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Could you tell us about the new Twilight movie, New Moon?
It was fun for me because it was a little more in-depth for Alice’s character. It’s more about the angst part of it than the love story as far as Edward and Bella. Edward leaves Bella, so she kind of falls into a depression and gets close to Jacob, and discovers a couple more crazy things about the town. We had a blast filming. We got to go to Italy, which was amazing. It was a couple of us who got to go to Italy, and I was included. It was coming back to the people we got really close to in the movie before so it was like a little reunion. And Chris Weitz directed it, and he was incredible. I feel like the set was so chill and really comfortable, and it seemed like it was all very planned out and very put together so we weren’t going crazy and stressing out. I’m excited to see it all put together. I’m really confident that it will be good.
What was it like reuniting with the Twilight cast again?
Coming back to the second one was really great because we already had this relationship so we got to build on top of that. I feel like I was really close with a couple of people and then on the second one, I got close with a couple of different people, so it’s been really fun.
What was the process of being cast for the role of Alice? Were you familiar with the book series beforehand?
It was a really long, tedious process. I hadn’t read the books, but I read them because they wouldn’t release the script or breakdown. My manager told me to go into the audition and to do a good job and not to mess up because the casting directors were sticklers. So, I was like, “How am I supposed to do a good job? I don’t even know what I’m supposed to be playing!” I originally auditioned for Bella, and so I read the first book and kind of fell in love with it. I went in and auditioned and actually they called me back in and said, “No, you’re not right for Bella,” so I was bummed, and then they brought me back for Alice. I worked more on it – that was all I did for a couple of days before I went in. I came in probably like five times before I actually got the role – and then I went home for Christmas and literally just had to wait and wait. I thought that I didn’t get it again, and then I got the call that I was Alice and I freaked out and called my dad and mom.
Did you have any idea, going into it, that it would have this much fan appeal? Did you feel any pressure to deliver, or did that just develop over the course of making the film and its release?
I did because it was really my first film where I had a bigger part and was a studio thing – I was nervous. I think I was more nervous than most of the cast because it was my first thing. It definitely kept building and turned into kind of a different type of nervousness. We knew that it was probably going to go to theaters because so
many people love the books, and in the course of filming we realized that it probably wasn’t just going to go to theaters, it was going to do quite well. Then [the film] opened really, really huge, which was incredible.
Do you tend to have more guy fans or more girl “tween” fans?
I definitely get more girls. There’s been guys – I’m used to the girls, so with the guys I’m kind of awkward, I feel like. But, some of them are really sweet.
What do you make of this Robert Pattinson craze? It’s starting to get to the point where the pandemonium is putting him in dangerous situations. What’s your take on that?
It’s sad for Rob! It’s a hard thing because we absolutely adore our fans, and he does too, and they helped us get to where we are now so you have to be thankful for that. I applaud him – with my fan encounters, there’s a process. It’s kind of like this chisel effect where there’s one and then it’s two and then it’s five, so I was kind of able to ace it. But he got slapped with 25,000 screaming girls so I definitely think he’s taking it in stride. They love him so much and I know they don’t want to hurt him, but people just don’t realize that when they’re that many people coming with a force, it can be very dangerous sometimes.
Now that you are in the public eye, how do you deal with people speculating about your personal life all the time?
It’s kind of laughable because it’s amazing that people are so intrigued by who I have lunch with and whatnot. This is my thing: If I was in a relationship with someone that I really cared about, it would upset me if they speculated something about me and someone else because that other person has to read it. That’s the part which I haven’t encountered yet because I’m not in a relationship, but I’m just waiting for it – and then I’m sure I’ll hate it. It’s something I have to get used to, I guess. It’s all apart of this job. It’s like the little fine print of dating me – “You will now be thrown into this Twilight whirlwind.” The fans embrace everything that we do, so if I started dating some guy they would probably embrace him too.
How has it been with the other Twilight castmates? Is there anyone on set that you happen to be closer with?
Kellan [Lutz] and I are very close. I have different relationships with different people – and it’s really great, I kind of get the best of everything. Rachelle [Lefevre] and I have this, like, zest for life. She and I can just go and have a glass of wine and unwind, and we work out together and stuff like that so she and I have that kind of relationship – I think we’re both easygoing, fun people. Kristen [Stewart] and I recently got closer. I feel like in the first film, we were friends, but with our schedule we were never in the same place at the same time. So, with the second one, it was more intimate as far as the amount of people involved. After the first week or two of production, it was just me, Kristen, Rob and Taylor [Lautner], and then Rachelle was there for a little bit. Taylor’s super, super sweet, and Jackson [Rathbone], I adore. I love them all. They’re great.
Do you prefer that people come up to you and say something when you’re recognized? That’s something fans always wonder.
Before, it was just like one or two people and I totally would rather them come up [to me] because I think it’s really sweet. They say hello and I go back to what I’m doing and it’s better than having them just stare the whole time because then you feel like you’re being watched and then you’re not really comfortable. But, it’s getting to be more and more people, so I don’t know. If everyone wants to come up and say hello… I guess I’m going to leave it up to them. It’s working fine now. I’m not going mess up the process.
Do you ever worry about being always thought of as Alice Cullen when you go off to make your other film projects? What kind of other projects are you hoping to do?
Maybe Kristen and Rob will kind of have a little bit more of a shadow behind them that always links them to Twilight, but Alice is a vampire, yes, but she has this human heart. She’s really lovable and really likable, sort of
like the best friend, and so I think that might help me in the other films. I think the fans already love me and love Alice. I think it’s a positive. I don’t think I’m going to be pigeonholed. If I always played the hot, stupid chick, then I might be pigeonholed as that. I get to kind of choose my films, which hopefully I will choose wisely and
build off of that versus pissing the fans off. I want to do an action film just because there’s already a bit of action in Twilight, and when I did it I absolutely took to it and loved it.
When we see these other film series based off of books, like Harry Potter, that have gone on and on with multiple installments of the films – is that now something that you’re totally prepared to take on?
Yeah. I know Harry Potter went on – it’s still going on – for a really long time. These kids basically grew up in these films. But with ours, we can’t age, so that’s the big difference. We have to get [the films] done. We filmed the second one and we’re about to jump into the third. I’m not sure about the fourth one yet – but I’m assuming that we’re going to get that one done in a timely manner as well. I think we’ll film them, and then how they want to release them is up to their discretion. At least we’ll be able to have this Twilight force behind us for a while, but I think the filming will be done fairly soon. So, we’ll get to have the best of both worlds because we’ll actually be free to film other projects in between. That’s the other thing that I think is huge with Twilight – usually people don’t have the time or are not allowed to contractually do other films, but they’re letting us do other films in between.
When you’re not filming, what do you do for fun?
I definitely try to make it home. I actually have my family fly out, and I have a couple of Florida friends fly out sometimes, and then I have a best friend or two in L.A. I just try hanging out and spending time with my friends – I try and live a normal lifestyle.
What would be your ideal Saturday night?
Me and my friends are really big on doing game nights. We just grab a couple of games and sometimes we order in or sometimes we just get a bunch of cheese and crackers and stuff like that or cook dinner, and just hang out and play games.
www.snmag.com/INTERVIEWS/Celebrity-Interviews/Twilight-Ne...
This picture as well as all other pictures of mine are originals without face app and or AI manipulations
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the Genral Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! ( Here a Saracen with a Soldier of General Garibaldi ... ) .... ...) .......
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! ( qui un Saraceno ritratto insieme ad un Garibaldino ... ) .......
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
Barbequeue Jones is a social and easygoing fellow, He would be great company! He found his new home 26 February 2015.
This is the leader of a pack of strays in the Metropolitan Park in Kaohsiung which live near a bathroom that I always stop at with my dog to give her a drink when walking here. i call him Choccy because of his lovely chocolate colour, and my dog, Tigger, finds him very attractive! He's easygoing and friendly, but has obviously seen some battles, with several scars and a floppy ear. The new wound on his nose didn't seem to be bothering him.
Sanur Beach in Bali, Indonesia. This beach is on the east side of the island, which means that sunset is not likely to be as spectacular as say, Kuta or Jimbaran Beach which lies in the west. However, I love the easygoing low-key pace here. Not much to do but sit by the seaside, sip some beer, and listen to the waves break against the distant reef.
Sunrise, I'm told, is really beautiful. But alas, I think I see Halley's comet more often than I do sunrise.
Working Group: The easygoing Great Dane, the mighty "Apollo of Dogs," is a total joy to live with, but owning a dog of such imposing size, weight, and strength is a commitment not to be entered into lightly. This breed is indeed great, but not a Dane.
Charley: *eyes narrow* “What? You don’t wanna have sex with her?”
Caid: “Didn’t say that, and if I didn’t know better, I’d think you just got mad at me over the possibility that I might not want to diddle your BFF.”
Charley: *crosses arms, testily* “Well, you’ll ‘diddle’ practically anything humanoid and female, Caid, so what are you saying when you turn her down? Molly’s not good enough for you? Special enough for you? She’s worth a million of those ditzy sluts you bring home every night!”
Caid: “I know that…which is why I won’t sleep with her until I know she’s not gonna kick me to the curb afterwards. I bet she wouldn’t even lemme cuddle first. I like cuddling. I’m like a Care Bear that way.”
Charley *mouth falls open*
Caid: “I wouldn’t leave your trap hanging open like that for too long. We got a fly in here that likes to explore dark, moist places…*grins rakishly* The little guy and I have that in common.”
Charley: *mouth snaps shut, grimaces* “Firstly, boo to you for the yucky commentary. Secondly, you’re hoping to have a normal romantic relationship with Molly? My Molly?”
Caid: “Diego gave me a heads-up on Molly’s unusual views on sex and friendship—for which I am in his debt. Thus, I’m proceeding with caution because I don’t want one or the other. I want both.”
Charley: *silent for several moments, eyes never leaving Caid’s face* “Since when?”
Caid: “Since Molly.”
Charley: “Caid…is this one of those things where a guy gets all excited over something he can’t have, but once he gets it, he throws it aside for the next challenge, because….*scoots forward, eyes hard* I will end you, if you hurt her. And that threat is not empty. It is full: chockfull of malice and deadly intent.”
Caid: “Your loyalty does you credit, sir. And, in this particular situation, I figure I’m the one who may end up getting hurt. So, you okay with me putting the woo on her? I don’t think I could stop, even if you weren’t, but it would make me real happy to have your support.”
Charley: *studies Caid’s unusually earnest expression, then nods slowly* “Okay. Though, I don’t know how this is gonna work out for either of you. Molly is pretty set in her ways, and you’re not fooling anyone with that easygoing Texas drawl. I know you can be one colossally stubborn idiot when it suits you. ”
Caid: “I’ve never met a girl I have more in common with than Molly. Plus, she reminds me of my grams—which I just realized sounds effed up. Clearly, I didn’t have sexy feelings for my grandma, but I loved her. She was fierce ‘n’ sassy, with an unwavering awareness of who she was and what she wanted. I see that same spirit in Molly, so she’s worth the work…and I just gotta convince her I’m worth the gamble.”
Charley: “Your grams was the one who taught you to sign, right? Did you live with her during the summers or something?”
Caid: “Yep. She was born deaf and lived her entire life never hearing a sound. She liked it that way. She was proud to be deaf. As a kid, I learned to sign before I learned to talk, ‘cuz I lived with Grams fulltime. She raised me and did all the things my mama couldn’t.”
Charley (solemnly): “That’s tough. Your mom died?”
Fashion Credits
***Any doll enhancements (i.e. freckles, piercings, eye color changes, haircuts) were done by me unless otherwise stated.***
Charley
Shorts: Sugarbabylove (etsy.com)
Top: IT – Poppy Parker – Beatnik Blues
Vest: Clear lan
Sneakers: Sekiguchi Momoko – After School Dash!
Glasses: Sekiguchi Momoko Accessory
Fleur De Lys Pin: Randal Craig RTW
Red Bracelet: IT
Doll is a Morning Dew Giselle transplanted to a Poppy body, re-rooted by the matchless valmaxi(!!!)
Jim Clark (1936-68) was a peerless racing driver - probably the finest that Britain has ever produced. He won two F1 World Championships (in 1963 and 1965), 25 grand prix races, the Indianapolis 500 and a host of other races in a variety of cars. In 1960 he also came third in the Le Mans 24 Hour Race. He was regarded as a totally natural driver, which is what made him so outstanding.
He was a charming, modest, easygoing man and when he was killed at the age of 32 in a minor race in Germany, he was mourned throughout the world.
Jim Clark was my all-time sporting hero - not just because he was a flawless driver, but also because he brought enormous credit to the sport and to his country through his prowess and his self-effacing personality.
He died in April 1968 and is buried at Chirnside in Berwickshire. A small museum is in nearby Duns. I took this photograph of Clark in his Lotus at Silverstone before the British Grand Prix on 10 July 1965. And by the way, that's Colin Chapman, the legendary owner and designer of Lotus, who's crouching on the left of picture. (Imagine getting this near to a grand prix driver and his car today!)
Oh... and see a signed photograph here
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the Genral Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! (Here a "gardener" with a laurel wreath that surrounds her head ... ) ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! (Qui una "giardiniera" con una corona di alloro che le cinge il capo ... ) ....
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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.
8/9 My Novel Unforgettable'
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My Novel >> Unforgettable'
(This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
It was a little past twelve when Kei arrived at Rika’s apartment in Meguro. Signs of life faded completely though the light was still left in the street. Kei who rushed up the stairs of the subway at a stretch put the cellular phone into the pocket and regained his breath leaning
against the door of her room on the 2nd floor, and then pushed the intercom after repeating deep breathing a few times.
“You are late....”
Rika’s hair was wet. She shot Kei a look like feeling out on Kei’s mind. For a while, Kei leaned against the door, exhaled the rest of the breath to the darkness downstairs trying to make Rika unconscious.
“Anything?”
“Nothing...”
Kei gazed at Rika. He smelled the rinse in the chill. A meaningless list of English letters on T- shirt bulged softly and made a dim shade with the light from the kitchen.
Rika wiped the sweat on Kei’s forehead with her hand. She went up to him, stared fixedly at his eyes and said uneasily.
“What‘s wrong with you?”
Kei went to her back without answering it and took a breath of a sweet smell of her wet hair. The distorted pain throbbing in his chest faded away a little. Then he slowly held her shoulders in his arms. Her body was all cold due to the air-conditioner.
“I don’t mind....”
Kei tried to reach his right hand toward around her lower part. Her warmth softly waved on his palm. Then Kei wanted the warmth again. Her breasts did not refuse his fingers. Kei forgot himself in her sweet, soft warmth. Kei noticed her shoulders tremble at the moment he touched the top of her breasts. The shiver slowly descended from the shoulders to the waist and then the knees. Rika threw out the word at a white wall which is ahead of her downcast eyes.
“I don’t care substitute for Kaori.....”
Rika turned around and tears overflowed in her eyes. It went along over and over again in the cheek slightly dyed in red and dispersed from the tip of the trembling chin. The tears split many times along the lines of tears drawn once and the teardrops absorbed tranquility around shining on the cold floor.
"I'll hold you if you feel hard and sad... like Kaori does."
Rika drew Kei’s back that sank down to her breast quietly. She wiped her tears with her palm and whispered in his ear.
“Kei, we can go to college together and enjoy the so-called campus life. Isn’t that great? Parties with the club members every week. How about living together after graduation? I don’t say “marriage”. I won’t rush you. If we live together, I can go to bakery with you every Sunday morning. Breads are hot straight from the oven! Must be nice. I’m sure you will be gentle.”
Kei looked up hearing her voice. Rika slowly lipped Kei’s cheek and kissed.
Rika was waiting for Kei against the soft morning sun. She took a hamburger out of a paper bag that Kei bought at a fast-food shop in the station, and then smiled with pure eyes saying, “Thank you.”
They went to Kei’s room biting a hamburger. On the way, Rika tried to talk to Kei gazing at his profile a couple of times, but withdrew her eyes immediately and kept on eating in silence.
Kei also tried to talk to Rika something and searched words, but found nothing new. He just said, “This is good”, setting Rika’s untidy hair on her ear. For a second, Rika stopped, gazed at Kei and opened her mouth thinly. But she began to walk in silence again. Perhaps she didn’t find right words.
When a shed with Ken’s room appeared on the right after going up a gentle slope, Kei stopped holding Rika’s shoulder. There were two shadows of squatting figures with legs stretched in the shade of the entrance against the morning sun.
Rika’s eyes fell on them, following Kei’s eyes. Rika lost her words for a while because she noticed who they were. She gasped biting her lips and cried lowering her sobs. Then, she whispered in Kei’s ear standing on tiptoe.
“Kei, don’t go.....Please....Let’s go back ....” Kei gazed at Rika firmly.
“I’ll be right back.”
Rika shook her head desperately stifling a sob. “No, never....Kei, don’t go.....”
Kaori’s ankles moved slightly when a light sound of bicycle which slid down from the top of the slope. Once it disappeared in the shade of the shed and Kaori’s shadow appeared in the morning sun.
“Kei?”
At the moment Kei tried to call her name, Rika dropped her voice. It was a small voice, but carried well to Kaori.
"That's not fair ...Really sly... Something wrong with you... Kaori-san has a boyfriend, right? Why do you run after her? ... All is over between two of you...Already over..."
On the concrete road, a belt of light that came through leaves of roadside tree became complicated making mesh. In the transparent light, dry pebbles were scattered sparsely.
Kaori approached slowly and said to Rika. Kaori’s shadow became bigger and her hair swayed from side to side on her shoulder.
"Whether it has ended or not...I don’t think it's your business."
"Stop it!"
Kei suddenly spoke in a rough voice. Kaori glared at Kei. There was a flow of tears from her piercing eyes like Rika.
"She was great? Much fresher than me, right?"
She began to run leaving the words. The sound of the heel reflected on the road. The squeaking sounds rocked Key. Kei ran out and Rika’s voice scattered widely over his back. "Not fair! Kaori-san just pretends to be adult! She is just a wheedling girl. Don't go!"
For a second Kei stopped to look back to Rika who fell down to the spot, but ran after Kaori soon.
Kaori shook away Kei’s hands forcefully when he caught her by the shoulder before the station. Commuting businessmen and students turned around to see the events. Kaori leaned herself against the show window turning her back to Kei. And she concealed her eyes with the back of a small right hand. Her lips moved lifelessly feeling indication that Kei stood slowly sideward.
"It's all right. ...You do as you like. You are always running away ... You would depend on anyone who can accept you ... You would kiss anyone, even make love."
Her knees trembled faintly. Kei kept silent looking at it. The bustle flowing toward the station became remote.
“Kaori, I didn’t sleep with Rika.”
“Do you want me to believe it?”
Kaori smiled faintly.
“How about you,Kaori? Actually you slept with him, right?”
"Never."
“Me, neither. Do you want me to believe it?”
“Why does a man dwell on it?”...You are the same as other guys...”
Kaori squeezed the word firmly from her thin body. Then, she added a few words.
“But, maybe...yeah, maybe... I love Osawa-san.”
Kei lost his strength from his whole body as if various things were spilling from the tip of
fingers that trembled faintly.
Kei finally opened his mouth after a while.
“Why do you want to hold back Osawa desperately? I don’t need the existence of “Osawa”.” “Kei, why don’t you understand me?...I want you to struggle your way upward...I just want you to do it...”
Kaori’s shoulders trembled feebly. A line of light reflected by a pane came on Kaori’s wet cheeks.
“You don’t understand it. You don’t know the machinery og society yet. How many sacrifices I made to meet Osawa-san...”
Kei nodded. Kaori might be right. Kei muttered in his mind, but what he uttered was totally different.
“That guy knows everything about me. Why did you talk to him?”
“Don’t you understand that I wanted you to be connected with him? To make Osawa-san know about you, everything is necessary.”
Kei asked all question left.
“You could have left him any moment at that time..... But you didn’t intend to leave him....”
“I couldn’t move because I lost the strength....that’s all....”
The noise of train was swollen gradually. The heavy sound passed over the thick crowd many times and swept away the silence between two. There was a long silence for a while.
Kaori looked up the sun above the bridge as if she averted her glance from Kei. Her red eyelids showed how many hours shed had waited for Kei. Then Kaori slowly fixed her eyes on Kei’s eyes and stared. Kei thought that Kaori looked another person.
“But I can do anything for my beloved person.....I’m sure.”
Kaori said it to Kei and began to walk slowly to the stairs at the station flooded with people. Kei saw Kaori off and looked fixedly at her who was slowly swallowed up by the quiet crowd with slight expectations that she might look back.
Kei went back to the slope rapidly, but found Rika nowhere. He called her cellular phone hastily and sent a mail, too. But no reply returned.
Kei thought it is no wonder. As soon as he opened the door of his room, he felt the fatigue from last night at once.
Kei spread himself on the bed and looked at a record rack. He recalled Kaori who was excited when she came to the room. He sat up and erased it with the strong sunshine through the curtain. Then, he rested his gaze on the floor. Baby's-breath was utterly yellow and dried. White petals fell from the bunch and smashed into tiny pieces.
Kei slowly got up and threw them into the sink, and lay down on the bed again.
Kei fell asleep without notice.
Kei woke up in the strong sunshine of the afternoon. He took a quick shower, got dressed and went to Rika’s apartment.
He pushed the intercom on the door of Rika’s room and knocked the door a couple of times, but the no sign of life returned. At the moment he turned back and looked up the sky with no clouds, his cellular phone rang. It was Rika. Kei leaned against the rails of the corridor and opened it hastily.
Kei wondered about Rika’s voice from the cellular phone. It was low, heavy and cool. “Kei, we made a detour too much.”
At the same time, number 3 appeared and a conference call flashed on the upper right of the display and Rika’s eyes were imaged on the monitor. Kei lost his words looking at Rika’s cold eyes which were more transparent than the clear blue sky in the background. Rika’s smile which should had been on her face this morning died and a cold smile appeared on her lips instead.
“I’ll tell you where I am now.....to two of you, OK?”
Kei’s mouth froze with Rika’s words. Then Kei gazed at the display rotating slowly over there. At the same time, Kei doubted the third number shown on the corner.
“Rika, Is another one Kaori? Joking? You can’t know Kaori’s phone number.”
Kei said to Rika in a light voice as if he laughed it away somewhat, but the name shown on the monitor was actually her name. Rika didn’t look away and smiled at Kei who gave a bitter smile.
“I backed up whole when I copied your mail address and phone number. To my notebook PC.”
Kei’ eyes fell on outside the passage. On the right, a series of countless roofs of apparently used cars which was out of sight at night, were stuffed uncomfortably to the other side of the avenue which looked narrow. A sheaf of dazzling heat which bounced on the hood made Kei’s pupils contract. Kei withdrew his gaze from the sultry reflected heat at last and ran down the stairs in a hurry. The sweaty palm which grasped the rails was caked with reddish brown rust and the rust didn’t come off even though he tried to dust it off.
When Kei turned left at the alley, buildings competing with each other came into Kei’s view. Kei ran to the entrance to the subway at the intersection.
“I’m here, Yoga, a quiet area. Kaori-san, can you hear me? Are you with Osawa-san, right?” The noise of the sudden brake on the street died away in the distance. The cellular phone he held looked like a hard, chilled ice. Kei strained to hear Rika’s excited voice, losing his breath in silence
“Kei, do you know where they are now? You don’t know..., in Kaori-san’s room.
But I guess you don’t admit this even if I say so. You are submissive to Kaori-san, though. I‘ve looked up Kaori-san’s act and how Osawa-san’s wife spent the time. Well, let’s bring this to an end. All is over...”
The end of central reservation looked warped with afternoon heat. The heat haze shimmered and flapped the circumference widely.
“Rika, calm down. You just hurt yourself. Kaori, can you hear me? Are you really on line? Answer me.”
“Kei, Kaori-san never answers you. You are too easy, Kei. A person who expects me most is Kaori-san. Kaori-san was waiting for this moment. Is that right? Kaori-san.”
Rika was right. If Kaori is concerned about Osawa, Kaori should want to know about Osawa right now, here. Kei forgot himself running to the stairs of subway breathlessly. Once Kei looked away from the display and looked around
The town was dancing with busy signals in the heat of midsummer. As Kei’s legs got gradually heavy, the outline of scenery became loose and motionless. Various things around Kei looked bare and floating in the space. Kei stopped and went into the narrow alley.
Kei looked down at the image again with Rika’s voice, leaning against the wall of building. “I got to the middle of condominium. Whose kid is that playing there now?”
The front of slide appeared the moment that the hard, clear blue sky flew in a line with one color. The moment Kei looked away from the silver setting sun with a strong brightness closing down straight. The small head appeared over the light. It went up the stairs shaking right and left. Kei thought it was a boy because it romped about holding the fence on the top
of the stairs.
The boy slid down splitting the sunlight and then, the back of a woman appeared suddenly. The tip of hair which grew to the back glowed on her white T-shirt and swayed. She looked like Osawa’s wife
“This is live. Listen carefully....”
The darkness fell with the dull sound of unzipping Rika’s bag. The soft light sometimes got in through the opening of her bag and the image altered into blue.
“Are you Ryou Osawa’s wife?”
There seems to be no response. It made Kei’s imagination swell more. If Kaori heard this, she would feel in the same way. If Rika’s guess was right, Osawa who was supposed to be there together should feel so.
After a short silence, she said in a transparent voice, “Yes.....” She looked like asking mysteriously.
“I’m a girl friend of a guy, Kei Kitami. He was deceived by a girl, Kaori Uemura and doesn’t face the reality.”
“I don’t understand it.” The calm voice came to his ears. Then, Rika’s slow voice sounded. “I mean, a girl, Kaori Uemura is a hindrance to me because she has been going out with my boyfriend and your husband.”
“What?”
“Your husband has been dating with Kaori Uemura. Well, I could say Kaori has been dating with your husband. Anyway, it doesn’t matter which is which.”
There was a long silence. Sometimes children’s yell floated over the darkness and died away in the distance.
Kei looked up into space vertically along the wall of a building. The snow-white cloud swam low on the tip of his eyes and drifted far.
Osawa’ wife finally opened her mouth. Her voice was much calmer than Kei thought regardless of the fantastic appearance of Rika.
“Well, I vaguely noticed ...”
“So, why do you ask him? My boyfriend loves the girl. They should have broken up, but he was still chasing her. He can’t put his feelings in order.”
Kei didn’t hear Rika’s answer. Perhaps Rika nodded. Kei wiped the sweat on his eyelids and strained his ears. Kei peered into the image which made a light shade, but there was still the darkness. In the deep darkness, the chain of swing squeaked high.
“I don’t doubt you, but I’ve experienced this kind of harassment so far. Suppose your story is right and I can ask him to reform him, I could feel easy...”
“I didn’t come here all the way to tell a lie. Everything is true.”
“Yeah, I know.”
Silence fell again. The yell of children came back and sounded big, but cracked and went away. Kei lowered his breath under the heat got in.
“I was one year older than him. When he joined the same company where I worked for now, I thought I don’t have to be there. I’ve worked frantically until then. There were many trashy programs and stupid guys besides. I thought I don’t want to be outdone by anyone. But I was outdone by him from the first. Though connection is necessary in this world, he refused most of them and attracted the artists one after another, composing his inner elements concretely to appeal the artists who he regards. On the other hand, I was pregnant....but had an abortion. I felt that he doesn’t need a child at present and we could not get along if a baby is born....
Rika said raising her voice.
“I’m not interested in your husband’s success story and I have nothing to do with a sad story
all the more. I want to stop everything.”
“Yea, I know....Sorry...”
Kei stared upon the image. A long silence continued and there seemed to have been a pause in the call. The darkness took on a dash of blue again and a calm voice of Osawa’s wife rose. Her next words aroused Kei’s interest, too.
“But the girl likes him, right? There are not such cool guys in the world now. They desperately brush only the appearance. There are many guys who are off the point. The girl, maybe, had the same feeling as me. Think about it well...The girl dared to choose the married man, my husband, right? Of cause, I’m not happy hearing he is loved by the girl. I’m disturbed, too....because I was suddenly informed by you.”
“Don’t you want them to break up?”
“How?”
“....don‘t know”
“She will give up with your act like this?”
Rika kept silent. The cellular phone made noise in her bag.
“You are a very obedient, brave girl. You wavered much before you came here, right?”
Kei saw a light came from the darkness in her bag. For a while, the silence went on, and then Rika’s feeble sob followed. Kei held his cellular phone tight, visualizing the trembling image of Rika.
“If you have courage to come here, you should be a more wonderful girl. Don’t you think so? Maybe you could be a strong, smart, beautiful lady. I feel so....
I don’t want you to spend your time on this kind of matter now...”
Rika’s sob cracked. She cried. Kei held his breath and closed his eyes looking up into space. Kei kept his mouth shut tight. Various expressions of Rika silhouetted in his eyes and flitted through.
“I think it’s very hard to change a person’s feeling. So we had better leave it in peace for a while? OK?”
The voice of Osawa’s wife got larger and Rika’s bag shook again. Maybe Osawa’s wife approached Rika. A dash of deep blue increased in the image and Kei heard Rika’s shaking cry quietly from the image. Kei thought that Rika’s tears flew more as the image swayed delicately.
“Let’s go home, Taichi.”
Kei heard dry footsteps on the ground, and the sound gradually became larger .Kei strained to hear the sound. Then he heard a sweet voice of the boy.
“That girl was bullied by mom?”
A laugh that sounded like lulling him dropped.
“She accidentally fell over something. She can stand by herself, so let’s go home, OK? You wanna eat cookies?”
“Yeah! “ Kei heard a lively voice and her voice of collecting herself together, and the voice sounded large. Kei also heard a mumble in the voice of Osawa’s wife that died away in the distance.
“I’m indifferent to my makeup, maybe...”
Kei heard Rika’s sob that got larger from the back of image waving faintly. He said gazing at a short shadow at his feet.
“Rika, I’ll go there. Don’t go away. I’ll be right there.”
“Yeah....I’m OK....No problem, really...Thank you....Kei...”
Kei kept silent for a while hearing Rika’s words discharged barely. Then “3” on the display disappeared like being swallowed up. A normal call of two persons returned. Kei didn’t know whether it is Rika or Kaori.
“Kaori, can you hear me? Is that you?”
Kei asked so, going down the stairs to a subway, but the darkness of image kept quiet and
just increased. After a while, there was a pause in the call.
Kaori is with Osawa now as Rika said? Kei didn’t think that Rika’s action was a fake. No, he should trust her action. In fact, Kei heard a reply from Osawa’s wife and a voice of a little child, so Kei should have believed Rika’s words. Kei tried to recall and arrange Rika’s words passing through a ticket gate of subway, but he had to accept the reality presented by Rika as far as she chased two persons. But Kaori’s behavior and her warmth still flitted through his mind and never went away.
Kei idly looked at the light of express train leaving, leaning against a post at the subway platform.
It was Thursday, four days later from a day Kei located Osawa. Kei met Osawa at a coffee shop on the first floor of a building at Omotesando. It was already past 2:00 at midnight. Kei hesitated to contact Kaori and brooded over words to Rika, who had been absent from the prep school, for a few days. But Kei thought that he should meet Osawa directly and wants to meet him some day. Kei felt out words that Kaori left and found the way from that.
Omotesando was almost deserted at night, different from Shinjuku. But as it was just next to Aoyama, a few foreign girls who looked like models passed on bare foot, swinging golden hair widely and scattering merry voice.
On the counter of the shop a guy who looked like a clerk in a boutique was mortally drunk and lay on his face taking off his glasses on the side of an ashtray. In the back, a waiter with a thick beard turned a record.
It was Bill Evans who refused to be hospitalized and died at live at the Keystone Korner. There was always a kind of impatience in his tune. Perhaps that’s because he was told that he could not live long. Kei did not like him.
Osawa noticed Kei who was looking out of the window idly at the inmost table, and then sat at the same table. Kei had a moment of confusion because his behavior was too natural, but strangely he didn’t feel tension which he had felt from Osawa before. Kei was never affected by Osawa’s action of opening his notebook nor his cool eyes through deep blue lenses.
“I thought you will come here someday. What do you want?”
Osawa laid his hand on the rim of sunglasses. Then he looked down at Kei’s empty cup and said. Ice in a glass of iced coffee melted all and stagnated.
A waiter came and Osawa said, “Regular.” And he cast Kei a glance.
“Coffee, hot”
Osawa laughed a little and said.
“There are more than 50 kinds of coffee beans here. If combinations of blends are added, there would be over 1000. Would you like the same blend as mine?”
Kei kept silent and blushed. Kei trusted Osawa a little because Osawa’s voice sounded calm like relieving the tension Kei felt. It was one side of Osawa which Kei had not felt. Kei was puzzled about that.
Osawa told Kei resting his gaze on the display opened.
“You might hear a little from Kaori, but I will tell you about me. Perhaps we could come to an arrangement with my story and it is also for your own sake.”
Osawa’s clear eyes fell on Kei for a second. Kei was confused at Osawa’s calm look with large pupils and looked away from him. One taxi passed through a red signal that had just changed, and then disappeared on the other side of the crossing.
“I graduated from K University. It is no too much to say that’s one of top 3 in Japan, it depends on college, though. But even in such a university, everyone searched desperately for a company at job hunting. People who entered a university from outside like me and
easygoing people who went on with his or her father‘s occupation data scrutinized from early childhood are totally different. People from inside spent day and night in parties as usual because they had certain connections, but other people spent the desperate time.
Osawa stopped tapping keys and looked out of the window. The eyes looked like recalling his memory. A waiter gave a cup with a saucer to each of two and left.
“I thought at that time. Everything was settled from the beginning. So I found employment at the small production company of my own free will. And now I’m here like this.”
Kei took a sip of coffee. He took a peep into the cup of bitter coffee. Osawa’s forelock reflected on the bottom of the cup swayed and blurred.
“Do you respect my work some? Without thinking of Kaori.”
Osawa fixed his eyes on Kei with a low voice. Kei did not answer it, but his eyes fell on the floor for a second. Osawa seemed to have understood looking at Key’s look.
“Look out of the window.”
Office workers who are seldom seen in Aoyama caught Key’s eyes. They seemed to have tried to call a taxi and stood on the road shoulder staggering and pulling each other’s tie “They are shit. They deceive themselves to varnish the reality that confronted them, using drinks, appearance and various things. Not others, you know, themselves.”
Kei felt that Osawa’s voice shook with anger. Kei cast Osawa a glance quietly. Kei was deeply distressed to see Osawa’s eyes fallen on outside. His eyes did not show anger, even not pity with kind of contempt. They were just clear pupils like those of boys. Kei peeped Osawa’s look from his long forelock. His eyes looked as if he will never be an adult who shattered his dream that he had in his childhood.
Osawa sipped a cup of coffee and said.
“And to me you just look like them. Perhaps Kaori who has seen you has the same feeling as mine. That’s why she worries about you. She hopes you will not be one of them.”
Kei searched his memory for some of her words. There were some he could recall clearly, but some words had already become vague and were going out of his memory. A kind of sound was lost in the image of Kaori who came across Key’s mind.
Osawa shifted his eyes to the display again. And then the quiet, intermittent noise of touching the keys correctly sounded delicately like raindrops and fell on the corner of the table.
“My father was just an officer of a town hall. I went to the hall with my friend to see how he works. At the counter, my father was contending with an old man, who was so called “a claimer” today. I still remember that my father constantly tapped the counter with his fingertips, irritated by a stream of abuse.
The busy movement of his fingers irritated even me. My father was irritated because he could not answer well. He reacted endlessly to the problem, which didn’t seem to be agreed, at the window and there was no air of showing to the claimer to another room. I couldn’t understand what they were arguing, but a trifling matter, I guess. I thought that not only my farther but also the claimer was stupid. Their talk was a kind of faultfinding each other. It was like going on adding 0 to 0 without end. It never totals to 1. Nothing is born by just knocking each other. There was no positive passion for opening up something.
I was disillusioned with my father’s service. He hoped to make me an officer and live in security, but it was obvious that I would not obey him as I was still young. In fact, it seemed to me that my father’s consideration was just trying to secure his life exactly. “Get out of here!” my father bawled at me for falling short of his expectations. So I left my house. When I was in my third year of high school, I came to Tokyo with a little money from my mother. And my father died of heart attack. It was just a year before drawing his pension.”
Osawa’s mouth was closed lightly and his eyes flashed. It was the cool gaze that Kei had seen before. Osawa looked out of the window. In the back of the eyes, a red neon lamp on the street sparkled for a moment. He blinked the eyelids lightly and looked at the display again. “I had a favorite music program which I had loved since a pupil. I had been tied up listening to music through a radio. I still remember a radio program that I listened to those days, and the boss at that time and I work together now. He was, so to speak, my father. He closely cautioned me about that on-air. It is society. I was called by the board and roared repeatedly, but all of them were a matter of principle. On the night when we apologized in public, we went to Roppongi right away to drink. What I did was just a new topic for them. It will be forgotten in three days. Actually that was right. Nobody talks about that now. In fact, the artists who I took charge of laughed and said, “That was really exciting.”
The stiff mood broadened into Osawa’s laughter. Kei was amused, too. Kei thought that he would have been delighted if he was on that occasion. But Osawa drowned out his smile immediately and said. It was a strong tone like demanding himself.
“And a total of listeners for my program never drop to “0”. If a number close to “0” was left, the listeners were actual listeners. We make programs and broadcast for them.”
Osawa’s eyes fell on the display again. A meaningless list of English letters appeared on the display was reflected clearly in the sunglasses. Kei sat down again and asked a question prepared. Kei noticed that his voice was trembling.
“What about your wife and child?”
“Why do you stick at that? If I were a normal office worker, this will end to a normal, trashy story. But I’m different. I am in the business with artists who steered music scenes in Japan. Their sense was totally different from general sense. That’s why I was attracted, and I must keep on supporting it. Do you understand what I want to say?”
Oaswa’s right forefinger pushed up the sunglasses on his nose. In the back of glasses, the cold light sparkled again.
“I need the existence of Kaori for my business.”
Osawa said quietly like adding words.
“Why on earth does my home have to do with you? It’s only Kaori’s business, right?”
“Did you hear that call, didn’t you?”
Osawa drew his chin in silence. Kei’s tense feeling changed to a sigh in a matter of seconds. Kei murmured “Kaori” in his mind, thinking of Rika’s right sense.
Kei swallowed lightly. And moreover, he asked Osawa. Kei’s voice cracked a little. “Your wife had an abortion for you, thinking of you....”
“That’s what she decided.”
The sound of tapping the keys stopped. And Osawa stared at Kei sharply and said. The silence in the shop closed in over the table like being condensed.
“That’s why I’m here.”
Osawa rested his chin on hid hand shifting his eyes to the display and kept on talking. “Others might think it’s a showy work, but just a fifteen minutes program. Even if other two programs are added, the total per a week will be less than 10 hours.
People who don’t listen to the program are much more than people who listen to it.
When I chose this field, I lost control of a future meaning of myself as I knew various realities. You have your father, right?”
Osawa’s eyes became gentle again and sounded Kei out. Kei looked for the answer for a while with Osawa’s gentle eyes and immediately remembered Kaori. For Kei, first, he should talk about Kaori now.
Kei took a cup, looking away from Osawa. Coffee became lukewarm and stronger. “What for is Kaori here?”
“Kaori? What for? Did you hear the story?”
Osawa’s voice rose. Kei took the cup to his mouth again.
“Kaori is not particularly here for me. She is with me for herself. She hopes to stay with me because she can get something from me. And I want her to stay beside me.
That’s all.”
Osawa rolled lightly up his sleeves of a white shirt and drank coffee. He cast outside a glance and said quietly. The rough tone faded away.
“In future, major FM will be driven away more by radio on the Net. If my ability dies someday, I will be deserted by various things, not only Kaori. And I might lose everything I treasured. But I don’t hope to live life being afraid of losing something.”
Kei bit the lower lip. He bent his head and gazed at his 501 jeans. A fair skin looked pale from the lap fallen out. Kei felt that the skin got still whiter with Osawa’s words.
“What do you want to do with Kaori? You still want her to stay beside you?”
Osawa told gently and Kei shut the mouth tight. Osawa’s voice gradually got thinner, and swelled with tenderness, too.
“Have you thought like this? Just imagine you are so worthwhile that I am jealous of and I have such status and talent. Why didn’t Kaori leave you soon? Why didn’t Kaori try to leave you? I was jealous of you....”
Kei tolerated Osawa’s words biting his back teeth. His shoulder stiffened, and he was ashamed of himself with annoyance because on one hand he regretted coming here somewhat; on the other hand, he got a feeling of contentment somewhere. A lump in his throat was just one thing. Kei wanted to meet Kaori.
“Do you have something to ask me?”
Kei shook his head bending his head.
“I have something to ask you. No. I beg you a favor. I’m not talking about you.
A girl who was with you.”
Osawa said so and gave a deep sigh. Kei looked up at Osawa. Osawa was looking at cold street lamps in Omotesando where stillness had fallen.
“Perhaps you love Kaori, but you must not forget that girl. And I want you to apologize to her. On that day I’ve gone a little too far. I should not ask you this, but we will not meet again....”
Kei stood up to search his pocket. When the coins tinkled, Osawa who rested his gaze on the other side of the window murmured, “No.”, and said, “You have money for a taxi?”
Kei ignored the word and took a step forward, but stopped just next to Osawa. Kei’s eyes fell on Osawa’s profile. With sharp eyes Osawa searched something shimmering in the display like searching something that was still a long way off a shape. Kei glanced at a waiter in the back of the counter and started to walk to the exit.
Kei opened the door and breathed deeply in the uncomfortably warm night air. The dry scent of a shower beating the heated asphalt floated over the river of light that was formed on the road.
Kei threw a few of T-shirts and underwear into a bag and left the room.
The subway at past five was flooded with people like rush hour in the morning and people crushed. Their shoulders touched each other every time they swayed from side to side along the tube of subway and the odor of sweat oozed in the chill also swayed.
Kei thought that he will meet Kaori once more before he goes back to his parents’ home. He felt that the day when he saw the port by night with Kaori was a long time ago. The night view Kei had seen once did not move him deeply like his first view.
The view before his eyes was just a fiction of artificial light sending out with someone’s
intention. It was too factitious to color artificially for the best possible look. The color scheme was so commonplace and false, so Kei thought that it was too empty to crash soon. The temporary beauty with direction was an eyesore for Ken.
It must be a symbol of someone’s silly greed.....
Kei went to the exit for staff in the back of the event hall. He decided to go back at once if he waits for Kaori for one hour, but can’t see her and one hour passes. He sat down at the bench. Sometimes a security guard stared at Kei, but he spent time making a pretense to gaze the night view
After a while, Kaori appeared with Saki, among a group of girls. They smile peacefully each other and go to the platform of subway where Kei came out of.
Kaori stopped to open her handbag. Then she took a cellular phone and gazed at it for a while. And Kaori slowly reversed her steps with saying good-bye, maybe. Turning round, Kaori busily tapped keys on the cellular phone and quickly closed it. Kei saw how they are going being couched in the shade of ever green grown over.
Kei left the spot before Kaori’s figure became small and disappeared into the lights on the street. Kei didn’t look back to Kaori any more. Kei’s bag on his back appeared to get heavier.
The cellular phone in his 501 jeans did not vibrate though two minutes passed.
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Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Profile.
In November 2014, we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model, and will conclude a confidentiality agreement with them.
steal-a.way-nifty.com/stealaway/2015/03/profile-march20.html
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e
Hi there, my name is Jinsei.
Let me try to describe myself... or at least, what I know about myself: I'd say that I'm a rather complicated person. But after all, aren't we all complicated?
I'm an easygoing person, unless you say or do something that's against my principles. I can't stand prejudices, about emo/goth/other scene's, race, background or whatever. I hate drunks and droggies.
If you want my honest opinion, I'll give it to you, no exceptions. I'm not a backstabber, I always speak my mind.
I don't love going out when you're speaking of discotheques or ordinairy parties. What I prefer are gigs and festivals. Because, even though I'm a girl, I do love mushpits, crowdsurfing en stagediving.
Strangely enough, I am afraid of the dark. So after a concert, there always has to be someone to walk me home. I'm working on this though.
Oh, and I'm the kind of person that still actully BUYS CD's and LP's. That's not being stupid, it's just a matter of respect. All those bands make the effort to provide us with good music, put all there time and energy in it... than it's only fair to give them the money they earn.
I'm laid back and easygoing.
Maeve is just a dolly. A dolly who likes to shop, explore, hang out and crack wise.
I marvel at, with just a touch of envy, the talent of so many people in here.
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
Just bought this autographed copy
of My story by Julie Couillard - 2008
(former girlfriend of Maxine Bernier)
Maxine Bernier resigned from cabinet in 2008 only hours before Couillard described in a television interview how he had left classified briefing documents for a NATO summit at her Montreal home. After all of this Maxine and noted other
M.Ps trash Julie Couillard about her past. Sad how politicians
take no responsibilty for their mistakes especially having
N.A.T.O confidential documents in their personal possession.
Maxime Bernier resigns over missing documents.
May 26 and 27, 2008 - Maxime Bernier resigned as Canada's Minister of Foreign Affairs after learning his ex-girlfriend Julie Couillard would reveal he left sensitive documents at her home.
See story below on YouTube :
www.youtube.com/watch?v=tfGcybmQYKs
Also found this interview by George Stroumboulopoulos
questioning Maxine Bernier on his mistake of having confidential documents. Instead of just admitting mistake
he tries to smear his girlfriend again but I give credit to
interviewer for stopping him that she was not the issue.
This is about 7 minutes into the interview. See below
on YouTube.
www.youtube.com/watch?v=iTjLSHSx6Pg&t=458s
Maxime Bernier PC MP (born January 18, 1963) is a Canadian businessman, lawyer and politician serving as the
Member of Parliament (MP) for the riding of Beauce since 2006. He is the founder and current leader of the
People's Party of Canada (PPC).
Prior to entering politics, Bernier held positions in the fields of law, finance and banking. First elected to
the Canadian House of Commons as a Conservative, Bernier served as Minister of Industry, Minister of Foreign
Affairs, Minister of State for Small Business and Tourism, which later became the Minister of State for Small
Business and Tourism and Agriculture in the cabinet of then-Prime Minister Stephen Harper. Following the
Conservatives' defeat in the 2015 election, he served as opposition critic for Innovation, Science and Economic
Development in the shadow cabinets of Rona Ambrose and Andrew Scheer, until June 12, 2018.
Bernier ran for the Conservative Party leadership in the 2017 leadership election, and came in a close second
with over 49% of the vote in the 13th round, after leading the eventual winner, Andrew Scheer, in the first 12
rounds. Fifteen months later, in August 2018, Bernier resigned from the Conservative Party to create his own
party, citing disagreements with Scheer's leadership.[1] His new party was named the People's Party of Canada in
September 2018.
Interview Julie Couillard gave in 2008
JULIE COUILLARD TALKS WITH KENNETH WHYTE ABOUT HER DEAL WITH MAXIME BERNIER, HIS DISLOYALTY, AND HER RESPECT FOR
THE PM
OCTOBER 20 2008
'All of a sudden, I'm a biker’s chick, I'm trash. He ran the other way while I drowned.’
INTERVIEW
JULIE COUILLARD TALKS WITH KENNETH WHYTE ABOUT HER DEAL WITH MAXIME BERNIER, HIS DISLOYALTY, AND HER RESPECT FOR
THE PM
I’m going to start at the beginning of your relationship with Mr. Bernier, and that very first meeting that you
two had.
A: Well, it was actually my real estate broker that invited me to a cinq-à-sept. I had mentioned to him a couple
of days prior that the Conservative party had approached me to maybe present myself as an MP, which really took
me by surprise. But to tell you that I ever took this proposition seriously, no. Still, I was curious about it,
and my broker says, we’re all going for supper afterwards and, by the way, a minister is going to be there, and
maybe you’d like to come and pick his brains, basically, about politics and everything to do with becoming 14
an MP. So I said yeah. He mentioned to me it was the ministre de l’industrie—industry minister—Maxime Bernier.
As a joke, my broker said, “He’s pretty cute, and he’s single, so who knows?” That’s how we first met.
Q: In the course of the evening, Mr. Bernier got a bit forward with you.
A: Well, actually, that was at the beginning of the evening. We had just sat down, and he leaned forward and
gave me a little peck on the cheek. And some people will say, “How come you got shocked by that? Because next
time you saw him you guys ended up being intimate on your first official date.” It’s not the same as if you meet
a guy for the first time, you hit it off well, and then it’s officially a date. First of all, my brokers were
there. It was a business meeting. I mean, I was in a
suit. That’s why it was totally out of place.
Q: You took him outside, gave him a lecture, and said you weren’t there as a little helper.
A: Exactly, yeah.
Q: What did you mean by little helper?
A: Well, that was the English translation. I’m not a girl that some company will introduce you to so that,
basically, if you find her cute you can have your way with her. Because there were other young girls, all of a
sudden, that joined our table, that were not businesswomen. They were there just to party. I wanted to make it
clear to Maxime that, you know, you’re a very nice guy, we get along great, and you’re handsome and all, but I’m
calling the shots and nobody else.
Q: It is kind of offensive for somebody to do that at a first meeting. Why not run from him?
A: Well, because he was very apologetic.
Q: So you don’t think he mistook you for a little helper?
A: No, because I can be very blunt. And he was taken aback.
Q: It wasn’t really a business arrangement he proposed when you started to see each other steadily, but it was
kind of a professional arrangement, right?
A: No. Maxime proposed a personal relationship with a condition attached to it. That’s how, really, it was
presented to me. The first offer was if I wanted to become his girlfriend, and if I would be interested enough
to have a serious relationship with him, there were certain strings attached to the fact that he was a
politician and a public figure. [They would have to go out for a year.] Though I was a bit shocked in the sense
that it’s not the most romantic way to ask a girl to go out with you, after his explanation I had to agree with
him. He was a politician, he was a public figure, and it came with the territory.
Q: Right.
A: I put myself in his shoes. Sometimes you do have to compromise because of your work. And at that point in
time, I didn’t anticipate not getting along with Maxime.
Q: In My Story, you describe some behaviour on his part that wasn’t terribly impressive, his temper tantrums,
throwing an iron across the room, and calling you when you’re at official functions with important people,
summoning you from across the room in a rude way.
A: While I’m talking with the wife of our ambassador nonetheless, yes.
Q: And then there’s the fact that you found out [that there were] other women.
A: There’s one specific event that I found out while I was his girlfriend, the rest I found out after I was just
his friend.
Q: There’s a considerable amount of stuff like this in the book about him, and I have trouble seeing what
attracted you two. Did you like him?
A At the beginning I did. A: Well, he’s easygoing, he’s fun, you’ll enjoy a good supper with a good bottle of
wine. And we did have a very strong attraction for one another, and you have to understand that we had a
longdistance relationship. Four days out of the week Maxime was not there. Every other weekend he had his two
daughters. Most probably, if Maxime would have been living where Fm living, after a month or two I would have
said, “You know what, buddy? This is not working out.” It took me six months because he got promoted and he
started travelling a lot, and sometimes I wouldn’t even see him for two to three weeks, so when we finally did
get together it was like our first date all over again. It wasn’t easy for me to realize that he was lacking
depth.
Q: Regarding the men in your life before Maxime Bernier, Gilles Giguère was murdered, and Stéphane Sirois was
fairly high up in a motorcycle gang.
A: No, he was not.
Q: No? What was he?
A: While I was with him he was not a biker. He gave back his patch, because that was my condition. I didn’t want
to go out with a biker. After I divorced him he went back into that world and eventually turned into a rat.
Q: You’ve been left heartbroken, broke, and embarrassed by various men in your life. Do you feel you have been
unlucky in love?
A: I’ve had my unlucky strikes, I have to admit. You have to understand that I was put in a position where I had
no choice to write a biography to re-establish the facts and my credibility, and had I written that book at 78,
let’s say, there would have been a lot more happy times. At this point in time in my life I made a choice of
keeping the good business ventures and my happy relationships for me, for the little I had left of my private
life.
Q: So you don’t think you have a habit of picking the wrong guy?
A: Well, I could have a better average.
Q: I get a bit confused about the end of your relationship with Mr. Bernier. It was in December 2007 that you
sort of broke up, but you continued to see one another. You were still more than friends, though.
A: Yes, we were. I had nobody else in my life, so j’ai rendu le pratique agréable, I made what was practical
agreeable. I mentioned to Maxime in December that our relationship was not fulfilling me and that I had no time
to waste, at my age, and I knew that Maxime was not the guy. And to tell you the truth, Maxime agreed that it
was better that we remained good friends, you know? I had given
him my word that I would remain his official girlfriend for a year and, to tell you honestly, though you know
that that person is not the person of your life, you still can grow very attached. I certainly didn’t do it
against my own free will or all those things that people implied, that I was paid to be his escort and whatnot.
That’s totally ridiculous. How many people had an ex that they kept seeing until they met someone else that was
more interesting? I think we have all done it. So all of a sudden, because he’s a minister, there’s this hidden
agenda behind it.
Q: Everybody’s trying to impose a story on your life.
A: It was much simpler than that, and a
1 had this image of George Bush as this cold person. He had a great sense of humour. That totally threw me off.’
lot duller than that, if you ask me.
Q: Well, it’s not very dull.
A: Concerning my relationship with Maxime it was. Yes, fine, I did have a fiancé that got assassinated, but that
was 12 years ago, and yes, I ended up divorcing a guy that used to be a biker before he went out with me, or got
married to me, but that was 10 years ago.
Q: Is that one of the things that was so horrifying for you about this? Because you’ve been working, travelling
in different circles, and holding your own with ambassadors and important people around the world. And then all
of a sudden, you’re reading about yourself in the paper.
A: All of a sudden I’m a biker’s chick and I’m this and I’m that and I’m trash and I’m a whore and I’m possibly
sent by bikers. What
the hell? That’s 10 and 12 years ago, so what does that have to do with anything now?
Q: Was it necessary, in order to re-establish your reputation, to go so deeply into Mr. Bernier’s character
flaws and his misbehaviours?
A: I think that it was. When you have a team of people who work 45 hours a week to portray you and to sell your
image in the media, getting to know the real, true person behind this image can’t be easy. It needed to be done
so that people would understand not his actions, but his inaction in this circus that crashed my life. Some
people will say, “Yeah, well, it’s pretty harsh.” Well, I’m so sorry but his silence was basically sending a
message to the public that he was endorsing everything that was being said. That man knew me, he spent a year
with me, six months as his girlfriend, and I was good enough to remain his very good friend for another six
months, and he still wanted me to stick around to keep accompanying him in all his official functions, so I
couldn’t have been such a vulgar woman and a slut and a this and a that and a biker’s chick. Yet he let all
these things be said about me, and he was the politician, he was the one who had all the tools to stand up and
say, “Listen, now, this is not right.”
Q: In March of this year it broke on TV that the minister is dating a biker chick.
Q: May, sorry, and he went underground.
A: Exactly, he started acting like he never even knew me. Do you honestly think that the media, politicians,
[the general] population would have been the slightest [bit] interested in what Julie Couillard did in her life
10, 11 years ago, 12 years ago? Who gave a damn? Nobody. Everybody became interested. Why? Because I was the
official girlfriend of a federal cabinet minister. He ran the other way waving while I was drowning.
Q: What should he have done?
A: Well, he should have at least straightened out the facts, and right from the get-go he could have stopped
this then and there. He could have said that this is all a cheap way of trying to damage his reputation and
damage the party that was in power, and that it had nothing to do with the real issues of our society today and
it was just cheap politics. He had all the tools and all the people. He knew that the RCMP, the Sûreté du
Québec,
la Communauté urbaine de Montréal, all of them, [that] did investigate me back then, came to the conclusion I
had nothing to do with organized crime aside from the fact that I was seeing people that knew people in that
scene, but on a personal level, and I was not implicated in the criminal activities of any sort. This was just a
cheap attempt to damage our government. That’s all it was!
Q: In the book, Stephen Harper comes off better than pretty much anyone else you encountered in that world. You
were impressed with him.
A: Yes, I was. I have to admit that I do not have the same political views as Mr. Harper but I do have a lot of
respect for the man.
Q: George W. Bush impressed you as well.
A: I had this image of this cold, very restrained person, but he was such a friendly and accessible guy, and
very light and funny. He had a great sense of humour. That totally threw me off.
Q: You say in the book that you thought you let Mr. Bernier off too easily. Is there more to the story that you
haven’t written?
A: The only more would be things that I do not think are of any public interest.
Q: He would, when you were together, complain about Mr. Harper being fat or being controlling. Doesn’t everybody
complain about the boss?
A: Maybe. But Maxime doesn’t have just a job, he’s a politician. That’s very different. He shouldn’t have a
right to disrespect our Prime Minister. And what really pissed me off is that Maxime was a guy that two years
before wasn’t even in politics and there you go, all of a sudden, because of Mr. Harper, he ends up, hey, the
minister of external affairs! Come on! The man might not be perfect, we’re all perfectly unperfect, but you
should respect him for giving you that opportunity.
Q: You answered this question already about the men in your life and your batting average. Do you think it’s the
kind of man you’re attracted to or the kind of man who’s attracted to you?
A: Well, I don’t know. I know for my part my flaws are more that I see a good-looking guy and he’s a good talker
and he’s a lot of fun and he makes me laugh, and then I have a tendency of more dreaming an image of that
person, and then I fall in love with that image, but the guy I’m falling in love with does not even exist.
That’s what I would have to watch out for. And because, I guess, of my looks some men are attracted to me for
the wrong reasons, they stop at what they see instead of seeing deeper than that.
Q: When you were travelling with Mr. Bernier and going to official functions, you did meet some people and you
exchanged business cards on occasion. Did any opportunities or any doors open for you because ofthat?
A: I didn’t really exchange business cards at all, to tell you the truth, when I was with Maxime. I’ve had the
pleasure of saying, “I’ve met our ambassador in Paris.” But I was the spouse of Maxime, that’s why I was there.
Q: Are you working now?
A: Oh, no. My life totally stopped. The seventh of May everything stopped.
Q: What are you going to do now?
A: That’s a very good question. I don’t have an answer. I still have a mortgage to pay, and a car payment and so
on and so forth. I concentrated on re-establishing the facts and reestablishing my credibility because nobody
will have anything to do business-wise with me—which is totally understandable—and I do not believe that the
same career is ever going to pick up again.
Q: Real estate?
A: No, real estate and development. I specialized in a very narrow niche, where you always have to be in contact
with the municipalities, with the provincial, even the federal government. M
Available at www.myfonts.com/fonts/sudtipos/tropical/
The single-named, multi-talented designer Joluvian now lives in Madrid. But he grew up in the “Caribe” of Venezuela, where thick jungles meet endless beaches, and fecund trees bear juicy fruit – a tropical paradise where music and dance vibrate in the humid air.
The Tropical pack, designed by Joluvian and digitized by Ale Paul, echoes the spirit of his birthplace. Its three faces are casually stylish – a bold, wet-looking display script, an inky, textured brush script, and hand-penned capitals with a felt-tip look.
Like a fruit cocktail, each ingredient is tasty on its own, but they combine even more deliciously. Sprinkle the included catchwords, shapes, and bursts in your layout to complete the easygoing, Carribbean vibe. Each face includes alternates and support for multiple Latin languages.
I met Marita at the flea market this afternoon. I was fascinated by the light and shadow patterns coming through her hat, falling nicely on her face.
Marita is 47 y/o, mother to a tall and handsome 17 y/o son. Accordingly, her challenge at the moment is to understand a teenager’s easygoing lifestyle. Having said that, Marita adds that life is quite good at the moment.
She works in the IT world and loves to sport and go to the gym on her free time.
"You create your own story and can achieve anything, just work hard and trust yourself! Don’t worry about other people’s opinion, feel free to choose your own road to wander!"
"What would you whisper the younger you, Marita?"
"Don’t be so hard on yourself, you are perfect just the way you are."
Marita is wearing a hat crocheted by her mother. Can you guess what it is made of?
This picture is # 54 in my 100 strangers project. To find out more about the project go to www.flickr.com/groups/100strangers/.
Sometimes, shootings for this project take a very different turn from what you expected them to be. Sometimes, you get exactly what you were hoping for. For example a double portrait with shallow depth of field and warm tones, which had been on my wish list for quite a while. Marcel and Dennis were the perfect strangers for this shot.
It is hard for me to focus on the technical and creative challenges of a stranger portrait, often, as I am absorbed by the social exchange. I don't want people to lose patience and interest, when I steal more than two or three minutes of their time, trying different camera settings and angles.
I found a solution to this problem: Ask! Duh. Just ask, whether they will grant me time and patience to try something, or whether they'd prefer me just taking a quick snapshot.
Marcel and Dennis were funny and easygoing and had time to spare, sitting in front of Marcel's house, just watching people walking by.
After driving 60 miles from Peach Springs, Arizona, you hit a dead end on a cliff. Here at Hualapai Hilltop, you look down, down, down at where you will be hiking.
The road had been relatively flat for many miles, meandering through pine forest and sagebrush grassland. Then at mile 58, you started careening through gulches in the Kaibab Limestone and Toroweap Limestone. But there's no cutting a road through the Coconino Sandstone, a cliff-forming layer prominent throughout Grand Canyon. It's time to hike.
The jaunt is easygoing down through the zipper-like switchbacks in the Coconino and the gentle grades of the Hermit Shale. Then you hit the mostly-level Esplanade, top of the Supai Group. You'll be descending through the Supai layers in Hualapai Canyon (see Canyon Packer), gradually descending through the red cliffs, for six miles to the springs that begin Havasu Creek. There your paradise adventure will begin.
Don't forget you'll have to hike back up those switchbacks. It's 10 miles from the campground. Take a lot of water! See also Prince's plume at sunrise.
For a tour of the canyon, see my complete Havasupai set.
Timon is a major character in Disney's 1994 animated feature film The Lion King and the protagonist of the 2004 film The Lion King 1½. He is a wisecracking meerkat and the best friend of Pumbaa. Though he originates from an industrious family, Timon lives an easygoing lifestyle of grub-eating and sleeping, under a "problem-free philosophy" called Hakuna Matata.
Saw this sign at the arena in Arizona where they have roping contests for cowboys and cowgirls. The cowboys and cowgirls I meet here have down-home, old fashioned manners. Men still tip their hats to women. Everybody is so friendly and easygoing. It's so neat and refreshing. Seems to be an endearing characteristic of the old Western United States. Hope it continues forever.
LENS: Olympus M. Zuiko 30mm Macro f/3.5
CAMERA: Olympus E-P5
Dutch postcard by Uitg. Takken, Utrecht, no. 3115.
American actor Sal Mineo (1939-1976) was a teen idol during the late 1950s. He shot to fame as Plato in the classic Rebel Without a Cause (1955) featuring James Dean. Diminutive and sad-eyed, his performance struck a chord with audiences as well as critics, earning him an Oscar nomination. He co-starred again with Dean in Giant (1956) and with Paul Newman in Somebody up There Likes Me (1956), and Exodus (1960).
Salvatore Mineo Jr. was born in 1939 in The Bronx, New York City. His parents were Josephine and Sal Sr. Mineo, a casket maker. They had emigrated to the U.S. from Sicily. His siblings were Michael, Victor, and Sarina Mineo, who would also work as actors. Sal was thrown out of parochial school and, by age eight, was a member of a street gang in a tough Bronx neighbourhood. His mother enrolled him in dancing school and, after being arrested for robbery at age ten, he was given a choice of juvenile confinement or professional acting school. He soon appeared in the theatrical production 'The Rose Tattoo' with Maureen Stapleton and Eli Wallach and as the young prince in 'The King and I' with Gertrude Lawrence and Yul Brynner. At age 16 he played a much younger boy in Six Bridges to Cross (Joseph Pevney, 1955) with Tony Curtis. Later that same year, he played Plato, a sensitive teenager smitten with the main character, Jim Stark (James Dean), in Rebel Without a Cause (Nicholas Ray, 1955). He was nominated for the Oscar for Best Supporting Actor for his performance. Mineo received thousands of letters from young female fans and was mobbed by them at public appearances. He co-starred again with Dean in Giant (George Stevens, 1956) and with Paul Newman in Somebody up There Likes Me (Robert Wise, 1956). Many of his other roles were variations of his role in Rebel Without a Cause, and he was typecast as a troubled teen. In 1957, he tried to start a career as a rock-and-roll singer. He released two singles. The first was 'Start Movin' (In My Direction)', which stayed in the US top 40 for 13 weeks and reached the #9 position. The second was 'Lasting Love', which stayed on the charts for three weeks and reached #27. The singles were followed up by an album on the Epic label.
In 1959, Sal Mineo starred as the titular jazz drummer in The Gene Krupa Story (Don Weis, 1959), and a year later earned a Golden Globe and his second Oscar nomination for his role as Dov Landau, a Jewish Holocaust survivor, in Exodus (Otto Prerminger, 1960). Another box office hit was the war epic The Longest Day (Ken Annakin, Andrew Marton, Bernhard Wicki, 1962) in which he was one of the 42 stars. He played a paratrooper killed by a German after the landing in Sainte-Mère-Église. By then, Mineo was becoming too old to play the type of role that had made him famous, and his rumoured homosexuality led to his being considered inappropriate for leading roles. He had a long, on-and-off relationship with his young Exodus co-star Jill Haworth. She was 15 and he was 21 at the time. In 1972, he came out as bisexual in an interview. In 1969, expanding his repertoire, Mineo returned to the theatre to direct and star in the gay-themed prison drama 'Fortune and Men's Eyes' with successful runs in both New York and Los Angeles. He played Rocky, a prison bully who rapes the naive, blond prisoner Smitty, played by the young Don Johnson, pre-Miami Vice. On-screen he had roles as Red Shirt in the epic Western Cheyenne Autumn (John Ford, 1964) starring Richard Widmark, as Uriah in The Greatest Story Ever Told (George Stevens, 1965), and in his last film role as monkey Dr. Milo in Escape From the Planet of the Apes (Don Taylor, 1971). On television, he appeared with Henry Fonda in the Western Stranger on the Run (Don Siegel, 1967). In 1975 he returned to the stage in the San Francisco hit production of 'P.S. Your Cat Is Dead'. Preparing to open the play in Los Angeles with Keir Dullea, he returned home from rehearsal the evening of 12 February 1976 when he was attacked and stabbed to death by a stranger on the streets of West Hollywood. A drug-addled 17-year-old drifter named Lionel Ray Williams was arrested for the crime. He had no idea who Mineo was and was only interested in the money he had on him. After a trial in 1979, Williams was convicted and sentenced to life in prison for killing Mineo and for committing 10 robberies in the same area. He was paroled in 1990. Easygoing, extroverted Sal Mineo was only 37 years old when his life came to this tragic end. He was laid to rest near his brother Michael Mineo at Gate of Heaven Cemetery in Hawthorne, New York. At the time of his death, he was in a six-year relationship with male actor Courtney Burr III.
Source: Jason Ankeny (AllMovie), Anthony Wynn (IMDb), and IMDb.
And, please check out our blog European Film Star Postcards.
.... 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.
Dutch postcard, no. 1045.
American singer, guitarist, and actor Trini Lopez died on 11 August at the age of 87. His first hit was 'If I Had a Hammer', which earned him a Golden Disc. His other hits included 'Lemon Tree', 'I'm Comin' Home, Cindy' and 'La Bamba'. He designed two guitars for the Gibson Guitar Corporation, which are now collectors’ items.
Trinidad 'Trini' López III was born in the Little Mexico neighbourhood of Dallas, Texas, in 1933 (some sources say 1937). His father, Trinidad Lopez II, worked as a singer, dancer, actor, and musician in Mexico; his mother was Petra Gonzalez. Lopez has four sisters and a brother, Jesse, who was also a singer. He attended N. R. Crozier Tech High School but had to drop out in his senior year because he needed to earn money to help support the family. Lopez formed his first band in Wichita Falls, Texas, at the age of 15. Around 1955, Trini Lopez and his band worked at The Vegas Club, a nightclub owned by Jack Ruby, the nightclub owner who assassinated Lee Harvey Oswald, avenging Oswald's assassination of JFK. In 1957, at the recommendation of Buddy Holly's father, Trini and his group The Big Beats went to producer Norman Petty who secured a contract for them with Columbia Records. Lopez left the group and made his first solo recording, his own composition 'The Right To Rock', for the Dallas-based Volk Records, and then signed with King Records in 1959, recording more than a dozen singles for that label, none of which charted. In late 1962, after the King contract expired, Lopez followed up on an offer by producer Snuff Garrett to join the post-Holly Crickets as a vocalist. After a few weeks of auditions in Los Angeles, that idea did not go through. He landed a steady engagement at the nightclub PJ's, where his audience grew quickly. He was heard there by Frank Sinatra, who had started his own label, Reprise Records, and who subsequently signed Lopez.
His debut live album, 'Trini Lopez at PJ's', was released in 1963. The album included a smash rendering of the folk standard 'If I Had a Hammer', which reached number one in 36 countries (no. 3 in the United States), and was a radio favourite for many years. It sold over one million copies and was awarded a gold disc. He also performed his own version of the traditional Mexican song 'La Bamba' on the album. It was later reissued as a single in 1966. Lopex made folk-pop swing. Another live album from PJ's was recorded later that same year under the title 'By Popular Demand More Trini Lopez at PJ's', which contains the song 'Green Green'. His popularity led the Gibson Guitar Corporation to ask him in 1964 to design a guitar for them. He ended up designing two: the Trini Lopez Standard, a rock and roll model based on the Gibson ES-335 semihollow body, and the Lopez Deluxe, a variation of a Gibson jazz guitar designed by Barney Kessel. Both of these guitars were in production from 1964 until 1971, and are now highly sought-after among collectors. Bill Dahl at AllMusic: " Lopez's hits capture the excitement of his live performances, and his driving renditions of 'Kansas City' (1963), 'Lemon Tree' (1965), and 'I'm Comin' Home, Cindy' (1966) were substantial sellers." In total, Lopez scored 13 chart singles through 1968, including 'Sally Was a Good Old Girl' (1968). On the adult contemporary chart, he racked up 15 hits, including the top-10 singles 'Michael' (1964), 'Gonna Get Along Without Ya' Now' (1967), and 'The Bramble Bush' (1967). Beyond his success on record, he became one of the country's top nightclub performers of that era, regularly headlining in Las Vegas. In 1968, he recorded an album in Nashville entitled 'Welcome to Trini Country'. In 1969, NBC aired a Trini Lopez variety special featuring surf guitar group The Ventures, and Nancy Ames as guests. The soundtrack, released as 'The Trini Lopez Show', has him singing his hits with The Ventures as his backing band.
During the 1960s and 1970s, Trini Lopez moved into acting, though his film career was not as successful as his music. Lopez's first film role was in Marriage on the Rocks (Jack Donohue, 1965) with Frank Sinatra, Deborah Kerr, and Dean Martin. Lopez made a cameo appearance in a nightclub scene. His soundtrack song, 'Sinner Man', became a hit single. Next, he appeared in the thriller Poppies Are Also Flowers (Terence Young, 1966) with Senta Berger and Stephen Boyd. He was one of The Dirty Dozen (Robert Aldrich, 1967), but he walked off the set reportedly at the urging of Frank Sinatra who supposedly thought his music career would stall if he continued to work on the film, which had gone over its scheduled shooting date. Another version was that Lopez was fired by director Robert Aldrich for being disagreeable. Later Lopez appeared as himself in The Phynx (Lee H. Katzin, 1970) and played the title role opposite Larry Hagman in Antonio (Claudio Guzman, 1973). Lopez hosted his own network TV variety program. He also made two appearances (playing different characters) on the television program Adam-12 (1971-1972). In 1977, he played the role of Julio Ramirez in The Mystery of the Silent Scream (John J. Dumas, 1977) which was part of The Hardy Boys/Nancy Drew Mysteries TV series. Lopez continued his musical career with extensive tours of Europe and Latin America during this period; an attempt to break out by releasing a disco album in 1978 proved a flop. Lopez produced a single promoting the Coca-Cola soft drink Fresca in 1967. In 1993, a Golden Palm Star on the Palm Springs, California, Walk of Stars was dedicated to him. In 2002, Lopez teamed with Art Greenhaw for 'Legacy: My Texas Roots'. The album used the Texas Roots Combo including Lopez, Greenhaw, and Lopez's brother, Jesse. Reviewer Steve Leggett on All Music Guide: "The album has an easygoing feel very similar to Lopez's classic live sets from the 1960s, only it rocks a good deal harder." Thereafter, Lopez did charitable work and received honours such as being inducted into the International Latin Music Hall of Fame in 2003. Lopez was still recording and appearing live in the years leading up to his death. In 2013, he appeared as a guest performer in a number of shows held in Maastricht in the Netherlands with the Dutch violinist and composer André Rieu. He continued to record. 'El Immortal' was released in 2010, and the following year he released his 65th album, 'Into The Future' Lopez remained a lifelong bachelor and had no children. His nephew, Trini Martinez, was the drummer for the Dallas indie rock band Bedhead. Trini Lopez died in 2020, at Desert Regional Medical Center in Palm Springs, California. He was 83 and suffered from complications of COVID-19.
Sources: Bill Dahl (AllMusic), Steve Leggett (All Music Guide), Jon C. Hopwood (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
I had this Crack Den character since March 2014. Been playing on and off the sim. From a tattoo parlor clerk to a mechanic, he's met a lot of people along the way.
I initially made this guy to be a villain after seeing an ad in one of the RP groups I was in. Was in a tough time and I felt alone, and I figured answering the ad would be good.
Joined the sim and my very first RP was with a hooker. lol.
Didn't get to do any villainy stuff tho. The gang my character was supposed to be in lived in another timezone and I never could catch them on. I think they went on to RP in another sim, leaving my character stranded with this backstory.
Continued with it tho and NPC-ed everyone. But yeah, his story was more redemption arc than plain fucking up other people.
I updated his look.
Name: Leon de Valle
Age: 30
Hair: Black
Eyes: Ice Blue
Blood type: AB+
Height: 6'3
Weight: 200 lbs
Status: Single
Sexuality: Straight
Occupation: Thief/spy working as a mechanic for cover
Ethnicity: Appears to be Mediterranean
Race: Spanish/Palestinian but raised in America
Skin: Dark Tan
Physique: Athletic but lean and agile, not overly bulky; body like that of a sprinter's/traceur's, than a body-builder's
Tatoos: Just a couple of Maori tribal tatoos around each bicep
Abilities:
- All the ways of thievery from pickpocketing to big-time heist
- Cloak-and-dagger skills, e.g., espionage and infiltration
- Running and parkour (since 12)
- Boxing (since 12)
- Krav Maga (3 yrs in training)
Personality:
- A charmer, not a brooder
- Flirts with any woman within 10-m distance
- Too devil-may-care and reckless to be forlorn
- Flighty
- Unpredictable
- With strangers, he's polite but cool and detached
- With friends, he's easygoing and happy-go-lucky
Tangelo is a gorgeous buff-orange longhaired young guy (1 year old), who is friendly to people and other cats and quite relaxed/easygoing. We didn't think he'd last long - and he did go home 21 March 2017.
Anyone is welcome to read this post, or I wouldn't be putting it here. But it's not an advert for my love life. Not actively searching for someone at the moment, and I am writing this for my own reasons and entertainment. But feel free to chime in with comments, if you wish:
Right now my personal life has been rough on me. Have had some bitter, heartbroken crying jags, to be sure. For one thing, after 4 and a half years of separation from Cameron, I am filing for divorce. The paperwork is in process. Luckily, he and I are still friendly, and though we don't share more than brief notes, now and then, we are both agreeable to this difficult change.
In the past year, especially, I have been content and happy and vibrant, due in part to my own efforts to fill my life with what is good. But I can not forget to thank all the wonderful friends, new and old, who have made my journey even better.
Also, a few blokes along the way have taught me more about what I do and do not want in a relationship, when I am ready to have a boyfriend again. And I will be, before too long...
So, I am kicking up my heels, and loving every other aspect of life right now: my artwork, my family and friends, my own interests/hobbies, my strides in good health, doing charity events and having fun in my downtime, with visits to friends, and concerts, etc.
Soooo..to have a bit of fun with it all... what DO I want in a man, when I am officially available?
This is a list of things off the top of my head, some things would be nice, others are a must. Certainly not a full list, at any rate:
1. Have a sense of humor. It helps if you get mine, which can be odd at times.
2. You can be bawdy with me. I am more used to it than some might assume...but I do not like to be openly rude or nasty in public, and if you are, forget it.
3. I'm looking for someone who will value education and wit and have a good appreciation for art.
4. It's great if you know the true worth of good and inspiring music. You certainly don't have to like the same kinds of music that I do, but I have a wide range of interest, and it would be fun to go to some concerts together.
5. Truly listen, and know that I will do the same for you.
6. Have at least some financial stability and live in the same area as me, for a change. :)
7. Buy me flowers, from time to time, without me asking for them. (Don't worry, I'll hint and clue you in on what kinds I like.) I won't expect you to read my mind, and I'm also not afraid to ask for things directly, if you don't get the hint! ;-)
8. If I send you fake mustaches in the mail, please be kind enough to put some on and photograph yourself for me. It's only fair, and I promise I won't use them for blackmail in the future.
9. Take me dancing! (No, I don't know how! I just like it, when I've danced at parties, with guys who do know how. I wouldn't expect you to do it all the time, if it's not your thing.)
10. It's nice to get dressed up to go out on the town, now and then, but I am usually happiest in comfy clothes, in a restaurant that isn't stuffy in any way...heck..hanging out on the couch and watching a good movie with Chinese food sounds fun to me.
11. Not looking for a relationship where we are trying to change one another, but when there is something important that needs attention, please tell me you "can't change" because you are set in your ways. Please. I really REALLY love that. :/
12. Surprise me with something unexpected from time to time. That does not mean a) something that is obviously for you. b) something that is in the category of weird and gross stuff that only men appreciate most. or c) that you've got a wife in Bolivia
13. Take care of yourself, for both you and me....grooming, health, etc. I am by no means perfect, and am still working on my own fitness (and happily seeing results) but it is important. Not just for looks..I want to live a long life. I want you to live a long life.
14. I certainly won't knock back handsome, but heart and soul trumps looks every time. If you got the looks, but you aren't inwardly beautiful ..see ya! If it's the other way around, as far as being a good man, and you aren't a male model, we'll get along famously.
15. Be honest with me..from the start. About the big things, about the little things..not talking white lies. I will accept you fully, for who you are, if you've got your priorities straight. Please don't think you have to invent something to impress me.
16. I think your great Aunt Margie is really hot. (See my first point ^)
17. Be affectionate.
18. Want to know my loved ones, and when we spend time with them I would love to see that you genuinely are having fun, because we are a fun-loving bunch. If I like you well enough to be with you, I will take a natural interest in your folks, too. Family is important to me.
19. Keep going, and work at it, when some of those initial giddy feelings of being "in love" fade. Because passion waxes and wanes, but it can come back 'round and knock you for a loop..in a good way. Steady and true. It works both ways.
20. Don't buy old man jeans, with elastic in the waistband.
21. A man who does some cooking, and household chores on his own initiative? It's only gonna help ya when it comes to sharing the REALLY good aspects of having a girlfriend.
22. I ab allergic to cats. Cats in the housbe are are sorta a deal breaker. I wouldbn't be aball to see you with my eyes gluedt shubt. ACHOO!
23. Dogs are great. I love dogs.
24. Hmmm. I think I'm gonna get a dog, to lure men into my clutches, as we walk in the park. "He's so cute! What's his name?" "Yes, got him from a rescue shelter, last week. His name is Lewis" "Oh, yeah? What's the story behind that name?" "Well, he came with it, but I like to...."
25. You've always been, and will always be, yourself.
Plenty for now. Still, I'm serious about wanting to share all that I have to offer someone, in the near future...we can start out slow. I'm not rushing headlong into any kind of major commitment. I want us to be friends before anything. And, well, heck, I know how to do sexy, and laugh and have fun. Seriously, dude. You don't even KNOW. ;-) We'll have a good time.
James Stewart ( James Maitland Stewart ) 1908 – 1997)
James Stewart was the movies' quintessential Everyman, a uniquely all-American performer who parlayed his easygoing persona into one of the most successful and enduring careers in film history. On paper, he was anything but the typical Hollywood star: Gawky and tentative, with a pronounced stammer and a folksy "aw-shucks" charm, he lacked the dashing sophistication and swashbuckling heroism endemic among the other major actors of the era. Yet it's precisely the absence of affectation which made Stewart so popular; while so many other great stars seemed remote and larger than life, he never lost touch with his humanity, projecting an uncommon sense of goodness and decency which made him immensely likable and endearing to successive generations of moviegoers....
by Jason Ankeny
*
American Feuillage.
by Walt Whitman
AMERICA always!
Always our own feuillage!
Always Florida’s green peninsula! Always the priceless delta of Louisiana! Always the
cotton-fields of Alabama and Texas!
Always California’s golden hills and hollows—and the silver mountains of New
Mexico!
Always soft-breath’d Cuba!
Always the vast slope drain’d by the Southern Sea—inseparable with the slopes
drain’d
by the Eastern and Western Seas;
The area the eighty-third year of These States—the three and a half millions of
square
miles;
The eighteen thousand miles of sea-coast and bay-coast on the main—the thirty
thousand
miles of
river navigation,
The seven millions of distinct families, and the same number of dwellings—Always
these,
and
more, branching forth into numberless branches;
Always the free range and diversity! always the continent of Democracy!
Always the prairies, pastures, forests, vast cities, travelers, Kanada, the snows;
Always these compact lands—lands tied at the hips with the belt stringing the huge
oval
lakes;
Always the West, with strong native persons—the increasing density there—the
habitans,
friendly, threatening, ironical, scorning invaders;
All sights, South, North, East—all deeds, promiscuously done at all times,
All characters, movements, growths—a few noticed, myriads unnoticed,
Through Mannahatta’s streets I walking, these things gathering;
On interior rivers, by night, in the glare of pine knots, steamboats wooding up;
Sunlight by day on the valley of the Susquehanna, and on the valleys of the Potomac and
Rappahannock, and the valleys of the Roanoke and Delaware;
In their northerly wilds, beasts of prey haunting the Adirondacks, the hills—or
lapping
the
Saginaw waters to drink;
In a lonesome inlet, a sheldrake, lost from the flock, sitting on the water, rocking
silently;
In farmers’ barns, oxen in the stable, their harvest labor done—they rest
standing—they are too tired;
Afar on arctic ice, the she-walrus lying drowsily, while her cubs play around;
The hawk sailing where men have not yet sail’d—the farthest polar sea, ripply,
crystalline, open, beyond the floes;
White drift spooning ahead, where the ship in the tempest dashes;
On solid land, what is done in cities, as the bells all strike midnight together;
In primitive woods, the sounds there also sounding—the howl of the wolf, the scream
of the
panther, and the hoarse bellow of the elk;
In winter beneath the hard blue ice of Moosehead Lake—in summer visible through the
clear
waters, the great trout swimming;
In lower latitudes, in warmer air, in the Carolinas, the large black buzzard floating
slowly,
high
beyond the tree tops,
Below, the red cedar, festoon’d with tylandria—the pines and cypresses, growing
out
of the
white sand that spreads far and flat;
Rude boats descending the big Pedee—climbing plants, parasites, with color’d
flowers
and
berries, enveloping huge trees,
The waving drapery on the live oak, trailing long and low, noiselessly waved by the wind;
The camp of Georgia wagoners, just after dark—the supper-fires, and the cooking and
eating
by
whites and negroes,
Thirty or forty great wagons—the mules, cattle, horses, feeding from troughs,
The shadows, gleams, up under the leaves of the old sycamore-trees—the
flames—with
the
black smoke from the pitch-pine, curling and rising;
Southern fishermen fishing—the sounds and inlets of North Carolina’s
coast—the
shad-fishery and the herring-fishery—the large sweep-seines—the windlasses on
shore
work’d by horses—the clearing, curing, and packing-houses;
Deep in the forest, in piney woods, turpentine dropping from the incisions in the
trees—There
are the turpentine works,
There are the negroes at work, in good health—the ground in all directions is
cover’d
with
pine straw:
—In Tennessee and Kentucky, slaves busy in the coalings, at the forge, by the
furnace-blaze, or
at the corn-shucking;
In Virginia, the planter’s son returning after a long absence, joyfully welcom’d
and
kiss’d by the aged mulatto nurse;
On rivers, boatmen safely moor’d at night-fall, in their boats, under shelter of high
banks,
Some of the younger men dance to the sound of the banjo or fiddle—others sit on the
gunwale,
smoking and talking;
Late in the afternoon, the mocking-bird, the American mimic, singing in the Great Dismal
Swamp—there are the greenish waters, the resinous odor, the plenteous moss, the
cypress
tree,
and the juniper tree;
—Northward, young men of Mannahatta—the target company from an excursion
returning
home at
evening—the musket-muzzles all bear bunches of flowers presented by women;
Children at play—or on his father’s lap a young boy fallen asleep, (how his lips
move! how
he smiles in his sleep!)
The scout riding on horseback over the plains west of the Mississippi—he ascends a
knoll
and
sweeps his eye around;
California life—the miner, bearded, dress’d in his rude costume—the stanch
California
friendship—the sweet air—the graves one, in passing, meets, solitary, just
aside the
horsepath;
Down in Texas, the cotton-field, the negro-cabins—drivers driving mules or oxen
before
rude
carts—cotton bales piled on banks and wharves;
Encircling all, vast-darting, up and wide, the American Soul, with equal
hemispheres—one
Love,
one Dilation or Pride;
—In arriere, the peace-talk with the Iroquois, the aborigines—the calumet, the
pipe
of
good-will, arbitration, and indorsement,
The sachem blowing the smoke first toward the sun and then toward the earth,
The drama of the scalp-dance enacted with painted faces and guttural exclamations,
The setting out of the war-party—the long and stealthy march,
The single-file—the swinging hatchets—the surprise and slaughter of enemies;
—All the acts, scenes, ways, persons, attitudes of These States—reminiscences,
all
institutions,
All These States, compact—Every square mile of These States, without excepting a
particle—you also—me also,
Me pleas’d, rambling in lanes and country fields, Paumanok’s fields,
Me, observing the spiral flight of two little yellow butterflies, shuffling between each
other,
ascending high in the air;
The darting swallow, the destroyer of insects—the fall traveler southward, but
returning
northward early in the spring;
The country boy at the close of the day, driving the herd of cows, and shouting to them as
they
loiter to browse by the road-side;
The city wharf—Boston, Philadelphia, Baltimore, Charleston, New Orleans, San
Francisco,
The departing ships, when the sailors heave at the capstan;
—Evening—me in my room—the setting sun,
The setting summer sun shining in my open window, showing the swarm of flies, suspended,
balancing
in the air in the centre of the room, darting athwart, up and down, casting swift shadows
in
specks
on the opposite wall, where the shine is;
The athletic American matron speaking in public to crowds of listeners;
Males, females, immigrants, combinations—the copiousness—the individuality of
The
States,
each for itself—the money-makers;
Factories, machinery, the mechanical forces—the windlass, lever, pulley—All
certainties,
The certainty of space, increase, freedom, futurity,
In space, the sporades, the scatter’d islands, the stars—on the firm earth, the
lands, my
lands;
O lands! all so dear to me—what you are, (whatever it is,) I become a part of that,
whatever it
is;
Southward there, I screaming, with wings slowly flapping, with the myriads of gulls
wintering
along
the coasts of Florida—or in Louisiana, with pelicans breeding;
Otherways, there, atwixt the banks of the Arkansaw, the Rio Grande, the Nueces, the
Brazos, the
Tombigbee, the Red River, the Saskatchawan, or the Osage, I with the spring waters
laughing
and
skipping and running;
Northward, on the sands, on some shallow bay of Paumanok, I, with parties of snowy herons
wading in
the wet to seek worms and aquatic plants;
Retreating, triumphantly twittering, the king-bird, from piercing the crow with its bill,
for
amusement—And I triumphantly twittering;
The migrating flock of wild geese alighting in autumn to refresh themselves—the body
of
the
flock feed—the sentinels outside move around with erect heads watching, and are from
time
to
time reliev’d by other sentinels—And I feeding and taking turns with the rest;
In Kanadian forests, the moose, large as an ox, corner’d by hunters, rising
desperately on
his
hind-feet, and plunging with his fore-feet, the hoofs as sharp as knives—And I,
plunging
at the
hunters, corner’d and desperate;
In the Mannahatta, streets, piers, shipping, store-houses, and the countless workmen
working in
the
shops,
And I too of the Mannahatta, singing thereof—and no less in myself than the whole of
the
Mannahatta in itself,
Singing the song of These, my ever united lands—my body no more inevitably united,
part to
part, and made one identity, any more than my lands are inevitably united, and made ONE
IDENTITY;
Nativities, climates, the grass of the great Pastoral Plains;
Cities, labors, death, animals, products, war, good and evil—these me,
These affording, in all their particulars, endless feuillage to me and to America, how can
I do
less
than pass the clew of the union of them, to afford the like to you?
Whoever you are! how can I but offer you divine leaves, that you also be eligible as I am?
How can I but, as here, chanting, invite you for yourself to collect bouquets of the
incomparable
feuillage of These States?
_____________________________________________
( manipulated by me, using an original photo of my private colection)
Ewha Womans University, Seoul, South Korea
Yup, there was a v1 indeed, just both versions having their own differences, a longer session to allow myself fully utilize, both mental and physical fitness upgrades before diving into the war zone once more.
I didn't have the state of the gobsmacking moment like the previous round, instead I undergo a different approach by not divulging what falling on me. Rather, I choose to remain reticence, only making known a few very close to me be aware of what was happening when I first got it and decided on my next plan of action.
I felt peaceful meantime having a sense of relief when first knowing it, there is none in relation to perplexed, chagrin, heartwrenching, angst, obnoxious, implode, or intertwine. Comprehending the impending crisis, just either now or later, is only a matter of time. Not to mention with v1 experience, in my utter state of calm when the day decided to lead me in another connotation in life.
Making full use of this period to do things I wanted to do long ago, especially noises coming from work, will procrastinate the goal I wanted to achieve. If any software or operating system needed an upgrade, so does our mindset too. To put into perspective, besides physical fitness (hardware) has to level up, mental (software/OS) upgrade is inevitable, both working hand in hand together to optimize their best self-performance. The enlightenment through the wisdom we accumulated, when the right time has arrived will elevate our existing into a whole new one.
Found and redefined certain things in life, specially fine-tuning my principles, way of working, communicating, collaborating, including quality of friendships and life purpose after passing 44. Aligning versions of experience, placing the emphasis on the value I am often skeptical in.
Prioritize and adjust my past behavior, been emblematizing mister nice guy for years and will be continuing this practice. I will live the life differently from now on, anyone trying to stand in my way I'd fight against until my very last breath. Gonna accomplish things in my own ways if there is no compelling persuasion or justification, I noticed as I being easygoing continually ended up abusing my length of tolerance, which leaves me no choice but to be very aggressive and take extreme measures if anyone awakens my deepest darkest self. (Personally I don’t wish to be there again)
Still the same round of putting this to closure, the catchphrase I always listed in every place I could, "A man of tomorrow is forged by his battle today" as a reminder to thyself. Grateful for being blissful and fruitful meantime, rejuvenate in the next level till the next version, if this day has to come, I will embrace it fully with my heart again and strive for the next purpose of life.
P/S: Managed to take advantage during this period, my solo exploratory routes' goal, striving towards increasing my own FTP (Functional Threshold Power), the result was stunning, scoring at 41W over the past 1 year (Apr 2021 to Mar 2022) as of to date, it is indeed primordial initiative and euphoria moment of my own report card.
#nikon #nikonphotography #d3s #throwback #nikoncontest #traveltheworld #seoulkorea #ewhawomansuniversity #imagineyourkorea #instaseoul #seoul #seoul_korea #seoulcity #seoulstyle #seoultower #singapore #street #team #travelphoto #travelpics #traveltheworld #visitseoul #nikkor50mmf14
.… two young boys, who wish to emulate the hero of the town of Mezzojuso, the Master of Field ......
.… l'anello di congiunzione: due giovanissimi emuli dell'eroe di Mezzojuso, il Mastro di Campo ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
Mamiya 645 1000s | Mamiya Sekor-C 80mm f/1.9 (shot at f/2.8) | Fuji Pro 160c
Meet Tomahawk. I saw her step off the bus and knew I had to ask for her photo, her style was just so unique! She was really fun and easygoing too. She told me that she just started a tumblr page, so I hope she finds me! Oh, and isn't color film great? Seeing color in medium format was kind of like when the Wizard of Oz switched over for me! I plan to do mostly black and white, but for some people (like Tomahawk), only color would do them justice. More to come, thanks for looking!
You can find a full view of her outfit here, Sartorialist-style!
This picture is the twentieth in my 100 strangers project, to learn more and see the rest of A Brand New Minneapolis, click here.
Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Cici is our current foster dog. She is a 6 year old purebred female Boston Terrier. She is an owner surrender after her and the other female in her home started fighting and it has gradually been getting worse. She loves people and gets along fine with some females and most males. She is very laid back, likes to go for walks but requires low exercise. She is quiet and an easygoing dog. She would make a great couch potato for anyone, either as an only pet or with another low-key male dog...
www.petfinder.com/petnote/displaypet.cgi?petid=14175724&a...
View Large to Enter Trance
Obama's surrounded himself with old war hawks, backward neoliberal deregulating economists, other second rate cabinet members & now, this - a virulently anti-gay, vulgarly Christian fellow that one may surmise is a con man.
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EXCERPT: On Wednesday, the transition team announced that Rick Warren, pastor of the powerful Saddleback Church, would give the invocation on January 20th. The selection may not have been incredibly surprising. Obama and Warren are reportedly close -- Obama praised the Megachurch leader in his second book "The Audacity of Hope." Warren, meanwhile, hosted a values forum between Obama and McCain during the general election. Nevertheless, the announcement is being greeted with deep skepticism in progressive religious and political circles.
www.huffingtonpost.com/2008/12/17/rick-warren-obama-invoc...
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Here are 2 examples of Rick Warren at his finest:
• 1) SOURCE: ThinkProgress.org
Bush to receive first-ever International Medal of Peace
To mark World AIDS Day, Saddelback Pastor Rick Warren is hosting a Civil Forum on Global Health at the Newseum in Washington, D.C. Warren will present President Bush with the first “International Medal of PEACE” from the Global PEACE Coalition in recognition of his unprecedented contribution to the fight against HIV/AIDS and other diseases. The “International Medal of PEACE” is given for outstanding contribution toward alleviating the five global giants recognized by the Coalition, including pandemic diseases, extreme poverty, illiteracy, self-centered leadership and spiritual emptiness. The Bush administration reports that its AIDS initiative helped treat two million people this year living with HIV/AIDS.
Continue to full text: thinkprogress.org/2008/12/01/bush-peace/
• 2) SOURCE: Newsweek
The God Debate
The latest NEWSWEEK poll shows that 91 percent of American adults surveyed believe in God—and nearly half reject the theory of evolution.
NEWSWEEK WEB EXCLUSIVE
Updated: 5:55 PM ET Aug 21, 2007
Rick Warren is as big as a bear, with a booming voice and easygoing charm. Sam Harris is compact, reserved and, despite the polemical tone of his books, friendly and mild. Warren, one of the best-known pastors in the world, started Saddleback in 1980; now 25,000 people attend the church each Sunday. Harris is softer-spoken; paragraphs pour out of him, complex and fact-filled—as befits a Ph.D. student in neuroscience. At NEWSWEEK's invitation, they met in Warren's office recently and chatted, mostly amiably, for four hours. Jon Meacham moderated. Excerpts follow.
JON MEACHAM: Rick, since you're the home team, we'll start with Sam. Sam, is there a God in the sense that most Americans think of him?
SAM HARRIS: There's no evidence for such a God, and it's instructive to notice that we're all atheists with respect to Zeus and the thousands of other dead gods whom now nobody worships.
Rick, what is the evidence of the existence of the God of Abraham?
RICK WARREN: I see the fingerprints of God everywhere. I see them in culture. I see them in law. I see them in literature. I see them in nature. I see them in my own life. Trying to understand where God came from is like an ant trying to understand the Internet. Even the most brilliant scientist would agree that we only know a fraction of a percent of the knowledge of the universe.
HARRIS: Any scientist must concede that we don't fully understand the universe. But neither the Bible nor the Qur'an represents our best understanding of the universe. That is exquisitely clear.
WARREN: To you.
HARRIS: There is so much about us that is not in the Bible. Every specific science from cosmology to psychology to economics has surpassed and superseded what the Bible tells us is true about our world.
Sam, does the Christian you address in your books have to believe that God wrote the Bible and that it is literally true?
HARRIS: Well, there's clearly a spectrum of confidence in the text. I mean, there's the "This is literally true, nothing even gets figuratively interpreted," and then there's the "This is just the best book we have, written by the smartest people who have ever lived, and it's still legitimate to organize our lives around it to the exclusion of other books." Anywhere on that spectrum I have a problem, because in my mind the Bible and the Qur'an are just books, written by human beings. There are sections of the Bible that I think are absolutely brilliant and poetically unrivaled, and there are sections of the Bible which are the sheerest barbarism, yet profess to prescribe a divinely mandated morality—where do I start? Books like Leviticus and Deuteronomy and Exodus and First and Second Kings and Second Samuel—half of the kings and prophets of Israel would be taken to The Hague and prosecuted for crimes against humanity if these events took place in our own time.
[To Warren] Is the Bible inerrant?
WARREN: I believe it's inerrant in what it claims to be. The Bible does not claim to be a scientific book in many areas.
Do you believe Creation happened in the way Genesis describes it?
WARREN: If you're asking me do I believe in evolution, the answer is no, I don't. I believe that God, at a moment, created man. I do believe Genesis is literal, but I do also know metaphorical terms are used. Did God come down and blow in man's nose? If you believe in God, you don't have a problem accepting miracles. So if God wants to do it that way, it's fine with me.
HARRIS: I'm doing my Ph.D. in neuroscience; I'm very close to the literature on evolutionary biology. And the basic point is that evolution by natural selection is random genetic mutation over millions of years in the context of environmental pressure that selects for fitness.
WARREN: Who's doing the selecting?
HARRIS: The environment. You don't have to invoke an intelligent designer to explain the complexity we see.
WARREN: Sam makes all kinds of assertions based on his presuppositions. I'm willing to admit my presuppositions: there are clues to God. I talk to God every day. He talks to me....
Click link to continue to full text: www.newsweek.com/id/35784/page/1
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Just wanted to say that Keiko has responded really well to the meds she got from our vet yesterday and her diarrhea seems to have gone away--so here she is, enjoying the 100'F shade in our yard a few hours ago. (All cats are now in for the night).
Happy Furry Friday.
Happy Friday/ Weekend.
The Scandola Nature Reserve (19.19 km²: 9.19 km² land; 10 km² marine), established in December, 1975, is located on the French island Corsica, within Corsica Regional Park. The park and reserve has been recognized by the United Nations as a Natural World Heritage Site, and was inscribed on the World Heritage List in 1983.
The Scandola Reserve is situated on the central western coast of Corsica between Punta Muchillina and Punta Nera and includes Cape Girolata and Cape Porto.
The reserve has two sectors, the Elpa Nera inlet and the peninsula of Scandola. The jagged and sheer cliffs contain many grottos and are flanked by numerous stacks and almost inaccessible islets and coves, such as Tuara. The coastline is also noted for its red cliffs, some 900 metres high, sand beaches, and headlands.
(Wikipedia)
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We spent a day hiking close to the Scandola nature reserve visiting isolated hamlet of Girolata that may only be reached on foot or by boat, however not with a car - it is really a tranquil, remote and easygoing place offering remarkable picturesque views during the walk.
Dutch postcard.
American singer Bing Crosby (1903-1977) was a crooner whose signature song was 'White Christmas'. He often played 'happy-go-lucky fellas' in films which included the 'Road to...' comedies from 1940 to 1962, but he proved that he could act with The Country Girl (1954) opposite Grace Kelly. Crosby was a multi-media entertainer: a star on the radio, in the cinema and in chart-topping recordings. He had 38 no. 1 singles, which surpassed Elvis Presley and The Beatles.
Bing Crosby was born Harry Lillis Crosby, Jr. in Tacoma, Washington, in 1903. He was the fourth of seven children of Catherine Helen "Kate" (Harrigan) and Harry Lowe Crosby, a brewery bookkeeper. Crosby studied law at Gonzaga University in Spokane but was more interested in playing the drums and singing with a local band. Bing and the band's piano player, Al Rinker, left Spokane for Los Angeles in 1925. In the early 1930s, Bing's brother Everett sent a record of Bing singing 'I Surrender, Dear' to the president of CBS. His live performances from New York were carried over the national radio network for 20 consecutive weeks in 1932. His radio success led Paramount Pictures to include him in the musical comedy The Big Broadcast (Frank Tuttle, 1932), a film featuring radio favourites. His songs about not needing a bundle of money to make life happy had the right message for the decade of the Great Depression. He was the star of such radio shows as 'Kraft Music Hall' (1935-1946), 'Philco Radio Time' (1946-1949), 'The Bing Crosby Chesterfield Show' (1949-1952), and 'The Bing Crosby Show' (1954-1956). His song 'White Christmas' became the bestselling single for more than 50 years until overtaken in 1997 by 'Candle in the Wind', Elton John's tribute to the late Princess Diana.
Bing Crosby's relaxed, low-key style carried over into the series of 'Road to...' comedies he made with pal Bob Hope and Dorothy Lamour. The series consists of Road to Singapore (Victor Schertzinger, 1940), Road to Zanzibar (Victor Schertzinger, 1941), Road to Morocco (David Butler, 1942), Road to Utopia (Hal Walker, 1946), Road to Rio (Norman Z. McLeod, 1947), Road to Bali (Hal Walker, 1952), and The Road to Hong Kong (Norman Panama, 1962). He won the Best Actor Oscar for playing the easygoing priest Father Chuck O'Malley in Going My Way (Leo McCarey, 1944), and was nominated for his reprise of the role in The Bells of St. Mary's (1945) opposite Ingrid Bergman the next year, becoming the first of six actors to be nominated twice for playing the same character. He showed that he was indeed an actor as well as a performer when he played an alcoholic actor down on his luck opposite Grace Kelly in The Country Girl (George Seaton, 1954). Stagecoach (Gordon Douglas, 1966) with Ann-Margret, was his last major film. Though it did not get good reviews, his performance as the drunken doctor was praised. Playing golf was what he liked to do best. Bing Crosby died at age 74 playing golf at a course outside Madrid, Spain, after completing a tour of England that had included a sold-out engagement at the London Palladium. On 13 October 1977, the day before Crosby's death, independent producer Lew Grade announced that he was reuniting Crosby, Bob Hope, and Dorothy Lamour onscreen for the film Road to the Fountain of Youth, ending several years of speculation at to whether the trio would reunite professionally or not. Bing Crosby was married twice: first, he married film actress Dixie Lee. They had four children and divorced in 1952. He married his second wife, Kathryn Grant, in 1957. They had three children and remained together till his death in 1977. His eldest son Gary Crosby criticised Bing's violent ways as a father in the biography 'Going My Own Way' (1983) which was touted as a "Daddy Dearest". Bing's children from his second marriage, including daughter and actress Mary Crosby, praised him as a kind and loving father in later life. Phil Crosby, Jr., Bing's grandson, formed a jazz quartet in the Los Angeles area and is bringing a semi-resurgence of interest in Bing and his music.
Sources: Dale O' Connor (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
.... to visit Mezzojuso gives a little bit the feeling of being abroad (while being in Sicily ...) a lively particular feeling; here we are inside a Church with Orthodox rite: I thank this very kind priest for giving me the possibility to portray him .....
.... visitare Mezzojuso dona la sensazione stranissima e vivacissima di trovarsi un po' all'estero, pur stando in Sicilia; qui siamo all'interno di una Chiesa di Rito Ortodosso: ringrazio questo gentilissimo sacerdote per avermi concesso la possibilità di ritrarlo ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the Genral Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! (Here a dignitary of the Royal Court ... ) .....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! (Qui un dignitario della Corte Reale ... ) .....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the General Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the General Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! (Here a soldier.... of General Garibaldi ....) ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! (Qui un prode Garibaldino del Generale Garibaldi ... ) .....
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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.
...on a string on the Lido, at Ostia. I'm not an afficionado but the cars seem to descend in the street straight from an american movie - I might be wrong but Tony Curtis, Marlyn and Jack Lemmon eh. Made the day look like a holiday one, a shining blingy careless easygoing thing. A bit floating...
PS. to add to the mood - in the back of the photographer, down and below, is the sea...
PPS: of course:))