View allAll Photos Tagged LongLasting
Anthurium is a genus of about 1000 species of flowering plants, the largest genus of the arum family, Araceae. General common names include anthurium, tailflower, flamingo flower, and laceleaf. The genus is native to the Americas, where it is distributed from northern Mexico to northern Argentina and parts of the Caribbean. They are grown for their attractive flowering bracts which are popular with the cut flower trade. All parts of the plant, are poisonous. If ingested, may cause mild stomach disorders. 15383
This bouquet was purchased on Feb. 13 and is still in the vase as I write this on March 8, with only a few flowers starting to brown around the edges. The secret is distilled water.
"Today, carnations can be found in a wide range of colors, and while in general they express love, fascination and distinction, virtually every color carries a unique and rich association. White carnations suggest pure love and good luck, light red symbolizes admiration, while dark red represents deep love and affection. Purple carnations imply capriciousness, and pink carnations carry the greatest significance, beginning with the belief that they first appeared on earth from the Virgin Mary's tears – making them the symbol of a mother's undying love." - Teleflora
Well... I took the idea from holienmo.no from this link www.flickr.com/groups/strobist/discuss/72157623737675218
So i tried to do something really simillar, because his stuff was so awesome.
My grandfather is 93 years old and is still teaching at law school in most prestigious university in Chile, he has been the most longlasting teacher ever from that university and still takes the bus over to campus.
He is my role model.
Strobist info: I used a reflective umbrella umbrella box thing like a softlighter head hight camera left, a 430EX and cybersyncs.
Anthurium andraeanum.
Today I felt like uploading a flower which I photographed yesterday, I still have to process the other images of the series Circles and lights.
Paul gave me those beautiful flowers; they are longlasting and a thing of beauty in a room.
A challenge to photograph their shiny and waxy heart-shaped spathes referred to as the floral portion.
A long spadix projecting from the spathe bears the true flowers and seeds.
The way of lighting was very important, they are very reflective, I did not want those highlights, but a soft light still revealing all the beautiful detail.
I put a green leaf behind it, out of focus, just for contrast and colour.
Have a day filled with beauty and thanx for your visit, M, (*_*)
PS: what the title means is that today I felt like uploading a flower... no, sorry I wasn't referring to myself, wouldn't dare, tee hee
Anthurium is a genus of about 1000 species of flowering plants, the largest genus of the arum family, Araceae. General common names include anthurium, tailflower, flamingo flower, and laceleaf. It's native to tropical America, from Mexico to northern Argentina and Uruguay. They are grown for their attractive flowering bracts which are popular with the cut flower trade. All parts of the plant, are poisonous. If ingested, may cause mild stomach disorders. Anthurium is a genus of herbs often growing as epiphytes on other plants. Some are terrestrial. The leaves are often clustered and are variable in shape. The inflorescence bears small flowers which are perfect, containing male and female structures. The flowers are contained in dense spirals on the spadix. The spadix is often elongated into a spike shape, but it can be globe-shaped or club-shaped. Beneath the spadix is the spathe, a type of bract. This is variable in shape, as well, but it is lance-shaped in many species. It may extend out flat or in a curve. Sometimes it covers the spadix like a hood. The fruits develop from the flowers on the spadix. They are juicy berries varying in color, usually containing two seeds. 163
One of my grandfather's baking specialties was wedding cakes which he decorated. He was a baker her learned his craft in his parents' bakeries in Grand Valley and Acton Ontario. For a while in the twenties, he owned a bakery in Streetsville. He returned to Grand Valley and opened a bakery at the top of Main Street
From my set entitled "William Henry Watson: My Grandfather"
farm2.static.flickr.com/1316/534927961_4c766e9334_s.jpg
In my collection entitled "The Watsons"
www.flickr.com/photos/21861018@N00/collections/7215760034...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Wedding_cake
A wedding cake is the traditional cake served to the guests at a wedding reception (or in parts of England, at a wedding breakfast) after a wedding. In modern Western culture, it is usually a large cake, multi-layered or tiered, and heavily decorated with icing, occasionally over a layer of marzipan or fondant, topped with a small statue representing the couple. Other common motifs include doves, gold rings and horseshoes, the latter symbolising good luck. Achieving a dense, strong cake that can support the decorations while remaining edible can be considered the epitome of the baker's art and skill. The average cost of a wedding cake in the U.S. in 2005 was $543.
Tradition generally requires that the first cut of the cake be performed by bride and groom together. An older, archaic tradition had the bride serve all portions to the groom's family as a symbolic transfer of her household labor from her family to the groom's family.
A portion may be stored, and eaten by the couple at their first wedding anniversary, or at the christening of their first child. Sometimes this portion is the top tier, and sometimes a portion of the piece from which the bride and groom fed each other, depending on the local customs. The portion of the cake may be frozen for this purpose; the top tier of the cake may sometimes consist of fruitcake, which could be stored for a great length of time.
Recently some Western weddings have started to use cupcakes or other individually sized dessert items in place of a larger tiered cake. These individual cakes are often arranged in tiers to represent the shape of the traditional tiered cake.
Wedding cake toppers are small models that sit on top of the cake, normally a representation of a bride and groom in formal wedding attire. This custom was dominant in US wedding in the 1950s where it represented togetherness.[2] Modern weddings have embraced more variety in design and significance. Wedding toppers today are often figures that indicate shared hobbies or other passions.[2]
Watson Family History
Thomas Watson (born 1798, died 1875) and Jane Collier (born 1807, died 1896) were raised in County Armagh, Ireland, and came to Canada in early 1843. Their son, from whom we are descended, was William Watson, who was sixteen when the family emigrated. William’s brother, Richard, and his sister, Rachel, were older.
The family first settled in Gananoque, and came later to Reading Corner, where they farmed on the fourteenth line, lot six. Richard Watson had a son named Nelson, who died young, and a daughter named Jane, who lived in the Okanogan Valley in British Columbia. Rachel married John Byrne of Hillsburg, who owned a carriage works. The Byrnes had sons: William and John, who remined bachelors.
William, married Sarah Jane Donaldson, a young widow (Mrs. J. Moody) with a daughter: Sarah Jane Moody, who married George Lindsay in 1886, having met him in Cookstown while visiting her father's family.
The Lindsays had one son, William Donaldson Lindsay., born August 11, 1886. They first lived in London, Ontario; then moved to Kendries, Idaho, and finally settled near Los Angeles, California.
My great grandfather, Thomas Watson, was next in this family.
He married Adeline East, and had two children, Hazel and Bill (my grandfather).
After Thomas came James Donaldson Watson (1872-1944). He married Belle McGee (1880-1958). They had two sons: James Ivan and Glen.
Next came Rachel (1874-1952). On March 6, 1895, she married John Scott at her home in Reading Garafraxa. They had four sons: Thomas Howard, Cecil, George and James
Next in the Watson Family was William George, (1880-1943). His wife was Mabel Patterson (1880). Their daughter was Sarlizabeth.
The youngest of the family was Letitia (1887-1931) In 1910, she married Russell Thurston. The children were: Donaldson, Donna, Robert Russell, Pauline, Roland, Bernice, Mel and Pat.
William Watson’s wife, Jane Collier Watson, was one of six sisters and one brother (Robert). Three of the Collier sisters were: Mrs. William Manley (Shelburne area), Mrs. Henderson and Mrs. Leeson. Two young Leeson boys were drowned one Christmas day when they broke through the ice while sliding and skating.
the local flower shop supplied very fresh flowers, this almost a week after they were delivered on May 7.
German postcard by Rotophot in the Film Sterne series, no. 118/2. Photo: Becker & Maass.
Maria Orska (1893-1930) was a Russian-Jewish actress of the German stage and screen in the 1910s and 1920s.
On 16 March 1893 Maria Orska was born Effi Rahel Blindermann in Nikolayev, Russian Empire (now Mikolaiv in Ukraine). She was the cousin of the German actress Hedda Forsten and by her mother parented to the theatre impresario Eugen Frankfurter. Although she originally wanted to study law like her father wanted to, she became a stage actress and was discovered by the German actor and drama teacher Ferdinand Gregori when in St. Petersburg. In 1909 he brought her to Vienna's conservatory "k.u.k. Akademie für Musik und darstellende Kunst" (today Universität für Musik und darstellende Kunst Wien), led by him. In 1910, she followed Gregori to the Mannheim court theater where she debuted as "Daisy Orska" and soon drew attention to herself in plays by Strindberg and Schnitzler. In 1911 she came to the Schauspielhaus in Hamburg, where quickly she became the star of the company. In the season 1914/1915 Maria Orska, her stage name by now, moved to Berlin, where she performed at the "Theater in der Königgrätzer Straße" (today "Hebbel-Theater") as well as Max Reinhardt’s Berlin stage. In the same year Edith Andreae was introduced to her, with whom she held a longlasting friendship.
In Berlin the exiled Russian artist became known as interpreter of the works by modern playwrights such as Wilde, Strindberg, Schnitzler, Wedekind and Pirandello. She was a huge success in Wedekind’s Lulu in 1917. "She had sharp, piercing tones, the uncanny effect of which the little character fanatically exaggerated. She also cultivated mundane roles, in which she unfolded the pointed humours of a devious character ... In the field of erotic representation she dared to go remarkably far. She was not an elementary artist, but she had individual qualities that made her the darling of the audience“, the reporter and author Emil Faktor noted in the Berliner Börsen-Courier (16.05.1930) in occasion of her tragic death.
Since her marriage to her second husband, Baron Dr. Hans von Bleichröder jun. (1888 - 1938), a grandson of the Jewish banker Gerson von Bleichröder, the ambitious Maria Orska maintained an elaborate lifestyle. For a long time, she was at the center of so-called Berlin society, and also knew how to stage herself in private as an eccentric spectacle. Her popularity was reinforced by cinema. In 1915 she began a second career as a silent film actor and soon received top salaries. Maria Orska gave her screen debut at the Greenbaum-Film GmbH in Richard Oswald's melodrama Dämon und Mensch (Demon and Man, 1915) and played the shady Lina, who wants to take a cleansed criminal (Rudolf Schildkraut) away from the path of virtue. Maria Orska worked for the first time with the filmmaker and director Max Mack (1884 - 1973) in Das tanzende Herz (The Dancing Heart, 1916), which effected in a six-part Maria Orska film series for the cinemas in 1916/17, with Orska herself as protagonist in each film. The star was praised as "the unmatched interpreter of Strindberg's women, the most fashionable actress of today's Berlin". She was the representative of an "art entirely dedicated to nerves" (Der Film, no. 23, 01.07.1916). As a girl from the gutter she presented herself in Der Sumpf (The Gutter, 1916), but also in comedies such as Die Sektwette (The Champagne Bet, 1916) she was able to win the audience for herself.
But it was mostly the melodramas of those years in which Maria Orska performed the type of the wicked woman. After the dramatic film Adamant's Letztes Rennen (Adamant’s Last Race, 1917) and Der lebende Tote (The Living Dead, 1917), she was for Max Mack Die schwarze Loo (Black Lu, 1917), a gypsy woman who becomes the talk of the town, and who almost wrecks the marriage of a musician (Bruno Kastner). Director Max Mack abducts his audience into the dazzling half-world of the imperial capital. The acclaimed Maria Orska acted as Black Lu, who is constantly surrounded both in the demimonde world and high society. Between push dancing and amorous intrigue, the film develops its highly dared action for those days in expressive images and pointed situations, in which with remarkable determination the stern morality of the late German Imperial Empire is shaken.
Die schwarze Loo was the last part of the Maria -Orska-series, which Mack realized for the Greenbaum-Film. Then Maria Orska paused from the film business and focused on her work at the theater for the next three years. In 1920 she reappeared on screen in the film Die letzte Stunde (The Last Hour), directed by Dimitri Buchowetzki, and the Emile Zola adaptation Die Bestie im Menschen (The Human Beast, Ludwig Wolff 1921), Der Streik der Diebe (The Thieves’ Strike, Alfred Abel 1921), and Paul Czinner's drama Opfer der Leidenschaft (Victims of Passion, 1922) as female partner of Paul Bildt. With the role of the capricious dancer Barberina Campanini in the first and third part of the Fridericus Rex series (Sturm und Drang, 1922; Sanssouci, 1923) Maria Orska finished her film career.
Orska’s attempt to become a theatrical actress in Paris failed. Disappointed, the celebrated artist returned to Berlin and accepted commitments at the Komödienhaus, the Deutsches Theater and the Lessing Theater. In 1927 for instance, in Hans Kaltneker's mystery play The Sisters at the theater in the Königgrätzer Strasse in Berlin, Orska played the lesbian Ruth. More and more however, Orska’s health visibly deteriorated by her morphine addiction. Divorced since 1925 by her husband, Dr. Hans von Bleichröder, Maria Orska became the talk of the town because of her own desire for death and her drug consumption. Nurses waited on the side stage with a syringe, directors dreaded every performance. Her suicide attempts - once she jumped off a train - soon became routine for the public. "They had an already typical character, they were each time after a rest and detox pause in the sanatorium, which the demon hunted artist used to leave like a fury, in order to escape from a life that had become worthless for her", Emil Faktor wrote in 1930.
All rehab attempts by Orska proved failing. She finally poisoned herself by an overdose of Veronal. The actress was brought to the Viennese General Hospital, where she died on May 16, 1930, at the age of only 37 – she couldn’t cope with a pneumonia because of her weakened body. Also the life of her sister Gabryela, who, born in 1894, became Marchesa di Serra Mantschedda when married to an Italian aristocrat, ended tragically, in 1924 (or 1926). Gabryela hanged herself in a Viennese hotel. Wikipedia claims it was after a row with her sister Maria. Their brother Edwin, aviator in the Russian Imperial Army, survived the First World War, the Bolshevik revolution, the Nazis, and the sisters. In 1938 he emigrated from Germany to Ecuador where he died in 1966.
"Maria Orska was completely subordinate to the intoxication of the stage until it crushed her. Her strange appearance confirmed how difficult it is to understand the phenomenon of the stage actor. She seemed so enveloped in the air of the scene, but at the same time she remained so simple. She was a theatrical crowd-puller and a rhetorical star, such as Wilde’s Salome, and was also the most humble of Hedwig in Wildente [The Wild Duck] by Ibsen. She was hot and cold, she played and she lived ", Fritz Engel wrote. The famous artist Oskar Kokoschka drew the actress in 1922. Lithographies after his work hang in various museums, e.g. the Staatlichen Kunstsammlungen Dresden.
Sources: www.steffi-line.de/archiv_text/nost_film20b40/178_orska_m..., German Wikipedia, filmportal, and IMDb.
There are abundant types of firewood in the market each one has different burning capability. If you are looking for longlasting burning wood to make your winter nights warmer? Then redgum firewood is the one the best which can hold heat for long durations.
Detail of the siege of Mont Raissard.
The two generals of the french Alliance fight their last battle - against eachother! - after a longlasting conflict for power within the Empire.
With King Rolund's troops outside the gates ready to attack, there's but limited time for both the French General of Arms in his golden armor and the Leader of the King's Guard to take out one-another and take control of the citadel to defend their cause in the last battle before the fall of the once so powerfull French Empire, now facing the mighty army of Danish King Rolund II in his march of conquest.
More pictures on the way!
2025 has seen the replacement of Transdev's Shuttle branded batch of Volvo B7RLE Wright Eclipse Urbans with new Mercedes Benz eCitaros and only time will tell if they are so longlasting. Here, 1814 (OIG 1814) - originally YJ05 KHO - departs Bradford for Keighley on 21st July, 2025. A short while later, I would travel on a sister bus as far as Saltaire.
German postcard by Photochemie, Berlin, no. K. 1685. Photo: A. Moesigay, Hamburg.
Maria Orska (1893-1930) was a Russian-Jewish actress of the German stage and screen in the 1910s and 1920s.
On 16 March 1893 Maria Orska was born Effi Rahel Blindermann in Nikolayev, Russian Empire (now Mikolaiv in Ukraine). She was the cousin of the German actress Hedda Forsten and by her mother parented to the theatre impresario Eugen Frankfurter. Although she originally wanted to study law like her father wanted to, she became a stage actress and was discovered by the German actor and drama teacher Ferdinand Gregori when in St. Petersburg. In 1909 he brought her to Vienna's conservatory "k.u.k. Akademie für Musik und darstellende Kunst" (today Universität für Musik und darstellende Kunst Wien), led by him. In 1910, she followed Gregori to the Mannheim court theater where she debuted as "Daisy Orska" and soon drew attention to herself in plays by Strindberg and Schnitzler. In 1911 she came to the Schauspielhaus in Hamburg, where quickly she became the star of the company. In the season 1914/1915 Maria Orska, her stage name by now, moved to Berlin, where she performed at the "Theater in der Königgrätzer Straße" (today "Hebbel-Theater") as well as Max Reinhardt’s Berlin stage. In the same year Edith Andreae was introduced to her, with whom she held a longlasting friendship.
In Berlin the exiled Russian artist became known as interpreter of the works by modern playwrights such as Wilde, Strindberg, Schnitzler, Wedekind and Pirandello. She was a huge success in Wedekind’s Lulu in 1917. "She had sharp, piercing tones, the uncanny effect of which the little character fanatically exaggerated. She also cultivated mundane roles, in which she unfolded the pointed humours of a devious character ... In the field of erotic representation she dared to go remarkably far. She was not an elementary artist, but she had individual qualities that made her the darling of the audience“, the reporter and author Emil Faktor noted in the Berliner Börsen-Courier (16.05.1930) in occasion of her tragic death.
Since her marriage to her second husband, Baron Dr. Hans von Bleichröder jun. (1888 - 1938), a grandson of the Jewish banker Gerson von Bleichröder, the ambitious Maria Orska maintained an elaborate lifestyle. For a long time, she was at the center of so-called Berlin society, and also knew how to stage herself in private as an eccentric spectacle. Her popularity was reinforced by cinema. In 1915 she began a second career as a silent film actor and soon received top salaries. Maria Orska gave her screen debut at the Greenbaum-Film GmbH in Richard Oswald's melodrama Dämon und Mensch (Demon and Man, 1915) and played the shady Lina, who wants to take a cleansed criminal (Rudolf Schildkraut) away from the path of virtue. Maria Orska worked for the first time with the filmmaker and director Max Mack (1884 - 1973) in Das tanzende Herz (The Dancing Heart, 1916), which effected in a six-part Maria Orska film series for the cinemas in 1916/17, with Orska herself as protagonist in each film. The star was praised as "the unmatched interpreter of Strindberg's women, the most fashionable actress of today's Berlin". She was the representative of an "art entirely dedicated to nerves" (Der Film, no. 23, 01.07.1916). As a girl from the gutter she presented herself in Der Sumpf (The Gutter, 1916), but also in comedies such as Die Sektwette (The Champagne Bet, 1916) she was able to win the audience for herself.
But it was mostly the melodramas of those years in which Maria Orska performed the type of the wicked woman. After the dramatic film Adamant's Letztes Rennen (Adamant’s Last Race, 1917) and Der lebende Tote (The Living Dead, 1917), she was for Max Mack Die schwarze Loo (Black Lu, 1917), a gypsy woman who becomes the talk of the town, and who almost wrecks the marriage of a musician (Bruno Kastner). Director Max Mack abducts his audience into the dazzling half-world of the imperial capital. The acclaimed Maria Orska acted as Black Lu, who is constantly surrounded both in the demimonde world and high society. Between push dancing and amorous intrigue, the film develops its highly dared action for those days in expressive images and pointed situations, in which with remarkable determination the stern morality of the late German Imperial Empire is shaken.
Die schwarze Loo was the last part of the Maria -Orska-series, which Mack realized for the Greenbaum-Film. Then Maria Orska paused from the film business and focused on her work at the theater for the next three years. In 1920 she reappeared on screen in the film Die letzte Stunde (The Last Hour), directed by Dimitri Buchowetzki, and the Emile Zola adaptation Die Bestie im Menschen (The Human Beast, Ludwig Wolff 1921), Der Streik der Diebe (The Thieves’ Strike, Alfred Abel 1921), and Paul Czinner's drama Opfer der Leidenschaft (Victims of Passion, 1922) as female partner of Paul Bildt. With the role of the capricious dancer Barberina Campanini in the first and third part of the Fridericus Rex series (Sturm und Drang, 1922; Sanssouci, 1923) Maria Orska finished her film career.
Orska’s attempt to become a theatrical actress in Paris failed. Disappointed, the celebrated artist returned to Berlin and accepted commitments at the Komödienhaus, the Deutsches Theater and the Lessing Theater. In 1927 for instance, in Hans Kaltneker's mystery play The Sisters at the theater in the Königgrätzer Strasse in Berlin, Orska played the lesbian Ruth. More and more however, Orska’s health visibly deteriorated by her morphine addiction. Divorced since 1925 by her husband, Dr. Hans von Bleichröder, Maria Orska became the talk of the town because of her own desire for death and her drug consumption. Nurses waited on the side stage with a syringe, directors dreaded every performance. Her suicide attempts - once she jumped off a train - soon became routine for the public. "They had an already typical character, they were each time after a rest and detox pause in the sanatorium, which the demon hunted artist used to leave like a fury, in order to escape from a life that had become worthless for her", Emil Faktor wrote in 1930.
All rehab attempts by Orska proved failing. She finally poisoned herself by an overdose of Veronal. The actress was brought to the Viennese General Hospital, where she died on May 16, 1930, at the age of only 37 – she couldn’t cope with a pneumonia because of her weakened body. Also the life of her sister Gabryela, who, born in 1894, became Marchesa di Serra Mantschedda when married to an Italian aristocrat, ended tragically, in 1924 (or 1926). Gabryela hanged herself in a Viennese hotel. Wikipedia claims it was after a row with her sister Maria. Their brother Edwin, aviator in the Russian Imperial Army, survived the First World War, the Bolshevik revolution, the Nazis, and the sisters. In 1938 he emigrated from Germany to Ecuador where he died in 1966.
"Maria Orska was completely subordinate to the intoxication of the stage until it crushed her. Her strange appearance confirmed how difficult it is to understand the phenomenon of the stage actor. She seemed so enveloped in the air of the scene, but at the same time she remained so simple. She was a theatrical crowd-puller and a rhetorical star, such as Wilde’s Salome, and was also the most humble of Hedwig in Wildente [The Wild Duck] by Ibsen. She was hot and cold, she played and she lived ", Fritz Engel wrote. The famous artist Oskar Kokoschka drew the actress in 1922. Lithographies after his work hang in various museums, e.g. the Staatlichen Kunstsammlungen Dresden.
Sources: www.steffi-line.de/archiv_text/nost_film20b40/178_orska_m..., German Wikipedia, filmportal, and IMDb.
this variety of eriantha is very floriferous and longlasting bloomer, it continues to bloom until u get bored of it , but it needs to be pinched at least 3 times.
This rose bud lasted weeks longer than I thought it would from a bouquet I bought over a month ago and I thought I should take a photo before it was too late.
The texture is by very talented and creative Cris Buscaglia www.flickr.com/photos/crisbuscagliacom/10582901243/in/pho...
I love this scripture by the Apostle Paul to the Philippians as he points out the really important things that we should be concentrating and setting our hearts on.....
no materialism here :)
Hope you all have a blessed Sunday and thank you for visiting and for the great comments on my previous photo, I had a lovely day with my nephew and the time FLEW!!! :(
PS.... if any of you have too much snow, send it to Northern Ireland.... apparently we're in for a WET Christmas, not a WHITE one.....
Finally I've pulled myself together to give this gorgeous mold a face - I was way scared, since I don't see myself as the faceup-hero, but it turned out quite nicely, I am very happy with him, he's so gentle (although his skincolour is somewhat scary) and looks like he can't harm a soul - actually he can, he's a Werewolfhunter who recently had to leave his natural habitat to come adjust to a very new and (hopefully) longlasting life^^.
Jan de Jong's History
1928 - Commenced training Tsutsumi Hozan ryu Ju Jutsu under S. Saito (8th Dan) in Semarang on the island of Java, Indonesia. Jan de Jong and his father, also a black belt in the system, were two of the very few non-Japanese to be taught by Saito.
1939 - Graded 3rd Dan, the highest technical grading in Tsutsumi Hozan ryu Ju Jutsu.
1940 - Travelled to the Netherlands to further his education. The outbreak of World War II interrupted these plans and cut off financial support from his family. In order to support himself he commenced teaching Ju Jutsu in Rotterdam. For the duration of the war he was a member of the Dutch resistance.
1946 - Returned to Indonesia and commenced working for the Royal Netherlands Indies Army and then the Indonesian army as a physiotherapist. Accepted into the aliran (Indonesian for system or style) to learn pencak silat from Soehadi
1951 - Graded 6th Degree Black Belt in pencak silat.
1952 - Emigrated to Perth, Western Australia.
1969 - Travelled to Japan and trained in many martial arts schools, including that of Minoru Mochizuki in Shizuoka near Mt Fuji, where he graded 1st Dan in Yoseikan aikido and Shotokan karate.
1978 - Accepted the position of Australasian representative for the World Ju Jutsu Federation.
1979 - Accepted the position of Chief Instructor and Adviser to the Australian Special Air Service Regiment (SAS).
1980 - Promoted to 4th Dan in Ju Jutsu.
1982 - Promoted to 6th Dan in Ju Jutsu. Conducted first teaching tour of Europe which subsequently evolved into an annual occurrence.
1985 - Accepted the position of Australian representative for the International Pencak Silat Federation.
1987 - Accepted the position of President and National Coach for the Australian Ju Jutsu Association.
1989 - Promoted to 8th Dan in Ju Jutsu.
1990 - Awarded the Order of Australia Medal (OAM) by the Governor-General of the Commonwealth of Australia for services to the martial arts.
1991 - Accepted the position of Vice President of the World Ju Jutsu Federation. Celebrated his fiftieth year anniversary of teaching Ju Jutsu professionally.
1996 - Promoted to 9th Dan in Ju Jutsu.
Jan de Jong Shihan continued to teach and also to refine and improve technical and teaching aspects of his martial arts up to the last three weeks of his life, which ended at the age of 82 in April 2003.
Jan de Jong's Self Defence School
Often the ties formed with Jan de Jong and his School are very strong and longlasting. Many people who have experienced Jan de Jong's martial arts encourage their children and grandchildren to do likewise. Some current students in Perth represent the third generation of families involved with the School. Whilst giving a seminar in Holland in 1994, Jan de Jong was approached by two gentlemen. He immediately recognised them as former students from his Rotterdam School. They confirmed this by proudly presenting their original membership cards which they had kept for over 50 years. Two years later he was again approached by two former members, one of whom was Piet Hesselink. They had lost contact when Jan de Jong emigrated to Indonesia in 1946. Piet Hesselink is still teaching Ju Jutsu in Holland.
History of Jan de Jong's Self Defence School
1941 - Jan de Jong opened his first School in Rotterdam, Holland.
1944 - The Rotterdam School closed due to the demands of World War II.
1945 - The Rotterdam School re-opened and was subsequently passed on to Piet Hesselink when Jan de Jong returned to Indonesia.
1946 - Jan de Jong taught in Jakarta and Semarang, Indonesia.
1952 - First School opened in Perth, Western Australia, located in Charles Street, North Perth. Later the same year the School relocated to Mint Street, Victoria Park.
1954 - School relocated to Jan de Jong's residence in Edgehill Street, Scarborough.
1955 - School relocated to the Swan River Rowing Club, Riverside Drive, Perth. Attending the first class were ten students interested in learning Ju Jutsu. Jan de Jong demonstrated a bridgefall and put both his feet through the floorboards into the river. The next lesson he had three students. One of these students suggested that using mats may encourage more people to take up Ju Jutsu, so they made some mats by hand as they couldn't be purchased at that time. The School was named "Ju Jutsu Kan Perth."
1960 - School relocated to 870 Hay Street, Perth – the first known full-time martial arts School in Australia.
1963 - School relocated to 996 Hay Street, Perth.
1965 - First branch opened in Kelmscott. Since then the School has operated many branches throughout the Perth metropolitan area and at times in some country locations.
1968 - Classes in Aikido and Pencak Silat were offered to the public for the first time. Phillipe Boiron, trained by Minoru Mochizuki, taught aikido. Jan de Jong had been teaching Pencak Silat to higher graded Ju Jutsu students since 1955.
1975 - The name of the School changed to "Jan de Jong's Self Defence School."
2002 - The School celebrated its 50th anniversary since opening in Perth in 1952. At the celebrations, Jan de Jong Shihan was pleased to present to the instructors and students the new name of the School, "Jan de Jong Martial Arts Fitness" and the new logo, which he felt represented the direction of the School.
2003 - In March Jan de Jong Shihan asked his daughter Maggie de Jong to take over the role of principal of the School.
In September the School relocated to more central and modern premises at 'the Atrium' 168 St George's Tce, in Perth.
Maggie de Jong Sensei and Paul Connolly Sensei, together with Margaret de Jong, continued the running of the School at the city location and at the Melville Branch, with Daryl Cook Sensei taking charge of Melville classes. The School's branches in the northern suburbs were handed over to Hans de Jong Sensei.
Biom Walk has an anatomically shaped last, based on 2.500 scanned feet – excellent fit and wear comfort. It consists of a direct-injected Poly Urethan midsole construction – has longlasting cushioning properties (approx. 2x times longer than normal EVA foams) – and offers an anatomically shaped footbed with full length foot support. The Sole unit is low-to-the ground and flexible - allows the foot to move naturally and train foot and lower leg muscles. The outside consists of Yak leather – 1mm thin very breathable and soft – fits like a glove – excellent wear comfort
The competition for the Scandinavian Outdoor Industry is being hosted by S.O.G. since 2006. Up to 20 products from Scandinavian Outdoor Group member brands get nominated every season to compete for the Scandinavian Outdoor Award.
More infos at www.scandinavianoutdooraward.com/
I'm completely stumped here - maybe one of the many species of Armillaria ...?!?
Found on a meadow close to mountain needlewood, ca. 1300 m of altitude. Growing in clumps directly from the grass, no trees anywhere close on that meadow.
Atypical for mushrooms, they are extremely longlasting - maybe around 3 weeks in real good state!
Styria, Austria.
I was really impressed because everytime I see a rainbow, I just respect this Nature's show and take the time to enjoy it. This one was the most brilliant I've ever seen, and a longlasting one. Thank's God for this morning gift. It was so early in the morning that the Spathodea campanulata is hard to distinguish because of the lack of sunlight (6:20 am)
German postcard by Ross Verlag, no. 556/1, 1919-1924. Photo: Roman Freulich / Unfilman.
Virginia Valli (1895–1968)[ was an American stage and film actress whose motion picture career started in the silent film era and lasted until the beginning of the sound film era of the 1930s.
Virginia Valli, originally Virginia McSweeney, was born in Chicago, Illinois, and started acting in Milwaukee at a theater stock company. From 1916, she also acted in some 18 films at the Essanay Studios in Chicago, debuting in a minor part in the serial The Strange Case of Mary Page (1916), and quickly having all the female leads.. After that, she acted at the studios of World Film, Fort Lee, New Jersey. However, when features came along, Valli was reduced to supporting parts. By 1920, Valli had moved to California to act in films by Fox, Vitagraph and others. By that time she had already adopted the name of Virginia Valli. A major part she had in the Metro Pictures film The Man Who (Maxwell Karger, 1921) with Bert Lytell and Lucy Cotton, and scripted by June Mathis. On the film's success, Karger then directed Lytell and Valli in a string of fllms for Metro.
In 1922-1924, Virginia Valli did several films for Universal. A major part Valli had in John Ford's The Village Blacksmith (1922), based on Wadsworth Longfellow, in the northwoods melodrama The Storm (Reginald Barker 1922) with House Peters, and in The Shock (Lambert Hillyer, 1923), in which Lon Chaney falls in love with the daughter of his victim, combined with the San Francisco earthquake. Other memorable titles were The Signal Tower (Clarence Brown, 1924), Wild Oranges (King Vidor, 1924), The Confidence Man (Victor Heerman, 1924), Up the Ladder (Edward Sloman, 1925), and the British film The Pleasure Garden (1925) by Alfred Hitchcock. Location shooting for The Pleasure Garden was done in Italy and Germany. The film revolves around Patsy Brand (Valli), a woman who works as a dancer in a theater called "Pleasure Garden". She helps Jill (Carmelita Geraghty) to get a job in he theater. Via Jill's fiancee Hugh (John Stuart) she meets Levet (Miles Mander) and eventually marries him. They sail for Italy on a honeymoon. Levett and Hugh then go on a trip to one of the British colonies. Jill, meanwhile, has dropped Hugh for a rich prince who spoils her and she has become distant to Patsy. When Patsy receives notice that her husband is ill, she travels after him, but discovers he has an affair with a native woman. Patsy, instead, takes care of a really ill Hugh, which Levet doesn't like... The film was produced by Michael Balcon and Erich Pommer; it was Balcon who hired Valli as star of the film, being one of the first to do so. Also Carmelita Geraghty was American.
Virginia Valli continued appearing in films throughout the decade. She had no longlasting contracts with majors, so she played at all major and minor studios in the 1920s. In 1925 Valli acted in The Man Who Found Himself with Thomas Meighan. The production was carried out in the studio of Long Island, New York. Among her films were also the highlights Stage Madness (Victor Schertzinger, 1927) with Tullio Carminati, Paid To Love (Howard Hawks, 1927), with William Powell, and Evening Clothes (Luther Reed, 1927), with Adolphe Menjou. Her first sound movie was The Isle of Lost Ships in 1929, but her film career would not last much longer as her fame declined. After scarce adventures in sound cinema, she quitted acting in 1931. Valli was married to George Lamson and, in second marriage in 1931, to the actor Charles Farrell, a marriage that lasted until her death. They moved to Palm Springs, where she had an intense social life for years. She suffered a stroke in 1966, and died two years later, at the age of 73, in Palm Springs, California. She was buried in Welwood Murray Cemetery in that city. Valli did not have children.
Sources: Wikipedia (English, Spanish, and Italian) and IMDb.
German postcard by Photochemie, no. K 120. Photo: Alex Binder, Berlin.
Maria Orska (1893-1930) was a Russian-Jewish actress of the German stage and screen in the 1910s and 1920s.
On 16 March 1893 Maria Orska was born Effi Rahel Blindermann in Nikolayev, Russian Empire (now Mikolaiv in Ukraine). She was the cousin of the German actress Hedda Forsten and by her mother parented to the theatre impresario Eugen Frankfurter. Although she originally wanted to study law like her father wanted to, she became a stage actress and was discovered by the German actor and drama teacher Ferdinand Gregori when in St. Petersburg. In 1909 he brought her to Vienna's conservatory "k.u.k. Akademie für Musik und darstellende Kunst" (today Universität für Musik und darstellende Kunst Wien), led by him. In 1910, she followed Gregori to the Mannheim court theater where she debuted as "Daisy Orska" and soon drew attention to herself in plays by Strindberg and Schnitzler. In 1911 she came to the Schauspielhaus in Hamburg, where quickly she became the star of the company. In the season 1914/1915 Maria Orska, her stage name by now, moved to Berlin, where she performed at the "Theater in der Königgrätzer Straße" (today "Hebbel-Theater") as well as Max Reinhardt’s Berlin stage. In the same year Edith Andreae was introduced to her, with whom she held a longlasting friendship.
In Berlin the exiled Russian artist became known as interpreter of the works by modern playwrights such as Wilde, Strindberg, Schnitzler, Wedekind and Pirandello. She was a huge success in Wedekind’s Lulu in 1917. "She had sharp, piercing tones, the uncanny effect of which the little character fanatically exaggerated. She also cultivated mundane roles, in which she unfolded the pointed humours of a devious character ... In the field of erotic representation she dared to go remarkably far. She was not an elementary artist, but she had individual qualities that made her the darling of the audience“, the reporter and author Emil Faktor noted in the Berliner Börsen-Courier (16.05.1930) in occasion of her tragic death.
Since her marriage to her second husband, Baron Dr. Hans von Bleichröder jun. (1888 - 1938), a grandson of the Jewish banker Gerson von Bleichröder, the ambitious Maria Orska maintained an elaborate lifestyle. For a long time, she was at the center of so-called Berlin society, and also knew how to stage herself in private as an eccentric spectacle. Her popularity was reinforced by cinema. In 1915 she began a second career as a silent film actor and soon received top salaries. Maria Orska gave her screen debut at the Greenbaum-Film GmbH in Richard Oswald's melodrama Dämon und Mensch (Demon and Man, 1915) and played the shady Lina, who wants to take a cleansed criminal (Rudolf Schildkraut) away from the path of virtue. Maria Orska worked for the first time with the filmmaker and director Max Mack (1884 - 1973) in Das tanzende Herz (The Dancing Heart, 1916), which effected in a six-part Maria Orska film series for the cinemas in 1916/17, with Orska herself as protagonist in each film. The star was praised as "the unmatched interpreter of Strindberg's women, the most fashionable actress of today's Berlin". She was the representative of an "art entirely dedicated to nerves" (Der Film, no. 23, 01.07.1916). As a girl from the gutter she presented herself in Der Sumpf (The Gutter, 1916), but also in comedies such as Die Sektwette (The Champagne Bet, 1916) she was able to win the audience for herself.
But it was mostly the melodramas of those years in which Maria Orska performed the type of the wicked woman. After the dramatic film Adamant's Letztes Rennen (Adamant’s Last Race, 1917) and Der lebende Tote (The Living Dead, 1917), she was for Max Mack Die schwarze Loo (Black Lu, 1917), a gypsy woman who becomes the talk of the town, and who almost wrecks the marriage of a musician (Bruno Kastner). Director Max Mack abducts his audience into the dazzling half-world of the imperial capital. The acclaimed Maria Orska acted as Black Lu, who is constantly surrounded both in the demimonde world and high society. Between push dancing and amorous intrigue, the film develops its highly dared action for those days in expressive images and pointed situations, in which with remarkable determination the stern morality of the late German Imperial Empire is shaken.
Die schwarze Loo was the last part of the Maria -Orska-series, which Mack realized for the Greenbaum-Film. Then Maria Orska paused from the film business and focused on her work at the theater for the next three years. In 1920 she reappeared on screen in the film Die letzte Stunde (The Last Hour), directed by Dimitri Buchowetzki, and the Emile Zola adaptation Die Bestie im Menschen (The Human Beast, Ludwig Wolff 1921), Der Streik der Diebe (The Thieves’ Strike, Alfred Abel 1921), and Paul Czinner's drama Opfer der Leidenschaft (Victims of Passion, 1922) as female partner of Paul Bildt. With the role of the capricious dancer Barberina Campanini in the first and third part of the Fridericus Rex series (Sturm und Drang, 1922; Sanssouci, 1923) Maria Orska finished her film career.
Orska’s attempt to become a theatrical actress in Paris failed. Disappointed, the celebrated artist returned to Berlin and accepted commitments at the Komödienhaus, the Deutsches Theater and the Lessing Theater. In 1927 for instance, in Hans Kaltneker's mystery play The Sisters at the theater in the Königgrätzer Strasse in Berlin, Orska played the lesbian Ruth. More and more however, Orska’s health visibly deteriorated by her morphine addiction. Divorced since 1925 by her husband, Dr. Hans von Bleichröder, Maria Orska became the talk of the town because of her own desire for death and her drug consumption. Nurses waited on the side stage with a syringe, directors dreaded every performance. Her suicide attempts - once she jumped off a train - soon became routine for the public. "They had an already typical character, they were each time after a rest and detox pause in the sanatorium, which the demon hunted artist used to leave like a fury, in order to escape from a life that had become worthless for her", Emil Faktor wrote in 1930.
All rehab attempts by Orska proved failing. She finally poisoned herself by an overdose of Veronal. The actress was brought to the Viennese General Hospital, where she died on May 16, 1930, at the age of only 37 – she couldn’t cope with a pneumonia because of her weakened body. Also the life of her sister Gabryela, who, born in 1894, became Marchesa di Serra Mantschedda when married to an Italian aristocrat, ended tragically, in 1924 (or 1926). Gabryela hanged herself in a Viennese hotel. Wikipedia claims it was after a row with her sister Maria. Their brother Edwin, aviator in the Russian Imperial Army, survived the First World War, the Bolshevik revolution, the Nazis, and the sisters. In 1938 he emigrated from Germany to Ecuador where he died in 1966.
"Maria Orska was completely subordinate to the intoxication of the stage until it crushed her. Her strange appearance confirmed how difficult it is to understand the phenomenon of the stage actor. She seemed so enveloped in the air of the scene, but at the same time she remained so simple. She was a theatrical crowd-puller and a rhetorical star, such as Wilde’s Salome, and was also the most humble of Hedwig in Wildente [The Wild Duck] by Ibsen. She was hot and cold, she played and she lived ", Fritz Engel wrote. The famous artist Oskar Kokoschka drew the actress in 1922. Lithographies after his work hang in various museums, e.g. the Staatlichen Kunstsammlungen Dresden.
Sources: www.steffi-line.de/archiv_text/nost_film20b40/178_orska_m..., German Wikipedia, filmportal, and IMDb.
Before the invention of air conditioners the inhabitants of the middle east used wind towers to capture wind and cool their homes. This is one at the Madinat Jumeirah. The wooden bars used to hold wet cloths so the wind would cool as it blew into the homes.
Heavens to Bokeh, this is it, The only image this week that stood out. This is the pear trees leaves as they turn deep reddish purple with shades of gold along the way. The wind had gusted so hard I failed to capture macros of the spirea leaves, but low and behold the next afternoon for a brief spell all was calm, so got the camera to grab a quick shot or two of the pear tree.
The obelisks of Aksum are and have always been symbols of power. There are few evidences on the Aksumite Empire apart from those stelae symbolising the power of the Aksum kings. Later in the 19th century, after centuries of historical orders and disorders, Aksum became the symbolic centre of the Solomonic Dynasty: basing its power on Solomonic origins, Aksum was a perfect symbol of the miraculous and magical roots of the ruling dynasty on the Abyssinian territory. Even so, the unity of Ethiopia was a construction and the political modus of the dynasty who proved through the monuments an a continuity with the longlasting history. Aksum became the first historical capital of Ethiopia (no more Aksumite Empire): The Emperor Haile Selassie even rebuilt the Church to show off its commitment to the unity. But that was after the Italian invasion (1935-1941).
Bacause the Italians Facists had a 'great' idea: they had stolen the biggest Obelisk to show it off in Rome for the celebration of the restauration of the Empire. At this point in time, the monument became a reinforced symbol but an ambiguous symbol: for the italians, it became the symbol of a triumphant facist and colonial Empire, while for the Ethiopians, the absence of the obelisk had started to mean everything they were not anymore and they aspired to be. Power, triumph and loss: what is the meaning of that agency?
(to be continued)
Our daily challenge 3 ~ "Nine"
Please note: these shots were not taken on the 25th April (May or June either!) I think when I move from one programme to another the software gets confused!
Someone dressed "to the nines" is dressed up as much as they can be.
I wake up every morning at nine and grab for the morning paper. Then I look at the obituary page. If my name is not on it, I get up.
Benjamin Franklin
Nine (九 pinyin jiǔ) is considered a good number in Chinese culture because it sounds the same as the word "longlasting" (久 pinyin jiǔ).
In nine cases out of ten, a woman had better show more affection than she feels.
Aristotle
The Japanese consider 9 to be unlucky because it sounds similar to the Japanese word for "pain" or "distress" (苦 kunrei ku)[
If I had nine of my fingers missing I wouldn't type any slower.
Mitch Hedberg
The word "K-9" pronounces the same as canine and is used in many U.S. police departments to denote the police dog unit.
I had a really good childhood up until I was nine, then a classic case of divorce really affected me.
Kurt Cobain
Nine is the highest single-digit number in the decimal system.
Natural beauty while wearing Hair Extensions. We supply the finest unprocessed single donor temple indian human hair on the market. Our textures range from naturally ( Indian Straight Hair and Indian Curly Hair and Indian Wavy Hair ) am not using using chemical treatment and not steamed process for texture We have a hair texture that will match anyone’s hair type. We are highly recognized in the hair community as one of the largest exporter and manufacturers of unprocessed single donor temple indian human hair goods.
Email: hairexim@gmail.com
Whatsapp or Call: +919941366664
❤Hair Can Be Dyed, Colored and Bleached.
❤After Apply Color On Remy Hair The Hair Is Not Virgin.
❤100% UnProcessed Virgin Human Hair.
❤No Tangle, No Shading, No Neets, No Liess.
British Real Photograph postcard.
Virginia Valli (1895–1968) was an American stage and film actress whose motion picture career started in the silent film era and lasted until the beginning of the sound film era of the 1930s.
Virginia Valli, originally Virginia McSweeney, was born in Chicago, Illinois, and started acting in Milwaukee at a theater stock company. From 1916, she also acted in some 18 films at the Essanay Studios in Chicago, debuting in a minor part in the serial The Strange Case of Mary Page (1916), and quickly having all the female leads.. After that, she acted at the studios of World Film, Fort Lee, New Jersey. However, when features came along, Valli was reduced to supporting parts. By 1920, Valli had moved to California to act in films by Fox, Vitagraph and others. By that time she had already adopted the name of Virginia Valli. A major part she had in the Metro Pictures film The Man Who (Maxwell Karger, 1921) with Bert Lytell and Lucy Cotton, and scripted by June Mathis. On the film's success, Karger then directed Lytell and Valli in a string of fllms for Metro.
In 1922-1924, Virginia Valli did several films for Universal. A major part Valli had in John Ford's The Village Blacksmith (1922), based on Wadsworth Longfellow, in the northwoods melodrama The Storm (Reginald Barker 1922) with House Peters, and in The Shock (Lambert Hillyer, 1923), in which Lon Chaney falls in love with the daughter of his victim, combined with the San Francisco earthquake. Other memorable titles were The Signal Tower (Clarence Brown, 1924), Wild Oranges (King Vidor, 1924), The Confidence Man (Victor Heerman, 1924), Up the Ladder (Edward Sloman, 1925), and the British film The Pleasure Garden (1925) by Alfred Hitchcock. Location shooting for The Pleasure Garden was done in Italy and Germany. The film revolves around Patsy Brand (Valli), a woman who works as a dancer in a theater called "Pleasure Garden". She helps Jill (Carmelita Geraghty) to get a job in he theater. Via Jill's fiancee Hugh (John Stuart) she meets Levet (Miles Mander) and eventually marries him. They sail for Italy on a honeymoon. Levett and Hugh then go on a trip to one of the British colonies. Jill, meanwhile, has dropped Hugh for a rich prince who spoils her and she has become distant to Patsy. When Patsy receives notice that her husband is ill, she travels after him, but discovers he has an affair with a native woman. Patsy, instead, takes care of a really ill Hugh, which Levet doesn't like... The film was produced by Michael Balcon and Erich Pommer; it was Balcon who hired Valli as star of the film, being one of the first to do so. Also Carmelita Geraghty was American.
Virginia Valli continued appearing in films throughout the decade. She had no longlasting contracts with majors, so she played at all major and minor studios in the 1920s. In 1925 Valli acted in The Man Who Found Himself with Thomas Meighan. The production was carried out in the studio of Long Island, New York. Among her films were also the highlights Stage Madness (Victor Schertzinger, 1927) with Tullio Carminati, Paid To Love (Howard Hawks, 1927), with William Powell, and Evening Clothes (Luther Reed, 1927), with Adolphe Menjou. Her first sound movie was The Isle of Lost Ships in 1929, but her film career would not last much longer as her fame declined. After scarce adventures in sound cinema, she quitted acting in 1931. Valli was married to George Lamson and, in second marriage in 1931, to the actor Charles Farrell, a marriage that lasted until her death. They moved to Palm Springs, where she had an intense social life for years. She suffered a stroke in 1966, and died two years later, at the age of 73, in Palm Springs, California. She was buried in Welwood Murray Cemetery in that city. Valli did not have children.
Sources: Wikipedia (English, Spanish, and Italian) and IMDb.
Taken today. That means the Christmas are still lasting in our home. My girlfriend was removing their Christmas tree today and I realized that such a long lasting Christmas is nothing self-evident.
I like it. Especially when it looks exactly like this...
German postcard by Photochemie, no. K 14876. Photo: Willinger, Berlin.
Maria Orska (1893-1930) was a Russian-Jewish actress of the German stage and screen in the 1910s and 1920s.
On 16 March 1893 Maria Orska was born Effi Rahel Blindermann in Nikolayev, Russian Empire (now Mikolaiv in Ukraine). She was the cousin of the German actress Hedda Forsten and by her mother parented to the theatre impresario Eugen Frankfurter. Although she originally wanted to study law like her father wanted to, she became a stage actress and was discovered by the German actor and drama teacher Ferdinand Gregori when in St. Petersburg. In 1909 he brought her to Vienna's conservatory "k.u.k. Akademie für Musik und darstellende Kunst" (today Universität für Musik und darstellende Kunst Wien), led by him. In 1910, she followed Gregori to the Mannheim court theater where she debuted as "Daisy Orska" and soon drew attention to herself in plays by Strindberg and Schnitzler. In 1911 she came to the Schauspielhaus in Hamburg, where quickly she became the star of the company. In the season 1914/1915 Maria Orska, her stage name by now, moved to Berlin, where she performed at the "Theater in der Königgrätzer Straße" (today "Hebbel-Theater") as well as Max Reinhardt’s Berlin stage. In the same year Edith Andreae was introduced to her, with whom she held a longlasting friendship.
In Berlin the exiled Russian artist became known as interpreter of the works by modern playwrights such as Wilde, Strindberg, Schnitzler, Wedekind and Pirandello. She was a huge success in Wedekind’s Lulu in 1917. "She had sharp, piercing tones, the uncanny effect of which the little character fanatically exaggerated. She also cultivated mundane roles, in which she unfolded the pointed humours of a devious character ... In the field of erotic representation she dared to go remarkably far. She was not an elementary artist, but she had individual qualities that made her the darling of the audience“, the reporter and author Emil Faktor noted in the Berliner Börsen-Courier (16.05.1930) in occasion of her tragic death.
Since her marriage to her second husband, Baron Dr. Hans von Bleichröder jun. (1888 - 1938), a grandson of the Jewish banker Gerson von Bleichröder, the ambitious Maria Orska maintained an elaborate lifestyle. For a long time, she was at the center of so-called Berlin society, and also knew how to stage herself in private as an eccentric spectacle. Her popularity was reinforced by cinema. In 1915 she began a second career as a silent film actor and soon received top salaries. Maria Orska gave her screen debut at the Greenbaum-Film GmbH in Richard Oswald's melodrama Dämon und Mensch (Demon and Man, 1915) and played the shady Lina, who wants to take a cleansed criminal (Rudolf Schildkraut) away from the path of virtue. Maria Orska worked for the first time with the filmmaker and director Max Mack (1884 - 1973) in Das tanzende Herz (The Dancing Heart, 1916), which effected in a six-part Maria Orska film series for the cinemas in 1916/17, with Orska herself as protagonist in each film. The star was praised as "the unmatched interpreter of Strindberg's women, the most fashionable actress of today's Berlin". She was the representative of an "art entirely dedicated to nerves" (Der Film, no. 23, 01.07.1916). As a girl from the gutter she presented herself in Der Sumpf (The Gutter, 1916), but also in comedies such as Die Sektwette (The Champagne Bet, 1916) she was able to win the audience for herself.
But it was mostly the melodramas of those years in which Maria Orska performed the type of the wicked woman. After the dramatic film Adamant's Letztes Rennen (Adamant’s Last Race, 1917) and Der lebende Tote (The Living Dead, 1917), she was for Max Mack Die schwarze Loo (Black Lu, 1917), a gypsy woman who becomes the talk of the town, and who almost wrecks the marriage of a musician (Bruno Kastner). Director Max Mack abducts his audience into the dazzling half-world of the imperial capital. The acclaimed Maria Orska acted as Black Lu, who is constantly surrounded both in the demimonde world and high society. Between push dancing and amorous intrigue, the film develops its highly dared action for those days in expressive images and pointed situations, in which with remarkable determination the stern morality of the late German Imperial Empire is shaken.
Die schwarze Loo was the last part of the Maria -Orska-series, which Mack realized for the Greenbaum-Film. Then Maria Orska paused from the film business and focused on her work at the theater for the next three years. In 1920 she reappeared on screen in the film Die letzte Stunde (The Last Hour), directed by Dimitri Buchowetzki, and the Emile Zola adaptation Die Bestie im Menschen (The Human Beast, Ludwig Wolff 1921), Der Streik der Diebe (The Thieves’ Strike, Alfred Abel 1921), and Paul Czinner's drama Opfer der Leidenschaft (Victims of Passion, 1922) as female partner of Paul Bildt. With the role of the capricious dancer Barberina Campanini in the first and third part of the Fridericus Rex series (Sturm und Drang, 1922; Sanssouci, 1923) Maria Orska finished her film career.
Orska’s attempt to become a theatrical actress in Paris failed. Disappointed, the celebrated artist returned to Berlin and accepted commitments at the Komödienhaus, the Deutsches Theater and the Lessing Theater. In 1927 for instance, in Hans Kaltneker's mystery play The Sisters at the theater in the Königgrätzer Strasse in Berlin, Orska played the lesbian Ruth. More and more however, Orska’s health visibly deteriorated by her morphine addiction. Divorced since 1925 by her husband, Dr. Hans von Bleichröder, Maria Orska became the talk of the town because of her own desire for death and her drug consumption. Nurses waited on the side stage with a syringe, directors dreaded every performance. Her suicide attempts - once she jumped off a train - soon became routine for the public. "They had an already typical character, they were each time after a rest and detox pause in the sanatorium, which the demon hunted artist used to leave like a fury, in order to escape from a life that had become worthless for her", Emil Faktor wrote in 1930.
All rehab attempts by Orska proved failing. She finally poisoned herself by an overdose of Veronal. The actress was brought to the Viennese General Hospital, where she died on May 16, 1930, at the age of only 37 – she couldn’t cope with a pneumonia because of her weakened body. Also the life of her sister Gabryela, who, born in 1894, became Marchesa di Serra Mantschedda when married to an Italian aristocrat, ended tragically, in 1924 (or 1926). Gabryela hanged herself in a Viennese hotel. Wikipedia claims it was after a row with her sister Maria. Their brother Edwin, aviator in the Russian Imperial Army, survived the First World War, the Bolshevik revolution, the Nazis, and the sisters. In 1938 he emigrated from Germany to Ecuador where he died in 1966.
"Maria Orska was completely subordinate to the intoxication of the stage until it crushed her. Her strange appearance confirmed how difficult it is to understand the phenomenon of the stage actor. She seemed so enveloped in the air of the scene, but at the same time she remained so simple. She was a theatrical crowd-puller and a rhetorical star, such as Wilde’s Salome, and was also the most humble of Hedwig in Wildente [The Wild Duck] by Ibsen. She was hot and cold, she played and she lived ", Fritz Engel wrote. The famous artist Oskar Kokoschka drew the actress in 1922. Lithographies after his work hang in various museums, e.g. the Staatlichen Kunstsammlungen Dresden.
Sources: www.steffi-line.de/archiv_text/nost_film20b40/178_orska_m..., German Wikipedia, filmportal, and IMDb.
tibet and china had strained relations for centuries but china's harsh policies since it annexed tibet have caused global concern.
1950;china's people's liberation army invades tibet;it becomes an "autonomous region" of china.
1954;china begins destroying bhudhist monastries,imposing collectivization;tibetans resist
1959;uprising crushed;tibetan leader the Dalai Lama,flees to india'80000 tibetan follows
1960-70s: china culturat revolution out laws most of the tibet's religion and culture: libraries,monuments destroyed
early 1980s china relexs some ristrictions:reduces troops.
late 1980s: Dalai Lama process peace plan; china stifies pro-independence efforts;martial lawdecleared' foreigner expelled.
2001 conact between china and Dalai Lama resumes after 9yrs lull
2002 president BUSH signs the tibetan policy act urging negotiation settlement on tibet.
since 2000-2005: influx of chinese migrants into tibet;first china-tibet rail road opens. in bejing,us. secretary of state Rice asks china's leaders to "reach out the dalai lama"
2008,the opening day of olympic in china,the (ongoing) protest,huge protest in kathmandu,nepal ,the ongoing protest since march10,2008.
8th august 2008:Tibetans in Nepal stepped up their protest on the opening of the Beijing Olympics. Thousands of angry Tibetans protested in Capital and tried to storm the Chinese Embassy consular office in Kathmandu. Nepalese police confirmed they had arrested at least 1,100 Tibetans protesting near Chinese embassy buildings on Friday, hours ahead of the opening ceremony of the Beijing Olympics
the refugees began an unprecedented protest against the 17th Olympic Games being held in Beijing. The Tibetans - including nuns and monks - screamed, shouted and cried while marching towards the Chinese consulate in the city. Police said the Tibetans, who arrived in busloads, and included nuns and monks, had begun a march towards the walled premises of the consular office. BBC’s correspondent Charles Haviland in Kathmandu says “the protesters were herded like livestock, squashed and squeezed into open or enclosed trucks, several score in each.” On Thursday, around 600 Tibetans were arrested in Kathmandu, several hours after 1,500 monks, nuns and supporters who had been praying and chanting mantras refused to disperse. “I’ve been coming here nearly every day for the past three months and I will continue,” said demonstrator Tsering Friday before being dragged into a police van. “We want that the Tibetans should stop protesting, taking into consideration the longlasting relations of friendship with China,” Nepali Home Ministry spokesman Modraj Dotel told Reuters. China is an influential neighbor, donor and trade partner of impoverished Nepal which considers Tibet a part of China. “Stop killing in Tibet,” some protesters shouted, with red and blue ribbons emblazoned with “Free Tibet” around their heads Protesters were quickly overpowered by hundreds of riot police who hauled them into iron-meshed blue vans and open trucks and took them to detention centers. Friday’s protests in Nepal followed one of the biggest pro-Tibet demonstrations in recent months on Thursday, which saw thousands of Tibetans take to the streets in Delhi and Nepal, protesting against the Olympics in China. The protest in Nepal came as thousands of performers readied in Beijing for the start of the Games at 8 p.m. on the eighth day of the eighth month — the number appropriately symbolizing fortune — before an estimated global audience of one billion. More than 20,000 Tibetans still live in Nepal, second-biggest home for them outside Tibet after neighboring India. They fled their homes after a failed uprising against the Chinese rule in 1959. Although Kathmandu prohibits any anti-China activities by the refugees, the Tibetans have managed to regularly protest China’s crackdown in March in the Tibetan capital Lhasa and other parts. New York-based Human Rights Watch said last month at least 8,350 Tibetans had been arrested in Nepal, which it said was pressured by China into cracking down on peaceful protesters. Beijing has denied the charges.
Abandoned bicycle was stayed lonely together with the fallen leaves at the corner of the park.
There are more and more natural disasters occured at all aspects from the climates down to earthquakes in recent years, which become the warn sign to people all over the world. Some of them are due to human bening's industries revolution & over consumption issue in life for the centuries, which brought us the pollution from the air till our mind in depth. The environment we lives in physical and we think in mind was polluted more or more. All kinds of words, sound, symbols related to the racial, the gender , the social status, and the country discrimination etc we created annoyed our soul & mind and caused more or more wars conflict from the people around the the world. All kinds of the air, water, food pollutions from all kinds of electronic & medical industries & instruments bring huge impact to our life & enfluence to our health.
Here I try to utilze & combine some different elements such as the leaves, the flowers, the sky, the mountain, the fog , rain & wind from the nature, and the railway station, the light, graffitti from the artifical world , and create the image which like the symbol or metaphor about what we breathe, we listen, we saw and we live together now in daily life .
With all these messy stuffs we got from the life and the world day by day , and it become the disturbance to our mind , and hard to seek the beauty of the clarity & the simplicity of the world we live and the mind we used to own. Let's try our best not only decrease the air pollution from the nature, but also simpify ourself from thoughts to mind if posssible from now on . And hope we can enjoy the happiness of simplicity & keep the longlasting of earth moving forwards.