View allAll Photos Tagged Kermode
This gull is 110 years old.
The date on the tag is December, 1900. It was given to my wife and I as a wedding present in 1971 and had been part of a collection of the person who gave it to us. We were living in North Central BC and he knew how much we liked the coast.
The taxidermist, as noted on the tag, was Francis Kermode who started with the British Columbia Museum in 1890 and it had been kept in Victoria BC for many years prior to us coming along as owners. It now sits out in the garage, but immediately came to mind with today's challenge.
Find something that's so old it's almost timeless and make a photograph of it.
The Kermode bear, also known as the "spirit bear" or "ghost bear", is subspecies of the American Black Bear living in the central coast of British Columbia, and noted for a small percentage of their population having white or cream-colored coats. This colour variant is due to a unique recessive trait in their gene pool—they are neither albino nor related to polar bears.
Because of their ghost-like appearance, "spirit bears" hold a prominent place in the American Indian mythology of the area.
The kermodei subspecies ranges from Princess Royal Island to Prince Rupert Island on the coast, and inland toward Hazelton, British Columbia.
" Ringer ". A female Kermode bear in the Great Bear Rainforest of British Columbia, Canada. Sept. 2017
The Kermode bear, also known as the "spirit bear" or "ghost bear", is subspecies of the American Black Bear living in the central coast of British Columbia, and noted for a small percentage of their population having white or cream-colored coats. This colour variant is due to a unique recessive trait in their gene pool—they are neither albino nor related to polar bears.
Because of their ghost-like appearance, "spirit bears" hold a prominent place in the American Indian mythology of the area.
The kermodei subspecies ranges from Princess Royal Island to Prince Rupert Island on the coast, and inland toward Hazelton, British Columbia.
Congratulations to the #MSOC team for taking home #Bronze at #provincials regram from @shoring_andrew #questu #Questuniversity #QuestUniversityCanada #soccer #sports #squamish #seatosky #kermode #killinit
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'Mylecharaine', a three act play in Anglo-Manx dialect by Cushag. It was first published by S. K. Broadbend in Douglas, Isle of Man, in 1915.
As for all three of her 'Peel Plays' published in 1908, Cushag has taken her theme from Manx folk traditions.
'Mylecharaine' was one of the most popular and well-known Manx folk songs. Although widely known, it was first collected by A. W. Moore in his 1896 book, 'Manx Ballads and Music', where it was produced in both the Manx original and in an English translation. (A less antiquainted translation is available in Robert Corteen Carswell's excellent, 'Manannan's Cloak: An Anthology of Manx Literature').
(The tune for this song was, interestingly, the starting place for the Manx National Anthem, which was written W. H. Gill and first performed in 1907).
The song is a call response between a daughter and her father, named Mylecharaine (a common Manx surname). It revolves around Mylecharaine's miserly ways, despite having a store of wealth, which he got from "in the Curragh, deep, deep enough". It carries the refrain after every line, "My-lomarcan daag oo mee" / "Alone you left me".
Cushag takes on this rather dark theme and spins a nice narrative around it. She interestingly manages to get a happy ending out of it, by placing the song half-way through, when all seems lost, before it is all regained in the final Act.
The play has some wonderful Manx characterisations - something that Cushag is a master of - and some very nice exchanges in a pleasing Manx dialect. However, the play overall is disappointingly executed, particularly in the final Act (and, startingly, in the sleep-talking scene of Act II, which couldn't possibly work on stage today).
Anyone looking to get a taste of Manx theatre would be well advised to come to Cushag, but a better impression might be made by looking first at her 'Peel Plays', perhaps in particular, 'Lazy Wife'.
Cushag's three 'Peel Plays' can be found online here:
www.isle-of-man.com/manxnotebook/fulltext/pp1908/index.htm
The original poem of Mylecharaine, as it appears in A. W. Moore is online here:
www.isle-of-man.com/manxnotebook/fulltext/mb1896/p052.htm
The tune for Mylecharaine can be fonud here:
www.isle-of-man.com/manxnotebook/fulltext/mb1896/p253.htm
Cushag's Wikipedia page is here:
'Mylecharaine', a three act play in Anglo-Manx dialect by Cushag. It was first published by S. K. Broadbend in Douglas, Isle of Man, in 1915.
As for all three of her 'Peel Plays' published in 1908, Cushag has taken her theme from Manx folk traditions.
'Mylecharaine' was one of the most popular and well-known Manx folk songs. Although widely known, it was first collected by A. W. Moore in his 1896 book, 'Manx Ballads and Music', where it was produced in both the Manx original and in an English translation. (A less antiquainted translation is available in Robert Corteen Carswell's excellent, 'Manannan's Cloak: An Anthology of Manx Literature').
(The tune for this song was, interestingly, the starting place for the Manx National Anthem, which was written W. H. Gill and first performed in 1907).
The song is a call response between a daughter and her father, named Mylecharaine (a common Manx surname). It revolves around Mylecharaine's miserly ways, despite having a store of wealth, which he got from "in the Curragh, deep, deep enough". It carries the refrain after every line, "My-lomarcan daag oo mee" / "Alone you left me".
Cushag takes on this rather dark theme and spins a nice narrative around it. She interestingly manages to get a happy ending out of it, by placing the song half-way through, when all seems lost, before it is all regained in the final Act.
The play has some wonderful Manx characterisations - something that Cushag is a master of - and some very nice exchanges in a pleasing Manx dialect. However, the play overall is disappointingly executed, particularly in the final Act (and, startingly, in the sleep-talking scene of Act II, which couldn't possibly work on stage today).
Anyone looking to get a taste of Manx theatre would be well advised to come to Cushag, but a better impression might be made by looking first at her 'Peel Plays', perhaps in particular, 'Lazy Wife'.
Cushag's three 'Peel Plays' can be found online here:
www.isle-of-man.com/manxnotebook/fulltext/pp1908/index.htm
The original poem of Mylecharaine, as it appears in A. W. Moore is online here:
www.isle-of-man.com/manxnotebook/fulltext/mb1896/p052.htm
The tune for Mylecharaine can be fonud here:
www.isle-of-man.com/manxnotebook/fulltext/mb1896/p253.htm
Cushag's Wikipedia page is here:
'Mylecharaine', a three act play in Anglo-Manx dialect by Cushag. It was first published by S. K. Broadbend in Douglas, Isle of Man, in 1915.
As for all three of her 'Peel Plays' published in 1908, Cushag has taken her theme from Manx folk traditions.
'Mylecharaine' was one of the most popular and well-known Manx folk songs. Although widely known, it was first collected by A. W. Moore in his 1896 book, 'Manx Ballads and Music', where it was produced in both the Manx original and in an English translation. (A less antiquainted translation is available in Robert Corteen Carswell's excellent, 'Manannan's Cloak: An Anthology of Manx Literature').
(The tune for this song was, interestingly, the starting place for the Manx National Anthem, which was written W. H. Gill and first performed in 1907).
The song is a call response between a daughter and her father, named Mylecharaine (a common Manx surname). It revolves around Mylecharaine's miserly ways, despite having a store of wealth, which he got from "in the Curragh, deep, deep enough". It carries the refrain after every line, "My-lomarcan daag oo mee" / "Alone you left me".
Cushag takes on this rather dark theme and spins a nice narrative around it. She interestingly manages to get a happy ending out of it, by placing the song half-way through, when all seems lost, before it is all regained in the final Act.
The play has some wonderful Manx characterisations - something that Cushag is a master of - and some very nice exchanges in a pleasing Manx dialect. However, the play overall is disappointingly executed, particularly in the final Act (and, startingly, in the sleep-talking scene of Act II, which couldn't possibly work on stage today).
Anyone looking to get a taste of Manx theatre would be well advised to come to Cushag, but a better impression might be made by looking first at her 'Peel Plays', perhaps in particular, 'Lazy Wife'.
Cushag's three 'Peel Plays' can be found online here:
www.isle-of-man.com/manxnotebook/fulltext/pp1908/index.htm
The original poem of Mylecharaine, as it appears in A. W. Moore is online here:
www.isle-of-man.com/manxnotebook/fulltext/mb1896/p052.htm
The tune for Mylecharaine can be fonud here:
www.isle-of-man.com/manxnotebook/fulltext/mb1896/p253.htm
Cushag's Wikipedia page is here:
Director Sam Mendes In Person with Mark Kermode June 18 2009 at the Edinburgh International Film Festival. Photograph: ©Margaret Drysdale/EIFF Edinburgh International Film Festival 2009
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'Mylecharaine', a three act play in Anglo-Manx dialect by Cushag. It was first published by S. K. Broadbend in Douglas, Isle of Man, in 1915.
As for all three of her 'Peel Plays' published in 1908, Cushag has taken her theme from Manx folk traditions.
'Mylecharaine' was one of the most popular and well-known Manx folk songs. Although widely known, it was first collected by A. W. Moore in his 1896 book, 'Manx Ballads and Music', where it was produced in both the Manx original and in an English translation. (A less antiquainted translation is available in Robert Corteen Carswell's excellent, 'Manannan's Cloak: An Anthology of Manx Literature').
(The tune for this song was, interestingly, the starting place for the Manx National Anthem, which was written W. H. Gill and first performed in 1907).
The song is a call response between a daughter and her father, named Mylecharaine (a common Manx surname). It revolves around Mylecharaine's miserly ways, despite having a store of wealth, which he got from "in the Curragh, deep, deep enough". It carries the refrain after every line, "My-lomarcan daag oo mee" / "Alone you left me".
Cushag takes on this rather dark theme and spins a nice narrative around it. She interestingly manages to get a happy ending out of it, by placing the song half-way through, when all seems lost, before it is all regained in the final Act.
The play has some wonderful Manx characterisations - something that Cushag is a master of - and some very nice exchanges in a pleasing Manx dialect. However, the play overall is disappointingly executed, particularly in the final Act (and, startingly, in the sleep-talking scene of Act II, which couldn't possibly work on stage today).
Anyone looking to get a taste of Manx theatre would be well advised to come to Cushag, but a better impression might be made by looking first at her 'Peel Plays', perhaps in particular, 'Lazy Wife'.
Cushag's three 'Peel Plays' can be found online here:
www.isle-of-man.com/manxnotebook/fulltext/pp1908/index.htm
The original poem of Mylecharaine, as it appears in A. W. Moore is online here:
www.isle-of-man.com/manxnotebook/fulltext/mb1896/p052.htm
The tune for Mylecharaine can be fonud here:
www.isle-of-man.com/manxnotebook/fulltext/mb1896/p253.htm
Cushag's Wikipedia page is here:
Also known as a Spirit Bear, it is a blonde, black bear found only in the Great Bear Rainforest of British Columbia
'Mylecharaine', a three act play in Anglo-Manx dialect by Cushag. It was first published by S. K. Broadbend in Douglas, Isle of Man, in 1915.
As for all three of her 'Peel Plays' published in 1908, Cushag has taken her theme from Manx folk traditions.
'Mylecharaine' was one of the most popular and well-known Manx folk songs. Although widely known, it was first collected by A. W. Moore in his 1896 book, 'Manx Ballads and Music', where it was produced in both the Manx original and in an English translation. (A less antiquainted translation is available in Robert Corteen Carswell's excellent, 'Manannan's Cloak: An Anthology of Manx Literature').
(The tune for this song was, interestingly, the starting place for the Manx National Anthem, which was written W. H. Gill and first performed in 1907).
The song is a call response between a daughter and her father, named Mylecharaine (a common Manx surname). It revolves around Mylecharaine's miserly ways, despite having a store of wealth, which he got from "in the Curragh, deep, deep enough". It carries the refrain after every line, "My-lomarcan daag oo mee" / "Alone you left me".
Cushag takes on this rather dark theme and spins a nice narrative around it. She interestingly manages to get a happy ending out of it, by placing the song half-way through, when all seems lost, before it is all regained in the final Act.
The play has some wonderful Manx characterisations - something that Cushag is a master of - and some very nice exchanges in a pleasing Manx dialect. However, the play overall is disappointingly executed, particularly in the final Act (and, startingly, in the sleep-talking scene of Act II, which couldn't possibly work on stage today).
Anyone looking to get a taste of Manx theatre would be well advised to come to Cushag, but a better impression might be made by looking first at her 'Peel Plays', perhaps in particular, 'Lazy Wife'.
Cushag's three 'Peel Plays' can be found online here:
www.isle-of-man.com/manxnotebook/fulltext/pp1908/index.htm
The original poem of Mylecharaine, as it appears in A. W. Moore is online here:
www.isle-of-man.com/manxnotebook/fulltext/mb1896/p052.htm
The tune for Mylecharaine can be fonud here:
www.isle-of-man.com/manxnotebook/fulltext/mb1896/p253.htm
Cushag's Wikipedia page is here:
Mark kemode's launch of his book 'Hatchet Job' at Hyde Park Picture House on Monday 4th November 2013.
This time, the stalwart critic asked: "with the arrival of the internet, have the critics themselves fallen under the axe?"
Trenchant opinion, hilarious autobiographical anecdotes, passionate personal prejudices, entertaining diversions and scathing sardonic humour ensued.
Photography by Jessie Leong.