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In 2009 I worked on a portfolio of photographs for my friend Raj. He needed an actor portfolio and this is a photo from that set.

Italian postcard. Photo by G. De Virgiliis, Genova. Probably late 1910s or 1920s.

 

Enzo Biliotti, born Lorenzo Biliotti (Livorno, June 28, 1887 - Bologna, November 19, 1976), was an Italian actor.

 

Son of Francesco Biliotti and soprano Ines De Frate, Biliotti began his theatrical career as a brilliant actor in the Carini-Gentili Company (1918-1921) to later join that of Gemma Bolognesi. He was also part of that of Virgilio Talli (1922-1924), then of the Piccola Canobbiana of Milan in the 1924-1925 season and then of that of the Teatro d'Arte in Rome in 1925-1926, to be one of Alda Borelli's companions in the 1926. Dina Galli wanted him with her for the entire 1927-1928 season, then he moved to the Dora Migliari-Menichelli company in 1928-1929 and in a revue company directed by Paolo Reni (1929-1930). Guido Salvini hired him for a large-scale production, entrusting him with the character of Fouché in Campo di Maggio (1930) by Giovacchino Forzano, a character he resumed when Forzano himself made the film version of it in 1935. In 1931 he was part of the large cast of Za Bum n. 3 and in 1938 he was with Tumiati-Bagni-Scelzo, where he distinguished himself in a beautiful edition of Manzoni's Adelchi. Also in 1938 he played Federico in As you like it by William Shakespeare, directed by Jacques Copeau, with Massimo Pianforini, Sandro Ruffini, Guido Gatti, Fernando Farese, Nerio Bernardi, Umberto Melnati, Giuseppe Pierozzi, Franco Scandurra, Checco Rissone, Nella Bonora , Letizia Bonini and Zoe Incrocci, staged at the Boboli Gardens in Florence. Finally in 1946 Biliotti was with the company of Lilia Silvi.

 

In the cinema Biliotti was always employed in character or secondary roles. After his debut in 1916 in Cura da baci directed by Emilio Graziani-Walter and starring Armando Falconi, he acted in three more silent films, all directed by Mario Bonnard. He impersonated e.g. Fra Cristoforo in Bonnard's 1922 adaptation of I promessi sposi. Bonnard would later on also directed him in La gerla di papà Martin (1940), while Biliotti would act again in another adaptation of I promessi sposi (Mario Camerini, 1941), now as Antonio Ferrer. His first sound film was Villafranca (Giovacchino Forzano, 1933), where he superbly interpreted Napoleon III, which he wittily re-proposed in La contessa Castiglione (1942) by Flavio Calzavara. Biliotti specialized in masterfully designing kings, emperors, nobles and fathers of high lineage. Among his tastiest characterizations is that of the Viceroy in Un'avventura di Salvator Rosa/ An Adventure by Salvator Rosa (1939) by Alessandro Blasetti (1939) and King Philip IV in Don Cesare di Bazan (1942) by Riccardo Freda, in addition to the aforementioned French emperor. Married to Lia Di Lorenzo, at the end of the fifties he retired to the Casa di Riposo Lyda Borelli for retired actors in Bologna.

 

Source: IMDB, Italian Wikipedia

Italian postcard by Media Film, Milano. Photo: Media Film / Medusa. Robin Wright and Colin Farrell in A Home at the End of the World (Michael Mayer, 2004).

 

A Home at the End of the World (Michael Mayer, 2004) is a lyrical American drama from a screenplay by Michael Cunningham, based on Cunningham's 1990 novel of the same name. It stars Colin Farrell, Robin Wright Penn, Dallas Roberts, and Sissy Spacek.

 

A Home at the End of the World (Michael Mayer, 2004) is based on a novel; by Michael Cunningham, the Pulitzer Prize-winning author of 'The Hours'. The film chronicles a dozen years in the lives of two best friends who couldn't be more different. We follow them from suburban Cleveland in the 1960s to New York City in the 1980s. Bobby Morrow's (Colin Farrell) life has been tinged with tragedy since he was a young boy, losing first his beloved older brother to a freak accident, then his mother to illness, and finally his father. As a rebellious teenager, he meets the conservative and gawky Jonathan Glover (Dallas Roberts) in high school, and he becomes a regular visitor to the Glover home, where he introduces his friend and his mother Alice (Sissy Spacek) to marijuana and the music of Laura Nyro. Jonathan, who is slowly coming out as a homosexual, initiates Bobby into adolescent mutual masturbation during their frequent sleepovers. When Alice catches them both masturbating in a car, Jonathan, embarrassed, tells Bobby he is going to leave as soon as he finishes high school. Alice teaches Bobby how to bake, unintentionally setting him on a career path that eventually takes him to New York City, where Jonathan is sharing a colorful East Village apartment with bohemian Clare (Robin Wright). Bobby moves in, and the three create their own household. A Home at the End of the World charts a journey of trials, triumphs, loves, and losses. The question is: can they navigate the unusual triangle they've created and hold their friendship together?

 

Roger Ebert of the Chicago Sun-Times wrote, "The movie exists outside our expectations for such stories. Nothing about it is conventional. The three-member household is puzzling not only to us, but to its members. We expect conflict, resolution, an ending happy or sad, but what we get is mostly life, muddling through . . . Colin Farrell is astonishing in the movie, not least because the character is such a departure from everything he has done before." At AllMovie, Derek Armstrong is much more negative: "The title A Home at the End of the World gives off both an optimistic and a pessimistic vibe, simultaneously, which is appropriate for a film that can't figure out what its tone should be. For example, the plot follows the protagonist (Colin Farrell's Bobby) through the deaths of a half-dozen important family members and friends, yet Duncan Sheik's dopey score is better suited to an annoyingly whimsical romantic comedy. That dopiness is, however, well suited to Farrell's performance. Despite the succession of traumas his character endures, his attitude rarely changes from that of a pseudo-hippie naïf. It's hard to tell whether that's a reflection on director Michael Mayer's vision for the character, or Farrell's limitations as an actor, but it rings terribly false. "Finally, Wes Connors at IMDb: " indeed, it is a portrait of an unconventional family unit, but that should have remained secondary. At heart, this is a love (the kind including a sexual attraction) story between the Bobby and Jonathan characters, possibly deemphasized to make it more palatable. The focus unravels, especially after Mr. Farrell's adult Bobby takes over the action. The film draws its fault line by losing touch with the central relationship, and Farrell's characterization goes off course. Freed-from-the-wig Colin Farrell and Dallas Roberts could have recorded a hit version of "Look Out, Cleveland" with The Band backing... The casting is excellent, with Erik Smith and Harris Allan especially winning as the teenage Bobby and Jonathan; they blend perfectly with the grown-up Farrell and Mr. Roberts. Note that criticisms of Farrell in the lead role are of characterization, not acting. Smith's Bobby was played as a self-assured and sexually adventurous young man, but Farrell's Bobby is suddenly an asexual puppy dog; something is missing."

 

Sources: Wikipedia and IMDb.

 

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

Swiss postcard by Musée de l'Elysée, Lausanne / News Productions, Baulmes, no. 55108. Photo: Michelangelo Durazzo / AMA, Paris. Federico Fellini directing a scene of the film 8½ (1963).

 

Italian film director and screenwriter Federico Fellini (1920-1993) was one of the most influential filmmakers of all time. He was known for his distinct style that blends fantasy and baroque images with earthiness. In a career spanning almost fifty years, Fellini won the Palme d'Or for La Dolce Vita (1960), was nominated for twelve Academy Awards. He won an Oscar for La Strada (1954), Le notti di Cabiria (1957), 8½ (1963) and Amarcord (1973).

 

Federico Fellini was born in 1920 in Rimini in the Emilia-Romagna region. His native Rimini and characters there like Saraghina (the devil herself said the priests who ran his school) - and the Gambettola farmhouse of his paternal grandmother would later be remembered in several of his films. His traveling salesman father Urbano Fellini showed up in La dolce vita (1960) and 8½ (1963). His mother Ida Barbiani was from Rome and accompanied him there in 1939. Fellini's first passion was the theater, and at the age of 12, he briefly ran away from home to join the circus, later entering college solely to avoid being drafted. He enrolled in the University of Rome. Intrigued by the image of reporters in American films, he tried out the real-life role of a journalist. Additionally, Fellini worked as an artist on fumetti (Italy's illustrated magazines), and occasionally even made his living as a caricaturist at Roman restaurants. He caught the attention of several editors with his caricatures and cartoons and then started submitting articles. Several articles were recycled into a radio series about newlyweds 'Cico and Pallina'. Pallina was played by acting student Giulietta Masina, who became Fellini's real-life wife in 1943. They remained together until his death. The young Fellini loved vaudeville and was befriended in 1939 by leading comedian Aldo Fabrizi. Fabrizi recruited Fellini to supply stories and ideas for his performances; between 1939 and 1944. The two men worked in tandem on a number of largely forgotten comedies, among them No Me Lo Dire, Quarta Pagina, and Campo de Fiori. When young director Roberto Rossellini wanted Fabrizi to play Don Pietro in Roma città aperta (Roberto Rosselini, 1945), he made the contact through Fellini. Fellini worked on that film's script and is on the credits for Rosselini's Paisà (Roberto Rosselini, 1946). Dale O'Connor at IMDb: "On that film, he wandered into the editing room, started observing how Italian films were made (a lot like the old silent films with an emphasis on visual effects, dialogue dubbed in later). Fellini in his mid-20s had found his life's work."

 

Federico Fellini collaborated on films by Pietro Germi (including In Nomine Della Legge and Il Cammino Della Speranza) and Alberto Lattuda (Il Delitto di Giovanni Episcopo and Il Mulino del Po), among others. In 1948, Fellini completed the screenplay for Il Miracolo, the second and longer section of Rossellini's two-part effort Amore. Here Fellini's utterly original worldview first began to truly take shape in the form of archetypal characters (a simple-minded peasant girl and her male counterpart, a kind of holy simpleton), recurring motifs (show business, parties, the sea), and an ambiguous relationship with religion and spirituality. He further explored this in his script for Rossellini's Francesco, Giullare di Dio (Roberto Rosselini, 1949). In 1950, Fellini made his first attempt at directing one of his own screenplays (with help of Alberto Lattuda), Luci del Varieta (Federico Fellini, Alberto Lattudada, 1950), which further developed his fusion of neorealism with the atmosphere of surrealism. Fellini then directed the romantic satire Lo Sciecco Bianc. The film marked his first work with composer Nino Rota. Fellini's initial masterpiece, I Vitteloni, followed in 1953. The first of his features to receive international distribution, it later won the Silver Lion at the Venice Film Festival, the first of many similar honours. The brilliant La Strada followed in 1954, also garnering the Silver Lion as well as the Oscar for Best Foreign Language Picture. After helming Il Bidone (1955), Fellini and a group of screenwriters (including a young Pier Paolo Pasolini) began work on Le Notti di Cabiria (1956), which also won an Oscar. Then he mounted La Dolce Vita (1960), the first of his pictures to star actor Marcello Mastroianni. He would become Fellini's cinematic alter ego over the course of several subsequent collaborations, its portrait of sex and death in Rome's high society created a tremendous scandal at its Milan premiere, where the audience booed, insulted, and spat on the director. Regardless, La Dolce Vita won the Palm d'Or at the Cannes Film Festival and remains a landmark in cinematic history.

 

During the 1960s, many films by Federico Fellini were influenced by the work of Swiss psychiatrist Carl Jung and his ideas on the role of archetypes and the collective unconscious. The women who had both attracted and frightened him in his youth and an Italy dominated in his youth by Mussolini and Pope Pius XII inspired Fellini's dreams. In the 1960s, he started to record them in notebooks, and life and dreams became the raw material for such films as 8½ (1963) or Fellini - Satyricon (1969). With 1965's Giulietta Degli Spiriti, Fellini worked for the first time in color. After experimenting with LSD under the supervision of doctors, he began scripting Il Viaggio di G. Mastorna. Over a year of pre-production followed, hampered by difficulties with producers, actors, and even a jury trial. Finally on April 10th, 1967, Fellini suffered a nervous breakdown, resulting in a month-long nursing homestay. Ultimately, he gave up on ever bringing Il Viaggio di G. Mastorna to the screen, and his new producer, Alberto Grimaldi, was forced to buy out former producer Dino De Laurentis for close to half a billion liras. As the decade drew to a close, Fellini returned to work with a vengeance, first resurfacing with Toby Dammitt, a short feature for the collaborative film Tre Passi nel Delirio. Turning to television, he helmed Fellini: A Director's Notebook, a one-hour special for NBC, followed by the feature effort Fellini Satyricon. I Clown followed in 1970, with Roma bowing in 1972. Amarcord, a childhood reminiscence, won a fourth Academy Award in 1974. It proved to be his final international success. He later shot Il Casanova di Federico Fellini (1976), Prova d'Orchestra (1979), and La Citta delle Donne (1980), which were less successful. Fellini turned to publishing with Fare un Film, an anthology of notes about his life and work. E la Nave Va (1983) and Ginger e Fred (1985) followed, but by the time of L'Intervista (1987), he was facing considerable difficulty finding financing for his projects. His last completed film was La Voce Della Luna (1989). In the early 1990s, Fellini helmed a handful of television commercials, and in 1993 he won his fifth Academy Award for a lifetime of service to the film industry. In 1993, Federico Fellini died the day after his 50th wedding anniversary. He was 73 years old. Jason Ankeny at AllMovie: "One of the most visionary figures to emerge from the fertile motion picture community of postwar-era Italy, Federico Fellini brought a new level of autobiographical intensity to his craft; more than any other filmmaker of his era, he transformed the realities of his life into the surrealism of his art. Though originally a product of the neorealist school, the eccentricity of Fellini's characterizations and his absurdist sense of comedy set him squarely apart from contemporaries like Vittorio De Sica or Roberto Rossellini, and at the peak of his career his work adopted a distinctively poetic, flamboyant, and influential style so unique that only the term "Felliniesque" could accurately describe it. "

 

Source: Jason Ankeny (AllMovie), Dale O' Connor (IMDb), Wikipedia, and IMDb.

 

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

She is experiencing some separation anxiety, seeing that her 30 minutes to exist is about over.

Her psychiatrist tells her, "What you're feeling is eggs-actly right."

 

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"My thin white border is not so much a frame as a defense against Flickr's all dark background"

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ABOUT RAINTINGS

 

Rainting is a word I coined describing a painterly effect, achieved by photographing the subject through glass that is being rained on, like a windshield or other. It achieves an oftentimes pretty or soft flowing effect, and sometimes other-worldly. It is usually creative, fun, and fluid, seldom harsh in my opinion. I have an album of them on Flickr. Rainting is already in "The Urban Dictionary" but I would like it to also be in a more sophisticated/educational type of dictionary. I started a public Flickr group of Raintings on New Year's Day 2020.

 

The more collegiate type of dictionaries say that the word has to actually be used by people before they're likely to publish it. So if you like the word and my idea, say it loud and say it clear and take a few Raintings and post them to my new group. Using my word and trying my new group are not inclusive of one another.

 

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ABOUT LIGHTLINGS

 

Lightling is an even newer word I coined to name the odd little sort of anthropomorphic characters that sometimes appear in my images when doing a Rainting. They come in many sizes, shapes and colors and often times have what appear to be various facial expressions. In school we may have learned that a square is a rectangle, but a rectangle is not a square. Well Raintings can exist without Lightlings in the scene, but Lightlings cannot exist without a Rainting.

 

Oh, and Lightlings are only with us on this Earth for about 30 minutes, so enjoy them and all their funny little characterizations while you can.

 

"DSCN0867ChickenAnxietyDisorderFallingApartFlickr111620"

Star Trek- The Menagerie , “Return to Talos IV”

youtu.be/v5XBfgPy43A?t=2s The full feature.

 

The Menagerie Review: February 8, 2014 by neoethereal

As the only two-part episode in The Original Series, “The Menagerie” also cleverly serves as a re-telling of the very first Star Trek story ever filmed, “The Cage.” This week on The Uncommon Geek, I examine all of these episodes in full detail, highlighting their connections to other aspects of the Trek mythos. As well, I take a look at the ground broken by Gene Roddenberry concerning the nature of reality, decades before movies like “The Matrix” challenged the perception of our everyday world.

 

Equipped with little more than a shoestring budget and massive constraints on time with which to work, Gene Roddenberry and his Star Trek production team had to get extremely creative in order to make the show work. Nowhere, in my opinion, is that more evident than here in “The Menagerie,” an entry that served the purpose of buying the production team time to properly finish subsequent episodes, and as well, afforded Gene Roddenberry a unique opportunity to re-tell the story he had wanted to get on the air all along, “The Cage.”

 

This episode begins with the Enterprise having been called out of its way, to Starbase 11. Confusion arises when the starbase’s commanding officer, Commodore Mendez, reveals to Captain Kirk that the base never sent any message to the Enterprise. Spock claims to have received that message, which puts Kirk into the difficult position of whether to trust the starbase computers, or the word of his first officer and friend.

 

It turns out that Captain Christopher Pike, the former commander of the Enterprise, who was recently crippled and disfigured in a terrible accident, is on Starbase 11, and suspicion arises that perhaps he relayed a message to Spock. When Kirk finally gets to see Pike, however, he realizes that it would have been impossible for Spock’s former commanding officer to have done this, for Pike is now wheelchair bound, and his communication with others is limited to electronic beeps that fill in for “yes” and “no.

 

While Kirk and Mendez wrestle over the truth, Spock executes a daring and clever plan to hijack the Enterprise, taking Captain Pike with him. It goes to show just how dangerous an opponent someone as smart and calculating as Spock can be when he puts his mind to it. Spock sets the Enterprise on a locked course for Talos IV, a planet which the ship visited on a past mission under Christopher Pike, and a planet that invites the death penalty upon any Starfleet officer who goes there

 

The secret file on Talos IV, and the article of General Order 7

I personally find the idea of a death penalty being associated with Talos IV to be somewhat dubious; although there is a very good reason why Starfleet wants the existence of the Talosians kept secret, I find it hard to believe that if the Federation is capable of having a death penalty, that it only applies to one law. It may just be a grand bluff, and indeed, there is some evidence to that effect later in the episode. Regardless, breaking General Order 7 is a serious offense, and Spock is if nothing else, putting his career and livelihood on the line.

 

Kirk, of course, isn’t going to sit by while his ship is abducted. He and Mendez make a daring attempt to chase the Enterprise in the Shuttlecraft Picasso, knowing full well that while they would never catch up, they would appear on the Enterprise sensors. Kirk gambles his life on the fact that his friend Spock would not leave him to die in the void of space, as the shuttle runs out of fuel. Kirk’s illogical gambit causes Spock’s plan to unravel, and he surrenders himself to custody, pleading guilty to every charge leveled against him. However, Spock has locked the Enterprise into a course for Talos IV that cannot be broken, which will potentially extend the death sentence that is on himself, to Kirk as well.

 

The court martial that proceeds against Spock is highly unusual; as mentioned, Spock pleads guilty without defense, but through some legal technicality, manages to arrange for the court to hear out his evidence as to why he went through with his illegal actions. Given that Kirk is presiding over the hearing, and that the crew has little else to do but wait until they reach Talos IV, I get the lenience, but I am not sure what real court would remain in session to examine evidence for someone who just admitted their guilt. Or admittedly, maybe I just don’t know enough about legal proceedings.

 

Spock’s evidence, as it turns out, is a transmission from Talos IV, beamed directly to the Enterprise, which details the vessel’s first trip there under the command of Captain Pike. Of course, this transmission is the original Star Trek pilot, “The Cage,” and from this point on, “The Menagerie” consists almost entirely of footage from that episode.

 

Aside from some really goofy tech dialogue, and incomplete characterizations, “The Cage” holds up surprisingly well. We get to see that Jeffrey Hunter’s Captain Pike is a darker, colder man than James Kirk; he is someone whose decisions and responsibilities as a commander are weighing on him heavily, and he is nearing the point of considering resignation. Pike’s first officer is only referred to as Number One (played by Majel Barrett), who is an amazing example of a strong female role for 1960’s television, but unfortunately her character had to be discarded by Roddenberry when the studio forced him to choose between keeping his strong, logical female, or his alien Spock. Roddenberry ended up giving Spock Number One’s cold, emotionless, logical persona, and thus the Spock we know and love was born.

 

It really is a shame that NBC put so much pressure on Roddenberry to alter his concept of women in the 23rd Century; aside from Number One, the other female crew members of the Cage-era Enterprise also seem to be on equal footing with the men, and there isn’t a mini-skirt in sight. Of course, this reviewer by no means, from an aesthetic point view, objects to how the women of the Enterprise look in said mini-skirts, but cheekiness and my own red-blooded male impulses aside, the female officers in Starfleet should have been offered the same, more professional uniform as the males. Unfortunately we would have to wait until The Motion Picture to see more fairness in the way men and women are presented in Star Trek.

 

When Enterprise finds evidence of human survivors on Talos IV, from a doomed expedition many years ago, Pike, Spock, and an away team beam down to investigate. What at first seems like a wonderful discovery of lost, homesick men, turns out to be just an elaborate, life like illusion created by the Talosians. Pike is abducted when he is lured in by the only true human survivor from the crash, Vina, whom he is extremely attracted to.

 

Pike is subjected to a variety of illusions crafted by the Talosians, in order to foster cooperation, as well as to strengthen his attraction toward Vina. Vina is presented to Pike in a variety of forms; as a damsel in distress on Rigel VII, as a wife in the countryside on Earth, and as a primal, animalistic Orion slave woman, all in an attempt to make him submit to his situation.

 

However, Pike is every bit as stubborn as Captain Kirk, and certainly has a darker, more furious edge to him. When he discovers that primitive, base human emotions such as hatred, and anger, block out the Talosian’s illusions and their telepathic abilities, he mines that weakness long enough to take one of them captive. Once the illusion is broken, the Enterprise crew find out that their attempts to break Pike out from his underground cage with phaser fire were actually working, but all along they weren’t able to see it.

 

The Talosians had, thousands of centuries ago, devastated their planet and their civilization with war. They retreated underground, where their telepathic abilities flourished, but their physical bodies and their technology atrophied. They had apparently been testing various species for many years, looking for a suitable slave race to use for rebuilding their world, but none had shown as much promise as humanity.

 

However, when the away team threatens to kill themselves with an overloaded phaser, and as well when the Talosians finish screening the Enterprise‘s records, they realize that humans would rather die than be enslaved, and would be too violent to keep in captivity. With of course, the sad exception of Vina, who in reality is too badly disfigured to live a normal life outside of Talos IV.

 

(I once heard a suggestion that Vina could be repaired using the transporter. I don’t think 23rd century transporters were sophisticated enough for that, plus, there wouldn’t be an original, unaltered version of her pattern to reference.)

 

The ending of “The Cage” leads us to the final moments of “The Menagerie,” where it is revealed that not only have the Talosians been transmitting a signal to the Enterprise, but even Commodore Mendez himself has been one of their illusions all along!

 

It is also revealed that Spock’s only intention was to take Captain Pike to Talos IV, so that the crippled starship commander could live out the rest of his life as a healthy, happy man with Vina. Even Kirk seems to relent that it is better to live with an illusion of health and happiness, than a reality of living as a useless vegetable. That Commodore Mendez was an illusion, and that Starfleet sends a signal to the Enterprise, apparently excusing their violation of Talos space, seems to let Spock off the hook. Perhaps too easily in fact; despite acting out of nothing but loyalty to his former Captain, and despite that the way he enacted his plan was done in such a manner as to put the blame only on himself, Spock seems to get out of his predicament with apparently no trouble at all. We can make a guess that perhaps this incident is why he doesn’t receive a promotion or command of his own until years later, but there is nothing spoken on-screen to that effect.

 

We are also left to ponder about how much of the incident was real at all. Since the Talosians can apparently project their powers through subspace, one wonders just how long they conspired with Spock, and also, how much we see of Mendez was real or an illusion. My guess is that the Mendez we see at the base was real, and what goes onto the shuttle with Kirk was the illusion, but unfortunately, again, there is little to back that up. What we do know for sure is that the Talosian’s powers are not to be trifled with, and it is truly for wise for Starfleet to give them a wide berth.

Despite some problems with logic and consistency, “The Menagerie” is an entertaining, fascinating episode that shows original series Trek at some of its most interestingly cerebral. Gene Roddenberry’s first pilot examines the nature of reality decades before The Matrix did, and asks the questions: What is real? How does one define their purpose, their reality? Is our reality just relative, defined only by experience? Is there a such thing as an absolute reality, or only what our senses perceive, or for that matter what they think they perceive? This is smart, ahead of its time writing for the 1960s.

 

Through the tragedies that befell both Vina and Pike, we must also question the quality of human life, and the value we place on it. Is it worth staying alive if you can’t function? If your brain is sound but your body is broken, can you still truly live? Speaking for myself, I certainly would despise the existence that Captain Pike is forced to endure in his wheelchair. I’d rather be dead than live that way. I’m not sure how I would react exactly to being forced to live in an illusion, but it is certainly preferable to a reality of uselessness and immobility. Besides, is our everyday life not just an elaborate series of deceptions spun before our very eyes; maybe not as powerful as a trick of telepathy played by an alien race, but an illusion nonetheless?

 

For even provoking these thoughts, and much more, “The Cage,” and by extension, “The Menagerie,” are what I consider among the best of Star Trek’s purely cerebral stories about human nature. It is imaginative, thoughtful, and quite engaging.

Monster High is an American fashion doll franchise created by Mattel in July, 2010. The characters are inspired by monster movies, sci-fi horror, thriller fiction, and various creatures therefore distinguishing them from most fashion dolls. They were created by Garrett Sander, with illustrations by Kellee Riley.[2]

The Monster High franchise also includes other consumer products such as stationery, bags, key chains, various toys and video games. There are also Monster High TV specials, a web series, a direct to DVD movie, and software. Lisi Harrison is the author of the Monster High books. The characters are depicted as being either related to or as offspring of famous monsters such as Dracula, Frankenstein's Monster, the Mummy, Medusa, the Creature from the Black Lagoon, the Phantom of the Opera, and zombies and more. The characters are usually referred to as ghouls, rather than girls.

  

The dolls are approximately 27 cm tall. Or about 1 foot tall. Their bodies are made from ABS plastic. Their heads are made from soft PVC. They have various skin tones (blue, green, pink, brown, etc.) Each character has a unique head mold. No Monster High doll has the same shape head. The type of hair the dolls have is saran. The boys hair is either fuzzy or hard colored plastic. Aside from physical attributes, the dolls are quite different in the characterization of their clothes. And they all have their own unique freaky flaw, hair, etc. They might repeat bags and sunglasses. For example, 13 Wishes Howleen has the same bag as the original Clawdeen only that it is a different color. One is gold and another is purple and black. But they are both sisters. Plus, Howleen likes to borrow a lot of Clawdeen's stuff. And Gloom Beach Frankie Stein has the same sunglasses as the Scaris Frankie Stein. One s blue and one is yellow. All of them have various attributes of the monsters they are related to (i.e. fangs, stitches, wolf ears, fins, bandages,snakes, etc.)[3] Although Monster high and Barbie are from the same creator, Mattel, Monster High is starting to become more popular than Barbie.

  

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Monster High est une franchise américaine de poupées mannequins lancée par Mattel en juillet 2010 aux États-Unis, tirée d'une série de livres du même nom (de Lisi Harrison). Les personnages sont inspirés de personnes assez monstrueuses issues de la littérature fantastique, de la mythologie, ou encore de films cultes. Les Monster High sont toutes des enfants de monstres (Frankie Stein est la fille de Frankenstein, Draculaura est celle de Dracula, Deuce Gorgon est le fils de Méduse...).

La franchise Monster High se décline sur de très nombreux produits comme des vêtements, des bijoux fantaisie et de la papeterie, mais ses principales ventes se font grâce aux poupées mannequins du même nom. Elle s'accompagne également d'épisodes spéciaux pour la télévision et le marché DVD, et d'une web-série.S

Le concept de Monster High met en scène des adolescents tous descendants de créatures plus ou moins célèbres. Certaines poupées sont relookėes.

  

Les poupées mannequins mesurent une vingtaine de centimètres ; les garçons sont plus grands que les filles, même s'il existe des différences de taille chez certaines poupées (Twyla et Howleen Wolf sont plus petites, Nefera de Nile et Mme. Santête sont plus grandes...). Les corps (qui comptent de nombreuses articulations) sont fabriqués en plastique ABS et les têtes sont en PVC souple. Chaque personnage bénéficie d'un moule différent pour sa tête. Les cheveux sont en saran ou en kanekalon, voire en PVC pour les garçons dont les cheveux sont, pour la plupart des personnages, moulés. Les poupées filles de Monster High peuvent enlever leurs mains et bras mais les garçons ne peuvent enlever que leurs bras. Lagoona Blue, Rochelle Goyle et C.A. Cupid ont des éléments amovibles que les autres poupées n'ont pas (des nageoires pour Lagoona Blue, des ailes pour Rochelle Goyle et C.A. Cupid). Comme les filles ont des chaussures à talons, elles ne peuvent pas bouger leurs pieds, tandis que les garçons ont les pieds articulés.

Chaque personnage est caractérisé par un style vestimentaire et une gamme de couleurs qui se retrouvent dans différentes collections et qui reflètent leur personnalité dans la web-série.

  

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The fresco decoration of the Hall of Justice of the fortress of Angera constitutes one of the main figurative testimonies of the development phase of the Gothic pictorial language in the Lombard territory; it also proposes a rare and early example of painting with profane themes, of historical-political and celebratory significance.

The room, on the second floor of the Visconti wing of the building, has a rectangular plan, divided into two parts by a pointed arch. The ceiling, formed by cross vaults, is covered by a lively decoration with geometric motifs, with squares and rounds interwoven to form a sort of sumptuous painted fabric. The six bays of the walls, illuminated by large windows with two lights, host the pictorial decoration, which is divided into three superimposed registers within large arches defined by ornamental borders with stylized stars and flowers: the narrative scenes, in the center, are surmounted by a high band with astrological-astronomical subjects, while the lowest register is formed by a lozenge decoration that supported an elegant painted veil, now almost completely disappeared.

The cycle narrates the deeds of Ottone Visconti, archbishop and lord of Milan from 1277 after the victory obtained in Desio over the opposing Torriani family. Since a long time, studies have linked the frescoes to a precise literary source, the Liber de gestis in civitate Mediolani, a work in praise of the Visconti family written by the monk Stefanardo da Vimercate probably in the last decade of the thirteenth century; the tituli that accompany the scenes are inspired by it, while other Latin inscriptions report, to complete the upper decorative band, some verses of the astrological treatise De Sphaera.

From a stylistic point of view, the author of the paintings shows a marked taste for the complex layout of the scenes, while neglecting the coherence of the figure-architecture relationship; the forms are simplified and the faces, lacking in individual characterization, derive strong consistency from the resentful linear definition and the thick dark outlines; these elements constitute an evident link with the thirteenth-century pictorial tradition of Byzantine matrix, probably filtered through the knowledge of works from the Veneto area. Moreover, the attention that will be typically Lombardy for the realistic definition of details or for the description of costumes is already present and alive.

The brilliant overall effect of the room is enhanced by the whirlwind of colors of the vault, a real explosion of chromatic happiness that finds immediate comparisons in the vault of S. Bassiano in Lodi Vecchio, also decorated with joyful secular subjects.

The representations of the planets and the signs of the zodiac are still linked to those astrological-astronomical themes that had an enormous development since the beginning of the Christian Middle Ages and in particular in the Romanesque period; connected to the scansion of time and of the different working activities - in particular agricultural and pastoral -, they had multiple ethical, civil and religious implications. Situated in the courtroom of the Rocca, the cycle must have had the value of an exemplum for those who were called to judge, through the underlining of motifs such as the clemency of the winner on the vanquished enemy or the subjection of earthly power to the stars and to Fortune, and with precise indications on the virtues that should accompany the exercise of power.

As for the dating of the paintings, critics have expressed themselves in various ways, with wide oscillations between 1277 of the battle of Desio and 1314, the year in which Matteo Visconti definitively acquired possession of the fortress after a period of domination by the Torriani and other families.

   

Spanish postcard in the Collectiõn de 14 postales Artistas Cinematograficasby ISMI / Huegograbado, Mumbru, Barcelona, serie A, no. 13. Photo: Universal Film. Lon Chaney in The Trap (Robert Thornby, 1922).

 

American stage and film actor, director, and screenwriter Lon Chaney (1883-1930) is regarded as one of the most versatile and powerful actors of early cinema. Between 1912 and 1930 he played more the 150 widely diverse roles. He is renowned for his characterizations of tortured, often grotesque and afflicted characters, and his groundbreaking artistry with makeup. ‘The Man of a Thousand Faces’ starred in such silent horror films as The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925).

 

Leonidas Frank ‘Lon’ Chaney was born in Colorado Springs, Colorado, in 1883. He was the son of deaf-mute parents, Frank and Emma Chaney, and he learned from childhood to communicate through pantomime, sign language, and facial expression. The stagestruck Chaney worked in a variety of backstage positions at the opera house in his hometown of Colorado Springs. Only 17, he was eventually allowed to appear on stage. In 1901, he went on the road as an actor in a play that he co-wrote with his brother, The Little Tycoon. After limited success, the company was sold. He began travelling with popular Vaudeville and theatre acts. On tour in Oklahoma City, he met Francis Cleveland ‘Cleva’ Creighton, (Cleva) who was auditioning for a part in the show as a singer. In 1905, Chaney, then 22, married 16-year-old Cleva and in 1906, their only child, a son, Creighton Tull Chaney (later known as film actor Lon Chaney, Jr.) was born. The Chaneys continued touring, settling in California in 1910. Their marriage became strained due to working conditions, money and jealousy. In 1913, Cleva went to the Majestic Theater in downtown Los Angeles, where Lon was managing the Kolb and Dill show and attempted suicide by swallowing mercuric chloride. The suicide attempt failed but it ruined her voice. The ensuing scandal and divorce forced Chaney out of the theatre and into the booming industry of silent films. Between 1912 and 1917, Chaney worked under contract for Universal Studios doing 100 bit or character parts. His skill with makeup gained him many parts in the highly competitive casting atmosphere. During this time, Chaney befriended the husband-wife director team of Joe De Grasse and Ida May Park, who gave him substantial roles in their pictures, and further encouraged him to play macabre characters. Chaney married one of his former colleagues in the Kolb and Dill company tour, chorus girl Hazel Hastings. Little is known of Hazel, except that her marriage to Chaney was solid. The couple gained custody of Chaney's 10-year-old son Creighton, who had resided in various homes and boarding schools since Chaney's divorce from Cleva. In 1917 Universal presented Chaney, Dorothy Phillips, and William Stowell as a team in the drama The Piper's Price (Joe De Grasse, 1917). In succeeding films, the men alternated playing lover, villain, or another man to the beautiful Phillips. They would occasionally be joined by Claire Du Brey nearly making the trio a quartet of recurring actors from film to film. So successful were the films starring this group that Universal produced fourteen films from 1917 to 1919 with Chaney, Stowell, and Phillips.

 

By 1917 Lon Chaney was a prominent actor in the Universal studio, but his salary did not reflect this status. When Chaney asked for a raise, studio executive William Sistrom replied, "You'll never be worth more than one hundred dollars a week." After leaving the studio, Chaney struggled for the first year as a free-lance character actor. He got his first big break when playing a substantial role in William S. Hart's Western, Riddle Gawne (William S. Hart, Lambert Hillyer, 1918). He received high praise for his performance in the role. In 1919, Chaney had another breakthrough performance in The Miracle Man (George Loane Tucker, 1919), as The Frog, a con man who pretends to be a cripple and is miraculously healed. The film displayed not only Chaney's acting ability but also his talent as a master of makeup. Critical praise and a gross of over $2 million put Chaney on the map as America's foremost character actor. He exhibited great adaptability with makeup in more conventional crime and adventure films, such as The Penalty (Wallace Worsley, 1920), in which he played an amputee gangster. As Quasimodo in The Hunchback of Notre Dame (Wallace Worsley, 1923) and Erik, the tortured opera ghost in The Phantom of the Opera (Rupert Julian, 1925), Chaney created two of the most grotesquely deformed characters in film history. William K. Everson William K. Everson in American Silent Film: "Only 'The Phantom of the Opera,' with its classic unmasking scene, a masterpiece of manipulative editing, really succeeded (and still does!) in actually scaring the audience - and that because the revelation had to be a purely visual one. Moreover, Lon Chaney's make-up was so grotesque as to equal, if not surpass, anything that the audience might have anticipated or imagined." However, the portrayals sought to elicit a degree of sympathy and pathos among viewers not overwhelmingly terrified or repulsed by the monstrous disfigurements of these victims of fate. Chaney also appeared in ten films directed by Tod Browning, often portraying disguised and/or mutilated characters.

 

In 1924, Lon Chaney starred in Metro-Goldwyn’s He Who Gets Slapped, a circus melodrama voted one of the best films of the year. The success of this film led to a series of contracts with MGM Studios for the next five years. In these final five years of his film career, Chaney gave some of his most memorable performances. His portrayal of a tough-as-nails marine drill instructor opposite William Haines in Tell It to the Marines (George W. Hill, 1926), one of his favourite films, earned him the affection of the Marine Corps, who made him their first honorary member of the motion picture industry. Memorable is also his carnival knife-thrower Alonzo the Armless in The Unknown (Tod Browning, 1927) opposite Joan Crawford. In 1927, Chaney also co-starred with Conrad Nagel, Marceline Day, Henry B. Walthall and Polly Moran in the horror film, London After Midnight (Tod Browning, 1927) considered one of the most legendary and sought-after lost films. His final film role was a sound remake of his silent classic The Unholy Three (Jack Conway, 1930). He played Echo, a crook ventriloquist and used five different voices (the ventriloquist, the old woman, a parrot, the dummy and the girl) in the film, thus proving he could make the transition from silent films to the talkies. Chaney signed a sworn statement declaring that the five voices in the film were his own. During the filming of Thunder in the winter of 1929, Chaney developed pneumonia. In late 1929 the heavy smoker was diagnosed with bronchial lung cancer. This was exacerbated when artificial snow, made out of cornflakes, lodged in his throat during filming and quickly created a serious infection. Despite aggressive treatment, his condition gradually worsened, and seven weeks after the release of the remake of The Unholy Three (1930), he died of a throat haemorrhage in Los Angeles, California. In his last days, his illness had rendered him unable to speak, forcing him to rely on the pantomimic gestures of his youth in order to communicate with his friends and loved ones. Chaney and his second wife Hazel had led a discreet private life distant from the Hollywood social scene. Chaney did minimal promotional work for his films and for Metro-Goldwyn-Mayer, purposefully fostering a mysterious image, and he reportedly intentionally avoided the social scene in Hollywood. At the end of the 1950s, Chaney was rediscovered. He was portrayed by James Cagney in the biopic titled Man of a Thousand Faces (Joseph Pevney, 1957). In 1958, Chaney fan Forrest J. Ackerman started and edited the magazine Famous Monsters of Filmland, which published many photographs and articles about Chaney. Ackerman is also present in Kevin Brownlow’s documentary Lon Chaney: A Thousand Faces (2000).

 

Sources: Hal Erickson (AllMovie), Lon Chaney.com, Silents are Golden, Wikipedia and IMDb.

 

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

Una tribu habita en los bosques desde tiempos inmemorables, junto con dragones... sus tierras son arrasadas por la "civilización"... si quieres saber más, síguenos. (Información, abajo).

 

¡Muchas gracias por las vistas!!!

 

FOTOGRAFÍA Y EDICIÓN: ASHARY

Ashary - fotografocreativo81@gmail.com | www.labrigadagrafica.com

 

¡Visítanos en la exposición! ¡Hasta el 31 de diciembre! ENTRADA LIBRE

 

C./ Serranos, 24, (junto a las torres) Valencia - España

Dirección y producción:

Peck - peckfotografia@gmail.com | www.peckfotografia.com/

  

Guión: Pablo Nuñez Ruiz

 

Modelos:

 

Aventureros:

Voro Olmos - brad352@hotmail.com

Elena Lee - elenaleefotografia@gmail.com

Jose Lorente Capitán - tysonblancos@gmail.com

Diego Martinez Sanchez - diego.martinez.san@gmail.com

Evelhyne de Lioncourt

 

Garantes:

Kimo - kimo.grafico@gmail.com

Recóndita - reconditailustracion@gmail.com

Rey Mono Gráfico - reymonografico@gmail.com

Puto Adler

Manu "Thunder" Silvestre - msilvestreg@gmail.com

 

Coreógrafos de combate:

Demon Mambo - davidgallen@gmail.com

Manu "Thunder" Silvestre

 

Atrezzo:

Manu "Thunder" Silvestre

Demon Mambo

Lidia Aparicio Sales

Peck

Recóndita

 

Caracterización :

Ana López

Gema Pérez

Saray Ruiz - Ocaña

 

Diseño personajes:

Garantes / Rey Mono Gráfico, Ashary

Aventureros / Peck

 

Vídeo y realización:

Jose Luis Aparicio - hansokaz@gmail.com

 

Sponsor:

La brigada Gráfica - www.labrigradagrafica.com/

www.freemoviescinema.com/science-fiction/video/latest/con... Full Feature

See more photos in set.

 

Starring Walter Brooke, Eric Fleming, Mickey Shaughnessy, Phil Foster, William Redfield, William Hopper, Benson Fong, Ross Martin, Vito Scotti. Directed by Byron Haskin. Producer George Pal gave us the sci-fi landmark Destination Moon in 1950. He then gave us the timeless classic War of the Worlds in '53. This, his third epic, was a grand effort, but fell shy of his earlier triumphs. On paper, it should have been another mega-classic. The team members from the earlier hits were reassembled. Pal as producer, Haskin directing, Lydon on screenplay, O'Hanlon writing. Conquest was also based on a popular book. Yet, despite all this pedigree, something fell short. Conquest would not go on to be remembered as one of the 50s mega-classics. Some of this obscurity may be due to Conquest being in the "serious" science fiction sub-genre, like Destination Moon and Riders to the Stars which tried to depict a plausible space-traveling future. Audiences were becoming much more entranced with saucers and weird aliens.

 

In some ways,Conquest is a remake of the basic story line from Destination Moon -- a crew are the first to land on a celestial body. They struggle to survive and yet courageously return. This time, instead of the moon, it's Mars. As a remake goes, however, it's worthy. The Technicolor is rich and the sets well done. This is an A-level production which at its release was the 2001: A Space Odyssey of its day. All the melodrama, however, starts to get in the way of the techno-gee-whiz.

Synopsis

Based aboard a rotating wheel space station, workmen prepare a big flying wing of a rocket ship. A group of potential crewmen train for what they think will be a moon landing mission. As the work nears completion, they find out that the real mission will be a landing on Mars instead. While aboard "The Wheel", we're introduced to the phenomenon of "space sickness" -- a mental breakdown due to workload and confinement for long periods. One of the crew candidates is scrubbed because of one such breakdown. Nonetheless, the multinational crew are chosen and embark for the long journey to Mars. After departure, it's found that General Merritt's old friend, Sergeant Mahoney, stowed away. On the way to Mars, a communications antenna is damaged and must be fixed via spacewalking crewmen. Just as the repairs are completed, the customary meteor arrives, threatening to hit the ship. General Merritt manages to fly the ship out of the way, but one of the crewmen on EVA is hit with micrometeoroids (like bullets) and killed. The General is also starting to show odd behavior, doubting whether their mission is proper or is an affront to God. Their evasive action puts them behind schedule, but they arrive at Mars. While attempting to land on Mars, the General has another bout of delusion and tries to abort the landing. His son, Captain Merritt, manages to take control and brings in the flying-wing lander to a rough but successful landing. The others go out to explore, but the General, now fully delusional, is venting rocket fuel in an attempt to blow up the ship. His son discovers this and the two struggle. The General's pistol discharges, killing him. Mahoney comes on the scene just then and accuses Captain Merritt of murdering the General. The rest explore a bit more, but pronounce Mars a dead planet. Despite this, Imoto discovers that his earth flower seed sprouted in martian soil. Earthquakes cause the escape rocket to shift off of perpendicular. They get it righted and blast off. On the way home, Mahoney and Captain Merritt make up and declare that the dead General was a hero, the man who conquered space. The End.

The color, the sets, models and background paintings are very visually rich. The whole image is a great snapshot of the future as people in the mid-50s imagined it would be. More tidbits in the Notes section below.

There is actually a subtle anti-war tone to the movie. No overt talk of nuclear dangers or menacing enemies. It is notable, however, that among the conspicuously international crew candidates, there is no Russian. Americans would "conquer" space with a few other nationals along for the ride, but NO Russians. There is also a poorly explained urgency to the mission. What's the hurry? Back in the Cold War, it was pretty common that WE had to get something before THEY did.

In 1949, Willy Ley wrote the book "The Conquest of Space," which speculated about how mankind might travel to other planets. This book was illustrated by space artist Chesley Bonestell. This book would become the inspiration for the movie.

 

From 1952 to 1954, Collier's magazine ran a series of stories about mankind conquering space. These were repeats by Ley and Bonestell of their 1949 book, but this time Collier's added material from "rocket scientist" Werner von Braun. Bonestell's new illustrations were clearly the prototype for the look of Conquest. People felt that mankind was on the verge of taking to the stars. The Collier's series expressed that giddy optimism.

The screenplay for Conquest added weak human interest sub-plots which almost negate the gee-whiz optimism that the visuals convey. The screenwriters were all experienced in their craft, so it's puzzling why such amateurish characterizations are so prominent. The comic relief moments are almost cartoonish. The whole leader-gone-mad sub-plot seems out of place.

A possible "message" to Conquest is that man is a fragile creature who may not be ready for the rigors of space travel. Certainly, people wondered about this, and other movies touched on the theme too, such as Riders to the Stars ('54). Our not being mentally ready yet was cited by the aliens in It Came From Outer Space ('53). General Merritt's dementia was foreshadowed in the breakdown of Roy early in the movie.

One thing that strikes the viewer is how much life aboard the space station is presumed to duplicate life aboard a navy ship. It's not overtly stated that the military should (or will) be the agency which "conquers" space, but from the ranks and uniforms and the navy-life scenes, that message comes through. Space ships will be like earthly ships.

On the surface, it seems like Conquest is blasting Christians as dangerous religious fanatics. This notion, that anyone who believes in God simply MUST be wacko, would be much more popular in later decades, but it was uncommon in the 50s. For that reason, the General's dementia deserves a closer look.

Actually, General Merritt was not the stereotypic religious fanatic. His son comments that he had never seen him carrying around and reading the Bible before. Instead of headaches or paralysis, the General's "space sickness" took a paranoid turn. He had rational misgivings about the Mars mission from the start, pre-dementia. His repressed misgivings are expressed in Bible verses dealing with sinners being punished by God. He once quotes from Psalm 38, then later from Psalm 62.

Throughout all this, God is not mocked. Indeed, only the "religious" man had the courage to go outside and give the dead Fodor a proper burial. The other non-relgious crewmen were at a loss for what to do.

The notion of impudent mankind trying to meddle in God's domain, is treated as a credible issue. In this, the pattern of the Tower of Babel is drawn. Prideful mankind thinks they can build their way into God's realm. God foils that plan. General Merritt's dementia seems motivated by a fear that this divine retribution could be coming again.

The writers of Conquest imagine a multinationalism in space. Most notable are two former enemy nations: Imoto is from Japan and Fodor is a German-accented Austrian, (as a stand-in for Germany). Imoto gets to make a little speech about why Japan went to war (lack of resources). Fodor gets to be seen as the cherished son of a classic "mama". By 1955, it was starting to become okay to look beyond World War 2.

At one point, the crew of The Wheel are watching a movie with many scantily clad dancing girls (much like sailors aboard a ship). The movie is a lavish musical number with many gold bikini clad pseudo-harem girls dancing while Rosemary Clooney sings about love "...in the desert sand." This clip is total non-sequetor to the high-tech space environment. What's interesting, is that it's NOT stock footage recycled. Clooney had not done any such movie. This dance number must have been staged and shot just for this scene in Conquest. Random act of musical. Gotta love 'em.

 

Bottom line? Conquest is an almost-epic. It's definitely an A-grade sci-fi movie, so it's well worth watching. The human story part gets in the way sometimes, but the visuals more than make up for it.

 

William Charles Ayers (/ɛərz/; born December 26, 1944)[1] is a former leader of the Weather Underground[2] and American elementary education theorist. During the 1960s, Ayers participated in the counterculture movement that opposed US involvement in the Vietnam War. He is known for his 1960s radical activism and his later work in education reform, curriculum and instruction.

 

In 1969, Ayers co-founded the Weather Underground, a self-described Communist revolutionary group that sought to overthrow imperialism.[3] The Weather Underground conducted a campaign of bombing public buildings (including police stations, the United States Capitol, and the Pentagon) during the 1960s and 1970s in response to U.S. involvement in the Vietnam War.

 

Ayers is a retired professor in the College of Education at the University of Illinois at Chicago, formerly holding the titles of Distinguished Professor of Education and Senior University Scholar.[4] During the 2008 U.S. presidential campaign, a controversy arose over his contacts with then-candidate Barack Obama. He is married to Bernardine Dohrn, who was also a leader in the Weather Underground.

 

Ayers grew up in Glen Ellyn, a suburb of Chicago, Illinois. His parents are Mary (née Andrew) and Thomas G. Ayers, who was later chairman and chief executive officer of Commonwealth Edison (1973 to 1980),[5] and for whom Northwestern's Thomas G. Ayers College of Commerce and Industry was named.[6][7] He attended public schools until his second year in high school, when he transferred to Lake Forest Academy, a small prep school.[8] Ayers earned a Bachelor of Arts in American Studies from the University of Michigan in 1968. (His father, mother and older brother had preceded him there.)[8]

 

Ayers was affected at a 1965 Ann Arbor teach-in against the Vietnam war, when Students for a Democratic Society (SDS) President Paul Potter, asked his audience, "How will you live your life so that it doesn't make a mockery of your values?" Ayers later wrote in his memoir, Fugitive Days, that his reaction was: "You could not be a moral person with the means to act, and stand still. [...] To stand still was to choose indifference. Indifference was the opposite of moral".[9]

 

In 1965, Ayers joined a picket line protesting an Ann Arbor, Michigan pizzeria for refusing to seat African Americans. His first arrest came for a sit-in at a local draft board, resulting in 10 days in jail. His first teaching job came shortly afterward at the Children's Community School, a preschool with a very small enrollment operating in a church basement, founded by a group of students in emulation of the Summerhill method of education.[10]

 

The school was a part of the nationwide "free school movement". Schools in the movement had no grades or report cards; they aimed to encourage cooperation rather than competition, and pupils addressed teachers by their first names. Within a few months, at age 21, Ayers became director of the school. There also he met Diana Oughton, who would become his girlfriend until her death in 1970 after a bomb exploded while being prepared for Weather Underground activities.[8]

 

Early activism

Further information: Weather Underground

Ayers became involved in the New Left and the Students for a Democratic Society (SDS).[11] He rose to national prominence as an SDS leader in 1968 and 1969 as head of an SDS regional group, the "Jesse James Gang".[12]

 

The group Ayers headed in Detroit, Michigan, became one of the earliest gatherings of what became the Weathermen. Before the June 1969 SDS convention, Ayers became a prominent leader of the group, which arose as a result of a schism in SDS.[9] "During that time his infatuation with street fighting grew and he developed a language of confrontational militancy that became more and more pronounced over the year [1969]", disaffected former Weathermen member Cathy Wilkerson wrote in 2001. Ayers had previously been a roommate of Terry Robbins, a fellow militant who was killed in 1970 along with Ayers' girlfriend Oughton and one other member in the Greenwich Village townhouse explosion, while constructing anti-personnel bombs (nail bombs) intended for a non-commissioned officer dance at Fort Dix, New Jersey.[13]

 

In June 1969, the Weathermen took control of the SDS at its national convention, where Ayers was elected Education Secretary.[9] Later in 1969, Ayers participated in planting a bomb at a statue dedicated to police casualties in the 1886 Haymarket affair confrontation between labor supporters and the Chicago police.[14] The blast broke almost 100 windows and blew pieces of the statue onto the nearby Kennedy Expressway.[15] (The statue was rebuilt and unveiled on May 4, 1970, and blown up again by other Weathermen on October 6, 1970.[15][16] Rebuilding it yet again, the city posted a 24-hour police guard to prevent another blast, and in January 1972 it was moved to Chicago police headquarters).[17]

 

Ayers participated in the Days of Rage riot in Chicago in October 1969, and in December was at the "War Council" meeting in Flint, Michigan. Two major decisions came out of the "War Council". The first was to immediately begin a violent, armed struggle (e.g., bombings and armed robberies) against the state without attempting to organize or mobilize a broad swath of the public. The second was to create underground collectives in major cities throughout the country.[18] Larry Grathwohl, a Federal Bureau of Investigation informant in the Weathermen group from the fall of 1969 to the spring of 1970, stated that "Ayers, along with Bernardine Dohrn, probably had the most authority within the Weathermen".[19]

 

Involvement with Weather Underground

Further information: List of Weatherman actions

After the Greenwich Village townhouse explosion in 1970, in which Weatherman member Ted Gold, Ayers's close friend Terry Robbins, and Ayers's girlfriend, Diana Oughton, were killed when a nail bomb being assembled in the house exploded, Ayers and several associates evaded pursuit by law enforcement officials. Kathy Boudin and Cathy Wilkerson survived the blast. Ayers was not facing criminal charges at the time, but the federal government later filed charges against him.[8] Ayers participated in the bombings of New York City Police Department headquarters in 1970, the United States Capitol building in 1971, and the Pentagon in 1972, as he noted in his 2001 book, Fugitive Days. Ayers writes:

 

Although the bomb that rocked the Pentagon was itsy-bitsy—weighing close to two pounds—it caused 'tens of thousands of dollars' of damage. The operation cost under $500, and no one was killed or even hurt.[20]

 

After the bombing, Ayers became a fugitive. During this time, Ayers and fellow member Bernardine Dohrn married and remained fugitives together, changing identities, jobs and locations.

 

In 1973, Ayers co-authored the book Prairie Fire with other members of the Weather Underground. The book was dedicated to close to 200 people, including Harriet Tubman, John Brown, "All Who Continue to Fight", and "All Political Prisoners in the U.S."[21] The book dedication includes Sirhan Sirhan, the convicted assassin of Robert F. Kennedy.[22][23]

 

In 1973, new information came to light about FBI operations targeted against Weather Underground and the New Left, all part of a series of covert and often illegal FBI projects called COINTEL.[24] Due to the illegal tactics of FBI agents involved with the program, including conducting wiretaps and property searches without warrants, government attorneys requested all weapons-related and bomb-related charges be dropped against the Weather Underground, including charges against Ayers.[25][26]

 

However, state charges against Dohrn remained. Dohrn was still reluctant to turn herself in to authorities. "He was sweet and patient, as he always is, to let me come to my senses on my own," she later said of Ayers.[8] She turned herself in to authorities in 1980. She was fined $1,500 and given three years probation.[27]

 

Later reflections on underground period

Fugitive Days: A Memoir

In 2001, Ayers published Fugitive Days: A Memoir, which he explained in part as an attempt to answer the questions of Kathy Boudin's son, and his speculation that Diana Oughton died trying to stop the Greenwich Village bomb-makers.[28] Some have questioned the truth, accuracy, and tone of the book. Brent Staples wrote for The New York Times Book Review that "Ayers reminds us often that he can't tell everything without endangering people involved in the story."[29] Historian Jesse Lemisch (himself a former member of SDS) contrasted Ayers' recollections with those of other former members of the Weathermen, and claimed that the book had many errors.[30] Ayers, in the foreword to his book, stated that it was written as his personal memories and impressions over time, not a scholarly research project.[31] Reviewing Ayers' memoir in Slate Magazine, Timothy Noah said he could not recall reading "a memoir quite so self-indulgent and morally clueless as Fugitive Days".[32] Studs Terkel called Ayers' memoir "a deeply moving elegy to all those young dreamers who tried to live decently in an indecent world".[33]

 

Statements made in 2001

Chicago Magazine reported that "just before the September 11th attacks", Richard Elrod, a city lawyer injured in the Weathermen's Chicago "Days of Rage", received an apology from Ayers and Dohrn for their part in the violence. "[T]hey were remorseful," Elrod says. "They said, 'We're sorry that things turned out this way.' "[34]

 

Much of the controversy about Ayers during the decade since 2000 stems from an interview he gave to The New York Times on the occasion of the memoir's publication.[35] The reporter quoted him as saying "I don't regret setting bombs" and "I feel we didn't do enough", and, when asked if he would "do it all again", as saying "I don't want to discount the possibility."[31] Ayers protested the interviewer's characterizations in a Letter to the Editor published September 15, 2001: "This is not a question of being misunderstood or 'taken out of context', but of deliberate distortion."[36] In the ensuing years, Ayers has repeatedly avowed that when he said he had "no regrets" and that "we didn't do enough" he was speaking only in reference to his efforts to stop the United States from waging the Vietnam War, efforts which he has described as "...inadequate [as] the war dragged on for a decade".[37] Ayers has maintained that the two statements were not intended to imply a wish they had set more bombs.[37][38] In a November 2008 interview with The New Yorker, Ayers said that he had not meant to imply that he wished he and the Weathermen had committed further violence. Instead, he said, "I wish I had done more, but it doesn't mean I wish we'd bombed more shit." Ayers said that he had never been responsible for violence against other people and was acting to end a war in Vietnam in which "thousands of people were being killed every week". He also stated, "While we did claim several extreme acts, they were acts of extreme radicalism against property," and "We killed no one and hurt no one. Three of our people killed themselves."[39]

 

The interviewer also quoted some of Ayers' own criticism of the Weathermen in the foreword to the memoir, whereby Ayers reacts to having watched Emile de Antonio's 1976 documentary film about the Weathermen, Underground: "[Ayers] was 'embarrassed by the arrogance, the solipsism, the absolute certainty that we and we alone knew the way. The rigidity and the narcissism.' "[31] "We weren't terrorists," Ayers told an interviewer for the Chicago Tribune in 2001. "The reason we weren't terrorists is because we did not commit random acts of terror against people. Terrorism was what was being practiced in the countryside of Vietnam by the United States."[8]

 

In a letter to the editor in the Chicago Tribune, Ayers wrote, "I condemn all forms of terrorism—individual, group and official". He also condemned the September 11 terrorist attacks in that letter.[40]

 

Views on his past expressed since 2001

Ayers was asked in a January 2004 interview, "How do you feel about what you did? Would you do it again under similar circumstances?" He replied:[41] "I've thought about this a lot. Being almost 60, it's impossible to not have lots and lots of regrets about lots and lots of things, but the question of did we do something that was horrendous, awful? [...] I don't think so. I think what we did was to respond to a situation that was unconscionable."

 

On September 9, 2008, journalist Jake Tapper copied to his ABC News "Political Punch" blog and opined on a four-panel comic strip by Ryan Alexander-Tanner from Bill Ayers' blog site.[42] In the comic strip, the Ayers cartoon character says: "The one thing I don't regret is opposing the war in Vietnam with every ounce of my being... When I say, 'We didn't do enough,' a lot of people rush to think, 'That must mean, "We didn't bomb enough shit." ' But that's not the point at all. It's not a tactical statement, it's an obvious political and ethical statement. In this context, 'we' means 'everyone.' "[42]

 

After the 2008 presidential election, Ayers published an op-ed piece in the New York Times giving his assessment of his activism. Feminist critic Katha Pollitt criticized Ayers' opinion piece as a "sentimentalized, self-justifying whitewash of his role in the weirdo violent fringe of the 1960s–1970s antiwar left". She says Ayers and his Weathermen cohorts made "the antiwar movement look like the enemy of ordinary people" during the Vietnam War era.[43] Ayers gave this assessment of his actions:

 

The Weather Underground crossed lines of legality, of propriety and perhaps even of common sense. Our effectiveness can be—and still is being—debated.[44]

 

He also reiterated his rebuttal to the description of his actions as terrorism despite the use of shrapnel devices:

 

The Weather Underground went on to take responsibility for placing several small bombs in empty offices... We did carry out symbolic acts of extreme vandalism directed at monuments to war and racism, and the attacks on property, never on people, were meant to respect human life and convey outrage and determination to end the Vietnam war. Peaceful protests had failed to stop the war. So we issued a screaming response. But it was not terrorism; we were not engaged in a campaign to kill and injure people indiscriminately, spreading fear and suffering for political ends.[44]

 

Academic career

Ayers is a retired professor at the University of Illinois at Chicago, College of Education. His interests include teaching for social justice, urban educational reform, narrative and interpretive research, children in trouble with the law, and related issues.[4]

 

He began his career in primary education while an undergraduate, teaching at the Children's Community School (CCS), a project founded by a group of students and based on the Summerhill method of education. After leaving the underground, he earned an M.Ed from Bank Street College in Early Childhood Education (1984), an M.Ed from Teachers College, Columbia University in Early Childhood Education (1987) and an Ed. D from Teachers College, Columbia University in Curriculum and Instruction (1987).

 

Ayers was elected Vice President for Curriculum Studies by the American Educational Research Association in 2008.[45] Writer Sol Stern, a conservative opponent of liberal education policies, has criticized Ayers as having a virulent "hatred of America", and said, "Calling Bill Ayers a school reformer is a bit like calling Joseph Stalin an agricultural reformer."[46][47] William H. Schubert, a fellow professor at the University of Illinois at Chicago, wrote that his election was "a testimony of [Ayers'] stature and [the] high esteem he holds in the field of education locally, regionally, nationally, and internationally".[48]

 

He has edited and written many books and articles on education theory, policy and practice, and has appeared on many panels and symposia. On August 5, 2010, Ayers officially announced his intent to retire from the University of Illinois at Chicago.[49]

 

On September 23, 2010, William Ayers was unanimously denied emeritus status by the University of Illinois, after a speech by the university's board chair Christopher G. Kennedy (son of assassinated U.S. Senator Robert Kennedy), containing the quote "I intend to vote against conferring the honorific title of our university to a man whose body of work includes a book dedicated in part to the man who murdered my father, Robert F. Kennedy."[50] He added, "There is nothing more antithetical to the hopes for a university that is lively and yet civil...than to permanently seal off debate with one's opponents by killing them".[51] Kennedy referred to a 1974 book Prairie Fire: The Politics of Revolutionary Anti-Imperialism, written by Ayers and other Weather Underground members. The book was dedicated to a list of over 200 revolutionary figures, musicians and others, including Sirhan Sirhan, who was convicted of the 1968 assassination of Robert Kennedy and sentenced to life in prison.[52] Ayers denied having ever dedicated a book to Sirhan Sirhan and accused right-wing bloggers of having started a rumor to that effect.[53][54]

 

In an October 2010 Chicago Sun Times editorial entitled Attacks on Ayers distort our history, former students of Ayers and UIC Alumni, Daniel Schneider and Adam Kuranishi, responded in opposition to the University of Illinois Board of Trustees' decision to deny Ayers emeritus status. They wrote:

 

"We juxtaposed the image of him painted by the media with the teacher we saw in class; and the two could not be more distinct. The Ayers in the media was frozen in time; he never left the 1960s, never aged out of his 20s, and never grew in perspective. As his students, we see through this representation ... Ayers is still committed to movements for peace and justice. His worldview and tactics are evolved and elaborate, thoughtful and wise, making him unrecognizable to the media's caricature. Should we not expect someone to evolve after 40 years? One may disagree with his activism, but it is impossible to ignore his hard work and contributions to urban education, juvenile justice reform, the University of Illinois and Chicago."[55]

 

Civic and political life

Ayers worked with Chicago Mayor Richard M. Daley in shaping the city's school reform program,[56] and was one of three co-authors of the Chicago Annenberg Challenge grant proposal that in 1995 won $49.2 million over five years for public school reform.[57] In 1997, Chicago awarded him its Citizen of the Year award for his work on the project.[58] Since 1999, he has served on the board of directors of the Woods Fund of Chicago, an anti-poverty, philanthropic foundation established as the Woods Charitable Fund in 1941.[59] Wall Street Journal columnist Thomas Frank praised Ayers as a "model citizen" and a scholar whose "work is esteemed by colleagues of different political viewpoints".[60]

 

According to Ayers, his radical past occasionally affects him, as when, by his account, he was asked not to attend a progressive educators' conference in the fall of 2006 on the basis that the organizers did not want to risk an association with his past. On January 18, 2009, on his way to speak about education reform at the Centre for Urban Schooling at the University of Toronto, he was refused admission to Canada when he arrived at the Toronto City Centre Airport although he has traveled to Canada more than a dozen times in the past. According to Ayers, "It seems very arbitrary. The border agent said I had a conviction for a felony from 1969. I have several arrests for misdemeanors, but not for felonies."[61]

 

Political views

In an interview published in 1995, Ayers characterized his political beliefs at that time and in the 1960s and 1970s: "I am a radical, Leftist, small 'c' communist ... [Laughs] Maybe I'm the last communist who is willing to admit it. [Laughs] We have always been small 'c' communists in the sense that we were never in the Communist party and never Stalinists. The ethics of communism still appeal to me. I don't like Lenin as much as the early Marx. I also like Henry David Thoreau, Mother Jones and Jane Addams [...]".[62]

 

In 1970, The New York Times called Ayers "a national leader"[63] of the Weatherman organization and "one of the chief theoreticians of the Weathermen".[64] The Weathermen were initially part of the Revolutionary Youth Movement (RYM) within the SDS, splitting from the RYM's Maoists by claiming there was no time to build a vanguard party and that revolutionary war against the United States government and the capitalist system should begin immediately. Their founding document called for the establishment of a "white fighting force" to be allied with the "Black Liberation Movement" and other "anti-colonial" movements[65] to achieve "the destruction of US imperialism and the achievement of a classless world: world communism".[66]

 

In June 1974, the Weather Underground released a 151-page volume titled Prairie Fire, which stated: "We are a guerrilla organization [...] We are communist women and men underground in the United States [...]"[67] The Weatherman leadership, including Ayers, pushed for a radical reformulation of sexual relations under the slogan "Smash Monogamy".[68][69] Radical bomber and feminist[70] Jane Alpert criticized the Weatherman group in 1974 for still being dominated by men, including Ayers, and referred to his "callous treatment and abandonment of Diana Oughton before her death, and for his generally fickle and high-handed treatment of women".[71]

 

Larry Grathwohl, an undercover FBI agent who infiltrated The Weather Underground, says Ayers told him where to plant bombs. He says Ayers was bent on overthrowing the government. In response to Grathwohl's claims, Ayers stated, "Now that's being blown into dishonest narratives about hurting people, killing people, planning to kill people. That's just not true. We destroyed government property".[72]

 

On June 18, 2013, Ayers gave an interview to RealClearPolitics' Morning Commute in which he stated that every president in this century should be tried for war crimes, including President Obama for his use of drone attacks, which Ayers considers an act of terror.[73]

 

Obama–Ayers controversy

Main article: Bill Ayers 2008 presidential election controversy

During the 2008 U.S. presidential campaign, a controversy arose about Ayers' contacts with then-candidate Barack Obama, a matter that had been public knowledge in Chicago for years.[74] After being raised by the American and British press[74][75][76] the connection was picked up by conservative blogs and newspapers in the United States. The matter was raised in a campaign debate by moderator George Stephanopoulos, and later became an issue for the John McCain presidential campaign. Investigations by The New York Times, CNN, and other news organizations concluded that Obama did not have a close relationship with Ayers.[76][77][78][79]

 

In an op-ed piece after the election, Ayers denied any close association with Obama, and criticized the Republican campaign for its use of guilt by association tactics.[44]

 

Personal life

 

Bill Ayers and wife Bernardine Dohrn speaking to audience members following a forum on education reform at Florida State University in 2009.

Ayers is married to Bernardine Dohrn, a fellow former leader of the Weather Underground. They have two adult children (including Zayd, who was featured in the book A Hope in the Unseen as the college friend of the main character Cedric Jennings) and shared legal guardianship of Chesa Boudin, son of Kathy Boudin and David Gilbert. Boudin and Gilbert were former Weather Underground members who later joined the May 19 Communist Organization and were convicted of felony murder for their roles in that group's Brinks robbery. Chesa Boudin went on to win a Rhodes scholarship[80] and was elected District Attorney of San Francisco in November 2019.[81] Ayers and Dohrn currently live in the Hyde Park neighborhood of Chicago

Toronto, ON. André

The interior shows a man propositioning a youth. The composition is admirable for the easy juxtaposition of the figures, the characterization of the man by the purse and of the youth by the athletic equipment on the wall, and the emphasis placed on the hands in the center. The exterior shows young men with their older mentors or teachers. The fillets and wreaths indicate rewards for accomplishment.

 

Greek, Attic, red-figure, ca. 480-470 B.C. Attributed to Douris. Interior, youth and man. Exterior, obverse and reverse, youths and men.

 

Metropolitan Museum of Art, New York (52.11.4)

©erregiro2011

Belgian postcard by Ed. Weekblad Cinema, Antwerpen. French written caption: Buster Keaton, born in 1895, on the stage 24 hours after his birth, in the arms of his father.

 

Stone-faced Buster Keaton (1895-1966) was one of the three greatest comedians of Silent Hollywood.

 

Buster Keaton was born Joseph Frank Keaton in 1895 into a vaudeville family. His father was Joseph Hallie ‘Joe’ Keaton, who owned a travelling show with Harry Houdini called the Mohawk Indian Medicine Company. Keaton was born in Piqua, Kansas, the small town where his mother, Myra Keaton (née Myra Edith Cutler), happened to go into labour. By the time he was 3, Keaton began performing with his parents in The Three Keatons. He was being thrown around the stage and into the orchestra pit, or even into the audience. His little suits even had a handle concealed at the waist, so Joe could sling him like luggage. "It was the roughest knockabout act that was ever in the history of the theatre," Keaton told the historian Kevin Brownlow. It led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. Noticing that his laughing drew fewer laughs from the audience, Keaton adopted his famous deadpan expression whenever he was working. For the rest of his career, Keaton was "the great stone face," with an expression that ranged from the impassive to the slightly quizzical. By the time he was 21, his father's alcoholism threatened the reputation of the family act, so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film. In February 1917, Keaton met Roscoe ‘Fatty’ Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. He was hired as a co-star and gag man, making his first appearance in the short The Butcher Boy (Roscoe 'Fatty' Arbuckle, 1917). He appeared in a total of 14 Arbuckle shorts, running into 1920. They were popular and, Keaton and Arbuckle became close friends. Keaton was one of few people to defend Arbuckle's character during accusations that he was responsible for the death of actress Virginia Rappe in 1921. In The Saphead (Herbert Blaché, Winchell Smith, 1920), Keaton had his first starring role in a full-length feature. It was a success and Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week (Edward F. Cline, Buster Keaton, 1920), The Boat (Edward F. Cline, Buster Keaton, 1921), Cops (Edward F. Cline, Buster Keaton, 1922), and The Paleface (Edward F. Cline, Buster Keaton, 1922). Keaton then moved to full-length features. His first feature, Three Ages (Edward F. Cline, Buster Keaton, 1923), was produced similarly to his short films, and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the story lines and characterization. His most enduring features include Our Hospitality (John G. Blystone, Buster Keaton, 1923), The Navigator (Donald Crisp, Buster Keaton, 1924), Sherlock Jr. (Buster Keaton, 1924), College (James W. Horne, Buster Keaton, 1927), and The General (Clyde Bruckman, Buster Keaton, 1927). The General, set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline re-enacted an actual wartime incident. Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy. It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements.

 

Buster Keaton endured this treatment for two more feature films, including Steamboat Bill Jr. (Charles Reisner, Buster Keaton, 1928), and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, In 1921, Keaton had married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. She co-starred with Keaton in Our Hospitality. The couple had two sons, James (1922-2007) and Robert (1924–2009), but after the birth of Robert, the relationship began to suffer. Influenced by her family, Talmadge decided not to have any more children and this led to the couple staying in separate bedrooms. Her financial extravagance (she would spend up to a third of his salary on clothes) was another factor in the breakdown of the marriage. Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that MGM’s studio system would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage (Edward Sedgwick, Buster Keaton, 1929), as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton some creative participation on his last originally developed/written silent film The Cameraman (Edward Sedgwick, Buster Keaton, 1928). which was his first project under contract with them. Keaton was forced to use a stunt double during some of the more dangerous scenes, something he had never done in his heyday, as MGM wanted badly to protect its investment. Some of his most financially successful films for the studio were during this period. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber (Edward Sedgwick, 1932), Speak Easily (Edward Sedgwick, 1932), and What! No Beer? (Edward Sedgwick, 1933). In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. In 1932, Nathalie Talmadge had divorced Keaton, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. With the failure of his marriage, and the loss of his independence as a filmmaker, Keaton lapsed into a period of alcoholism.

 

Buster Keaton was so demoralized during the production of What! No Beer? (Edward Sedgwick, 1933) that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing. Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. When they divorced in 1936, it was again at great financial cost to Keaton. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées/The King of the Champs Elysees (Max Nosseck, 1934) with Paulette Dubost. In England, he made another film, The Invader/An Old Spanish Custom (Adrian Brunel, 1936). Upon Keaton's return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself, often recycling ideas from his family vaudeville act and his earlier films. The high point in the Educational series is Grand Slam Opera (Buster Keaton, Charles Lamont, 1936), featuring Buster in his own screenplay as a contestant in a radio amateur hour show hoping to win the first price... by dancing and juggling. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films At the Circus (Edward Buzzell, 1939) and Go West (Edward Buzzell, 1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television. In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for two years. The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's Three Stooges comedies. Keaton's personal favourite was the series' debut entry, Pest from the West (Del Lord, 1939), a shorter, tighter remake of The Invader (1936). Keaton's Columbia shorts rank as the worst comedies he made.

 

Buster Keaton's personal life stabilized with his 1940 marriage with Eleanor Norris, a 21-year-old dancer. She stopped his heavy drinking, and helped to salvage his career. He abandoned Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in features. He made his last starring feature El Moderno Barba Azul/Boom In The Moon (Jaime Salvador, 1946) in Mexico. Critics rediscovered Keaton in 1949. He had cameos in such films as In the Good Old Summertime (Robert Z. Leonard, 1949), Sunset Boulevard (Billy Wilder, 1950), and Around the World in 80 Days (Michael Anderson, 1956), and did innumerable TV appearances. Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952). In 1954, Keaton and his wife met film programmer Raymond Rohauer, with whom the couple would develop a business partnership to re-release Keaton's films. Around the same time, after buying the comedian's house, the actor James Mason found numerous cans of Keaton's films. Keaton had prints of the features Three Ages, Sherlock, Jr., Steamboat Bill, Jr., College (missing one reel) and the shorts The Boat and My Wife's Relations, which Keaton and Rohauer transferred to safety stock from deteriorating nitrate film stock. Unknown to them at the time, MGM also had saved some of Keaton's work: all his 1920-1926 features and his first eight two-reel shorts. In 1962 came a retrospective at the Cinematheque Francaise in Paris, and in 1965 a tribute at the Venice Film Festival. "I can't feel sorry for myself," he said in Venice. "It all goes to show that if you stay on the merry-go-round long enough you'll get another chance at the brass ring. Luckily, I stayed on." In 1960, Keaton had returned to MGM for the final time, playing a lion tamer in an adaptation of Mark Twain's The Adventures of Huckleberry Finn (Michael Curtiz, 1960). Later Keaton played a cameo in It's a Mad, Mad, Mad, Mad World (Stanley Kramer, 1963) and starred in four films for American International Pictures: Pajama Party (Don Weis, 1964), Beach Blanket Bingo (William Asher, 1965), How to Stuff a Wild Bikini (William Asher, 1964) and Sergeant Deadhead (Norman Taurog, 1964). As he had done in the past, Keaton also provided gags for the four AIP films. In 1965, Keaton starred in the short film The Railrodder (Gerald Potterton, Buster Keaton, 1965) for the National Film Board of Canada. Wearing his traditional pork pie hat, he travelled from one end of Canada to the other on a railway motorcar, performing a few stunts similar to those in films he did 50 years earlier. The film was Keaton's last silent screen performance. He also played the central role in Samuel Beckett's Film (Alan Schneider, 1965) and travelled to Italy to play a role in Due Marines e un Generale/War Italian Style (Luigi Scattini, 1965), with Italian comedy duo Franco Franchi and Ciccio Ingrassia. Keaton's final film was A Funny Thing Happened on the Way to the Forum (Richard Lester, 1966) which was filmed in Spain in September-November 1965. He amazed the cast and crew by doing many of his own stunts. Shortly after completing the film, Keaton died of lung cancer in 1966 at his home in Woodland Hills, California. He was 70. In 1987, the documentary, Buster Keaton: A Hard Act to Follow, directed by Kevin Brownlow and David Gill, won two Emmy Awards.

 

Sources: Roger Ebert, Nicolette Olivier (IMDb), New York Times, Wikipedia, and IMDb.

erregiro®2012

Said to have been erected in 1649 by John Budd, who later gave it to his daughter as a wedding present, this house is notable as one of the most distinguished surviving examples of English domestic architecture in America, according to the home’s application in the National Register of Historic Places.

 

The house was then moved from its original location and re-erected at a cost of twenty pounds "Boston Money," according to the application. “At the time of the move, the Old House was relocated on the northern outskirts of the Broadfields, a 240 acre tract of arable land which the local Indians had been cultivating for years. To the north of the house ran the King's Highway, now State Route 25."

 

The house was restored in 1940.

 

According to a 2018 Suffolk Times article, tests of the wood from the home revealed that it might have been constructed closer to 1699, 50 years after it was originally thought to have been built.

  

www.longisland.com/news/10-29-20/history-photos-of-old-ho...

  

This house, which notably commemorates English settlement on Long Island, is undoubtedly one of the most distinguished but least known examples of English domestic architecture in the United States. It was erected in 1649 by John Budd at Southold, some 10 miles northeast of its present site. A decade later, Budd built a more imposing home and gave his original house as a wedding gift to his daughter, Anna, bride of Benjamin Horton, who moved it to its present location and re-erected it. It subsequently passed into the hands of Joseph Wickham, a master tanner, who lived in it until his death, in 1734. Later, in 1784, it was confiscated from Parker Wickham, who had been a Loyalist during the War for Independence, after which its owners in turn were Jared Landon and William Harrison Case. The Case heirs donated it to the Congregational Society of Cutchogue.

 

Present Appearance. The house has two floors and an attic. On the first floor are the kitchen and "hall," and on the second floor are two bedrooms. The great brick chimney, whose top is pilastered, lies to the left of the center of the house. A steep winding stair leads to the second story. The stair from the second floor branches to give access to the attic, which is split in two by the great chimney.

 

The kitchen, on the left of the entrance, features a huge fireplace. The fireplace in the "hall," on the right of the entrance, is the same size. Both fireplaces have been somewhat reduced by the construction of smaller fireplaces inside the originals. The smaller fireplaces were added around the middle of the 18th century, probably when paneling was placed over the original walls.

 

The original random-width wallboards were removed and used on the exterior to replace the original hand-rived oak boards. The exterior was then lathed and plastered. Construction details throughout the house are unusually fine and reflect the work of a master builder. The three-part casement window frames on the north wall of the second floor are especially notable. Traces have also been found of the casement windows that were originally on the first floor.

 

The house was restored in 1940 in connection with the Southampton Old Town Tercentenary Celebration, through the efforts of the Tercentenary Committee, the Case family, and the Independent Congregational Church of Cutchogue. The church purchased the land and the Case family donated the building. Church funds and private contributions made the restoration possible. When the house was restored, the plastered walls and a saltbox roof were removed. The gunstock posts on the second floor and all interior framework were left exposed. Furnishings are of the 17th and 18th century. Among the historic items displayed is the original confiscation deed of 1784. The structure is in very good condition and is open to visitors on a regular schedule. [54]

  

www.nps.gov/parkhistory/online_books/explorers/sitec46.htm

  

According to the results of a 2003 dendrochronology study, the house was built ca. 1699.[4] Cutchogue-New Suffolk Historical Council, the owner of the house, commissioned a second dendrochronology study in July 2017 to verify the build date, with the same results.[5][6]

 

Prior to 2017 The Old House was thought to have been built by John Budd on land east of town near a pond that became known as Budd Pond. John Budd's daughter Anna and her husband Benjamin Horton were deeded a house in 1658 as a wedding present. They moved it to a location in the village of Cutchogue. Benjamin's brother John inherited the house and sold it to Joseph Wickham in 1699. These events and transactions are well documented.[7]

 

Post 17th century

Edit

Parker Wickham (February 28, 1727 – May 22, 1785), famous for being a Loyalist politician during the American Revolution and who was banished from the state of New York under dubious circumstances, owned and lived in the house.[3] It was damaged by the Hurricane of 1938 which swept away surrounding trees, leaving it visible from the street and coming to public attention,[6] restored in 1940, and restored again in 1968.[3]

 

It was declared a National Historic Landmark in 1961.[2] The house is located on the Cutchogue Village Green, along with the 1840 Old Schoolhouse, the 1704 Wickham Farmhouse, a barn, the Cutchogue New Suffolk Free Library, a 19th-century carriage house, and the Old Burying Ground dating from 1717. The buildings are owned and maintained by the Cutchogue-New Suffolk Historical Council, which gives guided tours in the summer.

  

"National Register Information System". National Register of Historic Places. National Park Service. July 9, 2010.

^ Jump up to: a b c "The Old House (Cutchogue)". National Historic Landmark summary listing. National Park Service. September 18, 2007. Archived from the original on June 6, 2011.

^ Jump up to: a b c d Greenwood, Richard (July 14, 1975). National Register of Historic Places Inventory-Nomination: The Old House (pdf). National Park Service. and Accompanying 5 photos, exterior, from 1975. (1.53 MB)

^ "New York". Oxford Tree-Ring Laboratory. Retrieved May 16, 2022.

^ Wick, Steve (April 12, 2018). "North Fork History Project: When was Cutchogue's Old House built?". The Suffolk Times. Retrieved April 12, 2018.

^ Jump up to: a b Siford, Rachel (June 22, 2017). "Cutchogue's Old House losing distinction as oldest English-style home in NYS". The Suffolk Times. Retrieved April 1, 2018.

^ Hall, Warren (1975). Pagans, Puritans, and Patriots of Yesterday’s Southold. Cutchogue-New Suffolk Historical Council. ASIN B0006CJTLS.

  

I am writing, not to argue “who came first” to Southold and Southampton, as debated in your article “So, who was really here first?” (Feb. 22), but to challenge the new assumption about Cutchogue’s venerable Old House, a National Historic Landmark, made by Zach Studenroth, director of the Cutchogue-New Suffolk Historical Council, who was featured in the article. Although I disagree with the current “reinterpreting” he is directing at the Old House that involves replacing longtime antique furnishings from local families with reproductions, I disagree even more strongly with the proposed renaming and redating of this National Historic Landmark based on inconclusive evidence from dendrochronology studies.

 

He now maintains, based on a dendrochronology study, that the Old House was not built in 1649 by John Budd, but in 1699 by Joseph Wickham when he came to Cutchogue 50 years later from Southampton. Mr. Studenroth and the recently hired curator now propose the landmark be renamed and redated the “1699 Joseph Wickham House.” Nor do I agree that some early local history was “little more than cheerleading” as stated in The Suffolk Times’ North Fork History Project article.

 

Mr. Studenroth’s assumption based wholly on dendrochronology is faulty. I believe the local historians, who have written that the Old House, built ca. 1649 in Southold by first settler John Budd, moved to its present site on the Cutchogue Village Green by Benjamin and Anna Budd Horton in 1660, and restored for the tercentenary celebration of Southold Town in 1940, are basically correct.

 

Although I’ve worked with Mr. Studenroth and respect his past work for the council, I believe strongly that he is incorrect in his new assumption about the Old House. How can he totally ignore the 50 years of documented residence of the Budds and Hortons, who lived there from 1649 to 1699, and just sweep them under the proverbial rug?

  

I have re-researched several local documents and histories, especially the transcription of the deed of sale of the property from John Horton (Benjamin’s brother and heir) to Joseph Wickham (1698-’99); “John Budd and Some of His Descendents,” by Lily Wright Budd; and “Pagans, Puritans, and Patriots of Yesterday’s Southold,” by Warren Hall. Both of the latter books by respected historians confirm the long-accepted history and dates of the Old House. I firmly believe the Old House was not built and first occupied by Joseph Wickham when he came to Cutchogue from Southampton in 1699.

 

Regrettably, Mr. Studenroth is basing his new assumption on a dendrochronology study, first conducted in 2007 when I was chair of the Old House Society, before we merged with the Historical Council. I basically ignored the study for reasons I’ll explain later. A more recent study supposedly was done under Mr. Studenroth’s direction.

 

Dendrochronology in its simplest form is a matter of counting tree rings — one ring, one year — on wood slivers or borings from timbers used in Colonial house framing. But it’s not always that simple. In fact, Dr. Ron Towner, associate professor of dendrochronology at the world-famous Laboratory of Tree-Ring Research at the University of Arizona, states “Only about 40 percent of tree samples are successfully dated by dendrochronology. Natural variations, sudden climate changes, or if a tree is planted near a creek or river, for example, it may get so much water that the rings no longer equate to each year elapsed.”

 

However, in a recent phone conversation with Dr. Towner, he explained that counting rings alone does not tell dendrochronologists what time period the tree is from. To find that out, scientists must focus on the pattern of rings rather than the number of them. I can’t see how a small boring can show a pattern, but a slice of the tree could. The slice would have to have been taken before the timber was installed in the building.

 

Also, in the case of the Old House, there is some speculation that it was built on John Budd’s land near Budd’s Pond in Hashamomuck, where much of the land is near water and marshes, not on his home lot in the village of Southold. If so, the timbers may have gotten so much water that the rings no longer equated to each year elapsed, as Dr. Towner speculated.

  

The Old House, venerated by not only the residents of Cutchogue in particular but the North Fork in general, as well as by visitors and historians from all over the world, must not be incorrectly re-interpreted and re-named based on inconclusive, most likely incorrect, research.

 

Since there is no definite proof for changing the name and date of the Old House, they must not be tampered with. It should keep the honor and distinction of “the oldest English house in the state” built in 1649. I am confident that the trustees of the Historical Council will understand and appreciate my research and will direct Mr. Studenroth not to change the date and name of the Old House, our National Historic

  

suffolktimes.timesreview.com/2018/03/equal-time-theres-mo...

  

In May 1637, a ship called the “Hector” sailed out of London, bound for Boston in England’s newly established American colonies. Aboard this ship was a wealthy British shipping merchant, John Budd, his wife Katherine Browne (1606 – 1674, a woman possibly of royal ancestry), and their children. Together, they were among my earliest ancestors to sail to America.

In August 1637, an exploring party of English settlers sailed out of Boston Harbor, went down the coast several miles, and landed at a place that the Native Americans called “Quinnipiac” (or “Long Water Place”). The explorers liked what they saw and left seven of their men to prepare the area for occupation by Puritan colonizers. On March 30, 1638, a large company of settlers sailed out of Boston for the new site. Among them were the Budds. On April 16, 1638, they landed at the new site to found New Haven Colony. Other ships followed, bringing more settlers. The settlers quickly began their new colony. In late 1638, they purchased the land from the area’s Native Americans. John Budd was assigned lot no. 56. On October 25, 1639, the settlers elected their community government. John Budd was among the men signing a Fundamentalist Agreement formally establishing New Haven Colony.

Most of the first settlers at New Haven were Puritans — a strict religious group that later formed the basis for the Congregational Church (United Church of Christ) in the United States. John Budd, however, was a member of the Church of England, which became the Episcopal Church in America. Because he was not Puritan, Budd lived in some tension with his neighbors. At one point, he was fined by the New Haven magistrates for hiding and protecting Quakers, a Christian group that the Puritans opposed and were trying to keep out of New Haven. In September 1640, John Budd left New Haven with his and some other New Haven families on a ship bound for the northeastern edge of Long Island to establish a settlement there, which they named Southold. Once again, Budd was an Anglican adherent amid Puritans set on establishing a new community structured around their specific religious and moral beliefs. Most of the other Southold founders had originally sailed under the leadership of the Puritan cleric Christopher Youngs, first from England to Salem, Massachusetts, in 1637 and then from Salem to New Haven. In New

Haven, Puritan leaders intent on establishing new religious communities in New England persuaded Rev. Youngs to sail across Long Island Sound with his followers to settle land on the island’s North Fork that they had acquired from the island’s Corchaug natives.

John Budd, who was beyond doubt the wealthiest man in the new settlement, quickly established himself as one of the leaders of the new community. Because Southold was included in the United Colonies of New England, its residents were expected to select Deputies to attend the colonies’ General Court in Hartford, Connecticut. Budd was the first deputy appointed to the court by the people of Southold. Budd was also the town’s first authorized officer to train the local home guard, a responsibility which earned him the title of Lieutenant. Budd was apparently so highly respected and successful in this responsibility that, when he made a trip overseas in 1654, colonial records in New Haven recorded that “By reason of Budd’s absence Southold is left destitute of a fitt man to exercise the military company there since Lt. Budd went to England.”

In 1649, Budd built his family a home east of town near a pond which became known as Budd’s Pond. In 1658, he deeded the house to his daughter and son-in-law, Anna and Benjamin Horton, as a wedding gift. They moved the house 10 miles away to the village of Cutchogue.

By some point in the early 1660s, either Budd or his son, John Budd, Jr., had bought a plot of land just west of the Barnabas Horton home plot in Southold as a new home site. The Southold Historical Society’s manual, Guide to Historic Markers, described this house as “probably the most pretentious of the early settler homes.”

Despite his civic leadership, Budd’s tenure in Southold apparently was one of controversy as well. He was a major landholder in Southold. As such, he was legally accountable to the local general court (composed solely of church members) who were required to review and approve or deny any settler’s request to sell his home or land. Budd clearly possessed a strong independent spirit, and in 1657 he sold some of his land without asking “permission.” As a result, he was sued by three other Southold settlers; the final disposition of this case is not clear.

Budd clearly grew restless during his tenure at Southold. As in New Haven, Southold’s general court governed the town in accord with strict Puritan standards, and Budd was still an Anglican. He apparently explored the predominantly Anglican settlements in Virginia, but decided against settling there. Budd’s true desire seems to have been, in essence, to establish his own colony, where he would have been answerable to no one, and he was willing to use his wealth to create this personal domain. In 1661, he decided to leave Long Island and move to an area that was at the time on the very southwestern edge of the Connecticut Colony.

In January 1660, three residents of Greenwich, Connecticut — Peter Disbrow, John Coe, and Thomas Stedwell — negotiated and purchased from the area’s Mohegan natives a tract of land southwest of Greenwich known as Peningo Neck. The land stretched on the west from a stream known as Blind Brook east to Long Island Sound. The sale apparently did not include Manussing Island in the Sound, just off the shore, so in June 1660, the three men purchased this land as well. In May 1661, they purchased additional land on the north edge of Peningo Neck.

Disbrow and the others in his party were more interested in securing title to land than in settling it immediately. This created an opportunity for someone else to take the lead in establishing a new community, and as a

A abandoned centuries-old house found in the woods near Cutchogue in the early 1900s was long thought to be the house built by John Budd and given to his daughter and son-in-law. Known as “The Old House,” it was was listed on the Register of National Historic Sites in 1962 and is still maintained by the Cutchogue -New Suffolk Historical Council. However, two dendrochronology studies done on the house in 2008 and 2017 each confirmed that it was built from trees felled in 1698 and could not possibly have been built until 1699, when Budd’s house and the land it stood on had long passed out of Budd and Horton family ownership.

 

successful and wealthy businessman, John Budd was quick to take advantage of the opportunity. On November 8, 1661, Budd concluded his separate negotiation with a Mohegan chief to buy a large (4,800-acre) piece of land immediately across Blind Brook from the Disbrow company’s landholdings. This land became known as Budd’s Neck. On November 12, 1661, Budd added to his landholdings by purchasing from the area’s natives some islands in the immediate vicinity. In June 1662, Budd then acted with Disbrow, Coe, and Stedwell jointly to purchase yet more land directly north of Budd’s Neck.

One of the first buildings constructed in this new community was Budd’s Mill, at the mouth of Blind Brook. He operated the grist mill, which proved to be very successful with the new inhabitants of Peningo Neck.

Disbrow selected the name of Hastings for his new holdings. He apparently also considered Budd’s lands to be part of the new Hastings town, whose settlement he intended to oversee. Budd obviously had other ideas. He was determined that his personal landholdings would be a separately governed jurisdiction. By the fall of 1664, he had assigned to his lands the name of Rye, perhaps because of his family’s close connections with the town of Rye in his native England. Disbrow regarded this behavior as a threat to the future of “his” colony. For the next several years, Budd and Disbrow battled in court over whose approach was to predominate. In the course of that legal action, it was agreed that the name Rye would be assigned to the entire Peningo Neck settlement area. The more substantial issues, however, were still unresolved in 1669, when John Budd turned over his landholdings in both Southold and Rye to his son, John Budd, Jr., and retired from public life.

Despite his contentiousness with Disbrow and resulting legal conflicts, Budd quickly established himself as a political leader across the entire Hastings/Rye area (again, much as he

had in Southold). Biographer Lily Wright Budd describes his responsibilities:

... John Budd was elected as the first representative when Hastings [formally] submitted to the jurisdiction of Connecticut on 26 January 1662 and he was elected as Hastings’ first Deputy to the General Court in Hartford on 26 March 1663.... At the session of the General Court in Hartford on the 8th of October 1663, “Lnt John Bud” makes his appearance, and “is appointed Commisioner for the Town of Hastings, and is invested with Magistraticall power within the limits of that Town.”

As magistrate, Budd was “commis- sioned to grant warrants” and “to marry persons,” and he had clear authority to arrest “such as are ouer- taken with drinke, swearing, Sabboath breaking, slighting of the ordinances, lying, vagrant persons, or any other that shall offend in any of these.”

As noted above, John Budd retired from public life in 1669. He died in Rye in 1670 and is presumed to have been buried in a private family plot a short distance north of Budd’s Mill.

The Budd family estate in Budd’s Neck was passed down through the generations to John Budd, Jr., then to Joseph Budd, then to his son John Budd

 

TO LEARN MORE

(1696–1757), my great-great-great- great-great-grandfather. In 1745, this latter John Budd sold the land — the bulk of it (over 250 acres) to a local merchant, Peter Jay, who named it “The Locusts.” The estate then became the childhood home to Peter’s son, John (1745–1827) — who was President of the Continental Congress (1778–1779), U.S. Secretary of Foreign Affairs (1784– 1789), the first Chief Justice of the U.S. Supreme Court (1789–1795), and Governor of New York (1795–1801). Thus, much of the original Budd family estate in Rye, New York, is now a National Historic Landmark as the Jay Heritage Center.

Baird, Charles W. History of Rye, Westchester County, New York, 1660– 1870. Camden, ME: Picton Press, 1994 reprint.

Bayles, Donald M. Southold’s Founders and Their Home Lots. Southold, NY: Southold Historical Society, 2000.

Budd, Lily Wright. John Budd, 1599- 1670, and Some of His Descendants. Franktown, CO: 1992. Chapter 1, “John Budd and Katherine Browne”; “Katherine’s Legend: The Story of the Brownes and the Fitzalans.”

Cutchogue-New Suffolk Historical Council. “The Old House.” ( www.cutchoguenewsuffolkhistory.org /timeline/the-old-house-2/)

Frost, Josephine C. The Frost Genealogy: Descendants of William Frost of Oyster Bay, New York. New York: Frederick H. Hitchcock, 1912.

Hall, Warren. Pagans, Puritans, and Patriots of Yesterday’s Southold. Cutchogue, NY: Cutchogue-New Suffolk Historical Council, 1975.

Jay Heritage Center. Web page — “Biographical Sketches: Residents and Succession of Ownership of the Jay Estate in Rye” ( www.jaycenter.org/bio.html).

Rymph, Levi Budd. Come In and Sit a Spell! Wichita, KS: 1973. Basic genealogy of the ancestors of Levi Budd Rymph and Jessie Mae Hershey.

Siford, Rachel. “Cutchogue’s Old House Losing Distinction as Oldest English- style Home in NYS.” The Suffolk Times. June 22, 2017 (suffolktimes. timesreview.com/2018/04/north-fork -history-project-cutchogues-old- house-built/)

Southold Historical Society. Guide to Historic Markers: First List of Historic Markers Placed in Southold, Peconic, and Arshamomaque. Southold, NY: Southold Historical Society.

Wick, Steve. “North Fork History Project: When Was Cutchogue’s Old House Built?” The Suffolk Times. April 12, 2018 (suffolktimes. timesreview.com/2018/04/north-fork -history-project-cutchogues-old- house-built/)

  

bradleyrymph.com/genealogy_budd-john.pdf

  

Parker Wickham was born in Southold Town on eastern Long Island, New York on February 28, 1727. One of nine children, he was the son of Joseph Wickham and Abigail Parker. His father was a large landholder and area native who lived from 1701 to 1749, serving as a justice, town assessor, and commissioner of roads. Parker's grandfather, another Joseph Wickham, was a well-to-do master tanner who had moved from Connecticut to Southampton, Long Island before finally settling in the village of Cutchogue in Southold Town in 1699. Parker's great grandfather Thomas Wickham, a Puritan settler, emigrated to Wethersfield, Connecticut in about 1648 from England. One of Parker's brothers, Daniel Hull, was a New York City merchant, while his brother John was an Anglican minister. His sister Abigail was married to Rev. Thomas Paine, a son of Ruth Adams and a third cousin of President John Adams. Parker had a distinguished cousin in William Wickham, who belonged to an elite society called the Moot, of which Patriot leader John Jay was also a member. A Yale '53 graduate, William worked as an attorney in New York City and Orange County, where his son, George Duncan Wickham, later became a prominent businessman. Like Parker, William was a Loyalist during the American Revolution, but he emerged unscathed because he did not take an active role. His associate John Jay, who became President of the Continental Congress and first Chief Justice of the United States, was active after the war in working to repeal repressive anti-Loyalist laws that affected the Wickhams. Parker had another notable family member in Noyes Wickham, a second cousin who lived in Mattituck, a village about three miles from Parker's home that was also part of the Town of Southold. After the American Revolution, Noyes moved to Ridgebury in Orange County, New York, where he owned a 1,000 acre farm and was the head of a very large family with many descendants, as profiled in the book The Descendants of Noyes Wickham, Senior of Ridgebury, Orange Co., NY by Evelyn Wornham Wickham. Notable kin on Parker's mother's side includes Benjamin Harrison, 23rd President of the United States, who was a descendant of Parker's great grandparents Deliverance King and John Tuthill.

Parker resided in what was by then the ancestral home, a famous structure today known as the Old House (see picture), which is currently part of a museum complex on the village green of Cutchogue. Open to the public during the summer, it is considered one of the finest American examples of domestic 17th century English architecture, and was a mansion in its day when it was built in 1649 (see historic marker). One of the oldest houses in New York State, it had been constructed by prosperous shipping merchant John Budd, great grandson of the 16th Earl of Warwick, and given to his daughter Anna and son-in-law Benjamin Horton as a wedding present. The house was originally erected in the village of Southold, but in June of 1660 it was moved six miles to Cutchogue, then a wilderness area with no European settlers nearer than two days' journey to the west. The Hortons had no children, so Parker's grandfather purchased the house in 1699 and in 1749 it was inherited by Parker. As detailed below, the house was confiscated at the end of the American Revolution, and auctioned off in 1784 to Parker's nemesis Jared Landon, who because of Parker's efforts, had previously been imprisoned for guiding Patriot raids against Long Islanders. However, the Wickham family regained possession of the property in 1867, when it was purchased from Landon's grandnephew by William Harrison Case and his wife Hannah "Nancy" Wickham, Parker's great-granddaughter. They were the last family to live in the house, and by the early 1900's, the house was showing its age and became a storage facility for farm machinery. Eventually, its great historical value was recognized, and it was acquired from the Case family by the Independent Congregational Society of Cutchogue in 1939. With the help of many groups, it was restored and dedicated as part of the Tercentenary Celebration of Southold Town in 1940, became a National Historic Landmark in 1962 and was listed on the National Register of Historic Places in October, 1966. In 1999, the 350th anniversary of the construction of the Old House was celebrated, with descendants from the Budd, Horton, Wickham, Landon and Case families attending. The rectangular house, which features clapboard siding and a spectacular English-style chimney, measures 20 x 40 feet, and has two floors and an attic, but no cellar. The first floor contains a kitchen and parlor, each with large fireplaces, while the second floor contains two bedrooms. Of utmost significance are the three-part casement window frames on the north wall of the second floor, considered the most outstanding examples of this architecture in the country (see picture).

 

Parker's father died in only his 47th year, so at age 22, Parker inherited a sizable amount of property including 590 acres of farmland in Cutchogue, 900 acres of additional property in nearby Riverhead, and the storied 445 acre Robins Island, situated in the center of Long Island's Peconic Bay. Parker's grandfather Joseph Wickham had purchased the Cutchogue property in 1699 and Robins Island in 1715. The Riverhead property had been given to Parker's parents in 1727 by his maternal grandfather John Parker. As the eldest son, Parker received all of the ancestral landholdings because his family believed in the English aristocratic concept of primogeniture. On December 14, 1752, Parker married Mary Goldsmith and they eventually had six children: Joseph Parker, John, Thomas, Parnel, Hellen and Sarah. Parker had already begun a slow but relentless climb in local area politics, first being elected to the position of Fence Viewer and Prisor of Damage in 1751, responsible for establishing property boundaries. In the years 1754 and 1755, he was elected Overseer of the Poor, charged with providing for the area's paupers. He was appointed justice for the County of Suffolk in 1763. After being elected town assessor in 1765 and 1766, he was elected town supervisor of Southold Town for the first time in 1767, the highest post of the local government, and held the position for an impressive nine one-year terms. At the time, the Town of Southold included what is today the Town of Riverhead, so Parker oversaw an area stretching approximately 35 miles along the north-east coast of Long Island, a district of about 121 square miles of land. In his capacity as a public servant, Parker was active in working to improve the living conditions of Long Island's few remaining Native Americans. Working with a legal representative of New York's colonial governor, he took statements from local citizens about Indian properties and the documentation bearing his signature still survives. Parker was also commissioned a major in the local militia, after he and seven other townsmen petitioned the lieutenant governor of New York to form themselves into "a compleat organized company of Troopers" for the Town of Southold.

 

Just 19 days before the start of the American Revolution, Parker left elected office for two crucial years, from April 1775 to March 1777, although it was clear he at least tacitly supported the Loyalist cause, as did many other family members, including his nephew John Wickham, the prominent Federalist, who enlisted in a Loyalist regiment. In August of 1776, Washington was routed by the British in the Battle of Long Island, so the Town of Southold came under firm British control. Many die-hard Patriots moved to Connecticut, which was used as a staging ground to launch raids into Long Island. While some of these raids were directed against British military posts, often times the raiders would pillage the farms of suspected Loyalists and even kidnap the owners. This caused economic hardship for the affected families and created an atmosphere of public fear. In April of 1777, Parker came out of political retirement and was elected to his ninth term as town supervisor, during a time when British military fortunes were at their peak, shortly before the crushing British defeat in upstate New York at Saratoga in October of that year, an event which proved to be the turning point of the war. With a clear mandate to improve public security and proclaiming that "I will not raise my hand against my king," Parker, in his role as an elected government official, denounced those he suspected of guiding the raids against Long Islanders, causing some to be jailed and earning him considerable enmity from certain neighbors, especially the Landons, a politically active family committed to the Patriot cause who had publicly quarreled with Parker before. However, Southold at the time had a majority of Loyalist citizens and Parker enjoyed wide, though hardly universal, support in his efforts to protect citizens from what he saw to be a fringe minority breaking the law. But on December 13, 1777, a Patriot force from Connecticut raided Southold and kidnapped Parker, who was still serving out his term as town supervisor. He was taken back to Connecticut, where he has held captive in a house under armed guard. When Washington learned of the raid, which included additional objectives besides Parker's abduction, he was quick to express his concerns that these operations did more harm than good, writing to a subordinate that he has "ever been averse to these small excursions, especially when they divert our attention from more material Objects."

 

Parker was paroled later in the war, so he returned to Long Island, which remained under British control, but on October 22, 1779, New York's legislature passed a bill of attainder which named Parker as one of 59 English sympathizers (and one of three in Suffolk County), stripping him of his property and banishing him from the state. Bills of attainder were outlawed by Article I of the Constitution of the United States in 1789, but previous to that time they were frequently used by lawmakers to destroy the careers of political rivals by declaring them guilty of some crime, but without any burden of proof. With Long Island still under British control, Parker had little to fear of being attainted, but after the British defeat at Yorktown in 1781, it was clear what the future held. Meanwhile, Parker's wife Mary died on April 4, 1783 at age 49 and was buried in Cutchogue. After the British evacuation of eastern Long Island on November 22, 1783, New York State was finally able to enforce its bill and Parker's property was appraised and sold at auction in the late summer of 1784 by the commissioners of forfeiture. Political opponent Jared Landon moved into Parker's home, while Robins Island, after being purchased at auction by two of Washington's top spies, went to Ezra L'Hommedieu, a Southold native who had prepared the confiscation bill while in the state assembly. Parker's estate in Riverhead was turned into the downtown district of that growing village. An ailing Parker had already been forced to move to New London County, Connecticut, due to the banishment provision of the act of attainder, which reads: "Persons herein before particularly named, shall be, and hereby are declared to be forever banished from this State; and each and every of them, who shall at any time Time hereafter be found in any Part of this State, shall be, and are hereby adjudged and declared guilty of Felony, and shall suffer Death as in Cases of Felony, without Benefit of Clergy." Broken by the experience, Parker soon died in Connecticut on May 22, 1785 and was buried there in Waterford (see gravestone). Just before his death, he wrote a family member that "I have acted consistently and consciously throughout my whole conduct, with a firm belief there is a future existence, and defy the state to produce one instance wherein I have acted rigidly, defrauded, or abused one member of it, although it was in my power." His son Joseph, who had already sailed to Antigua to engage in trade, was clearly embittered by these events, writing from Dublin in October of 1790 that "I never more expect to see my Native Country. In short the suffering of our family have been so Great in it that I don't want to see it. I am a Single Man and the World is before me." But a year later he returned to Cutchogue and eventually purchased a farm there.

 

Ironically, the timing of Parker's death just after the close of the American Revolution helped enable the Wickham family to remain on Long Island, rather than moving to Nova Scotia or England, since only Parker had been named as a Loyalist. Furthermore, the British government agreed in December of 1789 to partially compensate Parker's son Joseph for the loss of property, paying him 2,800 pounds sterling, a modest fortune that was about half of his total losses. Before his death in 1785, Parker considered seeking additional relief from the State of New York, but decided it was unethical, writing: "As application is already made for redress of grievances to another quarter, I think it scandalous and hypocritical to apply for redress of grievances to two opposite parties for the same thing." Financially aided by the payment from the British government, members of the Wickham family, such as Parker's great-grandson William Wickham, a four-term district attorney, continued to be prominent in the Cutchogue area, somewhat to the surprise of Parker's political enemies. (Other descendants such as healthcare pioneer William Hull Wickham, farmer James Parker Wickham and banker spouse Matilda Briggs Wickham would also prosper in New York State.) Yet the confiscation of Parker's property has remained controversial over the centuries for a number of reasons, including that it occurred in violation of the terms of the Treaty of Paris, which ended the American Revolution. In addition, Parker's guilt was determined by a legislature rather than a court and there was no chance to appeal. No evidence or witnesses were ever presented and Parker's accusers were never identified. While at least one historian has chosen to label Parker as "notorious," this is an inappropriate characterization of a man who spent almost his entire career helping to improve the lot of fellow citizens and who, more than anything else, was simply opposed to violence against government officials. While many of those targeted by the attainder bill were royal appointees who were later shunned by society, Parker continued to command considerable local respect because he was a fourth-generation American who had achieved his positions by winning open elections. In recent years, Parker's iconic stature has grown, with a book about Parker's career and legacy, The Wickham Claim by legal scholar Dwight Holbrook, being published in 1984 which questions Parker's "guilt" and postulates that Parker was the victim of a machiavellian scheme hatched by covetous political rivals. Parker will always remain a complicated figure: a proper, ethical and democratic man advocating change through peaceful means who believed in a fundamentally undemocratic system, who was then persecuted for those beliefs and deprived of his civil liberties by those professing to be bringing liberty to all.

 

Not all of Parker's family shared his political views. His daughter Parnel was regarded as a staunch Patriot and married James Reeve, who served in the Third Regiment of Minute Men in Suffolk County. Perhaps more seriously, Parker's brother Thomas, a Yale graduate and formidable political figure in his own right, took an active role in the conflict on behalf of the Patriots. Prior to the American defeat at the Battle of Long Island, he was in charge of nearby Gardiners Island and the stock there, and served in the 1st, 2nd and 3rd Provincial Congresses. Relocating to the safety of Stonington, Connecticut in September 1776, he was appointed Auditor of Refugees’ Claims, and became the captain of a privateer sloop called the Hampton Packet, which carried eight guns and a crew of thirty. During one raid, he seized Parker's cattle that were grazing on Robins Island. On another occasion, he captured the Peggy, a 50-ton schooner carrying flax-seed and oysters, off Fire Island Inlet. In his most audacious operation, he helped to lead a surprise boat attack on the Long Island port of Sag Harbor, which was guarded by Hessian troops. The other vessels were driven ashore, leading to the capture of their crews, but Thomas bravely succeeded in recapturing the lost vessels and rescuing all but one of the prisoners. Thomas was also appointed to a committee that advised General Washington on management of military supplies on Long Island and Staten Island. As a trophy, he kept a weight at his front gate made from grape shot fired by the British during their attack on Stonington. After the American Revolution, he served as a member of the New York Assembly in 1791.

 

In 1989, several of Parker's descendants filed a widely publicized claim in the United States District Court for the Eastern District of New York, arguing that Robins Island, (see picture), then under the threat of development, was unlawfully seized from Parker and that it should be returned to his heirs, who remain numerous on Long Island. Considered one of the most valuable undeveloped islands in the United States, Robins Island occupies a unique place in eastern Long Island folklore, with those competing to own it over the years including Prince Moulay Abdullah of Morocco and John Jacob Astor, whose plans were cut short when he perished aboard the Titanic. Prior to 1850, Robins Island was mainly used for farming, cattle grazing and lumbering, as well as brick making, but in later years it was turned into a hunting preserve for wealthy sportsmen. But by the 1970's, rising property taxes made the shoots uneconomical and plans were made to build a few hundred houses there. To combat this, a non-profit corporation called Robins Island Preservation Fund, dedicated to the preservation of Robins Island in its natural state, was established as successor-in-interest to Parker. The group claimed that New York's Act of Attainder, under which the island was confiscated and sold, was invalid because New York had no sovereignty over Robins Island at the time, which was then under British control. They further argued that by the time New York did achieve sovereignty over Robins Island, the Treaty of Peace of 1783 between Great Britain and the United States had already been enacted, which prohibited future confiscations of British and Loyalist property. The group alternatively argued that the seizure was illegal because Parker had inherited the property as an estate tail, a form of ownership no longer allowed in the United States which was used by wealthy British settlers to keep ancestral lands in one family by having property without exception pass to the heirs. This would mean that even if Parker's property loss was lawful, his son Joseph would continue to maintain a future interest. Although he married twice, Joseph had no children and made no mention of Robins Island in his will, so presumably descendants of his siblings inherited any ownership interest. Because of the enormous lapse of time and the different legal standards of the day, the claim was found to be without merit, even though such a confiscation would be illegal today. However, the owner of Robins Island at the time of the trial, Southold Development Corporation, was battered by the protracted legal struggle and abandoned its plans to develop the island after collapsing into bankruptcy. Under new ownership, most of the island has since been reserved for open space conservation in perpetuity under an easement to The Nature Conservancy.

 

freepages.rootsweb.com/~jwickham/genealogy/parker.htm

Lucius Aelius or Aelius Verus (101 – 138 AD).

He was adoptive son and designated successor of the emperor Hadrian; he died before Hadrian, and thus never became emperor. He was father of the emperor Lucius Vero. This sculpture is one of the few surviving portraits of Lucius Aelius, and one of the few traditional identifications accepted today. Its quality is outstanding both for the intense expression and the strong characterization of the portrayed character. The portrait is a masterpiece of Roman portraiture of the early Antonine period. The bust supporting the head is modern.

 

Source: Guido A. Mansuelli, “Galleria degli Uffizi – Le Sculture”, Vol II, inset # 103.

 

Greek marble sculpture

H. 68.5 cm; height of the antique head 33.5 cm.

Third decade of the 2nd century AD.

Florence, Galleria degli Uffizi, Inv. N. 154

 

youtu.be/1qNeGSJaQ9Q It’s Alive !!!

Still (8" X 10”). Elizabeth (Mae Clarke) receives an unexpected visitor (Boris Karloff) on her wedding night in this dramatic scene from one of Universal's greatest horror films.

  

Universal Studios made themselves famous for "horror" films in the 1930s. Following the success of their Dracula, starring Bela Lugosi, Universal put out a variation on Mary Shelley's story that would become hugely influential for decades. Universal's Frankenstein. Much has already been written about this film, so this review will not attempt to cover everything. James Whale's Frankenstein was a hybrid -- partly a horror movie, but also partly a sci-fi movie. The goal of FrankenFEST is to explore the science fiction aspects of the many Frankenstein films. Some have more "science". Some are more "horror". Some are just silly.

Synopsis

Henry Frankenstein and his hunchback assistant Fritz dig up a recently buried body and take down a hanged man. Henry still needs an undamaged brain, so Fritz sneaks into a medical college to steal one. He drops the first brain-in-a-jar, so takes the second, labeled "abnormal brain." Henry has his creature assembled on a table and awaits the storm's peak for the jolt to infuse life. Just then, his fiancee, Elizabeth, friend Victor and former teacher, Professor Waldman, come knocking at the door of Henry's spooky tower. Reluctantly, he lets them in. Baited by Victor's accusation that Henry is crazy, Henry shows them his experiment. The storm peaks and the creature moves. "It's Alive!" Waldman stays to help. Victor and Elizabeth express worry to Henry's dad, Baron Frankenstein. Meanwhile, Henry shows off his creature to Waldman. It needs time to mature. However, Fritz taunts it with fire, sending the creature into a rage. It murders Fritz. It beats up Henry before Waldman injects it with anesthetic. Victor, Elizabeth and the Baron arrive and take the sick and battered Henry back to the village. Waldman stays to get rid of the monster. Before he can, the anesthetic wears off. The monster kills Waldman and escapes. In the village, all is festive, music and dancing for the wedding. Elizabeth is troubled with premonitions of doom. The monster comes across a little girl who wants a playmate. She tosses flowers in the lake to watch them float. When she's out of flowers, the monster tosses her in to float. She doesn't. The monster is upset and flees. He goes into the village and sneaks into Elizabeth's bedroom. Before he can do anything, her screams bring everyone running. He escapes unseen. Maria's father brings her dead body into town. The Burgomeister organizes three search parties to find the killer. Henry leads the mountain group. The monster finds Henry alone, knocks him out and carries him away. The mob see this and purse them to a windmill. The monster throws Henry from the upper railing, but he catches on a windmill blade, so doesn't die. The mob burn down the windmill. Henry recovers with Elizabeth's doting. The baron makes a toast to a future "son of Frankenstein." The End

 

The "science" in Whale's Frankenstein is mostly medical or biological. Waldman describes Henry's work as being in "chemical galvanism" and "electro-biology." Henry himself describes the key being "rays" beyond violet in the spectrum. This "Life Ray" is apparently available in electricity. Much of Henry's lab is filled with large things that spark or arc. Electricity is, in this pre-atomic world, the magical stuff that can do wonders. Compare Henry's lab and creation with Rotwang's in Metropolis ('27). The motif of the mad scientist's lab being stocked with sparky things dates back to this era.

Compared to the Novel

The main characters are retained, although the names of Henry and Victor are swapped, for some reason. Universal's screenplay was more of an adaptation of a stage play written by Peggy Webling in 1927. Her successful play had to do something similar to Edison's screenplay, in paring the story down to some basic elements. Whale's film focused more on the hubris of unfettered "science" than on the philosophical elements of creator-creature obligations. The hubris of the "mad" scientist, as a plot trope, would endure many decades into future films.

 

Iconic Monster -- The famous monster was a combination of make-up specialist Jack Pierce (who created the flat-top head and bolts on the neck) and the characterization given by actor Boris Karloff. Their "monster" was too captivating to the public imagination, too iconic to ever really die -- as we shall see -- that he would reappear in many later films. Little children would dress up as the monster for halloween. Parodies and spin-offs would key off the Pierce-Karloff monster.

Much of the look of the film stems from the artistic style of German Expressionism. This style is a whole topic unto itself. The stark light and dark, the use of up-lighting, the asymmetry and odd angles all enhance the feeling of instability. Nothing is soft. Nothing is "quite right." Contrast Henry's tower with the village sets. They're all normal enough, and almost Disney quaint. The normal world vs. HIS world: dark, unstable and "off". The artistic style of German Expressionism would not remain popular beyond WWII, but its visuals in association with the mad scientist's lab would endure far beyond.

Far back into the 1800s, probably not long after Shelley penned her story, people would often confuse the monster and the man. The monster, in both the novel and the 1931 movie, had no name. He was, like the novel, called only, "my creation", "the monster" or "the fiend." It was Henry who carried the family name of Frankenstein. Yet, to the public imagination, such a strong character as the monster simply could not go nameless. He was often referred to as "Frankenstein" as if that were his name. That's not the case, but it has been a common enough mistake that it has stuck. The monster is more famous than the man.The more famous character gets the name. After all, children do not dress up as Henry (or Victor) Frankenstein.

Aside from the many Expressionist visuals, there is one scene which, though brief, is an interesting inclusion of a famous painting. When the monster accosts Elizabeth in her room, just as he sneaks out, and the others burst in, note Elizabeth's position on the bed. This very brief moment is also captured on the poster art.This seems an unmistakeable visual reference to Henry Fuseli's famous 1791 painting: "Nightmare" .Maybe this something that only art history majors might enjoy, but it was an interesting bit for Whale to include.

A curious note, is how much Frankenstein as a story had become intertwined with the classic vampire story: Dracula. For one, Universal released them both in 1931. Beyond proximity, Universal had originally cast Bela Lugosi as the monster, but he declined the part. Lugosi would, however, end up playing the monster in a few later iterations. As well, Webling's play, which served as source material, also followed a successful Dracula production by the same star. The two characters sprang from very different literary roots and told very different cautionary tales, yet, they would become paired in the popular imagination, as if they were somehow brothers.

Universal's 1931 Frankenstein is a movie classic that is not to be missed. It is a well-told and well-paced story, but more importunely, it is foundational to almost all the Frankenstein films to come.

A singular bird of the Southwest, the Phainopepla is a brilliant sight in flight. Males are silky black and slender, with an elegant crest and bold white wing patches that appear when the bird takes wing. Females are similar but a subdued gray. These glossy birds occur in desert washes, where they eat mainly mistletoe berries, and in oak and sycamore woodlands of California and Arizona. They often perch high in shrubs and catch insects on the wing. The name "Phainopepla" comes from the Greek for "shining robe," a fitting characterization of the shiny, jet-black plumage of the adult male.

Dedicada al otoño ... :)

Estilismo: Lidia Aparicio y Saray Leadger

Fotografía: Ashary

Maquillaje: Lidia Aparicio

Peluquería: Saray Cheveux

Modelo: Anónimo

 

Fotografía / Video / Iluminación

Photography / Video / Lighting

 

Para consultas me puedes encontrar en:

For questions you can find me at:

 

Email: fotografocreativo81@gmail. com

 

Gracias / Thanks

www.labrigadagrafica.com

 

atelier ying, nyc.

 

The elite Bond arch villains tend to have fantastic abodes at equal locations of distinction. I've been making a small set of designs for the humble golf caddy to Auric Goldfinger, Oddjob. This is my third installment, the others to date are no. 141 and no. 84, and they all revolve around the theme of community/camaraderie. The characterization of Oddjob wasn't much. The plight of minor Bond film henchmen became better by the reappearance of Jaws ( a distant cousin to Oddjob who also used his teeth) in Moonraker. With this proposed design Oddjob is brought closer to the megalomaniac Karl Stromberg (The Spy who loved me) with an underground city.

 

The design aims to be green. There are organic systems inside that move towards self-sufficiency. Being Asian, Oddjob manages an Asian-styled mall (and a Pro Golf shop) inside the vast complex. It is futuristic, but in a nostalgic sort of way, linking the 60's with the asian boom decades later. Ken Adams' elaborate entrances are humbly substituted with a "beaver dam" architecture. Lastly, a reverential nod to Tadao Ando via a gutter pipe passageway from above ground plays subtly with light and darkness. A nod to Renzo Piano arranges a glazed roof structure to filter the sunlight. A distinct feature in my design is that the entire city structure is tilted at an angle to partially submerge it underwater as well as to only track the sun's path so that the light comes in at 11 a.m., the hour when Asian malls and shops usually open up for business and follow the sun as late as possible into the evening.

 

Design, text and drawing are copyright 2013 by David Lo.

On October 12, 1940, after visiting Pima County Sheriff Ed Echols in Tucson, Arizona, Mix headed north towards Phoenix on U.S. Highway 80 (now Arizona State Route 79), driving his 1937 Cord 812 Phaeton.

 

He stopped to call his agent at the Oracle Junction Inn, a popular gambling and drinking establishment, then continued toward Phoenix.

 

About eighteen miles south of Florence, Mix came upon construction barriers at a bridge washed away by a flash flood. Unable to stop in time, his car swerved twice, then overturned in a gully. A large aluminum suitcase containing money, traveler's checks, and jewels, situated on the package shelf behind his head, hurtled forward and struck him, breaking his neck. He was 60 years old.

 

Today, visitors to this site of the accident can see a 2-foot–tall iron statue of a riderless horse and a somewhat awkwardly written plaque that reads: “In memory of Tom Mix whose spirit left his body on this spot and whose characterization and portrayals in life served to better fix memories of the Old West in the minds of living men.”

 

The star was a genuine cowboy and swaggering hero of the Wild West: He was born in Texas; fought in the Spanish-American War, the Boxer Rebellion and the Boer War; and served as a sheriff in Kansas, a U.S. marshal in Oklahoma and a Texas Ranger. In fact, Mix was born in Driftwood, Pennsylvania; deserted the Army in 1902; and was a drum major in the Oklahoma Territorial Cavalry band when he went off to Hollywood in 1909.

When 'save frankie' Jackson came out last year I initially was ok on passing him up and grabbed the lone doll to pop up at my local walmart for Jen but shortly after I ended up liking him and it was Jen that found mine at her walmart which made it all quite amusing.

 

When brushing out his hair I was reminded of all the alternative guys I had crushes on in high school and I reworked him to be an AU blend of that and his original characterization from Draculaura's first diary & the Gloom Beach postcard. More on that here - miwadake.tumblr.com/post/101526607284/this-all-started-so...

While trying to write an article regarding the Hubble archive today, I revisited this object and decided to process it again. Previously I used NICMOS data for the infrared part, visible in orange as the slightly blurry-looking rings and arcs around the brighter central structure. The old version is here.

 

I think the new version offers up a somewhat clearer vision of the infrared portion. NICMOS was always a bit difficult to work with because there were a lot of "features"—as they have been charitably called—to work out of the image. This version uses observations made by the newer WFC3/IR, and I am a lot more confident that every little faint detail you see here is indeed the nebula and not some instrumental wonkiness.

 

I removed the diffraction spikes once again because they were very distracting and easy to confuse with the structure of the object.

 

Data from following two proposals was used to create the image:

Characterization of the WFC3 IR Grisms

Hubble Heritage Observations of PNe with WFPC2

 

Orange: WFC3/IR F140W

Green: WFPC2 F658N

Blue: WFPC2 F656N

 

North is up.

An XL motor is housed in the fuel bunker. The bunker on the prototype has a negative space on the bunker's forward end with sloped walls that taper from top to bottom. The cylindrical LEGO motor fulfills these shapes somewhat, so I am not so unsatisfied that it is clearly visible to people who recognize the part.

 

--------

 

Initiative to model this came from a challenge at Brick Model Railroader calling for LEGO builders to make rolling stock that would look silly navigating 40-stud radius curves. I applaud BMR for coming up with a contest that promotes being "silly"--self-awareness is a good counter weight to being an adult who plays with toys under the pretense of being a "scale modeler".

 

This is the first train I have built with an 8-stud wide cab. All my previous North American rolling stock was built strictly to a seven-stud wide cabin width (not including pistons or rods etc. which inevitably protrude). I find some irony in that the prototype is of European origin. The real locomotives operate on a 3,5" track gauge so maybe I can be forgiven.

 

The scale, generally, is indeterminate. The LEGO build measures 82 studs in length to the proto's 92 feet, but as other builders of steam locomotives have decided on it is the diameter of the driving wheels that govern the scale. I am not one to plan out the exact dimensions of a train build in advance. I eyeball it from start to finish. My philosophy is that a better toy model may come firstly from a characterization of the prototype where there is compatibility between its character and the character of LEGO elements and assemblies, and only secondly by bare scale accuracy to the dimensions of the prototype.

 

...Which is a long liberal-arts degree way of saying, oh hell, I will just put LEGO together until I like the way it looks.

©erregiro2011

Hurry before it all melts!

 

"The Race" by William McElcheran on the grounds of Rodman Hall in St. Catharines, Ontario.

 

A comical depiction of athletic competition or a satirical characterization of modern pursuit of "success" (often referred to as "the rat race").

 

Here, with a fresh cover of snow, the meaning may seem more communal. A collective effort to deliver snow before it turns back into water.

British postcard in the 'Greatest' Series - Drunks by Boomerang. Photo: John Curtis / Rex.

 

Brooding macho Oliver Reed (1938-1999) was one of England's darker leading men and villainous character actors. He juggled over 60 film roles in 40 years and a full-blooded social life of women, booze, and bar fights. After a start in Hammer films, Reed worked often with acclaimed British directors Ken Russell, Richard Lester, and Michael Winner. His final role was as the old, gruff gladiator trainer in Ridley Scott's Gladiator (2000).

 

Robert Oliver Reed was born in 1938, in Wimbledon, England. His parents were Peter Reed, a sports journalist, and Marcia Reed née Napier-Andrews. He had two brothers. David Reed became his business manager and his half-brother Simon Reed became his press agent. He was a nephew of film director Sir Carol Reed. And he was a grandson of actor-manager Herbert Beerbohm Tree, who founded the Royal Academy of Dramatic Art (RADA) in 1904. Party animal Reed did not complete high school. He ended up taking on a variety of blue-collar jobs. His first job at the age of 17 was as a bouncer at a Soho nightclub. In 1960, he suddenly burst into films, showing up in the background of the Hammer films The Two Faces of Dr. Jekyll (Terence Fisher, 1960), and Sword of Sherwood Forest (Terence Fisher, 1960), and as a gay ballet dancer in the criminal comedy The League of Gentlemen (Basil Dearden, 1960). His first starring role came with Hammer, as the title character in Curse of the Werewolf (Terence Fisher, 1961). Robert Armstrong at AllMovie: "Years later, he would serve as the narrator on a full Hammer retrospective, putting his sonorous speaking voice to good use and paying homage to his roots. Such early work paved the way for a steady flow of bad-guy roles in horrors, costume dramas, and suspense thrillers. Reed's intense, glowering features could also be manipulated for believable ethnic characterizations." Films such as Science-Fiction horror film The Damned (Joseph Losey, 1962) and Pirates of Blood River (John Gilling, 1962) followed. His first of six collaborations with Michael Winner came with The System/The Girl Getters (1964). The film was seen by Ken Russell who then cast Reed in the title role of The Debussy Film (1965), a TV biopic of Claude Debussy. It was the first time he broke away from villainous roles. According to Wikipedia, Reed later said "Hammer films had given me my start and Michael Winner my bread then Ken Russell came on the screen and gave me my art." Reed co-starred with Rita Tushingham in the Canadian-British co-production, The Trap (Sidney Hayers, 1966). His career stepped up another level when he starred in his second film with Winner, the popular comedy film The Jokers (Michael Winner, 1966), alongside Michael Crawford. His third Winner film was I'll Never Forget What's'isname (Michael Winner, 1967), with Orson Welles. Reed was reunited with Ken Russell for another TV film, Dante's Inferno (1967), playing Dante Gabriel Rossetti. In 1968, he won his first leading role in a universally well-received film, the Oscar-winner Oliver! (Carol Reed, 1968), in which he played murderous thief Bill Sikes. Despite complaints of nepotism, Reed insisted he had to persuade his uncle to cast him, even though his credentials closely matched the needs of the part. Another watershed moment came in 1969 when Ken Russell cast him as one of the leads in his adaptation of D.H. Lawrence's Women in Love (1969). Robert Armstrong at AllMovie: "While the film was a well-received treatise on sexuality and marriage, it achieved some notoriety for featuring the first-ever full-frontal male nudity in an English-language commercial film. Reed and Alan Bates engage in a memorable nude wrestling match that audaciously fleshes out the film's themes. Reportedly, Russell had planned to scrap the scene, worried about censor backlash, until Reed wrestled him into including it, literally pinning him down, in Russell's kitchen. Still, Reed told the Los Angeles Times he had to drink a bottle of vodka before he could relax enough to film the scene."

 

Oliver Reed and Ken Russell would work together five more times, including The Devils (1971) and Tommy (1975), in which Reed played Frank Hobbs. Reed was also known for portraying musketeer Athos in three of Richard Lester's film versions of Alexandre Dumas' famous tale. Reed appeared in The Three Musketeers (1973) and its sequel, The Four Musketeers (1974), which originally had been planned as one long movie. He revived the role for The Return of the Musketeers (1989). During the filming of the windmill duel scene in the first film, Reed was nearly killed when he was stabbed in the throat. Add in 36 stitches to repair cuts on his face after a bar fight in 1963, and the actor had more than his share of scrapes. Reed peaked in many ways in the mid-1970s and had to settle on genre work for much of his career. Films such as Dr. Heckyl and Mr. Hype (Charles B. Griffith, 1980), Venom (Piers Haggard, 1982), Gor (John Norman, 1987), and Dragonard (Gérard Kikoïne, 1987) became his regular source of paychecks for many years. More interesting films were David Cronenberg's The Brood (1979), Nicolas Roeg's Castaway (1987), or Terry Gilliam's The Adventures of Baron Munchausen (1989). Reed's most familiar role for modern audiences was also his last. The actor appeared in Oscar-winner Gladiator (Ridley Scott, 2000) as Proximo, the amoral merchant who trains the enslaved fighters to kill and be killed. When he died midway through production, Reed unwittingly became part of a groundbreaking three-million-dollar endeavor by director Ridley Scott to digitally re-create his likeness in order to film Proximo's death scene. A three-dimensional image of Reed's face was scanned into computers so it could smile and talk, then digitally grafted onto a body double. In 1999, Oliver Reed died in Valetta, Malta, where Gladiator was being filmed. Robert Armstrong at AllMovie: "the result of a heart attack brought on by one last night of hard-drinking, which included three bottles of downed rum and arm wrestling victories over five sailors." He was survived by his second wife, Josephine Burge. He was the father of Mark Thurloe Reed (1961) with his first wife Kate Byrne and of Sarah Reed (1970) from his 12-year relationship to dancer Jacqueline Daryl.

 

Sources: Robert Armstrong (AllMovie), Wikipedia, and IMDb.

 

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

This is the first page after the title page.

 

The Wondrous Deer.

Book thesis on the characterization of female and male characters in western & eastern folktales.

Bahar-bie: the OOAK Modern Iranian Barbie doll

another OOAK doll, as branded by me!

 

Here is the story of this extraordinary doll...

 

I occasionally find myself wandering the aisles of Toys-R-Us, looking for nothing in particular. On one recent occasion, I noticed the Top Model Barbie was marked half price, and there were 3 dolls to choose from. It seemed at least 80% of the stock were comprised of the blonde Barbie doll, with the remainder being the red-haired Summer doll...and only ONE Teresa doll was left on the shelf. This peaked my curiosity, as I immediately found Teresa far more interesting than her contemporaries. So I bought her.

 

After I took her home, I Googled for the history of the Teresa doll, and was impressed to find extensive writing on the subject, thanks to Google Books...

 

www.google.com/books?q=barbie+culture

 

No thanks to Google Books, copying and pasting text quotations is pretty much impossible at present. This challenge led me to do a comprehensive text transcription from the book Core Cultural Icons - Barbie Culture by Mary F. Rogers, taking a good chunk from the chapter "(Hetero)Sexuality and race in Barbie's world"

 

pp 50-52

 

…Paralleling their perceptions are those of many consumers who favor the white dolls as the most attractive, glamorous Barbies. Charlotte, a white mother whose daughter attends a Montessori school, reports that "We started out with Barbies of all ethnic backgrounds, but little by little (my daughter) decided that the only pretty ones were blond with blue eyes… This disturbs me, and I'm not sure how to combat it except to claim that the dark-haired Barbies are my favorites."

In a different part of the world other children's preferences run in the same direction. Elaine Sciolino (1997) reports that even though Islamically correct versions of Barbie are sold in Iran, the preferred Barbies are the imported ones - that is, the while ones in Western clothing.

That state of affairs reflects do racial and ethnic hierarchies where "white" prevails as clean, respectable, successful, and morally upright; healthy and attractive, too. People's commonplace preferences for white Barbie may thus reflect racialized notions at work in white-dominated societies. Note, for example, how Margo Rana (1996) describes the very white, blonde blue-eyed Dutch Barbie: "Barbie doll looks so clean and crisp in her typical Netherlands outfit." Whatever individual peoples perceptions might be, Mattel often promotes - whether by design or by default - the very perceptions Rana illustrates. The dolls themselves, the cultural texts built into Mattel's packaging and advertisements, and Mattel-authorized books and other printed materials convey a doubled-sided message: White is dominant and normal (read "superior") while non-white, including Hispanic, is subordinate and different (read "inferior").

The dolls bespeak these messages most loudly of all. Consider Teresa, Barbie's Hispanic friend. According to J. Michael Augustyniak (1996a), Teresa came on the market in 1998. When his 1996 article was going to press, 21 versions had been issued. Not one Teresa has to do with a career or job, school or learning, marriage or family. Instead, Teresa's roles are sex object, athlete, shopper, and Barbie wannabe. Sex-object Teresa comes Wet 'N Wild, Glitter Beach, Sun Jewel, and Tropical Splash versions where she is costumed in a swimsuit (a bikini in the "tropical" version). Sex-object Teresa also comes in entertainer forms - Lights & Lace (where she has a "music video look"), Rappin' Rockin', Hollywood Hair, and Dance Moves Teresas. Athletically inclined Teresas include All Stars Teresa in a tennis outfit, Rollerblade Teresa, and Camp Teresa who comes with both a bikini and cutoff shorts. Baywatch Teresa combines these characterizations; she comes with a swimsuit as well as a sweatsuit. Barbie wannabes among Teresa dolls include United Colors of Benetton Shopping Teresa who parallels shopping Barbies marketed exclusively by FAO Schwarz and Bloomingdale's; also, Party Time Teresa and Sunflower Teresa, who are direct counterparts of Party Time Barbie and Sunflower Barbie.

Among the Teresas the ultimate Barbie wannabe may be Spots 'N Dots Teresa. The direct counterpart of Spots 'N Dots Barbie, this Teresa is marketed "wearing Barbie doll's dress," as Rana (1996) points out. (The dresses are not identical, by contrast, on the Sunflower and Party Time Barbies and Teresas, though they are nearly so.) Moreover, this Teresa's package shows her walking what Rana takes to be Barbie's dog, that is, the same miniature Dalmatian marketed with Spots 'N Dots Barbie.

Compared with Barbie, Teresa wears only a few colors. Augustyniak's descriptions indicate that one-third of the twenty-one Teresas come dressed in blue, purple, or violet. About one-quarter of them have hair described as other than black, dark brown, or brunette - "hair with red highlights," "lighter auburn brown hair," "two-tone honey hair," "sandy blond hair," and "dark red hair." At least three of the dolls have green eyes; at least one has blue eyes. This latter doll - the United Colors of Benetton Shopping Teresa - is, says Augustyniak, "considered to be the most beautiful Teresa doll ever…She has wavy brown hair, BLUE eyes, red lips and eyeshadow all enhanced by her beautiful light skin tone" (1996b:41, emphasis added) Thus, Mattel exaggerates the diversity of physical features among Hispanic American women while also whitening Teresa. More often than would be expected within the actual Latina population, Teresa has other than brown or black eyes and other than black or dark brown hair. In these racial respects she is also a Barbie wannabe.

Like many other of Mattel's "racial" and "ethnic" dolls, Teresa often perpetuates unduly narrow ideas or even stereotypes. All American Teresa, for instance, wears what Augustyniak describes as "flag-decorated bib jean overalls" with a shirt and a "peach bandana," a costume resonant of images of Hispanic Americans as agricultural workers (migrant or not). Needless to say, one negotiates a delicate course when manufacturing images of groupings other than EuroAmericans. On the one side, one can reduce them to different Others who dress distinctively enough to stand out and look foreign; on the other side, one can reduce them to EuroAmerican wannabes who look as assimilated into middle-American culture as many Americans wish they were. Yet when a corporation like Mattel issues multiple Teresas or black Barbies or international Barbies, it has plenty of opportunities to shape the dolls to non-Caucasian features (where appropriate) and to costume them so as to reflect the diverse cultures they represent. As Ann duCille (1996) points out in "Dyes and Dolls," it need not turn out only "dye-dipped versions of archetypal white American beauty."

Mattel did not, however, give Teresa her own head mold until 1992, and the United Colors of Benetton Shopping Teresa issued that year still had the original mold, which was decidedly Caucasian. More generally, many of the "ethnic" Barbies are light-skinned, and some of the "black" and "Hispanic" dolls have skin tones barely distinguishable from one another. At the Philadelphia Barbie show, for instance, I heard a white doll dealer telling a white customer, "Yes, it is a black Barbie." The dealer went on to set the doll alongside another version and said, "See how this one's skin is lighter than the black one." The lighter-skinned doll was Hispanic. Neither it nor the "black" doll, however, had much skin "color."

  

...SO, as you can see Teresa is quite an interesting character. Having grown up surrounded by Dutch blondes, I am totally inclined to the dark haired girls, and hence my immediate interest in Teresa. Her ethnicity has fluctuated over the years, and this current Top Model Teresa with her jet black hair struck me as being of Persian/Iranian origin. Hence, I have rebranded her as a most inspiring and aspiring "Modern Iranian Postdoctoral Eco Scientist NGO Delegate Top Model Bahar-bie". Now that's something to look up to! She'll always be a Teresa doll, but I chose to name her Bahar for maximum impact.

 

I've kept the Top Model designation because she really is quite a poser, and she takes after Nazanin Afshin-Jam. As for her outfit, she is sporting a lovely co-ordinated black and white outfit, with original sunglasses, pants, boots, socks, and top. She is also wearing an additional white turtleneck sweater which modestly hides her neckline (while revealing a vast swath of midriff; she's a model, after all). And overtop of it all, she has Dr. Ken's medical lab coat, and she wears it with such style! (stemming from the postdoctoral/eco scientist reference).

 

Enjoy!

Portrait bust of the so-called Plautilla on a marble plinth engraved with the name PLAVTILLA. The dating of the bust and, therefore, the identification of the person portrayed are uncertain. The subject's hairstyle places this work in a Severian context, while the lack of individual characterization contrasts with the artistic canons of that period. The uncertainty about its dating is absolute, and some scholars believe this bust is a pseudo-ancient sculpture.

 

Source: Guido Mansuelli, “Galleria degli Uffizi .- Le Sculture, Parte 2”

 

Marble sculpture

Head: 2nd - 3rd century – Bust: modern

Florence, Gallerie degli Uffizi, Inv. 1914, no. 217

 

The Berlin Green Head is an ancient Egyptian statue head (AeMP 12500) made from greenschist and housed in the Egyptian Museum of Berlin, not far from the Nefertiti Bust. It has been considered the work of a highly skilled (though unknown) ancient Egyptian sculptor, as well as one of the most famous and credited pieces of art from the Late and Ptolemaic periods of ancient Egypt.

 

DESCRIPTION: The face of the statue is calm and emotionless and, unusually for contemporary works of art, also perfectly symmetric, and it is that of an intelligent-looking, middle-aged man with many well-rendered wrinkles and lines.

 

The statue's shaved, oval-shaped skull is so realistic that it was once believed that the sculptor could not have made it without ancient Greek knowledge of anatomy, a claim subsequently disproved by the analysis of similar, earlier Egyptian artworks.

 

On the back of the head, the top portion of a conventional back pillar is still visible.

 

The whole artefact is uninscribed, thus the owner's name and titles are unknown. For the same reason, the statue could only be dated on stylistic grounds. Once regarded as art of the Saite Period, it was later attributed to the Ptolemaic Period by Friedrich Wilhelm von Bissing.

 

In 1960, Bernard von Bothmer further reduced the time range between 100 and 50 BCE, arguing that the head reveals a maturity not compatible with the earlier Ptolemaic art, as well as a similarity with some upcoming Roman Republic-era Egyptian works.

 

Its provenance is also unknown, as well as its trace before 1895, when it was acquired from the collections of prince Ibrahim Hilmy and Henry Wallis.

 

The Berlin Green Head has been compared to the similar, yet earlier Boston Green Head, with the former one having lost part of the "verism" (among that, the asymmetry) which is more prominent in the latter one, yet without compromising the characterization of the individual represented on it.

 

(Source: Wikipedia)

en.wikipedia.org/wiki/Berlin_Green_Head

 

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LA CABEZA VERDE DE BERLÍN es una antigua cabeza de estatua egipcia (AeMP 12500) realizada en greenschist y que se encuentra en el Museo Egipcio de Berlín, no lejos del Busto de Nefertiti. Se ha considerado la obra de un escultor egipcio antiguo muy hábil (aunque desconocido), así como una de las piezas de arte más famosas y acreditadas de los periodos tardío y ptolemaico del antiguo Egipto.

 

DESCRIPCIÓN: El rostro de la estatua es tranquilo y carente de emoción y, excepcionalmente para las obras de arte contemporáneas, también perfectamente simétrico, y es el de un hombre de mediana edad de aspecto inteligente con muchas arrugas y líneas bien trazadas.

 

El cráneo afeitado y de forma ovalada de la estatua es tan realista que en su día se creyó que el escultor no podría haberla realizado sin los conocimientos de anatomía de la antigua Grecia, afirmación que fue desmentida posteriormente por el análisis de obras de arte egipcias anteriores similares.

 

En la parte posterior de la cabeza aún se puede ver la parte superior de un pilar trasero convencional.

 

Todo el artefacto carece de inscripción, por lo que se desconoce el nombre y los títulos del propietario. Por la misma razón, la estatua sólo puede datarse por motivos estilísticos. Considerada en su día como arte del periodo saíta, fue atribuida posteriormente al periodo ptolemaico por Friedrich Wilhelm von Bissing.

 

En 1960, Bernard von Bothmer redujo aún más el rango temporal entre el 100 y el 50 a.C., argumentando que la cabeza revela una madurez no compatible con el arte tolemaico anterior, así como una similitud con algunas obras egipcias de la época de la República Romana que se avecinan.

 

También se desconoce su procedencia, así como su rastro antes de 1895, cuando fue adquirida de las colecciones del príncipe Ibrahim Hilmy y de Henry Wallis.

 

La Cabeza Verde de Berlín ha sido comparada con la similar, aunque anterior, Cabeza Verde de Boston, habiendo perdido la primera parte del "verismo" (entre ello, la asimetría) que es más prominente en la segunda, aunque sin comprometer la caracterización del individuo representado en ella.

Rupa is 19 and is studying design in Insurgentes University. Soon, she is going to switch to the UAM Xochimilco (a very important university in Mexico) and continue her college education in design. When I see her close to the Fine Arts Palace, I was very attracted to get a portrait of her because of her beauty, her characterization like a "Catrina" (a very important symbol in the Day of the Dead in México) but with a very natural and organic style and because she was very focused taking pictures with his reflex camera. We talked a little and I notice Rupa is that kind of people who radiate a peaceful joy with the eyes. After the pictures I said thanks to her and good bye and she replied with a "Hare Krishna".

  

By the way, I think that joining to the 100 Strangers Project has been a very good decision, not only to improve my very bad photographer skills, but also because this is a exercise of consciousness to really understand that it's true: "Each person is a cosmic singularity", and in that way each one of us is a miracle and each person is beautiful. When I've been taking the portraits of strangers and sharing a moment with them and knowing something about their lives I can feel that I'm a little closer to be a better person.

Hanuman is a Hindu god and an ardent devotee of Rama. He is a central character in the Indian epic Ramayana and its various versions. He also finds mentions in several other texts, including Mahabharata, the various Puranas and some Jain texts. A vanara, Hanuman participated in Rama's war against the demon king Ravana. Several texts also present him as an incarnation of Lord Shiva. He is the son of Kesari, and is also described as the son of Vayu, who according to several stories, played a role in his birth. Several sects including Arya Samaj believe that Hanuman was a human and not vanara.

 

ETYMOLOGY & OTHER NAMES

The Sanskrit texts mention several legends about how Sri Hanuman got his name. One legend is that Indra, the king of the deities, struck Sri Hanuman's jaw during his childhood (see below). The child received his name from the Sanskrit words Hanu ("jaw") and -man (or -mant, "prominent" or "disfigured"). The name thus means "one with prominent or disfigured jaw". Another theory says the name derives from the Sanskrit words Han ("killed" or "destroyed") and maana (pride); the name implies "one whose pride was destroyed". Some Jain texts mention that Sri Hanuman spent his childhood on an island called Hanuruha, which is the origin of his name.

 

According to one theory, the name "Hanuman" derives from the proto-Dravidian word for male monkey (ana-mandi), which was later Sanskritized to "Hanuman" (see historical development below). Linguistic variations of "Hanuman" include Hanumat, Anuman (Tamil), Anoman (Indonesian), Andoman (Malay) and Hunlaman (Lao).

 

Hanuman came to be regarded as an avatar (incarnation) of Shiva by the 10th century CE (this development possibly started as early as in the 8th century CE). Hanuman is mentioned as an avatar of Shiva or Rudra in the Sanskrit texts like Mahabhagvata Purana, Skanda Purana, Brhaddharma Purana and Mahanataka among others. This development might have been a result of the Shavite attempts to insert their ishta devata (cherished deity) in the Vaishnavite texts, which were gaining popularity. The 17th century Oriya work Rasavinoda by Divakrsnadasa goes on to mention that the three gods – Brahma, Vishnu and Shiva – combined take to the form of Hanuman.

 

Hanuman became more important in the medieval period, and came to be portrayed as the ideal devotee (bhakta) of Rama. His characterization as a lifelong brahmachari (celibate) was another important development during this period. The belief that Hanuman's celibacy is the source of his strength became popular among the wrestlers in India. The celibacy or brahmacharya aspect of Hanuman is not mentioned in the original Ramayana.

 

BIRTH & CHILDHOOD

Hanuman was born to the vanaras. His mother Anjana was an apsara who was born on earth due to a curse. She was redeemed from this curse on her giving birth to a son. The Valmiki Ramayana states that his father Kesari was the son of Brihaspati and that Kesari also fought on Rama's side in the war against Ravana. Anjana and Kesari performed intense prayers to Shiva to get a child. Pleased with their devotion, Shiva granted them the boon they sought. Hanuman, in another interpretation, is the incarnation or reflection of Shiva himself.

 

Hanuman is often called the son of the deity Vayu; several different traditions account for the Vayu's role in Hanuman's birth. One story mentioned in Eknath's Bhavartha Ramayana (16th century CE) states that when Anjana was worshiping Shiva, the King Dasharatha of Ayodhya was also performing the ritual of Putrakama yagna in order to have children. As a result, he received some sacred pudding (payasam) to be shared by his three wives, leading to the births of Rama, Lakshmana, Bharata, and Shatrughna. By divine ordinance, a kite snatched a fragment of that pudding and dropped it while flying over the forest where Anjana was engaged in worship. Vayu, the Hindu deity of the wind, delivered the falling pudding to the outstretched hands of Anjana, who consumed it. Hanuman was born to her as a result. Another tradition says that Anjana and her husband Kesari prayed Shiva for a child. By Shiva's direction, Vayu transferred his male energy to Anjana's womb. Accordingly, Hanuman is identified as the son of the Vayu.

 

Another story of Hanuman's origins is derived from the Vishnu Purana and Naradeya Purana. Narada, infatuated with a princess, went to his lord Vishnu, to make him look like Vishnu, so that the princess would garland him at swayamvara (husband-choosing ceremony). He asked for hari mukh (Hari is another name of Vishnu, and mukh means face). Vishnu instead bestowed him with the face of a vanara. Unaware of this, Narada went to the princess, who burst into laughter at the sight of his ape-like face before all the king's court. Narada, unable to bear the humiliation, cursed Vishnu, that Vishnu would one day be dependent upon a vanara. Vishnu replied that what he had done was for Narada's own good, as he would have undermined his own powers if he were to enter matrimony. Vishnu also noted that Hari has the dual Sanskrit meaning of vanara. Upon hearing this, Narada repented for cursing his idol. But Vishnu told him not repent as the curse would act as a boon, for it would lead to the birth of Hanuman, an avatar of Shiva, without whose help Rama (Vishnu's avatar) could not kill Ravana.

 

BIRTH PLACE

Multiple places in India are claimed as the birthplace of Hanuman.

 

According to one theory, Hanuman was born on 'Anjaneya Hill', in Hampi, Karnataka. This is located near the Risyamukha mountain on the banks of the Pampa, where Sugreeva and Rama are said to have met in Valmiki Ramayana's Kishkinda Kanda. There is a temple that marks the spot. Kishkinda itself is identified with the modern Anegundi taluk (near Hampi) in Bellary district of Karnataka.

 

Anjan, a small village about 18 km away from Gumla, houses "Anjan Dham", which is said to be the birthplace of Hanuman. The name of the village is derived from the name of the goddess Anjani, the mother of Hanuman. Aanjani Gufa (cave), 4 km from the village, is believed to be the place where Anjani once lived. Many objects of archaeological importance obtained from this site are now held at the Patna Museum.

 

The Anjaneri (or Anjneri) mountain, located 7 km from Trimbakeshwar in the Nasik district, is also claimed as the birthplace of Hanuman.

 

According to Anjan Dham, Hanuman was born on Lakshka Hill near Sujangarh in Churu district, Rajasthan.

 

CHILDHOOD

As a child, believing the sun to be a ripe mango, Hanuman pursued it in order to eat it. Rahu, a Vedic planet corresponding to an eclipse, was at that time seeking out the sun as well, and he clashed with Hanuman. Hanuman thrashed Rahu and went to take sun in his mouth.[18] Rahu approached Indra, king of devas, and complained that a monkey child stopped him from taking on Sun, preventing the scheduled eclipse. This enraged Indra, who responded by throwing the Vajra (thunderbolt) at Hanuman, which struck his jaw. He fell back down to the earth and became unconscious. A permanent mark was left on his chin (हनुः hanuḥ "jaw" in Sanskrit), due to impact of Vajra, explaining his name. Upset over the attack, Hanuman's father figure Vayu deva (the deity of air) went into seclusion, withdrawing air along with him. As living beings began to asphyxiate, Indra withdrew the effect of his thunderbolt. The devas then revived Hanuman and blessed him with multiple boons to appease Vayu.

 

Brahma gave Hanuman a boon that would protect him from the irrevocable Brahma's curse. Brahma also said: "Nobody will be able to kill you with any weapon in war." From Brahma he obtained the power of inducing fear in enemies, of destroying fear in friends, to be able to change his form at will and to be able to easily travel wherever he wished. From Shiva he obtained the boons of longevity, scriptural wisdom and ability to cross the ocean. Shiva assured safety of Hanuman with a band that would protect him for life. Indra blessed him that the Vajra weapon will no longer be effective on him and his body would become stronger than Vajra. Varuna blessed baby Hanuman with a boon that he would always be protected from water. Agni blessed him with immunity to burning by fire. Surya gave him two siddhis of yoga namely "laghima" and "garima", to be able to attain the smallest or to attain the biggest form. Yama, the God of Death blessed him healthy life and free from his weapon danda, thus death would not come to him. Kubera showered his blessings declaring that Hanuman would always remain happy and contented. Vishwakarma blessed him that Hanuman would be protected from all his creations in the form of objects or weapons. Vayu also blessed him with more speed than he himself had. Kamadeva also blessed him that the sex will not be effective on him.So his name is also Bala Bramhachari.

 

On ascertaining Surya to be an all-knowing teacher, Hanuman raised his body into an orbit around the sun and requested to Surya to accept him as a student. Surya refused and explained claiming that he always had to be on the move in his chariot, it would be impossible for Hanuman to learn well. Undeterred, Hanuman enlarged his form, with one leg on the eastern ranges and the other on the western ranges, and facing Surya again pleaded. Pleased by his persistence, Surya agreed. Hanuman then learned all of the latter's knowledge. When Hanuman then requested Surya to quote his "guru-dakshina" (teacher's fee), the latter refused, saying that the pleasure of teaching one as dedicated as him was the fee in itself. Hanuman insisted, whereupon Surya asked him to help his (Surya's) spiritual son Sugriva. Hanuman's choice of Surya as his teacher is said to signify Surya as a Karma Saakshi, an eternal witness of all deeds. Hanuman later became Sugriva's minister.

 

Hanuman was mischievous in his childhood, and sometimes teased the meditating sages in the forests by snatching their personal belongings and by disturbing their well-arranged articles of worship. Finding his antics unbearable, but realizing that Hanuman was but a child, (albeit invincible), the sages placed a mild curse on him by which he became unable to remember his own ability unless reminded by another person. The curse is highlighted in Kishkindha Kanda and he was relieved from the curse by the end of Kishkindha Kanda when Jambavantha reminds Hanuman of his abilities and encourages him to go and find Sita and in Sundara Kanda he used his supernatural powers at his best.

 

ADVANTURES IN RAMAYANA

The Sundara Kanda, the fifth book in the Ramayana, focuses on the adventures of Hanuman.

 

MEETING WITH RAMA

Hanuman meets Rama during the Rama's 14-year exile. With his brother Lakshmana, Rama is searching for his wife Sita who had been abducted by Ravana. Their search brings them to the vicinity of the mountain Rishyamukha, where Sugriva, along with his followers and friends, are in hiding from his older brother Vali.

 

Having seen Rama and Lakshmana, Sugriva sends Hanuman to ascertain their identities. Hanuman approaches the two brothers in the guise of a brahmin. His first words to them are such that Rama says to Lakshmana that none could speak the way the brahmin did unless he or she had mastered the Vedas. He notes that there is no defect in the brahmin's countenance, eyes, forehead, brows, or any limb. He points out to Lakshmana that his accent is captivating, adding that even an enemy with sword drawn would be moved. He praises the disguised Hanuman further, saying that sure success awaited the king whose emissaries were as accomplished as he was.

 

When Rama introduces himself, the brahman identitifies himself as Hanuman and falls prostrate before Rama, who embraces him warmly. Thereafter, Hanuman's life becomes interwoven with that of Rama. Hanuman then brings about friendship and alliance between Rama and Sugriva; Rama helps Sugriva regain his honour and makes him king of Kishkindha. Sugriva and his vanaras, most notably Hanuman, help Rama defeat Raavana and reunite with Sita.

 

In their search for Sita, a group of Vanaras reaches the southern seashore. Upon encountering the vast ocean, every vanara begins to lament his inability to jump across the water. Hanuman too is saddened at the possible failure of his mission, until the other vanaras and the wise bear Jambavantha begin to extol his virtues. Hanuman then recollects his own powers, enlarges his body, and flies across the ocean. On his way, he encounters a mountain that rises from the sea, proclaims that it owed his father a debt, and asks him to rest a while before proceeding. Not wanting to waste any time, Hanuman thanks the mountain, touches it briefly, and presses on. He then encounters a sea-monster, Surasa, who challenges him to enter her mouth. When Hanuman outwits her, she admits that her challenge was merely a test of his courage. After killing Simhika, a rakshasi, he reaches Lanka.

 

FINDING SITA

Hanuman reaches Lanka through flight and marvels at its beauty. After he finds Sita in captivity in a garden, Hanuman reveals his identity to her, reassures her that Rama has been looking for her, and uplifts her spirits. He offers to carry her back to Rama, but she refuses his offer, saying it would be an insult to Rama as his honour is at stake. In order to give Sita faith, Hanuman gives her a ring that Rama wanted Hanuman to give her. After meeting Sita, Hanuman begins to wreak havoc, gradually destroying the palaces and properties of Lanka. He kills many rakshasas, including Jambumali and Aksha Kumar. To subdue him, Ravana's son Indrajit uses the Brahmastra. Though immune to the effects of this weapon Hanuman, out of respect to Brahma, allows himself be bound. Deciding to use the opportunity to meet Ravana, and to assess the strength of Ravana's hordes, Hanuman allows the rakshasa warriors to parade him through the streets. He conveys Rama's message of warning and demands the safe return of Sita. He also informs Ravana that Rama would be willing to forgive him if he returns Sita honourably.

 

Enraged, Ravana orders Hanuman's execution, whereupon Ravana's brother Vibhishana intervenes, pointing out that it is against the rules of engagement to kill a messenger. Ravana then orders Hanuman's tail be lit afire. As Ravana's forces attempted to wrap cloth around his tail, Hanuman begins to lengthen it. After frustrating them for a while, he allows it to burn, then escapes from his captors, and with his tail on fire he burns down large parts of Lanka. After extinguishing his flaming tail in the sea, he returns to Rama.

 

SHAPESHIFTING

In the Ramayana Hanuman changes shape several times. For example, while he searches for the kidnapped Sita in Ravana's palaces on Lanka, he contracts himself to the size of a cat, so that he will not be detected by the enemy. Later on, he takes on the size of a mountain, blazing with radiance, to show his true power to Sita.

 

Also he enlarges & immediately afterwards contracts his body to out-wit Surasa, the she-demon, who blocked his path while crossing the sea to reach Lanka. Again, he turns his body microscopically small to enter Lanka before killing Lankini, the she-demon guarding the gates of Lanka.

 

He achieved this shape-shifting by the powers of two siddhis; Anima and Garima bestowed upon him in his childhood by Sun-God, Surya.

 

MOUNTAIN LIFTING

When Lakshmana is severely wounded during the battle against Ravana, Hanuman is sent to fetch the Sanjivani, a powerful life-restoring herb, from Dronagiri mountain in the Himalayas, to revive him. Ravana realises that if Lakshmana dies, a distraught Rama would probably give up, and so he dispatches the sorcerer Kalanemi to intercept Hanuman. Kalanemi, in the guise of a sage, deceives Hanuman, but Hanuman uncovers his plot with the help of an apsara, whom he rescues from her accursed state as a crocodile.

 

Ravana, upon learning that Kalanemi has been slain by Hanuman, summons Surya to rise before its appointed time because the physician Sushena had said that Lakshmana would perish if untreated by daybreak. Hanuman realizes the danger, however, and, becoming many times his normal size, detains the Sun God to prevent the break of day. He then resumes his search for the precious herb, but, when he finds himself unable to identify which herb it is, he lifts the entire mountain and delivers it to the battlefield in Lanka. Sushena then identifies and administers the herb, and Lakshmana is saved. Rama embraces Hanuman, declaring him as dear to him as his own brother. Hanuman releases Surya from his grip, and asks forgiveness, as the Sun was also his Guru.

 

Hanuman was also called "langra veer"; langra in Hindi means limping and veer means "brave". The story behind Hanuman being called langra is as follows. He was injured when he was crossing the Ayodhya with the mountain in his hands. As he was crossing over Ayodhya, Bharat, Rama's young brother, saw him and assumed that some Rakshasa was taking this mountain to attack Ayodhya. Bharat then shot Hanuman with an arrow, which was engraved with Rama's name. Hanuman did not stop this arrow as it had Rama's name written on it, and it injured his leg. Hanuman landed and explained to Bharat that he was moving the mountain to save his own brother, Lakshmana. Bharat, very sorry, offered to fire an arrow to Lanka, which Hanuman could ride in order to reach his destination more easily. But Hanuman declined the offer, preferring to fly on his own, and he continued his journey with his injured leg.

 

PATALA INCIDENT

In another incident during the war, Rama and Lakshmana are captured by the rakshasa Mahiravana and Ahiravan), brother of Ravana, who held them captive in their palace in Patala (or Patalpuri) - the netherworld. Mahiravana keeps them as offerings to his deity. Searching for them, Hanuman reaches Patala, the gates of which are guarded by a young creature called Makardhwaja (known also as Makar-Dhwaja or Magar Dhwaja), who is part reptile and part Vanara.

 

The story of Makardhwaja's birth is said to be that when Hanuman extinguished his burning tail in the ocean, a drop of his sweat fell into the waters, eventually becoming Makardhwaja, who perceives Hanuman as his father. When Hanuman introduces himself to Makardhwaja, the latter asks his blessings. Hanuman enters Patala.

 

Upon entering Patala, Hanuman discovers that to kill Mahiravana, he must simultaneously extinguish five lamps burning in different directions. Hanuman assumes the Panchamukha or five-faced form of Sri Varaha facing north, Sri Narasimha facing south, Sri Garuda facing west, Sri Hayagriva facing the sky and his own facing the east, and blows out the lamps. Hanuman then rescues Rama and Lakshmana. Afterwards, Rama asks Hanuman to crown Makardhwaja king of Patala. Hanuman then instructs Makardhwaja to rule Patala with justice and wisdom.

 

To date Chandraloak Devpuri mandir is located at Dugana a small village 17 km from Laharpur,Sitapur district,Uttar Pradesh. A divine place where Chakleswar Mahadev situated.

 

HONOURS

Shortly after he is crowned Emperor upon his return to Ayodhya, Rama decides to ceremoniously reward all his well-wishers. At a grand ceremony in his court, all his friends and allies take turns being honoured at the throne. Hanuman approaches without desiring a reward. Seeing Hanuman come up to him, an emotionally overwhelmed Rama embraces him warmly, declaring that he could never adequately honour or repay Hanuman for the help and services he received from the noble Vanara. Sita, however, insists that Hanuman deserved honour more than anyone else, and Sita gives him a necklace of precious stones adorning her neck.

 

When he receives it, Hanuman immediately takes it apart, and peers into each stone. Taken aback, many of those present demand to know why he is destroying the precious gift. Hanuman answers that he was looking into the stones to make sure that Rama and Sita are in them, because if they are not, the necklace is of no value to him. At this, a few mock Hanuman, saying his reverence and love for Rama and Sita could not possibly be as deep as he implies. In response, Hanuman tears his chest open, and everyone is stunned to see Rama and Sita literally in his heart.

 

HANUMAN RAMAYANA

After the victory of Rama over Ravana, Hanuman went to the Himalayas to continue his worship of the Lord Rama. There he scripted a version of the Ramayana on the Himalayan mountains using his nails, recording every detail of Rama's deeds. When Maharishi Valmiki visited him to show him his own version of the Ramayana, he saw Hanuman's version and became very disappointed.

 

When Hanuman asked Valmiki the cause of his sorrow, the sage said that his version, which he had created very laboriously, was no match for the splendour of Hanuman's, and would therefore go ignored. At this, Hanuman discarded his own version, which is called the Hanumad Ramayana. Maharishi Valmiki was so taken aback that he said he would take another birth to sing the glory of Hanuman which he had understated in his version.

 

Later, one tablet is said to have floated ashore during the period of Mahakavi Kalidasa, and hung at a public place to be deciphered by scholars. Kalidasa is said to have deciphered it and recognised that it was from the Hanumad Ramayana recorded by Hanuman in an extinct script, and considered himself very fortunate to see at least one pada of the stanza.

 

AFTER RAMAYANA WAR

After the war, and after reigning for several years, the time arrived for Rama to depart to his supreme abode Vaikuntha. Many of Rama's entourage, including Sugriva, decided to depart with him. Hanuman, however, requested from Rama that he will remain on earth as long as Rama's name was venerated by people. Sita accorded Hanuman that desire, and granted that his image would be installed at various public places, so he could listen to people chanting Rama's name. He is one of the immortals (Chiranjivi) of Hinduism.

 

MAHABHARATA

Hanuman is also considered to be the brother of Bhima, on the basis of their having the same father, Vayu. During the Pandavas' exile, he appears disguised as a weak and aged monkey to Bhima in order to subdue his arrogance. Bhima enters a field where Hanuman is lying with his tail blocking the way. Bhima, unaware of his identity, tells him to move it out of the way. Hanuman, incognito, refuses. Bhima then tries to move the tail himself but he is unable, despite his great strength. Realising he is no ordinary monkey, he inquires as to Hanuman's identity, which is then revealed. At Bhima's request, Hanuman is also said to have enlarged himself to demonstrate the proportions he had assumed in his crossing of the sea as he journeyed to Lanka and also said that when the war came, he would be there to protect the Pandavas. This place is located at Sariska National Park in the Alwar District of the State of Rajasthan and named as Pandupole (Temple of Hanuman ji).Pandupole is very famous tourist spot of Alwar.

 

During the great battle of Kurukshetra, Arjuna entered the battlefield with a flag displaying Hanuman on his chariot. The incident that led to this was an earlier encounter between Hanuman and Arjuna, wherein Hanuman appeared as a small talking monkey before Arjuna at Rameshwaram, where Rama had built the great bridge to cross over to Lanka to rescue Sita. Upon Arjuna's wondering aloud at Rama's taking the help of monkeys rather than building a bridge of arrows, Hanuman challenged him to build a bridge capable of bearing him alone; Arjuna, unaware of the vanara's true identity, accepted. Hanuman then proceeded to repeatedly destroy the bridges made by Arjuna, who decided to take his own life. Krishna smiled and placed his divine discus beneath the bridge,and this time hanuman could no longer break it.Vishnu then appeared before them both after originally coming in the form of a tortoise, chiding Arjuna for his vanity and Hanuman for making Arjuna feel incompetent. As an act of penitence, Hanuman decided to help Arjuna by stabilizing and strengthening his chariot during the imminent great battle. After, the battle of Kurukshetra was over, Krishna asked Arjuna, that today you step down the chariot before me. After Arjuna got down, Krishna followed him and thanked Hanuman for staying with them during the whole fight in the form of a flag on the chariot. Hanuman came in his original form, bowed to Krishna and left the flag, flying away into the sky. As soon as he left the flag, the chariot began to burn and turned into ashes. Arjuna was shocked to see this, then Krishna told Arjuna, that the only reason his chariot was still standing was because of the presence of Himself and Hanuman, otherwise, it would have burnt many days ago due to effects of celestial weapons thrown at it in the war.

 

According to legend, Hanuman is one of the four people to have heard the Bhagwad Gita from Krishna and seen his Vishvarupa (universal) form, the other three being Arjuna, Sanjaya and Barbarika, son of Ghatotkacha.

 

OTHER TEXTS

Apart from Ramayana and Mahabharata, Hanuman is mentioned in several other texts. Some of these stories add to his adventures mentioned in the earlier epics, while others tell alternative stories of his life.

 

Paumacariya (also known as Pauma Chariu or Padmacharit), the Jain version of Ramayana written by Vimalasuri, mentions Hanuman as a Vidyadhara (a supernatural being), who is the son of Pavangati and Anjana Sundari. Anjana gives birth to Hanuman in a forest cave, after being banished by her in-laws. Her maternal uncle rescues her from the forest; while boarding his vimana, Anjana accidentally drops her baby on a rock. However, the baby remains uninjured while the rock is shattered. The baby is raised in Hanuruha, his great uncle's island kingdom, from which Hanuman gets his name. In this version, Hanuman is not celibate. He marries princess Anangakusuma, the daughter of Kharadushana and Ravana's sister Chandranakha. Ravana also presents Hanuman one of his nieces as a second wife. After becoming an ally of Sugriva, Hanuman acquires a hundred more wives. Hanuman is originally enraged at Rama for murdering his father-in-law Kharadushana. However, he becomes a supporter of Rama after meeting him and learning about Sita's kidnapping by Ravana. He goes to Lanka on Rama's behalf, but is unable to convince Ravana to surrender. Ultimately, he joins Rama in the war against Ravana and performs several heroic deeds. After the victory and subsequent celebrations, both Rama and Hanuman take Jaineshwari Diksha and become Jain Munis and achieve salvation. Later Jain texts such as Uttarapurana (9th century CE) by Gunabhadra and Anjana-Pavananjaya (12th century CE) tells the same story.

 

The Brahma Purana mentions that the vanaras built several Shiva lingams in Kishkindha. After his return to Ayodhya, Rama asks Hanuman to destroy these lingams, as they are no longer required. However, when Hanuman is unable to uproot these lingams, Rama orders them to worshipped permanently. The Skanda Purana mentions a variant of this story, which happens in Rameswaram. The Narada Purana describes Hanuman as a master of vocal music, and as an embodiment of the combined power of Shiva and Vishnu.

 

Apart from the Puranas, the Agama Saunaka Samhitha, and Agastya Sara Samhitha explains certain stories which are not mentioned in other Hindu texts along with the worship rituals of Hanuman. Recently a simple English Translation of some of stories are released as a book named Tales Of Hanuman: Tales from the eternal life of Hanuman

 

The 16th-century Indian poet Tulsidas wrote Hanuman Chalisa, a devotional song dedicated to Hanuman. He claimed to have visions where he met face to face with Hanuman. Based on these meetings, he wrote Ramcharitmanas, an Awadhi language version of Ramayana. The Sankat Mochan Hanuman Temple (Varanasi) is said to be located on the spot where Tulsidas had these visions. The works of Tulsidas played an important role in increasing the popularity of Hanuman worship in North India.

 

Durga Chalisa mentions that Hanuman leads and welcomes the procession of the ferocious lion-riding Bhavani.

 

The non-Indian versions of Ramayana, such as the Thai Ramakien, mention that Hanuman had relationships with multiple women, including Svayamprabha, Benjakaya (Vibhisana's daughter), Suvannamaccha and even Ravana's wife Mandodari. According to these versions of the Ramayana, Macchanu is son of Hanuman borne by Suvannamaccha, daughter of Ravana. The Jain text Paumacariya also mentions that Hanuman married Lankasundari, the daughter of Lanka's chief defender Bajramukha. Another legend says that a demigod named Matsyaraja (also known as Makardhwaja or Matsyagarbha) claimed to be his son. Matsyaraja's birth is explained as follows: a fish (matsya) was impregnated by the drops of Hanuman's sweat, while he was bathing in the ocean.

 

PROPHECY & LEGACY

A number of religious leaders have claimed to have seen Hanuman over the course of the centuries, notably Madhvacharya (13th century CE), Tulsidas (16th century), Samarth Ramdas (17th century), Raghavendra Swami (17th century) and Swami Ramdas (20th century).

 

Swaminarayan, founder of the Hindu Swaminarayan sects, holds that other than worship of God through the Narayana Kavacha, Hanuman is the only deity who may be worshiped in the event of trouble by evil spirits.

 

Others have also asserted his presence wherever the Ramayana is read.

 

“Bow down to Hanumān, who is the slayer of demons, and who is present with head bowed and eyes full of flowing tears wherever the fame of Rāma is sung.”

 

This can be found in other texts such as the Vinaya Patrika by Tulsidas and the Mahabharta, and in other texts with only slight variation in language. During the readings of the Ramayana (Ramayanpath), a special puja and space (asan) are reserved for Hanuman.

 

TEMPLES

Hanuman is worshipped by villagers as a boundary guardian, by Shaiva ascetics as a Yogi, and by wrestlers for his strength. There are numerous temples for Hanuman, and his images are usually installed at all temples where images of avatars of Vishnu are installed. Hanuman temples are believed to keep the area and surroundings free of rakshasas (demons) and other evil beings. Hanuman idols are found on mountain roads because it is believed that he protects people from accidents.

 

Jakhu temple is a famous temple at Shimla, the capital of Himachal Pradesh. The word "Jakhu" is derived from "Yaku"/"Yaksha". The hill is the legendary abode of Yaksha, Kinners Nagas and Asuras. The temple was founded on a plain where, according to legend, Hanuman's sudden landing flattened a hill. A 33-metre statue of Hanuman has been erected at the top of the 2,591-metre tall Jakhu Hill, the highest point in Shimla.

 

According to the Ramayana, during the battle between Lord Rama and Ravana at Lanka, Lakshmana, brother of Lord Rama, was mortally wounded by an arrow. To save his life, Hanuman journeyed to the Himalayas to retrieve the Sanjeevani herb. En route, he encountered a meditating sage on Jakhu mountain; as he paused to inquire about the herb, Hanuman's landing on the mountain compressed the earth, changing the shape of the mountain to its present state. In his haste to depart, Hanuman is said to have left his friends behind, and they are said to continue to roam the area even today. A temple honoring Lord Hanuman was constructed by the Jakhu sage.

 

The oldest known independent Hanuman statue is the one at Khajuraho, which has an inscription dated Sam. 940 (AD 883) mentioning that it was erected by Gahil's son Gollak.

 

Sankat Mochan Shri Hanuman Mandir, located in the Punjab town of Phillaur is one of the popular temples of Hanuman. Sankat Mochan Hanuman Temple, Varanasi, believed to be built by Tulsidas, is second most popular temple in the city.

 

Namakkal Anjaneyar temple is located in the town of Namakkal, Tamil Nadu. There is an 18-feet idol of Sri Hanuman in the temple facing east, worshipping Sri Lakshmi Narasimha Swami (one of the avatar of god Vishnu) in this temple. Anjenayar idol is Swayambu, believed to be growing in height; thus, temple has no roof enclosing.

 

Sholinghur Sri Yoga Narasimha swami temple and Sri Yoga Anjaneyar temple, located in Sholinghur, a town which is about 30 km from Arakkonam of Vellore District.Sri yoga Anjaneyar temple located over small hill containing 480 steps from ground. Lord Anjaneyar with Sathurpujam (sathur=four, pujam=arms) Sri Sangu and Sri Chakaram 2 hands and Jabba Malai and Jaba Shankaram in other two respectively facing Sri yoga Narasimha swami and Yoga Amurthavalli Thayar present over hill (periya malai= big hill) with 1305 steps from ground. Sholinghur shetram one among 108 divya desams also one of most famous temple of our Lord Anjaneya.

 

Ragigudda Anjaneya temple is a Hanuman temple located in JP Nagar Bangalore. The temple is located on a hillock.

 

The Hanuman temple at Nerul, Navi Mumbai, Maharashtra, India is situated inside SIES complex. The Hanuman idol is 10 m tall and is installed on a pedestal of height 4 m, bringing the total height to 14 m. In the picture shown, Hanuman has silver coverings (Silver Kavasam). The 33 feet Hanuman idol is carved out of single granite stone. This is the tallest single granite stone Hanuman idol in India as per the temple.

 

Similarly, a 10 m idol of Sri Anjaneyar was entrenched in 1989 at Nanganallur in Chennai, India. The distinguishing factor of the idol is that it was molded out of a single rock.

 

An 26-m Karya Siddhi Hanuman statue was installed at Carapichaima in Trinidad and Tobago, by Avadhoota Dattapeetham's Pontiff Ganapathy Sachchidananda. It is the tallest in the Western hemisphere and second tallest in the world. One has also built a Karya Siddhi Hanuman Temple in Frisco, Texas in the U.S.

 

The tallest Hanuman statue is the Veera Abhaya Anjaneya Hanuman Swami, standing 135 feet tall at Yerravaram, 46 km from Rajahmundry in Andhra Pradesh, installed in 2003.

 

The image of Hanuman is said to have come alive and moved when installed at the Shri Hanuman Mandir, Sarangpur. The temple is noted for getting rid of evil spirits.

 

Suchindram temple is a pious place lying about 14 km from Kanyakumari, Tamil Nadu. The temple is famous for it 18 feet tall Hanuman idol. This idol is decorated fully with butter (Vennai kappu in Tamil) and Sandalwood paste (Chandana kappu in Tamil).

 

In Rajasthan,Hanuman Temples at Mehendipur Balaji in Dausa district (80 km from Jaipur) and Salasar dhaam in Churu district (160 km from Jaipur) attract a large number of devotees from all over India. [{Chandraloak Devpuri Balaji}] is located in Dugana 17 km from Laharpur district-sitapur,UttarPradesh

 

Bhaktha Anjaneyar is Temple is located in Vedasandur, Dindigul, Tamil Nadu.

 

Kaviyoor is a small village about 5–6 km from the town of Thiruvalla, Kerala The Kaviyoor Mahadevar Temple here is about 100 years old and the Hanuman temple inside the Shiva temple is considered as very auspicious by devotees. Hanuman idol consecrated here is made of Panchaloha and is depicting him telling the story of Ramayana to Sita in the Asoka Vana.

 

Yalagur, a small village about 30–35 km from the town of Bagalkot in Karnataka, also has a temple dedicated to Hanuman.

 

Sri Baktha Hanuman Temple, Ramboda.Sri Lanka. Ramboda is a place where Hanuman was searching for Sita Devi.

 

WORSHIP

Some of the prayers, songs, mantras, shlokas, devoted to Hanuman include Hanuman Chalisa, Bajranga Baan, Maruti Strotam, Anjaneya Dandakam, Vadvanal Strotam, Hanuman Sathhika, Hanuman Bahuk, Hanuman Dwadesha, Bhimrupi Strotam, Sundara Kanda, Maruti Gayatri Mantra, Hanumansahasranam stotra (Stotra of thousand names of Hanuman), Ek-mukhi Hanuman Raksha Kavacham, Pancha-mukhi Hanuman Raksha Kavacham and Sapta-mukhi Hanuman Raksha Kavacham.

 

"Ram Raksha Strotam", the Sanskrit Strota, a Shield of Rama has lines devoted to Hanuman, saying, whoever, reads this, will be protected by Hanuman.

 

PANCHAMUKHA SRI HANUMAN

Sri Hanuman assumed Panchamukha or five-faced form to kill Ahiravana, a powerful rakshasa black-magician and practitioner of the dark arts during the Ramayana war. Ahiravana, brother of Ravana, had taken Lord Rama and Lakshmana to netherworld as captive, and the only way to kill him was to extinguish five lamps burning in different directions, all at the same instant. Sri Hanuman assumed His Panchamukha form and accomplished the task, thus killing the rakshasa, and freeing Rama and Lakshmana.

 

This form of Sri Hanuman is very popular, and is also known as Panchamukha Anjaneya and Panchamukhi Anjaneya. (Anjaneya, which means "son of Anjana", is another name of Sri Hanuman). These faces show there is nothing in the world which does not come under any the influence of any of the five faces, symbolic of his all around security to all devotees. This also signifies vigilance and control over the five directions - north, south, east, west and the upward direction/zenith.

 

There are five ways of prayer, Naman, Smaran, Keerthanam, Yachanam and Arpanam. The five faces depict these five forms. Lord Sri Hanuman always used to Naman, Smaran and Keerthanam of Lord Sri Rama. He totally surrendered (Arpanam) to his Master Sri Rama. He also begged (yachanam) Sri Rama to bless him the undivided love.

 

The weapons are a parashu, a Khanda, a chakra, a dhaalam, a gada, a trishula, a kumbha, a Katar, a plate filled with blood and again a big Gada.

 

Chitrakoot in Central India is claimed to be the resting place of Sri Hanuman. The Hanuman Dhara Temple is situated on the peak of mountain where there is natural rock formation image of Shri Hanuman inside the cave and a natural stream of water falling on the tail. It is believed that after the coronation of Lord Rama, Sri Hanuman requested for a permanent place to settle in the Kingdom of Lord Rama, where his Injury of burns on his tails will be cured. Lord Rama, then with his arrow, spurred a stream of water on the tip of mountain and asked Sri Hanuman to rest there with water of the stream falling on his tail to cool down burning sensation in his tail. The access to the cave temple is through stairs starting from bottom of the mountain to its top. It takes roughly 30 to 40 minutes to reach the temple. Over time the temple has gained a new name, namely Hanuman Dhara.

 

Sri Panchamukha Anjaneya Swami was the main deity of Sri Raghavendra Swami. The place where he meditated on this five-faced form of Sri Hanuman is now known as Panchamukhi, wherein a temple for him has been built. There is also a shrine for Panchamukha Anjaneya Swami at Kumbakonam in Tamil Nadu, India. A 12 m tall monolithic green granite murti of Sri Panchamukha Hanuman has been installed in Thiruvallur, also in Tamil Nadu. This place was known as Rudravanam in olden times when many saints and seers had blessed this place with their presence. The Panchamukha Hanuman Ashram itself was established by a saint called Venkatesa Battar. A four foot image of Panchmukha Hanuman has been consecrated West of Lusaka, Zambia in Oye Kapi farm.

 

RELATION WITH SHANI

In Hinduism, Hanuman is one of the few deities not afflicted by Shani. Hanuman is the one of the deities in Hindu religion, over whom Shani could not cast his spell. Shani could not overcome Hanuman and as such people worship Hanuman to get rid of malefic effects of Shani.

 

In the Ramayana, Hanuman is said to have rescued Shani, from the clutches of Ravana.

 

In gratitude, Shani promised Hanuman that those who prayed him (Hanuman) would be rescued from the painful effects of Saturn, which in Hindu astrology, is said to produce malefic effects on one's life when one is afflicted "negatively" with Saturn.

 

Another version of the encounter between Lord Hanuman and Shani Bhagavan is that the latter once climbed on to Lord Hanuman's shoulder, implying that he (Hanuman) was coming under the effects of the influence of Shani. At this, Hanuman assumed a large size, and Shani was caught painfully between Hanuman's shoulders and the ceiling of the room they were in. As the pain was unbearable, Shani requested Hanuman to release him, promising that he (Shani) would moderate the malefic effects of his influence on a person praying to Hanuman. Hanuman released Shani thereafter.

 

In the verse with a thousand Names of Hanuman the Hanumansahasranam stotra, Shani is one of the Names of Hanuman. In some regions of India, Hanuman is also seen sporting an iron whip akin to Shani.

 

WIKIPEDIA

From Shore to Shore. © Copyright 2018 G Dan Mitchell - all rights reserved.

 

Both shorelines of a rock-bound alpine lake

 

The Sierra Nevada is sometimes called the Range of Light, in recognition of (or so I think) the open quality of its forests, the tendency toward summer sunshine, and the resulting abundant light. It is a very different place than, say, the mountains of the Pacific Northwest. There are day-to-day exceptions to the rule, but overall the characterization holds. As a matter of fact, on our mid-to-late September backcountry visit this year we experienced an unbroken string of perfect blue sky days for over a week. (By the way, photographers don't necessarily regard that as a good thing!)

 

However, it is quite possible to experience different sorts of light in these mountains. Obviously, anyone who has experienced a major winter storm in the Sierra has seen the other end of this spectrum. Thunderstorms do sweep through in the summer months. And in some places where the mountains are close, tall, and very steep there can be lengthy "blue hour light" at the start and end of the day. I made this photograph in such a place, where the sun didn't arrive until many hours after sunrise, and the shadows returned hours before sunset. In this light, the rocky terrain around this lake took on an appearance that doesn't fit with that "range of light" description.

  

See top of this page for Articles, Sales and Licensing, my Sierra Nevada Fall Color book, Contact Information and more.

 

G Dan Mitchell is a California photographer and visual opportunist. His book, "California's Fall Color: A Photographer's Guide to Autumn in the Sierra" is available from Heyday Books and Amazon.

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Series with internal images of the museum-/-

O Museu Estadual Professor Zoroastro Artiaga é um museu brasileiro localizado em Goiânia.

Com arquitetura em art-déco, estilo que marcou as construções de sua época, o Museu Estadual Professor Zoroastro Artiaga foi fundado em 1946 com acervo formado por documentos históricos, utensílios antigos, objetos relacionados aos índios do Brasil Central e peças artísticas.

Seu nome presta justa homenagem ao primeiro diretor, professor Zoroastro Artiaga, que permaneceu no cargo até 1957 e, posteriormente, de 1964 a 1971, sendo o responsável pela caracterização da instituição enquanto museu eclético.

Funcionando em prédio próprio, o museu é freqüentado por um público bastante diferenciado que abrange estudantes, turistas, pesquisadores e a comunidade de um modo geral, todos nas busca de informações específicas sobre aspectos históricos e culturais do Estado. Na parte térrea do prédio ficam as exposições; administração, reserva técnica, biblioteca e folclore se localizam na parte superior.

Em uma das alas encontram-se expostas coleção de arte sacra, arte popular e objetos relacionados a história da Revolução Industrial, intitulada "Industrializados". Na outra ala fica a mostra uma exposição de minerais e rochas característicos de regiões do Estado, uma de artefatos indígenas, além de dioramas, um com aves nativas do cerrado, outro sobre mineração e um terceiro referente à etnologia.

A seção de folclore estampa a riqueza da cultura do povo goiano. Registra-se a presença de material representativo das várias regiões do estado. O descaroçador de algodão, a roda, o tear remontam o visitante aos antigos mutirões de fiandeiras. Roupas e máscaras lembram as tradicionais cavalhadas de Pirenópolis e Santa Cruz de Goiás. O departamento de imagem e som, com mais de mil discos em 78 rpm completam o acervo do museu num importante resgate da história dos goianos.

 

The State Museum is a Professor Zoroaster Artiaga Brazilian museum located in Goiania.

With art deco architecture, a style that has marked the construction of his day, Professor Zoroaster Artiaga State Museum was founded in 1946 with a collection formed by historical documents, old utensils, objects related to the Indians of central Brazil and artwork.

Its name pays homage to the first director, Professor Artiaga Zoroaster, who remained in office until 1957 and then from 1964 to 1971, being responsible for the characterization of the institution as eclectic museum.

Working in our own building, the museum is visited by an audience that encompasses very different students, tourists, researchers and the community generally, all in search of specific information about historical and cultural aspects of the state. On the ground floor of the building are exhibitions, administration, technical resources, folklore and library are located at the top.

In one of the wings are exposed collection of religious art, folk art and objects relating to history of the Industrial Revolution, entitled "Industrial". In another wing is showing an exhibition of minerals and rocks characteristic of regions of the state, one of Indian artifacts, and dioramas, a bird native to the savannah, another mining and a third on the ethnology.

The section prints the wealth of folklore culture of the people of Goias. Join the presence of material representative of various regions of the state. The cotton gin, a wheel, loom the visitor back to the old joint efforts for spinners. Clothing and masks reminiscent of traditional cavalhadas Pirenópolis and Santa Cruz de Goiás Department of picture and sound, with more than a thousand 78 rpm discs in the complete collection of the museum in a major rescue in the history of Goias.

From:http://pt.wikipedia.org/wiki/Museu_Estadual_Professor_Zoroastro_Artiaga

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Photographed at Algonquin Provincial Park, Ontario, Canada

between 01.24 and 01.45 EDT

(285 km by road north of Toronto)

* Altitude of M16 at time of exposures: ~30°

* Temperature 5° C.

 

* Total exposure time: 10 minutes

* 660 mm focal length telescope

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Description:

 

This is another favourite target of amateur astronomers with modest telescopes. The human eye can detect only black, white and various shades of grey when observing most celestial objects in the sky, but the digital camera sensor records the colours that are actually present.

 

From Wikipedia:

"The Eagle Nebula (catalogued as Messier 16 or M16, and as NGC 6611, and also known as the Star Queen Nebula and The Spire) is a young open cluster of stars in the constellation Serpens, discovered by Jean-Philippe de Chéseaux in 1745–46. Both the "Eagle" and the "Star Queen" refer to visual impressions of the dark silhouette near the center of the nebula, an area made famous as the "Pillars of Creation" photographed by the Hubble Space Telescope. The nebula contains several active star-forming gas and dust regions, including the Pillars of Creation.

 

The Eagle Nebula is part of a diffuse emission nebula, or H II region, which is catalogued as IC 4703. This region of active current star formation is about 7000 light-years distant. A spire of gas that can be seen coming off the nebula in the northeastern part is approximately 9.5 light-years or about 90 trillion kilometers long.

 

The cluster associated with the nebula has approximately 8100 stars, which are mostly concentrated in a gap in the molecular cloud to the north-west of the Pillars. The brightest star (HD 168076) has an apparent magnitude of +8.24, easily visible with good binoculars. It is actually a binary star formed of an O3.5V star plus an O7.5V companion.[6] This star has a mass of roughly 80 solar masses, and a luminosity up to 1 million times that of the Sun. The cluster's age has been estimated to be 1–2 million years.

 

The descriptive names reflect impressions of the shape of the central pillar rising from the southeast into the central luminous area. The name "Star Queen Nebula" was introduced by Robert Burnham, Jr., reflecting his characterization of the central pillar as the Star Queen shown in silhouette."

 

For a version of this photo WITHOUT LABELS, click on the LEFT side of your screen, or click here:

www.flickr.com/photos/97587627@N06/50014196807

 

To see a wider angle view this star cluster and nebula and other adjacent ones, photographed in Australia in Sept. 2019, click here:

www.flickr.com/photos/97587627@N06/49183970671

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Nikon D810a camera body on Tele Vue 127is (127 mm - 5" - diameter) apochromatic astrograph, mounted on Astrophysics 1100GTO equatorial mount

 

Ten stacked frames; each frame:

660 mm focal length

ISO 3200; 1 minute exposure at f/5.2; unguided

 

Subframes stacked in RegiStar;

Processed in Photoshop CS6 (levels, colour balance, sharpening)

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The gathering of all the nations of the earth refers to the uniting of the world's political powers, as a gradual process beginning in 1914 and seen later in manifestations such as the League of Nations and the United Nations following the First and Second World Wars.These political powers are said to be influenced by Satan and his demons in opposition to God's kingdom.Babylon the Great is interpreted as the world empire of false religion, and that it will be destroyed by the beast just prior to Armageddon. Witnesses believe that after all other religions have been destroyed, the governments will turn to persecute them, and that God will then intervene, precipitating Armageddon. One day gather in this city, but instead seems to predict only that "they (will gather) the kings together to .... Armageddon". The text does however seem to imply, based on the text from the earlier passage of Revelation 16:14, that the purpose of this gathering of kings in the "place called Armageddon" is "for the war of the great day of God, the Almighty".The Dispensational viewpoint interprets biblical prophecy literally and expects that the fulfillment of prophecy will also be literal, depending upon the context of scripture. In his discussion of Armageddon, J. Dwight Pentecost has devoted an entire chapter to the subject, titled "The Campaign of Armageddon", in which he discusses Armageddon as a campaign and not a specific battle, which will be fought in the Middle East. Pentecost writes: It has been held commonly that the battle of Armageddon is an isolated event transpiring just prior to the second advent of Christ to the earth. The extent of this great movement in which God deals with "the kings of the earth and of the whole world" (Rev. 16:14) will not be seen unless it is realized that the "battle of that great day of God Almighty" (Rev. 16:14)[13] is not an isolated battle, but rather a campaign that extends over the last half of the tribulation period. The Greek word "polemo", translated "battle" in Revelation 16:14, signifies a war or campaign, while "machē" signifies a battle, and sometimes even single combat. This distinction is observed by Trench, (see Richard C. Trench, New Testament Synonyms, pp.301-2) and is followed by Thayer (see Joseph Henry Thayer, Greek-English Lexicon of the New Testament, p. 528) and Vincent (see Marvin R. Vincent, Word Studies in the New Testament, II, 541). The use of the word polemos (campaign) in Revelation 16:14 would signify that the events that culminate in the gathering at Armageddon at the second advent are viewed by God as one connected campaign.— Pentecost, p.340The religion's current teaching on Armageddon originated in 1925 with former Watch Tower Society president J. F. Rutherford, who based his interpretations on the books of Exodus, Jeremiah, Ezekiel and Psalms as well as additional material from the books of Samuel, Kings and Chronicles. The doctrine marked a further break from the teachings of Watch Tower Society founder Charles Taze Russell, who for decades had taught that the final war would be an anarchistic struggle for domination on earth.[41] Tony Wills, author of a historical study of Jehovah's Witnesses, claimed that Rutherford seemed to relish his descriptions of how completely the wicked would be destroyed at Armageddon, dwelling at great length on prophecies of destruction. He stated that towards the close of his ministry Rutherford allocated about half the space available in The Watchtower magazines to discussion of Armageddon. The end time (also called end times, end of time, end of days, last days, final days, or eschaton) is a future time-period described variously in the eschatologies of several world religions (both Abrahamic and non-Abrahamic), which believe that world events will achieve a final climax. believe that the gathering of all the nations of the earth refers to the uniting of the world's political powers, as a gradual process beginning in 1914 and seen later in manifestations such as the League of Nations and the United Nations following the First and Second World Wars.[35] These political powers are said to be influenced by Satan and his demons in opposition to God's kingdom.[33] Babylon the Great is interpreted as the world empire of false religion, and that it will be destroyed by the beast just prior to Armageddon.[36][37] Witnesses believe that after all other religions have been destroyed, the governments will turn to persecute them, and that God will then intervene, precipitating Armageddon. The Abrahamic faiths maintain a linear cosmology, with end-time scenarios containing themes of transformation and redemption. In Judaism, the term "end of days" makes reference to the Messianic Age and includes an in-gathering of the exiled Jewish diaspora, the coming of the Messiah, the resurrection of the righteous, and the world to come. Some sects of Christianity depict the end time as a period of tribulation that precedes the second coming of Christ, who will face the Antichrist along with his power structure and usher in the Kingdom of God. However, other Christians believe that the end time represents the personal tribulation experienced before they become enlightened with the Word of God.[1] In Islam, the Day of Judgement is preceded by the appearance of the Mahdi mounted on a white stallion. With the help of Isa (Jesus), the Mahdi will triumph over Masih ad-Dajjal (the false messiah). Non-Abrahamic faiths tend to have more cyclical world-views, with end-time eschatologies characterized by decay, redemption, and rebirth. In Hinduism, the end time occurs when Kalki, the final incarnation of Vishnu, descends atop a white horse and brings an end to the current Kali Yuga. In Buddhism, the Buddha predicted that his teachings would be forgotten after 5,000 years, followed by turmoil. A bodhisattva named Maitreya will appear and rediscover the teaching of dharma. The ultimate destruction of the world will then come through seven suns. Since the development of the concept of deep time in the 18th century and the calculation of the estimated age of the Earth, scientific discourse about end times has centered on the ultimate fate of the universe. Armageddon is viewed as a spiritual battle or struggle in the present age between the forces of good, i.e. righteousness, purity and virtue, and the forces of evil. The final struggle between the two comes as satanic influence is let loose with the emergence of Gog and Magog. Satan gathers all his powers, and uses all his methods to mislead people, introducing an age where iniquity, promiscuity, atheism, and materialism abound.Theories have included the Big Rip, Big Crunch, Big Bounce, and Big Freeze (heat death). Transhumanism (abbreviated as H+ or h+) is an international intellectual movement that aims to transform the human condition by developing and making widely available sophisticated technologies to greatly enhance human intellect and physiology. Transhumanist thinkers study the potential benefits and dangers of emerging technologies that could overcome fundamental human limitations as well as ethical limitations of using such technologies. The most common transhumanist thesis is that human beings may eventually be able to transform themselves into different beings with abilities so greatly expanded from the current condition as to merit the label of posthuman beings. The contemporary meaning of the term "transhumanism" was foreshadowed by one of the first professors of futurology, FM-2030, who taught "new concepts of the human" at The New School in the 1960s, when he began to identify people who adopt technologies, lifestyles and worldviews "transitional" to posthumanity as "transhuman".The assertion would lay the intellectual groundwork for the British philosopher Max More to begin articulating the principles of transhumanism as a futurist philosophy in 1990 and organizing in California an intelligentsia that has since grown into the worldwide transhumanist movement. Influenced by seminal works of science fiction, the transhumanist vision of a transformed future humanity has attracted many supporters and detractors from a wide range of perspectives, including philosophy and religion. Researchers in futures studies and transhumanists investigate how the accelerating rate of scientific progress may lead to a "technological singularity" in the future that would profoundly and unpredictably change the course of human history, and result in Homo sapiens no longer being the dominant life form on Earth Eschatology /ˌɛskəˈtɒlədʒi/ (About this sound listen) is a part of theology concerned with the final events of history, or the ultimate destiny of humanity. This concept is commonly referred to as the "end of the world" or "end times". The word arises from the Greek ἔσχατος eschatos meaning "last" and -logy meaning "the study of", and was first used in English around 1844. The Oxford English Dictionary defines eschatology as "the part of theology concerned with death, judgment, and the final destiny of the soul and of humankind". In the context of mysticism, the phrase refers metaphorically to the end of ordinary reality and reunion with the Divine. In many religions it is taught as an existing future event prophesied in sacred texts or folklore. History is often divided into "ages" (aeons), which are time periods each with certain commonalities. One age comes to an end and a new age or world to come, where different realities are present, begins. When such transitions from one age to another are the subject of eschatological discussion, the phrase, "end of the world", is replaced by "end of the age", "end of an era", or "end of life as we know it". Much apocalyptic fiction does not deal with the "end of time" but rather with the end of a certain period of time, the end of life as it is now, and the beginning of a new period of time. It is usually a crisis that brings an end to current reality and ushers in a new way of living, thinking, or being. This crisis may take the form of the intervention of a deity in history, a war, a change in the environment, or the reaching of a new level of consciousness. Most modern eschatology and apocalypticism, both religious and secular, involve the violent disruption or destruction of the world; whereas Christian and Jewish eschatologies view the end times as the consummation or perfection of God's creation of the world, albeit with violent overtures, such as the Great Tribulation. For example, according to some ancient Hebrew worldviews, reality unfolds along a linear path (or rather, a spiral path, with cyclical components that nonetheless have a linear trajectory); the world began with God and is ultimately headed toward God's final goal for creation, the world to come. Eschatologies vary as to their degree of optimism or pessimism about the future. In some eschatologies, conditions are better for some and worse for others, e.g. "heaven and hell".Katechon is found in 2 Thessalonians 2:6-7 in an eschatological context: Christians must not behave as if the Day of the Lord would happen tomorrow, since the Son of Perdition (the Antichrist of 1 and 2 John) must be revealed before. St. Paul then adds that the revelation of the Antichrist is conditional upon the removal of "something/someone that restrains him" and prevents him being fully manifested. Verse 6 uses the neuter gender, τὸ κατέχον; and verse 7 the masculine, ὁ κατέχων. the Antichrist will come at the End of the World. Since St. Paul does not explicitly mention the katechon's identity, the passage's interpretation has been subject to dialogue and debate amongst Christian scholars. The term is found in 2 Thessalonians 2:6-7 in an eschatological context: Christians must not behave as if the Day of the Lord would happen tomorrow, since the Son of Perdition (the Antichrist of 1 and 2 John) must be revealed before. St. Paul then adds that the revelation of the Antichrist is conditional upon the removal of "something/someone that restrains him" and prevents him being fully manifested. Verse 6 uses the neuter gender, τὸ κατέχον; and verse 7 the masculine, ὁ κατέχων. Since St. Paul does not explicitly mention the katechon's identity, the passage's interpretation has been subject to dialogue and debate amongst Christian scholars.In Nomos of the Earth, German political thinker Carl Schmitt suggests the historical importance within traditional Christianity of the idea of the katechontic "restrainer" that allows for a Rome-centered Christianity, and that "meant the historical power to restrain the appearance of the Antichrist and the end of the present eon." The katechon represents, for Schmitt, the intellectualization of the ancient Christianum Imperium, with all its police and military powers to enforce orthodox ethics (see Carl Schmitt, The Nomos of the Earth in the International Law of the Jus Publicum Europaeum, G.L. Ulmen, trs., (New York: Telos, 2003), pp. 59–60.) In his posthumously published diary the entry from December 19, 1947 reads: "I believe in the katechon: it is for me the only possible way to understand Christian history and to find it meaningful" (Glossarium, p. 63). And Schmitt adds: "One must be able to name the katechon for every epoch of the last 1,948 years. The place has never been empty, or else we would no longer exist." Paolo Virno has a long discussion of the katechon in his book Multitude: Between Innovation and Negation. He refers to Schmitt's discussion. Virno says that Schmitt views the katechon as something that impedes the coming of the Antichrist, but because the coming of the Antichrist is a condition for the redemption promised by the Messiah, the katechon also impedes the redemption.[1] p. 60. Virno uses "katechon" to refer to that which impedes both the War of all against all (Bellum omnium contra omnes) and totalitarianism, for example the society in Orwell's Big Brother (Nineteen Eighty-Four). It impedes both but eliminates neither. Virno locates the katechon in the human ability to use language, which makes it possible to conceive of the negation of something, and also allows the conceptualization of something which can be other than what it is; and in the bioanthropological behavior of humans as social animals, which allows people to know how to follow rules without needing a rule to tell how to follow a rule, then a rule to tell how to follow that rule, and so on to infinity. These capabilities permit people to create social institutions and to dissolve or change them. Wolfgang Drechsler and Vasilis Kostakis have recently interpreted the katechon as Law that in contemporary technological development holds up immediate dangers but also prevent the ultimate e-society; they combine the interpretations by Schmitt, Agamben, and Virno to that end.1 Concerning the coming [the presence: tēs parousias] of our Lord Jesus Christ and our being gathered to him, we ask you, brothers and sisters, 2 not to become easily unsettled or alarmed by the teaching allegedly from us—whether by a prophecy or by word of mouth or by letter—asserting that the day of the Lord has already come. 3 Don’t let anyone deceive you in any way, for that day will not come until the rebellion [apostasia] occurs and the man of lawlessness is revealed [kai apokaluphthēi ho anthrōpos tēs anomias], the man doomed to destruction. 4 He will oppose and will exalt himself over everything that is called God or is worshiped, so that he sets himself up in God’s temple, proclaiming himself to be God. 5 Don’t you remember that when I was with you I used to tell you these things? 6 And now you know what is holding him back [to katechon], so that he may be revealed [apokaluphthēnai] at the proper time. 7 For the secret power of lawlessness [to mustērion tēs anomias] is already at work [energeitai]; but the one who now holds it back [ho katechōn] will continue to do so till he is taken out of the way. 8 And then the lawless one will be revealed [apokaluphthēsetai ho anomos], whom the Lord Jesus will overthrow with the breath of his mouth and destroy by the splendor of his coming [tē epiphaneia tēs parousias autou]. Paul’s letter inaugurates the long and fascinating history of the katechon as a political concept that is still producing its effects today. So many strata of interpretation have accumulated ever since. For Tertullian, John Chrysostom, or Augustine, the katechon is the Roman Empire. In his Apology for the Christians (XXXII, 1) Tertullian thus very clearly states: There is also another need, a greater one, for our praying for the Emperors, as for the whole estate of the empire and the interests of Rome. We know that the great force which threatens the whole world, the end of the age itself with its menace of hideous suffering, is delayed by the respite which the Roman Empire means for us. We do not wish to experience all that; and when we pray for its postponement are helping forward the continuance of Rome. [Est et alia major necessitas nobis orandi pro imperatoribus, etiam pro omni statu imperii rebusque Romanis, qui vim maximam universo orbi imminentem ipsamque clausulam saeculi acerbitates horrendas comminantem Romani imperii commeatu scimus retardari. Itaque nolumus experiri, ea dum precamur differri, Romanae diuturnitati favemus.] A divergent reading is proposed by John Calvin in his commentary on Paul’s Second Epistle, where he considers it “more probable” [probabilius] that the Apostle declared: “the light of the gospel must be diffused through all parts of the earth before God would thus give loose reins to Satan” [prius circumferendam per omnes terrae partes Evangelii lucem, antequam Deus ita Satanae frena laxaret].4 The katechon would thus be the evangelizing mission itself: “This, therefore, was the delay, until the career of the gospel should be completed” [haec igitur dilatio erat, donec completus esset Evangelii cursus]. According to Calvin, then, we could say that the katechontic deferral is the time the evangelic word needs to unfold its effects. It was Carl Schmitt who passed the concept on to contemporary political theory. In a letter to Hans Blumenberg dated October 22, 1974, Schmitt himself recognizes in the katechon the key to his political theory: “For more than 40 years I have been collecting materials on the problem of the ‘Κατεχων’ or ‘Κατεχον’ (2 Thess. 2, 6); and for all these years I have looked for a human ear that would listen to this question and understand it—for me the crucial question [Kernfrage] of (my) political theology.”5 Indeed, the word keeps recurring in Schmitt’s works from 1942 onward to characterize the most different entities or historical figures: it is used for the first time in an article published in the journal Das Reich on April 19, 1942, in order to negatively portray the United States as a “delayer of world history” [Verzögerer der Weltgeschichte] in front of the Nazi imperial project; it then appears later in the same year, in the essay Land and Sea, to describe the Eastern Roman Byzantine Empire (said to have “acted as a rampart, a katechon, as it is called in Greek . . . against the onslaughts of Islam”) and the Holy Roman Emperor Rudolf II (depicted as being “not an active hero, but rather a brake, a delaying factor . . . able to delay the Thirty-Years War by several decades”).6 Even Hegel ends up becoming katechontic in a 1950 article where Schmitt, discussing Karl Löwith’s book The Meaning of History, speaks of “a force that defers the end and restrains the evil one” [einer Kraft, die das Ende aufhält und den Bösen niederhält]: This is the katechon of the mysterious passage of Paul’s second letter to the Thessalonians. The medieval empire of the German rulers understood itself historically as the katechon. Luther still understood it in these terms, whereas Calvin takes a significant turn by no longer taking the empire but rather the preaching of God’s words as the katechon. The conception of withholding and deferring forces and powers can in some form probably be demonstrated to be active for every great historian [die Vorstellung haltender und aufhaltender

Kräfte und Mächte lässt sich in irgendeiner Form wohl bei jedem großen Historiker nachweisen]. Nietzsche furiously identified Hegel and the sixth sense of the Germans, i.e., the historical sense, as the great deferrer on the way to expressed atheism [Nietzsche hat voller Wut gerade in Hegel und in dem sechsten, das ist in dem historischen Sinn der Deutschen, den großen Verzögerer auf dem Weg zum offenen Atheismus erblickt]. With Schmitt, the differentiation in the concept’s extension—the pluralizing of its possible embodiments—is well under way, thereby turning the katechon into a metahistorical structure beyond the historically identifiable forces that represent it.8 As Schmitt himself notes in an entry in his Glossarium dated December 17, 1947: The katechon is the only possibility as a Christian to understand history and find it meaningful [er ist für mich die einzige Möglichkeit, als Christ Geschichte zu verstehen und sinnvoll zu finden]. We have to be able to name the katechon for every epoch in the last 1948 years [Schmitt writes in 1947]. The place has never been unoccupied, otherwise we would not be present anymore [der Platz war niemals unbesetzt, sonst wären wir nicht mehr vorhanden] . . . There are temporary, transient, splinter-like fragmentary bearers of this role [es gibt zeitweise, vorübergehende, splitterhaft fragmentarische Inhaber dieser Aufgabe]. In Schmitt’s writings, then, we are witnessing a striking generalization of the katechon. It now becomes possible to consider the katechontic force that withholds as inherent to “every theory of the State, including Hobbes’s,” as Agamben puts it in The Time That Remains. It now becomes possible to ask, as Massimo Cacciari does in a recent book entitled Il potere che frena (“The Power That Withholds”): “Does not every constituted power that is effectively in force belong to the dimension of the katechon? Shouldn’t it have at its disposal a katechontic energy?” Katechon is here abstracted from its initial context, it undergoes a process of “secularization,” as Agamben emphasizes, while obviously retaining something of its original Christian logic (or theologics). With this (quasi-)secularization also comes a shift from the question “quid or quis est katechon?,” as Cacciari formulates it, toward the complex temporality of the katechontic as such.11 For the postponement that the katechon produces or enacts amounts to a double deferral. To borrow Roberto Esposito’s words in Immunitas: “[I]n delaying the explosion of evil . . . it also at the same time delays the final victory of the principle of good. The triumph of evil is held in check, true, but the divine parousia is also delayed by its very existence. Its function is positive, but negatively so.”Withholding the coming of an Antichrist who in his turn precedes the coming of the Messiah, the katechon amounts to a kind of postponement of a postponement. And this is the reason why Agamben goes as far as to identify Derrida as the paradigmatic thinker of the katechontic force of our times: The katechon, suspending and withholding the end [sospendendo e trattenendo la fine], inaugurates a time in which nothing can really happen [or occur: avvenire] because the sense of historical becoming, that has its truth only in the eschaton, is indefinitely deferred [differito] . . . . Schmitt’s katechontic time is a blocked messianism [un messianismo bloccato]: but this blocked messianism reveals itself as the theological paradigm of the time in which we live [il paradigma teologico del tempo in cui viviamo], the structure of which is nothing else than the Derridian différance. Christian eschatology introduced a sense and a direction in time: katechon and différance, suspending and deferring this sense, render it undecidable. Of course, on the one hand, Derrida himself would have protested against this reduction of différance to a mere characterization of “the time in which we live.” The unity or consistence of such a “time” has always been the target or focus of deconstruction’s questioning, from Derrida’s early insistence on the impossible closure of a context to his appropriation of the Shakespearian motto quoted over and over again in Specters of Marx: “Time is out of joint.”But, on the other hand, Agamben’s attempt to historicize différance could very well be supported by some of Derrida’s own statements: suffice it to recall here that even when Derrida defined deconstruction as “what happens” [ce qui arrive], i.e. as what disrupts the very epochality of an epoch or a “time,” he immediately added: “It remains then to situate, localize, determine what happens with what happens, when it happens. To date it.” In other words, even if Agamben’s unashamed historicization of deconstruction seems to be at odds with the latter’s insistence on untimeliness, even if it apparently yields too quickly and easily to Schmitt’s Christian-historical requirement that “we have to be able to name the katechon for every epoch in the last 1948 years”—ours supposedly being deconstruction itself—, he also might be said to further one of deconstruction’s constant concerns or efforts. And this should be a sufficient reason to try to take Agamben’s suggestion seriously, or at least take it as a sign, as a symptom worth analyzing, without procrastinating anymore. Indeed, you might be wondering what I am getting at with this long reconstruction of the history of the katechon, from Paul to Agamben and beyond. You might even be thinking that I keep deferring this very question—“what am I getting at?”—, that I delay the moment when, hopefully, I will finally spell out the political stakes of the katechon for today. In sum, you might be suspecting that I am using the archaeology of the katechon as the very katechon for my political discourse on it. Now, at the risk of appearing paradoxical, I would argue that nothing is more urgently needed than this concept of the katechon as general(ized) deferral, provided we pursue the movement initiated by Schmitt, i.e. its abstraction, the severing of its ties with its original Christian context. (Of course, the name of this abstracting process could well be Christianity itself as globalization, as what Derrida has called “globalatinization,” mondialatinisation.

 

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en.wikipedia.org/wiki/Katechon

  

To reject pain is to avoid love.

We are accomplices and opponents; we once desired each other.

 

Should lust be crime, you and I are no doubt the most sinful……

The most intensive bantering mockery and query of a skeptic of love

 

Director Baboo, composes the piece based on, Heiner Mϋller, the German dramatist’s recreation, Quartett, of the French novel Les Liaisons dangereusesan, as an extension of Hsu Yen-ling×Sylvia Plath to discuss the transformation of theatrical poetry and change of scenes, and the exploration of acting talents to represent the cruel erotica and violence in aesthetics. Heiner Mϋller’s script is known for stylistic language, fragmentary and disconnected plots. Quartett is interwoven with long monologues that are fierce but poetic, and accompanied by disconnected meanings without clear indication. Two actor and actress will act as four different characters. “Play” and “game” are the two main actions throughout the play, and simultaneously represent the ambiguity of characters, sexuality, and desire.

 

Quarett abounds in pornography, fornication and sex, which are all reminiscent of the devil’s doings. It also tries to convert what’s been considered amoral into physical pleasure, and further to subvert the order of human civilization. In so doing, the animal desire will manifest itself through sex—passion of sex is the only means for human beings to avoid objectification.

 

Quarett is an arena of love where the body/sense and the soul/reason fight their tug of war. It displays a symptom of sickness only to be seen in passion and desire. Thru the four roles played by the two actors and their engagement in sex, we verge on the confusions generated in between multi-orgasms and post-sex blues. The two characters on the stage are coconspirators, lovers, enemies and individualists who live on one another. Also they symbolize the aesthetics of a lone island existing in the compressed space of a relationship. A rope ties the two tight together, with such diverse senses as suspicion, rapture, madness, pleasure and sadness afloat around. Torture and possessiveness also find their roots deep in the relationship of the two. We then come to realize, after experiencing the pangs, the existential conditions of LOVE.

 

Nevertheless, the plays and characterizations of the two roles coldly, meta-analytically remind the viewers of the reality hidden behind the back of all passions. In the end, the demises of the two signify the eternal aloofness experienced in one single shortened sexual orgasm, a redemption never to be redeemed.

 

quartett2010.blogspot.com/

Hanuman is a Hindu god and an ardent devotee of Rama. He is a central character in the Indian epic Ramayana and its various versions. He also finds mentions in several other texts, including Mahabharata, the various Puranas and some Jain texts. A vanara, Hanuman participated in Rama's war against the demon king Ravana. Several texts also present him as an incarnation of Lord Shiva. He is the son of Kesari, and is also described as the son of Vayu, who according to several stories, played a role in his birth. Several sects including Arya Samaj believe that Hanuman was a human and not vanara.

 

ETYMOLOGY & OTHER NAMES

The Sanskrit texts mention several legends about how Sri Hanuman got his name. One legend is that Indra, the king of the deities, struck Sri Hanuman's jaw during his childhood (see below). The child received his name from the Sanskrit words Hanu ("jaw") and -man (or -mant, "prominent" or "disfigured"). The name thus means "one with prominent or disfigured jaw". Another theory says the name derives from the Sanskrit words Han ("killed" or "destroyed") and maana (pride); the name implies "one whose pride was destroyed". Some Jain texts mention that Sri Hanuman spent his childhood on an island called Hanuruha, which is the origin of his name.

 

According to one theory, the name "Hanuman" derives from the proto-Dravidian word for male monkey (ana-mandi), which was later Sanskritized to "Hanuman" (see historical development below). Linguistic variations of "Hanuman" include Hanumat, Anuman (Tamil), Anoman (Indonesian), Andoman (Malay) and Hunlaman (Lao).

 

Hanuman came to be regarded as an avatar (incarnation) of Shiva by the 10th century CE (this development possibly started as early as in the 8th century CE). Hanuman is mentioned as an avatar of Shiva or Rudra in the Sanskrit texts like Mahabhagvata Purana, Skanda Purana, Brhaddharma Purana and Mahanataka among others. This development might have been a result of the Shavite attempts to insert their ishta devata (cherished deity) in the Vaishnavite texts, which were gaining popularity. The 17th century Oriya work Rasavinoda by Divakrsnadasa goes on to mention that the three gods – Brahma, Vishnu and Shiva – combined take to the form of Hanuman.

 

Hanuman became more important in the medieval period, and came to be portrayed as the ideal devotee (bhakta) of Rama. His characterization as a lifelong brahmachari (celibate) was another important development during this period. The belief that Hanuman's celibacy is the source of his strength became popular among the wrestlers in India. The celibacy or brahmacharya aspect of Hanuman is not mentioned in the original Ramayana.

 

BIRTH & CHILDHOOD

Hanuman was born to the vanaras. His mother Anjana was an apsara who was born on earth due to a curse. She was redeemed from this curse on her giving birth to a son. The Valmiki Ramayana states that his father Kesari was the son of Brihaspati and that Kesari also fought on Rama's side in the war against Ravana. Anjana and Kesari performed intense prayers to Shiva to get a child. Pleased with their devotion, Shiva granted them the boon they sought. Hanuman, in another interpretation, is the incarnation or reflection of Shiva himself.

 

Hanuman is often called the son of the deity Vayu; several different traditions account for the Vayu's role in Hanuman's birth. One story mentioned in Eknath's Bhavartha Ramayana (16th century CE) states that when Anjana was worshiping Shiva, the King Dasharatha of Ayodhya was also performing the ritual of Putrakama yagna in order to have children. As a result, he received some sacred pudding (payasam) to be shared by his three wives, leading to the births of Rama, Lakshmana, Bharata, and Shatrughna. By divine ordinance, a kite snatched a fragment of that pudding and dropped it while flying over the forest where Anjana was engaged in worship. Vayu, the Hindu deity of the wind, delivered the falling pudding to the outstretched hands of Anjana, who consumed it. Hanuman was born to her as a result. Another tradition says that Anjana and her husband Kesari prayed Shiva for a child. By Shiva's direction, Vayu transferred his male energy to Anjana's womb. Accordingly, Hanuman is identified as the son of the Vayu.

 

Another story of Hanuman's origins is derived from the Vishnu Purana and Naradeya Purana. Narada, infatuated with a princess, went to his lord Vishnu, to make him look like Vishnu, so that the princess would garland him at swayamvara (husband-choosing ceremony). He asked for hari mukh (Hari is another name of Vishnu, and mukh means face). Vishnu instead bestowed him with the face of a vanara. Unaware of this, Narada went to the princess, who burst into laughter at the sight of his ape-like face before all the king's court. Narada, unable to bear the humiliation, cursed Vishnu, that Vishnu would one day be dependent upon a vanara. Vishnu replied that what he had done was for Narada's own good, as he would have undermined his own powers if he were to enter matrimony. Vishnu also noted that Hari has the dual Sanskrit meaning of vanara. Upon hearing this, Narada repented for cursing his idol. But Vishnu told him not repent as the curse would act as a boon, for it would lead to the birth of Hanuman, an avatar of Shiva, without whose help Rama (Vishnu's avatar) could not kill Ravana.

 

BIRTH PLACE

Multiple places in India are claimed as the birthplace of Hanuman.

 

According to one theory, Hanuman was born on 'Anjaneya Hill', in Hampi, Karnataka. This is located near the Risyamukha mountain on the banks of the Pampa, where Sugreeva and Rama are said to have met in Valmiki Ramayana's Kishkinda Kanda. There is a temple that marks the spot. Kishkinda itself is identified with the modern Anegundi taluk (near Hampi) in Bellary district of Karnataka.

 

Anjan, a small village about 18 km away from Gumla, houses "Anjan Dham", which is said to be the birthplace of Hanuman. The name of the village is derived from the name of the goddess Anjani, the mother of Hanuman. Aanjani Gufa (cave), 4 km from the village, is believed to be the place where Anjani once lived. Many objects of archaeological importance obtained from this site are now held at the Patna Museum.

 

The Anjaneri (or Anjneri) mountain, located 7 km from Trimbakeshwar in the Nasik district, is also claimed as the birthplace of Hanuman.

 

According to Anjan Dham, Hanuman was born on Lakshka Hill near Sujangarh in Churu district, Rajasthan.

 

CHILDHOOD

As a child, believing the sun to be a ripe mango, Hanuman pursued it in order to eat it. Rahu, a Vedic planet corresponding to an eclipse, was at that time seeking out the sun as well, and he clashed with Hanuman. Hanuman thrashed Rahu and went to take sun in his mouth.[18] Rahu approached Indra, king of devas, and complained that a monkey child stopped him from taking on Sun, preventing the scheduled eclipse. This enraged Indra, who responded by throwing the Vajra (thunderbolt) at Hanuman, which struck his jaw. He fell back down to the earth and became unconscious. A permanent mark was left on his chin (हनुः hanuḥ "jaw" in Sanskrit), due to impact of Vajra, explaining his name. Upset over the attack, Hanuman's father figure Vayu deva (the deity of air) went into seclusion, withdrawing air along with him. As living beings began to asphyxiate, Indra withdrew the effect of his thunderbolt. The devas then revived Hanuman and blessed him with multiple boons to appease Vayu.

 

Brahma gave Hanuman a boon that would protect him from the irrevocable Brahma's curse. Brahma also said: "Nobody will be able to kill you with any weapon in war." From Brahma he obtained the power of inducing fear in enemies, of destroying fear in friends, to be able to change his form at will and to be able to easily travel wherever he wished. From Shiva he obtained the boons of longevity, scriptural wisdom and ability to cross the ocean. Shiva assured safety of Hanuman with a band that would protect him for life. Indra blessed him that the Vajra weapon will no longer be effective on him and his body would become stronger than Vajra. Varuna blessed baby Hanuman with a boon that he would always be protected from water. Agni blessed him with immunity to burning by fire. Surya gave him two siddhis of yoga namely "laghima" and "garima", to be able to attain the smallest or to attain the biggest form. Yama, the God of Death blessed him healthy life and free from his weapon danda, thus death would not come to him. Kubera showered his blessings declaring that Hanuman would always remain happy and contented. Vishwakarma blessed him that Hanuman would be protected from all his creations in the form of objects or weapons. Vayu also blessed him with more speed than he himself had. Kamadeva also blessed him that the sex will not be effective on him.So his name is also Bala Bramhachari.

 

On ascertaining Surya to be an all-knowing teacher, Hanuman raised his body into an orbit around the sun and requested to Surya to accept him as a student. Surya refused and explained claiming that he always had to be on the move in his chariot, it would be impossible for Hanuman to learn well. Undeterred, Hanuman enlarged his form, with one leg on the eastern ranges and the other on the western ranges, and facing Surya again pleaded. Pleased by his persistence, Surya agreed. Hanuman then learned all of the latter's knowledge. When Hanuman then requested Surya to quote his "guru-dakshina" (teacher's fee), the latter refused, saying that the pleasure of teaching one as dedicated as him was the fee in itself. Hanuman insisted, whereupon Surya asked him to help his (Surya's) spiritual son Sugriva. Hanuman's choice of Surya as his teacher is said to signify Surya as a Karma Saakshi, an eternal witness of all deeds. Hanuman later became Sugriva's minister.

 

Hanuman was mischievous in his childhood, and sometimes teased the meditating sages in the forests by snatching their personal belongings and by disturbing their well-arranged articles of worship. Finding his antics unbearable, but realizing that Hanuman was but a child, (albeit invincible), the sages placed a mild curse on him by which he became unable to remember his own ability unless reminded by another person. The curse is highlighted in Kishkindha Kanda and he was relieved from the curse by the end of Kishkindha Kanda when Jambavantha reminds Hanuman of his abilities and encourages him to go and find Sita and in Sundara Kanda he used his supernatural powers at his best.

 

ADVANTURES IN RAMAYANA

The Sundara Kanda, the fifth book in the Ramayana, focuses on the adventures of Hanuman.

 

MEETING WITH RAMA

Hanuman meets Rama during the Rama's 14-year exile. With his brother Lakshmana, Rama is searching for his wife Sita who had been abducted by Ravana. Their search brings them to the vicinity of the mountain Rishyamukha, where Sugriva, along with his followers and friends, are in hiding from his older brother Vali.

 

Having seen Rama and Lakshmana, Sugriva sends Hanuman to ascertain their identities. Hanuman approaches the two brothers in the guise of a brahmin. His first words to them are such that Rama says to Lakshmana that none could speak the way the brahmin did unless he or she had mastered the Vedas. He notes that there is no defect in the brahmin's countenance, eyes, forehead, brows, or any limb. He points out to Lakshmana that his accent is captivating, adding that even an enemy with sword drawn would be moved. He praises the disguised Hanuman further, saying that sure success awaited the king whose emissaries were as accomplished as he was.

 

When Rama introduces himself, the brahman identitifies himself as Hanuman and falls prostrate before Rama, who embraces him warmly. Thereafter, Hanuman's life becomes interwoven with that of Rama. Hanuman then brings about friendship and alliance between Rama and Sugriva; Rama helps Sugriva regain his honour and makes him king of Kishkindha. Sugriva and his vanaras, most notably Hanuman, help Rama defeat Raavana and reunite with Sita.

 

In their search for Sita, a group of Vanaras reaches the southern seashore. Upon encountering the vast ocean, every vanara begins to lament his inability to jump across the water. Hanuman too is saddened at the possible failure of his mission, until the other vanaras and the wise bear Jambavantha begin to extol his virtues. Hanuman then recollects his own powers, enlarges his body, and flies across the ocean. On his way, he encounters a mountain that rises from the sea, proclaims that it owed his father a debt, and asks him to rest a while before proceeding. Not wanting to waste any time, Hanuman thanks the mountain, touches it briefly, and presses on. He then encounters a sea-monster, Surasa, who challenges him to enter her mouth. When Hanuman outwits her, she admits that her challenge was merely a test of his courage. After killing Simhika, a rakshasi, he reaches Lanka.

 

FINDING SITA

Hanuman reaches Lanka through flight and marvels at its beauty. After he finds Sita in captivity in a garden, Hanuman reveals his identity to her, reassures her that Rama has been looking for her, and uplifts her spirits. He offers to carry her back to Rama, but she refuses his offer, saying it would be an insult to Rama as his honour is at stake. In order to give Sita faith, Hanuman gives her a ring that Rama wanted Hanuman to give her. After meeting Sita, Hanuman begins to wreak havoc, gradually destroying the palaces and properties of Lanka. He kills many rakshasas, including Jambumali and Aksha Kumar. To subdue him, Ravana's son Indrajit uses the Brahmastra. Though immune to the effects of this weapon Hanuman, out of respect to Brahma, allows himself be bound. Deciding to use the opportunity to meet Ravana, and to assess the strength of Ravana's hordes, Hanuman allows the rakshasa warriors to parade him through the streets. He conveys Rama's message of warning and demands the safe return of Sita. He also informs Ravana that Rama would be willing to forgive him if he returns Sita honourably.

 

Enraged, Ravana orders Hanuman's execution, whereupon Ravana's brother Vibhishana intervenes, pointing out that it is against the rules of engagement to kill a messenger. Ravana then orders Hanuman's tail be lit afire. As Ravana's forces attempted to wrap cloth around his tail, Hanuman begins to lengthen it. After frustrating them for a while, he allows it to burn, then escapes from his captors, and with his tail on fire he burns down large parts of Lanka. After extinguishing his flaming tail in the sea, he returns to Rama.

 

SHAPESHIFTING

In the Ramayana Hanuman changes shape several times. For example, while he searches for the kidnapped Sita in Ravana's palaces on Lanka, he contracts himself to the size of a cat, so that he will not be detected by the enemy. Later on, he takes on the size of a mountain, blazing with radiance, to show his true power to Sita.

 

Also he enlarges & immediately afterwards contracts his body to out-wit Surasa, the she-demon, who blocked his path while crossing the sea to reach Lanka. Again, he turns his body microscopically small to enter Lanka before killing Lankini, the she-demon guarding the gates of Lanka.

 

He achieved this shape-shifting by the powers of two siddhis; Anima and Garima bestowed upon him in his childhood by Sun-God, Surya.

 

MOUNTAIN LIFTING

When Lakshmana is severely wounded during the battle against Ravana, Hanuman is sent to fetch the Sanjivani, a powerful life-restoring herb, from Dronagiri mountain in the Himalayas, to revive him. Ravana realises that if Lakshmana dies, a distraught Rama would probably give up, and so he dispatches the sorcerer Kalanemi to intercept Hanuman. Kalanemi, in the guise of a sage, deceives Hanuman, but Hanuman uncovers his plot with the help of an apsara, whom he rescues from her accursed state as a crocodile.

 

Ravana, upon learning that Kalanemi has been slain by Hanuman, summons Surya to rise before its appointed time because the physician Sushena had said that Lakshmana would perish if untreated by daybreak. Hanuman realizes the danger, however, and, becoming many times his normal size, detains the Sun God to prevent the break of day. He then resumes his search for the precious herb, but, when he finds himself unable to identify which herb it is, he lifts the entire mountain and delivers it to the battlefield in Lanka. Sushena then identifies and administers the herb, and Lakshmana is saved. Rama embraces Hanuman, declaring him as dear to him as his own brother. Hanuman releases Surya from his grip, and asks forgiveness, as the Sun was also his Guru.

 

Hanuman was also called "langra veer"; langra in Hindi means limping and veer means "brave". The story behind Hanuman being called langra is as follows. He was injured when he was crossing the Ayodhya with the mountain in his hands. As he was crossing over Ayodhya, Bharat, Rama's young brother, saw him and assumed that some Rakshasa was taking this mountain to attack Ayodhya. Bharat then shot Hanuman with an arrow, which was engraved with Rama's name. Hanuman did not stop this arrow as it had Rama's name written on it, and it injured his leg. Hanuman landed and explained to Bharat that he was moving the mountain to save his own brother, Lakshmana. Bharat, very sorry, offered to fire an arrow to Lanka, which Hanuman could ride in order to reach his destination more easily. But Hanuman declined the offer, preferring to fly on his own, and he continued his journey with his injured leg.

 

PATALA INCIDENT

In another incident during the war, Rama and Lakshmana are captured by the rakshasa Mahiravana and Ahiravan), brother of Ravana, who held them captive in their palace in Patala (or Patalpuri) - the netherworld. Mahiravana keeps them as offerings to his deity. Searching for them, Hanuman reaches Patala, the gates of which are guarded by a young creature called Makardhwaja (known also as Makar-Dhwaja or Magar Dhwaja), who is part reptile and part Vanara.

 

The story of Makardhwaja's birth is said to be that when Hanuman extinguished his burning tail in the ocean, a drop of his sweat fell into the waters, eventually becoming Makardhwaja, who perceives Hanuman as his father. When Hanuman introduces himself to Makardhwaja, the latter asks his blessings. Hanuman enters Patala.

 

Upon entering Patala, Hanuman discovers that to kill Mahiravana, he must simultaneously extinguish five lamps burning in different directions. Hanuman assumes the Panchamukha or five-faced form of Sri Varaha facing north, Sri Narasimha facing south, Sri Garuda facing west, Sri Hayagriva facing the sky and his own facing the east, and blows out the lamps. Hanuman then rescues Rama and Lakshmana. Afterwards, Rama asks Hanuman to crown Makardhwaja king of Patala. Hanuman then instructs Makardhwaja to rule Patala with justice and wisdom.

 

To date Chandraloak Devpuri mandir is located at Dugana a small village 17 km from Laharpur,Sitapur district,Uttar Pradesh. A divine place where Chakleswar Mahadev situated.

 

HONOURS

Shortly after he is crowned Emperor upon his return to Ayodhya, Rama decides to ceremoniously reward all his well-wishers. At a grand ceremony in his court, all his friends and allies take turns being honoured at the throne. Hanuman approaches without desiring a reward. Seeing Hanuman come up to him, an emotionally overwhelmed Rama embraces him warmly, declaring that he could never adequately honour or repay Hanuman for the help and services he received from the noble Vanara. Sita, however, insists that Hanuman deserved honour more than anyone else, and Sita gives him a necklace of precious stones adorning her neck.

 

When he receives it, Hanuman immediately takes it apart, and peers into each stone. Taken aback, many of those present demand to know why he is destroying the precious gift. Hanuman answers that he was looking into the stones to make sure that Rama and Sita are in them, because if they are not, the necklace is of no value to him. At this, a few mock Hanuman, saying his reverence and love for Rama and Sita could not possibly be as deep as he implies. In response, Hanuman tears his chest open, and everyone is stunned to see Rama and Sita literally in his heart.

 

HANUMAN RAMAYANA

After the victory of Rama over Ravana, Hanuman went to the Himalayas to continue his worship of the Lord Rama. There he scripted a version of the Ramayana on the Himalayan mountains using his nails, recording every detail of Rama's deeds. When Maharishi Valmiki visited him to show him his own version of the Ramayana, he saw Hanuman's version and became very disappointed.

 

When Hanuman asked Valmiki the cause of his sorrow, the sage said that his version, which he had created very laboriously, was no match for the splendour of Hanuman's, and would therefore go ignored. At this, Hanuman discarded his own version, which is called the Hanumad Ramayana. Maharishi Valmiki was so taken aback that he said he would take another birth to sing the glory of Hanuman which he had understated in his version.

 

Later, one tablet is said to have floated ashore during the period of Mahakavi Kalidasa, and hung at a public place to be deciphered by scholars. Kalidasa is said to have deciphered it and recognised that it was from the Hanumad Ramayana recorded by Hanuman in an extinct script, and considered himself very fortunate to see at least one pada of the stanza.

 

AFTER RAMAYANA WAR

After the war, and after reigning for several years, the time arrived for Rama to depart to his supreme abode Vaikuntha. Many of Rama's entourage, including Sugriva, decided to depart with him. Hanuman, however, requested from Rama that he will remain on earth as long as Rama's name was venerated by people. Sita accorded Hanuman that desire, and granted that his image would be installed at various public places, so he could listen to people chanting Rama's name. He is one of the immortals (Chiranjivi) of Hinduism.

 

MAHABHARATA

Hanuman is also considered to be the brother of Bhima, on the basis of their having the same father, Vayu. During the Pandavas' exile, he appears disguised as a weak and aged monkey to Bhima in order to subdue his arrogance. Bhima enters a field where Hanuman is lying with his tail blocking the way. Bhima, unaware of his identity, tells him to move it out of the way. Hanuman, incognito, refuses. Bhima then tries to move the tail himself but he is unable, despite his great strength. Realising he is no ordinary monkey, he inquires as to Hanuman's identity, which is then revealed. At Bhima's request, Hanuman is also said to have enlarged himself to demonstrate the proportions he had assumed in his crossing of the sea as he journeyed to Lanka and also said that when the war came, he would be there to protect the Pandavas. This place is located at Sariska National Park in the Alwar District of the State of Rajasthan and named as Pandupole (Temple of Hanuman ji).Pandupole is very famous tourist spot of Alwar.

 

During the great battle of Kurukshetra, Arjuna entered the battlefield with a flag displaying Hanuman on his chariot. The incident that led to this was an earlier encounter between Hanuman and Arjuna, wherein Hanuman appeared as a small talking monkey before Arjuna at Rameshwaram, where Rama had built the great bridge to cross over to Lanka to rescue Sita. Upon Arjuna's wondering aloud at Rama's taking the help of monkeys rather than building a bridge of arrows, Hanuman challenged him to build a bridge capable of bearing him alone; Arjuna, unaware of the vanara's true identity, accepted. Hanuman then proceeded to repeatedly destroy the bridges made by Arjuna, who decided to take his own life. Krishna smiled and placed his divine discus beneath the bridge,and this time hanuman could no longer break it.Vishnu then appeared before them both after originally coming in the form of a tortoise, chiding Arjuna for his vanity and Hanuman for making Arjuna feel incompetent. As an act of penitence, Hanuman decided to help Arjuna by stabilizing and strengthening his chariot during the imminent great battle. After, the battle of Kurukshetra was over, Krishna asked Arjuna, that today you step down the chariot before me. After Arjuna got down, Krishna followed him and thanked Hanuman for staying with them during the whole fight in the form of a flag on the chariot. Hanuman came in his original form, bowed to Krishna and left the flag, flying away into the sky. As soon as he left the flag, the chariot began to burn and turned into ashes. Arjuna was shocked to see this, then Krishna told Arjuna, that the only reason his chariot was still standing was because of the presence of Himself and Hanuman, otherwise, it would have burnt many days ago due to effects of celestial weapons thrown at it in the war.

 

According to legend, Hanuman is one of the four people to have heard the Bhagwad Gita from Krishna and seen his Vishvarupa (universal) form, the other three being Arjuna, Sanjaya and Barbarika, son of Ghatotkacha.

 

OTHER TEXTS

Apart from Ramayana and Mahabharata, Hanuman is mentioned in several other texts. Some of these stories add to his adventures mentioned in the earlier epics, while others tell alternative stories of his life.

 

Paumacariya (also known as Pauma Chariu or Padmacharit), the Jain version of Ramayana written by Vimalasuri, mentions Hanuman as a Vidyadhara (a supernatural being), who is the son of Pavangati and Anjana Sundari. Anjana gives birth to Hanuman in a forest cave, after being banished by her in-laws. Her maternal uncle rescues her from the forest; while boarding his vimana, Anjana accidentally drops her baby on a rock. However, the baby remains uninjured while the rock is shattered. The baby is raised in Hanuruha, his great uncle's island kingdom, from which Hanuman gets his name. In this version, Hanuman is not celibate. He marries princess Anangakusuma, the daughter of Kharadushana and Ravana's sister Chandranakha. Ravana also presents Hanuman one of his nieces as a second wife. After becoming an ally of Sugriva, Hanuman acquires a hundred more wives. Hanuman is originally enraged at Rama for murdering his father-in-law Kharadushana. However, he becomes a supporter of Rama after meeting him and learning about Sita's kidnapping by Ravana. He goes to Lanka on Rama's behalf, but is unable to convince Ravana to surrender. Ultimately, he joins Rama in the war against Ravana and performs several heroic deeds. After the victory and subsequent celebrations, both Rama and Hanuman take Jaineshwari Diksha and become Jain Munis and achieve salvation. Later Jain texts such as Uttarapurana (9th century CE) by Gunabhadra and Anjana-Pavananjaya (12th century CE) tells the same story.

 

The Brahma Purana mentions that the vanaras built several Shiva lingams in Kishkindha. After his return to Ayodhya, Rama asks Hanuman to destroy these lingams, as they are no longer required. However, when Hanuman is unable to uproot these lingams, Rama orders them to worshipped permanently. The Skanda Purana mentions a variant of this story, which happens in Rameswaram. The Narada Purana describes Hanuman as a master of vocal music, and as an embodiment of the combined power of Shiva and Vishnu.

 

Apart from the Puranas, the Agama Saunaka Samhitha, and Agastya Sara Samhitha explains certain stories which are not mentioned in other Hindu texts along with the worship rituals of Hanuman. Recently a simple English Translation of some of stories are released as a book named Tales Of Hanuman: Tales from the eternal life of Hanuman

 

The 16th-century Indian poet Tulsidas wrote Hanuman Chalisa, a devotional song dedicated to Hanuman. He claimed to have visions where he met face to face with Hanuman. Based on these meetings, he wrote Ramcharitmanas, an Awadhi language version of Ramayana. The Sankat Mochan Hanuman Temple (Varanasi) is said to be located on the spot where Tulsidas had these visions. The works of Tulsidas played an important role in increasing the popularity of Hanuman worship in North India.

 

Durga Chalisa mentions that Hanuman leads and welcomes the procession of the ferocious lion-riding Bhavani.

 

The non-Indian versions of Ramayana, such as the Thai Ramakien, mention that Hanuman had relationships with multiple women, including Svayamprabha, Benjakaya (Vibhisana's daughter), Suvannamaccha and even Ravana's wife Mandodari. According to these versions of the Ramayana, Macchanu is son of Hanuman borne by Suvannamaccha, daughter of Ravana. The Jain text Paumacariya also mentions that Hanuman married Lankasundari, the daughter of Lanka's chief defender Bajramukha. Another legend says that a demigod named Matsyaraja (also known as Makardhwaja or Matsyagarbha) claimed to be his son. Matsyaraja's birth is explained as follows: a fish (matsya) was impregnated by the drops of Hanuman's sweat, while he was bathing in the ocean.

 

PROPHECY & LEGACY

A number of religious leaders have claimed to have seen Hanuman over the course of the centuries, notably Madhvacharya (13th century CE), Tulsidas (16th century), Samarth Ramdas (17th century), Raghavendra Swami (17th century) and Swami Ramdas (20th century).

 

Swaminarayan, founder of the Hindu Swaminarayan sects, holds that other than worship of God through the Narayana Kavacha, Hanuman is the only deity who may be worshiped in the event of trouble by evil spirits.

 

Others have also asserted his presence wherever the Ramayana is read.

 

“Bow down to Hanumān, who is the slayer of demons, and who is present with head bowed and eyes full of flowing tears wherever the fame of Rāma is sung.”

 

This can be found in other texts such as the Vinaya Patrika by Tulsidas and the Mahabharta, and in other texts with only slight variation in language. During the readings of the Ramayana (Ramayanpath), a special puja and space (asan) are reserved for Hanuman.

 

TEMPLES

Hanuman is worshipped by villagers as a boundary guardian, by Shaiva ascetics as a Yogi, and by wrestlers for his strength. There are numerous temples for Hanuman, and his images are usually installed at all temples where images of avatars of Vishnu are installed. Hanuman temples are believed to keep the area and surroundings free of rakshasas (demons) and other evil beings. Hanuman idols are found on mountain roads because it is believed that he protects people from accidents.

 

Jakhu temple is a famous temple at Shimla, the capital of Himachal Pradesh. The word "Jakhu" is derived from "Yaku"/"Yaksha". The hill is the legendary abode of Yaksha, Kinners Nagas and Asuras. The temple was founded on a plain where, according to legend, Hanuman's sudden landing flattened a hill. A 33-metre statue of Hanuman has been erected at the top of the 2,591-metre tall Jakhu Hill, the highest point in Shimla.

 

According to the Ramayana, during the battle between Lord Rama and Ravana at Lanka, Lakshmana, brother of Lord Rama, was mortally wounded by an arrow. To save his life, Hanuman journeyed to the Himalayas to retrieve the Sanjeevani herb. En route, he encountered a meditating sage on Jakhu mountain; as he paused to inquire about the herb, Hanuman's landing on the mountain compressed the earth, changing the shape of the mountain to its present state. In his haste to depart, Hanuman is said to have left his friends behind, and they are said to continue to roam the area even today. A temple honoring Lord Hanuman was constructed by the Jakhu sage.

 

The oldest known independent Hanuman statue is the one at Khajuraho, which has an inscription dated Sam. 940 (AD 883) mentioning that it was erected by Gahil's son Gollak.

 

Sankat Mochan Shri Hanuman Mandir, located in the Punjab town of Phillaur is one of the popular temples of Hanuman. Sankat Mochan Hanuman Temple, Varanasi, believed to be built by Tulsidas, is second most popular temple in the city.

 

Namakkal Anjaneyar temple is located in the town of Namakkal, Tamil Nadu. There is an 18-feet idol of Sri Hanuman in the temple facing east, worshipping Sri Lakshmi Narasimha Swami (one of the avatar of god Vishnu) in this temple. Anjenayar idol is Swayambu, believed to be growing in height; thus, temple has no roof enclosing.

 

Sholinghur Sri Yoga Narasimha swami temple and Sri Yoga Anjaneyar temple, located in Sholinghur, a town which is about 30 km from Arakkonam of Vellore District.Sri yoga Anjaneyar temple located over small hill containing 480 steps from ground. Lord Anjaneyar with Sathurpujam (sathur=four, pujam=arms) Sri Sangu and Sri Chakaram 2 hands and Jabba Malai and Jaba Shankaram in other two respectively facing Sri yoga Narasimha swami and Yoga Amurthavalli Thayar present over hill (periya malai= big hill) with 1305 steps from ground. Sholinghur shetram one among 108 divya desams also one of most famous temple of our Lord Anjaneya.

 

Ragigudda Anjaneya temple is a Hanuman temple located in JP Nagar Bangalore. The temple is located on a hillock.

 

The Hanuman temple at Nerul, Navi Mumbai, Maharashtra, India is situated inside SIES complex. The Hanuman idol is 10 m tall and is installed on a pedestal of height 4 m, bringing the total height to 14 m. In the picture shown, Hanuman has silver coverings (Silver Kavasam). The 33 feet Hanuman idol is carved out of single granite stone. This is the tallest single granite stone Hanuman idol in India as per the temple.

 

Similarly, a 10 m idol of Sri Anjaneyar was entrenched in 1989 at Nanganallur in Chennai, India. The distinguishing factor of the idol is that it was molded out of a single rock.

 

An 26-m Karya Siddhi Hanuman statue was installed at Carapichaima in Trinidad and Tobago, by Avadhoota Dattapeetham's Pontiff Ganapathy Sachchidananda. It is the tallest in the Western hemisphere and second tallest in the world. One has also built a Karya Siddhi Hanuman Temple in Frisco, Texas in the U.S.

 

The tallest Hanuman statue is the Veera Abhaya Anjaneya Hanuman Swami, standing 135 feet tall at Yerravaram, 46 km from Rajahmundry in Andhra Pradesh, installed in 2003.

 

The image of Hanuman is said to have come alive and moved when installed at the Shri Hanuman Mandir, Sarangpur. The temple is noted for getting rid of evil spirits.

 

Suchindram temple is a pious place lying about 14 km from Kanyakumari, Tamil Nadu. The temple is famous for it 18 feet tall Hanuman idol. This idol is decorated fully with butter (Vennai kappu in Tamil) and Sandalwood paste (Chandana kappu in Tamil).

 

In Rajasthan,Hanuman Temples at Mehendipur Balaji in Dausa district (80 km from Jaipur) and Salasar dhaam in Churu district (160 km from Jaipur) attract a large number of devotees from all over India. [{Chandraloak Devpuri Balaji}] is located in Dugana 17 km from Laharpur district-sitapur,UttarPradesh

 

Bhaktha Anjaneyar is Temple is located in Vedasandur, Dindigul, Tamil Nadu.

 

Kaviyoor is a small village about 5–6 km from the town of Thiruvalla, Kerala The Kaviyoor Mahadevar Temple here is about 100 years old and the Hanuman temple inside the Shiva temple is considered as very auspicious by devotees. Hanuman idol consecrated here is made of Panchaloha and is depicting him telling the story of Ramayana to Sita in the Asoka Vana.

 

Yalagur, a small village about 30–35 km from the town of Bagalkot in Karnataka, also has a temple dedicated to Hanuman.

 

Sri Baktha Hanuman Temple, Ramboda.Sri Lanka. Ramboda is a place where Hanuman was searching for Sita Devi.

 

WORSHIP

Some of the prayers, songs, mantras, shlokas, devoted to Hanuman include Hanuman Chalisa, Bajranga Baan, Maruti Strotam, Anjaneya Dandakam, Vadvanal Strotam, Hanuman Sathhika, Hanuman Bahuk, Hanuman Dwadesha, Bhimrupi Strotam, Sundara Kanda, Maruti Gayatri Mantra, Hanumansahasranam stotra (Stotra of thousand names of Hanuman), Ek-mukhi Hanuman Raksha Kavacham, Pancha-mukhi Hanuman Raksha Kavacham and Sapta-mukhi Hanuman Raksha Kavacham.

 

"Ram Raksha Strotam", the Sanskrit Strota, a Shield of Rama has lines devoted to Hanuman, saying, whoever, reads this, will be protected by Hanuman.

 

PANCHAMUKHA SRI HANUMAN

Sri Hanuman assumed Panchamukha or five-faced form to kill Ahiravana, a powerful rakshasa black-magician and practitioner of the dark arts during the Ramayana war. Ahiravana, brother of Ravana, had taken Lord Rama and Lakshmana to netherworld as captive, and the only way to kill him was to extinguish five lamps burning in different directions, all at the same instant. Sri Hanuman assumed His Panchamukha form and accomplished the task, thus killing the rakshasa, and freeing Rama and Lakshmana.

 

This form of Sri Hanuman is very popular, and is also known as Panchamukha Anjaneya and Panchamukhi Anjaneya. (Anjaneya, which means "son of Anjana", is another name of Sri Hanuman). These faces show there is nothing in the world which does not come under any the influence of any of the five faces, symbolic of his all around security to all devotees. This also signifies vigilance and control over the five directions - north, south, east, west and the upward direction/zenith.

 

There are five ways of prayer, Naman, Smaran, Keerthanam, Yachanam and Arpanam. The five faces depict these five forms. Lord Sri Hanuman always used to Naman, Smaran and Keerthanam of Lord Sri Rama. He totally surrendered (Arpanam) to his Master Sri Rama. He also begged (yachanam) Sri Rama to bless him the undivided love.

 

The weapons are a parashu, a Khanda, a chakra, a dhaalam, a gada, a trishula, a kumbha, a Katar, a plate filled with blood and again a big Gada.

 

Chitrakoot in Central India is claimed to be the resting place of Sri Hanuman. The Hanuman Dhara Temple is situated on the peak of mountain where there is natural rock formation image of Shri Hanuman inside the cave and a natural stream of water falling on the tail. It is believed that after the coronation of Lord Rama, Sri Hanuman requested for a permanent place to settle in the Kingdom of Lord Rama, where his Injury of burns on his tails will be cured. Lord Rama, then with his arrow, spurred a stream of water on the tip of mountain and asked Sri Hanuman to rest there with water of the stream falling on his tail to cool down burning sensation in his tail. The access to the cave temple is through stairs starting from bottom of the mountain to its top. It takes roughly 30 to 40 minutes to reach the temple. Over time the temple has gained a new name, namely Hanuman Dhara.

 

Sri Panchamukha Anjaneya Swami was the main deity of Sri Raghavendra Swami. The place where he meditated on this five-faced form of Sri Hanuman is now known as Panchamukhi, wherein a temple for him has been built. There is also a shrine for Panchamukha Anjaneya Swami at Kumbakonam in Tamil Nadu, India. A 12 m tall monolithic green granite murti of Sri Panchamukha Hanuman has been installed in Thiruvallur, also in Tamil Nadu. This place was known as Rudravanam in olden times when many saints and seers had blessed this place with their presence. The Panchamukha Hanuman Ashram itself was established by a saint called Venkatesa Battar. A four foot image of Panchmukha Hanuman has been consecrated West of Lusaka, Zambia in Oye Kapi farm.

 

RELATION WITH SHANI

In Hinduism, Hanuman is one of the few deities not afflicted by Shani. Hanuman is the one of the deities in Hindu religion, over whom Shani could not cast his spell. Shani could not overcome Hanuman and as such people worship Hanuman to get rid of malefic effects of Shani.

 

In the Ramayana, Hanuman is said to have rescued Shani, from the clutches of Ravana.

 

In gratitude, Shani promised Hanuman that those who prayed him (Hanuman) would be rescued from the painful effects of Saturn, which in Hindu astrology, is said to produce malefic effects on one's life when one is afflicted "negatively" with Saturn.

 

Another version of the encounter between Lord Hanuman and Shani Bhagavan is that the latter once climbed on to Lord Hanuman's shoulder, implying that he (Hanuman) was coming under the effects of the influence of Shani. At this, Hanuman assumed a large size, and Shani was caught painfully between Hanuman's shoulders and the ceiling of the room they were in. As the pain was unbearable, Shani requested Hanuman to release him, promising that he (Shani) would moderate the malefic effects of his influence on a person praying to Hanuman. Hanuman released Shani thereafter.

 

In the verse with a thousand Names of Hanuman the Hanumansahasranam stotra, Shani is one of the Names of Hanuman. In some regions of India, Hanuman is also seen sporting an iron whip akin to Shani.

 

WIKIPEDIA

Robert Henri American ( 1865-1929)

Dutch Girl in White , 1907

Oil on canvas

Henri championed truth and vitality in life and art. He echoed in his paintings the dark palette and gestural brushwork of the old masters Diego Valázquez and Frans Hals and the more recent Realists Édouard Manet and Edgar Degas. In the summer of 1907 he and some of his students traveled to the Netherlands and visited Hals’s hometown Haarlem. There, responding to the Dutch painter’s gift for characterization, Henri made portraits of local models, including this one of Martche, who was among his favorites. While most of his Ashcan School colleagues dedicated themselves to depicting urban flux, Henri was, and remains, best known for portraits.

Arthur Hoppock Hearn Fund, 1950

50.47

From the placard: Metropolitan Museum of Art

 

On this hot day in Frankfurt, I met two plus two cheerful people, I could inspire for the Project "The Human Family". They did not stare at their smartphones, were relaxed and open to the project.

 

One of them was Jennifer, who I photographed first. Her story and her picture can be found here:

 

flic.kr/p/JtwDjK

 

After the little photo shoot with Jennifer was completed, I asked Jennifer's friend, Matthias, to come in front of my camera. Relaxed we tried some settings. Matthias thoughts went to the shirt he wore. The text on the shirt does not quite fit into the idea of The Human Family project. It is remarkable that Matthias is concerned about it and show me what a reflected man Matthias is. The text also has no significance for Matthias, he was doing that night only a loose, casual, the heat matched, leisure look.

 

Matthias is 26 years old, comes from Alsbach (in the south of Frankfurt) and now lives in Frankfurt. Matthias is employed in an tax advisor office as a consultant. In the past Matthias had shown his portfolio on the Internet, with the result that his current employer approached him. Now he is on the staff. The time as a consultant is marked by the "on the job training" - that is, the switching and testing practical knowledge and skills. It is the professional preparation for tax advisors.

 

I asked Matthias what his biggest dream is. This is a beach bar in the Caribbean with a connected open-air gym, Matthias replied. When I asked Matthias about his hobbies, he answered: my girlfriend Jennifer, sports, socializing and meeting friends.

Matthias also likes to travel, this year is planned a trip to South America and next year to Asia.

 

How got you know Jennifer? We met in the internet. We were both logged on a Christian platform for young adults. I have Jennifer written. What followed from the mails is what now we have.

 

During our small interviews we sat (Matthias, Jennifer and I) on the steps of city hall. So I could ask Jennifer ,how she would describe Matthias: She was a little surprised by the question and could not say so specifically what it is exactly at the moment. "In any case, Matthias is a cheerful person, always laughing and attractive".

 

Meanwhile, I am in e-mail contact with Jennifer; the following characterization of Matthias Jennifer had send to me. With her permission I quote this little declaration of love. (When I read her mail and this passage, it conjured me a smile on the face.)

 

"Matthias is really the best cheerful, dearest, most selfless person I know. He's just the perfect complement of me. With many incredibly similarities, but also a few opposites that fit each other perfectly. In addition Matthias is a selfless nature. He would repeatedly backtrack himself, just to help other people. And he always smiles, everyone likes him because he has such a sympathic way. Matthias is very empathetic."

 

I can only agree with Jennifer. In our little photo session Matthias was beaming calm, friendliness and fun. In the "Couple Photo", which I made at the end of both, I could feel the warmth and love that exists between Jennifer and Matthias.

 

Jennifer wrote me that Matthias and Jennifer have otherwise "only" selfies or smartphone images from each other. These photos here are so exceptional. I hope that Matthias and Jennifer still can see the photos in 50 years and then say, “do you remember that time at Frankfurt Römerberg”!

 

Thanks for the time have you given me and the project. I wish you well. I hope your future professional goals will be reached. But especially I wish you a long common time together full of love and harmony.

 

This is my 28th post to the group "The Human Family". Visit "The Human Family" here and have a look on the photos of the other photographers:

 

www.flickr.com/groups/thehumanfamily/

 

Last but not least, Melanie will follow. I'm writing the text. So be patient.

 

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

An diesem heißen Tag in Frankfurt traf ich zwei plus zwei gutgelaunte Menschen, die ich für das Project „The Human Family“ begeistern konnte. Sie starrten nicht auf ihr Smartphone, waren entspannt und offen für das Projekt.

 

Eine von Ihnen war Jennifer, die ich zuerst fotografierte.

Ihre Geschichte und ihr Foto findet ihr hier:

 

flic.kr/p/JtwDjK

 

Nachdem das kleine Foto Shooting mit Jennifer abgeschlossen war, bat ich Jennifers Freund, Matthias, vor die Kamera. Locker und entspannt probierten wir einige Einstellungen aus. Gedanken machte sich Matthias zu dem T-Shirt, das er trug. Der Text auf dem Shirt passt nicht so ganz zu dem Gedanken, der hinter meinem Projekt steht. Ich finde es bemerkenswert, dass Matthias sich darüber Gedanken macht und zeigt mir welch ein reflektierter Mensch Matthias ist. Der Text hat auch keinerlei Aussagekraft für Matthias, es ging ihm an diesem Abend nur um einen lockeren, lässigen, der Hitze angepassten, Freizeit- Look

 

Matthias ist 26 Jahre alt, kommt aus Alsbach (südlich von Darmstadt) und lebt jetzt in Frankfurt. Matthias ist in einem Steuerberatungsbüro als Consultant beschäftigt (hoffentlich gibt es dafür eine englische Übersetzung). Seinerzeit stellte Matthias sein Portfolio ins Internet, mit dem Ergebnis, dass die sein jetziger Arbeitgeber auf ihn zugekommen ist. Jetzt ist er fest angestellt. Die Zeit als Consultant ist geprägt durch das „Training on the Job“ – also die Vermittlung und Erprobung praktischer Kenntnisse und Fertigkeiten. Es ist die Berufsvorbereitung zum Steuerberater.

 

Ich fragte Matthias nach seinem Wunschtraum. Das ist eine Strandbar in der Karibik mit angeschlossenem Open-Air-Fitness-Studio, antwortete Matthias. Gefragt nach seinen Hobbies antwortete Matthias: meine Freundin Jennifer, Sport, Kontakte pflegen und sich mit Freunden treffen.

Matthias reist auch gerne, dieses Jahr ist eine Reise nach Südamerika geplant und nächstes Jahr nach Asien.

 

Wie hast Du Jennifer kennen gelernt? Wir haben uns über das Internet kennen gelernt. Wir waren beide auf einer christlichen Plattform angemeldet. Die ist für junge Erwachsene. Ich habe Jennifer angeschrieben und aus den Gesprächen folgte dann was wir jetzt haben.

 

Während unseres kleinen Interviews saßen wir (Matthias, Jennifer und ich) auf den Stufen zum Rathaus. So konnte ich Jennifer fragen, wie sie Matthias beschreiben würde: Sie war etwas überrascht von der Frage und konnte in dem Moment gar nicht so konkret sagen, was es genau ist. „Auf jeden Fall ist Matthias eine Frohnatur, immer lachend und attraktiv“.

 

Inzwischen stehe ich in E-Mail-Kontakt mit Jennifer; die nachfolgende Charakterisierung von Matthias hatte Jennifer mir per Mail zukommen lassen. Mit ihrer Erlaubnis darf ich diese kleine Liebeserklärung hier zitieren. Als ich ihre Mail und diese Passage las, zauberte es mir ein Lächeln auf das Gesicht.

 

„Matthias ist wirklich der best gelaunteste, liebste , selbstloseste Mensch den ich kenne. Er ist einfach die perfekte Ergänzung von mir. Mit unheimlich vielen Gemeinsamkeiten, aber auch mit wenigen Gegensätzen, die uns perfekt ergänzen. Dazu kommt seine selbstlose Art. Er würde so oft zurück stecken, nur um seinen Mitmenschen zu helfen. Und er grinst immer, jeder mag ihn, weil er so eine sympathische Art hat. Er ist sehr empathisch.“

 

Ich kann Jennifer nur zustimmen. Bei unsere kleinen Fotosession strahlte Matthias Ruhe, Freundlichkeit und Spaß an unserem Tue aus. Bei dem „Pärchenfoto“, welches ich zum Schluss von den beide machte, konnte ich die Wärme und Liebe spüren, die zwischen Jennifer und Matthias besteht.

 

Jennifer schrieb mir, dass Matthias und sie sonst "nur" Selfies oder Smartphone-Bilder voneinander haben. Solche Fotos sind somit etwas Besonderes. Ich hoffe, dass Matthias und Jennifer sich noch in 50 Jahren die Fotos anschauen können und dann sagen, weißt du noch, damals am Frankfurter Römerberg!

 

Danke für die Zeit, die Ihr mir und dem Projekt geschenkt habt. Ich wünsche Euch alles Gute und dass ihr eure beruflichen Ziele erreichen werdet. Besonders aber wünsche ich euch eine lange gemeinsame Zeit miteinander voller Liebe und Harmonie.

 

Dies ist mein 28. Beitrag zu der Gruppe "The Human Family". Mehr Fotos von anderen Fotografen der Gruppe findest Du hier:

www.flickr.com/groups/thehumanfamily/

 

Es folgt noch die Charakterisierung von Melanie. Ich schreibe gerade am Text. Bitte habt noch etwas Geduld.

 

Dutch postcard by Art Unlimited, Amsterdam, no. B 2201. Photo: Robin Barton, 1988.

 

Brooding macho Oliver Reed (1938-1999) was one of England's darker leading men and villainous character actors. He juggled over 60 film roles in 40 years and a full-blooded social life of women, booze, and bar fights. After a start in Hammer films, Reed worked often with acclaimed British directors Ken Russell, Richard Lester, and Michael Winner. His final role was as the old, gruff gladiator trainer in Ridley Scott's Gladiator (2000).

 

Robert Oliver Reed was born in 1938, in Wimbledon, England. His parents were Peter Reed, a sports journalist, and Marcia Reed née Napier-Andrews. He had two brothers. David Reed became his business manager and his half-brother Simon Reed became his press agent. He was a nephew of film director Sir Carol Reed. And he was a grandson of actor-manager Herbert Beerbohm Tree, who founded the Royal Academy of Dramatic Art (RADA) in 1904. Party animal Reed did not complete high school. He ended up taking on a variety of blue-collar jobs. His first job at the age of 17 was as a bouncer at a Soho nightclub. In 1960, he suddenly burst into films, showing up in the background of the Hammer films The Two Faces of Dr. Jekyll (Terence Fisher, 1960), and Sword of Sherwood Forest (Terence Fisher, 1960), and as a gay ballet dancer in the criminal comedy The League of Gentlemen (Basil Dearden, 1960). His first starring role came with Hammer, as the title character in Curse of the Werewolf (Terence Fisher, 1961). Robert Armstrong at AllMovie: "Years later, he would serve as the narrator on a full Hammer retrospective, putting his sonorous speaking voice to good use and paying homage to his roots. Such early work paved the way for a steady flow of bad-guy roles in horrors, costume dramas, and suspense thrillers. Reed's intense, glowering features could also be manipulated for believable ethnic characterizations." Films such as Science-Fiction horror film The Damned (Joseph Losey, 1962) and Pirates of Blood River (John Gilling, 1962) followed. His first of six collaborations with Michael Winner came with The System/The Girl Getters (1964). The film was seen by Ken Russell who then cast Reed in the title role of The Debussy Film (1965), a TV biopic of Claude Debussy. It was the first time he broke away from villainous roles. According to Wikipedia, Reed later said "Hammer films had given me my start and Michael Winner my bread then Ken Russell came on the screen and gave me my art." Reed co-starred with Rita Tushingham in the Canadian-British co-production, The Trap (Sidney Hayers, 1966). His career stepped up another level when he starred in his second film with Winner, the popular comedy film The Jokers (Michael Winner, 1966), alongside Michael Crawford. His third Winner film was I'll Never Forget What's'isname (Michael Winner, 1967), with Orson Welles. Reed was reunited with Ken Russell for another TV film, Dante's Inferno (1967), playing Dante Gabriel Rossetti. In 1968, he won his first leading role in a universally well-received film, the Oscar-winner Oliver! (Carol Reed, 1968), in which he played murderous thief Bill Sikes. Despite complaints of nepotism, Reed insisted he had to persuade his uncle to cast him, even though his credentials closely matched the needs of the part. Another watershed moment came in 1969 when Ken Russell cast him as one of the leads in his adaptation of D.H. Lawrence's Women in Love (1969). Robert Armstrong at AllMovie: "While the film was a well-received treatise on sexuality and marriage, it achieved some notoriety for featuring the first-ever full-frontal male nudity in an English-language commercial film. Reed and Alan Bates engage in a memorable nude wrestling match that audaciously fleshes out the film's themes. Reportedly, Russell had planned to scrap the scene, worried about censor backlash, until Reed wrestled him into including it, literally pinning him down, in Russell's kitchen. Still, Reed told the Los Angeles Times he had to drink a bottle of vodka before he could relax enough to film the scene."

 

Oliver Reed and Ken Russell would work together five more times, including The Devils (1971) and Tommy (1975), in which Reed played Frank Hobbs. Reed was also known for portraying musketeer Athos in three of Richard Lester's film versions of Alexandre Dumas' famous tale. Reed appeared in The Three Musketeers (1973) and its sequel, The Four Musketeers (1974), which originally had been planned as one long movie. He revived the role for The Return of the Musketeers (1989). During the filming of the windmill duel scene in the first film, Reed was nearly killed when he was stabbed in the throat. Add in 36 stitches to repair cuts on his face after a bar fight in 1963, and the actor had more than his share of scrapes. Reed peaked in many ways in the mid-1970s and had to settle on genre work for much of his career. Films such as Dr. Heckyl and Mr. Hype (Charles B. Griffith, 1980), Venom (Piers Haggard, 1982), Gor (John Norman, 1987), and Dragonard (Gérard Kikoïne, 1987) became his regular source of paychecks for many years. More interesting films were David Cronenberg's The Brood (1979), Nicolas Roeg's Castaway (1987), or Terry Gilliam's The Adventures of Baron Munchausen (1989). Reed's most familiar role for modern audiences was also his last. The actor appeared in Oscar-winner Gladiator (Ridley Scott, 2000) as Proximo, the amoral merchant who trains the enslaved fighters to kill and be killed. When he died midway through production, Reed unwittingly became part of a groundbreaking three-million-dollar endeavor by director Ridley Scott to digitally re-create his likeness in order to film Proximo's death scene. A three-dimensional image of Reed's face was scanned into computers so it could smile and talk, then digitally grafted onto a body double. In 1999, Oliver Reed died in Valetta, Malta, where Gladiator was being filmed. Robert Armstrong at AllMovie: "the result of a heart attack brought on by one last night of hard-drinking, which included three bottles of downed rum and arm wrestling victories over five sailors." He was survived by his second wife, Josephine Burge. He was the father of Mark Thurloe Reed (1961) with his first wife Kate Byrne and of Sarah Reed (1970) from his 12-year relationship to dancer Jacqueline Daryl.

 

Sources: Robert Armstrong (AllMovie), Wikipedia, and IMDb.

 

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

It took me 21 shots today to get one that I liked, and until 1:42 in the morning to get it.

 

went to Art Zoom and the 11th Annual Christmas Parade of Lights. I froze my butt off, but I got some pictures done and I got lots of great art to hang on those new empty walls.

 

While walking around venue to venue at Art Zoom, I found a shoe store that sold Betsy Johnson shoes. They were leopard print, red, and had a bow. I'm pretty much in love, $260 of love.

While listings for dolls besides wave 1 Asiana & Kiara are still few and far between sticking to my saved search on ebay has yielded a MIB 2nd wave JC and a dream lot with several different versions of Kiara (whom I foolishly ignored when they were in kmart because they weren't JC) and Myah but finding more has been slightly spotty since. Still, I'm dedicated to this line and will fight to find them until I can at least find a wave 2 Asiana and Fiona. Wish me luck!

 

Were I to right my own versions of Myah & the twins: Unlike the others these characterizations are slightly on the fly since they would be relatively minor characters. As mentioned before my Myah would own a dance studio in the city. An upstart she enjoys managing her own business and hopes to gain nationwide acclaim with enough hard work.

 

The twins, Alicia & Eliza, are Kiara's older college aged sisters that are different as night & day, with Alicia being sligtly prissy and Eliza more in your face boisterous, but having a shared trait of being too spoiled for their own good (relatively nice but slightly out of touch - think Lisa turtle on a bad day). Popular on campus in their own varied circles they're currently experiencing a reality check as their father is cutting them off, aside from college room & board, until he feels they really appreciate all they have. Myah met Eliza in her calculus class and is the one helping them adjust to living in a less extravagant way.

~~~~~~~~

After highlighting both Bratz & My Scene I decided to spotlight one of my other loves that should get some attention while MH is at a quiet place for me & before EAH completely takes over.

English postcard by Anabas, Essex, no. AP754.

 

French model and actress Laetitia Casta (1978) became a Guess? Girl in 1993 and was a spokesperson for cosmetics company L'Oreal. She has appeared on over 100 covers of such magazines as Cosmopolitan, Vogue, Rolling Stone, Elle and Glamour, and modelled for designers like Yves Saint Laurent, Jean-Paul Gaultier, Chanel, and Vivienne Westwood. After her film debut in the blockbuster Asterix & Astérix et Obélix contre César/Asterix & Obelix Take On Caesar (1999), Casta became an established actress. She starred on stage in Ondine (2004-2005) as well as in films like Nés en 68/Born in 68 (2008), Visage/Face (2009) and as Brigitte Bardot in Gainsbourg (Vie héroïque)/(Gainsbourg: A Heroic Life) (2010).

 

Laetitia Marie Laure Casta was born in Pont-Audemer in Normandy in 1978. She spent her childhood in Normandy and Corsica, while her mother, Line Blin, from Normandy and her father, Dominique Casta, from Corsica. She has an older brother, Jean-Baptiste, and a younger sister, Marie-Ange. Casta's modelling career reportedly began when she was discovered by the photographer Frederic Cresseaux, an agent of Paris' Madison Models, during a family holiday in her father's native Corsica, at age 15. With her natural beauty, she impressed both the agency director and the editor of Elle magazine and got a contract. In 1993 Laetitia signed on with Guess? Jeans for a very successful advertising campaign. Since 1998, Casta has been the L'Oréal Paris brand ambassador. Casta has appeared on over 100 magazine covers including Victoria's Secret catalogues, Harper's Bazaar, Elle magazine, and Vogue magazine. She is the face of several fragrances, including Chanel's Allure and Givenchy's Forbidden flower. She walked down the annual Victoria's Secret Fashion Show from 1997 till 2000. In 1999, Casta was ranked first in a national survey ordered by the French Mayors Association to decide who should be the new model for the bust of Marianne, an allegorical symbol of the French Republic, which stands inside every French town hall. For her first film, Casta has made forays into the blockbuster Asterix & Astérix et Obélix contre César/Asterix & Obelix Take On Caesar (Claude Zidi, 1999), based on the comic book by René Goscinny. In this live-action film, she played Falbala, a love interest for Obelix (Gérard Depardieu). It was the most expensive French film ever made and a smash hit in Europe. Her acting career gained momentum when she starred in the TV mini-series La bicyclette bleue/The blue bicycle (Thierry Binisti, 2000), set in WWII France.

 

The following year, Laetitia Casta appeared in the dramatic film Les Âmes Fortes/Savage Souls (Raoul Ruiz, 2001). It was a major disappointment. James Travers at Films de France: “Despite an impressive cast and some excellent production values, this quality adaptation of the classic French novel by Jean Giono generally fails to engage the spectator and is amongst the least satisfactory of Raoul Ruiz's directorial efforts to date. Visually impressive this film may be - with some beautiful photography of its Provencal setting and meticulous attention to period detail - but shallow characterization and uneven narrative pacing make watching it a painfully empty experience.” Other films are Errance/Wandering (Damien Odoul, 2003) and the TV film Luisa Sanfelice (Paolo Taviani, Vittorio Taviani, 2004). On stage she featured in the plays Ondine (2004-2005) written by Jean Giraudoux and Elle t'attend (She is waiting for you) (2008), written and directed by Florian Zeller. In the cinema she worked with interesting directors like Olivier Ducastel and Jacques Martineau for Nés en 68/Born in 68 (2008) and Tsai Ming-Liang for Visage/Face (2009). Her interpretation of Brigitte Bardot in the film Gainsbourg (Vie héroïque)/(Gainsbourg: A Heroic Life) (Joann Sfar, 2010) was received well. She was nominated for the César Award of the Best Supporting Actress. Casta served as a jury member at the 69th Venice International Film Festival in 2012. That year, she also appeared in her first American film, Arbitrage (Nicholas Jarecki, 2012) starring Richard Gere. In 2001, she gave birth to her daughter, Sahteene, by photographer Stéphane Sednaoui. Casta is now engaged to Italian actor Stefano Accorsi. The couple have two children, a son named Orlando (2006), and a daughter named Athenà (2009). In 2012 Laetitia Casta became a Chevalier dans l'Ordre des Arts et des Lettres (Knight in Order of Arts and of Letters). Later this year Casta can be seen with Vanessa Paradis and Isabelle Adjani in Very Bad Girls (Audrey Dana, 2014).

 

Sources: James Travers (Films de France), Paul Agius (IMDb), Wikipedia and IMDb.