Cyaxares or Hvakhshathra Uvaxštra, Greek: Κυαξάρης; r. 625–585 BC), the son of King Phraortes, was the third and most capable king of Media. According to Herodotus, Cyaxares, grandson of Deioces, had a far greater military reputation than his father or grandfather.

By uniting the Iranian tribes of Ancient Iran and conquering territory, Cyaxares allowed the Median Empire to become a regional power. During his rule, the Neo-Assyrian Empire fell and the Scythians were repelled from Median lands.

He was born in the Median capital of Ecbatana, his father Phraortes was killed in a battle against the Assyrians, led by Ashurbanipal, the king of Neo-Assyria. After his fall the Scythians took over. In his early age Cyaxares was seeking for revenge. He killed the Scythian leaders and proclaimed himself as King of Medes. After throwing off the Scythians, he prepared for war against Assyria. Cyaxares reorganized and modernized the Median Army, then joined with King Nabopolassar of Babylonia. This alliance was formalized through the marriage of Cyaxares daughter, Amytis with Nabopolassar’s son, Nebuchadnezzar II, the king who constructed the Hanging Gardens of Babylon as a present for his Median wife to help with her homesickness for the mountainous country of her birth. These allies overthrew the Assyrian Empire and destroyed Nineveh in 612 BC.

After the victory in Assyria, the Medes conquered Northern Mesopotamia, Armenia and the parts of Asia Minor east of the Halys River, which was the border established with Lydia after a decisive battle between Lydia and Media, the Battle of Halys ended with an eclipse on May 28, 585 BC.

The conflict between Lydia and the Medes was reported by Herodotus as follows:

“A horde of the nomad Scythians at feud with the rest withdrew and sought refuge in the land of the Medes: and at this time the ruler of the Medes was Cyaxares the son of Phraortes, the son of Deïokes, who at first dealt well with these Scythians, being suppliants for his protection; and esteeming them very highly he delivered boys to them to learn their speech and the art of shooting with the bow. Then time went by, and the Scythians used to go out continually to the chase and always brought back something; till once it happened that they took nothing, and when they returned with empty hands Cyaxares (being, as he showed on this occasion, not of an eminently good disposition) dealt with them very harshly and used insult towards them. And they, when they had received this treatment from Cyaxares, considering that they had suffered indignity, planned to kill and to cut up one of the boys who were being instructed among them, and having dressed his flesh as they had been wont to dress the wild animals, to bear it to Cyaxares and give it to him, pretending that it was game taken in hunting; and when they had given it, their design was to make their way as quickly as possible to Alyattes the son of Sadyattes at Sardis. This then was done; and Cyaxares with the guests who ate at his table tasted of that meat, and the Scythians having so done became suppliants for the protection of Alyattes.

After this, since Alyattes would not give up the Scythians when Cyaxares demanded them, there had arisen war between the Lydians and the Medes lasting five years; in which years the Medes often discomfited the Lydians and the Lydians often discomfited the Medes (and among others they fought also a battle by night): and as they still carried on the war with equally balanced fortune, in the sixth year a battle took

place in which it happened, when the fight had begun, that suddenly the day became night. And this change of the day Thales the Milesian had foretold to the Ionians laying down as a limit this very year in which the change took place. The Lydians however and the Medes, when they saw that it had become night instead of day, ceased from their fighting and were much more eager both of them that peace should be made between them. And they who brought about the peace between them were Syennesis the Kilikian and Labynetos the Babylonian: these were they who urged also the taking of the oath by them, and they brought about an interchange of marriages; for they decided that Alyattes should give his daughter Aryenis to Astyages the son of Cyaxares, since without the compulsion of a strong tie agreements are apt not to hold strongly together.” (Histories, 1.73-74, trans. Macaulay)

Cyaxares died shortly after the battle and was succeeded by his son, Astyages, who was the maternal grandfather of Cyrus the Great through his daughter Mandane of Media.

Online persona for krossbow created with Personas personas.media.mit.edu/personasWeb.html

Of note: I know of an online gamer and band that also use krossbow so this is a mixed result.

Participants enjoy an intense arms/abs workout with instructor Holly at the Dowd YMCA's Taylor Swift: Reputation Party.

This is known these days as the Palace of Reunification, but was once, dear reader, the South Vietnamese Presidential Palace (or "Palace of the dictatorial imperialist puppet government"!)

Upon the partition of Vietnam into North and South in 1954 at the 17th Parallel, Ngô Đình Diệm became Premier of South Vietnam under the head of state and former Emperor, Bảo Ðại. In 1955, when by the terms of the Geneva accords Diem should have been organising elections (which he feared might have led to unification with North Vietnam), he held a referendum asking voters to approve a republic. The result overwhelmingly endorsed the removal of Bảo Ðại and the establishment of Diem as President. In fact it was a bit too 'overwhelming! Diem's brother Ngô Ðình Nhu rigged the election so heavily that is Saigon for example, 133 percent of the registered population voted for Diem!!!

President Jean Baptiste Ngô Đình Diệm has to share a large part of the blame for the eventual defeat of South Vietnam by the North. His administration was deeply unpopular; biased in favour of the Catholic minority and against the Buddhists (as we have already seen); profoundly corrupt, and its army so badly led as to be of little use. In the end, the American administration stood by in 1963 and watched while he was deposed by elements of his army. His assassination however, was not it would seem, pre-planned.

The next man to be installed here as President, was Dương Văn Minh. Popularly known as Big Minh because of his size, he was a former Vietnamese general and had been one of only 50 Vietnamese officers ever to be commissioned into the French Colonial Army. Minh is said to have preferred playing mah-jongg, giving tea parties and fighting the Việt Cộng, to running the country, and as a result was in and out of government several times between 1963 and 1975.

Nguyễn Văn Thiệu became President in 1967 and held office until a few days before the fall of Saigon in 1975. Sadly, Thiệu's regime was accused of being far more corrupt than the regime of his predecessor. In 1971, Thiệu ran for re-election, but his reputation for corruption made his political opponents believe the election would be fixed and they declined to run. As the only candidate, Thiệu was re-elected by 94% of the registered population - a remarkable achievement when one considers that there was only an 87% turn-out! Thiệu resigned as President in a tearful televised announcement on 21 April 1975 in which he denounced the United States for failing to come to the aid of South Vietnam!! He died in Massachusetts in 2001.

President Thiệu was followed by his Vice-President, Trần Văn Hương, who himself resigned after a week, handing power back to Big Minh again, who presided over the surrender of the government two days later.

The House of Representatives

•Morse, Samuel F. B.

•American, 1791-1872

•1822, probably reworked 1823

•Oil on Canvas

•Dimensions:

oOverall: 220.7 × 331.8 cm (86⅞ × 130⅝ in.)

oFramed: 256.5 × 363.2 × 10.5 cm (101 × 143 × 4⅛ in.)

•Corcoran Collection (Museum Purchase, Gallery Fund)

•2014.79.27

•On View

Overview

Before achieving fame in the 1840s as the inventor of the telegraph, Samuel F. B. Morse was a portraitist of some renown. He sought to cement his reputation as a painter by attempting a grand work of historical significance: The House of Representatives. The foundation for such lofty ambition was laid when he studied at London’s Royal Academy of Arts, where painters were taught to execute epic pictures that could edify their audiences. Upon his return to America, Morse chose the chamber of the lower body of the United States Congress in session at the US Capitol—a place unseen and unvisited by most Americans in 1822—as his subject for this monumental undertaking.

Arriving in Washington, DC, in November 1820, Morse worked 14 hours a day for four months in a temporary studio adjacent to the House chamber, which recently had been rebuilt after the Capitol was destroyed by fire during the War of 1812. His massive canvas included careful renderings of architecture and people, including Congressmen, staff, Supreme Court justices, and press. In the visitors’ gallery at the far right is Pawnee Indian chief Petalasharo, and on the left, Morse’s father, Reverend Jedidiah Morse. Rev. Morse was in town to report on Indian affairs to Secretary of War John C. Calhoun, one of the giants of American political life before the Civil War and a leading defender of slavery.

Ultimately, Morse created a picture of the House of Representatives not as it was, but as he wanted it to be. At a time when the House was often raucous and factional—debating major legislation such as the Slave Trade Act of 1820 and the Missouri Compromise of 1821—Morse presented instead a tranquil and relatively uneventful scene. He toured the painting nationally in 1823, but its lack of sensational subject matter failed to attract wide audiences and ultimately proved to be a financial failure. In the ensuing years, Morse turned away from painting to pursue his scientific interests.

Inscription

•Lower Left: S.F.B. MORSE. pinx / 1822

Provenance

Acquired from the artist by 1828 by Charles Robert Leslie, London; sold c. September 1839 to Sherman Converse. (Coates and Company, New York), in 1847. Joseph Ripley, in 1858. purchased by Daniel Huntington, by 1873; purchased from his estate 17 June 1911 by the Corcoran Gallery of Art; acquired 2014 by the National Gallery of Art.

Exhibition History

•1823—Albany, New York; Hartford, Connecticut; Middletown, Connecticut, Fall 1823.

•1823—David Doggett’s Repository, Boston, February-April 1823.

•1823—Essex Coffee House, Salem, Massachusetts, May 1823.

•1823—Morse’s Popular Picture of the Hall of the House of Representatives, 146 Fulton Street near Broadway, New York, May-July 1823.

•1823—New Haven, Connecticut, early February 1823.

•1823—Possibly Springfield and Northampton, Massachusetts, 1823.

•1825—American Academy of Fine Arts, New York, 1825, no. 4, as Hall of the House of Representatives, Washington City, preparing for an evening session.

•1827—Annual Exhibition, National Academy of Design, New York, 1827, no. 51, as House of Representatives in the capitol at Washington, containing 88 portraits of distinguished characters.

•1828—Peale’s Gallery of the Fine Arts, Albany, 1828, no. 23, as The Celebrated Picture of the House of Representatives.

•1868—Second Winter Exhibition, National Academy of Design, New York, 1868-1869, no. 178, as The House of Representatives in Washington, in 1823.

•1932—Samuel F.B. Morse: American Painter, The Metropolitan Museum of Art, New York, 1932, unnumbered catalogue.

•1939—Life in America: A Special Loan Exhibition of Paintings Held During the Period of the New York World’s Fair, The Metropolitan Museum of Art, New York, 1939, no. 72.

•1950—American Processional, 1492-1900, Corcoran Gallery of Art, Washington, 1950, no. 116.

•1959 Loan Exhibition. Masterpieces of the Corcoran Gallery of Art: A Benefit Exhibition in Honor of the Gallery’s Centenary, Wildenstein, New York, 1959, unnumbered catalogue, repro.

•1960—American Painters of the South, Corcoran Gallery of Art, Washington, 1960, no. 82, cover repro.

•1970—Loan to display with permanent collection, National Portrait Gallery, Washington, 1970-1971.

•1970—Nineteenth-Century America: Paintings and Sculpture, The Metropolitan Museum of Art, New York, 1970, no. 28.

•1976—Corcoran [The American Genius]. Corcoran Gallery of Art, Washington, 1976, unnumbered catalogue.

•1980—La Pintura de los Estados Unidos de Museos de la Ciudad de Washington [Painting in the United States from Public Collections in Washington], Instituto Nacional de Bellas Artes, Mexico City, 1980-1981, no. 7.

•1993—The Century Club Collection, Corcoran Gallery of Art, Washington, 1993, unpublished checklist.

•2004—Figuratively Speaking: The Human Form in American Art, 1770-1950, Corcoran Gallery of Art, Washington, unpublished checklist.

•2005—Encouraging American Genius: Master Paintings from the Corcoran Gallery of Art, Corcoran Gallery of Art, Washington; Museum of Fine Arts, Houston; Parrish Art Museum, Southampton; Mint Museum of Art, Charlotte; John and Mable Ringling Museum of Art, Sarasota, 2005-2007, checklist no. 13.

•2008—The American Evolution: A History through Art, Corcoran Gallery of Art, Washington, 2008, unpublished checklist.

•2009—American Paintings from the Collection, Corcoran Gallery of Art, Washington, 6 June-18 October 2009, unpublished checklist.

•2013—American Journeys: Visions of Place, Corcoran Gallery of Art, Washington, 21 September 2013-28 September 2014, unpublished checklist.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

Building a reputation strategy. Reviews sites are going social

Modera Giancarlo Carniani - Coordinatore BTO - Buy Tourism Online e Co-Founder BTO Educational

Si è parlato di Reputation e dintorni con un gruppo di personaggi che di questo argomento sono stati in grado di portare un vero contributo. Quindi, reputazione, che vuol dire non solo recensioni......

Bravi, non era facile.

Nel panel:

Michele Aggiato - ZOOVER

Giulia Eremita - TRIVAGO

Roberto Frua - TRIPADVISOR

RJ Friedlander - REVIEWPRO

Georg Ziegler - HOLIDAYCHECK

BTO - BUY TOURISM ONLINE 2010

III^ [ Scintillante ] Edizione

18-19 Novembre 2010

Stazione Leopolda – Firenze

www.buytourismonline.com

Il programma scientifico della III^ Edizione di BTO - Buy Tourism Online è stato affidato alle amorevoli cure di BTO Educational

www.btoeducational.it

Tutto in SOLD OUT

2.911 i partecipanti, 44 relatori, 42 FREE Training Session con 2.810 partecipanti, 112 giornalisti accredidati, 60 tra Bloggers e Evangelists 2.0, 4 Televisioni impegnate durante l'evento, i media partners Wired.it e intoscana.it, grazie grazie a ObiettivoTre, al MarketPlace 38 Portali Online, al Club degli Espositori 39 aziende, l'hashtag più twittato in Italia il 18 e 19 Novembre #bto2010, la diretta più seguita al mondo Giovedì 18 Novembre su Livestream.com BTO - Buy Tourism Online 2010 Day ONE, la diretta più seguita al mondo il Venerdì 19 Novembre su Livestream.com BTO - Buy Tourism Online 2010 Day TWO, i minuti su Livestream.com visti dalla somma degli utenti durante il live streaming dell'evento 965.420, dibattiti, keynote e interviste registrate in Main Hall 17 ore.

A big big special thanks to Roberta Milano.

La più ammirata Monica Fabris, il più saggio Rodolfo Baggio, il miglior inglese parlato quello di Giulia Eremita, la più fastidiosa Costanza G., la più canticchiata Chaiyya Chaiyya Bollywood Joint, la più tedesca Renate Goergen, il più inglese Jerome Touze, il più americano Josiah Mackenzie, la più gradita sorpresa gli amici di Web [Travel] Marketing, quello con più tesi Gianluca Diegoli, il più gradito ritorno Patrick Landman, i più coraggiosi i 6 Speakers per un Giorno, il più diretto Claudio Velardi, i più "complicati" gli amici di Zoes.it, il più in tutto Max Ulivieri, il più e basta Marco Monty Montemagno, il più amato da tutti Paolo Iabichino aka IABicus, il più "cattivo" Roberto Frua - TripAdvisor, il più buono Max Ventimiglia, la più dolce Elena Tubaro, il più ermetico Roberto Brenner - Google, il rubino più prezioso [ per noi di BTO Educational ] Elena Grassi - Expedia, quello sempre con l'ipad Mirko Lalli, la Blogger sempre più "famosa" Nelli, il più straordinario Professor Dimitrios Buhails, il più fotografato Matteo Renzi, il più bravo tappabuchi Paolo Chiappini, i più social i Bloggers, chi c'è mancato di più il cartello We Love Internet, il più bevuto caffè quello della Casa del Moka, i più tecnici Expomeeting, i più pazienti e disponibili i ragazzi e le ragazze del Prof. Eliodoro, il più appetitoso Lo Scalco, i più straordinariamente professionali i Crews, le Training più affollate Augmendy, Zoover e Google Advanced......

Participants enjoy an intense arms/abs workout with instructor Holly at the Dowd YMCA's Taylor Swift: Reputation Party.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

Participants enjoy some relaxing yoga with instructor Anna at the Dowd YMCA's Taylor Swift: Reputation Party.

Because the rising reputation of wood beams, and with them the issues of transforming contractors, who wouldn't have enough experience, and evidently this will be the greatest wrongdoer for the harm to them. Flashing: sheet metallic or different materials put in right into a roof system's varied joints and valleys to stop water seepage. For instance, when you're up on the roof (say cleansing gutters or some such factor) you possibly can have any individual toss you up a hose and run water down the vent stack. After I do any overview, the first thing I like to do is visit the corporate website and provides out the date they registered their domain. They supply restore of parts like garage door hinges, storage door rollers, and springs.

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Participants enjoy an intense arms/abs workout with instructor Holly at the Dowd YMCA's Taylor Swift: Reputation Party.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

Participants enjoy some relaxing yoga with instructor Anna at the Dowd YMCA's Taylor Swift: Reputation Party.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

Participants enjoy some relaxing yoga with instructor Anna at the Dowd YMCA's Taylor Swift: Reputation Party.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

Reputation Stadium Tour - Soldier Field 6/2/18

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

The House of Representatives

•Morse, Samuel F. B.

•American, 1791-1872

•1822, probably reworked 1823

•Oil on Canvas

•Dimensions:

oOverall: 220.7 × 331.8 cm (86⅞ × 130⅝ in.)

oFramed: 256.5 × 363.2 × 10.5 cm (101 × 143 × 4⅛ in.)

•Corcoran Collection (Museum Purchase, Gallery Fund)

•2014.79.27

•On View

Overview

Before achieving fame in the 1840s as the inventor of the telegraph, Samuel F. B. Morse was a portraitist of some renown. He sought to cement his reputation as a painter by attempting a grand work of historical significance: The House of Representatives. The foundation for such lofty ambition was laid when he studied at London’s Royal Academy of Arts, where painters were taught to execute epic pictures that could edify their audiences. Upon his return to America, Morse chose the chamber of the lower body of the United States Congress in session at the US Capitol—a place unseen and unvisited by most Americans in 1822—as his subject for this monumental undertaking.

Arriving in Washington, DC, in November 1820, Morse worked 14 hours a day for four months in a temporary studio adjacent to the House chamber, which recently had been rebuilt after the Capitol was destroyed by fire during the War of 1812. His massive canvas included careful renderings of architecture and people, including Congressmen, staff, Supreme Court justices, and press. In the visitors’ gallery at the far right is Pawnee Indian chief Petalasharo, and on the left, Morse’s father, Reverend Jedidiah Morse. Rev. Morse was in town to report on Indian affairs to Secretary of War John C. Calhoun, one of the giants of American political life before the Civil War and a leading defender of slavery.

Ultimately, Morse created a picture of the House of Representatives not as it was, but as he wanted it to be. At a time when the House was often raucous and factional—debating major legislation such as the Slave Trade Act of 1820 and the Missouri Compromise of 1821—Morse presented instead a tranquil and relatively uneventful scene. He toured the painting nationally in 1823, but its lack of sensational subject matter failed to attract wide audiences and ultimately proved to be a financial failure. In the ensuing years, Morse turned away from painting to pursue his scientific interests.

Inscription

•Lower Left: S.F.B. MORSE. pinx / 1822

Provenance

Acquired from the artist by 1828 by Charles Robert Leslie, London; sold c. September 1839 to Sherman Converse. (Coates and Company, New York), in 1847. Joseph Ripley, in 1858. purchased by Daniel Huntington, by 1873; purchased from his estate 17 June 1911 by the Corcoran Gallery of Art; acquired 2014 by the National Gallery of Art.

Exhibition History

•1823—Albany, New York; Hartford, Connecticut; Middletown, Connecticut, Fall 1823.

•1823—David Doggett’s Repository, Boston, February-April 1823.

•1823—Essex Coffee House, Salem, Massachusetts, May 1823.

•1823—Morse’s Popular Picture of the Hall of the House of Representatives, 146 Fulton Street near Broadway, New York, May-July 1823.

•1823—New Haven, Connecticut, early February 1823.

•1823—Possibly Springfield and Northampton, Massachusetts, 1823.

•1825—American Academy of Fine Arts, New York, 1825, no. 4, as Hall of the House of Representatives, Washington City, preparing for an evening session.

•1827—Annual Exhibition, National Academy of Design, New York, 1827, no. 51, as House of Representatives in the capitol at Washington, containing 88 portraits of distinguished characters.

•1828—Peale’s Gallery of the Fine Arts, Albany, 1828, no. 23, as The Celebrated Picture of the House of Representatives.

•1868—Second Winter Exhibition, National Academy of Design, New York, 1868-1869, no. 178, as The House of Representatives in Washington, in 1823.

•1932—Samuel F.B. Morse: American Painter, The Metropolitan Museum of Art, New York, 1932, unnumbered catalogue.

•1939—Life in America: A Special Loan Exhibition of Paintings Held During the Period of the New York World’s Fair, The Metropolitan Museum of Art, New York, 1939, no. 72.

•1950—American Processional, 1492-1900, Corcoran Gallery of Art, Washington, 1950, no. 116.

•1959 Loan Exhibition. Masterpieces of the Corcoran Gallery of Art: A Benefit Exhibition in Honor of the Gallery’s Centenary, Wildenstein, New York, 1959, unnumbered catalogue, repro.

•1960—American Painters of the South, Corcoran Gallery of Art, Washington, 1960, no. 82, cover repro.

•1970—Loan to display with permanent collection, National Portrait Gallery, Washington, 1970-1971.

•1970—Nineteenth-Century America: Paintings and Sculpture, The Metropolitan Museum of Art, New York, 1970, no. 28.

•1976—Corcoran [The American Genius]. Corcoran Gallery of Art, Washington, 1976, unnumbered catalogue.

•1980—La Pintura de los Estados Unidos de Museos de la Ciudad de Washington [Painting in the United States from Public Collections in Washington], Instituto Nacional de Bellas Artes, Mexico City, 1980-1981, no. 7.

•1993—The Century Club Collection, Corcoran Gallery of Art, Washington, 1993, unpublished checklist.

•2004—Figuratively Speaking: The Human Form in American Art, 1770-1950, Corcoran Gallery of Art, Washington, unpublished checklist.

•2005—Encouraging American Genius: Master Paintings from the Corcoran Gallery of Art, Corcoran Gallery of Art, Washington; Museum of Fine Arts, Houston; Parrish Art Museum, Southampton; Mint Museum of Art, Charlotte; John and Mable Ringling Museum of Art, Sarasota, 2005-2007, checklist no. 13.

•2008—The American Evolution: A History through Art, Corcoran Gallery of Art, Washington, 2008, unpublished checklist.

•2009—American Paintings from the Collection, Corcoran Gallery of Art, Washington, 6 June-18 October 2009, unpublished checklist.

•2013—American Journeys: Visions of Place, Corcoran Gallery of Art, Washington, 21 September 2013-28 September 2014, unpublished checklist.

Participants enjoy some relaxing yoga with instructor Anna at the Dowd YMCA's Taylor Swift: Reputation Party.

Da www.famefestival.it/?page_id=4:

FAME festival è morto

Come siete eravamo. come siamo sarete, sempre peggio e tardi.

FAME festival is dead

How you are we were. how we are you will be. always too late though.

What you’ll read below is the old text:

FAME (eng) = the state or quality of being widely honored and acclaimed,favorable public reputation (ita = fama successo).

FAME (ita) = bisogno molesto di mangiare, carestia, grande miseria, grande desiderio (eng = starvation, hunger).

Here’s the text, it’s the same from the first year, if you have it says it all and still, you stupid journalists cant write a decent article!

In order to avoid rhetorical somersaults of the case, Studiocromie is pleased to announce FAME festival for what it is: the meeting of a dozen international artists in a small italian centre, Grottaglie.

The city is famous for its ancient ceramics tradition and there’s a whole area exclusively dealing with ceramics production.

FAME wants to be a new point of view on the original structure of this quarter and the city. While politicians and institutions only care about their personal interests, we’d like to give back to the town and its original asset the light they deserves.

The name of the event, FAME, refers to the ironic difference of meaning of the word itself between Italian and English. If in Italian FAME means hunger, in English is FAME, understood as honour and success status, things that Italy can only have exactly a great hunger.

The idea is to host the artists for variable length of time (from 1 to 4 weeks) and to offer them the cooperation of the local artisans for the production of pottery works and limited edition prints.

Furthermore the artists will have at their disposal several walls to paint around the city, in order to upgrade a few areas which are aesthetically depressed.

At the end of their stay, everything created, including new original artworks, screenprints and ceramic pieces made with the collaboration of local artisians will be showcased in a final group show. It will take place in one of the most ancient ceramics workshop of the area.

More importantly, it has to be said, the festival is entirely financed and curated by Studiocromie, wich is a one-man (+ his parents) screenprinting studio, without any kind of sponsorship from external sources.

------------------------------------------------------------------------------------------------------------------------------------------------------------

Da www.artribune.com/2014/05/chiudere-allapice-della-notorie...:

Chiudere all’apice della notorietà. Angelo Milano racconta il Fame Festival.

Grottaglie, provincia di Taranto. Angelo Milano e un gruppo di amici si inventano un festival di Street Art. Gli attriti con gli amministratori locali non mancano ma il “Fame” diventa un caso. E così tutto si ammoscia. E Angelo Milano, allora, decide di chiudere. Lo abbiamo intervistato.

Iniziamo con un po’ di storia. Quando, come e in che circostanze è nato il Fame? Da quali idee, da quali esigenze, da quali stimoli?

Eravamo a cavallo fra il 2007 e 2008, la prima edizione col nome Fame è stata nell’estate 2008. È successo perché ero tornato a Grottaglie e non volevo annoiarmi, è stato necessario importare stimoli da fuori. Un bisogno molto personale, anche lavorativo, che in un certo senso era in linea con i bisogni del Paese intero.

Quando hai capito che la cosa stava prendendo piede e aveva successo?

Quando ho cominciato ad annoiarmi. I primi anni era molto meglio, perché generava molti contrasti ed era divertente, da lì in poi, vista la fama che gli artisti invitati stavano guadagnando, sui giornali e su Internet girava voce che il Fame Festival fosse un evento da supportare. Di conseguenza i contrasti sono spariti e si è affievolito tutto in un consenso generale, letteralmente dettato dai media: più stupido era l’articolo (vedi le gallerie di Repubblica e altre testate ritenute “serie”), più conferiva autorità al festival. La gente spesso non capisce un cazzo!

Economicamente com’è stata questa iniziativa? Ci hai guadagnato? È stato un bagno di sangue?

Dall’inizio è stata una scommessa dalla posta altissima: se fosse andata male ci avrei rimesso a vita! Fortunatamente ogni anno avevo un colpo di fortuna, e non ci ho mai rimesso; al contrario, l’interesse nel festival ha generato traffico sul sito dove commercializzo le serigrafie che produco con gli artisti. Ho venduto molto, per finanziare il festival e per camparci allegramente. Quindi tutto bene, e sempre meglio.

Qual è stato il rapporto con la cittadinanza?

I primi anni, un sacco di punti interrogativi: la gente ovviamente non era pronta né abituata. Poi, come dicevo, quando l’opinione pubblica è stata influenzata dai media, è andato tutto più liscio, e anche quei pochi compaesani ostici hanno cambiato atteggiamento. Che peccato!

Qual è stato il rapporto con le istituzioni locali?

Una tristezza rara. Due-tre assessori ignorantissimi, al pari del sindaco, si sono dati la zappa sui piedi il primo anno, cancellando un murale di Ericailcane. Da lì in poi, avendo ricevuto insulti da tutti i lati, non hanno più aperto bocca né mosso un dito. Erano sotto la costante minaccia del dover argomentare la loro ignoranza. E allora meglio stare zitti.

Quali sono stati i rapporti a livello internazionale?

Con gli artisti rapporti di amicizia, tranne con qualche ego strabordante; con il pubblico sempre molto buoni. Sono venuti dappertutto a vedere cosa stavamo combinando qui.

Quali sono stati i passaggi più difficili e quelli invece che ti hanno dato maggiore soddisfazione?

I più difficili sono stati nella transizione dall’inizio, in cui eravamo un giro di amici (io e gli artisti) che facevano cose per il gusto di farle, stando bene insieme e guadagnandosi da vivere, al momento in cui gli artisti erano - sono - osannati ovunque, con le conseguenze che puoi immaginare: meno tempo per fare quello che ti piace, più preoccupazioni, più rapporti coi soldi (che, attenzione, non vuol dire più soldi)…

Nel 2012 hai allestito l’ultima edizione del festival. Ci elenchi i motivi che ti hanno fatto decidere di chiudere questa iniziativa?

Alla fine dell’ultima edizione era tutto facile: dipingere in giro, fare video, spaccare cose, anche sotto gli occhi delle autorità. Ci abbiamo provato a fare cose brutte e provocatorie, ma in cambio c’erano solo sorrisi e accoglienza. L’attrito originale era scomparso, e questo già non era in rima con lo spirito e l’attitudine del festival.

In più, in giro per la Penisola, come in tutta Europa e non solo, i festival si sono moltiplicati, diventando tutti uguali e interscambiabili. Amministrazioni e politici hanno finanziato il loro festivalino dando due euro al curatorino di turno, e il consumo da parte dell’osservatore medio si è circoscritto al tempo di un paio di click su Facebook. Ho avvertito una totale mancanza di senso in quello che stavamo facendo.

E quindi hai deciso di chiudere…

Penso che un po’ tutti, artisti inclusi, siano mortalmente annoiati da quello che stanno facendo. Diciamo che ho avuto le palle per fermarmi nel momento in cui andava meglio - soprattutto economicamente - per cominciare altro e non finire a fare cose senza stimoli. A dire il vero, invidio gli artisti che da dieci anni continuano a fare la stessa identica cosa, estendendo il loro pubblico (Instagram!) e limando gli spigoli della loro comunicazione. A me sembra che, lima e lima, alla fine diventi una palla, vai d’accordo con tutti e non c’hai più niente da dire, però rotoli e puoi farlo all’infinito! In alcuni casi si è addirittura arrivati alla demagogia, fortuna che la gente non se ne accorge…

Quindi sì, Fame è morto. Non era più divertente, adesso ci sono altri 600 festival in giro, con gli stessi artisti, organizzati da ‘sti curatori senza idee che, poveracci, combattono per la sopravvivenza.

E dunque ora, nel 2014, che fai? Hai smesso di occuparti di Street Art?

Non mi sono mai occupato di Street Art, a me piaceva invitare i miei amici qui e fare casino. La Street Art è quella dei libri inglesi con le foto rubate da Flickr. O quella di cui si parla su testate come questa, adesso che Sky fa i minidocumentari. Né io né i miei amici abbiamo mai avuto a che fare con ‘ste stronzate. Faccio un paio di marchette all’estero sfruttando l’eredità del lavoro fatto finora, Milestone Project a Girona per esempio, che faccio per soldi e divertimento, e mi sono messo a fare vestiti. È più onesto, civile, profondo e responsabile vendere vestiti piuttosto che arte!

We have highlighted three basic yet useful traits of successful brands that help build a positive business reputation and improve business credibility and bottom line. Read more: www.reputationcircle.com.au/online-brand-reputation-manag...

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

Participants enjoy an intense arms/abs workout with instructor Holly at the Dowd YMCA's Taylor Swift: Reputation Party.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

This is a photograph from the 2013 running of the Clonakilty Waterfront Marathon, Half Marathon, and 10KM which were held in the town of Clonakilty, West Cork, Ireland on Saturday 7th December 2013 from 09:00. This year the marathon events return back to their spiritual home with all events starting and finishing in Clonakilty town on the Inchydoney road. Clonakilty is a bustling picturesque town in the heart of West Cork, and lies approximately 50 km west of Cork city. This is the fourth running of the event which started in 2010. The event has grown from strength to strength and has gained a reputation of being one of Ireland's friendliest marathons. The marathon takes in some breathtaking coastal scenery along a testing course. The route descriptions are available from the official website. The marathon event has now firmly embedded itself in the Irish marathon running calendar. It marks the de-facto end of the large city/large town marathons for the year and places the event at the begining of the Christmas season in Ireland.

The race events were electronically timed by Precision Timing (see their website: http://www.precisiontiming.net/)

There is a larger set of photographs from the events on our Flickr photostream. Please use this link to go directly to the Flickr set for Clonakilty 2013: www.flickr.com/photos/peterm7/sets/72157638437661153/

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

Some useful Website Links and Internet Sites

Clonakilty Waterfront Full Marathon Route 2013: www.runclon.ie/html/course/full_route.html

Clonakilty Waterfront Half Marathon Route 2013: www.runclon.ie/html/course/half_route.html

Clonakilty Waterfront 10KM Route 2013: www.runclon.ie/html/course/10k_route.html

The Race HQ 2013 at the Waterfront: goo.gl/maps/sFGV2 (Google Streetview Imagery)

The Quality Inn Clonakilty where the Marathon Expo and Number Collection 2013 was held: goo.gl/maps/huhWl (Google Streetview Imagery) - Hotel Website: www.qualityclonakiltyhotel.com/

Clonakilty "Run Clon" Waterfront Marathon 2013: www.facebook.com/runclon (Requires Facebook Access)

Results will be initially available on Precision Timing's Website: www.precisiontiming.net/result/racetimer

John Desmond's Running in Cork Blog will have some post-marathon reactions and posts: corkrunning.blogspot.ie/ as will munsterrunning.blogspot.ie/

Can I use these photographs directly from Flickr on my social media account?

Yes - of course you can. Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile device will also offer you several different options for sharing this photo page on your social media outlets.

How can I get full resolution copies of these photographs?

All of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images without the watermark: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.

This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

In summary please remember when requesting photographs from us - all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

If you would like to contribute something for your photograph(s)?

Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

Don't like your photograph here?

That's OK! We understand!

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

In 1976, Rover, whose reputation was starting to falter under the unrelenting industrial disputes of parent company British Leyland, struck back with the sublimely styled and fantastically powered Rover SD1, only the 5th new model Rover had built since the end of World War II. Designed by David Bache and built to emulate the succulent lines of the Ferrari Daytona, the car was simple and sublime at the same time, and won European Car of the Year Award for 1977.

In order to compliment the fleet though, British Leyland considered an estate version to appeal to the family market, so as to make this model compete with the likes of the Volvo 900 and the Ford Cortina. Carbodies was commissioned by British Leyland to create two running prototypes at the Rover factory in Solihull. The two cars were built in differing ways, the first being a simple conversion of an early saloon, whilst the other was built from scratch. The cars were differentiated by way of their rear design, with one using a recessed tailgate, and the other using a clamshell split-tailgate.

The estate cars were used for a while by British Leyland chairman Sir Michael Edwardes for commuting around London, and although he was very interested in the idea of an estate version of the SD1, the project was scrapped upon British Leyland's bankruptcy in the late 1970's.

In all honesty, it's a real shame these cars never were put into production as they probably could have been a valuable extra string to the SD1's bow.

Participants enjoy some relaxing yoga with instructor Anna at the Dowd YMCA's Taylor Swift: Reputation Party.

Participants enjoy some relaxing yoga with instructor Anna at the Dowd YMCA's Taylor Swift: Reputation Party.

Participants enjoy an intense arms/abs workout with instructor Holly at the Dowd YMCA's Taylor Swift: Reputation Party.

Participants enjoy an intense arms/abs workout with instructor Holly at the Dowd YMCA's Taylor Swift: Reputation Party.

Participants enjoy an intense arms/abs workout with instructor Holly at the Dowd YMCA's Taylor Swift: Reputation Party.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

Participants enjoy an intense arms/abs workout with instructor Holly at the Dowd YMCA's Taylor Swift: Reputation Party.

Participants began their workout with a cycle class with instructor Greg during the Dowd YMCA's Taylor Swift: Reputation Party.

In Orléans, the Loire is separated by a submerged dike known as the dhuis into the Grande Loire to the north, no longer navigable, and the Petite Loire to the south. This dike is just one part of a vast system of construction that previously allowed the Loire to remain navigable to this point.

The Loire was formerly an important navigation and trading route, and is at the heart of the city's foundation in the second century BC as a center of trade or emporium. More recently, during the 17th century, the river enabled Orleans to become a major hub for refining sugar, which was imported from the Caribbean via Nantes, and whose commerce boosted other aspects of the local economy, such as sweets, chocolate manufacturing, and paper for wrapping. In the 18th century, Orleans also acquired a reputation for producing vinegar, from local vineyards as well as wine traveling up the Loire.

With the increase in size of ocean-going ships, large ships can now navigate the estuary only up to about Nantes.

Boats on the river were traditionally flat-bottomed boats, with large but foldable masts so the sails could gather wind from above the river banks, but the masts could be lowered in order to allow the boats to pass under bridges. These vessels are known as "gabarre", "futreau", and so on, and may be viewed by tourists near pont Royal.

The river's irregular flow strongly limits traffic on it, in particular at its ascent, though this can be overcome by boats being given a tow.

An Inexplosible-type paddle steamer owned by the mairie was put in place in August 2007, facing Place de la Loire and containing a bar.

Every two years, the Festival de Loire recalls the role played by the river in the commune's history.

On the river's north bank, near the town centre, is the Canal d'Orléans, which connects to the Canal du Loing and the Canal de Briare at Buges near Montargis. The canal is no longer used along its whole length. Its route within Orléans runs parallel to the river, separated from it by a wall or muret, with a promenade along the top. Its last pound was transformed into an outdoor swimming pool in the 1960s, then filled in. It was reopened in 2007 for the "fêtes de Loire." There are plans to revive use of the canal for recreation and install a pleasure-boat port there.

Hotel Groslot is a beautiful Neo-Renaissance mansion on the Place de l'Etape next to the cathedral in Orleans. The mansion which once hosted King Charles IX, Henri IV and Catherine de Medicis is open for visitors to admire part of the interior. It is also known as the Grande Maison de l'Etape and the Maison de Gouverneur.

Explore the Hôtel de Groslot

The Hotel Groslot was built for the Groslot family in the mid sixteenth century. Jaques Groslot died before the house was completed and left the house to his wife and two sons. One of the sons Jérôme Groslot became the bailif of Orleans in 1545 and in October of 1560 King Francois II came to live in the Hotel Groslot with all his court as a protest against Jéroôme Groslot who was a supporter of the Protestant Reform.

Whilst at the hôtel he died and the crown passed to his ten year old son Charles IX and the regency passed to his mother Catherine de Medicis. Charles and his mother finally left the Hôtel Groslot in February 1561 after the court have been staying there for 5 months!

In 1758 the hôtel is sold to the municipality and in 1790 it becomes the town hall. In 1981 the town hall moved to no.1 Place de l'Etape and today some rooms are open to visitors and are also used for the wedding ceremony of residents of Orleans.

Inside the building you can visit the sumptously furnished salon d'honneur, the council chambers and the salon des marriages where Francois II died.

The salon d'honneur is beautifully furnished with ornate ceilings, pannelled walls and stained glass windows. The fireplace is decorated with the story of Joan of Arc whose history is closely linked with the city of Orleans. For more information see the story of Joan of Arc.

The stained glass windows include portraits of famous people including Joan of Arc and CharlesVII. Opposite the fireplace is a large painting of Joan of Arc. This is a copy of a painting by Pierre-August Pichon which was offered to the city by Napoleon the 3rd and is now exhibited in the Louvre at Paris.

Outside in the courtyard is a large statue of Joan of Arc realised by the Princess Marie of Orleans dates from the 19th century and if you look closely you can see bullet holes from battle for the liberation of Orleans in August 1944. There is a garden behind the building that is accessible from the Rue d'Escures.

The Hotel de Groslot is open every day except when a marriage is taking place and is free to visit.

The Hotel Groslot makes a mention in literature by Honoré de Balzac in the Comedie humaine, 'Sur Catherine de Medicis'.

Orléans is a city in north-central France, about 120 kilometres (74 miles) southwest of Paris. It is the prefecture of the department of Loiret and of the region of Centre-Val de Loire.

Orléans is located on the river Loire nestled in the heart of the Loire Valley, classified as a World Heritage Site, where the river curves south towards the Massif Central. In 2020, the city had 117,026 inhabitants within its municipal boundaries Orléans is the center of Orléans Métropole that has a population of 290,346.The larger metropolitan area has a population of 454,208, the 20th largest in France.

The city owes its development from antiquity to the commercial exchanges resulting from the river. An important river trade port, it was the headquarters of the community of merchants frequenting the Loire. It was the capital of the Kingdom of France during the Merovingian period and played an important role in the Hundred Years' War, particularly known for the role of Joan of Arc during the siege of Orléans. Every first week of May since 1432, the city pays homage to the "Maid of Orléans" during the Johannic Holidays which has been listed in the inventory of intangible cultural heritage in France. One of Europe's oldest universities was created in 1306 by Pope Clement V and re-founded in 1966 as the University of Orléans, hosting more than 20,000 students in 2019.

Orléans is located in the northern bend of the Loire, which crosses from east to west. Orléans belongs to the vallée de la Loire sector between Sully-sur-Loire and Chalonnes-sur-Loire, which was in 2000 inscribed by UNESCO as a World Heritage Site. The capital of Orléanais, 120 kilometres southwest of Paris, is bordered to the north by the Beauce region, more specifically the Orléans Forest (French: forêt d'Orléans) and Orléans-la-Source neighbourhood, and the Sologne region to the south.

Five bridges in the city cross the Loire: Pont de l'Europe, Pont du Maréchal Joffre (also called Pont Neuf), Pont George-V (also called Pont Royal, carrying the commune tramway), Pont René-Thinat and Pont de Vierzon (rail bridge).

To the north of the Loire (rive droite) is to be found a small hill (102 m (335 ft) at the pont Georges-V, 110 m (360 ft) at the Place du Martroi) which gently rises to 125 m (410 ft) at la Croix Fleury, at the limits of Fleury-les-Aubrais. Conversely, the south (on the rive gauche) has a gentle depression to about 95 m (312 ft) above sea level (at Saint-Marceau) between the Loire and the Loiret, designated a "zone inondable" (flood-risk zone).

At the end of the 1960s, the Orléans-la-Source neighbourhood was created, 12 kilometres (7 mi)to the south of the original commune and separated from it by the Val d'Orléans and the river Loiret (whose source is in the Parc Floral de la Source). This quarter's altitude varies from about 100 to 110 m (330 to 360 ft).

In Orléans, the Loire is separated by a submerged dike known as the dhuis into the Grande Loire to the north, no longer navigable, and the Petite Loire to the south. This dike is just one part of a vast system of construction that previously allowed the Loire to remain navigable to this point.

The Loire was formerly an important navigation and trading route, and is at the heart of the city's foundation in the second century BC as a center of trade or emporium. More recently, during the 17th century, the river enabled Orleans to become a major hub for refining sugar, which was imported from the Caribbean via Nantes, and whose commerce boosted other aspects of the local economy, such as sweets, chocolate manufacturing, and paper for wrapping.[16] In the 18th century, Orleans also acquired a reputation for producing vinegar, from local vineyards as well as wine traveling up the Loire.

With the increase in size of ocean-going ships, large ships can now navigate the estuary only up to about Nantes.

Boats on the river were traditionally flat-bottomed boats, with large but foldable masts so the sails could gather wind from above the river banks, but the masts could be lowered in order to allow the boats to pass under bridges. These vessels are known as "gabarre", "futreau", and so on, and may be viewed by tourists near pont Royal.

The river's irregular flow strongly limits traffic on it, in particular at its ascent, though this can be overcome by boats being given a tow.

An Inexplosible-type paddle steamer owned by the mairie was put in place in August 2007, facing Place de la Loire and containing a bar.

Every two years, the Festival de Loire recalls the role played by the river in the commune's history.

On the river's north bank, near the town centre, is the Canal d'Orléans, which connects to the Canal du Loing and the Canal de Briare at Buges near Montargis. The canal is no longer used along its whole length. Its route within Orléans runs parallel to the river, separated from it by a wall or muret, with a promenade along the top. Its last pound was transformed into an outdoor swimming pool in the 1960s, then filled in. It was reopened in 2007 for the "fêtes de Loire." There are plans to revive use of the canal for recreation and install a pleasure-boat port there.

Cenabum was a Gaul stronghold, one of the principal towns of the tribe of the Carnutes where the Druids held their annual assembly. The Carnutes were massacred and the city was destroyed by Julius Caesar in 52 BC. In the late 3rd century AD, Roman Emperor Aurelian rebuilt the city and renamed it civitas Aurelianorum ("city of Aurelian") after himself. The name later evolved into Orléans.

In 442 Flavius Aetius, the Roman commander in Gaul, requested Goar, head of the Iranian tribe of Alans in the region to come to Orleans and control the rebellious natives and the Visigoths. Accompanying the Vandals, the Alans crossed the Loire in 408. One of their groups, under Goar, joined the Roman forces of Flavius Aetius to fight Attila when he invaded Gaul in 451, taking part in the Battle of Châlons under their king Sangiban. Goar established his capital in Orléans. His successors later took possession of the estates in the region between Orléans and Paris. Installed in Orléans and along the Loire, they were unruly (killing the town's senators when they felt they had been paid too slowly or too little) and resented by the local inhabitants. Many inhabitants around the present city have names bearing witness to the Alan presence – Allaines. Also many places in the region bear names of Alan origin.

Early Middle Ages

In the Merovingian era, the city was capital of the Kingdom of Orléans following Clovis I's division of the kingdom, then under the Capetians it became the capital of a county then duchy held in appanage by the house of Valois-Orléans. The Valois-Orléans family later acceded to the throne of France via Louis XII, then Francis I. In 1108, Louis VI of France became one of the few French monarchs to be crowned outside of Reims when he was crowned in Orléans cathedral by Daimbert, Archbishop of Sens.

High Middle Ages

The city was always a strategic point on the Loire, for it was sited at the river's most northerly point, and thus its closest point to Paris. There were few bridges over the dangerous river Loire, but Orléans had one of them, and so became – with Rouen and Paris – one of medieval France's three richest cities.

On the south bank the "châtelet des Tourelles" protected access to the bridge. This was the site of the battle on 8 May 1429 which allowed Joan of Arc to enter and lift the siege of the Plantagenets during the Hundred Years' War, with the help of the royal generals Dunois and Florent d'Illiers [fr]. The city's inhabitants have continued to remain faithful and grateful to her to this day, calling her "la pucelle d'Orléans" (the maid of Orléans), offering her a middle-class house in the city, and contributing to her ransom when she was taken prisoner.

1453 to 1699

Once the Hundred Years' War was over, the city recovered its former prosperity. The bridge brought in tolls and taxes, as did the merchants passing through the city. King Louis XI also greatly contributed to its prosperity, revitalising agriculture in the surrounding area (particularly the exceptionally fertile land around Beauce) and relaunching saffron farming at Pithiviers. Later, during the Renaissance, the city benefited from its becoming fashionable for rich châtelains to travel along the Loire valley (a fashion begun by the king himself, whose royal domains included the nearby châteaus at Chambord, Amboise, Blois, and Chenonceau).

The University of Orléans also contributed to the city's prestige. Specializing in law, it was highly regarded throughout Europe. John Calvin was received and accommodated there (and wrote part of his reforming theses during his stay), and in return Henry VIII of England (who had drawn on Calvin's work in his separation from Rome) offered to fund a scholarship at the university. Many other Protestants were sheltered by the city. Jean-Baptiste Poquelin, better known by his pseudonym Molière, also studied law at the University, but was expelled for attending a carnival contrary to university rules.

From 13 December 1560 to 31 January 1561, the French States-General after the death of Francis II of France, the eldest son of Catherine de Médicis and Henry II. He died in the Hôtel Groslot in Orléans, with his queen Mary at his side.

The cathedral was rebuilt several times. The present structure had its first stone laid by Henry IV, and work on it took a century. It thus is a mix of late Renaissance and early Louis XIV styles, and one of the last cathedrals to be built in France.

1700–1900

When France colonised America, the territory it conquered was immense, including the whole Mississippi River (whose first European name was the River Colbert), from its mouth to its source at the borders of Canada. Its capital was named la Nouvelle-Orléans in honour of Louis XV's regent, the duke of Orléans, and was settled with French inhabitants against the threat from British troops to the north-east.

The Dukes of Orléans hardly ever visited their city since, as brothers or cousins of the king, they took such a major role in court life that they could hardly ever leave. The duchy of Orléans was the largest of the French duchies, starting at Arpajon, continuing to Chartres, Vendôme, Blois, Vierzon, and Montargis. The duke's son bore the title duke of Chartres. Inheritances from great families and marriage alliances allowed them to accumulate huge wealth, and one of them, Philippe Égalité, is sometimes said to have been the richest man in the world at the time. His son, King Louis-Philippe I, inherited the Penthièvre and Condé family fortunes.

1852 saw the creation of the Compagnies ferroviaires Paris-Orléans and its famous gare d'Orsay in Paris. In the Franco-Prussian War of 1870, the city again became strategically important thanks to its geographical position, and was occupied by the Prussians on 13 October that year. The armée de la Loire was formed under the orders of General d'Aurelle de Paladines and based itself not far from Orléans at Beauce.

1900 to present

During the Second World War, the German army made the Orléans Fleury-les-Aubrais railway station one of their central logistical rail hubs. The Pont Georges V was renamed "pont des Tourelles". A transit camp for deportees was built at Beaune-la-Rolande. During the war, the American Air Force heavily bombed the city and the train station, causing much damage. The city was one of the first to be rebuilt after the war: the reconstruction plan and city improvement initiated by Jean Kérisel and Jean Royer was adopted as early as 1943, and work began as early as the start of 1945. This reconstruction in part identically reproduced what had been lost, such as Royale and its arcades, but also used innovative prefabrication techniques, such as îlot 4 under the direction of the architect Pol Abraham.

The big city of former times is today an average-sized city of 250,000 inhabitants. It is still using its strategically central position less than an hour from the French capital to attract businesses interested in reducing transport costs.

Heraldry

According to Victor Adolphe Malte-Brun in La France Illustrée, 1882, Orléans's arms are "gules, three caillous in cœurs de lys argent, and on a chief azure, three fleurs de lys Or." Charle Grandmaison, in the Dictionnaire Héraldique of 1861, states that it is "Or, with three hearts in gules", without the chief of France. Faulty designs sometimes describe it as "gules, three fleurs de lys argent, and on a chief azure three fleurs de lys Or."

The "cœurs de lys", or heart of a lily, is not a true lily, which would have 6 tepals, but a stylized or symbolic lily. Certain authors solve the problem by calling this symbol a "tiercefeuille", defined as a stemless clover leaf, with one leaf at the top and two below, thus making this coat of arms "gules, with three reversed tiercefeuilles in argent, etc".

Motto

"Hoc vernant lilia corde" (granted by Louis XII, then duke of Orléans), meaning "It is by this heart that lilies flourish" or "This heart makes lilies flourish", referring to the fleur de lys, symbol of the French royal family.

Orléans is the birthplace of:

Sophie Adriansen (born 1982), French writer

Patrick Barul (born 1977), football player

Joelly Belleka (born 1995), basketball player

Raoul Blanchard (1877–1965), geographer

Maxence Boitez (Ridsa) (born 1990), singer

Patrick Bornhauser (born 1957), racing driver

Raymond Brugère (1885-1966), diplomat.

Jean-Baptiste Marc Bourgery (1797–1849), anatomist

Félix Cazot (1790–1857), classical pianist and composer

Philippe Chanlot (born 1967), football player

Marion Cotillard (born 1975), actress, not born in Orléans, but grew up there

Gilles Delouche (1948–2020), linguist

Étienne Dolet (1509–1546), scholar and printer

Joël-François Durand (born 1954), composer

Jean-Louis Ferrary (1948–2020), historian

Georges Fleury (1878–1968), cyclist

Albert Gombault (1844–1904), neurologist

Guillaume Gomez (born 1969), racing driver

Jacques Guillemeau (1550–1613), physician

Albert Guyot (1881–1947), racing driver

Étienne Hubert (1567–1614), Arabist

Gaston d'Illiers (1876–1932), sculptor

Isaac Jogues (1607–1646), Jesuit missionary

Stanislas Julien (1797–1873), orientalist

Gustave Lanson (1857–1934), historian

Pierre Levesville (1570–1632), Renaissance architect

Anatole Loquin (1834–1903), writer and musicologist

Yven Moyo (born 1992), football player

Yves-Marie Pasquet (born 1947), composer

Charles Péguy (1873–1914), poet and essayist

Antoine Petit (1722–1794), physician

Lamine Sambe (born 1989), basketball player

Yacine Sene (born 1982), basketball player

Florian Thauvin (born 1993), football player

Christophe Tinseau (born 1969), racing driver

Jean Zay (1904–1944), jurist and politician

Historical landmarks

The Gallo-Roman town-wall on the north side of the cathedral (4th century AD) and along the rue de la Tour-Neuve

The Hôtel Groslot, built between 1550 and 1555 for Jacques Groslot, "bailli d'Orléans" by Jacques Ier Androuet du Cerceau. King François II of France died there in 1560. Kings Charles IX, Henri III of France and Henri IV of France stayed there. The "Hôtel" was restored in 1850. The building became the town Hall of Orléans in 1790 (weddings are still celebrated inside).

The hôtel de la Vieille Intendance (early 15th century) (otherwise named hôtel Brachet, formerly "The King's house"), real gothic-renaissance style château made of bricks.[27] Nowadays housing the Administrative Court of Orléans. One can admire its frontage from the entrance in the rue de la Bretonnerie. Yet, the building – which sheltered the highest figures of the kingdom passing by the city, and maybe some kings themselves (Henri IV, Louis XIII, Louis XIV of France) – can easily be observed from its gardens, opened to the public (entrance rue d'Alsace-Lorraine).

The hôtel de la Motte-Sanguin (18th century) and its gardens, manor built at the behest of Louis-Philippe, Duke of Orléans (1747–1793), cousin of the King Louis XVI. He was surnamed "Philippe Égalité" / "equality" referring to his support to the 1789 revolutionaries. Nicknamed "the richest man on earth" he voted in favour of the death penalty against his own cousin the king Louis XVI, and suffered the same fate himself. This is a classic style princely residence (and even royal, since Philippe Égalité's heir accessed the throne of France under the name of Louis-Philippe Ier). It is part of a public park opened to the public (via the Solférino street).

The school of artillery, next to the Hôtel de la Motte-Sanguin which it is often confused with, formerly housing a military school, it was built in the 19th century near the Loire.[28]

Remains of the University of Orléans (a 15th-century building housing the thesis room), founded in 1306 by pope Clement V, in which, among many other great historical figures, the Protestant John Calvin studied and taught. The University was so famous that it attracted students from all over Europe, particularly Germany. The city of Orléans is one of the cradles of Protestantism.

The House of Louis XI (end of the 15th century), on Saint-Aignan square. Built at the behest of the king, who particularly revered Saint Aignan.

The House of Joan of Arc, where she stayed during the siege of Orléans (this is actually an approximate reconstitution, the original building being bombed in 1940 during the Battle of France).

Place du Martroi, heart of the city, with the equestrian statue of Joan of Arc at its centre, made by Denis Foyatier. This statue was damaged during the Second World War, then repaired by Paul Belmondo, father of the famous 1950s to 1980s French actor.

Duke of Orléans' Chancellerie (XVIIIe), located next to the Place du Matroi, also bombed during the Second World War, only the frontage resisted.

The Bannier gate-house, discovered in 1986 under the statue of Joan of Arc (Place du Martroi). It was built in the 14th century. It can be seen through a window in the subterranean car-park under the square, or visited under certain conditions.

The rue de Bourgogne and surrounding streets, Orléans' main street since the Antiquity, it's the former Roman decumanus, crossing the city from east to west. Joan of Arc entered the city in 1429 by the "Bourgogne" gatehouse situated at its Easter end. Until today it is still giving access to the "Prefecture", where the "Prefet" (officer who represents the French State in the Region) lives, many pubs, night clubs, restaurants and shops such as the "Galeries Lafayette". It is more than a mile long. One can admire many medieval houses on its sides.

The Tour Blanche / White Tower, it is one of the only medieval defensive towers remaining in the city (still in use at the time of the siege of Orléans). It nowadays houses the city's archaeological department.

The Docks, (Port of Orléans) once the most important inland port of France (18th century). While boats could not sail on the river Seine because of the windings, they could sail to Orléans on the river Loire with the wind in their back. Then the merchandise was brought to Paris by roadways. Wine, and sugar from the colonies, were shipped to Orléans where they were stored and refined. Vinegar is still a city speciality due to the lapsing of wine stocks during the shipment. One can admire the old pavement of the docks (18th and 19th centuries) on the north bank of the river in the city and on the island in the middle, that was used to channel the water

The Hôpital Madeleine (former hospital), built by King Louis XIV (18th century) and his successors (notably an important part of the 18th century).

Saint-Charles chapel, located within the grounds of the Madeleine Hospital, it was built in 1713 by Jacques V Gabriel, one of Louis XIV's architects.

The Hôtel Cabu, otherwise named house of Diane de Poitiers, built at the behest of Philippe Cabu, barrister, in 1547, famous architect Jacques Ier Androuet du Cerceau providing the plans.

The Hôtel Hatte, 16th century. Today's Charles-Péguy Center.

The Hôtel Toutin, 16th century

The Hôtel Pommeret d'Orléans, 16th century

The Hôtel Ducerceau, 16th century

The maison de la coquille, 16th century

The Hôtel des Créneaux, former city hall, flanked by its bell tower (15th century). It nowadays houses the city's school of music. This is a magnificent piece of late gothic secular architecture (15th century) that calls to mind the famous and much more recent Parisian city hall.

The House of Jean Dalibert, 16th century

The Study of Jacques Bouchet (16th century), which can be admired from the public square "Jacques Bouchet"

The mansions, rue d'Escure (17th and 18th centuries)

The "Préfecture" : former Benedictine monastery, built in 1670 and housing the "Préfecture du Loiret" since 1800.

The Pont de l'Europe, designed by Santiago Calatrava, is an inclined bow-string ark bridge particularly original.

The Pont Royal / George V Royal bridge, the oldest bridge of the city. Built between 1751 and 1760, at the request of Daniel-Charles Trudaine, administrator and civil engineer. It was renamed in honour of King George V after the World War I out of respect of Britain's role in the war.

The Pont des Tourelles, built in 1140 and demolished in 1760, was the first stone-made bridge of Orléans. When the river Loire is low, one can see remains of it in the water

The Palais épiscopal d'Orléans, former Bishop's Palace. It was built between 1635 and 1641. Napoléon stayed there. It is nowadays housing the international centre for research, part of University of Orléans.

The courthouse (18th to 20th centuries)

The "salle de l'Institut", located on the "place Sainte Croix", is a small concert hall which can be converted into a ballroom. Its acoustics are remarkable.

Mansions, rue de la Bretonnerie. This street concentrates many particular mansions, of all styles and ages (15th to 20th centuries). High society members, politicians, barristers, doctors... continue to live there.

Mansions, rue d'Alsace-Lorraine, 19th-century bourgeoisie style houses.

Statue La Baigneuse by Paul Belmondo, aside the rue Royale (1955).

Statue of Calvin, by Daniel Leclercq, facing the Calvinist temple (2009).

The FRAC Centre building named "Les turbulences", an advanced piece of architecture covered with L.E.Ds.

Memorial Museum to the Children of Vel d'Hiv at the Centre d'étude et de recherche sur les camps d'internement du Loiret (Study and Research Centre on the Internment Camps in Loiret), commemorating over 4,000 Jewish children who were concentrated at the Vélodrome d´Hiver cycling arena in Paris in July 1942, after which they were interned at either Pithiviers or Beaune-la-Rolande, and eventually deported to the Auschwitz extermination camp.

Many historical houses and mansions (hundreds) can still be admired in the city centre, which is one of the largest in France due to the great importance of the city until the 20th century. The historical centre dating back to the 15th century extends far beyond the limits of the pedestrian sector that has been extensively restored in the past few years. In fact it corresponds to the portion of the modern city which is enclosed by the Boulevards. Many historical monuments remain in the non-pedestrian sectors of the city (for example, at rue Notre-Dame-de-Recouvrance, at rue des Carmes, at rue de la Bretonnerie, at Square Saint-Aignan).

Participants enjoy some relaxing yoga with instructor Anna at the Dowd YMCA's Taylor Swift: Reputation Party.

Taylor Swift concert at Arrowhead Stadium on September 8, 2018

Tomo el tren a Pirna. Con bicicleta también. El boleto está aquí en Pirna también válido para autobuses o ferries. Inmediatamente me subo al autobús para Pirna-Sunstone y él se va. El conductor del autobús no parece arrogante, sino enojado. Es gordo y tiene pérdida de cabello, cabello negro y ojos. Él siempre comienza a toda velocidad. Conduce hasta la rotonda y gira 90 grados a 20 o 30 km / h. Casi caes en el vaso. Se siente como un maestro. Luego llego a la terminal de Sonnenstein. Luego se dirige a mí y dice que está aquí, a donde quiero ir. Como he dicho, conduce por aquí. Debería haber dicho que esto es un obstáculo y que no puede continuar aquí. Terminé con la piedra solar después de un tiempo. Los pensionistas me han estado esperando en ciertos puntos: Boleslawiecer Straße, Struppener Straße, Reutlinger Straße. Eran como nazis. Me miró como si fuera un criminal. Uno de ellos resultó estúpido por mi bandera argentina, el de Struppener Strasse parecía loco y su vecino incluso se detuvo para hurgarse la nariz. Masivamente fueron perseguidos en la carretera de Longuyoner o incluso informados por teléfono. También había un informador con un perro inglés y se quedó a mi lado para observarme. Spitzeln está aquí de forma gratuita. Extraño es que los parques en la piedra del sol no tienen nombres. Un árabe ha sido dirigido por la milicia de Pirna a través de un teléfono inteligente. Eso fue en la calle de la juventud. En la escuela primaria, Sonnenstein fue nuevamente una educación de tránsito para niños. Había dos policías. Se trata de pensar que el estado solo quiere hacer el bien. Así que si no funciona, entonces lo tienes tú mismo. Luego conocí a las abuelas y les hablé brevemente. Voy a bajar de nuevo porque he terminado. Esta vez va directo a Pirna-Neundorf. Comienzo en el Gimnasio Protestante. El conductor del autobús me grita hostil: "¿Qué tal si se muestra el boleto?" Voy a él y le digo: ¿Tienes un director o algo así? Él: "¡No los hemos tenido en mucho tiempo!". Así que han abolido sus fichas para que más personas estén desempleadas y no tengan familias. Inmoral. La sala de juntas es probablemente corrupta. El dinero es suficiente está allí. Entonces estoy en Neundorf. Aquí hay algunos amigos de élite que han sintonizado automóviles y conducen por allí. Todos se ven bonitos también. Está limpio, pero un edificio prefabricado necesita una nueva capa de pintura. Las ventanas parecen quemadas. La escuela aquí es más grande de lo que pensabas. Llegan furgonetas que miran. Yo conduzco de regreso En el castillo de Rottwerndorf, los propietarios vienen a verme. Una mujer muy hermosa. Ellos llevan un piso alrededor. Ellos reconstruyen el castillo solo. Olvidé un camino. La calle Brahms. El "barrio de los músicos" / asentamiento Rottwerndorf ahora está fotografiado. Por extraño que parezca, las personas reaccionan a mí de una manera diferente que antes. Ahora son más abiertos o sonrientes. Es muy rápido aquí. En Mühlenstraße, un anciano conduce el ciclomotor y me mira con enojo. Él sale del restaurante y se parece al dueño. Luego conduzco a Waschhausstraße, donde un Nazi me insulta como un maricón. También se me acerca por la pequeña bandera argentina. Su jardín está totalmente descuidado y es una pena para la reputación de la ciudad. Ese fue un barrio elitista aquí. Con demasiada frecuencia se han encontrado nazis bien alimentados aquí. Su madre rubia y gorda lo besa por abuso verbal en mi contra. Tiene ojos negros, pelo alto y negro. Me quedo allí y pienso ahora. Los minutos pasan. Una mujer pelirroja viene en bicicleta. Como si ella hubiera conducido aquí por mí. Ella me mira sin comprender. Conduzco desde Max Schwarze Straße ahora en Erich Sagittarius Pirna. Allí me sigue durante unos minutos una furgoneta en blanco y negro. Se ve poco atractivo e inmoral. Su coche tiene máscaras y esposas de Jason. Otro espía está de vuelta en la práctica, donde siempre observaba desde el balcón y toda la Kohlbergstraße tiene a la vista y siempre me registra directamente. Aquí estoy hecho. Luego me dirijo a la estación de Pirna. Compro un café allí y me pregunto por qué es tan barato. Cuando lo bebo, me doy cuenta de que sabe a agua. El café en la Dippoldiswalder Straße, al lado de la LIDL no está mal. La mujer es muy agradable allí.

I take the train to Pirna. With bike too. The ticket is here in Pirna also valid for buses or ferries. I immediately get on the bus for Pirna-Sunstone and he leaves. The bus driver does not look arrogant, but angry. He is fat and has hair loss, black hair and eyes. He always starts at full throttle. He drives into the roundabout and 90 degrees turns at 20 or 30 km / h. You almost fall into the glass. He feels like a master person. Then I arrive at the terminus Sonnenstein. Then he addresses me and says that it's over here, where I want to go. Like I said, drive around here. He should have said that this is a roadblock and you can not continue here. I was done with the sunstone after some time. Pensioners have been waiting for me at certain points: Boleslawiecer Straße, Struppener Straße, Reutlinger Straße. They were like Nazis. Looked at me as if I was a criminal. One of them proved stupid because of my Argentina flag, the one from Struppener Strasse looked like crazy and his neighbor even stopped to pick his nose. Massively they were pursued on the Longuyoner road or even reported by telephone. Also an informer with an english dog was there and stayed extra beside me to watch me. Spitzeln is here for free. Strange is that the parks on the sunstone have no names. An Arab has been led by the Pirna militia via smartphone. That was on the street of youth. In the primary school Sonnenstein was again a traffic education for children. There were two policemen. It is about thinking that the state wants to do only good. So if it does not work, then you have it yourself. Then I met grandmas and talked to them briefly. I'm going down again because I'm done. This time it goes straight to Pirna-Neundorf. I start at the Protestant Gymnasium. The bus driver shouts unfriendly to me: "How about ticket showing !?" I go to him and say: You have a conductor or something? He: "We have not had them for a long time!". So they have abolished their checkers so that more people are unemployed and have no families. Immoral. The boardroom is probably corrupt. Money is enough is there. Then I'm in Neundorf. Here are some elite friends who have tuned cars and drive around there. They all look pretty too. It's clean, but a prefab building needs a new coat of paint. The windows look like burned out. The school here is bigger than you thought. There arrive vans that take one's view. I drive back. At the castle Rottwerndorf the owners come to me. A very pretty woman. They carry a floor around. They rebuild the castle alone. I forgot a road. The Brahms Street. The "musicians quarter" / settlement Rottwerndorf is now photographed. Strangely enough, people react to me in a different way than before. They are now more open-minded or smiling. It is very fast here. On Mühlenstraße an old man drives off on the moped and looks at me angrily. He comes out of the restaurant and looks like the owner. Then I drive to Waschhausstraße, where a Nazi insults me as a fagot. He also approaches me because of the small Argentina flag. His garden is totally neglected and is a shame for the reputation of the city. That was an elitist quarter here. Too often you have run well-nourished Nazis here. His fat blonde mother kisses him for verbal abuse against me. He has black eyes, tall, black hair. I stand there and think now. The minutes pass. A red-haired woman comes on a bicycle. As if she had just driven here for me. She looks at me blankly. I drive from the Max Schwarze Straße now on the Erich Sagittarius Pirna. There I am followed for a few minutes by a black and white van. He looks unattractive and immoral. His car has Jason masks and handcuffs. Another spy is back at the practice, where he always observed from the balcony and the entire Kohlbergstraße has in view and always logs me straight. Here I am done. Then I make myself to the station Pirna. I buy a coffee there and wonder why it's so cheap. When I drink it, I realize that it tastes of water. The coffee on the Dippoldiswalder Straße, next to the LIDL is not bad. The woman is very nice there.

Ich fahre mit dem Zug nach Pirna. Mit Fahrrad dazu. Die Fahrkarte ist hier in Pirna auch gültig für die Busse oder Fähren. Ich steige sofort in den Bus für Pirna-Sonnenstein ein und er fährt los. Der Busfahrer schaut nicht arrogant, sondern böse. Er ist dick und hat Haarausfall, schwarze Haare und Augen. Er fährt immer mit Vollgas los. Er fährt in den Kreisverkehr und 90 Grad Kurven mit 20 oder 30 km/h. Man fällt fast in die Scheiben. Er fühlt sich als Master-Mensch. Dann komme ich an der Endstation Sonnenstein an. Da redet er mich an und sagt, dass es hier zuende sei, wo ich denn hinwill. Als hätte ich gesagt, fahr mich mal hier herum. Er hätte sagen müssen, dass hier eine Straßensperre ist und man hier nicht mehr weiter kann. Ich war mit dem Sonnenstein nach einiger Zeit fertig. An bestimmten Punkten haben Rentner auf mich gewartet: Boleslawiecer Straße, Struppener Straße, Reutlinger Straße. Die waren wie Nazis. Haben mich angesehen, als wenn ich kriminell sei. Einer belegte mich wegen meiner Argentinienfahne dumm, der von der Struppener Straße schaute wie verrückt und sein Nachbar blieb sogar stehen, um die Nase zu mir zu pflücken. Massiv wurde man an der Longuyoner Straße verfolgt oder gar mit dem Telefon gemeldet. Auch ein Spitzel mit einem englischen Hund war dort und blieb extra neben mir stehen, um mich zu beobachten. Spitzeln ist hier für umsonst zu haben. Seltsam ist, dass die Parkanlagen auf dem Sonnenstein keine Namen haben. Ein Araber ist unter Anleitung von der Pirna-Miliz per smartphone geleitet worden. Das war auf der Straße der Jugend. In der Grundschule Sonnenstein war wieder ein Verkehrslehrgang für Kinder. Da waren zwei Polizisten. Es geht hierbei darum, dass man denken soll, dass der Staat einen nur Gutes tun will. Also wenn es nicht klappt, dann man selber daran schul sei. Dann traf ich Omas und habe mit denen kurz geredet. Ich fahre wieder runter, weil ich fertig bin. Diesmal geht es gleich nach Pirna-Neundorf. Ich steige am Evangelischen Gymnasium ein. Der Busfahrer schreit mich unfreundlich an: "Wie wäre es einmal mit Fahrkarte-Vorzeigen!?" Ich gehe zu ihm hin und sage: Sie haben doch Schaffner oder so? Er: "Die haben wir schon lange nicht mehr!". Also die haben ihre Kontrolleure abgeschafft, damit mehr Leute arbeitslos sind und keine Familien haben. Unmoralisch. Wahrscheinlich ist die Chefetage korrupt. Geld ist genug ist da. Dann bin ich in Neundorf. Da kommen nun ein paar elitäre Freunde an, die getunte Autos haben und dort herum fahren. Die sehen auch alle schön aus. Es ist sauber, aber der eine Plattenbau braucht einen neuen Anstrich. Die Fenster sehen aus wie ausgebrannt. Die Schule hier ist größer als man gedacht hat. Da kommen Transporter an, die einen die Sicht nehmen. Ich fahre zurück. Am Schloss Rottwerndorf kommen mir die Besitzer an. Eine sehr schöne Frau. Sie tragen einen Fußboden herum. Sie bauen das Schloss alleine wieder auf. Eine Straße habe ich vergessen. Die Brahms Straße. Das "Musikerviertel" / Siedlung Rottwerndorf wird nun abfotografiert. Seltsam ist, dass die Leute ganz anders auf mich reagieren als vorher. Sie sind nun aufgeschlossener oder lächeln. Es geht hier sehr schnell. An der Mühlenstraße kommt ein alter Mann auf dem Moped losgefahren und schaut mich böse an. Er kommt aus dem Restaurant und sieht aus wie der Besitzer. Dann fahre ich zur Waschhausstraße, wo ein Nazi mich als schwuchtel beschimpft. Er geht mich auch an, wegen der kleinen Argentinienfahne. Sein Garten ist total verwahrlost und ist eine Schande für das Ansehen der Stadt. Das war mal hier ein elitäres Viertel. Zu oft hat man hier gut genährte Nazis laufen. Seine dicke, blonde Mutter küsst ihn dafür, dass er verbale Gewalt gegen mich ausführt. Er hat schwarze Augen, groß, schwarze Haare. Ich stehe da und denke nun nach. Es vergehen die Minuten. Eine rothaarige Frau kommt mit dem Fahrrad angefahren. Als wenn sie nur wegen mir hier hergefahren sei. Sie schaut mich leer an. Ich fahre von der Max Schwarze Straße nun auf den Erich-Schütze-Weg Pirna. Dort verfolgt mich einer Minutenlang mit einem schwarz-weißen Transporter. Er sieht unattraktiv und unsittlich aus. Sein Auto hat Jason-Masken und Handschellen. Ein anderer Spitzel steht wieder an der Praxis, wo er auch vom Balkon immer observiert und die gesamte Kohlbergstraße im Blick hat und mich immer gleich meldet. Hier bin ich fertig. Dann mache ich mich zum Bahnhof Pirna. Ich kaufe mir einen Kaffee dort und wundere mich, warum der so billig ist. Als ich ihn trinke, merke ich, dass er nach Wasser schmeckt. Der Kaffee an der Dippoldiswalder Straße, neben dem LIDL ist nicht schlecht. Die Frau dort ist sehr lieb.

■ Bad Reputation in Jas'Rod, Les Pennes Mirabeau 2013, FRA

■ Tribute Thin Lizzy, Le Samedi 15 Juin 2013.

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