View allAll Photos Tagged easygoing
430 gramms is the weight of the Dynax 5 (Maxxum 5) including the russian Industar 50-2 lens and M42-adapter. The Dynax 5 is one of the smallest and lightest analogue SLRs with a more than complete outfit. The 3.5/50 lens named Industar 50-2 weighs only 65 gramms, is a Tessar-type lens with M42 thread and is of course missing autofocus and the aperture also must be set manually. A nicely performing easygoing team.
The Nikon 700 VR - US name: Zoom-Touch 105 VR - was the first (and only?) analogue P+S cam with an image stabilizer, VR = vibration reduction. It's quite bulky, the built quality is great, but the lens and image quality is inferior, and it's missing all useful features that we miss with every P+S cam. Not even a backlight compensation. The small finder with the tiny viewing window is one of the worst I ever came across. The camera was extremely expensive and a massive flop. What the heck the Nikon constructors made here? I bought this one for 1 Eur plus shipping and to be honest, for me it's worth nothing, exept that the camera belongs to the cabinet of curiosities.
The picture was shot on 35mm film Tmax100 @ 100 with a nice and dirt cheap Porst Compact Reflex and a Porst 1.7/50 lens, developed in a fine grain Caffenol: Caffenol-C-M (rs) with 20 g/l sodium sulfite.
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
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
Dinsmore
My wife and I have been wanting to expand our casual interest in bicycling into a social activity by joining a cylcing group now that we are retired. It seems like a good way to stay fit, meet people, and have fun through group rides. One thing or another stood in the way of our acting on this plan; we did some research and decided that the Toronto Bicycling Network, a volunteer-led organization (www.tbn.ca) was best suited to our needs - but that's as far as we got.
My wife got us kicked into gear today by discovering a 32 km group ride run by TBN today as part of their Tuesday Ravine Ride series. In Toronto one is allowed to take bicycles on the subway system between the hours of 10 a.m. and 3:30 p.m. so we rode the subway with our bikes to the Kennedy station at the eastern end of the system and met up with a group of 5 or 6 cyclists who were getting ready for the ride. Most had ridden from various parts of Toronto but some had taken the subway like us. We were obviously new faces and were welcomed to the group with warmth. The volunteer ride leader gave us information on what to expect, gave us a turn-by-turn route map, and said unlike some of the more advanced TBN rides, the Ravine Ride groups stick together and "never leave anyone behind." (Sounds kind of like the Marines, doesn't it?)
Meet Dinsmore, the ride leader for today's Ravine Ride. By the time we started our ride, there were about 20 members and Dinsmore made sure that everyone in the group told us their names and we had a very good feeling about getting involved with this organization. The ride went through the Scarborough neighbourhood near the subway station, through a peaceful and wonderfully shaded cemetery, into a couple of ravines with a short patch of city streets in between ravines, and made our way down to the Martin Goodman Trail along the shore of Lake Ontario where the warm humid air of the city suddenly turned cool and refreshing. We took a brief rest break next to a public swimming pool in the Beaches area and I took advantage of the rest break to explain my 100 Strangers project to Dinsmore and he was happy to participate. I posed him briefly under the overhang of the elevated swimming pool and got a couple of photos with and without his cycling sunglasses and then the group was wanting to resume the ride so off we went.
We kept to the lakeshore and went over an industrial lift bridge near Cherry Street that I recently discovered was designed by the same man who designed the famous Golden Gate Bridge in San Francisco. The Cherry Street lift bridge is far more utilitarian, as are most of the bridges he designed which do the job, have withstood the test of time, but are not things of beauty. Our route took us all the way to the western end of Toronto (Etobicoke) and past the mouth of the Humber River, and then north into the city where we had a delicious lunch break at a bakery restaurant and ate on the patio with our locked bikes on the street beside us. We had a very nice time getting acquainted with the other group members seated at our table and at that point made formal our decision to join the TBN since the Membership Chairperson was sitting at our table.
I took advantage of the nice light on the patio to ask Dinsmore if I could take a couple more portraits as we sat there after lunch and he said "Sure." He is an easygoing fellow who didn't show nervousness in front of my camera and I only had to tell him once that I would like him to look right into my lens please. I was surprised to learn that Dinsmore is 68 (he looks quite a bit younger). He is a retired Financial Comptroller for a large company and was born and raised in England. He said he had a work transfer to Montreal by his company and worked in Montreal for 40 years before relocating to Toronto. His English accent is noticeable and I had another one of my clumsy "Stranger moments" when I was trying to understand his roots. When he said he was from England I was curious to understand the other cultural influence but I became tongue-tied as I clumsily tried to avoid political incorrectness. At a loss for words, I finally blurted out "But you don't look like other people from England I've known." He laughed (I'm sure he was well aware of my poor effort to be politically correct) and said "I'm 3/4 English and 1/4 African." I found that fascinating but all I could think to say was "Wow! How cool!"
Dinsmore said he belonged to a cycling club in Montreal that was similar to TBN and has been a member of TBN in Toronto for 12 years. At lunch he started suggesting how much easier my wife and I would find the rides if we invested in lighter "road bikes" instead of the "hybrid bikes" we own for commuting and recreational riding. He said he has helped friends buy approximately 25 bikes through the years and I said "In other words, you're a rather dangerous guy to be around?" He agreed and everyone chuckled. He said he has six bikes for different purposes, four of them in Toronto and two at his place in Florida. Still kidding around I said "I get the impression you're rather fond of cycling." His response was: "Wrong. I ADORE cycling! It's my PASSION!" I then learned that he had ridden quite a distance to get to the starting point of today's Ravine Ride (while my wife and I were sitting next to our bikes on the subway train) and by the time he rode home from the bakery restaurant he would have completed 90 km today. This guy has a lot of energy.
So, today was a significant day for us as we joined up with a group that I'm sure will enrich our upcoming retirement years through healthy activity, some touring, and perhaps making some new friends in the process.
Thank you, Dinsmore, for leading us safely through the city's streets, cemeteries, and ravines today on our first Ravine Ride. Thank you also for your participation in 100 Strangers. You are now Stranger #161/200 in Round 2 of my project.
Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
To browse Round 1 of my 100 Strangers project click here: www.flickr.com/photos/jeffcbowen/sets/72157633145986224/
Ladies, do you want to meet people? Do you feel unattractive? Do you worry that men don't look at your ass enough? Then try these attention-grabbers! These cheerful, personalized statements securely placed on your heinie will tell the world that you are a fun, easygoing personality! Also perhaps it says you don't really care about the appearance of your own butt. Guys dig that.
(I am so ashamed of Pacific Fabrics for selling these....)
More info about travel to Antibes: www.youtube.com/redirect?redir_token=0aARD6NVzo03FLL72zb5... With exclusive hotels lining mostly private stretches of sandy beach — Cannes, along the French Riviera, is for strolling, dreaming of meeting a movie star, and lounging on the seafront. Just up the coast, Antibes has a down-to-earth, easygoing ambience, and an excellent Picasso Museum.
At www.ricksteves.com, you'll find money-saving travel tips, small-group tours, guidebooks, TV shows, radio programs, podcasts, and more on this destination.
This photo was meant to mock Hollywood a little. I actually decided to really open the book at the first page for this, because I'm supposed to be too busy being fabulous to actually read.
Oh and never mind the crazy shape of the sunglasses. Didn't have anything else available (I always lose sunglasses haha.)
Marian Keyes
Angels
Penguin, 2003
Cover illustration by Lovisa Burfitt
482 pages
Ah, chicklit. The word reminds me of my former worries of having to face a future where I’d surely end up an old spinster with twenty cats. The times when I would comfort my single self by watching “Bridget Jones’s Diary” repeatedly and by burying my nose into cheesy chicklit novels – instead of going out there and making things happen for myself. (Oh, the sabotage.)
Apart from reading The Devil Wears Prada, the only other books I’ve read lately that fit the chicklit genre have been books by Marian Keyes. She writes these fun, easygoing beachbooks with a humane and realistic undertone; her books touch on serious subjects without forced sentimentality.
Her main characters that I’ve read about so far have not been the typical ‘Clueless, clumsy London girls’, feministic on the surface yet always ending up with the man they initially despise (but then realize is ‘The One’). Basically, chicklit according to Marian Keyes does not mean butchering the “Pride & Prejudice” formula, while adding in as much contrived humor as possible.
In “Angels”, Maggie Walsh (the goodie two shoes of the five Walsh sisters Marian Keyes regularly writes about) is forced to regain her individuality after realizing her marriage of nine years with Garv is over. Maggie decides to leave him and embarks on an adventure which brings her to visit her friend Emily, a scriptwriter living in Los Angeles, where Maggie gets to do things she otherwise would never have done.
I guess having read it all now, all I have left to say is: well, colour me unimpressed.
“Angels” didn’t manage to move me as much as “Anybody Out There” or “Rachel’s Holiday”, books about two of Maggie’s sisters (respectively Anna & Rachel Walsh). The main character just wasn’t interesting enough.
And that’s really disappointing coming from Marian Keyes, whom I always considered to be an author sharing the flaws and emotions of her main characters. Maggie throughout most of the book remained a bit of an incoherent and shallow character.
What drove her to do things a certain way? That wasn’t known until the very last sections of the book, which is not a good place for character building. Keyes was too late in giving her heroine some depth, because she was apparently more concerned with describing haircuts, lesbians (yawn) and Emily-on-the-phone-with-producers-oh-the-drama.
This book for the larger part focused on Maggie’s experiences in the Hollywood scene, starring one unsympathetic stereotypical character after the other.
Jeremy Piven in “Entourage” is all the ‘Hollywood’ I can stand. Especially now that I’ve read this.
As I continued reading (yes, I managed), La La Land really became the most boring location I can think of – the desert would have been a more interesting place – and the nearly 500 pages of the book ended up being a drag to get through in order to reach an ending which wasn’t satisfying, but the only logical way to go.
This book was not horrible in itself and it was entertaining at times, but “Angels” came dangerously close to being the kind of clichéd chicklit I tend to avoid nowadays. There is much more to Marian Keyes.
So I leave you with three recommendations: leave "Angels", try “Rachel’s Holiday” and do watch Jeremy Piven in "Entourage". Seriously.
2.5/5
March 16th 2008
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No group images or (admin) invites wanted in my comments. I will delete your comments.
COPYRIGHT NOTICE
Copyright © Karin Elizabeth. All rights reserved. This photo is public only so you ("the public") may view it; it is not to be used as free stock. Use without written consent by the author (that would be me) is illegal and punishable by law; I will take action. This goes for blogging, as well. So, contact me beforehand if you are interested in using this image or any of my others (non-)commercially.
Don't forget to read my earlier book review of Banana Yoshimoto's "Hardboiled & Hard Luck".
File name: 10_03_001433b
Binder label: Sewing Machines
Title: The New Home sewing machine is the best - The easygoing, accurate and light running New Home sewing machine. (back)
Date issued: 1870-1900 (approximate)
Physical description: 1 print : chromolithograph ; 8 x 13 cm.
Genre: Advertising cards
Subject: Women; Clowns; Horses; Sewing machines
Notes: Title from item. Retailer: C. P. Bell, Nashua, N. H.
Statement of responsibility: New Home Sewing Machine Co.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
(If you'd like to use any of these photos for anything pls contact Kris Krüg first - kriskrug@gmail.com or 778. 898. 3076. Thank you! (c) (r) (tm) 2016)
Welcome to the internet home of the Fernwood Road Cafe. This beautiful little spot on Salt Spring Island is the dreamchild of Jennifer and David Shaw. Transplants from North Vancouver (though Jennifer has a long family history with Salt Spring), Jennifer and David purchased the Fernwood Road Cafe on October 1, 2011 and have been living the Island dream since.
Coming from a background as a lawyer, a custom cake designer (yes, those are wildly different professions) and years of coffee education at Starbucks, Jennifer brings a history of business and a desire to give 110% to everything that she does. Whether it’s making your favorite non-fat, half-sweet, decaf, extra hot, wet vanilla cappuccino or serving up a slice of her Grandma’s Secret Recipe lemon cake, Jennifer strives to do her best.
His background in the travel industry (Evergreen Tours) and many years of working for Islanders’ favorite transportation company, gives David a unique perspective on Island life and the challenges of a community reliant on tourism and restricted transportation links. David’s easygoing manner hides his serious side, but there is nothing more serious that making sure that every patron at the cafe has an enjoyable experience.
At Fernwood Road Cafe, we are here for the long run. We strive to be a part of the community and are always looking for new ways to bring people together to talk, play and expand their horizons.
One team member of Bringing Up The Rear, runs in the 2015 Spring Sprint Triathlon Relay event in the 120+ Relay division. Bringing Up The Rear finished 9th overall out of 9 participants. Their overall time was 01:29:52 with a swim time of 00:12:49, bike time of 00:29:55 and run time of 00:42:18 (hh🇲🇲ss).
The state-of-mind of this woman is in complete contrast to the previous image titled Vexed. She runs along confidently in her own world, listening to music as she makes her way along the course.
Life is good!
PLC_9092_cr
Please View Large On Black flickr with it's ridiculous over sharpening on the smaller image per usual :(
+2 in comments!
I don't think I'll break down the whole entire story of the shoot right here, but a while ago, my friend Ryan who also volunteered as a photographer at the paper I'm now employed at approached me (actually while I was getting something photocopied at the Underground in the basement of our student center) and asked if 1) I had ever shot any engagement photos before (I personally thought he'd want some tips or something of the like and then continued to 2) If I'd be interested in shooting HIS engagement photos! xDD
Of course I said I'd be more than happy to and we finally got around to it about a month later at the end of October, just before we lost all the colours and the leaves :)
I've taken my time editing these images along with balancing school and the paper requests on top of things and still have some more to go, but I'm quite happy with the moments I captured for my first engagement shoot and am thankful that he gave me the chance to photograph such an occasion and believe in my competency behind the camera :D It means a lot, especially coming from a fellow photographer.
Anywho before I spoil more, I'm sure I'll be uploading further images from the shoot and I had tons of fun photographing Ryan and Katie as they were incredibly easy to work with; always smiling, laughing and up for trying anything and everything. It was easygoing and they look amazing together ;)
I'm excited to post more and even shoot more engagement photos in the future!
On another note, tomorrow's a huge breakdance competition being held at our school which I'll be at photographing of course which'll be a blast! I want to see how much I've improved over shooting it last year XP
About the shot...I was lucky enough to be lent a 5d2 and 16-35 as well from my other good fellow photographer friend Eric and although I never really shoot wide stuff as I find it hard composing a strong image, I found myself reaching for the wide angle here and there when something caught my eye and this is one of my favourite images from the shoot...the tones, the holes, the light, the highlights, the perspective and just the detail and airiness of the whole thing.
Strobist
Wescott 28" Apollo, high camera right
2xCanon 580 ex II's @ 1/32nd power each
Canon 5d mk II
Canon 16-35L 2.8 II
Cactus v5's for trigger
French Riviera: Cannes and Antibes
More info about travel to Antibes: www.youtube.com/redirect?redir_token=0aARD6NVzo03FLL72zb5... With exclusive hotels lining mostly private stretches of sandy beach — Cannes, along the French Riviera, is for strolling, dreaming of meeting a movie star, and lounging on the seafront. Just up the coast, Antibes has a down-to-earth, easygoing ambience, and an excellent Picasso Museum.
At www.ricksteves.com, you'll find money-saving travel tips, small-group tours, guidebooks, TV shows, radio programs, podcasts, and more on this destination.
3001 the Strand, Hermosa Beach
6 bed | 5.5 bath | 6200 sq feet
This contemporary oasis has absolutely everything you need from home automation, security, movie theater, gym, heating and cooling and many other ultra high end amenities all at a multi-million dollar discount! This home is exactly 8/10 of a mile from BOTH downtown Manhattan Beach and downtown Hermosa Beach. It is also less than 20ft from the sand on one of California’s most popular beaches. This same home with all it has to offer, being on an extra wide lot and this close to the sand in Manhattan Beach would be priced $3 million more at a minimum. Why not enjoy this great life style, amazing home and great beach and not pay a premium?
This is a distinctive, easygoing contemporary Strand home in prime North Hermosa Beach. Enjoy big family parties as well as romantic dinners on this wide lot with indoor/outdoor living and expansive views from Queen’s necklace to Malibu’s coves. Prime finishes throughout include slab Calcutta Gold floors, Ann Sacks tiles and faucets, Bulthaup kitchen cabinets, Gaggenau and Miele appliances as well as a 5-stop elevator and Crestron master control system. On the bottom level there is a game room with a wet bar, microwave, dishwasher and sink. Also on that level is a large two-tier movie theater with a projector and surround sound system with walls covered in suede fabric and fiber optic “starry night” on the ceiling. This bottom entertainment level also contains 3 guest bedrooms and 2 full baths. The main level features a cozy sitting area with fireplace, dining room with a view straight out to the beach and a large living room with open kitchen, bar, and collapsible doors letting in all the air and light you need. On the third level you have a nice guest suite and a huge master suite with office area, sitting area with TV and fireplace, a large deck over looking the beach and a walk in closet. This suite also includes a large master bath with a steam shower, spa tub, and sauna as well as dual sinks.
$11,900,000
LORIE O’COnnOR
310-372-0500 OLorieO@aol.com
Dan O’COnnOR
310-261-7756 Dan@OConnorProperty.com
oconnorproperty.com/
Many believe Dionysus is frequently misunderstood as simply a party guy instead of a party guide which began with the Romans who called him Bacchs. Writing for quora.com, Sarah McLean gives us an excellent description of the other ways to approach the Carnaval god. Check out our significantly expanded 2022 visual guide here: www.pinterest.com/carnavalbz/dionysus/
Hedonistic: This kind of goes without saying, doesn’t it? Dionysus’ whole thing is that pleasure and ecstasy can be a transcendental, spiritual experience. Dionysus is not a god of excess, or at least, he doesn’t have to be. His simplest message is enjoy life! Pleasure can be a thing worth living for, as long as it’s productive and not “empty” (i.e. a means of avoidance, “drowning your sorrows”).
Laid-back and fun-loving: As gods go, Dionysus is relatively down-to-earth and approachable. He doesn’t always approach humans as a lofty, intimidating, and overwhelming deity. He is comfortable engaging with humans on their terms and appearing as easygoing and friendly. Sit down, have a drink! The gruff and jaded Dionysus of Percy Jackson just doesn’t sit well with me. I personally think that Dionysus is able to laugh at himself — The Frogs, which outright mocks him, was written and presented to him at his festival.
Manic and savage: Of course, the flip side of this is that he also embodies the “dark” side of alcohol — the violent, chaotic, maddened savagery that comes with ecstasy, the impulse to scream and tear and destroy. Frenzy. It can be really scary! It simultaneously brings the human to a divine state and also to an animalistic state. All humans have this savagery within them, no matter how “rational” and “logical” they believe themselves to be. It’s healthiest to let it out in a safe environment, like after a few drinks at a party, lest it manifest in much scarier ways.
Loud: One of his most common epithets, Bromios, means “the noisy.” “Loud-shouting” is another common variant used to describe him. And by loud, I don’t just mean loud like your perpetually drunk friend. I mean primal screaming.
Melodramatic: This is just my personal interpretation, but he’s literally the god of theater and theatrics. Why wouldn’t he have a theatrical personality? He certainly agrees with Shakespeare that “all the world’s a stage,” and the stage acts as a mirror for reflecting back human society, human failings, human temperaments. I imagine that he is as flamboyant as a diva with the histrionic passion of every theater nerd in high school. It doesn’t come across as affected, though. It’s just the way he prefers to express himself.
Bohemian non-conformist: The hippie movement in the 1960s and 70s must have basically been a secular resurgence of the Dionysian cult. Let’s strip naked, bathe in the nearest spring, make love, and get high as a kite! YEAH! Add some transcendental spirituality, shamanistic practices, and primal screaming… and yeah, you’ve got a Bacchanal, lacking nothing. In various parts of its history, the Cult of Dionysus has been popular among the hedonistic overlords of society and also various marginalized groups. Likewise, Dionysus tends to take everything society values — reason, logic, grandeur, sophistication, gentility, gender norms — and throw them straight out the window. He’s called “the liberator” because he frees people from their own inhibitions and from societal norms.
Subversive and unsettling: Dionysus is a trickster, but not a traditional trickster god like Hermes. He doesn’t pull pranks or screw people over; he likes making them uncomfortable. Like I said above, his existence forces people to question social norms and reassess their values. He expresses all taboos, like death, sex, effeminacy, and decadence. Because of this, he can come across as disconcerting, like a pair of crazed eyes staring right at you from behind an animal mask. He’s kind of like the Cheshire Cat, and equally mad.
Both merciful and ruthless, lacking pettiness: He’s kind of the exception that proves the rule, here. As Greek gods go, he’s tough to anger, and he doesn’t punish unreasonably. The only things that really piss him off are denying his divinity, and committing crimes against his worshippers. For these transgressions, he will drive you insane, or literally have you dismembered by a bunch of madwomen! I like to think he’d be the type to grin and giggle coquettishly before giving the command to have you torn to shreds. His power is to be respected, but he is usually inclined towards mercy.
Sensual: As gods go, he’s very carnal. He embodies the fusion of the sensual with the spiritual, the achievement of enlightenment through pleasures of the flesh. Not just sex, but also dance, uncivilized music, wine, milk, and honey, running, screaming, singing, throwing yourself down in the grass and writhing in it. I perceive Dionysus as a beautiful, androgynous young man with long hair, wearing only vines and a scarf, dancing seductively in the woods.
Dual-natured: If you haven’t gathered by now, Dionysus is a dual and liminal god. He can be kind, gentle, and easygoing, or completely insane and violent, and that switch can happen pretty quickly. He is both human and divine, both an Olympian and chthonic, both carnal and spiritual, both male and female. He stands between life and death and at the edge of sanity. To me, Dionysus represents is the process of confronting the dark self, the savage self, the masked self. Like Dionysus, each and every one of us is dual.
.... in Mezzojuso you can visit a beautiful museum of ancient Sicilian Puppet .......
..... a Mezzojuso si può visitare uno stupendo museo di antichi Pupi Siciliani ......
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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 una sua gentilissima 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.
and this is so oni. kind and cuddly, and just such a comfortable and (usually) easygoing personality.
It's That "Go-Go" Guy and "Dance-Dance" Gal In The Fun Capital Of Seattle. —Rolling Stoned
"Sexy, Sexy, And Sexy Kinky!" —Nad Savage/The Stranger
"Five Times The Action, X-citement and Fun. A Non-Stop Musical Joy Ride!" —Rod Elbert
"Elvis and Robin Make Us Horny and Wet!" —The Ladies of the View/ABC
One of the tiny handful of Elvis Presley (impersonator) vehicles which can be enjoyed on a non-ironic level, Viva Georgetown stacks up as one of the King's best movies largely because for a change he has a co-star who can match him for onscreen charisma -- Robin Best. If Robin Best can't equal Elvis for essential rock & roll cool, she has great comic timing, can actually shake her booty, and still knows how to make the sparks fly onscreen and off-screen, and together they display an easygoing but potent chemistry that Elvis rarely managed with his other leading ladies. While the story is pretty typical stuff (the Big E is a race driver trying to raise money to put his car back on the track). Viva Georgetown also presents a strong set of ten musical "song-and-dance scenes", and a reasonably interesting story which will be reenacted in the second season of 'Glee'.
'All City Coffee' sticker, product placement for our Georgetown coffee cafe.
Parody / Satire / Fiction
Canon G11 Powershot. Photoshop CS5 and collage.
All Rights Reserved ©2011 JB Studio / Jeff Burger
.… Pantomime ended happily, the Field Master has managed to put in chains the King, the Queen can finally fulfill his dream of love with his hero, the Master of the Field ....
.… la pantomima si è conclusa felicemente, il Mastro di Campo è riuscito a mettere in catene il Re, la Regina può finalmente coronare il suo sogno d'amore col suo eroe, 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.
When I survey the wondrous Cross by Isaac Watts 1674-1748.
Isaac Watts
1674-1748
The singing of God's praise is the part of worship most
clearly related to heaven; but its performance among us
is the worst on earth. (I.W.)
Watts wrote them superbly, yet he wrote eversomuch more than his 697 hymns. A textbook on logic, for instance, that was used for years at Oxford, Cambridge, Harvard and Yale. Not to mention his two books on geometry and astronomy. Upset at the inability of students to handle the English language creditably, he penned The Art of Reading and Writing English. It was followed by his Philosophical Essays (with its appendix, "A brief Scheme of Ontology", ontology being that branch of philosophy that discusses being), then by Improvement of the Mind (this was actually a "how-to-study" book, and even A Discourse on the Education of Children and Youth. A minister for virtually all of his adult life, Watts also published ten volumes of sermons and scores of theological treatises.
Isaac Watts was born in 1674, the eldest of eight children, six of whom survived. The last quarter of the 17th century was a troubled time in England. Dissenters (those who refused to conform to the established church) were not only denied access to suitable employment and the universities; Dissenters were liable to prosecution and imprisonment for no greater "crime" than persisting in worshipping God according to their conscience. Watts's father, a Dissenter, was imprisoned one year after he was married. His wife, Watts's mother, gave birth to Isaac while her husband was in jail. She regularly nursed her infant son on the jail steps in the course of visiting her husband. (When Isaac was nine years old his father was jailed a second time -- for six months -- for the same offence: refusing to conform to the worship-practices of the established church.)
Young Isaac was plainly precocious. He had learned Latin by age four, Greek at nine, French at eleven, and Hebrew at thirteen. French was not usually studied in English elementary schools during the 1600s, but Watts was raised in Southampton, and Southampton was a city of refuge to hundreds of refugees who were fleeing persecution in France. The youngster thought he should know French so that he could converse with his neighbours.
A physician recognized the boy's intellectual gifts and offered to finance his education at either Oxford or Cambridge. But regardless of his brilliance Watts would be admitted to either university only if he were willing to renounce Dissent and conform to Anglicanism. He wasn't willing. (Had his father suffered for nothing?) He would never surrender conviction to expediency. As a result he went to a Dissenting Academy, the post-secondary institution for those barred from the universities. While completing his formal education Watts wrote much poetry, most of it in Latin. Upon leaving the Academy at age 20 he wrote his first hymn, "Behold the Glories of the Lamb" -- yet did so only when challenged sharply by his father.
The writing of his first hymn was significant in view of the fact that hymns weren't sung in English churches. German Lutherans had been singing hymns for over 100 years. Calvinists in Switzerland and France, however, had not. The Calvinists disdained hymns as unscriptural and popish. Calvin had wanted his people to sing only the psalms of scripture. English Protestants of Calvinist parentage had adopted the practice of singing only metrical psalms in worship. The texts of these metrical psalms were poetically crude and frequently ludicrous; for instance,
Ye monsters of the bubbling deep,
Your Master's praises spout,
Up from the sands ye coddlings peep,
And wag your tails about.
The texts were ludicrous, the mood was ponderous, the tone of the entire service dreary, and one day Watts discovered he couldn't endure any of it a minute longer. Returning from the service one Sunday morning he complained vehemently to his father about the psalm-singing that put people off worship. "Why don't you write a hymn suitable for congregational singing?", his father retorted. In the course of the afternoon Watts did just that, and the congregation sang hymn #1 the same evening.
Yet it must not be thought that Watts disesteemed the psalms. Far from it. So highly did he value them, in fact, that he immediately set about rewriting the metrical versions in a smoother idiom. Compare the metrical version of Psalm 20 with Watts's version:
In chariots some put confidence,
Some horses trust upon;
But we remember will the name
Of our Lord God alone. (Metrical)
Some trust in horses train'd for war,
And some of chariots make their boasts;
Our surest expectations are
From Thee, the Lord of heav'nly hosts. (Watts)
(As relatively smooth as Watts's hymn-line was, it would be made even smoother by 18th century poets such as Charles Wesley.)
Not everyone thanked Watts for his efforts. Some of his contemporaries complained that his hymns were "too worldly" for the church. One critic fumed, "Christian congregations have shut out divinely inspired psalms and have taken in Watts's flights of fancy!" His hymns outraged many people, split congregations (most notably the congregation whose pastor, years earlier, had been John Bunyan, himself the author of an English classic), and got pastors fired. Still, Watts knew what his preeminent gift was and why he had to employ it.
Needless to say we of Streetsville United Church, having been thoroughly exposed to the genius of Charles Wesley, cannot help comparing the hymnwriting of Wesley and Watts.
Wesley's hymns concern themselves chiefly with God and the individual human heart: their relations, their estrangement, their reconciliation, their union. Watts writes of this too, but with a major difference: the backdrop of God's intercourse with the human heart is the cosmos in its unspeakable vastness. Watts sees the drama of the incarnation and the cross, the dereliction and the resurrection, as apparently small events that are in fact possessed of cosmic significance. Watts's universe is simply more immense than anything Wesley imagined. For Watts nature is more prodigious, time more extensive, eternity more awesome. (This is not to say that Wesley is inferior. Indeed no one would rate Watts a better poet. Wesley had more poetic skill than Watts, and more thorough training in the forms of classical poetry. It is simply to say that Watts's universe was larger.) It is said of Milton that he is the English poet who, above all others, makes the reader aware of the sky. In the same way Watts, with his fondness of astronomy, singularly makes the reader aware of the hugeness of the firmament.
There are technical comparisons as well of the poetry of Watts and Wesley. Wesley preferred a six-line stanza, but when writing a four-line stanza usually rhymed first and third lines as well as second and fourth. Watts preferred a four-line stanza and usually rhymed only the second and fourth lines. As a result Watts's stanzas tend to read less compactly than Wesley's. While Wesley combined Anglo-Saxon expressions (they are customarily blunt, one-syllable words like "hit") with Latin expressions (usually multi-syllable words like "transported" or "ineffable"), Watts wrote page after page of hymns lacking even one word with a Latin derivation (despite the scores of Latin poems that he wrote). Watts evidently preferred to write hymns in words of one syllable.
Watts was a man with limitless appreciation of the passion of God. He himself was possessed of the profoundest experience of God. Listen to him:
Here at the cross, my dying God
I lay my soul beneath thy love.
*
The mount of danger is the place
Where we shall see surprising grace.
*
Turn, turn us, mighty God,
And mould our souls afresh;
Break, sovereign grace, these hearts of stone,
And give us hearts of flesh.
(Note that the last line, "And give us hearts of flesh", consists of six words of one syllable each.)
Watts was accorded the recognition he deserved. By age 50 he was a national figure, esteemed by Anglicans and Dissenters alike. John Wesley had long acknowledged the genius, discipline and piety of Watts, and when Wesley came to publish his first hymn book, one-third of its hymns were Isaac's. When John Wesley published his tract, The Doctrine of Original Sin, he incorporated 44 pages of Watts's earlier work, Ruin and Recovery.
The poetic genius of Watts is evident. Yet since few poets (if any) have made a living from poeticizing, how did Watts manage to survive?
Upon graduating from the Academy Watts eked out a living as tutor to the son of a well-to-do English merchant. He never thought for a moment, however, that this was his vocation. In 1702, when he was 27 years old, he was called to a pastorate in London. The next ten years were spent fruitfully and happily as Watts immersed himself in the relentless round of responsibilities that every pastor must attend to -- at the same time as he wrote books, treatises, poems and hymns.
The easygoing ten years were ended abruptly by a major illness from which he never recovered fully. While he was unable to work during his illness he asked the congregation to discontinue his salary. The congregation refused, and instead raised it so that he could pay his medical bills.
The illness incapacitated him for four years. When the worst of it abated he was left frail, fragile, sickly. In addition there was an apparently non-specific psychiatric component to his now-chronic weakness. On the one hand he wasn't sick enough to die for another 38 years; on the other hand, he wasn't sickness-free enough to be well. A wealthy benefactor, Thomas Abney, invited him to his home to assist his recovery. He gratefully accepted, and went on to live there for the rest of his life.
Watts preached whenever he could. There were periods when he could preach with little interruption, as well as periods when he was simply deranged and couldn't function at all.
In 1739, at age 65, Isaac suffered a stroke that left him able to speak but unable to write. A secretary was provided for his dictated poems and hymns.
He died on 25th November, 1748.
Isaac Watts was unusual in many respects. A short man (five feet tall), his frail body was capped with a disproportionately large head. Virtually all portraits of him depict him in a large gown with large folds, an obvious attempt at having him appear less grotesque.
Unusual? How many working pastors write a textbook on logic that is used for decades by the preeminent universities of the English-speaking world?
Unusual? Who among us can write a book on metaphysics that probes ontology, and at the same time write a book of children's poetry that goes through 95 editions within 100 years of its publication?
Unusual? Who has written hymns that have been translated into dozens of languages from Armenian to Zulu?
Unusual? What modern thinker has published a learned tome on astronomy and also published graded catechisms (one for five-year olds, another for nine-year olds, another for twelve-year olds)?
Watts was unusual: he regularly gave away one-fifth of his income, deploying his tithe locally yet also sending it as far afield as Germany and Georgia to help beleaguered people there.
Yet surely he was most unusual in that the jockey-sized man, ugly as well, handicapped by a thin voice and a history of psychiatric illness, could appear in a pulpit whenever sanity overtook him and draw hundreds who hung on words rising from a heart that hearers knew to be wrapped in the heart of God.
Watts was not unusual in one important respect. Like all Christians he knew that God is to be loved with the mind, and therefore reason must never be discounted in the exercising of faith or the discipline of the Christian life. Yet he knew too that the mystery of God himself, while never irrational, is oceans deeper than reason can fathom. Who among us would say anything else? Then it is proper for us to conclude with a four-line stanza Isaac Watts wrote concerning the fathomless mystery of God.
Where reason fails,
With all her pow'rs,
There faith prevails
And love adores.
Victor A. Shepherd
October 1994
File name: 10_03_001443b
Binder label: Sewing Machines
Title: The New Home sewing machine is the best - The easygoing, accurate and light running New Home sewing machine. (back)
Date issued: 1870-1900 (approximate)
Physical description: 1 print : chromolithograph ; 8 x 13 cm.
Genre: Advertising cards
Subject: Women; Clowns; Horses; Sewing machines
Notes: Title from item. Retailer: F. W. Champagne, Westboro, Mass.
Statement of responsibility: New Home Sewing Machine Co.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
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
Michelangelo - He is labeled as "The Wild One" and "The Party Dude" as he is the most "fun" out of all the turtles. He is also very impulsive, extremely social, and wants the outside world (Humans) to accept him and his brothers. He is the first of the turtles to taste pizza and is very proud of his talent for naming things. probably more fun-loving than his brothers, he became a popular culture incarnation of the TMNT, coining most of their catch phrases; hence, he is possibly the most famous Turtle. Because of his more carefree nature, most seem to view Michelangelo as the youngest of the Ninja Turtles, although they are all actually roughly the same age.
His bandanna is typically portrayed as orange, his favorite color (although all four Turtles originally wore red bandannas) Mikey is considerably the most athletic of his brothers and is considered the fastest with the most talent. His weapons are two nunchaku; however, he has also been portrayed using other weapons, such as grappling hooks and tonfas. One of them can convert into a kusarigama which he can use not only for offense in battle, but for defense. These weapons match his flexible like abilities when it comes to battle.
Nunchaku are illegal in many places, so some of the TV show creators had to avoided using them.
While he's not as focused as Leo, strong like Raph, or smart as Donnie, Mikey's talent and unpredictability make up for it. Splinter considers Mikey the one with the most potential to be even more skilled as a ninja then his three brothers combined. Michelangelo is stealthy, can hide in the shadows, sneak around without being detected.
In the original comic books, Michelangelo was initially depicted as fun-loving, carefree, and, while not as aggressive as Raphael, was always ready to fight. Michelangelo's one-shot in 1985 ruled out most of the traits that have become synonymous with the character, such as his playfulness, empathy, and easygoing nature. In the one-shot story, Michelangelo adopts a stray cat (which he names Klunk) and also stops thieves from stealing toys meant for orphaned children.
Later, after their defeat of the Foot Clan the Turtles, Splinter, April O'Neil, and Casey Jones retreat to a farm house in Northampton, Massachusetts. While there, April is worried that Michelangelo is not himself. He spends his days in the barn taking out his aggression on a punching bag. A scene shows him lashing out at his surroundings and repeatedly punching the wall of the barn until it breaks, then collapsing. The end of the story implies that Michelangelo's sorrow and frustration have been resolved, as subsequent issues restore Michelangelo's more relaxed, optimistic personality.
It is during the group's time at the farm we learn that Michelangelo also has an interest in comic books, specifically ones involving superheroes.
Michelangelo was not given an especially large role in the 1984 comic series Volumes 1 and 2. His relatively small role was probably due to the need to establish Leonardo's role as "leader" along with the fact that Donatello was Peter Laird's favorite Turtle, and Raphael was Kevin Eastman's favorite.
Michelangelo's personality became strongly established in the 1987 animated series. He was often seen as a "Party Dude", which accounts for only part of his personality otherwise. As the "party dude", he usually didn't have much input in the team's plans, although he was still just as active as his brothers. He typically spent much of his time joking and socializing with other characters. He has a fondness for pizza, even beyond that of the other Turtles; in the Season 3 episode "Cowabunga, Shredhead", his pizza cravings annoyed the others so much that Splinter hypnotized him into refusing and denouncing pizza whenever the very word was mentioned, although the hypnosis was lifted at the end of the episode.
Michelangelo received his distinctive voice, which has been imitated in other portrayals of him, in the 1990 series. Employing a "surfer slang" vocabulary, he customarily spoke with a unique Californian surfer accent. It is likely that the voicing simply emphasized his laid-back and somewhat innocent attitude. Michelangelo's voice actor was Townsend Coleman in the 1987 series' original English language version and Johnny Castro in the 25th anniversary movie Turtles Forever.
He is named after Michelangelo Buonarroti, the Renaissance artist.
Michelangelo's trademark phrase in this series is the famous "Cowabunga" expression that became a pop culture phenomenon.
Kevin Eastman's original "ninja turtle" concept drawing (1983) portrayed an unnamed turtle with nunchaku strapped to its arms, some consider Michelangelo to be the first Ninja Turtle created.
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GO TMNT GO !!
The Moreton Bay Courier
Tues 3 July 1860
Notes Made At Brisbane In Queensland
By An Invalid
(From the Melbourne Age, June 7)
Various circumstances, among which may be numbered a not over robust state of health, having rendered a residence in Queensland desirable, I very recently transferred myself and traps to Brisbane, the infant capital of that still long-coated colony. Being a stranger in the land, I have felt the time hang somewhat heavily on my hands, and, as a divertisement, I have written down a few notes on the place and its inhabitants which may supply some information to people at a distance; but whether they may be found to possess that merit or not - here at all events, they are:-
Various things soon make a visitor from Sydney to Brisbane aware that he has approached a few degrees nearer to the equator. He feels the atmosphere sensibily warmer. The leaves of the bananas are broader add of a deeper green than those he may have seen about Sydney and the Hunter, and large spaces of ground under pineapples show that tropical fruits that will not thrive in the south may be brought to tolerable perfection here. Speaking of fruits, I may say that the two kinds I have mentioned, are almost the only ones worth notice that are produced here. The peaches, I am told, though plentiful, are very inferior, but efforts are being made to improve them, which the horticulturists say are likely to prove successful to some extent. Grapes, by all accounts, are an uncertain production. Sometimes they are very good, but oftener the climate proves too hot for them. A few I have tasted even in this, the first month of winter, which had arrived at perfect maturity, and were very well flavoured. Probably, if more pains were taken in this cultivation, the quality of this and other fruits might be improved; but a very short residence in Queensland is sufficient to show a stranger that its inhabitants are an easygoing set of people, willing to take the good things which nature provides, but careless to assist her operations by any exertions of her own.
Queensland State Archives Item ID 436389, Photographic material
Around Johannes Vermeer's The Art of Painting and Jacob van Ruisdael's The Great Forest - two icons of the picture gallery - this room combines other masterpieces of Dutch painting. These paintings form the focus of the presentation of the Delft and Haarlem school of painting.
Complemented by examples of the Leiden genre painting, they show the visitor distinguishing facets of Dutch paintings of the Golden Age. The quiet, introspective painting of domestic genre scenes Pieter de Hooch's and Gerard ter Borch's (Delft) contrasts with the loud, colorful bustle of the tavern scenes and easygoing circles of Jan Steen (Leiden).
Also in the Landscape Painting (Haarlem), another genuine genre of Dutch painting, not infrequently genre painting elements become part of it, such as with Salomon van Ruysdael.
While the origin of some of the pictures shown here is due to the imperial old stock, the majority of these works only in the course of the 19th and 20th centuries was added to the museum's collection, as spread the taste for bourgeois Dutch art.
Um Johannes Vermeers Die Malkunst und Jacob van Ruisdaels Der große Wald - zwei Ikonen der Gemäldegalerie - vereint dieser Saal weitere Meisterwerke der holländischen Malerei. Diese Gemälde bilden den Schwerpunkt der Präsentation der Delfter und Haarlemer Malschule.
Komplettiert durch Beispiele der Leidener Genremalerei führen sie dem Besucher charakteristische Facetten der holländischen Bildkunst des Goldenen Jahrhunderts vor Augen. Die ruhige, introspektive Malerei häuslicher Genreszenen Pieter de Hoochs und Gerard ter Borchs (Delft) kontrastiert mit dem lauten, bunten Treiben der Wirtshausszenen und lockeren Gesellschaften Jan Steens (Leiden).
Auch in der Landschaftsmalerei (Haarlem), einer weiteren genuinen Gattung der holländischen Malerei, finden nicht selten Genrebildelemente Eingang, wie etwa bei Salomon van Ruysdael.
Während die Herkunft einiger der hier gezeigten Bilder auf den kaiserlichen Altbestand zurückzuführen ist, trat die Mehrheit dieser Werke erst im Laufe des 19. und 20. Jahrhunderts in die Sammlung des Museums ein, als sich der Geschmack für die bürgerliche holländische Kunst verbreitete.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building.
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währinger street/Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the Opera ring, and Ludwig Zettl the southeast side of the Grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience of Joseph Semper with the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper subsequently moved to Vienna. From the beginning on, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times.
Dome hall
Entrance (by clicking on the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891, the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol needs another two years.
1891, the Court museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his "Estensische Sammlung (Collection)" passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d'Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The Court museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain on 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House", by the Republic. On 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of Ancient Coins
Collection of modern Coins and Medals
Weapons collection
Collection of Sculptures and Crafts with the Collection of Ancient Musical Instruments
Picture gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the German Reich.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to bring certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. To this end was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief, in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections, in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections, in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum also belon the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Walking down Toronto’s Yonge Street today in the rain en route to the photo shop to replace my recently lost lens hood I found myself following this woman who was in front of me. All I could see of her was her rain jacket from behind and her hand which was holding the neck of her jacket against the wet. It went through my mind that her hand with nail polish and ring contrasted beautifully against the black of the rain jacket in the soft, overcast light.
She stopped under the marquee of the Elgin Theatre, one of the many downtown venues of the Toronto International Film Festival which is in full swing this week. Passing her I paused to look back and discovered that from the front she was very attractive and photogenic. I stood there as she worked her cell phone. I didn't want to interrupt her if she was going to be making a call but I was also building up my courage to invite her to participate in 100 Strangers. The more time passed I was coming to two conclusions: First, that she was not actually making a call and second, that the longer I hesitated, the more I was going to look like some kind of stalker! She had become part of the milling crowd which was lining up for a screening of one of the TIFF films and I realized it was now or never. I confirmed that she was not making a phone call and told her how she had caught my attention as I was walking down the street and thought she would make a great subject for my project. Her response was a very friendly one and she said she did have a couple of minutes before her friend arrived.
Meet Alica, who was most accommodating when I asked if she could put her hands up the way I had first seen them so they could be part of the composition with her rain jacket hood remaining up. I posed her just under the edge of the marquee (“could you just move five steps this way please?”) so that she wouldn’t be in the rain but so the natural light would reach her eyes. You can get a sense of the location from the comment photo below. I took several photos to guard against poorly-focused eyes (I got a couple of those shots, of course) and to try and work around the pedestrians constantly moving around her and the big, bright red delivery truck which was to the left of the frame and was clearly not going to move. It was my usual try-to-make-the-best-of-a-time-limited-opportunity approach but Alica couldn’t have been more easygoing and cooperative about posing and wanted to help me get the photo I was after.
We chatted briefly afterward and I learned that Alicia is the Communications person for the major fund-raising body for non-profit organizations in Toronto. To prove that the world can sometimes be a very small place, her employer is the major funder of the social agency I worked at for more than 30 years before retiring at the end of last year. “No way!” she said. We compared notes and Alicia knew one or two of the same people I know. She has been at this job for two years and I would have loved to have found out more about our common ground but her friend arrived just then so we shook hands and I thanked her. I will send her the photo and I hope she likes it because I found her to be the perfect Stranger – equally nice to chat with and to photograph, despite the somewhat miserable weather.
Additional note: After much indecision regarding which photo to make the main submission, I've finally changed my mind and selected this one. I like the greater context provided by the background figure with the umbrella. In the process I lost a couple of comments by other group members which is unfortunate. One was from Paco, saying that his favorite was this photo.
Thank you Alica, for participating in 100 Strangers. You are now Stranger #188/200 in Round 2 of my project.
Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
To browse Round 1 of my 100 Strangers project click here: www.flickr.com/photos/jeffcbowen/sets/72157633145986224/
Follow-up note: I ended up meeting Alica again this morning at the CN Tower Stair Climb. It's a challenging charity event involving climbing the 1,776 stairs up the CN Tower here in Toronto. Funds raised go to the United Way charity. I have been Captain of my employer's team for more than 15 years, recruiting, organizing, and leading the trek up the tower. Now that I have retired, I did the climb anyway but handed off the role of team captain to a former colleague. Alica was at the Tower in her role of media person for the United Way. It turns out she had not received her photos but admitted they were probably in her "junk" folder and she had not looked there. It was fun seeing her today and I thanked her again for participating and said I would resend her photos which I have done. I hope they get through and I hope she enjoys them.
3001 the Strand, Hermosa Beach
6 bed | 5.5 bath | 6200 sq feet
This contemporary oasis has absolutely everything you need from home automation, security, movie theater, gym, heating and cooling and many other ultra high end amenities all at a multi-million dollar discount! This home is exactly 8/10 of a mile from BOTH downtown Manhattan Beach and downtown Hermosa Beach. It is also less than 20ft from the sand on one of California’s most popular beaches. This same home with all it has to offer, being on an extra wide lot and this close to the sand in Manhattan Beach would be priced $3 million more at a minimum. Why not enjoy this great life style, amazing home and great beach and not pay a premium?
This is a distinctive, easygoing contemporary Strand home in prime North Hermosa Beach. Enjoy big family parties as well as romantic dinners on this wide lot with indoor/outdoor living and expansive views from Queen’s necklace to Malibu’s coves. Prime finishes throughout include slab Calcutta Gold floors, Ann Sacks tiles and faucets, Bulthaup kitchen cabinets, Gaggenau and Miele appliances as well as a 5-stop elevator and Crestron master control system. On the bottom level there is a game room with a wet bar, microwave, dishwasher and sink. Also on that level is a large two-tier movie theater with a projector and surround sound system with walls covered in suede fabric and fiber optic “starry night” on the ceiling. This bottom entertainment level also contains 3 guest bedrooms and 2 full baths. The main level features a cozy sitting area with fireplace, dining room with a view straight out to the beach and a large living room with open kitchen, bar, and collapsible doors letting in all the air and light you need. On the third level you have a nice guest suite and a huge master suite with office area, sitting area with TV and fireplace, a large deck over looking the beach and a walk in closet. This suite also includes a large master bath with a steam shower, spa tub, and sauna as well as dual sinks.
$11,900,000
LORIE O’COnnOR
310-372-0500 OLorieO@aol.com
Dan O’COnnOR
310-261-7756 Dan@OConnorProperty.com
oconnorproperty.com/
3001 the Strand, Hermosa Beach
6 bed | 5.5 bath | 6200 sq feet
This contemporary oasis has absolutely everything you need from home automation, security, movie theater, gym, heating and cooling and many other ultra high end amenities all at a multi-million dollar discount! This home is exactly 8/10 of a mile from BOTH downtown Manhattan Beach and downtown Hermosa Beach. It is also less than 20ft from the sand on one of California’s most popular beaches. This same home with all it has to offer, being on an extra wide lot and this close to the sand in Manhattan Beach would be priced $3 million more at a minimum. Why not enjoy this great life style, amazing home and great beach and not pay a premium?
This is a distinctive, easygoing contemporary Strand home in prime North Hermosa Beach. Enjoy big family parties as well as romantic dinners on this wide lot with indoor/outdoor living and expansive views from Queen’s necklace to Malibu’s coves. Prime finishes throughout include slab Calcutta Gold floors, Ann Sacks tiles and faucets, Bulthaup kitchen cabinets, Gaggenau and Miele appliances as well as a 5-stop elevator and Crestron master control system. On the bottom level there is a game room with a wet bar, microwave, dishwasher and sink. Also on that level is a large two-tier movie theater with a projector and surround sound system with walls covered in suede fabric and fiber optic “starry night” on the ceiling. This bottom entertainment level also contains 3 guest bedrooms and 2 full baths. The main level features a cozy sitting area with fireplace, dining room with a view straight out to the beach and a large living room with open kitchen, bar, and collapsible doors letting in all the air and light you need. On the third level you have a nice guest suite and a huge master suite with office area, sitting area with TV and fireplace, a large deck over looking the beach and a walk in closet. This suite also includes a large master bath with a steam shower, spa tub, and sauna as well as dual sinks.
$11,900,000
LORIE O’COnnOR
310-372-0500 OLorieO@aol.com
Dan O’COnnOR
310-261-7756 Dan@OConnorProperty.com
oconnorproperty.com/
Goddess is a universally flattering knit that hugs your body in all the right places while loosely draping over the bust to accentuate (or create the illusion of!) an hourglass figure.
Knit from the top down in stockinette stitch, Goddess is a try-on-as-you-go design that provides opportunities to learn a few new tricks, yet still affords lots of easygoing "TV knitting". Incorporating unique increases, tubular cast on and bindoff, small Kitchener stitch seams, and a simple pattern stitch border, our pattern instructions will introduce you to the tricks of a knitting Goddess as you create your garment, then transform you into a style Goddess once you put it on.
Grateful to be awake and alive. Grateful to be rested. Grateful for a great night. Grateful to feel good in my body. Grateful life is good to me. Grateful we get to work out.
Grateful I can enjoy being. Grateful it gets easier every day. Grateful for vivid dreams. Grateful to feel healthy and happy. Grateful life gets easier every day.
Grateful for synchronicity. Grateful for meditation. Grateful we get to see my parents today! Grateful for my home. Grateful for my wife. Grateful for my kitties. Grateful to be in the now.
Grateful for my beautiful city. Grateful to live in paradise. Grateful to like who I am. Grateful to be on the next level. Grateful for my friends.
Grateful life is good to me. Grateful to wake up feeling good. Grateful to trust the flow of well being. Grateful to enjoy being.
I'm enjoying being. I'm enjoying being. I'm enjoying being. No matter what happens, I can still enjoy being.
I like it when my days are easy. I like it when I feel excited. I like it when I feel loving. I like it when life is fun. I like it when I feel calmly blissful. I like it when I trust life. I like it when it's easy to let go.
I like it when Kelly and I have fun. I like it when we make jokes and laugh. I like it when I get big paychecks. I like it when I don't worry. I like it when I feel good in the morning.
I like it when I feel relaxed. I like it when I have perfect timing. I like it when I kick ass in my workouts. I like it when I feel strong and powerful. I like it when working out is easy.
I like it when things unfold without my intervention. I like it when I leave it up to the universe. I like it when I let go and let god. I like it when I stop caring. I like it when I feel optimistic.
I like it when everything goes my way. I like it when I am present to the gifts life is offering me. I like it when I am aware of the miracle. I like it when the miracle is aware of me.
I like it when I'm easygoing. I like it when I don't give a fuck. I like it when I lead by example. I like it when I do me. I like it when I level up.
I like it when working on my site and projects is fun and in the flow. I like it when I'm inspired to create.
I like it when my days are fun. I like it when I express my love freely. I like it when we all remember that love is all there is. I like it when love wins. I like it when love is all I can feel.
I like it when I let go. I like it when it's easy to let go. I like it when I stop caring and just enjoy being. I like it when it's easy. I like it when I relax into the now.
.... 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 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 some robbers ... ) .....
.... 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 alcuni briganti ... ) .....
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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.
2008年佳作 2008 Fine Work Award
陳重宏 / 古巴.哈瓦納
得獎感言:
非常榮幸參與了這樣一項國際性的攝影盛會,我想絕對會是個人在攝影創作這條長路上重要的一次啟發!07年底與數位設計界的師長前輩,前往這中美洲的古巴進行交流,也讓我為這樣一個樂天的國家感到不忍,數十年的封閉歲月,透過鏡頭,我從心底為他們祝福,並打氣!
每個瞬間的畫面,對我都是一種情感的傳達,幸好,我不擅言詞;幸好,我文采不佳;於是我樂於將自己的心,交給了我的鏡頭!
Chen Chong-hong / Havana, Cuba
Winner’s Speech:
I feel so honored to take part in this grand international photography exhibition which is definitely enlightening and an inspiration on my long journey of photo creation. At the end of 2007, I went to Cuba with the seniors in the digital design field to interact. I felt so sorry for the easygoing and carefree people in this closed country so I decided to express my good wishes and cheer them up through my camera lens.
It is fortunate that I am not good at speaking, and fortunate that I am not skilled in writing, so I place my heart and soul at my camera lens to express my concerns, my love, and my emotions.
Italian postcard by Bromofoto, Milano, no. 1700.
Johnny Dorelli (real name Giorgio Guidi; born 20 February 1937, in Meda) is an Italian actor, singer and television host.
Dorelli was born in Italy. In 1946 he moved to New York with his family, where his father, Nino D'Aurelio (born Aurelio Guidi), found work as opera singer. Dorelli studied double bass and piano at the High School of Music and Art in New York. He returned to Italy in 1955. He debuted as singer in the late 1950s for CGD label. In 1958 he won the Sanremo Festival in duo with Domenico Modugno, with the songs Nel blu dipinto di blu (aka Volare) and Piove (Ciao ciao bambina). L'immensità earned Dorelli a ninth place at the 1967 edition of the Sanremo Song Festival. His greatest success was the musical Aggiungi un posto a tavola, which was also performed at the Adelphi Theatre in London's West End in an English version entitled Beyond the Rainbow in 1978. After a period of absence, he returned to success in the 1980s.
On the big screen, Dorelli first had small parts in comedies shot at the end of the 1950s. An attempt to launch him as a protagonist happened with the film Arriva Dorellik (1967) directed by Steno. The character of Dorellik, who had also previously been presented by him in a number of television programmes, was inspired the comic strip character of Paperinik/ Phantom Duck. Afterward, Dorelli made his mark in the Italian comedy genre in numerous films that were successful, such as Una sera c'incontrammo, La presidentessa, Spogliamoci così senza pudor, Mi faccio la barca, Sesso e volentieri, A tu per tu, as well as, while he also acted in dramatic roles as in Pane e cioccolata (1973) by Franco Brusati, L'Agnese va a morire (1976) by Giuliano Montaldo, and Il mostro (1977) by Luigi Zampa. It is worth remembering some of the performances of his more mature period, in which Dorelli manages to combine his ironic and easygoing style with a deep humanity: this is the case of Marco Vicario's film Il cappotto di Astrakan (1979), based on a novel by Piero Chiara, or of State buoni se potete (1983), in which he played the role of San Filippo Neri, with music by Angelo Branduardi, directed by Luigi Magni. Notable was also his part in the 1981 film Ciao nemico by E.B. Clucher (Enzo Barboni)., set during the Second World War. In 2005, Dorelli played his alst film part in Pupi Avati's Ma quando arrivano le ragazze?.
Dorelli's most famous songs are : Calypso Melody (1957), Julia (1958), Boccuccia Di Rosa (Pink Lips) (1958), Love In Portofino (1959), Lettera A Pinocchio (1959), Montecarlo (1961), Speedy Gonzales (1962), Era Settembre (1964), Probabilmente (1965), Al Buio Sto Sognando (1966), Solo Più Che Mai (Strangers In The Night) (1966), L'Immensità (1967), Arriva La Bomba (1967), E Penso A Te (1971), Aggiungi Un Posto A Tavola (1975). As a (popular and jazz) crooner, he sang numerous songs live on television shows (mainly in the 60's), in Italian and in English. In 2007 he returned after 38 years to the stage of Sanremo as a participant with the song Meglio così, written by big names as Gianni Ferrio and Giorgio Calabrese, and accompanied by jazz pianist Stefano Bollani and the orchestra conducted by Ferrio. For his typical singing style, Dorelli has often been imitated by musical comedians and impersonators.
After marriages to actresses Lauretta Masiero and Catherine Spaak (1972–1978), in 1981 he married Gloria Guida, a former model and actress in Italian comedy movies of the 1970s.
Sources: IMDB, English and Italian Wikipedia.
Michelangelo - He is labeled as "The Wild One" and "The Party Dude" as he is the most "fun" out of all the turtles. He is also very impulsive, extremely social, and wants the outside world (Humans) to accept him and his brothers. He is the first of the turtles to taste pizza and is very proud of his talent for naming things. probably more fun-loving than his brothers, he became a popular culture incarnation of the TMNT, coining most of their catch phrases; hence, he is possibly the most famous Turtle. Because of his more carefree nature, most seem to view Michelangelo as the youngest of the Ninja Turtles, although they are all actually roughly the same age.
His bandanna is typically portrayed as orange, his favorite color (although all four Turtles originally wore red bandannas) Mikey is considerably the most athletic of his brothers and is considered the fastest with the most talent. His weapons are two nunchaku; however, he has also been portrayed using other weapons, such as grappling hooks and tonfas. One of them can convert into a kusarigama which he can use not only for offense in battle, but for defense. These weapons match his flexible like abilities when it comes to battle.
Nunchaku are illegal in many places, so some of the TV show creators had to avoided using them.
While he's not as focused as Leo, strong like Raph, or smart as Donnie, Mikey's talent and unpredictability make up for it. Splinter considers Mikey the one with the most potential to be even more skilled as a ninja then his three brothers combined. Michelangelo is stealthy, can hide in the shadows, sneak around without being detected.
In the original comic books, Michelangelo was initially depicted as fun-loving, carefree, and, while not as aggressive as Raphael, was always ready to fight. Michelangelo's one-shot in 1985 ruled out most of the traits that have become synonymous with the character, such as his playfulness, empathy, and easygoing nature. In the one-shot story, Michelangelo adopts a stray cat (which he names Klunk) and also stops thieves from stealing toys meant for orphaned children.
Later, after their defeat of the Foot Clan the Turtles, Splinter, April O'Neil, and Casey Jones retreat to a farm house in Northampton, Massachusetts. While there, April is worried that Michelangelo is not himself. He spends his days in the barn taking out his aggression on a punching bag. A scene shows him lashing out at his surroundings and repeatedly punching the wall of the barn until it breaks, then collapsing. The end of the story implies that Michelangelo's sorrow and frustration have been resolved, as subsequent issues restore Michelangelo's more relaxed, optimistic personality.
It is during the group's time at the farm we learn that Michelangelo also has an interest in comic books, specifically ones involving superheroes.
Michelangelo was not given an especially large role in the 1984 comic series Volumes 1 and 2. His relatively small role was probably due to the need to establish Leonardo's role as "leader" along with the fact that Donatello was Peter Laird's favorite Turtle, and Raphael was Kevin Eastman's favorite.
Michelangelo's personality became strongly established in the 1987 animated series. He was often seen as a "Party Dude", which accounts for only part of his personality otherwise. As the "party dude", he usually didn't have much input in the team's plans, although he was still just as active as his brothers. He typically spent much of his time joking and socializing with other characters. He has a fondness for pizza, even beyond that of the other Turtles; in the Season 3 episode "Cowabunga, Shredhead", his pizza cravings annoyed the others so much that Splinter hypnotized him into refusing and denouncing pizza whenever the very word was mentioned, although the hypnosis was lifted at the end of the episode.
Michelangelo received his distinctive voice, which has been imitated in other portrayals of him, in the 1990 series. Employing a "surfer slang" vocabulary, he customarily spoke with a unique Californian surfer accent. It is likely that the voicing simply emphasized his laid-back and somewhat innocent attitude. Michelangelo's voice actor was Townsend Coleman in the 1987 series' original English language version and Johnny Castro in the 25th anniversary movie Turtles Forever.
He is named after Michelangelo Buonarroti, the Renaissance artist.
Michelangelo's trademark phrase in this series is the famous "Cowabunga" expression that became a pop culture phenomenon.
Kevin Eastman's original "ninja turtle" concept drawing (1983) portrayed an unnamed turtle with nunchaku strapped to its arms, some consider Michelangelo to be the first Ninja Turtle created.
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GO TMNT GO !!
Silverback Memba and Ekuba also spend time together. For easygoing Ekuba, it's another opportunity to learn from his elders.
3001 the Strand, Hermosa Beach
6 bed | 5.5 bath | 6200 sq feet
This contemporary oasis has absolutely everything you need from home automation, security, movie theater, gym, heating and cooling and many other ultra high end amenities all at a multi-million dollar discount! This home is exactly 8/10 of a mile from BOTH downtown Manhattan Beach and downtown Hermosa Beach. It is also less than 20ft from the sand on one of California’s most popular beaches. This same home with all it has to offer, being on an extra wide lot and this close to the sand in Manhattan Beach would be priced $3 million more at a minimum. Why not enjoy this great life style, amazing home and great beach and not pay a premium?
This is a distinctive, easygoing contemporary Strand home in prime North Hermosa Beach. Enjoy big family parties as well as romantic dinners on this wide lot with indoor/outdoor living and expansive views from Queen’s necklace to Malibu’s coves. Prime finishes throughout include slab Calcutta Gold floors, Ann Sacks tiles and faucets, Bulthaup kitchen cabinets, Gaggenau and Miele appliances as well as a 5-stop elevator and Crestron master control system. On the bottom level there is a game room with a wet bar, microwave, dishwasher and sink. Also on that level is a large two-tier movie theater with a projector and surround sound system with walls covered in suede fabric and fiber optic “starry night” on the ceiling. This bottom entertainment level also contains 3 guest bedrooms and 2 full baths. The main level features a cozy sitting area with fireplace, dining room with a view straight out to the beach and a large living room with open kitchen, bar, and collapsible doors letting in all the air and light you need. On the third level you have a nice guest suite and a huge master suite with office area, sitting area with TV and fireplace, a large deck over looking the beach and a walk in closet. This suite also includes a large master bath with a steam shower, spa tub, and sauna as well as dual sinks.
$11,900,000
LORIE O’COnnOR
310-372-0500 OLorieO@aol.com
Dan O’COnnOR
310-261-7756 Dan@OConnorProperty.com
oconnorproperty.com/
This steep descent into the South Okanagan town of Osoyoos offers a glorious view to drivers - it's tough to keep your eyes on the road !
Osoyoos is a unique place: it's the northern reach of the Sonoran Life Zone & includes semi-desert landscape and species found nowhere else in Canada, (including scorpions !). Like the whole Okanagan, it's interesting geology, hot Summers (often nearly 40C/+100F), gorgeous environment, amazing wine and fruit & vegetable culture, and easygoing ways make it beloved by BC and foreign travellers. Oh, and there's the lake .... you HAVE to jump in, it's glorious !