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No dia 8 de março de 1857 operárias de uma fábrica de tecidos de Nova Iorque fizeram greve e ocuparam a fábrica para reivindicar melhores condições de trabalho, entre as quais a redução da jornada de trabalho de 16 para 10 horas diárias, equiparação de salários com os homens, que chegavam a receber o triplo do salário das mulheres, além de tratamento digno no ambiente de trabalho.
A manifestação foi reprimida com violência, as mulheres foram trancadas e a fábrica incendiada, resultando na morte e carbonização de aproximadamente 130 tecelãs.
Em 1910, numa conferência na Dinamarca, ficou decidido que o 8 de março passaria a ser o "Dia Internacional da Mulher", em homenagem as mulheres que morreram na fábrica em 1857, mas somente em 1975, através de um decreto, a data foi oficializada pela ONU (Organização das Nações Unidas).
O objetivo da criação do "Dia Internacional da Mulher" não é apenas o de comemorar conquistas, mas, sobretudo, dedicado à realização de conferências, debates e reuniões com o objetivo de discutir o papel da mulher na sociedade atual, procurando eliminar com o preconceito e a desvalorização da mulher, que, apesar de todos os avanços, ainda sofrem, em muitos locais, com salários baixos, violência masculina, jornada excessiva de trabalho e desvantagens na carreira profissional. Muito foi conquistado, mas muito ainda há para ser modificado nesta história.
Uma data marcante para as mulheres brasileiras é o dia 24 de fevereiro de 1932, quando foi instituído o voto feminino. As mulheres conquistavam, depois de muitos anos de reivindicações e discussões, o direito de votar e serem eleitas.
Apesar de acreditar que todos os dias são dias das mulheres, dos homens, dos índios, dos pretos, dos homossexuais, em suma, de todos os seres humanos, e, portanto, oportunos para debater todas as questões, sobretudo as que envolvem discriminações, e, ainda, que a instituição destas "datas comemorativas" embute imensa carga de hipocrisia, associo-me às homenagens da data.
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Google translation of the introductory text of this post. Sorry if there are errors.
On March 8, 1857 workers of a textile factory in New York went on strike and occupied the factory to demand better working conditions, including the reduction of working hours from 16 to 10 hours daily, with the equalization of wages men, who would receive triple the salary of women, and decent treatment in the workplace.
The demonstration was violently repressed, the women were locked and the factory burned down, resulting in death and carbonization of about 130 weavers.
In 1910, a conference in Denmark, it was decided that March 8 would be the "International Women's Day" in honor of women who died in the factory in 1857, but only in 1975 through an ordinance, the date was formalized by the UN (United Nations).
The purpose of establishing the "International Women's Day" is not only to celebrate achievements, but above all, dedicated to conferences, debates and meetings with the aim of discussing the role of women in society today, seeking to eliminate the prejudice and the devaluation of the woman who, despite all the advances, they still suffer in many places with low wages, male violence, excessive working day and disadvantages in professional careers. Much has been achieved but much remains to be changed in this story.
A remarkable day for Brazilian women is on February 24, 1932, when it was established the women's vote. Women conquered after many years of discussions and claims the right to vote and be elected.
While I believe that every day is a day for women, men, Indians, blacks, homosexuals, in short, all human beings and, therefore, timely to discuss all issues, especially those involving discrimination, and, further, that the imposition of these "holidays" embed tremendous amount of hypocrisy, I join the tributes.
Day Eleven:
Once upon a time there was a man who showered. Not a strange behaviour as we all do but with every moment of bathing he had the feeling of being watched. But who could see him? Who would want to? It should be dismissed he thought.Yes, it is nothing. Or so he thought.
If there's nothing there then there should be no fear at turning round. No fear, no terror, no mounting moments of terror growing ever stronger as a cold shiver runs down his back that not even the most scolding of water could bring warmth to. It's nothing though, just a draught. But what if? And tentatively, all the time repeating "It's nothing" he turns round.
It was not nothing.
To be faced with a spectral spirit is one thing. To be confronted by one with your own face is all the more petrifying. The ghost of a thousand thoughts. Of the repressed anger that dissipates as soon as you step out the shower and the first foot touches the floor. The scrutinising of every conversation and the wish you'd said something when you were in the moment. All these things that you want to have done but they died when you abandoned them. But at the back of your mind they will always haunt you.
And he did not live happily ever after but he did start taking baths instead.
For all that I know about patience. For all that I know about passion and protection. For all that I have learned and all that I have taught, I am lost and gone. For as long as I stand in this place I am as empty of wisdom as a newborn.
I have scoured the fabric and the weave of this room. Searching slowly with my fingers for the tactile moment that would open up my past but these scorched walls and cracking cinders give nothing away. The dimensions of this room are as I remember, there is familiarity in width and breadth but the feelings I knew as familiar once are gone and these spaces feel strange to me. With their actions they have taken with them everything I was and everything I knew I could be. The pride that built this house, the lineage that held it firm and the rules that I laid down are no more than cooling ashes and I am left as an echo in silence. Nothing but the present moves around me, nothing but the memory lives within me.
Title: The Mask, the New Symbol of Our Fear
Twelfth Sunday in Ordinary Time
Gospel: Matthew 10:26-33
It is not often we get to see a symbol develop before our eyes. Before, I mention the symbol and what I suggest it represents, let me tell you Webster’s definition of a symbol:
An authoritative summary of faith or doctrine. Like our Nicene creed.
Something that stands for or suggests something like the lion is a symbol of courage.
An object or act representing something in the unconscious mind that has been repressed.
An act, sound, or object having cultural significance and the capacity to excite or objectify a response.
The new addition of “facemasks” to our wardrobe surely fits the definition of a symbol and it can represent so many things, seen or unseen, to our minds. I want to focus on one aspect of this “new reality” of wearing facemasks…the overwhelming “fear” that is generated by its use. The intention of this act of wearing a mask, is to lower our risk of an unseen enemy called covid-19. We “fear” this invisible intruder, that has destroyed life, shut down economies, and has radically changed the way we live in the world.
The government nor the media does anything to help decrease our fears, rather it fans the flames of despair and robs us of hope that things be normal anytime soon.
As a people of faith, we are now, if not…should be, testing what are faith is “made of.” In these times of uncertainty especially as we face the fact that our “modern world” currently only offers us a facemask to mitigate our current risk, our faith is brought out into the open. It is reflected in the way we treat our families, in the way we treat strangers in the grocery store, in the way we drive and in the way we smile. Is our “fear” driving us or our faith?
Our Gospel reading has Jesus telling his disciples (which would include us) that we are to “Fear no one.” Later in the reading Jesus states, “So do not be afraid; you are worth more than the many sparrows…even the hair on your heads are counted.”
As believers, in good times and bad, the mandate does not cease, Jesus calls us to “speak in the light, what you hear whispered, proclaim on the housetops” and that means without fear. The reason for our hope, is that Jesus has died for us, and has been resurrected. Jesus states that “Everyone who acknowledges me before others, I will acknowledge before my Heavenly Father.”
Now, that things are not normal, maybe in these times of quarantine, we can challenge ourselves to introduce some silence in our lives, to commune with our God. It is in the silence of our hearts, where we can hear what God whispers. And if we hear his voice, we know that HE is in charge…the creator of the universe…of all that we see…and yet HE is here with me holding me in existence. Paul in Philippians 4:7 states it beautifully,
“Rejoice in the Lord always. I shall say it again: rejoice! Your kindness should be known to all. The Lord is near. Have no anxiety at all, but in everything by prayer and petition, with thanksgiving make your requests know to God.
Here is the best part: “Then the peace of God that surpasses all understanding will guard your hearts and minds in Christ Jesus.”
Once I was teaching a class on suffering to young adults. I mentioned that something good comes out of our suffering. I had one student disagree with me. It was a challenge on his part and one that should not be easily answered. I said nothing. I just pointed to the crucifix in the room. Yes, Christ is our symbol and sign. He is our hope and his Church is our Rock.
Symbols are a powerful reality. Our Catholic tradition is full of signs and symbols. Today, I have talked about the fear that is associated to facemasks, but we take no comfort in a simple mask. I am not saying we should not wear a facemask. But with our faith, and our reason, we know the practical purpose of wearing one is for our protection and those that surround us.
Just last night, I read a little saying that states: I wear my mask while in public for 3 reasons:
1.Humility: I don’t know if I have Covid as it is clear that people can spread the disease before they have symptoms.
2.Kindness: I don’t know if the person I am near has a kid battling cancer, or cares for their elder mom. While I might be fine, they might not.
3.Community: I want my community to thrive, businesses to stay open, employees to stay healthy. Keeping a lid on Covid helps us all!
Every time we put on our facemask, may we say a little prayer for ourselves, our families and our communities. A simple prayer will do. Fear does not drive us! We are the people of God and it is HIS Kingdom that we are reflecting to the world. Our faith and hope are placed in Jesus Christ. He tells us in the Gospel of John: “Peace, I leave with you; my peace I give you. Not as the world gives do I give to you. Do not let your hearts be troubled or afraid.”
In a moment we come face to face with Jesus in the Eucharist. He is our peace in the good and bad times. With Jesus in our hearts, we take him into the world without fear, but with joy and hope.
-rc
: : Haze. Mission Log : :
: : Entry 10.1 : :
: : 3, 2... GO! : :
Okay, Okay... I usually stay on top of mission breifs, but what in the Makers name are we doing back in the Sheb's end of the Galaxy? Where it all began? Where we became Soldiers! Where we where forced to induce something that the sim's could never prepare us for!?
Something dosen't seem right, This isn't setting in my mind. It could be something to do with the repressed memories I have of my squad burning in the Molten metal in the droid factories.
"Haze, do you read. 1 mini cycle to red light"
"Copy that Pheonix"
"I will try and get you there in one peice."
"Just be carefull"
"Half a mini cycle to red light"
"Hull you got the gear?"
"Copy that, Sir"
"Blast, How mamy ammo belts have you got?"
"124, I think that might be enought to take out a Platoon!"
"Blast? Have you kept count?"
"Haar'chak 1148 Clankers scrapped, Pheonix and half of those where while trying to save you sorry Sheb's!
"Ha, I can't thank you guys enough for back on Manaan".
"Its Alright, Pheonix It's not just us. You owe half the 316th drinks. Just avoid those fighters this time"
"Copy that Haze. I don't think My Cred bonus will cover that."
"This is Deck Officer Thel, Red light in, 3, 2... Go Go GO!
: : Log End : :
_______________________________________________________________________________
The Day of Carnation Revolution, Largo do Carmo, Lisbon. Portugal
The Carnation Revolution (Portuguese: Revolução dos Cravos), also referred to as the 25 de Abril (the 25th of April), was a left-leaning military coup[1] started on 25 April 1974, in Lisbon, Portugal, coupled with an unanticipated and extensive campaign of civil resistance. These events effectively changed the Portuguese regime from an authoritarian dictatorship to a democracy, and produced enormous changes in social, economic and political structures of Portugal, after two years of a transitional period known as PREC (Processo Revolucionário Em Curso, or On-Going Revolutionary Process), characterized by social turmoil and power disputes between left-and right-wing political forces.
Despite repeated appeals from the revolutionaries on the radio asking the population to stay home, thousands of Portuguese descended on the streets, mixing with the military insurgents.[2]
The military-led coup returned democracy to Portugal, ending the unpopular Colonial War where thousands of Portuguese soldiers had been conscripted into military service, and replacing the authoritarian Estado Novo (New State) regime and its secret police which repressed elemental civil liberties and political freedoms. It started as a professional class[3] protest of Portuguese Armed Forces captains against a decree law: the Dec. Lei nº 353/73 of 1973
"Country" explores some of the most remote cultural traditions of the Indigenous peoples of Australia and focusses on contemporary aboriginal culture in the Australian Outback.
The exhibition is the result of a two-year research project by artist Georgia Severi who, within this Venetian setting, retraces her journey through the Australian continent. All participating artists share an investigative interest in social and political themes, each focusing on the concepts of identity.
The exhibition represents an ongoing study of memory and traditions through the used of mixed media aiming to reveal a new and broader perspective on what still remains a repressed and marginalized culture and to reflect upon it from both an historic and an artistic point of view. The show presents both a unique and collective experience about life, family, tradition, kinship and mere survival, constructing an imaginary bridge linking Western and Aboriginal cultures.
Coloro che reprimono il desiderio, lo fanno perché il loro desiderio è abbastanza debole da essere represso. (William Blake)
Those who repress the desire, do so because their desire is weak enough to be repressed. (William Blake)
Ricordo al team e ai discenti che la strada del commento via e-mail, è sempre aperta, così da poter consentire anche esplicazioni riservate.
Nelle mie immagini, in molte circostanze, sono presenti persone riconoscibili. Se non ti è gradito, contattami e la rimuoverò.
I remember the team and to the students that the way the comment by e-mail is always open, so as to allow even explicit reservations.
In my images, in many circumstances, there are recognizable people. If you are not pleased, contact me and I will remove.
Si prega di non utilizzare le mie immagini su siti web, blog o altri mezzi senza il mio permesso!
Please don't use my images on websites, blogs or other media without my permission!
Por favor, no use mis imágenes en los sitios web, blogs u otros medios de comunicación sin mi permiso!
SI CONSIGLIA LA VISIONE GRANDE E SU SFONDO NERO
WE RECOMMEND THE GREAT VISION AND BLACK BACKGROUND
8. March - International Women's Day
History of March 8
On Day 8 March 1857, workers of a textile factory, located in the North American city of New York, made a big strike. They occupied the plant and began to demand better working conditions, such as reducing the daily workload for ten hours (factories required 16 hours of daily work), Match wages with men (women came to receive up to a third the salary of a man to perform the same type of work) and fair treatment in the workplace.
The demonstration was repressed with full violence. The women were locked inside the factory, which was set on fire. Approximately 130 weavers died carbonized in a totally inhuman act.
extract from
"A History of International Women's Day: "We Want Bread and Roses Too"
The dream is the (disguised) fulfillment of a (supressed,repressed) wish.
- Sigmund Freud (The Interpretation of Dreams)
www.holyspiritspeaks.org/videos/song-of-victory-6/
Introduction
How does God's work of judgment in the last days purify and save man? How do we actually undergo God's judgment and chastisement so that we can attain the truth, the life, and become worthy of salvation and enter the kingdom of heaven? This video will tell you the answers, and point you towards the path to entering the kingdom of heaven.
Storyline:
The judgment work ofAlmighty God in the last days has reverberated throughout every sect and group. Following the spreading of the kingdom gospel, Almighty God's words are accepted and spread by more and more people, true believers in God who thirst for Him to appear have been returning one by one before God's throne. In the meantime, the Chinese government and religious pastors and elders have ceaselessly repressed and persecuted the Church of Almighty God from start to finish. The heroine of this movie, Zheng Xinjie, is a member of the Church of Almighty God who spreads the gospel. She has faced the deranged oppression and attacks from the Chinese Communist government and religious leaders. Together with her brothers and sisters, relying on God, how will she triumph over these dark, satanic forces to sing a song of victory? …
Terms of Use： en.godfootsteps.org/disclaimer.html
But Knowledge to their eyes her ample page
Rich with the spoils of time did ne'er unroll;
Chill Penury repressed their noble rage,
And froze the genial current of the soul.
Thomas Gray
Nos hicieron creer que cada uno de nosotros es la mitad de una naranja, y que la vida solo tiene sentido cuando encontramos la otra mitad. No nos contaron que ya nacemos enteros, que nadie en la vida merece cargar en las espaldas la responsabilidad de completar lo que nos falta...
(John Lennon)
They never told us that love is not something that you can put in motion, neither has time schedule.
They made us believe that each one of us is the half of an orange, and that life only makes sense when you find that other half.
They did not tell us that we were born as whole, and that no-one in our lives deserve to carry on his back such responsibility of completing what is missing on us.
They made us believe in a formula “two in one”: two people sharing the same line of thinking, same ideas, and that it is what works.
It’s never been told that it has another name: invalidation.
Only two individuals with their own personality is how you can have a healthy relationship.
It has been made to believe that marriage is an obliged institution and that fantasies out of hour should be repressed.
They made us believe that there’s one way formula to be happy, the same one to everybody, and the ones that escape from that are condemned to be delinquents.
We have never been told that those formulas go wrong, they get people frustrated, they are alienating, and that we can try other alternatives.
(John Lennon)
I really like this song, John Lennon- imagine
Day Nine:
"Fire...du..du...doo...doo...doo..." I forget the rest of the words but you know the one I'm talking about. It's the song buy the guy all about fire. Everyone has a little fire inside them. A little flame of passion or an inferno of rage. Rage is such a white hot flame. It'll completely engulf you if you're not careful and leave you just a little pile of ash that's only good for gritting the path come winter.
That shall never happen to me. I lack that flame of passion. Passion requires a large amount of caring. To truly wrap yourself up in something and give it all you have, I don't have anything to give it. Although I have successfully repressed any sense of rage. It may spill out with a harsh tone or a cutting remark but I've locked it up safely. It wont be getting out.
But what if it does?
What if that moment comes and all that repressed rage spews out. Burning a hole as it tries to escape. Fiery looks and scolding words. I do fear for the person that doesn't listen to the warnings. Who is the one that sparks it all off, ignites that little smouldering coal.
You will burn.
Here's one very few of you are gonna know about/be interested in.
Naked Lunch is a disturbing, grotesque, visceral, impressionistic, nightmarish, and deeply humorous novel by William S Burroughs; a loose study of [Heroin} addiction, the death penalty, oppression, repressed sexuality, and centipedes. You may be more familiar with the wildly more accessible film version by David Cronenberg.
Either way, I've been thinking about Burroughs/ reading his work a lot the last couple of months, so back when I made the Fear and Loathing figs, I figured I may as well make some stuff from Lunch as well, based loosely on a mix of influences from both the book and the film.
A Mugwump: addicts of Mugwump fluid are called "Reptiles."
William Lee: Our junkie protagonist, an observer of the human condition.
Doctor Benway (BENWAY!): Once removed a tumor with his teeth. Some fucking drug addict has cut his cocaine with sani-flush.
Anyways, I only recommend you seek this out in any form if you've got a broad sense of humor and a high tolerance for the weird and utterly distasteful. There's also an audiobook of it on Youtube. Great background track for parties.
Anyways, if you can't be just, be arbitrary.
I would say to any artist: 'Don't be repressed in your work, dare to experiment, consider any urge, if in a new direction all the better.'
~ Edward Weston - Edward Weston to Ansel Adams
the chilean news media keeps repeating over and over that the student's social movement is filled with "terrorists" and "antisocials" that want to destroy the city. in fact, this "terrorists" are just young people asking for an oportunity to study... and being repressed over and over by the police and the State.
so it brings the obvious question: who's the terrorist in here?
Experimenting with colors again...
There is a place deep inside each of us, where we are able to encounter the source of the very thing the holds us in existence. However, our ego fogs the view. Whether. it is the reds of passion, the blues of acedia, the green of hope or the yellow of love, each color mixes and blends with the other...and we lose sight of that fountain flowing deep within. This is the place where all unity is connected but unseen.
It also represents repressed passion with a tinge of the blues.
Sadness when in a state of limbo. One waits....
rc
/*************************************************
“Each of us must turn inward and destroy in himself all that he thinks he ought to destroy in others.”
-Etty Hillesum
"There is a really deep well inside me. And in it dwells God. Sometimes I am there, too. But more often stones and grit block the well, and God is buried beneath. Then He must be dug out again."
-Etty Hillesum: A Life Transformed
by Patrick Woodhouse
Bloodthirsty, devious, cruel and just plain evil, the Brigidarians are the most terrifying, tyrannical empire the world has ever seen! Having conquered the tribes in the great northern forests and brutally repressed an uprising in their own borders, they now seek to take dominion over the many kingdoms and tribes to the south...
For the empire!
Woe to the vanquished!
More figs and descriptions for our book "The Anselm Saga"
More to come! :)
The photograph of Julie is layered on top of a photograph I took of the Bullring shopping Centre, Birmingham, UK. Other textures were used as well.
Hopefully, this picture evokes ideas regarding capitalism, the "shrine" of the market place (agora), the changing face of the workplace and the potency of advertising. To me, contemporary advertising expresses a repressed need to invent gods and goddesses and to worship "quasi-deities" in a materialistic and capitalist landscape.
Thank you to XstockX (Julie) for alowing me to use her excellent photo in this picture.
Simon
The genesis of modern understanding of Greek mythology is regarded by some scholars as a double reaction at the end of the 18th century against "the traditional attitude of Christian animosity mixed with disdain, which had prevailed for centuries", in which the Christian reinterpretation of myth as a "lie" or fable had been retained.[1] In Germany, by about 1795, there was a growing interest in Homer and Greek mythology. In Göttingen Johann Matthias Gesner began to revive Greek studies and a new humanistic spirit. His successor, Christian Gottlob Heyne, worked with Johann Joachim Winckelmann, and laid the foundations for mythological research both in Germany and elsewhere. Heyne approached the myth as a philologist and shaped the educated Germans' conception of antiquity for nearly half a century, during which ancient Greece exerted an intense influence on intellectual life in Germany.The development of comparative philology in the 19th century, together with ethnological discoveries in the 20th century, established the science of myth. Since the Romantics, all study of myth has been comparative. Wilhelm Mannhardt, Sir James Frazer, and Stith Thompson employed the comparative approach to collect and classify the themes of folklore and mythology.In 1871 Edward Burnett Tylor published his Primitive Culture, in which he applied the comparative method and tried to explain the origin and evolution of religion.] Tylor's procedure of drawing together material culture, ritual and myth of widely separated cultures influenced both Carl Jung and Joseph Campbell. According to Robert Segal, however, Campbell’s "romantic view of myth is the opposite of a rationalist view, one epitomized by the Victorian anthropologists Edward Tylor and James Frazer".J.F. del Giorgio has added a new turn to the comparative approach, insisting in The Oldest Europeans about present Greek myths being generated by the clash between a Paleolithic European population and the incoming Indo-European tribes.Max Müller applied the new science of comparative mythology to the study of myth, in which he detected the distorted remains of Aryan nature worship. Bronisław Malinowski emphasized the ways myth fulfills common social functions. Claude Lévi-Strauss and other structuralists have compared the formal relations and patterns in myths throughout the world.Evans himself, while studying the Minoan world, drew regularly on Egyptian and Near Eastern evidence for comparison, and the discovery of the Hittite and Ugaritic civilizations has uncovered texts as well as monuments which offer comparative material for ritual and mythology.Sigmund Freud put forward the idea that symbolic communication does not depend on cultural history alone but also on the workings of the psyche. Thus Freud introduced a transhistorical and biological conception of man and a view of myth as an expression of repressed ideas. Dream interpretation is the basis of Freudian myth interpretation and Freud's concept of dreamwork recognizes the importance of contextual relationships for the interpretation of any individual element in a dream. This suggestion would find an important point of rapprochment between the structuralist and psychoanalytic approaches to myth in Freud's thought.Carl Jung extended the transhistorical, psychological approach with his theory of the "collective unconscious" and the archetypes (inherited "archaic" patterns), often encoded in myth, that arise out of it.According to Jung, "myth-forming structural elements must be present in the unconscious psyche".[10] Comparing Jung's methodology with Campbell's theory, Segal concludes that "to interpret a myth Campbell simply identifies the archetypes in it. An interpretation of the Odyssey, for example, would show how Odysseus’s life conforms to a heroic pattern. Jung, by contrast, considers the identification of archetypes merely the first step in the interpretation of a myth".[5] For Jung, myth is no more about gods than about the physical world; it is about the human mind and must be read symbolically. Karl Kerenyi, one of the founders of modern studies in Greek mythology, gave up his early views of myth, in order to apply Jung's theories of archetypes to Greek myth.The origins of Greek mythology are an open question. In antiquity, historians such as Herodotus theorized that the Greek gods had been stolen directly from the Egyptians. Later on, Christian writers tried to explain Hellenic paganism through degeneration of Biblical religion. According to the Scriptural theory, all mythological legends (including Greek mythology) are derived from the narratives of the Scriptures, though the real facts have been disguised and altered. Thus Deucalion is another name for Noah, Hercules for Samson, Arion for Jonah etc.] According to the Historical Theory all the persons mentioned in mythology were once real human beings, and the legends relating to them are merely the additions of later times. Thus the story of Aeolus is supposed to have risen from the fact that Aeolus was the ruler of some islands in the Tyrrhenian Sea.The Allegorical theory supposes that all the ancient myths were allegorical and symbolical. According to the Physical theory the elements of air, fire, and water were originally the objects of religious adoration, and the principal deities were personifications of the powers of nature.The sciences of archaeology and linguistics have been applied to the origins of Greek mythology with some interesting results. Historical linguistics indicates that particular aspects of the Greek pantheon were inherited from Indo-European society (or perhaps both cultures borrowed from another earlier source), as were the roots of the Greek language. Prominent Sanskritist Max Müller attempted to understand an Indo-European religious form by tracing it back to its Aryan, Vedic, "original" manifestation. In 1891, he claimed that "the most important discovery which has been made during the nineteenth century with respect to the ancient history of mankind [...] was this sample equation: Sanskrit Dyaus-pitar = Greek Zeus = Latin Jupiter = Old Norse Tyr".[16] Philologist Georges Dumezil draws a comparison between the Greek Uranus and the Sanskrit Varuna, although there is no hint that he believes them to be originally connected.In other cases, close parallels in character and function suggest a common heritage, yet lack of linguistic evidence makes it difficult to prove, as in the case of the Greek Moirai and the Norns of Norse mythology.Archaeology and mythography, on the other hand, has revealed that the Greeks were inspired by some of the civilizations of Asia Minor and the Near East. Adonis seems to be the Greek counterpart — more clearly in cult than in myth — of a Near Eastern dying god. His name is related to the Semitic invocation "adon" (Lord) and appears in other cultures as Dumuzi, Tammuz or Attis. Cybele is rooted in Anatolian culture, and much of Aphrodite's iconography springs from the Semitic goddesses Inanna, Ishtar and Astarte. The theogonic myths current in the Near East in the second millennium BC, such as the myth of Anu, Kumarbi, and Teshub, contain significant stories of generational conflict. Meyer Reinhold argues that "such Near Eastern theogonic concepts, involving divine succession through violence and generational conflicts for power, found their way — the route is not certain — into Greek mythology. Our prime source is the great theogonic poem of Hesiod".Parallels between the earliest divine generations (Chaos and its children) and Tiamat in the Enuma Elish are also possible.In addition to Indo-European and Near Eastern origins, some scholars have speculated on the debts of Greek mythology to the still poorly understood pre-Hellenic societies of Greece, such as the Minoans and so-called Pelasgians. This is especially true in the case of chthonic deities and mother goddesses. Historians of religion were fascinated by a number of apparently ancient configurations of myth connencted with Crete: the god as bull — Zeus and Europa; Pasiphaë who yields to the bull and gives birth to the Minotaur; agrarian mysteries with a sacred marriage (Demeter's union with Iasion) etc. Crete, Mycenae, Pylos, Thebes and Orchomenus figure so large in later Greek mythology.For some, the three main generations of gods in Hesiod's Theogony (Uranus, Gaia, etc.; the Titans and then the Olympians) suggest a distant echo of a struggle between social groups, mirroring the three major high cultures of Greek civilization: Minoan, Mycenaean and Hellenic. Martin P. Nilsson, Professor of Classical Archaeology, worked on the structure, origins and relationships of the Indo-European languages, and concluded that all great classical Greek myths were tied to Mycenaen centres and were anchored in prehistoric times.Nevertheless, according to Walter Burkert, the iconography of the Cretan Palace Period has provided almost no confirmation of all these theories; nothing points to a bull, sexual symbols are absent and a single seal impression from Knossos showing a boy beneath a sheep is regarded as a scant evidence for the myth of Zeus' childhood.
en.wikipedia.org/wiki/Modern_understanding_of_Greek_mytho...
The shadow is a moral problem that challenges the whole ego-personality, for no one can become conscious of the shadow without considerable moral effort. To become conscious of it involves recognizing the dark aspects of the personality as present and real. This act is the essential condition for any kind of self-knowledge.
Unfortunately there can be no doubt that man is, on the whole, less good than he imagines himself or wants to be. Everyone carries a shadow, and the less it is embodied in the individual’s conscious life, the blacker and denser it is. If an inferiority is conscious, one always has a chance to correct it. Furthermore, it is constantly in contact with other interests, so that it is continually subjected to modifications. But if it is repressed and isolated from consciousness, it never gets corrected.
To confront a person with his shadow is to show him his own light. Once one has experienced a few times what it is like to stand judgingly between the opposites, one begins to understand what is meant by the self. Anyone who perceives his shadow and his light simultaneously sees himself from two sides and thus gets in the middle.
-- Carl Jung
The graffiti scene in Valparaíso started as a form of protest against the dictator Augusto Pinochet. During that time, self-expression, including art and painting, was repressed. After the dictatorship ended, government officials decided to make street art legal and it blossomed in the city.
The graffiti scene in Valparaíso started as a form of protest against the dictator Augusto Pinochet. During that time, self-expression, including art and painting, was repressed. After the dictatorship ended, government officials decided to make street art legal and it blossomed in the city.
Valparaíso is a major city, seaport, naval base and educational centre in the commune of Valparaíso, Chile. "Greater Valparaíso" is the third largest metropolitan area in the country. Valparaíso is located about 120 kilometres (75 mi) northwest of Santiago by road and is one of the South Pacific's most important seaports. Valparaíso is the capital of Chile's second most populated administrative region and has been the headquarters for the Chilean National Congress since 1990. Valparaíso has two state-owned and several private universities.
Valparaíso played an important geopolitical role in the second half of the 19th century when the city served as a major stopover for ships traveling between the Atlantic and Pacific oceans by crossing the Straits of Magellan. Valparaíso experienced rapid growth during its golden age, as a magnet for European immigrants, when the city was known by international sailors as "Little San Francisco" and "The Jewel of the Pacific".
In 2003, the historic quarter of Valparaíso was declared a United Nations Educational, Scientific, and Cultural Organization (UNESCO) World Heritage site.
Iron Photographer 228....and the stark memory that I have repressed...my favorite cup is broken.
1 - a face
2 - your usual coffee/tea cup
3 - double exposure
Country explores some of the most remote cultural traditions of the Indigenous peoples of Australia and focusses on contemporary aboriginal culture in the Australian Outback.
The exhibition is the result of a two-year research project by artist Georgia Severi who, within this Venetian setting, retraces her journey through the Australian continent. All participating artists share an investigative interest in social and political themes, each focusing on the concepts of identity.
The exhibition represents an ongoing study of memory and traditions through the used of mixed media aiming to reveal a new and broader perspective on what still remains a repressed and marginalized culture and to reflect upon it from both an historic and an artistic point of view. The show presents both a unique and collective experience about life, family, tradition, kinship and mere survival, constructing an imaginary bridge linking Western and Aboriginal cultures.
Parliament Square, London, 15 March 2021 - 'Kill the Bill' protest against new policing bill and oppression of women.
I've had a rough year. Someone I love was ripped out of my life who can never be replaced. And now there's a gaping chasm of a hole where that person used to be. It will never be filled.
I was lucky to have amazing family and friends to see me through the dark times.
Still, I hide what I feel sometimes because I don't want them to worry. This image shows how I feel sometimes, inside.
"South African Toya Delazy is a bold and visionary artist offering a true 21st-century sound. Delazy is known as the creator of Afrorave, a genre infusing techno and drum&bass with Zulu lyricism. Her music draws from her roots in KwaZulu-Natal, South Africa, as well as the sonic identity of her adopted hometown, London.
Fearless, outspoken and passionate about music, Delazy is an icon for the oppressed and repressed, taking a strong stand for issues such as human rights, sexual rights and cultural diversity. Also a UNICEF ambassador, Delazy encourages everyone of African origin to unapologetically express themselves and their cultural identity."
American postcard by the American Postcard Co. Inc., no. TV22, 1984. Photo: Viacom International Inc. Clint Eastwood as Rowdy Yates in Rawhide (1959–1966).
American film actor and director Clint Eastwood (1930) rose to fame as the Man with No Name in Sergio Leone's classic Spaghetti Westerns Per un pugno di dollari/A Fistful of Dollars (1964), Per qualche dollaro in più/For a Few Dollars More (1965), and Il buono, il brutto, il cattivo/The Good, the Bad and the Ugly (1966). Later in the US, he played hard edge police inspector Harry Callahan in the five Dirty Harry films, which elevated him to superstar status, and he directed and produced such award-winning masterpieces as Unforgiven (1992), Mystic River (2003) and Million Dollar Baby (2004).
Clinton ‘Clint’ Eastwood, Jr. was born in San Francisco, California in 1930. His parents were Clinton Eastwood, Sr., a steelworker and migrant worker, and Margaret Ruth (Runner) Eastwood, a factory worker. Clint has a younger sister, Jeanne. Because of his father's difficulty in finding steady work during the depression, Eastwood moved with his family from one Northern California town to another, attending some eight elementary schools in the process. Later he had odd jobs as a firefighter and lumberjack in Oregon, as well as a steelworker in Seattle. In 1951, Eastwood was drafted into the US Army, where he was a swimming instructor during the Korean War. He briefly attended Los Angeles City College but dropped out to pursue acting. Eastwood married Maggie Johnson in 1953, six months after they met on a blind date. However, their matrimony would not prove altogether smooth, with Eastwood believing that he had married too early. In 1954, the good-looking Eastwood with his towering height and slender frame got a contract at Universal. At first, he was criticized for his stiff manner, his squint, and for hissing his lines through his teeth. His first acting role was an uncredited bit part as a laboratory assistant in the Sci-Fi horror film Revenge of the Creature (Jack Arnold, 1955). Over the next three years, he more bit parts in such films as Lady Godiva of Coventry (Arthur Lubin, 1955), Tarantula (Jack Arnold, 1955), and the war drama Away All Boats (Joseph Pevney, 1956) with George Nader and Lex Barker. His first bigger roles were in the B-Western Ambush at Cimarron Pass (Jodie Copelan, 1958), and the war film Lafayette Escadrille (William A. Wellman, 1958), starring Tab Hunter and Etchika Choureau. In 1959, he became a TV star as Rowdy Yates in the Western series Rawhide (1959–1966). Although Rawhide never won an Emmy, it was a rating success for several years. During a trial separation from Maggie Johnson, an affair with dancer Roxanne Tunis produced Eastwood’s first child, Kimber Tunis (1964). An intensely private person, Clint Eastwood was rarely featured in the tabloid press. However, he had more affairs, e.g. with actresses Catherine Deneuve, Inger Stevens and Jean Seberg. After a reconciliation, he had two children with Johnson: Kyle Eastwood (1968) and Alison Eastwood (1972), though he was not present at either birth. Johnson filed for legal separation in 1978, but the pair officially divorced in 1984.
In late 1963, Clint Eastwood's Rawhide co-star Eric Fleming rejected an offer to star in an Italian-made Western. Eastwood, who in turn saw the film as an opportunity to escape from his Rawhide image, signed the contract. The Western was called Per un pugno di dollari/A Fistful of Dollars (1964), to be directed in a remote region of Spain by the then relatively unknown Sergio Leone. A Fistful of Dollars, also with Gian Maria Volonté and Marianne Koch, was a remake of Akira Kurosawa's Yojimbo (1961). Eastwood played a cynical gunfighter who comes to a small border town, torn apart by two feuding families. Hiring himself out as a mercenary, the lone drifter plays one side against the other until nothing remains of either side. Eastwood started to develop a minimalist acting style and created the character's distinctive visual style. Although a non-smoker, Leone insisted Eastwood smoke cigars as an essential ingredient of the ‘mask’ he was attempting to create for the loner character. Per un pugno di dollari/A Fistful of Dollars (Sergio Leone, 1964) was the first installment of the Dollars trilogy. Later, United Artists, who distributed it in the US, coined another term for it: the Man With No Name trilogy. ‘The second part was Per qualche dollaro in più/For a Few Dollars More (Sergio Leone, 1965), a richer, more mythologized film that focused on two ruthless bounty hunters (Eastwood and Lee Van Cleef) who form a tenuous partnership to hunt down a wanted bandit (Gian Maria Volontè). Both films were a huge success in Italy. They both contain all of Leone's eventual trademarks: taciturn characters, precise framing, extreme close-ups, and the haunting music of Ennio Morricone. Eastwood also appeared in a segment of Dino De Laurentiis’ five-part anthology production Le Streghe/The Witches (Vittorio De Sica a.o., 1967). But his performance opposite De Laurentiis' wife Silvana Mangano did not please the critics. Eastwood then played in the third and best Dollars film, Il buono, il brutto, il cattivo/The Good, the Bad and the Ugly (Sergio Leone, 1966). Again he played the mysterious Man with No Name, wearing the same trademark poncho (reportedly without ever having washed it). Lee Van Cleef returned as a ruthless fortune seeker, with Eli Wallach portrayed the cunning Mexican bandit Tuco Ramirez. Yuri German at AllMovie: “Immensely entertaining and beautifully shot in Techniscope by Tonino Delli Colli, the movie is a virtually definitive 'spaghetti western,' rivalled only by Leone's own Once Upon a Time in the West (1968).” The Dollars trilogy was not released in the United States until 1967, when A Fistful of Dollars opened in January, followed by For a Few Dollars More in May, and The Good, the Bad and the Ugly in December. Eastwood redubbed his own dialogue for the American releases. All the films were commercially successful, particularly The Good, the Bad and the Ugly which turned Eastwood into a major film star. All three films received bad reviews and marked the beginning of a battle for Eastwood to win American film critics' respect. According to IMDb, Sergio Leone asked Eastwood, Wallach, and Van Cleef to appear again in C'era una volta il West/Once Upon A Time in the West (Sergio Leone, 1968), but they all declined when they heard that their characters were going to be killed off in the first five minutes.
Stardom brought more roles for Clint Eastwood. He signed to star in the American revisionist western Hang 'Em High (Ted Post, 1968), playing a man who takes up a Marshal's badge and seeks revenge as a lawman after being lynched by vigilantes and left for dead. Using money earned from the Dollars trilogy, accountant and Eastwood advisor Irving Leonard helped establish Eastwood's own production company, Malpaso Productions, named after Malpaso Creek on Eastwood's property in Monterey County, California. Leonard arranged for Hang 'Em High to be a joint production with United Artists. Hang 'Em High was widely praised by critics, and when it opened in July 1968, it had an unprecedented opening weekend in United Artists' history. His following film was Coogan's Bluff (Don Siegel, 1968), about an Arizona deputy sheriff tracking a wanted psychopathic criminal (Don Stroud) through the streets of New York City. Don Siegel was a Universal contract director who later became Eastwood's close friend, forming a partnership that would last more than ten years and produce five films. Coogan’s Bluff was controversial for its portrayal of violence, Eastwood's role in creating the prototype for the macho cop of the Dirty Harry film series. Coogan's Bluff also became the first collaboration with Argentine composer Lalo Schifrin, who would later compose the jazzy score to several Eastwood films in the 1970s and 1980s, including the Dirty Harry films. Eastwood played the right-hand man of squad commander Richard Burton in the war epic Where Eagles Dare (Brian G. Hutton, 1968), about a World War II squad parachuting into a Gestapo stronghold in the alpine mountains. Eastwood then branched out to star in the only musical of his career, Paint Your Wagon (Joshua Logan, 1969). Then, Eastwood starred in the Western Two Mules for Sister Sara (Don Sigel, 1970), with Shirley MacLaine, and as one of a group of Americans who steal a fortune in gold from the Nazis, in the World War II film Kelly's Heroes (Brian G. Hutton, 1970)). Kelly's Heroes was the last film in which Eastwood appeared, which was not produced by his own Malpaso Productions.
Clint Eastwood’s next film, The Beguiled (Don Siegel, 1970), was a tale of a wounded Union soldier, held captive by the sexually repressed matron of a southern girl's school. Upon release, the film received major recognition in France but in the US it was a box office flop. Eastwood's career reached a turning point with Dirty Harry (Don Siegel, 1971), The film centres around a hard-edged San Francisco police inspector named Harry Callahan who is determined to stop a psychotic killer by any means. Dirty Harry achieved huge success after its release in December 1971. It was Siegel's highest-grossing film to date and the start of a series of films featuring the character Harry Callahan. He next starred in the loner Western Joe Kidd (John Sturges, 1972). In 1973, Eastwood directed his first western, High Plains Drifter, in which he starred alongside Verna Bloom. The revisionist film received a mixed reception but was a major box office success. Eastwood next turned his attention towards Breezy (Clint Eastwood, 1973), a film about love blossoming between a middle-aged man and a teenage girl. During casting for the film Eastwood met actress Sondra Locke, who would become an important figure in his life. He reprised his role as Detective Harry Callahan in Magnum Force (Ted Post, 1973). This sequel to Dirty Harry was about a group of rogue young officers (including David Soul and Robert Urich) in the San Francisco Police Force who systematically exterminate the city's worst criminals. Eastwood teamed up with Jeff Bridges in the buddy action caper Thunderbolt and Lightfoot (Michael Cimino, 1974). Eastwood's acting was noted by critics but was overshadowed by Bridges who was nominated for an Academy Award for Best Supporting Actor. His next film The Eiger Sanction (Clint Eastwood, 1975), based on Trevanian's spy novel, was a commercial and critical failure. His next film The Outlaw Josey Wales (Clint Eastwood, 1976) was widely acclaimed, with many critics and viewers seeing Eastwood's role as an iconic one that related to America's ancestral past and the destiny of the nation after the American Civil War. The third Dirty Harry film, The Enforcer (James Fargo, 1976) had Harry partnered with a new female officer (Tyne Daly) to face a San Francisco Bay terrorist organization. The film, culminating in a shootout on Alcatraz island, was a major commercial success grossing $100 million worldwide. In 1977, he directed and starred in The Gauntlet opposite Sondra Locke. Eastwood portrays a down-and-out cop who falls in love with a prostitute he is assigned to escort from Las Vegas to Phoenix, to testify against the mafia. In 1978 Eastwood starred with Locke and an orang-utan called Clyde in Every Which Way but Loose. Panned by critics, the film proved a surprising success and became the second-highest-grossing film of 1978. Eastwood then starred in the thriller Escape from Alcatraz (1979), the last of his films to be directed by Don Siegel. The film was a major success and marked the beginning of a critically acclaimed period for Eastwood. Eastwood's relationship with Sondra Locke had begun in 1975 during the production of The Outlaw Josey Wales. They lived together for almost fourteen years, during which Locke remained married (in name only) to her gay husband, Gordon Anderson. Eastwood befriended Locke's husband and purchased a house in Crescent Heights for Anderson and his male lover.
In 1980, Clint Eastwood’s nonstop success was broken by Bronco Billy, which he directed and in which played the lead role. The film was liked by critics, but a rare commercial disappointment in Eastwood's career. Later that year, he starred in Any Which Way You Can (Buddy Van Horn, 1980), which ranked among the top five highest-grossing films of the year. In 1982, Eastwood directed and starred in Honkytonk Man, as a struggling Western singer who, accompanied by his young nephew (played by real-life son Kyle) goes to Nashville, Tennessee. In the same year, Eastwood directed, produced, and starred in the Cold War-themed Firefox alongside Freddie Jones. Then, Eastwood directed and starred in the fourth Dirty Harry film, Sudden Impact (1983), the darkest and most violent of the series. ‘Go ahead, make my day’, uttered by Eastwood in the film, became one of cinema's immortal lines. Sudden Impact was the last film in which he starred with Locke. The film was the most commercially successful of the Dirty Harry films, earning $70 million and receiving very positive reviews. In the provocative thriller Tightrope (Richard Tuggle, 1984), Eastwood starred opposite Geneviève Bujold. His real-life daughter Alison, then eleven, also appeared in the film. It was another critical and commercial hit. Eastwood next starred in the period comedy City Heat (Richard Benjamin, 1984) alongside Burt Reynolds. Eastwood revisited the Western genre when he directed and starred in Pale Rider (Clint Eastwood, 1985), based on the classic Western Shane (George Stevens, 1953). It became one of Eastwood's most successful films to date and was hailed as one of the best films of 1985 and the best Western to appear for a considerable period. He co-starred with Marsha Mason in the military drama Heartbreak Ridge (Clint Eastwood, 1986), about the 1983 United States invasion of Grenada. Then followed the fifth and final film in the Dirty Harry series The Dead Pool (Buddy Van Horn, 1988), with Patricia Clarkson, Liam Neeson, and a young Jim Carrey. It is generally viewed as the weakest film of the series. Eastwood began working on smaller, more personal projects and experienced a lull in his career between 1988 and 1992. Always interested in jazz, he directed Bird (Clint Eastwood, 1988), a biopic starring Forest Whitaker as jazz musician Charlie ‘Bird’ Parker. Eastman himself is a prolific jazz pianist who occasionally shows up to play the piano at his Carmel, CA restaurant, The Hog's Breath Inn. He received two Golden Globes for Bird, but the film was a commercial failure. Jim Carrey would again appear with Eastwood in the poorly received comedy Pink Cadillac (Buddy Van Horn, 1989) alongside Bernadette Peters. In 1989, while his partner Sondra Locke was away directing the film Impulse (1990), Eastwood had the locks changed on their Bel-Air home and ordered her possessions to be boxed and put in storage. During the last three years of his cohabitation with Locke, Eastwood fathered two children in secrecy with flight attendant Jacelyn Reeves, Scott Reeves (1986), and Kathryn Reeves (1988). Eastwood finally presented both children to the public in 2002.
In 1990, Clint Eastwood began living with actress Frances Fisher, whom he had met on the set of Pink Cadillac in 1988. They had a daughter, Francesca Fisher-Eastwood (1993). Eastwood and Fisher ended their relationship in early 1995. Eastwood directed and starred in White Hunter Black Heart (1990), an adaptation of Peter Viertel's roman à clef, about John Huston and the making of the classic film The African Queen (1951). Later in 1990, he directed and co-starred with Charlie Sheen in The Rookie, a buddy cop action film. Eastwood revisited the Western genre in the self-directed film Unforgiven (1992), in which he played an ageing ex-gunfighter long past his prime. Unforgiven was a major commercial and critical success; and was nominated for nine Academy Awards, and won four, including Best Picture and Best Director for Eastwood. Eastwood played Frank Horrigan in the Secret Service thriller In the Line of Fire (Wolfgang Petersen, 1993) co-starring John Malkovich. The film was among the top 10 box office performers that year, earning a reported $200 million. Later in 1993, Eastwood directed and co-starred with Kevin Costner in A Perfect World. At the 1994 Cannes Film Festival Eastwood received France's Ordre des Arts et des Lettres medal, and in 1995, he was awarded the Irving G. Thalberg Memorial Award at the 67th Academy Awards. Opposite Meryl Streep, he starred in the romantic picture The Bridges of Madison County (Clint Eastwood, 1995), another commercial and critical success. The film was nominated for a Golden Globe for Best Picture and won a César Award in France for Best Foreign Film. In early 1995, Eastwood began dating Dina Ruiz, a television news anchor 35 years his junior, whom he had first met when she interviewed him in 1993. They married in 1996. The couple has one daughter, Morgan Eastwood (1996). In 1997, Eastwood directed and starred in the political thriller Absolute Power, alongside Gene Hackman. Later in 1997, Eastwood directed Midnight in the Garden of Good and Evil, starring John Cusack, Kevin Spacey, and Jude Law. He directed and starred in True Crime (1999), as a journalist and recovering alcoholic, who has to cover the execution of murderer Frank Beechum (Isaiah Washington). In 2000, he directed and starred in Space Cowboys alongside Tommy Lee Jones as veteran ex-test pilots sent into space to repair an old Soviet satellite.
Clint Eastwood played an ex-FBI agent chasing a sadistic killer (Jeff Daniels) in the thriller Blood Work (2002). He directed and scored the crime drama Mystic River (2003), dealing with themes of murder, vigilantism, and sexual abuse. The film starred Sean Penn, Kevin Bacon, and Tim Robbins and won two Academy Awards – Best Actor for Penn and Best Supporting Actor for Robbins – with Eastwood garnering nominations for Best Director and Best Picture. The following year Eastwood found further critical and commercial success when he directed, produced, scored, and starred in the boxing drama Million Dollar Baby, (2004). He played a cantankerous trainer who forms a bond with a female boxer (Hilary Swank). The film won four Academy Awards for Best Picture, Best Director, Best Actress (Swank), and Best Supporting Actor (Morgan Freeman). At age 74 Eastwood became the oldest of eighteen directors to have directed two or more Best Picture winners. In 2006, he directed two films about World War II's Battle of Iwo Jima. The first, Flags of Our Fathers, focused on the men who raised the American flag on top of Mount Suribachi and featured the film debut of Eastwood's son Scott. This was followed by Letters from Iwo Jima, which dealt with the tactics of the Japanese soldiers on the island and the letters they wrote home to family members. Eastwood next directed Changeling (2008), based on a true story set in the late 1920s. Angelina Jolie stars as a woman reunited with her missing son only to realize he is an impostor. Eastwood ended a four-year self-imposed acting hiatus by appearing in Gran Torino (2008), which he also directed, produced, and partly scored with his son Kyle and Jamie Cullum. Gran Torino eventually grossed over $268 million in theatres worldwide, becoming the highest-grossing film of Eastwood's career so far. Eastwood's 30th directorial outing came with Invictus, a film based on the story of the South African team at the 1995 Rugby World Cup, with Morgan Freeman as Nelson Mandela. In 2010, Eastwood directed the drama Hereafter, with Matt Damon as a psychic, and in 2011, J. Edgar, a biopic of FBI director J. Edgar Hoover, with Leonardo DiCaprio in the title role. Eastwood starred in the baseball drama Trouble with the Curve (Robert Lorenz, 2012), as a veteran baseball scout who travels with his daughter for a final scouting trip. Director Lorenz worked with Eastwood as an assistant director on several films. Clint Eastwood is also politically active and served as the nonpartisan mayor of Carmel-by-the-Sea, California from 1986 to 1988. Shawn Dwyer at TCM: “Although a registered Republican since the early-1950s, Eastwood's politics, like the man himself, were that of a true iconoclast. Over the years he had voted for candidates from both parties and publicly denounced the wars in Vietnam and Iraq. And while he had initially wished President Barack Obama well during the start of his first term in office, Eastwood, became a vocal booster for Republican candidate Mitt Romney in the 2012 election, dissatisfied with what he viewed as Obama's inability to govern.” But cinema is Eastwood’s major career. He has contributed to over 50 films as an actor, director, producer, and composer. According to the box office revenue tracking website, Box Office Mojo, films featuring Eastwood have grossed a total of more than US $1.68 billion domestically, with an average of $37 million per film.
Sources: Shawn Dwyer (TCM), Yuri German (AllMovie), Bruce Eder (AllMovie), Wikipedia, and IMDb.
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can be translated as "longing, yearning", which describes a deep emotional state of nostalgic longing for something or someone that one loves and which is apart. It often carries a repressed knowledge that the object of longing might really never return.
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Not a great photo this time, sorry. :\ I wasn't feeling too good.
It was raining so hard earlier. I almost had the lens soaked! :s I wonder if I should buy that mini umbrella for the camera...
Today's picture looks so dull. To make it up again, read this. :D Don't say it's too long to read, you lazybum hahaha. jk!
Guys, I'm fucking sick of this. I'm almost 20 and haven't been able to score a better job than a fucking cook at a local fast food joint. What makes it worse is that I live in a small town so business is pretty limited, and where I work is the only place that'll hire high school graduates. I'd get the hell out of this town if I could actually drive too, but I've failed every damn test I've ever taken. I'm socially awkward, even my only other co-worker fucking hates my guts. I have repressed lust for one of my best friends too; she's athletic, smart and a gorgeous southern bell. I love her. You know what it's like; I've been friend zoned real hard. She's my only real friend, besides this one kid, who I'm pretty sure is only hanging around me because he is mentally challenged. I guess he's the only one that can tolerate me. And what makes this all fucking worse is that I live in a fucking pineapple under the sea.
Belgian postcard in the series 'De mooiste vrouwen van de eeuw' (the 100 most beautiful women of the century) by P-Magazine, no. 37. Photo: Sante D'Orazio / Outline.
Vivacious Kate Winslet (1975) is often seen as the best English-speaking film actress of her generation. The English actress and singer was the youngest person to acquire six Academy Award nominations, and won the Oscar for The Reader (2008).
Kate Elizabeth Winslet was born in Reading, England, in 1975. She is the second of four children of stage actors Sally Anne (née Bridges) and Roger John Winslet. Winslet began studying drama at the age of 11. The following year, Winslet appeared in a television commercial for Sugar Puffs cereal, in which she danced opposite the Honey Monster. Winslet's acting career began on television, with a co-starring role in the BBC children's science fiction serial Dark Season (Colin Cant, 1991). On the set, Winslet met Stephen Tredre, who was working as an assistant director. They would have a four-and-a-half-year relationship and remained close after their separation in 1995. He died of bone cancer during the opening week of Titanic, causing her to miss the film's Los Angeles premiere to attend his funeral in London. Her role in Dark Season was followed by appearances in the made-for-TV film Anglo-Saxon Attitudes (Diarmuid Lawrence, 1992), the sitcom Get Back (Graeme Harper, 1992), and an episode of the medical drama Casualty (Tom Cotter, 1993). She made her film debut in the New Zealand drama film Heavenly Creatures (Peter Jackson, 1994). Winslet auditioned for the part of Juliet Hulme, an obsessive teenager in 1950s New Zealand who assists in the murder of the mother of her best friend, Pauline Parker (played by Melanie Lynskey). Winslet won the role over 175 other girls. The film included Winslet's singing debut, and her a cappella version of Sono Andati, an aria from La Bohème, was featured on the film's soundtrack. The film opened to strong critical acclaim at the 51st Venice International Film Festival in 1994 and became one of the best-received films of the year. Winslet was awarded an Empire Award and a London Film Critics Circle Award for British Actress of the Year. Subsequently, she played the second leading role of Marianne Dashwood in the Jane Austen adaptation Sense and Sensibility (Ang Lee, 1995) featuring Emma Thompson, Hugh Grant and Alan Rickman. The film became a financial and critical success, resulting in a worldwide box office total of $135 million and various awards for Winslet. She won both a BAFTA and a Screen Actors' Guild Award and was nominated for both an Academy Award and a Golden Globe. In 1996, Winslet starred in Michael Winterbottom's Jude, based on the Victorian novel Jude the Obscure by Thomas Hardy. She played Sue Bridehead, a young woman with suffragette leanings who falls in love with her cousin (Christopher Eccleston). She then played Ophelia, Hamlet's drowned lover, in Kenneth Branagh's all-star-cast film version of William Shakespeare's Hamlet (1996). In mid-1996, Winslet began filming James Cameron's Titanic (1997), alongside Leonardo DiCaprio. She was cast as the passionate, rosy-cheeked aristocrat Rose DeWitt Bukater, who survives the 1912 sinking of the RMS Titanic. Against expectations, Titanic (1997) became the highest-grossing film in the world at the time and transformed Winslet into a commercial movie star. Young girls, the world over both idolized and identified with Winslet. Despite the enormous success of Titanic, Winslet next starred in two low-budget art-house films, Hideous Kinky (Gillies MacKinnon, 1998), and Holy Smoke! (Jane Campion, 1999). In 1997, on the set of Hideous Kinky, Winslet met film director Jim Threapleton, whom she married in 1998. They have a daughter, Mia Honey Threapleton (2000). Winslet and Threapleton divorced in 2001.
Since 2000, Kate Winslet's performances have continued to draw positive comments from film critics. She appeared in the period piece Quills (Philip Kaufman, 2000) with Geoffrey Rush and Joaquin Phoenix, and was inspired by the life and work of the Marquis de Sade. The actress was the first big name to back the film project, accepting the role of a chambermaid in the asylum and the courier of the Marquis' manuscripts to the underground publishers. Well received by critics, the film garnered numerous accolades for Winslet. In Enigma (Michael Apted, 2001), she played a young woman who finds herself falling for a brilliant young World War II code breaker (Dougray Scott). She was five months pregnant at the time of the shoot, forcing some tricky camera work. In the same year she appeared in Iris (Richard Eyre, 2001), portraying novelist Iris Murdoch. Winslet shared her role with Judi Dench, with both actresses portraying Murdoch at different phases of her life. Subsequently, each of them was nominated for an Academy Award the following year, earning Winslet her third nomination. Also in 2001, she voiced the character Belle in the animation film Christmas Carol: The Movie, based on the Charles Dickens classic novel. For the film, Winslet recorded the song What If, which was a Europe-wide top ten hit. Winslet began a relationship with director Sam Mendes in 2001, and she married him in 2003 on the island of Anguilla. Their son, Joe Alfie Winslet Mendes, was born in 2003 in New York City. In 2010, Winslet and Mendes announced their separation and divorced in 2011. In the drama The Life of David Gale (Alan Parker, 2003), she played an ambitious journalist who interviews a death-sentenced professor (Kevin Spacey) in his final weeks before execution. Next, Winslet appeared with Jim Carrey in Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004). In this neo-surrealistic indie-drama, she played Clementine Kruczynski, a chatty, spontaneous and somewhat neurotic woman, who decides to have all memories of her ex-boyfriend erased from her mind. The film was a critical and financial success and Winslet received rave reviews and her fourth Academy Award nomination. Finding Neverland (Marc Forster, 2004), is the story of Scottish writer J.M. Barrie (Johnny Depp) and his platonic relationship with Sylvia Llewelyn Davies (Winslet), whose sons inspired him to pen the classic play Peter Pan or The Boy Who Wouldn't Grow Up. The film received favourable reviews and became Winslet's highest-grossing film since Titanic.
In 2005, Kate Winslet played a satirical version of herself in an episode of the comedy series Extras by Ricky Gervais and Stephen Merchant. While dressed as a nun, she was portrayed giving phone sex tips to the romantically challenged character of Maggie. Her performance in the episode led to her first nomination for an Emmy Award. In the musical romantic comedy Romance & Cigarettes (John Turturro, 2005), she played the slut Tula, and again Winslet was praised for her performance. In Todd Field's Little Children (2006), she played a bored housewife who has a torrid affair with a married neighbor (Patrick Wilson). Both her performance and the film received rave reviews. Again she was nominated for an Academy Award for Best Actress, and at 31, became the youngest actress to ever garner five Oscar nominations. Commercial successes were Nancy Meyers' romantic comedy The Holiday (2006), also starring Cameron Diaz, and the CG-animated Flushed Away (2006), in which she voiced Rita, a scavenging sewer rat who helps Roddy (Hugh Jackman) escape from the city of Ratropolis and return to his luxurious Kensington origins. In 2007, Winslet reunited with Leonardo DiCaprio to film Revolutionary Road (2008), directed by her husband at the time, Sam Mendes. Portraying a couple in a failing marriage in the 1950s, DiCaprio and Winslet watched period videos promoting life in the suburbs to prepare themselves for the film. Winslet was awarded a Golden Globe Award for Best Actress for her performance, her seventh nomination from the Golden Globes. Then she starred in the film adaptation of Bernhard Schlink's 1995 novel The Reader, (Stephen Daldry, 2008) featuring Ralph Fiennes and David Kross in supporting roles. Employing a German accent, Winslet portrayed a former Nazi concentration camp guard who has an affair with a teenager (Kross) who, as an adult, witnesses her war crimes trial. While the film garnered mixed reviews in general. The following year, she earned her sixth Academy Award nomination and went on to win the Best Actress award, the BAFTA Award for Best Actress, a Screen Actors' Guild Award for Outstanding Supporting Actress, and a Golden Globe for Best Supporting Actress.
In 2011, Kate Winslet headlined in the HBO miniseries Mildred Pierce, based on James M. Cain's 1941 novel and directed by Todd Haynes. She portrayed a self-sacrificing mother during the Great Depression who finds herself separated from her husband and falling in love with a new man (Guy Pearce), all the while trying to earn her narcissistic daughter's (Evan Rachel Wood) love and respect. This time, Winslet won an Emmy Award, a Golden Globe Award and a Screen Actors Guild Award. Roman Polanski's Carnage (2011) premiered at the 68th Venice Film Festival. The black comedy follows two sets of parents who meet up to talk after their children have been in a fight that day at school. Jodie Foster, John C. Reilly and Christoph Waltz co-starred in the film. In 2012, she was appointed a Commander of the Order of the British Empire (CBE). In Jason Reitman's big screen adaptation of Joyce Maynard's novel Labor Day (2013), she starred with Josh Brolin and Tobey Maguire. Winslet received favourable reviews for her portrayal of Adele, a mentally fragile, repressed single mom of a 13-year-old son who gives shelter to an escaped prisoner during a long summer weekend. For her performance, Winslet earned her tenth Golden Globe nomination. Next, she appeared in the science fiction film Divergent (Neil Burger, 2014), as the bad antagonist Jeanine Matthews. It became one of the biggest commercial successes of her career. This year, Winslet also appeared alongside Matthias Schoenaerts in Alan Rickman's period drama A Little Chaos (2014) about rival landscape gardeners commissioned by Louis XIV to create a fountain at Versailles. Next, she can be seen in the crime-thriller Triple Nine (John Hillcoat, 2015), the sequel in the Divergent series: Insurgent (Robert Schwentke, 2015) and The Dressmaker (Jocelyn Moorhouse, 2015). Since 2012, Kate Winslet is married to Ned Rocknroll, a nephew of Richard Branson; The couple has a son, Bear Blaze Winslet. They live in West Sussex.
Sources: Tom Ryan (Encyclopedia of British Film), Sandra Brennan (AllMovie), Wikipedia, and IMDb.
Bruce Springsteen on the Oldies station: Atlantic City
www.youtube.com/watch?v=M3eu1gW-bQ8
Well they blew up the chicken man in Philly last - Night now they blew up his house too
Michael: (enters the small Village Green police station and can see into Dan's office, where there are several balloons saying "congrats" floating about, he smirks) Hey, Dan. Just dropped off Chris at work. Stu's there, so I figured they'd both be okay.
Dan: (glares at him, over his monitor) If I find out you had anything to do with this. (points up at the balloons w/out breaking eye contact) I'll volunteer you for K-9 perp practice.
Michael: (holding up his hands) I didn't do it. (grins and saunters into Dan's office) Looking up baby names?
Bruce Springsteen on the Oldies station: And the D.A. can't get no relief - Gonna be a rumble out on the promenade and
Dan: No. I'm trying to ID the guy in the dunes. Maybe if we know who he is, we can figure out who shot him.
Michael: (turns a chair around and straddles it, facing Dan across his desk) He's definitely not local.
Dan: No. And Chris is sure he's not the guy he saw?
Michael: He didn't get a good look at the guy, but he said he remembers he had long hair.
Bruce Springsteen on the Oldies station: Put your makeup on fix your hair up pretty and - Meet me tonight in Atlantic City
Dan: The guy we brought in has a fuzzy polecut at best. (there's a quiet bell tone from his computer)
Michael: What was that?
Dan: (hits a couple keys) Alerts me to hits on the missing time board.
Michael: Isn't that for people who think they've been abducted by aliens?
Dan: It's for anyone who has experienced, or knows someone who has experienced, missing periods of time, in their life. I put up a page about Helen's missing summer.
Michael: Holy shit, dude.
Bruce Springsteen on the Oldies station: So I drew what I had from the Central Trust - And I bought us two tickets on that Coast City bus
Dan: It's completely anonymous. I didn't use her name, or any geographical indicators.
Michael: You had me heart attacking over here.
Dan: (teases) Maybe you got into the wrong line of work, if that's all it takes. I'm just trying to find out if anyone's had a similar experience, or if there's somebody out there on the internet who knows anything about that summer.
Michael: Except it wouldn't be HER summer, because nobody knows where it took place.
Dan: I know it's a long shot, but I'm trying to find out if anyone else had an odd experience during the summer of that year, or anything similar to it.
Michael: How long have you had the post up?
Dan: Months. (gives Michael a rueful smile) I know, it's probably a waste of time, and I get a lot of abductees claiming they might have met her on the "mother ship," but it doesn't hurt to dangle your bait in the water.
Michael: As long as there aren't any sharks in the area. What does Helen think about it?
Dan: (eyes shuttered) She asked me to stop.
Michael: (surprised) When?
Dan: About a month after I had it up.
Michael: Why?
Dan: She said she didn't want anyone finding out it was about her, even though I showed her that it could never be traced back to her. She said she was happy with the way her life turned out, and what happened in her past didn't matter.
Michael: You don't believe her?
Dan: I wanted to, but I'm a cop, and I kept thinking some freak might be out there kidnapping little girls. Helen didn't seem to be physically hurt, but she also had no memory of what happened to her. And she keeps seeing this little girl when no one's there, that nobody else can see or hear. It's like she's being haunted.
Bruce Springsteen on the Oldies station: Be cold but with you forever I'll stay
Michael: Do you think it's a repressed memory? Maybe the little girl is someone from her past?
Dan: All I know is, my pregnant wife is frightened, and I'll do whatever it takes to help her.
Michael: You're a good husband. (gets up from the chair) I'm gonna grab a cup. You want coffee?
Dan: Yeah, thanks.
Michael: (hearing another bell tone as he leaves Dan's office) So, that bell means somebody read your post?
Dan: Yeah. One bell means they read it. Two bells mean they posted a reply.
Michael: (watching the coffee fill the cup) All those bells would be a little distracting, for me.
Dan: (smiles grimly) Doesn't happen as often as you think it does. It did, in the beginning, but once I added the tag; NOT an alien abduction, the hits dropped dramatically.
Michael: (returning w/two cups of coffee and passing one to Dan) Plus, there's a serious lack of alien invaders wanting to be taken to our current leader.
Bruce Springsteen on the Oldies station: That's a fact but maybe everything that dies - Someday comes back
Dan: (snorts into his coffee at that, and there's another bell ding)
Michael: I thought you said it doesn't do that much?
Dan: It doesn't. The average is maybe one a day, if that. (he pulled up the missing time page) Looks like the same person opened my page three times.
Michael: (goes around the desk to look over Dan's shoulder) Who is it?
Dan: Don't know. Like I said, it's anonymous, but their screen name is, PoeBoy.
Michael: Like the sandwich?
Dan: Like the author. You know, the raven, nevermore.
Michael: I thought they were a heavy metal band from Seattle.
Dan: Illiterate swine. (both men laugh)
Bruce Springsteen on the Oldies station: Down here it's just winners and losers and
Michael: You know, I've heard that some women have mood swings, even hallucinations, when they're pregnant. You think Helen's sudden flashbacks, or whatever they are, might have something to do with that?
Dan: I didn't consider it, but I'll run it by her doctor.
Michael: Not Springlon?
Dan: (smiles) No, he's not an obstetrician.
Michael: Thank goodness.
Dan: Doesn't look like PoeBoy's going to post anything.
Michael: Just another Looky-Lou. I'm going to take a drive by the Surf'n Sail, just to show there's extra police presence in the area. (he goes into the kitchenette area to grab a lid for his coffee cup)
Dan: I think I'll go with you. We can swing by my house and I can see how Helen's doing. (putting on his jacket as he exits his office)
Michael: Your ride, or mine?
Dan: Either. I'm easy.
Bruce Springsteen on the Oldies station: So honey last night I met this guy and I'm - Gonna do a little favor for him
Michael: Dude, you're a married man, with a kid on the way. (they both chuckle) Hey, you forgot to close your window.
Dan: Can you get that for me?
Michael: Sure. (he puts the lid on his coffee cup and hears two soft bell chimes from the computer, frowns and looks at the screen) Hey, Dan. That guy replied to your post. I think you should read it.
Dan: (frowns and returns to his office, going around to his chair, and as he reads what was posted, he slowly sits)
PoeBoy: we were in washington that same summer -- my younger brother disappeared while we were camping on the coast -- there was a huge search but he wasn't found -- cops thought he might have drowned in the ocean --
Dan: It sound like an abduction. (to Michael, then he typed) 'Sorry for your loss, but my wife came back. She just doesn't remember where she was.' (he hit the SEND key)
PoeBoy: my brother came back too -- about a month later
Dan: Michel, you see this?
Michael: Reading with you.
Dan: (typed) 'Does your brother remember what happened to him?'
PoeBoy: i don't know -- i don't think we'll ever know
Dan: What does that mean? (then he typed) 'Why not?'
PoeBoy: he was found at the fire station -- in the town where we took our vacation -- just sitting there -- he never talked -- he never reacted -- doctors finally decided it was mental trauma -- he's been in a psych ward ever since
Bruce Springsteen on the Oldies station: Well I guess everything dies baby that's a fact
Dan: (typing) 'That sounds awful. Was your brother physically harmed?'
PoeBoy: no they said he was perfectly healthy
Dan: (typing) 'What was he wearing, when he was found?'
PoeBoy: the same clothes he disappeared in
Dan: (to Michael) That sounds just like what happened to Helen. (typing) 'You said it was a coastal town in Washington State. Do you mind if I ask the name of the town?'
PoeBoy: too risky
Michael: What does that mean?
Dan: Don't know. (typing) 'I don't understand. I don't know who you are. What risk?'
PoeBoy: this was a mistake -- the alien overlords will be angry -- they track your brain waves -- try to think of something else
Michael: Okay ... wow.
Bruce Springsteen on the Oldies station: But maybe everything that dies someday - Comes back
Dan: (sighs) I thought I found a connection, but it's just another guy in a foil hat.
Michael: Sorry, man. (pats Dan's shoulder) You must get a lot of guys like that, huh?
Dan: Almost everyone who posts. Come on, let's go check on our S.O.s
Bruce Springsteen on the Oldies station: Put your makeup on fix your hair up pretty and - Meet me tonight in Atlantic City
(Thank you to Erebus for playing Michael and to Seth for playing Dan)
It was the night of November 9, 1989. As their yellow Wartburg advanced unimpeded into what had always been an off limits security zone, a German Pastor and dissident rolled down the window and asked a border guard “Am I dreaming or is this reality?”
“You are dreaming” the guard replied.
An unbelievable dream, but it was true, a dream come true. And they drove through The Wall into the west as thousands, perhaps millions followed them. The Cold War, an outcome of World War II had probably come to an end at last as over the next few days and by November 11, the crowds and machinery began to tear down the Berlin Wall that had been such a potent symbol of evil regimes where countless people had lost their humanity and their lives.
I wasn’t born until ten years after the end of World War II, but it’s legacy still hung heavily in many ways over the world in which this young life lived. The wounds and scars were still raw and evident. But during my life, I also witnessed great events and tragedies. I remember the assassination of John F. Kennedy, the moon landing of 1969, I remember photos of human torches being burned up by napalm, the triumph over Apartheid and the appalling November 11 terrorist attacks. The highs and lows of humanity. And I remember a news item on TV, almost unheard of I thought as I saw boatloads of people from the west and Russia attacking the northern ice, freeing trapped whales, working together to save in triumph another species. The news story was backed by John Lennon’s “Imagine”. Imagine! Imagine, soon after, I watched as waves of happy people, fleeing freely from repressed regimes of Communism moved as one....crying, hugging, kissing, hoping. And I cried and hoped too!
The photo - on the left, sands from Omaha Beach, Normandy, France from D Day, June 6, 1944 where many fought and died to restore peace to a shattered world; on the right two small pieces of concrete with painted graffiti from the West German side of the Berlin Wall and in the middle, some rich red soil from the very peaceful heart of our ancient and beautiful Australia where we can still contemplate the Dreamtime.
And 30 years after, on 9 November 2019 and still hoping I guess, I reflected on a poem called Mending Wall by Robert Frost, learnt and studied by a fairly uncomprehending mind in primary school, but some of it stuck. And it stands as a tribute to those who fought for that change, who continue, against heavy odds, to fight to prevent walls of hate and hopelessness even today. You can read about its meaning through the link at the bottom.
Mending Wall by Robert Frost
Something there is that doesn't love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun;
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
‘Stay where you are until our backs are turned!’
We wear our fingers rough with handling them.
Oh, just another kind of out-door game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, ‘Good fences make good neighbors.’
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
‘Why do they make good neighbors? Isn't it
Where there are cows? But here there are no cows.
Before I built a wall I'd ask to know
What I was walling in or walling out,
And to whom I was like to give offense.
Something there is that doesn't love a wall,
That wants it down.’ I could say ‘Elves’ to him,
But it's not elves exactly, and I'd rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me,
Not of woods only and the shade of trees.
He will not go behind his father's saying,
And he likes having thought of it so well
He says again, ‘Good fences make good neighbors.’
During the Middle Ages, the town of Soria in Castille was home to several orders having to do with the Holy Land. Among them were the Knights Hospitaller of Saint John of Jerusalem, who were given a little church by the side of River Duero, outside of the town itself so that they could build a hospital and even a leprosy —not too far from the main road, yet out of the way to avoid the plague spreading. The church was, and still is, pretty nondescript, and can still be seen as such today. The Hospitallers re-did the vaulting of the single apse but, more spectacularly, built two astounding ciboria, those Oriental canopies of stone that cover and protect the altars. Two new altars were built underneath them, so that the knights/monks could perform their traditional rites and follow their own early Syrian church-inspired liturgy.
Truly, stepping inside that church and seeing those is like being transported to the Mediæval Orient!
Now, trying to produce decent photography of monuments is never easy, but when busload upon busload of tourists come into play, it borders on impossible! Furthermore, and this is the only time it ever happened to me in Spain (contrary to Italy, alas!), I was ordered by some repressed prison warden (judging by her amiability and kindness) posing as the welcome (very much so!) person for the monument, not to use the tripod to take pictures! And why, pray? Because that’s the way it is! Unbelievable. As I am cleverer than she was, I managed to beat the system and snap the first two or three exposures on the tripod at ISO 64, but for the rest, I had to bump up the ISO to 500 to accommodate whatever little light there was. Sorry for the resulting loss of quality.
Besides that amazingly “orientalized” church, the cloister is the main reason people come visit this ancient place. Art historians reckon it was built around 1200 by mudéjar architects and masons, maybe from Toledo. It is an absolutely unique achievement, unlike anything else I had seen before, and I’m probably not about to see the like of it anytime soon!
The astounding vision that grips you when you step into that church: suddenly, you have been teleported to some ancient church in the Middle East...!
During the Middle Ages, the town of Soria in Castille was home to several orders having to do with the Holy Land. Among them were the Knights Hospitaller of Saint John of Jerusalem, who were given a little church by the side of River Duero, outside of the town itself so that they could build a hospital and even a leprosy —not too far from the main road, yet out of the way to avoid the plague spreading. The church was, and still is, pretty nondescript, and can still be seen as such today. The Hospitallers re-did the vaulting of the single apse but, more spectacularly, built two astounding ciboria, those Oriental canopies of stone that cover and protect the altars. Two new altars were built underneath them, so that the knights/monks could perform their traditional rites and follow their own early Syrian church-inspired liturgy.
Truly, stepping inside that church and seeing those is like being transported to the Mediæval Orient!
Now, trying to produce decent photography of monuments is never easy, but when busload upon busload of tourists come into play, it borders on impossible! Furthermore, and this is the only time it ever happened to me in Spain (contrary to Italy, alas!), I was ordered by some repressed prison warden (judging by her amiability and kindness) posing as the welcome (very much so!) person for the monument, not to use the tripod to take pictures! And why, pray? Because that’s the way it is! Unbelievable. As I am cleverer than she was, I managed to beat the system and snap the first two or three exposures on the tripod at ISO 64, but for the rest, I had to bump up the ISO to 500 to accommodate whatever little light there was. Sorry for the resulting loss of quality.
Besides that amazingly “orientalized” church, the cloister is the main reason people come visit this ancient place. Art historians reckon it was built around 1200 by mudéjar architects and masons, maybe from Toledo. It is an absolutely unique achievement, unlike anything else I had seen before, and I’m probably not about to see the like of it anytime soon!
The cloister. It is difficult to show it little by little without spoiling the surprise... especially when surrounded by about 50 very eager, very enthusiastic (and very oblivious!) tourists...
On this side, and in the background as well, you see traditional Romanesque barrel arches, only very slightly broken... Lovely indeed, especially with the absence of a roof, but nothing truly out of the ordinary so far... but wait! ;o)
"Yes, I'm A Witch" (by Yoko Ono):
Oh, please don't give me that!
Yes, I'm a witch
I'm a bitch
I don't care what you say
My voice is real
My voice speaks truth
I don't fit in your ways
I'm not gonna die for you
You might as well face the truth
I'm gonna stick around for quite awhile
Were gonna say
Were gonna try
Were gonna try it our way
Weve been repressed
Weve been depressed
Suppression all the way
Were not gonna die for you
Were not seeking vengeance
But were not gonna kill ourselves for your convenience
Each time we don't say what we wanna say, were dying
Each time we close our minds to how we feel, were dying
Each time we gotta do what we wanna do, were living
Each time were open to what we see and hear, were living
Well free you from the getthos of your minds
Well free you from your fears and binds
We know you want things to stay as it is
Its gonna change, baby
Its gonna change, baby doll
Its gonna change, honey ball
Its gonna change, sugar cane
Its gonna change, sweetie legs
So don't try to make cock-pecked people out of us
www.youtube.com/watch?v=AAjtTjlJdss&hl=it
In her dream, she's reflecting on Mt Rainier, a massive dormant volcano. Dreams of snow covered volcanoes often represent repressed emotions.
*There was a network of GCR towers across central Gotham- One in the Bowery, one in the Industrial District, one in Amusement Mile. Almost all of these have been knocked down to make way for Arkham City, much to one Jack Ryder's annoyance, except for one above Park Row. That has to be where he's transmitting his signal. The Misfits walk through scared civilians and past demonic creatures, and think to themselves. Charles Brown worries, for his friends and the future.
"Bats thinks he's in Park Row, in the radio tower. Together, we make our way through the carnage, Blake still posing. He's just as loony as Julian. All muscles and smiles but no common sense"
Thomas Blake prances through the streets, looking at himself through broken windows and smiling
"I don't see what everyone's so hot and bothered. Day had a meltdown, who hasn't? Chancer joined a cult, Cobb nuked a small town. Small differences yeah, but the same thing mostly. He'll calm down when he sees his old pal Catman"
Leonard Fiasko takes a long puff of his cigarette and pulls his helmet over his face
"Day's crazy. We all might be, but at least we release it in small doses. He's repressed it and gone and fucked us over"
And finally, Montgomery Sharp swings his favourite bat around childishly. With his power, nothing concerns him
"I think I'll ask my manager for a promotion. I've a good feeling he'll say yes"
From above, The Batman flies overhead, scanning the area, beside him are the Firefly and Killer Moth. He is there to keep an eye on the situation while the Misfits below attempt to appeal to the Calender Man's humanity- or whatever's left of it, while his boys- his sons, disable the radio signal and restore order to Gotham once more. Lynns looks down at the fire below, and he's entranced. The elevator opens, and the C-Listers enter*
====
*The walls are like the ramblings of a mad person- Maps, blueprints, CCTV images, the works. Sat beneath the enormous satellite dish- Jules. He sips a cup of coffee, and upon seeing us grins*
Julian- Ah, you made it. Even you. Thomas.
*Blake throws me and Len aside as he strides towards Jules confidently*
Blake- Even me!
*Oh god he's going to kill him isn't he?*
Blake- What are you playing at Jules?
Jules- You tell me Thomas. You seem to know everything. Always had all the answers. Always the cruelest of them all.
Blake- What? No man it's me-
Julian- I wasn't finished.
*The way he says it, like ice sends shivers down my spine. For the first time in my life I realise that this man isn't "Jules." He's the Calendar Man*
Jules- Tearing me down to build up your own ego. And for what? What's the difference between you and I really? Our gimmicks?!
Blake- The difference is, I'm not batshit insane!
Len- Yeah, appeal to his humanity Blake, I applaud you.
Jules- You spiteful, homophobic, sexist little man. Where is your honour now Blake? You think yourself a majestic beast don't you, but you are no predator- I am a predator. You're just an overcompensating pussycat. Go on. Arch your back. Hiss if it makes you feel better
*He's really upset, even Blake is speechless. Julian knew every button, and like a kid in an elevator he went and pressed them all. I have to step in*
Chuck- Jules, you're not well.
Julian- But I am Charlie, but I am. I finally have a clear head
*It's Len's turn, who scoffs, then points out towards the city, burning*
Len- Does this look like the work of someone with a clear head?
Julian- Well, yes.
Blake- How about this- we kill you, rip your head off and come back heroes
Julian- But when has that worked Thomas? It didn't with the Signal Man, it didn't with the Secret Society. You've never got that credit despite how much, how desperately hard you've tried. Because he always takes the credit. But now, we'll all be remembered. For this one glorious night. They might even rename it, make it an annual day of grieving. I would become a holiday.
*Chancer holds Jules' shoulder, who looks at the hand as though it's an insult. He looks right through it*
Chancer- Ok, time to go buddy
Julian- But you haven't asked how I did it
Blake- Spook and some fear gas.
Julian- No, not that. Everything. How did I get in and out of each place.
Chuck- You *broke* in.
Julian- I flew in.
Len- Fuck. He's doo-lally.
Julian- With your harness Charlie.
Chuck- What?
*Julian peels something off the wall and hands me a photo. Sure enough, it looks like me, but why-*
Julian- Look at this lovely CCTV photo, of a man in a kite harness entering the science fair. Want to know how I cleaned up after myself?
Len- You didn't.
Julian- A little bit of Fiasko's patented magic spray. You shouldn't leave that on the countertop Leonard. As for that poor miscreant, carved up on Word Nerd Day, does this knife look familiar Catman? And this baton Chancer, is the one I cracked over a guard's head.
*Chancer looks at the photo and mumbles something*
Chancer- That's not mine.
Julian- Well. Three out of four isn't bad. Besides, you were never there from the start...
Chuck- No one's going to believe you. The feds know you-
Julian- Why not? They believed the testimony of Lex Luthor and Danto Twag when they arrested Lynns and Walker last year. And you four never even got into politics. The Agency already suspects your involvement in some form, this'll just confirm it. Then we'll all be thrown in that shiny new prison we most certainly belong in. Together. And the underworld will never joke again.
Chuck- We- I don't want to be a supervillain! We just wear the costumes!
Len- Do you know the last felony I was charged with? Public intoxication. Not murder or some trash.
*I wanted to do this peacefully. Now there's no choice*
====City Hall====
Senator- You were given a chance Grange. Prove to us those, what did you call them, C-Listers were manageable. Now look at the mess of things. We never should have underestimated their kind.
Grange- Sir, please, this is just one man.
Senator- Impossible. Our agents found evidence linking at least ten other "minor" felons to these crimes. From Maximilian Zeus to Deke Mitchell.
Grange- Zeus? Why, because the killer used lightning? Mitchell because of the acid? You just want an excuse to lock them up
Senator- And if they are all involved *Ms* Grange, is that a risk you're willing to take?
No dia 8 de março de 1857 operárias de uma fábrica de tecidos de Nova Iorque fizeram greve e ocuparam a fábrica para reivindicar melhores condições de trabalho, entre as quais a redução da jornada de trabalho de 16 para 10 horas diárias, equiparação de salários com os homens, que chegavam a receber o triplo do salário das mulheres, além de tratamento digno no ambiente de trabalho.
A manifestação foi reprimida com violência, as mulheres foram trancadas e a fábrica incendiada, resultando na morte e carbonização de aproximadamente 130 tecelãs.
Em 1910, numa conferência na Dinamarca, ficou decidido que o 8 de março passaria a ser o "Dia Internacional da Mulher", em homenagem as mulheres que morreram na fábrica em 1857, mas somente em 1975, através de um decreto, a data foi oficializada pela ONU (Organização das Nações Unidas).
O objetivo da criação do "Dia Internacional da Mulher" não é apenas o de comemorar conquistas, mas, sobretudo, dedicado à realização de conferências, debates e reuniões com o objetivo de discutir o papel da mulher na sociedade atual, procurando eliminar com o preconceito e a desvalorização da mulher, que, apesar de todos os avanços, ainda sofrem, em muitos locais, com salários baixos, violência masculina, jornada excessiva de trabalho e desvantagens na carreira profissional. Muito foi conquistado, mas muito ainda há para ser modificado nesta história.
Uma data marcante para as mulheres brasileiras é o dia 24 de fevereiro de 1932, quando foi instituído o voto feminino. As mulheres conquistavam, depois de muitos anos de reivindicações e discussões, o direito de votar e serem eleitas.
Apesar de acreditar que todos os dias são dias das mulheres, dos homens, dos índios, dos pretos, dos homossexuais, em suma, de todos os seres humanos, e, portanto, oportunos para debater todas as questões, sobretudo as que envolvem discriminações, e, ainda, que a instituição destas "datas comemorativas" embute imensa carga de hipocrisia, associo-me às homenagens da data com a publicação desta foto que retrata Dila, a minha mulher, praticando Yoga na Praia do Carro Quebrado.
*
Google translation of the introductory text of this post. Sorry if there are errors.
On March 8, 1857 workers of a textile factory in New York went on strike and occupied the factory to demand better working conditions, including the reduction of working hours from 16 to 10 hours daily, with the equalization of wages men, who would receive triple the salary of women, and decent treatment in the workplace.
The demonstration was violently repressed, the women were locked and the factory burned down, resulting in death and carbonization of about 130 weavers.
In 1910, a conference in Denmark, it was decided that March 8 would be the "International Women's Day" in honor of women who died in the factory in 1857, but only in 1975 through an ordinance, the date was formalized by the UN (United Nations).
The purpose of establishing the "International Women's Day" is not only to celebrate achievements, but above all, dedicated to conferences, debates and meetings with the aim of discussing the role of women in society today, seeking to eliminate the prejudice and the devaluation of the woman who, despite all the advances, they still suffer in many places with low wages, male violence, excessive working day and disadvantages in professional careers. Much has been achieved but much remains to be changed in this story.
A remarkable day for Brazilian women is on February 24, 1932, when it was established the women's vote. Women conquered after many years of discussions and claims the right to vote and be elected.
While I believe that every day is a day for women, men, Indians, blacks, homosexuals, in short, all human beings and, therefore, timely to discuss all issues, especially those involving discrimination, and, further, that the imposition of these "holidays" embed tremendous amount of hypocrisy, I join the tributes to the publication date of this picture that portrays Dila, my wife, practicing yoga on the beach of Broken Car.