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.

 

One of my adventures I was looking forward to this summer was coming to Ward Lake. I was really surprised to see that the Creek Fire from last year had attacked this area also. This location is over 50 miles away from where the Creek Fire started. Most of the campground area was Ok, but it did burn down our outhouse that was next to our camp site.

 

The fire seemed to have drawn a few bear into this area looking for food. All of their berries were burned up and I think food has been scarce for them this year. Its a little unnerving to have a bear creeping around your campsite looking for food in the middle of the night. We are careful with our food and we didn't have a any trouble other than losing some sleep. We were really sad to see so much of the forest burned up, but we did see a lot of sign where the forest is growing again. Keep on clicking!

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!

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.

A scene from travel in 2017 when flights out of Atlanta were delayed and canceled. The hallways were filled with stranded passengers. A couple of weeks later the same airport had a power outage which lead to even more troubles.

 

These folks picked one of the most relaxing areas in the terminal with the sounds of a forest and rain with the dimmed lights and canopy of the art installation by Steve Waldeck called 'Flight Paths'.

 

(and having a much better day than on this trip!)

Stanley's Thatcher bust is located on Thatcher Drive, Oh My Buddha, the drive is only 0.14 kilometres long.

 

The bust is near the 1982 Liberation Memorial that honours 255 UK servicemen and three Falklands civilians who died in the spring of 1982 conflict.

 

The bust was created by local sculptor and taxidermist, Steve Massam.

 

Unveiled on Thatcher Day, 10 June, 2015, the bust commemorates the life of the UK Prime Minister and her role in the Falklands’ war.

 

The brass plaque beneath bears her words from 03 April 1982:

“They are few in number, but they have the right to live in peace, to choose their own way of life and allegiance”.

 

The work was commissioned following the death of the former Prime Minister in 2013. The sculpture is mounted on a stone plinth.

 

The work was unveiled by Baroness Thatcher's son, Sir Mark Thatcher, on Margaret Thatcher Day. He said, "I am extremely honoured to be in the Falkland Islands to unveil the bust of my mother who I know would be equally honoured and very humble that you, the Falkland Islanders, have bestowed upon her such an honour.”

 

PRELUDE TO THE MONUMENT:

When Governor Rex Hunt was forced to surrender to the Argentines, his last words to the terrified Falkland Islanders on the radio service was a promise the British would be back.

 

There is a feeling among Falkland Islanders that had it not been Thatcher in No 10, Hunt's promise might not have been kept.

 

Thatcher was never afraid to go against the grain (as you may recall) and sending a huge task force 8,000 miles to rescue a tiny number of British people from unwelcome invaders was a very big call.

 

If the mission had failed, her government would likely have followed. It is by no means certain any other Prime Minister, of any party, would have been so resolute.

 

It would have been easy to negotiate with the Argentines, and effectively hand over the Islands and their British inhabitants and she would likely not have been blamed for it.

 

Some question her motives for going to war. Was she doing it to defend the freedom of the Islanders or was she keen for a distracting, jingoistic cause to shift the spotlight from the domestic troubles her government was facing?

 

Doesn't matter for the Falkland Islanders as the end result was the same.

 

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 )

"VIDEO KILLED THE RADO STAR?"

 

Well, just about, I'm a tad knackered at the moment!

 

G’day, I’ve been a wee bit quiet for the past few weeks as I reviewed movies at this year’s 2007 Melbourne (Australia) International Film Festival. I broadcast the reviews over about two and a half hours all up on my show, Zero-G: Science Fiction, Fantasy & Historical Radio, on 3RRR FM. (rrr.org.au)

 

The above picture is the sign on the Erwin Rado Theatre at 211 Johnson Street, Fitzroy, where the MIFF has its headquarters. The building's nothing much to look at from outside, really! But the sign...well, THAT has character!

 

Below the MIFF offices, the theatre, named after the director of the Film Festival from 1957 - 1983, has a charming old 69 seat cinema that can screen 16mm and 35mm film as well as DVD, LaserDisc, VHS, Data and MiniDV.

 

The MIFF’s access to the theatre expired at the end of 2007 and, ideally, it really should have its own dedicated screening facility, as other major city’s film festivals have. Still, the office itself has now moved to a more central location in Melbourne, which is handy!

 

To find out more about the MIFF go here:

 

www.melbournefilmfestival.com.au/

 

Anyway, I thought I’d post some of reviews here, inspired by films that I particularly enjoyed at this year’s event.

 

The full transcripts can be found at:

 

www.rrr.org.au/playlist/2778/

 

-AACHI & SSIPAK-

SOUTH KOREA

 

This continuously violent South Korean animated adult feature presents a future where human excrement is an energy source. Citizens have a monitoring chip attached to their arses and particularly productive individuals are rewarded with addictive drug laced munchies called Juicy Bars.

 

I shit you not.

 

The story begins with a roadwarrior highway battle as the swarming blue mutant Diaper Gang (!) attempts to truckjack a cargo of Juicy Bars, only to encounter a devastatingly lethal cyborg enforcer who makes Judge Dredd look like a human rights campaigner.

 

Headshot bodies fall at a rate that would impress Aeon Flux and Samurai Jack combined as the repressive government, assorted roving bands of bandits and con men, including the title characters Aachi and Ssipak (pronounced ‘she-pock’) along with a feisty would-be actress, all compete for the Juicy Bars.

 

Given the outrageous level of mayhem and the giggling concept that lies at the, er, bottom of the plot, it’s hardly worth noting that the animators cheerfully raid pop culture for many sequences, including the films Aliens and Indiana Jones & The Temple Of Doom. The latter is extensively overmined for one tunnel chase set up.

 

The animation is quite stylistically vigorous while the off the wall social commentary reminds me a little of the kind of thing that animator Ralph Bakshi attempted in his Fritz The Cat days, well before the likes of South Park and its shock-anime kin. There’s also something to be said for the biting political satire that runs through the narrative, which results in the government and gang leader being merely two opposite sides of the same ruthless coin.

 

People with kids could have pointless fun banning them from seeing this film, but apparently MTV’s thinking of doing a telly series based on it anyway, so, futile or what?

 

Subtle it isn’t, but it is a species of wicked fun that will gather bums on seats!

 

Director Joe Bum-jin

2006/90mins

    

-A FEW DAYS IN SEPTEMBER-

ITALY/FRANCE/PORTUGAL

 

The first film directed by screenwriter Santiago Amigorena, A Few Days In September

(Quelques Jours en Septembre), is a laid back but quite charming French spy thriller that makes espionage a family affair...and a realistically bickering family at that.

 

Elliot, mostly alluded to or played as an off screen voiceover by Nick Nolte until near the film’s conclusion, is an ex-CIA agent with knowledge about the upcoming 911 attacks. He hopes to trade the information for a stake that will enable him to reunite and live with his biological daughter and step-son, legacies of two seperate cover identity marriages in France and the U.S.

 

Much sought after by various factions, Elliot entrusts his grown up children, Orlando (Sara Forestier) and David (British actor Tom Riley) to the capable care of Irène, a cool, experienced French secret agent who used to be Elliot’s colleague. The potentially overwhelming meta-story takes a back seat to the character relationships, which makes a nice change to the usual breathless adventures that would normally puff up this kind of story into a by-the-numbers action thriller.

 

Juliette Binoche brings marvelous, stylish depth to her role as world wise spy Irène, providing a wryly sophisticated setting for her charges’ inevitable romance. (What IS it with the French anyway? After Irène’s arm is injured she turns up wearing a chic scarf as a sling, but of course!) Always gorgeous, the actress pitches the character as being adept enough at her deadly trade so that she can afford to enjoy herself while she works. Forestier is all sharp edged, angry eyed angst as she works through father/daughter issues while Riley nervously cooks (his character worked in a restaurant) for the two formidable women who have abruptly complicated his life with their Amazonian expertise with firearms. I also very much enjoyed the arch Franco/American banter between Orlando and David.

 

Seeking Elliot through the medium of his children is William Pound, a whacko ‘wet work’ assassin who has a penchant for poetry, drives a florist’s delivery van and has a mobile phone plagued by the world’s most annoying ringtone. Pound’s character is tightly wound by John Turturro, who played one of the convicts in O Brother, Where Art Thou? and also an equally obsessive relative of the title character in the television series Monk.

 

A Few Days In September benefits from first rate cinematography, including some playful soft focus shots that whimsically render Venice and Paris, cheekily explained by Irène’s habit of removing her glasses to ‘see things differently’. There’s also a cracking good shot through the dark framed doorway of a Venetian Chapel which reminded me of a signature frame from a John Ford Western, only instead of Mesas and sagebrush we get the Venice Lagoon and a passing ocean liner.

 

Although this film lingers perhaps a little too lovingly on the wrangling entanglements of its main characters I still found it pleasant and rewardable viewing. Amigorena certainly knows how to inject off-beat life into his characters.

 

Director/Screenwriter Santiago Amigorena

2006/115 mins

  

-BUG-

USA

 

When down on her luck small town waitress Agnes White (played by Ashley Judd) invites eccentric drifter Peter Evans into her seedy motel room she receives much more than she bug-aned for!

 

Director William Friedkin (The Exorcist, & The French Connection) gets almost unbearably psychological in this cross genre movie that wisely adds no excess fat to the one set, pressure cooker Tracy Lett’s play that it’s adapted from. As the two main characters’ relationship slowly emerges from a far too tightly spun chrysalis the film builds to one of the most intensely wound paranoic conclusions seen on screen.

 

Michael Shannon is gauntly convincing as Evans, a role that he pioneered in the original stage play and intially at least, reminds me a little of a young Steve McQueen or perhaps, Joachim Phoenix. Harry Connick Junior has a supporting part in the film as Agne’s ex-convict, ex-husband.

 

Bug’s maddeningly paced escalating tension is supported by an appropriately chittering score, composed by Brian Tyler, who also gave us soundtracks for the films Constantine, Bubba Ho-Tep, the Children of Dune miniseries, as well as episodes of Star Trek: Enterprise and the upcoming Aliens Versus Predator 2: Survival Of The Fittest. Speaking of Star Trek, Ashley Judd also played Ensign Robin Lefler in Star Trek: Next Generation.

 

Bug is a film that creeps up on you and by its final scuttling rush will definitely get under your skin...one way or another.

 

Director- William Friedkin

Screenwriter-Tracy Letts

2006/101mins

   

-EL TOPO-

(MEXICO)

 

El Topo (“The Mole”) was director Alejandro Jodorowsky's third film. The infamous Mexican allergorically surreal Eastern/Western is presented at the festival in a very fine new restoration (a bit of a shock for those used to seeing it in its customary raddled grindhouse/cult prints!) along with its natural companion piece, The Holy Mountain.

 

This comprehensively startling but compelling film begins, not unlike the Lone Wolf And Cub Samurai series, with the black clad, flute playing gunslinger El Topo (played by the director himself) riding across the wastelands in company with a taciturn child companion. After a blood drenched encounter with drunkenly bestial bandits El Topo replaces the boy with a seductively manipulative woman who urges him to become the greatest shootist in the world by seeking out and defeating four master gunfighters.

 

As with the wuxia martial arts films that this story frequently references the quest for the masters proves dangerous, difficult, baffling and wonderous.

 

The gunslinger’s odyssey to achieve enlightment and mastery is populated with exotic encounters and inventive, symbolically charged imagery. Deflating balloons signal the start of duels, capering outlaws with shoe fetishes rape feminised sand paintings and carve bananas with sabres, civilised townsfolk prove more depraved and debauched than the wasteland bandits, herds of rabbits mysteriously die at El Topo’s feet, incestuously deformed trogalytes living in oil drums tunnel to escape their underground prison, and live bullets are caught and deflected by butterfly nets.

 

This visual melange is supported by Jodorowskys and Nacho Méndezs evocative music which, by turns soothing or jarring, echoes across the many desert based sequences and permeates the locations, which frequently read more like artistic installations than sets grounded in any kind of mundane reality. In fact, there is a timeless anachronistic feel to the desert that makes you question whether this is nominally a period Western or indeed set in some kind of post-apocalyptic Stephen King future.

 

El Topo is rendered even stranger by its renowned mid-film gear change, one of several enigmatic transformations that can be interpreted as Buddhist inspired reincarnations of the title character.

 

Just imagine what might have been if Jodorowsky had pulled off his mid-70s adaptation of Frank Herbert's Dune, with its intended cast of Salvidor Dali as the Emperor, Mick Jagger playing Feyd Rautha and Orson Welles as Baron Harkonnen? As it is the Acid Western tradition at least got another outing in Jim Jarmusch's more recent film, Dead Man, which, for all its many remarkable charms, by comparison to El Topo is cast into monochrome shade.

 

A bizarre chimera even by Zero-G's notoriously unhinged standards El Topo is a cult classic given gloriously grotesque new life by its own recent transfiguring restoration.

 

Director/Screenwriter Alejandro Jodorowsky

1971/125mins

 

-FIDO-

Canada/USA

 

Fido fiendishly expands upon the gag featured in Shaun of the Dead (amongst other films) that zombies could be domesticated to perform simple tasks. Zombies helping in the kitchen? Uh-oh, better make sure they keep those rotting fingers are kept hygenically away from food preparation surfaces with a pair of crisp, clean white cotton gloves....

 

In an alternate 1950s the all encompassing ZomCom, which apparently helped win the Zombie War, protects and serves the walled small towns of America. Now, we all know that the only reason to provide zombies with clever electronic control collars is so that the gadgets can malfunction; cue zombie outbreak! It’s the slyly subversive juxtaposition of wholesome mom and apple-pie Leave It To Beaver sitcom with Zombie killing procedural that lends this consistently bemusing film a wicked Addams Family style where Pop naturally reads Death Magazine and scenes shot in cars are filmed using good old fashioned rear screen projection.

 

Not that we’re talking Black and White telly, nosirree Bob! Fido is filmed in full, glorious technicolour, complete with ginormous finned automobiles, two toned shoes and compliant Stepford housewives who wait at the front door for their patriarchal hubbies to take the martini from their submissive, manicured hands. Happily, Carrie Anne-Moss in one of the main roles, as Helen Robinson, is more of a buddingly feisty Desperate Housewife after the armed and dangerous example of Bree Hodge. (From The Matrix to a zombie packed Pleasantville is indeed an ironic career path!) It’s not long before Helen kicks over the domestic traces following the example of her young son, Timmy (knowingly played by the intriguingly named K’Sun Ray) and his new pet zombie, the Fido of the title, embodied by Billy Connolly. Connolly plays the long suffering Fido with toothy glee, moaning and groaning and lurching in the throes of what could easily double as a hangover of fatally heroic proportions.

 

Keep an eye out (easy to do in a zombie film) for Dylan Baker, as the nervously cheerful Bill Robinson. Baker has had the sleeper part of Doctor Curt Connors in the Spider-Man films and, as comic book fans anticipate, should eventually get to mutate into the super-villain, The Lizard.

 

Fido is my genre pic of the Festival, in the tradition of another year’s shambling B-schlock spoof, The Lost Skeleton Of Cadavra. I ask you, how can I not enjoy sinking my teeth into a film where a pet zombie is addressed with a line like: “What’s that Fido? Timmy’s in trouble?”

 

It’s enough to make Lassie dig her way out of her grave!

 

Director- Andrew Currie

Screenwriters- Robert Chomiak, Andrew Currie, Dennis Heaton

2006/91mins

   

-HANSEL & GRETEL-

GERMANY

 

If you go down to the woods today.....you’d better take your copy of the Brothers Grimm Cookbook For Baking Independent Elderly Female Cannibal Sorceresses.

 

German director Anne Wild and screenwriter Peter Schwindt settle for a straightforward retelling of the classic rural ‘stranger danger’ story wherein the devious Gretel proves the most resourceful of two deliberately lost children who end up on the menu of the obligatory member of the local Guild of Almagamated Wicked Witches & Confectioners.

 

Deliberately lost? How do you think the kids got to be wandering around in Blair Witchburg in the first place? Sometimes tactfully omitted from modern retellings of this familiar story is the neglected element of child abandonment, a practice forced upon starving families in situations of plague, famine, wars and other social upheavals. In this case, it’s the pragmatic step-mother who pushes her more sentimental but nontheless compliant woodcutter husband into cutting loose the kids.

 

In early versions of the story it’s usually just the natural mother who suggests jettisoning the offspring...a much more useful cautionary tale for parents to use as and Awful Threat when disciplining naughty anklebiters.

 

Leaving aside observations about how Hansel and Gretel underlines the historical distrust of skilled single women of independent means this is actually a moderately creepily staged film. The woods are suitably threatening, and the witch herself, though certainly not up to Buffy The Vampire Slayer standards is a reasonably nasty albeit dimwitted piece of work...

 

I never can figure out quite why witchy poo needed to go Hannibal Lector on kiddies when she was capable of whipping up enough food to fatten a small army, not to mention all that square footage of gingerbread real estate. Let’s just assume it’s an alternative lifestyle choice, along the lines of supergenius Wile. E. Coyote yearning after Roadrunner drumsticks in spite of the fact that he had enough credit to order truckloads of expensive gadgets from the ACME Corporation.

 

(On the subject of ghoulish folks developing a fondness for ‘long pig’ just what DID those darling children do with the oven fired witch after they fried her arse?)

 

We all know how this ends, after making off with the witch’s portable property the kids, in a remarkable act of forgiveness, share their taxfree windfall with their deadbeat dad...though their step mother has obligingly dropped dead in the meanwhile.

 

Hmm, did anyone actually see step-mama and Ms Witch in the same room at the same time?

 

Don’t expect a Post-Modern fractured fairytale from Hansel and Gretel and you won’t be led astray by what’s essentially a traditionally told, moderately unsettling film.

 

Director- Anne Wild

Screenwriter- Peter Schwindt

2006/76mins

   

-THE HOLY MOUNTAIN-

MEXICO

 

If you thought Alejandro Jodorowsky’s third film, El Topo, was weird...well, no caca Sherlock!

 

Wait until you get a load of this....

 

His next surreally allegorical outing, 1973’s The Holy Mountain, scales even more whackily experimental heights. Like El Topo, The Holy Mountain has also been recently, lovingly restored, all the better to trip out on the eye bulging psychedelic imagery!

 

Again, as with El Topo, the nominal protagonist is on a messianic quest to achieve enlightment. Even more ironically symbolic in this case since the central thief character bears a strong and exploitable resemblance to the traditional representation of Jesus Christ.

 

Horácio Salinas plays the hapless thief, leaving Jodorowsky himself the catalytic role of a tower dwelling alchemist who charges him to accompany seven influential but materialistic powerbrokers to Lotus Island where they will achieve eternal life once they have climbed the eponymous Holy Mountain.

 

Initially the dialogue is thin on the ground but soon ramps up to cheerfully inexplicable levels where a line like “hypersexed brown native vampires” can pass without comment or indeed comprehension. Politics, art, sexuality, and filmmaking, amongst many other subjects, all cop a satirical hiding in this extraordinary film which relies heavily upon fantasy imagery drawn from tarot cards, astrology and religion.

 

Just listing a few of the oddball ideas gives you an idea of the unique scope of Jorodowsky’s fevered imagination.

 

Two women are ‘cleansed’ of clothing, make-up, jewellery, false nails, and hair by a black robed priest who himself has ebony varnished fingernails. A screaming man lies covered in tarantulas...no big acting stretch there! The Invasion of Mexico is renacted by lizards dressed in Mezoamerican costumes battling frogs wearing Conquistador armour and missionary robes. (I have my doubts about this sequence, it sure looks like the poor frogs are really being blown up by explosives?) A mulitple amputee writes cryptic messages in the dirt with a severed animal leg. Parading prostitutes turn out to be just as holy as priests. Roman soldiers cast the thief in plaster and create a line of life-sized crucifiction merchandise. Art factory paint coated nude backsides stamp out images on a production line while live body painted nudes are built into installations so they can be fondled by gallery patrons. Gas masked soldiers attend dances and machine guns and hand grenades are painted in rainbow colours. Spartan like warriors pursue a cunning plan to emasculate 1000 heroes to create a shrine of 1000 testicles....and nevermind what they did with the other 1000! Eviscerated victims spill chicken guts....and I mean they literally pull chickens from their wounds’ while Liederhosen wearing Teutonics trip on drugs and strongmen are able to turn intangible and teleport through entire mountains.

 

Distantly reminiscent of Fellini’s Satyricon, and to some extent Roma, The Holy Mountain also boasts the most startling Orgasmatron machine since the erotic cult film Barbarella, in the form of a Giant mechanical vagina that’s manipulated like a theramin.... well, if a theramin was played by a giant dildo!

 

Is it any surprise, really, in the wake of the cult success of El Topo, that The Holy Mountain’s producer Allen Klein also managed The Beatles and that those fans of all things psychedelic, John Lennon and Yoko Ono helped fund the movie?

 

Landmark or landfill experimental film? The Holy Mountain remains an obvious precursor to movies like Eraserhead, The Cremaster Cycle, and The Qatsi Trilogy.

 

Climb it at your own peril. (You know you want to!)

 

Director/Screenwriter Alejandro Jodorowsky

1973/114mins

  

-lLS-

France

 

Clementine (Olivia Bonamy) and Lucas (Michael Cohen) live happily in pastoral rural isolation in a rundown chalet in the Romanian woods, until one night they are attacked by....THEM! No, not by lurching giant ants from a 1950s horror film but by...well, that would be telling. Some horror films take their time building suspense but Moreau and Palud’s shiversome first feature nails you straight to the wall and keeps you hanging there for the economical just-over-an-hour’s running time. And I do mean ‘running’.

 

The adept direction and unrelating pace set within the atmospheric confines of the old chalet (a dream of a location to create nightmares in) is ramped up by genuinely unnerving sound effects design, an evocatively tense soundtrack, solid if necessarilly Spartan performances by the two leads, and the teasing revelation of the nature of the besiegers.

 

There’s nothing particularly new about the ingredients stirred into this terrifying mix. In fact, you could, after the credits have rolled and the lights come up again, sit back and tick off the horror cliches one by one, starting with the usually tiresome pronouncement, “Based On A True Story”. Commentators seem uncertain about the veracity of that, but in this case it adds to the overall feel of unease that permeates the ending of this film. I found myself thinking, “Y’know, I can see how that could actually happen....brrrr!”

 

Ils...it took me a while to realise that the title is merely the French word for “Them”... is one of the most disturbing horror films I’ve seen in some time, and all without buckets of blood or lashings of sickly inventive torture porn. With its efficient minimalist approach it’s very close in tone to the best of the New Wave of Japanese horror that burst upon the West several years ago now.

 

Directors/ Screenwriters- David Moreau and Xavier Palud

2006/70 mins

  

-ISLAND OF LOST SOULS-

DENMARK

 

A big budget supernatural fantasy for young adults that's part Spielberg, part Lucas, with an added dash of Harry Potter, but which ultimately wears its ample CGI well to create an enjoyable and in a few places reasonably scary film.

 

When two children move to a quiet country town the last thing they expect to find is a haunted island plagued by a supernatural confluence of kidnapped souls. When a young girl taps into the mystic mayhem it results in her brother being possessed by the spirit of a centuries dead member of an ancient order of sorcerous crimefighters.

 

The film's young actors are capable and ‘self possessed’ in the face of some quite formidable magical opposition, including a new and nasty take on that familiar player from Central Horror Casting, the living Scarecrow, along with a necromancer who could be brother to both Nosferatu and the Star Wars Emperor, right down to the cadaverous features and handy ability to cast Sith lightning from his fingies! I especialy liked the offbeat character of the trainspotting psychic investigator who inevitably comes to the kid’s aid in their hour of dire peril.

 

A fun little romp that’s no longer than it should be at an economical 100 minutes.

 

Director- Nikolaj Arcel

Screenwriter- Ramsus Heisterberg

2007/100mins

 

Sessions

Sun, 12th of August, 1:00 PM

ACMI

  

-KHADAK-

Belgium/Germany/The Netherlands

 

Bagi, played by Batzul Khayankhyarvaa, is a young nomad, who, along with his family are wrenched from their nomadic existence by the Mongolian government who want to consolidate people in towns, villages and cities as the fledgling democracy gears up to enter the 21st century’s global economy. After rescuing Zolzaya (Tsetsegee Byamba), a beautiful female coal thief, Bagi boldly goes where nomad has gone before on a shamanistic quest that culminates in fantastical revelations about Mongolia’s future relation with the environment.

 

Khadak is underpinned by a hypnotically compelling narrative fascination with magic realism that often contrasts the shabby reality of the concrete high rises with the colourfully organic traditional nomadic traditional yurt dwellings.

 

The film overflows with powerful imagery, including a simple but effective camera roll that causes an iconistic prayer-scarf draped tree to turn upside down as the land itself is inverted by mineral exploitation and pollution. A deserted town, in reality an abandoned former Soviet barracks, stands in for one potential future. Tractors, used to haul the disassembled yurts, are started and allowed to run aimlessly free across the steppes as the government agents burn the nomads’ links to their former lifestyle behind them.

 

Khadak doesn’t always offer too nostalgic a view of the nomadic struggle; many of the former rural folk cheerfully adapt to their new circumstances and some seem to pragmatically thrive, especially Bagi’s mother, who ends up running heavy machinery at the coal mine where immense draglines swing with saurian grace across the screen.

 

The film’s reverberating score resonates across the wind blown, echoing steppes, giving way to some moments of pure musical bliss, especially when some of the newly urbanised young people get together for astonishing ‘jam’ sessions.

 

Both lyrical and hard edged Khadak is a film, like Martin Scorsese’s Kundan, whose exotic sights and sounds will be welcome guests in my yurt for as long as they choose to stay.

 

Directors/Screenwriters- Peter Brosens, Jessica Hope Woodworth

2006/105mins

  

-LAST WINTER, THE-

USA/Iceland

 

It’s damn cold in Northern Alaska but not cold enough, as tough but soft centered Ron Perlman’s advance oil drilling preparation crew discover when they set out to re-open an isolated test drilling site that may be viable in the face of looming energy shortages. The arctic circle tundra is thawing rapidly, unleashing the kind of environmental horror movie that used to be in vogue back in the 1970s and which is all too timely now as global warming makes its presence felt in the real world.

 

Perlman, as usual, is excellent, giving the kind of inflected performance that graced Hellboy, Cronos, City Of Lost Children and his impressive work in the television fantasy series Beauty & The Beast. The ensemble players are also deftly sketched in, often in a low key fashion that adds realism.

 

Director Larry Fessenden successfully follows up and even references in one brief bit of dialogue, Wendigo, one of his earlier, not entirely disimilar horror outings. As with some other genre films in this year’s festival the horror elements are timeless; from the simmering sexual and tensions and hostility between the boffins and the bluecollars to the classic scenario of the besieged ice station. The latter is a character in itself, in the ‘Thingy’ tradition of both Howard Hawks and John Carpenter’s seperate adaptations of John W. Campbell’s seminal very Cold War science fiction novella, Who Goes There? Best possible use is made of this stunning location, as the screen often becomes an overwhelmingly vast white or dark canvas to trap and diminish the hapless blue collar workers.

 

Crystal clear sound design helps ‘sell’ the visuals and the impressive CGI special effects are first rate, without ever detracting from the practical drama of the sheer dangers of living and working in such an extreme environment.

 

The Last Winter is a cunningly ambiguous chiller that cleverly maintains a plausible alternative explanation for the film’s lethal events up to and possibly including the final admirably restrained frame which begs teasingly to be opened out into a wider shot but leaves the audience wanting more, leaving room for a possible but unecessary sequel.

 

Oil be back!

 

Director- Larry Fessenden

Screenwriters- Larry Fessenden, Robert Leaver

2006/107mins

  

-MEN AT WORK-

IRAN

 

A carload of Iranian buddies on their way down the mountains from a skiing holiday stop for a toilet break at a precipitous roadside layover and discover a monolithic rock

that just HAS to be tumbled down the slopes.

 

If you’re a bloke, you automatically know how it is.

 

If you’re a woman, equally, you KNOW how we are!

 

An amusing exploration of male bonding and stubborness this happily crazy film is guaranteed to contain no sociopolitical allegory whatsoever (really!) and the Iranian writer/director has asked that the U.S please refrain from invading his leg of the Axis of Evil until he has finished his next project.

 

Director/Screenwriter- Mani Haghighi

2006/75mins

  

-SEVERANCE-

UK

 

When completely politically incorrect arms merchant Palisade Defence rewards its crack Euro Sales division with a team-building weeked in the woods of Eastern Europe the mismatched but archtypal bickering office workers soon find that they’re not quite the ‘gun’ group that they thought they were.

 

Yes, the comparison of choice is The Office meets Deliverance and that’s fair enough because what makes this movie so gormlessly funny is the inept Brits Abroad schtick combined with an equally knowing, wickedly timed take on the horror slasher genre that puts most inept Hollywood fun with fear spoofs to more shame than ever. The only time this film ever really fumbles is when it takes the horror too seriously, which is not all that frequently, though more noticably and perhaps inevitably, in the apocalyptic last reel.

 

Oddly, Severence’s particularly grungy baddies who get to fold, spindle and mutilate our heroic twonks remind me very much of the “Stalkers” from the recent popular video game, which itself references the Tarkovsky film and the less well known science fiction novel that classic is itself based on, Boris and Arkady Strugatsky’s Roadside Picnic.

 

The heavyweight British ensemble cast is a real corker here, and one of the most enjoyable in the festival films I’ve seen this year, including at least one former Bond villain (Toby Stephens who was Gustav Graves in Die Another Day) and the always wetly amusing Tim McInnerny who plays to his well known Blackadder type (He was both Lord Percy and Captain Darling) as the incompetent boss of the Palisade’s party.

 

I won’t be the last reviewer to note that Eastern Europe has become destination of choice for horror filmmakers of late. Attracted by threatening woodlands, abandoned buildings and low cost production facilities the exotic locales also perhaps wallow in a degree of smug and possibly premature Western superiority in the wake of the economic collapse of former Eastern Bloc foes. For the moment, these once hard to access countries are providing filmmakers with a place to set their stories ‘beyond the glow of the streetlights’. Again, as with other festival genre films, Severence does benefit from a marvelously decrepit Old Dark house of a location.

 

Severence is laced with joyfully understated sight gags, dialogue to listen for, and a good deal of well meaning irony regarding corporate responsibility. The icing on the cake is a musical score that fiddles with both ominous gypsy curses, pop tunes and even riffs off We’ll Meet Again as featured in Stanley Kubrick’s Dr Strangelove, to which black comedy there’s more than one reference.

 

Severance gives awful new meaning to the term, “You’e fired!”

 

Director- Christopher Smith

Screenwriters- James Moran, Christopher Smith

2006/90mins

  

-STILL LIFE-

HONG KONG/CHINA

  

An intimate but involving look at the disapora of displaced persons produced by China's Three Gorges Dam mega-engineering project as seen through the eyes of two people.

 

In the first part of the film coal miner Han Sanming (played by Sanming Han) returns after 16 years absence to his former home town of Fengjie, only to find its 2000 years of history submerged beneath the waters of the dam. Taking a temporary job in demolition, he searches for news of his ex wife, whom he hasn’t seen for 16 years.

 

Still Life never wanders far from the dominating horizontal visuals of the mighty Yangtze River and the monolithic concrete and steel dam. The apocalyptic rubble of the yet-to-be flooded part of the town forms another powerful metaphor, a full stop to the flow of linear time represented by the River, which itself has been given pause by the immense project.

 

It’s a hard life for Han, though undoubtedly far less dangerous than the notoriously hazardous Chinese coal mining industry, and it provides some extraordinary imagery.

Men in supposedly protective suits with sanitising back pack sprayers wander through gutted homes. Friends are made amongst workmates to the jaunty ringtones of their mobile phones as they exchange numbers...a socialising ritual that later prompts one of the film’s most poignant moments when a mobile ‘s unanswered ringing signals a tragic accident. Condemned buildings collapse with tired grace in the distant background as they receive explosive coup de grâces.

 

The second half of the film segues into another quest for closure, as Nurse Shen Hong (Tao Zhao) journeys to the town looking for her own estranged husband.

Again, the dam is another defining presence in the story, providing a backdrop for the final resolution of Shen Hong’s search.

 

One baffling scene (and I’d welcome any light that anyone can shed on this!) sees Shen staring at a large monument in the distance. It appears to be a Chinese alphabetical character, rendered in concrete. As she turns away, rocket motors ignite at its base and the whole giant structure lifts off into the skies. I assume this is some kind of reference to the recent successes of the Chinese manned space programme but am not sure as to why it’s relevant to the story? Unless it’s just a bit of triumphalism? Or indeed, because Shen does ignore the startling sight, perhaps it’s meant to be ironic? Enquiring minds need to know!

 

Actually, the overall philosophical conclusion drawn at the end of Still Life does read a little bit like some kind of inspirational tract to me....but that may just reflect my own bias, or again it could be ironic, and I won’t spoil the ending by going further into detail. (Well, cross cultural puzzles have always attracted me to World Cinema!)

 

Still Life is a beautifully visualised, thoughtful film with a measured pace that aptly reflects the larger elements that form the canvas that its smaller, but no less important, human dramas are played out against.

 

Director/Screenwriter- Jia Zhang-ke

2006/108mins

   

-THE WAR TAPES-

USA

 

Rather than be 'embedded' in a U.S military unit in Iraq filmmaker Deborah Scranton chose to give cameras to three National Guardsmen to record their own experiences deployed with Charlie Company, 3rd of the 172nd New Hampshire Mountain Infantry. Scranton provided additional remote directorial aid via text messaging and email to the three soldiers, Sgts. Stephen Pink and Zack Bazzi, and Specialist Michael Moriarty, whose stories were chosen from an overall pool of 1000 hours of footage.

 

The soldiers’ personal and professional accounts are sobering and revelatory and never less than enlightening.

 

Though it does this remarkably cohesive documentary something of a disservice to cherry pick material out of its sturdily engineered overall context it’s necessary to give some idea of the range of material included in the film.

 

We see several ambush eye views of the destructive force of roadside Improvised Explosive Devices which, though initiated and responded to with varying degrees of control by both combatant forces, usually result in chaos and confusion, death and destruction, for bystanders. One soldier matter-of-factly tours a vast graveyard of combat lossed vehicles, shattered and gutted by I.E.Ds, casting in an increasingly ironic light President Bush’s triumphantly naive 2003 announcement that “Major combat operations in Iraq have ended...”

 

The complexity of night operations are mirrored in the silvered eyed stare of soldiers seen through the eerie but tactically invaluable lenses of night vision equipment , rendering one formation of troops strikingly like a formation of stolid Terracotta Warriors. The detached professionalism of the soldiers understandably falters when a night time convoy kills a woman who was then struck repeatedly by each truck in turn.

 

The irony of soldiers and hired civilians (drivers and security guards) risking and losing their lives to protect re-supply cargos of, for example, cheese for hamburgers, is not lost on the troopers who wonder loudly if the complex and highly profitable logistical tail is wagging the policy dog? In fact, they’re refreshingly unguarded in their speculations about what they see, from their perspective as boots on the ground, as the reasons behind the ongoing war. Their observations are pithy, and to the point...or, rather, multiple points, as the individual opinions cover the entire spectrum of current controversy, from oil driven conspiracy to patriotic war on terror.

 

Soldiers will always enthusiastically relish the opportunity to grouse about their lot, reserving special venom for the shortcomings of their equipment, training, rations and orders. One complaint amongst many was that these soldiers received little or no cultural instruction to help prepare them for operating in the Iraq theatre, which ommission makes it hard to both know the enemy or understand your friends. Even a simple misunderstanding over a commonly used hand gesture for ‘Stop’ can, in the local environment, be fatally mistaken for ‘Hello!”

 

The fact that the Iraq conflict is, in reality, fought amongst peoples homes rather than some spiffily titled combat theatre, warzone or neutrally termed area of operations is thoughtfully underlined by frequent segues to the soldiers’ American homes, either when the troops have returned or during their absence. Surface impressions notwithstanding there doesn’t seem to be a great deal of difference between U.S and Iraqi civilians; folks, it seems, are alike all over. Stateside sequences touch upon the complicated effects that the deployment had on civilian family members, the problems of post traumatic stress disorder suffered by the veterans, and the more obvious physical injuries. For example, one of the soldiers has carpal tunnel syndrome in his hands, the result of vibration transmitted through the grips of his vehicle mounted machine gun on patrol. He also has to cope with back pain from wearing body armour in a confined space.

 

Crammed with ‘real time’ feedback from ongoing conflict The War Tapes makes a provocative companion piece with the 2005 documentary Gunner Palace. For balance I would also add to the recommended viewing list: Control Room (2004), Baghdad ER (2006), and My Country, My Country (2006)

 

Director- Deborah Scranton

2006/97mins

  

-WELCOME TO NOLLYWOOD-

USA/NIGERIA

 

Never heard of the Nigerian film industry? This inspiringly cheeky doco will rectify that and should be seen by all budding filmmakers seeking new ways to practice their art.

 

Something like 2400 movies per year are produced in Nigeria, making it the third most prolific film industry in the world. Film? Well, that’s a nostalgically generic term to describe the Nigerians’ enthusiastic bypassing of conventional film stock and its complex and expensive infrastructure in favour of digital video distributed directly and cheaply at local marketplaces on DVD or VCD.

 

The 300 or so Nigerian directors have an already rich tradition of oral storytelling to draw upon, and have embraced multiple genres usually lensing them through an action adventure filter, which has fostered a support industry of movie fight Action Camps where actors can learn the stunt fight business. Although one director claims “We don’t do science fiction” Nollywood nevertheless loves fantasy, especially religious based melodramas with plenty of demons and angels, sorcererors and witches.

 

Period films set in Nigeria often have a luridly portrayed but understandably anti-slavery element, which alongside with the witchcraft angle concerns some commentators who argue that focusing on these aspects promotes stereotypes.

 

A visit to the set of a film grounded in the recent Liberian war shows the Nigerian director, who at least partly funded the movie himself, putting his actors through boot camps to learn how to fill out their soldierly roles, including veteran advisors from both sides of the original conflict. The actors go through production hell but ironically are brought low by a botched contract with the caterers...

 

Nollywood; not entirely different from Hollywood!

 

Director- Jamie Meltzer

2007/58mins

  

-U-

FRANCE

 

A lyrical French animated feature with fluidly drawn artwork and an equally languid, but elegant plot as a Princess Mona is faced with choosing between new love and a beloved friend, who happens to be a unicorn. The charming, anthropomorphic animal cast could have been drawn by Dr Seuss, and the story is a souffle of flirtatious love with a playful musical topping.

 

Directors- Grégoire Solotareff, Serge Elissalde

Screenwriter- Grégoire Solotareff

2006/71mins

        

...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 .

  

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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 !

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Location :

Malapascua Island , Central Visayas ,Philippines

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Thank you for the views and comments friends .

God bless :)

Sam was considering in his own mind (as well as he could, for the hot day made him feel very sleepy and stupid) whether the pleasure of making a daisy chain would be worth the trouble of making Steve get up and pick him the daisies.

 

brought to you by prompt # 7: summer heat on samwilsondrawingchallenge.tumblr.com

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

   

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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

Camera: Canon EOS 1V, EF 2/135mm

 

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

From Wikipedia, the free encyclopedia

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

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]

 

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

Historical population

Year Pop. ±%

1806 20,151 —

1820 20,150 −0.0%

1831 20,236 +0.4%

1836 20,048 −0.9%

1841 20,460 +2.1%

1846 23,101 +12.9%

1851 23,208 +0.5%

1856 24,816 +6.9%

1861 25,543 +2.9%

1866 26,367 +3.2%

1872 24,695 −6.3%

1876 25,095 +1.6%

1881 23,480 −6.4%

1891 24,288 +3.4%

1896 24,567 +1.1%

1901 28,116 +14.4%

1906 31,010 +10.3%

1911 31,014 +0.0%

1921 29,146 −6.0%

1926 32,485 +11.5%

1946 35,017 +7.8%

1954 37,443 +6.9%

1962 41,932 +12.0%

1968 45,774 +9.2%

1975 50,059 +9.4%

1982 50,500 +0.9%

1990 52,058 +3.1%

1999 50,426 −3.1%

2008 52,729 +4.6%

2010 57,328 +8.7%

Main sights

Gallo-Roman theatre.

The Alyscamps.

 

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.

I am slowly using the Nikon D800E again from the usual sunrises and sunsets to Macros. My Macro lens is just a 60mm f/2.8. Today, we were devastated by Typhoon Hailan the world's strongest storm

this year with a very expansive eye diameter and very fast deadly wind and wind gusts. The Central Visayas region suffered total blackout with just 97 kilowatt hours from the usual 1,000. Three died

and cell sites of telecommunication companies were damaged. Thank you Sandra and Steve for wishing us well. We are hoping you were not troubled by the very recent storm that hit ENGLAND.

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.

 

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Routledge, 2011.

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Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins

 

Publishing Company, 2012.

Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).

 

Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.

 

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).

 

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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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Publications, 2007.

 

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Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.

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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

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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/

 

-----

 

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

 

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.

Dutch promotion card by Europop, Haarlem. Photo: Francesco Scavullo, 1978.

 

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.

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.

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.

     

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.

 

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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.

 

Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.

 

Kant, Immanuel. “Was ist Aufklärung?” 1784.

 

Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.

 

Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.

 

Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.

 

Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.

 

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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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Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International

 

Publications, 2007.

 

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Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.

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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

 

"This was Pedro our ...(Reva Best) "pet donkey, was given to us by someone in Norseman, because he was causing trouble, doing the pub crawl every night... he loved his beer!" See NOTES on image, move your mouse around it!

 

see www.facebook.com/photo/?fbid=3568027913292348&set=gm....

 

Published in the book Drysdale, Photographer, p106-7 copyright National Gallery of VIC 1987 (D1649)

 

According to Steve's post on Facebook, the Goodyear sign was moved from the fence to the new verandah wall.

This was the Eucla roadhouse was located down near the old Telegraph Station

It was the refuelling stop for the 1955 Redex Trial, according to the description on one of the many photos on Steve's Post on the Facebook Eyre Highway and Beyond.

 

There is a shot on FB..... www.facebook.com/photo/?fbid=3568029683292171&set=gm....

 

Car #74 the Holden of Ken Miller, Harry Cape & Terry Wheatle refuelling along the Nullarbor Plain during the 1955 Redex Trial at Eucla W.A.

photo: Hal Moloney from the old servos group.

 

There are a number of shots, one shows the old pepper tree behind the SA Post Master's Residence.

 

see link to the main Group page here.

 

www.facebook.com/groups/222812454725235/

 

Post from Reva on Facebook...

This was at the old 'servo' which was originally the WA Postmasters residence near the old Telegraph station (the only ruins still standing)! I don't know where the term Eucla Caravan Park came from, as we never had a c/park as such, either down there nor at the new place on top of the escarpment!

 

The present C/park didn't come till the late 1960s, when the Amber Motel was established! Pedro was getting too much to handle, so we gave him to a passing Circus in about 1960/61! I have pix of him on their truck somewhere...!

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

 

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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

 

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

 

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.

 

The Postcard

 

A postally unused postcard that was published prior to 1995 by City Merchandise of 68, 34th. Street, Brooklyn, N.Y. The card has a divided back.

 

The photography was by Alan Schein.

 

On the back of the card is printed:

 

'Manhattan and Brooklyn

Bridges. New York.'

 

NYC - The World Trade Center 1973 - 2001

 

The original World Trade Center was a large complex of seven buildings in the Financial District of Lower Manhattan, New York City. It opened on April 4, 1973, and was destroyed in 2001 during the September 11 attacks.

 

At the time of their completion, the Twin Towers—the original 1 World Trade Center (the North Tower), at 1,368 feet (417 m); and 2 World Trade Center (the South Tower), at 1,362 feet (415.1 m)—were the tallest buildings in the world.

 

Other buildings in the complex included the Marriott World Trade Center (3 WTC), 4 WTC, 5 WTC, 6 WTC, and 7 WTC. The complex contained 13,400,000 square feet (1,240,000 m2) of office space. That's a lot of space - 308 acres.

 

The core complex was built between 1966 and 1975, at a cost of $400 million (equivalent to $2.27 billion in 2018).

 

During its existence, the World Trade Center experienced several major incidents, including a fire on the 13th. February 1975, a bombing on the 26th. February 1993, and a bank robbery on the 14th. January 1998.

 

In 1998, the Port Authority of New York and New Jersey decided to privatize it by leasing the buildings to a private company to manage. It awarded the lease to Silverstein Properties in July 2001.

 

The 9/11 Attacks

 

On the morning of the 11th. September 2001, Al-Qaeda-affiliated hijackers flew two Boeing 767 jets into the Twin Towers within minutes of each other; two hours later, both towers collapsed. The attacks killed 2,606 people in the towers and their vicinity, as well as all 157 on board the two aircraft.

 

Falling debris from the towers, combined with fires that the debris initiated in several surrounding buildings, led to the partial or complete collapse of all the buildings in the complex, and caused catastrophic damage to ten other large structures in the surrounding area.

 

Subsequent Developments

 

The clean-up and recovery process at the World Trade Center site took eight months, during which the remains of the other buildings were demolished.

 

A new World Trade Center complex is being built (2020) with six new skyscrapers and several other buildings, many of which are complete. A memorial and museum to those killed in the attacks, a new rapid transit hub, and an elevated park have been opened.

 

One World Trade Center, the tallest building in the Western Hemisphere at 1,776 feet (541 m) and the lead building for the new complex, was completed in May 2013, and opened in November 2014.

 

During its existence prior to 2001, the World Trade Center was an icon of New York City. It had a major role in popular culture, and according to one estimate was depicted in 472 films. Following the World Trade Center's destruction, mentions of the complex were altered or deleted, and several dozen "memorial films" were created.

 

For details of the earlier 1993 bomb attack on the WTC, please search for the tag 79CMP42

 

Economic Effects of the September 11 Attacks

 

The September 11 attacks in 2001 were followed by initial shocks causing global stock markets to drop sharply. The attacks themselves resulted in approximately $40 billion in insurance losses, making it one of the largest insured events ever.

 

-- Financial markets

 

On Tuesday, September 11, 2001, the opening of the New York Stock Exchange (NYSE) was delayed after the first plane crashed into the World Trade Center's North Tower, and trading for the day was canceled after the second plane crashed into the South Tower.

 

The NASDAQ also canceled trading. The New York Stock Exchange Building was then evacuated as well as nearly all banks and financial institutions on Wall Street and in many cities across the country.

 

The London Stock Exchange and other stock exchanges around the world were also closed down and evacuated in fear of follow-up terrorist attacks.

 

The New York Stock Exchange remained closed until the following Monday. This was only the third time in history that the NYSE experienced prolonged closure, the first time being during the early months of the Great War, and the second in March 1933 during the Great Depression.

 

Trading on the United States bond market also ceased; the leading government bond trader, Cantor Fitzgerald, was based in the World Trade Center. The New York Mercantile Exchange was also closed for a week after the attacks.

 

The Federal Reserve issued a statement, saying:

 

"We are open and operating. The

discount window is available to

meet liquidity needs."

 

The Federal Reserve added $100 billion in liquidity per day during the three days following the attack in order to help avert a financial crisis.

 

Gold prices spiked upwards, from $215.50 to $287 an ounce in London trading. Oil prices also spiked upwards. Gas prices in the United States also briefly shot up, though the spike in prices lasted only about one week.

 

Currency trading continued, with the United States dollar falling sharply against the Euro, British pound, and Japanese yen.

 

The next day, European stock markets fell sharply, including declines of 4.6% in Spain, 8.5% in Germany, and 5.7% on the London Stock Exchange.

 

Stocks in the Latin American markets also plunged, with a 9.2% drop in Brazil, 5.2% drop in Argentina, and 5.6% decline in Mexico, before trading was halted.

 

-- Effect on Economic Sectors

 

In international and domestic markets, stocks of companies in some sectors were hit particularly hard. Travel and entertainment stocks fell, while communications, pharmaceutical and military/defense stocks rose. Online travel agencies particularly suffered, as they cater to leisure travel.

 

-- Insurance Consequences of the Attacks

 

Insurance losses due to 9/11 were more than one and a half times greater than what was previously the largest disaster (Hurricane Andrew) in terms of losses.

 

The losses included business interruption ($11.0 billion), property ($9.6 billion), liability ($7.5 billion), workers compensation ($1.8 billion), and others ($2.5 billion).

 

The firms with the largest losses included Berkshire Hathaway, Lloyd's, Swiss Re, and Munich Re, all of which are reinsurers, with more than $2 billion in losses for each.

 

Shares of major reinsurers, including Swiss Re and Baloise Insurance Group dropped by more than 10%, while shares of Swiss Life dropped 7.8%.

 

Although the insurance industry held reserves that covered the 9/11 attacks, insurance companies were reluctant to continue providing coverage for future terrorist attacks. Only a few insurers continue to offer such coverage.

 

-- Consequences for Airlines and Aviation

 

Flights were grounded in various places across the United States and Canada that did not necessarily have operational support in place, such as dedicated ground crews.

 

A large number of transatlantic flights landed in Gander, Newfoundland and in Halifax, Nova Scotia, with the logistics handled by Transport Canada in Operation Yellow Ribbon.

 

In order to help with the immediate needs of victims' families, United Airlines and American Airlines both provided initial payments of $25,000. The airlines were also required to refund ticket purchases for anyone unable to fly.

 

The 9/11 attacks compounded financial troubles that the airline industry was already experiencing before the attacks. Share prices of airlines and airplane manufacturers plummeted after the attacks.

 

Midway Airlines, already on the brink of bankruptcy, shut down operations almost immediately afterward. Swissair, unable to make payments to creditors on its large debt was grounded on the 2nd. October 2001 and later liquidated.

 

Other airlines were threatened with bankruptcy, and tens of thousands of layoffs were announced in the week following the attacks. To help the industry, the federal government provided an aid package, including $10 billion in loan guarantees, along with $5 billion for short-term assistance.

 

The reduction in air travel demand caused by the attack is also seen as a contributory reason for the retirement of the only supersonic aircraft in service at the time, Concorde.

 

-- Effects of the Attacks on Tourism

 

Tourism in New York City plummeted, causing massive losses in a sector that employed 280,000 people and generated $25 billion per year.

 

In the week following the attack, hotel occupancy fell below 40%, and 3,000 employees were laid off.

 

Tourism, hotel occupancy, and air travel also fell drastically across the nation. The reluctance to fly may have been due to increased fear of a repeat attack. Suzanne Thompson, Professor of Psychology at Pomona College, conducted interviews with 501 people who were not direct victims of 9/11.

 

From this, she concluded that:

 

"Most participants felt more distress

(65%) and a stronger fear of flying

(55%) immediately after the event

than they did before the attacks."

 

-- Effects on Security

 

Since the 9/11 attacks, substantial resources have been put in place in the US towards improving security, in the areas of homeland security, national defense, and in the private sector.

 

-- Effects on New York City

 

In New York City, approximately 430,000 jobs were lost, and there were $2.8 billion in lost wages over the three months following the 9/11 attacks. The economic effects were mainly focused on the city's export economy sectors.

 

The GDP for New York City was estimated to have declined by $30.3 billion over the final three months of 2001 and all of 2002.

 

The Federal government provided $11.2 billion in immediate assistance to the Government of New York City in September 2001, and $10.5 billion in early 2002 for economic development and infrastructure needs.

 

The 9/11 attacks also had great impact on small businesses in Lower Manhattan, located near the World Trade Center. Approximately 18,000 small businesses were destroyed or displaced after the attacks.

 

The Small Business Administration provided loans as assistance, while Community Development Block Grants and Economic Injury Disaster Loans were used by the Federal Government to provide assistance to small business affected by the 9/11 attacks.

 

-- Other Effects of the Attacks

 

The September 11 attacks also led directly to the U.S. war in Afghanistan, as well as additional homeland security spending.

 

The attacks were also cited as a rationale for the Iraq war.

 

The cost of the two wars so far has surpassed $6 trillion.

 

More on 9/11 below.

 

Brooklyn Bridge

 

The Brooklyn Bridge (behind Manhattan Bridge in the photograph) is a hybrid cable-stayed/suspension bridge. Opened on the 24th. May 1883, the Brooklyn Bridge was the first fixed crossing of the East River.

 

It was also the longest suspension bridge in the world at the time of its opening, with a main span of 1,595.5 feet (486.3 m).

 

The bridge was designed by John A. Roebling. The project's chief engineer, his son Washington Roebling, contributed further design work, assisted by the latter's wife, Emily Warren Roebling.

 

Construction started in 1870, with the Tammany Hall-controlled New York Bridge Company overseeing construction, although numerous controversies and the novelty of the design prolonged the project over thirteen years.

 

Since opening, the Brooklyn Bridge has undergone several reconfigurations, having carried horse-drawn vehicles and elevated railway lines until 1950.

 

To alleviate increasing traffic flows, additional bridges and tunnels were built across the East River.

 

The Brooklyn Bridge is the southernmost of the four toll-free vehicular bridges connecting Manhattan Island and Long Island, with the Manhattan Bridge, the Williamsburg Bridge, and the Queensboro Bridge to the north. Only passenger vehicles and pedestrian and bicycle traffic are permitted.

 

A major tourist attraction since its opening, the Brooklyn Bridge has become an icon of New York City. Over the years, the bridge has been used as the location for various stunts and performances, as well as several crimes and attacks.

 

Following gradual deterioration, the Brooklyn Bridge has been renovated several times, including in the 1950's, 1980's, and 2010's.

 

Description of Brooklyn Bridge

 

The Brooklyn Bridge, an early example of a steel-wire suspension bridge, uses a hybrid cable-stayed/suspension bridge design, with both vertical and diagonal suspender cables.

 

Its stone towers are neo-Gothic, with characteristic pointed arches. The New York City Department of Transportation (NYCDOT), which maintains the bridge, says that its original paint scheme was "Brooklyn Bridge Tan" and "Silver", although a writer for The New York Post states that it was originally entirely "Rawlins Red".

 

The Deck of the Brooklyn Bridge

 

To provide sufficient clearance for shipping in the East River, the Brooklyn Bridge incorporates long approach viaducts on either end to raise it from low ground on both shores.

 

Including approaches, the Brooklyn Bridge is a total of 6,016 feet (1,834 m) long. The main span between the two suspension towers is 1,595.5 feet (486.3 m) long, and 85 feet (26 m) wide.

 

The bridge elongates and contracts between the extremes of temperature from 14 to 16 inches. Navigational clearance is 127 ft (38.7 m) above mean high water. A 1909 Engineering Magazine article said that, at the center of the span, the height could fluctuate by more than 9 feet (2.7 m) due to temperature and traffic loads.

 

At the time of construction, engineers had not yet discovered the aerodynamics of bridge construction, and bridge designs were not tested in wind tunnels.

 

It was coincidental that the open truss structure supporting the deck is, by its nature, subject to fewer aerodynamic problems. This is because John Roebling designed the Brooklyn Bridge's truss system to be six to eight times stronger than he thought it needed to be.

 

However, due to a supplier's fraudulent substitution of inferior-quality cable in the initial construction, the bridge was reappraised at the time as being only four times as strong as necessary.

 

The Brooklyn Bridge can hold a total load of 18,700 short tons, a design consideration from when it originally carried heavier elevated trains.

 

An elevated pedestrian-only promenade runs in between the two roadways and 18 feet (5.5 m) above them. The path is 10 to 17 feet (3.0 to 5.2 m) wide. The iron railings were produced by Janes & Kirtland, a Bronx iron foundry that also made the United States Capitol dome and the Bow Bridge in Central Park.

 

The Cables of Brooklyn Bridge

 

The Brooklyn Bridge contains four main cables, which descend from the tops of the suspension towers and support the deck. Each main cable measures 15.75 inches (40.0 cm) in diameter, and contains 5,282 parallel, galvanized steel wires wrapped closely together. These wires are bundled in 19 individual strands, with 278 wires to a strand.

 

This was the first use of bundling in a suspension bridge, and took several months for workers to tie together. Since the 2000's, the main cables have also supported a series of 24-watt LED lighting fixtures, referred to as "necklace lights" due to their shape.

 

1,520 galvanized steel wire suspender cables hang downward from the main cables.

 

Brooklyn Bridge Anchorages

 

Each side of the bridge contains an anchorage for the main cables. The anchorages are limestone structures located slightly inland, measuring 129 by 119 feet (39 by 36 m) at the base and 117 by 104 feet (36 by 32 m) at the top.

 

Each anchorage weighs 60,000 short tons. The Manhattan anchorage rests on a foundation of bedrock, while the Brooklyn anchorage rests on clay.

 

The anchorages contain numerous passageways and compartments. Starting in 1876, in order to fund the bridge's maintenance, the New York City government made the large vaults under the bridge's Manhattan anchorage available for rent, and they were in constant use during the early 20th. century.

 

The vaults were used to store wine, as they maintained a consistent 60 °F (16 °C) temperature due to a lack of air circulation. The Manhattan vault was called the "Blue Grotto" because of a shrine to the Virgin Mary next to an opening at the entrance.

 

The vaults were closed for public use in the late 1910's and 1920's during the Great War and Prohibition, but were reopened thereafter.

 

When New York magazine visited one of the cellars in 1978, it discovered a fading inscription on a wall reading:

 

"Who loveth not wine, women and song,

he remaineth a fool his whole life long."

 

Leaks found within the vault's spaces necessitated repairs during the late 1980's and early 1990's. By the late 1990's, the chambers were being used to store maintenance equipment.

 

The Towers of the Brooklyn Bridge

 

The bridge's two suspension towers are 278 feet (85 m) tall, with a footprint of 140 by 59 feet (43 by 18 m) at the high water line.

 

They are built of limestone, granite, and Rosendale cement. The limestone was quarried at the Clark Quarry in Essex County, New York. The granite blocks were quarried and shaped on Vinalhaven Island, Maine, under a contract with the Bodwell Granite Company, and delivered from Maine to New York by schooner.

 

The Manhattan tower contains 46,945 cubic yards (35,892 m3) of masonry, while the Brooklyn tower has 38,214 cubic yards (29,217 m3) of masonry.

 

Each tower contains a pair of Gothic Revival pointed arches, through which the roadways run. The arch openings are 117 feet (36 m) tall and 33.75 feet (10.29 m) wide.

 

The Brooklyn Bridge Caissons

 

The towers rest on underwater caissons made of southern yellow pine. Both caissons contain interior spaces that were used by construction workers. The Manhattan side's caisson is slightly larger, measuring 172 by 102 feet (52 by 31 m) and located 78.5 feet (23.9 m) below high water, while the Brooklyn side's caisson measures 168 by 102 feet (51 by 31 m) and is located 44.5 feet (13.6 m) below high water.

 

The caissons were designed to hold at least the weight of the towers which would exert a pressure of 5 short tons per square foot when fully built, but the caissons were over-engineered for safety.

 

During an accident on the Brooklyn side, when air pressure was lost and the partially-built towers dropped full-force down, the caisson sustained an estimated pressure of 23 short tons per square foot with only minor damage. Most of the timber used in the bridge's construction, including in the caissons, came from mills at Gascoigne Bluff on St. Simons Island, Georgia.

 

The Brooklyn side's caisson, which was built first, originally had a height of 9.5 feet (2.9 m) and a ceiling composed of five layers of timber, each layer 1 foot (0.30 m) tall. Ten more layers of timber were later added atop the ceiling, and the entire caisson was wrapped in tin and wood for further protection against flooding.

 

The thickness of the caisson's sides was 8 feet (2.4 m) at both the bottom and the top. The caisson had six chambers: two each for dredging, supply shafts, and airlocks.

 

The caisson on the Manhattan side was slightly different because it had to be installed at a greater depth. To protect against the increased air pressure at that depth, the Manhattan caisson had 22 layers of timber on its roof, seven more than its Brooklyn counterpart had. The Manhattan caisson also had fifty 4-inch (10 cm)-diameter pipes for sand removal, a fireproof iron-boilerplate interior, and different airlocks and communication systems.

 

History of the Brooklyn Bridge

 

Proposals for a bridge between the then-separate cities of Brooklyn and New York had been suggested as early as 1800. At the time, the only travel between the two cities was by a number of ferry lines.

 

Engineers presented various designs, such as chain or link bridges, though these were never built because of the difficulties of constructing a high enough fixed-span bridge across the extremely busy East River.

 

There were also proposals for tunnels under the East River, but these were considered prohibitively expensive. The current Brooklyn Bridge was conceived by German immigrant John Augustus Roebling in 1852.

 

He had previously designed and constructed shorter suspension bridges, such as Roebling's Delaware Aqueduct in Lackawaxen, Pennsylvania, and the John A. Roebling Suspension Bridge between Cincinnati, Ohio, and Covington, Kentucky.

 

In February 1867, the New York State Senate passed a bill that allowed the construction of a suspension bridge from Brooklyn to Manhattan.

 

Two months later, the New York and Brooklyn Bridge Company was incorporated. There were twenty trustees in total: eight each appointed by the mayors of New York and Brooklyn, as well as the mayors of each city and the auditor and comptroller of Brooklyn.

 

The company was tasked with constructing what was then known as the New York and Brooklyn Bridge. Alternatively, the span was just referred to as the "Brooklyn Bridge", a name originating in a 25th. January 1867 letter to the editor of the Brooklyn Daily Eagle.

 

The act of incorporation, which became law on the 16th. April 1867, authorized the cities of New York (now Manhattan) and Brooklyn to subscribe to $5 million in capital stock, which would fund the bridge's construction.

 

Roebling was subsequently named as the main engineer of the work, and by September 1867, he had presented a master plan of a bridge that would be longer and taller than any suspension bridge previously built.

 

It would incorporate roadways and elevated rail tracks, whose tolls and fares would provide the means to pay for the bridge's construction. It would also include a raised promenade that served as a leisurely pathway.

 

The proposal received much acclaim in both cities, and residents predicted that the New York and Brooklyn Bridge's opening would have as much of an impact as the Suez Canal, the first transatlantic telegraph cable, or the first transcontinental railroad.

 

By early 1869, however, some individuals started to criticize the project, saying either that the bridge was too expensive, or that the construction process was too difficult.

 

To allay concerns about the design of the New York and Brooklyn Bridge, Roebling set up a "Bridge Party" in March 1869, where he invited engineers and members of U.S. Congress to see his other spans. Following the bridge party in April, Roebling and several engineers conducted final surveys.

 

During these surveys, it was determined that the main span would have to be raised from 130 to 135 feet (40 to 41 m), requiring several changes to the overall design.

 

In June 1869, while conducting these surveys, Roebling sustained a crush injury to his foot when a ferry pinned it against a piling. After amputation of his crushed toes, he developed a tetanus infection that left him incapacitated and resulted in his death the following month.

 

Washington Roebling, John Roebling's 32-year-old son, was then hired to fill his father's role. When the younger Roebling was hired, Tammany Hall leader William M. Tweed also became involved in the bridge's construction because, as a major landowner in New York City, he had an interest in the project's completion.

 

The New York and Brooklyn Bridge Company - later known simply as the New York Bridge Company - was actually overseen by Tammany Hall, and it approved Roebling's plans and designated him as chief engineer of the project.

 

Construction of the Brooklyn Bridge

 

The Caissons

 

Construction of the Brooklyn Bridge began on the 2nd. January 2, 1870. The first work entailed the construction of two caissons, upon which the suspension towers would be built.

 

A caisson is a large watertight chamber, open at the bottom, from which the water is kept out by air pressure and in which construction work may be carried out under water.

 

The Brooklyn side's caisson was built at the Webb & Bell shipyard in Greenpoint, Brooklyn, and was launched into the river on the 19th. March 1870. Compressed air was pumped into the caisson, and workers entered the space to dig the sediment until it sank to the bedrock. As one sixteen-year-old from Ireland, Frank Harris, described the fearful experience:

 

"The six of us were working naked to the waist

in the small iron chamber with the temperature

of about 80 degrees Fahrenheit.

In five minutes the sweat was pouring from us,

and all the while we were standing in icy water

that was only kept from rising by the terrific

pressure. No wonder the headaches were

blinding."

 

Once the caisson had reached the desired depth, it was to be filled in with vertical brick piers and concrete. However, due to the unexpectedly high concentration of large boulders on the riverbed, the Brooklyn caisson took several months to sink to the desired depth.

 

Furthermore, in December 1870, its timber roof caught fire, delaying construction further. The "Great Blowout", as the fire was called, delayed construction for several months, since the holes in the caisson had to be repaired.

 

On the 6th. March 1871, the repairs were finished, and the caisson had reached its final depth of 44.5 feet (13.6 m); it was filled with concrete five days later. Overall, about 264 individuals were estimated to have worked in the caisson every day, but because of high worker turnover, the final total was thought to be about 2,500 men.

 

In spite of this, only a few workers were paralyzed. At its final depth, the caisson's air pressure was 21 pounds per square inch. Normal air pressure is 14.7 psi.

 

The Manhattan side's caisson was the next structure to be built. To ensure that it would not catch fire like its counterpart had, the Manhattan caisson was lined with fireproof plate iron.

 

It was launched from Webb & Bell's shipyard on the 11th. May 1871, and maneuvered into place that September.

 

Due to the extreme underwater air pressure inside the much deeper Manhattan caisson, many workers became sick with "the bends" - decompression sickness - during this work, despite the incorporation of airlocks (which were believed to help with decompression sickness at the time).

 

This condition was unknown at the time, and was first called "caisson disease" by the project physician, Andrew Smith. Between the 25th. January and the 31st. May 1872, Smith treated 110 cases of decompression sickness, while three workers died from the condition.

 

When iron probes underneath the Manhattan caisson found the bedrock to be even deeper than expected, Washington Roebling halted construction due to the increased risk of decompression sickness.

 

After the Manhattan caisson reached a depth of 78.5 feet (23.9 m) with an air pressure of 35 pounds per square inch, Washington deemed the sandy subsoil overlying the bedrock 30 feet (9.1 m) beneath to be sufficiently firm, and subsequently infilled the caisson with concrete in July 1872.

 

Washington Roebling himself suffered a paralyzing injury as a result of caisson disease shortly after ground was broken for the Brooklyn tower foundation.

 

His debilitating condition left him unable to supervise the construction in person, so he designed the caissons and other equipment from his apartment, directing the completion of the bridge through a telescope in his bedroom.

 

His wife, Emily Warren Roebling, not only provided written communications between her husband and the engineers on site, but also understood mathematics, calculations of catenary curves, strengths of materials, bridge specifications, and the intricacies of cable construction.

 

She spent the next 11 years helping supervise the bridge's construction, taking over much of the chief engineer's duties, including day-to-day supervision and project management.

 

The Towers of the Brooklyn Bridge

 

After the caissons were completed, piers were constructed on top of each of them upon which masonry towers would be built. The towers' construction was a complex process that took four years.

 

Since the masonry blocks were heavy, the builders transported them to the base of the towers using a pulley system with a continuous 1.5-inch (3.8 cm)-diameter steel wire rope, operated by steam engines at ground level.

 

The blocks were then carried up on a timber track alongside each tower and maneuvered into the proper position using a derrick atop the towers. The blocks sometimes vibrated the ropes because of their weight, but only once did a block fall.

 

Construction of the suspension towers started in mid-1872, and by the time work was halted for the winter in late 1872, parts of each tower had already been built. By mid-1873, there was substantial progress on the towers' construction.

 

The arches of the Brooklyn tower were completed by August 1874. The tower was substantially finished by December 1874, with the erection of saddle plates for the main cables at the top of the tower.

 

The last stone on the Brooklyn tower was raised in June 1875, and the Manhattan tower was completed in July 1876.

 

The work was dangerous: by 1876, three workers had died having fallen from the towers, while nine other workers were killed in other accidents.

 

By 1875, while the towers were being constructed, the project had depleted its original $5 million budget. Two bridge commissioners, one each from Brooklyn and Manhattan, petitioned New York state lawmakers to allot another $8 million for construction. Legislators authorized the money on condition that the cities would buy the stock of Brooklyn Bridge's private stockholders.

 

Work proceeded concurrently on the anchorages on each side. The Brooklyn anchorage broke ground in January 1873 and was substantially completed by August 1875.

 

The Manhattan anchorage was built in less time. Having started in May 1875, it was mostly completed by July 1876. The anchorages could not be fully completed until the main cables were spun, at which point another 6 feet (1.8 m) would be added to the height of each 80-foot (24 m) anchorage.

 

The Brooklyn Bridge Cables

 

The first temporary wire was stretched between the towers on the 15th. August 1876, using chrome steel provided by the Chrome Steel Company of Brooklyn. The wire was then stretched back across the river, and the two ends were spliced to form a traveler, a lengthy loop of wire connecting the towers, which was driven by a 30 horsepower (22 kW) steam hoisting engine at ground level.

 

The wire was one of two that were used to create a temporary footbridge for workers while cable spinning was ongoing. The next step was to send an engineer across the completed traveler wire in a boatswain's chair slung from the wire, to ensure it was safe enough.

 

The bridge's master mechanic, E. F. Farrington, was volunteered for this task, and an estimated crowd of 10,000 people on both shores watched him cross.

 

A second traveler wire was then stretched across the span. The temporary footbridge, located some 60 feet (18 m) above the elevation of the future deck, was completed in February 1877.

 

By December 1876, a steel contract for the permanent cables still had not been awarded. There was disagreement over whether the bridge's cables should use the as-yet-untested Bessemer steel, or the well-proven crucible steel.

 

Until a permanent contract was awarded, the builders ordered 30 short tons of wire in the interim, 10 tons each from three companies, including Washington Roebling's own steel mill in Brooklyn.

 

In the end, it was decided to use number 8 Birmingham gauge (approximately 4 mm or 0.165 inches in diameter) crucible steel, and a request for bids was distributed, to which eight companies responded.

 

In January 1877, a contract for crucible steel was awarded to J. Lloyd Haigh, who was associated with bridge trustee Abram Hewitt, whom Roebling distrusted.

 

The spinning of the wires required the manufacture of large coils of it which were galvanized but not oiled when they left the factory. The coils were delivered to a yard near the Brooklyn anchorage. There they were dipped in linseed oil, hoisted to the top of the anchorage, dried out and spliced into a single wire, and finally coated with red zinc for further galvanizing.

 

There were thirty-two drums at the anchorage yard, eight for each of the four main cables. Each drum had a capacity of 60,000 feet (18,000 m) of wire. The first experimental wire for the main cables was stretched between the towers on the 29th. May 29 1877, and spinning began two weeks later.

 

All four main cables had been strung by that July. During that time, the temporary footbridge was unofficially opened to members of the public, who could receive a visitor's pass; by August 1877 several thousand visitors from around the world had used the footbridge. The visitor passes ceased that September after a visitor had an epileptic seizure and nearly fell off.

 

As the wires were being spun, work also commenced on the demolition of buildings on either side of the river for the Brooklyn Bridge's approaches; this work was mostly complete by September 1877. The following month, initial contracts were awarded for the suspender wires, which would hang down from the main cables and support the deck. By May 1878, the main cables were more than two-thirds complete.

 

However, the following month, one of the wires slipped, killing two people and injuring three others. In 1877, Hewitt wrote a letter urging against the use of Bessemer steel in the bridge's construction. Bids had been submitted for both crucible steel and Bessemer steel; John A. Roebling's Sons submitted the lowest bid for Bessemer steel, but at Hewitt's direction, the contract was awarded to Haigh.

 

A subsequent investigation discovered that Haigh had substituted inferior quality wire in the cables. Of eighty rings of wire that were tested, only five met standards, and it was estimated that Haigh had earned $300,000 from the deception.

 

At this point, it was too late to replace the cables that had already been constructed. Roebling determined that the poorer wire would leave the bridge only four times as strong as necessary, rather than six to eight times as strong. The inferior-quality wire was allowed to remain, and 150 extra wires were added to each cable.

 

To avoid public controversy, Haigh was not fired, but instead was required to personally pay for higher-quality wire. The contract for the remaining wire was awarded to the John A. Roebling's Sons, and by the 5th. October 1878, the last of the main cables' wires went over the river.

 

After the suspender wires had been placed, workers began erecting steel crossbeams to support the roadway as part of the bridge's overall superstructure. Construction on the bridge's superstructure started in March 1879, but, as with the cables, the trustees initially disagreed on whether the steel superstructure should be made of Bessemer or crucible steel.

 

That July, the trustees decided to award a contract for 500 short tons of Bessemer steel to the Edgemoor Iron Works, based in Philadelphia. The trustees later ordered another 500 short tons of Bessemer steel. However, by February 1880 the steel deliveries had not started.

 

That October, the bridge trustees questioned Edgemoor's president about the delay in steel deliveries. Despite Edgemoor's assurances that the contract would be fulfilled, the deliveries still had not been completed by November 1881.

 

Brooklyn mayor Seth Low, who became part of the board of trustees in 1882, became the chairman of a committee tasked to investigate Edgemoor's failure to fulfill the contract. When questioned, Edgemoor's president stated that the delays were the fault of another contractor, the Cambria Iron Company, who were manufacturing the eyebars for the bridge trusses.

 

Further complicating the situation, Washington Roebling had failed to appear at the trustees' meeting in June 1882, since he had gone to Newport, Rhode Island. After the news media discovered this, most of the newspapers called for Roebling to be fired as chief engineer, except for the Daily State Gazette of Trenton, New Jersey, and the Brooklyn Daily Eagle.

 

Some of the longstanding trustees were willing to vouch for Roebling, since construction progress on the Brooklyn Bridge was still ongoing. However, Roebling's behavior was considered suspect among the younger trustees who had joined the board more recently.

 

Construction progress on the bridge itself was submitted in formal monthly reports to the mayors of New York and Brooklyn. For example, the August 1882 report noted that the month's progress included 114 intermediate cords erected within a week, as well as 72 diagonal stays, 60 posts, and numerous floor beams, bridging trusses, and stay bars.

 

By early 1883, the Brooklyn Bridge was considered mostly completed and was projected to open that June. Contracts for bridge lighting were awarded by February 1883, and a toll scheme was approved that March.

 

Opposition to the Bridge

 

There was substantial opposition to the bridge's construction from shipbuilders and merchants located to the north, who argued that the bridge would not provide sufficient clearance underneath for ships.

 

In May 1876, these groups, led by Abraham Miller, filed a lawsuit in the United States District Court against the cities of New York and Brooklyn.

 

In 1879, an Assembly Sub-Committee on Commerce and Navigation began an investigation into the Brooklyn Bridge. A seaman who had been hired to determine the height of the span, testified to the committee about the difficulties that ship masters would experience in bringing their ships under the bridge when it was completed.

 

Another witness, Edward Wellman Serrell, a civil engineer, said that the calculations of the bridge's assumed strength were incorrect.

 

However the Supreme Court decided in 1883 that the Brooklyn Bridge was a lawful structure.

 

The Opening of the Brooklyn Bridge

 

The Brooklyn Bridge was opened for use on the 24th. May 1883. Thousands of people attended the opening ceremony, and many ships were present in the East River for the occasion. Officially, Emily Warren Roebling was the first to cross the bridge.

 

The bridge opening was also attended by U.S. president Chester A. Arthur and New York mayor Franklin Edson, who crossed the bridge and shook hands with Brooklyn mayor Seth Low at the Brooklyn end. Abram Hewitt gave the principal address:

 

"It is not the work of any one man or of any one

age. It is the result of the study, of the experience,

and of the knowledge of many men in many ages.

It is not merely a creation; it is a growth. It stands

before us today as the sum and epitome of human

knowledge; as the very heir of the ages; as the

latest glory of centuries of patient observation,

profound study and accumulated skill, gained,

step by step, in the never-ending struggle of man

to subdue the forces of nature to his control and use."

 

Although Washington Roebling was unable to attend the ceremony (and rarely visited the site again), he held a celebratory banquet at his house on the day of the bridge opening.

 

Further festivity included a performance by a band, gunfire from ships, and a fireworks display. On that first day, a total of 1,800 vehicles and 150,300 people crossed the span.

 

Less than a week after the Brooklyn Bridge opened, ferry crews reported a sharp drop in patronage, while the bridge's toll operators were processing over a hundred people a minute. However, cross-river ferries continued to operate until 1942.

 

The bridge had cost US$15.5 million in 1883 dollars (about US$436,232,000 in 2021) to build, of which Brooklyn paid two-thirds. The bonds to fund the construction were not paid off until 1956.

 

An estimated 27 men died during the bridge's construction. Until the construction of the nearby Williamsburg Bridge in 1903, the Brooklyn Bridge was the longest suspension bridge in the world, 20% longer than any built previously.

 

At the time of opening, the Brooklyn Bridge was not complete; the proposed public transit across the bridge was still being tested, while the Brooklyn approach was being completed.

 

On the 30th. May 1883, six days after the opening, a woman falling down a stairway at the Brooklyn approach caused a stampede which resulted in at least twelve people being crushed and killed.

 

In subsequent lawsuits, the Brooklyn Bridge Company was acquitted of negligence. However, the company did install emergency phone boxes and additional railings, and the trustees approved a fireproofing plan for the bridge.

 

Public transit service began with the opening of the New York and Brooklyn Bridge Railway, a cable car service, on the 25th. September 1883.

 

On the 17th. May 1884, one of P. T. Barnum's most famous attractions, Jumbo the elephant, led a parade of 21 elephants over the Brooklyn Bridge. This helped to lessen doubts about the bridge's stability while also promoting Barnum's circus.

 

Brooklyn Bridge in the Late 19th. & Early 20th. Centuries

 

Movement across the Brooklyn Bridge increased in the years after it opened; a million people paid to cross in the first six months. The bridge carried 8.5 million people in 1884, its first full year of operation; this number doubled to 17 million in 1885, and again to 34 million in 1889.

 

Many of these people were cable car passengers. Additionally, about 4.5 million pedestrians a year were crossing the bridge for free by 1892.

 

The first proposal to make changes to the bridge was sent in only two and a half years after it opened; Linda Gilbert suggested glass steam-powered elevators and an observatory be added to the bridge and a fee charged for use, which would in part fund the bridge's upkeep and in part fund her prison reform charity.

 

This proposal was considered, but not acted upon. Numerous other proposals were made during the first fifty years of the bridge's life.

 

Trolley tracks were added in the center lanes of both roadways in 1898, allowing trolleys to use the bridge as well.

 

Concerns about the Brooklyn Bridge's safety were raised during the turn of the century. In 1898, traffic backups due to a dead horse caused one of the truss cords to buckle.

 

There were more significant worries after twelve suspender cables snapped in 1901, although a thorough investigation found no other defects.

 

After the 1901 incident, five inspectors were hired to examine the bridge each day, a service that cost $250,000 a year.

 

The Brooklyn Rapid Transit Company, which operated routes across the Brooklyn Bridge, issued a notice in 1905 saying that the bridge had reached its transit capacity.

 

Although a second deck for the Brooklyn Bridge was proposed, it was thought to be infeasible because doing so would overload the bridge's structural capacity.

 

Though tolls had been instituted for carriages and cable-car customers since the bridge's opening, pedestrians were spared from the tolls originally. However, by the first decade of the 20th. century, pedestrians were also paying tolls.

 

However tolls on all four bridges across the East River - the Brooklyn Bridge, as well as the Manhattan, Williamsburg, and Queensboro bridges to the north - were abolished in July 1911 as part of a populist policy initiative headed by New York City mayor William Jay Gaynor.

 

Ostensibly in an attempt to reduce traffic on nearby city streets, Grover Whalen, the commissioner of Plant and Structures, banned motor vehicles from the Brooklyn Bridge in 1922. The real reason for the ban was an incident the same year where two cables slipped due to high traffic loads.

 

Both Whalen and Roebling called for the renovation of the Brooklyn Bridge and the construction of a parallel bridge, although the parallel bridge was never built.

 

Brooklyn Bridge in Mid- to late 20th. Century

 

Upgrades to the Bridge

 

The first major upgrade to the Brooklyn Bridge commenced in 1948, when a contract for redesigning the roadways was awarded to David B. Steinman. The renovation was expected to double the capacity of the bridge's roadways to nearly 6,000 cars per hour, at a projected cost of $7 million.

 

The renovation included the demolition of both the elevated and the trolley tracks on the roadways and the widening of each roadway from two to three lanes, as well as the construction of a new steel-and-concrete floor.

 

In addition, new ramps were added to Adams Street, Cadman Plaza, and the Brooklyn Queens Expressway (BQE) on the Brooklyn side, and to Park Row on the Manhattan side. The trolley tracks closed in March 1950 to allow for the widening work to occur.

 

During the construction project, one roadway at a time was closed, allowing reduced traffic flows to cross the bridge in one direction only. The widened south roadway was completed in May 1951, followed by the north roadway in October 1953. In addition, defensive barriers were added to the bridge as a safeguard against sabotage.

 

The restoration was finished in May 1954 with the completion of the reconstructed elevated promenade.

 

While the rebuilding of the span was ongoing, a fallout shelter was constructed beneath the Manhattan approach in anticipation of the Cold War. The abandoned space in one of the masonry arches was stocked with emergency survival supplies for a potential nuclear attack by the Soviet Union; these supplies were still in place half a century later.

 

A repainting of the bridge was announced in advance of its 90th. anniversary.

 

Deterioration and Late-20th. Century Repair

 

The Brooklyn Bridge gradually deteriorated due to age and neglect. While it had 200 full-time dedicated maintenance workers before World War II, that number had dropped to five by the late 20th. century, and the city as a whole only had 160 bridge maintenance workers.

 

In 1974, heavy vehicles such as vans and buses were banned from the bridge to prevent further erosion of the concrete roadway. A report in The New York Times four years later noted that the cables were visibly fraying, and that the pedestrian promenade had holes in it.

 

The city began planning to replace all the Brooklyn Bridge's cables at a cost of $115 million, as part of a larger project to renovate all four toll-free East River spans.

 

By 1980, the Brooklyn Bridge was in such dire condition that it faced imminent closure. In some places, half of the strands in the cables were broken.

 

In June 1981, two of the diagonal stay cables snapped, seriously injuring a pedestrian who later died. Subsequently, the anchorages were found to have developed rust, and an emergency cable repair was necessitated less than a month later after another cable developed slack.

 

Following the incident, the city accelerated the timetable of its proposed cable replacement, and it commenced a $153 million rehabilitation of the Brooklyn Bridge in advance of the 100th anniversary.

 

As part of the project, the bridge's original suspender cables installed by J. Lloyd Haigh were replaced by Bethlehem Steel in 1986, marking the cables' first replacement since construction. In a smaller project, the bridge was floodlit at night, starting in 1982 to highlight its architectural features.

 

Additional problems persisted, and in 1993, high levels of lead were discovered near the bridge's towers. Further emergency repairs were undertaken in mid-1999 after small concrete shards began falling from the bridge into the East River. The concrete deck had been installed during the 1950's renovations, and had a lifespan of about 60 years.

 

Brooklyn Bridge in the 21st. Century

 

The Park Row exit from the bridge's westbound lanes was closed as a safety measure after the September 11, 2001, attacks on the nearby World Trade Center. That section of Park Row was closed since it ran right underneath 1 Police Plaza, the headquarters of the New York City Police Department.

 

In early 2003, to save money on electricity, the bridge's "necklace lights" were turned off at night. They were turned back on later that year after several private entities made donations to fund the lights.

 

After the 2007 collapse of the I-35W bridge in Minneapolis, public attention focused on the condition of bridges across the U.S. The New York Times reported that the Brooklyn Bridge approach ramps had received a "poor" rating during an inspection in 2007.

 

However, a NYCDOT spokesman said that the poor rating did not indicate a dangerous state but rather implied it required renovation. In 2010, the NYCDOT began renovating the approaches and deck, as well as repainting the suspension span.

 

Work included widening two approach ramps from one to two lanes by re-striping a new prefabricated ramp; seismic retrofitting; replacement of rusted railings and safety barriers; and road deck resurfacing. The work necessitated detours for four years.

 

At the time, the project was scheduled to be completed in 2014, but completion was later delayed to 2015, then again to 2017. The project's cost also increased from $508 million in 2010 to $811 million in 2016.

 

In August 2016, after the renovation had been completed, the NYCDOT announced that it would conduct a seven-month, $370,000 study to verify if the bridge could support a heavier upper deck that consisted of an expanded bicycle and pedestrian path.

 

As of 2016, about 10,000 pedestrians and 3,500 cyclists used the pathway on an average weekday. Work on the pedestrian entrance on the Brooklyn side was underway by 2017.

 

The NYCDOT also indicated in 2016 that it planned to reinforce the Brooklyn Bridge's foundations to prevent it from sinking, as well as repair the masonry arches on the approach ramps, which had been damaged by Hurricane Sandy in 2012.

 

In July 2018, the New York City Landmarks Preservation Commission approved a further renovation of the Brooklyn Bridge's suspension towers and approach ramps. That December, the federal government gave the city $25 million in funding, which would contribute to a $337 million rehabilitation of the bridge approaches and the suspension towers. Work started in late 2019 and was scheduled to be completed in 2023.

 

Usage of the Brooklyn Bridge

 

Horse-drawn carriages have been allowed to use the Brooklyn Bridge's roadways since its opening. Originally, each of the two roadways carried two lanes of a different direction of traffic. The lanes were relatively narrow at only 8 feet (2.4 m) wide. In 1922, motor vehicles were banned from the bridge, while horse-drawn carriages were restricted from the Manhattan Bridge. Thereafter, the only vehicles allowed on the Brooklyn Bridge were horse-drawn.

 

By 1950, the main roadway carried six lanes of automobile traffic, three in each direction. It was then reduced to five lanes with the addition of a two-way bike lane on the Manhattan-bound side in 2021.

 

Because of the roadway's height (11 ft (3.4 m)) and weight (6,000 lb (2,700 kg)) restrictions, commercial vehicles and buses are prohibited from using the Brooklyn Bridge.

 

The weight restrictions prohibit heavy passenger vehicles such as pickup trucks and SUVs from using the bridge, though this is not often enforced in practice.

 

Formerly, rail traffic operated on the Brooklyn Bridge as well. Cable cars and elevated railroads used the bridge until 1944, while trolleys ran until 1950.

 

A cable car service began operating on the 25th. September 1883; it ran on the inner lanes of the bridge, between terminals at the Manhattan and Brooklyn ends.

 

Since Washington Roebling believed that steam locomotives would put excessive loads upon the structure of the Brooklyn Bridge, the cable car line was designed as a steam/cable-hauled hybrid.

 

They were powered from a generating station under the Brooklyn approach. The cable cars could not only regulate their speed on the 3.75% upward and downward approaches, but also maintain a constant interval between each other. There were 24 cable cars in total.

 

Initially, the service ran with single-car trains, but patronage soon grew so much that by October 1883, two-car trains were in use. The line carried three million people in the first six months, nine million in 1884, and nearly 20 million in 1885.

 

Patronage continued to increase, and in 1888, the tracks were lengthened and even more cars were constructed to allow for four-car cable car trains. Electric wires for the trolleys were added by 1895, allowing for the potential future decommissioning of the steam/cable system.

 

The terminals were rebuilt once more in July 1895, and, following the implementation of new electric cars in late 1896, the steam engines were dismantled and sold.

 

The Brooklyn Bridge Walkway

 

The Brooklyn Bridge has an elevated promenade open to pedestrians in the center of the bridge, located 18 feet (5.5 m) above the automobile lanes.

 

The path is generally 10 to 17 feet (3.0 to 5.2 m) wide, though this is constrained by obstacles such as protruding cables, benches, and stairways, which create "pinch points" at certain locations. The path narrows to 10 feet (3.0 m) at the locations where the main cables descend to the level of the promenade.

 

Further exacerbating the situation, these "pinch points" are some of the most popular places to take pictures. As a result, in 2016, the NYCDOT announced that it planned to double the promenade's width.

 

On the 14th. September 2021, the DOT closed off the inner-most car lane on the Manhattan-bound side with protective barriers and fencing to create a new bike path. Cyclists are now prohibited from the upper pedestrian lane.

 

Emergency Use of Brooklyn Bridge

 

While the bridge has always permitted the passage of pedestrians, the promenade facilitates movement when other means of crossing the East River have become unavailable.

 

During transit strikes by the Transport Workers Union in 1980 and 2005, people commuting to work used the bridge; they were joined by Mayors Ed Koch and Michael Bloomberg, who crossed as a gesture to the affected public.

 

Pedestrians also walked across the bridge as an alternative to suspended subway services following the 1965, 1977, and 2003 blackouts, and after the September 11 attacks on the World Trade Center.

 

During the 2003 blackouts, many crossing the bridge reported a swaying motion. The higher-than-usual pedestrian load caused this swaying, which was amplified by the tendency of pedestrians to synchronize their footfalls with a sway.

 

Several engineers expressed concern about how this would affect the bridge, although others noted that the bridge did withstand the event and that the redundancies in its design - the inclusion of the three support systems (suspension system, diagonal stay system, and stiffening truss) - make it probably the best secured bridge against such movements going out of control.

 

In designing the bridge, John Roebling had stated that the bridge would sag but not fall, even if one of these structural systems were to fail altogether.

 

Stunts Associated With Brooklyn Bridge

 

There have been several notable jumpers from the Brooklyn Bridge:

 

-- The first person was Robert Emmet Odlum, brother of women's rights activist Charlotte Odlum Smith, on the 19th. May 1885. He struck the water at an angle, and died shortly afterwards from internal injuries.

 

-- Steve Brodie supposedly dropped from underneath the bridge in July 1886 and was briefly arrested for it, although there is some doubt about whether he actually jumped.

 

-- Larry Donovan made a slightly higher jump from the railing a month afterward.

 

Other notable events have taken place on or near the bridge:

 

-- In 1919, Giorgio Pessi piloted what was then one of the world's largest airplanes, the Caproni Ca.5, under the bridge.

 

-- At 9:00 a.m. on the 19th. May 1977, artist Jack Bashkow climbed one of the towers for 'Bridging', which was termed a "media sculpture" by the performance group Art Corporation of America Inc.

 

Seven artists climbed the largest bridges connected to Manhattan in order to:

 

"Replace violence and fear

in mass media for one day".

 

When each of the artists had reached the tops of the bridges, they ignited bright-yellow flares at the same moment, resulting in rush hour traffic disruption, media attention, and the arrest of the climbers, though the charges were later dropped.

 

Called "The first social-sculpture to use mass-media as art” by conceptual artist Joseph Beuys, the event was on the cover of the New York Post, it received international attention, and received ABC Eyewitness News' 1977 Best News of the Year award.

 

John Halpern documented the incident in the film 'Bridging' (1977)

 

-- Halpern attempted another "Bridging" "social sculpture" in 1979, when he planted a radio receiver, gunpowder and fireworks in a bucket atop one of the Brooklyn Bridge towers.

 

The piece was later discovered by police, leading to his arrest for possessing a bomb.

 

-- In 1993, bridge jumper Thierry Devaux illegally performed eight acrobatic bungee jumps above the East River close to the Brooklyn tower.

 

-- On the 1st. October 2011, more than 700 protesters with the Occupy Wall Street movement were arrested while attempting to march across the bridge on the roadway.

 

Protesters disputed the police account of the event, and claimed that the arrests were the result of being trapped on the bridge by the NYPD. The majority of the arrests were subsequently dismissed.

 

-- On the 22nd. July 2014, the two American flags on the flagpoles atop each tower were found to have been replaced by bleached-white American flags.

 

Initially, cannabis activism was suspected as a motive, but on the 12th. August 2014, two Berlin artists claimed responsibility for hoisting the two white flags, having switched the original flags with their replicas.

 

The artists said that the flags were meant to celebrate the beauty of public space and the anniversary of the death of German-born John Roebling, and they denied that it was an anti-American statement.

 

Brooklyn Bridge as a Suicide Spot

 

The first person to jump from the bridge with the intention of suicide was Francis McCarey in 1892.

 

A lesser-known early jumper was James Duffy of County Cavan, Ireland, who on the 15th. April 1895 asked several men to watch him jump from the bridge. Duffy jumped and was not seen again.

 

Additionally, the cartoonist Otto Eppers jumped and survived in 1910, and was then tried and acquitted for attempted suicide.

 

The Brooklyn Bridge has since developed a reputation as a suicide bridge due to the number of jumpers who do so intending to kill themselves, though exact statistics are difficult to find.

 

Crimes and Terrorism Associated With Brooklyn Bridge

 

-- In 1979, police disarmed a stick of dynamite placed under the Brooklyn approach, and an artist in Manhattan was later arrested for the act.

 

-- On the 1st. March 1994, Lebanese-born Rashid Baz opened fire on a van carrying members of the Chabad-Lubavitch Orthodox Jewish Movement, striking 16-year-old student Ari Halberstam and three others traveling on the bridge.

 

Halberstam died five days later from his wounds, and Baz was later convicted of murder. He was apparently acting out of revenge for the Hebron massacre of Palestinian Muslims a few days prior to the incident.

 

After initially classifying the killing as one committed out of road rage, the Justice Department reclassified the case in 2000 as a terrorist attack.

 

The entrance ramp to the bridge on the Manhattan side was subsequently dedicated as the Ari Halberstam Memorial Ramp.

 

-- In 2003, truck driver Lyman Faris was sentenced to 20 years in prison for providing material support to Al-Qaeda, after an earlier plot to destroy the bridge by cutting through its support wires with blowtorches was thwarted.

 

Brooklyn Bridge Anniversary Celebrations

 

-- The 50th.-anniversary celebrations on the 24th. May 1933 included a ceremony featuring an airplane show, ships, and fireworks, as well as a banquet.

 

-- During the centennial celebrations on the 24th. May 1983, President Ronald Reagan led a cavalcade of cars across the bridge.

 

A flotilla of ships visited the harbor, officials held parades, and Grucci Fireworks held a fireworks display that evening.

 

For the centennial, the Brooklyn Museum exhibited a selection of the original drawings made for the bridge.

 

Culture

 

The Brooklyn Bridge has had an impact on idiomatic American English. For example, references to "Selling the Brooklyn Bridge" abound in American culture, sometimes as examples of rural gullibility, but more often in connection with an idea that strains credulity.

 

George C. Parker and William McCloundy were two early 20th.-century con men who may have perpetrated this scam successfully on unwitting tourists, although the author of 'The Brooklyn Bridge: A Cultural History' wrote:

 

"No evidence exists that the bridge

has ever been sold to a 'gullible

outlander'".

 

However, anyone taken in by fraudsters is hardly likely to publicize the fact.

 

A popular tradition on Brooklyn Bridge is for couples to inscribe a date and their initials onto a padlock, attach it to the bridge, and throw the key into the water as a sign of their love.

 

The practice of attaching 'love locks' to the bridge is officially illegal in New York City, and in theory the NYPD can give violators a $100 fine.

 

NYCDOT workers periodically remove the love locks from the bridge at a cost of $100,000 per year.

 

Brooklyn Bridge in the Media

 

The bridge is often featured in wide shots of the New York City skyline in television and film, and has been depicted in numerous works of art.

 

Fictional works have used the Brooklyn Bridge as a setting; for instance, the dedication of a portion of the bridge, and the bridge itself, were key components in the 2001 film Kate & Leopold.

 

Furthermore, the Brooklyn Bridge has also served as an icon of America, with mentions in numerous songs, books, and poems.

 

Among the most notable of these works is that of American Modernist poet Hart Crane, who used the Brooklyn Bridge as a central metaphor and organizing structure for his second book of poetry, 'The Bridge' (1930).

 

The Brooklyn Bridge has also been lauded for its architecture. One of the first positive reviews was "The Bridge as a Monument", a Harper's Weekly piece written by architecture critic Montgomery Schuyler and published a week after the bridge's opening.

 

In the piece, Schuyler wrote:

 

"It so happens that the work which is likely to be

our most durable monument, and to convey some

knowledge of us to the most remote posterity, is a

work of bare utility; not a shrine, not a fortress, not

a palace, but a bridge."

 

Architecture critic Lewis Mumford cited the piece as the impetus for serious architectural criticism in the U.S. He wrote that in the 1920's the bridge was a source of joy and inspiration in his childhood, and that it was a profound influence in his adolescence.

 

Later critics regarded the Brooklyn Bridge as a work of art, as opposed to an engineering feat or a means of transport.

 

Not all critics appreciated the bridge, however. Henry James, writing in the early 20th. century, cited the bridge as an ominous symbol of the city's transformation into a "steel-souled machine room".

 

The construction of the Brooklyn Bridge is detailed in numerous media sources, including David McCullough's 1972 book 'The Great Bridge', and Ken Burns's 1981 documentary 'Brooklyn Bridge'.

 

It is also described in 'Seven Wonders of the Industrial World', a BBC docudrama series with an accompanying book, as well as in 'Chief Engineer: Washington Roebling, The Man Who Built the Brooklyn Bridge', a biography published in 2017.

Wow... Flickr seems to be having major problems today! Attempts to comment fail, login failures, can't load photos, etc. Anyone else experiencing these problems. I think they are going to lose a lot of people if this continues... it is very fustrating.

 

Anyway, this is not my typical genre of photo, I know...

 

I have been a Canon user for the past five years and recently contemplated purchasing a full frame. While I was initally excited about the new Canon 6D Mark II, I was troubled by disappointing reports about its dynamic range performance. A lot of my photography work is in lower light situations.

 

After some deliberation, I ended up purchasing the Nikon 750D, which was announced by Nikon on September 12, 2014. My intent is to use one as a backup, switching between the two depending on what type of lens I need. Although I have not had a chance to put it through its paces, I've noted that there is definitely a learning curve when putting a Nikon in a Canon photographer's hands. :D

 

This was shot with my Canon while I was in southwestern Florida over the Thanksgiving holiday (using my Canon). The lens cap was laying on the surface of a glass table in an outdoor lanai.

 

_MG_7125

 

© Stephen L. Frazier - All of my images are protected by copyright and may not be copied, printed, distributed or used on any site, blog, or forum without expressed permission.

 

Looking for Steve Frazier's main photography website? Visit stevefrazierphotography.com

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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Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.

 

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spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.

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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

 

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.

 

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.

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

 

Le Café la Nuit in Arles, Place de Forum

 

From Wikipedia, the free encyclopedia

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

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.

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.

Vintage postcard.

 

English musician, singer, songwriter and actor Ringo Starr (1940) gained worldwide fame as the drummer for the Beatles. He occasionally sang lead vocals, such as for the hit Yellow Submarine. Starr played key roles in the Beatles' films and appeared in numerous others. After the break-up of The Beatles, Starr released several successful singles, including It Don’t Come Easy and Back Off Boogaloo.

 

Ringo Starr was born Richard Starkey in a small two-storey house in the working class area of Liverpool, England, in 1940. He was the only child of Elsie (née Gleave) and Richard Starkey, who both worked in a bakery. During childhood ‘Ritchie’ was twice afflicted by life-threatening illnesses. In 1953, he contracted tuberculosis and was admitted to a sanatorium, where he remained for two years. During his stay the medical staff encouraged their patients to join the hospital band. Ringo played percussion and grew increasingly interested in drumming. In 1955, he entered the workforce and did some odd jobs. He became a fervent admirer of the UK skiffle craze. In 1957, he cofounded his first band, the Eddie Clayton Skiffle Group. It earned several prestigious local bookings before the skiffle craze faded in early 1958 as American rock and roll became popular in the UK. When the Beatles formed in 1960, Starr was a member of another Liverpool group, Rory Storm and the Hurricanes. About this time he adopted the stage name Ringo Starr. After achieving moderate success in the UK and Hamburg, he quit the Hurricanes. Starr had performed with the Beatles during a few stand-in engagements while in Hamburg. In 1962, he joined the Beatles, replacing Pete Best. Ringo contributed to their first hit, Love Me Do, which charted in UK, and reached the top of the US singles chart in 1962. Soon, he began receiving an amount of fan mail equal to that of the others, which helped to secure his position within the band. During 1963, the Beatles enjoyed increasing popularity in Britain. By the end of the year, the phenomenon known as Beatlemania had spread throughout the country, and by February 1964 the Beatles had become an international success, performing on The Ed Sullivan Show to a record 73 million viewers. When the Beatles made their film debut in A Hard Day's Night (Richard Lester, 1964), Starr garnered much praise from critics, who considered both his delivery of deadpan one-liners and his non-speaking scenes highlights of the film. He and the other Beatles were cumulatively nominated for a BAFTA Award for Best Newcomer for their performances in A Hard Day's Night. Hal Erickson at AllMovie: “most of the comedy material went to Ringo, whose Chaplinesque demeanor and droll, deadpan dialogue delivery paid off in big laughs” After the release of the Beatles' second feature film, Help! (Richard Lester, 1965), Starr won a Melody Maker poll against his fellow Beatles for his performance as the central character in the film. In 1965, Starr married Maureen Cox, whom he had first met in 1962. By this time the stress and pressure that went along with Beatlemania had reached a peak for him. In August 1966, the Beatles released Revolver, their seventh UK LP. The album included the song Yellow Submarine, which was the only British number one single with Starr as the lead singer. Later that month and owing to the increasing pressures of touring, the Beatles gave their final concert. For the Beatles' seminal album, Sgt. Pepper's Lonely Hearts Club Band (1967), Starr sang lead vocals on the Lennon–McCartney composition With a Little Help from My Friends. Brian Epstein's death in August 1967 left the Beatles without management. The band began an ill-fated film project, Magical Mystery Tour (The Beatles, 1967). Starr's growing interest in photography led to his billing as the movie's Director of Photography, and his participation in the film's editing was matched only by McCartney. During the recording of the White Album in 1968, The Beatles’s collective group dynamic began to decay. Despite a temporary return to congenial relations during the completion of the White Album, production of the Beatles' fourth feature film, Let It Be (Michael Lindsay-Hogg, 1970), and its accompanying LP, strained the already tenuous cohesion within the band.

 

After the break-up of The Beatles in 1970, Ringo Starr played drums on Lennon's John Lennon/Plastic Ono Band (1970), Ono's Yoko Ono/Plastic Ono Band (1970), and on Harrison's albums All Things Must Pass (1970), Living in the Material World (1973) and Dark Horse (1974). In 1971, Starr participated in the Concert for Bangladesh, organised by Harrison. They co-wrote the hit single It Don't Come Easy, which reached number four in both the US and the UK. In 1972, he released his most successful UK single, Back Off Boogaloo, which peaked at number two. Having become friends with the English singer Marc Bolan, Starr made his directorial debut with the T. Rex documentary Born to Boogie (1972). Starr also acted in several films, including Candy (Christian Marquand, 1968), The Magic Christian (Joseph McGrath, 1969) with Peter Sellers, the Spaghetti Western Blindman (Ferdinando Baldi, 1971), and That'll Be the Day (Claude Whatham, 1973) and the horror comedy. In 1971, he also starred as Larry the Dwarf in Frank Zappa's 200 Motels and was featured in fellow rock icon Harry Nilsson's animated film The Point! In 1973, Ringo produced the bizarre horror movie spoof Son of Dracula (Freddie Francis, 1974), in which he co-starred with Harry Nilsson. Starr also released the successful singles Photograph (1973) and You're Sixteen (1974). Both were songs from his critically acclaimed album Ringo (1973), which was a top ten release in both the UK and the US. His next album Goodnight Vienna (1974) was also successful, and featured musical contributions from Lennon, Elton John and Harry Nilsson. In the following years, his musical career diminished, although he continued to record and remained a familiar celebrity presence. He played the pope in Ken Russell's Lisztomania (1975), and one of Mae West’s husbands in Sextette (Ken Hughes, 1978). He also appeared as a guest at the Band's farewell concert in 1976, featured in Martin Scorsese’s documentary The Last Waltz (1978). During the 1980s Ringo starred in films like Caveman (Carl Gottlieb, 1981) with future wife Barbara Bach and he played a fictionalised version of himself in Paul McCartney's Give My Regards to Broad Street (Peter Webb, 1984). After having a long period of troubles with alcohol, Ringo and Barbara Bach attended a rehabilitation clinic, and came back to the scene sober. Starr maintained a high public profile through his narration of the popular children's series Thomas the Tank Engine & Friends (1984-1986), based on the books by the Reverend W. Awdry. In 1989, Starr was nominated for a Daytime Emmy Award for for his role as Mr. Conductor in the television series Shining Time Station (1989), a spin-off of Thomas the Tank Engine & Friends. Starr made a cameo appearance on The Simpsons episode Brush with Greatness (1991) and contributed an original song, You Never Know, to the soundtrack of the film Curly Sue (John Hughes, 1991). Since 1989, he has toured with twelve variations of Ringo Starr & His All-Starr Band. In 1994, Starr began a collaboration with the surviving former Beatles for the Beatles Anthology project. They recorded two new Beatles songs built around solo vocal and piano tapes recorded by Lennon and gave lengthy interviews about the Beatles' career. Ringo Starr and his first wife Maureen Cox had three children: Zak (1965), Jason (1967) and Lee (1970). Following Starr's repeated infidelities, the couple divorced in 1975. In 1980, while on the set of the film Caveman, Starr met actress Barbara Bach. They were married in 1981. Ringo Starr has seven grandchildren – one from Zak, three from Jason and three from Lee. Starr and Bach split their time between homes in England, Switzerland and Los Angeles.

 

Sources: Hal Erickson (AllMovie), Steve Shelokhonov (IMDb), Wikipedia and IMDb.

East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 128/69, 1969. Photo: Unifrance-Film.

 

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.

French postcard in the 'Les acteurs français vus par Solo' series by Carterie Occitane, Toulouse, no. 9. Illustration: Solo.

 

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.

This new film project is based on a true to life actual coincidence. Here is the story. I planned to see a movie with a friend of mine. My friend suggested "The Grand Budapest Motel". I had heard some good things about this film so I agreed and we decided on a date to see the film.

 

When I sat down in the theatre something just didn't feel right. I wasn't sure what it was, and it was with me the entire film. It was a good film with really cool calligraphy and typography that uses Fraktur like you see here. The period of the film was captured so well in the amazing set design.

 

The movie ended and I checked my messages on my cell phone. I remembered I had a sale of my book that day (my Gothic Calligraphy book). Take a wild guess where the buyer was from? Yep Budapest!

 

What on earth are the odds of this? How many times do I use Budapest in conversation every day? Never. Every year? Never. Budapest just never comes up, yet twice in the same day? Wow. Given the thousands of cities around the world, what are the odds of this?

 

I think the universe is just messing with me. Just having some fun with the Steve. Anyways it made for a great story (i was kidding about the film project). The trouble is that this coincidence is following a long and strange list of coincidences in my life.

 

Cheers

Steve

Shuhada' Sadaqat[8][a] (born Sinéad Marie Bernadette O'Connor; 8 December 1966 – July 2023), known professionally as Sinéad O'Connor,[9][b] was an Irish singer, songwriter and political activist. Her debut studio album, The Lion and the Cobra, was released in 1987 and charted internationally. Her second studio album, I Do Not Want What I Haven't Got (1990), became her biggest success, selling over seven million copies worldwide.[11] Its lead single, "Nothing Compares 2 U", was named the number-one world single in 1990 by the Billboard Music Awards.[12]

O'Connor released ten studio albums. Am I Not Your Girl? (1992) and Universal Mother (1994) were certified gold in the UK,[13] Faith and Courage (2000) was certified gold in Australia,[14] and Throw Down Your Arms (2005) went gold in Ireland.[15] Her work included songs for films, collaborations with many other artists, and appearances at charity fundraising concerts. Her 2021 memoir Rememberings was a bestseller.[16]

In 1999, O'Connor was ordained as a priest by the Irish Orthodox Catholic and Apostolic Church, an Independent Catholic sect that is not recognised by the Roman Catholic Church.[17] She consistently spoke out on issues related to child abuse (including her 1992 Saturday Night Live protest against the continued cover-up of Catholic Church sexual abuse cases), human rights, racism, organised religion, and women's rights. Throughout her music career, she spoke about her spiritual journey, activism, socio-political views, as well as her trauma and mental health struggles. In 2017, O'Connor changed her name to Magda Davitt. After converting to Islam in 2018 she changed it to Shuhada' Sadaqat,[2][8][18] but continued to record and perform under her birth name.[

O'Connor was born Sinéad Marie Bernadette O'Connor[20] in the Cascia House Nursing Home at 13 Pembroke Road, Dublin, on 8 December 1966.[2] She was named Sinéad after Sinéad de Valera, the mother of the doctor presiding over the delivery, Éamon de Valera, Jnr., and Bernadette in honour of Saint Bernadette of Lourdes.[21][22] She was the third of five children;[23] her siblings are novelist Joseph,[24] Eimear,[25] John,[26] and Eoin.[27]

Her parents are John Oliver "Seán" O'Connor, a structural engineer later turned barrister[23] and chairperson of the Divorce Action Group,[28] and Johanna Marie O'Grady (1939–1985), who married in the Church of Our Lady of Good Counsel, Drimnagh, Dublin, in 1960. She attended Dominican College Sion Hill school in Blackrock, County Dublin.[29]

In 1979, O'Connor left her mother and went to live with her father, who had married Viola Margaret Suiter (née Cook) in Alexandria, Virginia, United States, in 1976.[30] At the age of 15, her shoplifting and truancy led to her being placed for 18 months in a Magdalene asylum called the Grianán Training Centre in Drumcondra run by the Order of Our Lady of Charity.[31] In some ways, she thrived there, especially in the development of her writing and music, but she also chafed under the imposed conformity. Unruly students there were sometimes sent to sleep in the adjoining nursing home, an experience of which she later commented, "I have never—and probably will never—experience such panic and terror and agony over anything."[32] She later for a period attended the Quaker Newtown School, Waterford for 5th and 6th year but did not sit the Leaving Certificate in 1985.[33][34]

On 10 February 1985, when O'Connor was 18, her mother Marie died in a car accident, aged 45, after losing control of her car on an icy road in Ballybrack and crashing into a bus.[35][36]

In June 1993, O'Connor wrote a public letter in The Irish Times which asked people to "stop hurting" her: "If only I can fight off the voices of my parents / and gather a sense of self-esteem / Then I'll be able to REALLY sing ..." The letter repeated accusations of abuse by her parents as a child which O'Connor had made in interviews. Her brother Joseph defended their father to the newspaper but agreed regarding their mother's "extreme and violent abuse, both emotional and physical". O'Connor said that month, "Our family is very messed up. We can't communicate with each other. We are all in agony. I for one am in agony."[37]

Musical career 1980s

One of the volunteers at Grianán was the sister of Paul Byrne, drummer for the band In Tua Nua, who heard O'Connor singing "Evergreen" by Barbra Streisand. She recorded a song with them called "Take My Hand" but they felt that at 15, she was too young to join the band.[38] Through an ad she placed in Hot Press in mid-1984, she met Colm Farrelly. Together they recruited a few other members and formed a band called Ton Ton Macoute.[22] The band moved to Waterford briefly while O'Connor attended Newtown School, but she soon dropped out of school and followed them to Dublin, where their performances received positive reviews. Their sound was inspired by Farrelly's interest in world music, though most observers thought O'Connor's singing and stage presence were the band's strongest features.[22][39]

O'Connor's time as singer for Ton Ton Macoute brought her to the attention of the music industry, and she was eventually signed by Ensign Records. She also acquired an experienced manager, Fachtna Ó Ceallaigh, former head of U2's Mother Records. Soon after she was signed, she embarked on her first major assignment, providing the vocals for the song "Heroine", which she co-wrote with U2's guitarist the Edge for the soundtrack to the film Captive. Ó Ceallaigh, who had been fired by U2 for complaining about them in an interview, was outspoken with his views on music and politics, and O'Connor adopted the same habits; she defended the actions of the Provisional IRA and said U2's music was "bombastic".[2] She later retracted her IRA comments saying they were based on nonsense, and that she was "too young to understand the tense situation in Northern Ireland properly".[40]

 

Her first album The Lion and the Cobra was "a sensation" when it was released in 1987 on Chrysalis Records,[41] and it reached gold record status, earning a Best Female Rock Vocal Performance Grammy nomination. The single "Mandinka" was a big college radio hit in the United States, and "I Want Your (Hands on Me)" received both college and urban play in a remixed form that featured rapper MC Lyte. In her first U.S. network television appearance, O'Connor sang "Mandinka" on Late Night with David Letterman in 1988.[42] The song "Troy" was also released as a single in the UK, Ireland, and the Netherlands, where it reached number 5 on the Dutch Top 40 chart.[43]

O'Connor named Bob Dylan, David Bowie, Bob Marley, Siouxsie and the Banshees, and the Pretenders as the artists who influenced her on her debut album.[44] In 1989 O'Connor joined The The frontman Matt Johnson as a guest vocalist on the band's album Mind Bomb, which spawned the duet "Kingdom of Rain".[45] That same year, she made her first foray into cinema, starring in and writing the music for the Northern Irish film Hush-a-Bye-Baby.[46]

1990s

O'Connor's second album – 1990's I Do Not Want What I Haven't Got – gained considerable attention and mostly positive reviews:[47] it was rated "second best album of the year" by the NME.[48] She was praised for her voice and original songs, while being noted for her appearance: trademark shaved head, often angry expression, and sometimes shapeless or unusual clothing.[47] The album featured Marco Pirroni (of Adam and the Ants fame), Andy Rourke (from The Smiths) and John Reynolds, her first husband;[49] most notably, it contained her international breakthrough hit "Nothing Compares 2 U", a song written by Prince[50][51] and originally recorded and released by a side project of his, the Family.[51] Hank Shocklee, producer for Public Enemy, remixed the album's next single, "The Emperor's New Clothes",[49] for a 12-inch that was coupled with another song from the LP, "I Am Stretched on Your Grave". Pre-dating but included on I Do Not Want What I Haven't Got, was "Jump in the River", which originally appeared on the Married to the Mob soundtrack; the 12-inch version of the single had included a remix featuring performance artist Karen Finley.[52][53]

In July 1990, she joined other guests for former Pink Floyd member Roger Waters' performance of The Wall in Berlin.[54] She contributed a cover of "You Do Something to Me" to the Cole Porter tribute/AIDS fundraising album Red Hot + Blue produced by the Red Hot Organization.[55] Red Hot + Blue was followed by the release of Am I Not Your Girl?, an album made of covers of jazz standards and torch songs she had listened to while growing up; the album received mixed-to-poor reviews, and was a commercial disappointment in light of the success of her previous work.[56] Her take on Elton John's "Sacrifice" was acclaimed as one of the best efforts on the tribute album Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin.[57]

Also in 1990, she was criticised after she stated that she would not perform if the United States national anthem was played before one of her concerts; Frank Sinatra threatened to "kick her in the ass".[58] After receiving four Grammy Award nominations, she withdrew her name from consideration.[2] Although nominated for the Brit Award for International Female Solo Artist, which she won, she did not attend the awards ceremony, but did accept the Irish IRMA in February 1991.[59]

I don't do anything in order to cause trouble. It just so happens that what I do naturally causes trouble. I'm proud to be a troublemaker.

—O'Connor in NME, March 1991[60]

She spent the following months studying bel canto singing with teacher Frank Merriman at the Parnell School of Music. In an interview with The Guardian, published in May 1993, she reported that singing lessons with Merriman were the only therapy she was receiving, describing Merriman as "the most amazing teacher in the universe."[61]

In 1992, she contributed backing vocals on the track "Come Talk To Me", and shared vocals on the single "Blood of Eden" from the studio album Us by Peter Gabriel. Gabriel invited her to join his ongoing Secret World Tour in May 1993, to sing these songs and more in an elaborate stage setting. O'Connor travelled and performed as a guest artist.[62] She was seen at Gabriel's side at the 1993 MTV Video Music Awards in September. While in Los Angeles, she took too many sleeping pills, inciting media conjecture about a suicide attempt. She said she "was in a bad way emotionally at the time, but it wasn't a suicide attempt."[63] She left the tour suddenly, causing Gabriel to scramble for a replacement singer.[62] Decades later, she wrote in her memoir Rememberings that she left Gabriel because he treated her casually, and would not make a commitment.[6]

The 1993 soundtrack to the film In the Name of the Father featured O'Connor's "You Made Me the Thief of Your Heart".[49] Her more conventional Universal Mother album (1994) spawned two music videos for the first and second singles, "Fire on Babylon" and "Famine", that were nominated for a Grammy Award for Best Short Form Music Video.[64][65] She toured with Lollapalooza in 1995, but dropped out when she became pregnant with her second child.[66] In 1997, she released the Gospel Oak EP.[67]

In 1994, she appeared in A Celebration: The Music of Pete Townshend and The Who,[68] also known as Daltrey Sings Townshend. This was a two-night concert at Carnegie Hall produced by Roger Daltrey of the Who in celebration of his 50th birthday.[69] A CD and a VHS video of the concert were issued in 1994, followed by a DVD in 1998.[70][71]

In 1996, O'Connor guested on Broken China, a solo album by Pink Floyd's Richard Wright.[72]

O'Connor made her final feature film appearance in Neil Jordan's The Butcher Boy in 1997, playing the Virgin Mary.[73]

In 1998, she worked again with the Red Hot Organization to co-produce and perform on Red Hot + Rhapsody.[74]

2000s

 

O'Connor at the "Music in My Head" festival in The Hague, 13 June 2008

Faith and Courage was released in 2000, including the single "No Man's Woman", and featured contributions from Wyclef Jean of the Fugees and Dave Stewart of Eurythmics.[75]

Her 2002 album, Sean-Nós Nua, marked a departure in that O'Connor interpreted or, in her own words, "sexed up" traditional Irish folk songs, including several in the Irish language.[76] In Sean-Nós Nua, she covered a well-known Canadian folk song, "Peggy Gordon".[77]

In 2003, she contributed a track to the Dolly Parton tribute album Just Because I'm a Woman, a cover of Parton's "Dagger Through the Heart". That same year, she also featured on three songs of Massive Attack's album 100th Window before releasing her double album, She Who Dwells in the Secret Place of the Most High Shall Abide Under the Shadow of the Almighty. This compilation contained one disc of demos and previously unreleased tracks and one disc of a live concert recording. Directly after the album's release, O'Connor announced that she was retiring from music.[78] Collaborations, a compilation album of guest appearances, was released in 2005—featuring tracks recorded with Peter Gabriel, Massive Attack, Jah Wobble, Terry Hall, Moby, Bomb the Bass, the Edge, U2, and The The.[79]

Ultimately, after a brief period of inactivity and a bout with fibromyalgia, her retirement proved to be short-lived. O'Connor stated in an interview with Harp magazine that she had only intended to retire from making mainstream pop/rock music, and after dealing with her fibromyalgia she chose to move into other musical styles.[80] The reggae album Throw Down Your Arms appeared in late 2005.[81]

On 8 November 2006, O'Connor performed seven songs from her upcoming album Theology at The Sugar Club in Dublin. Thirty fans were given the opportunity to win pairs of tickets to attend along with music industry critics.[82] The performance was released in 2008 as Live at the Sugar Club deluxe CD/DVD package sold exclusively on her website.[83]

O'Connor released two songs from her album Theology to download for free from her official website: "If You Had a Vineyard" and "Jeremiah (Something Beautiful)". The album, a collection of covered and original Rastafari spiritual songs, was released in June 2007. The first single from the album, the Tim Rice and Andrew Lloyd Webber classic "I Don't Know How to Love Him", was released on 30 April 2007.[84] To promote the album, O'Connor toured extensively in Europe and North America. She also appeared on two tracks of the new Ian Brown album The World Is Yours, including the anti-war single "Illegal Attacks".[85]

2010s

In January 2010, O'Connor performed a duet with R&B singer Mary J. Blige produced by former A Tribe Called Quest member Ali Shaheed Muhammad of O'Connor's song "This Is To Mother You" (first recorded by O'Connor on her 1997 Gospel Oak EP). The proceeds of the song's sales were donated to the organisation GEMS (Girls Educational and Mentoring Services).[86] In 2012 the song "Lay Your Head Down", written by Brian Byrne and Glenn Close for the soundtrack of the film Albert Nobbs and performed by O'Connor, was nominated for a Golden Globe Award for Best Original Song.[87]

O'Connor performing in 2013

In 2011, O'Connor worked on recording a new album, titled Home, to be released in the beginning of 2012,[88] titled How About I Be Me (and You Be You)?,[89][90] with the first single being "The Wolf is Getting Married". She planned an extensive tour in support of the album but suffered a serious breakdown between December 2011 and March 2012,[91] resulting in the tour and all other musical activities for the rest of 2012 being cancelled. O'Connor resumed touring in 2013 with The Crazy Baldhead Tour. The second single "4th and Vine" was released on 18 February 2013.[92]

In February 2014, it was revealed that O'Connor had been recording a new album of original material, titled The Vishnu Room, consisting of romantic love songs.[93] In early June 2014, the new album was retitled I'm Not Bossy, I'm the Boss, with an 11 August release date. The title derives from the Ban Bossy campaign that took place earlier the same year. The album's first single is entitled "Take Me to Church".[94][95]

In November 2014, O'Connor's management was taken over by Simon Napier-Bell and Björn de Water.[96] On 15 November, O'Connor joined the charity supergroup Band Aid 30 along with other British and Irish pop acts, recording a new version of the track "Do They Know It's Christmas?" at Sarm West Studios in Notting Hill, London, to raise money for the West African Ebola virus epidemic.[97]

In September 2019, O'Connor performed live for the first time in five years, singing "Nothing Compares 2 U" with the Irish Chamber Orchestra on RTÉ's The Late Late Show.[98][99]

2020s

In October 2020, O'Connor released a cover of Mahalia Jackson's Trouble of the World, with proceeds from the single to benefit Black Lives Matter charities.[100]

On 4 June 2021, O'Connor announced her immediate retirement from the music industry. While her final studio album, No Veteran Dies Alone, was due to be released in 2022, O'Connor stated that she would not be touring or promoting it.[101] Announcing the news on Twitter, she said "This is to announce my retirement from touring and from working in the record business. I've gotten older and I'm tired. So it's time for me to hang up my nipple tassels, having truly given my all. NVDA in 2022 will be my last release. And there'll be no more touring or promo."[101][102] On 7 June she retracted her previous statement, describing the original announcement as "a knee-jerk reaction" to an insensitive interview, and announcing that she would go ahead with her already scheduled 2022 tour.[103]

On 1 June 2021, O'Connor's memoir Rememberings was released to positive critical reception. It was listed among the best books of the year on BBC Culture.[104]

On 7 January 2022, O'Connor's son, Shane, died by suicide at the age of 17.[42] She subsequently decided to cancel her 2022 tour and her album No Veteran Dies Alone was postponed indefinitely.[105]

In February 2023, she shared a new version of "The Skye Boat Song", a 19th century Scottish adaptation of a 1782 Gaelic song, which is also the theme for the fantasy drama series Outlander.[106] The following month, she was awarded the inaugural Choice Music Prize Classic Irish Album by Irish broadcaster RTÉ for her 1990 album, I Do Not Want What I Haven't Got.[107][108]

Name

In 2017, O'Connor changed her legal name to Magda Davitt, saying in an interview that she wished to be "free of the patriarchal slave names. Free of the parental curses."[113][114] On her conversion to Islam in October 2018, she adopted the name 'Shuhada', and before mid-2019 also changed her surname from Davitt to Sadaqat.[115]

Personal and public image

Her shaved head has been seen as a statement against traditional views of femininity.[116]

Marriages and children

O'Connor had four children and was married and divorced four times. She had her first son, Jake, in 1987 with her first husband, music producer John Reynolds,[117] who co-produced several of her albums, including Universal Mother. Reynolds and O'Connor later married in Westminster register office in March 1989.[118][119] The same year, O'Connor had an abortion after things did not work out with the father. She later wrote the song "My Special Child" about the experience.[120] O'Connor and Reynolds announced their plan to divorce in November 1991 after being separated for some time.[121]

Soon after the birth of her daughter Brigidine Roisin Waters on 10 March 1996, O'Connor and the girl's father, Irish journalist John Waters, began a long custody battle that ended with O'Connor agreeing to let Roisin live in Dublin with Waters.[122][119][117] In August 2001, O'Connor married British journalist Nick Sommerlad in Wales; the marriage ended in July 2002 after 11 months.[123][117] She had her third child, son Shane, in 2004 with musician Donal Lunny.[117][119] In 2006, she had her fourth child, Yeshua Francis Neil Bonadio, whose father is Frank Bonadio.[124][125]

O'Connor was married a third time on 22 July 2010, to longtime friend and collaborator Steve Cooney,[4][126] and in late March 2011, made the decision to separate.[127] Her fourth marriage was to Irish therapist Barry Herridge. They wed on 9 December 2011, in Las Vegas, but their marriage ended after having "lived together for 7 days only".[128] The following week, on 3 January 2012, O'Connor issued a further string of internet comments to the effect that the couple had re-united.[5]

On 18 July 2015, her first grandson was born to her son Jake Reynolds and his girlfriend Lia.[129]

On 7 January 2022, two days after her 17-year-old son Shane was reported missing from Newbridge, County Kildare, he was found dead by suicide. His body was found by Gardaí in the Bray/Shankill part of Dublin.[130][131][132] O'Connor stated that her son, custody of whom she lost in 2013, had been on "suicide watch" at Tallaght Hospital, and had "ended his earthly struggle". O'Connor criticised the Health Service Executive (HSE) with regard to their handling of her son's case.[133][134][135] She initially criticised Ireland's family services agency, Tusla, but retracted this a few days later.[136][137] In January 2022, a week after her son's suicide, she was hospitalised on her own volition following a series of tweets in which she indicated she was going to take her own life.[138]

Relationship with Prince

Speaking about her relationship with Prince in an interview with Norwegian station NRK in November 2014 she said, "I did meet him a couple of times. We didn't get on at all. In fact we had a punch-up." She continued: "He summoned me to his house after 'Nothing Compares'. I made it without him. I'd never met him. He summoned me to his house – and it's foolish to do this to an Irish woman – he said he didn't like me saying bad words in interviews. So I told him to f*** off....He got quite violent. I had to escape out of his house at 5 in the morning. He packed a bigger punch than mine."[139] In her 2021 memoir Rememberings, O'Connor described her meeting with Prince in detail, which ranged from having his butler serve soup repeatedly despite no desire for soup, to hitting her with a hard object placed in a pillowcase after wanting a pillow fight, and stalking her with his car after she left the mansion.[140]

Health

In the early 2000s, O'Connor revealed that she suffered from fibromyalgia. The pain and fatigue she experienced caused her to take a break from music from 2003 to 2005.[141]

On an episode of The Oprah Winfrey Show broadcast on 4 October 2007, O'Connor disclosed that she had been diagnosed with bipolar disorder four years earlier, and had attempted suicide on her 33rd birthday, 8 December 1999.[142] Then, on Oprah: Where Are They Now? of 9 February 2014, O'Connor said that she had received three "second opinions" and was told by all three that she was not bipolar.

O'Connor was also diagnosed with complex post-traumatic stress disorder and borderline personality disorder.[143]

In August 2015, she announced that she was to undergo a hysterectomy after suffering gynaecological problems for over three years.[144] O'Connor later blamed the hospital's refusal to administer hormonal replacement therapy after the operation as the main reason for her mental health issues in the subsequent years, stating "I was flung into surgical menopause. Hormones were everywhere. I became very suicidal. I was a basket case."[145]

Having smoked cannabis for 30 years, O'Connor went to a rehabilitation centre in 2016, to end her "addiction".[146] O'Connor was agoraphobic.[147]

In August 2017, O'Connor posted a 12-minute video on her Facebook page in which she stated that she had felt alone since losing custody of her 13-year-old son, Shane, and that for the prior two years she had wanted to kill herself, with only her doctor and psychiatrist "keeping her alive".[148] The month after her Facebook post, O'Connor appeared on the American television talk show Dr. Phil on the show's 16th season debut episode.[149] According to Dr. Phil, O'Connor wanted to do the interview because she wanted to "destigmatize mental illness", noting the prevalence of mental health issues among musicians.[150] Shane died in January 2022. A week later, following a series of tweets in which she indicated that she was going to kill herself, O'Connor was hospitalised.[151]

Sexuality

In a 2000 interview in Curve, O'Connor said that she was a lesbian.[152] She later retracted the statement, and in 2005 told Entertainment Weekly "I'm three-quarters heterosexual, a quarter gay".[153]

In 2013, O'Connor published an open letter on her own website to American singer and actress Miley Cyrus in which she warned Cyrus of the treatment of women in the music industry and stated that sexuality is a factor in this, which was in response to Cyrus's music video for her song "Wrecking Ball".[154] Cyrus responded by mocking O'Connor and alluding to her mental health problems.[155]

Politics

O'Connor was a vocal supporter of a united Ireland, and called on the left-wing republican Sinn Féin party to be "braver". In December 2014 it was reported O'Connor had joined Sinn Féin.[156] O'Connor called for the "demolition" of the Republic of Ireland and its replacement with a new, united country. She also called for key Sinn Féin politicians like Gerry Adams to step down because "they remind people of violence", referring to the Troubles.[157]

In a 2015 interview with the BBC, O'Connor said she wished that Ireland had remained under British rule (which ended after the Irish War of Independence, except for Northern Ireland), saying "the church took over and it was disastrous".[158] Following the Brexit referendum in 2016, O'Connor wrote on Facebook "Ireland is officially no longer owned by Britain".[159]

Religion

 

Sinéad O'Connor on After Dark on 21 January 1995

In January 1995, O'Connor made an unexpected appearance on the British late-night television programme After Dark during an episode about sexual abuse and the Catholic Church in Ireland.[160] The discussion included a Dominican friar and another representative of the Catholic Church, along with former taoiseach Garret FitzGerald. Host Helena Kennedy described the event: "Sinéad came on and argued that abuse in families was coded in by the church because it refused to accept the accounts of women and children."[161]

In the late 1990s, Bishop Michael Cox of the Irish Orthodox Catholic and Apostolic Church (an Independent Catholic group not in communion with the Roman Catholic Church) ordained O'Connor as a priest.[17] The Catholic Church considers the ordination of women to be invalid and asserts that a person attempting the sacrament of ordination upon a woman incurs excommunication.[17] The bishop had contacted her to offer ordination following her appearance on RTÉ's The Late Late Show, during which she told the presenter, Gay Byrne, that had she not been a singer she would have wished to have been a Catholic priest. After her ordination, she indicated that she wished to be called Mother Bernadette Mary.[17]

In a July 2007 interview with Christianity Today, O'Connor stated that she considered herself a Christian and that she believed in core Christian concepts about the Trinity and Jesus Christ. She said, "I think God saves everybody whether they want to be saved or not. So when we die, we're all going home ... I don't think God judges anybody. He loves everybody equally."[162] In an October 2002 interview, she credited her Christian faith in giving her the strength to live through and overcome the effects of her childhood abuse.[112]

On 26 March 2010, O'Connor appeared on CNN's Anderson Cooper 360° to speak out about the Catholic sexual abuse scandal in Ireland.[163] On 28 March 2010, she had an opinion piece published in the Sunday edition of The Washington Post in which she wrote about the scandal and her time in a Magdalene laundry as a teenager.[31] Writing for the Sunday Independent she labelled the Vatican as "a nest of devils" and called for the establishment of an "alternative church", opining that "Christ is being murdered by liars" in the Vatican.[164] Shortly after the election of Pope Francis, she said:[165][166]

Well, you know, I guess I wish everyone the best, and I don't know anything about the man, so I'm not going to rush to judge him on one thing or another, but I would say he has a scientifically impossible task, because all religions, but certainly the Catholic Church, is really a house built on sand, and it's drowning in a sea of conditional love, and therefore it can't survive, and actually the office of Pope itself is an anti-Christian office, the idea that Christ needs a representative is laughable and blasphemous at the same time, therefore it is a house built on sand, and we need to rescue God from religion, all religions, they've become a smokescreen that distracts people from the fact that there is a holy spirit, and when you study the Gospels you see the Christ character came to tell us that we only need to talk directly to God, we never needed Religion ...

Asked whether from her point of view, it is therefore irrelevant who is elected to be pope, O'Connor replied:

Genuinely I don't mean disrespect to Catholic people because I believe in Jesus Christ, I believe in the Holy Spirit, all of those, but I also believe in all of them, I don't think it cares if you call it Fred or Daisy, you know? Religion is a smokescreen, it has everybody talking to the wall. There is a Holy Spirit who can't intervene on our behalf unless we ask it. Religion has us talking to the wall. The Christ character tells us himself: you must only talk directly to the Father; you don't need intermediaries. We all thought we did, and that's ok, we're not bad people, but let's wake up ... God was there before religion; it's there [today] despite religion; it'll be there when religion is gone.[167]

Tatiana Kavelka wrote about O'Connor's later Christian work, describing it as "theologically charged yet unorthodox, oriented toward interfaith dialogue and those on the margins".[168]

In August 2018, via an open letter, she asked Pope Francis to excommunicate her as she had also asked Pope Benedict XVI and Pope John Paul II.[113]

In October 2018, O'Connor converted to Islam, calling it "the natural conclusion of any intelligent theologian's journey".[169] The ceremony was conducted in Ireland by Sunni Islamic theologian Shaykh Umar Al-Qadri. She also changed her name to Shuhada' Davitt. In a message on Twitter, she thanked fellow Muslims for their support and uploaded a video of herself reciting the adhan, the Islamic call to prayer. She also posted photos of herself wearing a hijab.[170]

After her conversion to Islam, O'Connor called those who were not Muslims "disgusting" and criticised Christian and Jewish theologians on Twitter in November 2018. She wrote: "What I'm about to say is something so racist I never thought my soul could ever feel it. But truly I never wanna spend time with white people again (if that's what non-muslims are called). Not for one moment, for any reason. They are disgusting."[171][172] Later that month, O'Connor stated that her remarks were made in an attempt to force Twitter to close down her account.[173] In September 2019, she apologised for the remarks, saying "They were not true at the time and they are not true now. I was triggered as a result of Islamophobia dumped on me. I apologize for hurt caused. That was one of many crazy tweets lord knows."[174]

Death

On 26 July 2023, O'Connor was found dead at her flat in Herne Hill, South London, at the age of 56 Her family issued a statement later the same day, without indicating the cause of her death.[108][177][178] The following day, the Metropolitan Police reported that O'Connor's death was not being treated as suspicious] On 28 July, the Coronor in London said that the date of death was still unknown.

Walter Isaacson, Pulitzer Prize-winning author’s new biography of Jennifer Doudna, Nobel Prize laureate, titled ‘The Code Breaker’, gets rave reviews.

 

Jennifer Doudna was awarded the 2020 Nobel Prize in Chemistry.

 

Editorial Reviews

Amazon.com Review

An Amazon Best Book of March 2021: Isaacson is famous for writing Steve Jobs and Leonardo da Vinci, so a title like The Code Breaker might imply a lesser book about a lesser character. But 2020 Nobel winner Jennifer Doudna, who developed the gene-editing technology CRISPR, is a giant in her own right. CRISPR could open some of the greatest opportunities, and most troubling quandaries, of this century—and this book delivers. —Chris Schluep, Amazon Book Review

Review

“This year’s prize is about rewriting the code of life. These genetic scissors have taken the life sciences into a new epoch.” – Announcement of the 2020 Nobel Prize in Chemistry

 

"Isaacson’s vivid account is a page-turning detective story and an indelible portrait of a revolutionary thinker who, as an adolescent in Hawai’i, was told that girls don’t do science. Nevertheless, she persisted." — Oprah Magazine.com

 

"The Code Breaker marks the confluence of perfect writer, perfect subject, and perfect timing. The result is almost certainly the most important book of the year.” – Minneapolis Star Tribune

 

“Isaacson captures the scientific process well, including the role of chance. The hard graft at the bench, the flashes of inspiration, the importance of conferences as cauldrons of creativity, the rivalry, sometimes friendly, sometimes less so, and the sense of common purpose are all conveyed in his narrative. The Code Breaker describes a dance to the music of time with these things as its steps, which began with Charles Darwin and Gregor Mendel and shows no sign of ending.” – The Economist

 

“Isaacson lays everything out with his usual lucid prose; it’s brisk and compelling and even funny throughout. You’ll walk away with a deeper understanding of both the science itself and how science gets done — including plenty of mischief.” – The Washington Post

 

"This story was always guaranteed to be a page-turner in [Isaacson's] hands." – The Guardian

 

"The Code Breaker unfolds as an enthralling detective story, crackling with ambition and feuds, laboratories and conferences, Nobel laureates and self-taught mavericks. The book probes our common humanity without ever dumbing down the science, a testament to Isaacson’s own genius on the page." — O Magazine

 

“Deftly written, conveying the history of CRISPR and also probing larger themes: the nature of discovery, the development of biotech, and the fine balance between competition and collaboration that drives many scientists.”— New York Review of Books

 

“The Code Breaker is in some respects a journal of our 2020 plague year.”— The New York Times

 

"Walter Isaacson is our Renaissance biographer, a writer of unusual range and depth who has plumbed lives of genius to illuminate fundamental truths about human nature. From Leonardo to Steve Jobs, from Benjamin Franklin to Albert Einstein, Isaacson has given us an unparalleled canon of work that chronicles how we have come to live the way we do. Now, in a magnificent, compelling, and wholly original book, he turns his attention to the next frontier: that of gene editing and the role science may play in reshaping the nature of life itself. This is an urgent, sober, accessible, and altogether brilliant achievement." —Jon Meacham

 

"When a great biographer combines his own fascination with science and a superb narrative style, the result is magic. This important and powerful work, written in the tradition of The Double Helix, allows us not only to follow the story of a brilliant and inspired scientist as she engages in a fierce competitive race, but to experience for ourselves the wonders of nature and the joys of discovery." —Doris Kearns Goodwin

 

“He’s done it again. The Code Breaker is another Walter Isaacson must-read. This time he has a heroine who will be for the ages; a worldwide cast of remarkable, fiercely competitive scientists; and a string of discoveries that will change our lives far more than the iPhone did. The tale is gripping. The implications mind-blowing.” – Atul Gawande

 

"An extraordinary book that delves into one of the most path-breaking biological technologies of our times and the creators who helped birth it. This brilliant book is absolutely necessary reading for our era." — Siddhartha Mukherjee

 

“Now more than ever we should appreciate the beauty of nature and the importance of scientific research; This book and Jennifer Doudna’s career show how thrilling it can be to understand how life works.” —Sue Desmond-Hellmann

 

“An extraordinarily detailed and revealing account of scientific progress and competition that grants readers behind-the-scenes access to the scientific process, which the COVID-19 pandemic has taught us remains opaque to the wider public. It also provides lessons in science communication that go beyond the story itself.” – Science Magazine

 

“An indispensable guide to the brave… new world we have entered." – Pittsburgh Post-Gazette

 

"A vital book about the next big thing in science—and yet another top-notch biography from Isaacson." — Kirkus Reviews (starred review)

 

"In Isaacson's splendid saga of how big science really operates, curiosity and creativity, discovery and innovation, obsession and strong personalities, competitiveness and collaboration, and the beauty of nature all stand out." — Booklist (starred review)

 

"Isaacson depicts science at its most exhilarating in this lively biography of Jennifer Doudna, the winner of the 2020 Nobel Prize in medicine for her work on the CRISPR system of gene editing...The result is a gripping account of a great scientific advancement and of the dedicated scientists who realized it." — Publisher's Weekly (starred review)

 

"Isaacson, the Pulitzer Prize-winning author of best sellers Leonardo da Vinci and Steve Jobs, offers a startling, insightful look at this lifesaving, hugely significant scientific advancement and the brilliant Doudna, who wrestles with the serious moral questions that accompany her creation. Should this technology be offered to parents to tailor-make their babies into athletes or Einsteins? Who gets altered and saved and why?” — AARP

 

"A brilliant and engaging book. There are many quotable gems but I have chosen one sentence from the epilogue that epitomizes not only Doudna but also Isaacson himself, whose book title ends with a hortatory claim that CRISPR affects the future of the human race: 'To guide us, we will need not only scientists, but humanists. And most important, we will need people who feel comfortable in both words, like Jennifer Doudna.'" — Policy Magazine

 

"Mr. Isaacson is a great storyteller and a national treasure — like Steve Jobs, Albert Einstein, and of course his latest subject, Jennifer Doudna.” — The East Hampton Star

 

"The journalist who told the life stories of Leonardo da Vinci and Steve Jobs is back with a timely biography of Jennifer Doudna, PhD, winner of the 2020 Nobel Prize in chemistry. It’s a fast-paced account of her life as a pathbreaking scientist on CRISPR — and how gene editing could alter all life as we know it." — Medium

 

"This challenging, fascinating story examines Doudna's background and excavates the moral quandaries she grapples with as her creation opens up more and more avenues for scientific advancement." — Elle

 

"It is a gripping tale, showing how our new ability to hack evolution will soon start throwing us curveballs." — New Scientist

 

“[A] fascinating story... [Isaacson’s] unique skill as a master storyteller of scientific development over the centuries has educated not only his fellow Baby Boomers, but also succeeding generations, helping people of all ages and backgrounds travel down the long and winding road toward understanding how life works.” – Washington Independent Review of Books

 

"[A] marvelous biography... With his dynamic and formidable style, Isaacson explains the long scientific journey that led to this tool’s discovery and the exciting developments that have followed....Isaacson is truly an immersive tour guide, combining the energy of a TED Talk with the intimacy of a series of fireside chats....For readers seeking to understand the many twists, turns and nuances of the biotechnology revolution, there’s no better place to turn than The Code Breaker."– BookPage

 

“ Isaacson expertly plumbs the moral ambiguity surrounding this new technology. ”–Scientific American

 

"A riveting expedition through biochemistry, structural biology, and academic politics that transcends the traditional scientific detective story and captures the raw, magical enthusiasm of living pioneers like Doudna and her colleagues. ” – New York Journal of Books

 

“Isaacson senses a more collaborative spirit between the rivals that will surely pay dividends come the next pandemic... The Code Breaker is a true celebration of science and scientists, for all their flaws and jealousies.” – Nature Reviews Chemistry

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.

 

Publication history

 

Marvel Comics' first Black Knight, Sir Percy of Scandia, first appeared in the medieval-adventure series Black Knight #1–5 (cover-dated May 1955–April 1956) from Atlas Comics, the 1950s precursor to Marvel Comics.

 

Sir Percy's descendant, Professor Nathan Garrett, debuted as the modern-day supervillain Black Knight in Tales to Astonish #52 (Feb. 1964). This villainous Black Knight appeared in The Avengers #6, #14–15 (July 1964, March–April 1965), and in the feature "Iron Man" in Tales of Suspense #73 (Jan. 1966), in which he was mortally wounded.

 

Dane Whitman, Garrett's nephew, made his first appearance in The Avengers #47 (Dec. 1967) and became a heroic version of the Black Knight in the subsequent issue. Whitman sporadically appeared with the Avengers until becoming a core member, regularly appearing in #252–300 (1985–1989) and #329–375 (1991–1994).

 

Dane Whitman

 

Dane Whitman, known as the Black Knight, embodies a legacy steeped in honor, chivalry, and a complex relationship with a cursed legacy.

 

Stemming from a long line of knights, Dane grapples with the burden of a dark family history intertwined with the mystical Ebony Blade, a weapon passed down through generations.

 

He is a descendant of Sir Percy of Scandia, Dane took on the mantle of the Black Knight to redeem his family's name tainted by his villainous uncle, Nathan Garrett.

 

As the Black Knight Dane relied on his intellect, combat skills, and the mystical powers of the Ebony Blade to battle evil and safeguard the world.

 

His journey as the Black Knight sees him navigating a world filled with both medieval lore and contemporary challenges.

 

Dane has often found himself entangled in epic conflicts, confronting magical threats, and forming alliances with various superheroes across the world.

 

Throughout his tenure, Dane has experienced personal turmoil, struggling with the temptations and consequences of wielding the Ebony Blade, which at times has led him down a darker path. He constantly seeks to balance the noble intentions behind his heroism with the potential corruption posed by the cursed weapon.

 

Dane's connections within the superhero community have expanded, fostering alliances with groups like the Avengers and relationships with individuals such as Sersi and Captain Britain.

 

Despite grappling with personal demons and the weight of his legacy, Dane Whitman's commitment to honor, bravery, and heroism remains a defining aspect of his character as the Black Knight.

 

History

 

Early Life

 

As a young man, Dane Whitman fell in love with Ashima Chopra, who developed terminal cancer. Dane planned to visit her in the hospital and propose, but lost his nerve and fell out of touch. Refusing treatment, Ashima died within a year, after secretly giving birth to a baby girl, Jackie.

 

Becoming the Black Knight

 

As an adult, Dane inherited his uncle Nathan Garrett's castle. He was unaware that his uncle had been the villainous Black Knight until finding notes and inventions. Eventually he came upon the Ebony Blade. Passing its test, Sir Percival explained the history of the blade and its curse.

 

Taking the weapon Dane decided to be a hero, joining the Masters of Evil just as his uncle did, but with the intent of infiltrating them from within. This he did to aid the Avengers, but they did not trust him until he later assisted them against Kang the Conqueror.

 

Crusades and Otherworld

 

Dane later fought alongside the Defenders against the Enchantress, but was apparently turned to stone by her. The Valkyrie took possession of the Knight's Ebony Blade and his winged horse, Aragorn, and Dr. Strange took custody of his petrified form.

 

The Defenders later attempted to restore him using the Evil Eye of Avalon. They discovered, however, that Whitman's spirit had been transported back in time to the 12th Century where it now inhabited the body of his own ancestor, Eobar Garrington.

 

Whitman declined to return to the present day with the Defenders, and Valkyrie returned his sword to him; Whitman allowed her to keep the horse.

 

Later, however, he was equipped with a new flying horse named Valinor and transported (still in Garrington's body) to the present day by the mage Merlyn, to carry out a special mission.

 

Sent to find the amnesiac hero Captain Britain, Whitman then traveled with him to Otherworld to battle the evil Mordred and his master, the demonic Necromon, and save Camelot (at some point during the course of this quest, both heroes were briefly abducted by the Grandmaster to participate in his 'Contest of Champions').

 

After this mission was concluded, Whitman was returned to the 12th Century, though he did briefly travel forward again to attend Merlyn's funeral.

 

Back in the past, he protected the mystical island of Avalon from the demonic Fomor, until Garrington's body was eventually destroyed during a battle involving the time-traveling Avengers. Whitman's spirit returned to his original body, which became flesh and blood again.

 

Avengers

 

Dane served several tours of duty with the Avengers. While a member, his scientific knowledge came to be useful, especially when such minds as Iron Man and Hank Pym were not on the roster.

 

He began his first extended membership with the team shortly after Vision stepped down as chairperson.

 

Dane participated in the siege on Avengers Mansion by the Masters of Evil (during which he was captured and beaten by Mister Hyde). Despite his injuries, Dane remained with the team after the membership shakeup that followed.

 

The curse of the Ebony Blade reasserted itself after the Avengers' associate member Marrina went insane and became the enormous Leviathan. Her husband Namor used the Ebony Blade to slay Marrina, reactivating the Knight's curse.

 

Dane began to physically transform into an extension of the blade, his body seizing up until he required an exoskeleton to move it.

 

After the Avengers disbanded, the Black Knight joined Thor in defense of Asgard from the invasion of the Egyptian Death God known as Seth, but his curse finally took hold and the Knight was trapped as an inanimate statue once again.

 

Returned to his ancestral castle, Dane's statue was tended to by Victoria Bentley. She attempted a spell to restore him to life, but inadvertently summoned the spirit of the original Black Knight, Sir Percy of Scandia, in his place.

 

After a series of adventures, Sir Percy abdicated Dane's body, taking the Ebony Blade's curse with him and restoring Whitman to his own body. Sir Percy had taken a squire named Sean Dolan, who Dane kept as his own.

 

The Black Knight returned to the Avengers after this, first as a reserve substitute, and later as a full member.

 

The curse of the Ebony Blade became too dangerous, and Dane eventually abandoned it choosing to use a technological weapon instead.

 

He was involved in Operation Galactic Storm, during which he was part of Captain America's team, sent to the Kree Empire. At the end of that mission, Dane was among the Avengers who followed Iron Man to execute the Kree Supreme Intelligence, and was, in fact, the one who struck the mortal blow.

 

While Dane would be away with the Avengers, Victoria Bentley retained ownership of the castle so he would not lose it. She could easily watch over the property as it neighbored hers.

 

However, Dane's former squire became possessed by the Ebony Blade and turned into the Bloodwraith. The Bloodwraith accidentally killed Victoria during a duel between the Bloodwraith, Dane, and Deadpool.

 

At this time, Dane also found himself in a love triangle with Crystal and Sersi. At first, he pursued a relationship with Sersi, as Crystal and her estranged husband, Pietro, attempted to reconcile, even becoming Sersi's "Gann Josin", establishing a powerful psychic link which was meant to help Sersi maintain control in troubled times.

 

Still, after Crystal and Pietro relationship seemingly reached the point of no return, he confessed his feelings for Crystal and the two kissed. However, Luna's kidnapping brought Pietro and Crystal closer again, so, after Proctor (an evil alternate version of Dane) was finally defeated, Sersi felt she was too dangerous and had to exile herself, and Dane went along with her, leaving Crystal behind.

 

Ultraverse

 

The two eventually ended up in the Ultraverse. Dane became a member of the local heroes known as UltraForce.

 

During a reality-shredding event known as Black September, the Avengers and UltraForce joined forces against Loki and the combined sentient power of the Infinity Gems. In the aftermath, Dane remained in the Ultraverse as the new leader of UltraForce.

 

After leading UltraForce for several months, Dane had the opportunity to return to Earth-616 after an alien invasion. He took the chance and passed through a portal leading back home.

 

At one point, Dane appeared in Crystal's mirror, telling her they needed help, but this was only witnessed by her daughter, Luna.

 

Exodus

 

While Dane was in the body of his ancestor Eobar Garrington during the Crusades, he met the knight Bennet du Paris, who became Exodus shortly after.

 

This explained why Dane felt Exodus was somehow familiar when they 'first' met in Genosha sometime earlier.

 

Heroes for Hire

 

Sersi was later able to transport herself and Dane back to the present. Their 'Gann Josin' had apparently been broken and they had gone their separate ways aside from acting as reservist Avengers. Dane joined Luke Cage's Heroes for Hire shortly after his return.

 

Not long after his return to Earth, the Lady of the Lake appeared to Dane, telling him he was destined to become Avalon's champion. She presented him with a new armor as well as the Shield of Night and the Sword of Light.

 

While working with Heroes for Hire Dane came across the High Evolutionary's Knights of Wundagore and agreed to train them. It was at this time that Dane acquired one of their "atomic steeds."

 

Excalibur and Avengers

 

Dane briefly joined an Excalibur team who helped Captain Britain to become the new monarch of Otherworld. For a time he served sporadically as a member of the Avengers and was present when they disbanded.

 

Later, Dane had returned to Garrett Castle and converted it into a museum. Dane suddenly switched bodies with the original Black Knight, Sir Percy of Scandia.

 

The investigating new Excalibur team found an ancient scroll in Percival's tomb showing the team as the saviors of Camelot.

 

Traveling back to the era of King Arthur, Whitman met Percy and helped his ancestor, King Arthur, and Merlin defeat the dragons plaguing the kingdom (revealing the "dragons" to be Makluans in the process) and returned to the present. After assisting Excalibur in tracking down Juggernaut in Korea and returning him to the team, Whitman left in search of his real Ebony Blade.

 

Secret Invasion

 

Recently returned to England, Whitman appeared to be wielding the original Blade again (actually a fake created by Dracula), using it to slaughter invading Skrulls during the Secret Invasion. Dane also was revealed to have a literal stone heart, given to him by Sersi to keep him "above it all" and uninvolved.

 

During the invasion, Dane made his way through London protecting innocents and in doing so saved the life of civilian doctor Faiza Hussain. Faiza fought alongside Dane against the Skrull army and their champion, Super-Skrull, until Dane was incapacitated and a newly resurrected Captain Britain came to their rescue.

 

While Captain Britain fought Super-Skrull, Faiza attempted to heal a dying Black Knight with her newfound abilities, and Dane - under the belief that he was on his deathbed - dubbed her his steward. Captain Britain was able to defeat the Super Skrull, Faiza healed Dane once magic returned to England and the Skrull Invasion in England came to an end; but not without revealing the new wielder of Excalibur to be Faiza.

 

Insanity and Euroforce

 

He slowly started to become insane because of the power of the Ebony Blade.

 

After encountering a fake Savage Steel robbing a bank, he brutally beat the criminal, even costing him an eye and leaving him in a coma.

 

After the Watcher's death and the release of the secrets buried in his eye, his attack on Savage Steel was revealed to Rebecca Stevens, a historian investigating the Blade who he previously met. She told him that the past users of the Blade had all fallen insane and offered help, but he refused. Later, he was recruited to lead the new Euroforce as a "temporal adjustment".

 

Journey on Weirdworld

 

Black Knight had fled to Weirdworld after killing Carnivore when losing control over the Ebony Blade as it increased in power.

 

There, he murdered King Zaltin Tar to establish New Avalon and built an army of Amazons, Demon Dogs, Giants, Ice Swarms, Thunder & Lightning Dragons, Tribbitites, and Underwater Apes with the help of Shield and Spear.

 

The army was formed in anticipation of the arrival of the Avengers Unity Division seeking to bring him to justice.

 

When the Avengers Unity Division arrived, they encountered Black Knight and his army, ultimately separating him from the Ebony Blade, so that he could be apprehended.

 

Later, commander Steve Rogers realized that the people of New Avalon relied upon Dane Whitman, and after defending the kingdom from the Fangs of the Serpent, Rebecca Stevens negotiated a compromise whereby Dane would remain in Weirdworld with her.

 

Hydra splinter groups started to form all over the world and several superhero teams were gathered to stop Hydra from going any further.

 

Meanwhile, Dane Whitman returned to Europe to help Euroforce battle Hydra, but he was apprehended alongside several teammates, remaining imprisoned until the Champions of Europe arrived and freed them.

 

On another occasion, Dane answered the call to join the Avengers battling the threat of the Empyre led Cotati.

 

Enter the Phoenix

 

When the cosmic force known as the Phoenix Force returned to Earth, it staged a contest to determine its next host, and Black Knight was one of many individuals summoned to the White Hot Room for it.

 

The Phoenix empowered the assembled champions and had them fight each other in trials by combat.

 

Dubbing himself the Phoenix Knight, Dane was pitted against the mysterious Red Widow in Stonehenge. However, Black Knight was quickly overpowered by his opponent and was defeated.

 

King in Black and Curse of the Ebony Blade

 

Depressed and resentful that the Avengers viewed him as a madman, Dane doubled down on his conviction that the Ebony Blade was responsible for his fits of rage.

 

When the dark god Knull assailed the Earth with his horde of symbiotes, Dane was among the Avengers-adjacent heroes contacted. En route to Manhattan he was attacked by a symbiote-dragon sent by Knull to claim the Ebony Blade, crash landing in Shanghai, China.

 

Losing his grip on the Ebony Blade, Dane encountering Aero and Swordmaster while searching for it, and was angered by their disdain towards him.

 

When Swordmaster refused to help save the civilians after learning the symbiotes were not minions of his nemesis, the dark god Chiyou, his divine weapon - the Sword of Fu Xi - forsook him for Dane.

 

Lapsing into a berserk state, Dane hacked a symbiote dragon to shreds, maniacally declaring that the Sword of Fu Xi belonged to him now.

 

As Swordmaster tried to take the divine sword back, one of the symbiotes latched onto them and connected them psychically to Knull, who revealed to Dane the truth of the Ebony Blade - that the sword's curse was not responsible for his family's history of mental instability and bloodlust, but it fed off their inner darkness and could only be wielded by a person consumed by evil.

 

Knull declared his intent to claim both the Ebony Blade and the Sword of Fu Xi for himself, manifesting an avatar in the shape of Chiyou to mock Swordmaster.

 

The Sword of Fu Xi rejected Dane as its wielder and returned to Swordmaster, leaving Dane devastated to learn his whole life had been a lie. Sensing his despair, the Ebony Blade returned to him, and Dane ultimately decided to channel his inner darkness to put a stop to Knull's invasion.

 

At some point around this time, Dane learned about the existence of his daughter, Jacks.

 

Deciding to approach the relationship slowly to "soften the blow", Dane reached out to her academically to discuss her thesis in Arthurian mythology.

 

Mordred, seeking to claim the Ebony items for himself, killed Dane and tried to take the sword before being chased away by the Avengers, and Dane was later resurrected by the Ebony Blade.

 

While Dane confronted Percy for the truth of the Ebony Blade, Elsa Bloodstone attacked him - having been tracking Mordred to obtain a Bloodstone in his possession.

 

Dane, Elsa, and Jacks tracked down the missing Ebony Chalice to the mystical realm of Listeneise, repelling Mordred when he attempted to claim the goblet and sword.

 

Drinking from the Chalice, Dane learned that Merlin had masterminded the downfall of Camelot, manipulating Arthur and Mordred, and had Percy assassinated in hopes of covering up Camelot's dark secret with the sanitized narratives that became Arthurian lore.

 

Informed of Mordred's plan to forge the Ebony Shield, Ebony Dagger, and Ebony Chalice into an Ebony Crown, Dane cast aside the Ebony Blade and let Mordred fatally wound him.

 

When Jacks took up the Ebony Blade, her connection to Dane was revealed and she used her rage to kill Mordred.

 

Resurrected by the Ebony Crown, Dane reforged it into the Ebon Siege - which gave dark portents to those who sat in it. Expecting Jacks to reject him as her father, Dane was shocked when she instead offered to lessen the burden of the Ebony Blade's curse by sharing the moniker of the Black Knight with him.

 

Abilities

 

Gifted Scientist: Whitman started out as a scientist, though specializing in physics (having earned a Master's degree in physics), he is proficient in a wide array of advanced sciences and technologies, including genetic and mechanical engineering; and continues to approach things from a scientific perspective more often than not, despite his ties to the world of magic.

 

Expert Swordsman: Whitman is an excellent swordsman whose skills have allowed him to best the Swordsman in combat.

 

Skilled Martial Artist: He is an excellent fighter, able to hold his own against such highly skilled fighters as Captain America and Wolverine.

 

Expert Horseman: He is also an expert horseman.

 

Magical Knowledge: Whitman has become somewhat familiar with magic.

 

Skilled Tactician & Strategist: He has also demonstrated good leadership skills as leader of both the Avengers and UltraForce. He has strong strategic and tactical skills.

 

Equipment

 

Dane wears protective armor, apparently of elven design. He also possesses a necklace that can contain his armor, sword, and shield and reappear whenever he says Avalon.

 

Brazier of Truth: Magical flame in Garrett Castle.

 

Weapons

 

Originally after taking up the mantle of Black Knight, Dane took to wielding his uncles Power Lance as a personal armament. Using it with the same expertise as its original creator did every now and then.

 

Dane currently wields the Ebony Blade as it has been gifted back to him by Storm.[60][43] In addition, he also owns a few replicas of the Ebony Blade that are stated to be nearly as powerful and just as dangerous.

 

He formerly used a Photon Sword and the Sword of Light and the Shield of Night, and for a time (while in the service of Merlyn) carried Excalibur after the temporary destruction of the Ebony Blade.

 

Transportation

 

Dane normally rides the white-winged horse, Strider, a gift from the Lady of the Lake. He formerly rode Valinor, whom he acquired while in the 12th century. While training the Knights of Wundagore, Dane used one of their 'atomic steeds.' His first white-winged horse was Aragorn, whom he gifted to Valkyrie.

 

While he used the Ebony Blade, Dane could be summoned to it regardless of location through the use of a ritual.

 

Notes

 

The Black Knight was one of the characters featured in Series A of the Marvel Value Stamps (#97)issued in the 1970s.

 

On the 50 state variant covers of U.S.Avengers #1, Black Knight was assigned as the Avenger of Ohio.

 

Trivia

 

Bloodwraith is his former Squire, Sean Dolan.

 

Dane Whitman was created by Roy Thomas, who was inspired by the original Black Knight.

 

Dane's telephone number in England was 01-552-8210.

 

⚡ Happy 🎯 Heroclix 💫 Friday! 👽

_____________________________

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

 

Secret Identity: Dane Whitman

 

Publisher: Marvel

 

First appearance: The Avengers #47 (December 1967)

 

Created by: Roy Thomas (Writer)

John Buscema (Artist)

  

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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Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.

Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.

  

Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba

 

Slovenija, 1968.

 

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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

 

Seldom does a foreground subject give such a sense of place--so we hurried up and snapped. This corner store has since been taken over by music and game dealer The Exchange. And since we bring up the "sense of place," this is as good a shot as any to discuss the "place."

 

Spanish-style building with terra cotta exterior at southwest corner of Coventry and Lancashire Roads dates back to 1927, and was initially owned by John P. Burke (listed Cleveland Blue Book of 1931 as living at 11118 St. Clair Ave.). He named the building after his six-year-old daughter, Betty. One of the more distinctive commercial buildings in Cleveland Heights, it is an informal "landmark" that we hope will someday become an official landmark. It was designed by Ontario-born, Cleveland-raised architect, engineer and inventor William Stanley Ferguson. General contractor was the R. Hansen Construction Company, and the build cost $230,000.00. According to co-photographer Christopher Busta-Peck, whose Cleveland Heights work is all over Flickr, terra cotta was fabricated by the South Amboy Terra Cotta Co.; the exterior has changed very little throughout history, except possibly for some frost or ice damage. The original corner tenant was Ivanhoe Savings Co., which opened January 14, 1928. Aside from storefronts, the interior housed the Coventry Recreation Co., a bowling alley, in the early 1960s, and until 2009, the Dobama Playhouse.

 

Coventry Village is an anomaly in Northeast Ohio. It is a north-south several blocks-long commercial district built around a streetcar route beginning in the 1910s, though the street itself dates back to at least 1852. What is now Cleveland Heights

was an outpost of Connecticut settlers known as the Western Reserve. Ezra H. Lacy began quarrying next to what later became Rock Court 300' to the east of what is now Coventry Road, in 1834. Coventry Road was the mostly due north route connecting the North Shaker Union Settlement (the western part of what is now Shaker Lakes) to Mayfield Road before it was ever dedicated as a public street; it never seems to have gone through any one person's land. Once the streetcar was in, the idea was this: drop off your laundry/mending, get a cup of coffee and take the streetcar to work. When the streetcar drops you off, pick up the prescription, pick up the dry cleaning, and buy fresh dairy, meat and produce before heading home. Most of the construction took place in the 1910s and 1920s; the immediate area began to attract Jewish neighbors and business owners around 1926, according to literature provided by the City. They were served by synagogues Anshe Emeth (Mayfield Road just east of Lee) and later by Anshe Marmaresher (Lancashire Road). But the Coventry neighborhood for decades has linked a rough area northeast of Mayfield Road, and a relatively affluent area a block to the south of Euclid Heights Boulevard. Northwest of Coventry lie the Lake View (nondenominational) and Mayfield Cemeteries (Jewish). The nicer areas are the Euclid Heights subdivision (southwest) and the Forest Hills Allotment (to the southeast), with Coventry Road being the dividing line.

 

When we began spending a great deal of time here, both fun and working (1981 through 1984), those of us who lived and worked here were collecting material for novels that would never be written. None of us imagined ourselves as the source material we were. In the 1980s, for example, we called Coventry a "sea of madness."

 

An epicenter of culture of Cleveland was the Arabica coffeehouse in Coventryard Mall at 2785 Euclid Heights Boulevard. The walls showed framed artwork over rough cream stucco, the ceilings exposed ductwork, over disgusting but highly-durable brown indoor-outdoor carpeting. The ambience was 1980s bohemian, club kid and goth. We attributed the "sea of madness" to the small but influential contingent of creatively- and chaotic-minded teenagers and young and middle-aged adult exhibitionists and others absorbed in cliques based on age and how they looked and dressed, and living out gossip about a range of behavior from personal upheavals to petty dramas. On the positive side, socially, there was no local color or flavor like it; with a heavily artistic mindset, it was a proving ground for the talents of those of us who lived and worked here or frequently visited. Deborah Harry, though describing colleagues in New York City, describes young people of the day like us as "living art." (Ms. Harry, too, has visited the area, and like many contemporaries, signed a wall at Record Revolution. Janet Macoska took several photos of her at locations at and near Coventry Road in 1978.)

 

There was also substance abuse and experimentation. When the legal beer age was 18 (and, in the 1980s, 19), Coventry Beverage and Pizza was notorious for underage sales of tobacco and alcohol. Irv's Deli had the same reputation; the City curtailed their alcohol privileges as Irv's management found it impossible, or simply did not bother, to keep order. The police department, though normally leaving us alone, reportedly maintained surveillance through the window of an apartment across Euclid Heights Boulevard. Surely marijuana was transacted but--perhaps to minimize trouble--these transactions were discreet, or at least not out in the open. Curfew in the City was 10:30 p.m. through age 15, then midnight for ages 16 and 17, which at the time was generous. Even in midsummer, 10:30 p.m. is well more than an hour after dark.

 

Middle-aged, mostly well-educated (or well-read) white men nursing a cup of coffee and smoking three packs of cigarettes a day, day in, day out, playing chess in the rear of Arabica looked like the collection of patients in the day room in "One Flew Over the Cuckoo's Nest." There was a well-used and well-hidden brass-faced cigarette machine at the rear, which nurtured the burgeoning nicotine habit of many a 15- and 16-year old hipster sneaking back "to use the restroom." Tobacco use wasn't demonized then as it is now. You could smoke almost anywhere until about 1990: in elevators, at work, and certainly in Arabica. But the men in the back, along with Arabica employees, were the "core," very much their own all-male clique, and they had no shortage of intellect, if challenged in life skills. The fashion of the day? Thrift store frumpy. The coffeehouse rank and file employees were hipsters and--no surprise--thrift store chic. They ran the gamut of musicians, club rats, and fine arts and liberal arts students. We presume that many of the unemployed or underemployed "core" chess-players lived with and off of family, or were receiving social security disability. They took the game seriously enough to bring timers. One of them, Calvin Blocker was, in his youth, a massively gifted prodigy, and who as a young adult earned the status of international chess master. Requiring stamina for his many tournaments, Blocker was uniquely a well-kempt health nut. There was no indication that any of the rear denizens of Arabica were independently wealthy, though many appeared not to work (or were not employable) and, though obviously middle-aged, were also well below retirement age. We'll ballpark the number of "core" members at two dozen. They were basically holdovers from when Coventry was once a thriving area of Jewish store owners and neighborhood residents transitioning, in the 1950s and 1960s, into a center of east side bohemianism and youth culture. This was a unique group of men, and without them, Coventry would not have been Coventry. (This is to say that both the social tolerance and the questioning mindset for which Jewish culture in the West is renowned made this possible.) It is doubtful that any of these men--middle-aged and elderly 30 years ago--survive. Well, perhaps one of them does. (See above photo.)

 

One of the more colorful men of the group, Sid Gold, passed away around 1998. In 2000, his brother, author Herbert Gold, penned a story about Sid, continually returning to the theme of Sid's lifelong, desultory work on his own "novel:" "The King of the Cleveland Beatniks" (excerpt at link): www.sfgate.com/magazine/article/THE-KING-OF-THE-CLEVELAND.... The "novel," in fact, was Sid's real life. At least we think that was the point. We saw Sid everywhere on Coventry--he was always good for a smile and nod or "hello"-- but only met him once, and he was self-assured, mild-mannered, and outgoing, with an intensity to him underneath--ready with a word. He was an Arabica and Irv's Deli denizen, and was also a familiar face in old Harvey Pekar "American Splendor" comics (including the cover of the first issue). From Dr. Joy Marshall, an acquaintance: "Sid was an old-time, socialist Coventry figure. He was a really interesting intellectual." www.cleveland.com/mycleveland/index.ssf/2012/12/dr_joy_ma.... Sid's brother wrote that Sid told a newcomer to his table (presumably at Arabica) that he was "semi-retired," and while Herbert wondered, Semi from what? one of his friends called him sharply to order: "Sid! Your novel! You're working on it." Another acquaintance, Ted Paliobeis, a conservative who knew him well, sat through one of Sid's collectivist tirades. Throwing up his hands, Ted retorted: "But Sid...you own stock!" As local writer Bert Stratton described him: "Sid was a Coventry cowboy — a regular in Harvey Pekar’s comic books. Sid didn’t have a job and played a lot of chess."

 

A local figure who befriended us was Jim Murray. Not a chess player, Jimmy was a singer/songwriter, a witty storyteller, and huge Beatles and country rock fan. He grew up in Euclid, clashed with his conservative folks about his hair length, and started hanging out on Coventry in the mid-1960s when "every night was like Friday night." He played and got two of his songs on a Human Beinz album--unfortunately not the one with "Nobody But Me" on it--a huge national hit--having met some of the band members in a music store. Jim also headed local country-rock outfit Natchez Trace, who on May 29-31, 1969 opened for Neil Young at La Cave at 10615 Euclid Avenue. Natchez Trace, scheduled only to open Young's show, already knew all of Young's songs, forward and backwards. So in addition to opening, they played and sang Young's backing band Crazy Horse's parts through Young's shows over three nights. Crazy Horse, though appearing on the bill, for some unknown reason, did not back Young on the La Cave dates. (Natchez Trace's original lineup was Bob Kruck (g), Bruce Kentner (b), Ben Cavell (d) and Murray (g).) Jim told us that he had similarly accompanied Steve Miller. Jim left the Trace and was among a number of other Cleveland-area musicians who moved to the Los Feliz/Silverlake area of Los Angeles to try to get "discovered." He told us that while in California, he encountered some of the young female followers of the homicidal cult, the Family, and he tried to talk sense to them but, as Jim ruefully recalled their chat, "they had murder in their hearts." This was during the 1970-71 trial of four of them. Success eluded Jim in L.A., though, and he returned home, playing coffeehouses and taverns into his sixties--just him and his black Gibson acoustic--and unfortunately never reaped financial rewards. Jim was a major league talent and in spite of his mostly sunny exterior, he felt unappreciated and was bitter about how his career turned out. We admired him for his purism and devotion to his craft--he was a total pro--but he dismissed us as naive (in so many words, and with good intentions), and advised us not to follow his path.

 

Just as likable and equally talented as Jim Murray, though not as well known to us, was the late John Bassette, whose own career saw the same predicament. He, too, held and played a guitar as if he was born with it. Bassette did release several albums, received airplay on WMMS, and became better known than Jim, but only locally.

 

Of more prominent note, the late Camille Satullo told the story that waking up after spending the night at a friend's apartment on Coventry Road, she heard the singing of Mama Cass first thing in the morning. Cass had the most distinctive voice in popular music, heard all over the radio and television as a beloved singer in The Mamas and the Papas. To Camille's shock, she was hearing Mama Cass singing in person (presumably through the window of a neighboring unit). As a member of the Triumvirate, Cass had also played at the Euclid Avenue club, La Cave, in 1963. She returned for other shows years later, after the Mamas and Papas had peaked. "That was Coventry," Ms. Satullo explained.

 

The stereotype of Coventry has for decades been hippies and ex-hippies, but neither were prevalent by the 1980s. The Coventry-Lancashire street sign on the edge of the photo--rendered in psychedelic colors-shows that the local merchants and City try to perpetuate this image. More common were teenagers emulating siblings or aunts and uncles who themselves had since grown out of hippiedom, believing that they were visiting a mini-"Greenwich Village" (keeping with the east coast flavor of the area) or "Haight-Ashbury of the Midwest." Atop the Arabica "core" were: the heavily-costumed and made up creative class of high school and college students plus others, such as us, in less intense and attention-grabbing gradations of "offbeat;" college and professional radio people and members of local bands; more mainstream students (mostly Heights and Shaker) who came to people-watch; mostly liberal neighborhood residents; elderly Jewish people from when the shops and immediate neighborhood were largely Jewish; college professors and teachers; and other professionals who dealt in information such as journalists, physicians, lawyers and architects, plus and gays and lesbians in these and other walks of life who blended in well. Much of the staff of the then-revered radio station WMMS lived within walking distance of Coventry Road in the 1970s and 80s, for example, according to its former program director John Gorman. This was the assembled crowd on weekends and busy weekday summer nights. There were relatively few black people in the crowd (very few Asians or Latinos), but Coventry was highly racially and gay and lesbian tolerant, if not welcoming. Nearly any form of intolerance was unthinkable except, truth be told, intolerance of a lack of hipness.

 

The costumes the characters wear in Eighties John Hughes films such as "Sixteen Candles" (1984), "Pretty in Pink" (1986) or in "Valley Girl" (1983) (dir. Martha Coolidge) were dead on to how young people hanging out on Coventry looked and dressed, especially the more offbeat characters. The hardcore punk look through the Eighties is best shown elsewhere, such as in the documentary, "Another State of Mind" (1982). Many were surly and emulated the London "street punk" (which is to say, unemployable) look seen in 1980s London souvenir postcards.

 

Coventry in the 1980s was loosely similar to the campus area as might be found in Columbus or Ann Arbor, but without the "bratty privileged" students/"townies" division, and was not in any sense limited to college students and professors. Most people involved in Coventry Village--working there, shopping, or just hanging out--were neither. There were very few social divisions except age and interests. The Pick-and-Pay employees, for example, unionized with UFCW Local 880 at the time, were typically ethnic white blue collar high school graduates, often Catholic school products, not artistic, and were more likely to be found drinking shots and beers at The Saloon at Coventry and Mayfield. (We worked at Russo's Stop n' Shop on Cedar Hill, and later at The Record Exchange. The timing wasn't right for Pick 'n Pay. It was a challenge to find any entry-level work.) The Saloon was also full of mechanics, body men and the like who ran the garages in the auto dealerships a half-mile east on Mayfield Road. The Turkey Ridge Tavern was more offbeat and eccentric than The Saloon. Before our era, it was Chez Moi, Chester's (and briefly "Diane's"); after we left town, it became the Winking Lizard. A great many families in the area were blue collar whites who moved to Cleveland Heights to be in a good school district. Coventry counts as close neighbors Case Western Reserve University, Cleveland State University and John Carroll University; occasionally we would meet people from Kent State or Baldwin-Wallace. On breaks from college, we worked and also spent a lot of time here.

 

There was also an outlaw past. Chief Edward Gaffney formed a bureau of four plainclothes detectives dedicated to stopping drug dealing, and they made frequent raids on the apartments in and around Coventry Road in the early 1970s. This was the first suburban narcotics unit in the nation. They were middle-aged WWII and Korean War vets and not undercover. In retrospect they were fearless, because they had dangerous people gunning for them. Certainly few young people on Coventry appreciated the police, to say the least. But the bikers and dealers "gunning" for the police were Sunday school kids compared to Nazis in Battle of the Bulge. Chief Martin Lentz eventually disbanded the squad. Bikers roaring up and down Euclid Heights Blvd and up and down Coventry Road frequented the C-Saw Cafe' (at different times, Coventry Audio and Video, Big Fun and most recently Jimmy John's), and The Saloon (formerly The Pepper Pot Lounge and Bar). C-Saw's manager (William Sobo) shot a young customer in 1975 (Brian Hacker), who died almost immediately, and he was not prosecuted because circumstances showed likely self-defense.

 

Rock Court connected Hampshire Road to Euclid Heights Boulevard from at least the turn of the twentieth century until about 1979. It was, as mentioned, an old quarry 300' to the east of and parallel to Coventry Road. A wall of the former Dean Dairy garage still retains the hill of soil and quarried rock formations, plus what remains of the roadway itself. Rock Court contained about a dozen plain, Victorian frame houses, probably built for construction workers when Coventry was first developed, In the decade before demolition, the houses were rented by offbeat and artistic tenants and by then this housing stock was well-past its better days. I noticed a bunch of found objects arranged on the ground and in trees, in particular a toilet functioning as a planter, and a vacuum hose hanging high in a tall, old oak. This was obviously some kind of art, but as a preteen, the meaning of it went over my head (and still does). In hindsight it was a poor man's dadaist art installation (with artists on drugs).

 

Evictions and tear downs of the Rock Court houses began to make room for the expanded Pick and Pay (later Medic Drug, later Marc's) parking lot. The tenants protested for months, which made the news. The owners of Pick and Pay had been purchasing these houses over the years, and with the city not opposing demolition, there was nothing the tenants could do once their leases ran out, especially after the landlords evicted and cut off water service. These tenants, once they figured out that the adjoining grocery store owner was everyone's landlord, frankly should not have been surprised at all. Two houses not part of the old Pick and Pay assemblage remain (if there appear to be more than two, they have Hampshire Road addresses) and Rock Court is now a hundred-foot-long unpaved dead-end street off Hampshire Road that is used by these two homeowners.

 

But back to the photo: In the 1970s, this corner shop was a clothing store, Generation Gap, then HQ for the Ted Kennedy presidential campaign of 1980, then Vidstar Systems from about 1983 until 2010. At last visit, it was "The Exchange," an outgrowth of since-closed CD/Game Exchange (Record Exchange) two blocks north at 1780. A link to a photo from about 1971 (Generation Gap) follows: images.ulib.csuohio.edu/cdm/ref/collection/clevehts/id/2008

 

What appears to have been the land where the Burke residence used to stand, on the south side of St. Clair Avenue, is now a pediatric hospital.

 

Because the magnificent work on this building should never be lost to history, we pass on the names of subcontractors, at least for the bank buildout, included George Huberty Co. (fixtures), Kilroy Structural Steel Co., Van Dorn Iron Works (vault equipment and steel cabinets), York Safe & Lock Co. (vault door) John Hanlon (plumbing), Ohio Window Glass Co., Empire Sheet Metal Works (signage) and W.H. Splete Co. (painting and decoration).

All apparently pooled their resources for a newspaper ad for the bank placed around the time of opening.

 

Significant credit for the architectural, ownership. tenant and buildout information belongs to David H. Nadzam, and also to author and historian Marian J. Morton. Gratitude also to the late Camille Satullo for sharing her story, and also to Phillip S. Turner for his recollections of Neil Young's shows at La Cave.

 

One day last week, these two trouble-makers showed up at the building where I'm working. Since they obviously didn't have a pot to piss in, I was coerced into bringing them home with me... ;)

 

Sorry for the quality of the photo, but I'm not used to the focus system on the new camera. I'll figure it out soon. That is if Steve and Emma will leave me alone long enough to figure it out...

The KOM League

Flash Report

for

June 1, 2020

(And beyond)

 

This report is posted on the Flickr site at: www.flickr.com/photos/60428361@N07/49952674701/

 

*************************

When last we gathered around the old campfire the fate of Lawrence Pearson of the 1949 Ponca City Dodgers was shared. The names of the surviving members of that club were mentioned for the benefit of Richard McCoy. There were six names shared in the report. Shortly after sending out that missive a quick check was made on the list of survivors. It came as a surprise when I learned of the death of one of those I assumed was still living. Over the years contact had been made with that person and I even wrote a story about him in 2014. So for those who didn’t see or don’t recall the story about Paul Oakes his obituary follows.

 

www.kpcnews.com/obituaries/article_829b7d25-0ebf-5208-905...

 

SAGINAW, Mich. — Paul R. (Ronald). Oakes, age 90, of Saginaw, Michigan, formerly of Angola and Indianapolis, Indiana, passed away surrounded by his family on Monday, Oct. 7, 2019, following a valiant 10-year battle with Parkinson’s disease.

 

The son of Charles and Louise (Fisher) Oakes, Paul was born Aug. 12, 1929, in Anderson, Indiana. He married Mary Lou Wells on Dec. 23, 1951.

 

Paul started playing baseball at the age of 9, and by age 12 was the team pitcher and manager. He signed with the Brooklyn Dodgers out of high school and pitched in their minor league system until injuring his pitching arm.

 

After being released by the Dodgers, he attended Ball State College where he met Mary Lou.

 

He was drafted into the army and spent a year in Korea as a field telephone wireman. After his discharge, he joined Indiana Bell Telephone Company where he worked his way from digging and climbing poles into sales and sales management.

 

Paul changed careers and joined the Connecticut Mutual Life Insurance Company in 1960, as an agent. He later became superintendent of agencies in Hartford, Connecticut, and moved back to Indianapolis to become a general agent in 1972. Paul was nominated as a candidate for the United States Congress and also served as Richard Lugar’s campaign manager during his successful campaigns for the U.S. Senate in 1976 and 1982.

 

Paul had a lifelong love of fishing that started at a very young age while fishing with his parents. He hosted TV fishing and outdoors shows in Indianapolis and Fort Wayne, as well as a call-in radio fishing show, and wrote a newspaper column for the Angola paper. He made 33 trips to fish with 49 different partners on his beloved Crow Duck Lake in Manitoba, Canada, and was proud of having fished in 43 states, four Canadian provinces, and Mexico. He also taught a fishing class at Tri-State University at the age of 77, and published a book on fishing. He was an avid runner and tennis player in younger years.

 

For many years, Paul worked to bring professional sports to Indianapolis. He founded the Indianapolis Professional Sports Association and was appointed stadium commission chairman in 1977. He arranged the meeting with Robert Irsay, owner of the Baltimore Colts, that ultimately led to the Colts’ move to Indianapolis. He was a proud season ticket holder for the first 10 years, and almost never missed a televised game after that.

 

Paul served as lay chairman of Carmel United Methodist, Westview and Crestview Christian churches, and president of the central Indiana Fellowship of Christian Athletes. He was the chairman of the Indiana Citizens Against Legalized Gambling and past distinguished president of Westside Indianapolis Optimist Club.

 

Paul and Mary Lou retired to Ball Lake in Hamilton, Indiana, in 1992, where he served as president of the Lake Association. He served on the Steuben County Lakes Council Board of Directors as a member of the Governor’s Lakes Work Committee. He actively promoted and pursued the Center Lake Project, even after leaving Angola for Saginaw.

 

Above all else, Paul was a devoted family man.

 

He is survived by his loving wife of almost 68 years, Mary Lou; children, Jeff Oakes, of Westfield, Indiana, Jayne Bauer and her husband Mike, of New Braunfels, Texas, and Karen Smith of Saginaw, Michigan; five grandchildren, Nick Oakes, Katie Bauer, Alex Bauer, Taylor Wrubel and her husband Sean, and Dylan Smith; brother, Jerry and his wife, DeVere; and numerous nieces and nephews.

 

He was preceded in death by daughter, Marsha; his parents; and his sister, Barbara Collier.

 

A Memorial Service/Celebration of Life will be held at 3 p.m., on Nov. 9, 2019, at Angola United Methodist Church in Angola, Indiana.

______________________________________________________________________________

Lawrence Alvin Pearson update

 

In last week’s edition an obituary for Mr. Pearson was shared. However, it was not very extensive so a search was undertaken to locate another one. The following is what was located and shared with the Necrology group with the Society of American Baseball Research.

 

www.newtoncountyfuneralhome.com/obituary/2339166

 

Funeral services for Larry Pearson will be 6:30 P.M. , on Tuesday, December 3, 2013 at Newton County Funeral Home - South Chapel in Newton with Pastor Tim Lott and Bro. Ron Gilstrap officiating. Burial will be in Newton County Memorial Gardens.

 

Visitation will be from 5:30 P.M. until 6:15 P.M. at the funeral home on Tuesday.

 

Mr. Pearson, 82 of Newton, died Monday, December 2, 2013 at Pioneer Community Hospital in Newton.

 

Larry was born in Cleveland, Ohio and then moved and spent most of his childhood and youth years in Colorado. He served 4 years in the U.S. Navy and played semi-pro baseball as a pitcher for the Dodgers. He began his lifelong career with the Veterans Administration upon returning home to Colorado. He served in a variety of positions with the Veteran Administration and ended up in Jackson, Mississippi as Medical Administrator where he met and married Cherry Lay. During their marriage they served the VA in various locations from Washington, D.C. to The Manila Philippines. Larry retired in 1992 and he and Cherry relocated to Leesburg, Florida and had 15 wonderful years residing at Hawthorne Retirement Community where they were involved in many events. Moving back to Mississippi in 2007, they made Newton their home. They celebrated 32 years of marriage prior to his wife’s death in 2009. Larry loved people and loved to share stories and tell jokes. He loved to play golf, travel, loved to bird watch and had a green thumb.

 

He is survived by a daughter: Kathy Stephens and her husband Dennis of Newton; two grandsons: Colby Jolley, and wife Erica of Brandon and Chris Stephens, and wife Amber of Clinton; six great-grandchildren; and one son-in-law: Thurman Alley of Brandon.

 

He was preceded in death by: his wife: Cherry Lay Pearson; a daughter: Nancy Lay Alley; and his

parents: Harry and Francis Morgan Pearson.

 

He will be greatly missed by his family and friends.

 

Newton County Funeral Home, 100 Old Hwy. 15 Loop, Newton is in charge of arrangements. 601-683-2152.

___________________________________________________________________________

John “Jack” Clark Nixon

 

Two other former members of the 1949 Ponca City Dodgers are mentioned. They receive recognition for still be around. About the only mention being made are links that are found on their Sporting News Card and Ancestry.com file. Many of you will not be able to access that site since you are not subscribers.

 

During the off-season and for most of his working career Ted Dean was employed in the movie industry. He even played on the baseball team for Paramount Pictures for a while.

 

Baseball Questionnaire: search.ancestry.com/cgi-bin/sse.dll?indiv=1&dbid=6159...

 

TSN Card digital.la84.org/digital/collection/p17103coll3/id/158292...

______________________________________________________________________________

Theodore James Dean

 

digital.la84.org/digital/collection/p17103coll3/id/56709/... TSN card does not show him at Ponca City in 1949 he was there.

 

www.ancestry.com/interactive/61599/48096_555717_d1-00031?... The U. S. Baseball Questionnaire Dean filled out in May 1953 shows his claiming to have played in Ponca City in 1949.

 

On August 12, 1949 Dean filled out this U. S. Baseball Questionnaire www.ancestry.com/interactive/61599/48096_555700_d-00034?p... On this one he didn’t mention Ponca City for as yet he had not arrived in Oklahoma He did state he was a year younger than he was by listing his DOB as 1929

____________________________________________________________________________

Time marches on—eight years ago

 

Once in a while someone rattles my cage and I arise from my semi-comatose state to look up an item that is encased in the past. One such item fitting that description was located this week.

www.kansascity.com/living/star-magazine/article302954/Joh...

 

It came as a surprise that an eight year old article that appeared in the Kansas City Star has been “audiolized.” I know there isn’t such a word but there should be. You can click on the play button if curious how that sounds

 

In all this I wondered what became of that writer. The person of whom he wrote got much older and fell apart. So, a bit of research was done for the author and this was the pleasant result. “

I remember you and that story well. That was one of the first big feature stories I ever wrote, and I'll never forget how patient and gracious you were with your time. I didn't realize the KC Star had put that story up in audio form. Thanks for sharing.

 

A lot's happened in the last eight years. I went to work at a newspaper in Lubbock, Texas, and then moved to work at the Omaha World-Herald in Nebraska. I left the World-Herald last year to come to work at Creighton University, where I write stories for the alumni magazine and other publications. It's a little slower pace than newspapers, but I enjoy it.

 

Hope you're doing well. I still get your flash reports and photos, and I'm constantly impressed with your output. Take care, Blake.

 

When Blake first posted that story he had a number of comments from readers. All the former players he interviewed for that article have now passed away. Three months after he penned that story for the Kansas City Star my mother passed away. In some ways that seems like a lifetime ago and it has only been 80% of a decade.

____________________________________________________________________________

1952 Ponca City Dodger—Whitey Vold

 

In 1994 it was my good fortune to meet Ralph Nassen “Whitey: Vold of Panoka, Alberta, Canada. It was at a gathering of former Ponca City players from 1934 through 1956. There was a break in baseball in Ponca City due to World War II.

 

All the years the KOM League Newsletter was published and mailed around the North American Continent, Vold subscribed. Once the report went electronic the link was broken. So, in looking through some Internet material, recently, I was happy to learn the old Dodger pitcher from Ponca City and other Dodger outposts is still going. The first item is an interview with Vold and the second link is a potpourri of links that show what he has accomplished in cattle raising, the rodeo business and auctioneering. Very interesting stuff. I hope some of you will pull this up on your computer.

 

www.youtube.com/watch?v=aZEiVE9-4WE

 

www.google.com/search?q=Ralph+N.+Vold+Panoka&oq=Ralph...

_____________________________________________________________________________

Richard E. Monaco—Chanute Athletic for a couple of days

 

Finding the name of Richard Monaco as a potential participate in a KOM league game is about as exciting as anything I come across anymore. Many ballplayers names showed up on Sporting News Cards but they never appeared, physically, with a given team.

 

After considerable research on professional baseball players, with the last name of Monaco, it is my belief Richard Monaco wasn’t any kin to the six other guys who played the game. One of those players with the first name of Blas even played a few games in the big leagues. That former player was from San Antonio, Texas.

 

It is most likely Richard E. “Dick” Monaco was from Chicago, Illinois and made the trek to Chanute, Kansas for the primary purpose of entering Chanute Junior College to play football for the Panthers. He was listed as a fullback for the 1949 and 1950 seasons.

 

On August 16, 1949 Monaco signed a contract with the Chanute Athletics, who were a non-affiliated ball club. Thus, no major league organization would have been sending players to that club. It isn’t known if Monaco signed to play in the absence of a player or if the ball club fully intended to use him for the rest of the season. It is doubtful that the Chanute baseball club would have expected to have his services after school commenced in early September for he was there to play football and possibly to get an education.

 

So, I know that Monaco was on the Athletics club and if he played it would have either been on August 16th or 17th for he was gone after that. On the 16th Chanute was on the road where they lost a doubleheader to the Independence Yankees by identical 3-2 scores. The box scores for the Independence Reporter would reveal if Monaco appeared in a game. The only problem with that is I don’t have access to that newspaper. On the night of Thursday August 17, the Chanute club played host to the Pittsburg, Kansas Browns and won 4-1. The box score for that game would have appeared in the August 18th edition of the Chanute paper. If I ever cross the Kansas State line and wind up in Topeka I’ll have to make a point to check out those two items at the historical society. The chances of that occurring are twin brothers “Slim and None”

 

However, Monaco had one claim in life and that was in his two days in a KOM league uniform he sat in the dugout on one side of the field and the opposition including the likes of; Harry Craft, Lou Skizas, Bob Wiesler, Steve Kraly and Mickey Mantle.

 

For sure there is a savvy reader who picked up on a guy signing a professional baseball contract and then going to college to play amateur sports. A few weeks ago a long story was carried about Joe Gilbert getting his Iola Indian contract torn up when he learned he couldn’t play at Northeastern State College if he had signed a professional contract. The difference in the case with Monaco was that the same prohibition didn’t exist with playing in junior college after playing pro ball.

 

In perusing the photos of the football and basketball players at Chanute Juco in 1950 the names of two other young men caught my eye. One was Harold Swigart who played for the Chanute Athletics in 1950 and Jim Kenaga. Anyone reading most any article this source has written about Mickey Mantle and the Baxter Springs Whiz Kids will recognize the name of Kenaga. He was a very good ballplayer and multi-year performer with the Whiz Kids. Upon graduating from Baxter Springs High School he attended Chanute Juco where he played quarterback.

 

Without rehearsing the antics of Kenaga in this forum it can be summarized that he was a character and kept manager Barney Barnett always on the alert. Each year Barnett took the Whiz Kids to St. Louis when their baseball season concluded. They made a trip to St. Louis in 1948 to see the Brooklyn Dodgers take on the Cardinals. The team stayed at the YMCA just over the centerfield wall at Sportsman’s Park. One morning Barnett rounded up the team. When he couldn’t find Kenaga some of his buddies pointed upward where Barnett spied the young man claiming to be “Spider Man” as he scaled the front of the YMCA structure without a rope or safety net. A number of stories about Kenaga are in the book “Mickey Mantle Before the Glory.” When Mantle was playing in the major leagues his buddy was plying his talents in the Sooner State League among others.

 

Kenaga’s career baseball record is found on this Sporting News card: digital.la84.org/digital/collection/p17103coll3/id/109974... If that card, which lists his birthplace as Michigan, puzzles you either send me a “need to know” request or look it up in the book—Mickey Mantle Before the Glory.

______________________________________________________________________________

Nothing goes undetected

 

Undoubtedly, readers scratch their collective heads wondering how or why some items appear in this publication. A case was made, last time around, for mentioning the late Harold Reid of the Statler Brothers. I wonder if anyone clicked on that link last time other than a reader in New York by the name of Bruce? So as to not embarrass him his last name is withheld. However, he shared this information.. “Hi John: Just read your post. I think it a good thing you re-read your book (referring to the one on Mickey Mantle.). You mentioned JMB (Johnny Mack Brown) high-school. That reminded me of something. I was for a few years interested in Cowboy Fast Draw and made gun-rigs for it to use. My mentor for making them is Jim Lockwood of Prescott Arizona. He told me that Johnny Mack Brown, among others, was in the gun-spinners HOF which I did not know existed. I always liked his manner and speech in his movies.

 

Now the question. How many readers are young enough not to remember Johnny Mack Brown?

______________________________________________________________________________

James W. Byrd

 

This report is about done. However, I just wanted to share with the readers the name of a person that has stumped the old batboy among all the others ever affiliated with the KOM league. It is my belief James Byrd, who played for the Iola, Kansas Cubs to start the 1946 season, was born in 1923 and I have a strong inkling he may have been from an Oklahoma town that was once in the Western Association. But, in order not to influence my objectivity in research I’m staying away from that lead at the present time. There were a couple of things about the person by that name, who is my number one “suspect,” that is a bit troubling.

 

digital.la84.org/digital/collection/p17103coll3/id/139621/

______________________________________________________________________________

Mercifully, another report concludes

 

As a grade school attendee our classes received a publication each week, coincidentally called “The Weekly Reader.” It would be possible to name this publication by the same name but it doesn’t get prepared that often any more. Probably entitling this report as “The Weakly Reader” would be more appropriate. Be that as it may it would sure be nice to hear from a reader once in a while with a message to share with this readership. It would sure be an improvement of the vain repetition emanating from this source since the dawn of civilization

_____________________________________________________________________________

 

AJS Badge - History

AUTOMOTIVE BADGES SET

www.flickr.com/photos/45676495@N05/sets/72157631048301272...

 

AJS SET

www.flickr.com/photos/45676495@N05/albums/72157626266885090

 

AJS was the name used for cars and motorcycles made by the Wolverhampton based A. J. Stevens & Co. Ltd, from 1909 to 1931, by then holding 117 motorcycle world records.

 

The company evolved Stevens Screw Company Ltd, established in Wednesbury by Joe Stevens, father of brothers Harry, George, Albert John (Jack) and Joe Stevens junior. The company had a reputation for quality engineering and built a motorcycle in 1897, using a Mitchell single-cylinder four-stroke imported from the USA. Before long, Stevens began making engines, starting off with a better-built version of the Mitchell but the family soon developed their own designs, including parallel-twins and V-twins, which were sold as proprietary engines to other manufacturers,.

 

In 1909 Wearwell motorcycles won a trophy for a 24-hour non-stop run, with a machine powered by a Stevens built engine, prompting Jack Stevens to post an entry for the TT races, A new company was formed, A J Stevens, based in nearby Wolverhampton to manufacture motorcycles, its first bikes appearing in the 1910 Motor Cycle Show..

From its earliest days AJS were seen as competion machines and in 1911 Jack entered the Junior TT on a 300cc AJS, finishing 16th, one place behind a private owner on an identical AJS. All of the brothers were involved in the motorcycle company, Harry as Managing Director, George as Commercial Manager, and Joe (Jnr.) as production manager, manufacturing demands took precedence. over racing in the TT, but were 10th in the 1913 Junior TT and with the Junior limited raised to 350cc for 1914, AJS bikes finished in 2nd, 3rd 4th and 6th places. Demand had increased beyond capacity of the original firm, and in 1914 the company was reconstituted as A.J. Stevens and Company (1914) Ltd, AJS moved to a new factory built around Graiseley House, in the Blakenhall district, a short distance south of the Retreat Street premises, which were relegated to the being the company's office and repair department. The mainstay of the company remained the 350cc machine but an 800cc was also produced.

In 1916 on a directive from the Ministry of Munitions, the company transferred resources to manufacturing munitions, but in early 1917 the Ministry received an order from Russia for military vehicles, and AJS was given a contract to produce part of the order with its AJS Model D machine, which kept AJS at full stretch until Ministry restrictions were lifted in 1919.

1920 saw a new engine and Cyril Williams won the first post war 1920 Isle of Man TT Junior race on his 350, and AJS took the first 4 places in 1921. with 2nd place Howard Williams going on to win the Senior TT on the same machine. The Junior TT win was repeated with a 1 - 2 finish in 1922. Further sucess followed and machines of 250cc to 1000cc were being manufactured. and by the end of the 1020's AJS also offered twelve models of sidecar and a large array of machines.

But by 1931 the company was in financial trouble followed the expensive developement of a new 500cc which proved a very slow seller.

 

Although best known for their motorcycles the company made a few experimental cars with Meadows engines in 1923 but decided not to go into full production. They also built car bodies for Clyno but with the demise of Clyno in 1929 returned to car production with the 1 litre Nine powered by a 1098cc Coventry Climax engine., about 3300 were built.

They also built around 200 buses.

 

n 1931, A. J. Stevens & Co went bankrupt. After BSA failed to obtain control, the motorcycle assets were bought by the Collier brothers London company Matchless and the car manufacturer Crossley Motors. In 1938, AJS became part of a group called Associated Motorcycles, formed by the Colliers as a management company for its various interests. After this Matchless and AJS generally shared models using different badging, although the AJS name was used for several unique racers.

The site of the Wolverhampton factory, now a supermarket, is marked by a sculpture, The Lone Rider, designed by Steve Field and carved by Robert Bowers, assisted by Michael Scheuermann

 

Many thanks for a fantabulous 34,672,300 views

 

3hot The National Memorial Arboretum, Alrewas, Stafford shire 26:04:2015l:2015 Ref 105a-597

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.

 

Cannot stop buying Steve Austin figures and it is almost like Bionic Army-Building now. One thing to note here is that the custom decal set for Bionic Woman Sports Car is from my original unapplied decal sheets. I sent scanned images to the custom decal maker and he made it and added it to his inventory for his shop and gave me a set for free for my trouble. Originally I asked him to mention my name on the sheet something like “Courtesy of D J – My Toy Museum” for fun but he did not want to so. I thought it was not much to ask but, ah, well, not a biggie as I at least have one copy to remember this occasion. I now am looking for unapplied decal sheet for the Venus Probe to dress up my two Probes but it won't be easy. Just keep looking I guess.

 

By the way, these two vintage 13" Steve figures and Bif Bang Pow figures and the metal tote set which includes Dr. Rudy Wells figure with three heads inside are from New Zealand. Not easy to find vintage SMDM figures here so I was pleasantly surprised to find them locally : )

youtu.be/7Vrq7QxFggo?t=2s Trailer

 

Horror/sci-fi hybrids are common. At the mostly horror end of the spectrum, Die Monster Die (DMD) has almost no sci-fi. DMD's thin claim to sci-fi rests on the unseen agent of the horror being a radioactive meteor. In the 50s tradition, if a movie had anything to do with outer space, or anything nuclear, it was deemed sci-fi. Boris Karloff stars in this combination horror / ghost story, as the wheelchair bound despotic head of the "cursed" Witley family. DMD double-featured with Planet of the Vampires, so audiences were probably in the mood for a double dose of horror with a dash of sci-fi.

 

Synopsis

Steve Reinhart arrives in the small english village of Arkham. He wants to go to the Witley place, but he can't rent a taxi, a bicycle or anything. In fact, the villagers all act angry or frightened at the mere mention of it. So, he walks. On the way there, he passes a desolate area where nothing lives. Old Mr. Witley (Karloff) is gruff and demands he leave. However, it turns out Steve was invited by Mrs. Witley (confined to her curtained bed). She wanted Steve to take their daughter Susan away. Susan is somehow blissfully clueless to the strange goings on in Witley mansion. These are abundant: odd moans in the night, a strange blue glow in the greenhouse, people who disappeared. When Mr. Witley's butler dies, Steve investigates. He discovers that grandfather Corbin Witley was into the occult, that bits of glowing green rock in planter pots make the plants grow huge, and a room full of mutant (but rather benign) animals. Despite all this, Susan doesn't want to leave her sick mother. Mother, however, has become so burned/mutated, that she trashes her room and attacks Susan and Steve as a hag monster. She dies, her face melting away. At the graveside, Mr. Witley finally realizes he must destroy the glowing meteor he has in his basement. He takes an ax to it, but is attacked by Helga (former housekeeper mutated like Mrs. Witley). Helga falls onto the meteor and dies. Mr. Witley gets so radiated that he starts to glow. As the glowing frankenstein-esque monster, he attacks Susan and Steve. He lunges for Susan but breaks through a 2nd story railing, falling to his death. His body bursts into flames. The fire eventually spread through the house. Steve and Susan get out, briefly discuss what happened, and decide to leave. The End.

  

Karloff is great and pulls DMD up from mid-B obscurity.

The original short story did not blame simple radiation, but in DMD, the traditional Cold War bugbear -- radiation -- is the cause of all the mutation and death. Pretty conventional stuff by the mid-60s.

Lovecraft Hijacked by Halloween -- The story upon which DMD is based (loosely) is H.P. Lovecraft's "The Colour Out of Space." (1927) In his story, told mostly as retrospective, about a rural New England farm family and a meteorite. Because the meteor caused plants to grow very large, the farm father kept the stone, thinking it would bring prosperity. Instead, the mysterious force within it, drains the life of his family, eventually causing him to crumble before his friend's eyes and leaving a many-acre dead zone. The force (or alien?), emitted an indescribable color. Once recharged with life, it flies back into space. Fans of Lovecraft's "Colour" story usually don't like AIP's adaptation, perhaps because the story is turned into more of a gothic ghost story than an alien encounter. Elements of the original story can be seen, but they're virtually lost in a sea of halloween standards: spiders, skeletons, skull-art, dungeons, mutant monsters, books of spells, stranger with big knife, foggy old mansions, etc. etc.

Director Daniel Haller (a protege of Roger Corman) made frequent use, if not over-use, of the cinematic tool: "startle moments." These are where something jumps out at the viewers, or happens suddenly, but does nothing to advance the plot. Haller sprinkles in many such moments. The spider bite, the skeleton, the face in the window, the ubiquitous hand on the shoulder, etc. etc. It's as if Haller did not think the story was particularly frightening in itself, so he opted to regularly startle his audience instead.

 

DMD was not exactly part of AIP's "Poe Cycle", but the success of those films must have influenced the producers' view. Instead of a simple New England farm, we're given a spooky elizabethan-revival mansion shrouded in fog. Interior shots are filled with an grab-bag mix of anything "old". Medieval era carvings, renaissance furniture and baroque decorations. And, like any good haunted house, there are ample medieval weapons displayed on the walls of each room. Just about anything stereotyped as being in a "haunted mansion" was used as a prop.

Science should be left to the professionals. That's the final moral of the story, delivered by Steve in the final minutes. "In the proper scientific hands, your father's discovery could have been beneficial." All the trouble was due to an amateur botching things up. Nahum Witley thought his meteor, which made plants grow huge, might be beneficial enough to make up for his father (Corbin's) dabbling in the occult. This adds a layer to the already stereotypic naive scientist role (which Karloff played many times). The naive scientist thinks he's onto a boon for mankind, but creates a monster instead. In DMD, he's still that naive scientist (sort of), but with the added motive of trying to atone for the sins of his father.

 

Bottom line? Fans of the AIP/Corman Poe Cycle or Hammer's horror films, will probably be entertained. Not impressed, perhaps, but entertained. Karloff fans will see the master holding his own, despite his age. Fans of Lovecraft or sci-fi, may well be more annoyed than entertained. DMD feels like having ordered pancakes, but gotten eggs and sausage instead.

Also known as Monster of Terror, this British-made horror opus is very loosely based on H.P. Lovecraft's story "The Colour Out of Space". The story begins with an American scientist (Nick Adams) paying a visit to the remote estate of his fiancee's family (located in Lovecraft's fictional Arkham County, Massachusetts) and finding many of the surrounding flora and fauna horribly mutated by strange radiation. The source of the contamination is discovered to be a glowing meteorite kept hidden in the basement by his girlfriend's father (Boris Karloff), who has been using the radiation to mutate local plant life. As one might expect, the experiment has gotten a bit out of hand... and poor mommy has changed into something unspeakably horrible. Designed as a vehicle for Karloff (who is excellent), this is a decent freshman effort from director Daniel Haller (formerly Roger Corman's production designer), but the effectively creepy atmosphere would have been greatly assisted by a better script -- perhaps one more loyal to the source material. The same story was adapted (again, loosely) in 1987 for The Curse.

Although Die, Monster, Die! is a decidedly B-movie affair, aficionados of horror movies will want to catch it for the almost always reliable Boris Karloff. This isn't one of Karloff's finest performances -- the script makes sure that such a thing simply isn't possible -- but this master of the monster movie gives the material far more than it deserves, making the character a bit more complex and hinting at even greater complexities that never get fully explored. Plus, there's simply nothing like hearing Karloff's chilling graveyard voice, even when it's wrapped around dialogue that is simply ridiculous. The plotting is also a problem in Monster, with holes and logic-defying actions, but this wouldn't be such a problem if the film delivered more thrills and scares. There are a few effective moments, such as the revelation of just what Letitia is keeping hidden behind her veils, but Monster could benefit from four or five more. The ending veers off terribly, and the relationship between Nick Adams and Suzanne Farmer doesn't work the way it's supposed to -- in part because the actors aren't very good. Dan Haller's direction works well in places, but overall it's a bit labored and doesn't deliver the visceral excitement that one wants. Still, Monster is worth a view for Karloff.

 

To (officially) start off my list of recommended films, I thought I'd go with one of my absolute personal favorites: "Savage" Steve Holland's Better Off Dead.

 

What's it about?

After being dumped, high school senior Lane Meyer (John Cusack) tries to navigate heartbreak with drag racing, employment in the fast food industry, language lessons in downhill skiing, and the occasional suicide attempt.

 

Why it's great

It's everything you've ever heard or seen about 80s screwball comedy boiled down to its purest form. It's wonderfully, naturally bizarre, but the world Holland creates never feels anything less than emotionally true. It's high school in a nutshell, all played to 11: love, loss, crappy first jobs, athletic contests, driving your parents' craptastic car while dreaming of a better ride, and forgotten homework.

 

Will you get in trouble if your parents catch you watching it?

Nope! Just PG for (rare and mild) profanity. Ask them to explain to you who Howard Cosell was.

 

Late Nite Double-Feature Picture Show

Pair Better Off Dead with its sequel-in-every-way-except-the-name-of-Cusack's-character, One Crazy Summer. It's a bit more forcefully quirky at times compared to Better Off Dead, but it's great fun. Plus, amaze at the fact the withered husk that used to be married to Ashton Kutcher was once an talented young woman!

Starring Dana Andrews, Janette Scott, Kieron Moore and Alexander Knox. Directed by Andrew Marton.

youtu.be/vIevnwsLDW8

 

Paramount distributed this big-budget production by Security Pictures in the spring of 1965. Crack in the World (CW) was partially a sci-fi movie and partially a disaster movie. Like many of the disaster-genre that would follow, the destructive power of nature itself -- rather than a giant reptile -- is the monster. Solid actors, a decent budget and ample action make CW one of the mid-60s' big A-level sci-fi movies.

 

Synopsis

Project Inner Earth, headed by Dr. Steven Sorensen, plans to tap into the molten core of the earth to supply unlimited power for mankind. Their problem is that they've encountered an extremely tough shell around the core which no drill can penetrate. Sorensen wants to use a nuclear missile to punch through that shell. Dr. Ted Rampion is worried that the earth's crust is too fragile, due to all the previous nuclear weapons tests. Some complex back story about Steve's wife Maggie (a much younger woman) being Ted's former girlfriend clouds the issue. Steve finding out that he has a terminal illness clouds his judgement too. Steve convinces his bosses to let him fire the nuke and does so. All seems to have gone as planned. The magma wells up and everyone is pleased. That is, until massive earthquakes start wiping out towns and a giant rip in the earth's crust appears. To make matters worse, the rip lengthens steadily. If it goes all the way around the earth, it could break in half and disintegrate. Ted and his team plant another nuclear bomb in a pacific island volcano to stop the rip. This seems to succeed, but the rip turns back towards its origin. More earthquakes and destruction. Steve is a jerk to Maggie. Ted is heroic. Steve is almost too ill to continue. The project base is wracked with tremors. Ted and Maggie escape, but Steve remains behind to record events. The crack meets its origin point. A glowing ball of magma rises into the fiery night sky. Earth now has two moons. A squirrel comes out of hiding in a hole. Ted and Maggie hug for joy. The End.

  

CW is an action-packed disaster flick. Lava, landslides, train wrecks and lots and lots of explosions. Any 12-year-old boy cannot help but love this film.

 

CW is a strong example of the Nuclear Caution branch of Cold War morals. Man, recklessly misusing nukes, sets off a chain reaction (much like modern wars have been) which threaten to destroy the world as we know it. A "counter strike" of another nuke (in the volcano) averts total annihilation, but leaves millions dead and the earth scarred forever. All this makes for quite a blatant nuclear cautionary tale.

 

Sci-fi, as a genre, is hardly famous for strict scientific accuracy. Aliens who look perfectly human and speak English? Big monsters who can eat whole cities, yet never have to poop? But never mind. CW's flawed scientific premise is that the earth's crust is an integral shell. The integrity of this shell is what keeps the earth from flying apart due to centrifugal force. Of course, if that were true, us unattached humans ought to be flying off into space. But never mind. Knowledge of Plate Techtonics was not new in 1965, but it had not filtered down to the popular level yet. Modern viewers will scoff at CW. The earth has always had cracks in it, and works rather well that way. But, to non-scientists in the mid 60s, with a hard-shell view of the earth, the premise was more credible and pretty frightening.

 

Dr. Steve Sorensen fills the customary role of misguided (mad) scientist in several ways. He wants to do some beneficial deed for mankind, but miscalculates and causes destruction. In this case, it is nature (the earth) who becomes the monster. Per the customary role, poetic justice prevails. The monster kills the offending scientist for his haste or hubris. Once he's dead, and his sin atoned for, the rightful order is restored (lovers kiss and small furry animals emerge from their burrows)

 

Many a sci-fi movie has been hobbled with tangled drama. CW is no different. In the midst of the impending destruction of the earth, Steve can still be a petty jerk to his young wife. Maggie can still be conflicted over her less-cerebral lust for Ted. Ted can still show off his big biceps, etc. This seems quite reminiscent of Catwomen of the Moon, where upon meeting another race of beings who are openly hostile, the main characters obsess over who loves whom. Perhaps astute movie producers knew that their young audiences were likely still mired in that high-school drama mindset, in which who liked whom and who was being a jerk to whom, etc. was more important than anything -- even the destruction of the earth.

 

Movie goers of the early 60s would probably have "felt" that Ted and Maggie really belonged together anyhow. Kieron Moore and Janette Scott had starred together before CW, as lighthouse-bound husband and wife biologists in Day of the Triffids ('62): another Security Pictures film. They would team up again in Security Pictures' Bikini Paradise ('67) -- a comedy outside of this study's scope.

 

Bottom line? CW is a well done disaster flick with ample entertainment value. There is plenty of action and the special effects respectable enough. After a steady diet of ultra-low budget movies, CW plays like an epic blockbuster.Doomsday movies abound, but few are as offbeat as this one. It tells of a runaway fault line that threatens to circle the earth and crack it in two like an eggshell. Far-fetched? Yes. Good fun? You bet. The trouble begins after scientists explode an atomic bomb underground to tap an unlimited supply of geothermal energy. But instead they trigger a cataclysm. While the crack girdles the earth, there's time for romance and frantic 11th-hour attempts to save humanity. Dana Andrews heads the cast as Dr. Stephen Sorenson, a scientist in a control center monitoring the progress of the crack opened by the explosion. He and co-stars Janette Scott (Dr. Maggie Sorenson), Kieron Moore (Dr. Ted Rampion), and Alexander Knox (Sir Charles Eggerston) all perform capably as they attempt to forestall doomsday with crack-stopping schemes. Although Crack in the World is a B-movie, it has an intelligent script that relies more on judicious pacing and suspense-building than on special effects. Consequently, it is superior to so-so doomsday flicks such as Asteroid (1997), Meteorites (1998), Armageddon (1998), and Independence Day (1996). Experts in plate tectonics -- a science that studies the strata making up the earth's outer shell -- may pooh-pooh the plot as implausible. Then again, they just might enjoy seeing Mother Nature throw a tantrum.