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If you’re not attending Coachella 2012 or are interested in viewing the entire collection together, here’s your chance! Global Inheritance is hosting a one night exhibit honoring this year’s artists before all the redesigned recycling bins are transferred to the festival grounds.
100 + Redesigned Recycling Bins Created For The Coachella Music & Arts Festival 2012
One Night Only. Help Us Celebrate 8 Years Of Getting TRASHed!
FEATURED ARTISTS
Acetates Gutierrez + Alex Chiu + Ben Swenson + Brandon Sopinsky + Caitlin Kouba + Cesar Torres + Chad Carrother + Daisuke Okamoto + Danny Heller + Dawson Dill + Deborah Oh + Deedee Cheriel + Elvis Segarich + Eyerus + Gabriela DiSarli + Graham Curran + Jacob Livengood + James Jurado + Jim Truong + Joaquin Gutierrez Vazquez + Jordan Rosenheck + Kaya + Kira Safan + Kozyndan + Kristina Wayte + Lester Corral + MakeOne + Matt Ketchum + Matt Scheiblin + Matthew Tuszynski + Megan Flaherty + Melany Meza-Dierks + Michael Pizarro + Miguel Cariño + Nalena Kumar + Nancy Ramirez Legy + Nathan Pestana + Nori Pesina + Omar Lopez + Paul Nguyen + RISK + Ritzie Yap + Shannon Simbulan + Sophie C’est la Vie + Star27 + Terri Berman + Thank You X + Tim Shockley + Twentyseven Studio + Yanin Ruibal + Youko Horiuchi
+++ More
View The Entire Collection Before The Bins Roll Out To The Festival!
Music + Drinks + More
Saturday, April 7th, 2012
7PM – 11PM, Early Arrival Suggested
217 S. LaBrea Avenue + Los Angeles + CA + 90036
According to an article we read, a lot of millionaires decide to leave their money to charities rather than it being used as inheritance for their children or partners. Most for different reasons, but some is just so their hard earned money isn't taxed!
We found an article about 15 people who gave their fortunes away, and we’ve picked our top 5 stories!
Read the article on the link below, or click below that to visit our website on information on avoiding inheritance tax!
iwcprobateandwillservices.tumblr.com/post/168535057976/ac...
The history of the Parade
F urono "I Visconti, lords of Milan" to found the castle in the fourteenth century to honor the marriage of Beatrice Visconti - the sister of Gian Galezzao Duke of Milan - with John Anguissola, belonging to one of the most powerful Houses of the nobility of Piacenza. The manor and lands of inheritance and ownership between the same feats of arms rimasro House until 1576, when the manor was alienated to the branch of Vigolzone Anguissola.
Lmost three hundred years after Gaetano Anguissola wife Francesca Visconti (Fanny) who is a widow and then loses his son Philip (1870 +). The last of Anguissola Grazzano death (November 22, 1884) leaving a considerable estate distributed between charities and the Visconti di Modrone grandchildren.
And 'Giuseppe Visconti (1879 - 1941) that in the first decade of 1900, all new designs the medieval village of Grazzano. In 1915 the township - for Decree of Vittorio Emanuele III ° - added to the original name surname Visconti, "a tribute of gratitude to Count Giuseppe di Modrone for the many charities he has erected in this village."
Fter a century, are still the Visconti di Modrone to defend and preserve the look and feel of the medieval village in the neo, where every year for thirty years and is renewed day the atmosphere of a medieval festival. Three decades for an event reminiscent of a period are certainly important, the components difficult to observe without seeing blurry bright colors faded and wrinkled. The historical parade of Grazzano Visconti escape this nemesis, it retains an attraction that allows reading timeless classic like the Ludovico Ariosto's epic poem where he sings the festive
"Women, the knights, the arms, the loves,
the courtesies, the daring enterprises
Who were infected at the time that Passaro .. "
N the day of the "Parade" men and women are "natural" actors in a production by the colors of a fresco hues enhanced by the patina of time.
The 'hagiographic survey since the first edition has supported the screenplay, has maintained the priority criterion of plausibility of historical fact, expanded into the elements that give greater force and solemnity to the event told narrative.
P Arecchi the operative covering the entire day last Sunday in May, the day on which the cities of Grazzano Visconti accentuating its medieval connotations.
D to the province of Piacenza confluence of the representatives of the families who ruled the territories in the Year 1389 by the Piedmont-Ligurian Apennines Po and Parma: The Houses: Nicelli the high Val Nure, the Malaspina from high Trebbia, the Anguissola Travo of Vigolzone, and welcomed by the local nobility Altoè Beatrice and Giovanni Visconti Anguissola whose house is the guest Valentina Visconti, Domina of Asti, about to resume his journey to Paris, where he is expected by the groom Louis II de Valois, brother of the king of France.
E ach edition includes the stage for a spectacular day of celebration with a parade, open from banners and flags, flag bearers, drummers, musicians with trumpets, scribes, seers, storytellers, with markets and medieval attractions, according to a plan prepared with utmost care in outline and detail, but open to impromptu situations that are always imaginative and promoting research and the involvement of a large number of people of our days, then the highlight of the final tournament of knights, in which the bearer of the duel in Houses' Ancient Art of Torneare ...
E ach year commitment involves considerable effort and risk, but is also a source of considerable satisfaction for the flattering feedback of thousands of spectators. More than thirty years that the Pro Loco manages to pack a performance in the enterprise of high suggestion.
La storia del Corteo
Furono "I Visconti, Signori di Milano" a fondare il castello nel XIV secolo, per onorare le nozze di Beatrice Visconti - sorella di Gian Galezzao duca di Milano - con Giovanni Anguissola, appartenente ad una delle più potenti Casate della nobiltà piacentina. Il maniero e le terre di proprietà tra successioni e fatti d'arme rimasro alla stessa Casata sino al 1576, quando il feudo fu alienato al Ramo Anguissola di Vigolzone.
Quasi trecento anni dopo Gaetano Anguissola sposa Francesca Visconti (Fanny) che rimane vedova e poi perde il figlio Filippo (+ 1870). L'ultima degli Anguissola di Grazzano alla morte (22 novembre 1884) lascia un ingente patrimonio distribuito tra istituti di carità ed i nipoti Visconti di Modrone.
E' Giuseppe Visconti di Modrone (1879 - 1941) che nel primo decennio del 1900, progetta il villaggio medievale tutto nuovo di Grazzano. Nel 1915 la borgata - per Decreto di Vittorio Emanuele III°- aggiungerà al toponimo originale il cognome Visconti, "per rendere omaggio di riconoscenza al conte Giuseppe di Modrone per le numerose opere di beneficenza da lui erette nella suddetta frazione".
Dopo un secolo, sono ancora i Visconti di Modrone a difendere e conservare l'aspetto e l'atmosfera del borgo in stile neo medioevale, dove ogni anno e da trenta anni si rinnova l'atmosfera di una giornata di festa medievale. Tre decenni per una manifestazione rievocativa sono certamente un periodo rilevante, difficile osservarne le componenti senza scorgere immagini poco vivaci, toni sbiaditi ed increspati. Il Corteo storico di Grazzano Visconti sfugge a questa nemesi, mantiene infatti un'attrattiva che ne consente una lettura classica sempre attuale al pari del poema epico di Lodovico Ariosto la dove canta festa
"Le donne, i cavallier, l'arme, gli amori,
le cortesie, l'audaci imprese
che furo al tempo che passaro.. "
Nella giornata del "Corteo" uomini e donne sono "naturali" protagonisti di un allestimento dai colori di un affresco dalle tinte esaltate dalla patina del tempo.
L'indagine agiografica che sin dalla prima edizione ha sorretto la sceneggiatura, ha mantenuto il criterio prioritario della plausibilità del fatto storico, ampliato negli elementi che conferiscono maggior forza narrativa e solennità all'evento raccontato.
Parecchi i momenti rilevanti che coprono l'intera giornata dell'ultima domenica di Maggio, giorno in cui la città d'arte di Grazzano Visconti accentua la sua connotazione medievale.
Dalla provincia piacentina confluiscono i rappresentanti delle famiglie che nell'Anno 1389 governavano i territori dal Po all'Appennino Piemontese-Ligure e Parmense: le Casate: Nicelli dall'alta Val Nure, I Malaspina dall'alta Val Trebbia, gli Anguissola di Travo, di Vigolzone, e di Altoè accolti dai Signori del luogo Beatrice Visconti e Giovanni Anguissola nella cui dimora è ospite Valentina Visconti, Domina di Asti, in procinto di riprendere il viaggio alla volta di Parigi, dove è attesa dallo sposo Luigi II di Valois, fratello del re di Francia.
Ogni edizione racchiude le premesse per una spettacolare giornata di festa con corteo storico, aperto da gonfaloni e vessilli, sbandieratori, tamburini, suonatori di chiarine, amanuensi, veggenti, cantastorie, con mercati e attrazioni medievali, secondo un programma preparato con massima attenzione nelle linee generali e nei minimi dettagli, ma aperto alle estemporanee e fantasiose situazioni che puntualmente favorendo la ricerca e il coinvolgimento di un buon numero di persone dei nostri giorni; poi il clou finale della giostra dei cavalieri, nella quale i portacolori delle Casate duellano nell'antica Arte del Torneare...
Ogni edizione comporta notevole impegno fatiche e rischi, che però è anche fonte di notevole soddisfazione per il lusinghiero riscontro di migliaia di spettatori. Sono oltre trenta anni che la Pro Loco riesce nell'impresa di confezionare uno spettacolo di alta suggestione.
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
Tower
Athelgra Neville Gabriel
Cha Dooky Doo
Celebration of Art Neville
Tipitina's, 11/15/2014
New Orleans, Louisiana
ART NEVILLE
If you're lucky enough to be born in New Orleans, you've automatically inherited a lush tapestry of traditions, of which the richest, most varicolored and enduring motif is music. Arthur Neville came into that inheritance in 1937, but in his case the real luck fell to New Orleans, where he has spent most of a lifetime enhancing and expanding that tapestry. It's open to debate exactly where Art learned to weave such glorious new colors into such an already-vibrant fabric of sound - parents who supported and encouraged his musical quest? A childhood curiosity about music in general, and the keyboard in particular? Simply the intense and heady musical environment of the city itself?
What can't be argued that even as a kid he had already begun to shape the sumptuous patterns that the world now recognizes instantly as the Nevilles Sound. As a teenager, no amount of music - even in New Orleans - was too much for Art. He worked for a time in a record shop, where he absorbed the great doo-wop groups of the day: Clyde McPhatter's Drifters, The Orioles, The Clovers, as well as local piano rockers Professor Longhair and Fats Domino. In time he formed his own doo-wop group, and after school, after work, they would sit on a park bench in the crazy half-moon city and sing to the night.
In 1953, Art joined the Hawkettes, who recorded the classic "Mardi Gras Mambo" in 1954. That song turned out to be more influential to other musicians - and to the City of New Orleans - than even Art could have imagined. Listen to the music of his reflections on that historic (and now, very traditional) piece of pop culture:
"I became involved with the Hawkettes, I don't even remember the exact year but it must have been in '53. A friend of mine, one of the members of the Hawkettes at the time, George Davis. He was taking saxophone lessons from Alcee Wallace, one of my friends that we had the doo-wop group with. Mr. Wallace, Alcee's father, was teaching George Davis saxophone and so he told him about me and he needed a piano player."
"And so he came to my home and asked me would I be interested in playing with the Hawkettes. I didn't know who they were at that point and I said "sure," and my mother and father said 'Yeah, go ahead.' And the rest is really history. We went on, and we were the hottest band in New Orleans and the surrounding area we played for every function like sororities, fraternities, and different other functions around New Orleans: Night clubs, little small clubs, large clubs."
"We recorded this song, 'Mardi Gras Mambo,' I don't even remember the year, I think 1953 or 1954, something like that, and lo and behold! 'Mardi Gras Mambo' is still here today."
Most of the Hawkettes went off to college and other pursuits after the recording was made, but Art kept the Hawkettes together, finding musicians where he could. And did. The Hawkettes got such a wide reputation that by 1957 they found themselves touring with Larry Williams, whose "Short Fat Fannie" and "Bony Maronie" had also gone into the pop canon, and remain there. Art came home from this tour (which included the Spaniels), to be drafted into the Navy Reserve's active duty for two years.
"N.A.S., Oceana, Virginia Beach. Aviation," he remembers. "It was a good experience." In a recent discussion, Art remarked, "I was in the Navy Reserve - and I wasn't making the meetings that I should have been making - I was playing Rock 'n Roll.. So they drafted me on Active Duty and that must have been '59 or '60."
Brother Aaron hung in there with the Hawkettes, and when Art returned he rejoined his old friends. "Meanwhile, we started changing players, and we ended up with the guys who wound up being the Meters: Zigaboo, Leo, George," he says.
At the same time, Allen Toussaint and Joe Banashak approached Art with a song that's long since been a New Orleans staple: "All These Things." Art jumped at the chance to record it. "I can see it now," he says fondly.
By 1966, he was touring with brother Aaron in support of the hit single, "Tell It Like It Is." Another classic. Soon after the tour, Art took the first shot at a Neville Brothers grouping with "Art Neville and the Neville Sounds." The band consisted of Leo Nocentelli on guitar, George Porter on bass, Art on piano and organ, Zig Modeliste on drums, brothers Cyril and Aaron Neville and, on saxophone, Gary Brown. It was strictly a labor of love, and the band wasn't making money. But they were getting tighter, more streamlined musically, the sound was getting around. Eventually Art was offered a chance to play the Ivanhoe bar in New Orleans' French Quarter - a coveted gig among local musicians, except that the venue could only accomodate four musicians onstage. Cyril, Aaron and Gary Brown bowed out and went on to pursue their own musical paths, but what remained was a white-hot quartet with a solid rhythmic vision. There at the Ivanhoe, the Meters were born. The band developed a funk-infected R-B sound characterized by subtle shadings and the loose interplay among guitar, bass and Art's Professor Longhair-inspired keyboard figures.
Producer/writer Allen Toussaint took one listen and wanted the Meters for session work.
With Toussaint at the boards, the band released The Meters (1969), featuring the signature instrumentals "Cissy Strut" and "Sophisticated Cissy." By 1972, big fish were circling and the Meters recorded their first of several albums for Warner Brothers. On the strength of this work, the Meters opened for the Rolling Stones' "Tour of the Americas" the following year. In 1976, the Neville brothers' revered uncle George Landry called the boys together to work on an album entitled "The Wild Tchoupitoulas," an aural documentary of sorts of the Mardi Gras Indians. Landry told Art then that the Neville's parents had always longed to see the four brothers work together, and in 1977 that dream became reality for everyone. With Art on keys, Charles blowing sax, Cyril slapping congas and Aaron, well, playing Aaron on vocals, the Neville Brothers groove at last wove itself indelibly into the tapestry. The Neville Brothers was released on Capitol, but so unique and unclassifiable was the sound that the corporate thinkers didn't quite get how to market it.
Not black or white, not strictly soul or R-B, not exactly pop but not rigidly rock either, the problem wasn't so much that the Neville Sound was neither here nor there as that it was here, there and everywhere imaginable. It was off the label's graph and therefore out of its grasp. Things got better. Radio, the national and then the international audience began to blossom with A-M's Fiyo on the Bayou and later Neville-ization. By the time of Uptown Art and the boys were sending their New Orleans sound around the world and back again, and they followed with more of the family groove in albums like the nearly flawless Yellow Moon. The basics stitched together by Art and his keys have created ripples of soulful patterns across every curve in the musical sphere, influencing artists as diverse as Santana, and the Rolling Stones. And Art weaves on. Maybe only the lucky get to be born in New Orleans. But Arthur Neville's vision has made it possible for the rest of us to share a little bit of the grand fortune he's given back to his city.
tipitinas.com/bands/a/art-neville
Art Neville Discography:
עורך דין ירושה מחברת אריאלה רוזנטל סודרי עורכי דין ונוטריון עומד לרשותכם לליווי והדרכה משפטית גם ברגעים לא פשוטים . לפרטים על עורך דין ירושה => bit.ly/2Z4zmgb
אנו מספקים לכם מענה כולל לכל הנושאים הקשורים לירושה וצו ירושה,. צוואה וצו קיום צוואה. כולל טיפול בכל הנושא מול בני משפחה אחרים, גורמים משפטיים (אפוטרופוס כללי וכו') גורמים אשר להםעניין בירושה.
לפנייה ופרטים על עורך דין ירושה => ars-law.co.il/%D7%A2%D7%95%D7%A8%D7%9A-%D7%93%D7%99%D7%9F...
One of the most remote churches in the county, there is just a single building to be seen from the churchyard, which overlooks a verdant valley and rich woodland.
I have been to Crundale so many times, as there is an orchid-rich woodland along the bridleway beside the church, that it came as a surprise to see I had been inside just the once and took a few wide angle shots.
So, we returned on the last day of February, on leap day.
We surprised a churchwarden inside who was doing some tidying, and as he was leaving said he would turn the lights out, so I grabbed on shots down the nave with the light burning.
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Nave, chancel, north aisle and tower stand in a superb downland setting far from any village. The church is of Norman origin, as can be seen from the surviving window in the north wall of the nave. The semi-circular arches of the two-bay arcade are also late Norman. In the eighteenth century the fine reredos with a scrolly pediment and the altar rails were installed. Also in the chancel is a nice single sedile under a carved canopy. The stonework of the east window is entirely a nineteenth-century creation. The rood loft stairway survives. The narrow north aisle contains a handsome tomb chest to John Sprot (d. 1466), formed by an incised design on an alabaster slab removed here from the chancel. Sprot wears vestments and holds a chalice with the host displayed. His head rests on a pillow decorated with two little Bottonee crosses. It is a pity that it was not always mounted on a tomb chest as parts of the design have been worn away by the feet of centuries.
www.kentchurches.info/church.asp?p=Crundale
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CRUNDAL.
LIES the next parish north-eastward from Wye. It appears by the register of Leeds abbey, that this parish was likewise once called Dromwæd, which name I conjecture to be the same now called Tremworth; in which register it is said, that Dromewida and Crundale is one and the same parish; Dromewida & Crundale sunt una & eadem villa; and in another place mention is made de Ecclesia de Dromwæd.
It is but a small parish, containing within it not more than twenty-four houses; it is an out of the way situation, having little or no traffic through it. The hills are very frequent in it, and exceedingly barren; the soil is in general chalk, covered with quantities of flints. The country here is very healthy; it is exceeding cold, and has a wild and dreary appearance, great part of it consists of open downs, most of which are uncultivated, those on the eastern side lying on the high ridge of hills adjoining to Wye downs. In the middle of the parish there is some coppice wood, and still more at the north-east boundaries of it.
There are two small streets or hamlets, one in the valley, called Danord, corruptly for Danewood-street; the other eastward from it, on the hills called Solestreet, which is the principal one, where there is a fair for toys and pedlary held yearly on Whit Monday. Close at the end of the former, in the valley, stands the parsonage, a genteel habitable dwelling, and on the hill, about three-quarters of a mile from it the church. About a mile westward, over the hill, is Little Ollantigh, belonging to Samuel-Elias Sawbridge, esq. situated on the downs, this is but a modern name, given to it when the late Mr. Jacob Sawbridge, by his brother's permission, resided at it. It lies among Mr. Sawbridge's park grounds, the land within the inclosure of it being made into gardens for the seat of Ollantigh, and the house for the habitation of the gardeners, and others. Beyond this the downs reach still further westwards, the whole of them being usually called Tremworth downs, from the manor of that name, the house of which is situated on the western bounds of this parish, in the bottom, almost close to the river Stour. The old mansion has been moated round, and many fragments of the arms of Kempe are still remaining both in the windows and carvework of the wainscot and timbers of the house. It had formerly a domestic chapel belonging to it, some of the walls of which are still standing.
¶ON TREMWORTH DOWN, near the summit of the hill, about three-quarters of a mile from Crundal, there is a hollow road, on each side of which there have been found many remains of a Roman Jepulture; the first discovery of which was made in the year 1703, in the waggon road, where, by the descent of the hill, it was worn hollow, and another was again made in 1713, by the then earl of Winchelsea, assisted by the Rev. Mr. Forster, rector of this parish, who were so successful as to meet with several skeletons, bones, skulls, &c. of persons full grown, as well as children, and many urns, pans, and bottles of lead, coloured and fine red earths in graves, the sides and ends of which were firm close chalk in its natural undisturbed state, the earth near the skeletons being stained with blueish spots of mould, occasioned no doubt by the corruption of the bodies.
But before this there had been taken up about the year 1678, a much larger urn than any found afterwards, in digging for land on the range of the hill eastward from Crundal, though in the parish of Godmersham. This was so large, that it might well have been thought one of those family urns, such as Morton describes in his History of Northamptonshire, from Meric Casaubon's notes on Antoninus, being big enough to hold half a bushel; but there was neither ashes nor bones in it, nor any thing else, but a shallow earthen pan, resembling that marked (3) below, with another little urn or pot standing in the midst of it, of fine red earth, and having some letters on it. It was covered with a flat, broad stone, and fenced round with a wall of flint, to defend it from external injuries. A plate is here given of several of the urns and vessels found as above-mentioned. (fn. 1)
The late Rev. Brian Faussett, of Heppington, in 1757 and 1759, dug very successfully at this place; and in the several graves which he opened, found numbers of urns, offuaries, pateræ, and lacrymatories, both of Roman earthen ware and of glass, of different sizes and colours, as red, lead-colour, dark-brown, and white, with the names of the different manufacturers on many of them. He found likewise several female trinkets, and a coin of the younger Faustina, wife of the emperor Marcus Aurelius, who died in 177 after Christ; and what was very singular, the skeletons, of which he found several, all lay with their feet to the south-west. From the circumstance of finding in some graves, urns with burnt ashes and bones in them, and in others skeletons, it appears that this had been a common burial-place for some length of time; and the finding of the above mentioned coin proves it, without doubt, to have been Roman. Mr. Faussett though it to have been the place of sepulture for some few families, or at most for only two or three of the neighbouring villages. In one place near the graves, from the quantity of black mould in one particular place, different from the rest of the soil near it, he imagined that spot might have been made use of as their ustrina, that is, where the funeral pile was placed to burn the bodies of the dead. All the above remains of Roman antiquity discovered by him are now in the valuable collection of his son Henry Godfrey Faussett, esq. of Heppington.
¶THE ROYAL MANOR OF WYE claims paramount over this parish, subordinate to which are THE MANORS OF CRUNDAL AND HADLOE, which, with the rest of this parish, were parcel of the honor of Clare, belonging to the noble family of Clare, earls of Gloucester, of whom they were held by the family of Handlou, afterwards written Hadloe, whose seat here was called by their name. John de Handlou possessed these manors in the reign of king Henry III. and died anno 11 Edward I. (fn. 2) possessed of large estates in this and the counties of Oxford, Buckingham, and Gloucester. His son, of the same name, in the 1st year of king Edward II. had a charter of free-warren in all his demesne lands at Crondale, Tremeworth, Vanne, and Ashenedene. He died in the 20th year of king Ed ward III. leaving Edmund his grandson his heir, who possessed his estates here; but he died s. p. in the 32d year of it, and his two sisters, Margaret, then married to John de Apulby, and Elizabeth to John de la Pole, became his heirs to all his estates here, and elsewhere, they sold these manors soon afterwards to Waretius de Valoins, who was before possessed of Tremworth, and other large estates in these parts. He died without male issue, and his two daughters became his coheirs, one of whom married Sir Francis Fogge, grandson of Otho, who came out of Lancashire into Kent, and the other, Thomas de Aldon, who, on the division of their estates, became possessed of these manors of Crundal and Hadloe; and in his descendants they continued till they were at length, by a female heir, carried in marriage to Heron, of Lincolnshire, who, in order to purchase other estates nearer to him in that county, passed away these manors, with the rest of her inheritance in this parish, to Sir Thomas Kempe, of Ollantigh, whose descendant Sir Thomas Kempe dying in 1607, without male issue, his four daughters became his coheirs, one of whom, Mary, married Sir Dudley Diggs, and on the partition of their inheritance, he became in her right entitled to them, and soon afterwards alienated them to Jeremy Gay, of London; from which name they some years afterwards were alienated to John Whitfield, gent. of Canterbury, whose second son Robert Whitfield, of Chartham, about the beginning of king George II.'s reign, passed them away by sale to Humphry Pudner, esq. of Canterbury, whose daughter, and at length sole heir Catherine, carried them in marriage to Thomas Barrett, esq. of Lee, in Ickham, who died possessed of these manors in 1757, leaving Catherine his wife surviving, who then became entitled to them. She died in 1785, upon which they came, by deed of settlement as well as by her will, to her only son and heir Thomas Barrett, esq. of Lee, who within a few months afterwards exchanged them, for Garwinton, in Littleborne, with Thomas Knight, esq. of Godmersham, whose son of the same name dying in 1794, s. p. gave them, together with the estate of Little Winchcombe, in this parish likewise, by will, to Edward Austen, esq. of Rowling-place, now of Godmersham, the eldest son of the Rev. George Austen, rector of Steventon, in Hampshire, who continues the present proprietor of them. A court baron is held for these manors.
Crundale-house is situated at a small distance southeastward from Danord-street. The scite of Hadloe manor is at a small distance still further southward. The house of which has been down time out of mind; but there was a baron on it, called Hadloe-barn, remaining till within these few years, which has been lately likewise pulled down.
Charities.
SIR THOMAS KEMPE, by deed in 1503, gave all the trees near or about the church-yard, as a succour and defence to the church. They stand in a piece of ground on the west side of it, which now belongs to the owner of Ollantigh.
THERE has been, time out of mind, two quit-rents paid, each of three-halfpence a years, one out of two acres of land, the other out of a tenement, both at Hessole-street, in the possession of Mr. Ayling; and another quit-rent, of 6d. per annum, out of two acres lying at Little Crundal, now in the possession of Mr. Laming. All three are constantly applied by the churchwardens to the repair of the church.
RICHARD FORSTER, rector of this parish, by will in 1728, gave a parochial library; also two acres of land, lying on the north side of Denwood-street, and a yearly rent charge of 40s. out of a tenement called Little Ripple, in this parish, and the land belonging to it in Crundal and Godmersham, and another yearly rent of 4l. out of a house and lands belonging to it, adjoining to the above street, in this parish, for the use of his successors, rectors of Crundal, for ever.
N. B. This last rent charge of 4l. per annum has been sold, by the consent of the ordinary, patron, and incumbent, and the money laid out in the purchasing of about six acres of land, lying adjoining to Denwood-street, as an augmentation of the glebe.
MR. FORSTER likewise gave a house and an acre of land, lying at Filchborow, in Crundal, and a field, called Harman Hewett, or the Barn-field, containing six acres, lying in Godmersham, to be applied by the minister of the parish and officers, to the teaching of poor children to read and say the Church Catechism, or else to the relief of poor widows and labourers, belonging to and being in this parish; so that yearly on Easter Tuesday 20s. be distributed among such persons.
THOMASINE PHILIPOT, Widow, by will in 1711, left a yearly pension of 10s. out of her house and lands at Sole-street, in Crundal, to the poor of this parish for ever, to be distributed among them by the churchwardens on Christmas-day.
JOHN FINCH, gent. of Limne, by will in 1705, gave 40s. without any deduction, upon Christmas-day for ever, payable out of his lands in Crundal and Godmersham, by the church wardens and overseers of Godmersham, to two of the eldest, poorest, and most industrious labouring men in the parish of Crundal, and who never received relief of this or any other parish, that is, 20s. to each of them yearly on Christmas-day for ever.
Crundal is within the ECCLISIASTICAL JURISDICTION of the discese of Canterbury, and deanry of Bridge.
The church, which stands on high grounds, is dedicated to St. Mary. It consists of one isle and one chancel, with a tower Steeple on the north side, having a small pointed low turret on the top. There are three bells in it. In the church-porch is a coffin-shaped stone, with a cross story on it, and round the edge there have been large French capital letters, of which three or four only remain. At the west end of the isle is a vauk, in which life Jacob Sawbridge, esq. and Anne his wife, who once resided at Little Ollantigh, in this parish, with two of their children, who died insants. In the chancel is a large white stone, with the figure and inscription on it, for John Sprot, once rector here; and there was in this church, a memorial for Judith Cerclere Mission, who fied from France on account of her religion, and, after many perils and dangers, arrived at London in 1685, obt. 1692. The altar piece was given by Sir Robert Filmer, bart. in 1704. In the church-yard, on the south side, is a tomb for the worthy and beneficent Richard Forster, rector here, and near it a handsome white marble one, for Mrs. Juliana Harvey and her husband William Harvey, M.D.
The rectory of Crundal was given by the family of Valoyns, in the reign of king Henry II. by the name of the church of Dromwide, to the prior and convent of Leeds, in perpetual alms; (fn. 4) but this never took effect, nor did they ever gain the possession of it, the heirs of the donor of it refusing to ratify this gift, so that there were continual controversies on that account. At length it was agreed, at the instance of archbishop Hubert, that Hamo de Valoyns should grant a rent of 25s. from his church of Dromwæd to the prior and canons for ever; saving to him and his heirs, the presentation to the church, so that the canons should not claim any further right to themselves, nor present to the parsonage in it, nor do any other act to bring his grant into doubt. All which the archbishop confirmed under his seal, by inspeximus. Notwithstanding this, the payment of the above pension seems to have been contested by the rectors of this church; but, on appeal to the pope in king Henry the IIId.'s reign, it was given in favour of the canons, to be paid yearly to them by the rectors of this church, nomine beneficii; and all these confirmations of the several archbishops were again confirmed by the prior and convent of Canterbury in 1278. After which this church remained in the patronage of the lords of Tremworth manor, with which it continued in like manner as has been already mentioned, till it came into the possession of the late Sir John Filmer, bart. who by will in 1796 devised it with that manor to his brother Sir Beversham Filmer, bart. the present proprietor of it. The above-mentioned pension of 25s. on the suppression of the priory of Leeds, came into the king's hands, who settled it on his new founded dean and chapter of Rochester, to whom it now continues to be paid.
This rectory is valued in the king's books at 11l. 10s. and the yearly tenths at 1l. 3s. 1d.
In 1588 it was valued at eighty pounds. Communicant one hundred and ninety-one. In 1640 it was valued at only sixty pounds. Communicants one hundred. In 1615 the rector and churchwardens testified, that there was one parcel of glebe, containing eight acres, adjoining to the close where the parsonage-house stood; and there is now six acres more of glebe lying near Denwood-street, purchased by the rector and church wardens, as has been mentioned before, in the list of charitable benefactions.
THERE IS a portion of corn tithes in this parish, arising from different fields and parts of others, containing in the whole about one hundred acres, called Towne-barn tithery, which was for many years in the family of Finch, earls of Winchelsea, and from them came to George Finch Hatton, esq. of Eastwell, the present owner of it.
¶There was a portion of tithes, called belonging to the tithes of Fannes, in this parish and Wye, belonging to the priory of Stratford Bow, which on the suppression in the reign of king Henry VIII. was granted to Sir Ralph Sadler, to hold in capite. This seems to have been the portion of tithes above-mentioned, rather than for it to have been belonging to Wye college, as has been generally supposed.