View allAll Photos Tagged decency
Morality would frown upon
Decency look down upon
The scapegoat fates made of me
But I promise you, my judge and jurors
My intentions couldnt have been purer
My case is easy to see
Im not looking for a clearer conscience
Peace of mind after what Ive been through
And before we talk of repentance
Try walking in my shoes
Try walking in my shoes
Youll stumble in my footsteps
Keep the same appointments I kept
If you try walking in my shoes
If you try walking in my shoes
Try walking in my shoes
"Walking in My Shoes" - Depeche Mode
Phoenix Navarathna is clearly a hybrid on a mission, trying to zero in on Jenna’s scent through the various levels of stench which clung to the city. She glances at Blair as she passes, offering a quick wave and flit of tail before continuing on. Her search finds her at the entrance of the Sari Mart, an expression of distaste settling upon her features as she steps gingerly inside. As she’d suspected, both wife and child are inside the establishment which inspires a rapid lifting of her arm. “Ah ha!” She extends a single finger while pointing toward the two, deliberate steps carrying her toward them. “Are you insane?” She executes an erratic gesture while clearly indicating the city as a whole. “What in the hell are you doing out here? With HER?”
CaptainJenna Gravois went all wide eyed as if she were a deer caught in the headlights, "I ... I've been stuck in the bunker for...like....EVER," she rasped. Her voice was yet to recover from screaming so loudly last night. She puffed out her bottom lip, as she looked down at Angel, "She's not doing so hot on just the breast milk. I had to get the supplement. Do you know how to work a breast pump?" she pointed with her free hand towards the counter. The distraction would likely not work too well. Nix was too clever for all that, but this would not stop Jenna from making the effort.
Phoenix Navarathna: “No, no, no…” She slowly shakes her head, drawing a single step forward while adopting confrontational posturing. “You have people for that.” Eyes flit to the bundle in the other’s hands before lifting to mingle with baby blues. “How many times have we dogged women for dragging their kids in public? Hmm?” She tilts her head, claiming a dramatic pause while allowing the rhetorical question to hover between them. “And then you go and do it?” She lifts her arms in a grand show of exasperation. “Unbelievable.”
CaptainJenna Gravois tilted her head, "I've actually never," she paused to clear her throat, "never actually said anything like that. I complained about all the kids running around without parents." Her tone was sing song but gravely so it didn't quite carry the whimsical note intended. She squinted one eye, "Although ... I have mentioned how I could never understand coming into public, especially this town with all it's rapists, scantily clad. Was everything in the wash? I mean, good lord honey, I've seen Peep Show girls at the beach swinging it with more clothing on." Turning the tables? This was gonna get ugly.
Phoenix Navarathna slowly licks her bottom lip, head only barely tilting to one side as she stares at Jenna for what might feel like an eternity. “You didn’t.” Spoken with little inflection as faux greens form narrow slits. “Did you just call me a whore?” She lifts a hand, fingers splayed against her own chest as she takes yet another step forward. “Because you’re her mother.” Her free hand juts forward to indicate the child before dropping to the only button upon her own shirt. “Not mine.” The object is liberated as the white material is separated and then shrugged from her shoulders, leaving the redheaded hybrid standing near-topless in a black lace bra. “Because, here’s the thing.” She spins the fabric in mid air before tossing it across the room. “I was actually starting to feel a little overdressed.”
CaptainJenna Gravois opened her mouth to say something, but her jaw just stayed lowered for a moment. She slowly pressed her lips together as she squinted both eyes, focusing through the lenses of her slightly bent glasses, "Put that back on. You're making a scene," she rasped, "And if front of our daughter. I am not calling you a," she paused to look down at Angel and then back up at Nix, "a w-h-o-r-e," she spelled, as if the baby could comprehend, "You know better than that. What's gotten into you woman?" She couldn't help but stare. Her wife was hot as hell. She couldn't help but smirk a little bit, "Phoenix Gravois have some...decency...please. You're a parent too you know." She sighed, "I just wanted some fresh air, and I'm not about to let those gorillas watch after my baby. If I had known you were nearby, I would have called. I didn't wanna interrupt anything you were doing though," she frowned.
[This post is now free. Here it is. I crapped out of Buy Me A Coffee, whether because of some glitch or some animus they bear me because I asked them a question, I don't know. There will be more about Mr. Merrill, and the whole thing will be in an album.]
My father died, quite horribly, in 1961, when I was almost twelve years old, and after that great tragedy, a lot of the older men in my parents' circle in Cambridge, Ohio were very kind to me, took me into their homes, did the sort of things with me fathers do with their sons. Tim Scott, who was our insurance agent. Don Secrest, who was married to Mary Margaret, who had been my kindergarten teacher and was my mother's good friend. There may be others I'm forgetting. But no man brought more kindness, more decency, more patience, more forbearance, and, dare I say it, more love to my life than Tim Merrill. I mean no disrespect to my father. I loved him dearly. But he hurt me deeply. When he left me, he left me with a wound that has taken years to heal, probably is not fully healed yet, certainly will never heal fully, and an ugly scar that will never disappear. If I could go back in time and chose a father, I wouldn't chose my real biological father. I would choose Mr. Merrill. His given name was Tim, Tim Merrill, but I never called him that. I always called him Mr. Merrill.
During those years I was very active in Scouting, became an Eagle Scout, was a counselor for a summer at a Boy Scout camp. Scouting played a role in keeping me from becoming mired in the Slough of Despond. But scouting had a lot of rigamarole, marching around, folding up the flag, not letting it touch the ground, reciting various dictums beloved by the elders. And the other boys, most of them, didn’t really like me. No doubt I was snobbish and superior, sarcastic and mocking, maybe even a bit of a bully (though at school I had my own bullies). There was something In scouting called The Order of the Arrow, and you only got in by a secret ballot of your fellow scouts. Suffice it to say that I was never voted in, and I felt the sting of that slight. I probably even knew at some level that it was what I deserved.
After you were too old for scouting, there was something called Explorers. My two closest friends (about the sum total of my friends) and I decided we would have an Explorer Post. We never got the uniforms, never had regular meetings, never did anything that Explorers were supposed to do. All we did was hike, camp, canoe, bicycle, rock climb, and mountain climb, and 99.9% of the time, our leader, our guide, our companion, was Tim Merrill. I say his given name, but when I knew him, even when I got in college and knew him again (he had moved for his job to Downingtown, outside of Philadelphia; I was going to Penn, and could take the train (the famous Main Line) out to his house, where he and his wonderful wife, Stuartie (the genesis of her name is a whole other story) lived, and spend the weekend). They were empty nesters: both of their children had grown up and gone off to college. I don’t think they pitied me. I sort of think they liked me. They enjoyed having me around.
Of course Mr. Merrill didn’t just appear when John Boyle, John Nicolozakes and I (we styled ourselves The Three Johns) decided to have our Explorer Post. He was active in my scouting post from the very first campout I ever went on, and he was a part of many of the fun activities we engaged in, if not the planner, like the 25-mile hike my troop made one Saturday, at the end of which I got the frosted stomach, by gulping down a chocolate milk shake and following it up with a chocolate ice cream soda. I’m wondering now if Mr. Merrill didn’t have some designation as a leader of our scouting district, with a say not just in the running of our troop, but the running of other troops in our county, or maybe even a broader area in Muskingham Council (there twelve scout councils in Ohio). We had a scoutmaster, a good leader whom we all liked, and an assistant scoutmaster. We liked him too. Scouting has had more than its fair share of scandals in recent years, but as far as I know, none of the men who held leadership positions in our troop ever did anything untoward. I did once have a problem, when I was a counselor at Boy Scout camp, which was a camp for our whole district, or maybe the camp for our council, which is the next structural level up from district. But that problem was not with an older man; it was with one of my fellow counselors, but older, already in college. I now realize he was grooming me, and though at the time he made me extremely uncomfortable, I knew what he was on about, and I successfully fended him off.
But back to Mr. Merrill.He was of course in The Order of the Arrow. I don’t know if he was in scouts as a boy (I don’t remember asking him a lot of personal questions), and I kind of forget what his official title was in our Scout troop. He wasn’t the head guy, but it’s possible that he was higher up the command chain, a district leader of some sort, over several posts, not just ours, or that he even held a position of leadership at the council level. But when my troop went camping, Mr. Merrill usually went camping with us. The Order of the Arrow had various levels of honor, and Mr. Merrill had attained the next level. He may even have gone on to the third level, which was sort of like being a 33rd degree Mason. While I was a distinctly acquired taste (I did have my admirers), everybody liked and respected Tim Merrill.
How much does one have to say about one’s father? I have that much, and more, to say about Mr. Merrill. I don’t think I’ll attempt to say it all at one go, in some sort of chronological sequence. Other topics may get in the way, and I may go off on tangents, this way and that, and then come back to Mr. Merrill on occasion. I find that when I put stress on myself, I do my worst work. When I am at ease and just let go, the words flow downhill like clear cold water in a pebbly stream.
To Be Continued
I have decided to use this new setup as my primary for taking pictures, what do you guts think - i for one think it's a lot better than my old crappy one... I hope you guys enjoy these 3 tests...
If you favourite then please have the decency to comment, I don't mind if you don't but I would much like it :) Decal by Eturior
What an amazing place this is. It used to be a thermal bath house. It was built in the 19th century and what beautifully decorated. It will soon be converted into a posh hotel.
When we entered early morning we were the first explorers setting up our gear. Within an hour the place was crowded with explorers from all over Europe and it was hard to take a decent picture.
Apparently it is hard for other people to wait until others who were there earlier are done. I gave them a hard time by just standing in 'their' way while taking a shot. Have some decency people and be patient!
Please visit www.preciousdecay.com for more pictures and follow me on Facebook on www.facebook.com/Preciousdecay.urbex
Romanian postcard by Casa Filmului Acin, no. 378.
French actress Brigitte Bardot (1934) died on 28 December 2025, at the age of 91. In the 1950s, she was the sex kitten of the European film industry. BB starred in 48 films, performed in numerous musical shows, and recorded 80 songs. After her retirement in 1973, she became an animal rights activist. In the coming weeks, we will continue to post a BB postcard every day to remember her as she once was.
Brigitte Bardot was born in Paris in 1934. Her father, Louis Bardot, had an engineering degree and worked with his father in the family business. Her mother, Ann-Marie Mucel, was 14 years younger than Brigitte's father, and they married in 1933. Brigitte's mother encouraged her daughter to take up music and dance. At the age of 13, she entered the Conservatoire Nationale de Danse to study ballet. By the time she was 15, Brigitte was trying to launch a modelling career and found herself on the cover of the French magazine Elle in May 1949. Her incredible beauty was readily apparent, and Brigitte was noticed by Roger Vadim, then an assistant to the film director Marc Allegrét. Vadim was infatuated with Bardot and encouraged her to start working as a film actress. BB was 18 when she debuted in the comedy Le Trou Normand / Crazy for Love (Jean Boyer, 1952). In the same year, she married Vadim. Brigitte wanted to marry him when she was 17, but her parents quashed any marriage plans until she turned 18. In April 1953, she attended the Cannes Film Festival, where she received massive media attention. She soon was every man's idea of the girl he'd like to meet in Paris. From 1952 to 1956, she appeared in seventeen films. Her films were generally lightweight romantic dramas in which she was cast as an ingénue or siren, often with an element of undress. In 1953, she made her first US production, Un acte d'amour / Act of Love (Anatole Litvak, 1953) with Kirk Douglas, but she continued to make films in France.
Roger Vadim was not content with the light fare his wife was offered. He felt Brigitte Bardot was being undersold. Looking for something more like an art film to push her as a serious actress, he showcased her in Et Dieu créa la femme / ...And God Created Woman (Roger Vadim, 1956). This film, about an immoral teenager in a respectable small-town setting, was a smash success on both sides of the Atlantic. Craig Butler at AllMovie: "It's easy enough to say that ...And God Created Woman is much more important for its historical significance than for its actual quality as a film, and that's true to an extent. The immense popularity, due to its willingness to directly embrace an exploration of sex as well as its willingness to show a degree of nudity that was remarkably daring for its day, demonstrated that audiences were willing to view subject matter that was considered too racy for the average moviegoer. This had both positive (freedom to explore, especially for the French filmmakers of the time) and negative (freedom to exploit) consequences, but its impact is undeniable. It's also true that Woman is not a great work of art, not with a story that is ultimately rather thin, some painful dialogue, and an attitude toward its characters and their sexuality that is unclear and inconsistent. Yet Woman is still fascinating, due in no small part to the presence of Brigitte Bardot in the role that made her an international star and sex symbol. She's not demonstrating great acting here, although her performance is actually good and much better than necessary, and her legendary mambo scene at the climax is nothing short of sensational." During the shooting of Et Dieu créa la femme / And God Created Woman (Roger Vadim, 1956), directed by her husband, Brigitte Bardot had an affair with her co-star Jean-Louis Trintignant, who at that time was married to French actress Stéphane Audran. Her divorce from Vadim followed, but they remained friends and collaborated in later work.
Et Dieu créa la femme / ...And God Created Woman (Roger Vadim, 1956) helped Brigitte Bardot's international status. The film took the USA by storm, her explosive sexuality being unlike anything seen in the States since the days of the 'flapper' in the 1920s. It gave rise to the phrase 'sex kitten', and fascination with her in America consisted of magazine photographs and dubbed over French films - good, bad or indifferent, her films drew audiences - mainly men - into theatres like lemmings. BB appeared in light comedies like Doctor at Large (Ralph Thomas, 1957) - the third of the British 'Doctor' series starring Dirk Bogarde - and Une Parisienne / La Parisienne (Michel Boisrond, 1957), which suited her acting skills best. However, she was a sensation in the crime drama En cas de malheur / Love is My Profession (Claude Autant-Lara, 1958). Hal Erickson at AllMovie: "This Brigitte Bardot vehicle ran into stiff opposition from the Catholic Legion of Decency, severely limiting its U.S. distribution. Bardot plays a nubile small-time thief named Yvette, who becomes the mistress of influential defence attorney Andre (Jean Gabin). Though Andre can shower Yvette with jewels and furs, he cannot "buy" her heart, and thus it is that it belongs to handsome young student Mazzetti (Franco Interlenghi). Alas, Yvette is no judge of human nature: attractive though Mazzetti can be, he has a dangerous and deadly side. En Cas de Malheur contains a nude scene that has since been reprinted in freeze-frame form innumerable times by both film-history books and girlie magazines." Photographer Sam Lévin's photos contributed considerably to her image of sensuality and slight immorality. One of Lévin's pictures shows Brigitte, dressed in a white corset. It is said that around 1960, postcards with this photograph outsold in Paris those of the Eiffel Tower.
Brigitte Bardot divorced Vadim in 1957, and in 1959 she married actor Jacques Charrier, with whom she starred in Babette s'en va-t-en guerre / Babette Goes to War (Christian-Jaque, 1959). The paparazzi preyed upon her marriage, while she and her husband clashed over the direction of her career
Her films became more substantial, but this brought a heavy pressure of dual celebrity as she sought critical acclaim while remaining a glamour model for most of the world. Vie privée / Private Life (1962), directed by Louis Malle, has more than an element of autobiography in it. James Travers at French Films: "Brigitte Bardot hadn’t quite reached the high point of her career when she agreed to make this film with high-profile New Wave film director Louis Malle. Even so, the pressure of being a living icon was obviously beginning to get to France’s sex goddess, and Vie privée is as much an attempt by Bardot to come to terms with her celebrity as anything else. Malle is clearly fascinated by Bardot, and the documentary approach he adopts for this film reinforces the impression that it is more a biography of the actress than a work of fiction. Of course, it’s not entirely biographical, but the story is remarkably close to Bardot’s own life and comes pretty close to predicting how her career would end." The scene in which, returning to her apartment, Bardot's character is harangued in the elevator by a middle-aged cleaning lady calling her offensive names was based on an actual incident, and is a resonant image of celebrity in the mid-20th century. Soon afterwards, Bardot withdrew to the seclusion of Southern France.
Brigitte Bardot's other husbands were German millionaire Playboy Gunter Sachs and right-wing politician Bernard d'Ormale. She is reputed to have had relationships with many other men, including Samy Frey, her co-star in La Vérité / The Truth (Henri-Georges Clouzot, 1960), and musicians Serge Gainsbourg and Sacha Distel. In 1963, Brigitte Bardot starred in Jean-Luc Godard's critically acclaimed film Le Mépris / Contempt (Jean-Luc Godard, 1963) opposite Michel Piccoli. She was also featured along with such notable actors as Alain Delon in Amours célèbres / Famous Love Affairs (Michel Boisrond, 1961) and Histoires extraordinaires /Tales of Mystery (Louis Malle, 1968), Jeanne Moreau in Viva Maria! (Louis Malle, 1965), Sean Connery in Shalako (Edward Dmytryk, 1968), and Claudia Cardinale in Les Pétroleuses / Petroleum Girls (Christian-Jaque, 1971). She participated in various musical shows and recorded many popular songs in the 1960s and 1970s, mostly in collaboration with Serge Gainsbourg, Bob Zagury and Sacha Distel, including 'Harley Davidson', 'Le Soleil De Ma Vie' (the cover of Stevie Wonder's 'You Are the Sunshine of My Life') and the notorious 'Je t'aime... moi non plus'.
Brigitte Bardot’s film career showed a steady decline in the late 1960s and early 1970s. In 1973, just before her fortieth birthday, she announced her retirement. She chose to use her fame to promote animal rights. In 1976, she established the Brigitte Bardot Foundation for the Welfare and Protection of Animals. She became a vegetarian and raised three million French francs to fund the foundation by auctioning off jewellery and many personal belongings. For this work, she was awarded the Légion d’honneur in 1984. During the 1990s, she was also outspoken in her criticism of immigration, interracial relationships, Islam in France and homosexuality. Her husband Bernard d'Ormal was a former adviser of the far-right Front National party. Bardot has been convicted five times for 'inciting racial hatred'. More fun is that Bardot is recognised for popularising bikini swimwear, in such early films as Manina / Woman without a Veil (Willy Rozier, 1952), in her appearances at Cannes and in many photo shoots. Bardot also brought into fashion the 'choucroute' ('Sauerkraut') hairstyle (a sort of beehive hairstyle) and gingham clothes after wearing a checkered pink dress, designed by Jacques Esterel, at her wedding to Charrier. The fashions of the 1960s looked effortlessly right and spontaneous on her. Time Magazine: "She is the princess of pout, the countess of come hither. Brigitte Bardot exuded a carefree, naïve sexuality that brought a whole new audience to French films."
Sources: Denny Jackson (IMDb), Hal Erickson (AllMovie), Craig Butler (AllMovie), James Travers (French Films), French Films, Wikipedia and IMDb.
And please check out our blog European Film Star Postcards.
Catching up on some back shots from the beginning of the year
On a walk around the Addington Cemetery with a wonderful Flickr friend. February 13, 2016 Christchurch New Zealand.
There is so much damaged in the cemetery because of the earthquake we have had. It is such a pity as I don' think it will ever be fully repaired.
The Addington Cemetery was established in 1858 when the Scottish Presbyterians of St Andrew’s Church purchased land for a cemetery in Selwyn Street. Although not the first cemetery in Christchurch, Addington was in fact the first “public” cemetery, “being open to all persons of any religious community” and allowing the performance of any religious service “not contrary to public decency”.
The first burial took place on the 10th of November 1858. The cemetery has several persons of note buried within its grounds including activist Kate Sheppard, Christchurch Mayor Tommy Taylor and members of the pioneer family, the Deans.
For More Info:http://my.christchurchcitylibraries.com/addington-cemetery/
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
The thing about The Mole was that he knew all of the players.
He knew everyone in the department.
Shit... he even knew the people they knew.
The Mole knew their wives, their girlfreinds, their mistresses, their enemies, their kids... he went to their weddings, their kids communions and their funerals... he gave them advice when they found themselves all jammed up.
The Mole used to be 'family.'
He knew who owed who a favor too.
And why.
The Mole rose through the ranks and was being groomed for the Chief's position until he got screwed because of politics and he was forced to retire.
He blamed it all on 'The Old Man.'
And he genuinely felt wronged.
The Mole was pretty bitter about it even after all these years.
He felt used and let's face it... no one likes to feel used.
That kinda goes without saying but that feeling was really the core of his motivation here.
About half of the department hated the guy and the other half loved him.
The guy was 'politics' personified.
He had connections everywhere though.
Solid connections.
Even on other departments.
The Mole knew who could be trusted and who could not.
And if he didn't, The Mole knew who to call to find out.
If he said a guy was good... the guy was good.
He never seemed to be wrong.
Not once.
If he told me to 'watch out for that guy' you can bet I'd be careful with that one.
He was right on that note more than a few times and his advice definitely saved me from some grief.
The thing was... like me... The Mole had a score to settle too.
He was 'the enemy of my enemy' and that's what made everything fall into place.
'What they did to you and your family was wrong' he said... 'these people got no sense of decency... all you asked 'em to do was the right thing and they just couldn't bring themselves to do it... my heart goes out to you."
Then he'd tell me all about what they did to him.
We had a common enemy in the 'regime.'
And it would bring us both untold amounts of joy and satisfaction to see that regime fall.
It would also bring us a lot of hurt before it was over.
The Mole told me about Skeevy... the former Chief who now worked for another department... he was still pretty much running Deadwood... because Deadwood's chief was an idiot.
Skeevy was the guy that got the idiot the job.
And he did it to maintain some power within the regime... the new chief was his 'made man.'
He was his 'representative' on the inside now that he was out.
Skeevy had interests to protect and secrets to keep.
And the new chief 'Hot Dog' owed him everything.
Chief Hot Dog would fall too before it was all over.
The Mole was always there for Skeevy when they worked together... but Skeevy threw the Mole to the jackals after he had no more use for him.
The Mole really resented that on a deeply personal level.
It was one of the things that I could tell really hurt him inside.
Knowing where the strings were being pulled from and who was pulling them helped me a lot.
Now I could understand the 'why.'
The first time The Mole and I hooked up on the phone I was really nervous... I mean... I didn't know the guy... I didn't know if he was one of them or what.
It was true that 'Double D', my Godfather vouched for him and all, but still...
I could be spillin' to an infiltrator.
I could be tellin' them everything I knew.
It left me feelin' kinda exposed.
So the first few conversations were just us 'feelin' each other out.'
I kept the information tight in the beginning... I had some good dirt... I had loads of really good dirt but I'd let it out a little at a time to see if the mole was leaky.
Sometime's I'd let go of a juicy piece of 'misinformation.'
Just to see if it got out there.
I'm sure The Mole did the same thing.
There were a half a dozen guys feeding me information... but none of them were as dedicated to screwing these guys as The Mole was.
And none of them had as much information.
I was always really protective of my sources and no matter how much I trusted anyone I never let out the names... that was pretty much a given from all directions.
If I guy thought you were a 'loose cannon' he'd dry up with the information right away.
The Mole knew I wasn't a plant or anything... the story was all over the newspapers and on tv.
My picture was in the papers too.
They interviewed me on TV.
They had me talkin' on the radio.
In London even.
It was pretty obvious that I had a score to settle.
The Mole saw our working together as an opportunity to advance his agenda and I saw him as a great resource in understanding the relationships behind the names.
I knew the 'who' but it was only because of The Mole that I'd know the 'why.'
All along I'd been taunting them on the internet.
I wanted to shift the 'battle' there after the firebomb incident.
It was always David versus Goliath and the internet was my slingshot.
I let them know I wasn't going to back down... that I wasn't afraid of them and their badges and their guns.
The media was on my side too.
They loved the story.
At least the parts of the story that they knew... and that was just the tip of the iceberg.
The whole thing was such an irony and it made for great soundbites.
It didn't take long for The Mole and I to gain each others trust and respect.
I genuinely liked the guy... we became good friends and we looked out for each other... we had each other's backs through the whole thing.
Our relationship was like two guys playing a very important and strategic game of chess against the regime.
We started to bounce every move off of each other.
We'd discuss the ramifications of putting this information out... who that would piss off... whose toes would get stepped on by that comment... where it would seem like that information came from...
We debated what hand that we'd play... what cards we'd hold and where we better fold.
The Mole was ever cool and The Mole was always calculated.
The Mole was also pretty paranoid about things.
He'd pause when we spoke on the phone and there was a strange clicking sound... 'did you hear that' he'd say.
He thought that they were tappin' the phones.
At first I just kinda laughed it off as conspiracy babble but later The Mole'd be proven right.
The Mole was always right.
He knew what these people were capable of.
He knew what they'd done before.
The Mole always told me to watch my back.
He'd been to hell and back in Vietnam in the late sixties and he would say 'man if I had you on my side when I was over there we'da won that war.'
The Mole loved to tell stories about what went on there on the inside.
He told them really well... he was a great story teller and I really enjoyed listening to the tales.
Some of them scared the shit out of me.
He told me about 'Secret Squirrell'... the officer with a fetish for high powered weaponry... the one who drove around with a trunk full of weapons that would make Al Quieda jealous.
Wasn't it Jesus who said 'know your enemy so you can screw them better'?
Wait, that was Sun Tzu... the ancient Chinese General that wrote the book 'The Art of War' which sat next to my computer on my desk through this entire debacle.
I'd find myself referring to 'The Art of War' almost on a daily basis.
Jesus said 'love your enemy' and that was just as good.
Ask anyone going through a divorce.
I loved to hear the stories about their exploits.
The stories painted a picture in my head.
And I'd use that picture to get in their heads.
After a while I started to feel like I knew people I had never met.
I knew who left her checkbook in the mayor's truck.
I knew that the mayor's wife found it.
I knew that the mayor's wife knew about it and she said to a friend 'why would I want to divorce a millionairre?'
I also knew that that woman who left her checkbook in the mayor's truck later 'won' the village's charity raffle for the Jeep Wrangler.
Legend had it that she was actually ordering the options before the raffle even took place.
She insisted on leather seats and a CD player.
The Old Man was the one who drew the 'winning' ticket.
The Jeep was 'hush money' and everyone knew it.
That's how this kind of corruption works... the people doing it don't consider it evil... but they know it's wrong... kinda like lying to a chick you really wanna score with... tellin' her you know somebody you really don't just to impress her...
What they do know is that if they get you in to it they can keep you there.
You'll be on the inside forever... or at least until they don't want you there.
I make it so you win the Jeep, you ain't gonna say I'm corrupt.
You might whisper it... elbow it around in closed company and stuff... but you ain't gonna go on some 'anti corruption crusade.'
Because you're just as dirty now.
You're one of us.
Corrupt is corrupt and the only difference is in the amount of the corruption.
The Old Man was the king of corruption.
I don't even think he did it so much for 'personal gain.'
I haven't heard a single tale of him putting any dough into his bank account.
It was pretty clear he was using the taxpayers money to maintain some of his property... even improve it... but I think he looked at that as makin' the town a better place to live.
He just happened to make a lot of money off of it at some point.
'The Old Man' graduated from the 'Polish School' of politics... the philosophy was 'we're all gonna work really hard... we'll cut up the pie and everybody who tows the line'll get a piece... but if you don't tow the line not only will you not get any pie but I'll crush you with my iron fist.'
The Old Man liked to tell people that he 'ran this town with an iron fist.'
At a council meeting once when he was trying to get a garbage incinerator built on some property he owned... a deal that would've made him a substantial amount of money... and he wouldn't let opponents of the deal speak... he said:
'This is my democracy.. I started it' he said 'if YOU want a democracy you can go start your own.'
He was a tough old bag... I really kinda admired him for that... and in almost forty years of runnin' the place he'd never gotten a 'no' vote from his rubber-stamp council.
If you were on The Old Man's good side you were golden.
You got on his bad side and you'd come to learn what he meant by 'iron fist.'
The Old Man got rich in trucking and transportation.
He didn't need the money that all the corruption around him made.
I don't think he took a penny directly.
He spread it around.
He gave it back to the people in the form of a tax rebate.
It was in his mind the way that Robin Hood would do it.
Which was ironic because the Old Man was rich.
'Turning his head' and spreading out the money became the source of all of his political power and he knew that better than anybody.
Until I came along nobody had ever gotten in his way.
It all started in that dark parking lot on a cold December evening.
They were the ones who started it.
Nobody ever thought that would be the spark that brought it all down.
Like most wars, nobody involved at the beginning even knew that a war had been started.
Not even me.
And I just happened to find myself right there at 'ground zero.'
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
The Elizabeth Home for Girls, on Manhattan’s Lower East Side, was constructed in 1891-2 as a refuge for homeless girls by the Children’s Aid Society (CAS). Designed by renowned architect Calvert Vaux in a picturesque, High Victorian Gothic style in brick and sandstone with a Dutch-influenced stepped gable, this building was one of approximately twelve that the architect created for this organization in the 1880s and 90s. It was the only lodging house designed for girls and one of only a few surviving CAS buildings. The Children’s Aid Society was founded by Charles Loring Brace in 1853 to help New York’s poorest children improve their lives through education and the advantages of “home-like” living quarters. Brace believed that it was necessary to remove poor children from the bad influences of their environment, where they often had no one to care for them and no opportunities for education, in order to improve their lives and alleviate the crushing poverty of the city.
He was able to enlist many wealthy supporters and established a strong organization that continues to exist for the benefit of children and their families today. The Children’s Aid Society employed several approaches to achieve its goals, including sending orphan children to homes in the Midwest where they could enjoy the “benefits” of a home in a more rural setting, lodging houses for homeless children and industrial schools where they were trained for trades and employment. The Children’s Aid Society ran the Elizabeth Home in this building until 1930 when it was sold to Benjamin Lust, a practitioner of a natural “water cure” for illnesses, who coined the term naturopathy. In 1946, the building was purchased by the Florence Crittendon League and used again as a residence for girls without other places to live, called Barrett House. In 1984, the building changed ownership again and was converted to co-op apartments.
Its picturesque façade is significant for its architecture and as an evocation of the working class history of the Lower East Side.
Development of the East Village Area
Prior to the arrival of European fur traders and the Dutch West India Company, Manhattan and much of the modern-day tri-state area was populated by bands of Native Americans from the Lenape tribe. The Lenape traveled from one encampment to another with the seasons. Fishing camps were occupied in the summer and inland camps were used during the fall and winter to harvest crops and hunt. The main trail ran the length of Manhattan from the Battery to Inwood following the course of Broadway adjacent to present day City Hall Park before veering east toward the area now known as Foley Square. It then ran north with major branches leading to habitations in Greenwich Village and the Lower East Side at a place called Rechtauck or Naghtogack in the vicinity of Corlears Hook. In 1626, Dutch West India Company Director Peter Minuit “purchased” the island from the Lenape for sixty guilders worth of trade goods.2
Under the Dutch, most inhabitants of New Amsterdam lived south of Fulton Street, where they could be close to each other for protection and close to the harbor for the essential shipping activities on which the colony depended. North of the settlement, many wealthy families owned large estates, used as farms and plantations and as country retreats, especially for those recurring times when epidemics threatened the crowded population on the island’s tip. The area now known as the Lower East Side and the East Village was divided into a series of large farms, which by the mid-eighteenth century were owned by three families: the Stuyvesants, Rutgers and De Lanceys.
The Rutgers property ran from Chatham Square to Montgomery Street between the East River shore and Division Street. The De Lancey holdings consisted of two large parcels (approximately 340 acres) abutting the Rutgers property on the north and east, acquired by Lieutenant Governor James De Lancey around 1741. Peter Stuyvesant, who came to the colony in 1647, owned a large working farm he called his Bowerie. It lay between present day 5th and 20th Streets, from Fourth Avenue to the East River.3 He owned about 40 slaves, most employed in farm work. This property remained in the ownership of Stuyvesant’s descendents for many years. By the mid-nineteenth century, Peter Stuyvesant’s grandson Gerardus still lived in the original family house. Gerardus’ sons, Petrus and Nicholas lived nearby and divided the property between them. Nicholas called his section Bowery while his brother’s was called Petersfield, and this area included the property on which the Elizabeth Home was constructed.
After slavery was outlawed in New York in 1827, many former slaves settled in several black enclaves, including that near the Bowery, another in Greenwich Village, and still another in the growing slum area that came to be known as Five Points. During the eighteenth century Greenwich Village had been a small rural hamlet, but also was the site of a number of summer estates for wealthy families from downtown Manhattan. Its population swelled during the large cholera and yellow fever epidemics that struck in the early nineteenth century. The 1830s brought a huge economic boom to New York, attracting many more people and a great need for more commercial space as well as housing. African-Americans and other poor people were forced northward as more land was opened to development for the upper classes.
The areas around Great Jones, Bleecker and Bond Streets were all being paved and built up with “genteel residences”4 while Lafayette Place and St. Mark’s Place developed into some of the city’s most fashionable addresses. Seeking to take advantage of this boom, Petrus Stuyvesant began to subdivide his property in the 1830s and sell lots for development in the 1840s. Many of the buyers of these lots were large landholders who purchased extensive property and built speculative homes here, waiting for the housing need to catch up. These individual houses were first rented, and then sold to middle class families.5 Middle class residents however, did not stay too long in this section.
By the 1850s, the population of New York soared, due primarily to an influx of European immigrants as well as newly-freed African-Americans who were drawn to Manhattan because of the availability of jobs.6 Immigrants had been arriving in New York continuously and already by 1825, over one fifth of the population of New York was foreign born. In the 1840s, many of these immigrants were Irish who started coming in large numbers looking for work after the collapse of Irish agriculture and the rapid industrialization that displaced many workers.
Germans had always had a strong presence in New York, but after the failed revolutions of 1848, 70,000 more arrived in New York, fleeing “land shortages, unemployment, famine and political and religious oppression.”7 Many were poor and unskilled and tried to find housing in Manhattan’s notorious slum known as Five Points but the Irish and free Blacks who were already there did not welcome them. Although they were all classified as German, this name covered a multitude of ethnicities, and people tended to subdivide themselves, preferring to live among others who came from the same native communities and regions. The German immigrants first congregated in the five-block span between Canal and Rivington Streets, but the newcomers were forced to look elsewhere as landlords continued to crowd more and more people into inhuman living conditions.
They moved northward, up the eastern side of Manhattan island, pushing out existing residents of this area, including the African-Americans who had been there.8 Some of the existing homes in what is now the East Village9 were subdivided or changed into boardinghouses, while others were torn down to make way for tenement buildings, constructed to fit more people into the same space. Eventually the area north of Division Street up to 18th Street and from Third Avenue to the East River filled with German immigrants until it became the third largest concentration of German speakers in the world.10 This section came to be known as Kleindeutschland, Little Germany, Dutchtown, or Deutschlandle and was “the first large immigrant neighborhood in American history that spoke a foreign language” and remained the major German-American center in the United States for the rest of the century.11
German businesses congregated near Broadway creating a lively commercial strip, while various German groups created institutions to remind them of home and to help ease their way in their new lives. The Staats-Zeitung was the most popular of many German language newspapers. The German Dispensary (a designated New York City Landmark) helped with the health needs of the community, while the Ottendorfer Branch of the Free Circulating Library (a designated New York City Landmark) provided books in their native tongue. Social and other support organizations (vereins) organized around a place of origin or a particular outlook or activity. German shooting clubs became popular12 as did clubs for music, such as the Aschenbroechel Verein. Beer gardens and dance halls such as Scheffel Hall (a designated New York City Landmark) provided places for lively entertainment.13
The City’s Poor
The poor German immigrants who lived in Kleindeutschland did not have the wherewithal to take advantage of these institutions. They could barely find a place to sleep and a way to feed their families.
Since its earliest years, New York has dealt with the poor and helpless among its population with a combination of benevolence and disdain. When the Dutch West India Company sent a group of Dutch orphans to the colony “to be bound out as apprentices and servants” in 1656, Peter Stuyvesant established the first public home for orphans and an “Orphan Masters’ Court.”14 Generally however, under the Dutch, religious organizations were expected to care for the city’s poor. Under the English, in 1693, the Common Council passed its first “poor rate” tax to enable them to distribute fuel, clothes, food and cash to the “deserving” poor and established an almshouse on Broad Street for those who were unable to care for themselves.15 A two-story brick building was constructed on the Common in 1736, housing a mix of the city’s poor along with the unruly as well as convicted criminals, all of whom were required to attend prayer services and work if they were physically able, so they would not be a “Burthen to the Publick.”
With time, the gap between the rich and poor grew, and increasing numbers of people needed financial help to overcome problems that were sometimes created by illness or the death of a spouse. The city provided more and more “outdoor relief” and also had to build more almshouses to accommodate the growing need. Religious and philanthropic organizations also helped, their efforts usually involving “education in the habits of self-discipline and the self-reliance necessary to survive in a wage-based economy… to instill prudence, decency, sobriety, thrift, punctuality” since poverty was usually seen as “moral turpitude, not misfortune.”17 In 1806, the Isabella Graham Society for the Relief of Poor Widows opened an orphanage where poor children “could be brought up to lead productive lives,” that eventually led to the formation of the Orphan Asylum Society.18
By the early nineteenth century, only half of all children in New York attended school even though the traditional apprenticeship system for learning trades and behavior no longer existed. Many children were caught stealing or engaging in otherwise disruptive behavior and the Society for the Reformation of Juvenile Delinquents began in 1823 to try to deal with these problems. The first New York House of Refuge opened in 1825 to house children under sixteen years old, and the authorities used religion and education to try to redeem the children brought there.19
By the 1850s, conditions for the poor were only getting worse. The huge numbers of immigrants coming into New York increased the competition for jobs and housing, and crowded conditions led to higher rates of illness and crime. Efforts of groups such as the American Tract Society were comprised of preaching and giving away bibles, while the Association for Improving the Condition of the Poor was able to attract the interest and donations of many of New York’s wealthiest citizens. They managed to get more needy people into almshouses on Blackwell’s Island, build a new one for the able-bodied poor, and get a new truancy law passed that enabled the police to round up delinquent children to get them off the streets.20
Children’s Aid Society
The Children’s Aid Society, another in a wide variety of efforts to deal with the problem of poor and uneducated children, was started by Charles Loring Brace (18261890) in 1853 and continued under his leadership for the next 37 years. Brace graduated from Yale University and studied theology at the Union Theological Seminary. After a trip to Europe, during which he traveled in England with Frederick Law Olmsted,21 Brace began serving with Rev. Pease at the Five Points Mission in 1852. He was discouraged that the traditional methods of outreach were not helping change the lives of the people he saw. He also was struck by the large numbers of boys and girls who apparently had nothing useful to do and no one to look after them, and who seemed to be headed only for lives of crime. He decided that the most effective way to change conditions for the poor was to reach these children and try to change their circumstances
He wanted to “help the helpless, neglected children of the city to help themselves to become good and useful citizens.”23 Typically, their families could not care for them and they were sent out on the streets to fend for themselves, or to find some way to bring money or food back home.24 Because they were small, they were often preyed on by unsavory types who sent them out to steal, or they sold things on the streets or helped organ grinders in their trade. Boys would steal, sell newspapers or hawk matches, while many girls were forced into prostitution. 25 Street gangs developed to offer some protection for these wretched children who often slept on steam grates or in the remains of burned out buildings.
Brace believed that if he could show these children that someone cared about them, educate them to have good habits such as industry and self-control, and help them achieve some basic skills, they could get jobs and improve their lives. He felt that “home life was better than institutions and that self-help was better than alms.”26
From its beginning, the work of the Children’s Aid Society involved several separate efforts. The most radical and well-known was “placing out.” Over the course of the first forty years, the organization took 97,738 children from New York, (some orphans, others from difficult home situations) and sent them by train (“the Orphan Trains”) to situations away from New York City, usually with “Christian families” in the Midwest where they were supposed to enjoy the benefits of a good home life in a rural setting. While some did in fact become essentially members of these families and benefitted from the experience, others were put to work in stores and on farms, in conditions close to indentured servitude. Brace felt that this effort was very positive because he believed that it was important to completely change the circumstances of these children’s lives in order to have a positive impact.
“The effort to place the children of the street in country families revealed a spirit of humanity and kindness, throughout the rural districts, which was truly delightful to see.”27
Since Brace could not remove every poor child from the bad influences of the city, he also made local efforts. These included the development of a series of lodging houses and industrial schools located around the city. The lodging houses were places a homeless child could come so he or she did not have to sleep on the street, with separate facilities for boys and girls. A young person could stay for a night or two if his difficulty was temporary, or he could stay for extended periods, and be assured of receiving food and a bath, as well as shelter. If they could pay, the children were asked for a small amount so that they felt they were paying their own way, rather than accepting charity, or they were asked to help with certain chores. These lodging houses eventually offered evening or morning classes to help the children with reading and writing, and specific skills that could help them gain employment.
The Newsboys’ Lodging House was opened in a building at Fulton and Nassau streets in 1854. The liveliness and ingenuity of the newsboys had a special resonance with Brace, who admired these qualities but felt they needed to be channeled into some productive enterprise. By 1928, the Children’s Aid Society ran seven lodging houses, located throughout the city.28
Brace saw that many poor children did not attend public school, either because they could not afford proper clothes, or because they had to work to help their families, so Brace established the Industrial Schools of the Children’s Aid Society to educate these children.29 The Industrial Schools taught reading and writing and character building, as well as skills such as carpentry for boys and cooking and laundering for girls. They also trained children to work on machines that might help them gain employment, such as sewing machines and typewriters, filling a gap left by the public schools. They provided clothes if needed, as well as a hot meal, and were non-sectarian. The Children’s Aid Society found that different groups had different needs, so they organized specific schools for Italian, German and “Colored” children, and later started medical and dental clinics for these children as well.
They became active in legislative efforts to promote their cause, such as working for the passage of the Compulsory Education Law of 1874. They started mothers’ groups to train them for this most important task, and day care centers for those who had to work. They eventually opened homes for sick and convalescing children, a school for crippled children, kindergartens, summer camps and playgrounds. While the Children’s Aid Society no longer runs lodging houses and schools, it continues to exist today, providing a variety of social services to New York children and their families.
Elizabeth Wheeler Home for Girls
The first lodging house for girls, called “The Girls’ Temporary Home,” was opened at 27 St. Mark’s Place in 1863 and during its first nine months, this building served 597 girls. The intention of this facility was to be “a resting place, a temporary home for any girl without friend or family in the city . . . to gain time to seek reputable employment” as well as a place where they could get help and advice.30 The Annual Report of the Children’s Aid Society of 1889 called this girls’ home “one of the most successful and economical of all the branches of the Society,” but noted that there was a great need for an additional building for this facility.31 In the Annual Report of the following year (1890) the writer was even more adamant. “. . . we feel deeply the lack of accommodations, and look forward earnestly to the time when, with increased facilities, much more can be accomplished.”32
They reported that during the previous year, there had been 15,533 lodgings in the house, 49,324 meals served, 45 girls trained on typewriters and 72 girls trained on sewing machines, with 178 girls sent to situations and employment.33
In July 1891, the property at 307 East 12th Street was purchased by Emily Wheeler and conveyed by her to the Children’s Aid Society.34 The home was given by Mary B. Wheeler, Mary B. Ceccarini and Emily B. Wheeler in memory of Elizabeth Davenport Wheeler.35 The Elizabeth Home was designed by the preeminent architectural firm of Vaux & Radford.36 The home opened with a festive dedication in 1892, and included dormitories as well as single bedrooms for girls, sitting rooms, a reading room, office, dining rooms and kitchen, and rooms fitted with sewing machines and typewriters.
Calvert Vaux
Calvert Vaux (1824-1895)37 was one of the most prolific and influential architects working in America during the second half of the nineteenth century. His picturesque buildings and romantic landscape designs were constructed in numerous cities and towns and his books had a wide-ranging audience, contributing to the vogue during this period for interesting and picturesquely styled buildings. Vaux, trained in architecture, landscape design and planning, came from England to the United States in 1850 to work with A. J. Downing in Newburgh, New York as a partner in his Bureau of Architecture. They specialized in the creation of picturesque English country houses and also began the planning of the grounds around many government buildings in Washington, D.C. After Downing’s death in 1852, Vaux began a partnership with Frank Clarke Withers, with whom he designed the Jefferson Market Courthouse (1874-77, a designated New York City Landmark).
Vaux’s book of house designs, Villas and Cottages (published originally 1857) was modeled on Downing’s highly popular Cottage Residences and became a standard for the genre.
Vaux relocated to New York City where, in 1858, he and Frederick Law Olmsted entered the competition for Central Park with their plan for a “Greensward,” the first public park in the country (a designated New York City Scenic Landmark). Their design, based on the tradition of English landscape gardening, became a major influence in the development of public parks throughout the country. Vaux was responsible for the design of many of the architectural features of the park, including the bridges, and the Bethesda Terrace and Fountain. He went on to design numerous projects with Olmsted under the auspices of the landscape firm, Olmsted, Vaux and Company (1865-72). These included Prospect Park in Brooklyn (1865, a designated New York City Scenic Landmark), Riverside, Illinois (1868-70), Morningside Park (1887-94, from earlier plans), and Riverside Park (1873-88).
Vaux designed many public buildings, institutions and grounds in various cities. These included the Hartford Retreat for the Insane in Connecticut (1865, with Olmsted), Hudson River State Hospital and Grounds (1867-72), the Grounds for Gallaudet College in Washington (1866), the grounds of Parliament buildings in Ottawa (1873-79), and the park system for Buffalo, NY. With Jacob Wrey Mould, who had come earlier from England and contributed many designs for Central Park, Vaux developed a Master Plan for the Metropolitan Museum of Art (1874-80) and the American Museum of Natural History (1874-77, both designated New York City Landmarks).
Around 1873, Vaux began a partnership with George Kent Radford (dates undetermined), a civil engineer, that was to last for eighteen years. This partnership was formalized as the architectural division of Vaux & Co., Landscape Architects in 1876. In addition to numerous designs for the Children’s Aid Society during the last part of his career, Vaux designed a High Victorian Gothic townhouse for Samuel J. Tilden in New York (1881-4) and the grounds for Tilden’s country estate, Greystone, in Yonkers, New York (1879-80). Vaux had a long and varied career, from private homes for the wealthy to model tenements for the poor, from the landscape of individual estates, to the layout for entire cities. His designs helped establish the standard aesthetic of the late nineteenth century, both in building and landscaping and he is known as one of the founders of the field of landscape architecture.
Calvert Vaux and the Children’s Aid Society
Vaux became increasingly interested in the way architecture could be used to better the lives of unfortunate members of society and devoted much of the last part of his career to this cause. He was a careful observer of the first model tenement competition in 1879, sponsored by the journal, Plumber & Sanitary Engineer. In 1880, he designed a block of model tenements on First Avenue between 71st and 72nd Streets for the Improved Dwellings Association. These apartments had windows in each room, central courtyards for improved air circulation and roof-top gardens for the residents.38
Calvert Vaux was a friend of Charles Loring Brace who lived in a house Vaux designed in Hastings, New York. By the late 1870s, Brace’s organization was successful and well-funded enough to want to construct its own lodging houses, in order to create the exact type of structure they needed. In 1879, Vaux designed their first purpose-built building, the East Side Boys’ Lodging House and Industrial School on East Broadway and Gouveneur Street (demolished). The picturesquely designed, 3 ½ story, brick and brownstone building had steeply pitched roofs and held dormitories, classrooms, and a well-furnished reading room as well as a dispensary and sick room. The free-standing building was a far cry from the dingy tenements of the area and was hailed in the press as “Christianity solidified in brick and mortar.”39
Vaux went on to design more than a dozen buildings for the Children’s Aid Society in New York, a very important part of his work. These included four lodging houses, among them the West Side Lodging House at Seventh Avenue and 32nd Street (1883, demolished) and the Tompkins Square Lodging House and Industrial School at 8th Street and Avenue B (1885, a designated New York City Landmark), and five industrial schools that had similar facilities without the beds. This latter type included the Mott Street Industrial School at 256-258 Mott Street (1888, a designated New York City Landmark), and the Fourteenth Ward Industrial School (1888-89, a designated New York City Landmark).
The 44th Street Lodging House for Boys and Industrial School (1888-9, demolished) was the first to display a large, front-facing, stepped gable. According to the Society’s 46th Annual Report of 1888, this element came from “an old Nuremburg house called the ‘Petersen’ building, [which] is one of the most picturesque in the city.”40 This lodging house was marked by steep gables, dormer windows and oriole towers, in keeping with Vaux’s intentions to create a home-like and visually interesting composition, but also was “appropriately reminiscent of the city’s Dutch heritage.”41 Most of Vaux’s buildings that were built in the following years employed this design element.
The Children’s Aid Society buildings were both domestic and institutional, intended to be an ornament to a part of the city the ugliness of which is particularly in need of some relief. It is a fortunate circumstance that the objects of the Children’s Aid Society require it to undertake its building operations in quarters where, but for its efforts, it is unlikely that there would be any architecture worth looking at or discussing.42
They were usually free-standing structures, with highly varied rooflines that provided visual interest and variety. Vaux believed that,
In any architectural design, the separate groups of forms may be, in themselves, attractive, or the building may be splendid in its general conception of masses, or rich in its varied and charming detail, but it will be defective as an architectural composition if it fails in its sky-line.43
Vaux’s rooflines were usually faced with slate or tile, and consisted of mansard roofs with steeply pitched towers, conical roofs or front-facing stepped gables. These buildings were built of brick and sandstone, common and inexpensive materials that were deemed to give a picturesque effect. Vaux tried to site them on corner lots because he felt that two perspectives gave him a chance to create a more interesting design. He used projecting oriels, large windows, dormers and chimneys in an attempt to create a home-like atmosphere for the neglected children who came here. Faithful to his earliest design theories, Vaux worked to evoke the imagery of a snug country inn in the middle of New York City.44 By varying the placement of the entrance as well as the size and placement of the window openings, he created a lively façade, ornamented solely with decorative brickwork such as string courses and recessed panels.
Design of the Elizabeth Home for Girls
The Elizabeth Home for Girls, the last of this group designed by Vaux has the picturesque characteristics common to Vaux’s other designs although its 40-foot-wide, mid-block site required a more restrained composition. It has two asymmetrical sections, with the entrance sited off center, in the western side. The eastern section is topped by the typical stepped gable while the western side has a mansard roof with two dormer windows, a reverse arrangement from that of the House of Reception on West 23rd Street (1890, demolished). The windows are placed along continuous sills, providing some unity in a façade of varied window sizes, shapes and groupings. Unlike many of the other CAS buildings, this one has no projecting oriel window, but here the entrance is given special emphasis by its projecting surround topped by a balustraded balcony.
While not as elaborate as some of the other CAS buildings, the Elizabeth Home is a distinctive building that would have provided the sense of “hominess” so desired by both the architect and the organization. Located on a block of brick-fronted rowhouses, this building is obviously different, but not enough to be jarring. Rather, it continues to add interest and variety to the streetscape.
Subsequent History
In 1895, the Children’s Aid Society hired architects Clinton & Russell to create a two-story addition on the north of the building to house a laundry.45 Another alteration, in 1915, added bedrooms in three floors above this addition.46 In 1901, the Children’s Aid Society acquired the adjacent property at No. 311 East 12th Street and converted it into an addition to the Elizabeth Home.47
In 1930, the Society moved its operations to West 134th Street and sold both of these buildings to Dr. Benedict Lust, a promoter of natural healing.”48 Lust, a German immigrant with degrees in osteopathy and medicine, believed in natural healing, including a “water cure” and organized the Naturopathic Society of America. He established the American School of Naturopathy which offered a post-graduate curriculum in naturopathy, chiropractic, massage and physiotherapy.49
Upon Lust’s death, the buildings were purchased by the Florence Crittenton League and remodeled and reopened in 1948 as a private shelter for girls aged 16-21, called Barrett House.50 The Crittendon League was started in 1883 by Charles N. Crittenton, a wealthy New York drug supply manufacturer.51 Originally called the Florence Crittenton Rescue Home for Girls and Night Mission for Fallen Women (later the National Florence Crittenton Foundation), it was named after his late daughter and was established as a shelter for troubled and runaway young girls, many of whom were orphaned, and as a mission for women of ill repute. In the late 1880s, the group started a shelter and mission on Bleecker Street that gained renown for its midnight gospel readings. By the turn-of-the-century, the Crittenton Foundation operated in many large
U.S. cities and was expanding its services in New York. In 1913, the group relocated its headquarters to West 27th Street and in 1946 purchased the former Children’s Aid Society buildings in order to be able to care for more residents and offer expanded services. The home’s residents were generally referred there by courts, clinics and private agencies and given a variety of therapies to help them emotionally, while keeping them out of the House of Detention.
In 1982, the building was sold to a developer and in 1984 it was re-opened as coop apartments.
Description
The Elizabeth Home for Girls is a four story brick-faced building set on a raised basement. Built originally on a street of townhouses (East 12th Street), the forty-foot-wide façade blends in by appearing to be two buildings. The western section is two bays wide and holds the building’s main entrance, in the eastern bay of the first story. The raised basement has a pair of large windows framed by a sandstone lintel and watertable and fronted by an iron grille, while the areaway is marked by a non-historic iron fence. The entrance, reached by a short concrete stairway with non-historic iron railings is emphasized by a projecting brick enframement embellished by small, terra-cotta ornament, string courses and globe lights. It is capped by a projecting hood supported on stone brackets. The entrance consists of a paneled door with a large glass light flanked by paneled side sections.
A plain, sandstone lintel separates it from the large, round-headed glass transom that is subdivided into small squares. A pair of plain rectangular windows on a continuous sill is in the western bay of the first story. The second story has a single window in the western bay and, in the eastern bay, is a double multi-light, non-historic door that leads to a small, balustraded balcony formed by the projecting hood over the entranceway. At the third story, two pairs of narrow, rectangular windows share a common sill and a smooth sandstone lintel. A simple, corbelled brick cornice separates the roof from the floor below. This section has a mansard roof pierced by two dormer windows with bell-shaped roofs and flanked on the western side by a stepped parapet wall that projects above the roof.
A tall, prominent chimney rises between the two sections. Its plain brick facing is marked by several narrow string courses. The section on the east is topped by a stepped, front-facing gable with a decorative sandstone molding that echoes the steps. Each floor contains grouped window openings linked by continuous sills and sometimes lintels. The fourth story has three, round-headed windows capped by a continuous, rounded brick molding. The third story has four evenly-spaced windows under a plain, continuous stone lintel, while the second story has two pairs of windows under stone lintels and a sill that runs across the entire section. There are five windows with transoms and a continuous stone sill and lintel at the first story, and two individual windows fronted by iron grilles at the basement level. A third window (on the eastern bay) has been converted to an entrance, with a non-historic door and light.
A broad sandstone lintel and watertable is located at the top of the basement level, creating a strong distinction between it and the rest of the building. A non-historic iron fence shields the areaway.
- From the 2008 NYCLPC Landmark Designation Report
EFM 178H. I always found as very ordinary and hated the crude metal decency screen behind the driver. It wasn't particularly fast and sounded pretty flat. Well, that was until it's last couple of months in service when it received a 2nd hand exhaust system from another RE and boy, did this make a difference! Overnight it became the loudest Gardner powered machine in the fleet.
Sheffield bus station 27/08/94, a typical day out chasing RE's:
GHY 138K (215) Sheffield - Dinnington
EFM 178H (219) Dinnington - Firbeck
EFM 178H (219) Firbeck - Dinnington
PCH 268L (X60) Dinnington - Sheffield
XAH 873H (X38) Sheffield - Wortley
WWY 70X (X39) Wortley - Sheffield (bowled!)
OCK 350K (208) Sheffield - Dinnington
HRN 106N (216) Dinnington - North Anston (Haughton Rd)
OCK 350K (216) North Anston (Haughton Rd) - Sheffield
UN staff in New York gather at the “Knotted Gun” sculpture at the UN Visitor’s Centre entrance at 12:00 noon on Wednesday 15 March to call for an end to the six years of conflict in Syria. Staff held signs with photos of six year old Syrian children with the hashtag #notatarget as part of their action to stand in solidarity with the people of Syria.
Pictured: Khetsiwe Dlamini, Chief of Staff, UN Women, addresses the gathering
Text of the UN Staff Statement:
We, the staff of the United Nations wish to express our profound concern and outrage over the suffering of the people and especially the children of Syria.
The crucible of war continues to hold the people, and especially the children of Syria, hostage. For six years, Syrians have experienced appalling violence and flagrant disregard for human life. For six years, the world has watched in horror. Human decency and conscience demands that we end the carnage now.
The United Nations was founded on principles of human rights and respect for humanitarian values. It is our duty as individuals and as a collective to uphold these principles. We therefore stand in solidarity with the civilians and particularly the children who are suffering from abuses, indignity and destruction caused by ongoing violations of international norms. We stand united in solidarity with the people and especially the children of Syria.
We call upon the Member States of the United Nations, in particular the Security Council, to take urgent action to end the bloodshed in Syria.
Photo: UN Women/Ryan Brown
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
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Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
West German postcard by WS-Druck, Wanne-Eickel, no. 439. Photo: Atchiv Filmpress Zürich.
French actress Brigitte Bardot (1934) died on 28 December 2025, at the age of 91. In the 1950s, she was the sex kitten of the European film industry. BB starred in 48 films, performed in numerous musical shows, and recorded 80 songs. After her retirement in 1973, she established herself as an animal rights activist. In the coming weeks, we will post a BB postcard every day to remember her as she once was.
Brigitte Bardot was born in Paris in 1934. Her father, Louis Bardot, had an engineering degree and worked with his father in the family business. Her mother, Ann-Marie Mucel, was 14 years younger than Brigitte's father, and they married in 1933. Brigitte's mother encouraged her daughter to take up music and dance. At the age of 13, she entered the Conservatoire Nationale de Danse to study ballet. By the time she was 15, Brigitte was trying a modelling career and found herself in May 1949 on the cover of the French magazine Elle. Her incredible beauty was readily apparent, and Brigitte was noticed by Roger Vadim, then an assistant to the film director Marc Allegrét. Vadim was infatuated with Bardot and encouraged her to start working as a film actress. BB was 18 when she debuted in the comedy Le Trou Normand / Crazy for Love (Jean Boyer, 1952). In the same year, she married Vadim. Brigitte wanted to marry him when she was 17, but her parents quashed any marriage plans until she turned 18. In April 1953, she attended the Cannes Film Festival, where she received massive media attention. She soon was every man's idea of the girl he'd like to meet in Paris. From 1952 to 1956, she appeared in seventeen films. Her films were generally lightweight romantic dramas in which she was cast as an ingénue or siren, often with an element of undress. In 1953, she made her first US production, Un acte d'amour / Act of Love (Anatole Litvak, 1953) with Kirk Douglas, but she continued to make films in France.
Roger Vadim was not content with the light fare his wife was offered. He felt Brigitte Bardot was being undersold. Looking for something more like an art film to push her as a serious actress, he showcased her in Et Dieu créa la femme / ...And God Created Woman (Roger Vadim, 1956). This film, about an immoral teenager in a respectable small-town setting, was a smash success on both sides of the Atlantic. Craig Butler at AllMovie: "It's easy enough to say that ...And God Created Woman is much more important for its historical significance than for its actual quality as a film, and that's true to an extent. The immense popularity, due to its willingness to directly embrace an exploration of sex as well as its willingness to show a degree of nudity that was remarkably daring for its day, demonstrated that audiences were willing to view subject matter that was considered too racy for the average moviegoer. This had both positive (freedom to explore, especially for the French filmmakers of the time) and negative (freedom to exploit) consequences, but its impact is undeniable. It's also true that Woman is not a great work of art, not with a story that is ultimately rather thin, some painful dialogue, and an attitude toward its characters and their sexuality that is unclear and inconsistent. Yet Woman is still fascinating, due in no small part to the presence of Brigitte Bardot in the role that made her an international star and sex symbol. She's not demonstrating great acting here, although her performance is actually good and much better than necessary, and her legendary mambo scene at the climax is nothing short of sensational." During the shooting of Et Dieu créa la femme / And God Created Woman (Roger Vadim, 1956), directed by her husband, Brigitte Bardot had an affair with her co-star Jean-Louis Trintignant, who at that time was married to French actress Stéphane Audran. Her divorce from Vadim followed, but they remained friends and collaborated in later work.
Et Dieu créa la femme / ...And God Created Woman (Roger Vadim, 1956) helped Brigitte Bardot's international status. The film took the USA by storm, her explosive sexuality being unlike anything seen in the States since the days of the 'flapper' in the 1920s. It gave rise to the phrase 'sex kitten', and fascination with her in America consisted of magazine photographs and dubbed over French films - good, bad or indifferent, her films drew audiences - mainly men - into theatres like lemmings. BB appeared in light comedies like Doctor at Large (Ralph Thomas, 1957) - the third of the British 'Doctor' series starring Dirk Bogarde - and Une Parisienne / La Parisienne (Michel Boisrond, 1957), which suited her acting skills best. However, she was a sensation in the crime drama En cas de malheur / Love is My Profession (Claude Autant-Lara, 1958). Hal Erickson at AllMovie: "This Brigitte Bardot vehicle ran into stiff opposition from the Catholic Legion of Decency, severely limiting its U.S. distribution. Bardot plays a nubile small-time thief named Yvette, who becomes the mistress of influential defence attorney Andre (Jean Gabin). Though Andre can shower Yvette with jewels and furs, he cannot "buy" her heart, and thus it is that it belongs to handsome young student Mazzetti (Franco Interlenghi). Alas, Yvette is no judge of human nature: attractive though Mazzetti can be, he has a dangerous and deadly side. En Cas de Malheur contains a nude scene that has since been reprinted in freeze-frame form innumerable times by both film-history books and girlie magazines." Photographer Sam Lévin's photos contributed considerably to her image of sensuality and slight immorality. One of Lévin's pictures shows Brigitte, dressed in a white corset. It is said that around 1960, postcards with this photograph outsold in Paris those of the Eiffel Tower.
Brigitte Bardot divorced Vadim in 195,7 and in 1959 she married actor Jacques Charrier, with whom she starred in Babette s'en va-t-en guerre / Babette Goes to War (Christian-Jaque, 1959). The paparazzi preyed upon her marriage, while she and her husband clashed over the direction of her career
Her films became more substantial, but this brought a heavy pressure of dual celebrity as she sought critical acclaim while remaining a glamour model for most of the world. Vie privée / Private Life (1962), directed by Louis Malle, has more than an element of autobiography in it. James Travers at French Films: "Brigitte Bardot hadn’t quite reached the high point of her career when she agreed to make this film with high-profile New Wave film director Louis Malle. Even so, the pressure of being a living icon was obviously beginning to get to France’s sex goddess, and Vie privée is as much an attempt by Bardot to come to terms with her celebrity as anything else. Malle is clearly fascinated by Bardot, and the documentary approach he adopts for this film reinforces the impression that it is more a biography of the actress than a work of fiction. Of course, it’s not entirely biographical, but the story is remarkably close to Bardot’s own life and comes pretty close to predicting how her career would end." The scene in which, returning to her apartment, Bardot's character is harangued in the elevator by a middle-aged cleaning lady calling her offensive names was based on an actual incident, and is a resonant image of celebrity in the mid-20th century. Soon afterwards, Bardot withdrew to the seclusion of Southern France.
Brigitte Bardot's other husbands were German millionaire Playboy Gunter Sachs and right-wing politician Bernard d'Ormale. She is reputed to have had relationships with many other men, including Samy Frey, her co-star in La Vérité / The Truth (Henri-Georges Clouzot, 1960), and musicians Serge Gainsbourg and Sacha Distel. In 1963, Brigitte Bardot starred in Jean-Luc Godard's critically acclaimed film Le Mépris / Contempt (Jean-Luc Godard, 1963) opposite Michel Piccoli. She was also featured along with such notable actors as Alain Delon in Amours célèbres / Famous Love Affairs (Michel Boisrond, 1961) and Histoires extraordinaires /Tales of Mystery (Louis Malle, 1968), Jeanne Moreau in Viva Maria! (Louis Malle, 1965), Sean Connery in Shalako (Edward Dmytryk, 1968), and Claudia Cardinale in Les Pétroleuses / Petroleum Girls (Christian-Jaque, 1971). She participated in various musical shows and recorded many popular songs in the 1960s and 1970s, mostly in collaboration with Serge Gainsbourg, Bob Zagury and Sacha Distel, including 'Harley Davidson', 'Le Soleil De Ma Vie' (the cover of Stevie Wonder's 'You Are the Sunshine of My Life') and the notorious 'Je t'aime... moi non plus'.
Brigitte Bardot’s film career showed a steady decline in the late 1960s and early 1970s. In 1973, just before her fortieth birthday, she announced her retirement. She chose to use her fame to promote animal rights. In 1976, she established the Brigitte Bardot Foundation for the Welfare and Protection of Animals. She became a vegetarian and raised three million French francs to fund the foundation by auctioning off jewellery and many personal belongings. For this work, she was awarded the Légion d’honneur in 1984. During the 1990s, she was also outspoken in her criticism of immigration, interracial relationships, Islam in France and homosexuality. Her husband Bernard d'Ormal was a former adviser of the far-right Front National party. Bardot has been convicted five times for 'inciting racial hatred'. More fun is that Bardot is recognised for popularising bikini swimwear, in such early films as Manina / Woman without a Veil (Willy Rozier, 1952), in her appearances at Cannes and in many photo shoots. Bardot also brought into fashion the 'choucroute' ('Sauerkraut') hairstyle (a sort of beehive hairstyle) and gingham clothes after wearing a checkered pink dress, designed by Jacques Esterel, at her wedding to Charrier. The fashions of the 1960s looked effortlessly right and spontaneous on her. Time Magazine: "She is the princess of pout, the countess of come hither. Brigitte Bardot exuded a carefree, naïve sexuality that brought a whole new audience to French films."
Sources: Denny Jackson (IMDb), Hal Erickson (AllMovie), Craig Butler (AllMovie), James Travers (French Films), French Films, Wikipedia and IMDb.
And please check out our blog European Film Star Postcards.
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2022. Gualtieri finisce sul Nyt: L'eterna crisi dei rifiuti a Roma ha unito il declino urbano, con i cinghiali nel centro storico. Gualtieri poco o nessun progresso; in: NEW YORK TIMES & La Repubblica (29-30/08/2021) (testo integrale).Vedi anche: il sindaco Marino e il degrado di Roma; in: Nyt (22/07/2015). wp.me/pbMWvy-36x
________________
S.v.,
--- RARA 2022. Roberto Gualtieri - Sindaco di Roma / Er Monnezzaro = Disservizi + Immondizia + Degrado + Cinghiali + Incendio (21/10/2021 - 21/10/2022). Fonte: ROMATODAY (06/09/2022). www.romatoday.it/social/segnalazioni/degrado-urbano/
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Foto: LOCAL TEAM / YouTube (09/07/2022).
www.flickr.com/photos/imperial_fora_of_rome/52324893351
1). ROMA - Gualtieri finisce sul New York Times: "Mentre Roma brucia (o almeno i suoi rifiuti), un sindaco osa sognare."La Repubblica (30/08/2021).
Il quotiano statunitense dedica un articolo all'immondizia della capitale, all'Ama ma soprattutto al sindaco che vuole il termovalorizzatore, "sicuro che qualcosa cambierà"
Un sindaco a Roma "osa sognare". Così definisce gli incubi di Roberto Gualtieri un lungo articolo uscito New York Times di Jason Horowitz. Che pubblica online foto di e dei suoi cassonetti carbonizzati oltre alla foto del sindaco alla scrivania assorto a guardare i fogli del progetto sul termovalorizzatore.
Foto: Nyt (30/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52325323054
"Da anni ormai" si legge sul Nyt, "nulla simboleggia la caduta di Roma più della sua crisi dei rifiuti. Un serraglio di cinghiali, gabbiani violenti e ratti si riunisce per banchettare con i detriti della capitale". "E proprio quando sembrava che la puzza dei rifiuti di Roma non potesse peggiorare, una disputa sulla costruzione di un nuovo inceneritore per la città è emersa come motivo di un ammutinamento politico che ha fatto cadere il governo Draghi a luglio". Poche righe a riassumere l'effetto domino catastrofico.
Ma ecco che qui arriva Gualtieri: "Formalmente il motivo sono io", avrebbe dichiarato lasciando trapelare un tono sorpreso, ingenuo, al limite del compiaciuto.
Il quotidiano lo descrive come "un veterano della politica di sinistra", un uomo che "con l'autorità di accelerare la costruzione di un impianto di termovalorizzazione dei rifiuti per Roma da circa 600 milioni di euro, spera di avere successo dove altri hanno fallito". In fondo, avrebbe aggiunto il primo cittadino, "non si tratta di scienza missilistica. È solo spazzatura".
Foto: Nyt (30/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52325212963
Roma e New York svettano nella classifica delle città più sporche del mondo, un gemellaggio tossico. E se anche il Nyt dipinge il sindaco che osa sognare, lo fa su uno sfondo di rifiuti in fiamme, autobus che si auto-incendiano, buche "profonde come pozzi d'acqua, una "giungla dove mancano solo i boa costrittori" e una miriade di "altre indecenze". Come Malagrotta. Il sindaco, dice e non dice, che "c'è una cospirazione per fermare me" e il progetto.
L'articolo ricorda quindi che Gualtieri però "in qualità di ex ministro dell'Economia, ha contribuito personalmente a ottenere miliardi di euro di fondi dell'Unione Europea per l'Italia, con una fetta significativa per Roma. E ha già avuto successo nell'attrarre investitori privati per finanziare il nuovo inceneritore". Insomma, "il problema non è il denaro".
E mentre Roma è costretta a spedire i suoi rifiuti a costi elevati in impianti fuori città, "in quello che secondo Gualtieri è un salasso per le sue risorse, un contributo all'inquinamento e forse un favore agli interessi di elementi della malavita (...), la sfida più grande per ripulire Roma potrebbe essere la città stessa". Anche se i romani tendono ad avere "comportamenti non corretti" quando si tratta di buttare la spazzatura.
"I ristoranti spesso riempiono i bidoni riservati ai cittadini. I cittadini reagiscono mettendo in equilibrio i sacchetti dell'immondizia sopra i cassonetti come giocassero a Jenga".
Ed è qui che il sindaco sogna. Sogna una revisione dell'Ama e sogna che i rifiuti brucino in fiamme lecite. Sempre che i Cinque Stelle smettano di opporsi adducendo "motivi ambientali, e considerandolo un ipocrita". Perché "egli" sostiene che il termovalorizzatore "migliorerà Roma e sarà redditizio, un incentivo per gli investitori a entrare nel progetto. Una nuova età dell'oro". I sogni d'oro del sindaco di Roma.
Fonte / source:
--- La Repubblica (30/08/2021).
roma.repubblica.it/cronaca/2022/08/30/news/roma_rifiuti_n...
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Foto: Gianluca Ferrara / Facebook (27/03/2022).
www.flickr.com/photos/imperial_fora_of_rome/52324089937
2). ROME - As Rome Burns (or at Least Its Garbage), a Mayor Dares to Dream. Could a solution to Rome’s perpetual trash crisis really be in sight? Mayor Roberto Gualtieri would like to think so. NEW YORK TIMES (29/08/2021).
ROME — For years now, nothing has symbolized the fall of Rome more than its garbage crisis. A trash menagerie of wild boars, violent sea gulls and rats convene to feast on the capital’s overflowing debris. Early this summer, a spate of suspicious blazes at garbage plants and scrapyards — literal dumpster fires — darkened the skies, choked the air, and raised the specter of arson and organized crime.
Then, when it seemed the stench of Rome’s garbage troubles could get no worse, a dispute over building a new incinerator for the city emerged as the stated reason for a political mutiny that brought down the national unity government of Prime Minister Mario Draghi in July.
On the day of the revolt, as he monitored the unfolding political drama from his office overlooking the Roman forum, Rome’s mayor, Roberto Gualtieri, seemed bemused by the role he and his city’s garbage problem had played in the government’s unexpected collapse. “Formally, the reason is me,” he said.
Foto: Il Messaggero (22/06/2022).
www.flickr.com/photos/imperial_fora_of_rome/52325323139
At least Mr. Gualtieri, a veteran of leftist politics, emerged from the wreckage with the authority to fast track the building of a roughly 600 million euro, or about $601 million, waste-to-energy plant for Rome, which he hopes will allow him to succeed where others had failed.
“It is not rocket science,” he said. “It’s garbage.”
But garbage, and the degradation of Rome that it symbolizes, is a force not to be taken lightly. Even in an oft-sacked city that has seen it all over the centuries, where people have more recently grown accustomed to self-immolating buses, potholes as deep as water wells and myriad other indignities, the garbage — pervasive, pungent and unrelenting — has become the true metric of Rome’s decline.
Since Rome closed its sprawling Malagrotta landfill, among Europe’s largest, as an environmental disaster in 2013, trash has overwhelmed two mayors, including Mr. Gualtieri’s predecessor, Virginia Raggi of the Five Star Movement, the party that touched off the rebellion that brought down the national government.
In 2018, prosecutors sequestered the landfill — owned by a businessman dubbed “er monnezzaro,” or King of Garbage — for failing to contain its toxic spillage. No actual garbage has been dumped there for years, but its treatment plant was still being used to process up to 1,500 tons of garbage a day, before being shipped elsewhere.
Foto: La Repubblica (12/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52325212983
That is, before it went up in flames this summer.
“An enormous plume, gray,” Luigi Palumbo, the court-appointed manager of the landfill, said as he recalled the toxic blaze and cloud that closed nearby preschools and summer camps and laced parts of central Rome with an acrid odor.
“It’s unknown where it started,” he said as he approached the plant, its concrete scorched and its melted aluminum panels hanging over the building like carpets hung out to dry.
He turned to a burned heap of garbage that had been inside the plant. It was filled with thousands of scorched and bulging plastic bags, melted plastic fruit crates, stray cloths and tires and cans. It, too, has now been sequestered as evidence — but of what, no one seems quite sure.
The Malagrotta blaze was not an isolated incident, but one of a rash of trash fires that broke out around the city this summer.
Mayor Gualtieri sought to sidestep the theory that “there is a conspiracy to stop me,” and his incinerator, by preserving a system in which myriad players, some of them shadowy, profited from Rome’s garbage crisis. But, he added, “of course you consider this possibility, how was it possible this really is happening exactly when we are trying to …” Then he stopped himself.
He noted a well-established connection between waste management and criminal enterprises. Experts had determined it was “not self-combustion,” he said. “So that was man made.”
And it has exacerbated Rome’s already noxious disposal problem.
Rome now has to ship its garbage at high cost to plants outside the city, in what Mr. Gualtieri said was a drain on its resources, a contributor to pollution and possibly a favor to the interests of underworld elements who benefit from Rome’s sanitation paralysis.
But while prosecutors continue to investigate the fires, the greatest challenge to cleaning up Rome may be the city itself.
Rome had “little sense of responsibility for its own garbage, because it’s always thought that public things, being public, belong to no one,” said Paola Ficco, an environmental lawyer who edits Rifiuti, or Waste, a journal about laws regarding garbage. “And we forget that, being public, it’s all of ours.”
In the meantime, she added, Rome was a mess, with high grass and garbage everywhere. “It’s a jungle,” she said. “Only boa constrictors are missing. Then we’ll have it all.”
Mr. Gualtieri, himself a Roman, acknowledged that his city bred unique character traits. Romans tended to have “behaviors that we find that are not good,” he said, when it came to throwing out the garbage.
Restaurants often loaded up bins reserved for the public. The public had a tendency to respond to the packed bins by balancing trash bags on top of them, like a vile Jenga game, or throwing garbage at their sides, forming archipelagos of uncollected trash that attracted all sorts of interesting fauna.
But even while the burned plant remains out of commission, the mayor is confident that the new incinerator, on which construction is set to begin next year, and the introduction of tougher fines for a variety of infractions would create a more civilized Roman context. Within it, he said, Romans would become “more sensible about doing their part” and give “the best and not the worst.”
Foto: Amazing Walking Tours / YouTube (19/06/2022)
www.flickr.com/photos/imperial_fora_of_rome/52324893366
As a former economy minister, he had personally helped procure billions of euros in European Union funds for Italy, with a significant chunk for Rome and other plants in the city’s waste plan. He spoke of an additional 1.4 billion euros from the Italian government to help prepare for pilgrims visiting the city and the Vatican during the 2025 Holy Year as if it were a done deal. And he already had success in attracting private investors to finance the new incinerator.
“Money is not the problem,” he said.
The system is.
The mayor presented an organizational chart of AMA, a company that, among other things, manages collection of solid waste in Rome, and of which the city is the sole shareholder. He said that under previous administrations, AMA had changed chief executive officers five times in seven years, had become inflated with patronage jobs and had directed the majority of resources to garbage collection areas where it was not needed. Last winter, Rome paid bonuses to its workers just to show up for work during Christmas time.
“This is a joke,” he said. “This should be studied in university, what you should not do.” Overhauling AMA was a part of the mayor’s three-phase plan to clean up the city.
He said the city will have actually hired about 650 people by the end of the year to clean the streets while cracking down on an army of loafers. Officials had begun conducting thousands of checks on employees who perpetually present doctors’ notes certifying that they can only do desk work.
“You can see people heal,” the mayor said of the spot checks. “Miracles.”
In the second stage, within two years, the city would put new dumpsters on Rome’s streets, and a third phase would begin in 2025, toward the end of his five-year term, when the waste-to-energy incinerator is expected to come on line.
When he campaigned for the job, Mr. Gualtieri said he did not think such a plant would be necessary and that he would improve things by Christmas. He said that it was only when he took office that he understood the mind-boggling reality of Rome’s garbage. His critics, chief among them Five Star, which opposed the new incinerator on environmental grounds, consider him a hypocrite.
Foto: 7Colli (11/07/2022)
www.flickr.com/photos/imperial_fora_of_rome/52209791423
But, as summer vacation ends and the city fills back up with Romans and their trash, he argues the waste-to-energy incinerator will improve Rome’s environment and be profitable, an incentive he said for investors to get in on the ground floor.
All of Rome, he insisted, was on the brink of a new Golden Age.
“I can tell you why,” he said, anticipating the natural Roman skepticism and calling Rome an undervalued asset. “It has a lot of margin for improvements.”
Fonte / source:
--- NEW YORK TIMES (29/08/2021).
www.nytimes.com/2022/08/29/world/europe/rome-garbage-fire...
S.v.,
Foto: Nyt (22/07/2015).
www.flickr.com/photos/imperial_fora_of_rome/52325212978
--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2022: Il degrado di Roma sul New York Times: Marino più interessato ai ricchi stranieri che ai cittadini, THE NEW YORK TIMES (22|07|2015), p. A4; LA REPUBBLICA & Forexinfo.it (23|07|2015).
ROME — The grass in some public parks sways knee high. Disgruntled subway workers have slowed service to a crawl. Fire has rendered the city’s largest airport crammed and chaotic. The arrests of public officials pile up, revealing mob infiltration of the city government.
It all adds up to what Romans call “degrado” — the degradation of services, buildings and their standard of living — and the general sense that their ancient city, even more than usual, is falling apart.
Not all those troubles are necessarily the fault of Mayor Ignazio Marino, a former surgeon whose own integrity remains unblemished. But, strangely enough, in Rome, his decency is not necessarily seen as part of the solution, either.
Fonte/source:
--- THE NEW YORK TIMES (22|07|2015), p. A4.
rometheimperialfora19952010.wordpress.com/2015/07/24/roma...
that now famous command, issued by the Italian Coast Guard Comandante Gregorio De Falco, to the cruise ship Capitan Schettino. Literally, "climb onboard, (expletive!)".
I'm sure that's on a t-shirt somewhere, and I was tempted to get one, but the tragedy of the event rinses away any humor for me.
Now the news reports the 14-story luxury Princess Star cruise ship passed by 3 Panamanian fisherman, whose small boat was spotted adrift. A Portland birdwatcher onboard spotted the dying men, but the ship's crew and captain ignored maritime law, and basic human decency, and steamed on.
There's a special commitment to being captain of a ship, people step aboard, subscribing to a certain understanding. From the smallest kayak to an aircraft carrier--there's a Code that these "cruise ship captains" ignored. They're "Captains" in name only, Night Motel Desk Operators in performance. (no criticism of night hosting staff here, many have befriended me over the years--not unlike Pizza Delivery guys!)
My boatyard buddy, enjoying a siesta on the water, understands the distinction. "You're either on the bus or off the bus. You do what you must. To the Ships! Damn the Torpedoes, Full Steam Ahead." My Jolly Sailor Bold
Anne became Queen of England, Scotland and Ireland on 8 March 1702. On 1 May 1707, under the Acts of Union, two of her realms, the kingdoms of England and Scotland, united as a single sovereign state known as Great Britain.
Born: 6 February 1665, St James's Palace, St James's
Died: 1 August 1714, Kensington Palace, London
Coronation: 23 April 1702
Spouse: Prince George of Denmark (m. 1683–1708)
House: House of Stuart
Children: Prince William, Duke of Gloucester, Anne Sophia, Mary, George
Around 1671, Anne first made the acquaintance of Sarah Jennings, who later became her close friend and one of her most influential advisers. Jennings married John Churchill (the future Duke of Marlborough) in about 1678. His sister, Arabella Churchill, was the Duke of York's mistress, and he was to be Anne's most important general.
Anne and George of Denmark were married on 28 July 1683 in the Chapel Royal and Sarah Churchill was appointed one of Anne's ladies of the bedchamber.
In what became known as the "Glorious Revolution", William of Orange invaded England on 5 November 1688 in an action that ultimately deposed King James. Forbidden by James to pay Mary a projected visit in the spring of 1687, Anne corresponded with her and was aware of the plans to invade. On the advice of the Churchills, she refused to side with James after William landed and instead wrote to William on 18 November declaring her approval of his action. Churchill abandoned the unpopular king on the 24th. Prince George followed suit that night, and in the evening of the following day James issued orders to place Sarah Churchill under house arrest at St James's Palace. Anne and Sarah fled from Whitehall by a back staircase, putting themselves under the care of Bishop Compton. They spent one night in his house, and subsequently arrived at Nottingham on 1 December. Two weeks later and escorted by a large company, Anne arrived at Oxford, where she met Prince George in triumph.
In January 1689, a Convention Parliament assembled in England and declared that James had effectively abdicated when he fled, and that the thrones of England and Ireland were therefore vacant. The Parliament or Estates of Scotland took similar action, and William and Mary were declared monarchs of all three realms. The Bill of Rights 1689 and Claim of Right Act 1689 settled the succession. Anne and her descendants were to be in the line of succession after William and Mary, and they were to be followed by any descendants of William by a future marriage. On 24 July 1689, Anne gave birth to a son, Prince William, Duke of Gloucester, who, though ill, survived infancy. As King William and Queen Mary had no children, it looked as though Anne's son would eventually inherit the Crown.
Soon after their accession, William and Mary rewarded John Churchill by granting him the Earldom of Marlborough. Resentment soon grew between the sisters, Mary and Anne, over Anne's wish to become financially independent. From around this time, at Anne's request she and Sarah Churchill, Lady Marlborough, began to call each other the pet names Mrs. Morley and Mrs. Freeman respectively, to facilitate a relationship of greater equality between the two when they were alone. In January 1692, suspecting that Marlborough was secretly conspiring with James's followers, the Jacobites, William and Mary dismissed him from all his offices. In a public show of support for the Marlboroughs, Anne took Sarah to a social event at the palace, and refused her sister's request to dismiss Sarah from her household. Lady Marlborough was subsequently removed from the royal household by the Lord Chamberlain, and Anne angrily left her royal lodgings and took up residence at Syon House, the home of the Duke of Somerset.[69] Anne was stripped of her guard of honour; courtiers were forbidden to visit her, and civic authorities were instructed to ignore her. In April, Anne gave birth to a son who died within minutes. Mary visited her, but instead of offering comfort took the opportunity to berate Anne once again for her friendship with Sarah. The sisters never saw each other again.
When Mary died of smallpox in 1694, William continued to reign alone. Anne became his heir apparent and the two reconciled publicly. He restored her previous honours, allowed her to reside in St James's Palace, and gave her Mary's jewels but excluded her from government and refrained from appointing her regent during his absences abroad. Three months later, William restored Marlborough to his offices.
Soon after her accession, Anne appointed her husband Lord High Admiral, giving him nominal control of the Royal Navy. Anne gave control of the army to Lord Marlborough, whom she appointed Captain-General. Marlborough also received numerous honours from the Queen; he was created a Knight of the Garter and was elevated to the rank of duke. The Duchess of Marlborough was appointed Groom of the Stole, Mistress of the Robes, and Keeper of the Privy Purse.
The Whigs vigorously supported the War of the Spanish Succession and became even more influential after the Duke of Marlborough won a great victory at the Battle of Blenheim in 1704. Many of the High Tories, who opposed British involvement in the land war against France, were removed from office. Godolphin, Marlborough, and Harley, who had replaced Nottingham as Secretary of State for the Northern Department, formed a ruling "triumvirate". They were forced to rely more and more on support from the Whigs, and particularly from the Whig Junto—Lords Somers, Halifax, Orford, Wharton and Sunderland—whom Anne disliked. Sarah, the Duchess of Marlborough, incessantly badgered the Queen to appoint more Whigs and reduce the power of the Tories, whom she considered little better than Jacobites, and the Queen became increasingly discontented with her. In 1706, Godolphin and the Marlboroughs forced Anne to accept Lord Sunderland, a Junto Whig and the Marlboroughs' son-in-law, as Harley's colleague as Secretary of State for the Southern Department. Although this strengthened the ministry's position in Parliament, it weakened the ministry's position with the Queen, as Anne became increasingly irritated with Godolphin and with her former favourite, the Duchess of Marlborough, for supporting Sunderland and other Whig candidates for vacant government and church positions. The Queen turned for private advice to Harley, who was uncomfortable with Marlborough and Godolphin's turn towards the Whigs. She also turned to Abigail Hill, a woman of the bedchamber whose influence grew as Anne's relationship with Sarah deteriorated. Abigail was related to both Harley and the Duchess, but was politically closer to Harley, and acted as an intermediary between him and the Queen.
The division within the ministry came to a head on 8 February 1708, when Godolphin and the Marlboroughs insisted that the Queen had to either dismiss Harley or do without their services. When the Queen seemed to hesitate, Marlborough and Godolphin refused to attend a cabinet meeting. Harley attempted to lead business without his former colleagues, and several of those present including the Duke of Somerset refused to participate until they returned. Her hand forced, the Queen dismissed Harley.
The following month, Anne's Catholic half-brother, James Francis Edward Stuart, attempted to land in Scotland with French assistance in an attempt to establish himself as king. Anne withheld royal assent from the Scottish Militia Bill 1708 in case the militia raised in Scotland was disloyal and sided with the Jacobites. She was the last British sovereign to veto a parliamentary bill, although her action was barely commented upon at the time. The invasion fleet never landed and was chased away by British ships.
The Duchess of Marlborough was angered when Abigail moved into rooms at Kensington Palace that Sarah considered her own, though she rarely if ever used them. In July 1708, she came to court with a bawdy poem written by a Whig propagandist. that implied a lesbian relationship between Anne and Abigail. The Duchess wrote to Anne telling her she had damaged her reputation by taking up such a friend. Whilst some modern commentators have concluded Anne was a lesbian, most have rejected this analysis. In the opinion of Anne's biographers, she considered Abigail nothing more than a trusted servant, and was a woman of strong traditional beliefs, who was devoted to her husband.
At a thanksgiving service for a victory at the Battle of Oudenarde, Anne did not wear the jewels that Sarah had selected for her. At the door of St Paul's Cathedral, they had an argument that culminated in Sarah offending the Queen by telling her to be quiet. Anne was dismayed. When Sarah forwarded an unrelated letter from her husband to Anne, with a covering note continuing the argument, Anne wrote back pointedly, "After the commands you gave me on the thanksgiving day of not answering you, I should not have troubled you with these lines, but to return the Duke of Marlborough's letter safe into your hands, and for the same reason do not say anything to that, nor to yours which enclosed it."
Anne was devastated by her husband's death in October 1708 and the event proved a turning point in her relationship with the Duchess of Marlborough. The Duchess arrived at Kensington Palace shortly before George died, and after his death insisted that Anne leave Kensington for St James's Palace against her wishes. Anne resented the Duchess's intrusive actions, which included removing a portrait of George from the Queen's bedchamber and then refusing to return it. With Whigs now dominant in Parliament, and Anne distraught at the loss of her husband, they forced her to accept the Junto leaders Lords Somers and Wharton into the cabinet. Sarah continued to berate Anne for her friendship with Abigail, and in October 1709, Anne wrote to the Duke of Marlborough asking that his wife "leave off teasing & tormenting me & behave herself with the decency she ought both to her friend and Queen".[162] On Maundy Thursday 6 April 1710, Anne and Sarah saw each other for the last time. According to Sarah, the Queen was taciturn and formal, repeating the same phrases—"Whatever you have to say you may put in writing" and "You said you desired no answer, and I shall give you none"—over and over.
As the expensive War of the Spanish Succession grew unpopular, so did the Whig administration. The Duke of Marlborough was for the time being allowed to remain in charge of the army but in January 1711, Anne forced Sarah to resign her court offices, and Abigail took over as Keeper of the Privy Purse. Having lost her most trusted advisers, Anne created 12 new peers, Abigail's husband included and dismissed the Marlboroughs on the same day. The peace treaty was ratified and Britain's military involvement in the War of the Spanish Succession ended.
Anne was buried beside her husband and children in the Henry VII chapel on the South Aisle of Westminster Abbey on 24 August. Author David Green noted, "Hers was not, as used to be supposed, petticoat government. She had considerable power; yet time and time again she had to capitulate." Professor Edward Gregg concluded that Anne was often able to impose her will, even though, as a woman in an age of male dominance and preoccupied by her health, her reign was marked by an increase in the influence of ministers and a decrease in the influence of the Crown.[203] She attended more cabinet meetings than any of her predecessors or successors,[204] and presided over an age of artistic, literary, economic and political advancement that was made possible by the stability and prosperity of her reign.
Abridged (believe it or not) from en.wikipedia.org/wiki/Anne,_Queen_of_Great_Britain
Digital image taken with a Lumix GX7 fronted with a manual focus Minolta MD 50mm f/2 lens
Editing done via Photoshop Elements 12 with Topaz Labs and NIK Software plug-ins
Found and admired at Indian Camp Creek Park near St. Charles, Missouri, USA
Given that the BNSF Racetrack is the busiest Metra corridor, I figured I'd exclusively see Metra trains. Lucky for me, BNSF dispatch was able to work in a few westbound freight trains. They must know that I really like the BNSF Railway. I discovered that Hinsdale can be a boring place to photograph if you don't notice the details. Applicably, Ferris Bueller touched on this concept by saying, "If you don't stop and look around once in a while, you could miss it". At the eastern end of the platform, I saw a neat clock installed by the local Rotary Club. Having no public decency, I precariously climbed on top of a nearby bench to frame this shot. Overall, I'm pleased with the result. Lesson learned: you can't let total public humiliation separate you from a neat train picture.
Syrian immigrant "Lil" Joe Halaway bought the Emerald Cafe in 1948, eventually changing the name to Lil Joe's. Lil Joe was famous for his loving nature and generosity, greeting customers with a smile and a "God bless you." Those words are now etched in the concrete before the restaurant's door. He stood by his employees and helped those who were down on their luck with free meals frequently.
And he saw a lot of people down on their luck. Shortly after he bought the restaurant on highway 40, Del Paso Boulevard was bypassed by a new freeway, and began a long decline. The area was, and still is (although it is starting to come out of it with major redevelopment efforts), beset by vacant buildings, empty lots, liquor stores, adult book stores, prostitution, drug use, and violence. According to the Sacramento Bee, police would avoid going to Lil Joe's (which used to be open 24 hours) because they didn't want to eat among the people they would be arresting later. The low point came in 1993, when a customer responded to being asked to put his cigarette out by stabbing the waiter to death.
When he was hospitalized in early 2002, the city council unaminously voted to honor Lil Joe with a lifetime achievment award for his assistance to the poor, sponsorship of youth sports, and general contribution to the community. He died a few months after being hospitalized. His son George, who started working the restaurant at the age of 14, carries on his legacy.
I first saw Lil Joe's in the summer of 1997 on a bus ride from Arden Fair Mall to the Arden/Del Paso lightrail station on my long trek back to Davis (I didn't have a car then). Every time I saw it I was charmed by the building and its neon sign. I don't recall if I ate there before then, but once I moved to nearby Arden-Arcade in August of 2002, I started going there frequently, mainly for the incredibly low prices.
Now there are several upscale art galleries in the neighborhood, townhomes are going up in bunches nearby, upscale contemporary projects are planned by New Faze Development, and the Sacramento News & Review well be moving their headquarters to the old Van's Market/Cardinal Grocery Store building on Del Paso. I'm guessing the people coming to the neighborhood will be more interested in grabbing a frappucino from the new Starbucks up the street than sitting on ripped pink vinyl to eat a burger (although I like espresso, I hope somebody will have the decency to shoot me if I ever order a frappuccino). I hope Lil Joe's survives.
Estoy aquí y le doy de comer a los cisnes. Exactamente después de 5 minutos, vuelve a aparecer un espía del servicio secreto de Alemania Occidental y (como siempre) comienza a filmar con mi teléfono inteligente. Justo en mi cara. Funciona todos los días. La mujer tiene una cara estúpida, unos 45 años, ojos azules, cabello rubio oscuro y delgado. Se bebe con vino caliente.
La comida decorativa para pájaros está hecha para cisnes, pero no tiene cisnes en el envase, sino flamencos que no viven aquí. Las gaviotas de cabeza negra ya no pueden sentarse en el muelle de vapor porque la sociedad de vapor es demasiado vaga y tiene bandas de aleteo colgadas allí. Pero no hacen nada contra los manifestantes de los padres del estado.
Gaviotas de cabeza negra, patos silvestres, palomas, gansos de ganso silvestre y cisnes se comen aquí. Pero los cisnes también están alimentando a otros ciudadanos ordenados que no están aquí como espías y espían a las personas. Los cisnes están hartos hoy, pero tienen que llenarse porque saben que habrá menos comederos nuevamente.
Llega una mujer hermosa y me sonríe, lo que creo que es genial. Ella es rubia y tiene lentes.
Los autobuses y tranvías están llenos y muchos de ellos son estúpidos porque dejan espacio sin decencia. ¿Por qué tengo una tarjeta de suscripción cuando no puedo ir conmigo?
De lo contrario, las personas son socialmente poco atractivas y aburridas. Solo les interesa mostrar cosas y autos con vino caliente. Te miran como si no fueras uno de ellos. Un niño está arrasando contra una bicicleta de alquiler.
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Ich bin hier unf füttere Ziervogelfutter für die Schwäne. Exakt nach 5 Minuten kommt wieder ein Spitzel vom Westdeutschen Geheimdienst und fängt (wie immer) mich gleich an mit dem Smartphone an zu filmen. Direkt in mein Gesicht. Jeden Tag geht das. Die Frau hat ein dümmliches Gesicht, 45 Jahre alt ungefähr, blaue Augen, dünnes, dunkelblondes Haar. Betrinkt sich mit Glühwein.
Das Ziervogelfutter ist für Schwäne gemacht, hat aber keine Schwäne auf der Verpackung, sondern Flamingos, die hier nicht leben. Die Lachmöven können nicht mehr Dampferkai sitzen, weil die Dampfergesellschaft zu faul ist und dort Flatterbänder aufgehängt hat. Gegen Randalierer von Staatseltern machen die aber nichts.
Lachmöven, Stockenten, Stadttauben, Graugänse und Schwäne essen sich durch mich hier satt. Aber auch andere, ordentliche Bürger, die nicht hier als Spitzel stehen und die Leute feindlich ausspähen, füttern die Schwäne heute auch. Die Schwäne sind heute satt, aber müssen sich vollstopfen, weil sie wissen, dass es dann wieder weniger Fütterer geben wird.
Eine schöne Frau kommt an und lächelt mich an, was ich toll finde. Sie ist blond und hat eine Brille.
Die Busse und Straßenbahnen sind voll und dazu sind viele von denen Dumm, weil ohne Anstand Platz zu machen. Wozu hat man eine Abo-Karte, wenn man nicht mitfahren kann?
Sonst sind die Leute sehr sozial unattraktiv und langweilig. Die interessieren sich nur für das Zeigen von Sachen und Autos mit Glühwein. Die schauen einen an, als wenn man nicht zu denen gehören würde. Ein Kind tritt randalierend voll gegen ein Leihfahrrad.
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Я здесь и кормлю птицу кормом для лебедей. Ровно через 5 минут снова приходит шпион из западногерманской секретной службы и (как всегда) начинает снимать меня с моего смартфона. Прямо в моем лице. Это работает каждый день. У женщины глупое лицо, около 45 лет, голубые глаза, тонкие темные светлые волосы. Пьет сам с глинтвейном.
Декоративная пища для птиц сделана для лебедей, но на упаковке нет лебедей, а есть фламинго, которые здесь не живут. Черноголовые чайки больше не могут сидеть на причале парохода, потому что пароходное общество слишком лениво и там повешены трепетные полосы. Но они ничего не делают против мятежников государственных родителей.
Черноголовые чайки, кряквы, голуби, серые гуси и лебеди питаются здесь. Но лебеди также кормят других простых граждан, которые здесь не шпионы и не шпионят за людьми. Сегодня лебедям надоело, но им приходится набивать себя, потому что они знают, что кормушек снова будет меньше.
Приходит красивая женщина и улыбается мне, что я считаю великолепным. Она блондинка и носит очки.
Автобусы и трамваи переполнены, и многие из них глупы, потому что они освобождают место без приличия. Почему у меня есть подписная карточка, когда я не могу пойти со мной?
Иначе люди очень социально непривлекательны и скучны. Их интересует только показ вещей и машин с глинтвейном. Они смотрят на тебя, как будто ты не один из них. Ребенок неистовствует против проката велосипедов.
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我在这里为天鹅喂鸟饲料。恰好5分钟之后，西德情报局的一名间谍再次出现，并且（一如既往）开始用我的智能手机拍摄我。就在我脸上这个女人每天都有工作，这个女人有一张愚蠢的面孔，大约45岁，蓝眼睛，稀疏的金色金发。用热红酒喝酒。
装饰性鸟类食品是为天鹅制成的，但包装上没有天鹅，但这里不生活着火烈鸟。黑头鸥不能再坐在轮船码头上了，因为轮船社会太懒惰了，那里悬挂着颤动的带子。但是他们并没有对暴动的州亲父母做任何事情。
黑头鸥，野鸭，鸽子，灰雁和天鹅在这里吃饱。但是天鹅也养活了其他普通民众，他们不是这里的间谍和间谍。天鹅今天已经受够了，但是不得不塞满自己，因为他们知道再有更少的饲养者。
一个美丽的女人到来并对我微笑，我认为这很棒。她是金发，戴着眼镜。
公共汽车和有轨电车已满，许多人愚蠢，因为他们腾出的空间不雅致。为什么我不能和我一起去时有订阅卡？
否则，人们在社交上就没有吸引力并且很无聊。他们只对展示带有甜酒的东西和汽车感兴趣。他们看着你，好像你不是其中之一。一个孩子正对出租自行车狂奔。
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나는 여기에 백조를 위해 새 사료를 먹입니다. 정확히 5 분 후에 서독 비밀 서비스의 스파이가 다시 와서 항상 스마트 폰으로 나를 촬영하기 시작합니다. 내 얼굴에 여자는 약 45 세의 멍청한 얼굴, 파란 눈, 얇고 어두운 금발 머리를 가지고 있습니다. mulled 와인으로 자신을 마신다.
장식용 새 음식은 백조를 위해 만들어졌지만 포장에 백조가 없지만 여기에 살지 않는 홍학이 있습니다. 기선 사회가 너무 게으르고 설레는 띠가 있기 때문에 검은 머리 갈매기는 더 이상 기선 부두에 앉을 수 없습니다. 그러나 그들은 주 부모들의 폭동에 대해 아무것도하지 않습니다.
검은 머리 갈매기, 청둥 오리, 비둘기, greylag 거위 및 백조가 이곳에서 먹습니다. 그러나 백조는 또한 스파이와 스파이로 여기에없는 다른 일반 시민들에게 먹이를주고 있습니다. 백조는 오늘 먹이를 먹지만 피더가 더 적을 것이라는 것을 알고 있기 때문에 스스로 먹어야합니다.
아름다운 여인이 도착하고 미소를지었습니다. 그녀는 금발이며 안경이 있습니다.
버스와 시가 전차는 가득 차 있고, 많은 사람들은 고요함없이 방을 만들기 때문에 바보입니다. 나와 함께 갈 수 없는데 왜 가입 카드가 있습니까?
그렇지 않으면 사람들은 사회적으로 매력적이지 않고 지루합니다. 그들은 mulled 와인으로 사물과 자동차를 보여주는 데에만 관심이 있습니다. 그들은 당신이 그들 중 하나가 아닌 것처럼 당신을 봅니다. 어린이가 자전거 대여에 반대하고 있습니다.
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I am here and feed the bird feed for the swans. Exactly after 5 minutes a spy from the West German secret service comes again and (as always) starts filming me with my smartphone. Right in my face. It works every day. The woman has a stupid face, about 45 years old, blue eyes, thin, dark blonde hair. Drinks himself with mulled wine.
The decorative bird food is made for swans, but has no swans on the packaging, but flamingos that do not live here. The black-headed gulls can no longer sit on the steamer quay because the steamer society is too lazy and has flutter bands hung there. But they don't do anything against rioters of state parents.
Black-headed gulls, mallards, pigeons, greylag geese and swans eat their fill here. But the swans are also feeding other ordinary citizens who are not here as spies and spy on people. The swans are fed up today, but have to stuff themselves because they know that there will be fewer feeders again.
A beautiful woman arrives and smiles at me, which I think is great. She is blonde and has glasses.
The buses and trams are full and many of them are stupid because they make room without decency. Why do I have a subscription card when I can't go with me?
Otherwise people are very socially unattractive and boring. They are only interested in showing things and cars with mulled wine. They look at you as if you weren't one of them. A child is rampaging against a rental bike.
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私はここにいて、白鳥のために鳥の餌を食べます。ちょうど5分後、西ドイツのシークレットサービスからのスパイが再び来て、（いつものように）スマートフォンで私を撮影し始めます。私の顔に。女性は、約45歳、青い目、細い、暗いブロンドの髪の愚かな顔をしています。グリューワインを飲みます。
装飾的な鳥の餌は白鳥用に作られていますが、包装には白鳥はありませんが、ここには生息しないフラミンゴがいます。汽船社会はあまりにも怠zyであり、そこにフラッターバンドがぶら下がっているので、黒頭カモメはもはや汽船岸壁に座ることができません。しかし、彼らは州の両親の暴徒に対して何もしません。
黒頭のカモメ、マガモ、ハト、ハイイロガン、白鳥がここで食べます。しかし、白鳥はまた、ここにいない他の普通の市民にスパイや人をスパイしている。白鳥は今日うんざりしているが、彼らは再びより少ないフィーダーがあることを知っているので、自分で詰めなければならない。
美しい女性が到着し、私に微笑みます。それは素晴らしいと思います。彼女は金髪で、眼鏡をかけています。
バスと路面電車は満員であり、それらの多くは愚かさのない部屋を作るので愚かです。一緒に行けないのに、なぜサブスクリプションカードを持っているのですか？
そうでなければ、人々は非常に社会的に魅力的で退屈です。彼らは、グリューワインのあるものや車を見せることにのみ興味を持っています。彼らはあなたを彼らの一人ではないかのように見ます。子供がレンタル自転車に暴れ回っている。
Estoy aquí y le doy de comer a los cisnes. Exactamente después de 5 minutos, vuelve a aparecer un espía del servicio secreto de Alemania Occidental y (como siempre) comienza a filmar con mi teléfono inteligente. Justo en mi cara. Funciona todos los días. La mujer tiene una cara estúpida, unos 45 años, ojos azules, cabello rubio oscuro y delgado. Se bebe con vino caliente.
La comida decorativa para pájaros está hecha para cisnes, pero no tiene cisnes en el envase, sino flamencos que no viven aquí. Las gaviotas de cabeza negra ya no pueden sentarse en el muelle de vapor porque la sociedad de vapor es demasiado vaga y tiene bandas de aleteo colgadas allí. Pero no hacen nada contra los manifestantes de los padres del estado.
Gaviotas de cabeza negra, patos silvestres, palomas, gansos de ganso silvestre y cisnes se comen aquí. Pero los cisnes también están alimentando a otros ciudadanos ordenados que no están aquí como espías y espían a las personas. Los cisnes están hartos hoy, pero tienen que llenarse porque saben que habrá menos comederos nuevamente.
Llega una mujer hermosa y me sonríe, lo que creo que es genial. Ella es rubia y tiene lentes.
Los autobuses y tranvías están llenos y muchos de ellos son estúpidos porque dejan espacio sin decencia. ¿Por qué tengo una tarjeta de suscripción cuando no puedo ir conmigo?
De lo contrario, las personas son socialmente poco atractivas y aburridas. Solo les interesa mostrar cosas y autos con vino caliente. Te miran como si no fueras uno de ellos. Un niño está arrasando contra una bicicleta de alquiler.
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Ich bin hier unf füttere Ziervogelfutter für die Schwäne. Exakt nach 5 Minuten kommt wieder ein Spitzel vom Westdeutschen Geheimdienst und fängt (wie immer) mich gleich an mit dem Smartphone an zu filmen. Direkt in mein Gesicht. Jeden Tag geht das. Die Frau hat ein dümmliches Gesicht, 45 Jahre alt ungefähr, blaue Augen, dünnes, dunkelblondes Haar. Betrinkt sich mit Glühwein.
Das Ziervogelfutter ist für Schwäne gemacht, hat aber keine Schwäne auf der Verpackung, sondern Flamingos, die hier nicht leben. Die Lachmöven können nicht mehr Dampferkai sitzen, weil die Dampfergesellschaft zu faul ist und dort Flatterbänder aufgehängt hat. Gegen Randalierer von Staatseltern machen die aber nichts.
Lachmöven, Stockenten, Stadttauben, Graugänse und Schwäne essen sich durch mich hier satt. Aber auch andere, ordentliche Bürger, die nicht hier als Spitzel stehen und die Leute feindlich ausspähen, füttern die Schwäne heute auch. Die Schwäne sind heute satt, aber müssen sich vollstopfen, weil sie wissen, dass es dann wieder weniger Fütterer geben wird.
Eine schöne Frau kommt an und lächelt mich an, was ich toll finde. Sie ist blond und hat eine Brille.
Die Busse und Straßenbahnen sind voll und dazu sind viele von denen Dumm, weil ohne Anstand Platz zu machen. Wozu hat man eine Abo-Karte, wenn man nicht mitfahren kann?
Sonst sind die Leute sehr sozial unattraktiv und langweilig. Die interessieren sich nur für das Zeigen von Sachen und Autos mit Glühwein. Die schauen einen an, als wenn man nicht zu denen gehören würde. Ein Kind tritt randalierend voll gegen ein Leihfahrrad.
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Я здесь и кормлю птицу кормом для лебедей. Ровно через 5 минут снова приходит шпион из западногерманской секретной службы и (как всегда) начинает снимать меня с моего смартфона. Прямо в моем лице. Это работает каждый день. У женщины глупое лицо, около 45 лет, голубые глаза, тонкие темные светлые волосы. Пьет сам с глинтвейном.
Декоративная пища для птиц сделана для лебедей, но на упаковке нет лебедей, а есть фламинго, которые здесь не живут. Черноголовые чайки больше не могут сидеть на причале парохода, потому что пароходное общество слишком лениво и там повешены трепетные полосы. Но они ничего не делают против мятежников государственных родителей.
Черноголовые чайки, кряквы, голуби, серые гуси и лебеди питаются здесь. Но лебеди также кормят других простых граждан, которые здесь не шпионы и не шпионят за людьми. Сегодня лебедям надоело, но им приходится набивать себя, потому что они знают, что кормушек снова будет меньше.
Приходит красивая женщина и улыбается мне, что я считаю великолепным. Она блондинка и носит очки.
Автобусы и трамваи переполнены, и многие из них глупы, потому что они освобождают место без приличия. Почему у меня есть подписная карточка, когда я не могу пойти со мной?
Иначе люди очень социально непривлекательны и скучны. Их интересует только показ вещей и машин с глинтвейном. Они смотрят на тебя, как будто ты не один из них. Ребенок неистовствует против проката велосипедов.
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我在这里为天鹅喂鸟饲料。恰好5分钟之后，西德情报局的一名间谍再次出现，并且（一如既往）开始用我的智能手机拍摄我。就在我脸上这个女人每天都有工作，这个女人有一张愚蠢的面孔，大约45岁，蓝眼睛，稀疏的金色金发。用热红酒喝酒。
装饰性鸟类食品是为天鹅制成的，但包装上没有天鹅，但这里不生活着火烈鸟。黑头鸥不能再坐在轮船码头上了，因为轮船社会太懒惰了，那里悬挂着颤动的带子。但是他们并没有对暴动的州亲父母做任何事情。
黑头鸥，野鸭，鸽子，灰雁和天鹅在这里吃饱。但是天鹅也养活了其他普通民众，他们不是这里的间谍和间谍。天鹅今天已经受够了，但是不得不塞满自己，因为他们知道再有更少的饲养者。
一个美丽的女人到来并对我微笑，我认为这很棒。她是金发，戴着眼镜。
公共汽车和有轨电车已满，许多人愚蠢，因为他们腾出的空间不雅致。为什么我不能和我一起去时有订阅卡？
否则，人们在社交上就没有吸引力并且很无聊。他们只对展示带有甜酒的东西和汽车感兴趣。他们看着你，好像你不是其中之一。一个孩子正对出租自行车狂奔。
---
나는 여기에 백조를 위해 새 사료를 먹입니다. 정확히 5 분 후에 서독 비밀 서비스의 스파이가 다시 와서 항상 스마트 폰으로 나를 촬영하기 시작합니다. 내 얼굴에 여자는 약 45 세의 멍청한 얼굴, 파란 눈, 얇고 어두운 금발 머리를 가지고 있습니다. mulled 와인으로 자신을 마신다.
장식용 새 음식은 백조를 위해 만들어졌지만 포장에 백조가 없지만 여기에 살지 않는 홍학이 있습니다. 기선 사회가 너무 게으르고 설레는 띠가 있기 때문에 검은 머리 갈매기는 더 이상 기선 부두에 앉을 수 없습니다. 그러나 그들은 주 부모들의 폭동에 대해 아무것도하지 않습니다.
검은 머리 갈매기, 청둥 오리, 비둘기, greylag 거위 및 백조가 이곳에서 먹습니다. 그러나 백조는 또한 스파이와 스파이로 여기에없는 다른 일반 시민들에게 먹이를주고 있습니다. 백조는 오늘 먹이를 먹지만 피더가 더 적을 것이라는 것을 알고 있기 때문에 스스로 먹어야합니다.
아름다운 여인이 도착하고 미소를지었습니다. 그녀는 금발이며 안경이 있습니다.
버스와 시가 전차는 가득 차 있고, 많은 사람들은 고요함없이 방을 만들기 때문에 바보입니다. 나와 함께 갈 수 없는데 왜 가입 카드가 있습니까?
그렇지 않으면 사람들은 사회적으로 매력적이지 않고 지루합니다. 그들은 mulled 와인으로 사물과 자동차를 보여주는 데에만 관심이 있습니다. 그들은 당신이 그들 중 하나가 아닌 것처럼 당신을 봅니다. 어린이가 자전거 대여에 반대하고 있습니다.
---
I am here and feed the bird feed for the swans. Exactly after 5 minutes a spy from the West German secret service comes again and (as always) starts filming me with my smartphone. Right in my face. It works every day. The woman has a stupid face, about 45 years old, blue eyes, thin, dark blonde hair. Drinks himself with mulled wine.
The decorative bird food is made for swans, but has no swans on the packaging, but flamingos that do not live here. The black-headed gulls can no longer sit on the steamer quay because the steamer society is too lazy and has flutter bands hung there. But they don't do anything against rioters of state parents.
Black-headed gulls, mallards, pigeons, greylag geese and swans eat their fill here. But the swans are also feeding other ordinary citizens who are not here as spies and spy on people. The swans are fed up today, but have to stuff themselves because they know that there will be fewer feeders again.
A beautiful woman arrives and smiles at me, which I think is great. She is blonde and has glasses.
The buses and trams are full and many of them are stupid because they make room without decency. Why do I have a subscription card when I can't go with me?
Otherwise people are very socially unattractive and boring. They are only interested in showing things and cars with mulled wine. They look at you as if you weren't one of them. A child is rampaging against a rental bike.
---
私はここにいて、白鳥のために鳥の餌を食べます。ちょうど5分後、西ドイツのシークレットサービスからのスパイが再び来て、（いつものように）スマートフォンで私を撮影し始めます。私の顔に。女性は、約45歳、青い目、細い、暗いブロンドの髪の愚かな顔をしています。グリューワインを飲みます。
装飾的な鳥の餌は白鳥用に作られていますが、包装には白鳥はありませんが、ここには生息しないフラミンゴがいます。汽船社会はあまりにも怠zyであり、そこにフラッターバンドがぶら下がっているので、黒頭カモメはもはや汽船岸壁に座ることができません。しかし、彼らは州の両親の暴徒に対して何もしません。
黒頭のカモメ、マガモ、ハト、ハイイロガン、白鳥がここで食べます。しかし、白鳥はまた、ここにいない他の普通の市民にスパイや人をスパイしている。白鳥は今日うんざりしているが、彼らは再びより少ないフィーダーがあることを知っているので、自分で詰めなければならない。
美しい女性が到着し、私に微笑みます。それは素晴らしいと思います。彼女は金髪で、眼鏡をかけています。
バスと路面電車は満員であり、それらの多くは愚かさのない部屋を作るので愚かです。一緒に行けないのに、なぜサブスクリプションカードを持っているのですか？
そうでなければ、人々は非常に社会的に魅力的で退屈です。彼らは、グリューワインのあるものや車を見せることにのみ興味を持っています。彼らはあなたを彼らの一人ではないかのように見ます。子供がレンタル自転車に暴れ回っている。
To watch the entire video : www.youtube.com/PausaManzothaBEEF
"The Struggle Against Unreality"
Contains Video Footage From:
Do The Right Thing -
Tetsuo:The Iron Man -
Cannibal Corpse:decency defied -
Banned From Asia -
Berzerker:reality -
Cannibal Corpse:devoured by vermin -
Cold Cave:love comes close -
Anal Solvent:summer wind -
ZU ( with Mike Patton):soulympics -
various Japanese manga -
Mission of Burma:1, 2, 3, Partyy -
The Decline of Western Civilization -
Morbid Angel:where the slime live -
Monty Python's And Now For Something Completely Different -
Saudek 's Photographs
Contains Audio From:
Matmos: les folies francaises -
Venetian Snares + Speedranch:molly's reach around -
Stunt Rock:that last song blew -
Zeni Geva:Alienation (Part 1) -
Today was a hot, humid summer day in Toronto and I was downtown at Yonge and Dundas Streets, one of the busiest intersections in the city and a corner which is usually filled with preachers, street musicians, political demonstrators, and an unpredictable mix of unusual characters.
Today was no different as there was a crown of onlookers surrounding a naked woman curled in the foetal position on the pavement with lettuce and other vegetables around her. She was covered just enough to not offend public decency but it was a very effective attention-getter for the vegetarian cause. Behind her was a phalanx of supporters carrying placards with messages such as “Meat is Murder” and “All Animals Have the Same Parts” and “Go Vegan.” They were obviously committed to the cause and their demonstration, understandably, drew a lot of attention.
As a Stranger photographer, of course I pictured meeting this woman, finding out about her, and recruiting her for the project (head and shoulders only, of course). Unfortunately, the scene was a bit of a circus and I realized it would not be feasible to approach her in this crowd to tell her about the project and I moved on.
Just a bit further down Dundas Street I spotted a man sitting on a garden ledge by the busy street, smoking what appeared to be an electric cigarette or “ecig.” For those who haven’t seen one, these are devices that mimic a cigarette and can be fitted with a cartridge producing vapour which looks like smoke but isn’t. Cartridges are available with varying amounts of nicotine to allow the “smoker” to satisfy the oral part of the habit and reduce the nicotine content gradually until the smoking habit is broken.
I stopped and asked this Stranger if he was smoking an electronic cigarette. He removed his headphones and said yes, he was and showed it to me and enthusiastically told me all about it. What an easy way to start a Stranger conversation. Soon I was sitting on the curb next to him and chatting about smoking and then about the 100 Strangers project.
Meet Fais. Fais was a two pack per day heavy smoker until just recently. He got the electronic cigarette and finds it is very helpful as he breaks his habit – much to the delight of his children and wife (who is a doctor). He eagerly told me that he looked at other ecigs but is convinced that this “Ego C” model sold by Joyetech company (www.joyetech.com/) is the best on the market and he explained its features. While I realize that different strategies work for different smokers in quitting, I’m really happy for Fais that he seems to be winning the battle with help from his “ecig.”
Fais knew of Flickr and was eager to help me with my project. We tried some poses but the light was challenging with too much sun on his hat and not enough on his face. Fais willingly moved around the corner and sat in better light. I remained standing and photographed from above to maximize the foliage in the mini-garden and minimize the noisy flow of traffic just behind him.
Fais, who is 43, is a computer professional who has designed networks for several high-profile businesses in Toronto including the CN Tower and the Sheraton Hotel Centre. He is thrilled to be breaking the smoking habit and hopes that any attention I can give the “ecig” through the 100 Strangers group might help another smoker to quit too.
Fais loved the photos and when I offered to send him the best as a thank you, he said he wanted “all of them.” He told me he has very few photos of himself and I agreed to send him “all that are worthy of being shared.” When I asked if there is anything else about himself he wanted to share for this photo story he thought for a moment and said “Well, I’m a biohazard.” Puzzled, I asked what he meant. He said when his wife wants to tease him she refers to him as a “biohazard” so he got a biohazard symbol tattooed on his arm. Laughing, he rolled up his sleeve and showed me (comment photo). Incidentally, I found the following on Wikipedia regarding this internationally recognized symbol: "The biohazard symbol was developed in 1966 by Charles Baldwin, an environmental-health engineer working for the Dow Chemical Company on the containment products."
We talked about my project and how challenging it was to start approaching total strangers and ask to photograph them. He said he knows the feeling. He was very self-conscious about smoking his ecig in public (today was his first time to smoke it in public). We laughed and I told him he should be proud that he is conquering his smoking habit.
Thank you Fais, for the interesting conversation in the middle of the swirling crowds and traffic of downtown Toronto. It was fun meeting you. I appreciate your willingness to be photographed and I wish you continued success in remaining a non-smoker. You are now Stranger #109/200 in Round 2 of my project.
Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
To browse Round 1 of my 100 Strangers project click here: www.flickr.com/photos/jeffcbowen/sets/72157633145986224/
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
This month's highlight relates to the moral behaviour of citizens. Written on the 24th February 1810 and signed by Macquarie, the following is titled "Illicit Intercourse, evils arising therefrom." While some may see this as a moral sermon on the perceived evils of immorality and cohabiting without marriage, Macquarie also points out to women the practical difficulties which will be encountered legally on the death of their partner. If their partner dies Intestate without a legal marriage they will not be entitled to the man's possessions.
TRANSCRIPT
Illicit Intercourse, evils arising therefrom
By His Excellency
Lachlan Macquarie Esq.
Captain General etc etc etc
Proclamation
Whereas, His excellency the Governor,
has seen with great Regret, the Immorality and Vice, so pre-
valent among the lower classes of this Colony, and whereas, he
feels himself called upon in particular to reprobate & check
as far as lies in his Power, the scandalous and promiscuous
custom so generally and shamelessly adopted, throughout
this Colony of Persons of different sexes cohabiting and
living together unsantioned by the legal ties of matrimony
And whereas the Consequences of this Immoral and illicit
intercourse has been found (as might have been Expected)
not only highly injurious to the interests of the Society
at large, but often times attended with grievous calamity
to the Parties themselves, and the innocent offspring of
this Misconduct, And whereas such Practices are a
scandal to Religion, to Decency and to all good Go-
vernment, and whereas, also, frequent applications have
been made on the part of Divers women to the
Court of Civil Jurisdiction for the grant of Letters
of Administration of the Goods and Effects of Persons
dying intestate, on the sole ground of having lived
for a number of years with the Deceased in a State
of illegal and criminal Intercourse. His Excellency
the Governor anxious to promote the Interests of
Virtue, upon which those of Society must ever
rest by the Encouragement of lawful Marriage
to preserve Morality and Decorum, and to protect
the innocent sufferers from the consequences of such
practices, and hoping that the frequency of such con
nexions may be in a great measure, owing to an
Ignorance of the Calamity which will probably result
from them, and that a more Extended Knowledge of this
580
circumstance may be the means of checking the formation of
such Engagement in future, feels it is his duty hereby
publicly to make known to the Inhabitants of this
Colony that the mere circumstance of illegal cohabita-
tion (for whatever length of time) with any Man
confers no valid Title upon the Women to the Goods
and Effects of such persons, in case he should Die
Intestate, and that letters of Administration of the
Goods and Effects of Persons dying intestate, cannot
be legally granted to any applicants upon such
grounds and under such circumstances as aforesaid
and that the distressful consequences which must be
felt in particular instances from the refusal of such
Applications, can alone be awarded by the formation
of honourable and legal Engagements.
His Excellency the Governor, aware
of the frequency of such illicit connections, and see-
ing the shameful and open manner in which they
are avowed, to the utter subversion of all decency
and Decorum, is compeled to express in this public
manner, his high disapprobation of such Immorality,
and his firm resolution to suppress by every means
in his power all such disgraceful connexions, and
publicly declares that neither favour, nor patronage
will ever be extended to those who Contract or
Encourage them.
On the other hand, his Excellency
the Governor is anxious to hold forth every induce-
ment to the formation of lasting and virtuous connexions
and to Encourage Lawful marriage by every possible
Means, as he is convinced, that from such connexions
also, can be Expected to arise, either habits of
Industry or Decency of Conduct those therefore,
who from such connexions, and whose lives and conduct
are sober, Decent and Industrious, may ever look up to
His Excellency for all reasonable Encouragement.
As a further means of effecting
that improvement which he so earnestly wishes, His
Excellency cannot forbear to make known his indignation
581
towards those persons, who in Defiance of all Law and De-
cency, scandalously Keep open during the night the
most licentious and Disorderly Houses for the reception
of the abandoned of both sexes and to the great En-
couragement of dissolute and disorderly habits, and
he publicly avows his resolution to give street orders
to the officers of the Police, to report to him, the
Proprietors of all such Houses, and to punish such
offenders to the utmost Extent allowed by law.
His Excellency the Governor,
sanguinely hopes that the measures he is now a-
dopting will not be ineffectual in producing that
Decorum and Morality, that want of which, is at
once so Disgraceful and so Detrimental to Society
and he trusts, that when the inhabitants of this Colony
shall that favour and Encouragement are to be ob-
tained only by a strict observance of the Rules of
Morality and Decorum, they will become sensible
of the Error and Folly of a longer indulgence of habits
of Profligacy and Irregularity.
Given under my hand etc
This 24 Day of February 1810
God Save the King
Signed L Macquarie
J T Campbell Secretary
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Two memorials - one ornate, the other plain . The one on the left was erected in Westminster Abbey nave south aisle designed by James Gibbs and sculpted by Rysbrack. On either side of her portrait are the figures of Faith, with a book, and Prudence who once held a mirror
"To the memory of Mrs KATHARINA BOVEY whose person & understanding would have become the highest ranke in female life & whose vivacity would have recommended her in the best conversation. But by judgment as well as inclination she chose such a retirement as gave her great opportunitys for reading and reflection: which she made use of to the wisest purposes of improvement in knowledge and religion. Upon other subjects she ventured far out of the common way of thinking, but in religious matters she made the Holy Scriptures, in which she was well skilled, the rule and guide of her faith & actions: esteeming it more safe to rely upon the plain Word of God than to run into any freedoms of thought upon revealed truths. The great share of time allowed to the closet was not perceived in her economy: for she had always a well ordered & well instructed family, from the happy influence as well of her temper and conduct, as of her uniform & exemplary Christian life. It pleased God to bless her with a considerable estate, which with a liberal hand guide by wisdom and piety, she imployed to His glory & the good of her neighbours. Her domestic expenses were managed with a decency & dignity suitable to her fortune; but with a frugality that made her income abound to all proper objects of charity; to the relief of the necessitous, the incouragement of the industrious & instruction of the ignorant. She distributed not only with cheerfulness but with joy, which upon some occasions of raising & refreshing the spirit of the afflicted, she could not refrain from breaking forth into tears flowing from a heart throughly affected with compassion & benevolence. Thus did many of her good works, while she lived, go up as a memorial before God & some she left to follow her. She dyed Jan.21 1726 in the 57th year of her age at Flaxley, her seat in Glocestershire & was buryed there, where her name will be long remembered & where several of her benefactions at that place, as well as others, are more particularly recorded.
This monument was erected with the utmost respect to her memory and justice to her character by her executrix Mrs MARY POPE who lived with her near 40 years in perfect friendship never once interrupted till her much lamented death"
On the right is a plain wall memorial here at Flaxley where she was buried
"In the vault near this Chapel is reposited the Body of Mrs CATHARINA BOVEY, Daughter of JOHN RICHES, Esq. of London, Merchant. She was married to WILLIAM BOVEY, Esq. Lord of this Mannor of Flaxley, at the Age of 15, was left a Widow, without Children, at the Age of 22, and continued so all the rest of her Life. She entertained her Friends and Neighbours with a most agreeable Hospitality; but always took Care to have a large Reserve for Charity, which she bestowed, not only on such Occasions as offered, but studied how to employ it so as to make it useful and advantageous. Her Disposition to do good was so well known in the District about her, that she easily became acquainted with the Circumstances of those that wanted; and, as she preserved many Families from Ruin, by seasonable Loans or Gifts, so she conveyed her Assistance to some of better Rank, in such a Manner as made it doubly acceptable. How far her Bounty extended was known to herself alone; but much of it appeared, to her Honour and God`s Glory, in frequent Distributions to the Poor, and especially to the Charity Schools Round about the Country, in relieving those in Prison, and delivering many out of it, in contributing to the Churches of the English Establishment abroad, as well as aiding several at home, in cloathing and feeding her indigent Neighbours, and teaching their Children, some of whom every Sunday, by Turns, she entertained at her House, and condescended to examine them herself; besides this continual, it might be said this daily, Course of Liberality during her Life. She bequeathed at her Death, towards founding a College in the Island of Bermudas £500; to the Grey Coat Hospital, in St. Margaret`s, Westminster, £500; to the Blue Coat Hospital in Westminster, £500; to the Charity School of Christ Church, Parish of Southwark, £400; to augment the Living of this Place, £1200; to put out poor Children Apprentices, the Interest of £400 for ever; of which Summe £160 had been left by Mr. CLARKE and Mr. BOVEY; to be distributed, as her Executrix should think fit, among those whom she had put out Apprentices in her Life-time £400; lastly, she designed the re-building of this Chapel, which pious Design of hers was speedily"executed by Mrs. MARY POPE
She dyed January 21st 1726/7 in the 57th year of her age at FLAXLEY her seat in GLOCESTERSHIRE & was bury'd there wherre her name will be long remembered & where several of her benefactions at that place as well as others are more particularly recorded
This monument was erected with the utmost respect ot her memory and justice to her character, by her executrix MRS MARY POPE who liv'd with her near 40 years in perfect friendship never once interrupted till her much lamented death
She dyed January 21st 1726 in the 57th year of her age at FLAXLEY her seat in GLOCESTERSHIRE & was bury'd there wherre her name will be long remembered & where several of her benefactions at that place as well as others are more particularly recorded
This monument was erected with the utmost respect ot her memory and justice to her character, by her executrix MRS MARY POPE who liv'd with her near 40 years in perfect friendship never once interrupted till her much lamented death"
Catharina 1669-1726 was the daughter of John Riches 1718 by 2nd wife Anne daughter of Thomas Davall, merchant of Amsterdam, by Anna Potts
Katharina was baptised on 1 May 1670 at All Hallows Lombard Street, London. Her father was a wealthy merchant originally of Amsterdam who settled in the parish of St Laurence Pountney in London. He was member of the Grocers Company and a Common Councilman of Dowgate (1678–83, 1689) and a Deputy in 1685.
Her siblings were John Riches (dvp.1676) and sister Anne d1689 who also has monument here inscribed "ANNE RICHES, Daughter of JOHN RICHES, Esq. and only sister to Mrs. BOVEY, of Flaxley, departed this Life 5 Oct. 1689, which she had passed in a religious Observance of her Duty towards God and her Parents; in tender Affection to her Relations; in Charity and Kindness to all; endued with this early Habit of Vertue, Death, however suddain, did not surprise her unprepared"
Catharina was a great beauty and is also described as "one of those lofty, black, and lasting beauties that strike with reverence and yet delight" having "great genius and good judgement", derived from her reading
She m 1685 William Boevey 1657- 1692 www.flickr.com/gp/52219527@N00/038atU the son of merchant lawyer James Boevey 1696 en.wikipedia.org/wiki/James_Boevey#/media/File:JamesBoeve... and 2nd wife Isabel de Visscher who the In 1683 had inherited Flaxley Abbey estates from his cousin Abraham Clark www.flickr.com/gp/52219527@N00/S327RG who had died without issue.
William was 28 & she was 15
Sadly husband William was given to "excesses, both in debauch and ill-humour," bringing much suffering to his wife; who never complained, but supported it all "like a martyr, cheerful under her very sufferings". The short marriage was childless and Catherina was widowed aged 22 , and as now mistress of Flaxley estate and sole heiress of her wealthy father, she at once became the centre of a crowd of wooers; but remaining unmarried for the rest of her long life.
By c 1686, aged 17, she had formed a strong friendship with Mrs. Mary Pope www.flickr.com/gp/52219527@N00/038atU who joined her in her philanthropic life.
She died at Flaxley Hall on Saturday, 18 January 1726, and was buried "in a most private manner", according to her own directions
The small chapel at the Abbey's gate , dedicated to St. Mary the Virgin, was extended by Mary Pope funded by a bequest in her will.
On Catherina's death, the estate passed to a kinsman Thomas Crawley 1741 www.flickr.com/gp/52219527@N00/9AU0X8 who assumed the name Crawley-Boevey, and thence to his son Thomas Crawley-Boevey who enlarged the estate in the 1760s by purchasing land in Westbury-on-Severn adjoining the main part of Flaxley.
www.westminster-abbey.org/abbey-commemorations/commemorat...
en.wikipedia.org/wiki/Catherina_Boevey en.wikipedia.org/wiki/James_Boevey<
www.westminster-abbey.org/abbey-commemorations/commemorat... - Church of St Mary the Virgin Flaxley Gloucestershire
John Lennon and Yoko Ono's Two Virgins. In the name of decency, I've photoshopped out the naughty bits!
To be clear: most non-sexual and non-harassing nudity is legal in Canada. Two federal laws (Section 173 and 174 of the Criminal Code) apply:
Section 173 prohibits "indecent acts" done either:
- in a public place, or
- in any place, if done with the intent to "insult or offend"
It also forbids "exposure of genital organs" for a "sexual purpose" to someone under the age of 16. Exact definition of these terms is up to courts to decide. Various Provincial courts have decided that:
- simple nude sunbathing is not indecent.
- streaking is not prohibited under the law.
- the inside of a car can be a public place if it is viewable from the street.
- the doorway of a home can be a public place.
Section 174 prohibits being "so clad as to offend against public decency or order" while exposed to public view. Courts have decided that nude swimming is not within the range of this law.
Check it at official site of Canada Criminal Code.
Flagged SAFE
Today is International Women's Day, and the centenary of its introduction, so congratulations and have a brilliant day anyone celebrating and participating .............. it seems to have a lot of different themes across different continents and countries.................. some places have emphasis on achievements or victories and celebrating the roll and achievements of exceptional women..................... some places put emphasis on female education......... empowering women through education and knowledge.............. in some other parts they are emphasizing ending violence against women and girls.......... all mighty and of course very worthy.
I always think of women taking leading rolls in political struggle on International Women's Day............... Here, above, is a Palestinian woman demanding the release of her arrested brother dragged away as he protested against and threw rocks at Israeli soldiers..............
As violence and protest spread across the Middle East and North Africa I wonder how many brave women are involved in protest and civil unrest in an attempt to win social and political justice.
I really hope that the women (and men) on the streets of Egypt and Libya get their yearned for justice and democracy. I'm not certain all their revolutions are even set to succeed yet. Hopefully they will overthrow Gaddafi soon without too much loss of life. Hopefully Egypt will get some kind of democracy with a modern space for women to participate.
I am slightly afraid that Tunisia is already falling backwards towards islamic intolerance of modern equality. With the once banned veil becoming necessary as a safety mechanism for women who fear attack for not wearing it.
Sadly I fear all this hope for decency and change will be stifled by Islamism.......... This would be particularly unfair to the women who have joined men on the streets at great risk to themselves possibly only to find they have won less social justice and freedom than previously ........... I hope it does not happen like that........ but there are already horrid attacks on some women in Tunisia.......... Depressing.
Hey I'm being a bit of a downer......... lets try to be a bit more optimistic.......... It is one hundred years of the International Women's Day after all.............. Viva the women of the Middle East !!!!!!!! Viva the Women of the World !!!!!!!!!!! :-))))))))) XXXXXXXXXXXXX
Cheers Jez XXXXXXXXXXXXXXXXX
Here is a lovely thing from [@anjkan](http://twitter.com/#!/anjkan) music [mixtape for International Womens day to download](http://www.neumagazine.co.uk/mixes/article/international-womens-day-inspirational-tracks).......... and an interesting thing from harv a [surprising 007 on International Womens Day](http://www.guardian.co.uk/world/2011/mar/07/james-bond-video-womens-day)
Like I said in the description of the Rod Serling toon, as soon as I saw hastingsgraham's photo of Rod and Robbie at www.flickr.com/photos/31472241@N03/4505755150/ I knew what my next one was going to be. And, as I said in my comment at her pic, it was pretty coincidental that the very day she posted it, some three or four hours before I got home and saw it, I was sitting there at work and (seemingly) out of nowhere I got the urge to pull out brother Robert's "The Left Seat" and re-read it--something I've done once every two or three years since that thunderstorm-y spring afternoon in high school forty-plus years ago when I bought the Popular Library paperback edition at Dougherty's Drug Store in Lancaster, started it while waiting for Mom at the doctor's office. and finished it at two or three in the morning because, as the saying goes, I just couldn't put it down. The love story between Mac McKay and Barbara Deering, and those of Paddy O'Brian and Pat Donovan, and Les Culver and "Mitch" Mitchell, are schmaltzy enough to bring a blush to the cheeks of the purple prose-iest writer of heaving bosom romances, the cockpit procedures and crash investigation details are all anyone who loves "Airport" the "High and the Mighty" and "Fate is the Hunter" could ever want and more, and the story of the U.S. airlines from the end of WW II to the transition era, as illustrated by the growth of the fictional Midwest Airlines, is the history of the Golden Age the way it ought to be told. All in all, it's one of the greatest books I've ever read again and again and again. Which is why, even as I started on the Rod Serling toon, I knew the next one was going to be for Robert.
While the story is set in the heyday of the pistons, and Mac McKay faces his moment of truth in a DC-7, the Lockheed Electra is in the background for three reasons. For one thing, "The Electra turned away. So did Captain MacDonald McKay". For another, I just always thought the Electra was one of the best looking airplanes ever, which led a friend to point out, rather harshly, that that's like saying the most attractive employee at the house of ill-repute was suffering from an STD (although, to be sure, Captain Hilbaak used somewhat more colorful language), which brings us to the third reason.
The Electra was bedeviled by a series of fatal crashes a few months after it entered service, caused by something called "whirl mode", with the prop wobbling instead staying in its correct plane of rotation. This set up a flutter in the wing which, which caused the prop to wobble even more, which caused greater flutter in the wing, the two feeding each other in a cycle of ever-increasing viciousness until eventually, like a paperclip being bent back and forth until it breaks, the wing snapped off in flight.
The first of these crashes involved a Braniff flight out of Houston heading for Dallas, over Buffalo, Texas, in September of 1959. In his non-fiction book on crash investigation and airline safety, "Loud and Clear" (which I bought because I'd read "The Left Seat" and wanted more), Serling described the initial clue that would eventually lead the investigators to the cause: almost all the witness agreed that when it happened, every dog for miles around started howling. Of course, they were just reacting naturally to sound of the prop tips going supersonic, but somehow the way Robert Serling conveyed the idea of all those dogs baying out their unheeded warning in that Texas autumn night just sent chills down my spine in a way nothing Rod Serling put on "The Twilight Zone" ever did.
When hastingsgraham posted her picture and I got the idea for this, I went surfing the web to see what I could find on Serling, and was happy to see he was still with us. I thought it would be pleasant for a change to do a tribute to one of my childhood influences that wasn't "in memory of". I even toyed with the idea of sending him a copy, as a small token of appreciation of all the pleasure his books had given me over the years (there were a dozen more, novels and non-fiction, besides "The Left Seat" and "Loud and Clear"). But, as you can see by the dates, I didn't make it. Even as I working on the tribute to his brother and thinking ahead to this one, the domino had fallen off the mantle for good this time.
It will take a little of the joy out of re-reading and remembering it, knowing he's gone, but I'm sure I'll keep doing both until I'm gone myself. Aside from the fact that it's a good read, re-reading it brings evokes the nostalgia of being a kid again, of reading it the first time, and the dreams it inspired. Somehow, I knew even then I didn't have the command charisma to be a MacDonald McKay, the devout religiosity and decency to be a Paddy O'Brian, the romantic charm to be a Les Culver, the lovable Dutch Uncle crustiness to be a Johnny Shea, or the dignified competence to be a Barney Barnwell; but...while it's probably a little late in life to still be clinging to childhood fantasies, I still cherish some secret hope of growing up to be Snorkel Snodgrass.
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Hayley Williams
p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them or link them back to here, or i'll probably stop posting them or at least start putting big watermarks on them.
Literary sources of the tooth filing ceremony is lontar Kala Pati, Kala tattwa, Semaradhana, and the Hyang Yama. Lontar Kala Pati mentioned that cutting teeth as a sign of changing one’s status to be a real man that is righteous and holy man, so later in life when die from the spirit world can meet with the ancestors in heaven Loka. Lontar Kala Kala Bathara tattwa mention that as the son of Lord Shiva with Goddess Uma could not meet his father in heaven before the fangs cut.Therefore, man should obey trail Bathara time that the spirit may be met with the ancestral spirits in heaven. In lontar Semaradhana Bethara Gana noted that as the son of Lord Shiva can defeat the other giants who attacked Nilarudraka paradise with a piece of fangs.
Besides mentioning that Bethara Gana was born of the Goddess Uma after Lord Shiva was woken by the god of asceticism semadhinya Semara (Asmara), but then punishing god Shiva Semara with his wife, Lady Ruth, by burning it to ashes, and then spread the ashes into the world and condemned man that can not live without in pairs (male-female) in a husband and wife. In ejection Sang Hyang yama mentioned that the tooth filing ceremony be performed when it is an adult, marked by menstruation for women and for men grow sound. Usually this occurs at a time when the age of 14 years.
The purpose Ceremony Cut Teeth
Purpose of the tooth filing ceremony can be listened to more than Kala palm starch, which is said that the teeth are buffed or trim of the serration is six pieces: two canines and four incisors above. Cutting six teeth that represents the symbol of the sad Ripu control (six enemies in man). Sad Ripu includes Kama (lust), Loba (greedy), Krodha (anger), Mada (drunk), Moha (confusion), and Matsarya (envy). Sad Ripu uncontrolled it will endanger human life, the obligation to advise any parent their children and pleaded with Widhi Hyang Wasa to avoid the influence of Sad Ripu. The implied meaning of mythology Pati Kala, Kala Tattwa, and this is the right Semaradhana human life is always careful not to stray from the religious teachings (Dharma), so in the future to the holy spirit can reach heaven workshops with the holy spirit of the ancestors, together with Brahman (Hyang Widhi). Young people in the association was set up so as not to cross the line of decency as implied from the ejection Semaradhana.
Tooth filing ceremony is usually combined with a ceremonial Ngeraja Sewala or mentioned as well as ceremonial “menek kelih”, the thanksgiving ceremony for the child reaches adulthood, leaving the children towards adulthood.
Order of ceremony
1. After Sulinggih ngarga tirta, mereresik and mapiuning in Sangah Surya, then those who will mepandes dilukat with padudusan middle, after which they worship Hyang raitya to invoke safety in performing the ceremony.
2. Cut the hair and tattooing performed with the aim to purify themselves and mark an increase in status as human beings is leaving childhood to adolescence.
3. Rise to the bale where mepandes by first stepping caru as a symbol of harmony, tapping a crowbar three times (Ang, Ung, Mang) as a symbol for strength to Hyang Widhi and clamping the left armpit as a symbol caket determination to be aware of Sad Ripu.
4. During mepandes, rinse water disposed of in an ivory nyuh order not to cause keletehan.
5. Followed by Mebiakala as a means of purification and removes mala to commemorate the life of adolescence.
6. Mapedamel derived from the word “dama” which means wise. Mapedamel goal after the teeth are cut so that the child in the teen years and beyond the life of a wise man, the stage facing the ups and downs of life, always adhering to the teachings of Hindu religion, has a broad vision, and can determine a good attitude, being able to understand what called Dharma and what is called Adharma. Symbolically when mepadamel, do the following:
- Wearing a white cloth, a yellow shawl, and sash ratih vague as a symbol of the blessing of god and goddess Semara Ratih (based on the ejection Semaradhana).
- Using colored yarn Pawitra tridatu (red, white, black) as a symbol of binding themselves to religious norms.
- Sad tasting flavors are six flavors of bitter and sour flavors as symbols so tough to face life events are sometimes unpleasant, pungent flavor as a symbol in order not to become angry or when experiencing a frustrating thing to hear, taste Sepat as a symbol to obey any regulations or the prevailing norms, the taste of salt as a symbol of wisdom, always improving the quality of knowledge because learning itself, and a sweet taste as a symbol of a happy life mentally and physically fit the ideal would be obtained if able to face the bitter bitter life, liberal-minded, disciplined, and constantly alert to the Sad Ripu in man.
7. Natab offerings, the intent to invoke the grace Hyang Widhi what is the purpose of performing the ceremony can be achieved.
8. Metapak, sign implies that the obligations of parents towards their children began to be in mother’s womb to be spiritually mature is complete, meaning the other is the child thanks to his parents for having to maintain it well, and begged forgiveness for the mistakes of the child to parents, also asked for prayers for the blessing of taking one life saved for the future.
So at a glance the meaning of the ceremony cutting teeth or mependes. Other terms used for this ceremony in Bali is mesangih.
.
.
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Austrian postcard by H. u. D. Hubmann, Wien, no. 32. Licence holder for Austria of Ufa, Berlin-Tempelhof. Photo: Unifrance Film.
French actress Brigitte Bardot (1934) died on 28 December 2025, at the age of 91. In the 1950s, she was the sex kitten of the European film industry. BB starred in 48 films, performed in numerous musical shows, and recorded 80 songs. After her retirement in 1973, she became an animal rights activist. In the coming weeks, we will continue to post a BB postcard every day to remember her as she once was.
Brigitte Bardot was born in Paris in 1934. Her father, Louis Bardot, had an engineering degree and worked with his father in the family business. Her mother, Ann-Marie Mucel, was 14 years younger than Brigitte's father, and they married in 1933. Brigitte's mother encouraged her daughter to take up music and dance. At the age of 13, she entered the Conservatoire Nationale de Danse to study ballet. By the time she was 15, Brigitte was trying to launch a modelling career and found herself on the cover of the French magazine Elle in May 1949. Her incredible beauty was readily apparent, and Brigitte was noticed by Roger Vadim, then an assistant to the film director Marc Allegrét. Vadim was infatuated with Bardot and encouraged her to start working as a film actress. BB was 18 when she debuted in the comedy Le Trou Normand / Crazy for Love (Jean Boyer, 1952). In the same year, she married Vadim. Brigitte wanted to marry him when she was 17, but her parents quashed any marriage plans until she turned 18. In April 1953, she attended the Cannes Film Festival, where she received massive media attention. She soon was every man's idea of the girl he'd like to meet in Paris. From 1952 to 1956, she appeared in seventeen films. Her films were generally lightweight romantic dramas in which she was cast as an ingénue or siren, often with an element of undress. In 1953, she made her first US production, Un acte d'amour / Act of Love (Anatole Litvak, 1953) with Kirk Douglas, but she continued to make films in France.
Roger Vadim was not content with the light fare his wife was offered. He felt Brigitte Bardot was being undersold. Looking for something more like an art film to push her as a serious actress, he showcased her in Et Dieu créa la femme / ...And God Created Woman (Roger Vadim, 1956). This film, about an immoral teenager in a respectable small-town setting, was a smash success on both sides of the Atlantic. Craig Butler at AllMovie: "It's easy enough to say that ...And God Created Woman is much more important for its historical significance than for its actual quality as a film, and that's true to an extent. The immense popularity, due to its willingness to directly embrace an exploration of sex as well as its willingness to show a degree of nudity that was remarkably daring for its day, demonstrated that audiences were willing to view subject matter that was considered too racy for the average moviegoer. This had both positive (freedom to explore, especially for the French filmmakers of the time) and negative (freedom to exploit) consequences, but its impact is undeniable. It's also true that Woman is not a great work of art, not with a story that is ultimately rather thin, some painful dialogue, and an attitude toward its characters and their sexuality that is unclear and inconsistent. Yet Woman is still fascinating, due in no small part to the presence of Brigitte Bardot in the role that made her an international star and sex symbol. She's not demonstrating great acting here, although her performance is actually good and much better than necessary, and her legendary mambo scene at the climax is nothing short of sensational." During the filming of Et Dieu créa la femme / And God Created Woman (Roger Vadim, 1956), directed by her husband, Brigitte Bardot had an affair with her co-star, Jean-Louis Trintignant, who at the time was married to French actress Stéphane Audran. Her divorce from Vadim followed, but they remained friends and collaborated in later work.
Et Dieu créa la femme / ...And God Created Woman (Roger Vadim, 1956) helped elevate Brigitte Bardot's international status. The film took the USA by storm, her explosive sexuality being unlike anything seen in the States since the days of the 'flapper' in the 1920s. It gave rise to the phrase 'sex kitten', and fascination with her in America consisted of magazine photographs and dubbed over French films - good, bad or indifferent, her films drew audiences - mainly men - into theatres like lemmings. BB appeared in light comedies like Doctor at Large (Ralph Thomas, 1957) - the third of the British 'Doctor' series starring Dirk Bogarde - and Une Parisienne / La Parisienne (Michel Boisrond, 1957), which suited her acting skills best. However, she was a sensation in the crime drama En cas de malheur / Love is My Profession (Claude Autant-Lara, 1958). Hal Erickson at AllMovie: "This Brigitte Bardot vehicle ran into stiff opposition from the Catholic Legion of Decency, severely limiting its U.S. distribution. Bardot plays a nubile small-time thief named Yvette, who becomes the mistress of influential defence attorney Andre (Jean Gabin). Though Andre can shower Yvette with jewels and furs, he cannot "buy" her heart, and thus it is that it belongs to handsome young student Mazzetti (Franco Interlenghi). Alas, Yvette is no judge of human nature: attractive though Mazzetti can be, he has a dangerous and deadly side. En Cas de Malheur contains a nude scene that has since been reprinted in freeze-frame form innumerable times by both film-history books and girlie magazines." Photographer Sam Lévin's photos contributed considerably to her image of sensuality and slight immorality. One of Lévin's pictures shows Brigitte, dressed in a white corset. It is said that around 1960, postcards with this photograph outsold in Paris those of the Eiffel Tower.
Brigitte Bardot divorced Vadim in 1957, and in 1959 she married actor Jacques Charrier, with whom she starred in Babette s'en va-t-en guerre / Babette Goes to War (Christian-Jaque, 1959). The paparazzi preyed upon her marriage, while she and her husband clashed over the direction of her career
Her films became more substantial, but this brought a heavy pressure of dual celebrity as she sought critical acclaim while remaining a glamour model for most of the world. Vie privée / Private Life (1962), directed by Louis Malle, has more than an element of autobiography in it. James Travers at French Films: "Brigitte Bardot hadn’t quite reached the high point of her career when she agreed to make this film with high-profile New Wave film director Louis Malle. Even so, the pressure of being a living icon was obviously beginning to get to France’s sex goddess, and Vie privée is as much an attempt by Bardot to come to terms with her celebrity as anything else. Malle is clearly fascinated by Bardot, and the documentary approach he adopts for this film reinforces the impression that it is more a biography of the actress than a work of fiction. Of course, it’s not entirely biographical, but the story is remarkably close to Bardot’s own life and comes pretty close to predicting how her career would end." The scene in which, returning to her apartment, Bardot's character is harangued in the elevator by a middle-aged cleaning lady calling her offensive names was based on an actual incident, and is a resonant image of celebrity in the mid-20th century. Soon afterwards, Bardot withdrew to the seclusion of Southern France.
Brigitte Bardot's other husbands were German millionaire Playboy Gunter Sachs and right-wing politician Bernard d'Ormale. She is reputed to have had relationships with many other men, including Samy Frey, her co-star in La Vérité / The Truth (Henri-Georges Clouzot, 1960), and musicians Serge Gainsbourg and Sacha Distel. In 1963, Brigitte Bardot starred in Jean-Luc Godard's critically acclaimed film Le Mépris / Contempt (Jean-Luc Godard, 1963) opposite Michel Piccoli. She was also featured along with such notable actors as Alain Delon in Amours célèbres / Famous Love Affairs (Michel Boisrond, 1961) and Histoires extraordinaires /Tales of Mystery (Louis Malle, 1968), Jeanne Moreau in Viva Maria! (Louis Malle, 1965), Sean Connery in Shalako (Edward Dmytryk, 1968), and Claudia Cardinale in Les Pétroleuses / Petroleum Girls (Christian-Jaque, 1971). She participated in various musical shows and recorded many popular songs in the 1960s and 1970s, mostly in collaboration with Serge Gainsbourg, Bob Zagury and Sacha Distel, including 'Harley Davidson', 'Le Soleil De Ma Vie' (the cover of Stevie Wonder's 'You Are the Sunshine of My Life') and the notorious 'Je t'aime... moi non plus'.
Brigitte Bardot’s film career showed a steady decline in the late 1960s and early 1970s. In 1973, just before her fortieth birthday, she announced her retirement. She chose to use her fame to promote animal rights. In 1976, she established the Brigitte Bardot Foundation for the Welfare and Protection of Animals. She became a vegetarian and raised three million French francs to fund the foundation by auctioning off jewellery and many personal belongings. For this work, she was awarded the Légion d’honneur in 1984. During the 1990s, she was also outspoken in her criticism of immigration, interracial relationships, Islam in France and homosexuality. Her husband Bernard d'Ormal was a former adviser of the far-right Front National party. Bardot has been convicted five times for 'inciting racial hatred'. More fun is that Bardot is recognised for popularising bikini swimwear, in such early films as Manina / Woman without a Veil (Willy Rozier, 1952), in her appearances at Cannes and in many photo shoots. Bardot also brought into fashion the 'choucroute' ('Sauerkraut') hairstyle (a sort of beehive hairstyle) and gingham clothes after wearing a checkered pink dress, designed by Jacques Esterel, at her wedding to Charrier. The fashions of the 1960s looked effortlessly right and spontaneous on her. Time Magazine: "She is the princess of pout, the countess of come hither. Brigitte Bardot exuded a carefree, naïve sexuality that brought a whole new audience to French films."
Sources: Denny Jackson (IMDb), Hal Erickson (AllMovie), Craig Butler (AllMovie), James Travers (French Films), French Films, Wikipedia and IMDb.
And please check out our blog European Film Star Postcards.
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. ROME – “ANYTHING GOES IN ROME”, CORRIERE DELLA SERA 18 JUNE (2015). ROME = Olympics 2024 & Jubilee 2016 & Mafia Capital of Italy & The City is Just Filthy!
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Italiano = IL GRANDE DEGRADO - Roma e le regole svanite: abusivi anche gli hotel - Video - Foto. La prima puntata dell’inchiesta. La trattoria che chiede 579 euro (più 115 di mancia) a una coppia di giapponesi L’impero ambulante della dinastia Tredicine e i centurioni minacciosi Così la Capitale tratta i turisti «Tanto vengono lo stesso», CORRIERE DELLA SERA (18|06|2015).
roma.corriere.it/notizie/cronaca/15_giugno_18/a-busivi-an...
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ROMA - CAPITAL DECAY "Anything Goes in Rome" - Even hotels are unlicensed. Trattoria presented Japanese couple with bill for €579 plus €115 tip. Tredicine dynasty of street traders and Colosseum’s aggressive centurions. Tourists-will-be-back-anyway attitude di Sergio Rizzo and Gian Antonio Stella. CORRIERE DELLA SERA 18 JUNE (2015).
“You’ll be holding your guts in your hands”. A threat, the kind that no respectable person would make, gives you some idea of the bad Rome that has shouldered its way into the tourism business, like the “bulli” of old. Those 17th-century thugs were described by Antonio Pardi in “The stupendous strength and bravery of Captain Skullcrusher and Boltspitter”: “I am the great Skullcrusher, tall and proud, / before whose strength all other strength yields, / I smash, I break, I wreck, I shatter, I destroy”.
A few years ago, Francesco Merlo went to Rome with his British wife after six of the unofficial centurions were arrested: “The Colosseum area outside the Colosseum itself is a lawless place where people eat, cheat and quickly come to blows, as they did in [dialect poet Giacomo Gioachino] Belli’s day, ‘to get the ackers in the bag’”. The Merlos were quickly approached by fake ancient Romans: The question “Could you take a photo of me wearing your cucullus?” produced a Roman reply: “What about a photo of me in your cucullus?”
Free-for-all of unlicensed traders at Colosseum
The archaeological heart of the world is a sort of free-trade area dominated by the powerful Tredicine family, which followed old Donato Tredicine from Abruzzo in the Fifties. Donato sold roast chestnuts but today the Tredicines own most of the sixty-nine mobile bars dotted around tourist-rich zones. Their kingdom has expanded to include the souk of unlicensed postcard, carpet and eyewear sellers and above all the “urtisti”. Today, there are 112 of these hawkers who bear the name of the Jewish street traders who - with papal authorisation - “bumped” [“urtare”in Italian - Trans.] into passers-by with a tray of souvenirs slung round their neck and resting on their stomach.
Mayor Ignazio Marino has declared war on the Tredicines, who pay €325 a month to park big lorries in the best spots (€10 a day, the price of two rolls) and €250 for the smaller vehicles (€8 a day, or a roll and a soft drink). In the name of public decency, the mobile bars will soon be moved on to less obtrusive spots. At last. You can imagine the protests. The arguments. The fits of anger.
Tourists, the resource that Rome treats badly
Statistics tell us that tourism is big business all over the planet. Since 1990, the number of international holidaymakers has risen from 444 million to 1.138 billion. Growth last year was 51 million. If you do the maths, that’s a rise of 158%. Over the same period, Italy has grown only half as much, from 26.7 million to 48.6 million, or +82%. But Rome has hit the jackpot. Despite cash-strapped Italian holidaymakers having thinned out in recent years, total arrivals have spiked from 4 million to almost 16.5 million in the last quarter century. A fourfold rise. Overnight stays have gone from 11 million to 39 million.
Obviously, organised international tourism is concentrated in bare-bones standard packages. But if you are selling a Canadian or Korean a two-week Europe package, how can you skip Rome? Particularly with instability on the rise in some parts of the world. The result is that too many Romans already overconfident about Rome’s Caput Mundi status (former deputy mayor Mauro Cutrufo went so far as to claim that “Rome has 30-40% of the world’s artistic assets”. Wow!) have seen their conviction that “they’ve got to come here” amply confirmed.
And if the planet’s tourists have got to go to Rome, the Romans are doing them a favour letting them sleep in dirty hotels, charging them a fortune to eat badly, drive them around in often wallet-crippling taxis (“Meter broken, sorry”) or sell them three slices of tiramisù and three cappuccinos for €72, as one bar in Via Cavour did. Leading the rip-off rankings is the Trattoria Passetto near Piazza Navona, closed for presenting a Japanese couple with a bill for €695, including an unauthorised tip of €115.50.
What sense is there in treating people who provide 11% of the GDP of a city that is far weaker in other areas of the economy, starting with industry? Yet that’s how it is. For many Romans, tourists are sheep waiting to be shorn. This was pointed out a few months ago by Trivago, the online meta-search engine that compares the prices of 700,000 hotels and B&Bs around the world. A comparison of Italy’s hotel prices with those of eight other European countries showed Italian prices averaging €144 compared to the UK’s €139, Germany’s €112 and €108 in Spain. France was more expensive at €152. But what about the service?
A survey of customer satisfaction by online bookings site hotel.info provides the answer, endorsing the thousands of web-vehicled complaints about the apparently random distribution of hotel stars. One respondent lamented that the room didn’t deserve four, or even three, stars (perhaps two). There was no air conditioning. One of the two drawers in the wardrobe wouldn’t open while the other was full of crackers and other scraps of food. The minibar had an elderly sandwich in it, the TV didn’t work, the bathroom was microscopic and the shower was the kind you expect in a hostel. In short, poor value for money.
Poor or non-compliant services and no controls
The survey ranks Warsaw the best city in Europe with 7.92 points, followed by Helsinki (7.64), Berlin (7.59) and the rest. Italy’s top city is Bologna and bringing up the rear, behind Naples, are Milan and Rome. We’re talking about official hotels here, so imagine what the rest are like. It sounds incredible but one of the many unauthorised activities in Rome is keeping hotels.
The capital has 1,041 registered hotels, bed and breakfasts and residences but the Federalberghi association chair Giuseppe Roscioli reckons there could be 4,000 undeclared establishments with at least 25,000 beds, which are set to double. He says: “Since the municipal authorities were unable to do it, we mapped the web for them and said now go and inspect them. A waste of time. There are self-proclaimed B&Bs with websites that say: ‘Last five rooms still free’. But B&Bs can only have a maximum of three rooms!” It’s so chaotic that “you could end up staying at Pacciani’s house”, with the Monster of Florence.
An exaggeration? “Not at all. The international chains - and I’m speaking from experience - make inspections once a year in nit-picking detail. They arrive out of the blue, look for dust under the beds, measure the microclimate in bathrooms and count how many times the phone rings before reception answers. If anything’s wrong, they withdraw approval”. What about Italy? “No inspections at all. Haven’t been for years. Two stars, three stars, four stars don’t mean a thing if you don’t make checks. A hotel may have been excellent twenty years ago but now... It’s such a mess that with the Jubilee coming up and the risk of international terrorism, we have alerted even the prefect to the issue of customer registration.
Official tourism employs 143,000 people in Rome, more than the chemical industry in the whole of Italy. Then there are the undeclared workers, presumably at least 20,000 of them. Some are the self-proclaimed “decent people” who find it normal not to take credit cards (“Oh dear. Line’s down”) to get paid in cash and dodge taxes while the rest are borderline criminal or actual members of an underworld organisation.
Security alerts on foreign consulate websites
In a nutshell the flood of tourists pouring into Italy since 1990 has been used not badly but appallingly. A waste. As well as international embarrassments such as value for money - the latest Brand Index says that from 2012 to 2014 Italy slipped from 28th place to 57th, with much of the blame going to Rome - and even security. Remember how in the wake of the 2009 TripAdvisor warning about theft in Rome, the UK government site gov.uk warned about crime a few months ago: “Take care on public transport and in crowded areas in Rome, especially around the main railway station ‘Termini’ and on the number 64 bus, which goes to and from St Peter’s Square (...) Use a hotel safe for valuables where possible”.
Yet Rome is so beautiful, so packed with breath-taking views, evocative atmospheres, renaissance piazzas, archaeological sites and medieval remains that it deserves everyone’s love. Wolfgang Goethe was one of the many to fall under Rome’s spell. Recalling a still, bright moon over the Forum, he wrote: “The sight was magical. In such a light one ought also to see the Pantheon, the Capitol, the Portico of St. Peter’s, and the grand streets and squares. And so sun and moon, as well as the human mind, have to do here a very different job from what they do elsewhere, here where vast yet elegant masses ...”
Heritage ministry figures indicate that in the twenty years since 1996, tourist numbers at Castel Sant’Angelo have doubled, tripled at the Galleria Borghese and quadrupled at the once separately managed circuit of the Colosseum, Palatine and Forum, where they have gone from fewer than a million and a half to six million. Then there is the Pantheon, which has shot from just over a million visitors to six and a half million. The boom prompts you to wonder why even if it is still a church, no one has ever thought of charging a euro or two, what with all the worries over arts funding.
Those same figures show that the mass tourism boom that packs unfeasible numbers of tables onto the pavements also denies the masses access to anything a little out of the way, such as the baths of Caracalla, the villa of the Quintili or the mausoleum of Cecilia Metella. Today, they receive more or less the same number of visitors as in 2006, despite a cumulative ticket costing just €6. There is also the Ostia Antica site, which has recorded a modest +27% even though tourist numbers have quadrupled. And let’s not linger over the superb Hadrian’s Villa, which has managed to lose a quarter of its visitors in the past two decades.
Turf wars over city-centre archaeological sites
Even more striking is the fact that city-centre sites like the Colosseum, the Palatine or the Forum have not been given the tidying up that in any other country would have been a matter of course. Hard though it is to believe, the world’s most celebrated archaeological site is split between two administrations, part being run by the municipality and the rest by central government. Nero’s Domus Aurea, for example, belongs almost entirely to the state but the walls of the baths of Trajan, built on top of Nero’s residence, are the competence of the municipality. So, too, is the garden above, where a Himalayan pine was planted eighty years ago. The tree’s roots have penetrated so deep that they pose a threat to one of the Domus Aurea’s most sublime features, the vault depicting Ulysses and Polyphemus. The pine has to go but who is going to remove it? The municipality, to which the garden belongs. But since a residents’ committee is opposed to the pine’s removal, the city authorities have appointed a cultural mediator to sort things out. Tree or frescoes? The residents of Collio Oppio have a vote, like everyone else.
It’s a ridiculous situation. The mausoleum of Augustus belongs to Rome and the Colosseum - but not the surrounding area, which is in Roma Capitale’s remit -to the state, as has been the case since 1925. Politicians have steered well clear. The situation culminates at the Forum, where the part on the right as you go from Piazza Venezia towards the Colosseum belongs to the state. On the left, the remains are municipal. Two superintendencies. Two administrations. Two ticketing systems.
Heritage minister Dario Franceschini has urged the creation of a consortium to share management of the Forum, if nothing else. Everyone knows the best solution would be to merge the administrations. But who is going to tell the workers? Who is going to take on the prickly task of merging two sites belonging to different public bodies? And who is going to tell the plethora of private companies that have everything to gain from the long-standing division?
FONTE SOURCE:
-- CORRIERE DELLA SERA (18|06|2015).
www.corriere.it/english/15_giugno_18/anything-goes-rome-9...
FOTO FONTE SOURCE:
-- ROME - The Neglect of Rome's Cultural Heritage by the Ministry of Culture (2008-11), and the City of Rome (2005 - 11): The Piazza Trilussa - The New York Times, The Corriere Della Sera, The Il Messaggero, The La Repubblica (09/2009).
www.flickr.com/photos/imperial_fora_of_rome/3896639848/
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1). ROME, ARCHAEOLOGY & CULTURAL HERITAGE: Political Corruption, Neglect & Abandonment of Rome's Cultural Heritage & Priorities of the Tourist Industry by the Political Administration of the Ministry of Culture & the City of Rome (2005 – 2015). FOTO AND NEWS 1 THRU 606 ITEMS.
www.flickr.com/photos/imperial_fora_of_rome/sets/72157600...
1.1). ROMA ARCHEOLOGICA & RESTAURO ARCHITECTURA. Roma sotto Marino, Roma Mafia Capitale, Roma Degrado Vista Dal Mondo: la città di incompetenza perpetua e la corruzione (2013-15). Foto & stampa 1 di 616.
www.flickr.com/photos/imperial_fora_of_rome/sets/72157634...