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Baltic Centre for Contemporary Art (also known simply as (the) Baltic, stylised as BALTIC) is a centre for contemporary art located on the south bank of the River Tyne in Gateshead, Tyne and Wear, England. It hosts a frequently changing variety of exhibitions, events, and educational programmes with no permanent exhibition. The idea to open a centre for contemporary arts in Gateshead was developed in the 1990s, which was a time of regeneration for the local area—the Sage and Gateshead Millennium Bridge was also being conceived of in this period.
Baltic opened in July 2002 in a converted flour mill, which had operated in various capacities from 1950-1984. The architectural design of Baltic was devised by Dominic Williams of Ellis Williams Architects, who won a competition to design the new contemporary arts centre in 1994. The building features exhibition spaces, a visitor centre, a rooftop restaurant and external viewing platforms which offer views of the River Tyne. Baltic's current director, the centre's fifth, is Sarah Munro, who joined in November 2015. As of January 2022, Baltic had welcomed over 8 million visitors.
Baltic Flour Mills was built by Joseph Rank of Rank Hovis to a late-1930s design by Hull-based architects Gelder and Kitchen. The first foundations were laid in the late 1930s, and although construction ceased during the Second World War, the mill was completed and started operating in 1950. Known locally as "the pride of Tyneside", 300 people were employed by the mill at its height. The building was composed of two parallel brick façades running east to west, sandwiched between a foundation of concrete silos. The structure could store 22,000 tons of grain. The design of the building also featured a larger silo in which to store and clean wheat. The site was extended in 1957 by the addition of Blue Cross Mill which processed animal feed. In 1976, a fire forced both mills to close, but the silos remained in operation until 1984 to store a portion of the grain owned by the European Economic Community. Baltic Flour Mills was one of a number of mills located along the banks of the Tyne, all of which, due to their size, were prominent local landmarks. The Spillers mill just downstream from Baltic on the north bank of the river was demolished in 2011. Another large mill was owned by the CWS and was located just upstream of Dunston Staiths.
The opening of Baltic as a designated centre for contemporary art was part of the revitalisation and post-industrial regeneration of Gateshead's riverside. The regeneration began in the early 1990s and transformed the Quayside into a centre of modern architecture, including the Sage and Millennium Bridge. In 1991, Northern Arts (now part of Arts Council England) released a five-year plan in which it stated its intention to create "major new capital facilities for the Contemporary Visual Arts and Music in Central Tyneside". Northern Arts were keen to convert an old building into a centre for art, rather than build a new one, and the Labour-run Gateshead Council expressed interest in converting the old Flour Mills. This was in contrast to the Conservative-run Newcastle City Council's approach to development, which saw private firms develop mainly flats, hotels, and offices. Gateshead Council purchased the Baltic Flour Mills silo building, and in 1994 they invited the Royal Institute of British Architects to open a competition which would find an architect to design the new arts centre.
In 1994, Gateshead Council invited the Royal Institute of British Architects to hold a competition to select a design for the conversion of the Baltic Flour Mills. The objective of the competition was to "provide a national and international Centre for Contemporary visual arts". The brief cited a number of similar examples of old buildings which had been converted into arts centres around the world, including a converted flour mill in Porto, Portugal and the Bankside Power Station in London (now the site of the Tate Modern). After evaluating a total of 140 entries, Dominic Williams – a relatively unknown architect who had only been working for three years – won the competition. He entered the competition with Ellis Williams Architects, his father's firm. Andrew Guest remarks that this "simple, honest, industrial" design was an example of architecture which recognised the designs and context of the past. Williams and Ellis Williams Architects stated their intention to "retain as much of the existing character and fabric of the building as possible" while also clearly presenting the structure's new purpose as an art gallery.
The conversion of the flour mills was a complex and technically challenging task. The grain silos were removed, leaving the brick façades unsupported, and a 1,000 tonne steel frame was required to support the remaining building. Four new main floors were inserted into the building supported by a row of pillars. Intermediary floors made out of steel frames and thin concrete were also inserted. These were designed to be removable as to adapt the building and create variable spaces for art. With 13 separate levels in total, Williams claimed he purposefully wanted to create a sense of disorientation for visitors within the building and allow an element of discovery. A spiral staircase winds up the building towards an open-plan office for staff. An efficient ductwork system was installed within the beams which carries heated or chilled air throughout the building. Such a design, conceived of by environmental engineers Atelier Ten, was uncommon for the time. The north and south elevations of the original building were retained along with the original BALTIC FLOUR MILLS lettering and red and yellow bricks. The east and west sides were fully glazed, capturing natural light and allowing views of the River Tyne. Additionally, service towers in the corners of the building, a rooftop viewing box, and a low-rise visitor centre were completed—these now comprise part of the building's major elements. The building stands at 138 feet (42 m) tall. Glass elevators situated close to the exterior offer views of Newcastle, Gateshead and the River Tyne. A restaurant sits at the top of the building, built in a manner which still allows natural light to reach the top gallery floor. The building's interior largely features glass, concrete, aluminium, Welsh Slate, 'Cor-Ten' steel, and Swedish pine. The furniture, purposely built to be flexible and adaptable, was designed by Swedish designer Åke Axelsson.
Awards
Baltic won a RIBA award in 2003, a Civic Trust Award in 2004, and in 2006 was selected as one of the top 10 most outstanding arts and culture schemes in the UK as part of the Gulbenkian Prize. In 2012, it won the National Lottery Awards prize for Best Arts Project.
The founding director, Sune Nordgren, was appointed in 1997. He oversaw the period prior to Baltic's opening, including the construction of the gallery. After almost six years, Nordgren left to take up a new post as founding director of the National Museum for Art, Architecture and Design, Oslo, Norway. At this time, Baltic was facing financial problems. After Nordgren's departure, a former Baltic chairman accused the centre of overspending on commissions during Nordgren's tenure. Baltic's situation was described by Arts Council England as having "serious inadequacies in financial procedures". Nordgren was briefly succeeded by Stephen Snoddy, who had previously run a new gallery in Milton Keynes. Snoddy only remained with the organisation for 11 months, citing difficulties in leaving his family behind in Manchester while working at Baltic. He was succeeded as director by Peter Doroshenko in 2005. Doroshenko's previous institutions included the Stedelijk Museum voor Actuele Kunst and the Institute of Visual Arts in Milwaukee. He was brought to Baltic to increase visitor numbers and resolve the centre's financial situation, which was criticised by Arts Council England and an insider as being chaotic. Doroshenko organized several exhibitions during his time at Baltic, including Spank the Monkey.
In November 2007, Doroshenko left the gallery to head up the PinchukArtCentre in Kiev, Ukraine. He stated that he believed he had made Baltic a more "approachable and visitor friendly place."[30] However, Design Week reported that there were claims that Doroshenko did not deliver the expected "international programme of artistic excellence." Additionally, staff at the centre had complained about his "intolerable" and "bullying" management style. Godfrey Worsdale, founding director of the Middlesbrough Institute of Modern Art, was appointed as director of Baltic in 2008. Worsdale oversaw the 10 year anniversary of Baltic and the hosting of the Turner Prize in 2011. He was awarded an honorary degree from Northumbria University in 2012 in recognition for his work on contemporary art after being on the judging panel for the Turner Prize. He departed in 2015 to take up a new post as director of the Henry Moore Foundation. Sarah Munro MBE became director in November 2015. She was previously artistic director of Tramway in Glasgow and head of arts for Glasgow Life.
History as arts centre
During the four-year construction of Baltic, the new organisation arranged a series of events, publications, and artists in residence in anticipation of the centre's opening. In 1999, after the silos had been removed and before the new floors were inserted, the shell of the building was used to house an art installation by Anish Kapoor. Taratantara was a trumpet-shaped installation of PVC 50 metres (160 ft) long and was situated within the centre of the mill. This installation drew 16,000 visitors and marked a turning point between the building's old purpose and its new life as a centre for art. In October 2000, Jenny Holzer's Truisms – a series of aphorisms and slogans – were projected onto the side of the building. Kapoor and Holtzer's works were intended to engage casual passers-by in an artistic dialogue. The identity of Baltic was also solidified by the publication of 16 newsletters between October 1998 and July 2002 when the centre opened to the public. A significant part of this branding was the use of the now registered typeface BALTIC Affisch, designed by Swedish designers Ulf Greger Nilsson and Henrik Nygren and based on the BALTIC FLOUR MILLS lettering on the building's brick façade.
Opening
After ten years in the planning and a capital investment of £50m, including £33.4m from the Arts Council Lottery Fund, Baltic opened to the public at midnight on Saturday 13 July 2002. The novelty of opening the new building at midnight was intentional: founding director Sune Nordgren sought a dramatic gesture to herald the beginning of the new centre for arts. The inaugural exhibition, B.OPEN, had work by Chris Burden, Carsten Höller, Julian Opie, Jaume Plensa and Jane and Louise Wilson. Opie, who had previously assisted Dominic Williams with aspects of the building's conversion design, contributed an installation consisting of nude outlines on the walls of floor of the gallery. Plensa's installation featured a room filled with gongs which were available for the audience to play. Plensa also contributed Blake in Gateshead – a beam of light which stretched around 2 kilometres (6,600 ft) into the sky. The installation was placed through the glass doorway of the ground floor. Burden constructed a 1/20th scale replica of the Tyne Bridge out of Meccano. Jane and Louise Wilson created Dreamtime, a video of a rocket launch. An early exhibit by the Japanese artist Yoshitomo Nara was also included. The B.OPEN event attracted over 35,000 visitors in the first week. A live art performance, including Tatsumi Orimito's Bread Man and Anne Bjerge Hansen's Moving Bakery, took place during the opening weekend, in which bread was handed out to passers-by in memory of the Baltic Flour Mill's history. When BALTIC opened, there was a target set for 250,000 visitors a year. It achieved one million visitors in its first year, and by its 10-year anniversary in 2012, 4 million people had visited.
Notable events
On 20 September 2007, Baltic management contacted Northumbria Police for advice regarding whether or not a photograph should be displayed as part of the Thanksgiving installation, a forthcoming exhibition by American photographer Nan Goldin. The photograph, along with the rest of the installation, is part of the Sir Elton John Photography Collection. Entitled Klara and Edda belly-dancing features two naked young girls and had previously been exhibited around the world without objections. The installation, which had been scheduled for a four-month exhibition, opened with the remaining photographs whilst Klara and Edda belly-dancing was in possession of the police. However, it closed after just nine days at the request of Elton John. Although this had a determinantal effect on Baltic's reputation in the short-term, Graham Whitham argues in Understand Contemporary Art that it may have given it a higher profile and greater publicity in the long-run.
Beryl Cook
In 2007, the largest survey of artist Beryl Cook's work to date was featured in an exhibition at Baltic.[9] Cook enjoyed widespread recognition of her art towards the end of her life; the exhibition at Baltic took place one year before her death. Her paintings depict everyday and familiar social situations in a playful, colourful, and "portly" style. Peter Doreshenko, the director of Baltic at the time of the exhibition, was keen for the gallery to reject the seriousness audiences may associate with it. The exhibition of Cook's work was part of this populist effort to attract new audiences to the then financially-struggling gallery, whose visitor numbers had dropped to less than 500,000 and whose reputation was decreasing. Adrian Searle of The Guardian reviewed the exhibition and, whilst acknowledging that fans would enjoy it, commented "look too long and you may feel a bit queasy".
Turner Prize
In 2011, Baltic was the venue for the Turner Prize. This was the first time the event had been held outside of London or Liverpool Tate. The Turner Prize exhibition at Baltic attracted 149,770 visitors to the gallery – almost double the average attendance in London. The event at Baltic was also free, whilst Turner exhibitions at Tate Britain had always previously charged for entry. The winning exhibit was by Martin Boyce with the runners-up being Karla Black, Hilary Lloyd and George Shaw.
Judy Chicago
The first major retrospective of American artist Judy Chicago's work was exhibited in Baltic from November 2019 to April 2020. The exhibition included her abstract paintings, records of performance pieces, and began and ended with a four-metre tapestry which portrayed the creation the world from a woman's perspective. At the time of the exhibition, Chicago was in her 80s. Hannah Clugston of The Guardian noted that the more recent featured works embraced the theme of death, particularly End: A Meditation on Death and Extinction, which is based on the stages of grief.
Baltic Open Submission
In March 2020, Baltic announced it would be closing due to the COVID-19 pandemic until further notice. In May 2021, it reopened to visitors with four exhibitions. Baltic Open Submission featured works created during lockdown by 158 artists from the North East. The 158 artists were chosen from over 540 original submissions and selected by a panel of three North East-based artists. The final pieces included paintings, drawings, and sound and video installations.
Community and cultural impact
At the opening of Baltic, director Sune Nordgren outlined the role of the arts centre within the public sphere. He stated that Baltic should be "a meeting place, a site for connections and confrontation between artists and the public." In an October 2002 lecture at the Power Plant Gallery in Toronto, Nordgren reaffirmed the importance of local outreach and explained his intention for Baltic to regard the local history and culture, comparing his intention to examples of modern art museums where this was not considered, such as the Guggenheim Museum in Bilbao (designed in Los Angeles and placed in Spain). From its inception, Baltic emphasised the importance of artist-public relationships and its role as a community hub. "Participate" initiatives encouraged people in the local community to interact with resident artists. A media learning centre in a local library was set up as an extension of Baltic's community resources.
In a 2016 talk on Baltic's 10-year strategic plan (officially named Untitled), the current director of Baltic – Sarah Munro – emphasised that the North East of England "has always led, not followed" the agenda for contemporary arts, and that Baltic had been a big part of this trend. She argued that the visual arts can be used to further the economic and social growth of the area, even amidst the backdrop of political issues and austerity. Baltic also launched an international award for emerging artists in 2016, which offered a £30,000 commission and an accompanying exhibition to four recipients. It was the first such competition in the UK to be judged entirely by artists: in 2017, they were Monica Bonvicini, Lorna Simpson, Pedro Cabrita Reis and Mike Nelson. Munro commented that the award was to foster "a dialogue with our audiences at a local, national and international level."
Local university partnerships and graduate internships are also important to Baltic's community and cultural influence. In 2011, Baltic and Northumbria University established an artistic partnership through the BxNU Institute of Contemporary Art, a centre for artistic and curatorial research. Christine Borland was appointed as Baltic Professor. A designated gallery space, known as Baltic 39, was established on the top floor of refurbished Edwardian warehouses at 31-39 High Bridge in Newcastle. It was designed by Viennese architects Jabornegg & Palffy and housed artwork from students at the university. Baltic 39 was based at High Bridge from 2012 to 2021.
Their annual Self-Publishing Artists’ Market (aka S.P.A.M.) takes the form of a lively programme exploring print culture and practice through talks and workshops with over 50 stalls selling zines and artists’ books. S.P.A.M. Spreads reimagines the market in printed form and has included contributions by artists, activists, illustrators, zine-makers, writers and curators including Vanessa Murrell, Melody Sproates, Okocha Obasi, Stephanie Francis-Shanahan.
s0282a Graz.10225 Brock14A8B Graz. Plan. Brockhaus' Konversations-Lexikon Vierzehnte vollständig neubearbeitete Auflage. In sechzehn Bänden. Achter Band. Gilde bis Geld. F. A. Brockhaus in Leipzig, Berlin und Wien.1893.
Austrian postcard by Kellner Postkarten, Wien (Vienna), no. 422. Photo: Jupiter-Film Ges.M.B.H. Bruce Low in Geld aus der Luft/Money from the air (Géza von Cziffra, 1954).
Bruce Low (1913-1990) was a Dutch schlager and gospel singer and actor who had an impressive career in West Germany and Austria.
Bruce Low was born Ernst Gottfried Bielke on a coffee plantation in Paramaribo, Surinam - then part of The Netherlands in 1913. He spent his childhood in Surinam together with his three sisters and brother. Their father, Hermann Moritz Bielke, worked as a missionary with the Herrnhuter Brüdergemeine. Their mother Lydia née Reusch was born in Hong Kong, her father came from Württemberg and was also a missionary. From 1921, Bruce attended grammar school in Zeist, the Netherlands, played tenor saxophone in the school jazz band and was a member of the local church choir. After his final exams in 1932, he studied sports at the Deutsche Hochschule für Leibesübungen (DHfL) in Berlin. But a serious injury while trampolining put an end to his studies as a sports teacher. Instead, he took singing lessons from the singing teacher Jacques Stückgold at the Hochschule für Musik. Low continued his studies in the Netherlands and also sang in a chamber choir. His performing career only took shape after the war. He organised shows for the Americans in the Netherlands, contracted music groups, was an emcee and sang spiritual songs, also for the radio. As a result, he was hired in 1949 for a show with African folk songs in Vienna. He appeared in front of the audience dressed as a black man with blackface in the Al Johnson manner and received an offer for a recording contract. His first records contained Western-style cowboy songs, such as '(Ghost) Riders in the Sky' and 'Heimweh nach Virginia'. In 1950, the man with the sonorous bass voice had his first success in Germany with 'Leise rauscht es am Missouri''. In 1953, more hits followed, such as 'So viel Wind und keine Sege'(So Much Wind and No Sail)" and his legendary 'Tabak und Rum' (Tobacco and Rum). Two years later, 'Das alte Haus von Rocky Docky', the cover version of 'This Ole House' became a box office hit. In 1956 he took third place in the newly created German Hit Parade with "Wenn die Sonne scheint in Texas" and climbed to second place with "Und es weht der Wind". His interpretation of the legendary hit "Es hängt ein Pferdehalfter an der Wand", a cover version of Carson Robison's song 'There's a Bridle Hangin' on the Wall', with which the Dutch band Kilima Hawaiians had already caused a furore in Germany in 1953, became his greatest success.
In 1958 Bruce Low took part in the preliminaries for the Eurovision Song Contest in the Netherlands, with 'Neem Dat Maar Aan Van Mij' but came in 10th. Bruce Low also made several guest appearances as a singer in the popular German-language musical entertainment films of the 1950s and 1960s, for example in Königin der Arena/Queen of the Arena (Rolf Meyer, 1952) with Maria Litto and Hans Söhnker, Wenn am Sonntagabend die Dorfmusik spielt/When The Village Music Plays on Sunday Nights (Rudolf Schündler, 1953) starring Rudolf Prack, or the operetta adaptation Blume von Hawaii/The Flower of Hawaii (Géza von Cziffra, 1953) starring Maria Litto. He also performed his hit songs in several Schlager films. As an actor he appeared in the successful drama Die endlose Nacht/The Endless Night (Will Tremper, 1963) a wounderful one-night-at-the-airport film with Karin Hübner and Harald Leipnitz. He later also appeared in two other films by Tremper, the comedy Sperrbezirk/Sperrbezirk, the business of immorality (Will Tremper, 1966) with Harald Leipnitz and Mir hat es immer Spaß gemacht/How Did a Nice Girl Like You Get Into This Business? (Will Tremper, 1970) starring Playboy bunny Barbi Benton and Broderick Crawford. After the stage musical 'Kiss me Kate' in the German translation by Marcel Prawy became an extraordinary success in the Wiener Volksoper, Prawy went to work on the Leonard Bernstein musical 'Wonderful Town' (1956), also in the Wiener Volksoper. Bruce Low played the lead role of Bob Baker as Olive Moorefield's partner.
The advancing rock and roll wave seemed to end his career, so Bruce Low started writing articles for the Munich magazine Jasmin under the pseudonym Thomas Gallauner. At the "Karl May Festival in Berlin he portrayed Old Shatterhand in 'Winnetou' (1966) and 'Der Schatz im Silbersee' (1968), alongside Gustavo Rojo as Winnetou. At the beginning of the 1970s, his voice was in demand again and he performed mainly new, partly traditional gospels. With songs such as 'Noah' (1971), 'Das Kartenspiel' (1974) and 'Die Legende von Babylon' (1978), he hit the charts once more. He appeared as a guest in several television broadcasts and was asked as a presenter for circus broadcasts. He also had several appearances in the ZDF quiz show Der große Preis. He returned to the cinemas in several films by Rainer Werner Fassbinder. First, he played in the TV two-parter Welt am Draht/World on a Wire (Rainer Werner Fassbinder, 1973) and later in the films Faustrecht der Freiheit/Fox and His Friends (Rainer Werner Fassbinder, 1975) and Die Ehe der Maria Braun/The Wedding of Maria Braun (Rainer Werner Fassbinder, 1979) starring Hanna Schygulla. In 1976 he participated again in the preliminaries of the Eurovision Song Contest, now in West Germany, with the song 'Der Jahrmarkt unserer Eitelkeit' (The Fair of Our Vanity). However, he only reached 9th place among twelve participants and the Les Humphries Singers participated for Germany with "Sing Sang Song and reached 12th place. In the 1980s it became quieter again around the singer. Two years before his death, he published his memoirs under the title: 'Es hängt ein Pferdehalfter an der Wand - das Lied meines Lebens'. In 1990, Bruce Lowe died after a long illness at the age of 76 in a Munich hospital. At his own request, the artist, who was married to his wife Marion, had his body cremated and scattered in a meadow in the Netherlands.
Sources: Stephanie D'Heil (Steffi-Line - German), Wikipedia (Dutch and German), and IMDb.
And, please check out our blog European Film Star Postcards.
Masters of the Universe Classics Geldor
thefwoosh.com/2013/11/masters-of-the-universe-classics-fe...
Midden-19e-eeuws hotel-restaurant in Twello, nu alleen nog restaurant, maar met een nog verder teruggaande herberghistorie
19th-century hotel-restaurant in Twello, province of Gelderland
Wandeling Echt, Ophoven, De Doort, Dieteren, Gebroek, Echt.
Wandelgids Zuid-Limburg, wandeling 421, 12 km.
The local Council do a very good job of removing coconuts so that people don't get nutted on their nut! Waikiki beach.
The painting's subject comes from the Old Testament: the first book of Samuel, which describes the turning point in David's relationship with King Saul. The priest Ahimelech gives the sword of Goliath to the young David, who won it in battle. When King Saul learned that this symbol of power had been given to David, he had Ahimelech murdered.
The sleeve and head-dress of the priest Ahimelech reveal scratches and uneven working of the pigment so it catches the light in vivid contrasting highlights. Aert de Gelder (Dordrecht, 1645 - Dordrecht , 1727) made these scratches with a paint knife or the end of a brush, which he often used to highlight the paint surface. De Gelder was a pupil of Rembrandt, and the influence of Rembrandt's late style is evident in his choice of half-length, life-size figures, muted colours, and expressive brushstrokes.
[Getty Centre, Los Angeles - Oil on canvas, 35,5 x 52 inches]
Yuri van Gelder, Dutch gymnast. Gold Medal winner (Rings) in European Championships 2005; World Champion at 2005 World Artistic Gymnastics Championships; Silver Medal Winner 2007 World Artistic Gymnastics Championships.
The Harz is a highland area in northern Germany. It has the highest elevations for that region, and its rugged terrain extends across parts of Lower Saxony, Saxony-Anhalt, and Thuringia. The name Harz derives from the Middle High German word Hardt or Hart (hill forest). The name Hercynia derives from a Celtic name and could refer to other mountain forests, but has also been applied to the geology of the Harz. The Brocken is the highest summit in the Harz with an elevation of 1,141.1 metres (3,744 ft) above sea level. The Wurmberg (971 metres (3,186 ft)) is the highest peak located entirely within the state of Lower Saxony.
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s0850a 10116 Brock14A8B Harz Maßstab 1 : 450 000 Brockhaus' Konversations-Lexikon Vierzehnte vollständig neubearbeitete Auflage. In sechzehn Bänden. Achter Band. Gilde bis Geld. F. A. Brockhaus in Leipzig Berlin und Wien.1893.
Of my recent journey into the Gelder Peaks, I must recount one extraordinary event. While mounting the foothills of the Gelder Peaks, just barely outside of Lilyvale, and hiking for no more than half of an afternoon I stumbled across a dwarf druid. A sturdy, and rather surly being, who squinted suspiciously as he looked about the mountainside. It seemed quite odd to find a dwarf who still studied the druidic arts, for I had thought most of his kin had left such ancient rites and rituals to what they felt were races of lesser sophistication. Regardless, this particular dwarf was mid-incantation when I came upon him. He was standing in the midst of a boulder strewn field, just nearly above the timberline. I could barely make out the words he mumbled, the ancient dwarvish he spoke sat heavy on his tongue, and most phrases were slurred beyond recognition. I could make out a few simple, one of which I will translate for you here: “… of earthen skin, and rocky bone … rise soil, rise roots, rise wood, and stone …” After a few more undecipherable mutterings the began ground shaking suddenly with a light rumble and the very mountainside moaned as one awaking from a restful slumber. My curiosity making it impossible for me to remain hidden any longer, I poked my head out from behind the bush where I knelt. The dwarf continued to utter his ancient verse as I crept out silently and stood transfixed by the wondrous site. Then, with finality, the dwarf raised his boney staff skyward and thrust it down upon the earth. A rush of wind shot up the side of the mountain and before me in the clearing, boulders that were once mere objects became an animate thing. Stones swirled, and congealed, and fell somehow into place. Then the wind died down, the moaning stopped, and where there was once nothing but air there stood a stone giant. A living pile of rocks, a fabled elemental forged from the earth…
From the journal of Thorne Babblebrook
Please feel free to leave comments! :D
Of my recent journey into the Gelder Peaks, I must recount one extraordinary event. While mounting the foothills of the Gelder Peaks, just barely outside of Lilyvale, and hiking for no more than half of an afternoon I stumbled across a dwarf druid. A sturdy, and rather surly being, who squinted suspiciously as he looked about the mountainside. It seemed quite odd to find a dwarf who still studied the druidic arts, for I had thought most of his kin had left such ancient rites and rituals to what they felt were races of lesser sophistication. Regardless, this particular dwarf was mid-incantation when I came upon him. He was standing in the midst of a boulder strewn field, just nearly above the timberline. I could barely make out the words he mumbled, the ancient dwarvish he spoke sat heavy on his tongue, and most phrases were slurred beyond recognition. I could make out a few simple, one of which I will translate for you here: “… of earthen skin, and rocky bone … rise soil, rise roots, rise wood, and stone …” After a few more undecipherable mutterings the began ground shaking suddenly with a light rumble and the very mountainside moaned as one awaking from a restful slumber. My curiosity making it impossible for me to remain hidden any longer, I poked my head out from behind the bush where I knelt. The dwarf continued to utter his ancient verse as I crept out silently and stood transfixed by the wondrous site. Then, with finality, the dwarf raised his boney staff skyward and thrust it down upon the earth. A rush of wind shot up the side of the mountain and before me in the clearing, boulders that were once mere objects became an animate thing. Stones swirled, and congealed, and fell somehow into place. Then the wind died down, the moaning stopped, and where there was once nothing but air there stood a stone giant. A living pile of rocks, a fabled elemental forged from the earth…
From the journal of Thorne Babblebrook
Please feel free to leave comments! :D
English translation - "money cycle". The fountain was created in 1976 by Karl-Hemming Seemann. The people shown symbolise avarice, greed, patronage and begging. Just like money, euros and cents wandering from one hand to the next.
Der Geldbrunnen ist ein 1976 von Karl-Henning Seemann geschaffener Brunnen in Aachen in der Hartmannstraße/Ursulinerstraße am Ende des Elisengartens.... Das Wasser dreht sich gegen den Uhrzeigersinn. Es fließt auch im Winter, weil es sich um warmes Wasser aus den Aachener Thermalquellen handelt. Kreisrund sind verschiedene Figuren am Brunnen aufgestellt, die alle mit Geld zu tun haben. Sie stellen den Geiz, die Gier, die Gönnerhaftigkeit und die Bettelei dar. ...Mit Geld wird beim Kaufen bezahlt, Geld zählt man in der Hand, Geld schenkt man den Armen und über Geld wird hinter dem Rücken verhandelt. Ein neugieriger Beobachter ist ein Kind.
www.lebendiges-aachen.de/modules.php?name=Aachen&act=...
IMG_0771
Dieses Bild von Tim Reckmann kann frei unter der angegebenen Creative Commons Lizenz genutzt werden. Viele Tausend weitere Fotos findest Du auch auf www.ccnull.de. Darüber hinausgehende Lizenzen (z.B. Nutzung ohne Kennzeichnung oder Social Media Nutzung) werden exklusiv auf www.a59.de angeboten. Der Einbindung der Bilder via Framing, Embedding oder Deep-Link wird ausdrücklich widersprochen.
Masters of the Universe Classics Geldor
thefwoosh.com/2013/11/masters-of-the-universe-classics-fe...
Drücken von Geld.
Poltern Regen drückt dick Städte gestürmt,
βυθίζουν τις αγορές τα παιδιά ουρλιάζοντας,
maisons enterrer curling personnes sous sombre de la chaussée,
voce numulariis, fragmentorum onerati oculi comburet,
turnuri de moarte hârtie carbonizate se umflă în descompunere rot spălare lipsit de viață,
превијају лица уништава хвати дубине,
alger Bergmál borgaralega nösum blys,
poros erőszakos este hömpölygő utakat könnyek süllyedő elvesztegetett szemöldök,
cuori cremisi macellazione mura di usuraio,
neklidné Curses příšerné prkna šel,
непомично потпетице презрив подсмева хладно,
donder naties passeren vluchtig rijke eilanden scène,
les colles les éclats de tempère Perspicuity imbéciles,
baledi strwythurau hamlinellu pretensions o fri frenzy,
intimations ranplase rekolte kredi mouri,
δηλητήρια προβλέψεις τραγωδία αγορές κυκλοφορεί νίκησε παράλογο δόση του,
未学習履歴は哲学悲しげな危険が落ちる繰り返される.
Steve.D.Hammond.
West-German postcard by Kunst und Bild, Berlin, no. A 1119. Photo: Arion / Deutsche London / Lilo. Bruce Low in Geld aus der Luft/Money from the air (Géza von Cziffra, 1954).
Bruce Low (1913-1990) was a Dutch schlager and gospel singer and actor who had an impressive career in West Germany and Austria.
Bruce Low was born Ernst Gottfried Bielke on a coffee plantation in Paramaribo, Surinam - then part of The Netherlands in 1913. He spent his childhood in Surinam together with his three sisters and brother. Their father, Hermann Moritz Bielke, worked as a missionary with the Herrnhuter Brüdergemeine. Their mother Lydia née Reusch was born in Hong Kong, her father came from Württemberg and was also a missionary. From 1921, Bruce attended grammar school in Zeist, the Netherlands, played tenor saxophone in the school jazz band and was a member of the local church choir. After his final exams in 1932, he studied sports at the Deutsche Hochschule für Leibesübungen (DHfL) in Berlin. But a serious injury while trampolining put an end to his studies as a sports teacher. Instead, he took singing lessons from the singing teacher Jacques Stückgold at the Hochschule für Musik. Low continued his studies in the Netherlands and also sang in a chamber choir. His performing career only took shape after the war. He organised shows for the Americans in the Netherlands, contracted music groups, was an emcee and sang spiritual songs, also for the radio. As a result, he was hired in 1949 for a show with African folk songs in Vienna. He appeared in front of the audience dressed as a black man with blackface in the Al Johnson manner and received an offer for a recording contract. His first records contained Western-style cowboy songs, such as '(Ghost) Riders in the Sky' and 'Heimweh nach Virginia'. In 1950, the man with the sonorous bass voice had his first success in Germany with 'Leise rauscht es am Missouri''. In 1953, more hits followed, such as 'So viel Wind und keine Sege'(So Much Wind and No Sail)" and his legendary 'Tabak und Rum' (Tobacco and Rum). Two years later, 'Das alte Haus von Rocky Docky', the cover version of 'This Ole House' became a box office hit. In 1956 he took third place in the newly created German Hit Parade with "Wenn die Sonne scheint in Texas" and climbed to second place with "Und es weht der Wind". His interpretation of the legendary hit "Es hängt ein Pferdehalfter an der Wand", a cover version of Carson Robison's song 'There's a Bridle Hangin' on the Wall', with which the Dutch band Kilima Hawaiians had already caused a furore in Germany in 1953, became his greatest success.
In 1958 Bruce Low took part in the preliminaries for the Eurovision Song Contest in the Netherlands, with 'Neem Dat Maar Aan Van Mij' but came in 10th. Bruce Low also made several guest appearances as a singer in the popular German-language musical entertainment films of the 1950s and 1960s, for example in Königin der Arena/Queen of the Arena (Rolf Meyer, 1952) with Maria Litto and Hans Söhnker, Wenn am Sonntagabend die Dorfmusik spielt/When The Village Music Plays on Sunday Nights (Rudolf Schündler, 1953) starring Rudolf Prack, or the operetta adaptation Blume von Hawaii/The Flower of Hawaii (Géza von Cziffra, 1953) starring Maria Litto. He also performed his hit songs in several Schlager films. As an actor he appeared in the successful drama Die endlose Nacht/The Endless Night (Will Tremper, 1963) a wounderful one-night-at-the-airport film with Karin Hübner and Harald Leipnitz. He later also appeared in two other films by Tremper, the comedy Sperrbezirk/Sperrbezirk, the business of immorality (Will Tremper, 1966) with Harald Leipnitz and Mir hat es immer Spaß gemacht/How Did a Nice Girl Like You Get Into This Business? (Will Tremper, 1970) starring Playboy bunny Barbi Benton and Broderick Crawford. After the stage musical 'Kiss me Kate' in the German translation by Marcel Prawy became an extraordinary success in the Wiener Volksoper, Prawy went to work on the Leonard Bernstein musical 'Wonderful Town' (1956), also in the Wiener Volksoper. Bruce Low played the lead role of Bob Baker as Olive Moorefield's partner.
The advancing rock and roll wave seemed to end his career, so Bruce Low started writing articles for the Munich magazine Jasmin under the pseudonym Thomas Gallauner. At the "Karl May Festival in Berlin he portrayed Old Shatterhand in 'Winnetou' (1966) and 'Der Schatz im Silbersee' (1968), alongside Gustavo Rojo as Winnetou. At the beginning of the 1970s, his voice was in demand again and he performed mainly new, partly traditional gospels. With songs such as 'Noah' (1971), 'Das Kartenspiel' (1974) and 'Die Legende von Babylon' (1978), he hit the charts once more. He appeared as a guest in several television broadcasts and was asked as a presenter for circus broadcasts. He also had several appearances in the ZDF quiz show Der große Preis. He returned to the cinemas in several films by Rainer Werner Fassbinder. First, he played in the TV two-parter Welt am Draht/World on a Wire (Rainer Werner Fassbinder, 1973) and later in the films Faustrecht der Freiheit/Fox and His Friends (Rainer Werner Fassbinder, 1975) and Die Ehe der Maria Braun/The Wedding of Maria Braun (Rainer Werner Fassbinder, 1979) starring Hanna Schygulla. In 1976 he participated again in the preliminaries of the Eurovision Song Contest, now in West Germany, with the song 'Der Jahrmarkt unserer Eitelkeit' (The Fair of Our Vanity). However, he only reached 9th place among twelve participants and the Les Humphries Singers participated for Germany with "Sing Sang Song and reached 12th place. In the 1980s it became quieter again around the singer. Two years before his death, he published his memoirs under the title: 'Es hängt ein Pferdehalfter an der Wand - das Lied meines Lebens'. In 1990, Bruce Lowe died after a long illness at the age of 76 in a Munich hospital. At his own request, the artist, who was married to wife Marion, had his body cremated and scattered in a meadow in the Netherlands.
Sources: Stephanie D'Heil (Steffi-Line - German), Wikipedia (Dutch and German), and IMDb.
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