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.... to visit Mezzojuso gives a little bit the feeling of being abroad (while being in Sicily ...) a lively particular feeling; here a portrait of one of its friendly inhabitant ........
.... visitare Mezzojuso dona la sensazione stranissima e vivacissima di trovarsi un po' all'estero, pur stando in Sicilia; qui un ritratto di un suo gentilissimo abitante .........
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
.... to visit Mezzojuso gives a little bit the feeling of being abroad (while being in Sicily ...) a lively particular feeling; here a portrait of one of its friendly inhabitant ........
.... visitare Mezzojuso dona la sensazione stranissima e vivacissima di trovarsi un po' all'estero, pur stando in Sicilia; qui un ritratto di un suo gentilissimo abitante .........
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
Hello, Thomas & Friends fans! Today, I am playing "Game" as Thomas and his easygoing engineer (Hiro; not to be confused with the engine) on the easy skill level in the Sega Mega Drive game "Thomas & Friends: Adventure Series" made in 1993 under license from SEGA Enterprises LTD & Britt Allcroft (Thomas) Limited! This is dedicated to Amber Jones and Sam Crozier!
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
.… two young boys, who wish to emulate the hero of the town of Mezzojuso, the Master of Field ......
.… l'anello di congiunzione: due giovanissimi emuli dell'eroe di Mezzojuso, il Mastro di Campo ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
Chocolate, mocha, cinnamon, caramel, chestnut. The little black dress may be the diva that gets all the attention, but understated browns are fresh, easygoing and just as versatile. A tie-front cropped bolero sweater adds a little cream to my coffee brown dress, for a richer look that warms me up on my morning ride.
Closing night film: THE INTERVENTION.
IFFB blurb:
Control-freak bride-to-be Annie (Melanie Lynskey, Togetherness) gathers her group of thirtysomething friends at the picturesque Savannah family summer home of sisters Jessie (writer/director Clea DuVall) and Ruby. Their mission is to convince Ruby and her workaholic husband, Peter, that their relationship has turned irreparably toxic. Joined by Annie’s easygoing fiancé, Jessie’s partner Sarah (Natasha Lyonne, Orange Is the New Black), the reluctant Jack (Ben Schwartz, Parks and Recreation), and his sprightly, 22-year-old girlfriend, the group makes fumbling attempts to jump-start the intervention throughout the booze-fueled weekend while resolutely avoiding dealing with their own vices and regrets.
THE INTERVENTION depicts an intensely relatable group of characters as they abandon the facade of being fine and embrace the reality of “fine-adjacent.” In her feature directorial debut, DuVall adeptly balances the performances of her talented ensemble cast—highlighted by Cobie Smulders’ (RESULTS, IFFBoston 2015) complex portrayal of the deeply unhappy Ruby and an effervescent turn by Alia Shawkat (WILD CANARIES, IFFBoston 2014) as a “baby stranger” interloper—weaving them into a bittersweet dramedy acknowledging how difficult it can be to stop doing the things that hurt us.
–Sundance Film Festival guide
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the Genral Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! (Here the pander of the Court, named "Master of House" which organizes in secret the arrival of Master of Field to the Castle ... ) ....
....) ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! (Qui il ruffiano di Corte, detto "mastro di Casa" che organizza in segreto l'arrivo del Mastro di Campo al castello ... ) ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the Genral Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the General Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! (Here the ceremony of transfer of power from the Master of the Field of last year to Master of this year 2016 ...) .... ....) ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! (Qui la cerimonia del passaggio delle consegne dal Mastro di Campo dell'anno scorso a quello di quest'anno 2016 ... ) ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
Hi there, my name is Jinsei.
Let me try to describe myself... or at least, what I know about myself: I'd say that I'm a rather complicated person. But after all, aren't we all complicated?
I'm an easygoing person, unless you say or do something that's against my principles. I can't stand prejudices, about emo/goth/other scene's, race, background or whatever. I hate drunks and droggies.
If you want my honest opinion, I'll give it to you, no exceptions. I'm not a backstabber, I always speak my mind.
I don't love going out when you're speaking of discotheques or ordinairy parties. What I prefer are gigs and festivals. Because, even though I'm a girl, I do love mushpits, crowdsurfing en stagediving.
Strangely enough, I am afraid of the dark. So after a concert, there always has to be someone to walk me home. I'm working on this though.
Oh, and I'm the kind of person that still actully BUYS CD's and LP's. That's not being stupid, it's just a matter of respect. All those bands make the effort to provide us with good music, put all there time and energy in it... than it's only fair to give them the money they earn.
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the Genral Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! (Here a young "hermit" ... ) ........
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...e chi più ne ha più ne metta ....!..... (Qui un giovanissimo "eremita" ... ) ......
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the General Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the Genral Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! (Here the pander of the Court, named Master of House" which organizes in secret the arrival of Master of Field to the Castle ... ) ....
....) ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! (Qui il ruffiano di Corte, detto "mastro di Casa" che organizza in segreto l'arrivo del Mastro di Campo al castello ... ) ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
I found the spot described in the web post below. Although not very scenic, I think my photo manages to capture the faultline.
science.kqed.org/quest/2011/06/16/geological-outings-arou...
A post by Andrew Alden 6/16/2011
The Cordelia fault runs through the lava hills on the east side of Green Valley. About 3.5 miles up Green Valley Road, Rockville Road exits to the right. Take it over the hills for about a mile and a half until you reach a dramatic roadcut.
The west side of the Cordelia fault is moving north, but no movement has been recorded in historic time. This is an easygoing fault, at the edge of the busy zone on the plate boundary. It's about as user-friendly as a fault can be, and its appearance here is the best fault exposure in the Bay Area.
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the General Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the Genral Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! (Here a Wizard....) ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! (Qui una Maga ... ) ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the General Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! (Here the ceremony of transfer of power from the Master of the Field of last year to Master of this year 2016 ...) .... ....) ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! (Qui la cerimonia del passaggio delle consegne dal Mastro di Campo dell'anno scorso a quello di quest'anno 2016 ... ) ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
This photo is from deep down in my archives, taken on 16 May 2009, at the Coaldale Birds of Prey Centre, near Lethbridge. A few, rare sightings have been reported in Alberta.
"The Harris's Hawk or Harris Hawk, formerly known as the Bay-winged Hawk, (Parabuteo unicinctus), is a medium-large bird of prey which breeds from the southwestern USA south to Chile and central Argentina. It is the only member of the genus Parabuteo, which literally means 'similar to Buteo'.
Its habitat is sparse woodland and semi-desert, as well as marshes (with some trees) in some parts of its range, including mangrove swamps, as in parts of its South American range. It nests in a tree and lays 2–4 eggs, incubated for 28 days to hatching.
It has blackish brown plumage with chestnut forewings (above and below) and thighs. The end of the tail and the rump are white. It has a length of 60 cm and a wingspan of 1.2 m; the average weight is about 900 g (2 pounds). Females are typically 10% bigger than males.
Harris's Hawks' social behavior is unusual for raptors. Young may stay with their parents for up to three years, helping to raise later broods. They also hunt together, groups of two to six birds often cooperating to flush and then capture prey (group hunting). In contrast, the vast majority of raptors are solitary hunters, and not at all gregarious.
This social behavior gives Harris's Hawks an easygoing nature that makes them desirable captive birds. Since about 1980, Harris's Hawks have been increasingly used in falconry and are now the most popular hawks in the West (outside of Asia) for that purpose, as they are the easiest to train and the most affectionate.
Hunting with Harris's Hawks often works best with two or more birds. (In contrast most other raptors cannot be flown together, as they will attack each other.) When prey is flushed, the birds can work together to corner the animal – compensating for their relatively low acceleration and speed. Harris's Hawks will happily treat the falconer as a hunting partner, and will follow from tree to tree and perch until the falconer flushes a rabbit from the bushes.
They can easily catch and kill a rabbit, a hare or even a pheasant, but its natural prey are small rodents and reptiles." From Wikipedia.
.... to visit Mezzojuso gives a little bit the feeling of being abroad (while being in Sicily ...) a lively particular feeling; here a portrait of one of its friendly inhabitant ........
.... visitare Mezzojuso dona la sensazione stranissima e vivacissima di trovarsi un po' all'estero, pur stando in Sicilia; qui un ritratto di un suo gentilissimo abitante .........
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
-----------------------------------------
Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
Just bought this autographed copy
of My story by Julie Couillard - 2008
(former girlfriend of Maxine Bernier)
Maxine Bernier resigned from cabinet in May 2007 only hours before Couillard described in a television interview how he had left classified briefing documents for a NATO summit at her Montreal home. After all of this Maxine and noted other
M.Ps trash Julie Couillard about her past. Sad how politicians
take no responsibilty for their mistakes especially having
N.A.T.O confidential documents in their personal possession.
Maxime Bernier resigns over missing documents.
May 26 and 27, 2008 - Maxime Bernier resigned as Canada's Minister of Foreign Affairs after learning his ex-girlfriend Julie Couillard would reveal he left sensitive documents at her home.
See story below on YouTube :
www.youtube.com/watch?v=tfGcybmQYKs
Also found this interview by George Stroumboulopoulos
questioning Maxine Bernier on his mistake of having confidential documents. Instead of just admitting mistake
he tries to smear his girlfriend again but I give credit to
interviewer for stopping him that she was not the issue.
This is about 7 minutes into the interview. See below
on YouTube.
www.youtube.com/watch?v=iTjLSHSx6Pg&t=458s
Maxime Bernier PC MP (born January 18, 1963) is a Canadian businessman, lawyer and politician serving as the
Member of Parliament (MP) for the riding of Beauce since 2006. He is the founder and current leader of the
People's Party of Canada (PPC).
Prior to entering politics, Bernier held positions in the fields of law, finance and banking. First elected to
the Canadian House of Commons as a Conservative, Bernier served as Minister of Industry, Minister of Foreign
Affairs, Minister of State for Small Business and Tourism, which later became the Minister of State for Small
Business and Tourism and Agriculture in the cabinet of then-Prime Minister Stephen Harper. Following the
Conservatives' defeat in the 2015 election, he served as opposition critic for Innovation, Science and Economic
Development in the shadow cabinets of Rona Ambrose and Andrew Scheer, until June 12, 2018.
Bernier ran for the Conservative Party leadership in the 2017 leadership election, and came in a close second
with over 49% of the vote in the 13th round, after leading the eventual winner, Andrew Scheer, in the first 12
rounds. Fifteen months later, in August 2018, Bernier resigned from the Conservative Party to create his own
party, citing disagreements with Scheer's leadership.[1] His new party was named the People's Party of Canada in
September 2018.
Interview Julie Couillard gave in 2008
JULIE COUILLARD TALKS WITH KENNETH WHYTE ABOUT HER DEAL WITH MAXIME BERNIER, HIS DISLOYALTY, AND HER RESPECT FOR
THE PM
OCTOBER 20 2008
'All of a sudden, I'm a biker’s chick, I'm trash. He ran the other way while I drowned.’
INTERVIEW
JULIE COUILLARD TALKS WITH KENNETH WHYTE ABOUT HER DEAL WITH MAXIME BERNIER, HIS DISLOYALTY, AND HER RESPECT FOR
THE PM
I’m going to start at the beginning of your relationship with Mr. Bernier, and that very first meeting that you
two had.
A: Well, it was actually my real estate broker that invited me to a cinq-à-sept. I had mentioned to him a couple
of days prior that the Conservative party had approached me to maybe present myself as an MP, which really took
me by surprise. But to tell you that I ever took this proposition seriously, no. Still, I was curious about it,
and my broker says, we’re all going for supper afterwards and, by the way, a minister is going to be there, and
maybe you’d like to come and pick his brains, basically, about politics and everything to do with becoming 14
an MP. So I said yeah. He mentioned to me it was the ministre de l’industrie—industry minister—Maxime Bernier.
As a joke, my broker said, “He’s pretty cute, and he’s single, so who knows?” That’s how we first met.
Q: In the course of the evening, Mr. Bernier got a bit forward with you.
A: Well, actually, that was at the beginning of the evening. We had just sat down, and he leaned forward and
gave me a little peck on the cheek. And some people will say, “How come you got shocked by that? Because next
time you saw him you guys ended up being intimate on your first official date.” It’s not the same as if you meet
a guy for the first time, you hit it off well, and then it’s officially a date. First of all, my brokers were
there. It was a business meeting. I mean, I was in a
suit. That’s why it was totally out of place.
Q: You took him outside, gave him a lecture, and said you weren’t there as a little helper.
A: Exactly, yeah.
Q: What did you mean by little helper?
A: Well, that was the English translation. I’m not a girl that some company will introduce you to so that,
basically, if you find her cute you can have your way with her. Because there were other young girls, all of a
sudden, that joined our table, that were not businesswomen. They were there just to party. I wanted to make it
clear to Maxime that, you know, you’re a very nice guy, we get along great, and you’re handsome and all, but I’m
calling the shots and nobody else.
Q: It is kind of offensive for somebody to do that at a first meeting. Why not run from him?
A: Well, because he was very apologetic.
Q: So you don’t think he mistook you for a little helper?
A: No, because I can be very blunt. And he was taken aback.
Q: It wasn’t really a business arrangement he proposed when you started to see each other steadily, but it was
kind of a professional arrangement, right?
A: No. Maxime proposed a personal relationship with a condition attached to it. That’s how, really, it was
presented to me. The first offer was if I wanted to become his girlfriend, and if I would be interested enough
to have a serious relationship with him, there were certain strings attached to the fact that he was a
politician and a public figure. [They would have to go out for a year.] Though I was a bit shocked in the sense
that it’s not the most romantic way to ask a girl to go out with you, after his explanation I had to agree with
him. He was a politician, he was a public figure, and it came with the territory.
Q: Right.
A: I put myself in his shoes. Sometimes you do have to compromise because of your work. And at that point in
time, I didn’t anticipate not getting along with Maxime.
Q: In My Story, you describe some behaviour on his part that wasn’t terribly impressive, his temper tantrums,
throwing an iron across the room, and calling you when you’re at official functions with important people,
summoning you from across the room in a rude way.
A: While I’m talking with the wife of our ambassador nonetheless, yes.
Q: And then there’s the fact that you found out [that there were] other women.
A: There’s one specific event that I found out while I was his girlfriend, the rest I found out after I was just
his friend.
Q: There’s a considerable amount of stuff like this in the book about him, and I have trouble seeing what
attracted you two. Did you like him?
A At the beginning I did. A: Well, he’s easygoing, he’s fun, you’ll enjoy a good supper with a good bottle of
wine. And we did have a very strong attraction for one another, and you have to understand that we had a
longdistance relationship. Four days out of the week Maxime was not there. Every other weekend he had his two
daughters. Most probably, if Maxime would have been living where Fm living, after a month or two I would have
said, “You know what, buddy? This is not working out.” It took me six months because he got promoted and he
started travelling a lot, and sometimes I wouldn’t even see him for two to three weeks, so when we finally did
get together it was like our first date all over again. It wasn’t easy for me to realize that he was lacking
depth.
Q: Regarding the men in your life before Maxime Bernier, Gilles Giguère was murdered, and Stéphane Sirois was
fairly high up in a motorcycle gang.
A: No, he was not.
Q: No? What was he?
A: While I was with him he was not a biker. He gave back his patch, because that was my condition. I didn’t want
to go out with a biker. After I divorced him he went back into that world and eventually turned into a rat.
Q: You’ve been left heartbroken, broke, and embarrassed by various men in your life. Do you feel you have been
unlucky in love?
A: I’ve had my unlucky strikes, I have to admit. You have to understand that I was put in a position where I had
no choice to write a biography to re-establish the facts and my credibility, and had I written that book at 78,
let’s say, there would have been a lot more happy times. At this point in time in my life I made a choice of
keeping the good business ventures and my happy relationships for me, for the little I had left of my private
life.
Q: So you don’t think you have a habit of picking the wrong guy?
A: Well, I could have a better average.
Q: I get a bit confused about the end of your relationship with Mr. Bernier. It was in December 2007 that you
sort of broke up, but you continued to see one another. You were still more than friends, though.
A: Yes, we were. I had nobody else in my life, so j’ai rendu le pratique agréable, I made what was practical
agreeable. I mentioned to Maxime in December that our relationship was not fulfilling me and that I had no time
to waste, at my age, and I knew that Maxime was not the guy. And to tell you the truth, Maxime agreed that it
was better that we remained good friends, you know? I had given
him my word that I would remain his official girlfriend for a year and, to tell you honestly, though you know
that that person is not the person of your life, you still can grow very attached. I certainly didn’t do it
against my own free will or all those things that people implied, that I was paid to be his escort and whatnot.
That’s totally ridiculous. How many people had an ex that they kept seeing until they met someone else that was
more interesting? I think we have all done it. So all of a sudden, because he’s a minister, there’s this hidden
agenda behind it.
Q: Everybody’s trying to impose a story on your life.
A: It was much simpler than that, and a
1 had this image of George Bush as this cold person. He had a great sense of humour. That totally threw me off.’
lot duller than that, if you ask me.
Q: Well, it’s not very dull.
A: Concerning my relationship with Maxime it was. Yes, fine, I did have a fiancé that got assassinated, but that
was 12 years ago, and yes, I ended up divorcing a guy that used to be a biker before he went out with me, or got
married to me, but that was 10 years ago.
Q: Is that one of the things that was so horrifying for you about this? Because you’ve been working, travelling
in different circles, and holding your own with ambassadors and important people around the world. And then all
of a sudden, you’re reading about yourself in the paper.
A: All of a sudden I’m a biker’s chick and I’m this and I’m that and I’m trash and I’m a whore and I’m possibly
sent by bikers. What
the hell? That’s 10 and 12 years ago, so what does that have to do with anything now?
Q: Was it necessary, in order to re-establish your reputation, to go so deeply into Mr. Bernier’s character
flaws and his misbehaviours?
A: I think that it was. When you have a team of people who work 45 hours a week to portray you and to sell your
image in the media, getting to know the real, true person behind this image can’t be easy. It needed to be done
so that people would understand not his actions, but his inaction in this circus that crashed my life. Some
people will say, “Yeah, well, it’s pretty harsh.” Well, I’m so sorry but his silence was basically sending a
message to the public that he was endorsing everything that was being said. That man knew me, he spent a year
with me, six months as his girlfriend, and I was good enough to remain his very good friend for another six
months, and he still wanted me to stick around to keep accompanying him in all his official functions, so I
couldn’t have been such a vulgar woman and a slut and a this and a that and a biker’s chick. Yet he let all
these things be said about me, and he was the politician, he was the one who had all the tools to stand up and
say, “Listen, now, this is not right.”
Q: In March of this year it broke on TV that the minister is dating a biker chick.
Q: May, sorry, and he went underground.
A: Exactly, he started acting like he never even knew me. Do you honestly think that the media, politicians,
[the general] population would have been the slightest [bit] interested in what Julie Couillard did in her life
10, 11 years ago, 12 years ago? Who gave a damn? Nobody. Everybody became interested. Why? Because I was the
official girlfriend of a federal cabinet minister. He ran the other way waving while I was drowning.
Q: What should he have done?
A: Well, he should have at least straightened out the facts, and right from the get-go he could have stopped
this then and there. He could have said that this is all a cheap way of trying to damage his reputation and
damage the party that was in power, and that it had nothing to do with the real issues of our society today and
it was just cheap politics. He had all the tools and all the people. He knew that the RCMP, the Sûreté du
Québec,
la Communauté urbaine de Montréal, all of them, [that] did investigate me back then, came to the conclusion I
had nothing to do with organized crime aside from the fact that I was seeing people that knew people in that
scene, but on a personal level, and I was not implicated in the criminal activities of any sort. This was just a
cheap attempt to damage our government. That’s all it was!
Q: In the book, Stephen Harper comes off better than pretty much anyone else you encountered in that world. You
were impressed with him.
A: Yes, I was. I have to admit that I do not have the same political views as Mr. Harper but I do have a lot of
respect for the man.
Q: George W. Bush impressed you as well.
A: I had this image of this cold, very restrained person, but he was such a friendly and accessible guy, and
very light and funny. He had a great sense of humour. That totally threw me off.
Q: You say in the book that you thought you let Mr. Bernier off too easily. Is there more to the story that you
haven’t written?
A: The only more would be things that I do not think are of any public interest.
Q: He would, when you were together, complain about Mr. Harper being fat or being controlling. Doesn’t everybody
complain about the boss?
A: Maybe. But Maxime doesn’t have just a job, he’s a politician. That’s very different. He shouldn’t have a
right to disrespect our Prime Minister. And what really pissed me off is that Maxime was a guy that two years
before wasn’t even in politics and there you go, all of a sudden, because of Mr. Harper, he ends up, hey, the
minister of external affairs! Come on! The man might not be perfect, we’re all perfectly unperfect, but you
should respect him for giving you that opportunity.
Q: You answered this question already about the men in your life and your batting average. Do you think it’s the
kind of man you’re attracted to or the kind of man who’s attracted to you?
A: Well, I don’t know. I know for my part my flaws are more that I see a good-looking guy and he’s a good talker
and he’s a lot of fun and he makes me laugh, and then I have a tendency of more dreaming an image of that
person, and then I fall in love with that image, but the guy I’m falling in love with does not even exist.
That’s what I would have to watch out for. And because, I guess, of my looks some men are attracted to me for
the wrong reasons, they stop at what they see instead of seeing deeper than that.
Q: When you were travelling with Mr. Bernier and going to official functions, you did meet some people and you
exchanged business cards on occasion. Did any opportunities or any doors open for you because ofthat?
A: I didn’t really exchange business cards at all, to tell you the truth, when I was with Maxime. I’ve had the
pleasure of saying, “I’ve met our ambassador in Paris.” But I was the spouse of Maxime, that’s why I was there.
Q: Are you working now?
A: Oh, no. My life totally stopped. The seventh of May everything stopped.
Q: What are you going to do now?
A: That’s a very good question. I don’t have an answer. I still have a mortgage to pay, and a car payment and so
on and so forth. I concentrated on re-establishing the facts and reestablishing my credibility because nobody
will have anything to do business-wise with me—which is totally understandable—and I do not believe that the
same career is ever going to pick up again.
Q: Real estate?
A: No, real estate and development. I specialized in a very narrow niche, where you always have to be in contact
with the municipalities, with the provincial, even the federal government. M
Beans is an easygoing pleasant big guy who is 3 years old, and comes pre-equipped with clown makeup. He came to us from the Lincoln county shelter - he had a brother named Pork (!) who had no such makeup and who was adopted in Lincoln Co. He is heading to his new home 19 May 2015.
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the Genral Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! (Here the King and the Queen with the dignitaries of the Royal Court ... ) .....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! (Qui il Re e la Regina con i dignitari della Corte Reale ... ) .....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
Hi there, my name is Jinsei.
Let me try to describe myself... or at least, what I know about myself: I'd say that I'm a rather complicated person. But after all, aren't we all complicated?
I'm an easygoing person, unless you say or do something that's against my principles. I can't stand prejudices, about emo/goth/other scene's, race, background or whatever. I hate drunks and droggies.
If you want my honest opinion, I'll give it to you, no exceptions. I'm not a backstabber, I always speak my mind.
I don't love going out when you're speaking of discotheques or ordinairy parties. What I prefer are gigs and festivals. Because, even though I'm a girl, I do love mushpits, crowdsurfing en stagediving.
Strangely enough, I am afraid of the dark. So after a concert, there always has to be someone to walk me home. I'm working on this though.
Oh, and I'm the kind of person that still actully BUYS CD's and LP's. That's not being stupid, it's just a matter of respect. All those bands make the effort to provide us with good music, put all there time and energy in it... than it's only fair to give them the money they earn.
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the Genral Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! ( Here a Saracen ...) .......
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! ( qui un Saraceno ... ) .......
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
Statue of Phillip, Department of Lands building, Bridge St, Sydney.
Each facade has 12 niches whose sculpted occupants include explorers and legislators who made a major contribution to the opening up and settlement of the nation. Although 48 men were nominated by the architect, Barnet, as being suitable subjects, most were rejected as being 'hunters or excursionists'. Only 23 statues were commissioned, the last being added in 1901 leaving 25 niches unfilled (Devine, 2011). In Nov 2010- a new statue of colonial surveyor James Meehan (1774-1826) was created and placed in an empty niche on cnr. Loftus/Bent Streets.
Phillip, Arthur (1738–1814)
by B. H. Fletcher
This article was published in Australian Dictionary of Biography, Volume 2, (MUP), 1967
Arthur Phillip (1738-1814), admiral and governor, was born on 11 October 1738 in the parish of Allhallows, ward of Bread Street, London, the second child of Jacob Phillip, a language teacher who came to London from Frankfurt, and Elizabeth, née Breach, former wife of Captain Herbert, R.N., a relative of Lord Pembroke. It was possibly the influence of his mother that was instrumental in determining his future seafaring career. On 24 June 1751 he was enrolled on 'the establishment of poor boys' in the Greenwich school for the sons of seamen. Thus began a period of apprenticeship in the mercantile service that was completed in 1755 after two years at sea under Captain Redhead in the Fortune. During the Seven Years' war he saw active service in the navy, to which he had transferred. On 7 July 1761 he was provisionally appointed lieutenant, the promotion being confirmed a year later following an engagement resulting in the capture of Havana. With the coming of peace on 25 April 1763 he was retired on half-pay.
Save for the months between 13 November 1770 and 8 July 1771, when he served in H.M.S. Egmont, his connexions with the British navy in the next fifteen years were largely nominal. Probably much of his time was taken up with the properties known as Vernals Farm and Glasshayes which he acquired at Lyndhurst, Hampshire. There he had settled with his wife Margaret, the widow of John Denison, a prosperous London merchant. The marriage was celebrated on 19 July 1763, but could scarcely have been happy for by 1769 the two were separated. In 1774-78 Phillip served with distinction in South American waters as a captain in the Portuguese fleet, which he entered with the Admiralty's permission after the outbreak of the Spanish-Portuguese war. In 1778 he returned to the English navy. In November 1781 he was made a post captain and was given command of the 24-gun Ariadne; on 27 December 1782 he left her to take charge of the 64-gun Europe, taking with him his friend, Lieutenant Philip Gidley King. His sealed orders sent him to India, but he saw no action in either vessel and was again retired on half-pay on 25 May 1784, after the signing of the peace treaties which ended the wars connected with the struggle of the British colonies in America for independence. He then spent a year in southern France and, when appointed the first governor of New South Wales on 12 October 1786, was engaged in survey work for the Admiralty.
By then Phillip was a man of mature years whose attainments, though not particularly outstanding, were solid. From inauspicious beginnings he had risen largely through his own merit, attracting favourable comment from those under whom he had served. The Portuguese authorities had described him as brave, honest, obedient and self-sacrificing. Experience had broadened without hardening or coarsening his somewhat sensitive nature and in a variety of ways prepared him for his new task. He was accustomed to command men and had even, while in the Portuguese navy, transported convicts from Lisbon to the Brazils. His naval training proved invaluable on the trip to Botany Bay and stood him in good stead when exploring the hinterland. Work on his Lyndhurst property had made him familiar with at least the rudiments of farming and added yet another dimension to his qualifications. How far these considerations weighed with the British government is difficult to say, for the circumstances surrounding both their offer and his acceptance of the governorship remain obscure. The first lord of the Admiralty had nothing to do with it, for Lord Howe, though prepared to accept the decision, stated that he personally did not think Phillip suited to the task. The governor's detractors maliciously claimed that he was chosen to rid the authorities of one pressing for preferment. It has also been suggested that Lord Sydney, faced with the need hurriedly to find someone for a mediocre post that no one else wanted, offered it to Phillip who was known to be reliable and trustworthy. Perhaps the most likely explanation is that the appointment was made on the advice of Sir George Rose, treasurer of the navy, who lived near Lyndhurst, knew Phillip and was impressed by him. Whatever the reason Phillip was presumably attracted by the prospect of returning to active service in a capacity that could satisfy his desire for adventure and his wish to command.
To the British government the new settlement was primarily to be an outlet for convicts whom it was undesirable to keep at home and impossible to transport elsewhere, but Phillip was inspired by the vision of a new outpost of empire growing up in the South Seas. He showed himself anxious to encourage free settlers to migrate, drew up plans for their reception, urged the extension of British law for their protection and resolved to insulate them from the contamination of convicts. 'As I would not wish convicts to lay the foundation of an Empire', he observed, 'I think they should ever remain separated from the garrison and other settlers that may come from Europe', even after their sentences were completed.
When these words were written Phillip was immersed in preparations for the sailing of the expedition and the planning of the actual settlement. His correspondence with the authorities between October 1786 and May 1787 revealed a sound grasp of administrative detail and a degree of foresight that confirmed the wisdom of their choice. In contrast to his superiors he displayed an awareness of the multitudinous problems inevitably involved in transplanting Englishmen to a little-known land on the far side of the globe. Not all his proposed solutions were accepted, but enough were incorporated to support the claim that he made a noteworthy contribution to the organization of the venture. Besides offering practical advice Phillip also enunciated some of the principles that were intended to guide his conduct. He proposed to treat the Aboriginals kindly and to establish harmonious relations with them. He resolved to try to reform as well as to discipline the convicts. In these respects his views were in keeping with the more advanced opinion of his age. Similarly his rational approach to life and indifference to religious fervour stamped him as a product of the eighteenth century and a not untypical member of the contemporary Church of England into which he had been baptized.
The First Fleet left England on 13 May 1787 and arrived at Botany Bay on 18 January 1788 after a voyage whose success again owed much to Phillip's care. The original site proved unsuited to settlement. Three days later Phillip discovered an appropriate spot at Port Jackson and on 26 January landing operations began there. All told 1030 persons went ashore, of whom 736 were convicts, including 188 women, the rest marines and civil officers, 27 with wives, and 37 children. These people formed the human material for a gaol and not surprisingly were placed under a form of government that gave an unusual amount of power to the governor. Phillip's first and second Commissions, dated 12 October 1786 and 2 April 1787, appointed him as the representative of the Crown in an area embracing roughly the eastern half of Australia together with adjacent Pacific islands. His responsibility was solely to his superiors in London and he was expected to carry out their orders as embodied in his first Instructions of 25 April 1787, his second Instructions of 20 August 1789 and official dispatches. Within these limits his powers were absolute. The Crown vested him with complete authority over the inhabitants and gave him the right to promulgate regulations touching practically all aspects of their lives. He combined executive and legislative functions and could remit sentences imposed by the Civil and Criminal Courts established under a warrant issued on 2 April 1787. Only the crimes of treason or wilful murder were exempt from this provision, but even here he could grant a reprieve while awaiting advice from London. Distance from Britain and the relative indifference of the Home Office towards the affairs of the infant colony enlarged even further the scope of the governor's initiative and increased his responsibilities.
The subordinate officers appointed to assist him proved of varied merit. Some worked diligently enough in their particular spheres and in addition made their mark as explorers or commentators on the contemporary scene. Several left behind journals of literary merit and historical value. Rarely, however, did they share Phillip's vision and enthusiasm, and most quickly came to despair of their mission, wrote home in gloomy tones of the hardships they were obliged to endure and urged the abandonment of the settlement. None felt more strongly on this score than the marine officers and their testy commander, Major Robert Ross, who was also lieutenant-governor and Vice-Admiralty Court judge, and described New South Wales as the 'outcast of God's works'. The officers, construing their duties as being primarily military, caused Phillip much trouble. They refused to help in supervising the activities of the convicts even though, through the oversight of the British authorities, few suitable persons were available, and they objected to having to sit on the Criminal Court. Their discontent was heightened by the fact that unlike emancipists they were denied free grants of land and lacked the opportunity to secure any of the other perquisites traditionally associated with colonial service. Ross made matters worse by his high-handed actions, such as the arrest of five of his officers, which created friction in the mess and prompted Lieutenant Ralph Clark to describe him as 'the most disagreeable commanding officer I ever knew'. Although at first on reasonable terms with Phillip, Ross soon became quarrelsome, acting both as a focus of discontent and a major irritant. He supported and encouraged his fellow officers in their conflicts with Phillip, engaged in clashes of his own, and complained of the governor's actions to the Home Office. Phillip for his part, more placid and forbearing in temperament, was anxious in the interests of the community as a whole to avoid friction between the civil and military authorities. Though firm in his attitude he endeavoured to placate Ross, but to little effect. In the end he solved the problem by ordering Ross to Norfolk Island on 5 March 1790 to replace P. G. King, the commandant there, whom he had previously decided to send to England to report personally on the establishment.
Far from being able to fall back on his aides in the initial trying years, therefore, Phillip had to struggle against widespread defeatism and occasional opposition. The attitude of the marine officers affected their men and possibly the convicts who had least cause of any to feel content with their lot. Partly to counter this attitude Phillip in his dispatches highlighted favourable developments and concealed the personal misgivings that constant tribulation must have led him to experience from time to time. Not the least of his accomplishments was to help to keep faith in the venture alive in official circles in London, and provide the optimism as well as the leadership without which morale in New South Wales itself might have crumbled completely.
Phillip's enthusiasm is all the more remarkable in view of the fact that during his five year term of office the colony assumed a shape that was not in accord with his wishes. Instead of the migrants whom he sought to encourage with grants of from 'five hundred [202 ha] to one thousand acres [405 ha]' and the assistance of 'not less than twenty men' maintained at government expense for two years, only convicts arrived. Nor was this surprising. When the Home Office finally dispatched Instructions to Phillip in August 1789 authorizing him to give grants to migrants it was on terms far less generous than he had contemplated. People leaving England lacked any real incentive to come to New South Wales and continued to sail for more accessible parts of the empire that were untainted by the stigma of convictism. Only thirteen venturesome souls departed for Sydney in the first five years and none of these landed until after Phillip's departure. The governor had expected a variety of advantages to flow from the presence of migrants; besides forming the basis for the kind of settlement he hoped would emerge, he thought they would also prove of practical value from the penal standpoint by assisting in administration and convict control, by employing the prisoners and by setting an example for them to follow. Inspired as they must be by the profit motive they would quickly make the settlement self-sufficient in basic foodstuffs. Their failure to materialize forced Phillip to depend on methods which he would have preferred to drop and which further increased his burdens.
Between 1788 and 1792 about 3546 male and 766 female convicts were landed at Port Jackson and handed over by the contractors to the governor, who faced the task of deciding how their sentences were to be served. Anxious to keep costs low the British government insisted that they be disposed of in such a way as to involve the Treasury in a minimum of expenditure. Previously, in the American colonies, settlers had taken them into employment, but in the absence of private employers in New South Wales most convicts remained in government hands throughout the first five years, and upon Phillip devolved the responsibility for directing their energies. The task was not made easier by the characteristics of the convicts themselves. Historians no longer regard them as the innocent victims of adverse social conditions and a harsh penal code. In dispelling this myth recent research has presented them as including a high proportion of professional criminals drawn from the more worthless element in society. Certainly they were for the most part unfit subjects for an experiment in colonization. Not unnaturally they resented being wrenched from their homeland and taken to a harsh, hostile and uncivilized land. Phillip found them lazy and anxious to escape work by any means possible. Few were mechanics or knew anything of agriculture, and each of the fleets that arrived up to 1792 contained a high proportion of aged and sick who were unfit for work. Worst of all was the Second Fleet which arrived in June 1790 after losing more than a quarter of its 'passengers' en route through sickness. Phillip's reports on the unscrupulous behaviour of the private contractors helped to produce improvements, but not until after the Third Fleet had arrived bearing convicts whose physical condition appalled him once more.
Matters were made even worse by continuing privation within the settlement itself resulting from the shortcomings of local agriculture and the failure of supplies to arrive on time from overseas. The crisis reached a peak in 1790 after the wreck of the storeship Guardian off the Cape of Good Hope; although the situation eased in 1791, it remained uncertain and even when the full ration could be issued it was generally unappetizing and often of poor quality. Under such conditions the health of the convicts deteriorated and they found prolonged manual labour difficult. Faced with a lack of suitable personnel to act as supervisors Phillip selected superintendents from among the better-behaved convicts, placed them under the few free men in the settlement, ex-marines, a few from the ships' crews, and some whose sentences had expired. He encouraged gardening. He had dispatched a party to Norfolk Island within a month of his arrival, and constantly reinforced it when he found that the island was more fertile than the land around Sydney. He exercised great care in distributing the ration and insisted on complete equality for all regardless of their standing. Some writers have attached the label communism to this egalitarian system. Such a term connotes a body of dogma completely foreign to Phillip and is highly misleading. The governor based his actions on no particular set of beliefs except a broad humanitarianism. By nature self-sacrificing he was not prepared to inflict greater suffering on others than on himself and he felt that gradations in the ration were unfair in time of scarcity.
Phillip's measures at best proved mere palliatives, but they helped to keep the settlement alive in its early years. In 1791 the marines were replaced by the New South Wales Corps. In the light of what was to come this may appear unfortunate, but Phillip's relations with the corps, though marked by occasional disagreement, were reasonably pleasant, partly because its officers had not then acquired the economic interests that led to conflict with later governors. The military commandant, Major Francis Grose, was easygoing and affable; his only recorded disagreement with Phillip arose from his action in permitting his officers to charter a vessel to procure necessities from the Cape of Good Hope. Unlike Ross, Grose was highly impressed with the colony, and his attitude was shared by many of his officers and a number of the convicts, who showed an increasing tendency to settle after their sentences were completed. The more regular arrival of ships from overseas and the beginnings of trading contacts with foreign speculators lessened the feeling of isolation besides improving supplies. More important, however, by now much of the initial spadework had been completed and the outlines of a permanent settlement were becoming more firmly etched.
The community which, under Phillip's guidance, was gradually establishing itself, remained confined to a minute portion of the vast region over which his jurisdiction extended. The governor himself had from the outset been anxious to gain information about the hinterland of Port Jackson. Curiosity, the need to find areas of good soil, and a desire to escape tensions at headquarters all played a part in prompting his explorations. The difficulties of the terrain, the problems involved in provisioning a lengthy expedition through inhospitable country and the impossibility of being away long from the centre of affairs prevented him from penetrating very far inland. Nevertheless trips in which he took part resulted in the discovery of the Hawkesbury River and the gaining of detailed knowledge about the area between it and Port Jackson, including the Parramatta district. With his encouragement later expeditions were made that established the relationship between the Hawkesbury and Nepean Rivers and gained additional information about the quality of the soil. Meanwhile knowledge of the coastal area had been enlarged by whale-fishing and other sea-going parties.
Phillip opposed the settlement of the Hawkesbury because the area was too isolated and too little known, and 'proper people to conduct it' were lacking. The Parramatta region, on the other hand, he thought ideally suited because of its good soil, ready accessibility and proximity to water. There he moved many of the convicts from late 1788 onwards after the shortcomings of Sydney for agricultural purposes had become apparent. In this area Phillip established a small township, which quickly emerged as the main centre of the colony's economic life; his naming one choice site within its bounds Rose Hill has been interpreted as additional evidence that Sir George Rose had been helpful in securing his appointment. Sydney, which he named and helped to design, and for which he planned broad streets, directed to suit the prevailing winds as well as the contours of its hills, remained important as a port and as the focus of social life, but its economic significance was slight until after the turn of the century, and his plans for its development had by then been abandoned.
Besides determining where the inhabitants should live Phillip also decided how they were to be occupied. At first he gave priority to the construction of necessary buildings, diverting most convict labour to this end; however, some public farming was carried on almost from the outset, originally at Farm Cove and later at Parramatta and Toongabbie. Its slow progress reflected the governor's inability to find adequate means of surmounting the many obstacles in his path. Poor seasons, the lack of suitable equipment and the difficulty of clearing and cultivating the thickly wooded land added to his problems. By 1791 a mere 213 acres (86 ha) were under crop and the number of farm animals amounted to only 126 head, for some of the cattle brought out had strayed, while others had died or been slaughtered. The building programme, by contrast, had advanced more satisfactorily, resulting in the erection of dwelling places for the governor, the officers, the convicts and some of the troops, together with several store-houses. Having completed these and other essential tasks Phillip was able to give more attention to farming. The area cultivated by government labour expanded much more rapidly after 1791 and by October 1792 some 1017 acres (412 ha) were under crop on the public domain; although livestock was still scarce important advances had been made towards the attainment of self-sufficiency in grain. The community was still vitally dependent on overseas supplies for most of its needs, but no longer was survival thought to be impossible.
Providing for material needs formed only part of the task of running what was primarily a prison. Effective discipline was a vital necessity in an isolated community where convicts far outnumbered their gaolers and where it was impracticable to segregate them behind bars. Phillip housed the convicts in a series of huts so arranged that they could be policed at night; but the watch of necessity had to be drawn mainly from among the better convicts, and this caused further trouble with the marines who complained bitterly on the odd occasion when a convict policeman detected one of their number breaking the law. Offences committed within the colony were, if only minor, tried by the magistrates, or when more serious by the Civil and Criminal Courts. Phillip sat on neither bench, but he was able within limits to determine their composition and to vary their sentences, thereby influencing the course of justice. Before leaving England he had stated his opposition to the death penalty save for murder and sodomy, which crimes he felt best punished by handing guilty persons over to be eaten by 'the natives of New Zealand'. This harsh sentence was never imposed, but there were some executions, particularly for the theft of food in time of scarcity. More usual was the lash, then a standard punishment in the army and navy, or committal to a gaol-gang.
Phillip's discipline was firm, but by the standards of his time could not be considered unduly harsh or severe. Moreover he recognized the need to encourage good behaviour as well as to punish bad conduct. He rewarded signs of industry by personal commendation and sometimes by appointment to positions of trust, which carried various privileges. He granted twenty-six pardons to exemplary characters, including fourteen prisoners who had behaved well when the Guardian was wrecked. In a further effort to encourage the convicts Phillip made it clear that land grants would only be given to those who proved their worth while under sentence. These measures indicated his desire to reform his charges, an object to which the Home Office paid only lip service. How much success attended his efforts is difficult to say. Contemporaries as well as more recent writers, however, have paid testimony to the effectiveness of his rule. In general the convicts responded well to his guidance. Crimes against the person were rare and while thefts were fairly common many of these resulted from sheer desperation and hunger.
One of the offences Phillip refused to tolerate was ill treatment of the Aboriginals. In his Instructions he had been ordered to establish contact and maintain friendly relations with them and he took these humanitarian injunctions seriously. He interested himself in the life of the natives whose customs also attracted considerable attention from his fellow officers. He made them presents, placed two, Colebe and Bennelong, under his personal care, and did his utmost to win and keep their friendship. At first he seemed to have succeeded. The Aboriginals evinced no desire to drive the whites out and showed admiration for their power and their leader whose missing front tooth apparently possessed symbolic value. Friction later developed and matters eventually reached the point where Phillip was forced to take punitive action, though he continued to exercise restraint even after being wounded by a spear at Manly Cove. Throughout he sought to maintain harmony while gradually persuading the Aboriginals of the superiority of British civilization. Settlers who interfered with their pursuits remained liable to heavy punishment.
Although in 1788-92 convicts and their gaolers made up the bulk of the population there gradually appeared others who fell into neither category. As early as July 1789 a small batch of convicts sought their freedom, claiming that their sentences had expired. Through oversight Phillip had not been supplied with their records and being unable to verify their claims shelved them. Later this deficiency was remedied enabling the governor to liberate the growing number of convicts who each year completed their sentences. By 1792 some 350 persons, of whom the majority were men, had been restored to freedom. Some secured passages home but most were unable to do so and were obliged with diminishing reluctance to stay in New South Wales. There they found employment mainly on government works, but a minority struck out on their own and took up farming, introducing a new element into an economy dominated by public enterprise.
Phillip's second Commission dated 2 April 1787 had given him the power of granting land to approved persons, defined in his first Instructions as former convicts. The British government was anxious to encourage people of this kind to remain at Port Jackson and for this reason offered them small plots of land and full maintenance during the early months of operations. The Home Office also indicated its willingness to make grants to the non-commissioned officers and privates of the marines who might elect to remain after completing a tour of duty, and to any migrants who might arrive. Phillip was ordered to examine the soil, report on its quality and suggest terms on which it might be alienated. Without fully waiting for his advice, however, the secretary of state dispatched on 22 August 1789 fresh Instructions on the granting of land.
The only residents not permitted to own land were the civil staff and military officers, whose pleas for this concession were not satisfied until after Phillip had departed. The governor himself had viewed their requests with no great enthusiasm. While willing to allow them to grow foodstuff in time of shortage or run livestock on plots of crown land he was not happy at the thought of their becoming property owners. He feared their attention might be distracted from their duties. He realized that they would wish to employ convicts, and these he thought might be left too much to their own devices. Shortly before leaving England he stressed that insufficient convicts were available to make it possible for the officers' likely demands to be met. Phillip was also reserved in his attitude towards the issuing of land grants to emancipists, for he rightly felt that many would never succeed at farming.
Historians have been unable to agree as to the exact area he alienated. Judging by the Register of Land Grants, which has not been used by earlier writers, he granted 3440 acres (1392 ha) on the mainland. At Norfolk Island he was obliged to recall some of the grants originally issued and by December 1792 had reallotted titles to a mere 49 acres (20 ha), making a grand total of 3489 acres (1412 ha). This was considerably less than the area alienated by his immediate successors, a fact which resulted not from niggardliness but from the unwillingness of more than a handful of persons to try their hand at what was to most an unfamiliar occupation. Apart from James Ruse there were no requests for land until 1791 and by December 1792 only seventy-three persons occupied holdings on the mainland.
With characteristic thoroughness the governor did his utmost to ensure the success of a group whose activities might improve the food situation. He personally selected land for them in the vicinity of Parramatta close to water, protection, market and supplies. Where necessary he varied his Instructions in their interests providing them with aid for eighteen months instead of the year stipulated by the British government. Originally he had been ordered to reserve between each 150-acre (61 ha) block 'a space of ten acres (4 ha) in breadth and of thirty acres (12 ha) in depth'. Realizing the dangers of natives lurking in the undergrowth on such land and convinced of the need for farmers to live side by side so as to provide mutual aid he successfully recommended the abandonment of this injunction. To deter settlers from disposing of land he incorporated in the title deeds, whose wording he himself devised, a clause forbidding them to sell their grants until they had occupied them continuously for at least five years. On two occasions he took land away from men who had made little attempt to cultivate it. The progress of farming, however, was inevitably slow, for the settlers possessed few resources, inadequate tools and little experience. By December 1792 they had cleared little more than 517 acres (209 ha), owned scarcely any livestock and were still mostly dependent on government aid for survival.
Although Phillip's reputation as an administrator must rest primarily on his work on the mainland of New South Wales, Norfolk Island also came under his control. In 1787 he had been ordered to settle this potentially useful spot to forestall occupation by any other power. On 12 February 1788 he made P. G. King the first commandant and two days later dispatched him to the island with a party of twenty-one, including fifteen convicts. Others were sent later mainly to ease the famine in New South Wales. By late 1792 the population totalled 1115 persons, and the island's activities, which at first had been dominated by government enterprise, were diversified by settlers from the marines. Effort had also been made to grow flax though little had been accomplished. The real burden of controlling these and other developments fell on the rulers on the spot, successively P. G. King, Major Ross and Captain William Paterson; nevertheless Phillip was in constant communication with them and as the person responsible for the island's management laid down some of the principles on which their actions were based.
On 11 December 1792 Phillip sailed for England in the Atlantic to seek medical attention for a pain in his side which had involved him in constant suffering. His work in New South Wales has been widely commended and, given the circumstances under which he was obliged to operate, it is difficult to see how he could have accomplished more than he did. Many of his hopes, including those for the encouragement of whaling off the coast which he recommended very strongly, were not realized. Despite these frustrations he retained his optimism to the end, displaying a fortitude and sense of duty that carried him through periods of great difficulty and physical pain. He left at a time when developments loomed which were to undo much of his work. One consequence of the discovery of the settlement by overseas merchants was that in increasing numbers they brought cargoes including liquor for sale. Phillip recognized the dangers of permitting the convicts to obtain spirits and the one occasion, in October 1792, when he allowed it to be sold to the other residents confirmed his fears, for there was widespread drunkenness and disturbance. The episode was not repeated but it must remain a matter of doubt whether, had he stayed much longer, Phillip could have countered the many problems that were to arise from the liquor trade. Similarly his departure preceded by only two months the arrival from London of orders allowing civil and military officers to own land, an event which provided these men with an opportunity to promote their interests and heightened the possibility of their conflict with a governor anxious to favour no single element in the community. It was perhaps fortunate that Phillip was unable to follow his original intention of returning to Port Jackson once his health was restored, but medical advice compelled him formally to resign on 23 July 1793. One of his first tasks upon returning to England was to raise an additional company for service with the New South Wales Corps; this was his last practical contribution to the settlement but he maintained an interest in its affairs and continued to be consulted on them for some time, though his recommendation of King as his successor was turned down.
By 1796 Phillip had sufficiently recovered his health to resume active naval duties. After successively commanding several ships, of which the last was the 98-gun Blenheim, he was given a shore appointment in 1798 as commander of the Hampshire Sea Fencibles whose purpose was to defend that county against invasion by Napoleon. Early in January 1799 he became a rear admiral of the Blue and soon afterwards was given charge of the Sea Fencibles throughout England. This task fully absorbed his energies and involved him in much travelling and administrative work until he retired in 1805. The last nine years of his life saw him steadily advancing in the naval hierarchy while living in retirement at 19 Bennett Street, Bath, with his second wife Isabella, née Whitehead, whom he had married on 8 May 1794. He died on 31 August 1814 three months after receiving his last promotion to admiral of the Blue. He left an estate worth about £25,000 and was buried in the church of St Nicholas, Bathampton. A memorial to him is in Bath Abbey, and portraits are in the National Portrait Gallery, London, and the Mitchell and Dixson Galleries, Sydney.
I need more practice on group photos but the place where I usually take photos is small and hard to do poses with SDs T-T
Anyway here my fav ladies atm^^ their image and character are quite different.
Celeste is one year younger and more mature than Nari (who can get very childish)..
Nari is easygoing and pretty much friendly with all while Celeste just want to be alone (nari won't let her though).
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the General Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! (here the General Garibald with an his soldier ...) ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! (Qui il Generale Garibaldi con un suo prode Garibaldino ... ) ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
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The " hooch " Chattachoochee River, North Atlanta, Georgia, USA, Earth--
WHAT EVER HAPPENED TO...The Ramblin' Raft Race
It's remembered as "a wet Woodstock" and "Freaknik minus the traffic," but if you really want to understand the cultural phenomenon that was the Ramblin' Raft Race, look no further than the decade in which it thrived.
The annual Memorial Day weekend Chattahoochee River "race" — more like a crawl and less competitive than spring training baseball — served as the unofficial kickoff to summer for Atlantans throughout the 1970s. At its peak, more than 300,000 rafters descended upon the once-sleepy Chattahoochee, and they brought the freewheeling, free-lovin' era along for the ride.
"There were no rules or regulations," said Jerry Hightower, a ranger with the Chattahoochee National Recreation Area who attended all but the first two years of the festival. "It came out of that Woodstock mentality, the whole back-to-nature mindset."
Inhibitions were left ashore as rafters meandered along the scenic course from Sandy Springs to Vinings. Clothes were shed, grass was smoked and authorities consented to look the other way.
"It was all good, clean fun," Roswell airline pilot and raft race veteran J.J. Jordan said between chuckles. "Man, everyone was there. It was like a week of Spring Break crammed into one day."
Fittingly enough, a group of Georgia Tech fraternity brothers originated the event. "The next year, we had over 1,000," said Larry Patrick, who now raises catfish on the Broad River in Kings Mountain, S.C. Word quickly spread as radio station WQXI became a sponsor and promoter. By the mid-70s, hundreds of thousands of revelers were crowding the Chattahoochee to either watch or participate. That year, the Guinness Book of World Records dubbed it the world's largest spectator sporting event.
One of the race's more wholesome trademarks were the clever and often elaborate raft designs. Patrick recalled his first vessel, "built with cross ties." A department store mannequin served as the makeshift figurehead.
There were Tiki huts, improvised Titanics and even automobiles floating down the 'Hooch. Some structures took months to realize, though most rafters opted for a humbler craft.
"I remember seeing so many guys just sprawled out on an inter tube with a cooler of beer tied to the back," Jordan said.
The easygoing vibe began to change in 1978, when President Jimmy Carter signed a bill creating the Chattahoochee River National Recreation Area. New management took over, and before long the feds were openly fretting about controlling the "thousands of beer-swilling, dope-smoking rafters," as reported by The Atlanta Journal-Constitution in 1980.
Citations for drunk and disorderly behavior started to be issued. Then, in the event's final year, a rafter drowned, the only fatality recorded in the festival's history.
After the 1980 race, officials informed organizers they would no longer pay for security and cleanup. "The budget had for it had grown so big, it was just hard to keep up," Patrick said.
An inevitablity, perhaps, as the times were a rapidly changin'. Hot tubbing and hip huggers were out; aerobics and designer jeans, in. Sobriety replaced frivolity. A popular song declared, "it's hip to be square."
Casual debauchery and rafting were no longer hip.
"The race had begun to set a tone that wasn't the best for the river," Hightower said. But it's impact extends beyond hazy memories of a bygone era.
"There's no doubt the festival helped the Chattahoochee become what it is," he said. "Before it started, the river was under assault by developers. It was almost forgotten. Now you had a whole generation of people who were taking in the extraordinary beauty of the place."
drive.google.com/file/d/1jKyxYKzCTXHoNK-mCD-FP8XFnXtJzpu-...
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