© 2007 by Michael A. Pancier

This image is copyrighted material as indicated, and is watermarked!

Unauthorized use or reproduction for any reason is prohibited

~Sunflower, Outside Everglades National Park~

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"Sunshine cannot unbleach the snow, Nor time unmake what poets know." - Emerson

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"And anything is possible when youre sowing the seeds of love.

Time to eat all your words

Swallow your pride

Open your eyes

High time we made a stand and shook up the views of the common man

And the lovetrain rides from coast to coast

Every minute of every hour - I love a sunflower

And I believe in lovepower, love power, lovepower !!!

Sowing the seeds

An end to need" -- Tears for Fears

Constitution of the United States . . . Spaeth, Harold J. and Conrad, Edward

The Copyright Guide . . . Wilson, Lee

Digital Copyright . . . Litman Jessica

The Public Debate Over Controversial Supreme Court Decisions . . Urofsky, Melvin

A Reference Guide to the United States Supreme Court . . . Elliott, Stephen P. (edit)

The Oxford Companion to the Supreme Court of the United States . . .Hall, Kermit (edit.)

The Supreme Court . . .Friedman, Leon

Narrowing The Nation's Power . . .Noonan, John Thomas

The Will of the People . . . Friedman, Barry

The Supreme Court . . .Rehnquist, William H.

The Great Decision . . . Sloan, Cliff and McKean, David

Courting Disaster . . . The Supreme Court and the Unmaking of American Law . . Garbus, Martin

Landmark Decisions of the United States Supreme Court . . .Harirson, Maureen and Gilbert, Steve

The Supreme's Greatest Hits . . .Trachtman, Michael G.

The Nine . . .Inside the Secret World of the Supreme Court . . .Schwartz, Bernard

McCullough v. Maryland - State v. Federal Power . . .Gold, Susan Dudley

America On Trial . . Dershowitz, Alan M.

Our Rights . . .Bodenhamer, David J.

Religion in American Politics . . Lamert, Frank

Final Exposure . . Jones, Lou - Savel, Lorie - Radelet, Michael L.

previously American Theatre, Malco Theatre • renamed Memphian, remodeled with Streamline/Moderne design, 1935 • owner was Nashvillian Morris A. (M.A.) Lightman Sr. (1892-1958), founder of Malco Theatres

in 1930, at age of 17, Holiday Inns founder Kemmons Wilson (1913-2003) bought a popcorn machine, sold popcorn in lobby • popcorn sales so successful theater took over the business • Elvis Presley frequently reserved theater for private after-hours screenings until dawn with friends, including Priscilla Presley before they were married • once screened Doctor Strangelove 3 times and final reel three times more -Careless Love: The Unmaking of Elvis Presley • 14 "Elvis seats" from theater auctioned on eBay, 2002 • appears on cover art of Joe Walsh's 1987 album Got Any Gum

$150K renovation, became Playhouse on the Square, 1986 • renamed Circuit Playhouse when Playhouse on the Square moved nearby to new $12.5MM building, 2010 • actor Morgan Freeman honorary chairman of theater's capital campaign • video: Elvis & the Memphian Theatre (8:43) • playhouseonthesquare.org • Cinema Treasures

.To the right side of the altar is a black and white marble memorial with the effigy of Thomas Coventry, 1st Baron Coventry d1640 , who was Lord Keeper of the Great Seal. His effigy is shown reclining between statues of Justice holding the Great Seal, and Virtue.

He was the eldest son of Sir Thomas Coventry, judge of the common pleas (a descendant of John Coventry, Lord Mayor of the City of London in the reign of Henry VI), and Margaret daughter of William Jeffries / Jeffreys of Earls Croome / Croome D'Abitot.

His sister Margaret m William son of William Childe of Blockley flic.kr/p/qs25Zv

He m1 Sarah daughter of John Sebright of Besford & Anne daughter of Richard Bullingham. (Aunt of Sir Edward Sebright of Besford www.flickr.com/gp/52219527@N00/4hV11N ) Her mother Anne m2 Thomas Walsh of Stockton on Teme

Children

1. Thomas Coventry, 2nd Baron 1606 – 1661 www.flickr.com/gp/52219527@N00/9kV8v0 m 1627 Mary www.flickr.com/gp/52219527@N00/7x7685 wealthy daughter of Sir William Craven, former Lord Mayor of London by Elizabeth Whitmore

2. Elizabeth m John Hare of Stowe Bardolph & Docking Hall (parents of Mary who m Thomas Savage www.flickr.com/gp/52219527@N00/579mR9 son of Giles & Katherine Savage of Elmley Castle www.flickr.com/gp/52219527@N00/mTn3Zm

He m2. Elizabeth, daughter of John Aldersley of Spurstow, Cheshire , merchant of London ,by Anne Lowe, Elizabeth was the widow of William Pitchford, Grocer of London

Children - 4 sons & 4 daughters

1. John 1611-1652 m Elizabeth daughter of John Colles 1627 & Elizabeth Wyndham

flic.kr/p/u6Tvz5 of Pitminster

2. Francis 1612-1680 m Margaret Waterer widow of Sir John Thorold 1717

3. Henry 1618-1686 unmarried www.flickr.com/gp/52219527@N00/UAYczR

4. Sir William Coventry 1628 – 1686 unmarried

1. Anne 1662 m (Defended royalist Sheffield Castle in Civil War ) Sir William Savile, 3rd bart (1629) grandson of Sir George Savile 1622 of Thornhill flic.kr/p/b3gDfX m2 Thomas Chicheley of Wimpole (1699) son of Sir Thomas Chicheley 1616 www.flickr.com/gp/52219527@N00/mT9310 and Dorothy Kempe

2. Mary m Sir Henry Frederick Thynne, 1st Bart of Kempsford 1680 son of Thomas Thynne & Catherine Howard

3. Margaret m Sir Anthony Ashley-Cooper, later Earl of Shaftesbury 1683 son of John Cooper of Rockbourne by Ann Elizabeth Ashley

4. Dorothy 1622-1679 m Sir John Pakington, 2nd Bart.

son of Sir John Pakington of Ailesbury & Frances Ferrers

Educated at Balliol College, Oxford and the Inner Temple, his exceptional legal abilities were rewarded early with official promotion. On 16 November 1616 he was made Recorder of London in spite of Francis Bacon's opposition, who, although allowing him to be "a well trained and an honest man," objected that he was "bred by my Lord Coke and seasoned in his ways." On 14 March 1617 he was appointed Solicitor General and was knighted. In November 1621 he was made Lord Keeper of the Great Seal holding it until 1640 and amassed a large fortune.

In 1621 he was MP for Droitwich & Attorney-general taking part in the proceedings against Bacon for corruption,

In 1625 he was made Lord Keeper of the Great Seal; in this capacity he delivered Charles I's reprimand to the Commons on 9 March 1626, In April 1628 he was made Baron Coventry of Aylesborough.

At the opening of parliament in 1628 he threatened that the king would use his prerogative if further thwarted in the matter of supplies. In the subsequent debates, however, while strongly supporting the king's prerogative against the claims of the parliament to executive power, he favoured a policy of moderation and compromise. He defended the right of the council in special circumstances to commit people to prison without showing cause, and to issue general warrants. He disapproved of the king's sudden dissolution of parliament, and agreed to the liberation on bail of the 7 imprisoned members on condition of their giving security for their good behaviour

He showed less subservience than Bacon to the Duke of Buckingham, and his resistance to the latter's pretensions to the office of Lord High Constable greatly incensed the duke. Buckingham taunted Coventry with having gained his place by his favour; Coventry replied, "Did I conceive I had my place by your favour, I would presently unmake myself by returning the seal to his Majesty." After this defiance Buckingham's sudden death alone probably prevented Coventry's displacement

In 1634 he supported the proposed levy of ship money on the inland as well as the maritime counties on the plea of the necessity of effectually arming, "so that they might not be enforced to fight," "the wooden walls" being in his opinion "the best walls of this kingdom." He voted in Star Chamber in 1633 to remove the Irish judge Lord Sarsfield from office for corruption, censuring him severely for hearing a murder case in private and for bullying the jury into returning a guilty verdict.

He was remembered by Edward Hyde as having "in the plain way of speaking and delivery a strange power of making himself believed," "rather exceedingly liked than passionately loved"

. - Church of St Mary Magdalene , Croome D'Abitot, Worcestershire

Order and Chance - The Unmaking of Time

Led by artist Sarah Sparkes

Monday 5 March – Saturday 31 March 2012,

This five-session course invites you to celebrate and engage with the diverse body of works and processes developed by the Italian artist Alighiero e Boetti. His extensive artistic practice is unique in the choice of materials, techniques and artistic strategies that he developed over the three decades of his professional life.

Time – its construction and de-construction – appeared as a recurring theme for Boetti. He was interested in the relationship between the conception of an idea and its execution, often directing others to make his artworks. Boetti considered everything in the world of potential use to the artist. The ephemera of the everyday were media through which he could explore his interest in the opposing relationship between order and chance, the individual and society, error and perfection.

Inspired by Boetti’s practice, this course is an opportunity to investigate and practically engage with the methods of working collaboratively and individually to create both intimate and large-scale works. Using everyday, easily accessible ephemera such as postcards, calendars, magazines, diaries, graph paper, maps and charts, we explore the representation of time and other systems of order and how to visually ‘unmake’ them.

This five-session course will conclude with a small exhibition of work on Saturday 31 March 2012, 16.00–17.00 in the Level 7 East Room at Tate Modern, open to friends and family.Order and Chance - The Unmaking of Time

Led by artist Sarah Sparkes

Monday 5 March – Saturday 31 March 2012,

This five-session course invites you to celebrate and engage with the diverse body of works and processes developed by the Italian artist Alighiero e Boetti. His extensive artistic practice is unique in the choice of materials, techniques and artistic strategies that he developed over the three decades of his professional life.

Time – its construction and de-construction – appeared as a recurring theme for Boetti. He was interested in the relationship between the conception of an idea and its execution, often directing others to make his artworks. Boetti considered everything in the world of potential use to the artist. The ephemera of the everyday were media through which he could explore his interest in the opposing relationship between order and chance, the individual and society, error and perfection.

Inspired by Boetti’s practice, this course is an opportunity to investigate and practically engage with the methods of working collaboratively and individually to create both intimate and large-scale works. Using everyday, easily accessible ephemera such as postcards, calendars, magazines, diaries, graph paper, maps and charts, we explore the representation of time and other systems of order and how to visually ‘unmake’ them.

This five-session course will conclude with a small exhibition of work on Saturday 31 March 2012, 16.00–17.00 in the Level 7 East Room at Tate Modern, open to friends and family.

“Sunshine cannot bleach the snow, Nor time unmake what poets know”

~Ralph Waldo Emerson

© Ladybug's Leaf

This photo is protected under copyright laws and may not be used in any form without written permission. Do not distribute, publish, or share the images online or offline. Legal action will be taken against copyright violations.

previously American Theatre, Malco Theatre • renamed Memphian, remodeled with Streamline/Moderne design, 1935 • owner was Nashvillian Morris A. (M.A.) Lightman Sr. (1892-1958), founder of Malco Theatres

in 1930, at age of 17, Holiday Inns founder Kemmons Wilson (1913-2003) bought a popcorn machine, sold popcorn in lobby • popcorn sales so successful theater took over the business • Elvis Presley frequently reserved theater for private after-hours screenings until dawn with friends, including Priscilla Presley before they were married • once screened Doctor Strangelove 3 times and final reel three times more -Careless Love: The Unmaking of Elvis Presley 14 "Elvis seats" from theater auctioned on eBay, 2002 • appears on cover art of Joe Walsh's 1987 album Got Any Gum

$150K renovation, became Playhouse on the Square, 1986 • renamed Circuit Playhouse when Playhouse on the Square moved nearby to new $12.5MM building, 2010 • actor Morgan Freeman honorary chairman of theater's capital campaign • video: Elvis & the Memphian Theatre (8:43) • playhouseonthesquare.org • Cinema Treasures

Often, when I come across some scripture that 'speaks' to me, I'll drop it into a very simple PS template I put together.

It's not fancy, or really skillful. Rather it lets me pause for 5 minutes or so and find relationships between text and imagery.

"There are nowadays professors of philosophy, but not philosophers. Yet it is admirable to profess because it was once admirable to live. To be a philosopher is not merely to have subtle thoughts, nor even to found a school, but so to love wisdom as to live according to its dictates, a life of simplicity, independence, magnanimity, and trust."

– Henry David Thoreau. 'Walden'.

"INK, n. A villainous compound of tannogallate of iron, gum-arabic and water, chiefly used to facilitate the infection of idiocy and promote intellectual crime. The properties of ink are peculiar and contradictory: it may be used to make reputations and unmake them; to blacken them and to make them white; but it is most generally and acceptably employed as a mortar to bind together the stones of an edifice of fame, and as a whitewash to conceal afterward the rascal quality of the material. There are men called journalists who have established ink baths which some persons pay money to get into, others to get out of. Not infrequently it occurs that a person who has paid to get in pays twice as much to get out."

– Ambrose Bierce, The Cynic's Dictionary (1906); republished as The Devil's Dictionary (1911).

Ariadne - The awakening and the rule of Loki was more than some toys could cope with. several tried to unmake themselves while others sought to flee the Toy Room. Ariadne was amongst those that hunted for a new door and found a way between the dusty pages of books left forgotten in a corner of the room. Clockwork voices stuttered ancient verse and to twisted nursery rhyme they stepped into the wall. Ariadne can sometimes be seen, moving as if stone were but a tear dampened cloth, and rarer still heard like a distant fearful whisper. It is not known if she still hides or is trapped but none have ever emerged.

(Inspired by the Graham Masterton novel Walkers)

Baltimore wandering

The Pierotti's camp outside Kane. 1963

A little reunion with friends of my parents and their children. This was a little "camp" they had outside of town. I just remember wandering over by the creek and out into the forest. That might be me batting. Our Dads grew up together, went to War together and survived it. They always kept in touch. The people who share your childhood are never forgotten.

“The wind will blow. The devils rise. All who celebrate shall be ghosts. And there will be nothing but eternal dancing, dust on dust, everywhere you look.”

-The Plague of Doves by Louise Erdrich

*

I got to the lake in the woods and remembered the game of British Bulldogs we’d played here when the lake froze last January. Twenty or thirty kids, skimming and shrieking, all over the shop. Tom Yew’d interrupted the game, scrambling down the path I’d just taken, on his Suzuki. He’d sat on the exact same bench I was sitting on, remembering him. Now Tom Yew’s in a cemetery on a treeless hill on a bunch of islands we’d never even heard of last January. What’s left of Tom Yew’s Suzuki’s being picked apart to repair other Suzukis. The world won’t leave things be. It’s always injecting endings into beginnings. Leaves tweezer themselves from these weeping willows. Leaves fall into the lake and dissolve into slime. Where’s the sense in that? Mum and Dad fell in love, had Julia, had me. They fall out of love, Julia moves off to Edinburgh, Mum to Cheltenham, and Dad to Oxford with Cynthia. The world never stops unmaking what the world never stops making. But who says the world has to make sense?

*

The world’s a headmaster who works on your faults. I don’t mean in a mystical or a Jesus way. More how you’ll keep tripping over a hidden step, over and over, till you finally understand: Watch out for that step! Everything that’s wrong with us, if we’re too selfish or too Yessir, Nosir, Three bags full sir or too anything, that’s a hidden step. Either you suffer the consequences of not noticing your fault forever or, one day, you do notice it, and fix it. Joke is, once you get it into your brain about that hidden step and think, Hey, life isn’t such a shithouse after all again, then BUMP! Down you go, a whole new flight of hidden steps. There are always more.

Black Swan Green: A Novel by David Mitchell

A New Year Acrostic.

WE know this cold blue world, but

CANNOT recognise the man.

SEE the axe, itself half branch,

THE bright arc bringing low the

WOOD for building, or the fire -

FOR making or unmaking.

THE moving star, unmoved as

TREES fall everywhere below.

________

Happy New Year to all.

Fiction Week Annals of the Western Shore by Ursula K. LeGuin From Wikipedia: The books in the trilogy share the same imaginary world; their plots are set among small city states and independent polities, in a fertile region on the western shore of a continental land mass, in an otherwise unspecified world. The culture is at a generally medieval level, with traditional crafts but no advanced technology. The three books share some characters; the protagonists in Gifts reappear as supporting or minor characters in the later books. Gifts centers on two young people, Gry and Orrec, who struggle to come to terms with inherent psychic abilities. They live in a poor, mountainous, and culturally backward region, famous for its “witches” and wonder-workers. Gry is a girl who can communicate with animals; she refuses to use her gift to aid hunters, which sets her apart from many in her culture, including her own mother. Orrec is a boy whose supposed gift of “unmaking” is apparently so dangerous that he voluntarily goes through life blindfolded, to avoid causing destruction. The story reveals how Orrec and Gry cope with their gifts, and eventually leave their mountainous home for the wider world. Voices tells the story of Memer, a girl who lives in an occupied country. Her home, Ansul, has been conquered by the Alds, a desert people from the east, who are now its brutal and superstitious occupiers. Memer secretly learns of a world of suppressed books and writings, and falls in love with her people’s ancient literature; she meets Gry and Orrec, who come to Ansul as travelling storytellers. Together, their entwined fates play out against the outcome of the political struggle of Ansul and the Alds. In Powers, Gavir is a slave who develops a gift for precognition. He is trained to serve as a teacher for a noble family in the city of Etra; but personal tragedy drives him into the life of a hunted wanderer. He endures adventures, challenges, and suffering. Eventually he escapes to a new and happy life that he shares with Memer, Gry, and Orrec.

365/238 #2022PAD

Compare: www.flickr.com/photos/rodcorp/4259792033/ . Duchamp's late readymade - and indeed a female fig leaf, as it was made to cover Lydie's blushes (MD revealed in Oct 1937 that the 11 Rue Larrey door was the practical solution to a problem of privacy after Lydie's unexpected bathroom encounter with Jean Crotti). Image from Tout fait.

Order and Chance - The Unmaking of Time

Led by artist Sarah Sparkes

Monday 5 March – Saturday 31 March 2012,

This five-session course invites you to celebrate and engage with the diverse body of works and processes developed by the Italian artist Alighiero e Boetti. His extensive artistic practice is unique in the choice of materials, techniques and artistic strategies that he developed over the three decades of his professional life.

Time – its construction and de-construction – appeared as a recurring theme for Boetti. He was interested in the relationship between the conception of an idea and its execution, often directing others to make his artworks. Boetti considered everything in the world of potential use to the artist. The ephemera of the everyday were media through which he could explore his interest in the opposing relationship between order and chance, the individual and society, error and perfection.

Inspired by Boetti’s practice, this course is an opportunity to investigate and practically engage with the methods of working collaboratively and individually to create both intimate and large-scale works. Using everyday, easily accessible ephemera such as postcards, calendars, magazines, diaries, graph paper, maps and charts, we explore the representation of time and other systems of order and how to visually ‘unmake’ them.

This five-session course will conclude with a small exhibition of work on Saturday 31 March 2012, 16.00–17.00 in the Level 7 East Room at Tate Modern, open to friends and family.