The paper train simply sat at Parratah as the light faded away, so desperately trying to catch something of the disappearing lighting and the train sitting in a poor position I tried to art my way out of trouble !!.

Photo By Steve Bromley.

There was something faintly biblical about all of this. It was the fortieth day of the new year, and so far (with the exception of the seven we spent in Alicante during January), every single one of the forty had brought rain. Sometimes a persistent drizzle, occasionally a series of passing showers, and more often than was good for us, a wall to wall day of endless downpour. Meanwhile, I was being treated to exclusive views of the wider world beyond these shores. Mike was parading along the penguin highway in Antarctica and marvelling at the mountains of Patagonia. John was swimming with sharks in the Maldives. Not the type of sharks that would result in him having to count his remaining limbs afterwards, I might add. Black Fin Reef Sharks if you want to reassure yourself before booking that desert island holiday. It all got too much, and this pair of itchy feet needed scratching. So I span the globe, closed my eyes and shoved in a pin. Obviously I’d have to have another go if it pointed to anywhere the locals might be hostile. Camborne, for example, is particularly edgy in the evenings. Where would we be going? Kuala Lumpur perhaps? Winnipeg or Valparaiso? Nope, not quite.

 

Ok, so it didn’t happen quite like that. There were no pins and no globes, no matter how enchanting the idea might be. But for some quite convoluted reasons that I’m not going to trouble the reader with here, we were on our way to our nation’s capital. No, not Truro, Brian. That’s where I go to visit the dentist and my teeth were fine last time he checked them. Today, on the fortieth day of rain and foul tempest, the train was taking us to London for a few days of metropolitan meandering. The Somerset Levels, famously prone to winter flooding, looked like an inland sea, with miles and miles of flooded fields filling the flat lands on either side of the train window. It was a sight that was beautiful and tragically prophetic all at once. Would the rain ever stop? Might it be dry in London? Could we hope for just a few days’ break from this eternal deluge?

 

And as we were set on a course of sightseeing, shows, and in my case, a Premier League football match on Tuesday evening, photography wasn’t on the agenda at all. Not that the capital lacks for subjects of course. Some of you have shown me just how photogenic London can be. And while I may have cause to return soon, and hopefully take the camera with me, today wasn’t that day. Besides which, try and take the kind of camera that you and I own into a major football stadium and you’ll be turned away at the entrance gate. But it was in the minutes before setting off as I went through the house, switching off electrical sockets and checking windows that I noticed the little Olympus, sitting emptily on its tiny tripod, untouched and unappreciated since I took it swimming in the Red Sea over a year earlier. Yes, the waterproof camera, made for snorkelling, and ironically appropriate for the conditions at hand. Designed to slip into a coat pocket with ease, with an agreeable enough focal range and entirely permissible inside the stadium, I could carry it with me and not be encumbered - or ejected. And while it might be a bit lacking in the megapixel department, it does at least shoot in raw. All of these thoughts probably raced through my brain as I pulled the charger from a nearby drawer, checked the SD card was loaded, and popped the camera into my rucksack.

 

On the first morning, we went for a stroll around the local neighbourhood. Down to the Thames Barrage and then back towards the Excel Centre over the footbridge above the Royal Victoria Dock. For a while it managed not to rain. Just for an hour or so at least. And while almost six weeks of tempest may have brought their tribulations, here they added a silvery kind of softness to the light over the towers of Canary Wharf, a mile or two to the west.

 

Well of course this camera has its limitations. Put it in aperture priority and rather than gradually creeping up the dial, it lurches through the numbers quite alarmingly. Any instances of pixel peeping (Steve!) will be taken seriously and reported to the proper authorities. Best just to appreciate the sense of what we were seeing here rather than diving into fine details that don’t exist. The old adage stands that the best camera is the one that’s sitting in a box three hundred miles away at home. Still, this one did its job well enough and rendered the scene in a way that matched the quiet palette before us. Next to no work needed at all in fact. It’s all here; the thrusting commerce, the tourism, and a nod to the old industry that once saw this place humming with activity of a different kind.

 

As I write, it’s the forty-sixth day of the new year. And guess what. It’s still raining. Still biblical. I’m wondering whether to repurpose the contents of the log store in the garden and start building an ark.

The 'Skyfall' Waterfall, Glen Etive, Glencoe, Scotland

Sorry if the title gives you an 'earworm' but just came to mind as being so obvious!

 

I shouldn't tempt fate but seem to be on a bit of a roll with the upload page here loading 'properly'.

 

Back to my productive January trip to Glencoe.

 

Fuelled by a hearty breakfast at the Kingshouse Hotel I decided I’d set off in the tyre tracks of James Bond’s DB7 in Skyfall to THE waterfall. I’d shot it before but wasn’t happy with the images I’d got and having watched a Karl Griffin YT video I thought I’d give it another go.

This time instead of getting down near the water I stayed a bit higher but shot more towards the bridge and what I think is Stob Dubh (883m). I played around with various shutter speeds, focus stacking, bracketing, vertical panos and various combinations of them. Typically though I was just finishing up when the sun popped out so I quickly took some single image shots at f/16 and ISO 50 to get the slowest shutter speed I could. The light on Stob Dubh(?) meant that this had more interest for me that the other attempts. Typical but at least it cut down on editing time!

I’m sure my YT ‘journey’ is typical of many Togs. I initially regularly watched a lot of the big names but after a couple of years I’m increasingly looking at those made by the slightly lesser profile names who spend a lot of time in the places I’m visiting. I’ll give a big shout-out to Cliff Hands who is happy to provide Wah3Words details for many of his locations. I do find it hypocritical when the ‘big names’ tell you to research locations on Google maps and Google earth and other places people post images but then try to keep the locations secret when they shoot.

 

© All rights reserved to Steve Pellatt. Please do not use this image on websites, blogs or any other media without my explicit written permission.

 

Well, Steve Turner, Glacier, Jeeves and I made it. Sadly, Famous Amos didn't live long enough to make this final stretch of our journey. All 48 bags were consumed prior to entering the Subway. We were joined in Zion by Kevin McNeal and Adrian Klein, my photography mentors, for the final push. I'm posting this image first because this place was the inspiration for this trip. It's going to be a long, slow crawl back into all your photostreams, and I am looking forward to catching up with my Flickr buddies over the next few weeks, but I'm headed out again to the coast in the morning for a little family time with the Turner's... don't tell anyone we are going to try to go shooting again :) I debated how to talk about the trip; one huge write up now, or sections as I go. My memory is short and feeble, so I'll mix the two. Overall comments now, and details as more images come along over the coming weeks. You CERTAINLY don't have to read through these if you aren't interested; it just provides a journal for me to remember this whole experience by.

  

First of all, let me tell you that Steve Turner is one of the coolest cats the world has ever known. I've never taken a photo trip before, so I didn't really know what to expect. 8 days on the road with the guy, and I can't think of one single second when I wasn't having a good time. I only met Steve about 5 months ago, but it feels like I've known him at least 6. :) Day 1, first light, and Steve came to pick me up in Jeeves, his Land Rover. Trouble was, there was something in the passenger seat already. Turns out to be a stuffed goat, or sheep, or big-horned something (everything looks like a cow to me) with instructions taped to his butt for his care. I wouldn't exactly say that those instructions were followed to a T, but he DID get In-and-Out Burger a few times.... and I'm SURE he ate some of our cookies, because they went fast. A couple of interesting facts about Steve. He's not really good at merging. All you folks that insisted that Steve drive (Megan!) should know that Steve has an uncanny knack for perfectly matching the speed of the truck that is right next to us when the lane ends. The highlight of my trip though was the morning we were out shooting and I was summoned to help Steve figure out what had gone wrong with his camera. The images were all coming out dark regardless of the shutter speed. I walked over and readied myself for finding some discreet menu function that had been unwittingly changed. Removing the lenscap for him helped immeasurably. More on the roadtrip during future postings.

 

Let me just say that it was great having Kevin and Adrian along on this hike. It's not the easiest place to get to, and it was awesome having some extra company on what turned out to be an epic day from sunrise to sunset. The experience is not devoid of frustration, however. We encountered quite a few photographers out and about, and when we would happen upon them and names were exchanged, the common reaction from those folks to discovering who we were was: Eyes light up. Tell Kevin and Adrian that they are famous and they've been admiring their work for a long time. Look at me excitedly and ask for name. Give name. Blank stare in return. Say "Anyway", and go back to asking Kevin and Adrian questions and shower them with praise. I actually began introducing myself as "I'm Nobody", which didn't seem to phase anyone in the least.

 

Anyway, there is nothing unique about this shot of the Subway. That thing has been photographed to death, but I LOVED being there and getting to see it for myself. What a trip. Oh, PS? That IS ice hanging on the wall in the tube. True story.

 

Special thanks to Justin Reznick and Dene' Miles (Seattle Miles) for all the GREAT help and advice. You were toasted early and often.

I guess I'm not supposed to put my website address here, so it's in My Profile if anyone cares.

Came for the colour stayed for the show..

 

First decently hot summers day this year with typical afternoon storm to wind up the day.

 

Well a little bit more than typical arvo storm .. really blasted thru - much wind and rain.

 

Decided to wait it out for after the front to pass and try to catch some possible light afterwards - more on that in the next couple of days .. but the storms just ekpt coming was favoured with four quite tasty frames for the trouble.

 

Ski Way Park, Oak Flats, Lake Illawarra, NSW.

 

Pentax K1 w DFA24-70/2.8 and Pluto trigger.

 

ISO400 f/5.6 1s

 

Single frame arw developed in DxO PhotoLab 6, colour graded in Color Efex Pro 5 with a visit to Topaz (Denoise, AI and Sharpen - dependant on the frame) and I final stop back in PhotoLab.

This has been my best bud for the last few years. She's on my bed snoring right now and she isn't as active any more, but neither am I. This was taken at my favorite campsite in the Dinkey Creek campground. As you can see, Violet is very proper while she is watching over me making sure I don't get into trouble. If you notice she doesn't have a leash on, (which is a no no), but she is the only dog I have owned that I never have to worry about leaving camp. One of my fellow campers called her a "velcro" dog and that is exactly what she is, stuck to your side.

 

Another great memory to share while we are social distancing. Stay safe and we'll all be taking adventures again soon.

Handheld panos with the Olympus aren't as easy as they are with the Pentax sadly.

 

The Pentax has a 'level after shot' feature wherein it corrects the sensor's level before writing the image to file.

 

On a pano like this, all the frames will end up with a flat horizon - stitching is far easier with that baked in.

 

I'm sure the folks at OMSystem could achieve something similar - the sensors on both systems 'float' magnetically and they both have their versions of pixel shift technology. One day perhaps?

 

I'd shot this as 7 frames across with 5 exposures each frame. The olympus doesn't have enough reach across a three frame bracket for this kind of dynamic range - on paper yes it has plenty but I've not found that in practice.. there's only so much you can pull up shadows.

 

Generally I'd never use all 5 frames in each bracket - usually cast off the least exposed and most -3ev or more and +1ev or more. Do a basic development to .tiff in PhotoLab and import the files into Luminar Neo (it does a pretty decent job on HDR panos .. far better than anything else in my kit) and then take the pano (.tiff) into affinity and do all the touch ups - waves, clouds, ghost birds etc - colour grade in Nik Efex - maybe a visit to Topaz Sharpen for blurry bit's (stitching edges can get funny on occasion) and then finished off back in PhotoLab.

 

This one wouldn't play ball, I'd just been too wobbly between frames on the sand and rocks (had one eye on small wavelets coming up the sand and distracting me). Tried a couple of other tricks and software tools but the end result was nope.

 

So one last go, let's have a got at a 1 frame by 7 across and push the singles as hard as I can? .. it worked😉 I'd missed that there was sea spray on the lens front so I still had some touching up to do but it stitched in Affinity easy as. Still had the NIK, Topaz and PhotoLab path to follow but that's a cake walk.

 

So here we are then:

 

Olympus OM-1 w M.Zuiko 7-14/2.8 Pro

 

ISO640 f/11 7mm 0ev x 7 frames

 

Belmore Basin, Wollongong, NSW

  

The first photograph I posted showed the impressive steam cloud as UP 4014 climbed out of the shallow Navasota River valley.

 

This photo shows a more oblique view of Big Boy and gives you a little better idea of the size of the engine which is huge.

 

Do you see the "Big Boy" written in chalk just underneath and slightly to the left of the bell? That is part of the story about how these massive engines got their name. Supposedly, a worker at the steam shop wrote that on one of the engines as it left the shop.

 

I like to think it was due to all the troubles that these engines caused: almost too big for the roundhouses and the turntables. Everything was jumbo sized, taxing the lifts and cranes. In addition, putting the two halves of the engine together must have been extra trouble.

 

As a result, I like to think the worker chalked that name on it more as an expression of relief that it was leaving the steam shop than pride in massive size.

 

Here are some links if you would like to know more about the Big Boys:

www.up.com/heritage/steam/4014/index.htm

 

Here is an interview with someone you might recognize from this photo:

www.youtube.com/watch?v=S-y_-nXHDqw

 

That is Mr. Ed Dickens Jr., the lead of the UP Heritage Steam Team and the Engineer dressed in blue in this photo.

 

Finally, this reminded me of one of my favorite songs from many years ago. These are the lyrics from Steve Fromholz, a Texas Songwriter, who wrote a trio of songs called Texas Trilogy:

 

...Well I remember me and brother

Used to run down to the depot

Just to listen to the whistle blow

When the train pulled into Kopperl

 

And the engine big and shiny

Black as coal that fed the fire

And the engineer he'd smile and say:

"Howdy, how ya fellas".

 

And the people by the windows

Playin cards and readin papers

Looked as far away to us as

Next summer school vacation...

  

D0A1035

Romanian postcard by Casa Filmului Acin, no. 33102.

 

French actor of Spanish origin ,b>Louis de Funès (1914 – 1983) was one of the giants of French comedy alongside André Bourvil and Fernandel. In many of his over 130 films, he portrayed a humorously excitable, cranky man with a propensity to hyperactivity, bad faith, and uncontrolled fits of anger. Along with his short height (1.63 m) and his facial contortions, this hyperactivity produced a highly comic effect, especially opposite Bourvil, who always played calm, slightly naive, good-humored men.

 

Louis de Funès (French pronunciation: [lwi də fynɛs]) was born Louis Germain David de Funès de Galarza in Courbevoie, France in 1914. His father, Carlos Luis de Funès de Galarza had been a lawyer in Seville, Spain, but became a diamond cutter upon arriving in France. His mother, Leonor Soto Reguera was of Spanish and Portuguese extraction. Since the couple's families opposed their marriage, they settled in France in 1904. Known to friends and intimates as ‘Fufu’, the young de Funès was fond of drawing and piano playing and spoke French, Spanish and English well. He studied at the prestigious Lycée Condorcet in Paris. He showed a penchant for tomfoolery, something which caused him trouble at school and later made it hard for him to hold down a job. He became a pianist, working mostly as a jazz pianist at Pigalle, the famous red-light district. There he made his customers laugh each time he made a grimace. He studied acting for one year at the Simon acting school. It proved to be a waste of time except for his meeting with actor Daniel Gélin, who would become a close friend. In 1936, he married Germaine Louise Elodie Carroyer with whom he had a son, Daniel (1937). In 1942, they divorced. During the occupation of Paris in the Second World War, he continued his piano studies at a music school, where he fell in love with a secretary, Jeanne Barthelémy de Maupassant, a grandniece of the famous author Guy de Maupassant. They married in 1943 and remained together for forty years, until de Funès' death in 1983. The pair had two sons: Patrick (1944) and Olivier (1947). Patrick became a doctor who now practices in Saint-Germain en Laye. Olivier was an actor for a while, known for the son roles in his father's films, including Le Grand Restaurant/The Big Restaurant (1966, Jacques Besnard), Fantômas se déchaine/Fantomas Strikes Back (1965, André Hunebelle) starring Jean Marais, Les Grandes Vacances/The Big Vacation (1967, Jean Girault), and Hibernatus (1969, Edouard Molinaro) with Claude Gensac as De Funès’ wife, a role she played in many of his films. Olivier later worked as an aviator for Air France Europe.

 

Through the early 1940's, Louis de Funès continued playing piano at clubs, thinking there wasn't much call for a short, balding, skinny actor. His wife and Daniel Gélin encouraged him to overcome his fear of rejection. De Funès began his show business career in the theatre, where he enjoyed moderate success. At the age of 31, thanks to his contact with Daniel Gélin, he made his film debut with an uncredited bit part as a porter in La Tentation de Barbizon/The Temptation of Barbizon (1945, Jean Stelli) starring Simone Renant. For the next ten years, de Funès would appear in fifty films, but always in minor roles, usually as an extra, scarcely noticed by the audience. Sometimes he had a supporting part such as in the Fernandel comedy Boniface somnambule/The Sleepwalker (1951, Maurice Labro) and the comedy-drama La vie d'un honnête homme/The Virtuous Scoundrel (1953, Sacha Guitry) starring Michel Simon. In the meanwhile he pursued a theatrical career. Even after he attained the status of film star, he continued to play theatre. His stage career culminated in a magnificent performance in the play Oscar, a role which he would later reprise in the film version of 1967. During this period, De Funès developed a pattern of daily activities: in the morning he did dubbing for recognized artists such as Renato Rascel and the Italian comic Totò, during the afternoon he worked in film, and in the theater in the evening. A break came when he appeared as the black-market pork butcher Jambier (another small role) in the well-known WWII comedy, La Traversée de Paris/ Four Bags Full (1956, Claude Autant-Lara) starring Jean Gabin and Bourvil. In his next film, the mediocre comedy Comme un cheveu sur la soupe/ Crazy in the Noodle (1957, Maurice Régamey), De Funès finally played the leading role. More interesting was Ni vu, ni connu/Neither Seen Nor Recognized (1958, Yves Robert). He achieved stardom with the comedy Pouic-Pouic (1963, Jean Girault) opposite Mireille Darc. This success film guaranteed de Funès top billing in all of his subsequent films.

 

Between 1964 and 1979, Louis de Funès topped France's box-office of the year's most successful films seven times. At the age of 49, De Funès unexpectedly became a superstar with the international success of two films. Fantômas (1964, André Hunebelle) was France's own answer to the James Bond frenzy and lead to a trilogy co-starring Jean Marais and Mylène Demongeot. The second success was the crime comedy Le gendarme de Saint-Tropez/The Gendarme of St. Tropez (1964, Jean Girault) with Michel Galabru. After their first successful collaboration on Pouic-Pouic, director Girault had perceived de Funès as the ideal actor to play the part of the accident prone gendarme. The film lead to a series of six 'Gendarme' films. De Funès's collaboration with director Gérard Oury produced a memorable tandem of de Funès with Bourvil, another great comic actor, in Le Corniaud/The Sucker (1964, Gérard Oury). The successful partnership was repeated two years later in La Grande Vadrouille/Don't Look Now - We're Being Shot At (1966, Gérard Oury), one of the most successful and the largest grossing film ever made in France, drawing an audience of 17,27 million. It remains his greatest success. Oury envisaged a further reunion of the two comics in his historical comedy La Folie des grandeurs/Delusions of Grandeur (1970, Gérard Oury), but Bourvil's death in 1970 led to the unlikely pairing of de Funès with Yves Montand in this film. Very succesful, even in the USA, was Les aventures de Rabbi Jacob/The Mad Adventures of Rabbi Jacob (1973, Gérard Oury) with Suzy Delair. De Funès played a bigoted Frenchman who finds himself forced to impersonate a popular rabbi while on the run from a group of assassins. In 1975, Oury had scheduled to make Le Crocodile/The Crocodile with de Funès as a South American dictator, but in March 1975, the actor was hospitalized for heart problems and forced to take a rest from acting. The Crocodile project was canceled.

 

After his recovery, Louis de Funès collaborated with Claude Zidi, in a departure from his usual image. Zidi wrote for him L'aile ou la cuisse/The Wing and the Thigh (1976, Claude Zidi), opposite Coluche as his son. He played a well-known gourmet and publisher of a famous restaurant guide, who is waging a war against fast food entrepreneur. It was a new character full of nuances and frankness and arguably the best of his roles. In 1980, de Funès realised a long-standing dream to make a film version of Molière's play, L'Avare/The Miser (1980, Louis de Funès, Jean Girault). In 1982, De Funès made his final film, Le Gendarme et les gendarmettes/Never Play Clever Again (1982, Tony Aboyantz, Jean Girault). Unlike the characters he played, de Funès was said to be a very shy person in real life. He became a knight of France's Légion d'honneur in 1973. He resided in the Château de Clermont, a 17th-century monument, located in the commune of Le Cellier, which is situated near Nantes in France. In his later years, he suffered from a heart condition after having suffered a heart attack caused by straining himself too much with his stage antics. Louis de Funès died of a massive stroke in 1983, a few months after making Le Gendarme et les gendarmettes. He was laid to rest in the Cimetière du Cellier, the cemetery situated in the grounds of the château. Films de France: “Although fame was a long time coming, Louis de Funès is regarded today as not just a great comic actor with an unfaltering ability to make his audience laugh, but practically an institution in his own right. His many films bear testimony to the extent of his comic genius and demonstrate the tragedy that he never earned the international recognition that he certainly deserved.”

 

Sources: Steve Shelokhonov (IMDb), Films de France, Wikipedia and IMDb.

Was half thinking about calling this photo "Planes, trains and automobiles" after the John Candy and Steve Martin film. Let me explain why.....

 

My wife was in England having flown out from Copenhagen. For those that know her she can be known to fall over easily due to almost non-existent ligaments in her ankles. Well her right one now has ligaments from her right knee but it's soon time for her to be operated again for her left ankle. Suffice to say whilst in England visiting my family her ankle gave way and she fell over spraining her left foot and knee in the process. There was no way she would have been able to drag suitcases, rucksacks and duty free on the train over to Sweden, change at Malmö and carry on up to our house. So I decided to drive down and meet her at the airport. I also decided it would be nice to wander around Copenhagen for a few hours, soaking in the sights and trying to improve my limited street photography skills.

 

I woke up at 5am, heading out 45 minutes later for the four hours drive to Malmö, parked my car and caught the train over to Copenhagen. It was so hot that day, not weather to have jeans on but as my two pair of shorts I own have baggy, shallow pockets I didn't want to lose my wallet, phone or car keys to gravity or worse quick fingers. So jeans it was. I headed down to the iconic tourist site of Nyhavn. Along the way I snapped this couple. Really happy with how it turned out, if I'm honest. Anyway as it was so hot I decided enough was enough and retreated back to the airport for some much needed air conditioning, hydration and waited for my wife. Her flight landed 10 minutes early and that was the start of our troubles....

 

Her flight from Gatwick took 1 hour 25 minutes. It took 1 hour 15 minutes for her, and her fellow travellers, luggage to come to the baggage reclaim hall. Very frustrating as it was only their flight that Copenhagen airport had problems with. Oh well. When she finally came out we walked to the platform, having just missed the previous train by a few minutes. No worries the next train was due soon in..... But it didn't come. We waited patiently for news and after a while a lady announced on the loud speakers that there was a power failure on the line between the airport and Copenhagen center. She'd come back with more information soon. Which she didn't, only "reappearing" now and then to announce to the every increasing size of travellers the same news of a power failure. After two hours of waiting I started to see the quite sizeable crowd starting to thin out. Curious I went and looked at the monitor that shows the times of trains. Everything was cancelled over to Sweden for the coming two hours. It actually turned out to be three but we didn't know that then. Urgh. Time to catch a taxi.

 

When I found out where the Swedish taxis went from I went back down to the platform to help my wife, who being very kind hearted was helping a dear old Swedish lady in her 70s called Anna-Karin. We asked her if she wanted to share a taxi with us over to Malmö which she readily agreed to. To get from the platform and up to the taxi rank you need to take one of those angled moving walkways. Unfortunately Anna-Karin stumbled whilst trying to get on it, falling over her suitcase. I quickly hit the emergency stop button, explained to a grumpy man why I had done it and helped my wife who was helping this dear old lady up. We eventually got to the taxi rank where Ali, our chauffeur, unleashed his inner-F1 driver on the Öresund bridge. I've only crossed that bridge before on the train, never in a car, so was quite looking forward to the experience. Sadly I didn't have much time to enjoy the views as we topped out at 145km/h thanks to Ali's rather heavy right foot.

 

When we were dropped off at the carpark where our car was located we asked Anna-Karin (who has lived most of her adult life in Milan, Italy and was just back for a few months whilst her apartment block was renovated) if she'd like to travel with us as her home town of Varberg was on the way to our place. Again she readily agreed at which point I told her she shouldn't be so trusting strangers at her age. She said she trusted us as we walked into a totally dark underground carpark to find our car had gone!

 

Well gone and gone but it wasn't where I had thought I had parked it. Dumbfounded I spluttered out "but I parked it here!" and apologised to Anna-Karin and repeatedly tried to reassure her that we hadn't led her into a (now lit) underground torture chamber. Petra whipped out her phone, looked at the app for the car which stated the car was right where we stood but it wasn't there. It was then that I remembered I had parked on the first level underground and not the second which was where we stood. Phew.... Car found.

 

As we left Malmö we got to know Anna-Karin over a shared bag of gummy bears. Turns out she had been to my work place (a conference center) at the start of the 1960s and really loved it there. Soon it started to rain. And boy did it rain. And thunder. The thunder storm stayed in front of us for the two hour drive (which turned into 2 hours 30 minutes due to the heavy rain) to Varberg. Some of the lightning had all three of us going "ooh" and "ahh". In fact it was probably the second best lightning storm I've seen with lightning streaking through clouds before diverting down in a forked approach to the ground. Truly amazing. We dropped Anna-Karin off, said our goodbyes and continued to drive up to Gothenburg, through it and finally to our home. I finally crawled into bed at 2am, having been awake 21 hours, of which nine were spent driving. What a day. Only got four hours sleep as the car was due into it's M.O.T. at 7am so was pretty much zombified for the rest of the working day. So yeah, planes, trains and automobiles...... If you've gotten this far, thanks for sticking with me lol!

Spider-Man is a superhero appearing in American comic books published by Marvel Comics. Created by writer-editor Stan Lee and artist Steve Ditko, he first appeared in the anthology comic book Amazing Fantasy #15 (August 1962) in the Silver Age of Comic Books. He has been featured in comic books, television shows, films, video games, novels, and plays.

 

Spider-Man's secret identity is Peter Benjamin Parker, a teenage high school student and an orphan raised by his Aunt May and Uncle Ben in New York City after his parents Richard and Mary Parker died in a plane crash.

 

Lee and Ditko had the character deal with the struggles of adolescence and financial issues and gave him many supporting characters, such as Flash Thompson, J. Jonah Jameson, and Harry Osborn; romantic interests Gwen Stacy, Mary Jane Watson, and the Black Cat; and enemies such as the Green Goblin, Doctor Octopus, and Venom.

 

In his origin story, Spider-Man gets his superhuman spider-powers and abilities after being bitten by a radioactive spider; these include superhuman strength, agility, reflexes, stamina, durability, coordination, and balance, clinging to surfaces and ceilings like a spider, and detecting danger with his precognition ability called "spider-sense".

 

He also builds wrist-mounted "web-shooter" devices that shoot artificial spider-webs of his own design, which are used both for fighting and for web-swinging across the city.

 

Peter Parker originally used his powers for his own personal gain, but after his Uncle Ben was killed by a thief that Peter did not stop, he began to use his powers to fight crime by becoming the superhero known as Spider-Man.

 

When Spider-Man first appeared in the early 1960s, teenagers in superhero comic books were usually relegated to the role of sidekick to the protagonist. The Spider-Man comic series broke ground by featuring Peter Parker, a high school student from Queens, New York, as Spider-Man's secret identity, whose "self-obsessions with rejection, inadequacy, and loneliness" were issues to which young readers could relate.

 

While Spider-Man had all the makings of a sidekick, unlike previous teen heroes such as Bucky and Robin, Spider-Man had no superhero mentor like Captain America and Batman; he had learned the lesson for himself that "with great power comes great responsibility" — a line included in a text box in the final panel of the first Spider-Man's origin story but later retroactively attributed to the late Uncle Ben Parker.

 

Marvel has featured Spider-Man in several comic book series, the first and longest-lasting of which is The Amazing Spider-Man.

 

Over the years, the Peter Parker character developed from a shy, nerdy New York City high school student to a troubled but outgoing college student, to a married high school teacher to, in the late 2000s, a single freelance photographer. In the 2000s, he joins the Avengers.

 

Doctor Octopus also took on the identity for a story arc spanning 2012–2014, following a body swap plot in which Peter appears to die.

 

Marvel has also published comic books featuring alternate versions of Spider-Man, including Spider-Man 2099, which features the adventures of Miguel O'Hara, the Spider-Man of the future; Ultimate Spider-Man, which features the adventures of a teenage Peter Parker in the alternate universe; and then Ultimate Comics: Spider-Man, which depicts a teenager named Miles Morales who takes up the mantle of Spider-Man after Ultimate Peter Parker's apparent death.

 

Miles later became a superhero in his own right and was brought into mainstream continuity, where he sometimes works alongside Peter.

 

Spider-Man is one of the most popular and commercially successful superheroes. He has appeared in countless forms of media, including several animated TV series including the first original animated series Spider-Man with Paul Soles voicing Spider-Man, a live-action television series, syndicated newspaper comic strips, and multiple series of films. Spider-Man was first portrayed in live-action by Danny Seagren in Spidey Super Stories, a recurring skit on The Electric Company from 1974 to 1977.

 

In live-action films, Spider-Man has been portrayed by actors Tobey Maguire in Sam Raimi's Spider-Man trilogy, by Andrew Garfield in two films directed by Marc Webb, and in the Marvel Cinematic Universe by Tom Holland. Reeve Carney starred originally as Spider-Man in the 2010 Broadway musical Spider-Man: Turn Off the Dark.

 

Spider-Man was also been voiced by Jake Johnson and Chris Pine in the animated film Spider-Man: Into the Spider-Verse. Spider-Man has been well-received as a superhero and comic book character, and he is often ranked as one of the most popular and iconic comic book superheroes of all time and one of the most popular characters in all fiction.

 

Creation and Development

 

In 1962, with the success of the Fantastic Four, Marvel Comics editor and head writer Stan Lee was casting for a new superhero idea. He said the idea for Spider-Man arose from a surge in teenage demand for comic books and the desire to create a character with whom teens could identify. 

 

As with Fantastic Four, Lee saw Spider-Man as an opportunity to "get out of his system" what he felt was missing in comic books.

 

In his autobiography, Lee cites the non-superhuman pulp magazine crime fighter the Spider as a great influence, and in a multitude of print and video interviews, Lee stated he was further inspired by seeing a spider climb up a wall—adding in his autobiography that he has told that story so often he has become unsure of whether or not this is true.

 

Besides the name, the Spider was wanted by both the law and the criminal underworld (a defining theme of Spider-Man's early years), and had through years of ceaseless struggle developed a "sixth sense" which warns him of danger, the apparent inspiration for Spider-Man's "spider-sense".

 

Although at the time teenage superheroes were usually given names ending with "boy", Lee says he chose "Spider-Man" because he wanted the character to age as the series progressed, and felt the name "Spider-Boy" would have made the character sound inferior to other superheroes. He also decided to insert a hyphen in the name, as he felt it looked too similar to Superman, another superhero with a red and blue costume that starts with an "S" and ends with "man" (although artist Steve Ditko intended the character to have an orange and purple costume).

 

At that time Lee had to get only the consent of Marvel publisher Martin Goodman for the character's approval. In a 1986 interview, Lee described in detail his arguments to overcome Goodman's objections.

 

Goodman eventually agreed to a Spider-Man tryout in what Lee, in numerous interviews, recalled as what would be the final issue of the science-fiction and supernatural anthology series Amazing Adult Fantasy, which was renamed Amazing Fantasy for that single issue, #15 (cover-dated August 1962, on sale June 5, 1962).

 

In particular, Lee stated that the fact that it had already been decided that Amazing Fantasy would be canceled after issue #15 was the only reason Goodman allowed him to use Spider-Man. While this was indeed the final issue, its editorial page anticipated the comic continuing and that "The Spiderman [sic] ... will appear every month in Amazing."

 

Regardless, Lee received Goodman's approval for the name Spider-Man and the "ordinary teen" concept and approached artist Jack Kirby.

 

As comics historian Greg Theakston recounts, Kirby told Lee about an unpublished character on which he had collaborated with Joe Simon in the 1950s, in which an orphaned boy living with an old couple finds a magic ring that granted him superhuman powers.

 

Lee and Kirby "immediately sat down for a story conference," Theakston writes, and Lee afterward directed Kirby to flesh out the character and draw some pages. Steve Ditko would be the inker. When Kirby showed Lee the first six pages, Lee recalled, "I hated the way he was doing it! Not that he did it badly—it just wasn't the character I wanted; it was too heroic".  Lee turned to Ditko, who developed a visual style Lee found satisfactory. Ditko recalled:

 

One of the first things I did was to work up a costume. A vital, visual part of the character. I had to know how he looked ... before I did any breakdowns. For example: A clinging power so he wouldn't have hard shoes or boots, a hidden wrist-shooter versus a web gun and holster, etc. ... I wasn't sure Stan would like the idea of covering the character's face but I did it because it hid an obviously boyish face. It would also add mystery to the character...

 

Although the interior artwork was by Ditko alone, Lee rejected Ditko's cover art and commissioned Kirby to pencil a cover that Ditko inked. As Lee explained in 2010, "I think I had Jack sketch out a cover for it because I always had a lot of confidence in Jack's covers."

 

In an early recollection of the character's creation, Ditko described his and Lee's contributions in a mail interview with Gary Martin published in Comic Fan #2 (Summer 1965): "Stan Lee thought the name up. I did costume, web gimmick on wrist & spider signal."

 

At the time, Ditko shared a Manhattan studio with noted fetish artist Eric Stanton, an art-school classmate who, in a 1988 interview with Theakston, recalled that although his contribution to Spider-Man was "almost nil", he and Ditko had "worked on storyboards together and I added a few ideas. But the whole thing was created by Steve on his own... I think I added the business about the webs coming out of his hands."

 

Ditko claimed in a rare interview with Jonathan Ross that the costume was initially envisioned with an orange and purple color scheme rather than the more famous red and blue.

 

Amazing Fantasy #15 (Aug. 1962) first introduced the character. It was a gateway to commercial success for the superhero and inspired the launch of The Amazing Spider-Man comic book. Cover art by penciller Jack Kirby and inker Steve Ditko

 

Kirby later said the idea for Spider-Man had originated with Kirby and Joe Simon, who in the 1950s had developed a character called the Silver Spider for the Crestwood Publications comic Black Magic, who was subsequently not used.

 

Simon, in his 1990 autobiography, disputed Kirby's account, asserting that Black Magic was not a factor and that he (Simon) devised the name "Spider-Man" (later changed to "The Silver Spider"), while Kirby outlined the character's story and powers. Simon later elaborated that his and Kirby's character conception became the basis for Simon's Archie Comics superhero, the Fly.

 

Artist Steve Ditko stated that Lee liked the name Hawkman from DC Comics, and that "Spider-Man" was an outgrowth of that interest.

 

Simon concurred that Kirby had shown the original Spider-Man version to Lee, who liked the idea and assigned Kirby to draw sample pages of the new character but disliked the results—in Simon's description, "Captain America with cobwebs".

 

Neither Lee's nor Kirby's explanation explains why key story elements like the magic ring were dropped; Evanier states that the most plausible explanation for the sudden change was that Goodman, or one of his assistants, decided that Spider-Man, as drawn and envisioned by Kirby, was too similar to the Fly.

 

Author and Ditko scholar Blake Bell writes that it was Ditko who noted the similarities to the Fly. Ditko recalled that "Stan called Jack about the Fly", adding that "days later, Stan told me I would be penciling the story panel breakdowns from Stan's synopsis."

 

It was at this point that the nature of the strip changed. "Out went the magic ring, adult Spider-Man and whatever legend ideas that Spider-Man story would have contained."

 

Lee gave Ditko the premise of a teenager bitten by a spider and developing powers, a premise Ditko would expand upon.

 

Lee, while given credit for the initial idea, has acknowledged Ditko's role, stating, "If Steve wants to be called co-creator, I think he deserves [it]". He has further commented that Ditko's costume design was key to the character's success; since the costume completely covers Spider-Man's body, people of all races could visualize themselves inside the costume and thus more easily identify with the character.

 

Commercial Success

 

A few months after Spider-Man's introduction, publisher Goodman reviewed the sales figures for that issue and was shocked to find it was one of the nascent Marvel's highest-selling comics.

 

A solo ongoing series followed, beginning with The Amazing Spider-Man #1 (cover-dated March 1963). The title eventually became Marvel's top-selling series  with the character swiftly becoming a cultural icon; a 1965 Esquire poll of college campuses found that college students ranked Spider-Man and fellow Marvel hero the Hulk alongside Bob Dylan and Che Guevara as their favorite revolutionary icons.

 

One interviewee selected Spider-Man because he was "beset by woes, money problems, and the question of existence. In short, he is one of us."

 

Following Ditko's departure after issue #38 (July 1966), John Romita Sr. replaced him as penciller and would draw the series for the next several years. In 1968, Romita would also draw the character's extra-length stories in the comics magazine The Spectacular Spider-Man, a proto-graphic novel designed to appeal to older readers. It only lasted for two issues, but it represented the first Spider-Man spin-off publication, aside from the original series' summer Annuals that began in 1964.

 

An early 1970s Spider-Man story ultimately led to the revision of the Comics Code. Previously, the Code forbade the depiction of the use of illegal drugs, even negatively.

 

However, in 1970, the Nixon administration's Department of Health, Education, and Welfare asked Stan Lee to publish an anti-drug message in one of Marvel's top-selling titles.  Lee chose the top-selling The Amazing Spider-Man. Issues #96–98 (May–July 1971) feature a story arc depicting the negative effects of drug use.

 

In the story, Peter Parker's friend Harry Osborn becomes addicted to pills. When Spider-Man fights the Green Goblin (Norman Osborn, Harry's father), Spider-Man defeats him by revealing Harry's drug addiction. While the story had a clear anti-drug message, the Comics Code Authority refused to issue its seal of approval.

 

Marvel nevertheless published the three issues without the Comics Code Authority's approval or seal. The issues sold so well that the industry's self-censorship was undercut and the Code was subsequently revised.

 

In 1972, a second monthly ongoing series starring Spider-Man began: Marvel Team-Up, in which Spider-Man was paired with other superheroes and supervillains.

 

From that point on, there have generally been at least two ongoing Spider-Man series at any time. In 1976, his second solo series, Peter Parker, the Spectacular Spider-Man began running parallel to the main series.

 

A third series featuring Spider-Man, Web of Spider-Man, launched in 1985 to replace Marvel Team-Up. The launch of a fourth monthly title in 1990, the "adjectiveless" Spider-Man (with the storyline "Torment"), written and drawn by popular artist Todd McFarlane, debuted with several different covers, all with the same interior content. The various versions combined sold over 3 million copies, an industry record at the time.

 

Several miniseries, one-shot issues, and loosely related comics have also been published, and Spider-Man makes frequent cameos and guest appearances in other comic book series. In 1996, The Sensational Spider-Man was created to replace Web of Spider-Man.

 

In 1998 writer-artist John Byrne revamped the origin of Spider-Man in the 13-issue limited series Spider-Man: Chapter One (Dec. 1998 – Oct. 1999), similar to Byrne's adding details and some revisions to Superman's origin in DC Comics' The Man of Steel.

 

At the same time, the original The Amazing Spider-Man was ended with issue #441 (Nov. 1998), and The Amazing Spider-Man was restarted with vol. 2, #1 (Jan. 1999). In 2003, Marvel reintroduced the original numbering for The Amazing Spider-Man and what would have been vol. 2, #59 became issue #500 (Dec. 2003).

 

When the primary series The Amazing Spider-Man reached issue #545 (Dec. 2007), Marvel dropped its spin-off ongoing series and instead began publishing The Amazing Spider-Man three times monthly, beginning with #546–548 (all January 2008).

 

The three times-monthly scheduling of The Amazing Spider-Man lasted until November 2010, when the comic book was increased from 22 pages to 30 pages each issue and published only twice a month, beginning with #648–649 (both November 2010).

 

The following year, Marvel launched Avenging Spider-Man as the first spin-off ongoing series in addition to the still-twice monthly The Amazing Spider-Man since the previous ones were canceled at the end of 2007.

 

The Amazing series temporarily ended with issue #700 in December 2012 and was replaced by The Superior Spider-Man, which had Doctor Octopus serve as the new Spider-Man, his mind having taken over Peter Parker's body. Superior was an enormous commercial success for Marvel, and ran for 31 issues before the real Peter Parker returned in a newly relaunched The Amazing Spider-Man #1 in April 2014.

 

Following the 2015 Secret Wars crossover event, a number of Spider-Man-related titles were either relaunched or created as part of the "All-New, All-Different Marvel" event. Among them, The Amazing Spider-Man was relaunched as well and primarily focuses on Peter Parker continuing to run Parker Industries and becoming a successful businessman who is operating worldwide.

 

Fictional character biography

 

Early years.

 

In Forest Hills, Queens, New York City, Midtown High School student Peter Benjamin Parker is a science-whiz orphan living with his Uncle Ben and Aunt May.

 

As depicted in Amazing Fantasy #15 (Aug. 1962), he is bitten by a radioactive spider (erroneously classified as an insect in the panel) at a science exhibit and "acquires the agility and proportionate strength of an arachnid".

 

Along with heightened athletic abilities, Parker gains the ability to adhere to walls and ceilings. Through his knack for science, he develops a gadget that lets him fire adhesive webbing of his own design through small, wrist-mounted barrels.

 

Initially seeking to capitalize on his new abilities, Parker dons a costume and, as "Spider-Man", becomes a novelty television star. However, "He blithely ignores the chance to stop a fleeing thief, [and] his indifference ironically catches up with him when the same criminal later robs and kills his Uncle Ben." Spider-Man tracks and subdues the killer and learns, in the story's next-to-last caption, "With great power there must also come—great responsibility!"

 

In The Amazing Spider-Man; issue #1 (March 1963), despite his superpowers, Peter struggles to help his widowed Aunt May pay the rent, is taunted by Flash, and as Spider-Man, he continues fighting crime and saving the city, but his heroic deeds engender the editorial wrath of newspaper publisher of the Daily Bugle, J. Jonah Jameson, who holds a grudge against Spider-Man, continues making false statements about Spider-Man despite his heroism.

 

Peter gets hired as a freelance photographer by Mr. Jameson to take pictures of Spider-Man, but Jameson is unaware that Spider-Man is Peter Parker.

 

Spider-Man fights his enemies including superpowered and non-superpowered supervillains - his arch-enemy and nemesis called the Green Goblin, and then Doctor Octopus, Sandman, Chameleon, Lizard, Vulture, Kraven the Hunter, Electro, and Mysterio, defeating them one by one - but Peter finds juggling his personal life and costumed adventures difficult.

 

In time, Peter graduates from high school and enrolls at Empire State University (a fictional institution evoking the real-life Columbia University and New York University), where he meets roommate and best friend Harry Osborn and girlfriend Gwen Stacy, and Aunt May introduces him to Mary Jane Watson.

 

As Peter deals with Harry's drug problems, and Harry's father, Norman Osborn, is revealed to be the Green Goblin, Peter attempts to give up his costumed identity for a while.

 

Gwen Stacy's father, New York City Police detective Captain George Stacy, is accidentally killed during a battle between Spider-Man and Doctor Octopus (issue #90, November 1970).

 

1970s

 

In issue #121 (June 1973), the Green Goblin throws Gwen Stacy from a tower of either the Brooklyn Bridge (as depicted in the art) or the George Washington Bridge (as given in the text). She dies during Spider-Man's rescue attempt, and Spider-Man swears revenge against his nemesis; a note on the letters page of issue #125 states: "It saddens us to say that the whiplash effect she underwent when Spidey's webbing stopped her so suddenly was, in fact, what killed her."

 

The following issue, Spider-Man vengefully attacks and overpowers the Green Goblin who appears to have killed himself accidentally in the ensuing battle with Spider-Man.

 

Working through his grief, Peter eventually develops tentative feelings toward Mary Jane, and the two "become confidants rather than lovers".

 

A romantic relationship eventually develops, with Parker proposing to her in issue #182 (July 1978), and being turned down an issue later.

 

Parker went on to graduate from college in issue #185, and becomes involved with the shy Debra Whitman and the extroverted, flirtatious costumed thief Felicia Hardy, a.k.a. the Black Cat, whom he meets in issue #194 (July 1979).

 

1980s

 

The Amazing Spider-Man #252 (May 1984): The black costume debut that brought controversy to many fans. The suit was later revealed as an alien symbiote and was used in the creation of the villain Venom. Cover art by Ron Frenz and Klaus Janson

From 1984 to 1988, Spider-Man wore a black costume with a white spider design on his chest.

 

The new costume originated in the Secret Wars miniseries, on an alien planet where Spider-Man participates in a battle between Earth's major superheroes and supervillains.

 

He continues wearing the costume when he returns, starting in The Amazing Spider-Man #252. The change to a longstanding character's design met with controversy, "with many hardcore comics fans decrying it as tantamount to sacrilege. Spider-Man's traditional red and blue costume was iconic, they argued, on par with those of his D.C. rivals Superman and Batman."

 

The creators then revealed the costume was an alien symbiote which Spider-Man is able to reject after a difficult struggle, though the symbiote returns several times as Venom for revenge.

 

Parker proposes to Watson in The Amazing Spider-Man #290 (July 1987), and she accepts two issues later, with the wedding taking place in The Amazing Spider-Man Annual #21 (1987)—promoted with a real-life mock wedding using actors at Shea Stadium, with Stan Lee officiating, on June 5, 1987.

 

David Michelinie, who scripted based on a plot by editor-in-chief Jim Shooter, said in 2007, "I didn't think they actually should [have gotten] married. ... I had actually planned another version, one that wasn't used." Parker published a book of Spider-Man photographs called Webs and returned to his Empire State University graduate studies in biochemistry in #310 (Dec. 1988).

 

1990s

 

In the controversial 1990s storyline the "Clone Saga", a clone of Parker, created in 1970s comics by insane scientist Miles Warren, a.k.a. the Jackal, returns to New York City upon hearing of Aunt May's health worsening.

 

The clone had lived incognito as "Ben Reilly", but now assumes the superhero guise the Scarlet Spider and allies with Parker. To the surprise of both, new tests indicate "Reilly" is the original and "Parker" the clone.

 

Complicating matters, Watson announces in The Spectacular Spider-Man #220 (Jan. 1995) that she is pregnant with Parker's baby. Later, however, a resurrected Green Goblin (Norman Osborn) has Watson poisoned, causing premature labor and the death of her and Parker's unborn daughter.

 

The Green Goblin had switched the results of the clone test in an attempt to destroy Parker's life by making him believe himself to be the clone. Reilly is killed while saving Parker, in Peter Parker: Spider-Man #75 (Dec. 1996), and his body immediately crumbles into dust, confirming Reilly was the clone.

 

In issue #97 (Nov. 1998) of the second series titled Peter Parker: Spider-Man, Parker learns his Aunt May was kidnapped by Norman Osborn and her apparent death in The Amazing Spider-Man #400 (April 1995) had been a hoax.

 

Shortly afterward, in The Amazing Spider-Man (vol. 2) #13 (#454, Jan. 2000), Watson is apparently killed in an airplane explosion. She turns up alive and well in (vol. 2) #28 (#469, April 2001), but she and Peter become separated in the following issue.

 

2000s

 

Babylon 5 creator J. Michael Straczynski began writing The Amazing Spider-Man, illustrated by John Romita Jr., beginning with (vol. 2) #30 (#471, June 2001).

 

Two issues later, Parker, now employed as a teacher at his old high school, meets the enigmatic Ezekiel, who possesses similar spider powers and suggests that Parker, having gained such abilities, might not have been a fluke—that Parker has a connection to a totemic spider spirit.

 

In (vol. 2) #37 (#478, Jan. 2002), May discovers her nephew Parker is Spider-Man, leading to a new openness in their relationship. Parker and Watson reconcile in (vol. 2) #50 (#491, April 2003).

 

He joins the superhero team the New Avengers in New Avengers #1–2. After their respective homes are destroyed by a deranged, superpowered former high-school classmate,

 

Parker, Watson, and May move into Stark Tower, and Parker begins working as Tony Stark's assistant while again freelancing for The Daily Bugle and continuing his teaching.

 

In the 12-part 2005 story arc "The Other", Parker undergoes a transformation that evolves his powers. In the comic Civil War #2 (June 2006), part of the company-wide crossover arc of that title, the U.S. government's Superhuman Registration Act leads Spider-Man to reveal his true identity publicly. A growing unease about the Registration Act prompts him to escape with May and Watson and join the anti-registration underground.

 

In issue #537 (Dec. 2006), May is critically wounded by a sniper hired by Wilson Fisk and enters into a coma. Parker, desperate to save her, exhausts all possibilities and makes a pact with the demon-lord Mephisto, who saves May's life in exchange for Parker and Watson agreeing to have their marriage and all memory of it disappear.

 

In this changed reality, Spider-Man's identity is secret once again, and in #545 (Jan. 2008), Watson returns and is cold toward him. The controversial storyline "One More Day" rolled back much of the fictional continuity at the behest of editor-in-chief Joe Quesada, who said, "Peter being single is an intrinsic part of the very foundation of the world of Spider-Man".

 

It caused unusual public friction between Quesada and writer Straczynski, who "told Joe that I was going to take my name off the last two issues of the [story] arc", but was talked out of doing so. At issue with Straczynski's climax to the arc, Quesada said, was ...that we didn't receive the story and methodology to the resolution that we were all expecting. What made that very problematic is that we had four writers and artists well underway on [the sequel arc] "Brand New Day" that were expecting and needed "One More Day" to end in the way that we had all agreed it would. ... The fact that we had to ask for the story to move back to its original intent understandably made Joe upset and caused some major delays and page increases in the series.

 

Also, the science that Joe was going to apply to the retcon of the marriage would have made over 30 years of Spider-Man books worthless, because they never would have had happened. ...[I]t would have reset way too many things outside of the Spider-Man titles. We just couldn't go there....

 

In this new continuity, designed to have very limited repercussions throughout the remainder of the Marvel Universe, Parker returns to work at the Daily Bugle, which has been renamed The DB under a new publisher. He soon switches to the alternative press paper The Front Line.

 

J. Jonah Jameson becomes the Mayor of New York City in issue #591 (June 2008). Jameson's estranged father, J. Jonah Jameson Sr., marries May in issue #600 (Sept. 2009).

 

During the "Secret Invasion" by shape-shifting extra-terrestrials, the Skrulls, Norman Osborn shoots and kills the Skrull queen Veranke. He leverages this widely publicized success, positioning himself as the new director of the S.H.I.E.L.D.-like paramilitary force H.A.M.M.E.R. to advance his agenda, while using his public image to start his own Dark Avengers. Norman himself leads the Dark Avengers as the Iron Patriot, a suit of armor fashioned by himself after Iron Man's armor with Captain America's colors.

 

Harry is approached by Norman with the offer of a job within the Dark Avengers. It is later revealed that it is a ruse to coerce Harry into taking the American Son armor, whom Norman had planned to kill, in order to increase public sympathy. When Harry has the option of killing Norman, Spider-Man says to decapitate him, since Norman's healing factor may repair a blow to the head. Spider-Man also cautions Harry that killing Norman will cause Harry to "become the son Norman always wanted". Harry instead backs down, and turns away from his father forever.

 

⚡ Happy 🎯 Heroclix 💫 Friday! 👽

_____________________________

A year of the shows and performers of the Bijou Planks Theater.

 

Secret Identity: Peter Parker

 

Publisher: Marvel

 

First appearance: Amazing Fantasy #15 (August 1962)

 

Created by: Stan Lee (Writer)

Steve Ditko (Artist)

 

Spidey has been a regular on the Bijou Planks since the early days!

 

Battling his enemies in BP 2018 Day 48!

[https://www.flickr.com/photos/paprihaven/38927028021/

 

Driving his Spider-Mobile in BP 2018 Day 285!

www.flickr.com/photos/paprihaven/43454305420/]

 

Driving his Webrunner in BP 2018 Day 327!

www.flickr.com/photos/paprihaven/44384632375/

 

Driving his Arachnid Terrain Vehicle in BP 2019 Day 95!

www.flickr.com/photos/paprihaven/46818458374/

 

Captured by the management in BP 2019 Day 161b!

www.flickr.com/photos/paprihaven/48040569416/

 

Caught in traffic as part of 7 Days of Thanksgiving in BP 2019 Day 329!

www.flickr.com/photos/paprihaven/49124596596/

 

Building snowmen with Mary Jane in BP 2019 Day 356!

www.flickr.com/photos/paprihaven/49259323713/

 

Bobbling alongside Starlord in BP 2020 Day 341!

www.flickr.com/photos/paprihaven/50692100087/

 

Having lunch with JJJ in BP 2021 Day 74!

www.flickr.com/photos/paprihaven/51041305377/

 

A secret appearance in BP 2022 Day 293 as part of the 13 Daze of Halloween!

www.flickr.com/photos/paprihaven/52441502892/

  

In specials such as:

 

Alongside Tarzan annoying Dracula in the 2018 13 Daze of Halloween!

www.flickr.com/photos/paprihaven/44758870834/

 

Celebrating an angry Labor Day in 2018!

www.flickr.com/photos/paprihaven/29522109657/

 

Celebrating Labor Day at Boop's in 2019!

www.flickr.com/photos/paprihaven/48667376222/

 

Photographing the photographers in the 2021 New Years!

www.flickr.com/photos/paprihaven/50789392271/

 

Getting psychiatric help from Lucy!

www.flickr.com/photos/paprihaven/48794149141/

 

And in the Paprihaven story!

 

Swinging into his debut in Parpihaven 1086!

www.flickr.com/photos/paprihaven/33949289490/

 

Getting into a scrap with Queen Hippolyta in Paprihaven 1097!

www.flickr.com/photos/paprihaven/35824686582/

 

Which of course led to a short and painful encounter in Wonder Woman in Paprihaven 1104!

www.flickr.com/photos/paprihaven/35363878313/

 

Hanging out with April in Paprhaven 1232!

www.flickr.com/photos/paprihaven/24803802788/

 

A full Thirlmere about to get a top up of new rain.Witnessed the floods first hand last weekend and you cant help but feel sorry for the folks in Cumbria and the other parts of the British Isles affected by mother natures recent downpours.

  

EXiF....F11....0.7 SECONDS....ISO 100....10MM....LEE 0.9S ND GRAD

Sun Valley, CA

 

Here is District Manager Stacy Walters leaving the yard to switch a truck out with one of his drivers, Gustavo, out in the West Valley. We got all the route information to try and find this truck, however, we had some car troubles that set us back a couple hours. Oh well! All in all a terrific day and quite an adventure!

 

Stacy Walters is quite a guy. He's been in the industry his whole life and has known Steve Lee since they were in high school. Stacy's family owned a garbage company that GI bought out and after that, Stacy was the district manager at GI for many years before going to Blue Barrel and then Sun Valley. Sometimes, Stacy still drives front load when things are busy at Sun Valley, which is awesome. His dad, Gary Walters, still works at GI. Last month, Stacy celebrated 30 years with the company.

In 2019 I was 61 and retired. I was playing VERY amateur photographer and met 4 interesting photo subjects plus 1. All caused me trouble except this member of the infamous Big 4.

From Wikipedia, the free encyclopedia

++++++++++++++++++++++++++++++++++

 

Le costume d'Arles est avec le costume provençal comtadin l'une des deux grandes variantes du costume provençal. Appelé aussi arlèse, son port a été relancé par Frédéric Mistral à la fin du XIXe siècle comme l'un des signes de l'identité culturelle de la Provence. Encore utilisé le dimanche jusqu'au début du XXe siècle, son usage courant a progressivement disparu au cours de la première moitié du XXe siècle. Actuellement, il n'est porté qu'épisodiquement, par des groupes folkloriques ou lors de manifestations volontaristes de l'identité locale1.

  

Historique

Costumes arlésiens au XVIIIe siècle (Atelier de couture à Arles, Antoine Raspal, 1760, musée Réattu, Arles).

 

Parmi toutes les variétés locales à la mode au cours du XVIIIe siècle, seul le costume d'Arles, porté indifféremment par les femmes de toutes conditions, a traversé la Révolution, tout en continuant à évoluer d'une façon naturelle. Jusque dans les années 1950, il était encore porté, quotidiennement à Arles par un certain nombre de femmes, et plus particulièrement le dimanche. Le costume d'Arles a été la tenue féminine traditionnelle dans tout l'ancien archevêché, a tenté de s'imposer jusqu'à Avignon sous l'impulsion de Frédéric Mistral, a débordé sur la rive droite du Rhône de la Camargue gardoise jusqu'à l'Uzège2, s'est étendu à l'Est par delà la Crau, jusqu'à la Durance et le golfe de Fos. Toute son évolution est retracée au Museon Arlaten3.

  

Originalité

 

Ce costume d'Arles se distingue d'abord par une coiffe spéciale qui nécessite le port de cheveux longs. En fonction des jours de la semaine et des tâches à accomplir, cette coiffure était retenue sur le sommet de la tête par un ruban, une cravate ou un nœud de dentelles. Mais elle exigeait toujours un temps de préparation important et des soins particuliers pour respecter l'exigence de ses canons. Cette coiffure est peu adaptée aujourd'hui à une vie professionnelle moderne. Face à la mode des cheveux courts, un substitut sous forme de postiche a été proposé, mais son manque de naturel l'a voué à l'échec4.

 

Composition

 

Parmi les pièces qui compose actuellement l'habillement et signe son élégance, il y a la chapelle ou cache-coeur, plastron de dentelle en forme de trapèze, apparu en 1860, et qui couvre la poitrine5, le grand châle ou fichu, de forme carrée, qui moule le buste, la robe longue en satin de différentes couleurs, souvent pincée à la taille, les dorures (bijoux, agrafes, boucles ou crochets) qui sont transmises de génération en génération. Ces parures vont du tour de cou en argent, aux différentes croix d'or filigranées, dites croix provençales, des bracelets en or massif enrichis de diamants6, aux boucles d'oreilles (pendants ou brandanto) réservées aux seules femmes mariées, en passant par les bagues rehaussées de pierres précieuses, les boucles de soulier en argent, les agrafes de manteau dorées ou argentées, les crochets d'argent pour la ceinture qui permettaient de suspendre les clefs, à la fois signe de richesse et de possession sur la maison familiale7.

  

Arles

 

Arles is located in France

Arles is located in Provence-Alpes-Côte d'Azur

Coordinates: 43°40′36″N 4°37′40″ECoordinates: 43°40′36″N 4°37′40″E

Country France

Region Provence-Alpes-Côte d'Azur

Department Bouches-du-Rhône

Arrondissement Arles

Canton Arles

Intercommunality CA Arles-Crau-Camargue-Montagnette

Government

• Mayor (2014–2020) Hervé Schiavetti (PCF)

Area1 758.93 km2 (293.02 sq mi)

Population (2012)2 52,439

• Density 69/km2 (180/sq mi)

Time zone CET (UTC+1)

• Summer (DST) CEST (UTC+2)

INSEE/Postal code 13004 /13200

Elevation 0–57 m (0–187 ft)

(avg. 10 m or 33 ft)

 

1 French Land Register data, which excludes lakes, ponds, glaciers > 1 km² (0.386 sq mi or 247 acres) and river estuaries.

2 Population without double counting: residents of multiple communes (e.g., students and military personnel) only counted once.

 

Arles (French pronunciation: ​[aʁl]; Provençal [ˈaʀle] in both classical and Mistralian norms; Arelate in Classical Latin) is a city and commune in the south of France, in the Bouches-du-Rhône department, of which it is a subprefecture, in the former province of Provence.

 

A large part of the Camargue is located on the territory of the commune, making it the largest commune in Metropolitan France in terms of territory (though Maripasoula, French Guiana, is much larger). The city has a long history, and was of considerable importance in the Roman province of Gallia Narbonensis. The Roman and Romanesque Monuments of Arles were listed as UNESCO World Heritage Sites in 1981. The Dutch post-Impressionist painter Vincent van Gogh lived in Arles from 1888 to 1889 and produced over 300 paintings and drawings during his time there. An international photography festival has been held in the city since 1970.

 

Geography

 

The river Rhône forks into two branches just upstream of Arles, forming the Camargue delta. Because the Camargue is for a large part administratively part of Arles, the commune as a whole is the largest commune in Metropolitan France in terms of territory, although its population is only slightly more than 50,000. Its area is 758.93 km2 (293.02 sq mi), which is more than seven times the area of Paris.

Climate

 

Arles has a Mediterranean climate with a mean annual temperature of 14.6 °C (1948 - 1999). The summers are warm and moderately dry, with seasonal averages between 22 °C and 24 °C, and mild winters with a mean temperature of about 7 °C. The city is constantly, but especially in the winter months, subject to the influence of the mistral, a cold wind which can cause sudden and severe frosts. Rainfall (636 mm per year) is fairly evenly distributed from September to May, with the summer drought being less marked than in other Mediterranean areas.[1]

 

Ancient era

 

The Ligurians were in this area from about 800 BC. Later, Celtic influences have been discovered. The city became an important Phoenician trading port, before being taken by the Romans.

 

The Romans took the town in 123 BC and expanded it into an important city, with a canal link to the Mediterranean Sea being constructed in 104 BC. However, it struggled to escape the shadow of Massalia (Marseilles) further along the coast.

 

Its chance came when it sided with Julius Caesar against Pompey, providing military support. Massalia backed Pompey; when Caesar emerged victorious, Massalia was stripped of its possessions, which were transferred to Arelate as a reward. The town was formally established as a colony for veterans of the Roman legion Legio VI Ferrata, which had its base there. Its full title as a colony was Colonia Iulia Paterna Arelatensium Sextanorum, "the ancestral Julian colony of Arles of the soldiers of the Sixth."

 

Arelate was a city of considerable importance in the province of Gallia Narbonensis. It covered an area of some 40 hectares (99 acres) and possessed a number of monuments, including an amphitheatre, triumphal arch, Roman circus, theatre, and a full circuit of walls. Ancient Arles was closer to the sea than it is now and served as a major port. It also had (and still has) the southernmost bridge on the Rhône. Very unusually, the Roman bridge was not fixed but consisted of a pontoon-style bridge of boats, with towers and drawbridges at each end. The boats were secured in place by anchors and were tethered to twin towers built just upstream of the bridge. This unusual design was a way of coping with the river's frequent violent floods, which would have made short work of a conventional bridge. Nothing remains of the Roman bridge, which has been replaced by a more modern bridge near the same spot.

 

The city reached a peak of influence during the 4th and 5th centuries, when Roman Emperors frequently used it as their headquarters during military campaigns. In 395, it became the seat of the Praetorian Prefecture of the Gauls, governing the western part of the Western Empire: Gaul proper plus Hispania (Spain) and Armorica (Brittany). At that time, the city was perhaps home to 75,000–100,000 people.[2][3][4][5]

 

It became a favorite city of Emperor Constantine I, who built baths there, substantial remains of which are still standing. His son, Constantine II, was born in Arles. Usurper Constantine III declared himself emperor in the West (407–411) and made Arles his capital in 408.

 

Arles became renowned as a cultural and religious centre during the late Roman Empire. It was the birthplace of the sceptical philosopher Favorinus. It was also a key location for Roman Christianity and an important base for the Christianization of Gaul. The city's bishopric was held by a series of outstanding clerics, beginning with Saint Trophimus around 225 and continuing with Saint Honoratus, then Saint Hilarius in the first half of the 5th century. The political tension between the Catholic bishops of Arles and the Visigothic kings is epitomized in the career of the Frankish St. Caesarius, bishop of Arles 503–542, who was suspected by the Arian Visigoth Alaric II of conspiring with the Burgundians to turn over the Arelate to Burgundy, and was exiled for a year to Bordeaux in Aquitaine. Political tensions were evident again in 512, when Arles held out against Theodoric the Great and Caesarius was imprisoned and sent to Ravenna to explain his actions before the Ostrogothic king.[6]

 

The friction between the Arian Christianity of the Visigoths and the Catholicism of the bishops sent out from Rome established deep roots for religious heterodoxy, even heresy, in Occitan culture. At Treves in 385, Priscillian achieved the distinction of becoming the first Christian executed for heresy (Manichaean in his case, see also Cathars, Camisards). Despite this tension and the city's decline in the face of barbarian invasions, Arles remained a great religious centre and host of church councils (see Council of Arles), the rival of Vienne, for hundreds of years.

Roman aqueduct and mill

Aqueduct of Arles at Barbegal

 

The Barbegal aqueduct and mill is a Roman watermill complex located on the territory of the commune of Fontvieille, a few kilometres from Arles. The complex has been referred to as "the greatest known concentration of mechanical power in the ancient world".[7] The remains of the mill streams and buildings which housed the overshot water wheels are still visible at the site, and it is by far the best-preserved of ancient mills. There are two aqueducts which join just north of the mill complex, and a sluice which enabled the operators to control the water supply to the complex. The mill consisted of 16 waterwheels in two separate rows built into a steep hillside. There are substantial masonry remains of the water channels and foundations of the individual mills, together with a staircase rising up the hill upon which the mills are built. The mills apparently operated from the end of the 1st century until about the end of the 3rd century.[8] The capacity of the mills has been estimated at 4.5 tons of flour per day, sufficient to supply enough bread for 6,000 of the 30-40,000 inhabitants of Arelate at that time.[9] A similar mill complex existed also on the Janiculum in Rome. Examination of the mill leat still just visible on one side of the hill shows a substantial accretion of lime in the channel, tending to confirm its long working life.

 

It is thought that the wheels were overshot water wheels with the outflow from the top driving the next one down and so on, to the base of the hill. Vertical water mills were well known to the Romans, being described by Vitruvius in his De Architectura of 25 BC, and mentioned by Pliny the Elder in his Naturalis Historia of 77 AD. There are also later references to floating water mills from Byzantium and to sawmills on the river Moselle by the poet Ausonius. The use of multiple stacked sequences of reverse overshot water-wheels was widespread in Roman mines.

Middle Ages

Place de la République.

Cafe Terrace at Night by Vincent van Gogh (September 1888), depicts the warmth of a café in Arles

 

In 735, after raiding the Lower Rhône, Andalusian Saracens led by Yusuf ibn 'Abd al-Rahman al-Fihri moved into the stronghold summoned by Count Maurontus, who feared Charles Martel's expansionist ambitions, though this may have been an excuse to further Moorish expansion beyond Iberia. The next year, Charles campaigned south to Septimania and Provence, attacking and capturing Arles after destroying Avignon. In 739. Charles definitely drove Maurontus to exile, and brought Provence to heel. In 855, it was made the capital of a Frankish Kingdom of Arles, which included Burgundy and part of Provence, but was frequently terrorised by Saracen and Viking raiders. In 888, Rudolph, Count of Auxerre (now in north-western Burgundy), founded the kingdom of Transjuran Burgundy (literally, beyond the Jura mountains), which included western Switzerland as far as the river Reuss, Valais, Geneva, Chablais and Bugey.

 

In 933, Hugh of Arles ("Hugues de Provence") gave his kingdom up to Rudolph II, who merged the two kingdoms into a new Kingdom of Arles. In 1032, King Rudolph III died, and the kingdom was inherited by Emperor Conrad II the Salic. Though his successors counted themselves kings of Arles, few went to be crowned in the cathedral. Most of the kingdom's territory was progressively incorporated into France. During these troubled times, the amphitheatre was converted into a fortress, with watchtowers built at each of the four quadrants and a minuscule walled town being constructed within. The population was by now only a fraction of what it had been in Roman times, with much of old Arles lying in ruins.

 

The town regained political and economic prominence in the 12th century, with the Holy Roman Emperor Frederick Barbarossa traveling there in 1178 for his coronation. In the 12th century, it became a free city governed by an elected podestat (chief magistrate; literally "power"), who appointed the consuls and other magistrates. It retained this status until the French Revolution of 1789.

 

Arles joined the countship of Provence in 1239, but, once more, its prominence was eclipsed by Marseilles. In 1378, the Holy Roman Emperor Charles IV ceded the remnants of the Kingdom of Arles to the Dauphin of France (later King Charles VI of France) and the kingdom ceased to exist even on paper.

Modern era

 

Arles remained economically important for many years as a major port on the Rhône. In the 19th century, the arrival of the railway diminished river trade, leading to the town becoming something of a backwater.

 

This made it an attractive destination for the painter Vincent van Gogh, who arrived there on 21 February 1888. He was fascinated by the Provençal landscapes, producing over 300 paintings and drawings during his time in Arles. Many of his most famous paintings were completed there, including The Night Cafe, the Yellow Room, Starry Night Over the Rhone, and L'Arlésienne. Paul Gauguin visited van Gogh in Arles. However, van Gogh's mental health deteriorated and he became alarmingly eccentric, culminating in the well-known ear-severing incident in December 1888 which resulted in two stays in the Old Hospital of Arles. The concerned Arlesians circulated a petition the following February demanding that van Gogh be confined. In May 1889, he took the hint and left Arles for the Saint-Paul asylum at nearby Saint-Rémy-de-Provence.

Jewish history

Main article: History of the Jews in Arles

 

Arles had an important and evident Jewish community between the Roman era and until the end of the 15th century. A local legend describes the first Jews in Arles as exiles from Judaea after Jerusalem fell to the Romans. Nevertheless, the first documented evident of Jews in Arles is not before fifth century, when a distinguished community had already existed in town. Arles was an important Jewish crossroads, as a port city and close to Spain and the rest of Europe alike. It served a major role in the work of the Hachmei Provence group of famous Jewish scholars, translators and philosophers, who were most important to Judaism throughout the Middle Ages. At the eighth century, the jurisdiction of the Jews of Arles were passed to the local Archbishop, making the Jewish taxes to the clergy somewhat of a shield for the community from mob attacks, most frequent during the Crusades. The community lived relatively peacefully until the last decade of the 15th century, when they were expelled out of the city never to return. Several Jews did live in the city in the centuries after, though no community was found ever after. Nowadays, Jewish archaeological findings and texts from Arles can be found in the local museum.[10]

Population

 

Arles has important Roman remnants, most of which have been listed as UNESCO World Heritage Sites since 1981 within the Arles, Roman and Romanesque Monuments group. They include:

 

The Gallo-Roman theatre

The arena or amphitheatre

The Alyscamps (Roman necropolis)

The Thermae of Constantine

The cryptoporticus

Arles Obelisk

Barbegal aqueduct and mill

 

The Church of St. Trophime (Saint Trophimus), formerly a cathedral, is a major work of Romanesque architecture, and the representation of the Last Judgment on its portal is considered one of the finest examples of Romanesque sculpture, as are the columns in the adjacent cloister.

 

The town also has a museum of ancient history, the Musée de l'Arles et de la Provence antiques, with one of the best collections of Roman sarcophagi to be found anywhere outside Rome itself. Other museums include the Musée Réattu and the Museon Arlaten.

 

The courtyard of the Old Arles hospital, now named "Espace Van Gogh," is a center for Vincent van Gogh's works, several of which are masterpieces.[11] The garden, framed on all four sides by buildings of the complex, is approached through arcades on the first floor. A circulation gallery is located on the first and second floors.[12]

Archaeology

Main article: Arles portrait bust

 

In September–October 2007, divers led by Luc Long from the French Department of Subaquatic Archaeological Research, headed by Michel L'Hour, discovered a life-sized marble bust of an apparently important Roman person in the Rhône near Arles, together with smaller statues of Marsyas in Hellenistic style and of the god Neptune from the third century AD. The larger bust was tentatively dated to 46 BC. Since the bust displayed several characteristics of an ageing person with wrinkles, deep naso-labial creases and hollows in his face, and since the archaeologists believed that Julius Caesar had founded the colony Colonia Iulia Paterna Arelate Sextanorum in 46 BC, the scientists came to the preliminary conclusion that the bust depicted a life-portrait of the Roman dictator: France's Minister of Culture Christine Albanel reported on May 13, 2008, that the bust would be the oldest representation of Caesar known today.[13] The story was picked up by all larger media outlets.[14][15] The realism of the portrait was said to place it in the tradition of late Republican portrait and genre sculptures. The archaeologists further claimed that a bust of Julius Caesar might have been thrown away or discreetly disposed of, because Caesar's portraits could have been viewed as politically dangerous possessions after the dictator's assassination.

 

Historians and archaeologists not affiliated with the French administration, among them Paul Zanker, the renowned archaeologist and expert on Caesar and Augustus, were quick to question whether the bust is a portrait of Caesar.[16][17][18] Many noted the lack of resemblances to Caesar's likenesses issued on coins during the last years of the dictator's life, and to the Tusculum bust of Caesar,[19] which depicts Julius Caesar in his lifetime, either as a so-called zeitgesicht or as a direct portrait. After a further stylistic assessment, Zanker dated the Arles-bust to the Augustan period. Elkins argued for the third century AD as the terminus post quem for the deposition of the statues, refuting the claim that the bust was thrown away due to feared repercussions from Caesar's assassination in 44 BC.[20] The main argument by the French archaeologists that Caesar had founded the colony in 46 BC proved to be incorrect, as the colony was founded by Caesar's former quaestor Tiberius Claudius Nero on the dictator's orders in his absence.[21] Mary Beard has accused the persons involved in the find of having willfully invented their claims for publicity reasons. The French ministry of culture has not yet responded to the criticism and negative reviews.

Sport

 

AC Arles-Avignon is a professional French football team. They currently play in Championnat de France Amateur, the fourth division in French football. They play at the Parc des Sports, which has a capacity of just over 17,000.

Culture

 

A well known photography festival, Rencontres d'Arles, takes place in Arles every year, and the French national school of photography is located there.

 

The major French publishing house Actes Sud is also situated in Arles.

 

Bull fights are conducted in the amphitheatre, including Provençal-style bullfights (courses camarguaises) in which the bull is not killed, but rather a team of athletic men attempt to remove a tassle from the bull's horn without getting injured. Every Easter and on the first weekend of September, during the feria, Arles also holds Spanish-style corridas (in which the bulls are killed) with an encierro (bull-running in the streets) preceding each fight.

 

The film Ronin was partially filmed in Arles.

European Capital of Culture

 

Arles played a major role in Marseille-Provence 2013, the year-long series of cultural events held in the region after it was designated the European Capital of Culture for 2013. The city hosted a segment of the opening ceremony with a pyrotechnical performance by Groupe F on the banks of the Rhône. It also unveiled the new wing of the Musée Départemental Arles Antique as part of Marseille-Provence 2013.

Economy

 

Arles's open-air street market is a major market in the region. It occurs on Saturday and Wednesday mornings.

Transport

 

The Gare d'Arles railway station offers connections to Avignon, Nîmes, Marseille, Paris, Bordeaux and several regional destinations.

Notable people

 

Vincent van Gogh, lived here from February 1888 until May 1889.

The Provençal poet Frédéric Mistral (1830–1914) was born near Arles

Jeanne Calment (1875–1997), the oldest human being whose age is documented, was born, lived and died, at the age of 122 years and 164 days, in Arles

Anne-Marie David, singer (Eurovision winner in 1973)

Christian Lacroix, fashion designer

Lucien Clergue, photographer

Djibril Cissé, footballer

Antoine de Seguiran, 18th-century encyclopédiste

Genesius of Arles, a notary martyred under Maximianus in 303 or 308

Blessed Jean Marie du Lau, last Archbishop of Arles, killed by the revolutionary mob in Paris on September 2, 1792

Juan Bautista (real name Jean-Baptiste Jalabert), matador

Maja Hoffmann, art patron

Mehdi Savalli, matador

The medieval writer Antoine de la Sale was probably born in Arles around 1386

Home of the Gipsy Kings, a music group from Arles

Gael Givet, footballer

Lloyd Palun, footballer

Fanny Valette, actress

Luc Hoffmann, ornithologist, conservationist and philanthropist.

Saint Caesarius of Arles, bishop who lived from the late 5th to the mid 6th century, known for prophecy and writings that would later be used by theologians such as St. Thomas Aquinas

Samuel ibn Tibbon, famous Jewish translator and scholar during the Middle Ages.

Kalonymus ben Kalonymus, famous Jewish scholar and philosopher, Arles born, active during the Middle Ages.

 

Twin towns — sister cities

See also: List of twin towns and sister cities in France

 

Arles is twinned with:

 

Pskov, Russia

Jerez de la Frontera, Spain

Fulda, Germany

York, Pennsylvania, United States

Cubelles, Spain

Vercelli, Italy

Sagné, Mauritania

Kalymnos, Greece

Wisbech, United Kingdom

Zhouzhuang, Kunshan, Jiangsu, People's Republic of China

Verviers, Belgium

 

See also

 

Archbishopric of Arles

Montmajour Abbey

Trinquetaille

Langlois Bridge

Saint-Martin-de-Crau

Communes of the Bouches-du-Rhône department

 

References

 

This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). "Archdiocese of Aix". Catholic Encyclopedia. New York: Robert Appleton.

INSEE

 

The table contains the temperatures and precipitation of the city of Arles for the period 1948-1999, extracted from the site Sophy.u-3mrs.fr.

www.academia.edu/1166147/_The_Fall_and_Decline_of_the_Rom...

Rick Steves' Provence & the French Riviera, p. 78, at Google Books

Nelson's Dictionary of Christianity: The Authoritative Resource on the Christian World, p. 1173, at Google Books

Provence, p. 81, at Google Books

Wace, Dictionary)

Greene, Kevin (2000). "Technological Innovation and Economic Progress in the Ancient World: M.I. Finley Re-Considered". The Economic History Review. New Series. 53 (1): 29–59 [p. 39]. doi:10.1111/1468-0289.00151.

"Ville d'Histoire et de Patrimoine". Patrimoine.ville-arles.fr. Retrieved 2013-03-25.

"La meunerie de Barbegal". Etab.ac-caen.fr. Retrieved 2013-03-25.

jewishencyclopedia.com/articles/1784-arles

Fisher, R, ed (2011). Fodor's France 2011. Toronto and New York: Fodor's Travel, division of Random House. p. 563 ISBN 978-1-4000-0473-7.

"Espace Van Gogh". Visiter, Places of Interest. Arles Office de Tourisme. Retrieved 2011-04-29.

Original communiqué (May 13, 2008); second communiqué (May 20, 2008); report (May 20, 2008)

E.g."Divers find marble bust of Caesar that may date to 46 B.C.". Archived from the original on 2008-06-05. Retrieved 2008-05-14. , CNN-Online et al.

Video (QuickTime) Archived May 28, 2008, at the Wayback Machine. on the archaeological find (France 3)

Paul Zanker, "Der Echte war energischer, distanzierter, ironischer" Archived May 29, 2008, at the Wayback Machine., Sueddeutsche Zeitung, May 25, 2008, on-line

Mary Beard, "The face of Julius Caesar? Come off it!", TLS, May 14, 2008, on-line

Nathan T. Elkins, 'Oldest Bust' of Julius Caesar found in France?, May 14, 2008, on-line

Cp. this image at the AERIA library

A different approach was presented by Mary Beard, in that members of a military Caesarian colony would not have discarded portraits of Caesar, whom they worshipped as god, although statues were in fact destroyed by the Anti-Caesarians in the city of Rome after Caesar's assassination (Appian, BC III.1.9).

Konrat Ziegler & Walther Sontheimer (eds.), "Arelate", in Der Kleine Pauly: Lexikon der Antike, Vol. 1, col. 525, Munich 1979; in 46 BC, Caesar himself was campaigning in Africa, before later returning to Rome.

 

One of my favorite chapters in the Book of Psalms :

 

Psalm 91

 

1 He that dwelleth in the secret place of the most High shall abide under the shadow of the Almighty.

2 I will say of the Lord, He is my refuge and my fortress: my God; in him will I trust.

3 Surely he shall deliver thee from the snare of the fowler, and from the noisome pestilence.

4 He shall cover thee with his feathers, and under his wings shalt thou trust: his truth shall be thy shield and buckler.

 

5 Thou shalt not be afraid for the terror by night; nor for the arrow that flieth by day;

6 Nor for the pestilence that walketh in darkness; nor for the destruction that wasteth at noonday.

7 A thousand shall fall at thy side, and ten thousand at thy right hand; but it shall not come nigh thee.

8 Only with thine eyes shalt thou behold and see the reward of the wicked.

9 Because thou hast made the Lord, which is my refuge, even the most High, thy habitation;

 

10 There shall no evil befall thee, neither shall any plague come nigh thy dwelling.

11 For he shall give his angels charge over thee, to keep thee in all thy ways.

12 They shall bear thee up in their hands, lest thou dash thy foot against a stone.

13 Thou shalt tread upon the lion and adder: the young lion and the dragon shalt thou trample under feet.

14 Because he hath set his love upon me, therefore will I deliver him: I will set him on high, because he hath known my name.

15 He shall call upon me, and I will answer him: I will be with him in trouble; I will deliver him, and honour him.

16 With long life will I satisfy him, and shew him my salvation.

  

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~

 

* "Last Exit Before Babylon" Beautiful warning message to Americans and everyone who are watching prophetic events unfold.

   

* Prophecy Update - November 11th, 2012

 

* Economic Collapse, Foreign Troops & Marshall Law with Steve Quayle

 

* Paul Begley New Jersey Awards Contract For RFID "666 Mark" To Radiant! ~ You can believe this or not .

 

Perversion and immorality abides - dark times :

* Gay Foreplay Taught In School In Maine!! video of Paul Begley

 

* EU budget talks for 2013 collapse

 

* Mass Animal Die-offs and Bible Prophecy

 

* BREAKING: MASSIVE RIOTS HIT MADRID, SPAIN

 

* ISRAEL "Hamas Leader Killed" (LIVE Video) Prophecy!

  

* The Anti Christ revealed - Bible Prophecy !

My personal belief ,the AntiChrist hasn't been revealed as the falling away hasn't

happened yet or the global need for peace ,perhaps a world war yet to happen.The "falling away" translated to greek means "departure" by which pre-tribulation rapture believing christians do believe it is and not alone attrbuted to people leaving the Christian faith .

Anyway , many speculations abound who the antichrist is.This video is one example ,

perhaps it holds water but AC is yet to be revealed in the future. He may not be as we thought .

I am not looking forward to see the Antichrist - Not in my dreams to be around at that time

to see him reigning in control of the global system . What Bible scholars had seen is the one world

global system as spoken in Revelations and it would not be any coincidence the world condition today

is heading to .Many world leaders are advocating for one world monetary system ,even the Vatican

calling for it.

     

* The Mark of the Beast ~ Today's Technology & Bible Prophecy

 

* Big Brother UK: 8 million children recorded on massive secret database

  

* UK classrooms may teach students about Internet porn - What ?!!!!

   

* Prophecy in the News: Cosmic Codes / Bible codes Interesting video !

  

* Signs of the Times with L.A. Marzulli Also talks about the BBC documentary about two strange women " Living in the fast lane ".

   

* "Belgium Will Become an Islamic State" and who's next ? This is truly a prophetic sign of the times coming to happen when real Christians will get more persecuted and sentenced even to death .

* New Euro Currency Shows Woman Riding the Beast

* Petitions seeking White House approval to ‘secede’ now come from 47 states

 

* More Layoffs at many companies : cite economy and Obama care as reasons

  

* We are Preparing for Massive Civil War, Says DHS Informant

 

* How fraudsters use your Facebook, LinkedIn and Twitter pages to build a jigsaw and steal your identity ~ This proves my point .If you ever find me on facebook , I methamorphosed into bearded man in his 60's.

  

* Google: Surveillance 'is on the rise'

 

* There Will Be War In The Middle East

 

* First three Gaza missiles hit Tel Aviv. Israel drafts 30,000 reservists

    

Israel and Hamas compete for EU sympathy ~ The Bible tells whose side the west will be on . Israel will be left alone soon , in solo to fight the war . God bless Israel and always.

 

* Over 1.2 million signatures/Obama Supporters call for Arrests/Deportation!!

   

* 2 rockets explode near Jerusalem

  

* "BREAKING: Jerusalem Hit By Rocket"

Of those who understand ,please pray for Israel .

 

~~~~~~~~~~~~~~~~~~~~~~<< ~~~~~~~@

 

Many of us may think it would not touch us if the middleast burns ,but take note mega inflation will happen ,perhaps will trigger global economic collapse . Can you cycle 60 miles to work 5 x a week when price of oil shoot up sky high ?

You may have resources enough to feed your family but think of others who will not have enough and will starve during the crisis .Have reflection of what is going on in some countries in EU ,example is Greece ,it breaks my heart .When people don't have enough and living for survival - try to figure out great social upheaval / cause and effect , surely will create an increase in criminalities ,lootings ,robberies and all evils,"where love of many will grow cold " as spoken in the Bible . Apart from the imminent nuclear threat ,some countries so involve with middleast affair ,including the country where I live in ,probability we might burn as well .But fear not if you have Yeshua or Jesus .

Hey doom and gloom again , for those critical of my postings and who just want to hear every rosy side of things ,well you have the choice to bury your head in the sand -- but it's rather good to be aware of what is to come and waking up others and as many into awareness than having pleasure of seeing others still sleeping / being caught up by hell of surprise unprepared .If it will not happen soon then many will be relieved but if this things spoken happens sooner ,it's good to be ready at all times .The most significant point is spiritual preparedness above prepping to save our physical bodies. Submitting ones life to Jesus ( no religion involve ) ,having personal relationship with Jesus is our way to eternal salvation .It's asking Jesus to come into our hearts and true repentance of our sins, and we're save in Christ. Jesus died for humanity for everyone to be save,for those who accept Him , the only sacrificial lamb of God to die once and for all .

 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Location :

Nile River

Luxor ,Egypt ( 2009 )

It is the annual open air Christmas service in Turtle Crossing Park. Pastor Charles Calvin has delivered the opening message* and now there is a time of fellowship.

 

Officer Smith: Pastor Calvin, this is Steve Rogers. Steve and I have been talking and I wanted him to meet you.

 

Pastor Calvin: Thank you Brad. Steve, it is a pleasure.

 

Steve Rogers: The pleasure is mine, pastor. You are from London, mid 19th century?

 

Pastor Calvin: Yes, I left and came to Paprihaven in 1884.

 

Steve Rogers: I thought so. I read your reprinted sermons when I was younger. I'm pretty much a century later, from 1988 America.

 

Pastor Calvin: *chuckle* I gathered by your colorful garb you may be from America.

 

Steve Rogers: Two world wars broke out after you left and I served in both. And in many others. Too many. ** Peace, Pastor Calvin. Doesn't the Bible say in Luke 2 that Jesus came to bring peace on earth?

 

Pastor Calvin: Yes. And He has. We cannot parse out the words though, to try and make them fit something else. The passage does not allude to a general peace on earth, but "Glory to God in the highest, And on earth peace among men with whom He is pleased." ***

 

The peace of which the angelic host is heralding is a peace within the hearts and souls of those men and women who repent and turn to the Savior whose birth was being praised.

 

The "on earth" is the amazing aspect of this peace. It would be little wonder that you or I would have peace in Heaven, would it?

 

Steve Rogers: No, pastor, that would be expected.

 

Pastor Calvin: Just so. But here, in a fallen world of darkness, deceit, danger, how can one find lasting peace? The world itself cannot offer that peace because the world is the source of the unrest. Purchasing the best security only offers a temporary sense of safety as new security measures simply, inevitably, fall to more inventive criminals.

 

That's just an example that can be applied to every aspect of life here. So... "peace on earth" is truly amazing. Absolute, consistent peace in the heart of a person that remains independent of the circumstances around them.

 

Steve Rogers: The peace of God.

 

Pastor Calvin: Exactly. The Lord Jesus says, "Peace I leave with you; My peace I give to you; not as the world gives do I give to you. Do not let your heart be troubled, nor let it be fearful." **** The peace He gives not like the sense of peace provided by anything of this world, which ebbs and flows. The peace of Christ is consistent. Solid. Because it is His peace.

 

It is the peace that comes with the knowledge that the one true God is your God and that He will never leave your nor forsake you. That you, as a believer, have full access to His throne at all times. "Let your gentle spirit be known to all men. The Lord is near. Be anxious for nothing, but in everything by prayer and supplication with thanksgiving let your requests be made known to God. And the peace of God, which surpasses all comprehension, will guard your hearts and your minds in Christ Jesus." *****

 

Steve Rogers: "Let your gentle spirit be known to all men." So as long as this world goes on, there will be conflict. But, at least we can present peace to those around us.

 

Pastor Calvin: Well said. "Turn from evil and do good; Seek peace and pursue it. Blessed are the peacemakers, for they will be called sons of God." ******

 

Steve Rogers: Thank you, Pastor Calvin.

 

Pastor Calvin: Thank you for taking the time to speak with me, Steve. And, my ever helpful Audrey is standing close by, no doubt seeking my attention to let me know it is time for the closing remarks.

 

Audrey: Yes, I hope I didn't interrupt.

__________________________________

 

*Seen here:

www.flickr.com/photos/paprihaven/50736652896/

 

** Cap has never turned away from the fight for good, but the constant wars have weighed heavily on him.

www.flickr.com/photos/paprihaven/49057543226/]

 

*** Luke 2:14

**** John 17:27

***** Philippians 4:5-7

****** Psalm 34:14, Matthew 5:9

While Lauren and I were shopping at TJ Maxx i came across this super snazzy pea coat and of course we couldn't pass up the deal! For 2 days i pondered ideas and locations! We got up today at 7 this morning and set out for the shoot. The first location didn't work out to well due to some goose hunters...... After a little trouble finding a location, i stumbled across this perfect pine forest in Mohican State Park. It was a superb find! title comes from a song by Dead Confederate, posted below.

 

AB B800 behind for Rim edited out stand and cord.

AB B800 into large soft box high and left

 

www.youtube.com/watch?v=izEXdW3JMCc

...And God said to them, “Be fruitful and multiply and fill the earth and subdue it and have dominion over the fish of the sea and over the birds of the heavens and over every living thing that moves on the earth.” ~ Genesis 1 :28

  

1 Corinthians 7:2

" But because of the temptation to sexual immorality, each man should have his own wife and each woman her own husband."

   

Hebrews 13:4

" Let marriage be held in honor among all, and let the marriage bed be undefiled, for God will judge the sexually immoral and adulterous."

 

Man is for woman and woman is for a man , not man for a man or woman for woman .The Biblical verses that supports the truth can hurt ...but not my words but by the Word of God .

  

~~~~~~~~~~~~~~~~~~~~~~~<<~~~~~@

 

Dark Times but blessed are they that trust fully in God , making Him their fortress .

  

State Run Religion and Prepping for "Mass Fatalities" By Alex Jones ' INFOWARS ~ Hmmm very interesting .

   

EVIL POSSESSED NYPD COP ,make it sure you're not on his list passed on to his cohorts with the same sick fetish , demonically lusting cannibalism on women:

   

* NYPD cop charged in sick kidnap - cook plot involving 100 women

     

* NYPD Cop Plot To "Slow Cook" 100 Women "Zombie Cult" Demons!

  

* Prosecutors: NYPD officer conspired to kidnap, cook, eat women

  

Perverse and twisted times we are living in , a generation with less reverence or knowledge of God ;

evil considered as good and good considered evil.

 

* Steve Quayle "FREEDOM FROM LUST"

  

* Planned Parenthood praises sexual pleasure for kids

Now advocating 'removal' of laws allowing 'parental involvement' in decisions

 

* Satanism In Music Industry

 

* Harry Potter: Witchcraft Repackaged part 1 of 2

  

* Iran Fires On USA Drones In Persian Gulf!!

   

* "Last Exit Before Babylon" Beautiful warning message to everyone not just Americans -- seek Jesus now ,never so late.

    

* Why People Around the World Should be Terrified of Obama ( And Christians Should be Thankful)

A fascinating perspective :-/

 

Instead of fear and worrying isn't it time to keep looking up with joy because it points to big changes soon to come and as foretold of Jesus coming .Look at world events ,earthquakes in diverse places of greater intensity ( Matthew 24 ) ,millions of animal deaths almost like everyday from one corner of the world to the next ,apocalyptic disasters one after another ... not the least ,the division of the promise land of God is on the big agenda right on our present day and President Obama is unto this in favor of the division of the land ,which I get the shivers of this thought ,but the Biblical text had stated this will happen .

Take note in Genesis 12 :2 - 3 "those who curse Israel will be curse " and Read Zechariah 12 ,God will cut down nations into pieces of those who attack Israel and divide His land . Make no mistake things will get so bad when your nation will be unto division of Israel .We are right in the cusp of the dark days towards the Tribulations .Read you Bible friends but no fear --- Jesus said "let not your hearts be troubled " rather put your trust in Jesus . I do believe everything happened for a purpose ,even the reelection of President Obama in my opinion and of other who are watching closely , is part of the fulfillment of prophetic events that should happen in our timeline ,what was foretold is unfolding . But keep holding on to the hope ,as this means we are close to Jesus coming to bring lasting peace on earth . This earth will never end .It's this evil world as we knew it that will come to its end - then the millenial reign of Jesus on earth ,the Bible said so .To every Christians ,it's time to keep our ways right with God in case we have slipped a little away from our walk with God , ask for true discernment to see things right from the Lord not from man. It's time to prepare ,keep your lamps with oil like 5 of the 10 virgins ( as the door to the bridegroom will shut soon ) , forsake the love of the things of this world , ask Jesus to search your hearts ,and put your lives right and stronger with Him .He is coming soon ,Maranatha !

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Location :

Malapascua Island , Central Visayas ,Philippines

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

 

Thank you for the views and comments friends .

God bless :)

American postcard by American Postcard Company, 1982. Photo: Lawrence Irvine / New Line Cinema. Publicity still for Pink Flamingos (John Waters, 1972).

 

Harris Glenn Milstead, better known by his stage name Divine (1945-1988), was an American actor, singer, and drag queen. He was closely associated with the independent filmmaker John Waters. Divine became the international icon of bad taste cinema.

 

Harris Glenn Milstead was born in 1945 in Baltimore, Maryland to a conservative middle-class family. His parents were Harris Bernard Milstead and Frances Milstead (née Vukovich). Their only child, his parents lavished almost anything that he wanted upon him, including food. He became overweight, a condition he lived with for the rest of his life. Divine preferred to use his middle name, Glenn, to distinguish himself from his father, and was referred to as such by his parents and friends. When he was 17, his parents sent him to a psychiatrist, where he first realised his sexual attraction to men as well as women, something then taboo in conventional American society. In 1963, he began attending the Marinella Beauty School, where he learned hair styling and, after completing his studies, gained employment at a couple of local salons, specialising in the creation of beehives and other upswept hairstyles.

Milstead developed an early interest in drag while working as a women's hairdresser. He eventually gave up his job and for a while was financially supported by his parents, who catered to his expensive taste in clothes and cars. They reluctantly paid the many bills that he ran up financing lavish parties where he would dress up in drag as his favourite celebrity, actress Elizabeth Taylor. By the mid-1960s he had embraced the city's countercultural scene. His friend from high school, John Waters gave him the name 'Divine' and the tagline of 'the most beautiful woman in the world, almost'. Waters later remarked that he had borrowed the name Divine from a character in Jean Genet's novel Our Lady of the Flowers (1943). Along with his friend David Lochary, Divine joined Waters' acting troupe, the Dreamlanders (which also included Mary Vivian Pearce and Mink Stole), and adopted female roles for their experimental short films. The first was Roman Candles (John Waters, 1966), which was shown 'triple projected' on three 8mm projectors running simultaneously but was never released commercially. Divine starred in drag as a smoking nun. Other short films were Eat Your Makeup (John Waters, 1968), and The Diane Linkletter Story (John Waters, 1969), filmed on Sunday afternoons. Again in drag, he took a lead role in Waters' first full-length film, Mondo Trasho (John Waters, 1969) Divine as an unnamed blonde woman who drives around town and runs over a hitchhiker. In their review of the film, the Los Angeles Free Press exclaimed that "The 300-pound (140 kg) sex-symbol Divine is undoubtedly some sort of discovery." In 1970, he travelled to San Francisco, California, a city which had a large gay subculture that attracted Divine, who was then embracing his homosexuality. Divine played the role of Lady Divine, the operator of an exhibit known as The Cavalcade of Perversion who turns to murdering visitors in Waters's film Multiple Maniacs. The film contained several controversial scenes, notably one which involved Lady Divine masturbating using a rosary while sitting inside a church. In another, Lady Divine kills her boyfriend and proceeds to eat his heart; in actuality, Divine bit into a cow's heart which had gone rotten from being left out on the set all day. At the end of the film, Lady Divine is raped by a giant lobster named Lobstora, an act that drives her into madness; she subsequently goes on a killing spree in Fell's Point before being shot down by the National Guard. Due to its controversial nature, Waters feared that the film would be banned and confiscated by the Maryland Censor Board, so avoided their jurisdiction by only screening it at non-commercial venues, namely rented church premises. Multiple Maniacs was the first of Waters's films to receive widespread attention, as did Divine; KSFX remarked that "Divine is incredible! Could start a whole new trend in films." Following his San Francisco sojourn, Divine returned to Baltimore and participated in Pink Flamingos (John Waters, 1972). Designed by Waters to be an exercise in poor taste, the film featured Divine as Babs Johnson, living in a pink trailer with her egg-eating grandmother, chicken-loving son and voyeuristic daughter. Babs claims to be 'the filthiest person alive' and she is forced to prove her right to the title from challengers, Connie (Mink Stole) and Raymond Marble (David Lochary). In one scene, the Marbles send Babs a turd in a box as a birthday present, and in order to enact this scene, Divine defecated into the box the night before. The final scene in the film proved particularly infamous, involving Babs eating fresh dog feces; Divine later told a reporter, "I followed that dog around for three hours just zooming in on its asshole," waiting for it to empty its bowels so that they could film the scene. The scene became one of the most notable moments of Divine's acting career, and he later complained of people thinking that "I run around doing it all the time". The film proved a hit on the U.S. midnight movie circuit, became a cult classic, and established Divine's fame within the American counterculture.

 

Divine returned to San Francisco, where he and Mink Stole starred in a number of small-budget plays at the Palace Theater as part of drag troupe The Cockettes, including Divine and Her Stimulating Studs, Divine Saves the World, Vice Palace, Journey to the Center of Uranus and The Heartbreak of Psoriasis. In 1974, Divine returned to Baltimore to film Waters's next motion picture, Female Trouble, in which he played the lead role. Divine was unable to appear in Waters's next feature, Desperate Living (John Waters, 1977), despite the fact that the role of Mole McHenry had been written for him. This was because he had returned to working in the theatre as the scheming prison matron Pauline in Tom Eyen's play Women Behind Bars and its sequel, The Neon Woman. While in London in 1978, Divine attended as the guest of honour at the fourth Alternative Miss World pageant, a 'mock' event founded by Andrew Logan in 1972 in which 'drag queens' – including men, women and children – competed for the prize. The event was filmed by director Richard Gayer, whose subsequent film, entitled Alternative Miss World, premiered at the Odeon in London's Leicester Square as well as featuring at the Cannes Film Festival, both events which were attended by Divine. Continuing his cinematic work, he starred in Polyester (John Waters, 1981) as Francine Fishpaw. Unlike earlier roles, Fishpaw was not a strong female but a meek and victimized woman who falls in love with her dream lover, Todd Tomorrow, played by Tab Hunter. The film was released in 'Odorama', accompanied by 'scratch 'n' sniff' cards for the audience to smell at key points in the film. In 1981, Divine embarked on a career in the disco industry by producing a number of Hi-NRG tracks, most of which were written by Bobby Orlando. He achieved international chart success with hits like 'You Think You're a Man', 'I'm So Beautiful', and 'Walk Like a Man', all of which were performed in drag. The next Divine film, Lust in the Dust (Paul Bartel, 1985), reunited him with Tab Hunter and was Divine's first film not directed by John Waters. Set in the Wild West during the nineteenth century, the film was a sex comedy that starred Divine as Rosie Velez, a promiscuous woman who works as a singer in saloons and competes for the love of Abel Wood (Tab Hunter) against another woman (Lainie Kazan). A parody of the Western Duel in the Sun (King Vidor, 1946), the film was a moderate critical success. Divine followed this production with a very different role, that of gay male gangster Hilly Blue in Trouble in Mind (Alan Rudolph, 1985), starring Kris Kristofferson and Keith Carradine. The script was written with Divine in mind. Although not a major character in the film, Divine had been eager to play the part because he wished to perform in more male roles and leave behind the stereotype of simply being a female impersonator. Reviews of the film were mixed, as were the evaluations of Divine's performance. The he reunited with John Waters for Hairspray (John Waters, 1988), which represented his breakthrough into mainstream cinema. Set in Baltimore during the 1960s, Hairspray revolved around self-proclaimed "pleasantly plump" teenager Tracy Turnblad (Ricki Lake) as she pursues stardom as a dancer on a local television show and rallies against racial segregation. As he had in Female Trouble, Divine took on two roles in the film, one of which was female and the other male. The first of these, Edna Turnblad, was Tracy's loving mother; the other was the racist head of the station that airs the Corny Collins show. Hairspray was only a moderate success upon its initial theatrical release, earning a modest gross of $8 million. However, it managed to attract a larger audience on home video in the early 1990s and became a cult classic. Divine's final film role was in the low-budget comedy horror Out of the Dark (Michael Schroeder, 1989), produced with the same crew as Lust in the Dust. Appearing in only one scene within the film, he played the character of Detective Langella, a foulmouthed policeman investigating the murders of a killer clown. Out of the Dark would be released the year after Divine's death. On 7 March 1988, three weeks after Hairspray was released nationwide, Divine was staying at the Regency Plaza Suites Hotel in Los Angeles. He was scheduled to film a guest appearance the following day as Uncle Otto on the Fox network's television series Married... with Children in the second season wrap-up episode. Shortly before midnight, he died in his sleep, at age 42, of an enlarged heart (according to Wikipdia or respiratory failure caused by sleep apnea (according to IMDb). It was probably a combination. Described by People magazine as the 'Drag Queen of the Century', Divine has remained a cult figure, particularly within the LGBT community, and has provided the inspiration for fictional characters, artworks, and songs. Various books and documentary films devoted to his life have also been produced, including Divine Trash (1998) and I Am Divine (2013), written by Divine's manager and friend Bernard Jay. Frances Milstead subsequently cowrote her own book about Divine, entitled My Son Divine (2001), with Kevin Heffernan and Steve Yeager. His mother's continued relationship with the gay community was later documented in a film Frances: A Mother Divine (Tim Dunn, Michael O'Quinn, 2010)

 

Sources: Wikipedia and IMDb.

Pretty standard pose by a White-breasted Nuthatch (Sitta carolinensis), but they are usually moving when they do it, so I've always had a little trouble catching it.

 

Just before dropping to one of the nearby feeders.

 

www.SteveByland.com

© Steve Byland 2015 all rights reserved

Unauthorized use or reproduction for any reason is prohibited. Please do not link to or blog this without contacting me first.

This isn't to scare ....

    

* Harbingers - Things to Come - L.A. Marzulli - Coast to Coast AM

  

* Steve Quayle "IT'S GOING HOT" w/Greg Evensen (1 of 2)

   

* Our First Estate; Way of Ascent - Fellow christian watchers' video ,beautiful message.I do share the same position and belief and as based from the Biblical teachings .Sadly many churches have gone quiet and never challenge man-made doctrines and bashings against the Christian faith.Example Dawkin's God Dellusion . Church leaders seem so quiet when atheists were given the media platform to bash /demean your living God ? Why ?One factor , many churches are sleeping /blinded and wouldn't come out from their comfort zone to stand for their faith in Christ, unless faith is already long dead and without power to witness the real wonders of God to men .

   

Global scientific fraud with its evils to tax us more - unveiled !

 

* Global warming stopped 16 years ago, reveals Met Office report

* The Great Global Warming Swindle (Full Movie)

* Global Warming: The Greatest Scientific Fraud of All Time & the Story of My Personal Deception P1/3

* Global Warming: The Greatest Scientific Fraud of All Time & the Story of My Personal Deception P2/3

* Global Warming: The Greatest Scientific Fraud of All Time & the Story of My Personal Deception P3/3

   

* Global Climate Scam: An Interview with Lord Christopher Monckton

* The Global Warming Lie - John Coleman

   

@>>>>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~<<<<<@

   

Matthew 24 :3 - 13

  

"3 Now as He sat on the Mount of Olives, the disciples came to Him privately, saying, “Tell us, when will these things be? And what will be the sign of Your coming, and of the end of the age?”

 

4 And Jesus answered and said to them: “Take heed that no one deceives you. 5 For many will come in My name, saying, ‘I am the Christ,’ and will deceive many. 6 And you will hear of wars and rumors of wars. See that you are not troubled; for all[a] these things must come to pass, but the end is not yet. 7 For nation will rise against nation, and kingdom against kingdom. And there will be famines, pestilences,[b] and earthquakes in various places. 8 All these are the beginning of sorrows.

 

9 “Then they will deliver you up to tribulation and kill you, and you will be hated by all nations for My name’s sake. 10 And then many will be offended, will betray one another, and will hate one another. 11 Then many false prophets will rise up and deceive many. 12 And because lawlessness will abound, the love of many will grow cold. 13 But he who endures to the end shall be saved. 14 And this gospel of the kingdom will be preached in all the world as a witness to all the nations, and then the end will come."

  

Salvation is only through Christ Jesus.

 

Jesus words : "I am the way and the truth and the life. No one comes to the Father except through me. If you really knew me, you would know my Father as well" (John 14:6-7).

 

Be saved before it's too late ,you're drawn to the great delusion that is to come ,allowed by God for all that hate Him ,that they will believe the big lie.

  

@>>>>>>>>>>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~<<<<<<<<<<<<<<@

  

Photo location : Spain

Stinking rich, and incognito...

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

 

The importance of spotting a genuine Banksy

 

Simon Hattenstone, The Guardian

Wednesday March 14, 2007

 

arts.guardian.co.uk/art/visualart/story/0,,2033422,00.html

 

Ignorance can be costly in the Banksy exploitation business. Only yesterday it was reported that "bungling workmen painted over a mural by famed street artist Banksy worth £100,000". Last week, 60-year-old Sam Khan, purveyor of luggage and football scarves to the denizens of Tottenham Court Road, London, was inconsolable after flogging a Banksy that had been painted on his stall for £1,000 and discovering that it could be worth £500,000. Poor love.

 

These stories pose a number of questions. Were the workmen really bunglers, given they were employed to remove graffiti? Does a transient daubing suddenly become art if it is worth a lot of money? Is Banksy's work really worth half a million and, if so, should we pity stallholder Sam for failing to maximise his accidental revenue? Finally, and most importantly, how do we spot a Banksy?

 

The sad fact is that most original Banksys have now been removed from the streets. Steve Lazarides, his agent (yes, our anonymous-situationist-anarchist-street artist has come a long way), says: "Ninety per cent of Banksys don't exist any more."

 

There are obvious signs to look out for. The signature - a blocky, stencilled Banksy. (The trouble is, after a while he stopped signing them.) Then there is the subject matter - smiley faces, snogging coppers, little girls embracing bombs etc. (Another problem is that Banksy spawned a generation of copyists, so it's hard to know if a Banksy is really a Banksy.) Lazarides says there are a few genuine ones around - down the road from the Guardian, in Farringdon, is a faux hole-in-the-wall cash dispenser; there's an Apache attack helicopter in Old Street, London; a naked lover hanging out of a window outside a sexual health clinic in his hometown of Bristol; and coppers kissing in Brighton.

 

Finally, having spotted a Banksy, how do you claim it as your own? Tricky one. Lazarides doesn't have much sympathy with Sam. The thing is, he says, Banksy intended the work for all of us, not just to line the pockets of a fortunate few. "If you really want to claim it as your own, it would often mean nicking a whole building or at least a wall."

 

For the truly ambitious, once you've spotted a Banksy, you can try spotting Banksy himself. Take note, from the one journalist to have knowingly met him (allegedly): if you see a scruffy bloke who looks like a cross between Jimmy Nail and Mike Skinner, with a silver tooth and a fag in his mouth, a pint of Guinness in one hand and a stencil in his other, pushing a wheelbarrow full of money bags, it's likely to be the genuine Banksy.

 

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

 

is the critical run

and other emergency art format

 

CRITICAL RUN / Debate Format

 

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

 

www.emergencyroomscanvas todo .org/criticalrun.html

 

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

 

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

 

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

 

----

 

Interesting publication for researches on running and art

 

www.emergencyrooms.org/formats.html

 

14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.

 

Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.

 

Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.

Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:

 

Continuum, 2002.

Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.

 

Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.

 

Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.

 

Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.

 

de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.

 

de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.

 

de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.

 

Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.

 

Descartes, René. Méditations metaphysiques. 1641.

 

Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.

 

Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.

 

Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.

 

Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.

 

Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.

 

Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.

 

Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.

 

James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.

 

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Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).

 

Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.

 

LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.

 

Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.

 

Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.

 

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le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.

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England: Ashgate, 2012.

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United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.

 

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----

  

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

  

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

 

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

  

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

 

—-

 

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.​

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

 

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

 

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

 

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

 

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

-------

In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

------

for activating the format or for inviting the installation

please contact 1@colonel.dk

 

www.colonel.dk/

 

-----

 

critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

 

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

 

,now art,copenhagen,denmark

 

French postcard by EDUG, nr. 145. Photo: Sam Lévin.

 

Italian actress Sylva Koscina (1933-1994) may be best-remembered as Iole, the bride of Steve Reeves in the original version of Hercules (1958). She also starred in several Italian and Hollywood comedies of the 1950s and 1960s.

 

Sylva Koscina was born as Sylva Koskinon in Zagreb, Kingdom of Yugoslavia (now Croatia), in 1933. She moved to Italy as a teenager, during the Second World War. She was a physics student at Naples University. She was chosen as Miss Di Tappa at the Giro d’Italia (Tour of Italy bicycle race) in 1954. A picture of her exchanging a kiss with the winner was published in newspapers all over Europe and lead to her being offered a job as a model. She worked as a fashion model and was soon discovered for the cinema. She made a fleeting appearance in the part of an aspiring actress in the Toto comedy Siamo uomini o caporali?/Are We Men or Corporals? (1955, Camillo Mastrocinque) before she had her breakthrough as the daughter of the train engineer in Il ferroviere/The Railroad Man (1956, Pietro Germi). Pretty, and even too elegant for the part, Sylva Koscina immediately confirmed her talent in Guendalina (1957, Alberto Lattuada) as a young mother of Jacqueline Sassard. She played leading roles in popular comedies like Nonna Sabella/Grandmother Sabella (1957, Dino Risi), Ladro lui, ladra lei/He a Thief She a Thief (1958, Luigi Zampa), and Poveri millionari/Poor Millionaires (1958, Dino Risi), Koscina alternated cleverly between roles as a vamp and as an ingenue. She represented women in the search for social upward mobility, the image of an Italy that had left its worst problems behind.

 

Sylva Koscina was an actress noted for her carriage. She had an entirely feminine way of walking on the screen and she even lectured Giorgia Moll how to walk like a lady in the sophisticated comedy Mogli pericolose/Dangerous wives (1958, Luigi Comencini). In many of her roles she gives the impression of modeling at a fashion show, head high, mouth very slightly open, eyes lost in the distance. She is the elegant actress of the sixties with an aristocratic manner bordering on snobbery. However she also seemed at ease in a peplum (sword and sandal epic): she was a marvelous fiancee for Hercules (Steve Reeves) in Le fatiche di Ercole/Hercules (1958, Pietro Francisci), a prototype of this film genre. In Il vigile/The Policeman (1960, Luigi Zampa), she played herself opposite Alberto Sordi as a traffic officer. Charmed by her he lets Sylva go without a ticket, but when the film star thanks him on TV he gets into a lot of trouble. Koscina married Raimondo Castelli, a small producer connected with Minerva Films. She managed to keep well afloat with roles that were anything but negligible such as a dramatic part in Il sicario/Blood Feud (1961, Damiano Damiani) with Belinda Lee. In La lepre e la tartaruga/The Hare and the Tortoise, an episode in Le quattro verità/The Three Fables of Love (1963, Alessandro Blasetti, Hervé Bromberger, René Clair, Luis García Berlanga), director Blasetti constructs a deliciously sophisticated duel between her and Monica Vitti. In 1965 Sylva took part in Giulietta degli spiriti/Juliet of the Spirits (1965, Federico Fellini) as one of Giulietta Masina's sisters. But she also became a television personality who is often the special guest on variety shows.

 

After passing thirty, Sylva Koscina tried playing the American card. She starred in the comedy caper Three Bites of the Apple (1967, Alvin Ganzer) with David McCallum and Deadlier Than the Male (1966, Ralph Thomas), in which she and Elke Sommer portrayed sophisticated professional killers dueling with Bulldog Drummond (Richard Johnson). She partnered with Paul Newman in The Secret War of Harry Frigg (1968, Jack Smight) and with Kirk Douglas in A Lovely Way to Die (1968, David Lowell Rich) . She appeared as a German doctor, Bianca, in Hornet's Nest (1970, Phil Karlson, Franco Cirino) with Rock Hudson, but without luck. Her fame became a bit tarnished, but it was given a boost with her appearance in the Italian edition of Playboy magazine in 1967. The photography by Angelo Frontoni was exquisite, but the fact of a film star photographed bare-breasted in a magazine provoked a scandal. Thus the image of Sylva, based on an elegant and slightly snobbish femininity was enriched with an erotic touch. In that same period L'assolute naturale/He and She (1969, Mauro Bolognini) was released complete with a full nude shot. This was a sign of the radical change Italian cinema and society were undergoing. Some of her lovemaking scenes to Gabriele Tinti in the fantasy film Lisa and the Devil (1974, Mario Bava, Alfredo Leone) had to be cut because they were considered pornographic.

 

Since the early 1960´s, Sylva Koscina invested most of her star salaries in a luxurious villa, in the well-to-do district of Marino, Rome, complete with 16th centuries furniture and artists paintings. This lasted until her spending overcame her dwindling income, and in 1976, when she had to face a tax evasion inquest, she was forced to sell her house. She lived with Raimondo Castelli since 1960, but they could not marry because his wife refused to divorce. In 1967 they married in Mexico, but this marriage was not officially recognized in Italy, and they seperated in 1971. Sylva depended more and more on erotic appearances. In June 75 she was on the cover and featured again in the Italian Playboy. She appeared in sex comedies like Some Like It Cool (1977, Franz Antel) with Tony Curtis, and in a segment of Sunday Lovers (1980, Dino Risi) with Ugo Tognazzi. In the 1980's Sylva had a long running live theatre performance in Rome. By then a mature but still beautiful Koscina, performed every night in the nude. She only incidentally appeared in films, including Cenerentola '80/Cinderella ´80 (1984, Roberto Malenotti) with Adolfo Celi, and Rimini Rimini (1987, Sergio Corbucci) with Laura Antonelli. Koscina returned before the cameras in the year just prior to her death: her last appearance was in the tantalizingly titled C'è Kim Novak al telefono/Kim Novak is on the Phone (1994, Riki Roseo). Sylva Koscina died in Rome in 1994, aged 61, after a long battle with breast cancer.

 

Sources: Hal Erickson (All Movie Guide), Simon Benattar-Bourgeay (CinéArtistes) (French), Glamour Girls of the Silver Screen, Wikipedia and IMDb.

American postcard by American Postcard Company, no. 3900, 1998. Photo: New Line Cinema. Publicity still for Polyester (John Waters, 1981). Caption: Divine as "Francine Fishpaw," and STIV BATORS as "Bo-Bo Belsinger" in John Waters' Polyester, 1981. The film introduced "ODORAMA" which allowed the audience to share in 10-of the more penetrating odors that plagued poor "Francine".

 

Harris Glenn Milstead, better known by his stage name Divine (1945-1988), was an American actor, singer, and drag queen. He was closely associated with the independent filmmaker John Waters. Divine became the international icon of bad taste cinema.

 

Harris Glenn Milstead was born in 1945 in Baltimore, Maryland to a conservative middle-class family. His parents were Harris Bernard Milstead and Frances Milstead (née Vukovich). Their only child, his parents lavished almost anything that he wanted upon him, including food. He became overweight, a condition he lived with for the rest of his life. Divine preferred to use his middle name, Glenn, to distinguish himself from his father, and was referred to as such by his parents and friends. When he was 17, his parents sent him to a psychiatrist, where he first realised his sexual attraction to men as well as women, something then taboo in conventional American society. In 1963, he began attending the Marinella Beauty School, where he learned hair styling and, after completing his studies, gained employment at a couple of local salons, specialising in the creation of beehives and other upswept hairstyles.

Milstead developed an early interest in drag while working as a women's hairdresser. He eventually gave up his job and for a while was financially supported by his parents, who catered to his expensive taste in clothes and cars. They reluctantly paid the many bills that he ran up financing lavish parties where he would dress up in drag as his favourite celebrity, actress Elizabeth Taylor. By the mid-1960s he had embraced the city's countercultural scene. His friend from high school, John Waters gave him the name 'Divine' and the tagline of 'the most beautiful woman in the world, almost'. Waters later remarked that he had borrowed the name Divine from a character in Jean Genet's novel Our Lady of the Flowers (1943). Along with his friend David Lochary, Divine joined Waters' acting troupe, the Dreamlanders (which also included Mary Vivian Pearce and Mink Stole), and adopted female roles for their experimental short films. The first was Roman Candles (John Waters, 1966), which was shown 'triple projected' on three 8mm projectors running simultaneously but was never released commercially. Divine starred in drag as a smoking nun. Other short films were Eat Your Makeup (John Waters, 1968), and The Diane Linkletter Story (John Waters, 1969), filmed on Sunday afternoons. Again in drag, he took a lead role in Waters' first full-length film, Mondo Trasho (John Waters, 1969) Divine as an unnamed blonde woman who drives around town and runs over a hitchhiker. In their review of the film, the Los Angeles Free Press exclaimed that "The 300-pound (140 kg) sex-symbol Divine is undoubtedly some sort of discovery." In 1970, he travelled to San Francisco, California, a city which had a large gay subculture that attracted Divine, who was then embracing his homosexuality. Divine played the role of Lady Divine, the operator of an exhibit known as The Cavalcade of Perversion who turns to murdering visitors in Waters's film Multiple Maniacs. The film contained several controversial scenes, notably one which involved Lady Divine masturbating using a rosary while sitting inside a church. In another, Lady Divine kills her boyfriend and proceeds to eat his heart; in actuality, Divine bit into a cow's heart which had gone rotten from being left out on the set all day. At the end of the film, Lady Divine is raped by a giant lobster named Lobstora, an act that drives her into madness; she subsequently goes on a killing spree in Fell's Point before being shot down by the National Guard. Due to its controversial nature, Waters feared that the film would be banned and confiscated by the Maryland Censor Board, so avoided their jurisdiction by only screening it at non-commercial venues, namely rented church premises. Multiple Maniacs was the first of Waters's films to receive widespread attention, as did Divine; KSFX remarked that "Divine is incredible! Could start a whole new trend in films." Following his San Francisco sojourn, Divine returned to Baltimore and participated in Pink Flamingos (John Waters, 1972). Designed by Waters to be an exercise in poor taste, the film featured Divine as Babs Johnson, living in a pink trailer with her egg-eating grandmother, chicken-loving son and voyeuristic daughter. Babs claims to be 'the filthiest person alive' and she is forced to prove her right to the title from challengers, Connie (Mink Stole) and Raymond Marble (David Lochary). In one scene, the Marbles send Babs a turd in a box as a birthday present, and in order to enact this scene, Divine defecated into the box the night before. The final scene in the film proved particularly infamous, involving Babs eating fresh dog feces; Divine later told a reporter, "I followed that dog around for three hours just zooming in on its asshole," waiting for it to empty its bowels so that they could film the scene. The scene became one of the most notable moments of Divine's acting career, and he later complained of people thinking that "I run around doing it all the time". The film proved a hit on the U.S. midnight movie circuit, became a cult classic, and established Divine's fame within the American counterculture.

 

Divine returned to San Francisco, where he and Mink Stole starred in a number of small-budget plays at the Palace Theater as part of drag troupe The Cockettes, including Divine and Her Stimulating Studs, Divine Saves the World, Vice Palace, Journey to the Center of Uranus and The Heartbreak of Psoriasis. In 1974, Divine returned to Baltimore to film Waters's next motion picture, Female Trouble, in which he played the lead role. Divine was unable to appear in Waters's next feature, Desperate Living (John Waters, 1977), despite the fact that the role of Mole McHenry had been written for him. This was because he had returned to working in the theatre as the scheming prison matron Pauline in Tom Eyen's play Women Behind Bars and its sequel, The Neon Woman. While in London in 1978, Divine attended as the guest of honour at the fourth Alternative Miss World pageant, a 'mock' event founded by Andrew Logan in 1972 in which 'drag queens' – including men, women and children – competed for the prize. The event was filmed by director Richard Gayer, whose subsequent film, entitled Alternative Miss World, premiered at the Odeon in London's Leicester Square as well as featuring at the Cannes Film Festival, both events which were attended by Divine. Continuing his cinematic work, he starred in Polyester (John Waters, 1981) as Francine Fishpaw. Unlike earlier roles, Fishpaw was not a strong female but a meek and victimized woman who falls in love with her dream lover, Todd Tomorrow, played by Tab Hunter. The film was released in 'Odorama', accompanied by 'scratch 'n' sniff' cards for the audience to smell at key points in the film. In 1981, Divine embarked on a career in the disco industry by producing a number of Hi-NRG tracks, most of which were written by Bobby Orlando. He achieved international chart success with hits like 'You Think You're a Man', 'I'm So Beautiful', and 'Walk Like a Man', all of which were performed in drag. The next Divine film, Lust in the Dust (Paul Bartel, 1985), reunited him with Tab Hunter and was Divine's first film not directed by John Waters. Set in the Wild West during the nineteenth century, the film was a sex comedy that starred Divine as Rosie Velez, a promiscuous woman who works as a singer in saloons and competes for the love of Abel Wood (Tab Hunter) against another woman (Lainie Kazan). A parody of the Western Duel in the Sun (King Vidor, 1946), the film was a moderate critical success. Divine followed this production with a very different role, that of gay male gangster Hilly Blue in Trouble in Mind (Alan Rudolph, 1985), starring Kris Kristofferson and Keith Carradine. The script was written with Divine in mind. Although not a major character in the film, Divine had been eager to play the part because he wished to perform in more male roles and leave behind the stereotype of simply being a female impersonator. Reviews of the film were mixed, as were the evaluations of Divine's performance. The he reunited with John Waters for Hairspray (John Waters, 1988), which represented his breakthrough into mainstream cinema. Set in Baltimore during the 1960s, Hairspray revolved around self-proclaimed "pleasantly plump" teenager Tracy Turnblad (Ricki Lake) as she pursues stardom as a dancer on a local television show and rallies against racial segregation. As he had in Female Trouble, Divine took on two roles in the film, one of which was female and the other male. The first of these, Edna Turnblad, was Tracy's loving mother; the other was the racist head of the station that airs the Corny Collins show. Hairspray was only a moderate success upon its initial theatrical release, earning a modest gross of $8 million. However, it managed to attract a larger audience on home video in the early 1990s and became a cult classic. Divine's final film role was in the low-budget comedy horror Out of the Dark (Michael Schroeder, 1989), produced with the same crew as Lust in the Dust. Appearing in only one scene within the film, he played the character of Detective Langella, a foulmouthed policeman investigating the murders of a killer clown. Out of the Dark would be released the year after Divine's death. On 7 March 1988, three weeks after Hairspray was released nationwide, Divine was staying at the Regency Plaza Suites Hotel in Los Angeles. He was scheduled to film a guest appearance the following day as Uncle Otto on the Fox network's television series Married... with Children in the second season wrap-up episode. Shortly before midnight, he died in his sleep, at age 42, of an enlarged heart (according to Wikipdia or respiratory failure caused by sleep apnea (according to IMDb). It was probably a combination. Described by People magazine as the 'Drag Queen of the Century', Divine has remained a cult figure, particularly within the LGBT community, and has provided the inspiration for fictional characters, artworks, and songs. Various books and documentary films devoted to his life have also been produced, including Divine Trash (1998) and I Am Divine (2013), written by Divine's manager and friend Bernard Jay. Frances Milstead subsequently cowrote her own book about Divine, entitled My Son Divine (2001), with Kevin Heffernan and Steve Yeager. His mother's continued relationship with the gay community was later documented in a film Frances: A Mother Divine (Tim Dunn, Michael O'Quinn, 2010)

 

Sources: Wikipedia and IMDb.

Belgian collectors card by De Beukelaer, Anvers/Antwerpen (Antwerp), no. A 29. Photo: Paramount.

 

Donna Reed (1921-1986) was an American film, television actress, and producer. Her career spanned more than 40 years, with performances in more than 40 films. She is well known for her role as Mary Hatch Bailey in It's a Wonderful Life (Frank Capra, 1946). She received the Oscar for Best Supporting Actress for her role as Lorene Burke in the war drama From Here to Eternity (Fred Zinnemann, 1953). Reed is also known as Donna Stone, a middle-class American mother, and housewife in the sitcom The Donna Reed Show (1958–1966).

 

Donna Reed was born Donna Belle Mullenger on a farm near Denison, Iowa, in 1921. She was the daughter of Hazel Jane and William Richard Mullenger. The eldest of five children, she was raised as a Methodist. In 1936, while she was a sophomore at Denison (Iowa) High School, her chemistry teacher Edward Tompkins gave her the book How to Win Friends and Influence People. Upon reading it she won the lead in the school play, was voted Campus Queen, and was in the top 10 of the 1938 graduating class. After graduating from Denison High School, she decided to move to California to attend Los Angeles City College on the advice of her aunt. While attending college, she performed in various stage productions, although she had no plans to become an actress. After receiving several offers to screen test for studios, Reed eventually signed with MGM. Reed made her film debut in The Get-Away (Edward Buzzell, 1941). She had a support role in Shadow of the Thin Man (W. S. Van Dyke, 1941) and in Wallace Beery's The Bugle Sounds (S. Sylvan Simon, 1942). Like many starlets at MGM, she played opposite Mickey Rooney in an Andy Hardy film, in her case the hugely popular The Courtship of Andy Hardy (George B. Seitz, 1942). Reed starred in the drama Calling Dr. Gillespie (Harold S. Bucquet, 1942), featuring Lionel Barrymore, and Apache Trail (Richard Thorpe, 1942). Then she did a thriller with Edward Arnold, Eyes in the Night (Fred Zinnemann, 1942). Reed had a support role in The Human Comedy (Clarence Brown, 1943) with Mickey Rooney, a big film for MGM. She was one of many MGM stars to make cameos in Thousands Cheer (George Sidney, 1943). Produced at the height of the Second World War, the film was intended as a morale booster for American troops and their families. Her "girl-next-door" good looks and warm onstage personality made her a popular pin-up for many GIs during World War II. She personally answered letters from many GIs serving overseas. She was in the Oscar Wilde adaptation The Picture of Dorian Gray (Albert Lewin, 1945) and played a nurse in John Ford's They Were Expendable (1945), opposite John Wayne. MGM was very enthusiastic about Reed's prospects at this time. Reed was top-billed in a romantic comedy Faithful in My Fashion (Sidney Salkow, 1946) with Tom Drake which lost money. MGM lent her to RKO Pictures for the role of Mary Bailey in Frank Capra's It's a Wonderful Life. The film has since been named as one of the 100 best American films ever made by the American Film Institute and is regularly aired on television during the Christmas season. Back at MGM, she appeared in Green Dolphin Street (Victor Saville, 1947) with Lana Turner and Van Heflin. It was a big hit. Reed was borrowed by Paramount to make two films with Alan Ladd, Beyond Glory (John Farrowm 1948), where she replaced Joan Caulfield at the last moment, and the Film Noir Chicago Deadline (Lewis Allen, 1949). In 1949 she expressed a desire for better roles.

 

In 1950, Donna Reed signed a contract with Columbia Studios.[ She appeared in two Film Noirs which teamed her with John Derek, Saturday's Hero (David Miller, 1951) and Scandal Sheet (Phil Karlson, 1952). Reed was the love interest of Randolph Scott in the Western Hangman's Knot (Roy Huggins, 1952), then was borrowed by Warner Bros for the comedy Trouble Along the Way (Michael Curtiz, 1953) with John Wayne. She was loaned out to play John Payne's love interest in Raiders of the Seven Seas (Edward Small, 1953). Reed played the role of Alma "Lorene" Burke, the girlfriend of Montgomery Clift's character, in the World War II drama From Here to Eternity (Fred Zinnemann, 1953). The role earned Reed an Oscar for Best Supporting Actress for 1953. The qualities of her parts did not seem to improve: she was the love interest in The Caddy (Norman Taurog, 1953) with Dean Martin and Jerry Lewis at Paramount; the Western Gun Fury (Raoul Walsh, 1953) with Rock Hudson; and the Western Three Hours to Kill (Alfred L. Werker, 1954) with Dana Andrews. Reed returned to MGM to act in the romantic drama The Last Time I Saw Paris (Richard Brooks, 1954) with Elizabeth Taylor. Reed began guest-starring on television shows such as The Ford Television Theatre, Tales of Hans Anderson, General Electric Theater, and Suspicion. She continued to appear in features, usually as the love interest, in The Benny Goodman Story (1956) with Steve Allen, playing Goodman's wife; Ransom! (1956) as Glenn Ford's wife; the Western Backlash (1956), with Richard Widmark. In Kenya, she filmed Beyond Mombasa (1957), with Cornel Wilde. She was injured while making the film. In England, she shot The Whole Truth (1958), with Stewart Granger. From 1958 to 1966, Reed starred in The Donna Reed Show, a television series produced by her then-husband, Tony Owen. The show featured her as Donna Stone, the wife of pediatrician Alex Stone (Carl Betz) and mother of Jeff (Paul Petersen) and Mary Stone (Shelley Fabares). Reed was attracted to the idea of being in a comedy, something with which she did not have much experience. She also liked playing a wife. The show ran for eight seasons. Reed won a Golden Globe Award and earned four Emmy Award nominations for her work on the series. Later in her career, Reed replaced Barbara Bel Geddes as Miss Ellie Ewing Farlow in the 1984–1985 season of the television melodrama Dallas. When she was abruptly fired upon Bel Geddes' decision to return to the show, she sued the production company for breach of contract. From 1943 to 1945, Donna Reed was married to make-up artist William Tuttle. After they divorced, in 1945 she married producer Tony Owen. They raised four children together: Penny Jane, Anthony, Timothy, and Mary Anne (the two older children were adopted). After 26 years of marriage, Reed and Owen divorced in 1971. Three years later, Reed married Grover W. Asmus, a retired United States Army colonel. They remained married until her death in 1986. Donna Reed died of pancreatic cancer in Beverly Hills, California, in 1986, 13 days shy of her 65th birthday. Her remains are interred in the Westwood Village Memorial Park Cemetery in Los Angeles.

 

Sources: Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

 

is the critical run

and other emergency art format

 

CRITICAL RUN / Debate Format

 

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

 

www.emergencyroomscanvas todo .org/criticalrun.html

 

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

 

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

 

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

 

----

 

Interesting publication for researches on running and art

 

www.emergencyrooms.org/formats.html

 

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Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.

 

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Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.

 

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Richards, Mary. Marina Abramović. New York: Routledge, 2010.

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Chicago Press, 1992.

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spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.

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Modernity. University Park, PA: The Pennsylvania State University, 2009.

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1960-2010. Cambridge: MIT Press, 2012.

 

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Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.

 

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Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.

 

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----

  

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

  

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

 

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

  

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

 

—-

 

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.​

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

 

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

 

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

 

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

 

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

-------

In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

------

for activating the format or for inviting the installation

please contact 1@colonel.dk

 

www.colonel.dk/

 

-----

 

critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

 

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

 

,now art,copenhagen,denmark

 

Italian postcard by Bromofoto, Milano, no. 1213. Photo: Edizioni Economiche Romana.

 

Donna Reed (1921-1986) was an American film, television actress, and producer. Her career spanned more than 40 years, with performances in more than 40 films. She is well known for her role as Mary Hatch Bailey in It's a Wonderful Life (Frank Capra, 1946). She received the Oscar for Best Supporting Actress for her role as Lorene Burke in the war drama From Here to Eternity (Fred Zinnemann, 1953). Reed is also known as Donna Stone, a middle-class American mother, and housewife in the sitcom The Donna Reed Show (1958–1966).

 

Donna Reed was born Donna Belle Mullenger on a farm near Denison, Iowa, in 1921. She was the daughter of Hazel Jane and William Richard Mullenger. The eldest of five children, she was raised as a Methodist. In 1936, while she was a sophomore at Denison (Iowa) High School, her chemistry teacher Edward Tompkins gave her the book How to Win Friends and Influence People. Upon reading it she won the lead in the school play, was voted Campus Queen, and was in the top 10 of the 1938 graduating class. After graduating from Denison High School, she decided to move to California to attend Los Angeles City College on the advice of her aunt. While attending college, she performed in various stage productions, although she had no plans to become an actress. After receiving several offers to screen test for studios, Reed eventually signed with MGM. Reed made her film debut in The Get-Away (Edward Buzzell, 1941). She had a support role in Shadow of the Thin Man (W. S. Van Dyke, 1941) and in Wallace Beery's The Bugle Sounds (S. Sylvan Simon, 1942). Like many starlets at MGM, she played opposite Mickey Rooney in an Andy Hardy film, in her case the hugely popular The Courtship of Andy Hardy (George B. Seitz, 1942). Reed starred in the drama Calling Dr. Gillespie (Harold S. Bucquet, 1942), featuring Lionel Barrymore, and Apache Trail (Richard Thorpe, 1942). Then she did a thriller with Edward Arnold, Eyes in the Night (Fred Zinnemann, 1942). Reed had a support role in The Human Comedy (Clarence Brown, 1943) with Mickey Rooney, a big film for MGM. She was one of many MGM stars to make cameos in Thousands Cheer (George Sidney, 1943). Produced at the height of the Second World War, the film was intended as a morale booster for American troops and their families. Her "girl-next-door" good looks and warm onstage personality made her a popular pin-up for many GIs during World War II. She personally answered letters from many GIs serving overseas. She was in the Oscar Wilde adaptation The Picture of Dorian Gray (Albert Lewin, 1945) and played a nurse in John Ford's They Were Expendable (1945), opposite John Wayne. MGM was very enthusiastic about Reed's prospects at this time. Reed was top-billed in a romantic comedy Faithful in My Fashion (Sidney Salkow, 1946) with Tom Drake which lost money. MGM lent her to RKO Pictures for the role of Mary Bailey in Frank Capra's It's a Wonderful Life. The film has since been named as one of the 100 best American films ever made by the American Film Institute and is regularly aired on television during the Christmas season. Back at MGM, she appeared in Green Dolphin Street (Victor Saville, 1947) with Lana Turner and Van Heflin. It was a big hit. Reed was borrowed by Paramount to make two films with Alan Ladd, Beyond Glory (John Farrowm 1948), where she replaced Joan Caulfield at the last moment, and the Film Noir Chicago Deadline (Lewis Allen, 1949). In 1949 she expressed a desire for better roles.

 

In 1950, Donna Reed signed a contract with Columbia Studios.[ She appeared in two Film Noirs which teamed her with John Derek, Saturday's Hero (David Miller, 1951), and Scandal Sheet (Phil Karlson, 1952). Reed was the love interest of Randolph Scott in the Western Hangman's Knot (Roy Huggins, 1952), then was borrowed by Warner Bros for the comedy Trouble Along the Way (Michael Curtiz, 1953) with John Wayne. She was loaned out to play John Payne's love interest in Raiders of the Seven Seas (Edward Small, 1953). Reed played the role of Alma "Lorene" Burke, the girlfriend of Montgomery Clift's character, in the World War II drama From Here to Eternity (Fred Zinnemann, 1953). The role earned Reed an Oscar for Best Supporting Actress for 1953. The qualities of her parts did not seem to improve: she was the love interest in The Caddy (Norman Taurog, 1953) with Dean Martin and Jerry Lewis at Paramount; the Western Gun Fury (Raoul Walsh, 1953) with Rock Hudson; and the Western Three Hours to Kill (Alfred L. Werker, 1954) with Dana Andrews. Reed returned to MGM to act in the romantic drama The Last Time I Saw Paris (Richard Brooks, 1954) with Elizabeth Taylor. Reed began guest-starring on television shows such as The Ford Television Theatre, Tales of Hans Anderson, General Electric Theater, and Suspicion. She continued to appear in features, usually as the love interest, in The Benny Goodman Story (1956) with Steve Allen, playing Goodman's wife; Ransom! (1956) as Glenn Ford's wife; the Western Backlash (1956), with Richard Widmark. In Kenya, she filmed Beyond Mombasa (1957), with Cornel Wilde. She was injured while making the film. In England, she shot The Whole Truth (1958), with Stewart Granger. From 1958 to 1966, Reed starred in The Donna Reed Show, a television series produced by her then-husband, Tony Owen. The show featured her as Donna Stone, the wife of pediatrician Alex Stone (Carl Betz) and mother of Jeff (Paul Petersen) and Mary Stone (Shelley Fabares). Reed was attracted to the idea of being in a comedy, something with which she did not have much experience. She also liked playing a wife. The show ran for eight seasons. Reed won a Golden Globe Award and earned four Emmy Award nominations for her work on the series. Later in her career, Reed replaced Barbara Bel Geddes as Miss Ellie Ewing Farlow in the 1984–1985 season of the television melodrama Dallas. When she was abruptly fired upon Bel Geddes' decision to return to the show, she sued the production company for breach of contract. From 1943 to 1945, Donna Reed was married to make-up artist William Tuttle. After they divorced, in 1945 she married producer Tony Owen. They raised four children together: Penny Jane, Anthony, Timothy, and Mary Anne (the two older children were adopted). After 26 years of marriage, Reed and Owen divorced in 1971. Three years later, Reed married Grover W. Asmus, a retired United States Army colonel. They remained married until her death in 1986. Donna Reed died of pancreatic cancer in Beverly Hills, California, in 1986, 13 days shy of her 65th birthday. Her remains are interred in the Westwood Village Memorial Park Cemetery in Los Angeles.

 

Sources: Wikipedia and IMDb.

 

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Betty Harris

 

The Lost Queen Of New Orleans Soul

  

Back in the sixties, soul ‘anoraks’ (myself included), who already treasured and sought out the works of the more obscure and emotive singers, absolutely revered Betty Harris (and, then again, soul-wise, I guess I still do!).

 

The couple of publicity shots that existed back then showed that she looked great, her gospelly interpretive voice was second-to-none and her best-known material was stunning, chiefly because it was chosen by top-flight producers like Bert Berns and Allen Tousssaint. But just as intriguingly, she was then something of a ‘mystery woman’. No-one really knew anything about her. Rumours circulated that she had begun as Big Maybelle’s ‘maid’ (did travelling black women entertainers of the late-50’s really take ‘maids’ with them?). Then someone said that, after her Sansu/SSS recordings, she had retired to become a truck-driver (did lissom black female ex-singers still only about 30 years of age really drive giant, freeway-eating Mack and Kenwood trucks – maybe these days, but surely not in early-70’s America!).

 

Today, thanks to researchers and the re-surfaced Betty herself, we certainly know much more about her - and that includes the fact that both of the above rumours were false, although each had truthful associations, as we shall see.

 

However, some mysteries and contradictory information remain. Whilst it’s clear that Betty was born in Orlando, Florida, many potted biographies quote a 1941 or a 1943 date. Even in David Cole’s excellent interview/article (‘In The Basement’ magazine No.32, October 2003), Betty’s birthdate is given as 9 September 1943 (which is repeated on a current Harris-related web-site). However, only a few months later, on 19th July 2004, Betty herself stated in a telephone interview with Amy Gold: “I wasn't born in the '40s at all. I was born in '39.” My opinion is that a woman may lie about her age to make herself appear younger but she would never lie (especially to another woman!) in such a way as to make herself look older! Therefore I reckon Betty Harris was born in 1939 – I rest my case!

 

This date is also in line with Wikipedia’s biography, yet that not-always-reliable source gives Betty’s surname as Harridick. It’s just possible this might be the married surname Betty acquired after her retirement from the music scene at the end of the 60’s as it was the guy who then became her husband who apparently ran a trucking business, hence giving rise to the false rumours about Betty herself driving such vehicles for a living. However, her true birth-surname was certainly Crews, as stated not just in the Cole interview but in a 2004 article about her younger sister, the operatic-quality spinto-soprano and now Fort Pierce, Florida-based evangelist, Sybil Maria Crews Young.

 

However, there is another possibility. When Betty was still only about 18 years of age, it seems she had a son, Selwyn T. Crews. (This chronology is based on the intro to the Amy Gold interview in 2004 in which Selwyn – sometimes called Tony and now apparently living in Atlanta - was said to then be 47 years of age). If Betty briefly married the father and if the father’s surname had been Harridick this could have led to her later adopting the ‘truncated’ name of Harris. When Betty joined the Hearts vocal group in around early 1958 (see later), she was still using the name Betty Crews but certainly something around that time must have prompted her to change her surname to Harris as this had already occurred by the time of her early-60’s first solo recording (see later). However all this begs one final question: how did Betty’s son inherit her own surname of Crews as opposed to that of his father (whoever he was)? Whether or not Betty married the father, perhaps either she ‘on her own’ (or perhaps close relations) raised the baby boy and ‘awarded’ him the family surname in place of that of his father?

 

When Betty left the music scene in the late 60’s her son would have been approaching his teenage years. She would then soon marry but her daughter, Christina would not arrive until about 1982, when Betty was in her early forties (this chronology is also based on the 2004 Amy Gold piece when Christina was said to be then merely 22 years of age and, according to the Cole interview published only a few months earlier, then attending university, married with a surname of Clemons and the mother of a young baby).

 

Anyway, what’s most important perhaps is Betty’s wonderful musical heritage and we should instead concentrate on that and how she came to take up secular singing.

 

Betty’s own father, a minister in the Pentecostal church, was the Rev. Rufus C. Crews, while her missionary (and later also Overseer/Miinister) mother was Winifred Crews. When Betty was about 3 years of age, her family - which included her non-musical brother Donnell but did not yet include her younger sister, Sybil Maria - moved from Orlando Fla. to Dothan in Alabama where her father took on new church responsibilities. Soon, he and his wife would become founders of Pentecostal Deliverance Ministries in both Dothan and Cottonwood.

 

Betty says her father had a loud tenor voice which could dominate his church and he was apparently also capable of hitting very high notes (an ability clearly his youngest daughter Sybil inherited). Indeed, it’s claimed he could play five instruments and had a three-octave vocal range. Unusually, he regularly indulged in the generally ‘white church’ vocal technique termed ‘Sacred Heart’, a form of accapella shape-note singing. However, it seems the Rev. Crews’ influence soon also became a magnet for touring black gospel stars, whose appearances he occasionally ‘promoted’ locally.

 

So it was no surprise that all of Betty’s early singing was done in church and, by the age of about 12, she had already fronted a choir supporting the big-voiced gospel star Brother Joe May, known as the ‘Thunderbolt of the Middle-West’. Betty would also meet the likes of Sister Rosetta Tharpe, Sam Cooke & the Soul Stirrers, The Dixie Hummingbirds, both groups of Blind Boys and the The Caravans, whom she idolised, although she soon realised harmony singing was not for her. Nor was the ‘gospel life’. She says: “I knew all of the gospel singers and I knew how they lived, and I just really didn't want to ... I didn't see myself making money. And (so) I went ‘secular’."

 

Betty left home at a very early age seeking that secular singing career. This was a huge and audacious step for a young girl from such a strict church background and clearly must have caused quite a ‘family split’ at the time. Betty says: “My parents were gospel preachers. I mean, my house was strict, very strict. They were holiness preachers, so you didn't play rhythm and blues in the house, they didn’t believe in that.”

 

Her parents remained in their church-dominated world in Alabama and in 2004 Betty reported that, although her father was by then deceased, her mother was then a fit 92 year-old ‘overseer’, still in charge of four Dothan churches. Sadly her mother too has since ‘passed’ and Betty, who had been looking after her, moved south temporarily to Atlanta for a few years from her Connecticut home so that her mother could spend her last days closer to the churches which she helped found.

 

Anyway, back in the 50’s, the brazen teenaged Betty headed off alone to far-flung New York to try to begin a singing career but first she took employment as a maid with a Long Island family thinking this would at least put a roof over her head (this was the ‘maid’ reference which later led to the false claims that Betty had held down just such a job with Big Maybelle, a singer whom she would not actually encounter for a year or two yet - see later). However, Betty says she wasn’t a maid for more than a week as she was offered a job singing at the nearby Celebrity Club in Freeport.

 

She was soon ‘discovered’ by J&S label-owner Zell Sanders, one of the few early black women entrepreneurs in the music biz. Zell got Betty to fill-in at a club she owned in Hempstead, Long Island, where she had just fired another girl singer. The show there at the time featured Johnnie & Joe, already with hits for Chess ‘under their belt’, Johnnie being Zell Sanders’ daughter, Johnnielouise Richardson, later of the Jaynetts.

 

Zell had then also recently fired virtually the entire Hearts vocal group who recorded for her J&S record label and, after failing to replace them en masse with another existing group, the Bouquets, she asked Betty to join with Mandy Hopper, Lezli and Mary Green, Ann King and earlier member Theresa Chatman to form a new incarnation of the Hearts.

 

Betty takes up the story: “I was too young to be away from home. So I left Long Island and went to live with (Zell). She became like a mother to me – very protective. I worked with the (Hearts) for a while and played some shows in New Jersey. I don’t remember the songs I recorded with them at all (she may have sung harmony on other recordings but Betty takes lead on just one side, namely the repetitive teen-slanted item “Like Later Baby”, released on J&S 1626 in October 1958, the flip of “I Want Your Love Tonight” – J&S 1627. The track is included on the 2006 UK Ace CDCHD 1089 release “Baby Washington And The Hearts”); but I was not cut out to be a group member. I wasn’t into harmony singing. When my spell with the Hearts finished, (Zell) took me all the way back home to Alabama; but she didn’t realise how determined to sing I was. Within a few weeks I was off again.”

 

It was some time after her return to the Big Apple that Betty would seek out the aptly-named powerhouse singer Big Maybelle, who was performing at Harlem’s famed Apollo Theater.

 

Betty says: “If you listen to Big Maybelle's voice, you get the idea that this is a big woman. When you listen to mine, you would think I was a big woman and I'm not. Never have been. And when I realized that that voice was about the closest thing to ‘me’ that I had heard, I went to see her at the Apollo (that was when I was around, oh I guess, maybe 19) and I sat through 3 or 4 shows. And the way she handled the audience, the way she sang, how she told jokes, the whole persona on stage fascinated me. So after the show I went back and I met her. I had a voice and some control, but I realized I needed more. I told her what I needed, and she allowed me to go on tour with her. I watched her night after night, and (during the) days she kept me in a mirror singing. She worked very hard with me until the time she felt I was ready to go on stage. Please let me say this. People pay a lot of money and spend years trying to get what I got from this woman. I want to thank Big Maybelle for her contributions to my career. I was not, repeat not, her maid. She was my teacher, my instructor and my coach. She was an entertainer that I really, really appreciated because she helped me when no one else would. I knew all about gospel. I knew what gospel singing was about, but when it came to R&B, I really didn't know the ropes.”

 

Anyway, it’s clear that Betty toured with Big Maybelle, taking lessons from her all the while, for some considerable time. This took her all over the States and at some point (some say after taking a break following the final show, in Chicago, of a nationwide Maybelle tour) she headed west to California where she cut her first solo 45 for Walter Douglas’ little-known Douglas label. Both of the featured songs were penned by Wilhelmina Clayton who, amongst other credits, wrote “So Little Time”, which Brook Benton would include on his 1964 Mercury MG 20886/SR 60886 album “Born To Sing The Blues”.

 

Sources vary about the date of Betty’s Douglas single and Betty herself doesn’t recall the details. 1960 is often given but if this particular visit to California was the same as the one during which she encountered the guy who would become her manager and would take her back to New York to introduce her to Bert Berns (see shortly), then the other, later date of 1962, often cited for this recording, would seem to be the more likely.

 

Betty’s release on Douglas 104 gave her own name greater prominence on the label than the company name itself. ListenYesterday’s Kisses is given ‘AA’ status while “Taking Care Of Business” gets just one ‘A’.

 

Betty’s voice had certainly matured since her Hearts ‘outing’ but the vocals seem in rather too high a register for complete comfort to my ear, although there is an assertive ‘attack’ to them somewhat akin to that on some of Etta James’ earlier work. The male back-up group seems competent enough (probably an established West Coast outfit) but, while the performances are not outstanding, they can certainly be regarded as ‘work in progress’.

 

Very little is known about the Douglas label or its owner but, with the Harris release being numbered 104, one assumes there must have been a few other releases. I did find a publishing-related web-site which linked Walter’s name and that of his publishing company (“Prolific”, which appears on the labels) to a Fort Worth, Texas residential address, so maybe he retired down there.

 

Anyway, if the record was cut in 1962 it would have been around this time - and in California - that Betty encountered Solomon Burke and his then manager Marvin Leonard ‘Babe’ Chivian.

 

Chivian (born 24 August 1925) was a Philadephia-based car repairer-dealer and property speculator who, in 1959 offered Burke a red Lincoln Continental convertible if he would let him be his manager. The originally-gospel-only-singing and also Philadelphia-raised Burke had earlier failed to get his secular career off to a start via Herb Abramson’s Triumph logo as, at that time (late 1958), he had found he was still contracted to his old gospel label, Apollo. However, it seems that by 1959 this obstacle was out of the way and Burke duly signed up with Chivian who arranged for the singer to record for the local Philly-based Singular label, owned by WPEN disc jockey Edwin L. "Larry" Brown and the aptly-named Canadian-born vocal coach, Artie Singer. However in November 1960, after two commercially unsuccessful Singular 45s (one of which, “This Little Ring”, Chivian had apparently co-penned), ‘Babe’, as he was most often called, was recommended by Billboard’s Paul Ackerman to take Burke to meet with Jerry Wexler and Ahmet Ertegun. This he did and Solomon duly moved to the Atlantic label where, by December 1961, he had been put (initially reluctantly) under the production of Bert Berns. Of course, Berns won Burke over by cutting him successfully on the producer’s own fine song “Cry To Me” (Atlantic 2131), a No.5 R&B/No.44 Pop hit for Solomon which charted through the Spring of 1962, a song which would soon of course play a big part in Betty’s career.

 

It seems Chivian (and presumably Burke too) were suitably impressed with Betty Harris’ potential and one can therefore see why, at this juncture, they would suggest she should go back with them to New York to audition specifically for Berns, although a pre-requisite was, of course, that Betty should first make ‘Babe’ Chivian her manager.

 

This was agreed and Betty duly returned to the Big Apple to meet with Berns, although at this time she would base herself in Philadelphia, probably because that was where ‘Babe’, her new manager, lived. Betty told David Cole: “Bert (Berns) was wonderful as far as I was concerned. He was the type of person you could easily work with, easily get to know.” Betty of course had heard Burke’s version of “Cry To Me” but told Berns she would have sung it ‘slower’ and with even more “expression and soul”. Berns asked her to sing it how she felt it and was so impressed that he called his arranger Garry Sherman down to work out a basic piano arrangement there and then.

 

The resultant July 1963 session was held at Bell Sound, New York before Betty had any kind of recording contract. The finished recording was achieved via the third ‘take’. The Sweet Inspirations (Cissy Houston, Dee Dee Warwick, Sylvia Shemwell and Estelle Brown) did back-ups, the sound also being beefed-up by some male singers, whom Betty recalls were from the Mitch Miller TV show. Although the label shows the recording to be a Leiber & Stoller Production, they were nowhere around and it was all down to Betty, Bert, Garry Sherman, a tight NY rhythm section, a white-shirt-and-bow-tie string section and the incomparable ‘Sweets’.

 

For the first time on record, Betty calls upon her gospel pedigree to obtain the depth of feeling and expression inherent in such an emotionally-worded song, turning Burke’s certainly very good, faster-paced soul performance into an altogether much slower, deeper and more telling experience. Betty says: “By being young I only had so much experience of pain, or what I considered ‘blues’ to be about, but I ‘felt’ the lyrics. I knew how to reach deep in my soul and bring out all the pain and disappointment I felt. All my childhood feelings and wants came out in ListenCry To Me. I wanted to give the world something I could feel.” And she certainly did that!

 

Berns had obviously spared no expense in bringing a top team together to obtain what he wanted from Betty and, in view particularly of his recent success for Atlantic with Burke, he hoped he would be able to lease his master to Jerry Wexler even if Chivian didn’t manage to actually get Betty signed to the label. However, in the event, Jerry ‘passed’, probably because his company had only just had a major hit with the song. So Bert offered it to Jerry Blaine at Jubilee, who snapped it up. Chivian also got Blaine to sign Betty to his label, the event being marked by a dinner in a swanky New York restaurant where Jerry Blaine’s son Steve gave Betty a French Poodle.

 

Betty’s superb reading of the song made No.10 R&B and No.23 Pop on Jubilee 5456, perhaps surprisingly a lower position than Burke’s more ‘commercial’ version in the Billboard R&B chart, yet a higher position in the usually more commercially-influenced Pop chart.

 

The overtly more ‘pop’, but still appealing Berns composition “I’ll Be A Liar” appeared on the flip.

 

Betty soon embarked on several promotional live performances and one such on 28 September 1963 (the very day of her record’s entry into the R&B chart) put her on a multi-act bill at San Francisco’s huge ‘Cow Palace’ auditorium, introduced by local Radio KWA dee-jays, Bob Mitchell and Tom Donahue.

 

Betty’s live version that day of ListenCry To Me in front of an orchestra conducted by Phil Spector was recorded by Autumn Records for their “Memories Of The Cow Palace” Autumn 101 LP (reissued in 1983 by Rhino on RNLP 105).

 

Vocally, Betty gives her hit-song 110 percent, although the band unsurprisingly does not compare favourably with the New York musicians on her studio recording and, in particular, includes a rather poor trumpet-player. However, I agree with a review of Betty’s performance, written at the time of the Rhino reissue, which commented: “It’s rawer than the single and shows what she must have sounded like on the chitlin’ circuit."

 

When it was time for Betty to record her follow-up to “Cry To Me” she embarked on what must have been two quite intensive sessions, both held on 13th November 1963, with most of the overdubs and editing carried out on 26th November. The side chosen for release on Jubilee 5465 was the Berns and Mike Stoller song “His Kiss” and this time Bert was actually credited on the label as producer despite reference once more to it being (nominally) a Leiber & Stoller production. The song is another slow-paced gospelly piece with almost a feel of Theola Kilgore’s “The Love Of My Man”. It’s another telling performance from Betty, as is the fine flip ListenIt’s Dark Outside, which I think is even better and also features some lovely churchy piano-playing. Despite “His Kiss” being the side that would ‘chart’, Billboard’s review concentrated on “It’s Dark Outside”.

 

“Mo Jo Hannah”, a Clarence Paul co-penned song first cut the previous year by the unfortunately-named Henry Lumpkin for Motown (1029), is a very pacy if slightly messy, swamp-soul opus which would appear as one side of Betty’s third Jubilee 45 (# 5480). This song would later be rather better recorded by Esther Phillips in February 1964 for her first Atlantic single (Atlantic 2229), a session which would also be arranged by Garry Sherman and feature the Sweets on back-ups. Others to cut the song would include Aaron Neville, The Intrigues and, in 1972, Tami Lynn for Cotillion and UK Mojo, although New Orleans native Tami had also cut a rather better version back in 1963 for the AFO organisation which saw release on an Opus 43 LP (OP 4303) and appears on the 1993 Ace CD “Gumbo Stew” (CDCHD 450).

 

Betty’s version was coupled on her third Jubilee single with an ultra-slow re-vamp of the 1947-first-published (and probably much older) New Zealand Maori ‘farewell song’ “Hearere Ra”, better known to English-speaking folk as “Now Is The Hour”. Those who remember the song as something of a ‘family favourite’ sung by friends and relatives at the end of a party or simply to someone heading off to pastures new, may find Betty and the Sweets’ deeply gospelised interpretation little more than a weird ‘novelty’ – personally I love it! After Betty’s rather uncertain opening melisma on the word ‘now’, she and the girls drench the song’s inherent schmaltz with some wonderful gospel-soul and make the departure of a loved one really sound like the sad occasion it usually was.

 

Jerry Blaine

Two unissued-at-the-time tracks were also recorded, one pretty good and one just throwaway pop to my ears. “Why Don’t You Tell Him” is a very pretty soul-ballad which sees Betty for the first (and probably only) time in ‘uptown sweet-soul’ mode – but she handles the style very well indeed and the result, which required some vocal overdubs from her as late as 25th May the following year, probably deserved release on a fourth Jubilee single, although it wasn’t to be. The awful unissued “Everybody’s Love” (aka “Just Like Mine”) with Betty’s vocal all but lost in front of a fast Bo Diddley beat and some uncharacteristically quasi-teen-girly singing from the Sweets, is best forgotten. This song had already been cut in 1961 as “Just Like Mine” by The Renaults on Wand 114.

 

Apart from her vocal overdubs to the one unissued track in May 1964, these November 1963 sessions would be Betty’s last for Berns and for Jubilee. “His Kiss” had at least made the Pop Hot 100, peaking at No.89 but sales to black R&B fans were not helped by Billboard ceasing to publish an R&B chart from the end of that very November (it wouldn’t be reintroduced until 23 January 1965). The record made No.74 on the Cashbox Pop chart and No.15 on their R&B listing.

 

Bert Berns

Jubillee would reissue “Cry To Me” and “I’ll Be A Liar” on #5658 in 1969 (when it would again make the R&B chart, peaking at No.44) and the next reissue of Betty’s Jubilee material would be on two 45s in the Virgo Golden Memories Series, “Cry To Me” being paired with a reissue of Joe Henderson’s “Snap Your Fingers” on Virgo 6014 in 1973, while two years later Virgo 6036 effectively reissued Jubilee 5465 by pairing Betty’s “His Kiss” with “It’s Dark Outside”.

 

Then in 1980 UK Charly’s “In The Saddle” CRB 1002 Harris set featured just two Jubilee sides, “Cry To Me” and “I’ll Be A Liar”. All the Jubilee material (including the unissued tracks) finally came together in 1998 on UK Westside’s fine “Soul Perfection Plus” CD (WESA 807), which also included some pre-take studio chat. 2005’s Australian Aim 1502 CD “The Lost Soul Queen – Soul Perfection Plus Rare Tracks” included just “Cry To Me” and “I’ll Be A Liar” of the Jubilee tracks.

 

Thinking back to these sessions, Betty admits that “Jubilee did not turn out as good as it should” and the main reason she cites is the loss of both her manager, ‘Babe’ Chivian and her producer Bert Berns. The ‘loss’ of Berns does not refer to his later untimely death on 30 December 1967 as this happened too late to have had any effect on Betty’s career but rather to his attention in the mid-60’s being on things other than Miss Betty Harris. We’ll come to that in a moment but first, what of her manager, ‘Babe’ Chivian?

 

Well, in October 1963 (a month before Betty had even undertaken her second set of sessions with Berns), ‘Babe’ Chivian was being “sought by the FBI as a material witness to illegal Cosa Nostra activities in Philadelphia” (to quote a news report of the time). Quite what degree of involvement this implies is unclear but even the phrase “being sought” suggests he wasn’t readily ‘coming forward’ and may even perhaps have ‘disappeared’ for a time. What does seem certain is that, at this juncture, his primary attention would not have been on Miss Harris (or even on Mr Solomon Burke).

 

Quite what happened to Chivian after this is also unclear. He may well have nominally retained his managerial role with Betty but he also certainly returned to Philly and to the auto trade as, some 8 years later, a 2nd October 1971 press report quoted the FBI as saying “the largest amount of forgery contraband ever seized in Philadelphia” had been discovered in Chivian’s office and that Chivian had been “charged with larceny, receiving stolen goods, counterfeiting, and ‘uttering’ and issuing forged ‘instruments’.” Much of this was connected with auto-licensing activities. Whether or not Chivian was tried and found guilty I have not discovered –but there probably wasn’t time as, within 3 months (according to Wikipedia), he would be dead, aged only 46.

 

The ’loss’ to Betty of Bert Berns’ attention clearly points to just how busy Bert was with other activities by late 1963 and how little time he was able to give to her. Throughout that year he had produced hits on UA for The Exciters and Garnet Mimms, had produced another hit for Baby Jane & The Rockabyes and had written hit material for the Four Pennies and The Rocky Fellers. He had also maintained the more-established Solomon Burke’s momentum for Atlantic with “Words”, “If You Need Me”, “Can’t Nobody Love You” and “You’re Good For Me”.

 

As the press was reporting Chivian’s problems in October of that year, Berns flew off to the UK for his first visit to Decca in London and must have returned only just in time for Betty’s second set of sessions in mid-November. Meanwhile Bert’s private life was keeping him busy too - he had met and fallen in love with fashion model and dancer Ilene Stuart, whom he would marry in 1964.

 

A probably now temporarily managerless Betty would wait in vain for Bert to produce a third set of sessions for Jubilee. His professional attention had now turned almost exclusively towards Atlantic. In March 1964 he would form his Keetch label to be distributed by Atlantic and then went on that year to write and produce lots of hits for Atlantic acts such as The Drifters, Solomon Burke, The Vibrations and LaVern Baker. In October of that year Bert was back in London to record Lulu and Them; then, with further big Atlantic successes on into 1965, Bert would form his Web IV publishing company in March of that year (‘Web’ for Wexler, the two Erteguns and Berns) before, in May, launching his own Bang label, named after the first names of the same four men.

 

It’s probably a shame that Betty did not get taken to Atlantic at this stage as Berns would probably have continued to record her, perhaps first for them and then maybe even for his own R&B subsidiary label, Shout; but I guess if that had happened, however good the results, we would then have been denied the fine body of work she was soon to ‘put down’ in New Orleans with Allen Toussaint.

 

Some sources say Betty apparently met Toussaint in New Orleans while on tour but a Harris-related web-site claims Toussaint caught her act at the Apollo and Betty herself told David Cole that she thought it was her manager (was it still Chivian or someone else?) who brought them together, the pair meeting in New York in mid-1965 to strike a deal before Betty flew down to New Orleans to record.

 

Toussaint and Marshall Sehorn were launching their then brand-new Sansu label and Betty would have the first release on it. The partnership between these two men (legalised via the Tou-Sea production company and the Marsaint publishing company) had actually begun with Lee Dorsey’s “Ride Your Pony”, which Marshall had taken to New York and leased to Larry Uttal for issue on Amy 927, the 45 becoming a hit just about the time Toussaint met up with Harris. However, wanting their own imprint, Allen and Marshall had then set up Sansu, whose offices in these early days were located on St. Phillip Street, while, for recording, use was probably made initially of Cosimo Matassa’s recently opened third studio, Jazz City, situated at 748 Camp Street (although Harris’ post-1967 recordings would have been cut either elsewhere in the Crescent City or possibly in Atlanta as it was in that year that the IRS seized Jazz City and all its contents from Matassa, with Toussaint and Sehorn not opening their own Sea-Saint Studio on Clematis Street until 1973, long after Harris had ceased recording).

 

So Jazz City is most likely where Betty Harris appeared in about August 1965 for her first Sansu session, which resulted in “I’m Evil Tonight” and “What A Sad Feeling” (Sansu 450), with the former track also seeing later reissue as one side of Sansu 466. Both songs were penned by Toussaint (using his mother’s maiden name of Naomi Neville) and Allen would not only arrange, produce and usually play on all of Betty’s Sansu (and one SSS-Int.) recordings but would also write all 20 of them too.

 

“I’m Evil Tonight” nicely combined an appealing semi-pop main riff with some meaningful and, at times, quite intense vocalising from Betty.

 

The original ‘plug-side’, though, was ListenWhat A Sad Feeling, a slower and altogether more dramatic opus. You can imagine Irma Thomas singing this one but, with no disrespect to the true Soul Queen of New Orleans, the ‘usurper’ from Dothan via the Big Apple makes such a fine job of this telling piece that there’s no need to imagine the song in anyone else’s hands; indeed, despite her several fine Jubilee sides, this track really marks the beginning of the recordings which turned Betty into the revered deep-soul 60’s legend she deservedly became. Commercially though, the 45 failed to return Betty to the charts.

 

Betty’s second trip to New Orleans was early in 1966. “Sometime” was a pleasant-enough fairly lay-back pop-soul ballad which Betty mainly sings in sweet-mode although she still manages to include some dramatic gospelly passages here and there. “I Don’t Wanna Hear It” was a rather brooding-sounding mid-to-up tempo piece with strong vocals from Betty, especially each time she sings in front of the back-up girls as they chant the title-line. Sadly, this pairing, issued on Sansu 452, also failed to make much impression saleswise.

 

Undeterred, Toussaint persevered and in about April 1966 Betty flew south again, this time to cut the potent, driving and funky Listen12 Red Roses, using exactly the same production techniques and male-back-up sound which was then bringing Toussaint and Sehorn big commercial success with Lee Dorsey. It’s a great ‘never-let-up’ opus with an irresistible Crescent City beat and some very tasty piano fills from Toussaint.

 

If that was good, ListenWhat’d I Do Wrong on the other side of Sansu 455 was something else! This was one of Betty’s ‘killer’ solo deep-soul outings for the label. Everything is right about this wonderful recording. The mournful brass backdrop, the terrific guitar fills and Toussaint’s beautiful bluesy piano passages which still allow the existence of an almost eerie sparseness, with no back-up singers (rightly) deemed necessary behind Betty’s emotion-soaked gospelly vocal. This is also great writing by Toussaint and no-one could ever have bettered Harris’ interpretation of his telling lyrics. The cut would also reappear as one side of Betty’s Sansu 478 release nearly two years later (see shortly).

 

Back in 1966, “12 Red Roses” should have easily made the US charts – but no, it didn’t. One wonders what kind of national promotion Betty’s 45 received as I can find no review or advertisement for it in Billboard, despite Sansu being distributed by New York’s Bell label. However, I have a feeling that most of Larry Uttal’s Toussaint/Sehorn-related promotion budget was being expended instead on Lee Dorsey’s product, as Lee was in the process of enjoying four straight Top 10 R&B hits on Utall’s own Amy imprint.

 

This theory is perhaps given support by the very obvious ‘Dorsey sound’ on Betty’s next Sansu 461 single, “Lonely Hearts”, cut in early 1967 but brought to a close by a weak and overly-long instrumental segment when what was clearly needed was at least another verse from Betty.

 

Slightly better was “Bad Luck”, a nice mid-pacer with not such an obvious Dorsey connection and offering a good superstitious tale of Betty being so prone to bad luck that even a four-leaf clover withered when it touched her hand!

 

Again the single flopped and Betty must have wondered if she was ever going to return to the charts; but, fortunately, her next Sansu outing finally achieved that very goal.

 

In mid-1967 Betty’s jet-hopping visits to New Orleans were renewed, yet the session produced only one known side, “Nearer To You”. Toussaint pared down the backing and Betty actually delivered a genuinely ‘deep’ vocal performance, the ‘commercial’ aspects of the arrangement being chiefly the overly sweet back-up chants and a rather cheesy organ. However, this combination of styles certainly did the trick as, despite a continuing lack of much press promotion, the song, coupled on Sansu 466 with a reissue of “I’m Evil Tonight”, made No.16 on Billboard’s R&B chart and No.85 on their Pop listing.

 

Betty’s new R&B hit may not have been a high-charter but it was a very steady seller, remaining in the listings from 15th July to 30th September and it would have been around August, when she was probably touring on the strength of it, that she joined up with James Carr and found herself moonlighting on one of his Goldwax recordings, “I’m A Fool For You” (#328). This was essentially a gently-rolling-rhythmed duet between the these two fine singers with James taking most of the lead lines and Betty answering his baritone with some quite high register responses. The record had appeal for sure and provided Betty with another hit, albeit she was unnamed on the label for contractual reasons. The recording would enter the charts on 23rd September, making No.42 R&B/No.97 Pop.

 

Betty explained her sortie with Carr thus: “We were travelling together and we sang all kinds of songs. I went with him (to his session and) on our way his guitar-player wrote this song for him. At the session we were goofing around with it, not doing anything for real, but it was taped and it sounded good. I called Marshall Sehorn about me being on it and he said ‘No’.”

 

So this was why Betty couldn’t be credited, even though, just like her own Sansu label, Goldwax was, at this time, also distributed by Larry Utall’s Bell organisation. According to Quinton Claunch’s recollections with Colin Dilnot, the recording itself was cut at Sam Phillips Studio in Memphis but the label writers’ credits feature not just James’ guitarist but no less than five top Memphis-related personalities, namely Dan Greer, Quinton Claunch, Earl Cage, George Jackson, and Rudolph Russell. Betty’s brief association with Carr would lead to yet another untrue rumour that she later became his road manager.

 

Anyway, both sides of Betty’s own ‘follow-up’ Sansu 45 were actually cut around August 1967 while “Nearer To You” was still charting and pretty close to the time of her encounter with Carr. “I’m Gonna Git Ya” returned Betty to the ‘Lee Dorsey’ format but, having said that, I find this slow but very ‘New Orleans-second line’ piece with its potent backbeat and girl group support to be really appealing.

 

However, the other side of Sansu 471, ListenCan’t Last Much Longer, was another Harris deep gem which rivalled even “What’d I Do Wrong” for top honours in those particular stakes. A pathos-inducing piano and then a brass fanfare introduce us to a fast-fading Betty (though not vocally!) who is such ‘a fool’ for her guy that she can’t put up much longer with the total disinterest he is now showing in her. The lyrics are so mournfully expressed one fears there could even be a potentially suicidal outcome for the girl rather than merely a reluctant acceptance of the inevitable ending of the relationship. It’s just a terrific piece of deep-soul.

 

For Betty’s next outing, Toussaint decided to pair her up with Lee Dorsey. This was probably merely an attempt to have some of Dorsey’s recent much bigger chart success rub off on Betty, although Betty referred to her duet with James Carr and surmised that “maybe that’s where the Lee Dorsey idea was born.”

 

The pair got together around October/November 1967 and the results were intriguing. “Love Lots Of Lovin’” was very much in the style Dorsey had been recently using and was a rather lightweight poppish piece, although both singers perform well enough, especially on the bridges between the main sections of the song. The crossover appeal was not enough though for major success, the record on Sansu 474 merely ‘bubbling under’ the Billboard Pop chart at No.110 for just the one week commencing 23rd December. One wonders what might have been if Amy had picked up the master and issued it effectively as a Lee Dorsey release.

 

However, the flip-side, ListenTake Care Of Our Love, was a superb piece of funereally-paced deep-soul – indeed I would go as far as to say that it’s probably the finest example from a male/female duo that I can recall. Lee Dorsey would not be a singer one would normally associate with deeply expressive singing but here he absolutely gives as good as he gets and what he gets from Betty is a staggeringly emotive response.

 

The empathy between the two singers seems stunningly good and yet Betty had reservations. She regarded the top-side (not unreasonably perhaps) as “definitely throwaway” but went on to say she didn’t like the other side either. She added: “I didn’t consider myself a double-singer but I had no say in the matter”. Betty, it seems, has always preferred to sing solo, although she was clearly more than happy to join vocally with James Carr.

 

Towards the end of 1967 Betty was preparing to go on a tour of Europe the following year with Otis Redding (an artist she had toured with before) but of course this would come to nought as a result of the Big O’s untimely death on 10 December.

 

Although Betty’s sporadic visits to record with Toussaint usually only resulted in two songs being recorded, it seems she managed three at her next session in early 1968, although, on this occasion only, there was a sizable gap between the master numbers of each of these recordings and it’s just possible there were actually three separate sessions. In any case, this session (or sessions) might well not have been in New Orleans as Cosimo’s Jazz City studio had now closed and, in addition to using other Crescent City studios, Toussaint and Sehorn also apparently did some recording in Atlanta. (However, when Betty herself recalled her Sansu years, she implied that she cut all her songs for Toussaint actually in New Orleans).

 

Anyway, the first song in the can was “Mean Man”, by far the funkiest record Betty had yet cut for Sansu which possibly introduced the use on her recordings of the Meters, whom Toussaint and Sehorn had by now more or less recruited as a ‘house-band’. The track was released on Sansu 478 with the older but wonderful “What’d I Do Wrong” re-used on the flip.

 

The other songs recorded allegedly at the same session were the mid-paced “Hook, Line n’ Sinker” on which Betty’s vocal is well up to its usual potent standard as she really tries to ‘sell’ what is, in truth, a fairly ‘average’ song; and “Show It”, a slightly pacier but rather mediocre item. These two were coupled on the very next Sansu release (#479).

 

By about June of ’68 it seems Toussaint was getting a bit desperate as to how to return Betty to the charts and he selected for her session at that time a revival of Lee Dorsey’s “Ride Your Pony” hit. I’m sure Betty’s heart would not have been in this one but as always her professionalism took over and she really delivers on what is a fine, funky foot-tapper, proving she could handle a driving piece of soul as well as anyone.

 

Some wonderful bass-lines introduce and underpin the very impressive other track cut at that time, namely ListenTrouble With My Lover. This is a rare case where mid-paced funky soul can also be very telling in the hands of a singer of the quality of Harris. For me, this is the best mid-to-uptempo side Betty cut for Sansu, along with “There’s A Break In the Road” (see shortly). Sadly, when released together on #480, neither of the mid-’68-recorded sides caused much of a stir saleswise.

 

There followed a longish gap in recording before Betty returned to Toussaint in about March of 1969. This is possibly due to the abandonement at that time of the Sansu label, only a couple of Art Neville singles having crept out after Betty’s last effort. The label would not be re-activated until the mid-70’s and the two sides Betty cut in ’69 were leased out for single release to Shelby Singleton’s SSS-International label.

 

As already implied, “There’s A Break In the Road” is a terrific piece of mid-paced Meters-led funky-soul, with Betty riding the potent riff in great style. I love the guitar-feedback that seems to have been deliberately featured here as it just adds ‘edge’ to what is almost a groundbreaking track for the late-60’s.

 

Conversely, the other track recorded for inclusion on the SSS-Int single is just one huge musical ‘mistake’ as far as I’m concerned. In about mid-’68, an artiste called Zilla Mayes (her surname more usually excluded the ‘e’) recorded a great Allen Toussaint song called “All I Want Is You” for one of Allen and Marshall’s subsidiary labels, Tou-Sea (#132). Zilla was older than Betty and, in addition to sporadically recording since 1951, she was also an Atlanta Radio dee-jay and gospel singer. Her 45 also had an excellent Toussaint song on the other side called “I Love You Still”.

 

Anyway, at her1969 (and last) session for Toussaint, Betty also cut a Toussaint song called “All I Want Is You” but this was a totally different, appalling tuneless ‘turkey’ of a song which sounded like it was destined for some third-class theatrical musical show. What’s more, if it really is Betty Harris trying to sing it (which I can barely believe), she has real trouble even holding what little there is of a tune and also struggles to hit some of the notes. This awful track should have been left to go mouldy on the cutting room floor.

 

This untypical Harris performance and Zilla Mayes’ amazing similarity to Betty’s more usual singing-style on her own very different song of the same name, would later completely ‘throw’ UK Charly Records whose 1980 “In The Saddle” CRB 1002 compilation would wrongly use Zilla’s recording in place of Betty’s, whilst crediting Betty on both the label and sleeve track-listing (aurally an absolutely understandable mistake).

 

It’s a great shame that such a wretched recording was the last side Betty would ever cut for Allen Toussaint as, overall, her body of work for him was outstanding. However, it seems that, although Betty clearly always gave of her professional best for Allen, she did not relate to him as well as she did to Bert Berns during her admittedly far fewer sessions with the New York producer.

 

Of her nearly 4 years of sporadic recording for Sansu, she agreed that “…the music was fantastic” but she clearly felt that she was not involved enough in the song-selection and recording process when she added: “All my sessions…were put together before I arrived…and some things were done after I left.”

 

Mind you, to be fair, with Betty simply flying in from the east coast to cut maybe no more than a couple of tracks and then flying home again as soon as possible, one can perhaps see how a writer, arranger and producer as adept as Allen Toussaint would want to have songs and maybe some rhythm tracks ready in advance of her arrival and then to arrange sweetening processes perhaps after her departure.

 

Musically, it’s clear Betty liked her ‘deeper’ work best when she concurred: “That was me, that’s just me. The faster stuff I did because you had to do it but lyrics have always meant a lot to me. Out of the things Allen did, I was in love with ‘Can’t Last Much Longer’ (and) ‘Nearer To You’. Some of his music was, like, very, very meaningful to me.” Us too, Betty!

 

Having cut 20 known tracks for Sansu, Betty might well have expected at least one album to have been issued by the label but – no, it was left to the UK to provide one.

 

Her earlier Jubillee material had seen scant coverage in the UK at the time (only “Cry To Me”/”I’ll Be A Liar” appearing there on UK Decca’s London American label #9796); however, EMI’s UK Stateside label did at least issue two singles of Sansu material, while a small UK label called Buffalo picked up just on the Dorsey-Harris two-sider.

 

Thanks to Sansu’s distribution by Bell, the first (close to contemporaneous) album releases anywhere of some of Harris’ Sansu recordings appeared on the revered UK various-artist 3LP set “Bell’s Cellar Of Soul” (issued separately on MBLL 102, 107 and 117, the first two albums appearing in 1968 and the third in 1969).

 

However, also in 1969, as Betty’s tenure with Sansu came to an end, a small UK label called Action put out what became for many years the definitive Betty Harris LP, still much sought-after and pricey, entitled “Soul Perfection” (ACLP 6007). This contained 16 of Betty’s Sansu outings (a large number of tracks for an LP in those days).

 

Action had been formed in 1968 by record-store owner, soul music magazine editor and later UK Contempo and US Ichiban owner John Abbey. It was distributed by Island Records and based at Music House, 12 Neasden Lane, London NW10. Action issued no less than 56 singles in the 1968-1969 period from many different chiefly US soul-related sources (including a pairing of Betty’s “Ride Your Pony” and “Trouble With My Lover” on ACT 4535), plus another 24 singles when the label was revived between 1971 and 1974. It also put out 12 albums, including Betty’s.

 

Regarding later Harris reissues, apart from the aforementioned 45s of Jubilee material by Jubilee itself (1969) and Virgo (1973 and 1975), it would be 1980 before UK Charly issued their also already-mentioned CRB 1002 Harris LP “In The Saddle”, another 16-tracker, although only 13 Harris Sansu sides were featured, as also included were both sides of Betty’s first Jubilee single and the Zilla Mayes recording of “All I Want Is You” masquerading as by Betty.

 

In the same year, UK Charly also issued a three-track black-and-white picture sleeve single featuring “Ride Your Pony”, “Trouble With My Lover” and “Nearer To You” (CTD 102).

 

The CD era saw the aforementioned 1998 “Soul Perfection Plus” comprehensive Harris collection from UK Westside (WESA 807), followed by the also already mentioned “The Lost Soul Queen – Soul Perfection Plus Rare Tracks” Australian AIM 1502 set from 2005.

 

After Betty ended her association with Allen Toussaint, she decided to give up major musical activity chiefly because she was tired of the almost endless touring, drab hotel rooms and living out of a suitcase. However, the exact chronology of her movements from this point right up until 1996/7 have so far never been satisfactorily clarified.

 

At some point she returned to Alabama about which she recalls: "I said I'd rather be broke and be happy, than to have money and be miserable. And with that in mind, I went back home to Alabama, and I knew that it was going to be hard because I had lived an upscale life.”

 

However, possibly after she had returned to her native State, it seems she moved to Miami where she performed just at one or two clubs before deciding to quit all forms of the music scene completely. She says: "Otis had passed, Bert had passed, ‘Babe’ had passed. I looked at this business and said maybe this is not what God wanted me to do. As much as I loved singing, I just did not find things in the world the way I thought they were. I had to find me.”

 

Betty went ‘back to school’ for a time to learn business studies, married, and settled with her new husband and son in Florida. Then, in about 1982, her daughter came along and she gave much of her life over to raising her. Betty says: “I guess God put my child in my life. My daughter Christina, I just did everything for her. I put her in pageants and parades. My daughter became the focus of my life.”

 

In addition to her family responsibilities, Betty still sang, but now only in churches and at community events, as she had done in Alabama in her childhood.

 

In 1996/7 she moved to Hartford, Connecticut, where she joined an Artists Collective and began giving singing lessons. It was here too that she put her daughter through high school, also temporarily spending some time in Atlanta during her mother’s final months.

 

Then in 2001, her daughter found several Betty Harris fan sites on the web, prompting the singer to join a soul mailing list to announce her whereabouts. Her re-emergence caused quite a stir in deep soul circles and this inspired Betty to consider the possibility of performing again. Indeed, by 2004 she was anticipating that the BBC in the UK would be making a film about her life and announcing her intention to co-produce a new CD slated to be cut in Boston starting September 6th and released that December. This was to have been in conjunction with Boston-based guitarist and producer Chris Stovall Brown. However, neither of these projects came to fruition and Betty finally resurfaced in the music world on April 17, 2005, when she played her first live gig in 35 years at a benefit at Weaver High School in Hartford, which her daughter, by then at college, had once attended. Just a few weeks after this, Harris performed at New Orleans’ legendary annual Ponderosa Stomp.

 

Later in 2005 she went to Melbourne, Australia where she played a Hurricane Katrina benefit gig at the city’s Prince Of Wales venue that raised more than $30,000 for the New Orleans Musicians Clinic. The Australian band was comprised of carefully chosen members of the local roots scene who had cut their teeth on early New Orleans soul, R&B and funk sounds, fronted by Andy Baylor on guitar.

 

Harris was so impressed with this band that she allegedly parted company with the Stovall Brown unit on her return to the States and re-visited Melbourne again in November 2006 to play once more with Baylor and co. at the Prince Of Wales and at the Queenscliff Music Festival. While ‘down under’ she also appeared on the television program "Rockwiz", where she sang "Cry to Me" solo and her old Lee Dorsey duet "Love Lots of Lovin'" with Australian singer John Paul Young.

 

It had been during her 2005 trip to Australia that a visit to Hound Dog's Bop Shop in West Melbourne had triggered a series of events that led to Harris obtaining the rights to her Sansu master tapes. When she was shown the AIM compilation CD of her work, her lawyer Fred Wilhelms III contacted the Australian label and asked them who had licensed Harris' music to them. The trail led to a company called Gulf Coast Music. Fred Wilhelms explained to Red Kelly that GCM had been the entity set up by the Federal court to handle Marshall Sehorn's music assets when he declared bankruptcy in the mid-90s as a result of several judgments against him for bootlegging the Chess catalogue. When approached, Wilhelms says GCM accepted Betty’s claim to the Sansu masters because there was no proof she had ever been paid royalties and the rights were duly transferred to her.

 

This was just in time, as pop diva Christina Aguilera had then only recently sampled Allen Toussaint’s Harris-recorded song “Nearer To You” as part of her “Understand” track from her “Back To Basics” album, which had then already sold 2 million copies worldwide.

 

So, finally, not only was Harris' soul legacy being recognised but she would also receive some long-overdue and well-deserved financial reward for her past endeavours. In 2006, Betty commented: "I was angry because I did all of that work and didn't get anything for it. Normally you would get paid for studio time - I didn't even get that. It was a very hurtful time in my life. I thought what I was doing was worth a lot more than that. But you have to move on, so I got out of show business, went back to school, and I married and had kids. I refused to be labelled as a has-been in this business. I've always been a very determined person, to try and make the best of any situation. I've learnt that if you wait long enough, it's bound to come to you. I was able to get all my masters back from Sansu. We went to Nashville and I had them digitally redone and before too long we’re going to release them”.

 

It was also suggested that some of the songs Betty obtained have never yet seen reissue and so these would therefore have to be unissued Sansu Harris recordings. To my knowledge some 4 separate reissue compilations have appeared between 2006 and 2011 (see cover shots nearby), two of them, “Soul Cuts” (28 tracks on Master Classics) and “Selected Hits” (16 tracks on Charly) apparently being for MP3 download only, while the other two, “Greatest Hits” (15 tracks on Platinum Records) and “”Lonely Hearts” (16 tracks on Jukebox Entertainment) were also made available on CD. I am not aware of the inclusion on any of these releases of ‘new’ titles from Betty’s past recording history, although it seems the “Lonely Hearts” set did include 2 versions of “I Don’t Want To Hear It”.

 

2007 was another busy year for Betty, including an appearance at the "Porretta Soul Festival" in Italy before travelling on to make her French debut at the Perigueux New Orleans Music Festival that August. Betty would be back home in time for the release in November of her long-awaited ‘come back’ CD “Intuition”, but what a disappointment it proved to be. She had signed a deal with Jon Tiven to produce it in Nashville for his Evidence label (# ECD 26135-2) but, despite one or two names from the soul past like Jerry Ragovoy, Don Covay and Freddie Scott having some marginal input, and despite Betty herself being in fine voice, most of the songs had no soulful content at all, running closer to modern country-blues in style (the best is a moving tale of domestic violence entitled “She Stays On” which has a very Swamp Dogg feel to it). Tiven would produce the same level of mediocrity on his two Evidence CDs the following year featuring two more soul legends, Garnet Mimms and Howard Tate (whose earlier Ragovoy-produced “Rediscovered” Private Music/BMG CD in 2004 had been much better). In my opinion, Tiven simply failed to major on the great expressive vocal talents who had come his way.

 

If you want to hear just how soulfully emotive Betty could have been with the right material, then go here to catch a 1 min 52 sec. clip of her singing part of her “Cry To Me” rendition at the Porretta Terme festival in the same year her CD emerged. Allowing for the ‘iffy’ sound, one can soon tell that Betty could still sing deeply and impressively and it’s a shame that the clip cuts off abruptly for some reason well before the performance is finished. Tiven should have been watching and listening and, whilst one can understand that neither he nor Betty would have wanted a CD merely full of re-vamped old soul favourites, at least more of the modern songs could have been given a soulful feel.

 

Since 2007 Betty has also visited Spain, Italy, France once again, Australia twice more and has appeared at New York’s Lincoln Center.

 

With her daughter now married and having produced a grandchild, Betty has since based herself in another Connecticut city, Middletown. In January 2012, the local paper reported that, after all her touring, she was now ready to play “where she lives”, with a new band of her own, The Breaking News, which included musical director Tony Cafiero of Guilford on keyboards and Tom Smith of Cheshire on drums, these English-sounding cities actually being in Connecticut of course. Betty said: “Out of all this time that I’ve played, I’ve never had my own group, my own band, and I’ve found that to be an excellent experience; to have guys who rehearse with you, they know what you’re going to do. To have someone that has sat down and worked it out and is not just playing a chart. ... it’s really nice.”

 

Betty and her band played a ‘tune-up’ gig in December 2011 at The Cypress Restaurant in Middletown and on 7th January 2012 they played a bona fide $30-at-the-door Soul & Funk concert at Trinity-on-Main, a former church in New Britain that’s now a local cultural and performing arts center.

 

It’s nice to know that a great performer from the classic soul era is still ‘on song’ and entertaining the masses. Long may it be so.

 

UPDATE ~ On Saturday July 21st, 2012 Betty gave a radio interview on Station WRTC-FM out of Hartford, Connecticut (near her own present home). A few interesting observations emerged which add a little more info. to that contained in the main article.

 

Betty confirmed her high regard for Bert Berns. She said her “Cry To Me” session at Bell Sound took just 3 takes, the shortest session she ever had, although Berns was a person who “knew what he wanted to hear” and apparently, at a later session for him, another of Betty’s songs would see her made to sing 33 takes. She had nothing but praise too for the Sweet Inspirations who linked into “Cry To Me” so easily with only a minimum of discussion between them about what they were going to do.

 

On her 1967 3-month gruelling road-tour with the Otis Redding Review, she notes that they started off at the Apollo with 18 acts on the bill, including Johnnie Taylor and Bettye Swann (though neither she nor the generally knowledgeable dee-jay could remember Bettye’s surname!) She found Otis to be quiet, focused but not pushy, serious about what he did, a businessman but also a guy who could just be himself and didn’t worry about other acts maybe being in competition with him in any way.

 

Re her Sansu recording “Love Lot’s Of Loving” with Lee Dorsey, she confirms this was not a true duet in that Dorsey’s vocal and much, if not all of the backing track had already been cut by Allen Toussaint before Betty hit the Big Easy and Betty merely added her own vocal to the proceedings. Betty comments that she actually preferred the way she cut her Sansu tracks (by adding vocals to existing backing-tracks) to cutting ‘live’ in the studio. She maintained this allowed her to be more creative regarding her vocal before it got added into the mix. It was also made clear that Betty was already living in Miami during the time of her Sansu tracks and she was flying into New Orleans from there (not New York) for mainly 2-week periods to cut her sessions with Toussaint (some four weeks for her first ones).

 

Re her “Nearer To You” Sansu track, she confirms that, when she arrived to cut her vocal, there was very little already laid down, namely just a basic Toussaint piano track plus a bass. She left New Orleans of course before Toussaint mixed the final track and was amazed when, back in Miami, she heard the finished product with all the overdubs etc and barely recognised the piece.

 

When the dee-jay played Betty’s “A Bible And A Beer” from her 2007 Evidence CD, “Intuition”, Betty commented that her preacher-mother would not have approved of that title as she used to say to her when she was a younger secular soul singer: “That’s not the way God wants you to live”. It’s also clear that Betty shares my own view about this particular CD – basically she doesn’t rate it and doesn’t consider it to showcase “the real Betty Harris”.

 

When she first began her legal processes to recover her rights to her Sansu recordings - via her first lawyer Fred Wilhelms (now sadly deceased after contracting pancreatic cancer) - she was having a pretty rough time, as she says that was soon after she had lost both her mother and her husband.

 

While talking about her currently on-going legal action against Sony over Christine Aguilera’s sampling of her “Nearer To You” track, it was made pretty clear that she apparently regards all four of the reissue Harris CDs shown in the montage picture near the end of the main article as unlicensed and may well be bringing further actions against those responsible for these particular releases.

     

British postcard in the Picturegoer Series, London, no. W. 467. Photo: Paramount.

 

Donna Reed (1921-1986) was an American film, television actress, and producer. Her career spanned more than 40 years, with performances in more than 40 films. She is well known for her role as Mary Hatch Bailey in It's a Wonderful Life (Frank Capra, 1946). She received the Oscar for Best Supporting Actress for her role as Lorene Burke in the war drama From Here to Eternity (Fred Zinnemann, 1953). Reed is also known as Donna Stone, a middle-class American mother, and housewife in the sitcom The Donna Reed Show (1958–1966).

 

Donna Reed was born Donna Belle Mullenger on a farm near Denison, Iowa, in 1921. She was the daughter of Hazel Jane and William Richard Mullenger. The eldest of five children, she was raised as a Methodist. In 1936, while she was a sophomore at Denison (Iowa) High School, her chemistry teacher Edward Tompkins gave her the book How to Win Friends and Influence People. Upon reading it she won the lead in the school play, was voted Campus Queen, and was in the top 10 of the 1938 graduating class. After graduating from Denison High School, she decided to move to California to attend Los Angeles City College on the advice of her aunt. While attending college, she performed in various stage productions, although she had no plans to become an actress. After receiving several offers to screen test for studios, Reed eventually signed with MGM. Reed made her film debut in The Get-Away (Edward Buzzell, 1941). She had a support role in Shadow of the Thin Man (W. S. Van Dyke, 1941) and in Wallace Beery's The Bugle Sounds (S. Sylvan Simon, 1942). Like many starlets at MGM, she played opposite Mickey Rooney in an Andy Hardy film, in her case the hugely popular The Courtship of Andy Hardy (George B. Seitz, 1942). Reed starred in the drama Calling Dr. Gillespie (Harold S. Bucquet, 1942), featuring Lionel Barrymore, and Apache Trail (Richard Thorpe, 1942). Then she did a thriller with Edward Arnold, Eyes in the Night (Fred Zinnemann, 1942). Reed had a support role in The Human Comedy (Clarence Brown, 1943) with Mickey Rooney, a big film for MGM. She was one of many MGM stars to make cameos in Thousands Cheer (George Sidney, 1943). Produced at the height of the Second World War, the film was intended as a morale booster for American troops and their families. Her "girl-next-door" good looks and warm onstage personality made her a popular pin-up for many GIs during World War II. She personally answered letters from many GIs serving overseas. She was in the Oscar Wilde adaptation The Picture of Dorian Gray (Albert Lewin, 1945) and played a nurse in John Ford's They Were Expendable (1945), opposite John Wayne. MGM was very enthusiastic about Reed's prospects at this time. Reed was top-billed in a romantic comedy Faithful in My Fashion (Sidney Salkow, 1946) with Tom Drake which lost money. MGM lent her to RKO Pictures for the role of Mary Bailey in Frank Capra's It's a Wonderful Life. The film has since been named as one of the 100 best American films ever made by the American Film Institute and is regularly aired on television during the Christmas season. Back at MGM, she appeared in Green Dolphin Street (Victor Saville, 1947) with Lana Turner and Van Heflin. It was a big hit. Reed was borrowed by Paramount to make two films with Alan Ladd, Beyond Glory (John Farrowm 1948), where she replaced Joan Caulfield at the last moment, and the Film Noir Chicago Deadline (Lewis Allen, 1949). In 1949 she expressed a desire for better roles.

 

In 1950, Donna Reed signed a contract with Columbia Studios.[ She appeared in two Film Noirs which teamed her with John Derek, Saturday's Hero (David Miller, 1951) and Scandal Sheet (Phil Karlson, 1952). Reed was the love interest of Randolph Scott in the Western Hangman's Knot (Roy Huggins, 1952), then was borrowed by Warner Bros for the comedy Trouble Along the Way (Michael Curtiz, 1953) with John Wayne. She was loaned out to play John Payne's love interest in Raiders of the Seven Seas (Edward Small, 1953). Reed played the role of Alma "Lorene" Burke, the girlfriend of Montgomery Clift's character, in the World War II drama From Here to Eternity (Fred Zinnemann, 1953). The role earned Reed an Oscar for Best Supporting Actress for 1953. The qualities of her parts did not seem to improve: she was the love interest in The Caddy (Norman Taurog, 1953) with Dean Martin and Jerry Lewis at Paramount; the Western Gun Fury (Raoul Walsh, 1953) with Rock Hudson; and the Western Three Hours to Kill (Alfred L. Werker, 1954) with Dana Andrews. Reed returned to MGM to act in the romantic drama The Last Time I Saw Paris (Richard Brooks, 1954) with Elizabeth Taylor. Reed began guest-starring on television shows such as The Ford Television Theatre, Tales of Hans Anderson, General Electric Theater, and Suspicion. She continued to appear in features, usually as the love interest, in The Benny Goodman Story (1956) with Steve Allen, playing Goodman's wife; Ransom! (1956) as Glenn Ford's wife; the Western Backlash (1956), with Richard Widmark. In Kenya, she filmed Beyond Mombasa (1957), with Cornel Wilde. She was injured while making the film. In England, she shot The Whole Truth (1958), with Stewart Granger. From 1958 to 1966, Reed starred in The Donna Reed Show, a television series produced by her then-husband, Tony Owen. The show featured her as Donna Stone, the wife of pediatrician Alex Stone (Carl Betz) and mother of Jeff (Paul Petersen) and Mary Stone (Shelley Fabares). Reed was attracted to the idea of being in a comedy, something with which she did not have much experience. She also liked playing a wife. The show ran for eight seasons. Reed won a Golden Globe Award and earned four Emmy Award nominations for her work on the series. Later in her career, Reed replaced Barbara Bel Geddes as Miss Ellie Ewing Farlow in the 1984–1985 season of the television melodrama Dallas. When she was abruptly fired upon Bel Geddes' decision to return to the show, she sued the production company for breach of contract. From 1943 to 1945, Donna Reed was married to make-up artist William Tuttle. After they divorced, in 1945 she married producer Tony Owen. They raised four children together: Penny Jane, Anthony, Timothy, and Mary Anne (the two older children were adopted). After 26 years of marriage, Reed and Owen divorced in 1971. Three years later, Reed married Grover W. Asmus, a retired United States Army colonel. They remained married until her death in 1986. Donna Reed died of pancreatic cancer in Beverly Hills, California, in 1986, 13 days shy of her 65th birthday. Her remains are interred in the Westwood Village Memorial Park Cemetery in Los Angeles.

 

Sources: Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

French postcard in the Collection Cinéma by Editions La Malibran, Paris, no. CA 53, 1989. Photo: Boris Karloff and Elsa Lanchester in Bride of Frankenstein (James Whale, 1935).

 

British actor Boris Karloff (1887-1969) is one of the true icons of the Horror cinema. He portrayed Frankenstein's monster in Frankenstein (1931), Bride of Frankenstein (1935), and Son of Frankenstein (1939), which resulted in his immense popularity. In the following decades he worked in countless Horror films, but also in other genres, both in Europe and Hollywood.

 

Boris Karloff was born as William Henry Pratt in 1887 in London, England. Pratt himself stated that he was born in Dulwich, which is nearby in London. His parents were Edward John Pratt, Jr. and his third wife Eliza Sarah Millard. ‘Billy’never knew his father. Edward Pratt had worked for the Indian Salt Revenue Service, and had virtually abandoned his family in far off England. Edward died when his son was still an infant and so Billy was raised by his mother. He was the youngest of nine children, and following his mother's death was brought up by his elder brothers and sisters. As a child, Billy performed each Christmas in plays staged by St. Mary Magdalene's Church. His first role was that of The Demon King in the pantomime Cinderella. Billy was bow-legged, had a lisp, and stuttered. He conquered his stutter, but not his lisp, which was noticeable throughout his career in the film industry. After his education at private schools, he attended King's College London where he took studies aimed at a career with the British Government's Consular Service. However, in 1909, the 22-years-old left university without graduating and sailed from Liverpool to Canada, where he worked as a farm labourer and did various odd itinerant jobs. In Canada, he began appearing in theatrical performances, and chose the stage name Boris Karloff. Later, he claimed he chose ‘Boris’ because it sounded foreign and exotic, and that ‘Karloff’ was a family name. However, his daughter Sara Karloff publicly denied any knowledge of Slavic forebears, Karloff or otherwise. One reason for the name change was to prevent embarrassment to his family. He did not reunite with his family until he returned to Britain to make The Ghoul (T. Hayes Hunter, 1933), opposite Cedric Hardwicke. Karloff was extremely worried that his family would disapprove of his new, macabre claim to world fame. Instead, his brothers jostled for position around him and happily posed for publicity photographs. In 1911, Karloff joined the Jeanne Russell Company and later joined the Harry St. Clair Co. that performed in Minot, North Dakota, for a year in an opera house above a hardware store. Whilst he was trying to establish his acting career, Karloff had to perform years of difficult manual labour in Canada and the U.S. in order to make ends meet. He was left with back problems from which he suffered for the rest of his life. In 1917, he arrived in Hollywood, where he went on to make dozens of silent films. Some of his first roles were in film serials, such as The Masked Rider (Aubrey M. Kennedy, 1919), in Chapter 2 of which he can be glimpsed onscreen for the first time, and The Hope Diamond Mystery (Stuart Paton, 1920). In these early roles, he was often cast as an exotic Arabian or Indian villain. Other silent films were The Deadlier Sex (Robert Thornby, 1920) with Blanche Sweet, Omar the Tentmaker (James Young, 1922), Dynamite Dan (Bruce Mitchell, 1924) and Tarzan and the Golden Lion (J.P. McGowan, 1927) in which James Pierce played Tarzan. In 1926 Karloff found a provocative role in The Bells (James Young, 1926), in which he played a sinister hypnotist opposite Lionel Barrymore. He worked with Barrymore again in his first sound film, the thriller The Unholy Night (Lionel Barrymore, 1929).

 

A key film which brought Boris Karloff recognition was The Criminal Code (Howard Hawks, 1931), a prison drama in which he reprised a dramatic part he had played on stage. With his characteristic short-cropped hair and menacing features, Karloff was a frightening sight to behold. Opposite Edward G. Robinson, Karloff played a key supporting part as an unethical newspaper reporter in Five Star Final (Mervyn LeRoy, 1931), a film about tabloid journalism which was nominated for the Oscar for Best Picture. Karloff's role as Frankenstein's monster in Frankenstein (James Whale, 1931), based on the classic Mary Shelley book, propelled him to stardom. Wikipedia: “The bulky costume with four-inch platform boots made it an arduous role but the costume and extensive makeup produced the classic image. The costume was a job in itself for Karloff with the shoes weighing 11 pounds (5 kg) each.” The aura of mystery surrounding Karloff was highlighted in the opening credits, as he was listed as simply "?." The film was a commercial and critical success for Universal, and Karloff was instantly established as a hot property in Hollywood. Universal Studios was quick to acquire ownership of the copyright to the makeup format for the Frankenstein monster that Jack P. Pierce had designed. A year later, Karloff played another iconic character, Imhotep in The Mummy (Karl Freund, 1932). The Old Dark House (James Whale, 1932) with Charles Laughton, and the starring role in MGM’s The Mask of Fu Manchu (Charles Brabin, 1932) quickly followed. Steve Vertlieb at The Thunder Child: “Wonderfully kinky, the film co-starred young Myrna Loy as the intoxicating, yet sadistic Fah Lo See, Fu Manchu's sexually perverse daughter. Filmed prior to Hollywood's infamous production code, the film joyously escaped the later scrutiny of The Hayes Office, and remains a fascinating example of pre-code extravagance.” These films all confirmed Karloff's new-found stardom. Horror had become his primary genre, and he gave a string of lauded performances in 1930s Universal Horror films. Karloff reprised the role of Frankenstein's monster in two other films, the sensational Bride of Frankenstein (James Whale, 1935) and the less thrilling Son of Frankenstein (Rowland V. Lee, 1939), the latter also featuring Bela Lugosi. Steve Vertlieb about Bride oif Frankenstein: “Whale delivered perhaps the greatest horror film of the decade and easily the most critically acclaimed rendition of Mary Shelley's novel ever released. The Bride of Frankenstein remains a work of sheer genius, a brilliantly conceived and realized take on loneliness, vanity, and madness. The cast of British character actors is simply superb.” While the long, creative partnership between Karloff and Lugosi never led to a close friendship, it produced some of the actors' most revered and enduring productions, beginning with The Black Cat (Edgar G. Ullmer, 1934). Follow-ups included The Raven (Lew Landers, 1935), the rarely seen, imaginative science fiction melodrama The Invisible Ray (Lambert Hillyer, 1936), and The Body Snatcher (Robert Wise, 1945). Karloff played a wide variety of roles in other genres besides Horror. He was memorably gunned down in a bowling alley in Howard Hawks' classic Scarface (1932) starring Paul Muni.. He played a religious First World War soldier in John Ford’s epic The Lost Patrol (1934) opposite Victor McLaglen. Between 1938 and 1940, Karloff starred in five films for Monogram Pictures, including Mr. Wong, Detective (William Nigh, 1938). During this period, he also starred with Basil Rathbone in Tower of London (Rowland V. Lee, 1939) as the murderous henchman of King Richard III, and with Margaret Lindsay in British Intelligence (Terry O. Morse, 1940). In 1944, he underwent a spinal operation to relieve his chronic arthritic condition.

 

Boris Karloff revisited the Frankenstein mythos in several later films, taking the starring role of the villainous Dr. Niemann in House of Frankenstein (Erle C. Kenton, 1944), in which the monster was played by Glenn Strange. He reprised the role of the ‘mad scientist’ in Frankenstein 1970 (Howard W. Koch, 1958) as Baron Victor von Frankenstein II, the grandson of the original creator. The finale reveals that the crippled Baron has given his own face (i.e., Karloff's) to the monster. From 1945 to 1946, Boris Karloff appeared in three films for RKO produced by Val Lewton: Isle of the Dead (Mark Robson, 1945), The Body Snatcher (Robert Wise, 1945), and Bedlam (Mark Robson, 1946). Karloff had left Universal because he thought the Frankenstein franchise had run its course. Karloff was a frequent guest on radio programs. In 1949, he was the host and star of the radio and television anthology series Starring Boris Karloff. In 1950, he had his own weekly children's radio show in New York. He played children's music and told stories and riddles, and attracted many adult listeners as well. An enthusiastic performer, he returned to the Broadway stage in the original production of Arsenic and Old Lace (1941), in which he played a homicidal gangster enraged to be frequently mistaken for Karloff. In 1962, he reprised the role on television with Tony Randall and Tom Bosley. He also appeared as Captain Hook in the play Peter Pan with Jean Arthur. In 1955, he returned to the Broadway stage to portray the sympathetic Bishop Cauchon in Jean Anouilh's The Lark. Karloff regarded the production as the highlight of his long career. Julie Harris was his co-star as Joan of Arc in the celebrated play, recreated for live television in 1957 with Karloff, Harris and much of the original New York company intact. For his role, Karloff was nominated for a Tony Award. Karloff donned the monster make-up for the last time for a Halloween episode of the TV series Route 66 (1962), which also featured Peter Lorre and Lon Chaney, Jr. In the 1960s, Karloff appeared in several films for American International Pictures, including The Comedy of Terrors (Jacques Tourneur, 1963) with Vincent Price and Peter Lorre, The Raven (Roger Corman, 1963), The Terror (Roger Corman, 1963) with Jack Nicholson, and Die, Monster, Die! (Daniel Haller, 1965). Another project for American International release was the frightening Italian horror classic, I tre volti della paura/Black Sabbath (Mario Bava, 1963), in which Karloff played a vampire with bone chilling intensity. He also starred in British cult director Michael Reeves's second feature film, The Sorcerers (1966). He gained new popularity among a young generation when he narrated the animated TV film Dr. Seuss' How the Grinch Stole Christmas (Chuck Jones, Ben Washam. 1966), and provided the voice of the Grinch. Karloff later received a Grammy Award for Best Recording For Children after the story was released as a record. Then he starred as a retired horror film actor in Targets (Peter Bogdanovich, 1968), Steve Vertlieb: “Targets was a profoundly disturbing study of a young sniper holding a small Midwestern community, deep in the bible belt, terrifyingly at bay. The celebrated subplot concerned the philosophical dilemma of creating fanciful horrors on the screen, while graphic, troubling reality was eclipsing the superficiality so tiredly repeated by Hollywood. Karloff co-starred, essentially as himself, an aged horror star named Byron Orlok, who wants simply to retire from the imagined horrors of a faded genre, only to come shockingly to grips with the depravity and genuine terror found on America's streets. Bogdanovich's first film as a director won praise from critics and audiences throughout the world community, and won its elder star the best, most respectful notices of his later career.”. In 1968, he played occult expert Professor Marsh in the British production Curse of the Crimson Altar (Vernon Sewell, 1968), which was the last Karloff film to be released during his lifetime. He ended his career by appearing in four low-budget Mexican horror films, which were released posthumously. While shooting his final films, Karloff suffered from emphysema. Only half of one lung was still functioning and he required oxygen between takes. he contracted bronchitis in 1968 and was hospitalized. Early 1969, he died of pneumonia at the King Edward VII Hospital, Midhurst, in Sussex, at the age of 81. Boris Karloff married five times and had one child, daughter Sara Karloff, by his fourth wife.

 

Sources: Steve Vertlieb (The Thunder Child), Wikipedia, and IMDb.

French postcard in the series Portraits de Stars by L'aventure carto, no. 8, 2003. Photo: Marcel Thomas / Collection Gérard Gagnepain.

 

French actor of Spanish origin Louis de Funès (1914-1983) was one of the giants of French comedy alongside André Bourvil and Fernandel. In many of his over 130 films, he portrayed a humorously excitable, cranky man with a propensity to hyperactivity, bad faith, and uncontrolled fits of anger. Along with his short height (1.63 m) and his facial contortions, this hyperactivity produced a highly comic effect, especially opposite Bourvil, who always played calm, slightly naive, good-humored men.

 

Louis de Funès (French pronunciation: [lwi də fynɛs]) was born Louis Germain David de Funès de Galarza in Courbevoie, France in 1914. His father, Carlos Luis de Funès de Galarza had been a lawyer in Seville, Spain, but became a diamond cutter upon arriving in France. His mother, Leonor Soto Reguera was of Spanish and Portuguese extraction. Since the couple's families opposed their marriage, they settled in France in 1904. Known to friends and intimates as ‘Fufu’, the young De Funès was fond of drawing and piano playing and spoke French, Spanish, and English well. He studied at the prestigious Lycée Condorcet in Paris. He showed a penchant for tomfoolery, something which caused him trouble at school and later made it hard for him to hold down a job. He became a pianist, working mostly as a jazz pianist at Pigalle, the famous red-light district. There he made his customers laugh each time he made a grimace. He studied acting for one year at the Simon acting school. It proved to be a waste of time except for his meeting with actor Daniel Gélin, who would become a close friend. In 1936, he married Germaine Louise Elodie Carroyer with whom he had a son, Daniel (1937). In 1942, they divorced. During the occupation of Paris in the Second World War, he continued his piano studies at a music school, where he fell in love with a secretary, Jeanne Barthelémy de Maupassant, a grandniece of the famous author Guy de Maupassant. They married in 1943 and remained together for forty years until De Funès' death in 1983. The pair had two sons: Patrick (1944) and Olivier (1947). Patrick became a doctor who practiced in Saint-Germain en Laye. Olivier was an actor for a while, known for the son roles in his father's films, including Le Grand Restaurant/The Big Restaurant (Jacques Besnard, 1966), Fantômas se déchaine/Fantomas Strikes Back (André Hunebelle, 1965) starring Jean Marais, Les Grandes Vacances/The Big Vacation (Jean Girault, 1967), and Hibernatus (Edouard Molinaro, 1969) with Claude Gensac as De Funès’ wife, a role she played in many of his films. Olivier later worked as an aviator for Air France Europe.

 

Through the early 1940s, Louis de Funès continued playing piano at clubs, thinking there wasn't much call for a short, balding, skinny actor. His wife and Daniel Gélin encouraged him to overcome his fear of rejection. De Funès began his show business career in the theatre, where he enjoyed moderate success. At the age of 31, thanks to his contact with Daniel Gélin, he made his film debut with an uncredited bit part as a porter in La Tentation de Barbizon/The Temptation of Barbizon (1945, Jean Stelli) starring Simone Renant. For the next ten years, de Funès would appear in fifty films, but always in minor roles, usually as an extra, scarcely noticed by the audience. Sometimes he had a supporting part such as in the Fernandel comedy Boniface somnambule/The Sleepwalker (Maurice Labro, 1951) and the comedy-drama La vie d'un honnête homme/The Virtuous Scoundrel (Sacha Guitry, 1953) starring Michel Simon. In the meanwhile, he pursued a theatrical career. Even after he attained the status of a film star, he continued to play theatre. His stage career culminated in a magnificent performance in the play Oscar, a role which he would later reprise in the film version of 1967. During this period, De Funès developed a pattern of daily activities: in the morning he did dubbing for recognized artists such as Renato Rascel and the Italian comic Totò, during the afternoon he worked in film, and in the theater in the evening. A break came when he appeared as the black-market pork butcher Jambier (another small role) in the well-known WWII comedy, La Traversée de Paris/Four Bags Full (Claude Autant-Lara, 1956) starring Jean Gabin and Bourvil. In his next film, the mediocre comedy Comme un cheveu sur la soupe/Crazy in the Noodle (Maurice Régamey, 1957), De Funès finally played the leading role. More interesting was Ni vu, ni connu/Neither Seen Nor Recognized (Yves Robert, 1958). He achieved stardom with the comedy Pouic-Pouic (Jean Girault, 1963) opposite Mireille Darc. This successful film guaranteed De Funès top billing in all of his subsequent films.

 

Between 1964 and 1979, Louis de Funès topped France's box office of the year's most successful films seven times. At the age of 49, De Funès unexpectedly became a superstar with the international success of two films. Fantômas (André Hunebelle, 1964) was France's own answer to the James Bond frenzy and lead to a trilogy co-starring Jean Marais and Mylène Demongeot. The second success was the crime comedy Le gendarme de Saint-Tropez/The Gendarme of St. Tropez (Jean Girault, 1964) with Michel Galabru. After their first successful collaboration on Pouic-Pouic, director Girault had perceived De Funès as the ideal actor to play the part of the accident-prone gendarme. The film led to a series of six 'Gendarme' films. De Funès's collaboration with director Gérard Oury produced a memorable tandem of de Funès with Bourvil, another great comic actor, in Le Corniaud/The Sucker (Gérard Oury, 1964). The successful partnership was repeated two years later in La Grande Vadrouille/Don't Look Now - We're Being Shot At (Gérard Oury, 1966), one of the most successful and the largest grossing film ever made in France, drawing an audience of 17,27 million. It remains his greatest success. Oury envisaged a further reunion of the two comics in his historical comedy La Folie des grandeurs/Delusions of Grandeur (Gérard Oury, 1970), but Bourvil's death in 1970 led to the unlikely pairing of de Funès with Yves Montand in this film. Very successful, even in the USA, was Les aventures de Rabbi Jacob/The Mad Adventures of Rabbi Jacob (Gérard Oury, 1973) with Suzy Delair. De Funès played a bigoted Frenchman who finds himself forced to impersonate a popular rabbi while on the run from a group of assassins. In 1975, Oury had scheduled to make Le Crocodile/The Crocodile with De Funès as a South American dictator, but in March 1975, the actor was hospitalised for heart problems and was forced to take a rest from acting. The Crocodile project was canceled.

 

After his recovery, Louis de Funès collaborated with Claude Zidi, in a departure from his usual image. Zidi wrote for him L'aile ou la cuisse/The Wing and the Thigh (Claude Zidi, 1976), opposite Coluche as his son. He played a well-known gourmet and publisher of a famous restaurant guide, who is waging a war against a fast-food entrepreneur. It was a new character full of nuances and frankness and arguably the best of his roles. In 1980, De Funès realised a long-standing dream to make a film version of Molière's play, L'Avare/The Miser (Louis de Funès, Jean Girault, 1980). In 1982, De Funès made his final film, Le Gendarme et les gendarmettes/Never Play Clever Again (Tony Aboyantz, Jean Girault, 1982). Unlike the characters he played, de Funès was said to be a very shy person in real life. He became a knight of France's Légion d'honneur in 1973. He resided in the Château de Clermont, a 17th-century monument, located in the commune of Le Cellier, which is situated near Nantes in France. In his later years, he suffered from a heart condition after having suffered a heart attack caused by straining himself too much with his stage antics. Louis de Funès died of a massive stroke in 1983, a few months after making Le Gendarme et les gendarmettes. He was laid to rest in the Cimetière du Cellier, the cemetery situated in the grounds of the château. Films de France: “Although fame was a long time coming, Louis de Funès is regarded today as not just a great comic actor with an unfaltering ability to make his audience laugh, but practically an institution in his own right. His many films bear testimony to the extent of his comic genius and demonstrate the tragedy that he never earned the international recognition that he certainly deserved.”

 

Sources: Steve Shelokhonov (IMDb), Films de France, Wikipedia, and IMDb.

 

And, please check out our blog European Film Star Postcards.

Romanian postcard by Casa Filmului Acin.

 

French actor of Spanish origin Louis de Funès (1914-1983) was one of the giants of French comedy alongside André Bourvil and Fernandel. In many of his over 130 films, he portrayed a humorously excitable, cranky man with a propensity to hyperactivity, bad faith, and uncontrolled fits of anger. Along with his short height (1.63 m) and his facial contortions, this hyperactivity produced a highly comic effect, especially opposite Bourvil, who always played calm, slightly naive, good-humored men.

 

Louis de Funès (French pronunciation: [lwi də fynɛs]) was born Louis Germain David de Funès de Galarza in Courbevoie, France in 1914. His father, Carlos Luis de Funès de Galarza had been a lawyer in Seville, Spain, but became a diamond cutter upon arriving in France. His mother, Leonor Soto Reguera was of Spanish and Portuguese extraction. Since the couple's families opposed their marriage, they settled in France in 1904. Known to friends and intimates as ‘Fufu’, the young De Funès was fond of drawing and piano playing and spoke French, Spanish, and English well. He studied at the prestigious Lycée Condorcet in Paris. He showed a penchant for tomfoolery, something which caused him trouble at school and later made it hard for him to hold down a job. He became a pianist, working mostly as a jazz pianist at Pigalle, the famous red-light district. There he made his customers laugh each time he made a grimace. He studied acting for one year at the Simon acting school. It proved to be a waste of time except for his meeting with actor Daniel Gélin, who would become a close friend. In 1936, he married Germaine Louise Elodie Carroyer with whom he had a son, Daniel (1937). In 1942, they divorced. During the occupation of Paris in the Second World War, he continued his piano studies at a music school, where he fell in love with a secretary, Jeanne Barthelémy de Maupassant, a grandniece of the famous author Guy de Maupassant. They married in 1943 and remained together for forty years until De Funès' death in 1983. The pair had two sons: Patrick (1944) and Olivier (1947). Patrick became a doctor who practiced in Saint-Germain en Laye. Olivier was an actor for a while, known for the son roles in his father's films, including Le Grand Restaurant/The Big Restaurant (Jacques Besnard, 1966), Fantômas se déchaine/Fantomas Strikes Back (André Hunebelle, 1965) starring Jean Marais, Les Grandes Vacances/The Big Vacation (Jean Girault, 1967), and Hibernatus (Edouard Molinaro, 1969) with Claude Gensac as De Funès’ wife, a role she played in many of his films. Olivier later worked as an aviator for Air France Europe.

 

Through the early 1940s, Louis de Funès continued playing piano at clubs, thinking there wasn't much call for a short, balding, skinny actor. His wife and Daniel Gélin encouraged him to overcome his fear of rejection. De Funès began his show business career in the theatre, where he enjoyed moderate success. At the age of 31, thanks to his contact with Daniel Gélin, he made his film debut with an uncredited bit part as a porter in La Tentation de Barbizon/The Temptation of Barbizon (1945, Jean Stelli) starring Simone Renant. For the next ten years, de Funès would appear in fifty films, but always in minor roles, usually as an extra, scarcely noticed by the audience. Sometimes he had a supporting part such as in the Fernandel comedy Boniface somnambule/The Sleepwalker (Maurice Labro, 1951) and the comedy-drama La vie d'un honnête homme/The Virtuous Scoundrel (Sacha Guitry, 1953) starring Michel Simon. In the meanwhile, he pursued a theatrical career. Even after he attained the status of a film star, he continued to play theatre. His stage career culminated in a magnificent performance in the play Oscar, a role which he would later reprise in the film version of 1967. During this period, De Funès developed a pattern of daily activities: in the morning he did dubbing for recognized artists such as Renato Rascel and the Italian comic Totò, during the afternoon he worked in film, and in the theater in the evening. A break came when he appeared as the black-market pork butcher Jambier (another small role) in the well-known WWII comedy, La Traversée de Paris/Four Bags Full (Claude Autant-Lara, 1956) starring Jean Gabin and Bourvil. In his next film, the mediocre comedy Comme un cheveu sur la soupe/Crazy in the Noodle (Maurice Régamey, 1957), De Funès finally played the leading role. More interesting was Ni vu, ni connu/Neither Seen Nor Recognized (Yves Robert, 1958). He achieved stardom with the comedy Pouic-Pouic (Jean Girault, 1963) opposite Mireille Darc. This successful film guaranteed De Funès top billing in all of his subsequent films.

 

Between 1964 and 1979, Louis de Funès topped France's box office of the year's most successful films seven times. At the age of 49, De Funès unexpectedly became a superstar with the international success of two films. Fantômas (André Hunebelle, 1964) was France's own answer to the James Bond frenzy and lead to a trilogy co-starring Jean Marais and Mylène Demongeot. The second success was the crime comedy Le gendarme de Saint-Tropez/The Gendarme of St. Tropez (Jean Girault, 1964) with Michel Galabru. After their first successful collaboration on Pouic-Pouic, director Girault had perceived De Funès as the ideal actor to play the part of the accident-prone gendarme. The film led to a series of six 'Gendarme' films. De Funès's collaboration with director Gérard Oury produced a memorable tandem of de Funès with Bourvil, another great comic actor, in Le Corniaud/The Sucker (Gérard Oury, 1964). The successful partnership was repeated two years later in La Grande Vadrouille/Don't Look Now - We're Being Shot At (Gérard Oury, 1966), one of the most successful and the largest grossing film ever made in France, drawing an audience of 17,27 million. It remains his greatest success. Oury envisaged a further reunion of the two comics in his historical comedy La Folie des grandeurs/Delusions of Grandeur (Gérard Oury, 1970), but Bourvil's death in 1970 led to the unlikely pairing of de Funès with Yves Montand in this film. Very successful, even in the USA, was Les aventures de Rabbi Jacob/The Mad Adventures of Rabbi Jacob (Gérard Oury, 1973) with Suzy Delair. De Funès played a bigoted Frenchman who finds himself forced to impersonate a popular rabbi while on the run from a group of assassins. In 1975, Oury had scheduled to make Le Crocodile/The Crocodile with De Funès as a South American dictator, but in March 1975, the actor was hospitalised for heart problems and was forced to take a rest from acting. The Crocodile project was canceled.

 

After his recovery, Louis de Funès collaborated with Claude Zidi, in a departure from his usual image. Zidi wrote for him L'aile ou la cuisse/The Wing and the Thigh (Claude Zidi, 1976), opposite Coluche as his son. He played a well-known gourmet and publisher of a famous restaurant guide, who is waging a war against a fast-food entrepreneur. It was a new character full of nuances and frankness and arguably the best of his roles. In 1980, De Funès realised a long-standing dream to make a film version of Molière's play, L'Avare/The Miser (Louis de Funès, Jean Girault, 1980). In 1982, De Funès made his final film, Le Gendarme et les gendarmettes/Never Play Clever Again (Tony Aboyantz, Jean Girault, 1982). Unlike the characters he played, de Funès was said to be a very shy person in real life. He became a knight of France's Légion d'honneur in 1973. He resided in the Château de Clermont, a 17th-century monument, located in the commune of Le Cellier, which is situated near Nantes in France. In his later years, he suffered from a heart condition after having suffered a heart attack caused by straining himself too much with his stage antics. Louis de Funès died of a massive stroke in 1983, a few months after making Le Gendarme et les gendarmettes. He was laid to rest in the Cimetière du Cellier, the cemetery situated in the grounds of the château. Films de France: “Although fame was a long time coming, Louis de Funès is regarded today as not just a great comic actor with an unfaltering ability to make his audience laugh, but practically an institution in his own right. His many films bear testimony to the extent of his comic genius and demonstrate the tragedy that he never earned the international recognition that he certainly deserved.”

 

Sources: Steve Shelokhonov (IMDb), Films de France, Wikipedia, and IMDb.

 

And, please check out our blog European Film Star Postcards.

Israelian postcard by Editions de Luxe, no. 118.

 

American actress Shirley MacLaine (1934) is among Hollywood's most unique stars. With her auburn hair cut impishly short, she made her film debut in Hitchcock's black comedy The Trouble With Harry (1955). She earned Oscar nominations for Some Came Running (1959), for Billy Wilder's The Apartment , and for Irma La Douce (1963). Later triumphs included Sweet Charity! (1969), The Turning Point (1977), Being There (1979) and Terms of Endearment (1983). And she's still going strong.

 

Shirley MacLaine was born Shirley MacLean Beaty in 1934 in Richmond, USA. She was the daughter of drama coach and former actress Kathlyn MacLean Beaty and Ira O. Beaty, a professor of psychology and philosophy. Her younger brother, Warren Beatty, also grew up to be an important Hollywood figure as an actor/director/producer and screenwriter. MacLaine took dance lessons from age two, first performed publicly at age four, and at 16 went to New York, making her Broadway debut as a chorus girl in Me and Juliet (1953). When not scrambling for theatrical work, MacLaine worked as a model. Her big break came in 1954 when she was understudying Broadway actress Carol Haney in The Pajama Game. Haney fractured her ankle, MacLaine replaced her and was spotted, and offered a movie contract by producer Hal Wallis. Her film debut was Alfred Hitchcock's black comedy The Trouble With Harry (1955). Later that year, she co-starred opposite Dean Martin and Jerry Lewis in the comedy Artists and Models (Frank Tashlin, 1955). In her next feature, Around the World in 80 Days (Michael Anderson, 1956), she appeared as an Indian princess. The film was completed not too long before her daughter, Sachi Parker (born Stephanie), was born. Father was her husband Steve Parker, whom she had married in 1954 and would divorce in 1982.

 

Shirley MacLaine earned her first Oscar nomination for her portrayal of a pathetic tart who shocks a conservative town by showing up on the arm of young war hero Frank Sinatra in Some Came Running (Vincente Minnelli, 1959). She then got the opportunity to show off her long legs and dancing talents in Can-Can (Walter Lang, 1960). Prior to that, she appeared in a bit part with Rat Packers Frank Sinatra, Dean Martin, Sammy Davis Jr., and Peter Lawford in Oceans Eleven (Lewis Milestone, 1960). MacLaine, the only female member of the famed group, would later recount her experiences with them in her seventh book My Lucky Stars. In 1960, she won her second Oscar nomination for Billy Wilder's comedy/drama The Apartment, and the third nomination for Irma La Douce (Billy Wilder, 1963), both opposite Jack Lemmon. MacLaine's career was in high gear during the '60s, with her appearing in everything from dramas to madcap comedies to musicals such as What a Way to Go! (J. Lee Thompson, 1964) and Bob Fosse's Sweet Charity! (1969). In addition to her screen work, she actively participated in Robert Kennedy's 1968 presidential campaign and served as a Democratic Convention delegate. She was similarly involved in George McGovern's 1972 campaign.

 

Bored by sitting around on movie sets all day awaiting her scenes, Shirley MacLaine started writing down her thoughts and was thus inspired to add writing to her list of talents. She published her first book, Don't Fall Off the Mountain in 1970. She next tried her hand at series television in 1971, starring in the comedy Shirley's World (1971-72) as a globe-trotting photographer. The role reflected her real-life reputation as a world traveller, and these experiences resulted in her second book Don't Fall Off the Mountain and the documentary The Other Half of the Sky -- A China Memoir (1975) which she scripted, produced, and co-directed with Claudia Weill. MacLaine returned to Broadway in 1976 with a spectacular one-woman show A Gypsy in My Soul, and the following year entered a new phase in her career playing a middle-aged former ballerina who regrets leaving dance to live a middle-class life in The Turning Point (Herbert Ross, 1977). It meant her fourth Best Actress Oscar nomination. MacLaine was also memorable starring as a lonely political wife opposite Peter Sellers' simple-minded gardener in Being There (Hal Asby, 1979), but did not again attract too much attention until she played the over-protective, eccentric widow Aurora Greenway in Terms of Endearment (James L. Brooks, 1983). After 20 years in the film industry, she finally took home the Best Actress Oscar for this role. In 1983, she also published the candid Out on a Limb, bravely risking public ridicule by describing her experiences and theories concerning out-of-body travel and reincarnation.

 

Shirley MacLaine's film appearances were sporadic through the mid-'80s, although she did appear in a few television specials. In 1988, she came back strong with three great roles in Madame Sousatzka (John Schlesinger, 1988), Steel Magnolias (Herbert Ross, 1989), and particularly Postcards from the Edge (Mike Nichols, 1990), in which she played a fading star clinging to her own career while helping her daughter (Meryl Streep), a drug-addicted, self-destructive actress. Through the '90s, MacLaine specialized in playing rather crusty and strong-willed eccentrics, such as her title character in the comedy Guarding Tess (Hugh Wilson, 1994). In 1997, MacLaine stole scenes as a wise grande dame who helps pregnant, homeless Ricki Lake in Mrs. Winterbourne (Richard Benjamin, 1997), and the same year revived Aurora Greenway in The Evening Star (Robert Harling, 1997), the critically maligned sequel to Terms of Endearment. MacLaine's onscreen performances were few and far between in the first half of the next decade, but in 2005 she returned in relatively full force, appearing in three features. She took on a pair of grandmother roles in the comedy-dramas In Her Shoes (Curtis Hanson, 2005) and Rumor Has It... (Rob Reiner, 2005), and was a perfect fit for the part of Endora in the big-screen take on the classic sitcom Bewitched (Nora Ephron, 2005). In the coming years, McLaine would continue to give critically acclaimed performances in movies like Coco Chanel (Christian Duguay, 2008), Valentine's Day, (Garry Marshall, 2010), and Bernie (Richard Linklater, 2011). For a long time, MacLaine did seminars on her books, but in the mid-'90s stopped giving talks, claiming she did not want "to be anyone's guru." She does, however, continue writing and remains a popular writer. For 2015, four new films with her are announced or in pre-production.

 

Sources: AllMovie, Wikipedia, and IMDb.

A Monk In Mourning.

(Linoleum Cut).

High a top a mountain.

One would think a monk,

would be without troubles,

or worries.

Some of that may be true,

but no matter how far he goes,

to get away,

from the

(Madness of the World)!

thoughts of the past,

or the present.

Even effects monks far away,

from the world,

sometimes,

even more so.

Steve.D.Hammond.

Ever since I got back from Spring break, I’ve been uber busy with schoolwork and my ‘Road To Infinity War’ re-reviews that I’ve missed out on telling you guys about all the new movies that I’ve seen in theaters! Now I have a little bit of free time today, so instead of spending an hour or more on five movie reviews as I usually do, I’m just going to give you guys my overall thoughts on five films that I’ve seen recently. I’ve done this before but with video games, but for those of you who don’t remember, I’ll title the movie, give my thoughts, then give a score. So let’s check it out!

 

Isle of Dogs -

Another classic Wes Anderson film. The stop-motion animation is so impressive in this film and the story so heartfelt, I’m a sucker for a “boy and his dog” film. The voice cast is spectacular with standouts like Jeff Goldblum, Bill Murray, and Bryan Cranston. Ever since Fantastic Mr. Fox, Wes Anderson has really been diving deep into world building and this movie is no exception. Teaming up one of my favorite directors with one of my favorite settings makes for a fantastic film based in quirky futuristic Japan. I really feel My one complaint is that there was a subplot with a American exchange student in Japan that I wasn’t quite a fan of, but that’s probably because I was so invested with the other plot with the boy named Atari and the group of dogs. Overall, Isle of Dogs isn’t my favorite Wes Anderson film, but it’s up there as one of his best.

Score: 8.5/10

 

Pacific Rim: Uprising -

I was massively disappointed this sequel of my favorite Del Toro film. While there are a few good moments from the always likable John Boyega and some action sequences. There’s not enough material to save this film from being just a bunch of visual noise on screen. The action in the original Pacific Rim was so stylized and beautiful, but this in this film, it’s just so over the top and hard to track, it’s like a Transformers film. The CGI in this film is absolute garbage as well, the action looks like cutscenes from a PS3 game. The film also ruins certain characters who I loved in the first film with these dumbs twists and gives us these completely unlikeable and amateur Jaeger pilots. Overall, Pacific Rim: Uprising just made me sad and confused. Hopefully Steven S. DeKnight can stay away from films and just go back to TV after this because his work on Daredevil is incredible!

Score: 3.5/10

  

Ready Player One -

A solid Steven Spielberg film that feels so reminiscent of his filmmaking in the 80s, but stylistically and what was actually shown on screen. Ready Player One is a buffet of references and easter eggs to almost all pop culture, you will definitely find something or someone in this movie that you will recognize and make you a least a little giddy. There were a few of those for me, the characters go to a certain movie world and they fight a certain character that gave me a huge smile on my face the entire time. This film also does a great job of world building without making it seem like boring exposition. This film wouldn’t be as good if it weren’t for how likeable the characters were. My favorite character of the film was Aech, they have some great comedy and plays a big part into my favorite sequence of the film which I won’t spoil. My biggest problem with the film is I don’t think Spielberg stuck the landing and the ending was a little cliched. Ready Player One is one of those films where I know everything that’s going to happen before I even saw it. The sound mixing of this film was absolutely terrible as well, songs were played too quietly and some other things were too loud, the film was very messy in terms of sound. But the characters, references, and world building were so great that in the end gave me a great time at the theater.

Score: 8/10

 

The Death of Stalin -

A fantastic dark comedy that felt like a modern Monty Python film, and that’s not purely because Michael Palin stars in the film. The cast of this film was absolutely fantastic, we got some all-stars such as Steve Buscemi and Jeffrey Tambor who play great caricatures of Soviet leaders dealing with Stalin’s death. The movie doesn’t really pay attention to being historically accurate, but more of the writing and the dialogue between the characters. It’s hilarious to watch Buscemi play Khrushchev, but with that classic Buscemi accent. There also some great non-slapstick visual comedy and improv in the film, one improv line that sticks out to me is “Who would put a lamp on a chair?” The Death of Stalin is a super dark comedy that over time, may go up as one of the classics as more people watch it. I can’t wait for others to discover this hidden gem in a pretty packed year of film.

Score: 8.5/10

  

A Quiet Place -

This film is by far one of the scariest films I’ve seen yet. I had a fantastic time at the theater watching this painfully scary film with a large crowd. John Krasinski completely surprised me with this directorial debut. The film consists of a tight and excellent cast, incredible cinematography and set design, and incredible sound mixing as well. Since this film is called “A Quiet Place”, sound really acts as a character of its own in this film. Krasinski makes completely mundane sounds utterly terrifying because of their implications, and let me tell you, those implications are horrifying. The monsters in this film are so cleverly designed and thought out that they are truly some of the most terrifying movie monsters! I have no idea what I’d do if I saw these fuckers in real life! This film is packed with scares but it also has a lot of heart. The family dynamic may be a little cliched in the film with a defiant teenager that creates trouble, but there are such heartfelt moments throughout the film that it makes up for some pretty basic horror cliches in terms of characters and their relationship to their family, which probably my biggest complaint with the film. My other complaint with the film is that it starts with a bang, but then slows down for a large percentage of the first act, but then it kicks back up again and has one of the best ending is any horror film. Overall, A Quiet Place is probably my favorite modern horror film so far. It’s got some slow parts and some cliched family dynamics, but it doesn’t overshadow how fucking scary this film can get and how fun it was to watch with my friends in a full theater. I saw this film yesterday and it’s all I’ve been thinking about since!

Score: 8.5/10

  

Anyways, those are my mini reviews! I’ll make sure to get back to my normal reviews for new movies soon, but in the meantime, make sure to leave your thoughts on any of these films that I spoke about in the comments below!

 

Also, make sure to follow me on Letterboxd if you want more film-related content from me!

Link: letterboxd.com/AntMan3000/

Times Square is a major commercial intersection and neighborhood in Midtown Manhattan, New York City, at the junction of Broadway and Seventh Avenue, and stretching from West 42nd to West 47th Streets. Brightly adorned with billboards and advertisements, Times Square is sometimes referred to as The Crossroads of the World, The Center of the Universe, and the heart of The Great White Way. One of the world's busiest pedestrian intersections, it is also the hub of the Broadway Theater District and a major center of the world's entertainment industry. Times Square is one of the world's most visited tourist attractions, drawing an estimated fifty million visitors annually. Approximately 330,000 people pass through Times Square daily, many of them tourists.

 

Formerly Longacre Square, Times Square was renamed in 1904 after The New York Times moved its headquarters to the newly erected Times Building, the site of the annual ball drop which began on December 31, 1907, and continues today, attracting over a million visitors to Times Square every New Year's Eve.

 

Duffy Square, the northernmost of Times Square's triangles, was dedicated in 1937 to Chaplain Francis P. Duffy of New York City's U.S. 69th Infantry Regiment and is the site of a memorial to him, along with a statue of George M. Cohan and the TKTS discount theatre tickets booth.

 

When Manhattan Island was first settled by the Dutch, three small streams united near what is now 10th Avenue and 40th street. These three streams formed the "Great Kill" (Dutch: Grote Kill). From there the Great Kill wound through the low-lying Reed Valley, known for fish and waterfowl and emptied into a deep bay in the Hudson River at the present 42nd Street. The name was retained in a tiny hamlet, Great Kill, that became a center for carriage-making, as the upland to the south and east became known as Longacre.

 

Before and after the American Revolution, the area belonged to John Morin Scott, a general of the New York militia, in which he served under George Washington. Scott's manor house was at what is currently 43rd Street, surrounded by countryside used for farming and breeding horses. In the first half of the 19th century, it became one of the prized possessions of John Jacob Astor, who made a second fortune selling off lots to hotels and other real estate concerns as the city rapidly spread uptown.

 

By 1872, the area had become the center of New York's carriage industry. The area not having previously been named, the city authorities called it Longacre Square after Long Acre in London, where the carriage trade in that city was centered and which was also a home to stables. William Henry Vanderbilt owned and ran the American Horse Exchange there until the turn of the 20th century.

 

As more profitable commerce and industrialization of lower Manhattan pushed homes, theaters, and prostitution northward from the Tenderloin District, Long Acre Square became nicknamed the Thieves Lair for its rollicking reputation as a low entertainment district. The first theater on the square, the Olympia, was built by cigar manufacturer and impresario Oscar Hammerstein I. "By the early 1890s this once sparsely settled stretch of Broadway was ablaze with electric light and thronged by crowds of middle- and upper-class theatre, restaurant and cafe patrons."

 

In 1904, New York Times publisher Adolph S. Ochs moved the newspaper's operations to a new skyscraper on 42nd Street at Longacre Square, on the site of the former Pabst Hotel, which had existed on the site for less than a decade. Ochs persuaded Mayor George B. McClellan, Jr. to construct a subway station there, and the area was renamed "Times Square" on April 8, 1904. Just three weeks later, the first electrified advertisement appeared on the side of a bank at the corner of 46th Street and Broadway. The north end later became Duffy Square.

 

The New York Times, according to Nolan, moved to more spacious offices west of the square in 1913. The old Times Building was later named the Allied Chemical Building. Now known simply as One Times Square, it is famed for the Times Square Ball drop on its roof every New Year's Eve.

 

In 1913, the Lincoln Highway Association, headed by entrepreneur Carl G. Fisher, chose the intersection of 42nd Street and Broadway, at the southeast corner of Times Square, to be the Eastern Terminus of the Lincoln Highway, the first road across the United States, which originally spanned 3,389 miles (5,454 km) coast-to-coast through 13 states to its western end in Lincoln Park in San Francisco, California.

 

As the growth in New York City continued, Times Square quickly became a cultural hub full of theatres, music halls, and upscale hotels.

 

Times Square quickly became New York's agora, a place to gather to await great tidings and to celebrate them, whether a World Series or a presidential election

—James Traub, The Devil's Playground: A Century of Pleasure and Profit in Times Square

 

Celebrities such as Irving Berlin, Fred Astaire, and Charlie Chaplin were closely associated with Times Square in the 1910s and 1920s. During this period, the area was nicknamed The Tenderloin because it was supposedly the most desirable location in Manhattan. However, it was during this period that the area was besieged by crime and corruption, in the form of gambling and prostitution; one case that garnered huge attention was the arrest and subsequent execution of police officer Charles Becker.

 

The general atmosphere changed with the onset of the Great Depression in the 1930s. Times Square acquired a reputation as a dangerous neighborhood in the following decades. From the 1960s to the early 1990s, the seediness of the area, especially due to its go-go bars, sex shops, and adult theaters, became an infamous symbol of the city's decline.

1970s–1980s

 

As early as 1960, 42nd Street between Seventh and Eighth Avenue, was described by The New York Times as "the 'worst' [block] in town", Times Square in that decade, as depicted in Midnight Cowboy, was gritty, dark and desperate, and it got worse in the 1970s and 1980s, as did the crime situation in the rest of the city things were worse still. By 1984, an unprecedented 2,300 annual crimes occurred on that single block, of which 460 were serious felonies such as murder and rape. At the time, since police morale was low, misdemeanors were allowed to go unpunished. William Bratton, who was appointed New York City Police Commissioner in 1994 and again in 2014, stated, "The [NYPD] didn't want high performance; it wanted to stay out of trouble, to avoid corruption scandals and conflicts in the community. For years, therefore, the key to career success in the NYPD, as in many bureaucratic leviathans, was to shun risk and avoid failure. Accordingly, cops became more cautious as they rose in rank, right up to the highest levels." As the city government did not implement broken windows theory at first, the allowance of low-profile crime was thought to have caused more high-profile crimes to occur. Formerly elegant movie theaters began to show porn, and hustlers were common. The area was so abandoned at one point during the time that the entire Times Square area paid the city only $6 million in property taxes, which is less than what a medium-sized office building in Manhattan typically would produce in tax revenue today in 1984 dollars.

 

In the 1980s, a commercial building boom began in the western parts of Midtown as part of a long-term development plan developed under Mayors Ed Koch and David Dinkins. In the mid-1990s, Rudolph Giuliani led an effort to clean up the area, an effort that is described by Steve Macekin in Urban Nightmares: The Media, the Right, And the Moral Panic Over the City: Security was increased, pornographic theatres were closed, and “undesirable” low-rent residents were pressured to relocate, and then more tourist-friendly attractions and upscale establishments were opened. Advocates of the remodeling claim that the neighborhood is safer and cleaner. Detractors have countered that the changes have homogenized or "Disneyfied" the character of Times Square and have unfairly targeted lower-income New Yorkers from nearby neighborhoods such as Hell's Kitchen.

 

In 1990, the state of New York took possession of six of the nine historic theatres on 42nd Street, and the New 42nd Street non-profit organization was appointed to oversee their restoration and maintenance. The theatres underwent renovation for Broadway shows, conversion for commercial purposes, or demolition.

 

In 1992, the Times Square Alliance (formerly the Times Square Business Improvement District, or "BID" for short), a coalition of city government and local businesses dedicated to improving the quality of commerce and cleanliness in the district, started operations in the area. Times Square now boasts attractions such as ABC's Times Square Studios, where Good Morning America is broadcast live, an elaborate Toys "Я" Us store, and competing Hershey's and M&M's stores across the street from each other, as well as multiple multiplex movie theaters. Additionally, the area contains restaurants such as Ruby Foo's, a Chinese eatery; the Bubba Gump Shrimp Company, a seafood establishment; Planet Hollywood Restaurant and Bar, a theme restaurant; and Carmine's, serving Italian cuisine. It has also attracted a number of large financial, publishing, and media firms to set up headquarters in the area. A larger presence of police has improved the safety of the area.

 

The theatres of Broadway and the huge number of animated neon and LED signs have been one of New York's iconic images, as well as a symbol of the intensely urban aspects of Manhattan. The prevalence of such signage is because Times Square is the only neighborhood with zoning ordinances requiring building owners to display illuminated signs. The neighborhood actually has a minimum limit for lighting instead of the standard maximum limit. The density of illuminated signs in Times Square rivals that in Las Vegas. Officially, signs in Times Square are called "spectaculars", and the largest of them are called "jumbotrons." This signage ordnance was implemented in accordance with guidelines set in a revitalization program that New York Governor Mario Cuomo implemented in 1993.

Notable signage includes the Toshiba billboard directly under the NYE ball drop and the curved seven-story NASDAQ sign at the NASDAQ MarketSite at 4 Times Square on 43rd Street and the curved Coca-Cola sign located underneath another large LED display owned and operated by Samsung. Both the Coca-Cola sign and Samsung LED displays were built by LED display manufacturer Daktronics. Times Square's first environmentally friendly billboard powered by wind and solar energy was first lit on December 4, 2008. On completion, the 20 Times Square development will host the largest LED signage in Times Square at 18,000 square feet. The display will be 1,000 square feet larger than the Times Square Walgreens display and one of the largest video-capable screen in the world.

2000s–present

 

In 2002, New York City's mayor, Rudy Giuliani, gave the oath of office to the city's next mayor, Michael Bloomberg, at Times Square after midnight on January 1 as part of the 2001–2002 New Year's celebration. Approximately 500,000 revelers attended. Security was high following the September 11, 2001, terrorist attacks, with more than 7,000 New York City police officers on duty in the Square, twice the number for an ordinary year.

 

Since 2002, the summer solstice has been marked by "Mind over Madness", a mass yoga event involving up to 15,000 people. Tim Tompkins, co-founder of the event, said part of its appeal was "finding stillness and calm amid the city rush on the longest day of the year".

 

On February 26, 2009, Mayor Michael Bloomberg announced that traffic lanes along Broadway from 42nd Street to 47th Street would be de-mapped starting Memorial Day 2009 and transformed into pedestrian plazas until at least the end of the year as a trial. The same was done from 33rd to 35th Street. The goal was to ease traffic congestion throughout the Midtown grid. The results were to be closely monitored to determine if the project worked and should be extended. Bloomberg also stated that he believed the street shutdown would make New York more livable by reducing pollution, cutting down on pedestrian accidents and helping traffic flow more smoothly.

 

The pedestrian plaza project was originally opposed by local businesses, who thought that closing the street to cars would hurt business. The original seats put out for pedestrians were inexpensive multicolored plastic lawn chairs, a source of amusement to many New Yorkers; they lasted from the onset of the plaza transformation until August 14, 2009, when they were ceremoniously bundled together in an installation christened "Now You See It, Now You Don't" by the artist Jason Peters, and shortly afterward were replaced by sturdier metal furniture. Although the plaza had mixed results on traffic in the area, injuries to motorists and pedestrians decreased, fewer pedestrians were walking in the road and the number of pedestrians in Times Square increased. On February 11, 2010, Bloomberg announced that the pedestrian plazas would become permanent.

 

By December 2013, the first phase of the Times Square pedestrian plaza, at the southern end of the square, was complete, in time for the Times Square Ball drop of New Year's Eve 2013. The project will be complete by the end of 2015. Snøhetta is responsible for the renovations.

 

from Wikipedia

 

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

 

is the critical run

and other emergency art format

 

CRITICAL RUN / Debate Format

 

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

 

www.emergencyroomscanvas todo .org/criticalrun.html

 

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

 

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

 

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

 

----

 

Interesting publication for researches on running and art

 

www.emergencyrooms.org/formats.html

 

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----

  

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

  

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

 

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

  

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

 

—-

 

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.​

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

 

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

 

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

 

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

 

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

-------

In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

------

for activating the format or for inviting the installation

please contact 1@colonel.dk

 

www.colonel.dk/

 

-----

 

critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

 

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

 

,now art,copenhagen,denmark

 

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

 

is the critical run

and other emergency art format

 

CRITICAL RUN / Debate Format

 

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

 

www.emergencyroomscanvas todo .org/criticalrun.html

 

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

 

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

 

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

 

----

 

Interesting publication for researches on running and art

 

www.emergencyrooms.org/formats.html

 

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------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

  

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

 

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

  

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

 

—-

 

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.​

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

 

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

 

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

 

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

 

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

-------

In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

------

for activating the format or for inviting the installation

please contact 1@colonel.dk

 

www.colonel.dk/

 

-----

 

critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

 

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

 

,now art,copenhagen,denmark

 

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

 

is the critical run

and other emergency art format

 

CRITICAL RUN / Debate Format

 

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

 

www.emergencyroomscanvas todo .org/criticalrun.html

 

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

 

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

 

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

 

----

 

Interesting publication for researches on running and art

 

www.emergencyrooms.org/formats.html

 

14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.

 

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Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.

 

Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.

 

Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.

 

Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.

 

Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.

 

Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.

 

Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.

  

Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.

 

Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.

 

Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.

 

Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.

 

White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).

 

White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.

 

Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.

 

Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.

 

Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.

 

Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.

 

Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.

 

Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.

 

Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.

 

Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.

 

Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.

 

----

  

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

  

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

 

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

  

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

 

—-

 

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.​

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

 

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

 

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

 

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

 

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

-------

In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

------

for activating the format or for inviting the installation

please contact 1@colonel.dk

 

www.colonel.dk/

 

-----

 

critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

 

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

 

,now art,copenhagen,denmark

 

I crept around to the main exit of the warehouse. I had my gun ready, you never know if there might be bad guy back-up somewhere. So far I havn't encountered any trouble, but you never know. I can't say I'm happy with being the leader of 'Task Force X', but I guess Waller has a point when she said I know these guys better than most. I'm nearly at the door, just around the corner. I carefully look around the corner, no one there. I walk to the door, but I don't stop at the door, I keep walking, looking around the other corner. All clear. I walk back to the door. Carefully I check it. Locked. Okay, not a problem, I get out a little ball. A little thing our 'IT' Department came out with. Put it in the lock, and five seconds later PUFF, no sound, only a tiny little bit of smoke, and you can open the door easy-peasy.

 

"Alright, everybody ready ? Okay, remember the plan, Slade comes from above, takes out the two helpers, Boomerang, you take out the guy with the suitcases while Cold makes sure Meinhardt and Augustus don't make a run for it, while I cover the main exit. Deadshot, you keep an eye on the trade, if anything goes wrong, we're gonna need a back. Alright, I'm at the door, going in now!"

 

I open the door and go in.

View LARGE On Black

 

Lighting Info:

  

Can you guess? How many lights and where? Yes, those are real shadows caused by the lights!

Nikon D700

Nikkor 17-35mm 2.8

 

Steve and I went out tonight to scout some locations for some future shoots we have planned. We were also taking some background shots for some later composites. We had a blast and got into some trouble, but hey we didn't get caught, that's all I'll say...lol.

 

I grew up in Orange County, right in the heart of downtown. Chapman University, The Circle, The Block, Angel Stadium, Disneyland, and Honda Center all within a 5 minute drive from here. It was a great place to grow up at, and this alley has been around forever! We decided to set up a few lights and get the "infamous" jump shot. Also we have never taken any pictures together and decided it was time we threw something up. We want to thank the encouragement and support we get from all of you. Thank you.

 

We are putting the finishing touches on our first "promo" video and will be posting something soon up on the blog about it. In the meantime, we hope you enjoy this shot!

 

Enjoy,

Hector & Steve aka 2Siick

 

Follow Me On:

 

Facebook

  

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Website

 

2SiiCK Blog

East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 1494, 1961.

 

On 17 July 2021, Jacqueline Sassard (1940) died of natural causes in Lugano, Switzerland. In the late 1950s and 1960, the charming and beautiful French actress had a short but successful career in European cinema. Sassard was 81.

 

Jacqueline Sassard was born in Nice, France in 1940. She started her career as a teenager in the French thriller Je plaide non coupable/Guilty? (Edmond Gréville, 1956). The following year, she played the title role of the Italian comedy Guendalina (Alberto Lattuada, 1957), with Sylva Koscina and Raf Vallone as her parents. The film was produced by Dino De Laurentiis and Carlo Ponti, and the latter offered her another lead role in the comedy Nata di marzo/Born in March (Antonio Pietrangeli, 1958) opposite Gabriele Ferzetti. For her role, she won the Zuleta Prize at the San Sebastián International Film Festival 1958. In Italy, she also appeared as a young woman with family and economical troubles in Il magistrato/The Magistrate (Luigi Zampa, 1959), a co-production with Spain and France. The Spaniard José Suárez stars in the film, and other roles were played by François Périer and a 21-year-old Claudia Cardinale. In the award-winning drama Estate violenta/Violent Summer (Valerio Zurlini, 1959), her character is left by Jean Louis Trintignant for Eleonora Rossi Drago. She also played one of the three sisters who take revenge on playboy Alain Delon in the comedy Faibles femmes/Three Murderesses (Michel Boisrond, 1959), co-starring Mylène Démongeot and Pascale Petit.

 

In the early 1960s, Jacqueline Sassard mainly worked in Italy in less prestigious films than before. It was the period of the Peplum spectacles and she was seen as Antiope in Arrivano i titani/The Titans (Duccio Tessari, 1962) with Pedro Armendáriz and Giuliano Gemma. Hal Erickson at AllMovie: “My Son the Hero started out in 1961 as a straightforward Italian sword and sandal affair titled Arrivano i Titani, all about the quest for a magic helmet in ancient Thebes. Well cast (Pedro Armendariz is the star) and extremely well photographed, the original film was still not sufficiently different from all the other Italian strongman films glutting the American market in 1963. Thus the American distributors hit upon the notion of transforming the film into a satire, by redubbing all the actors and hoking up the sound effects. What resulted was a heady mixture of Yiddish accents, Borscht-belt one-liners, and rippling pecs.” Sassard also appeared in a small part opposite Steve Reeves in the adventure film Sandokan, la tigre di Mompracem/Sandokan the Great (Umberto Lenzi, 1963). In between, Sassard played opposite Freddy Quinn in the German Schlagerfilm Freddy und das Lied der Südsee/Freddy and the Song of the South Seas (Werner Jacobs, 1962). She had a supporting part in the Italian-French sex comedy Le voci bianche/Counter Tenors (Pasquale Festa Campanile, Massimo Franciosa, 1964) with Sandra Milo and Anouk Aimée.

 

One of Jacqueline Sassard’s best films is the Italian drama Le stagioni del nostro amore/Seasons of Our Love (Florestano Vancini, 1966) with Enrico Maria Salerno and Anouk Aimée. Sassard then played an Austrian princess in the prestigious British film Accident (Joseph Losey, 1967), based on a script by Harold Pinter and starring Dirk Bogarde. At the 1967 Cannes Film Festival, the film won the Grand Prix Spécial du Jury. Gavin Jones at IMDb: “One of the best films ever made, this movie oozes atmosphere. The cinematography is impeccable, the script disturbingly brilliant.” Her last credited screen appearance was opposite Stéphane Audran and Jean-Louis Trintignant in the sensual and sexy thriller Les Biches/The Does/Girlfriends (1968), directed by Claude Chabrol. It was one of the first films subtly dealing with bisexuality. James Travers at French Films: “All the time, we, the audience, are seduced by the beautiful cinematography, the captivating, sensual performances, most notably from the Sphinx-like Stéphane Audran, and Chabrol's masterful direction. This is a deliciously seductive work, but one which is also profoundly disturbing.” Then Jacqueline Sassard retired and disappeared from public view. In Brazil, she had met Gianni Lancia, the Italian former automobile engineer, industrialist, and racing enthusiast. They married and had one son, Lorenzo. At the age of 81, Jacqueline Sassard died of natural causes in Lugano, Switzerland, in 2021.

 

Sources: Hal Erickson (AllMovie), James Travers (French Films), Gavin Jones (IMDb), Wikipedia, and IMDb.

 

And, please check out our blog European Film Star Postcards.

Invitation to join our new group “Star Trek Forever” No Limits on uploads!

www.flickr.com/groups/2601080@N25/

 

Star Trek: Asterisk "Star Trek IV: The Voyage Home"

Written by Steve Beaudry

Release Date: November 26, 1986

Written by: Steve Meerson & Peter Krikes and Harve Bennett & Nicholas Meyer

Directed by: Leonard Nimoy

Review

Deep in the outer reaches of space, a monstrous space probe passes by the USS Saratoga and knocks its power out on the way to Earth. Meanwhile, on Earth, a Klingon ambassador accuses Kirk of murdering a ship full of Klingons in his quest to exterminate the Klingon race with the Genesis probe (that thing will just not go away). The Federation president says that Kirk will face nine violations of Starfleet regulations, the crew of the Enterprise has been stuck on Vulcan for three months, and on top of all that, a computer is trying to find out how Spock feels. There's nowhere to go from here but up.

 

Well, in The Search for Spock, Kirk and the crew of the Enterprise stole a starship, blew it up, visited a forbidden planet, and apparently six other naughty things, so now they're getting ready to go back to Earth on their stolen Klingon Bird-of-Prey and face the music. There's just one hitch in this plan: the probe. It has now reached earth, shut down main power to... everything... and caused a huge weather phenomenon that blocked out the sun. So, basically, humanity has however long it'll take for Earth to freeze from lack of sunlight to tell this thing to move out of the way.

"When this is over, I'm quitting Starfleet and starting a gumbo restaurant."

In their Klingon ship, Kirk and the crew approach Earth and pick up a distress call from the president with the manly gray beard saying that Earth is under attack, so they pick up the probe's transmissions and analyze it. Since the transmission appears to be directed at the oceans, Kirk has Uhura compensate for the density of the water. When the audio effects are all in, the probe's transmission ends up sounding a lot like whale song; specifically, the extinct humpback whale. There's only one way they can get a humpback whale to answer the probe: The Guardian of Forev-... er... wait, no, the highly dangerous and tricky slingshot time warp maneuver. So there are two ways. We'll go with the dangerous one for now.

 

When they arrive in 1986, they confirm the date by testing the pollution in the air. Then they go into cloak and land in the middle of a park in San Francisco. After scaring off a couple of trash guys, the crew sets out to downtown. Their mission: 1) find humpback whales 2) get them on board the Klingon ship 3) fix the ship's dilithium crystals so they can go home. They split up to achieve their separate goals. Spock and Kirk go for the whales, Bones and Scotty go to build a proper tank, Uhura and Chekov find some nuclear power to fix the crystals.

Spock would like to take this opportunity to learn karate.

Spock and Kirk easily find some whales after they see an advertisement for the local whale institute where they meet George, Gracie and Dr. Gillian Taylor. George and Gracie are the whales and Gillian is the nice lady who knows everything about them. So Spock and Kirk get to know about the whales in their own unique way: Spock mind melds with Gracie and Kirk seduces Gillian. Meanwhile, Bones and Scotty are having a time of their own getting some plexiglass to make a whale tank. Luckily, they have an ace up their sleeves. They meet with a guy who deals in plexiglass and trade the secret formula for transparent aluminum in exchange for their required plexiglass. Also, Sulu learns how to drive a helicopter so they can lift all that plexiglass to the ship.

 

Things are just about set to go; Kirk is ready to pick up the whales, the plexiglass is ready to be delivered, everything is running smoothly until Chekov screws things up. He finds the USS Enterprise, the aircraft carrier, and, with Uhura's help, steals some of its nuclear power. Well, the officers on board sense the power drain and go looking for him. He hands the power device over to Uhura who beams up to the Klingon ship. But there's not enough transporter power to get Chekov, too, and he's captured. After escaping by attempting and failing to stun his captors, he runs and jumps off a high platform and hospitalizes himself.

It's possible they just got too high.

Chekov arrives at Mercy Hospital, so now they have to go save him before taking off. But to make matters worse, Gillian decided she wants to help, so she wandered off into the park and ran into the cloaked ship. So they beam her aboard, explain a few things, and then run off to save Chekov. With Gillian's help, they sneak into the hospital and pretend to be doctors. Chekov, a suspected Russian spy, is being kept under guard, but Bones easily tricks them into believing they have an emergency. He has a bit of a fight with the attending surgeon and then Kirk locks the surgeon and his team in a small room. Bones heals Chekov, and they leave. The guards give chase once they see that Chekov is being kidnapped, but they beam up in the elevator and make a clean getaway.

 

Ok, so, Chekov is safe, the tank is built, the dilithium crystals are fixed, all they need now are the whales. Kirk gets their tracking frequency from Gillian and says his goodbyes. She can't, after all, go to the future with them. Right? Weellll... as soon as he starts transporting aboard the ship, Gillian hops on him and comes with. She's staying whether Kirk likes it or not. With Gillian aboard, they set out to find George and Gracie. They find them right in front of a whaling ship. Still cloaked, they head right over to them and just hover for a bit while the whaling ship takes aim. And then... the decloakening.

Klingons on the port bow, captain!

Successfully having scared off the whalers, Scotty beams up George and Gracie and they make their way to the future. In a great evolution of Spock's revived character, he makes his "best guess" with the calculations for time warp, and they head out. Back in the future, they crash into San Francisco Bay. While the rest of the crew abandons ship, Kirk releases the whales out of the cargo bay and into the ocean. Once they're out, Kirk joins his crew as the whales start talking to the probe. After a delightful reunion and conversation with its good buddies, George and Gracie, the Probe turns around, says "thank you!" and leaves the Sol system in peace. The day is saved! So, now it's time for Kirk to stand trial.

 

Oh, right, yeah, this was the whole reason they were coming back to Earth, wasn't it? The crew of the Enterprise all stand in front of the president to be judged. Because for some reason the president is the judge in the future. Ready to be taken out of Starfleet forever, they all, including Spock who "stands with his shipmates", they all hear the charges brought to them. And then the president says he's getting rid of all of them in light of them saving the entire Earth, and all. The only charge that sticks, disobeying a superior officer, is directed solely at Kirk and because of it, he is reduced in rank to Captain. Which is basically like grounding a nerd to his room with the Internet still on. And not only that, it wouldn't be Star Trek and Kirk wouldn't be Captain without the proper ship. They head out to the shipyard and find the brand spankin' new USS Enterprise NCC-1701-A. The only proper ship for them to go and "see what's out there."

 

Overall Thoughts

This had been my absolute favorite Star Trek movie for the longest time until my tastes matured and I learned to like The Wrath of Kahn just slightly better. I love a good comedy sci-fi, especially when that comedy sci-fi involves time travel! Every good Star Trek series needs a comedy relief. "The Trouble with Tribbles" was that for The Original Series and this movie is that for the movie series. And, in fact, this movie was so monstrously successful, that it was almost entirely responsible for green-lighting The Next Generation. Picard would take command almost a year after this movie was released and Trek would never be the same.

 

Spider-Man is a fictional Marvel Comics superhero created by Stan Lee and Steve Ditko. Since his first appearance in Amazing Fantasy #15 (Aug. 1962), he has become one of the world's most popular, enduring and commercially successful superheroes and is arguably Marvel's most popular character.

 

When Spider-Man first saw print in the 1960s, teenage characters in superhero comic books were usually sidekicks. The Spider-Man series broke ground by featuring a hero who himself was an adolescent, to whose "self-obsessions with rejection, inadequacy, and loneliness" young readers could relate. Spider-Man has since appeared in various media including several animated and live-action television series, syndicated newspaper comic strips and a successful series of films.

 

Marvel has published several Spider-Man comic book series, the first being The Amazing Spider-Man. Over the years, the Peter Parker character has developed from shy high school student to troubled college student to a married teacher and a member of the superhero team the New Avengers

 

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

 

is the critical run

and other emergency art format

 

CRITICAL RUN / Debate Format

 

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

 

www.emergencyroomscanvas todo .org/criticalrun.html

 

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

 

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

 

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

 

----

 

Interesting publication for researches on running and art

 

www.emergencyrooms.org/formats.html

 

14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.

 

Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.

 

Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.

Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:

 

Continuum, 2002.

Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.

 

Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.

 

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Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.

 

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----

  

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

  

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

 

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

  

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

 

—-

 

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.​

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

 

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

 

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

 

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

 

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

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for activating the format or for inviting the installation

please contact 1@colonel.dk

 

www.colonel.dk/

 

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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

 

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

 

,now art,copenhagen,denmark

 

Today's story and sketch "by me" you see the Mercury Moon Pie Blimp #79 in this

years "EBRA" Earth Blimp Racing Associations, around the Earth once no mater

how long it takes race. The #79 is an interesting entry because of it's long

history of delivering what the company considers the moon pie of the Greek Gods.

Mercury Moon Pie Wrappers say, if you are unlucky enough to be going to the Under World, be sure to take along a Pie or Snack pack of Mercury Moon Pies they will guide your soul on the journey, and are a great snack if you get hungry in route. But that is a great advertising story for another time.

Today we are mostly interested in the lower corner of today's tale where you see

Steve "Watapie" Gofish, under the hood of his Vintage 65 Malibu Super Sport

that He transported all the way from Southern California to here in Greece,

so he could follow his #63 Whatapie Racing Blimps progress across the country,

(and hopefully meet a few Greek Girls).

So far Steve's Malibu has been troubled with clogs to his fuel system after

he ran low on race gas and had to fill up with (Buttanol), Greek automotive

fuel derived from grape and olive skins, the fuel works some of the time in

(Fiats or Namco-Citroen's), but most owners never figure out the reason there

cars or farmobiles quit running is because of the "Buttanol", clogging the fuel lines, or the fact that it only has 23 octane, which is about enough for an

oil lamp if you run out of Whale Oil, but that is a story for another time.

But back to Steve who is under the SS hood changing the Fuel Filter (Again)

seems some of skins are still in his tank, but we must be moving ahead with

the blimp pack to the next check point number #51 in Clitlekatta Central Greece,

until then taa ta the Rod Blog.

French postcard in the Entr'acte series by Editions aphodèle mâcon, no 001/09. Photo: Boris Karloff relaxing with a cigarette during an interval of the shooting of The Bride of Frankenstein (James Whale, 1935).

 

British actor Boris Karloff (1887-1969) is one of the true icons of the Horror cinema. He portrayed Frankenstein's monster in Frankenstein (1931), Bride of Frankenstein (1935), and Son of Frankenstein (1939), which resulted in his immense popularity. In the following decades, he worked in countless Horror films, but also in other genres, both in Europe and Hollywood.

 

Boris Karloff was born William Henry Pratt in 1887 in London, England. Pratt himself stated that he was born in Dulwich, which is nearby in London. His parents were Edward John Pratt, Jr. and his third wife Eliza Sarah Millard. ‘Billy’ never knew his father. Edward Pratt had worked for the Indian Salt Revenue Service and had virtually abandoned his family in far-off England. Edward died when his son was still an infant and so Billy was raised by his mother. He was the youngest of nine children, and following his mother's death was brought up by his elder brothers and sisters. As a child, Billy performed each Christmas in plays staged by St. Mary Magdalene's Church. His first role was that of The Demon King in the pantomime Cinderella. Billy was bow-legged, had a lisp, and stuttered. He conquered his stutter, but not his lisp, which was noticeable throughout his career in the film industry. After his education at private schools, he attended King's College London where he took studies aimed at a career with the British Government's Consular Service. However, in 1909, the 22-year-old left university without graduating and sailed from Liverpool to Canada, where he worked as a farm labourer and did various odd itinerant jobs. In Canada, he began appearing in theatrical performances and chose the stage name Boris Karloff. Later, he claimed he chose ‘Boris’ because it sounded foreign and exotic, and that ‘Karloff’ was a family name. However, his daughter Sara Karloff publicly denied any knowledge of Slavic forebears, Karloff or otherwise. One reason for the name change was to prevent embarrassment to his family. He did not reunite with his family until he returned to Britain to make The Ghoul (T. Hayes Hunter, 1933), opposite Cedric Hardwicke. Karloff was extremely worried that his family would disapprove of his new, macabre claim to world fame. Instead, his brothers jostled for position around him and happily posed for publicity photographs. In 1911, Karloff joined the Jeanne Russell Company and later joined the Harry St. Clair Co. which performed in Minot, North Dakota, for a year in an opera house above a hardware store. Whilst he was trying to establish his acting career, Karloff had to perform years of difficult manual labour in Canada and the U.S. to make ends meet. He was left with back problems from which he suffered for the rest of his life. In 1917, he arrived in Hollywood, where he went on to make dozens of silent films. Some of his first roles were in film serials, such as The Masked Rider (Aubrey M. Kennedy, 1919), in Chapter 2 of which he can be glimpsed onscreen for the first time, and The Hope Diamond Mystery (Stuart Paton, 1920). In these early roles, he was often cast as an exotic Arabian or Indian villain. Other silent films were The Deadlier Sex (Robert Thornby, 1920) with Blanche Sweet, Omar the Tentmaker (James Young, 1922), Dynamite Dan (Bruce Mitchell, 1924) and Tarzan and the Golden Lion (J.P. McGowan, 1927) in which James Pierce played Tarzan. In 1926 Karloff found a provocative role in The Bells (James Young, 1926), in which he played a sinister hypnotist opposite Lionel Barrymore. He worked with Barrymore again in his first sound film, the thriller The Unholy Night (Lionel Barrymore, 1929).

 

A key film which brought Boris Karloff recognition was The Criminal Code (Howard Hawks, 1931), a prison drama in which he reprised a dramatic part he had played on stage. With his characteristic short-cropped hair and menacing features, Karloff was a frightening sight to behold. Opposite Edward G. Robinson, Karloff played a key supporting part as an unethical newspaper reporter in Five Star Final (Mervyn LeRoy, 1931), a film about tabloid journalism which was nominated for the Oscar for Best Picture. Karloff's role as Frankenstein's monster in Frankenstein (James Whale, 1931), based on the classic Mary Shelley book, propelled him to stardom. Wikipedia: “The bulky costume with four-inch platform boots made it an arduous role but the costume and extensive makeup produced the classic image. The costume was a job in itself for Karloff with the shoes weighing 11 pounds (5 kg) each.” The aura of mystery surrounding Karloff was highlighted in the opening credits, as he was listed as simply "?." The film was a commercial and critical success for Universal, and Karloff was instantly established as a hot property in Hollywood. Universal Studios was quick to acquire ownership of the copyright to the makeup format for the Frankenstein monster that Jack P. Pierce had designed. A year later, Karloff played another iconic character, Imhotep in The Mummy (Karl Freund, 1932). The Old Dark House (James Whale, 1932) with Charles Laughton, and the starring role in MGM’s The Mask of Fu Manchu (Charles Brabin, 1932) quickly followed. Steve Vertlieb at The Thunder Child: “Wonderfully kinky, the film co-starred young Myrna Loy as the intoxicating, yet sadistic Fah Lo See, Fu Manchu's sexually perverse daughter. Filmed before Hollywood's infamous production code, the film joyously escaped the later scrutiny of The Hayes Office, and remains a fascinating example of pre-code extravagance.” These films all confirmed Karloff's new-found stardom. Horror had become his primary genre, and he gave a string of lauded performances in 1930s Universal Horror films. Karloff reprised the role of Frankenstein's monster in two other films, the sensational Bride of Frankenstein (James Whale, 1935) and the less thrilling Son of Frankenstein (Rowland V. Lee, 1939), the latter also featuring Bela Lugosi. Steve Vertlieb about Bride of Frankenstein: “Whale delivered perhaps the greatest horror film of the decade and easily the most critically acclaimed rendition of Mary Shelley's novel ever released. The Bride of Frankenstein remains a work of sheer genius, a brilliantly conceived and realized take on loneliness, vanity, and madness. The cast of British character actors is simply superb.” While the long, creative partnership between Karloff and Lugosi never led to a close friendship, it produced some of the actors' most revered and enduring productions, beginning with The Black Cat (Edgar G. Ullmer, 1934). Follow-ups included The Raven (Lew Landers, 1935), the rarely seen, imaginative science fiction melodrama The Invisible Ray (Lambert Hillyer, 1936), and The Body Snatcher (Robert Wise, 1945). Karloff played a wide variety of roles in other genres besides Horror. He was memorably gunned down in a bowling alley in Howard Hawks' classic Scarface (1932) starring Paul Muni.. He played a religious First World War soldier in John Ford’s epic The Lost Patrol (1934) opposite Victor McLaglen. Between 1938 and 1940, Karloff starred in five films for Monogram Pictures, including Mr. Wong, Detective (William Nigh, 1938). During this period, he also starred with Basil Rathbone in Tower of London (Rowland V. Lee, 1939) as the murderous henchman of King Richard III, and with Margaret Lindsay in British Intelligence (Terry O. Morse, 1940). In 1944, he underwent a spinal operation to relieve his chronic arthritic condition.

 

Boris Karloff revisited the Frankenstein mythos in several later films, taking the starring role of the villainous Dr. Niemann in House of Frankenstein (Erle C. Kenton, 1944), in which the monster was played by Glenn Strange. He reprised the role of the ‘mad scientist’ in Frankenstein 1970 (Howard W. Koch, 1958) as Baron Victor von Frankenstein II, the grandson of the original creator. The finale reveals that the crippled Baron has given his face (i.e., Karloff's) to the monster. From 1945 to 1946, Boris Karloff appeared in three films for RKO produced by Val Lewton: Isle of the Dead (Mark Robson, 1945), The Body Snatcher (Robert Wise, 1945), and Bedlam (Mark Robson, 1946). Karloff had left Universal because he thought the Frankenstein franchise had run its course. Karloff was a frequent guest on radio programs. In 1949, he was the host and star of the radio and television anthology series Starring Boris Karloff. In 1950, he had his own weekly children's radio show in New York. He played children's music, told stories and riddles, and attracted many adult listeners as well. An enthusiastic performer, he returned to the Broadway stage in the original production of Arsenic and Old Lace (1941), in which he played a homicidal gangster enraged to be frequently mistaken for Karloff. In 1962, he reprised the role on television with Tony Randall and Tom Bosley. He also appeared as Captain Hook in the play Peter Pan with Jean Arthur. In 1955, he returned to the Broadway stage to portray the sympathetic Bishop Cauchon in Jean Anouilh's The Lark. Karloff regarded the production as the highlight of his long career. Julie Harris was his co-star as Joan of Arc in the celebrated play, recreated for live television in 1957 with Karloff, Harris and much of the original New York company intact. For his role, Karloff was nominated for a Tony Award. Karloff donned the monster make-up for the last time for a Halloween episode of the TV series Route 66 (1962), which also featured Peter Lorre and Lon Chaney, Jr. In the 1960s, Karloff appeared in several films for American International Pictures, including The Comedy of Terrors (Jacques Tourneur, 1963) with Vincent Price and Peter Lorre, The Raven (Roger Corman, 1963), The Terror (Roger Corman, 1963) with Jack Nicholson, and Die, Monster, Die! (Daniel Haller, 1965). Another project for American International release was the frightening Italian horror classic, I tre volti della paura/Black Sabbath (Mario Bava, 1963), in which Karloff played a vampire with bone-chilling intensity. He also starred in British cult director Michael Reeves's second feature film, The Sorcerers (1966). He gained new popularity among the young generation when he narrated the animated TV film Dr. Seuss' How the Grinch Stole Christmas (Chuck Jones, Ben Washam. 1966), and provided the voice of the Grinch. Karloff later received a Grammy Award for Best Recording For Children after the story was released as a record. Then he starred as a retired horror film actor in Targets (Peter Bogdanovich, 1968), Steve Vertlieb: “Targets was a profoundly disturbing study of a young sniper holding a small Midwestern community, deep in the bible belt, terrifyingly at bay. The celebrated subplot concerned the philosophical dilemma of creating fanciful horrors on the screen, while the graphic, troubling reality was eclipsing the superficiality so tiredly repeated by Hollywood. Karloff co-starred, essentially as himself, an aged horror star named Byron Orlok, who wants simply to retire from the imagined horrors of a faded genre, only to come shockingly to grips with the depravity and genuine terror found on America's streets. Bogdanovich's first film as a director won praise from critics and audiences throughout the world community, and won its elder star the best, most respectful notices of his later career.”. In 1968, he played occult expert Professor Marsh in the British production Curse of the Crimson Altar (Vernon Sewell, 1968), which was the last Karloff film to be released during his lifetime. He ended his career by appearing in four low-budget Mexican horror films, which were released posthumously. While shooting his final films, Karloff suffered from emphysema. Only half of one lung was still functioning and he required oxygen between takes. he contracted bronchitis in 1968 and was hospitalized. In early 1969, he died of pneumonia at the King Edward VII Hospital, Midhurst, in Sussex, at the age of 81. Boris Karloff married five times and had one child, daughter Sara Karloff, by his fourth wife.

 

Sources: Steve Vertlieb (The Thunder Child), Wikipedia, and IMDb.

This is from the first set of professional Alphie photos. I didn't take this one.

  

KOM League Flash Report

For Week

of

February 1-6, 2015

 

After sending each Flash Report I look at the screen and ask myself if that will be the last one.

 

What is intuitively obvious, even to the casual observer, on first glance, these reports are “without form and void.” Thanks to the Book of Genesis for those words.

 

There is never any impulse to attempt to fabricate a story for I’m well aware of my limitations in the writing sphere. I was reminded of that by one reader who gave me a passing score for my efforts but congratulated me on the timing of and the inclusion of a recent Bill Clark article on the Valomilk. He deemed Clark to be the best writer of material in the last report, to which I wholeheartedly agreed.

 

Stay with me for a bit for I’m going to spend a little time on the aforementioned Mr. Clark. His Flash Report is sent at the same time as the rest of those on the mailing list. However, he neither turns a computer on or off and is reliant on a family member to find the report and then print it for him.

 

Clark keeps a busy schedule and goes more places and does more things, in a week, than I’ve done in the past ten years. When Monday rolls around I assume that anyone to whom the Flash Report was sent has read it or deleted it from the computer by that time. Late on this past Monday afternoon Clark’s wife, Barbara, called to let me know he thought he left a long message on my telephone answering machine earlier in the day. I was a bit puzzled until Barbara explained that she had received a call from a gentleman stating he had received a long message from her husband that didn’t make a lot of sense to him and obviously he wasn’t interested in the things about which Clark and I talk about on the telephone.

 

So, as I write this Clark doesn’t know that he hit “442” instead of “445” when attempting to call me. He got the right number, but it belonged to someone else. I now know, after speaking with Barbara. that he is going to write a story regarding a game he umpired at Clinton, Mo. when Ernie Banks played for the Kansas City Monarchs. Although I don’t know the details I’d guess it was the same summer—1952-- Banks and the Monarchs showed up in Carthage to take on the Indianapolis Clowns.

 

Since there is a real fan of Bill Clark who also reads these Flash Reports this is a heads up that he will have another article on baseball in his daily column. For all you Clark fans his work can be accessed at Columbiatribune.com That is a site that limits the number of times each month you can visit it so use your access judiciously.

_______________________________________________________________________

Conclusion to a previous Flash Report story

 

Speeding and running stop sign inspected. That was a headline appearing on page 12 of the Saturday September 12, 1953 Edition of the Omaha Evening Journal.

 

In a couple of recent issues, of this publication, a name arose who had no affiliation with the KOM league. He was a member of the Osage Tribe who pitched briefly for Hutchinson, Kansas, in 1949, before being replaced on the roster by Jack McCalman who had started that season with the Carthage, MO Cubs.

 

When information is located about former players who weren’t affiliated with the KOM league, and for whom I can verify their passing, I share that with Jack Morris who keeps tabs on former players who have crossed o’er the Jordan River.

 

When first mentioning the late Hutchinson pitcher I surmised that although I had found out a great deal regarding his early life that I might never learn of his date and place of birth and his fate. Shortly, I learned all of the above with the exception I didn’t know what led to his death at a very young age. Well, the Omaha newspaper of 1953 had this account of a car accident from a Saturday afternoon 62 years ago. “A 25 year old man was injured severely early Saturday when his car sideswiped another on East Locust Street, continued three hundred feet and plowed into a tree. The impact tore a shoe from the foot of the driver Herbert Hay (sp) Pitts, resident of the downtown YMCA. He was reported in fair condition Saturday at County Hospital. He suffered multiple cuts of the head, left arm and leg and both hands and a concussion. He was unconscious several hours.”

 

For the newspaper reference cited I have Jack Morris, baseball necrologist, to thank. The rest of what I knew about Pitts was basically contained in Ancestry.com files, some old Baseball Guides and the Hutchison News. Pitts had played professionally in 1948 with Odessa and Lubbock in the West Texas-New Mexico league and after being released by Hutchinson, in 1949, due to a sore right arm, (citation from Hutchinson News) he hooked on with Alexandria and Lafayette in the Evangeline league in 1950. He was an effective pitcher when he was able to perform. He had a winning record in his three seasons in pro ball.

 

On October 18, 1950 he entered the United States Army and received his discharge on November 1, 1952. In an ironic twist he passed away one year and one day later on November 2, 1953, most likely from his injuries suffered in the September car accident.

 

On December 22, 1953 an application was filed with the U. S. Headstone Agency for Military Veterans for their consideration. That information is part of the public record. . search.ancestry.com/cgi-bin/sse.dll?db=QGHeadstoneApps&am... request was for a flat bronze marker. Sometime between the application date and January 18, 1954 it had been reviewed and marked up by someone using a red pencil. On the request was the word “undesirable” which was underlined twice.

 

With that information I went back to his Find A Grave site: msbdy=1928&msbpn__ftp=oklahoma&cpxt=0&catBucket=rstp&uidh=tk3&cp=0&pcat=ROOT_CATEGORY&h=38864566&db=FindAGraveUS&indiv=1&ml_rpos=2

 

The tombstone that now marks the spot of Herbert Pitts’ final resting place doesn’t contain a flat bronze marker as can been seen if you pulled up the previous URL. For those who didn’t or can’t, it is a very nice marble headstone. For anyone familiar with gray marble they will quickly recognize it as being Carthage Marble. In fact, one reader, of this report played for the Carthage Cubs in 1951 and worked the winter of 1951-52 at Carthage Marble and will verify the statement that the tombstone for the late Mr. Pitts is from the place he played ball and worked during one of the greatest years of his young life. Just because he met a pretty young lady in 1951 had NOTHING to do with him staying around Carthage for the off season, right WB? WB is the same guy who took Hank Aaron to the hospital during the 1952 Northern League All-Star game. That was a story in last week’s report. How many of you recall that story? Shucks, how many of you even recall last week?”

________________________________________________________________________

Another puzzler almost solved.

 

This story, like the previous one, has a common thread…an automobile accident.

 

Since the start of all the effort to locate a former member of an Iola ball club, in the early 1950’s, I’ve looked, scratched through all manner of records and looked again and again for a trace of him. I always thought he was born in Salina and later lived in a small town across the Smokey Hill River to the Southeast of the place he entered this world. However, in searching every document I could find I never uncovered what happened to him after he left the KOM league. In recent days I unraveled his past and now understand why I had a tough time tracing his ancestry.

 

For this story I’ll just call the guy Marvin. In my research I found through some family archives that, due no fault of his own, was born out of wedlock in 1932 to Raymond and Anna, both of whom had different last names as you might expect. Raymond was 25 at the time and Anna was 17. So, Marvin was adopted, given the last name of the adopted parents and grew up on a farm in Central Kansas. It appears that his mother, Anna, stayed in Salina but Raymond took off and went to Torrington, Wyoming where he married a girl by the name of Sarah, a year later. I don’t know what became of Sarah but Raymond lived another 60 years before his death in Parker, Colorado in 1994. Looking at stories like that I wonder if Raymond ever knew his son got a chance to play professional baseball. Also things like that raise the question as to whether Marvin ever saw or knew of his father.

 

The “mystery man” in this story was scouted by a former minor leaguer from Lecompton, Kansas by the name of Russell Sehon. Since Marvin came out of the Salina area and that town was a Philadelphia Phillies farm club at the time it is most likely Sehon signed him for the Phils and had him assigned to a Class D independent club, Iola. The young infielder showed up at Iola on May 28, of an unspecified year, and had six runs batted in, in one game, shortly after his arrival. Since he played at Iola during the years I was watching baseball I’m sure I saw him. Now, I wish I could find him but probably never will. One thing about the young man’s four score games with Iola was, he had a tough time hitting his weight and that spelled the end of his baseball aspirations.

 

Had Marvin taken the last name of his birth mother he would have had the same name as a great Brooklyn Dodger pitcher of that era. Had he taken the name of his “long gone” father, it would have been the only name of its kind in the history of organized baseball. As it turned out Marvin had the adopted last name of scores of men who played professional baseball.

 

Whether Marvin is alive is unknown but he had three half- sisters of which two are living and doing so in Salina, Kansas. I could make contact with the survivors to find out about Marvin but I’d be a little fearful of doing that. Notice I prefaced that with “a little.”

 

Follow-up to the story

 

While attempting to locate additional information regarding Marvin I came upon a Salina, Kansas Journal article written a dozen or so years after he left the KOM League. The headline was “Salinian Found Unconscious in His Car.” At the start I didn’t know if this was the same guy who played in the KOM league or not. I didn’t know the answer until I read down to the last paragraph. So, follow along and see what I found. (Some of verbiage in this article was a little hard to grasp but it is a direct quote.)

 

“Thirty-year old Marvin K. Anonymous, Salina RFD, was found unconscious, a 1.5 inch gash across the center of his forehead, on the floorboards of a car east of Salina Saturday night.

In Ditch

 

The 1958 model car was in a ditch on the south side of Marymount Road approximately 2.5 miles east of the city. The Sheriff’s Patrol said the car had a flat front tire but no other apparent damage.

 

Cause not known

 

The Sheriff’s Patrol said cause of the accident was not determined by late Saturday night.”

 

At this point I was still curious as to whether I had found a story on a “missing” KOM leaguer, or not. The article concluded. “It is believed Anonymous was employed at a Salina golf course. He is a former professional baseball and former star athlete at Anonymous (not Salina) High School.”

 

It appears the “missing” KOM leaguer stayed in the area in which he was born. I located three references to him in the Salina Journal and all of them were from April through June of that year in the early 1960’s. In all cases the references were due to hospitalizations.

 

Run the clock forward 30 years and there is a reference, in an obituary, that he was the brother to a deceased female. That caused me some concern for in the 1940 Census he was the only child mentioned in the family. However, in looking at that Census document I found that he had been adopted by a couple who were 42 years of age. It is possible that they had raised some children who had left the home by that time which made sense that they, at an advanced age of parenting a baby, did indeed adopt Marvin. The only thing that gives me pause that Anonymous was still in the Salina area in the early 1990’s is a plea in the April 28, 1976 edition of the Salina Journal. The plea was placed there by a lady trying to locate former graduates of the high school where Anonymous had attended and from where he had graduated nearly a quarter century earlier.

 

With all the research done on this matter I have reason to believe Marvin is still living and if I could go to a certain town in North Central Kansas, not Salina, I think I could speak with him and complete this tale. If I ever saw him I think I’d recognize him since I do have a photo of him taken almost 65 years ago. I’m sure he hasn’t changed…much.

 

Social commentary:

 

Keeping the name and most ways of identifying Marvin Anonymous from being determined was on purpose. I’m sure Marvin probably found out, some time in his life, the circumstances under which he entered this world. However, he might not have shared that with many people and it isn’t my role in life to spread that bit of information. When he was born the times were different. The unmarried mother many times left town on some “made up” reason and left the newborn in the custody of an agency who adopted it out to some family whether it was good or bad for the child. If the birth circumstance of the child was learned they often were called by a seven letter word that was far from flattering.

 

As I was finishing this story I heard a defensive back for one of the Super Bowl teams state that he didn’t know if he would play in the game on Sunday if his girl friend was giving birth to their child. The moral climate in this country has changed from Marvin’s day and even from the time I was a young and even older person. Now, anything goes and I’m not sure it is for the best. It used to be that Hollywood was known for its loose morals, and was the poster child for a way of life that residents in my part of the world never discussed or admitted in public knowing about. . The old joke was two youngsters who were sons of Hollywood starts were arguing. One youngster and says ‘My daddy can whip your daddy.’ To which the other youngster replied ‘My daddy is your daddy’.”

________________________________________________________________________

Many ballplayers were never scouted but sought out teams in various ways.

 

There are a variety of reasons the Flash Reports are read. How can I list all the ways? The answer is “I can’t and won’t even make an attempt.” However, when a former big leaguer passes away, who played in the KOM league, and there isn’t any record of who inked him to his first contract, I’ll get an inquiry. The latest case in point came when Charlie Locke passed away in early January.

 

It was time for me to reach out to the “far-flung” network of guys with great memories. Since Bill Ashcraft and Charlie Locke were from the same part of the country and signed the same year with the St. Louis Browns, I figured he could shed some light on the scout signing Locke. Here are a couple of responses provided some good grist for this edition.

 

•

 

John: I don't recall the name of the Scout who actually signed me. You may recall that in the 40s and early 50s some of the major league teams held "training camps where at a cost one could attend and play against his peers under the watchful eyes of various scouts. In 1950 I was invited to one of those camps which the Browns held in Pine Bluff, Arkansas. As I recall, the Browns had a training facility at an old "retired" US Military base there at Pine Bluff and that several baseball diamonds had been hewn out. We were housed in one of the old barracks and were given military type cots for sleeping on. I felt right at home. The Camp wasn't free by any means but the Browns indicated that the "Top Prospects" camp would have their tuition, bus fare, etc., refunded. I was lucky-my control was on and somehow I was selected Numero Uno and got my refund. I remember that Henry Peters, a Browns bigwig, was at the graduation ceremonies and I believe that he was the party who gave me my contract. Since I was still a "minor" they had to get my Dad's permission for me to sign although I had just been recently discharged from the Marine Corps (my first stint and I was called back in when the Korean War broke out which essentially did away with any baseball aspirations that I might have had). I met Peters again in 1952 when Bill Veeck, who had bought the team, directed that I come up and work out with the Big Boys immediately upon my second Marine discharge later that year. It was nice of Veeck but Hornsby, the Manager, readily saw that my arm was useless. Veeck was a good guy but Hornsby was an ass.

 

A bit later:

 

John: I tried to send you a reply but fouled up something-computerese is not my expertise. I guess that the Browns' experiment down in Pine Bluff could have been considered a try-out camp but as I recall most of try-out camps, as such, put on in the late 40s-early 50s were usually of the 1/2 or 1 day variety. I knew some of the local guys around Advance-Bloomfield who attended one of them and they indicated that they didn't get much of a chance to show their wares. My brother and a couple of his HS team mates around 1955-1956 went to one of the Cardinals camps in St. Louis and one of his friends could hit a ball as far as anybody I ever saw, but he said that he only got one at bat, and that was it. He could have easily played minor league ball and would probably have hit several home runs.

 

The Browns' camp at Pine Bluff was of a week or ten days duration and we had to pay to attend it. They brought several scouts in to watch the goings on The one day camps my brother's friends attended didn't cost them anything except for their road fare up to St. Louis and they had to bring their glove and shoes, perhaps a local uniform of some kind-but I don't recall if this was the case. The guys who attended our camp in Pine Bluff were from several locations around the country, people from Arkansas, Illinois, etc., the guy I mentioned who made it to the Big Leagues for a short period, Chuck Oertel, was from Pontiac, Michigan, and another guy who was in the camp was named Bill Zwirko from somewhere up in New Jersey-he also played for Enos at Baxley but I believe that he hung it up after a year or so.

 

The only guy at that camp that got a cup of coffee in the Big Leagues was Charles Oertel but it wasn't with the Browns, the White Sox I believe. He wasn't up in the bigs very long. It was funny but I was playing with the Camp Pendleton Marine team in early 1952 after my arm was shot and who would appear but Chuck Oertel, having also been called back in at the tail end of the Korean War. He and I had played with Baxley in the Georgia State League under the late Bill Enos.

  

Ed reply to all of the above:

 

Zwirko played one year at Hazlehurst-Baxley and hit .187. That may be the reason he quit.

 

Ed comment:

 

A few things in my years of research are universally the same. No matter with whom I spoke, who played for Rogers Hornsby, to a person they couldn’t tolerate him. But, there has to be an exception somewhere and as soon as I hear about it I’ll surely print the news. I even shared that sentiment a few months ago with a family member of the Hornsby’s who has a huge genealogy site. I’ve heard from a number of people who played for the late Bill Enos prior to his going into scouting. In his case, I never heard a disparaging word. As a visiting team batboy the year Enos was in the KOM league he was right at the top of my favorite managers list.

________________________________________________________________________

Now for the dessert.

 

In the last issue the Valomilk (VM) article by Bill Clark was saved for this part of the Flash Report. So, with a “sweet deal” going I’ll close with another Valomilk story.

 

John G Hall, you are now known as the “Guru of Valomilk”. After your story last week in the FR regarding Mr. Earl Sifers of Iola baseball and candy fame, you once again quirked my interest so I have been searching since for the old and familiar VM. And, if I had just followed your very explicit instructions I would not have wasted all my time, energy and $. I went first to Walgreen’s, as they have a huge candy department. No VMs. Went to Wally World. No VM. Went to Quik Trip. No VM. So, I finally decided perhaps should follow your guidance. Just went to my friendly Westlake ACE Hardware near my house. I found VM!!! Right at the checkout as you said. Told the clerk at checkout there was a special story behind my purchase so she had to hear it and of course I gave her a short rendition, including information on the KOM League. She, being an “older adult,” definitely remembered VM from the days far past. Time and the economy have taken their toll of course. It is now a 2-pack and sells for $1.99!!! My wife asked what it was “back in our days” and I cannot remember so thought perhaps you might? Sure it was only a single pack? And price?

 

The other famous one I remember from our swimming pool days with Keith and Norma is the Cherry Mash, manufactured then and now in St Joseph, Mo. And it is also on the candy checkout at ACE!!! My favorite though always was and still is a FROZEN Snicker bar!!!

 

But, thanks for the memories. And yes indeed, the address on the wrapper says 5112 Merriam Lane, Merriam, Kansas. If I had Paul Lindblad’s left arm I could hit that place with a rock from my home(well, almost). But since it is my lefty arm, I will drive there and drop the rock in their driveway. By the way the new name of company is Russell Sifers. I wonder if that is perhaps a son or even grandson?

 

Thanks for the memories John. Oh, by the way. I will not bother to look at the wrapper for the dietary info printed thereon. Just TYPING the word VALOMILK probably added 2 lbs to my weight---Ha!!”

Casey—Shawnee Mission, KS

 

One more thing before closing. I am glad it is a 2-pack. That means my bride of 46 years will have to share equally, which might prevent any “comments” re the nutrition value. That will be right after or before she has her Blue Bell Ice Cream of course!!!! Good thing she does not read these ramblings of mine!!

 

Ed reply:

 

Well, see if I can answer all your questions. The Valomilk cost one nickel and most of the nickels I received when selling them were Buffaloes.

 

The Cherry Mash was indeed made in St. Joseph, MO by the Chase Candy Company. However, it was at the top of the price list for candy. It cost one thin Roosevelt.

 

The Snicker and Milky Ways also sold for a nickel. But, when the corner grocery stores starting selling them frozen they upped the price to match the Cherry Mash. Snickers and Milky Way's were made by the Mars Candy Co. and they made a Mars Bar that had two almonds in each bar and that also brought a high price of ten cents. I thought all that candy was great until I tasted a Cadbury Caramello and then I kicked all those other confections to the side.

 

Earl Sifers was an uncle of Russell. Russell never saw Earl in his life as I recall him telling me at one of my purchasing forays prior to a KOM league reunion.. I told him things about the Iola operation he never knew. I also told him it was the preferred candy item of all KOM leaguers but he never gave me a price break on the hundreds of those things I purchased for a “few” reunions. I wearied of driving from Columbia, MO to Merriam, KS prior to each reunion so I finally talked Jim Jay into getting the Valomilks for me. He then became the most popular guy at the reunion. It seems to me that the double pack of Valomilks were 89 cents the last time I purchased them for a reunion. Maybe I got them cheaper since Sifers didn’t have to charge the freight costs.

_______________________________________________________________________

 

Some things just didn’t pan out

 

What KOM clubs anticipated at the start of spring training, in terms of roster composition, seldom turned out that way once the season started. This article from early spring of 1948 shows just how initial plans go awry. Even the manager who started out in the spring at Miami, Okla., Hank Gornicki had a change of heart about managing that club.

 

Miami News Record--THURSDAY, APRIL 8, 1948 PITCHERS WORK FOR POSITIONS ON LOCAL CLUB --14 Hurlers Among New Crop Of Owl Candidates; .29 new candidates battling for 21 positions on the Miami Owl roster, 14 are pitchers and eight are infielders. The others, all of whom reported for spring drill late Monday, include five outfielders and two backstops. Because College field hasn't been conditioned for workouts, the plan for junior Owl prospects to toil on the campus has been abandoned. Instead, there will be two squads in action daily at the Fairgrounds park, the Topeka Owls working during the afternoon. following morning practice by the local athletes, who will report at 10 a. m. Manager Windy Johnson of the Topekans and pilot Hank Gornicki of the Miami outfit will get a line on their hurling talent Saturday night and Sunday in the two nine-inning games slated at the Fairgrounds. The Saturday game will begin at 8, the Sunday afternoon clash at 2:30 o'clock. Pitching and batting practices will dominate the training program until the week-end tilts.

 

Topeka breaks camp April 16 for a series of exhibitions and the local aggregation, while remaining here for most of its conditioning, will travel occasionally for competition. Miami will open its season May 5. The new arrivals: Pitchers— Robert Scheer, Old Bridge, N. J.; Edward Brennan, New Haven, Conn.; Dennis Torris, Peabody, Mass.; Robert Vogel, South River, New Jersey; Lawrence Pugliese, Greenwich, Conn.; Francis Wilson, Lynn, Mass.; John Doyle, Salem, Mass.; Glen Oxandale, Wetmore, Kas.; Dean Christman, Jamestown, Kas.; Alex Grieves, Burlingame, Kas.; Robert Moore, Ottawa, Kas.; Fred Rykert, Lenexa, Kas.; and Rudy Newman, South Hambar, Mass. Infielders—Dennis Heins, New Haven, Conn.; Anthony Mormino, St. Louis, Mo.; Vernon Stout, St. Louis, Mo;. George Gibson, Brooklyn, N. Y.; Manric Bauer, Pawnee Rock, Kas.; Everett Moore, Morrowville, Kas.; James Moore, Ottawa, Kas.; and Robert Newcomer, Lenexa, Kas. Outfielders—Russell Burkemper, St. Louis, Mo.; Benjamin DiPietro, New York, N. Y.; Harold Lee, Lenoir City, Tenn.; Bart Mantia, St. Louis, Mo.; and Thomas Quinnlan, Perry, Kas. Catchers—Byron Perrigo, Holton, Kas.; and Willard Grunow, Egg Harbor City, N. Y. (Ed note: That was actually Egg Harbor City, New Jersey. A member of the 1948 Carthage Cardinals was from that same town. His name was Howard Leonard Obergfell who passed away in Willingboro, NJ at age 39, the year was 1966.)

 

Ed note:

 

In the research conducted on that 1948 team I only found the following names, from that early spring roster who played in at least one game for Miami: Alex Grieves, George Gibson, Robert Vogel, Edward Brennan and Rudy Neumann. Robert and James Moore from Ottawa, KS were brothers. Robert had made the Chanute roster in 1947 but was not offered a contract in 1948 after the New York Giants took over. Neither he or James made the Miami club in 1948.

 

Rudy Neumann was listed as ”Newman” from South Hambar, Mass. But he was actually from Hoboken, NJ and died in New Brunswick, NJ some 60 years after appearing at Miami. I was never able to find a South Hambar anywhere. That had to be a newspaper misspelling.

 

If someone wanted a “fun” project they could take those names of guys who didn’t make the Miami club in 1948 and see if they played elsewhere before their youth had fled. I would suspect there are a number of misspellings of names on that list as I just cited with Rudy Neumann. Robert Scheer spent the 1948 season at Topeka.

 

Later

 

For the fun of it I ran Ancestry.com checks on nearly everyone who didn’t make it on to the Miami roster. I was surprised to have been able to track everyone of those listed and with the exception of two names the Miami paper had them spelled correctly. Most of the fellows trying out for Miami in 1948 were WWII veterans and one of them, Benjamin L. “Bennie” DiPietra was a highly decorated soldier in the war and was “Missing in Action” for a period of three months from late 1944 until early 1945. He passed away in 1963 and is buried in Bristol, Pennsylvania.

 

Others from the list who reported to Miami in 1948 went into the Korean War such as Everett Moore of Morrowville, Kansas. He spent four years in the service and lived until August 29, 2009 when he passed away in Concordia, Kansas.

 

There was a letter left out of Fred Rykert’s name. He is Fred Charles Ryckert who was listed as being from Lenexa, Kansas. He was born outside Lenexa in Johnson County in 1922 and at age 93 resides in Ft. Collins, Colorado.

 

If for any reason anyone would want any information on the members of the early Miami spring roster of 1948 I now have a pretty good profile on everyone of them. Can you imagine the surprise that some family members of all those guys would have if they knew their loved one once had a shot at playing professional baseball?

________________________________________________

Warning: Old KOM League correspondence is a potential health hazard.

 

Late last year the nearly two-decade accumulation of correspondence was wheeled out my back door, into a van and across I-70 to the Kansas State Historical Society in Topeka. I have mentioned it a couple of times in the past but never dwelt on it. In recent days I received an update on the archival process.

 

This is the status of the project:

 

“John: Thought I would give you an update on the processing of the Hall-KOM collection.

 

Our volunteers and staff have made quite a dent in the collection. There are four cubic foot boxes of the correspondence left to go through. Initially there were 15 boxes. Everyone is having a good time reading through the stories and jokes. Some of the jokes are not really suited for printing.

 

We are finding the occasional photo left in the correspondence. I have one photo on my desk of Donald Buss taken at Pittsburg, Kansas in 1948. Another one is of Carl Pevehouse in his Oklahoma A&M uniform in the late 1940s. Would you want one or both of these photos back for your files?

 

I do have to report that we are having some problem with the correspondence from 1994-95. The mold growth has been difficult to get under control. Mold is the number one danger in the archives game. You would think it would be falling boxes, or bad backs from lifting too many heavy cubic foot boxes. Nope, it is mold induced respiratory infections. I warn every intern I teach to be very careful around the stuff. I am still trying to figure out how I can work the early correspondence without getting an infection.

 

Hope this finds you and your family in good spirits and health. Talk to you again soon.

 

Sincerely, Darrell

 

Ed reply:

 

Sorry about the mold. I knew it was in some of those boxes but I was encouraged to let you guys decide what to throw away. Throw it away before it makes you sick. I would like the photos of Pevehouse and Don Bruss. Mold was one of the reasons my wife said I had to pitch the files. Sorry about the bad jokes some of the guys told. One more thing if you decide there isn't any use for those questionnaires I sent to those guys, let me know.

 

A bit later

 

It's a great idea to throw out the bad jokes (and mold infested letters) and libelous statements made by any of those guys. I sometimes wonder if I should have made that stuff available for public consumption. Save me from being sued by blacking out all that borderline stuff.

 

Ed comment:

 

About the only material in that correspondence, needing to be deleted, was someone trying to relate an off color joke. I have a pretty good memory, or did until recently, and I don’t remember a single joke any sent. So, I guess they were only funny to the persons sending them. Taxing my memory I do recall one guy sending a joke and I didn’t print it in the newsletter and that was the last time he ever communicated with me. I do recall him sending the joke but I didn’t deem it suitable for distribution.

________________________________________________________________________

In time, everyone makes it into a Flash Report.

 

Until the discussion of Ray Rippelmeyer. and the death of his wife, Glenda, in the previous edition of the Flash Report, his name was never mentioned in this publication.

 

Then the information was shared with the Eichhorst family who are friends of Rippelmeyer. The Eichhorsts were going to share all the voluminous information that was shared by one of the readers regarding Ray’s career. In that material was a reference to Rippelmeyer hitting his only big league homer off Boston’s Billy Monbouquette. Shortly thereafter this note arrived Barry McMahon, the person who shared so much information about Rippelmeyer. “Ray Rippelmeyer hit his homerun off Bill Monbouquette and I just noticed Bill passed away on Sunday the 25th.” www.google.com/search?rls=aso&client=gmail&q=Bill...

 

With that news I sent the information about Monbouquette’s death to the Eichhorsts who are sharing the information with the Rippelmeyer family. Here is the response from Mrs. Eichhorst. “The day after Glenda's funeral. Will include this with all the information you have sent. Thanks again!”

 

This is a note received in regard to the Rippelmeyer family. “John, please pass our condolences on to Ray Rippelmeyer (through Barb) from us. I don't think that I ever met Ray's wife, Glenda. She was younger. What a beautiful lady! I remember Ray and we followed his career through the years. He was well known on SEMO's Campus because of his athletic prowess! My brother (also a SEMO Alum) lost his wife 2 years ago because of Alzheimer's! Praying for a cure in the near future. Blessings and sympathy to all. Bill & Shirley Virdon—Springfield, MO

________________________________________________________________________

That should do it for another week or so. As is stated in many of these reports it isn’t mandatory that they be sent your way. I like doing it but if you don’t want to receive them let me know and then you can say, like many others have, “Good riddance to bad rubbish.”

 

Adding to the record book

 

In looking at some baseball websites I noticed that Charles Richard Kohs was listed as being born in 1931 when he hurled for the Miami, OK Eagles at the start of the 1950 baseball season. I knew that was inaccurate for I spoke with him few years ago and he told me he was born April 14, 1925 in Lincoln, Park, Michigan. He had pitched for Muskogee, Oklahoma during the 1949 season.

 

Kohs got a shot with Pug Griffin’s Miami club in 1950 and the following explains why he returned to Michigan as a tool and die maker in the automobile industry.

 

May 5, 1950 Charles Kohs, tall left hander, started for Miami and was charged with the loss as all seven runs came across the plate during the 3 1/3 innings he worked. Kohs, although touched for only three hits, was troubled by wildness, giving up six free passes, which had him in hot water most of the night. George Edward Beaver relieved Kohs in the fourth inning after two runs had come across the plate and pitched shutout ball the rest of the way

 

May 12, 1950. Last night. at lola, the Eagles combined their six base knocks with smart base running and cashed in on the Indian miscues to chalk up their sixth victory. Charles Kohs.- erratic left-hander, started; on the hill for the Eagles .but was unable to control his wildness and was forced to retire in the third inning. Kohs walked eight men but hadn't given up a safe base blow. In the third, an error by the catcher, Jack Williams, and two bases on balls, loaded the hassocks. Then Kohs walked (Otis) Bomar, bringing in an Indian run and George Don Garrison was brought in from the bullpen. (Ed note: The mistake in that last sentence is that wasn’t Garrison’s middle name.)

 

May 16, 1950. Charles Kohs started on the hill for Miami and was sent down to his second defeat. Kohs went 7 2/3 innings and had all of the (Independence) Yank runs charged against him. He was touched for only seven hits but walked 13 men and let loose four wild pitches.

 

Well, that was Kohs career in the KOM league, in a nutshell. If you want to know more you can find him in Charlevoix, Michigan where in two months he will celebrate his 90th birthday.

 

What was said about Kohs forms the basis of the “Ninety and Over” society. The rest of this section lists those former KOM leaguers who have or will reach their 90th birthdays in 2015. And, since I’ve I went that far those over 90, and their current ages are also listed. If you care to know the team(s) for whom these men played and the years, go to this seldom used site. I’ve spent countless hours keeping this thing updated. komleaguebaseball.blogspot.com/2008/01/names.html

 

Those who are/will be 90 in 2015.

 

John Bulkley—January 5

Ralph Nassen “Whitey” Vold—January 5

John Wanda “Jack” Blaylock---February 11

Dean Rothrock---February 25

Ray Birch—March 29

Frank Borghi---April 9

Robert Kapinus---April 10

Francis Urban—April 11

Charles Kohs---April 14

Steve Kovach---May 22

Pete Maropis---September 17

Robert Ehrlich---September 19

Frank “Bobo the Clown” Nickerson—September 26

Louis Salreno---October 2

Christopher Haughey—October 3.

 

Those who are/will be 91 in 2015

 

Jasper Bono—March 15

Keith Willoughby---March 18

Thomas “Snuffy” Smith---March 19

Emery C. Wilson Jr.---May 30

Milton David Ward Jr.---July 10

John Piccone---July 16

Gerald Otto Beaman---August 7

Donald Spellum (umpire)---September 18.

James McCoy Abbott Jr.---November 4

Gerald D. Cross---December 15

 

Those who are/will be 92 in 2015

 

Reinhard William “Riney” Hay—July 6

Albert Robert Stadvec---August 8

Elden Edgar McHugh--September 20

David Cox---October 27

Casimir R. Stackowiak---December 5

 

Those who are/will be 93 in 2015

 

Joseph W. Turek---May 6

James Duncan (umpire)---August 18

Robert E. Field---August 27

Willis Frank Carruth—September 30

 

Those who are/will be 94 in 2015

 

Irvin W. Hayden (umpire)---May 13

 

Those who are/will be 95 in 2015

 

Not a single solitary soul.

 

Those who are/will be 96 in 2015

 

Shannon Willis Deniston---February 28

William Vernon Snow---September 11

Erby Rue Carroll---November 30.

 

So, I come to the end of yet another tedious report. But, in case you are ever on a game show and asked who the oldest and youngest former living KOM league players are the answer is: Joseph A. Tessier from Putnam, Connecticut was born June 13, 1934 and played for the Iola Indians in 1951, albeit a very short time. He now lives in Ft. Myers, Florida. The oldest is obvious from the above list. Deniston is still celebrating birthdays in Lakeside, California and has vowed to do so until he reaches the century mark.