in this part of East Anglia, the tower has an octagonal bell stage, and although some round towers were built from scratch in the 13th and 14th centuries, it is likely that this top was built onto a Norman tower, probably contemporarily with the body of the nave, which despite the acquisition of later Perpendicular windows is essentially a long Norman church. The chancel was probably added at the time the tower was topped off. A good modern statue of St Andrew gazes out from the niche on the porch, which was built right on the eve of the Anglican Reformation. The graveyard he looks out on is a delight: there has been almost no clearance of the older gravestones, and it must be a genealogist's dream.
In December 2001, workmen undertaking a repair to the south wall uncovered a remarkable scheme of wall paintings. They bear a similarity to the 14th century wall paintings at nearby North Cove, but what makes them unusual is the main subject, the depiction of a wheel of fortune. It is the only known example in East Anglia, although it is possible that the painting on the south wall at Barton Bendish St Mary in Norfolk may show something similar. The wheel of fortune is a variation on the usual Judgement scene, with a seated figure at the top, and two other figures apparently tied to the wheel, one rising and the other falling. The image of a wheel of fortune was a potent one in late medieval times. It was derived from a work called the Consolation of Philosophy, by the 6th Century Roman philosopher Boethius. By the 13th and 14th centuries, this book was the most widely copied work of secular literature in Europe, central to a university education and formation for the Priesthood. As such, it informed and infused English medieval Christianity, particularly at the time of the Black Death and afterwards.
Famously, Boethius has Fortune tell us that inconstancy is my very essence; it is the game I never cease to play as I turn my wheel in its ever changing circle, filled with joy as I bring the top to the bottom and the bottom to the top. Yes, rise up on my wheel if you like, but don't count it an injury when by the same token you begin to fall, as the rules of the game will require This fatalism is also seen expressed in such more common wall painting scenes as the Three Living and the Three Dead, where the noblemen out hunting are reminded by corpses in various states of decay that as you are, so once was I, as I am so you must be, therefore prepare to follow me. The suggestion is that it is of no use to store up earthly treasures, but the wheel is also intended to remind the viewer of the temporality and uncertainty of material things, and that it is far better to concentrate the mind on higher thoughts.
In the 15th century, there was a move away from classical mysticism towards an enforcement of the orthodoxy of the Catholic Church, mainly because of the way in which the increasing wealth of a rising middle class was paying for reminders of the significance of praying for the dead at that time of pestilence and disease. These wall paintings were probably covered up during the 15th century, a century or so before the protestant iconoclasts came along. Around the wheel are other figures, including the dead rising from their graves, and east of the window are a queen and an angel, probably part of a larger scene. The pitting in the figure of the queen is almost certainly not iconoclasm, but simply the way that the surface has been prepared for a covering of plaster.
For many years this church had been a woefully neglected place, full of dust and dirt. But the discovery seems to have galvanised the local parish. The great carved royal arms of Charles II were swept off to Cambridge to be restored, the unicorn's manhood gilded in magnificent fashion, which may well explain the gloomy look on the envious lion's face. The church is now beautifully kept, and - at last - after many years of being kept locked without a keyholder notice, it is now open every day.
Although designed to "break the enemy's will", the opposite often happened. The British did not crumble under the German Blitz and other air raids early in the war. British workers continued to work throughout the war and food and other basic supplies were available throughout.
The impact of bombing on German morale was significant according to Professor John Buckley. Around a third of the urban population under threat of bombing had no protection at all. Some of the major cities saw 55-60 percent of dwellings destroyed. Mass evacuations were a partial answer for six million civilians, but this had a severe impact on morale as German families were split up to live in difficult conditions. By 1944 absenteeism rates of 20-25 percent were not unusual and in post-war analysis 91 percent of civilians stated bombing was the most difficult hardship to endure and was the key factor in the collapse of their own morale. The United States Strategic Bombing Survey concluded that the bombing was not stiffening morale but seriously depressing it; fatalism, apathy, defeatism were apparent in bombed areas. The Luftwaffe was blamed for not warding off the attacks and confidence in the Nazi regime fell by 14 percent. Some 75 percent of Germans believed the war was lost in the spring of 1944, owing to the intensity of the bombing.
Buckley argues the German war economy did indeed expand significantly following Albert Speer’s appointment as Reichsminister of Armaments, "but it is spurious to argue that because production increased then bombing had no real impact". But the bombing offensive did do serious damage to German production levels. German tank and aircraft production, though reached new records in production levels in 1944, was in particular one-third lower than planned. In fact, German aircraft production for 1945 was planned at 80,000, "which gives an idea of direction Erhard Milch and the German planners were pushing", "unhindered by Allied bombing German production would have risen far higher".
Journalist Max Hastings and the authors of the official history of the bomber offensive, Noble Frankland among them, has argued bombing had a limited effect on morale. In the words of the British Bombing Survey Unit (BBSU): "The essential premise behind the policy of treating towns as unit targets for area attack, namely that the German economic system was fully extended, was false." This, the BBSU noted, was because official estimates of German war production were "more than 100 percent in excess of the true figures". The BBSU concluded: "Far from there being any evidence of a cumulative effect on (German) war production, it is evident that, as the (bombing) offensive progressed ... the effect on war production became progressively smaller (and) did not reach significant dimensions."
Victoria Tower gardens
Les Bourgeois de Calais is one of the most famous sculptures by Auguste Rodin, completed in 1889. It serves as a monument to an occurrence in 1347 during the Hundred Years' War, when Calais, an important French port on the English Channel, was under siege by the English for over a year. Calais commissioned Rodin to create the sculpture in 1884.[1]
History
England's Edward III, after a victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.
According to medieval writer Jean Froissart, Edward offered to spare the people of the city if any six of its top leaders would surrender themselves to him, presumably to be executed. Edward demanded that they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him.[2] Saint Pierre led this envoy of volunteers to the city gates. It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death that Rodin captured in his sculpture, scaled somewhat larger than life.
Although the burghers expected to be executed, their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming that their deaths would be a bad omen for her unborn child.
Composition
The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845. Two prior artists were prevented from executing the sculpture: the first, David d'Angers, by his death and the second, Auguste Clésinger, by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.[3]
Rodin's design was controversial. The public had a lack of appreciation for it because it didn't have "overtly heroic antique references" which were considered integral to public sculpture.[4] It was not a pyramidal arrangement and contained no allegorical figures. It was intended to be placed at ground level, rather than on a pedestal. The burghers were not presented in a positive image of glory; instead, they display "pain, anguish and fatalism". To Rodin, this was nevertheless heroic, the heroism of self-sacrifice.[5]
In 1895 the monument was installed in Calais on a large pedestal in front of a Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them. Only later was his vision realized, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.[6]
Casts
Under French law no more than twelve casts of works of Rodin may be made.[8]
The first cast of the group of six figures, cast in 1895 still stands in Calais. Other original casts stand at:
Glyptoteket in Copenhagen, cast 1903.
the Royal Museum in Mariemont, Belgium, cast 1905.
Victoria Tower Gardens in the shadow of the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915. The inscription on the pedestal was carved by Eric Gill.[9]
the Rodin Museum in Philadelphia, cast 1925 and installed in 1929.
the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955.
Kunstmuseum in Basel, cast 1943 and installed in 1948.
the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, D.C., cast 1943 and installed in 1966.
the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959.[10]
the Norton Simon Museum in Pasadena, California, cast 1968.
the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989.[11]
PLATEAU (formerly the Rodin Gallery[12]) in Seoul.[13] This is the 12th and final cast in the edition, cast 1995.
Sculptures of the individual figures from the monument are on the campus of Stanford University.[14][15]
"The man with the key" figure is on the Sommerro park in Oslo, Norway [1]
An ancient and dusty text describes a member of the Keamy lineage ignoring the words of an oracle and going on to marry his mother and kill his father. These seeds of fatalism still exist in the bloodline today.
Note: This is an image generated by AI in the style of Banksy.
"There is always hope" is a powerful and enduring sentiment that speaks to the resilience of the human spirit. At its core, it means that even in the darkest of times, when circumstances seem insurmountable and despair threatens to overwhelm, the possibility of a positive outcome or a change for the better still exists. It's a refusal to succumb to fatalism, an acknowledgment that the future is not rigidly predetermined, and that new opportunities, solutions, or shifts in perspective can emerge when least expected. This belief fuels perseverance, encouraging individuals to keep striving, searching, and believing in the potential for improvement, no matter how bleak the present may appear.
This enduring truth is not merely wishful thinking; it's often rooted in the observation that life is inherently unpredictable and dynamic. Situations that seem hopeless today can transform tomorrow due to unforeseen events, new information, or a change in one's own capabilities or mindset. It champions the idea that as long as there is life, there is potential for growth, recovery, and new beginnings. Whether facing personal struggles, societal challenges, or global crises, the concept of hope serves as a vital psychological anchor, preventing complete surrender and instead fostering a proactive stance towards overcoming adversity.
Ultimately, "there is always hope" is an invitation to maintain an optimistic outlook and to actively seek pathways forward, even when they are not immediately apparent. It encourages us to look beyond immediate difficulties and to trust in the capacity for change, both within ourselves and in the world around us. This fundamental belief empowers individuals to endure hardship, to find meaning in struggle, and to relentlessly pursue a better future, reminding us that even the smallest flicker of possibility can illuminate the path out of darkness.
St Andrew, Ilketshall St Andrew, Suffolk
St Andrew is one of the Saints, a group of twelve remote, scattered and traditionally lawless parishes not far from the Norfolk border. There is a sense in which St Andrew is in the Saints, but not of them: it looks away from the others to north and east for the other parishes in its shared benefice. There is no real village here, but that is par for the course with the Saints of course: only three of them have a proper village in their parish. St Andrew has more houses than most, but they are scattered around commons, separated by winding hedged lanes. All in all, the parish is rambling and incoherent, and somewhat difficult to grasp.
This grand round-towered church sits at a bend in the road with the former rectory for company. As is common in this part of East Anglia, the tower has an octagonal bell stage, and although some round towers were built from scratch in the 13th and 14th centuries, it is likely that this top was built onto a Norman tower, probably contemporarily with the body of the nave, which despite the acquisition of later Perpendicular windows is essentially a long Norman church. The chancel was probably added at the time the tower was topped off. A good modern statue of St Andrew gazes out from the niche on the porch, which was built right on the eve of the Anglican Reformation. The graveyard he looks out on is a delight: there has been almost no clearance of the older gravestones, and it must be a genealogist's dream.
In December 2001, workmen undertaking a repair to the south wall uncovered a remarkable scheme of wall paintings. They bear a similarity to the 14th century wall paintings at nearby North Cove, but what makes them unusual is the main subject, the depiction of a wheel of fortune. It is the only known example in East Anglia, although it is possible that the painting on the south wall at Barton Bendish St Mary in Norfolk may show something similar. The wheel of fortune is a variation on the usual Judgement scene, with a seated figure at the top, and two other figures apparently tied to the wheel, one rising and the other falling. The image of a wheel of fortune was a potent one in late medieval times. It was derived from a work called the Consolation of Philosophy, by the 6th Century Roman philosopher Boethius. By the 13th and 14th centuries, this book was the most widely copied work of secular literature in Europe, central to a university education and formation for the Priesthood. As such, it informed and infused English medieval Christianity, particularly at the time of the Black Death and afterwards.
Famously, Boethius has Fortune tell us that inconstancy is my very essence; it is the game I never cease to play as I turn my wheel in its ever changing circle, filled with joy as I bring the top to the bottom and the bottom to the top. Yes, rise up on my wheel if you like, but don't count it an injury when by the same token you begin to fall, as the rules of the game will require This fatalism is also seen expressed in such more common wall painting scenes as the Three Living and the Three Dead, where the noblemen out hunting are reminded by corpses in various states of decay that as you are, so once was I, as I am so you must be, therefore prepare to follow me. The suggestion is that it is of no use to store up earthly treasures, but the wheel is also intended to remind the viewer of the temporality and uncertainty of material things, and that it is far better to concentrate the mind on higher thoughts.
In the 15th century, there was a move away from classical mysticism towards an enforcement of the orthodoxy of the Catholic Church, mainly because of the way in which the increasing wealth of a rising middle class was paying for reminders of the significance of praying for the dead at that time of pestilence and disease. These wall paintings were probably covered up during the 15th century, a century or so before the protestant iconoclasts came along. Around the wheel are other figures, including the dead rising from their graves, and east of the window are a queen and an angel, probably part of a larger scene. The pitting in the figure of the queen is almost certainly not iconoclasm, but simply the way that the surface has been prepared for a covering of plaster.
For many years this church had been a woefully neglected place, full of dust and dirt. But the discovery seems to have galvanised the local parish. The great carved royal arms of Charles II were swept off to Cambridge to be restored, the unicorn's manhood gilded in magnificent fashion, which may well explain the gloomy look on the envious lion's face. The church is now beautifully kept, and - at last - after many years of being kept locked without a keyholder notice, it is now open every day.
Rodent outbreaks have had overwhelming consequences—economically, socially, and politically—in the areas where they occur. More than 1 billion people suffer chronic hunger, widespread diseases, and severe crop losses that are attributed to rodent pests.
Such events throughout history have resulted in an attitude of acceptance and fatalism for some people, particularly rural folks, who seem resigned to the onslaught of rodents.
That should not be the case.
A new book, titled Rodent Outbreaks: Ecology and Impacts, shows how understanding the ecology and the factors that cause population outbreaks of rodents can help in managing the problem. A central message the book contributors hope to convey is the strong advances that were made in understanding the factors that lead to outbreaks, providing a modern appraisal to an age-old problem.
Part of the image collection of the International Rice Research Institute (IRRI).
Rodent outbreaks have had overwhelming consequences—economically, socially, and politically—in the areas where they occur. More than 1 billion people suffer chronic hunger, widespread diseases, and severe crop losses that are attributed to rodent pests.
Such events throughout history have resulted in an attitude of acceptance and fatalism for some people, particularly rural folks, who seem resigned to the onslaught of rodents.
That should not be the case.
A new book, titled Rodent Outbreaks: Ecology and Impacts, shows how understanding the ecology and the factors that cause population outbreaks of rodents can help in managing the problem. A central message the book contributors hope to convey is the strong advances that were made in understanding the factors that lead to outbreaks, providing a modern appraisal to an age-old problem.
Part of the image collection of the International Rice Research Institute (IRRI).
I found Chikuho had become an area of abandoned mines. An earlier vivid image of it as a place of bitter labor disputes was now replaced by the reality of abandoned miners' shacks standing pitifully weathering in the wind. An algae-laden crater lake and a tailings pile were only a pattern of deserted ruins. I stood there uneasily taking in the scenery as everything merged into a lyrical landscape. There were layers upon layers of heavy silence and I ws beginning to feel that it was fruitless to resist it. I have never seen the ruins along the Nile River, but I wondered if those ruins and the scene I was facing shared the same qualities. I don't know. But it seems to me that for human beings, living is nothing but piling up the stones of ruins.
The story of Socrates rolling the stone to shut off the light of the sun is really the story of humankind. The true nature of history is something that could not be planned because it is only through living that a human being verifies his own life.
I can do nothing but walk on the track left by Socrates' stone. Everyone plods this fruitless road, treading out the path of history. This unfolding of humankind's history has nothing to do with fatalism or eternal principles.
There, confronting it, I resolved to face that silence as long as I could endure it. That is discipline.
--Toru Takemitsu, from "Confronting Silence"
"장군님은 우리의 운명".
Propaganda board in front of Pyongyang Gymnasium. "General" refers to Kim Jong Il. This slogan is true in more than one sense - it accurately reflects the fatalistic political culture of the DPRK.
Tail of a field rat.
Rodent outbreaks have had overwhelming consequences—economically, socially, and politically—in the areas where they occur. More than 1 billion people suffer chronic hunger, widespread diseases, and severe crop losses that are attributed to rodent pests.
Such events throughout history have resulted in an attitude of acceptance and fatalism for some people, particularly rural folks, who seem resigned to the onslaught of rodents.
That should not be the case.
A new book, titled Rodent Outbreaks: Ecology and Impacts, shows how understanding the ecology and the factors that cause population outbreaks of rodents can help in managing the problem. A central message the book contributors hope to convey is the strong advances that were made in understanding the factors that lead to outbreaks, providing a modern appraisal to an age-old problem.
Part of the image collection of the International Rice Research Institute (IRRI).
African young girl standing in front of a green wall, with some old scarves covering her head, held by her right hand on her cheek, with a shy look on her face
Wow! An audio component that can play ***200*** CDs worth of music?!? And it's no larger than a weekend suitcase? What a marvelous age in which we live!
(Okay, okay...I'll turn the sarcasm off.)
(Well, "down.")
I'm actually quite interested in the engineering of products like mega-CD changers, and instant cameras, and consumer movie cameras. Only with the benefit of hindsight can you pinpoint the exact moment when there's simply no point to producing a certain long-successful product any more.
It's definitely the work of good mechanical and electronic engineers. Was there a certain air of fatalism around this particular project? I suppose it would depend on when it was produced. At some point, it must have seemed like putting the last coat of paint on a building that you knew was going to be demolished in a few months' time.
That's to say: it's your job and you're getting paid, so you do it. But it's easy to imagine someone who designs these things for a living being able to fast-forward a little bit and seeing that there was no place for this type of audio component in the Push-Button World of Tomorrow.
(Maybe he or she was ashamed to recall the nasty things they said to the departing members of Sony's turntable division as the CD Engineering Group set up their offices.)
“Look,” Kurga said, “a shooting star! It’s good luck!”
“Luck,” Ch’Voga told him, “is the name of God to the godless.”
“Now what does that even mean?” But Ch’Voga had lapsed silent again. Quietly sewing the sail and tending to the dying slave.
“I’ll tell you what it means,” Prudance answered instead, “it means he does not believe in luck and neither do I.”
“Not believe.. in…” Kurga gasped. “But it’s bad luck not to believe in luck!”
“Did you even think about that before you said it?” She shook her head.
“Did you?” Kurga shot back, “how do you explain our current predicament if not for luck? How did we come to be wrecked?”
“We went sailing in a sandstorm.”
“But why did the uh… riggy-thingy..”
“Outrigger?”
“Yes that! Why did that break then?”
“Because all of the weight of the boat was leaning on it for a day and a half and it caught a rock.”
“Well, what are the odds of hitting a rock in all this sand?”
“For us, they were apparently one hundred percent.”
“Oh that’s just fatalism! I cannot believe.. you would then say that everything which happens is meant to happen?”
“Everything which happens is a direct result of something else happening. What you would call ‘bad luck’ is nothing more than a case of someone making a poor decision or someone else’s opposition. We choose our fates, merchant and when all our careful plans go awry, we blame luck instead of hunting down the people actually responsible. We are stranded here in the desert, wasting the last of our water on a dying slave after being forced out of safest place for us to be. We will dehydrate long before we find water or shelter. Is this bad luck?” Kurga fell silent. “We are going to die here. All our busy work. All our labor here is in vain!” She was yelling now. “Your precious mission, my boat, my entire life, are all forfeit! And why? Don’t talk to me of luck! When I look at my life, I don’t blame chance! I know who to blame!” Kurga retreated before her but she was no longer roaring at him.
She stomped out of the lantern light. Kurga sat down heavily, no longer interested in his own work.
Quietly, almost to himself, Ch’Voga whispered, “I think she gives people far too much credit.”
In the darkness someone shouted, “’Allo!” A shared look of confusion and they ran around the sail. There in the starlight, just sliding to a stop, was a catamaran.
“Jacques??”
“’Allo again, mes amis! I am so incredibly happy to find you at all, to not speak of being alive! Tout un coup de chance!”
“What?”
“I said, ‘some luck, wouldn’t you say?’”
Depeche Mode have always been keen observers of the darkest corners of the world, the shadows that haunt our psyches, but there’s a frank fatalism to lyrics like that of “Fail” from their new album, Spirit.
With my mom resting on some psychedelic furniture, and the security guard seated inside, sheltered from the cold outside!
From: www.everard-read.co.za/exhibition/61/press_release/
CHROMA718
KILMANY-JO LIVERSAGE
EVERARD READ GALLERY
14TH JUNE – 14TH JULY 2018
CHROMA
noun
the purity of a colour, or its freedom from white or grey.
intensity of distinctive hue; saturation of a colour.
In an effort to challenge the perception of modern day womxn, Kilmany-Jo Liversage will be presenting a collection of paintings at Everard Read Gallery, Johannesburg, titled CHROMA718 .
This latest body of work by Liversage presents work created in the period leading up to the month of June (07) of 2018(18). Liversage’s collection features her signature highly textured, bright and brazen colour applications, and use of urban materials related to street art and urban environments. Her female subjects are meant to challenge the viewer and are represented in such a way as to represent a subtle form of activism on gender based issues in South Africa. CHROMA718 represents the contemporary female subject as a celebrated, powerful being. Her subject matter is sourced from social media platforms, thus referencing today’s youth and their interests, and contemporary pop culture.
CHROMA718 represents Liversage’s intimate relationship with her alter ego and street name “Orda”. This symbiotic relationship allows her to investigate the parallels between street art painting and academic painting (in the studio), allowing the two to co-exist in her process.
Liversage, now based in Cape Town, was born in the Free State in 1973. She uses spray paint, acrylics, and mixed media to challenge the traditional definitions of Fine Art versus Urban Art Culture. Her female subjects are inspired by Renaissance era portraiture, whilst referencing digitised mass production and a futuristic post-human world, populated by perfect-looking female cyborgs. The result is brightly coloured paintings, evoking the street, art history and the future.
“My subject matter is primarily female as I feel strongly about the role womxn play in our society and I specifically portray the strength and Femme fatalism of womxn in my portraits to evoke those feelings within the viewer. I think this is important in the face of abuse of womxn and children, which is a big social problem in South Africa. The fact that I’m making murals on the streets allows me to interact with the everyday person visually or through conversation. I leave with the knowledge that my artwork will be seen by people who have possibly never visited a gallery before…..and that is awesome” –Liversage.
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Note: This is an image generated by AI in the style of Banksy.
"There is always hope" is a powerful and enduring sentiment that speaks to the resilience of the human spirit. At its core, it means that even in the darkest of times, when circumstances seem insurmountable and despair threatens to overwhelm, the possibility of a positive outcome or a change for the better still exists. It's a refusal to succumb to fatalism, an acknowledgment that the future is not rigidly predetermined, and that new opportunities, solutions, or shifts in perspective can emerge when least expected. This belief fuels perseverance, encouraging individuals to keep striving, searching, and believing in the potential for improvement, no matter how bleak the present may appear.
This enduring truth is not merely wishful thinking; it's often rooted in the observation that life is inherently unpredictable and dynamic. Situations that seem hopeless today can transform tomorrow due to unforeseen events, new information, or a change in one's own capabilities or mindset. It champions the idea that as long as there is life, there is potential for growth, recovery, and new beginnings. Whether facing personal struggles, societal challenges, or global crises, the concept of hope serves as a vital psychological anchor, preventing complete surrender and instead fostering a proactive stance towards overcoming adversity.
Ultimately, "there is always hope" is an invitation to maintain an optimistic outlook and to actively seek pathways forward, even when they are not immediately apparent. It encourages us to look beyond immediate difficulties and to trust in the capacity for change, both within ourselves and in the world around us. This fundamental belief empowers individuals to endure hardship, to find meaning in struggle, and to relentlessly pursue a better future, reminding us that even the smallest flicker of possibility can illuminate the path out of darkness.
"All that which seems destructive is but a phase in the process of constructive change. All that which is loosely called creation and annihilation is really transformation. That which seems new is but old matter, old thought, old spirit, old life, old hate, old evil, old errors, in new forms, new births of manifestation.
There are no contradictions in nature's laws. Harmony is the element that binds them all into one law- the Law of Evolution. Since there is no destruction of matter, energy, force, or principle, and no creation of this from what has not always existed "from the beginning", all is eternal, immortal. Hence, even the body of man in its elements, the spirit of life in its essence, the soul of man in its consciousness, are eternal and immortal. There must be a law of evolution- change- new form for the mind, character, personality, and soul of man, as there is for the body of man. Coincident with the progressive evolution of man's body in the ages of the past has been the progressive evolution of the soul of man.
Character is fate! Certainly, as we build our character in the now, we decree our fate in the future. The forcefulness Every experience in life, every incident consciously realized- and many of which we are unconscious, form a part of molding personality. We are not only now what we think, but we will become that which results from our thinking. We are dealing daily and hourly as we have sown. Each day we become, mentally, spiritually, and physically what we have made ourselves. Hence, we are forever working out our own salvation or damnation, independent of the subtle influences of heredity, and independent of any predestined course in life.
Man possesses the power to choose. Free will is a fundamental factor of his highly developed consciousness. But as he chooses, so must he abide. The responsibility rests with him. Man's life is an endless battle between urge and decision. Man is motivated by urge, he is free to decide and he becomes what he thereby decrees. Such is the principle, the true law of fatalism. The responsibility rests not in some blind law of chemical action and reaction, nor with a jealous, vengeful God" -H. Spencer Lewis
The T-shirt shops of the French Quarter have a whole new genre: post-flood fatalism. Here are a few examples I can post without getting flagged for inappropriate content.
One of the most moving sculptures I have ever seen. The detail in their pained faces is so realistic.
Les Bourgeois de Calais is one of the most famous sculptures by Auguste Rodin, completed in 1889. It serves as a monument to an occurrence in 1347 during the Hundred Years' War, when Calais, an important French port on the English Channel, was under siege by the English for over a year.
The story goes that England's Edward III, after a victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.
Edward offered to spare the people of the city if any six of its top leaders would surrender themselves to him, presumably to be executed. Edward demanded that they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him.
Saint Pierre led this envoy of volunteers to the city gates. It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death that Rodin captured in his sculpture, scaled somewhat larger than life.
Although the burghers expected to be executed, their lives were spared by the intervention of England's Queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming that their deaths would be a bad omen for her unborn child.
Rodin's design was controversial. It was not a pyramidal arrangement and contained no allegorical figures. It was intended to be placed at ground level, rather than on a pedestal. The burghers were not presented in a positive image of glory; instead, they display "pain, anguish and fatalism". To Rodin, this was nevertheless heroic, the heroism of self-sacrifice.
Under French law no more than twelve casts of this piece were permitted after Rodin’s death.
(Information above from: Wikipedia )
There is no in between.
(From Wiki P - Fatalism is a philosophical doctrine stressing the subjugation of all events or actions to fate. - Fatalism generally refers to any of the following ideas:
The view that we are powerless to do anything other than what we actually do.[1] Included in this is that man has no power to influence the future, or indeed, his own actions.[2])
Remember, your'e NEVER to old to ROCK... or even to techno!
German cigarette card for Hänsom cigarettes by Jasmatzi Cigarettenfabrik G.M.b.H, Dresden/Ross Verlag, Film Series 4 'Aus tönenden Filmen' (From sound films), no. 664. Photo: Nero-Film. Peter Lorre in M – Eine Stadt sucht einen Mörder/M (Fritz Lang, 1931).
Peter Lorre (1904–1964) with his trademark large, popped eyes, his toothy grin and his raspy voice was an American actor of Jewish Austro-Hungarian descent. He was an international sensation as the psychopathic child murderer in Fritz Lang’s M – Eine Stadt sucht einen Mörder/M (1931). He later became a popular actor in two British Hitchcock films and a series of Hollywood crime films and mysteries. Although he was frequently typecast as a sinister foreigner in the US, he also became the star of the successful Mr. Moto detective series.
Peter Lorre was born László Löwenstein in 1904 in the Austro-Hungarian town of Ružomberok in Slovakia, then known by its Hungarian name Rózsahegy. He was the first child of Jewish couple Alajos Löwenstein and Elvira Freischberger. His father was the chief bookkeeper at a local textile mill. Besides working as a bookkeeper, Alajos Löwenstein also served as a lieutenant in the Austrian army reserve, which meant that he was often away on military manoeuvres. When Lorre was four years old, his mother died, probably of food poisoning, leaving Alajos with three very young sons, the youngest only a couple of months old. He soon remarried, to his wife's best friend, Melanie Klein, with whom he had two more children. However, Lorre and his stepmother never got along, and this coloured his childhood memories. At the outbreak of the Second Balkan War in 1913, Alajos moved the family to Vienna, anticipating that this would lead to a larger conflict and that he would be called up. He was, at the outbreak of World War I in 1914, and served on the Eastern front during the winter of 1914-1915, before being put in charge of a prison camp due to heart trouble. As a youth Peter Lorre ran away from home, worked as a bank clerk, and, after stage training in Vienna, made his acting debut in Zurich, Switzerland at the age of 17. In Vienna, he worked with the Viennese Art Nouveau artist and puppeteer Richard Teschner. He then moved to the then German town of Breslau, and later to Zürich. In the late 1920s, Peter Lorre moved to Berlin, where the young and short (165 cm) actor worked with German playwright Bertolt Brecht. He made his film debut in a bit role in the Austrian silent film Die Verschwundene Frau/The Vanished Woman (Karl Leitner, 1929), followed by another small part in the German drama Der weiße Teufel/The White Devil (Alexandre Volkoff, 1930) starring Ivan Mozzhukhin. On stage and in the cinema, Lorre played a role in Brecht's Mann ist Mann/ A Man's a Man (Bertolt Brecht, Carl Koch, 1930) and as Dr Nakamura in the stage musical Happy End (music by composer Kurt Weill), alongside Brecht's wife Helene Weigel, Oskar Homolka and Kurt Gerron.
Peter Lorre became much better known after director Fritz Lang cast him in the lead role of Hans Beckert, the mentally ill child murderer in the classic thriller M – Eine Stadt sucht einen Mörder/M (1931). Later, the Nazi propaganda film The Eternal Jew (1940) used an excerpt from the climactic scene in M in which Lorre is trapped by vengeful citizens. His passionate plea that his compulsion is uncontrollable, says the voice-over, makes him sympathetic and is an example of attempts by Jewish artists to corrupt public morals. M was Lang’s first sound film and he revealed the expressive possibilities for combining sound and visuals. Lorre's character whistles the tune In the Hall of the Mountain King from Edvard Grieg's Peer Gynt Suite No. 1. ( Lorre himself could not whistle – it is Lang who is heard.) The film was one of the first to use a leitmotif, associating In the Hall of the Mountain King with the Lorre character. Later in the film, the mere sound of the song lets the audience know that he is nearby, off-screen. This association of a musical theme with a particular character or situation, a technique borrowed from opera, is now a film staple. Lorre’s next role was the German musical comedy Bomben auf Monte Carlo/Monte Carlo Madness (Hanns Schwarz, 1931) starring Hans Albers and Anna Sten. That year he also co-starred in the comedy Die Koffer des Herrn O.F./The Trunks of Mr. O.F. (Alexis Granowsky, 1931) starring Alfred Abel, and Harald Paulsen. In 1932 Lorre appeared again alongside Hans Albers in the drama Der weiße Dämon/The White Demon (Kurt Gerron, 1932) and the Science Fiction film F.P.1 antwortet nicht/F.P.1 Doesn't Respond (Karl Hartl, 1932) about an air station in the middle of the Atlantic Ocean. Curt Siodmak had written the story after Charles Lindbergh's transatlantic flight. It was the last German film that either Siodmak or Peter Lorre, who played a secondary character, would make in Germany before the war.
When the Nazis came to power in Germany in 1933, Peter Lorre took refuge in Paris, where he appeared with Jean Gabin and Michel Simon in the charming comedy Du haut en bas/High and Low (Georg Wilhelm Pabst, 1933). Then Lorre moved on to London. There Ivor Montagu, Alfred Hitchcock's associate producer for The Man Who Knew Too Much (1934), reminded the director about Lorre's performance in M. They first considered him to play the assassin in the film but wanted to use him in a larger role, despite his limited command of English at the time, which Lorre overcame by learning much of his part phonetically. The Man Who Knew Too Much was one of the most successful and critically acclaimed films of Hitchcock's British period. Lorre also was featured in Hitchcock's Secret Agent (Alfred Hitchcock, 1936), opposite John Gielgud and Madeleine Carroll. Lorre settled in Hollywood in 1935, where he specialized in playing sinister foreigners, beginning as the love-obsessed surgeon in the horror film Mad Love (Karl Freund, 1935), and as Raskolnikov in the Fyodor Dostoevsky adaptation Crime and Punishment (Josef von Sternberg, 1936). He starred in a series of eight Mr. Moto movies for Twentieth Century Fox, a parallel to the better-known Charlie Chan series. Lorre played the ever-polite (albeit well-versed in karate) Japanese detective Mr. Moto. According to Wikipedia, he did not enjoy these films — and twisted his shoulder during a stunt in Mr. Moto Takes a Vacation (Norman Foster, 1939) — but they were lucrative for the studio. When the series folded in 1939, Lorre freelanced in villainous roles at several studios. In 1940, he co-starred with fellow horror actors Bela Lugosi and Boris Karloff in the comedy You'll Find Out (David Butler, 1940), a vehicle for bandleader and radio personality Kay Kyser.
In 1941, Peter Lorre became a naturalized citizen of the United States. He enjoyed considerable popularity as a featured player in Warner Bros. suspense and adventure films. Lorre played the role of effeminate thief Joel Cairo opposite Humphrey Bogart in The Maltese Falcon (John Huston, 1941), a classic film noir based on the novel of the same name by Dashiell Hammett. The Maltese Falcon was Huston's directorial debut and was nominated for three Academy Awards. Then Lorre portrayed the character Ugarte in Casablanca (Michael Curtiz, 1942). One of his co-stars in both films was Sydney Greenstreet with whom he made 9 films. Most of them were variations on Casablanca, including Background to Danger (Raoul Walsh, 1943), with George Raft; Passage to Marseille (Michael Curtiz, 1944), reuniting them with Humphrey Bogart and Claude Rains, and Three Strangers (Jean Negulesco, 1946). The latter was a suspense film about three people who are joint partners on a winning lottery ticket starring top-billed Greenstreet, Geraldine Fitzgerald, and third-billed Lorre cast against type by the director as the romantic lead. Hal Erickson at AllMovie: “As far as director Jean Negulesco was concerned, Lorre was the finest actor in Hollywood; Negulesco fought bitterly with the studio brass for permission to cast Lorre as the sympathetic leading man in The Mask of Dimitrios (1946), in which the diminutive actor gave one of his finest and subtlest performances.” Greenstreet and Lorre's final film together was the suspense thriller The Verdict (1946), director Don Siegel's first film. Lorre branched out into comedy with the role of Dr. Einstein in Frank Capra's version of Arsenic and Old Lace (1944), starring Cary Grant and Raymond Massey.
After World War II, Peter Lorre's acting career in Hollywood experienced a downturn, whereupon he concentrated on radio and stage work. An exception was the horror classic The Beast with Five Fingers (Robert Florey, 1946). In Germany Lorre co-wrote, directed, and starred in Der Verlorene/The Lost One (1951), an art film in the film noir idiom. Hal Erickson: “In keeping with Lorre's established screen persona, this is a tale of stark terror, disillusionment, and defeatism. The actor stars as Dr. Rothe, a German research scientist who during WW2 discovers that his fiancée has been selling his scientific secrets to the British. In a fit of pique, he murders her but is not punished for the crime, which is passed off by the Nazi authorities as justifiable homicide. (...) Not entirely successful, Der Verlorene is still a fascinating exercise in fatalism from one of the cinema's most distinctive talents.” Lorre then returned to the United States where he appeared as a character actor in television and feature films, often parodying his 'creepy' image. In 1954, he was the first actor to play a James Bond villain when he portrayed Le Chiffre in a television adaptation of Casino Royale, opposite Barry Nelson as an American James Bond and Linda Christian as the first Bond girl. Lorre starred alongside Kirk Douglas and James Mason in 20,000 Leagues Under the Sea (Richard Fleischer, 1954), and appeared in a supporting role in Voyage to the Bottom of the Sea (Irwin Allen, 1961). He worked with Roger Corman on several low-budget films, including two of the director's Edgar Allan Poe cycle (Tales of Terror, 1962 and The Raven, 1963). He was married three times: actress Celia Lovsky (1934–1945); actress Kaaren Verne (1945–1950) and Anne Marie Brenning (1953-1964, his death). In 1953, Brenning bore his only child, Catharine. In later life, Catharine made headlines after serial killer Kenneth Bianchi confessed to police investigators after his arrest that he and his cousin and fellow Hillside Strangler Angelo Buono, disguised as police officers, had stopped her in 1977 with the intent of abducting and murdering her, but let her go upon learning that she was the daughter of Peter Lorre. It was only after Bianchi was arrested that Catharine realized whom she had met. Catharine died in 1985 of complications arising from diabetes. Lorre had suffered for years from chronic gallbladder troubles, for which doctors had prescribed morphine. Lorre became trapped between the constant pain and addiction to morphine to ease the problem. It was during the period of the Mr. Moto films that Lorre struggled and overcame his addiction. Abruptly gaining a hundred pounds in a very short period and never fully recovering from his addiction to morphine, Lorre suffered many personal and career disappointments in his later years. His final film was the Jerry Lewis comedy The Patsy (Jerry Lewis, 1964) in which, ironically, the dourly demonic Lorre played a director of comedy films. A few months after completing this film, Peter Lorre died of a stroke in 1964 in Los Angeles. He was 59.
Sources: Hal Erickson (AllMovie - Page now defunct), Ed Stephan (IMDb), Wikipedia, and IMDb.
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From the Edward T. LeBlanc Collection at Northern Illinois University. [View and download the complete book]