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The Swiss Riviera stretches from Lausanne to Montreux and encompasses the beautiful Lavaux vineyards perched on steep hills with a dramatic view of the lake and the Alps on the other side.
Vevey is a town in Switzerland in the canton of Vaud, on the north shore of Lake Geneva, near Lausanne. It is part of the French-speaking area of Switzerland.
Vevey is home to the world headquarters of the international food and beverage company Nestlé, founded here in 1867. Milk chocolate was invented in Vevey by Daniel Peter in 1875, with the aid of Henri Nestlé.
Vevey is noted for being the final home of British American actor and comedian Charlie Chaplin and his family from 1952 to 1977.
There are 14 structures in Vevey that are listed as Swiss heritage site of national significance. The old city of Vevey is dotted with historical monuments and museums bearing witness to its rich heritage. In addition, a large variety of boutiques and craftsmen can be found in the narrow paved streets, displaying their know-how and wares.
stuff that im the first to do if u think ure first for one of these things send me an fm we can compere dates to see whos first
and........ im not dead :P
Integrity's First Collection of 2018:
The Fashion Royalty "Boudoir" Capsule Collection
designed by Jessy Ayala for IT
Five Fashion Royalty dolls dressed in classic FR lingerie pieces, re-invented to suit their moods.
****From left-to-right***********
Just a Tease Mademoiselle Jolie
Fetish Fatale Véronique Perrin **(W Club Lottery ONLY)
Daydream Dasha d'Amboise
Dollface Adèle Makéda
Vamp Agnes Von Weiss:
.....W Club Lottery Doll
The Inventing room of the renowned, if somewhat mysterious, Professor Bardarbarus Thetch
The Professor was greatly inspired by this:
That's Tim's handwriting on the first computer on the Web (this is the computer that Tim used to invent the WWW).
A great article about CERN and what you are seeing in this picture is in this month's Scientific American here: www.sciam.com/article.cfm?id=the-discovery-machine-hadron...
I will have a video I shot of the tour up on FastCompany.tv on March 3.
In modern Japanese folklore since the mid-2000s, the Ningen (ニンゲン) is an aquatic humanoid whale-like creature supposedly inhabiting the subantarctic oceans. It was invented by Japanese internet users. Image made with Midjourney Ai
This church was built in neo-Gothic style utilising red bricks around 1897. It is named after the Chapel of St Catherine which was founded here in 1360. According to legend, the Nuns living here invented Gingerbread for which the town is deservedly famous!
invento,e porque invento arrisco dar tons difrentes,e na minha noite inventada escuto o som do silencio,cadenciado,pautado em notas de dó e ré,uma sinfonia,sonhar,ficar ou partir,escuto sol...fá,um violino fica no telhado,escuto,aninho-me e aqui faço a minha sinfonia.Lixuva
Invented by Caius Ingenius, the Steam Chariot was able to drive a great distance at the incredible speed of 18 km per hour.
Well in truth, long before they were all up and bouncing about. Actually is was quite eerie, compared to the usual scene.
Inventa un respiro de azúcar amarga, que despiste al corazón.
Su bohemia corre en aprietos cuando su mente la lleva y despega, y encumbra, y vuela, vuelva nocturna al tiempo, a lagunas de memoria, al olvido de las masas, al rincón de luces tenues.
Y la miro, y se envuelve, entre infiernos y abrigos secos, entre arañas, venenos y huertos.
Ella ya anhelaba volver y morder aquel polvo estelar encerrado en un montón de vidrios rotos.
Empapó sus manos en luz ciega, sosteniendo un alma punzante que yace sobre promesas jamás cumplidas y derramó lágrimas, derramó lágrimas sobre un iracundo cuerpo sin venas...
WARNING: Wild white shapes appears!
Well, there comes a pack of some parts I made during the time for some of my AKs. Now I'm releasing codes for the parts, that, I think, aren't bad created and might be useful. Some things are inspired by really existing accessory for AK, most of them I guess is invented by myself. Hope you will like it and use it!
Credits:
Bowlingdude47 for letters
Shockwave for trigger
I guess it's all, but it is possible that I forgot to mentioned someone, how I said, it was making during many months :)
Codes:
AK gas tube ris - pastebin.com/q1Z4YusJ
AK hg romanian stubby - pastebin.com/U13U7a0m
AK hg romanian - pastebin.com/sEi4rd0M
AK receiver 74 - pastebin.com/3pvcUBsG
AK receiver KWA type - pastebin.com/3aRH66zd
AK receiver Saiga 12 - pastebin.com/QmtdZCFU
Grips - black and brown AK74 - pastebin.com/hepagxGw
Grip - ergonomical - pastebin.com/TFSiwTgs
Mag - tan and grey short 5.45 - pastebin.com/JQYu7QQJ
Mag - tan RPK - pastebin.com/w508JkwB
Selectors - pastebin.com/pih9NdK9
Sights front - pastebin.com/skwz2FF1
Sighst rear - pastebin.com/4wCbB2a3
Sights RIS - pastebin.com/CzBp4iw5
The Clos Lucé, the castle where Leonardo da Vinci spent the last years of his life and died in 1519.
I've been inventing mostly.... This is made from a photo I took when I was in India in 2012. I'm a prime offender of taking stacks of photos (some awesome, some better left unmentioned) and then never doing anything with them. Well, times they are a changing... and the moment I finished uni I became bored and overstimulated by under stimulation (it makes sense I swear)
I think its got some fancy pants about it, some colors... working on my 3D deceptions, made a circle, its all coming together lol
20th biennial Finnish-American Festival, Naselle, Washington.
July 2022
Below are entries chock-full of information having to do with each of the plates shown above.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++
Left: "Compliments of FORSMAN & COMPANY, Naselle"
This would be a useful plate to have around now, 102 years after it was made, because I've never had a good grip on the year the Great War (WWI) ended. The plate would reinforce the year the war began and ended. Or would it?
The prominence of the date 1920 might confuse matters further. However, with the war having ended in November, 1919, it makes sense that 1920 was when commemorative objects such as plates were produced.
While the passage of years appears to have erased all traces of Deep River's Forsman & Company, history has not forgotten the community of Deep River, not even a little bit!
=======================================================
Many Finnish immigrants settled in Deep River and the surrounding areas of Washington. There were striking similarities between life in Finland and life in this area, including an economic life that depended largely on timber and salmon, both of which were plentiful in the Deep River area. The Pacific Northwest was an ideal destination for Finnish immigrants. There was free land that was covered with timber for them to claim.
Seasonal work opportunities were available all year. There was salmon fishing in the spring and summer. Work was available at logging camps the rest of the year.
The daughter of a Finnish immigrant described the early settlement of Deep River:
When asked how the area was settled, an elderly, buxom woman replied, "First the Finns came to fish. Then when Olsons opened the logging camp, they went to Sweden and brought back men to work in the woods. The Swedes married the Finn girls. Later a few Irishmen and Poles drifted in." (Appelo, 1986, p. 110)
This woman also related that her protective Finnish father had built the family’s house in the center of their property to prevent his daughters from seeing and associating with the railroad workers. In spite of his precautions, she waved at one of the railroad brakemen, a handsome Swede. She noted that this Swedish railroad worker later became her husband.
Carlton Appelo (1978, p. 12) listed the names of some of the early Finnish settlers in the Deep River area who arrived before Washington became a state in 1889: Erik Hanson; Henrik Denson (Deep River Cemetery land donor); Isak Herajarvi; Johan Pakanen; Antti Jakob Kantola (Kandoll); Henrik Harrison (Pirila); Mikael Homstrom; Lars Loukkanen (father of August and Chas. Larson); Johan Lueeni; Johan S. Nelson (Ahola); Antti Pirila (father of Albert and Gust Pirila); Johan Erik Rull; Johan Vilmi; Erik Johnson; Karl Forsman; Erik Melin; Antti Rippa (Andrew Rinell); Simon Keko (father of Ed Simmons); Johan Parpala; Johan Salmi (Santalahti); Johan Lamppa (Johnson); Matt, Fredricka, Matti, Joseph, Rosa, and Kalle (Charles) Riippa; Matt Hakala; Matti Harpet (Haapakangas); John Haapakangas; Antti Penttila; Gust Gustafson; Peter Maata; John Ehrlund Rantala; Erik Maunula; Andrew and August Eskola; Antti Johnson (Salmi); John Laakso; Matt Puskala; Abraham Wirkkala; Matt Mathison; and John Warra (Autiovarra).
The prevalence of Finnish immigrants in the Deep River area is evidenced by the many Finnish names that are listed in a cemetery transcription that was recorded for the Deep River Cemetery, and listed on a website that is maintained by the Genealogical Society of Finland. Many Scandinavian names are also found at a Wahkiakum County cemetery transcription site maintained by the "RootsWeb" genealogy organization that lists the names of persons buried in several cemeteries in the county.
The Early Deep River Community
The two major early industries of the Washington territory, particularly in Deep River, were the timber and salmon-fishing industries.
The Timber Industry.
An article in a special section of the Ilwaco, Washington Tribune in 1970 celebrated 100 years of logging at Deep River. The author, Larry Maxim, described the life of the men who worked in the timber industry and felled the gigantic trees as men who were "giants with muscles of laced steel cable and the stamina of an Olympic athlete." The men worked hard for extended periods of time and lived at the logging camps, which usually consisted of a bull barn, a cook shack, and a bunkhouse.
The bunkhouse was crude, just enough to keep out the rain. The bunks were just as crude, a few rough boards spread with straw. The logger had to do his own laundry. His laundry machine–each logger had one–was a five-gallon kerosene can in which he boiled his socks and underwear and sometimes took a sponge bath. (Maxim, 1970)
II. THE LASTING LEGACY OF THE DEEP RIVER FINNS
by Sandra Johnson Witt *
References
I. C. Arthur Appelö and Carlton Appelo: The contributions of two Swedish-Finns to Deep River, Washington and America
An important center of activity at the logging camps was the recreation hall, which the logging companies provided for their workers. The loggers and their families often gathered for dances that lasted until the early morning hours. Children came along too, and slept on mattresses that their parents brought.
Jessie Hindman, an Astorian Budget columnist, wrote an article about the history of the Deep River Timber Company in 1956.
This company owned 4,000 acres of land located above Deep River, one of the shortest and deepest rivers in the world. The logging area contained some of the best timber in the country, including top-grade fir, spruce, hemlock, and cedar.
She described how the local people and logging workers, mostly Finns and Swedes who had begun their lives here as fishermen, became the pioneers of the logging industry in this area. These early families lived together in close association with each other.
The early families along Deep River lived together in such a closely knit life that it was almost as if they had been hurled back into some clannish age. Travel was done entirely by boat as there were no roads except private ones. Towns just 50 miles away were spoken of as "The Outside." Yet, when talking to the older inhabitants of the valley, one is immediately impressed with the full realization that theirs was a happy, satisfying life. (Appelo, 1986, p. 103)
Early home life among the settlers in Deep River was simple. Kerosene lamps provided light and wood stoves provided heat. Most of the houses were made from rough unpainted boards. The women made the clothes and quilts for their families, which they washed by hand. They also planted the gardens and flower beds in addition to planning the recreational activities for their families, which included dances, picnics, boat rides, water carnivals, and playing cards. Playing cards was especially popular during the winter months when steady rainfall forced the families to stay inside. At times, the men would animate their poker games with the hard liquor or beer that they had purchased in Astoria.
Salmon Fishing.
The other major early industry in Deep River was fishing. Astoria had become a major salmon-fishing area by 1870. Because of its location on the Columbia River near the Pacific Ocean, riverboats provided access to the transcontinental railroad. Astoria’s facilities had access to the Pacific Ocean on the west.
Their experiences in Finland made many of the Finnish immigrants ideally suited for successful careers in the salmon-fishing industry.
The Columbia River Fishermen’s Protective Union was incorporated in 1884 and is one of the oldest conservation unions on the West Coast.
In 2003, an article in the Columbia River Gillnetter, the union’s official publication, outlined its early history. "The Story of Two Hundred Fishermen" describes how a group of fishermen successfully established the Union Fishermen’s Cooperative Packing Company in 1896 during troubled economic times, when the salmon industry’s future was uncertain because of some unethical practices that had taken place for 30 years.
The founders, many of whom were from Finland, risked their savings and worked hard to establish this company. They were convinced that their efforts to offer the consumers superior canned salmon would succeed. The cooperative was incorporated by Sofus Jensen, Anton Christ, Ole B. Olsen, J. W. Angberg, and Matt Raistakka:
With their savings for capital, our founders entered into the highly competitive and well-financed salmon packing industry of the Columbia…
Building of the net racks, except for pile driving, was done without charge by stockholders. They received $1.50 a day working on the cannery. They were eager and capable craftsmen. Many had been brought up in Scandinavia and Finland where they had learned trades under masters.
All were imbued with the cooperative movement then taking root in Western Europe. They had acquired a practical understanding of what it means to run a cooperative business successfully. (p. 19)
Community Life, Schools, and Churches.
Many of the immigrants’ children did not learn English until they attended school. The early rural schools in the area were small. The elementary schools were usually one-room buildings that served as many as 80 pupils. It was common for one female teacher to be responsible for teaching the children in all eight grades. Teachers were generally brought into the area from the "Outside," but often married the local farmers, loggers, or fisherman and stayed in Deep River to raise their families.
Church activities were an integral part of community life. The Finnish settlers of Deep River, Naselle, and Salmon Creek organized into a congregation in 1894 as the Finnish Holy Trinity Evangelical Lutheran Church. They shared a pastor with the Astoria Finnish Church. The Deep River Holy Trinity Evangelical Lutheran Church was built in 1898 near the Deep River Cemetery. The church was the first organized Evangelical Lutheran Church in the area and has been officially proclaimed a National Historical Site.
Women were deeply involved in community life. In 1906, the female members of Naselle Church formed the Nasellin Ompelu Seura (Naselle Sewing Circle), which functioned for 71 years to support missions and hospitals, with an emphasis on salvation and benevolence.
Athletic Activities and Music.
Finnish immigrants knew how to work hard, but they also knew how to play hard. They actively participated in all aspects of Deep River community life, including athletic activities. Baseball was especially popular. Most of the members of the official Deep River team, the "Coyotes," were Finnish loggers and fishermen. The team had a very successful pitcher, Arvo Davis, and catcher, Arthur Anderson.
Athletic activities, including footraces and baseball, were often held on the boardwalk road from the Deep River landing to Pentti’s Pool Hall. When the weather was good, Fred Pentti was often observed sitting on a bench in front of the pool hall to view the athletic events.
The Swedes used to sit on the railing on one side and the Finns on the other–hurling insults at one another. When things got too rough, Pentti would wind up his phonograph and play some nice accordion music. Even the kids were allowed to come down and listen to the music. (Appelo, 1997, p.1)
The Finns have always enjoyed music. Many of the Finnish settlers were accomplished musicians. Axel Larson, a well-known fiddler from the Olson’s Logging Camp, played for hundreds of dances with his wife Matilda, who played the piano, and his brother Ernest on the accordion. Charles Hertzen, a talented violinist, and Fred George, who played the guitar, later joined their band. Axel liked to relate their experience of leaving the logging camp by pump cars (also known as hand speeders, operated on railroad tracks) with their musical instruments, and pumping their way four miles to Deep River:
They transferred to row boats and rowed two miles to Svenson’s Landing, then walked nearly six miles by road (carrying their dress shoes in the pocket of their coats) wearing boots. Arriving at Meserve’s store they climbed the stairs to the large hall on the second floor to play for a local crowd plus the ten dancers they brought with them. This lasted until 3 a.m. and they retraced their route only to find that the railroad rails had become frosted. The hand speeders had to be pushed rather than pumped over the slippery areas. They arrived back at Olson’s camp in time to hear the breakfast bell at the cook house. Some of the men had to go to work for a full day in falling timber. (Appelo, 1978, p. 41)
Axel Larson, long-time employee of Deep River Logging Company, playing his fiddle as he did for countless local dances in southwest Washington.
World War I.
Twenty five years after the Washington territory became a state, the young Finnish immigrant men were asked to defend their new country in World War I. Carlton Appelo (1978) cites an article from the June 1917 edition of the Deep River newspaper:
A party of well known young men residing in Deep River were en route to Cathlamet to take physical exams for the selective service under which they were recently called to colors.
363 Arthur C. Appelo
368 Henry J. Johnson
373 Henry W. Lassila
379 Jacob W. Matta
383 Charles L. Eskola
388 Charles Koski
390 Arvo Davis
All seven are fine specimens of physical manhood and will no doubt pass the required examinations enabling them to enter the military service with the national army which is to be mobilized in the near future. (p. 78)
Accomplishments of Early Finnish Immigrants.
Many of the children of the Finnish immigrants were able to move into professional careers through hard work and steadfast personal dedication to education. At times they pursued adult education programs at night while they worked during the day to make a living for themselves and their families.
In a brief history of Finnish settlements along the Columbia River that Carlton Appelo prepared for the 1999 FinnFest USA, he listed the accomplishments of several Finnish immigrants to the Deep River area, B. S. Sjoborg, Erikki Maunula, and Oscar Wirkkala. B. S. Sjoborg (1841-1923) immigrated from Kristinestad. He was the cannery foreman at Astoria in 1875. After changing his name to Seaborg, he founded the Aberdeen Packing Company at Ilwaco and Aberdeen. He was Washington’s first senator when it became a state in 1889.
Erikki Maunula–who invented numerous devices that were used in the salmon-canning industry–donated land for the Deep River Holy Trinity Evangelical Lutheran Church. The church has been designated a National Historical Site.
Oscar Wirkkala (1881-1959) was an extremely successful inventor of items used in the logging industry. He held more than 20 patents, including the Wirkkala choker hook, the Wirkkala propeller, and the widely-used skyline logging system.
In addition to the considerable professional accomplishments of many of the Finnish immigrants, certain aspects of the Finnish culture that the immigrants brought with them contributed to the culture of Deep River and the surrounding area. In addition to the immigrants’ willingness to work hard to improve the future lives of their families, there was a pervasive sense of community and mutual respect among the Finnish immigrants. This sense of community could be observed in all types of activities, including those related to the area schools, churches, athletics, and social events.
Many immigrant Finns became prominent entrepreneurs in business in industry as well as professional fields, but it was the rural Finnish immigrant who created a sense of community. Neighbors came to the rescue when misfortune hit, and food was shared at school gatherings or social events.
Attendance at Cottage Church Services was done without worrying about denominational sponsors. It is that same familial spirit uniting entire communities that survives today. We care about each other. (Appelo, 1999, p. 1)
The Finnish immigrants supported each other through difficult times. In 1918, when Fred Pentti–an immigrant from Kannus, Finland–was severely injured while working as a brakeman on the logging train, Deep River residents and businesses readily assisted him. The logging camp workers donated $5 each to him, the Deep River Land and Wharf Company donated a piece of land to him, the Olson brothers gave him lumber from their mill, and the community joined together to build a pool hall for Fred.
His business became the focal point for all types of sport including his favorite, baseball. It was the social club for many young men of the area…It was commonly called "Pentti’s College" (pronounced collitch). No one would say that moonshine didn’t change hands out front during those days of prohibition. When 3.2 beer became legal, it was Pentti’s tavern. (Appelo, 1978, p. 41)
In order to successfully farm the land, much of which was wetland, the settlers had to install dikes and extensive drainage systems. Because of the primitive roads that were generally limited to use in the summer, almost all travel was by water.
The riverboat "General Washington" made daily round trips to nearby Astoria–the source of supplies, mail, and medical services to Deep River–and provided the residents with transportation to and contact with the outside world.
This riverboat was built in 1909 by the North Shore Transportation Company. It served Deep River, Knappton, and Frankfort until the early 1930s, when the newly built area highway became more competitive for passenger and freight travel.
The General Washington steamship approaching Deep River Landing, circa 1915
II. THE LASTING LEGACY OF THE DEEP RIVER FINNS
by Sandra Johnson Witt *
The labor of immigrants was essential in order to build the infrastructure of North America. The immigrants cut timber and cleared land to build their homes and farms. Because there were no roads (only rivers) in the early Deep River area, travel was usually by foot or boat. The immigrants (and their horses) worked hard to build the roads in their new country.
Immigrant road builders
Ironically, the advent of the better roads that the Deep River citizens had worked so hard to construct resulted in a decline in the town. Construction of the bridge one mile downstream from the Deep River landing diverted traffic away from the main part of town. The railroad that had provided economic resources and brought people to the town was doomed by the use of trucks to transport lumber.
Although the improved roads relieved the isolation of the area, they brought an end to the riverboat era. Trucks replaced the boats as the main means of transporting various types of cargo to and from the community. The Deep River Timber Company ceased operating in 1956.
The elementary school was consolidated with other schools.
The movie house and Pentti’s Tavern closed. The Shamrock Hotel had depended on the loggers as boarders, and was forced to close.
Only local residences, the post office, and Appelo’s General Merchandise and Insurance Agency remained in Deep River.
sydaby.eget.net/emig/deep_river.htm
RIGHT: CHARLES A. NIEMI (ca. 1884-1961)
1930 Federal Census
Birth Year: abt 1894
Gender: Male
Race: White
Age in 1930: 36
Birthplace: Washington
Marital Status: Married
Relation to Head of House: Head
Home in 1930: Naselle, Pacific, Washington, USA
Home Owned or Rented: Owned
Home Value: 3000
Radio Set: Yes
Lives on Farm: No
Age at First Marriage: 26
Attended School: No
Able to Read and Write: Yes
Father's Birthplace: Finland
Mother's Birthplace: Finland
Able to Speak English: Yes
Occupation: Retail Merchant
Industry: General Merchandise
Class of Worker: Employer
Veteran: Yes
War: WW
Household Members Age Relationship
Charles A Niemi 36 Head
Esther E Niemi 35 Wife
C Albert Niemi 9 Son
Henry W Niemi 7 Son
Hilda M Nasi 27 Servant
31 August 1917: Charles A. Neimi was accepted by the local draft board, presumably in connection with military service in WWI.
The Spokesman-Review, Spokane, p. 6.
26 April 1928: Niemi sues the state road contractor for $5,031.44 for materials and merchandise furnished in connection with the contractor's work in Wahkiakum and Pacific Counties in Washington.
The Olympian, Olympia, Washington, p. 14.
Part of the mould store at the defunct Spode pottery. Josiah Spode invented the bone china process and went on to produce the very finest pieces of this type of pottery.
Back in 2008 the Spode factory shut without notice, just before Christmas, when the parent company went into administration.
When I mad e a "behind the scenes" visit in 2014 things were exactly as the day the workers were shut out, personal items still on the work benches, etc. It really was not looking good, however, small group of volunteers had a dream to create and expand the tiny museum and, from reports, it looks like they succeeded. The site was purchased by the City Council to stop speculative destruction and development, which unfortunately, has not happened in other places.
The room in this shot was absolutely crammed with moulds for the fine ceramics produced here; it was destined for demolition and I've no idea what happened- I must make a return visit.
I understand that this now Conservative (formerly part of the Red Wall) area has been granted £10 Million "Levelling Up" money to smarten up three buildings, one of which is the Spode site. I'm not sure, when you balance that up against all the shit we've been dealt since 2017, that it's much of a bargain.
Benefits of Brexit, eh?
Spanish collectors card in the Coleccion de Artistas de la Pantalla, no. 65. Photo: Warner Bros, The cards were included with the magazine Revista Florita, no. 228.
American actor, raconteur, art collector and connoisseur of haute cuisine Vincent Price (1911-1993) was best known for his performances in horror films, although his career spanned other genres, including film noir, drama, mystery, thriller, and comedy. He appeared on stage, television, and radio, and in more than 100 films.
Vincent Leonard Price Jr. was born in 1911, in St. Louis, Missouri. He was the youngest of the four children of Vincent Leonard Price Sr., president of the National Candy Company, and his wife Marguerite Cobb (née Wilcox) Price. His grandfather was Vincent Clarence Price who invented "Dr. Price's Baking Powder", the first cream of tartar–based baking powder, and it secured the family's fortune. Price attended the St. Louis Country Day School and Milford Academy in Milford, Connecticut. In 1933, he graduated with a degree in English and a minor in Art History from Yale University, where he worked on the campus humor magazine The Yale Record. After teaching for a year, he entered the Courtauld Institute of Art in London, intending to study for a master's degree in fine arts. Instead, he was drawn to the theatre, first appearing on stage professionally in 1934. His acting career began in London in 1935, performing with Orson Welles's Mercury Theatre. He had a five-play contract, beginning with 'The Shoemaker's Holiday'. In 1936, Price appeared as Prince Albert in the American production of Laurence Housman's play 'Victoria Regina', which starred Helen Hayes in the title role of Queen Victoria. Price started out in films as a character actor. He made his film debut in Service de Luxe (Rowland V. Lee, 1938) opposite Constance Bennett. I.S. Mowis at IMDb: "After that, he reprised his stage role as Master Hammon in an early television production of 'The Shoemaker's Holiday'. For one reason or another, Vincent was henceforth typecast as either historical figures (Sir Walter Raleigh, Duke of Clarence, Mormon leader Joseph Smith, King Charles II, Cardinal Richelieu, Omar Khayyam) or ineffectual charmers and gigolos." He played Joseph Smith in the film Brigham Young (Henry Hathaway, 1940) starring Tyrone Power, and William Gibbs McAdoo in Wilson (Henry King, 1944) as well as Bernadette's prosecutor, Vital Dutour, in The Song of Bernadette (Henry King, 1943), and as a pretentious priest in The Keys of the Kingdom (John M. Stahl, 1944), starring Gregory Peck. Price established himself in the Film Noir Laura (Otto Preminger, 1944), opposite Gene Tierney. His first venture into the horror genre, for which he later became best known, was in the Boris Karloff film Tower of London (Rowland V. Lee, 1939). The following year Price portrayed the title character in The Invisible Man Returns (Joe May, 1940). He reprised this role in a vocal cameo at the end of the horror-comedy spoof Abbott and Costello Meet Frankenstein (Charles Barton, 1948). Price reunited with Gene Tierney in Leave Her to Heaven (John M. Stahl, 1945) and Dragonwyck (Joseph L. Mankiewicz, 1946). There were also many villainous roles in Film Noir thrillers like The Web (Michael Gordon, 1947), The Long Night (Anatole Litvak, 1947) starring Henry Fonda, and The Bribe (Robert Z. Leonard, 1949), with Robert Taylor, Ava Gardner, and Charles Laughton. He was also active in radio, portraying the Robin Hood-inspired crime-fighter Simon Templar in The Saint, which ran from 1947 to 1951.
Vincent Price's first starring role was as conman James Addison Reavis in the biopic The Baron of Arizona (Samuel Fuller, 1950). He did a comedic turn as the tycoon Burnbridge Waters, co-starring with Ronald Colman in Champagne for Caesar (Richard Whorf, 1950), one of his favourite film roles. In the 1950s, Price moved into more regular horror film roles with the leading role in House of Wax (Andre DeToth, 1953) as a homicidal sculptor, the first 3-D film to land in the year's top ten at the North American box office. His next roles were The Mad Magician (John Brahm, 1954), the monster movie The Fly (Kurt Neumann, 1958) and its sequel Return of the Fly (Edward Bernds, 1959). That same year, he starred in a pair of thrillers by producer-director William Castle: House on Haunted Hill (1959) as eccentric millionaire Fredrick Loren, and The Tingler (1959) as Dr. Warren Chapin, who discovered the titular creature. He appeared in the radio drama Three Skeleton Key, the story of an island lighthouse besieged by an army of rats. He first performed the work in 1950 on Escape and returned to it in 1956 and 1958 for Suspense. Outside the horror realm, Price played Baka (the master builder) in The Ten Commandments (Cecil B. DeMille, 1956). About this time he also appeared in episodes of a number of television shows, including Science Fiction Theatre, Playhouse 90 and General Electric Theater. In the 1960s, Price achieved a number of low-budget filmmaking successes with Roger Corman and American International Pictures (AIP) starting with the House of Usher (1960), which earned over $2 million at the box office in the United States and led to the subsequent Edgar Allan Poe adaptations of The Pit and the Pendulum (1961), Tales of Terror (1962), The Comedy of Terrors (1963), The Raven (1963), The Masque of the Red Death (1964), and The Tomb of Ligeia (1964). He then starred in The Last Man on Earth (Sidney Salkow, Ubaldo B. Ragona, 1964), the first adaptation of the Richard Matheson novel 'I Am Legend' and portrayed witch hunter Matthew Hopkins in Witchfinder General/The Conqueror Worm (Michael Reeves, 1968) set during the English Civil War. He starred in comedy films such as Dr. Goldfoot and the Bikini Machine (1965) and its sequel Dr. Goldfoot and the Girl Bombs (Norman Taurog, 1966). In 1968 he played the part of an eccentric artist in the musical Darling of the Day, opposite Patricia Routledge. In the 1960s, Price began his role as a guest on the television game show Hollywood Squares, becoming a semi-regular in the 1970s, including being one of the guest panelists on the finale in 1980. Price made many guest-star appearances in television shows during the decade, including Daniel Boone, Batman, F Troop, Get Smart, The Man from U.N.C.L.E., and Voyage to the Bottom of the Sea. In 1964, he provided the narration for the Tombstone Historama in Tombstone, Arizona, which is still in operation as of 2016.
During the early 1970s, Vincent Price hosted and starred in BBC Radio's horror and mystery series The Price of Fear. He accepted a cameo part in the Canadian children's television program The Hilarious House of Frightenstein (1971) in Hamilton, Ontario on the local television station CHCH. In addition to the opening and closing monologues, his role in the show was to recite poems about various characters, sometimes wearing a cloak or other costumes. Price appeared in The Abominable Dr. Phibes (Robert Fuest, 1971), its sequel Dr. Phibes Rises Again (Robert Fuest, 1972), and Theatre of Blood (Douglas Hickox, 1973), in which he portrayed one of a pair of serial killers. That same year, he appeared as himself in the TV film Mooch Goes to Hollywood (Richard Erdman, 1971), written by Jim Backus. He was an admirer of the works of Edgar Allan Poe and in 1975 visited the Edgar Allan Poe Museum (Richmond, Virginia), where he had his picture taken with the museum's popular stuffed raven. Price recorded dramatic readings of Poe's short stories and poems, which were collected together with readings by Basil Rathbone. In 1975, Price and his wife Coral Browne appeared together in an international stage adaptation of 'Ardèle' which played in the US as well as in London at the Queen's Theatre. During this run, Browne and Price starred together in the BBC Radio play Night of the Wolf (1975). He greatly reduced his film work from around 1975, as horror itself suffered a slump, and he increased his narrative and voice work, as well as advertising Milton Bradley's Shrunken Head Apple Sculpture. Price provided a monologue for the Alice Cooper song 'Devil's Food' (1975), and he appeared in the corresponding TV special Alice Cooper: The Nightmare. He starred for a year in the early 1970s in the syndicated daily radio program Tales of the Unexplained. He made guest appearances in a 1970 episode of Here's Lucy, showcasing his art expertise, and in a 1972 episode of The Brady Bunch, in which he played a deranged archaeologist. In October 1976, he appeared as the featured guest in an episode of The Muppet Show. In 1977, he began performing as Oscar Wilde in the one-man stage play 'Diversions and Delights', written by John Gay and directed by Joe Hardy and set in a Parisian theatre on a night about one year before Wilde's death. The original tour of the play was a success in every city except for New York City. In the summer of 1979, Price performed the role of Wilde at the Tabor Opera House in Leadville, Colorado, on the same stage from which Wilde had spoken to miners about art some 96 years before. He eventually performed the play worldwide. Victoria Price stated in her biography of her father that several members of Price's family and friends thought that this was his best acting performance.
In 1981, Vincent Price played Grover in the original stage musical production of The Monster at the End of This Book: Starring Lovable, Furry Old Grover. In 1982, Price provided the narrator's voice in Vincent, Tim Burton's six-minute film about a young boy who flashes from reality into a fantasy where he is Vincent Price. He appeared as Sir Despard Murgatroyd in a 1982 television production of Gilbert and Sullivan's Ruddigore with Keith Michell as Robin Oakapple. In 1982, Price provided the spoken-word sequence to the end of the Michael Jackson song 'Thriller'. In 1983, he played the Sinister Man in the British spoof horror film Bloodbath at the House of Death (Ray Cameron, 1983). He appeared in House of the Long Shadows (Pete Walker, 1983) with Christopher Lee, Peter Cushing, and John Carradine. He had worked with each of those actors at least once in previous decades, but this was the first time that all had teamed up. One of his last major roles, and one of his favourites, was as the voice of Professor Ratigan in Walt Disney Pictures' The Great Mouse Detective (Ron Clements, Burny Mattinson, Dave Michener, John Musker, 1986). From 1981 to 1989, Price hosted the television series Mystery! In 1984, Price appeared in Shelley Duvall's live-action series Faerie Tale Theatre as the Mirror in 'Snow White and the Seven Dwarfs', and the narrator for 'The Boy Who Left Home to Find Out About the Shivers'. In 1987, he starred with Bette Davis, Lillian Gish, and Ann Sothern in The Whales of August (Lindsay Anderson, 1987), a story of two sisters living in Maine facing the end of their days. His performance in The Whales of August earned the only award nomination of his career: an Independent Spirit Award nomination for Best Supporting Actor. His last significant film work was as the inventor in Tim Burton's Edward Scissorhands (1990), starring Johnny Depp. Vincent Price married three times. His first marriage was in 1938 to former actress Edith Barrett; they had one son, the poet and columnist Vincent Barrett Price, and divorced in 1948. Price married Mary Grant in 1949, and they had a daughter, the inspirational speaker Victoria Price (1962), naming her after Price's first major success in the play 'Victoria Regina'. The marriage lasted until 1973. He married Australian actress Coral Browne in 1974, who appeared as one of his victims in Theatre of Blood (Douglas Hickox, 1973). The marriage lasted until her death in 1991. He was supportive of his daughter when she came out as a lesbian, and he was critical of Anita Bryant's anti-gay-rights campaign in the 1970s. He was an honorary board member of PFLAG and among the first celebrities to appear in public service announcements discussing AIDS. His daughter has said that she is "as close to certain as I can be that my dad had physically intimate relationships with men." Price suffered from emphysema, a result of being a lifelong smoker, and Parkinson's disease; his symptoms were especially severe during the filming of Edward Scissorhands, making it necessary to cut his filming schedule short. His illness also contributed to his retirement from Mystery! in 1989. He died, at age 82, of lung cancer in 1993, at UCLA Medical Center. His remains were cremated and his ashes scattered off Point Dume in Malibu, California. The Vincent Price Art Museum at East Los Angeles College is named in his honour.
Sources: I.S. Mowis (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Hermanni Keko: Ray Tracing
"Hermanni Keko’s (b. 1987) new exhibition is named Ray Tracing, alluding to an analog apparatus for perspective drawing invented by Albrecht Dürer (1471-1528). Dubbed Dürer’s door, the device uses threads to transfer three-dimensional objects onto a flat surface by emulating the path of light from the object to the viewer’s eye. The Dürer’s door reference makes a broader metaphoric statement about Keko’s exhibition, for he applies the method in reverse, intuitively tracing rays from the eye back to the object. Keko’s fuzzy, conceptual rays acquire a variety of shapes and forms as he inscribes them on his canvas. The lines dance upon the canvas as the hook that holds together the floating compositional elements, which the artist describes as existing in a state of flux, constantly unfurling in temporary guises of form and color, ever-changing and regrouping in new configurations. This state of flux is like a metaphor for human life and the way our selfhood and personality are constantly moving and changing, whether compelled by inner forces or external exigencies.
What ultimately intrigues Keko about painting is color and its combinations. His paintings abound in clusters and splashes of color that correspond to the artist’s intuitive experience of different hues. Employing an intuitive approach, Keko strives to infuse his work with emotional intensity and direct, palpable energy. Although his process begins with an analytical projection, Keko’s art has less to do with intellect than with human experience and what it means to be human. What matters to him is how different color combinations feel – which, at its core, has less to do with color theory than sensing and responding as an individual and a human being.
Hermanni Keko graduated from the Lahti Institute of Design in 2012 and received his master’s degree in fine arts from Aalto University in 2019. He has held solo exhibitions at TM Gallery in 2018, and he took part in the Young Artists’ Exhibition at Kunsthalle Helsinki in 2019."
Inventing a disaster management plan on the spot, David Bahlman, president of Landmarks Illinois, Barbara Campagna, the Trust's director of architecture, and others borrowed a flat-bottomed aluminum motorboat from a nearby homeowner and rode through the brown floodwaters to the skeletal white house, whose walls consist of huge sheets of floor-to-ceiling glass.
They made makeshift tables out of hastily purchased crates and boards, and stacked rugs and other furnishings on them. They bundled the bottoms of curtains in plastic garbage bags, getting the curtains off the floor. They lifted Mies-designed Barcelona chairs atop the house's wardrobe. Removable primavera wood panels from the house's fireplace wall went there too.
Then the big oncoming storm dissipated, the sun came out and the waters began to recede.
www.chicagotribune.com/entertainment/chi-0830archnotesaug...
jejjejejjee... me acabo de inventar una nueva especie de camelia!!!!
Está un poco chuchurría porque ya había caído del árbol y cayó, justo, en ese estanque... y llovía...
Me vais a permitir que haga un regalo con ella... para la persona que todos los que le seguimos llamamos ya "el rey de las camelias". Las fotografía como nadie, nos regala todos los días una o dos o tres y, además, le sonríen!!!!!! je.
Juan... juantiagues... espero que te guste aunque... regalarte a ti una camelia es como regalarle una monedita de oro al rey Midas... jejejjee... yyyyyy... lo siento perooooooo... tienes que compartir el regalo... aunque estoy segura que no te importará...
Alex V. Palacios (www.flickr.com/photos/alexvpalacios/6651818497/) es un pintor maravilloso... pinta las camelias con una belleza que, la mayoría de las veces, supera el original y... además... es un encanto y todo un caballero!!!!! Espero que te guste también Alex...
Espero que os guste a todos...
BESOSSSSSS...
Episodes from the History of Electricity.
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Benjamin Franklin (1750 - Lightning is electrical)
Franklin was a leading author, printer, political theorist, politician (was one of the Founding Fathers of the United States), postmaster, scientist, inventor, civic activist, statesman, and diplomat. As a scientist, he was a major figure in the American Enlightenment and the history of physics for his discoveries and theories regarding electricity. As an inventor, he is known for the lightning rod, bifocals, and the Franklin stove, among other inventions.
In 1750 he published a proposal for an experiment to prove that lightning is electricity by flying a kite in a storm that appeared capable of becoming a lightning storm. On May 10, 1752, Thomas-François Dalibard of France conducted Franklin's experiment using a 40-foot-tall (12 m) iron rod instead of a kite, and he extracted electrical sparks from a cloud. On June 15 Franklin may possibly have conducted his well known kite experiment in Philadelphia, successfully extracting sparks from a cloud.
Franklin's electrical experiments led to his invention of the lightning rod.
Luigi Aloisio Galvani (1781 - "Animal Electricity")
Galvani was an Italian physician, physicist and philosopher who lived in Bologna.
With his experiment he discovered that the body of animals is powered by electrical impulses. Galvani named this newly discovered force “animal electricity,” and thus laid foundations for the modern fields of electrophysiology and neuroscience.
Galvani’s contemporaries - including Benjamin Franklin, whose work helped prove the existence of atmospheric electricity - had made great strides in understanding the nature of electricity and how to produce it. Inspired by Galvani’s discoveries, fellow Italian scientist Alessandro Volta would go on to invent, in 1800, the first electrical battery - the voltaic pile - which consisted of brine-soaked pieces of cardboard or cloth sandwiched between disks of different metals.
Thomas Alva Edison (1882 - First Power Station)
Edison was an American inventor and businessman. He developed many devices that greatly influenced life around the world, including the phonograph, the motion picture camera, and a long-lasting, practical electric light bulb. Dubbed "The Wizard of Menlo Park", he was one of the first inventors to apply the principles of mass production and large-scale teamwork to the process of invention, and because of that, he is often credited with the creation of the first industrial research laboratory.
In 1878, Edison formed the Edison Electric Light Company (today as General Electric) in New York City with several financiers, including J. P. Morgan and the members of the Vanderbilt family. Edison made the first public demonstration of his incandescent light bulb on December 31, 1879, in Menlo Park. It was during this time that he said: "We will make electricity so cheap that only the rich will burn candles."
After devising a commercially viable electric light bulb on October 21, 1879, Edison patented a system for electricity distribution in 1880, which was essential to capitalize on the invention of the electric lamp.
The company established the first investor-owned electric utility in 1882 on Pearl Street Station, New York City. It was on September 4, 1882, that Edison switched on his Pearl Street generating station's electrical power distribution system, which provided 110 volts direct current (DC) to 59 customers in lower Manhattan. Earlier in the year, in January 1882, he had switched on the first steam-generating power station at Holborn Viaduct in London. The DC supply system provided electricity supplies to street lamps and several private dwellings within a short distance of the station.
Edison was a prolific inventor, holding 1,093 US patents in his name. More significant than the number of Edison's patents was the widespread impact of his inventions: electric light and power utilities, sound recording, and motion pictures all established major new industries world-wide. Edison's inventions contributed to mass communication and, in particular, telecommunications. These included a stock ticker, a mechanical vote recorder, a battery for an electric car, electrical power, recorded music and motion pictures.
Nicola Tesla (1891 - Tesla Coil)
Tesla was a Serbian American inventor, electrical engineer, mechanical engineer, and futurist best known for his contributions to the design of the modern alternating current (AC) electricity supply system.
Tesla moved to New York in 1884 and introduced himself to Thomas Edison. Although Tesla and Edison shared a mutual respect for one another, at least at first, Tesla challenged Edison’s claim that current could only flow in one direction (DC, direct current). Tesla claimed that energy was cyclic and could change direction (AC, alternating current), which would increase voltage levels across greater distances than Edison had pioneered. In 1888, Tesla went to work for Westinghouse in order to develop the alternating current system. Westinghouse and Tesla in their design for the first hydroelectric power plant in Niagara Falls.
Around 1891 Tesla invented the Tesla coil, which is an electrical resonant transformer circuit. It is used to produce high-voltage, low-current, high frequency alternating-current electricity. Tesla experimented with a number of different configurations consisting of two, or sometimes three, coupled resonant electric circuits. In 1899 Tesla moved to Colorado Springs, where he would have room for his high-voltage, high-frequency experiments: Tesla was sitting in his laboratory with his "Magnifying transmitter" generating millions of volts.
Tesla invented the first alternating current (AC) motor and developed AC generation and transmission technology, invented electric oscillators, meters, improved lights. He also experimented with X-rays and gave short-range demonstrations of radio communication.
Ask around what are the two most iconic symbols of Gothic architecture and art, and the answer will likely be: stained glass windows and rib vaulting.
In both cases, that answer will be wrong: those wonders, on which Gothic cathedrals built their worldwide reputation, are... Romanesque! And they were not just invented and barely tested at the time of Romanesque, they were actually implemented again and again, and perfected along the way over at least one century before Gothic happened. Much more than the definitive breaking point it is often purported to be, the advent of the Gothic was much more a smooth and slow transition, largely calling upon concepts, methods and techniques created and improved during Romanesque times.
As regards stained glass, the oldest still in place is the Ascension Window in the Le Mans Cathedral, which could be as old as Year 1100, possibly 1120–40. The windows in the Augsburg Cathedral in Germany also have a strong claim to the title of oldest Romanesque stained glass window. I hope to be able to photograph all of them some day.
Now, and coming back to our main subject, the rib vaulting (in French: voûte sur croisée d’ogives, or more simply voûte d’ogives), experts agree that, even before the cathedral of Durham in England, it was first experimented in the abbey church of Lessay in Normandy, which stands in the Cotentin peninsula, today the département of Manche. This new, revolutionary vaulting system could be as old as 1090, at least for the apse, choir and transept. Let us remember that this was also the time when other Benedictine monks, in Burgundy, were experimenting the “broken”, or “pointy” Romanesque arch in the Cluny II abbey church, on which construction began in 1088.
The beginning of the nave is also very old, as will be explained below. Its western part may have been built a few decades later, around 1130–40 —but even so, at that time we are still fully within the Romanesque Age, which did not come to an end until 1200 at the earliest —and of course such a clean cutoff date is only symbolic and does not correspond to any actual reality.
The abbey church of Lessay was miraculously saved in the 1950s by Yves-Marie Froidevaux, Chief Architect of Historic Landmarks, after it was severely damaged by the mines detonated by the Nazi army before it retreated after the D-Day landing of June 1944. The restoration Froidevaux carried out, re-using most of the old stones wherever it was possible, today remains an example of a successful and respectful restoration.
Dedicated to the Holy Trinity, this church may look less impressive from the outside than the one in Cerisy, of which I uploaded photos a few days ago. Its apparel is mostly of local shale stones. The cut stones are limestone from Yvetot-Bocage near Valognes, a stone of a lesser quality compared to the famous pierre de Caen, which is also used here, but quite sparsely. Prima facie, this vast church offers more similarities with the humble parochial ones to be found locally in the Cotentin, than with “the great monastic architecture”, as Lucien Musset calls it in the Normandie romane book published by Zodiaque.
As you step inside, however, the architectural and religious message resonates with all its majesty and might. Contrary to Cerisy, this nave retains all of its rows; its perfect proportions are ample, elegant and powerful. They fascinate the first-time visitor.
In the oldest rows of the nave, toward the transept, the ribs fall on “nothing”, for lack of a base or an engaged column to receive them. Such an approximation denotes an incomplete concept, enthusiastically adopted but not yet fully developed.
However remarkable and iconic it may be, owing to the very first use of rib vaulting in human history, the abbey church of Lessay fails to satisfy the lovers of Romanesque sculpture, which is almost absent. This does not come as a surprise in a Norman Romanesque church. Some capitals are sculpted, but they are often the most distant, way up high at triforium level, and the other are only prepared for sculpting, rarely decorated with hooks or gadroons.
The massive Romanesque bell tower.
The original Diamond Corrugation was invented independently by Ilan Garibi and Andrea Russo (who used the name Triangùli in speculo).
I thought I’d make an iso-area version since I haven’t seen anyone publish such a modification yet despite its obviousness. Just like many other iso-area designs, this one also has the nice property of not rolling up: since both sides are same (iso-area), there is no tension difference between the two.
The hardest part was to take the shot avoiding backscatter from the krill, furthermore the squid is moving and is translucent that makes harder for a mirrorless camera to precisely focus. What about the lighting system I "invented"? It seems to me it works pretty well.
Invented by an American on the 1870's.
Llanberis is a village, community and electoral ward in Gwynedd, northwest Wales, on the southern bank of the lake Llyn Padarn and at the foot of Snowdon, the highest mountain in Wales.
Epcot's Spaceship Earth.
In the mid fifteenth-century, Johannes Gutenberg invented the movable type printing press. His new device now makes information available to the masses. In the background of this scene we see pressmen sorting paper and setting type while in the foreground, Gutenberg examines a page from the bible he is currently printing. This sheet is an exact replica from the Gutenberg Bible on display at the Huntington Library in San Marino, California.
allears.net/2010/01/17/spaceship-earth-epcots-icon-part-2/
Gutenberg in 1439 was the first European to use movable type. Among his many contributions to printing are: the invention of a process for mass-producing movable type; the use of oil-based ink for printing books; adjustable molds; mechanical movable type; and the use of a wooden printing press similar to the agricultural screw presses of the period. His truly epochal invention was the combination of these elements into a practical system that allowed the mass production of printed books and was economically viable for printers and readers alike. Gutenberg's method for making type is traditionally considered to have included a type metal alloy and a hand mould for casting type. The alloy was a mixture of lead, tin, and antimony that melted at a relatively low temperature for faster and more economical casting, cast well, and created a durable type.
Inventing the "meter" as a measure of the earth's nations together instead of human egocentricity with individual body measurements. The testified great prudence of the French scientist. Some countries insist on the I-moderation until today.Problem of the admired one meter unitis the conversion of all previous measurements since ancient times and the loss of their former significance.
Invent a new language anyone can understand.
Climb the Statue of Liberty.
Reach for the unattainable.
Kiss the mirror and write what you see and hear.
Dance with wolves and count the stars,
including the unseen.
Be naive, innocent, non-cynical, as if you had
just landed on earth (as indeed you have, as
indeed we all have), astonished by what you
have fallen upon.
Write living newspapers. Be a reporter
from outer space, filing dispatches to some
supreme managing editor who believes in full
disclosure and has a low tolerance level for hot air.
Write an endless poem about your life on
earth or elsewhere.
Read between the lines of human discourse.
Avoid the provincial, go for the universal.
Think subjectively, write objectively.
Think long thoughts in short sentences.
Don’t attend poetry workshops, but if you do,
don’t go to learn ‘how to” but to learn
“what” (What’s important to write about).
Don’t bow down to critics who have not
themselves written great masterpieces.
Resist much, obey less.
Secretly liberate any being you see in a cage.
Write short poems in the voice of birds.
Make your lyrics truly lyrical. Birdsong is not
made by machines. Give your poems wings
to fly to the treetops.
The much-quoted dictum from William Carlos
Williams, “No ideas but in things,” is OK for
prose, but it lays a dead hand on lyricism,
since “things” are dead.
Don’t contemplate your navel in poetry and
think the rest of the world is going to think
it’s important.
Remember everything, forget nothing.
Work on a frontier, if you can find one.
Go to sea, or work near water, and paddle
your own boat.
Associate with thinking poets. They’re hard
to find.
Cultivate dissidence and critical thinking.
“First thought, best thought” may not make
for the greatest poetry. First thought may be
worst thought.
What’s on your mind? What do you have
in mind? Open your mouth and stop mumbling.
Don’t be so open-minded that your brains fall
out.
Question everything and everyone. Be subversive,
constantly questioning reality and
the status quo.
Be a poet, not a huckster. Don’t cater, don’t
pander, especially not to possible audiences,
readers, editors, or publishers.
Come out of your closet. It’s dark in there.
Raise the blinds, throw open your shuttered
windows, raise the roof, unscrew the locks
from the doors, but don’t throw away the
screws.
Be committed to something outside yourself.
Be militant about it. Or ecstatic.
To be a poet at sixteen is to be sixteen, to be
a poet at 40 is to be a poet. Be both.
Wake up and pee, the world’s on fire.
Have a nice day.
Lawrence Ferlinghetti . . . Green is color of the grass… Happy Birthday to my love & inspiration … Walt Whitman 104 5/31/23
Eu sou criança. E vou crescer assim. Gosto de abraçar apertado, sentir alegria inteira, inventar mundos, inventar amores. O simples me faz rir, o complicado me aborrece. O mundo pra mim é grande, não entendo como moro em um planeta que gira sem parar, nem como funciona o fax. Verdade seja dita: entender, eu entendo. Mas não faz diferença, os dias passam rápido, existe a tal gravidade, papéis entram e saem de máquinas, ninguém sabe ao certo quem descobriu a cor. (Têm coisas que não precisam ser explicadas. Pelo menos para mim). Tenho um coração maior do que eu, nunca sei a minha altura, tenho o tamanho de um sonho. E o sonho escreve a minha vida que às vezes eu risco, rabisco, embolo e jogo debaixo da cama (pra descansar a alma e dormir sossegada).
Coragem eu tenho um monte. Mas medo eu tenho poucos. Tenho medo de Jornal Nacional, de lagartixa branca, de maionese vencida, tenho medo das pessoas, tenho medo de mim. Minha bagunça mora aqui dentro, pensamentos dormem e acordam, nunca sei a hora certa. Mas uma coisa eu digo: eu não paro. Perco o rumo, ralo o joelho, bato de frente com a cara na porta: sei aonde quero chegar, mesmo sem saber como. E vou. Sempre me pergunto quanto falta, se está perto, com que letra começa, se vai ter fim, se vai dar certo. Sempre questiono se você está feliz, se eu estou bonita, se vou ganhar estrelinha, se posso levar pra casa, se eu posso te levar pra mim. Não gosto de meias-palavras, de gente morna, nem de amar em silêncio. Aprendi que palavra é igual oração: tem que ser inteira senão perde a força. E força não há de faltar porque – aqui dentro – eu carrego o meu mundo. Sou menina levada, sou criança crescida com contas para pagar. E mesmo pequena, não deixo de crescer. Trabalho igual gente grande, fico séria, traço metas. Mas quando chega a hora do recreio, aí vou eu... Escrevo escondido, faço manha, tomo sorvete no pote, choro quando dói, choro quando não dói. E eu amo. Amo igual criança. Amo com os olhos vidrados, amo com todas as letras. A-M-O. Sem restrições. Sem medo. Sem frases cortadas. Quer me entender? Não precisa. Quer me fazer feliz? Me dê um chocolate, um bilhete, um brinde que você ganhou e não gostou, uma mentira bonita pra me fazer sonhar. Não importa. Todo dia é dia de ser criança e criança não liga pra preço, pra laço de fita e cartão com relevo. Criança gosta mesmo é de beijo, abraço e surpresa!
__ Fernanda Mello
Todos os direitos reservados ©
By 1918, the vibrator was available in the Sears, Roebuck catalog to make any housewife happy–a bargain at $6. By 1920, more than 50 different kinds had been invented, according to Rachel Maines, author of The Technology of Orgasm.
“It was a big era for the vibrator,” says Maines. “And they weren’t sexualized. It wasn’t a problem to get them. But the cat was out of the bag as soon as they were used in porn movies.” One of the first adult films to feature a vibrator was the 1920s movie “Widow’s Delight,” in which a woman rejects her suitor to go home to her vibrator. “The veil was off,” Hysteria director Tanya Wexler says. “Oh my God–who knew these were for sex? Shocker!”
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Home / Life / How the Vibrator Came Out of the Closet
How the Vibrator Came Out of the Closet
June 1, 2012 by Jennifer Vineyard
msmagazine.com/blog/blog/2012/06/01/how-the-vibrator-came...
Freud condemned the clitoral orgasm as “immature”–but at least he recognized that it was in fact an orgasm. Before that, medical science didn’t even think orgasms were sexual in nature, calling them “paroxysms,” and doctors actually prescribed them for their female patients. The practice of bringing them about by massage–first by hand, then by machine–was in vogue in the Victorian era and put into mass effect with the advent of the vibrator, which allowed doctors to “service” patients diagnosed with “hysteria” even faster.
The new Maggie Gyllenhaal-Hugh Dancy period sex comedy Hysteria looks at the invention of the first vibrator in the 1880s, which led rapidly to the devices being mass-marketed for home use. But even though more women than ever could achieve climax with the help of a vibrator, for decades feminists still had to fight to assert that it was normal and healthy to do so. Once the practice was recognized as being sexual, it was frowned upon because of the prejudice that women were supposed to climax from vaginal penetration alone. It’s a notion that persists in our popular culture–just think of every movie scene in which a man slams a woman against a wall and they achieve orgasm simultaneously.
That this is not a common scenario is indicated by Shere Hite’s ground-breaking Hite Report (1976), which found that many women pleased themselves without a penis. If women did choose a partner-in-crime to achieve orgasm, the vibrator was still a favorite option. But what those vibrators look like–and how they’re viewed–has evolved quite a bit over the past 100-plus years.
Vibrators weren’t available for home use until about 1899–if you wanted to use one before that, you had to see your doctor, and it usually cost about $2 at the time. And they weren’t advertised until 1904, when they started popping up in women’s periodicals, with such taglines as “Vibrate your body and make it well,” “Take the edge off things,” “Nature’s own cure-all” and “Magic power… will make you feel like a new person.” These ads made no mention of sex, orgasms, or even hysteria–the so-called “disease” for which vibrators were the purported cure. By 1918, the vibrator was available in the Sears, Roebuck catalog to make any housewife happy–a bargain at $6. By 1920, more than 50 different kinds had been invented, according to Rachel Maines, author of The Technology of Orgasm.
“It was a big era for the vibrator,” says Maines. “And they weren’t sexualized. It wasn’t a problem to get them. But the cat was out of the bag as soon as they were used in porn movies.” One of the first adult films to feature a vibrator was the 1920s movie “Widow’s Delight,” in which a woman rejects her suitor to go home to her vibrator. “The veil was off,” Hysteria director Tanya Wexler says. “Oh my God–who knew these were for sex? Shocker!” Once the vibrator was used in porn, it was harder to find a doctor to use one in treatment–although some continued to diagnose hysteria well up until the 1950s. Says Maines, “You can still find doctors who will do this treatment in Argentina, which makes me think it’s a great reason to go to Buenos Aires!”
During the sexual revolution of the ’60s and ’70s, feminists brought back the vibrator as a means for women to find release without relying on a partner, and by 1977, the first women-centric sex store, Good Vibrations, was open for business. But in non-pornos, the vibrator was kept more symbolic, fantastic–the orgasmic Excessive Machine in 1968′s Barbarella (“It couldn’t keep up with you! What kind of girl are you? Have you no shame?”) or the Orgasmatron in 1973′s Sleeper (“You want to get in the machine now?”). Debra Winger made do with a gyrating mechanical bull in 1980′s Urban Cowboy (“Look at that! Her nipples are hard!”).
But by the late 1980s, the vibrators were coming out of the closet, thanks to open discussion about women’s orgasms in in films such as When Harry Met Sally… and Sex, Lies, and Videotape, which touched on topics like faking it and the difficulty of achieving orgasm. In 1988, a silly comedy called Casual Sex? had the audacity to name-check a vibrator when Lea Thompson said, “I’m sick of my Mighty Intruder vibrator with the flexible shaft and textured head.” But in mainstreams films, it was still a topic of shame, as in 1989′s Parenthood when Steve Martin found Dianne Wiest’s vibrator when he was looking for a flashlight during a blackout. When one of the kids asks, “Mommy, what was that?” she’s told, “That was an electric ear cleaner.”
By the early-to-mid 1990s, it was far more common to acknowledge that a vibrator was in your possession–from the friend who confides to Sharon Stone in Sliver that she’s going to get a “plastic yeast infection” to Brian Krakow on My So-Called Life complaining that the one his parents have sounds “like a lawnmower” to Marina playfully making the most of a vibrating toy diver during her bath in Pedro Almodovar’s Tie Me Up! Tie Me Down! The 1994 film The Road to Wellville featured Victorian ideas about how to achieve optimum health, including electrical stimulus to your genitals–even Matthew Broderick got a little action. More direct was the teenage girl who handcuffed her boyfriend and took out her vibrator to pleasure herself in front of him on HBO’s Dream On–”Cool,” he says–or Jennifer Aniston taking hers into the bathroom when her husband won’t have sex with her in She’s the One.
As the 1990s came to a close, fictional girls and women were more willing to experiment–Natasha Lyonne took a vibrator for a test drive in The Slums of Beverly Hills, after Marisa Tomei recommends one and calls it her “boyfriend.” But it was Sex and the City that made the vibrator a national conversation, thanks to the pivotal episode The Turtle and the Hare that popularized “the Rabbit,” plus a later episode where Samantha gives some frank advice about which devices to use (and which ones to avoid). “You don’t want that one, too many bells and whistles,” she tells one customer at Brookstone, which insists the store was only selling “neck massagers,” not vibrators. “That one actually works against you,” Samantha says. “If we wanted to work that hard, we’d get us a man, am I right?” And about another model, “No, absolutely not. That will burn your clit off.”
“It was a big deal,” said Good Vibrations sexologist Carol Queen. “People could talk about sex toys and have a really honest conversation. It made it possible to say, ‘Yes, I have one.’ And I don’t think the Rabbit Pearl would have been as popular if not for [SATC].”
Sales skyrocketed, and the vibrator was officially mainstream. Gil Grissom could find one in a dishwasher on CSI and Buster could use a cleaning robot in bed for comedy’s sake on Arrested Development. Indie films continued to be more explicit in the 2000s–Shinya Tsukamoto’s A Snake in June, when Rinko uses one for a voyeuristic stalker; Michael Winterbottom’s 9 Songs, when Lisa uses one after getting a table-dance–but creative substitutes allowed bigger-release films to be more stimulating. Elizabeth Banks in The 40-Year Virgin uses a showerhead to “warm up” for Steve Carell (and then Seth Rogen). Parker Posey uses her vibrating cell phone in both Fay Grim and The Oh in Ohio–which leads her into a sex shop as part of her exploration of sexual empowerment. Alice and Dana on season two of The L Word went sex toy shopping as well–and like the girls on Sex and the City, learn way more about their options than they had ever considered. Of course, by the next episode, they also learn that it’s hard to travel with such toys–and it can be embarrassing to have airport security hold up your vibrators, dildos, and nipple clamps for all the world to see. “You can’t take these on the plane, ladies,” they’re told. “You should know better than that.” (It’s a little more acceptable now).
Still, it’s always embarrassing as well as frustrating to be walked in on (as Laney’s whole family does in Not Another Teen Movie, coming to wish her a happy birthday just as her “My Lil’ Vibrator” is getting going), called at the crucial moment (as Courtney Cox’s mom does on Dirt to remind her that she’s late for a reservation: “You better be coming!”), or to drop the remote control while your hands are tied behind your back when you’re watching porn at the same time you’re using your vibrator (as Amber Benson does in Strictly Sexual). Okay, probably that last one doesn’t happen quite as much. “Okay, you caught me,” Amber’s character says. “I mean, men are not the only ones who like to wack off like zoo monkeys.”
The 2000s also saw this idea embraced on TV. Charlotte is giving vibrators away by season three of Private Practice–the Aphrodite, to be precise, from Dr. Laura Berman’s line of sex toys. Peggy on Mad Men gets a little vibe action in a 2007 episode when Don Draper assigns her the “Electrosizer” to try out for an ad campaign. An early predecessor to vibrating panties, it’s a girdle that’s supposed to promote weight loss, but she discovers that its arousing capacity is “probably unrelated,” so she pitches the ad line: “You’ll love the way it makes you feel.” The men are confused, so Don explains, “It provides the pleasure of a man, without the man.” Even Kristen Wiig got some vibe time this month before leaving Saturday Night Live, during a Mother’s Day skit in which she is interrupted while reading 50 Shades of Grey. Of course, the hubby and kids walk in to surprise her with breakfast in bed. “Get out!” she tells them. “Look, a microphone!” one of the kids exclaim during a family photo.
Recent film has seen lots of vibrator discussion as well. Elizabeth Banks–back for another round of masturbation talk with Seth Rogen in Zack and Miri Make a Porno–explains: “I never met a man who makes me come like a vibrator does.” Berman’s vibrating panties made a big splash with Katherine Heigl in The Ugly Truth when a kid gets a hold of the remote control and gives her an orgasm during the middle of a business dinner. “Oh! Oh, wow. Yeah! Yeah. Mmm. This ceviche, it’s so good. Quite possibly the best I’ve ever tasted. I’m going to go ask the chef about the recipe.” (“What’s in ceviche?” one of the dinner guests asks, in a callback to Rob Reiner’s mom asking to order the same pastrami sandwich as Meg Ryan in When Harry Met Sally…) Julianne Moore and Annette Bening use a vibrator in The Kids Are All Right. However, most films tend toward more talk than action, because too real or long of a female orgasm puts the movie at risk of getting a NC-17 rating (as This Film Is Not Yet Rated explains). So women on film are usually relegated to sex that’s all about penetration and not about the other practices that actually work for women.
Now, however, vibrators are taking center stage. Sarah Ruhl’s play, In the Next Room, or the Vibrator Play, put them on Broadway, and now Hysteria places the vibrator on the big screen, tracing its invention to a freethinking woman (played by Gyllenhaal) who links female orgasms with women’s rights. “My goal isn’t to shock people, but to make you laugh,” director Tanya Wexler said. “It’s a thinking woman’s romantic comedy, and it’s just what the doctor ordered. There’s no need to hide it anymore. There’s no shame.“
(From TOP LEFT to BOTTOM LEFT): Photo of antique poster advertising the doctor’s cure for women’s hysteria; photo of an early century vibrator advertisement; Photo of window display in Good Vibration’s Antique Vibrator Museum; Photo of sexologist Carol Queen from Flickr user Charles Haynes under Creative Commons 3.0; Photo of OhMiBod club vibrating panties which can be purchased at
Filed under Life, Sex + Relationships · Tagged with Barbarella, Good Vibrations, Hite Report, Hysteria, Masturbation, Orgasm, Rachel Maines, Sleeper, Tanya Wexler, The Technology of Orgasm, Urban Cowboy, Vibrators, Widow's Delight
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