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The Edit of this Photo Demands Your View In BLACK with Large size for better out put, Plz Press L for Black

This is the cover photo of my set National Language Movement 2011

This Photo was taken on 21th Fab at 01:30 pm , From Jatio Shaheed Minar , Dhaka, BANGLADESH, This Photo was Taken while my Special Photowalk with The flickr Group Frame BANGLADESH

Description :The Bengali Language Movement: and in Bangali Trnslation to ভাষা আন্দোলন

The Bengali Language Movement: Can read In Bangoli here]ভাষা আন্দোলন, also known as the Language Movement (Bengali: ভাষা আন্দোলন; Bhasha Andolon), was a political effort in Bangladesh (then known as East Pakistan), advocating the recognition of the Bengali language as an official language ofPakistan. Such recognition would allow Bengali to be used in government affairs.When the state of Pakistan was formed in 1947, its two regions, East Pakistan (also called East Bengal) and West Pakistan, were split along cultural, geographical, and linguistic lines. In 1948, the Government of Pakistan ordained Urdu as the sole national language, sparking extensive protests among the Bengali-speaking majority of East Pakistan. Facing rising sectarian tensions and mass discontent with the new law, the government outlawed public meetings and rallies. The students of the University of Dhaka and other political activists defied the law and organised a protest on 21 February 1952. The movement reached its climax when police killed student demonstrators on that day. The deaths provoked widespread civil unrest led by the Awami Muslim League, later renamed the Awami League. After years of conflict, the central government relented and granted official status to the Bengali language in 1956. In 2000,UNESCO declared 21 February International Mother Language Day for the whole world to celebrate[1], in tribute to the Language Movement and the ethno-linguistic rights of people around the world.The Language Movement catalysed the assertion of Bengali national identity in Pakistan, and became a forerunner to Bengali nationalist movements, including the 6-point movement and subsequently the Bangladesh Liberation War in 1971. In Bangladesh, 21 February is observed as Language Movement Day, a national holiday. The Shaheed Minar monument was constructed near Dhaka Medical College in memory of the movement and its victims

Background

The present nations of Pakistan and Bangladesh were part of undivided India during the British colonial rule. From the mid-19th century, the Urdu language had been promoted as thelingua franca of Indian Muslims by political and religious leaders such as Sir Khwaja Salimullah, Sir Syed Ahmed Khan, Nawab Viqar-ul-Mulk and Maulvi Abdul Haq.[2][3] Urdu is an Indo-Aryan language of the Indo-Iranian branch, belonging to the Indo-European family of languages. It developed under Persian, Arabic and Turkic influence on apabhramshas (last linguistic stage of the medieval Indian Aryan language Pali-Prakrit)[4] in South Asia during the Delhi Sultanate and Mughal Empire.[5] With its Perso-Arabic script, the language was considered a vital element of the Islamic culture for Indian Muslims; Hindi and the Devanagari script were seen as fundamentals of Hindu culture.[2]While the use of Urdu grew common with Muslims in northern India, the Muslims of Bengal (a province in the eastern part of British Indian sub-continent) primarily used the Bengali language. Bengali is an Eastern Indo-Aryan language that arose from the eastern Middle Indic languages around 1000 CE[6] and developed considerably during the Bengal Renaissance. As early as the late 19th century, social activists such as the Muslim feminist Roquia Sakhawat Hussain were choosing to write in Bengali to reach out to the people and develop it as a modern literary language. Supporters of Bengali opposed Urdu even before the partition of India, when delegates from Bengal rejected the idea of making Urdu the lingua franca of Muslim India in the 1937 Lucknow session of the Muslim League. The Muslim League was a British Indian political party that became the driving force behind the creation of Pakistan as a Muslim state separate from British India.[7]

The Other Set related to this set are available here at : International Mother Language Day

All other Photos of this set are available at : National Language Movement Dat 2011

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Thanks In Advance for not Inviting me to any Group and Attaching Graphics to this picture as a part of your comments, I appreciate you to view my photo , click Faves and write your comments instead you copy pest your comment to me.

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documenta kassel 2022 by Thierry Geoffroy / Colonel : Artist

1

Collaboration beetween Biennalist and Ultracontemporay

Art Format

www.emergencyrooms.org/formats.html

Documenta From Wikipedia,

The Fridericianum during documenta (13)

documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

History

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

Criticism

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

Directors

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000

documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000

4. documenta27 June – 6 October 196824-strong documenta council1511000220,000

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301

documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]

documenta 148 April – 16 July 2017 in Athens, Greece;

10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens

891.500 in Kassel

documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]

Venues

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

Rahmenbau (1977) by Haus Rucker und Co.

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).

documenta archive

The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.

Management

Visitors

In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]

References

Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX

Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2

Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.

The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).

Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.

Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.

Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).

dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.

Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.

Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.

Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.

Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.

Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.

Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.

Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.

"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.

Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.

"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.

Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.

d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.

Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.

Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.

Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.

Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.

Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.

Further reading

Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.

Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.

other biennales :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

www.emergencyrooms.org

www.colonel.dk/

lumbung

Short concept by ruangrupa for documenta 15

"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."

ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.

Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.

The main principles of the process are:

• Providing space to gather and explore ideas

• Collective decision making

• Non-centralization

• Playing between formalities and informalities

• Practicing assembly and meeting points

• Architectural awareness

• Being spatially active to promote conversation

• A melting pot for and from everyone’s thoughts, energies, and ideas

#documentakassel

#documenta

#documenta15

#artformat

#formatart

#rundebate

#thierrygeoffroy

#Colonel

#CriticalRun

#venicebiennale

#documentafifteen

#formatart

#documentacritic

#biennalist

#ultracontemporary art

protestart

Hitchcock Chiller x Halsman by Doctor Noe

4 1

Photo of Hitchcock head prop in fridge w his wife by Philippe Halsman.

This print can be found on EBay December 18, 2010

online.wsj.com/article/SB993153820247113382.html

From a description of a show, "Alfred Hitchcock and Art: Fatal Coincidences" at the Pompidou Center in an article by Judy Fayard * THE GALLERY

* JUNE 22, 2001:

A brief biographical gallery whisks the master of suspense from his childhood in Victorian London, where he was born in 1899, to the pinnacle of his fame on the covers of Life, Newsweek, Cahiers du Cinema and TV Guide in the 1960s. A traditional childhood snapshot on a pony shows him in front of the family's wholesale grocery shop, with his father standing beside him a near-double for Teddy Roosevelt. There are photos of the already portly and double-chinned young man of the 1920s, at the time of his marriage to screenwriter and film editor Alma Reville, and a famous 1962 photo by Philippe Halsman of Alma standing at the door of an open refrigerator with Hitchcock's severed head on a shelf. Posters from some of his 53 films include the 1927 "Downhill" with Ivor Novello; his first American film, the 1940 "Rebecca," with Laurence Olivier and Joan Fontaine; and dozens of others in French, Italian, Polish and Dutch.

Commissioned by the likes of Marilyn Monroe, Brando, Picasso, Nixon and the Kennedys, Phillippe Halsman turned formal fashion shots into serious investigations of character. Engaging his subjects in disarming chatter, he would often ask them to jump, which he believed would free them of their postures and defenses. "When you ask a person to jump, his attention is mostly directed toward the act of jumping and the mask falls so that the real person appears."

From surrealist flourishes such as headless bodies or bodiless heads, to "jumpology", which would become his trademark, Philippe pursued his quest to uncover the hidden truths behind the masks of his subjects.

But only in private would he turn this investigation upon himself. It seems that Philippe was able to witness his father's true character in that horrible moment so many years ago, and perhaps, in doing so, was able to love him in absolute. But as to the question of murder, obscured by the trauma of the moment and the whirlwind of prejudice in its aftermath, Philippe himself was rendered impotent to answer.

and also:

Movie title: Jump!

Year: 2007

Genres: Drama

IMDB rating: 5.90

Starring:

Phillippe Halsman - Ben Silverstone

Richard Pressburger - Patrick Swayze

Directors: Joshua Sinclair

Plot Summary: JUMP is a psychological drama revealing for the first time the extraordinary circumstances behind the unjust murder trial of the young Jew, Philippe Halsman, who would later become the most sought after celebrity portrait photographer of his generation. Set in 1928 Austria during the rise of fascism, the story documents the corrupt relationship between Philippe and his father, the events leading to his father's death, and focuses a sharp but delicate eye upon the anti-Semitic atmosphere that quickly led to Philippe's conviction. On a September afternoon in the heart of the picturesque Alps, two Latvian tourists, 22-yr old Philippe Halsman, a soft-spoken, compassionate engineering student and his overbearing father Morduch undertook a hiking tour. Though he loved his father deeply, the seething dynamic between them never allowed this affection to surface. By the end of the day, Morduch Halsman, a stubborn, aggressive, well-to-do dentist, determined to "make a man" of his son by the brute force of physical labor, was dead. Philippe maintained that his father had fallen and was still alive when he ran for help, but when he returned, his father's body lay face down, his head split open with an ax, his blood and belongings strewn about the area. With vague circumstantial evidence pointing to Philippe, he was immediately arrested and charged with patricide. No one wanted to defend an outsider, let alone a Jew, and the local community hoped for a speedy trial that would wash their hands of the monstrous act. Deliberately uninformed of his rights, Philippe was left in the dark of his cold cell until his mother and sister, alerted to the crisis, managed to procure a lawyer from the Jewish quarter in Vienna. With no time to prepare his case, Philippe and his passionate lawyer were left scrambling as the trial began. While witnesses steered their testimony towards a guilty verdict, and while the courtroom saw such gruesome evidence as Morduch's head, severed from his body by local autopsists, Philippe found himself so alienated he could not even bring himself to help his own cause. Enraged that the trial was conducted with such hostility towards him, he sat brooding with anger, given to frequent outbursts of frustration. In a mere four days, the highly-charged, emotional trial came to a close. Though no evidence or any clear motive had been established, the deliberation was over as soon as it began. Philippe Halsman was convicted of patricide and sentenced to ten years in prison thus becoming the first Jewish victim of the incipient anti-Semitism of National Socialism. Not until well-known international figures such as Albert Einstein, Sigmund Freud and Thomas Mann rallied to his cause, demanding a fair trial, was Philippe freed. Under the condition that he never return to Austria, he made his way out of the country harboring the darkest of wounds. Not only was he never allowed to properly grieve his father's death, but he would forever be haunted by visions of his falling father, of the severed head, and the black hole of his own memory, filled with doubt, guilt and grief. Though he never spoke publicly about that fateful summer, its influence was sharply felt in the photography that would soon make Philippe famous. Commissioned by the likes of Marilyn Monroe, Brando, Picasso, Nixon and the Kennedys, Halsman turned formal fashion shots into serious investigations of character. Engaging his subjects in disarming chatter, he would often ask them to jump, which he believed would free them of their postures and defenses. "When you ask a person to jump, his attention is mostly directed toward the act of jumping and the mask falls so that the real person appears." From surrealist flourishes such as headless bodies or bodiless heads, to "jumpology", which would become his trademark, Philippe pursued his quest to uncover the hidden truths behind the masks of his subjects. But only in private would he turn this investigation upon himself. It seems that Philippe was able to witness his father's true character in that horrible moment so many years ago, and perhaps, in doing so, was able to love him in absolute. But as to the question of murder, obscured by the trauma of the moment and the whirlwind of prejudice in its aftermath, Philippe himself was rendered impotent to answer.

Star Trek: The Motion Picture (Paramount, 1979) by Morbius19

2

Star Trek: The Motion Picture (Paramount, 1979).

putlocker.bz/watch-star-trek-the-motion-picture-online-fr... Full Feature

Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, Stephen Collins, Grace Lee Whitney, Mark Lenard. Directed by Robert Wise.

In Klingon space, three Klingon battle cruisers encounter a huge cloud-like anomaly. On the bridge of one of the ships, the captain (Mark Lenard) orders his crew to fire torpedoes at it, but they have no effect. The ships take evasive action.

Meanwhile, in Federation space, a monitoring station, Epsilon 9, picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, energy beams shoot out and engulf each ship one by one, and they vanish. On Epsilon 9, the crew tracks the course of the cloud and discovers that it is headed for Earth.

On Vulcan, Spock (Leonard Nimoy) has been undergoing the kohlinahr ritual, in which he has been learning how to purge all of his emotions, and is nearly finished with his training. A female Vulcan Master (Edna Glover), surrounded by two men, is about to give him an ornate necklace as a symbol of pure logic, when Spock holds out his hand to stop her. Confused, she mind-melds with him and senses a consciousness calling to him from space that is affecting his human side. She drops the necklace. "You have not yet achieved kohlinahr. You must look elsewhere for your answer," she says as they leave Spock. "You will not find it here."

In San Francisco, Admiral James T. Kirk (William Shatner) arrives at Starfleet Headquarters in a shuttlecraft. He sees Commander Sonak (Jon Rashad Kamal), a Vulcan science officer who is joining the Enterprise crew and recommended for the position by Kirk himself. Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Willard Decker (Stephen Collins), the new captain of the Enterprise, wanted him to complete his science briefing at Headquarters before they left on their mission. The Enterprise has been undergoing a complete "refitting" for the past 18 months and is now under final preparations to leave, which would take at least 20 hours, but Kirk informs him that they only have 12. He tells Sonak to report to him on the Enterprise in one hour; he has a short meeting with Admiral Nogura and is intent on being on the ship.

Kirk transports to an office complex orbiting Earth and meets Montgomery Scott (James Doohan), the Enterprise's chief engineer. Scotty expresses his concern about the tight departure time. The cloud is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range. Scotty says that the refit can't be finished in 12 hours, and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk insists that they are leaving, ready or not. They board a travel pod and begin the journey over to the drydock in orbit that houses the Enterprise.

Scotty tells Kirk that the crew hasn't had enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain. Kirk tells Scotty that two and a half years as Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scotty that Starfleet gave him back his command of the Enterprise. Scotty doubts it, saying that he doesn't think it was that easy with Admiral Nogura, who gave Kirk his orders. They arrive at the Enterprise, and Scotty indulges Kirk with a brief tour of the new exterior of the ship.

Upon docking with the ship, Scotty is summoned to Engineering. Kirk goes up to the bridge, and is informed by Lt. Uhura (Nichelle Nichols) that Starfleet has just transferred command from Captain Decker over to him. Kirk finds Decker in engineering, whom is visibly upset when Kirk breaks the news that he is assuming command, but recognizes it is because Kirk has more experience. Decker will remain on the ship as 2nd officer. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Kirk and Scotty race to the transporter room. Transporter operator Janice Rand (Grace Lee Whitney) is frantically trying to tell Starfleet to abort the transport, but it is too late. Commander Sonak and an unknown female officer are beaming in, but their bodies aren't re-forming properly in the beam. The female officer screams, and then their bodies disappear. Starfleet signals to them that they have died. Kirk tells Starfleet to express his sympathies to their families.

In the corridor, Kirk sees Decker and tells him they will have to replace Commander Sonak and wants another Vulcan. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well.

In the recreation room, as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon 9. Commander Branch (David Gautreaux) tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 2 A.U.s (300 million km) in diameter. There is also a vessel of some kind in the center. They've tried to communicate with it and have performed scans, but the cloud reflects them back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon 9 disappears.

Later on the bridge, Uhura informs Kirk that the transporter is working now. Lt. Ilia, (Persis Khambatta), a bald being from the planet Delta IV, arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her planet several years earlier. Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last few crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that "he" beams up.

Kirk tells Starfleet to beam the officer aboard. Dr. Leonard "Bones" McCoy (DeForest Kelley) materializes on the platform. McCoy is angry that his Starfleet commission was reactivated and that it was Kirk's idea for him to be brought along on the mission. His attitude changes, however, when Kirk says he desperately needs him. McCoy leaves to check out the new sickbay.

The crew finishes its repairs and the Enterprise leaves drydock and into the solar system. Dr. McCoy comes up to the bridge and complains that the new sickbay is nothing but a computer center. Kirk is anxious to intercept the cloud intruder, and orders Hikaru Sulu (George Takei) to go to warp speed. Suddenly, the ship enters a wormhole, which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside. Kirk orders the phasers to be fired on it, but Decker tells Pavel Chekov (Walter Koenig) to fire photon torpedoes instead. The asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. Dr. McCoy decides to go along.

Kirk demands an explanation from Decker. Decker pointed out that the redesigned Enterprise channeled the phasers through the main engines and because they were imbalanced, the phasers were cut off. Kirk acknowledged that he had saved the ship; however, he accuses Decker of competing with him. Decker tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in jeopardy. Decker tells Kirk that he will gladly help Kirk understand the new design. Kirk then dismisses him from the room. In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV, or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She says "no," and walked around him and entered her quarters nearby.

Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise. McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen, Uhura informs Kirk that a shuttlecraft is approaching and that the occupant wishes to dock. Chekov also pipes in and replies that it appears to be a courier vessel. Kirk tells Chekov to handle the situation.

The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock behind the bridge. Chekov is waiting by the airlock doors and is surprised to see Spock come aboard. Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties. He offers to step in as the science officer. McCoy and Dr. Christine Chapel (Majel Barret Roddenberry) come to the bridge to greet Spock, but Spock just stares alarmingly at their emotional outburst. Spock leaves to discuss fuel equations with Scotty in engineering.

With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud. In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kohlinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have visual contact with the intruder.

The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura tries sending "linguacode" messages, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition, and discovers it has a 12-power energy field, the equivalent of power generated by thousands of starships.

Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled; it contacted the Enterprise--why has the Enterprise not replied? A red alert sounds, and an energy beam from within the cloud touches the ship, and begins to overload the ship's systems. Bolts of lightning surround the warp core and nearly injure some engineering officers, and Chekov is also hurt--his hand is burned while sitting at the weapons station on the bridge. The energy beam then disappears. A medical team is summoned to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.

Spock confirms to Kirk that the alien has been attempting to communicate. It communicates at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears. The ship continues on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. It is roughly cylindrical in shape, with large spikes jutting out from the surface at equidistant angles between each other, forming a hexagon-like shape.

Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them. Kirk orders Sulu to fly above and along the top of the vessel. The Enterprise is so small compared to the size of the alien vessel that it appears only as a little white dot next to it. The ship travels past many oddly-shaped structures, including a sunken area where the energy beams originate.

An alarm sounds, and yet another energy bolt approaches the ship. It appears on the bridge as a column of bright light that emits a very loud noise. The crew struggles to shield their eyes from its brilliant glow. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel. The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console--it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor. The probe approaches the helm/navigation console and it scans Lt. Ilia. Suddenly, she vanishes, along with the probe.

Ahead of the ship looms another giant section of the vessel. A tractor beam is drawing the Enterprise toward an opening aperture. Decker calls for Chief DiFalco (Marcy Lafferty) to come up to the bridge as Ilia's replacement. The ship travels deep into the next chamber. Decker wonders why they were brought inside--they could have been easily destroyed outside. Spock deduces that the alien is curious about them. Uhura's monitor shows that the aperture is closing; they are trapped. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section.

Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her--there is a small red device attached to her neck. In a mechanized voice, she replies "You are the Kirk unit--you will listen to me." She explains that she has been programmed by an entity called "V'Ger" to observe and record the normal functions of the carbon-based units (humans) "infesting" the Enterprise. Kirk opens the shower door and "Ilia" steps out, wearing a small white garment that just materialized around her. Dr. McCoy and a security officer enter the room, and Kirk tells McCoy to scan her with a tricorder.

Kirk asks her who V'Ger is. She replies "V'Ger is that which programmed me." McCoy tells Kirk that Ilia is a mechanism and Spock confirms she is a probe that assumed Ilia's physical form. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'Ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it. Spock suggests that McCoy perform a complete examination of the probe.

In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe. Decker arrives and is stunned to see her there. She looks up at him and addresses him as "Decker", rather than "Decker unit," which intrigues Spock. Spock talks with Kirk and Decker in an adjoining room, and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations. He tells her that Decker will do it with more efficiency.

Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise. Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment has no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it. The table lights up, indicating she won the game, and she gazes into Deckers eyes. This moment of emotion ends suddenly, and she returns to normal. "This device serves no purpose."

"Why does the Enterprise require the presence of carbon units?" she asks. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. "When my examination is complete, all carbon units will be reduced to data patterns." He tells her that within her are the memory patterns of a certain carbon unit. He convinces her to let him help her revive those patterns so that she can understand their functions better. She allows him to proceed.

Spock slowly enters an airlock room. He sees an officer standing at a console, his back to Spock. Spock quietly approaches him, and gives him the Vulcan nerve pinch to render him unconscious.

Decker, the probe, Dr. McCoy, and Dr. Chapel are in Ilia's quarters. Dr. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV. The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'Ger. She says that she can't, and Decker asks her who the Creator is. She says V'Ger does not know. The probe becomes emotionless again and removes the headband.

Spock is now outside the ship in a space suit with an attached thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien. He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior.

Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth. Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into orbit. Chekov tells Kirk that Airlock 4 has been opened and a thruster suit is missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship. He changes his mind, and instead tells him to determine his position.

Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.

Continuing his log entry, Spock sees an image of what he believes to be V'Gers home planet. He passes through a tunnel filled with crackling plasma energy, possibly a power source for a gigantic imaging system. Next, he sees several more images of planets, moons, stars, and galaxies stored and recorded. Spock theorizes that this may be a visual representation of V'Gers entire journey. "But who or what are we dealing with?" he ponders.

He sees the Epsilon 9 station, and notes to Kirk that he is convinced that all of what he is seeing is V'Ger; and that they are inside a living machine. Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind-meld with it. He is quickly overwhelmed by the multitude of images flooding his mind, and is thrown backward.

Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr. Chapel and Dr. McCoy are examining Spock in sickbay. Dr. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind-meld. Spock tells Kirk he should have known and Kirk asks if he was right about V'Ger. Spock calls it a conscious, living entity. Kirk explains that V'Ger considers the Enterprise a living machine and it's why "Ilia" refers to the ship as an entity and the crew as an infestation.

Spock describes V'Ger's homeworld as a planet populated by living machines with unbelievable technology. But with all that logic and knowledge, V'Ger is barren, with no mystery or meaning. He momentarily lapses into sleep but Kirk rouses him awake to ask what Spock should have known. Spock grasps Kirk's hand and tells him "This simple feeling is beyond V'Ger's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. 'Is this all that I am? Is there nothing more?'"

Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet. The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is three minutes from Earth orbit. Kirk acknowledges and he, McCoy and Spock go up to the bridge.

Starfleet sends the Enterprise a tactical report on the intruders position. Uhura tells Kirk that V'Ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'Ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'Ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'Ger and positions itself above Earth. Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.

McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth. "Why?" Kirk asks "Ilia." She says that the carbon unit infestation will be removed from the Creator's planet as they are interfering with the Creator's ability to respond and accuses the crew of infesting the Enterprise and interfering in the same manner. Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true life forms like the Creator. McCoy realizes V'Ger must think its creator is a machine.

Spock compares V'Ger to a child, and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded. The Ilia probe demands that the Creator "disclose the information." Kirk won't do it until V'Ger withdraws all the orbiting devices. In response to this, V'Ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a "tantrum."

Kirk tells the probe that if V'Ger destroys the Enterprise, then the information it needs will also be destroyed. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'Ger is going to destroy all life on Earth. "Ilia" says that they have oppressed the Creator, and Kirk makes it clear he will not disclose anything. V'Ger needs the information, says "Ilia." Kirk says that V'Ger will have to withdraw all the orbiting devices. "Ilia" says that V'Ger will comply, if the carbon units give the information.

Spock tells Kirk that V'Ger must have a central brain complex. Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information cant be disclosed to V'Ger's probe, but only to V'Ger itself. "Ilia" stares at the viewscreen, and, in response, the aperture opens and drags the ship forward with a tractor beam into the next chamber. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scotty on the intercom and tells him to stand by to execute Starfleet Order 2005; the self-destruct command. A female crewmember asks Scotty why Kirk ordered self-destruct, and Scotty tells her that Kirk hopes that when they explode, so will the intruder.

The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel. Kirk goes over to Spock's station, and sees that Spock has been crying. "Not for us," Kirk realizes. Spock tells him he is crying for V'Ger, and that he weeps for V'Ger as he would for a brother. As he was when he came aboard the Enterprise, so is V'Ger now--empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'Ger hasn't. Decker wonders what V'Ger would need to fulfill itself.

Spock comments that each one of us, at some point in our lives asks, "Why am I here?" "What was I meant to be?" V'Ger hopes to touch its Creator and find those answers. DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Chekov replies that an oxygen/gravity envelope has formed outside of the ship. "Ilia" points to the structure on the screen and identifies it as V'Ger. Uhura has located the source of the radio signal and it is straight ahead. A passageway forms outside the ship as Kirk Spock, McCoy, Decker, and "Ilia" enter a turbolift.

The landing party exits an airlock on the top of the saucer section and walks up the passageway. At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters V G E R. He continues to rub, and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program--it was designed to collect data and transmit it back to Earth. Decker tells Kirk that Voyager 6 disappeared through a black hole.

Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity. Spock theorizes that the planet's inhabitants found the probe to be one of their own kind--primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally, and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.

"Ilia" tells Kirk that V'Ger awaits the information. Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer, specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling--it's ready to transmit everything. Kirk then says that there is no one on Earth who recognizes the old-style signal--the Creator does not answer.

Kirk calls out to V'Ger and says that they are the Creator. "Ilia" says that is not logical--carbon units are not true life forms. Kirk says they will prove it by allowing V'Ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the code frequency and to transmit the signal. Decker reads off the numerical code on his tricorder, and is about to read the final sequence, but Voyager's circuitry burns out, an effort by V'Ger itself to prevent the last part of the code from being transmitted.

"Ilia" says that the Creator must join with V'Ger, and turns toward Decker. McCoy warns Kirk that they only have 10 minutes left. Decker figures out that V'Ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'Ger's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'Ger needs a human quality in order to evolve. Decker thinks that V'Ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer. Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise.

Suddenly, a bright light forms around Decker's body. "Ilia" moves over to him, and the light encompasses them both as they merge together. Their bodies disappear, and the light expands and begins to consume the area. Kirk, Spock, and McCoy retreat back to the Enterprise. V'Ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new life form, and Spock says yes and that it is possibly the next step in their evolution. McCoy says that its been a while since he "delivered" a baby, and hopes that they got this one off to a good start.

Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lt. Ilia and Captain Decker. He quickly corrects his statement and changes their status to "missing." Vessel status: fully operational. Scotty comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scotty offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.

Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says "Out there, thataway." With that, the Enterprise flies overhead and engages warp drive.

youtu.be/4n2dGwYcp9k?t=8s Star Trek Theme

British-Museum London by Earth Traveler

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The british museum london is a museum that displays the human history as well as culture. The museum has nearly 7 million objects in its collection. The items have their origin from almost all of the continents. The objects are brought here from various cities of the world.

HTML by Egal-erie

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Série com o macho de Saíra-amarelo (Tangará cayana) - Series with the male of the Burnished-buff Tanager - 08-10-2010 - IMG_0110 by Flávio Cruvinel Brandão

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A text, in english, from www.arthurgrosset.com/sabirds/burnished-bufftanager.html :

Burnished-buff Tanager (Tangara cayana)

Male Burnished-buff Tanager, Parque Olhos D'água Brasília, Brazil, 20/07/2007.

There are several subspecies of Burnished-buff Tanager and they are normally divided into two groups: the cayana group found north of the Amazon and in Venezuela and Colombia, and the flava group found in south and east Brazil.

Male Burnished-buff Tanager.

The main difference between the two groups is that the male of the flava group, as shown in the first two photos, has a broad black line running from the throat down the middle of the belly. This is lacking in the cayana group. The female is much duller and lacks the black below.

Male Burnished-buff Tanager.

They are found in savannas, cerrado, gallery woodland and forest borders.

Em Português:

Este saíra vive aos pares ou em pequenos grupos, freqüentando árvores com frutos maduros, como a aroeira-vermelha (Schinus terebinthifolia) e magnólias (Magnolia spp).

Alimentação: frutos e insetos como cupins e vespas.

Nidificação: o ninho, em forma de taça aberta, é feito com folhas, raízes e capins e envolto por finas raízes. Ele é colocado em ramos com folhas a cerca de 2 m do solo, em árvores baixas e isoladas. Os 2 ovos são esbranquiçados, azul-pálidos ou branco-pardos com manchas pardas num dos pólos. A fêmea, embora auxiliada pelo macho, é a responsável pela maior parte da construção do ninho, incuba os ovos e aquece os filhotes. Durante este período o macho permanece nas proximidades do ninho e alguns podem alimentar a fêmea. O macho auxilia também na alimentação dos filhotes.

Hábitat: matas abertas e ciliares, áreas cultivadas, parques e jardins.

Tamanho: 14,5 cm

Fonte: USP

# Tangara cayana, Saíra-amarelo, Burnished-buff Tanager

kern invite 08 - varsity by ralls by AndyNoise.Com

2

Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

www.andynoise.com/kernxcinvite08.html

Varsity Girls - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

1. Ridgeview Tijerra Lynch 18:58.24 1 1 1

2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1

3. Garces Monica Guzman 19:15.89 3 3 1

4. North Celilia Lopez 19:21.87 4 4 1

5. Ridgeview Ashley Duran 19:23.47 5 5 2

6. Ridgeview Jessica Huizar 19:25.81 6 6 3

7. Foothill Natalie Fernandez 19:35.65 7 7 1

8. East Lucia Garcia 19:46.20 8 x 1

9. Stockdale Amber Nelson 19:59.40 9 8 1

10. Taft Megan Thompson 20:01.34 10 x 1

11. Stockdale Carolin Haney 20:01.70 11 9 2

12. Stockdale Shelbe Pennel 20:03.86 12 10 3

13. Shafter Moriah Milwee 20:05.23 13 11 2

14. Ridgeview Desiree Armendariz 20:08.00 14 12 4

15. Arvin Tanya Hernandez 20:10.02 15 x 1

16. Highland Nichole Berry 20:19:01 16 13 1

17. BHS Sarah Baker 20:25.37 17 14 1

18. North Medeline Maier 20:29.38 18 15 2

19. Ridgeview Monica Lazo 20:33.39 19 16 5

20. Shafter Lindsee Handel 20:36.70 20 17 3

21. Centennial Jessica Folsom 20:41.80 21 18 1

22. BHS Emily Shuford 20:45.35 22 19 2

23. Ridgeview Linda Gonzalez 20:58:28 23 20 6

24. BHS Gabrielle Lerma 21:03.97 24 21 3

25. Stockdale Courtney Moore 21:06.02 25 22 4

26. North Meagan Menzel 21:10.17 26 23 3

27. BHS Gracie Garcia 21:11.76 27 24 4

28. Foothill Perla Veloz 21:13.21 28 25 2

29. Foothill Crystal Rodriguez 21:20.30 29 26 3

30. Independence Katelynn Webb 21:21.51 30 27 1

31. Golden Valley Karina Rocha 21:23.57 31 28 1

32. Shafter Katerina Plaza 21:27.21 32 29 4

33. North Blanca Perez 21:27.98 33 30 4

34. Wasco Amanda Castellon 21:28.25 34 31 1

35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4

36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1

37. Highland Gabi Rodier 21:34.56 37 34 2

38. Centennial Margaret Martinez 21:35.39 38 35 2

39. Stockdale Cynthia Lopez 21:35.61 39 36 5

40. Centennial Jessica Crowe 21:43.49 40 37 3

41. Highland Hilaria Vasquez 21:43.76 41 38 3

42. North Yadira Perez 21:49.62 42 39 5

43. Foothill Erica Castro 21:53.39 43 40 5

44. Centennial Stephanie Dittman 21:55.56 44 41 4

45. Independence Natalie Ambriz 22:08.45 45 42 2

46. Stockdale Madison Schutzner 22:14.92 46 43 6

47. Highland Katherine Mayberry 22:16.42 47 44 4

48. Centennial Jorey Braughton 22:18.95 48 45 5

49. North Kaylee Meyer 22:20.98 49 46 6

50. Garces Lauren Brown 22:21.19 50 47 2

51. Golden Valley Denise Silva 22:23.90 51 48 2

52. Foothill Violeta Quintanar 22:24.92 52 49 6

53. Highland Desiree Martinez 22:25.59 53 50 5

54. Independence Sara Sullivan 22:25.95 54 51 3

55. Garces Lizbeth Lopez 22:28.11 55 52 3

56. Garces Tammy Vu 22:35.68 56 53 4

57. West Selam Habebo 22:39.75 57 x 1

58. Shafter Leana Lara 22:51.69 58 54 5

59. Independence Carlie Croxton 22:55.06 59 55 4

60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1

61. Foothill Maria Zepeda 22:57.55 61 56 7

62. Garces Marissa Machado 22:57.92 62 57 5

63. Shafter Mayra Torres 23:00.88 63 58 6

64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3

65. Ridgeview M. Salgado 23:14.56 65 60 7

66. Golden Valley Anna Avina 23:20.23 66 61 4

67. Golden Valley Ninive Alveno 23:26.73 67 62 6

68. Golden Valley Mercedes Salgado 23:26.73 68 63 5

69. Centennial Paige Anderson 23:30.27 69 64 6

70. Garces Sammie Lobardo 23:34.37 70 65 6

71. Arvin Bianca Quinonez 23:41.85 71 x 2

72. Kern Valley S. Hinkey 23:42.47 72 x 1

73. Frontier Ariel Driskill 23:43.12 73 66 1

74. Centennial J. Estrada 23:50.91 74 67 7

75. Kern Valley S. Hazzard 23:51.80 75 x 2

76. Garces G. Ortiz 23:54.66 76 68 7

77. North Priscilla Cruz 23:55.51 77 69 7

78. BHS Kristina Logan 24:04.10 78 70 5

79. Frontier Jasmine Mattos 24:05.42 79 71 2

80. Stockdale Delilah Diaz 24:10.83 80 72 7

81. West Wennie Agbalog 24:28.90 81 x 2

82. Wasco Anna Orozco 24:29.57 82 73 2

83. Wasco Ruby Jacabo 24:30.22 83 74 3

84. Tehachapi Anna Duke 24:33.57 84 75 2

85. Wasco S. Castellon 24:42.66 85 76 6

86. Independence Shelby Woolf 24:58.35 86 77 6

87. BHS Sarah Stidham 24:58.76 87 78 6

88. Arvin Gaby Gomez 25:04.17 88 x 3

89. Highland Cristina Valenzuela 25:05.21 89 79 6

90. McFarland Monica Gonzalez 25:42.30 90 x 1

91. Tehachapi Susie Cuevas 25:57.15 91 x 3

92. Wasco B. Medina 26:00.11 92 80 4

93. Cesar Chavez Shannan Albay 26:00.32 93 x 2

94. BC Tiffany Rodriguez 26:26.77 94 x 1

95. Tehachapi Ariel Deval 26:50.73 95 81 4

96. Wasco A. Rios 27:14.74 96 82 5

97. Independence Samantha Antu 27:17.44 97 83 5

98. Tehachapi L. Shoemaker 27:44.92 98 84 5

99. BC Victoria Wheeler 28:09.47 99 x 2

100. Tehachapi J. Bahera 29:20:93 100 85 6

101. Frontier T. See 29:29.12 101 86 3

102. Frontier Savanah Olson 30:18.04 102 87 4

103. Frontier A. Rojas NT 103 88 5

Λαχτάρα by Sean M. Ball

6

Εισαγωγή

χριστιανική ταινία «Λαχτάρα» Ο Θεός αποκαλύπτει το μυστήριο της βασιλείας των ουρανών

Πριν από δύο χιλιάδες χρόνια, ο Κύριος Ιησούςυποσχέθηκε στους πιστούς του: «υπάγω να σας ετοιμάσω τόπον· και αφού υπάγω και σας ετοιμάσω τόπον, πάλιν έρχομαι και θέλω σας παραλάβει προς εμαυτόν, διά να είσθε και σεις, όπου είμαι εγώ.» (Κατά Ιωάννην, 14:2-3). Λόγω αυτού, γενιές πιστών επιμένουν πεισματικά να ελπίζουν και να προσεύχονται για την εκπλήρωση της υπόσχεσης του Κυρίου. Ελπίζουν και προσεύχονται ότι θα αρπαγούν στους ουρανούς για να συναντήσουν τον Κύριο και να μπουν στη βασιλεία των ουρανών, όταν έρθει ο Κύριος. Αυτό περιγράφει και τον πρωταγωνιστή της ταινίας, Τσεν Σιάνγκ-Γκουάνγκ. Είναι ενθουσιώδης αναζητών, διαδίδει το Ευαγγέλιο και γίνεται μάρτυρας στον Κύριο, για να υποδεχτεί την έλευση του Κυρίου. Αν και απολύθηκε από τη θέση του σε ένα σχολείο και η οικογένειά του δεν του δείχνει κατανόηση, στην καρδιά του ποτέ δεν απελπίζεται. Μια μέρα, σε κάποια συνάντηση, ο Τσεν Σιάνγκ-Γκουάνγκ συλλαμβάνεται και φυλακίζεται από την κινέζικη κομμουνιστική κυβέρνηση. Κάτω από τη θαυμαστή εξουσία και τα σχέδια του Θεού, γνωρίζει τον Ζάο Ζιμίνγκ, έναν Χριστιανό από την Εκκλησία του Παντοδύναμου Θεού. Ο Ζάο Ζιμίνγκ του δίνει τη μαρτυρία του για την εμφάνιση και το έργο του Θεού τις έσχατες ημέρες, δίνοντας τέλος σε μια σειρά ετών γεμάτα αντιλήψεις και φαντασίες, στα οποία έλπιζε και προσευχόταν για την επιστροφή του Κυρίου. Βγαίνοντας από τη φυλακή, ο Τσεν Σιάνγκ-Γκουάνγκ οδηγεί τους αδελφούς και τις αδελφές του να ερευνήσουν το έργο του Παντοδύναμου Θεού τις έσχατες ημέρες. Τελικά, όλοι καταλαβαίνουν τι σημαίνει η αρπαγή στη Βασιλεία των Ουρανών, αν η βασιλεία είναι στη γη ή στον ουρανό και πώς πρέπει οι άνθρωποι να υποδεχτούν την επιστροφή του Κυρίου...

Πηγή εικόνας: Εκκλησία του Παντοδύναμου

Όροι Χρήσης: el.kingdomsalvation.org/disclaimer.html

Fail : Hina Khar, Financial Adviser of Failed Pakistani Economy. by nahl

3 6

Hina Rabbani Khar www.thesaturdaypost.com/rv_37_hinakhar.html (Urdu: حنا ربانی کھر ) (born 1977) is a Pakistani member of parliament, affiliated with the PPP. She served as the State Minister for Economic Affairs and Statistics (without any real world experience or academic qualification) as National Assembly member of PML-Q in (2003-2007) & as an MNA and adviser to Prime Minister for PPP (2008 - Present). Q was heavily defeated in 2008 Elections due to economic mismanagement and shortage of food, water and energy. Q refused the ticket for re-election in 08 to Hina Khar. PPP resuced Hina Khar by offering her the ticket in 08. She is PPPs federal minister these days.

Hina Rabbani Khar is rich and famous privileged daughter of feudal politician Ghulam Noor Rabbani Khar who was ineligible for elections because he did not have a university degree www.verveonline.com/26/people/tehmina/tehmina.shtml) and niece of infamous playboy ( www.jazbah.org/bookmfl.php chief minister of Punjab Ghulam Mustafa Khar, who abandoned Bhutto and was exiled from Pakistan for a decade in 77 in a deal with General Zia, to avoid jail time. The Khar political lure comes from the family's land holdings: their sprawling estate includes fisheries, mango orchards and sugarcane fields manned by thousands of poor workers of Punjab. www.guardian.co.uk/world/2008/feb/18/pakistan

Khar received a B.Sc. from Lahore University of Management Sciences in 1999 and went on to earn a M.Sc. in hospitality trade and tourism from the University of Massachusetts in 2001. In 2008, she was named to the World Economic Forum's list of young global leaders.In 2008, Hina was elected as a member of National Assembly with a ticket from PPP from the constituency of Muzaffargarh, Punjab. She is adviser to Prime Minister of Pakistan on Economic and Financial affairs.

She owns an upscale ritzy restaurant Polo Lounge with expensive european menu www.dailytimes.com.pk/default.asp?page=story_18-1-2004_pg... in Lahore. She Says: This is a place for people with discerning taste who can appreciate good quality food and (upscale) environment.Her dream is to become Prime Minister of Pakistan one day and possibly join PML(n) in next government. She regards Musharraf and Zardari as visionary leaders. www.pakistanileaders.com.pk/profilesdetail.php?id=257

And talking of failures, it was most interesting to see Hina Rabbani Khar vent her ire at the miserable performance of the previous Shaukat Aziz government. It is amazing how some of our politicians change their views and loyalties effortlessly in tune with changing times. It was not that long ago that the same Hina Rabbani Khar could be heard praising Shaukat Aziz and his economic genius to no end. Of course at the time, she was sitting on the PML-Q occupied treasury benches. Being a wily Khar after all, she smelled the change in the air and joined the PPP a few weeks prior to the general elections and she is, once again, looking pretty and sitting pretty as always on the treasury benches. On a second thought maybe her politics is constant: that of occupying a treasury bench. Period!

www.thenews.com.pk

/print1.asp?id=118520

She says she loves diamonds, pearls, rubies, designer purses, expensive shades and fast expensive cars. She admits she knows nothing about real economics or finance but loves to give interviews about Pakistan Economy and pretend to be expert. or sit with global financial leaders and sign documents, she says my job is to charm western leadership by looking good. When asked what she likes about her job, after a long pause she replied, frequent free first class trips outside Pakistan, staying in luxury hotels, shopping and receiving expensive gifts.

Our feudal and their kins have always saluted the power and the rule, and their this flexibility has made them the masters of our wretched destinies.

www.pakspectator.com/hina-rabbani-khar-changes-skin/

Dean Torrence - Photo taken 1987 Concert at Wasaga Beach,Ontario,Canada by Los Toros

2

Photos taken of Jan and Dean taken June 1987 at the Dardenella Bar at Wasaga Beach

After concert Jan signed autographs for concert goers.In 2004 Jan Berry

died. Today Dean Torrence still tours.

For more information on Jan and Berry check websites below :

www.jananddean-janberry.com/main/

www.surfcityallstars.com/torrence.html

JAN AND DEAN

Jan Berry and Arnie Ginsburg decided they had what it took to be a music act. How hard could it be? Seems Arnie had come up with a song based on a real person...a stripper named Jennie Lee, "The Bazoom Girl," charter member of the "League of Exotic Dancers." Arnie, 18 years old and sowing a few wild oats, had caught her act at an L.A. burlesque club. It was 1958; Jan was still in high school and missed out on Arnie's "adult" excursion. The guys got together in the garage at Jan's home in Westwood with an Ampex reel-to-reel recorder Jan's dad had gotten him and began harmonizing, doo wop style, while another friend, Donald Altfeld, supplied makeshift percussion (banging on sticks). A primitive, echo-drenched version of "Jennie Lee" was the result.

It didn't take much effort on the part of Jan and Arnie to get the song released on Arwin Records, owned by Doris Day's husband Marty Melcher. Joe Lubin, A&R man for the Hollywood-based label, heard the tape and felt strongly enough about its potential that he got together with the guys do a more polished version, but insisted on duplicating the sound he heard on the tape. An all night session with Lubin in Jan's garage produced a second take as well as "Gotta Getta Date," written on the fly by the three and recorded in the early morning hours for use as the single's B side. Back in the studio, Lubin hired the best session men in town (guitarist Rene Hall, saxophonist Plas Johnson, pianist Ernie Freeman and drummer Earl Palmer) and overdubbed the band for the finished product. It was an unconventional way to make a record...but not all that uncommon in the early rock and roll environment of the late '50s.

The song caught on, hit big (top ten in June '58), and Berry and Ginsburg found themselves appearing onstage doing rock shows with some of the hottest names of the era in a blur of bright lights and adoring female fans that began to affect Arnie in a stressful, emotional way. Not everyone, it seems, is cut out for instant stardom. Jan was fine with it. The follow-up, "Gas Money" (Altfeld shared writer credit with Berry and Ginsburg on this one), hit the charts less impressively while hinting at a car-and-hot-rod direction the act (or Jan at least) would explore more deeply in the future. The third Arwin single didn't sell and the duo appeared to be done, which was okay by Arnie, mentally and physically drained and ready to move into a less manic vocation. He quit to attend the University of Southern Cal, leaving Jan, wound up and ready for more, with the task of finding another singing partner.

An old football buddy, Dean Torrence, had just returned from six months' initial training with the U.S. Army Reserve and was game to take over where Ginsburg left off. The two had met at Emerson Junior High in Westwood several years earlier, playing on the school football team there and at University High School right up through graduation. Locker room harmonizing had become a regular routine with other school athletes joining in; roughhousing on the gridiron, singing in the showers. A school club called The Barons, counting Jan, Dean, future actor James Brolin and pounding-drum devotee Sandy Nelson among its members, did some impromptu singing as well. It was a no-brainer in 1959 for Jan and Dean to attempt to continue what Jan and Arnie had begun.

Budding record industry everyman Kim Fowley, another classmate of Jan, Arnie and Dean at University High, recommended the new duo to Lou Adler and Herb Alpert, producers at Los Angeles label Dore (upon meeting them, Adler said they had a "very California look" in contrast to the Philadelphia breed of teen idols saturating the biz at the time). For "Baby Talk" (penned by Melvin Schwartz), a recent release by Brooklyn doo wop group The Laurels, Jan and Dean put more emphasis on the song's nonsense baby syllables; their version hit the national top ten in September 1959. Several follow-up singles on Dore appeared on the charts in '59 and '60: Alpert and Adler's "There's a Girl," the oldtime standard "Clementine" (eclipsed by Bobby Darin's rendition, released at about the same time) and two older R&B hits-turned-teen-tunes, The Moonglows' "We Go Together" and The Crows' "Gee."

With a solid track record, Jan and Dean approached Liberty, one of L.A.'s top record companies, in the hopes of working with the label's bigtime hitmaking team and securing longer-term success. A demo of Hoagy Carmichael and Frank Loesser's 1938 tune "Heart and Soul" done up J&D style was rejected by the label, though they were interested in signing the duo. The two instead took the song to Gene Autry's Challenge Records, relying on their gut instinct that it would be a hit (even though a version by The Cleftones was already scaling the charts). It was; number one in Los Angeles in June '61 and a top 30 hit nationally (the markedly different-sounding Cleftones record did reach the top 20 a few weeks earlier, winning the overall competition). After one other Challenge 45, "Wanted, One Girl," Jan recorded a solo single, "Tomorrow's Teardrops," released by Alpert and Adler on a "just for fun" label, Ripple Records. In late 1961, Jan and Dean signed a long-term contract with Liberty.

Early Liberty efforts were a bit directionless as they stayed with the previously established formula. "A Sunday Kind of Love" (a Louis Prima standard best known through Jo Stafford's 1947 hit and a 1953 R&B version by New York group The Harptones) hit the charts briefly in early 1962. "Tennessee," with a doo wop hook not unlike the ones in "Jennie Lee" and "Baby Talk," had a slightly better run a few months later. "Linda," written in the '40s by Jack Lawrence, showed promise when adjusted to Jan and Dean mode in spring 1963, a top 40 hit but just the third overall among more than a dozen releases since '59.

The Beach Boys had been together for two years and were really heating up at about this time, opening for Jan and Dean in concert and serving as the duo's backing band onstage. Jan began writing songs with the group's leader Brian Wilson and their composition of "Surf City" opened the world of surf music to J&D and hit number one on the charts in July '63. Suddenly Jan and Dean and the Beach Boys were competing with one another...and the leader of the latter was consorting with the enemy! Of course it was a friendly rivalry and Wilson continued to contribute songs, usually in collaboration with Berry and Roger Christian, a songwriter and well-known Los Angeles disc jockey. "Honolulu Lulu," a Berry-Christian-Spunky song ("Spunky" being another case of Lou Adler just "having fun"), was a fall '63 hit in the surf-and-beach vein, then Jan and Dean took the next logical step into the drag race craze (as the Beach Boys had done on the B sides of their last few surf hits) with the first of several hot rod and/or car songs. "Drag City," written by Berry, Christian and Brian Wilson, went top ten in January 1964.

Jan Berry began writing and producing outside acts, among them The Matadors, who backed Jan and Dean on many of their studio recordings. He and Art Kornfeld composed The Angels' 1963 hit "I Adore Him" and with Christian he contributed "Three Window Coupe" to The Rip Chords' run of car song smashes in '64. Dean Torrence went in another direction during what little free time he had, attending USC and studying a number of subjects, including architecture and science. At the start of 1964, the guys came up with a song that crossed the car craze with the "teen death" movement going strong since the start of the decade: "Dead Man's Curve" (the nickname of an actual stretch of Sunset Boulevard) was deemed a bit dark by Liberty Records brass, so they made sure it was backed with a "happy" song, "The New Girl in School," promoting the record as a double A side. Both songs were hits, but "Dead Man's Curve" was bigger and landed them back in the top ten. The song's impact didn't end there, though; in a couple of years it would become a permanent, and tragic, part of the Jan and Dean story.

Donald Altfeld turned a possible hallucination into a major hit for his longtime pals. One night while driving down Colorado Boulevard in Pasadena, he swore he saw a little old grandmother-type in a hot, souped-up rod speed past him. The illusion became reality after that, when he and Roger Christian wrote "The Little Old Lady (From Pasadena)," another top ten for Jan and Dean during the summer of '64. At the same time, the Dodge Dealers of Southern California came up with a series of TV commercials with actress Kathryn Minner as a Granny in '...a brand new shiny red Super Stock Dodge,' as the song described. The spots were popular and Minner became a star, causing a sensation at personal appearances and even appearing with Jan and Dean on the cover of their album titled after the hit song.

Next up was the theme from the summer film "Ride the Wild Surf" starring Fabian and Shelley Fabares, backed with "The Anaheim, Azusa and Cucamonga Sewing Circle, Book Review and Timing Association," the logical follow-up to "Little Old Lady," featuring an entire group of Grannies hipper than yourself. "Sidewalk Surfin'" made sure skateboarders weren't overlooked; it used the melody of Wilson's Beach Boys tune "Catch a Wave."

The T.A.M.I. Show was a big event for rock music fans, hosted by Jan and Dean during two nights of filming in October 1964 at the Santa Monica Civic Auditorium. Shot on videotape and later transferred to film for a theatrical premiere in December, the all-star concert featured James Brown, The Rolling Stones, Lesley Gore, The Supremes, J&D partners-in-crime the Beach Boys and many others. The film's theme, "(Here They Come) From All Over the World," was written by P.F. Sloan and Steve Barri (of The Fantastic Baggys, another sometimes-backup band for Jan and Dean) and a live performance by the duo was released as a single, even though the version heard at the beginning of the film was a studio recording.

Following the high of hosting one of the all time great, star-studded music movies, Jan and Dean's singles began showing sings of weakness. Like Brian Wilson, Berry and Torrence were huge fans of producer Phil Spector; "You Really Know How to Hurt a Guy" was produced by Jan in a Spectoresque "Wall of Sound" style and hit the top 40 at the start of summer 1965. Sloan and Barri's "I Found a Girl" had more in common with their early recordings and was also a top 40 hit. Jan released another solo single, his one attempt at a protest song, "The Universal Coward" (a takeoff on "The Universal Soldier," a fall '65 hit for both Donovan and Glen Campbell), but like the earlier Berry single, it didn't catch on. Meanwhile, Dean sang on the early 1966 Beach Boys hit "Barbara Ann." When the Batman TV series premiered on ABC-TV in January and immediately dominated in the ratings, the duo released their own "Batman" single (with no similarities to the show's theme by Neal Hefti), a cartoonish take on Gotham City's dependancy on the Caped Crusader.

If the best days were behind them, any chance of a resurgence was extinguished in April 1966 when Jan Berry ran into a parked truck while driving his Corvette Stingray not far from the location detailed so morbidly in "Dead Man's Curve." He suffered brain damage and paralysis resulting in limited use of his limbs, including his legs (doctors diagnosed that he would never be able to walk again). The likelihood of his making records or performing in the future was slim, but Dean Torrence continued solo, releasing several singles under the name of the duo. Their contract with Liberty had expired and the label released a few older recordings as singles, including the act's last top 40 hit that summer, "Popsicle" (a remix of a 1963 recording, "Popsicle Truck"). Dean formed the J&D label and licensed one track, "Yellow Balloon," to Columbia Records (competing in the spring of '67 with a version by a band named The Yellow Balloon, which became the hit). He also started his own company, Kittyhawk Graphics, geared specifically toward creating logos and cover art for music acts and, with artist Gene Brownell, won a Grammy Award in the category of Best Album Cover for designing the cover art for the 1971 release by the band Pollution.

There were no further chart appearances for the duo after 1967. Berry rehabbed successfully enough over the next few years to return to studio recording and the two worked together off and on. Live appearances were trickier, as Jan's struggles were all too obvious to concertgoers, but they kept at it and made regular appearances in the '70s and '80s as headliners (with a new backup band, Papa Doo Run Run, named after a variation on the lyrical intro of "The New Girl in School") and as an opening act for longtime colleagues The Beach Boys. Jan Berry passed away in 2004 at the age of 62. Dean Torrence still performs occasionally under the name The Jan and Dean Show in memory of his close friend and musical other half. Music fans will always keep that image of two guys with a "very California look" in their minds and hearts.

- Michael Jack Kirby

NOTABLE SINGLES:

Jennie Lee - 1958

by Jan and Arnie

Gas Money - 1958

by Jan and Arnie

Baby Talk - 1959

There's a Girl - 1959

Clementine - 1960

We Go Together - 1960

Gee - 1960

Heart and Soul - 1961

Wanted, One Girl - 1961

Tomorrow's Teardrops - 1961

by Jan Berry

A Sunday Kind of Love - 1962

Tennessee - 1962

Linda - 1963

Surf City - 1963

Honolulu Lulu - 1963

Drag City - 1963

Dead Man's Curve /

The New Girl in School - 1964

The Little Old Lady (From Pasadena) - 1964

Ride the Wild Surf /

The Anaheim, Azusa and Cucamonga Sewing Circle, Book Review

and Timing Association - 1964

Sidewalk Surfin' - 1964

(Here They Come) From All Over the World - 1965

You Really Know How to Hurt a Guy - 1965

I Found a Girl - 1965

The Universal Coward - 1965

by Jan Berry

A Beginning From an End - 1966

Batman - 1966

Popsicle - 1966

Fiddle Around - 1966

Yellow Balloon - 1967

Orecchini Html by lafra

6

Visto su Sdamy

Semua yang dengan Tulus Mengasihi Tuhan adalah Orang Jujur by Lisa Aggie

4

Lagu Pujian - Semua yang dengan Tulus Mengasihi Tuhan adalah Orang Jujur

Bait 1

Murni dan jujur, seperti anak kecil yang polos,

cemerlang dan penuh vitalitas muda,

mereka hanya mengasihi Tuhan, bebas dari daging, seperti malaikat yang datang ke dunia.

Tanpa tipu daya, hanya hati terbuka, mereka bermartabat.

Mereka memberikan hati kepada Tuhan dan memperoleh kepercayaan-Nya.

Mereka adalah orang-orang jujur yang dikasihi Tuhan.

Refrain

Biarkan firman Tuhan membimbing kita setiap hari,

maka kita diberkati dan Roh Kudus memimpin kita.

Kita menerima pengawasan Tuhan, hidup di hadapan-Nya.

Sungguh-sungguh mengasihi Tuhan berarti bersukacita.

Orang-orang jujur memperoleh keselamatan Tuhan dan memasuki kerajaan,

mereka akan hidup bersama Tuhan selamanya.

Kerajaan Kristus adalah surga bagi orang-orang jujur.

Dan itulah rumah mereka yang indah.

Bait 2

Semua yang mencintai kebenaran memiliki hati yang jujur dan pasti akan diberkati Tuhan.

Kita bersukacita dalam melakukan kebenaran.

Dengan menaati Tuhan, hati kita damai.

Kita takut akan Tuhan dan menjauhi kejahatan, hidup oleh firman Tuhan.

Hidup dalam firman Tuhan, kita telah dibebaskan.

Mengasihi Tuhan berarti sepenuhnya bahagia.

Refrain

Biarkan firman Tuhan membimbing kita setiap hari,

maka kita diberkati dan Roh Kudus memimpin kita.

Kita menerima pengawasan Tuhan, hidup di hadapan-Nya.

Sungguh-sungguh mengasihi Tuhan berarti bersukacita.

Orang-orang jujur memperoleh keselamatan Tuhan dan memasuki kerajaan,

mereka akan hidup bersama Tuhan selamanya.

Kerajaan Kristus adalah surga bagi orang-orang jujur.

Dan itulah rumah mereka yang indah.

Bait 3

Penghakiman dan hajaran Tuhan telah mentahirkanku, aku telah menjadi orang jujur yang menyenangkan Tuhan.

Aku korbankan diri untuk Tuhan dan tak meminta imbalan apa pun, aku merenungkan kehendak Tuhan dengan hati dan jiwaku.

Mengasihi Tuhan mendatangkan ketenangan dan kesenangan.

Kita hidup dengan mudah saat kita bertindak sesuai firman Tuhan.

Hanya Tuhan dan kebenaran yang ada di hati kita.

Firman Tuhan telah menjadi keseluruhan hidup kita.

Refrain

Biarkan firman Tuhan membimbing kita setiap hari,

maka kita diberkati dan Roh Kudus memimpin kita.

Kita menerima pengawasan Tuhan, hidup di hadapan-Nya.

Sungguh-sungguh mengasihi Tuhan berarti bersukacita.

Orang-orang jujur memperoleh keselamatan Tuhan dan memasuki kerajaan,

mereka akan hidup bersama Tuhan selamanya.

Kerajaan Kristus adalah surga bagi orang-orang jujur.

Dan itulah rumah mereka yang indah.

Rekomendasi:

🎦 Film Kristen Kisah nyata "UMAT KERAJAAN SURGA" Hanya menjadi orang jujur dapat memasuki kerajaan surga

O Mito da Mulher Limpinha - by CRISTIANE SEGATTO by Julia Vasconcellos

6 19

Meninas, Li uma Matéria da CRISTIANE SEGATTO - Colunista da Epoca outro dia e achei muito importante compartilhar

Ja tinha mandado pelo twitter mas vou deixar por aqui tb - segue o link - É fácil pegar hepatite B e C na manicure. Por que não dá para confiar na esterilização feita nos salões de beleza

Vou copiar alguns trechos que achei mais importante:

Ninguém sabe ao certo quantos são os portadores dos vírus B e C no Brasil. Estima-se algo entre 1,5 milhão e 4 milhões.

Os vírus podem danificar o fígado durante décadas sem dar o menor sinal.

É chocante perceber que todo esse sofrimento poderia ser evitado se normas básicas de higiene fossem efetivamente cumpridas.

Em TODOS os salões, encontrou práticas inadequadas.

As manicures não lavavam as mãos depois de atender cada cliente, não lavavam o material antes de colocá-lo no equipamento de esterilização, não usavam as autoclaves corretamente etc. Em um deles, as profissionais achavam que colocar os alicates no forninho elétrico seria suficiente. Tiravam pães de queijo da assadeira e colocavam os alicates no lugar. Inútil. O calor do forninho não é suficiente para matar os vírus.

Entre as manicures, a prevalência dos vírus da hepatite é maior que na população geral.

As manicures também tinham muitas dúvidas sobre a forma correta de higienizar o material. Para não correr risco de se infectar ou de infectar as clientes, a profissional precisa cumprir todos os passos a seguir. Na próxima vez em que for ao salão, observe se eles realmente foram cumpridos. É provável que você se assuste:

1) Antes de atender cada cliente, lavar as mãos ou usar álcool gel
2) Colocar as luvas. Usar um novo par a cada cliente
3) Usar lixa e palito descartáveis (um para cada cliente)
4) Abrir o pacote com o material esterilizado na frente da cliente
5) Usar uma toalha limpa ou descartável para cada cliente
6) Lavar os alicates, a espátula e outros instrumentos metálicos reutilizáveis com água, sabão e escova
7) Enxugar esse material com toalha limpa e colocá-lo no envelope especial para esterilização
8) Selar o envelope e colocá-lo na estufa ou na autoclave
9) A estufa não pode ser aberta durante a esterilização. Se uma manicure abrir a porta da estufa enquanto outra deixou o material lá dentro, a esterilização fica comprometida. É preciso manter a estufa funcionando durante uma hora ininterrupta, à temperatura de 170 graus
10) A autoclave é mais fácil de controlar porque funciona como uma panela de pressão. Basta colocar o envelope, fechá-la e esperar até o final da esterilização.

Se você gostou desses passos, espalhe o link e contribua para a saúde de todos. Outra opção é fazer um kit e levar o seu próprio material ao salão. Não basta levar apenas o alicate. “Levo acetona, esmalte, palito, espátula, alicate, tudo”,

Biennalist @ Venice Biennale by Thierry Geoffroy / Colonel : Artist

2

BIENNALIST @ Venice Biennale

www.emergencyrooms.org/biennalist.html

by www.colonel.dk and www.emergencyrooms.org

www.emergencyrooms.org/formats.html about other art format

------------about Venice Biennale history from wikipedia ---------

The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice

The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]

----------

#art #artist #artistic #artists #arte #artwork

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

#InstitutionalCritique

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

#biennalevenice

Institutional Critique

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

Culture, Collective History, Group of Portraits, Photographic Source

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

Personal Histories, Alter Egos and Avatars

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

, Photographic Source

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation

Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist

Unsung Joe - extra by angus mcdiarmid

4 6

As a supplement to the Unsung Joe piece on Franklin Parker, a bit-part actor who had tiny roles as newspaper reporters in 30 or so films in the 30s and 40s, here's a front-page news story from 1938 that he featured in, which represents the peak of his fame.

The movie star of the headline is Lyle Talbot, a B-movie actor who you probably haven't heard of (I certainly hadn't). He was in "Plan 9 From Outer Space" (1959), though, so he probably counts as one of Hollywood's immortals.

Franklin and Lyle, both Nebraska boys, had met when Lyle was the leading man in the stock theatre company in Lincoln, Nebraska. Their friendship survived the transition to Hollywood and the fact that Lyle got plenty of decent work while Franklin made do with walk-ons.

Here's what appeared under that headline in the October 25, 1938, edition of the Centralia Daily Chronicle:

"BEVERLY HILLS, Calif -- Trapped by fire on the second floor of his pretentious home here early today, Lyle Talbot, handsome leading man of the films, and his house guest, Franklin Parker, also an actor, leaped to safety early today.

They were taken to the Beverly Hills receiving hospital suffering painful burns. Their condition was declared by attendants to be serious."

Did 'pretentious' have a different meaning in 1938? If not, that would seem to be a needlessly harsh thing to say about the house of a guy who's lying in hospital with serious burns. The article continued:

"Talbot's hair was burned from his scalp and Parker's back was severely burned. The house was nearly demolished by the flames after the pair made their 20-foot leap ... Police theorized the fire may have been started by a burning cigarette, left in the living room. Talbot had entertained last night, authorities said they had learned, but all of the guests except Parker had left the home when the fire broke out."

The following day's papers carried another AP wire story about Parker and Talbot, to which the Galveston Daily News gave the headline: "Burns Inflicted Rescuing Friend From Fire May End Talbot's Screen Career". The story read:

"The red badge of courage belonged tonight to Screen Actor Lyle Talbot, hero of a fire that destroyed his $50,000 home, but the penalty of his heroism probably is a blighted screen career.

Talbot's hands, neck, arms and head were burned so severely he may never appear again before the cameras. He saved the life of his house guest, Franklin D Parker, also an actor, by dragging him from a fiery, smoke-filled bedroom to a second-storey ledge and safety.

Witnesses saw Talbot, trapped on the second floor by flames that started at ground level, trying desperately to drag Parker's unconscious form out on a porch roof from a bedroom. Talbot, choking with smoke, his pajamas aflame, finally got Parker to safety and then leaped 20 feet to the ground to assist firemen who had been summoned by neighbors.

The condition of both men was critical, said physicians at Cedars of Lebanon Hospital."

The story went on to say that Talbot's wife was staying with a friend whose husband was out of town (so perhaps the party at Talbot's house had been a sort of gals-free stag-do sort of affair) and then recounted Talbot's career to date, noting that his last role was in "I Stand Accused" (1938), in which he played a gangster "and met the usual screen death at the hands of the law."

Of Franklin, it said only: "Parker played on the New York stage several years ago. He has had several bit roles and a few featured parts since coming to Hollywood."

Franklin Parker: even when he makes the front page, it's in a bit part.

It seems that the pair's burns were less serious than they appeared to be, because they both continued to work as steadily as they had ever done, and photographs of Lyle Talbot in later years show him with a full head of hair and no visible scars.

Franklin died of a heart attack in 1962, at the age of 60, and Lyle lived until he was 92, in 1996, when he died of 'natural causes'.

What a <body> by Jesper Rønn-Jensen

3

Entire article on Justaddwater.dk: More Visual HTML Jokes

Perfect Rabbit Island Boat? by dr. rob

3

This is the Stanley Islander 19 Dual Console. Could it be the perfect Rabbit Island boat? We're currently searching for a boat for summer 2012 and weighing potential options. Built in Canada near Parry Sound it is specifically designed for use on Lake Huron around the rocky islands of eastern Georgian Bay. It is self bailing (it doesn't even have a bilge!), welded aluminum (as opposed to riveted), low maintenance, tough as nails, no-frills, and efficient... but also very expensive. I drove up to Canada to see it at the Toronto International Boat Show a few weeks ago and fell in love. Does anyone know where we could find one used? If so drop a line. Apparently they are very hard to come by because people hold on to them forever and there are very few that have been imported to the States. Other considerations include a used Boston Whaler Outrage 17, Grady White Sportsman 180, or Lund Alaskan 18. These are somewhat easier to find used but do not have the combination of aluminum construction and self-bailing hull (they are either one or the other). Aluminum seems like it would be much easier to maintain than fiberglass and more practical in situations adjacent to a rocky shoreline should it bump against the rocks or get pulled on shore. Which one would you go with? Other ideas? Post them below or on Facebook.

Memorial Sermon for Arthur Morson by Robert of Fairfax

3

[As transcribed by RGK1958, 14 March 2007. Anything in brackets [..] our my own notes to clarify or add historical context.

Mamee kept a copy of this sermon with her her entire life. So, it must have been truly sentimental to her.

The Mississippi Confederate Grave Registry indicates that Arthur Alexander Morson (20 Jun 1846 - 7 Oct 1914) is buried at Cedarlawn cemetery in Jackson, MS.

Name: Morson, Arthur A.

Born: Jun 20, 1846

Died: Oct 8, 1914, Van Winkle, MS

Rank & Unit: Pvt; Co. E, 3rd MS Inf

Cemetery, City, type Marker: Cedarlawn, Jackson, MS, Private

Enlisted: May 21, 1861

Discharged: Apr 26, 1865

County Contributor: Hinds

Cedarlawn cemetary is located at 2434 West Capitol Street, Jackson, Mississippi just south of Hawkins Field and east of Jackson Zoological park.

Based on the following transcription, the sermon was held in a little school house in Van Winkle. This could possible be Van Winkle Elementary School, 6 miles from Cedarlawn cemetery. It will be interesting to do further research to confirm the location.

]

I N M E M O R I A M

A. A. MORSON

[Arthur Alexander Morson, 1846 - 1914]

--o--

SERMON PREACHED AT MEMORIAL SERVICE

SUNDAY, OCTOBER 18, 1914

at

VAN WINKLE, MISSISSIPPI

By

REV. DR. E. T. EDMONDS

--o--

I want to read the Ninetieth Psalm:

"Lord, thou hast been our dwelling place in all generations.

Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting, thou art God.

Thou turnest man to destruction; and sayest, Return, ye children of men.

For a thousand years in thy sight are but as yesterday when it is past, and as a watch in the night.

Thou carriest them away as with a flood; they are as a sleep: in the morning they are like grass which growth up.

In the morning it flourisheth, and growth up; in the evening it is cut down, and withereth.

For we are consumed by thine anger, and by thy wrath are we troubled.

Thou hast set our iniquities before thee, our secret sins in the light of thy countenance.

For all our days are passed away in thy wrath: we spend our years as a tale that is told.

The days of our years are threescore years and ten; and if by reason of strength they be fourscore years, yet is their strength labour and sorrow; for it is soon cut off, and we fly away.

Who knoweth the power of thine anger? Even according to thy fear, so is thy wrath.

So teach us to number our days, that we may apply our hearts unto wisdom.

Return, O Lord, how long? And, let it repent thee concerning thy servants.

O satisfy us early with thy mercy; that we may rejoice and be glad all our days.

Make us glad according to the days wherein thou hast afflicted us, and the years wherein we have seen evil.

Let thy work appear unto thy servants, and thy glory unto their children.

And, let the beauty of the Lord our God be upon us: and establish thou the work of our hands upon us; yea, the work of our hands establish thou it."

UNQUOTE

Let us pray.

Almighty God, we come into Thy holy presence at this time, feeling very much our sense of need and our deep and great dependence upon Thee; that in Thee we live and move and have our being, and that from Thee cometh life, and breath, and all things.

Oh, God, we know not what the day or the hour may bring forth. We are in Thy hands and our destiny is with Thee, and we pray Thee, Father, to make us faithful to the duty and service of life, and so by faith to follow the leading of Thy providence, and we pray that we may be thoroughly guided by Thy spirit, and walk in the ways of peace and righteousness. Our hearts are very sad today, our Father, and very lonely, and we feel that at this hour we miss the dear one, who has left us very much; and we pray, Father, that his spirit may be with us today and worship with us, and we pray that his kind and gentle life may linger with us as a gracious fragrance and a blessed memory; and that his beautiful example may ever before the people of this community; and that others, the men of this community especially, may realize how much his life has meant, that they too may make their lives fruitful in the service of the Lord and of our Christ. And, Father in Heaven, we pray for the dear ones who have given up to Heaven the father and the husband. We pray that thou wouldst give them "beauty for ashes, the oil of joy for mourning, and the garment of praise for the spirit of heaviness."

And we pray, Father, that all of us, in our own way, may be faithful to the duty and service of life as he was; and when the hour shall come, if thou shouldst call us home in the morning, or at the midnight hour, we pray that we may be ready, as he was ready, to pass hence into the everlasting bliss beyond.

Oh, God, be with us, bless us, and lead us in Thine own wisdom. Help us to distrust ourselves and trust Thee and love Thee; and may Christ be ever regnant in our very hearts, and through His name and in His name, and by His blood, may we find peace and acceptance before Thee, and may Thy spirit be with us, fill us and possess us, and lead us, Father, to the eternal home, where thee shall be no death and no separation, and where we shall serve Thee world without end, through Jesus Christ. Amen.

Two verses of number five.

At the close of the service we will sing number two hundred eight, "Just as I am, Without One Plea."

I want to call your attention to a phrase in the Book of Isaiah, the sixty-foruth Chapter and sixth Verse: "But we are all as an unclean thin, and all our righteousnesses are a filthy rags, and we all do fade as a leaf; and our iniquities, like the wind, have taken us away."

"We all do fade as the leaf." There are a great many expressions in the Old Testament, especially about the brevity of life, and about the swiftness with which death may summon us to the beyond. We are told that our life is like a weaver’s shuttle; and we are told that death comes upon us like a flood. And we are told so frequently that we are like the grass and the flower of the grass, in the morning flourishing, in the evening cut down and withereth.

This phrase in the Book of Isaiah, "We all do fade as a leaf, "is a peculiarly suggestive expression that has often appealed to me, and especially at this season of the year. All the leaves fade.

I was brought up, friends, as a child and as a boy, until I was about twenty years old, indeed, in a country where the leaves never fade; where the bark changes on the tree, but the leaves are perpetually green---that is, the native trees. Of course imported trees that come from other continents bring with them their own habits. And so I must confess to the wonderment that came to me in the first autumn that I spent in Kentucky and beheld the fading leaves of the forest trees. All of the leaves fade: the leaves of the tiny bramble, and the leaves of the mighty oak. And so "death, with equal pace, knocks at the palace and the cottage gate."

And it is an important reflection, friends, to remember about the fading leaves, that they fade when their work is done. There is a very important office, if I may use that word, in the life and foliage of our trees. The animal creation is always pouring out a great tide of poisoned air from the lungs, taking out of the great animal economy all of the poison that, if left, would really destroy the bodies of all animal life, and the leaves through the hot summer continually absorb all those poisons; but when the summer season has ended, and the touch of frost has come to tell us of the coming winter, then the leaves fade when their work is done. And I think, friends, it is so beautiful for us to think of life that way, as fading when our work is done. And God only knows, beloved, when our work is done.

I remember when President Garfield was shot [July 2, 1881] in Washington, D. C., how the nation prayed for his recovery, and the whole world seemed to be in sympathy with the nation that was in grief. And yet he died. And yet, somehow, I think his death was wonderfully blest, for he died in the hope and triumphant expectation of Christian faith, and in the day when Ingersol was preaching his doctrine of materialism and opposing Christian hope. It was a great thing for us when he died to have a Christian die in public life, and in a public way, and in a public place. It helped the world to see the confidence of one’s faith in God.

I don’t know, friends, about the apostle Paul, --what I covet most about him. I think, you know, that he exemplified more of the Christian faith than any other man whose life is found upon the pages of the New Testament. You know he was in prison for a long time, and then he was let out of prison, and then when fierce persecution came, he was arrested and put in prison, [and] condemned to die. I love to think of Paul’s letters so much. I was writing to my brother the other day in Washington, D. C. I have not seen him for many years. But after I had written the letter on the typewriter, I thought of some little message, a little personal message. And I wrote that with a pen. I said to myself, "Now, he will think this is the dearest part of this letter, this little foot note." And that is true. In the very foot notes of Paul’s letters, friends, I find such beautiful things. In that love letter to Phillipians [Philippians] we find a beautiful story. Onesiphorus, who brought to Paul a gift from the Phillipians [Philippians], had been sick and had gotten well. Paul was sending him back. He wrote that beautiful letter to the Phillipians [Philippians], ---Paul’s love letter. At the bottom of the letter, I find this postscript: "All the saints salute you, chiefly they of Caesar’s household." The very soldiers that guarded Paul had become his own brethren. And when Paul wrote that letter he told them how much, how much he loved them. And so Paul added at the end of the letter, "All the saints salute you, chiefly those of Caesar’s household." And then when he was going to die, his life was fulfilled as God’s providence would seem to have it fulfilled. He wrote that final letter to Timothy---Timothy, that wonderful preacher, that young man Paul loved as he loved no other man.

You can tell a whole lot by a man’s friends, the kind of people who are his friends. I like to think of Paul’s friends. Paul’s friends are interesting. Timothy was one of them. He wrote this final message to Timothy. "I am now ready to be offered, and the time of my departure is at hand." He wrote, "I have fought a good fight, I have finished my course, I have kept the faith. Henceforth, there is laid up for me a crown of righteousness which God, the righteous judge, shall give me at that day, and not to me only, but to all of them also that love his appearing."

I was in the city of Rome in 1896 and went to the prison in which Paul very likely wrote this beautiful letter. Leaving the bright sunlight of Italy, on an August day, I went into a dungeon and there was just enough light to dimly light it up. Then the tonsured monk lighted a little taper, and we went down into a lower dungeon that has been there for centuries and centuries. And I thought of Paul in that dark dungeon writing this beautiful letter: "I am now ready to be offered and the time of my departure is at hand. I have fought a good fight, I have finished the course, I have kept the faith." And it seems to me, friends, that the very light of Heaven must have come in a flood into that dark dungeon in which he was writing. And so he added: "Henceforth there is laid up for me a crown of righteousness which God, the righteous judge, has given to me, and not to me only, but unto all of them also that love his appearance." It is a great thing to finish life with our work done, and well done.

I thought I was going to die some years ago, friends, and there were perhaps six doctors, in the next room talking about my condition, and the doctors said I was in a very dangerous condition. I did not think so, but the doctors said so. But do you know the things that worried me as I thought of dying,--it was the unfinished tasks, the incompleted [uncompleted] things that I had started and had not finished. I was building a great church, a stone church. I had set my heart upon its completion. And Oh, I did pray to the Lord that I might finish that at least, and I did. And, you know, I think when we come to die, we will think very much of the things that are unfinished, the unfinished tasks of life; and Oh, I try now, friends, as I get older to hurry to completion everything I undertake, and leave it completed and finished. "I have fought a good fight, I have kept the faith, [and] I have finished the course." Oh, for a completed life, and Oh, for a satisfied sense of completed service when the Master calls us home.

And the leaf, friends, is brightest when it fades. You know a great many people think that spring time is the joy of life, that when these branches that have been singing their miserere [misery?] through the weary months of winter, put on their new foliage and every hillside has its carpeting of green, and the first flowers come and are sending out upon the passing breeze their fragrance, and giving color against the green patches of grass, that the spring time seems to be the welcome time of the year. But, you know, I love the fall of the year, I love the autumn, I love the season of the fading leaves. Walking from the station over here this afternoon, I felt I would have fifty times preferred to walk rather than to ride; to feel the joy of coming through the forest on an autumn day. There is a stillness, friends, about the woods, there is a stillness about the air, there is a carrying quality about the atmosphere in the fall of the year that I miss in every other season. And then, friends, I used to love, when I was in Arkansas, to go up into the Ozarks, in the fall of the year. As the train traveled up from the river level, up the mountain side, up and up, arising to an ascent of about sixteen hundred feet above the sea level, and then we could climb to a two thousand foot level. It was something worth while to look down upon the mountain when the first frost had tinted the leaves, and to behold that marvelous sunset of color, all the yellow and gold, and the green and all the mingling colors. That great mountain side seemed to me to be more beautiful than the sunset upon the Mediterranean Sea. That is the time, friends, when the appealing voice in the fading leaf somehow speaks to me a great message from the Father. The leaf is brightest when it fades. I think that is the way of life, friends; it ought to be.

Oh, it is sweet to take a little baby with its eyes of blue, its unfathomed mysteries as you look into the light of its eyes. There must have been, for Jesus took a little child and set him in the midst and said unless you become converted and become like this little child you cannot enter the Kingdom of Heaven. The purest thing under the canopy of Heaven, Jesus said, is a little child, that precious thing. But I love to think of life, friends, not in its childhood or youth, but as it is fading out; and as we are leaving behind the life of flesh and blood, the soul life, the divine life and the God life are speaking out their mysterious, wonderful something through the eye and through the hand, speaking to us of that life that is beyond, when we shall be transformed into the likeness, the image of Jesus Christ. It is brightest when it fades. And so, friends, as the fires of life dies, as the passions fade out, as the great physical powers are sinking, there seems to come up out of the soul, out of the inmost life, there seems to come up the likeness of the very Christ, and so out of the "muddy vesture of decay" we see the developement [development] of that spiritual life that is to find its home in glory. And then friends, the leaf fades in hope, in hope, in hope.

Next spring these dry, withered leaves, rattling through winter’s weary months, with every passing breeze, upon these oak branches---you will not have to cut them off; the swelling bud will push them off. They will fall to the ground. And so this life friends, fades in hope. And so the Christian fades in hope; and thus he passes away with the assurance and expectation of the joy that is beyond, "where never fading spring abounds and never withering flowers."

I never can forget, friends, an experience I had in traveling in Switzerland in the month of August, a few years ago, near the place where the river Rhone rises under a great glacier and flows into the great southern reaches of France. And I remember the night I was there. It was freezing a little all night. And early in the morning we got up and went to the Rhone glacier, and walked over a great bed of ice that had been there for centuries and centuries and centuries; and through the great crevasses we could hear the flowing stream and trickling drops, the beginning of the great Rhone river [River]. And then as the sun came up, what a glory! There was a great encircling range of mountains capped with eternal snow, and as the sun came up the peaks were crimsoned with the new light of day. After we had had breakfast, we walked over to the station, or traveled in a carriage, then too the train. Under the mountains there is a very long tunnel between eight and nine miles long. We went into the darkness of that tunnel. The difference between the elevation of the mountain and the valley below is so great that the descent would be too great to go straight down, so the tunnel winds around like a corkscrew and lets you down in that sort of way. And for twenty minutes we were in that darkness. It was almost as much as I could endure to live through those twenty minutes. I think it was the longest twenty minutes of my life. And yet there came all in a moment, as we left the tunnel at the other end, into a valley of Italy, there came the bright glory and glad sunshine, the flowers, the songs of the birds, and the leaping streams down the mountain sides. I said it is wonderful, it is wonderful. This, it seems to me, is what death means. We leave behind the sin and winter and the bitterness, and the momentary darkness is perhaps the experience of death, and then we are ushered into the glad light, into the eternal sunshine, into the never-fading glory of that world beyond that is so beautiful. We know not what we shall be, we do not; but we know that when he shall appear, "we shall be like Him, for we shall see Him as He is."

Beloved friends, I do not want to start anew the fountain of tears. I would not make the aching heart sore again. Rather would I heal it.[?] Yet, I must confess to you that an awful sense of loneliness and loss came over me as I came into this little school house [This appears to be a metaphor for the church the Reverend was speaking in. However, read on.] this afternoon; an awful sense of depression. I felt as if one had left us whose face was always here; whose glad hand was always ready with its manly greeting and whose voice was always vibrant with truth and righteousness,--a manly Christian. And what a good man dear Brother Morson was! I think of him, friends, so much, as a man, as a good man. I was talking a moment ago at the Edwards House to a young man, and we were talking about a merchant, and I said, "He has a good stand for business," but he said, "That isn’t much of a stand," he said, "It is the man that is getting the business, it isn’t the stand at all." Do you know, friends, I have come to look at life that way very much indeed. Back of every contract I make I want to see the man. Back of every piece of goods I buy I want to see the man. Back of every promise and pledge I want to see the man. When I feel there is a man behind every transaction, I am not so particular about how the contract reads, or how the goods look; if I have the pledged word of the man, it means so much. Friends, the greatest thing we are doing in America is making men, making men, and our republic will never die and go into decay as long as we are rearing God-fearing men an women and have in every community such a citizen as this good man was, with the life that was always breathing the very spirit of Christ. What a valuable citizen he was! Why, they tell me in Jackson, when they had one of the meetings for this projected creamery [According to my Dad, A. A. Morson was in the Creamery business], after everybody had spoken, this modest man sat in the corner and said nothing. Somebody called on him to speak and they said he told them more about it than they had ever known about this enterprise. His few words of wisdom revealed a lifetime of experience tersely and clearly put and he sat down as the accepted authority upon the question.

I always felt, friends, that I wanted to know Brother Morson better, I knew him so slightly. You know, there are some people you meet and you do not want to meet them intimately again. And there are some people you meet, and the more you meet them the more you feel their faults and failings. And yet there are some other people the more you meet them the more you like them, and he was the kind of a man to me; the more I knew him the more I loved him, and the more I wanted to know him. He was one of those wonderful men, so simple, so modest, so true, and yet so wonderfully wise, I felt as if I wanted to know him and take him to my heart to love. I have never known a man for such a brief time, who made a deeper impression on my heart than he made. And I am sure you will miss him. You will miss him so much. But I am persuaded that his example and his life will remain in this community of years as a blessed fragrance of the Christ.

And then what a father he was! I have thought so much of this family of children that he and his dear wife [Bessie Eppie Dameron, 1860 - 1835] have brought up. These thirteen children [See list below]. And I have thought of these children, how they have developed, how they have gone out into life to find their place and reflected honor and credit upon their mother and father. And wherever they have gone they have carried his good name unsullied. I think it is a great thing.

[

Along with their mother, all thirteen living children attended the ceremony:

Name, DOB - DOD, age in 1914

Bessie Eppie Dameron, 1860 - 1935, 54

Louis Alexander Morson, 1879 - 1879, would have been 35

Arthur James Morson, 1880 - 1950, 34

Mildred Berry Morson (Youngberg), 1881-1934, 33

Robbie Mae Morson, 1882 - 1883, died

Hallie Taylor Morson (Kennington), 1884 - 1967, 30

Elizabeth Kate "Bessie" Morson (Greene), 1885 - 1971, 29

John Andrew Morson, 1886 - 1962, 28

Rosalie Vere Morson (Emerson), 1888 - 1962, 26

Julie Dameron Morson, 1889 - ???, 25

Hugh Blair Morson, 1891 - 1925, 23

Sara Francis Morson (Boteler), 1893 - 1982, 21

William "Willie" Todd Morson, 1895 - 1943, 19

Phillip Hull Morson, 1897 - 1960, 17

Margaret Priscilla Morson (Hood), 1900 - 1978, 14

Mary Roberta Alexander Morson (Sexton), 1903 - 2002, 11

]

You remember the old story in the Roman history we used to learn when we were children. The story of the Graechi,--the mother who lived in a great mansion, beautiful home,--her husband was an illustrious senator. Somebody said to her, when she had shown them everything, "Now, madam, where are your jewels?" She brought her two boys,[;] she said "These are my jewels." I tell you, fathers and mothers, it does not matter how many acres you own, how much bank stock you have, there is not anything that will give you credit quite as much as your noble sons and your splendid daughters,--your children, your children, who grow up to be noble men and women, to do Christ’s work, serve God, and their country. I am sure these children loved this dear father. I am sure they will love his memory. And I am sure our very heart goes out in sympathy and affection and love to this home that has lost the father, the husband and brother, and to this community that has laid away this noble citizen.

I am interested in what you are doing here. I pray that these men, noble men they are, may take up this work and carry it forward, and Van Winkle may feel the influence of the holy work you are doing in this little school house [this confirms it really was a school house and not a church]. And when your daughters and sons have gone forth into the world, may they look back to this place and say, "Right here in this little school house in Van Winkle, it is here I found God and came into the possession of the new life, and there was formed the might resolutions that made my character." I pray that God may bless you all in what you are doing.

Now, we are going to sing this beautiful hymn, "Just As I Am, Without One Plea;" we are going to sing just two verses, the first and last verses.

And I want to say this; if there are those here today who are not Christians, who have never given themselves to the Lord Jesus, while we sing these two verse if you feel you want to declare your faith in Christ, you may come forward and give me your hand and the Lord your heart.

And now may the God of Peach, that brought again the Lord Jesus from the dead, that great Shepherd of the Sheep, through the blood of the everlasting Covenant, make you perfect in all things to do His will, working in you that which is well pleasing to His will, through Jesus Christ, the Lord Amen.

<strike> by Jesper Rønn-Jensen

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biennalist-venice-biennale_29526494538_o by Thierry Geoffroy / Colonel : Artist

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Collaboration beetween Biennalist and Ultracontemporay

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