From a painting by Henry John Stock

Influenced by Bill Brandt

I see a Keith Haring influence. You compare here: www.google.ca/search?q=keith+haring&espv=2&biw=11...

 

See Mikey G Ottawa's most popular Flickr Photo Albums HERE:

www.flickr.com/photos/mikeygottawa/albums

 

This link will always start with my Most Recent Flickr Photo. See Mikey G Ottawa's Flickr Slideshow HERE: www.flickr.com/mikeygottawa/show

 

CTV Regional Contact gave me 3 minutes on the local CTV News here: www.youtube.com/watch?v=3C2U_01ajdw

 

See my 10 minutes of local TV coverage on Rogers Cable's "Camera Talk" with Sandie Sharkey here: www.youtube.com/watch?v=Z-s4ZpS_t1Y

 

 

Influenced by the armour system in Halo 4, I decided to build this armoured mecha/robot. Fully poseable and modular, this was a fun build :D.

The movie maker

Its corrupting influence over Makuta severed and its status unknown, the Mask of Ultimate Power no longer seemed a threat to the peace of Okoto. But the loss of its servant was only a setback. With its dark power over the elements, the forbidden mask created a fearsome body for itself. Now the Ultimate Being walks Okoto unsuspected, preparing for revenge upon its inhabitants...

 

My entry in The Legend Continues contest on BZPower. One of my favorite G2 theories was that the Big Bad was in fact not Makuta but the Mask of Ultimate Power. Combined with the Ultimate Mask concepts in The Art of Bionicle (page 42), it was fairly clear to me that I should build something along those lines. The shooter does work, and in addition there's a linkage function to swing the arms back and forth. (Also, in case anyone is curious, the glowing eyes are accomplished during photography with merely a laser pointer - no third-party lights or photoediting.) I look forward to your feedback, and hope you enjoy!

Architecture in Capendu, Occitanie.

Sultanpur

Vladimir Semyonovich Vysotsky (Russian: Владимир Семёнович Высоцкий, IPA: [vlɐˈdʲimʲɪr sʲɪˈmʲɵnəvʲɪtɕ vɨˈsotskʲɪj]; 25 January 1938 – 25 July 1980), was a Soviet singer-songwriter, poet, and actor who had an immense and enduring effect on Soviet culture. He became widely known for his unique singing style and for his lyrics, which featured social and political commentary in often humorous street-jargon. He was also a prominent stage- and screen-actor. Though the official Soviet cultural establishment largely ignored his work, he was remarkably popular during his lifetime, and to this day exerts significant influence on many of Russia's musicians and actors.

 

Vysotsky was born in Moscow at the 3rd Meshchanskaya St. (61/2) maternity hospital. His father, Semyon Volfovich (Vladimirovich) (1915–1997), was a colonel in the Soviet army, originally from Kiev. Vladimir's mother, Nina Maksimovna, (née Seryogina, 1912–2003) was Russian, and worked as a German language translator.[3] Vysotsky's family lived in a Moscow communal flat in harsh conditions, and had serious financial difficulties. When Vladimir was 10 months old, Nina had to return to her office in the Transcript bureau of the Soviet Ministry of Geodesy and Cartography (engaged in making German maps available for the Soviet military) so as to help her husband earn their family's living.

 

Vladimir's theatrical inclinations became obvious at an early age, and were supported by his paternal grandmother Dora Bronshteyn, a theater fan. The boy used to recite poems, standing on a chair and "flinging hair backwards, like a real poet," often using in his public speeches expressions he could hardly have heard at home. Once, at the age of two, when he had tired of the family's guests' poetry requests, he, according to his mother, sat himself under the New-year tree with a frustrated air about him and sighed: "You silly tossers! Give a child some respite!" His sense of humor was extraordinary, but often baffling for people around him. A three-year-old could jeer his father in a bathroom with unexpected poetic improvisation ("Now look what's here before us / Our goat's to shave himself!") or appall unwanted guests with some street folk song, promptly steering them away. Vysotsky remembered those first three years of his life in the autobiographical Ballad of Childhood (Баллада о детстве, 1975), one of his best-known songs.

 

As World War II broke out, Semyon Vysotsky, a military reserve officer, joined the Soviet army and went to fight the Nazis. Nina and Vladimir were evacuated to the village of Vorontsovka, in Orenburg Oblast where the boy had to spend six days a week in a kindergarten and his mother worked for twelve hours a day in a chemical factory. In 1943, both returned to their Moscow apartment at 1st Meschanskaya St., 126. In September 1945, Vladimir joined the 1st class of the 273rd Moscow Rostokino region School.

 

In December 1946, Vysotsky's parents divorced. From 1947 to 1949, Vladimir lived with Semyon Vladimirovich (then an army Major) and his Armenian wife, Yevgenya Stepanovna Liholatova, whom the boy called "aunt Zhenya", at a military base in Eberswalde in the Soviet-occupied zone of Germany (later East Germany). "We decided that our son would stay with me. Vladimir came to stay with me in January 1947, and my second wife, Yevgenia, became Vladimir's second mother for many years to come. They had much in common and liked each other, which made me really happy," Semyon Vysotsky later remembered. Here living conditions, compared to those of Nina's communal Moscow flat, were infinitely better; the family occupied the whole floor of a two-storeyed house, and the boy had a room to himself for the first time in his life. In 1949 along with his stepmother Vladimir returned to Moscow. There he joined the 5th class of the Moscow 128th School and settled at Bolshoy Karetny [ru], 15 (where they had to themselves two rooms of a four-roomed flat), with "auntie Zhenya" (who was just 28 at the time), a woman of great kindness and warmth whom he later remembered as his second mother. In 1953 Vysotsky, now much interested in theater and cinema, joined the Drama courses led by Vladimir Bogomolov.[7] "No one in my family has had anything to do with arts, no actors or directors were there among them. But my mother admired theater and from the earliest age... each and every Saturday I've been taken up with her to watch one play or the other. And all of this, it probably stayed with me," he later reminisced. The same year he received his first ever guitar, a birthday present from Nina Maksimovna; a close friend, bard and a future well-known Soviet pop lyricist Igor Kokhanovsky taught him basic chords. In 1955 Vladimir re-settled into his mother's new home at 1st Meshchanskaya, 76. In June of the same year he graduated from school with five A's.

 

In 1955, Vladimir enrolled into the Moscow State University of Civil Engineering, but dropped out after just one semester to pursue an acting career. In June 1956 he joined Boris Vershilov's class at the Moscow Art Theatre Studio-Institute. It was there that he met the 3rd course student Iza Zhukova who four years later became his wife; soon the two lovers settled at the 1st Meschanskaya flat, in a common room, shielded off by a folding screen. It was also in the Studio that Vysotsky met Bulat Okudzhava for the first time, an already popular underground bard. He was even more impressed by his Russian literature teacher Andrey Sinyavsky who along with his wife often invited students to his home to stage improvised disputes and concerts. In 1958 Vysotsky's got his first Moscow Art Theatre role: that of Porfiry Petrovich in Dostoyevsky's Crime and Punishment. In 1959 he was cast in his first cinema role, that of student Petya in Vasily Ordynsky's The Yearlings (Сверстницы). On 20 June 1960, Vysotsky graduated from the MAT theater institute and joined the Moscow Pushkin Drama Theatre (led by Boris Ravenskikh at the time) where he spent (with intervals) almost three troubled years. These were marred by numerous administrative sanctions, due to "lack of discipline" and occasional drunken sprees which were a reaction, mainly, to the lack of serious roles and his inability to realise his artistic potential. A short stint in 1962 at the Moscow Theater of Miniatures (administered at the time by Vladimir Polyakov) ended with him being fired, officially "for a total lack of sense of humour."

 

Vysotsky's second and third films, Dima Gorin's Career and 713 Requests Permission to Land, were interesting only for the fact that in both he had to be beaten up (in the first case by Aleksandr Demyanenko). "That was the way cinema greeted me," he later jokingly remarked. In 1961, Vysotsky wrote his first ever proper song, called "Tattoo" (Татуировка), which started a long and colourful cycle of artfully stylized criminal underworld romantic stories, full of undercurrents and witty social comments. In June 1963, while shooting Penalty Kick (directed by Veniamin Dorman and starring Mikhail Pugovkin), Vysotsky used the Gorky Film Studio to record an hour-long reel-to-reel cassette of his own songs; copies of it quickly spread and the author's name became known in Moscow and elsewhere (although many of these songs were often being referred to as either "traditional" or "anonymous"). Just several months later Riga-based chess grandmaster Mikhail Tal was heard praising the author of "Bolshoy Karetny" (Большой Каретный) and Anna Akhmatova (in a conversation with Joseph Brodsky) was quoting Vysotsky's number "I was the soul of a bad company..." taking it apparently for some brilliant piece of anonymous street folklore. In October 1964 Vysotsky recorded in chronological order 48 of his own songs, his first self-made Complete works of... compilation, which boosted his popularity as a new Moscow folk underground star.

 

In 1964, director Yuri Lyubimov invited Vysotsky to join the newly created Taganka Theatre. "'I've written some songs of my own. Won't you listen?' – he asked. I agreed to listen to just one of them, expecting our meeting to last for no more than five minutes. Instead I ended up listening to him for an entire 1.5 hours," Lyubimov remembered years later of this first audition. On 19 September 1964, Vysotsky debuted in Bertolt Brecht's The Good Person of Szechwan as the Second God (not to count two minor roles). A month later he came on stage as a dragoon captain (Bela's father) in Lermontov's A Hero of Our Time. It was in Taganka that Vysotsky started to sing on stage; the War theme becoming prominent in his musical repertoire. In 1965 Vysotsky appeared in the experimental Poet and Theater (Поэт и Театр, February) show, based on Andrey Voznesensky's work and then Ten Days that Shook the World (after John Reed's book, April) and was commissioned by Lyubimov to write songs exclusively for Taganka's new World War II play. The Fallen and the Living (Павшие и Живые), premiered in October 1965, featured Vysotsky's "Stars" (Звёзды), "The Soldiers of Heeresgruppe Mitte" (Солдаты группы "Центр") and "Penal Battalions" (Штрафные батальоны), the striking examples of a completely new kind of a war song, never heard in his country before. As veteran screenwriter Nikolay Erdman put it (in conversation with Lyubimov), "Professionally, I can well understand how Mayakovsky or Seryozha Yesenin were doing it. How Volodya Vysotsky does it is totally beyond me." With his songs – in effect, miniature theatrical dramatizations (usually with a protagonist and full of dialogues), Vysotsky instantly achieved such level of credibility that real life former prisoners, war veterans, boxers, footballers refused to believe that the author himself had never served his time in prisons and labor camps, or fought in the War, or been a boxing/football professional. After the second of the two concerts at the Leningrad Molecular Physics institute (that was his actual debut as a solo musical performer) Vysotsky left a note for his fans in a journal which ended with words: "Now that you've heard all these songs, please, don't you make a mistake of mixing me with my characters, I am not like them at all. With love, Vysotsky, 20 April 1965, XX c." Excuses of this kind he had to make throughout his performing career. At least one of Vysotsky's song themes – that of alcoholic abuse – was worryingly autobiographical, though. By the time his breakthrough came in 1967, he'd suffered several physical breakdowns and once was sent (by Taganka's boss) to a rehabilitation clinic, a visit he on several occasions repeated since.

 

Brecht's Life of Galileo (premiered on 17 May 1966), transformed by Lyubimov into a powerful allegory of Soviet intelligentsia's set of moral and intellectual dilemmas, brought Vysotsky his first leading theater role (along with some fitness lessons: he had to perform numerous acrobatic tricks on stage). Press reaction was mixed, some reviewers disliked the actor's overt emotionalism, but it was for the first time ever that Vysotsky's name appeared in Soviet papers. Film directors now were treating him with respect. Viktor Turov's war film I Come from the Childhood where Vysotsky got his first ever "serious" (neither comical, nor villainous) role in cinema, featured two of his songs: a spontaneous piece called "When It's Cold" (Холода) and a dark, Unknown soldier theme-inspired classic "Common Graves" (На братских могилах), sung behind the screen by the legendary Mark Bernes.

 

Stanislav Govorukhin and Boris Durov's The Vertical (1967), a mountain climbing drama, starring Vysotsky (as Volodya the radioman), brought him all-round recognition and fame. Four of the numbers used in the film (including "Song of a Friend [fi]" (Песня о друге), released in 1968 by the Soviet recording industry monopolist Melodiya disc to become an unofficial hit) were written literally on the spot, nearby Elbrus, inspired by professional climbers' tales and one curious hotel bar conversation with a German guest who 25 years ago happened to climb these very mountains in a capacity of an Edelweiss division fighter. Another 1967 film, Kira Muratova's Brief Encounters featured Vysotsky as the geologist Maxim (paste-bearded again) with a now trademark off-the-cuff musical piece, a melancholy improvisation called "Things to Do" (Дела). All the while Vysotsky continued working hard at Taganka, with another important role under his belt (that of Mayakovsky or, rather one of the latter character's five different versions) in the experimental piece called Listen! (Послушайте!), and now regularly gave semi-official concerts where audiences greeted him as a cult hero.

 

In the end of 1967 Vysotsky got another pivotal theater role, that of Khlopusha [ru] in Pugachov (a play based on a poem by Sergei Yesenin), often described as one of Taganka's finest. "He put into his performance all the things that he excelled at and, on the other hand, it was Pugachyov that made him discover his own potential," – Soviet critic Natalya Krymova wrote years later. Several weeks after the premiere, infuriated by the actor's increasing unreliability triggered by worsening drinking problems, Lyubimov fired him – only to let him back again several months later (and thus begin the humiliating sacked-then-pardoned routine which continued for years). In June 1968 a Vysotsky-slagging campaign was launched in the Soviet press. First Sovetskaya Rossiya commented on the "epidemic spread of immoral, smutty songs," allegedly promoting "criminal world values, alcoholism, vice and immorality" and condemned their author for "sowing seeds of evil." Then Komsomolskaya Pravda linked Vysotsky with black market dealers selling his tapes somewhere in Siberia. Composer Dmitry Kabalevsky speaking from the Union of Soviet Composers' Committee tribune criticised the Soviet radio for giving an ideologically dubious, "low-life product" like "Song of a Friend" (Песня о друге) an unwarranted airplay. Playwright Alexander Stein who in his Last Parade play used several of Vysotsky's songs, was chastised by a Ministry of Culture official for "providing a tribune for this anti-Soviet scum." The phraseology prompted commentators in the West to make parallels between Vysotsky and Mikhail Zoschenko, another Soviet author who'd been officially labeled "scum" some 20 years ago.

 

Two of Vysotsky's 1968 films, Gennady Poloka's Intervention (premiered in May 1987) where he was cast as Brodsky, a dodgy even if highly artistic character, and Yevgeny Karelov's Two Comrades Were Serving (a gun-toting White Army officer Brusentsov who in the course of the film shoots his friend, his horse, Oleg Yankovsky's good guy character and, finally himself) – were severely censored, first of them shelved for twenty years. At least four of Vysotsky's 1968 songs, "Save Our Souls" (Спасите наши души), "The Wolfhunt" (Охота на волков), "Gypsy Variations" (Моя цыганская) and "The Steam-bath in White" (Банька по-белому), were hailed later as masterpieces. It was at this point that 'proper' love songs started to appear in Vysotsky's repertoire, documenting the beginning of his passionate love affair with French actress Marina Vlady.

 

In 1969 Vysotsky starred in two films: The Master of Taiga where he played a villainous Siberian timber-floating brigadier, and more entertaining Dangerous Tour. The latter was criticized in the Soviet press for taking a farcical approach to the subject of the Bolshevik underground activities but for a wider Soviet audience this was an important opportunity to enjoy the charismatic actor's presence on big screen. In 1970, after visiting the dislodged Soviet leader Nikita Khrushchev at his dacha and having a lengthy conversation with him, Vysotsky embarked on a massive and by Soviet standards dangerously commercial concert tour in Soviet Central Asia and then brought Marina Vlady to director Viktor Turov's place so as to investigate her Belarusian roots. The pair finally wed on 1 December 1970 (causing furore among the Moscow cultural and political elite) and spent a honeymoon in Georgia. This was the highly productive period for Vysotsky, resulting in numerous new songs, including the anthemic "I Hate" (Я не люблю), sentimental "Lyricale" (Лирическая) and dramatic war epics "He Didn't Return from the Battle" (Он не вернулся из боя) and "The Earth Song" (Песня о Земле) among many others.

 

In 1971 a drinking spree-related nervous breakdown brought Vysotsky to the Moscow Kashchenko clinic [ru]. By this time he has been suffering from alcoholism. Many of his songs from this period deal, either directly or metaphorically, with alcoholism and insanity. Partially recovered (due to the encouraging presence of Marina Vladi), Vysotsky embarked on a successful Ukrainian concert tour and wrote a cluster of new songs. On 29 November 1971 Taganka's Hamlet premiered, a groundbreaking Lyubimov's production with Vysotsky in the leading role, that of a lone intellectual rebel, rising to fight the cruel state machine.

 

Also in 1971 Vysotsky was invited to play the lead in The Sannikov Land, the screen adaptation of Vladimir Obruchev's science fiction,[47] which he wrote several songs for, but was suddenly dropped for the reason of his face "being too scandalously recognisable" as a state official put it. One of the songs written for the film, a doom-laden epic allegory "Capricious Horses" (Кони привередливые), became one of the singer's signature tunes. Two of Vysotsky's 1972 film roles were somewhat meditative: an anonymous American journalist in The Fourth One and the "righteous guy" von Koren in The Bad Good Man (based on Anton Chekov's Duel). The latter brought Vysotsky the Best Male Role prize at the V Taormina Film Fest. This philosophical slant rubbed off onto some of his new works of the time: "A Singer at the Microphone" (Певец у микрофона), "The Tightrope Walker" (Канатоходец), two new war songs ("We Spin the Earth", "Black Pea-Coats") and "The Grief" (Беда), a folkish girl's lament, later recorded by Marina Vladi and subsequently covered by several female performers. Popular proved to be his 1972 humorous songs: "Mishka Shifman" (Мишка Шифман), satirizing the leaving-for-Israel routine, "Victim of the Television" which ridiculed the concept of "political consciousness," and "The Honour of the Chess Crown" (Честь шахматной короны) about an ever-fearless "simple Soviet man" challenging the much feared American champion Bobby Fischer to a match.

 

In 1972 he stepped up in Soviet Estonian TV where he presented his songs and gave an interview. The name of the show was "Young Man from Taganka" (Noormees Tagankalt).

 

In April 1973 Vysotsky visited Poland and France. Predictable problems concerning the official permission were sorted after the French Communist Party leader Georges Marchais made a personal phone call to Leonid Brezhnev who, according to Marina Vlady's memoirs, rather sympathized with the stellar couple. Having found on return a potentially dangerous lawsuit brought against him (concerning some unsanctioned concerts in Siberia the year before), Vysotsky wrote a defiant letter to the Minister of Culture Pyotr Demichev. As a result, he was granted the status of a philharmonic artist, 11.5 roubles per concert now guaranteed. Still the 900 rubles fine had to be paid according to the court verdict, which was a substantial sum, considering his monthly salary at the theater was 110 rubles. That year Vysotsky wrote some thirty songs for "Alice in Wonderland," an audioplay where he himself has been given several minor roles. His best known songs of 1973 included "The Others' Track" (Чужая колея), "The Flight Interrupted" (Прерванный полёт) and "The Monument", all pondering on his achievements and legacy.

 

In 1974 Melodiya released the 7" EP, featuring four of Vysotsky's war songs ("He Never Returned From the Battle", "The New Times Song", "Common Graves", and "The Earth Song") which represented a tiny portion of his creative work, owned by millions on tape. In September of that year Vysotsky received his first state award, the Honorary Diploma of the Uzbek SSR following a tour with fellow actors from the Taganka Theatre in Uzbekistan. A year later he was granted the USSR Union of Cinematographers' membership. This meant he was not an "anti-Soviet scum" now, rather an unlikely link between the official Soviet cinema elite and the "progressive-thinking artists of the West." More films followed, among them The Only Road (a Soviet-Yugoslav joint venture, premiered on 10 January 1975 in Belgrade) and a science fiction movie The Flight of Mr. McKinley (1975). Out of nine ballads that he wrote for the latter only two have made it into the soundtrack. This was the height of his popularity, when, as described in Vlady's book about her husband, walking down the street on a summer night, one could hear Vysotsky's recognizable voice coming literally from every open window. Among the songs written at the time, were humorous "The Instruction before the Trip Abroad", lyrical "Of the Dead Pilot" and philosophical "The Strange House". In 1975 Vysotsky made his third trip to France where he rather riskily visited his former tutor (and now a celebrated dissident emigre) Andrey Sinyavsky. Artist Mikhail Shemyakin, his new Paris friend (or a "bottle-sharer", in Vladi's terms), recorded Vysotsky in his home studio. After a brief stay in England Vysotsky crossed the ocean and made his first Mexican concerts in April. Back in Moscow, there were changes at Taganka: Lyubimov went to Milan's La Scala on a contract and Anatoly Efros has been brought in, a director of radically different approach. His project, Chekhov's The Cherry Orchard, caused a sensation. Critics praised Alla Demidova (as Ranevskaya) and Vysotsky (as Lopakhin) powerful interplay, some describing it as one of the most dazzling in the history of the Soviet theater. Lyubimov, who disliked the piece, accused Efros of giving his actors "the stardom malaise." The 1976 Taganka's visit to Bulgaria resulted in Vysotskys's interview there being filmed and 15 songs recorded by Balkanton record label. On return Lyubimov made a move which many thought outrageous: declaring himself "unable to work with this Mr. Vysotsky anymore" he gave the role of Hamlet to Valery Zolotukhin, the latter's best friend. That was the time, reportedly, when stressed out Vysotsky started taking amphetamines.

 

Another Belorussian voyage completed, Marina and Vladimir went for France and from there (without any official permission given, or asked for) flew to the North America. In New York Vysotsky met, among other people, Mikhail Baryshnikov and Joseph Brodsky. In a televised one-hour interview with Dan Rather he stressed he was "not a dissident, just an artist, who's never had any intentions to leave his country where people loved him and his songs." At home this unauthorized venture into the Western world bore no repercussions: by this time Soviet authorities were divided as regards the "Vysotsky controversy" up to the highest level; while Mikhail Suslov detested the bard, Brezhnev loved him to such an extent that once, while in hospital, asked him to perform live in his daughter Galina's home, listening to this concert on the telephone. In 1976 appeared "The Domes", "The Rope" and the "Medieval" cycle, including "The Ballad of Love".

 

In September Vysotsky with Taganka made a trip to Yugoslavia where Hamlet won the annual BITEF festival's first prize, and then to Hungary for a two-week concert tour. Back in Moscow Lyubimov's production of The Master & Margarita featured Vysotsky as Ivan Bezdomny; a modest role, somewhat recompensed by an important Svidrigailov slot in Yury Karyakin's take on Dostoevsky's Crime and Punishment. Vysotsky's new songs of this period include "The History of Illness" cycle concerning his health problems, humorous "Why Did the Savages Eat Captain Cook", the metaphorical "Ballad of the Truth and the Lie", as well as "Two Fates", the chilling story of a self-absorbed alcoholic hunted by two malevolent witches, his two-faced destiny. In 1977 Vysotsky's health deteriorated (heart, kidneys, liver failures, jaw infection and nervous breakdown) to such an extent that in April he found himself in Moscow clinic's reanimation center in the state of physical and mental collapse.

 

In 1977 Vysotsky made an unlikely appearance in New York City on the American television show 60 Minutes, which falsely stated that Vysotsky had spent time in the Soviet prison system, the Gulag. That year saw the release of three Vysotsky's LPs in France (including the one that had been recorded by RCA in Canada the previous year); arranged and accompanied by guitarist Kostya Kazansky, the singer for the first time ever enjoyed the relatively sophisticated musical background. In August he performed in Hollywood before members of New York City film cast and (according to Vladi) was greeted warmly by the likes of Liza Minnelli and Robert De Niro. Some more concerts in Los Angeles were followed by the appearance at the French Communist paper L’Humanité annual event. In December Taganka left for France, its Hamlet (Vysotsky back in the lead) gaining fine reviews.

 

1978 started with the March–April series of concerts in Moscow and Ukraine. In May Vysotsky embarked upon a new major film project: The Meeting Place Cannot Be Changed (Место встречи изменить нельзя) about two detectives fighting crime in late 1940s Russia, directed by Stanislav Govorukhin. The film (premiered on 11 November 1978 on the Soviet Central TV) presented Vysotsky as Zheglov, a ruthless and charismatic cop teaching his milder partner Sharapov (actor Vladimir Konkin) his art of crime-solving. Vysotsky also became engaged in Taganka's Genre-seeking show (performing some of his own songs) and played Aleksander Blok in Anatoly Efros' The Lady Stranger (Незнакомка) radio play (premiered on air on 10 July 1979 and later released as a double LP).

 

In November 1978 Vysotsky took part in the underground censorship-defying literary project Metropolis, inspired and organized by Vasily Aksenov. In January 1979 Vysotsky again visited America with highly successful series of concerts. That was the point (according to biographer Vladimir Novikov) when a glimpse of new, clean life of a respectable international actor and performer all but made Vysotsky seriously reconsider his priorities. What followed though, was a return to the self-destructive theater and concert tours schedule, personal doctor Anatoly Fedotov now not only his companion, but part of Taganka's crew. "Who was this Anatoly? Just a man who in every possible situation would try to provide drugs. And he did provide. In such moments Volodya trusted him totally," Oksana Afanasyeva, Vysotsky's Moscow girlfriend (who was near him for most of the last year of his life and, on occasion, herself served as a drug courier) remembered. In July 1979, after a series of Central Asia concerts, Vysotsky collapsed, experienced clinical death and was resuscitated by Fedotov (who injected caffeine into the heart directly), colleague and close friend Vsevolod Abdulov helping with heart massage. In January 1980 Vysotsky asked Lyubimov for a year's leave. "Up to you, but on condition that Hamlet is yours," was the answer. The songwriting showed signs of slowing down, as Vysotsky began switching from songs to more conventional poetry. Still, of nearly 800 poems by Vysotsky only one has been published in the Soviet Union while he was alive. Not a single performance or interview was broadcast by the Soviet television in his lifetime.

 

In May 1979, being in a practice studio of the MSU Faculty of Journalism, Vysotsky recorded a video letter to American actor and film producer Warren Beatty, looking for both a personal meeting with Beatty and an opportunity to get a role in Reds film, to be produced and directed by the latter. While recording, Vysotsky made a few attempts to speak English, trying to overcome the language barrier. This video letter never reached Beatty. It was broadcast for the first time more than three decades later, on the night of 24 January 2013 (local time) by Rossiya 1 channel, along with records of TV channels of Italy, Mexico, Poland, USA and from private collections, in Vladimir Vysotsky. A letter to Warren Beatty film by Alexander Kovanovsky and Igor Rakhmanov. While recording this video, Vysotsky had a rare opportunity to perform for a camera, being still unable to do it with Soviet television.

 

On 22 January 1980, Vysotsky entered the Moscow Ostankino TV Center to record his one and only studio concert for the Soviet television. What proved to be an exhausting affair (his concentration lacking, he had to plod through several takes for each song) was premiered on the Soviet TV eight years later. The last six months of his life saw Vysotsky appearing on stage sporadically, fueled by heavy dosages of drugs and alcohol. His performances were often erratic. Occasionally Vysotsky paid visits to Sklifosofsky [ru] institute's ER unit, but would not hear of Marina Vlady's suggestions for him to take long-term rehabilitation course in a Western clinic. Yet he kept writing, mostly poetry and even prose, but songs as well. The last song he performed was the agonizing "My Sorrow, My Anguish" and his final poem, written one week prior to his death was "A Letter to Marina": "I'm less than fifty, but the time is short / By you and God protected, life and limb / I have a song or two to sing before the Lord / I have a way to make my peace with him."

 

Although several theories of the ultimate cause of the singer's death persist to this day, given what is now known about cardiovascular disease, it seems likely that by the time of his death Vysotsky had an advanced coronary condition brought about by years of tobacco, alcohol and drug abuse, as well as his grueling work schedule and the stress of the constant harassment by the government. Towards the end, most of Vysotsky's closest friends had become aware of the ominous signs and were convinced that his demise was only a matter of time. Clear evidence of this can be seen in a video ostensibly shot by the Japanese NHK channel only months before Vysotsky's death, where he appears visibly unwell, breathing heavily and slurring his speech. Accounts by Vysotsky's close friends and colleagues concerning his last hours were compiled in the book by V. Perevozchikov.

 

Vysotsky suffered from alcoholism for most of his life. Sometime around 1977, he started using amphetamines and other prescription narcotics in an attempt to counteract the debilitating hangovers and eventually to rid himself of alcohol addiction. While these attempts were partially successful, he ended up trading alcoholism for a severe drug dependency that was fast spiralling out of control. He was reduced to begging some of his close friends in the medical profession for supplies of drugs, often using his acting skills to collapse in a medical office and imitate a seizure or some other condition requiring a painkiller injection. On 25 July 1979 (a year to the day before his death) he suffered a cardiac arrest and was clinically dead for several minutes during a concert tour of Soviet Uzbekistan, after injecting himself with a wrong kind of painkiller he had previously obtained from a dentist's office.

 

Fully aware of the dangers of his condition, Vysotsky made several attempts to cure himself of his addiction. He underwent an experimental (and ultimately discredited) blood purification procedure offered by a leading drug rehabilitation specialist in Moscow. He also went to an isolated retreat in France with his wife Marina in the spring of 1980 as a way of forcefully depriving himself of any access to drugs. After these attempts failed, Vysotsky returned to Moscow to find his life in an increasingly stressful state of disarray. He had been a defendant in two criminal trials, one for a car wreck he had caused some months earlier, and one for an alleged conspiracy to sell unauthorized concert tickets (he eventually received a suspended sentence and a probation in the first case, and the charges in the second were dismissed, although several of his co-defendants were found guilty). He also unsuccessfully fought the film studio authorities for the rights to direct a movie called The Green Phaeton. Relations with his wife Marina were deteriorating, and he was torn between his loyalty to her and his love for his mistress Oksana Afanasyeva. He had also developed severe inflammation in one of his legs, making his concert performances extremely challenging.

 

In a final desperate attempt to overcome his drug addiction, partially prompted by his inability to obtain drugs through his usual channels (the authorities had imposed a strict monitoring of the medical institutions to prevent illicit drug distribution during the 1980 Olympics), he relapsed into alcohol and went on a prolonged drinking binge (apparently consuming copious amounts of champagne due to a prevalent misconception at the time that it was better than vodka at countering the effects of drug withdrawal).

 

On 3 July 1980, Vysotsky gave a performance at a suburban Moscow concert hall. One of the stage managers recalls that he looked visibly unhealthy ("gray-faced", as she puts it) and complained of not feeling too good, while another says she was surprised by his request for champagne before the start of the show, as he had always been known for completely abstaining from drink before his concerts. On 16 July Vysotsky gave his last public concert in Kaliningrad. On 18 July, Vysotsky played Hamlet for the last time at the Taganka Theatre. From around 21 July, several of his close friends were on a round-the-clock watch at his apartment, carefully monitoring his alcohol intake and hoping against all odds that his drug dependency would soon be overcome and they would then be able to bring him back from the brink. The effects of drug withdrawal were clearly getting the better of him, as he got increasingly restless, moaned and screamed in pain, and at times fell into memory lapses, failing to recognize at first some of his visitors, including his son Arkadiy. At one point, Vysotsky's personal physician A. Fedotov (the same doctor who had brought him back from clinical death a year earlier in Uzbekistan) attempted to sedate him, inadvertently causing asphyxiation from which he was barely saved. On 24 July, Vysotsky told his mother that he thought he was going to die that day, and then made similar remarks to a few of the friends present at the apartment, who begged him to stop such talk and keep his spirits up. But soon thereafter, Oksana Afanasyeva saw him clench his chest several times, which led her to suspect that he was genuinely suffering from a cardiovascular condition. She informed Fedotov of this but was told not to worry, as he was going to monitor Vysotsky's condition all night. In the evening, after drinking relatively small amounts of alcohol, the moaning and groaning Vysotsky was sedated by Fedotov, who then sat down on the couch next to him but fell asleep. Fedotov awoke in the early hours of 25 July to an unusual silence and found Vysotsky dead in his bed with his eyes wide open, apparently of a myocardial infarction, as he later certified. This was contradicted by Fedotov's colleagues, Sklifosovsky Emergency Medical Institute physicians L. Sul'povar and S. Scherbakov (who had demanded the actor's immediate hospitalization on 23 July but were allegedly rebuffed by Fedotov), who insisted that Fedotov's incompetent sedation combined with alcohol was what killed Vysotsky. An autopsy was prevented by Vysotsky's parents (who were eager to have their son's drug addiction remain secret), so the true cause of death remains unknown.

 

No official announcement of the actor's death was made, only a brief obituary appeared in the Moscow newspaper Vechernyaya Moskva, and a note informing of Vysotsky's death and cancellation of the Hamlet performance was put out at the entrance to the Taganka Theatre (the story goes that not a single ticket holder took advantage of the refund offer). Despite this, by the end of the day, millions had learned of Vysotsky's death. On 28 July, he lay in state at the Taganka Theatre. After a mourning ceremony involving an unauthorized mass gathering of unprecedented scale, Vysotsky was buried at the Vagankovskoye Cemetery in Moscow. The attendance at the Olympic events dropped noticeably on that day, as scores of spectators left to attend the funeral. Tens of thousands of people lined the streets to catch a glimpse of his coffin.

 

According to author Valery Perevozchikov part of the blame for his death lay with the group of associates who surrounded him in the last years of his life. This inner circle were all people under the influence of his strong character, combined with a material interest in the large sums of money his concerts earned. This list included Valerii Yankelovich, manager of the Taganka Theatre and prime organiser of his non-sanctioned concerts; Anatoly Fedotov, his personal doctor; Vadim Tumanov, gold prospector (and personal friend) from Siberia; Oksana Afanasyeva (later Yarmolnik), his mistress the last three years of his life; Ivan Bortnik, a fellow actor; and Leonid Sul'povar, a department head at the Sklifosovski hospital who was responsible for much of the supply of drugs.

 

Vysotsky's associates had all put in efforts to supply his drug habit, which kept him going in the last years of his life. Under their influence, he was able to continue to perform all over the country, up to a week before his death. Due to illegal (i.e. non-state-sanctioned) sales of tickets and other underground methods, these concerts pulled in sums of money unimaginable in Soviet times, when almost everyone received nearly the same small salary. The payouts and gathering of money were a constant source of danger, and Yankelovich and others were needed to organise them.

 

Some money went to Vysotsky, the rest was distributed amongst this circle. At first this was a reasonable return on their efforts; however, as his addiction progressed and his body developed resistance, the frequency and amount of drugs needed to keep Vysotsky going became unmanageable. This culminated at the time of the Moscow Olympics which coincided with the last days of his life, when supplies of drugs were monitored more strictly than usual, and some of the doctors involved in supplying Vysotsky were already behind bars (normally the doctors had to account for every ampule, thus drugs were transferred to an empty container, while the patients received a substitute or placebo instead). In the last few days Vysotsky became uncontrollable, his shouting could be heard all over the apartment building on Malaya Gruzinskaya St. where he lived amongst VIP's. Several days before his death, in a state of stupor he went on a high speed drive around Moscow in an attempt to obtain drugs and alcohol – when many high-ranking people saw him. This increased the likelihood of him being forcibly admitted to the hospital, and the consequent danger to the circle supplying his habit. As his state of health declined, and it became obvious that he might die, his associates gathered to decide what to do with him. They came up with no firm decision. They did not want him admitted officially, as his drug addiction would become public and they would fall under suspicion, although some of them admitted that any ordinary person in his condition would have been admitted immediately.

 

On Vysotsky's death his associates and relatives put in much effort to prevent a post-mortem being carried out. This despite the fairly unusual circumstances: he died aged 42 under heavy sedation with an improvised cocktail of sedatives and stimulants, including the toxic chloral hydrate, provided by his personal doctor who had been supplying him with narcotics the previous three years. This doctor, being the only one present at his side when death occurred, had a few days earlier been seen to display elementary negligence in treating the sedated Vysotsky. On the night of his death, Arkadii Vysotsky (his son), who tried to visit his father in his apartment, was rudely refused entry by Yankelovich, even though there was a lack of people able to care for him. Subsequently, the Soviet police commenced a manslaughter investigation which was dropped due to the absence of evidence taken at the time of death.

 

Vysotsky's first wife was Iza Zhukova. They met in 1956, being both MAT theater institute students, lived for some time at Vysotsky's mother's flat in Moscow, after her graduation (Iza was 2 years older) spent months in different cities (her – in Kiev, then Rostov) and finally married on 25 April 1960.

 

He met his second wife Lyudmila Abramova in 1961, while shooting the film 713 Requests Permission to Land. They married in 1965 and had two sons, Arkady (born 1962) and Nikita (born 1964).

 

While still married to Lyudmila Abramova, Vysotsky began a romantic relationship with Tatyana Ivanenko, a Taganka actress, then, in 1967 fell in love with Marina Vlady, a French actress of Russian descent, who was working at Mosfilm on a joint Soviet-French production at that time. Marina had been married before and had three children, while Vladimir had two. They were married in 1969. For 10 years the two maintained a long-distance relationship as Marina compromised her career in France to spend more time in Moscow, and Vladimir's friends pulled strings for him to be allowed to travel abroad to stay with his wife. Marina eventually joined the Communist Party of France, which essentially gave her an unlimited-entry visa into the Soviet Union, and provided Vladimir with some immunity against prosecution by the government, which was becoming weary of his covertly anti-Soviet lyrics and his odds-defying popularity with the masses. The problems of his long-distance relationship with Vlady inspired several of Vysotsky's songs.

 

In the autumn of 1981 Vysotsky's first collection of poetry was officially published in the USSR, called The Nerve (Нерв). Its first edition (25,000 copies) was sold out instantly. In 1982 the second one followed (100,000), then the 3rd (1988, 200,000), followed in the 1990s by several more. The material for it was compiled by Robert Rozhdestvensky, an officially laurelled Soviet poet. Also in 1981 Yuri Lyubimov staged at Taganka a new music and poetry production called Vladimir Vysotsky which was promptly banned and officially premiered on 25 January 1989.

 

In 1982 the motion picture The Ballad of the Valiant Knight Ivanhoe was produced in the Soviet Union and in 1983 the movie was released to the public. Four songs by Vysotsky were featured in the film.

 

In 1986 the official Vysotsky poetic heritage committee was formed (with Robert Rozhdestvensky at the helm, theater critic Natalya Krymova being both the instigator and the organizer). Despite some opposition from the conservatives (Yegor Ligachev was the latter's political leader, Stanislav Kunyaev of Nash Sovremennik represented its literary flank) Vysotsky was rewarded posthumously with the USSR State Prize. The official formula – "for creating the character of Zheglov and artistic achievements as a singer-songwriter" was much derided from both the left and the right. In 1988 the Selected Works of... (edited by N. Krymova) compilation was published, preceded by I Will Surely Return... (Я, конечно, вернусь...) book of fellow actors' memoirs and Vysotsky's verses, some published for the first time. In 1990 two volumes of extensive The Works of... were published, financed by the late poet's father Semyon Vysotsky. Even more ambitious publication series, self-proclaimed "the first ever academical edition" (the latter assertion being dismissed by sceptics) compiled and edited by Sergey Zhiltsov, were published in Tula (1994–1998, 5 volumes), Germany (1994, 7 volumes) and Moscow (1997, 4 volumes).

 

In 1989 the official Vysotsky Museum opened in Moscow, with the magazine of its own called Vagant (edited by Sergey Zaitsev) devoted entirely to Vysotsky's legacy. In 1996 it became an independent publication and was closed in 2002.

 

In the years to come, Vysotsky's grave became a site of pilgrimage for several generations of his fans, the youngest of whom were born after his death. His tombstone also became the subject of controversy, as his widow had wished for a simple abstract slab, while his parents insisted on a realistic gilded statue. Although probably too solemn to have inspired Vysotsky himself, the statue is believed by some to be full of metaphors and symbols reminiscent of the singer's life.

 

In 1995 in Moscow the Vysotsky monument was officially opened at Strastnoy Boulevard, by the Petrovsky Gates. Among those present were the bard's parents, two of his sons, first wife Iza, renown poets Yevtushenko and Voznesensky. "Vysotsky had always been telling the truth. Only once he was wrong when he sang in one of his songs: 'They will never erect me a monument in a square like that by Petrovskye Vorota'", Mayor of Moscow Yuri Luzhkov said in his speech.[95] A further monument to Vysotsky was erected in 2014 at Rostov-on-Don.

 

In October 2004, a monument to Vysotsky was erected in the Montenegrin capital of Podgorica, near the Millennium Bridge. His son, Nikita Vysotsky, attended the unveiling. The statue was designed by Russian sculptor Alexander Taratinov, who also designed a monument to Alexander Pushkin in Podgorica. The bronze statue shows Vysotsky standing on a pedestal, with his one hand raised and the other holding a guitar. Next to the figure lies a bronze skull – a reference to Vysotsky's monumental lead performances in Shakespeare's Hamlet. On the pedestal the last lines from a poem of Vysotsky's, dedicated to Montenegro, are carved.

 

The Vysotsky business center & semi-skyscraper was officially opened in Yekaterinburg, in 2011. It is the tallest building in Russia outside of Moscow, has 54 floors, total height: 188.3 m (618 ft). On the third floor of the business center is the Vysotsky Museum. Behind the building is a bronze sculpture of Vladimir Vysotsky and his third wife, a French actress Marina Vlady.

 

In 2011 a controversial movie Vysotsky. Thank You For Being Alive was released, script written by his son, Nikita Vysotsky. The actor Sergey Bezrukov portrayed Vysotsky, using a combination of a mask and CGI effects. The film tells about Vysotsky's illegal underground performances, problems with KGB and drugs, and subsequent clinical death in 1979.

 

Shortly after Vysotsky's death, many Russian bards started writing songs and poems about his life and death. The best known are Yuri Vizbor's "Letter to Vysotsky" (1982) and Bulat Okudzhava's "About Volodya Vysotsky" (1980). In Poland, Jacek Kaczmarski based some of his songs on those of Vysotsky, such as his first song (1977) was based on "The Wolfhunt", and dedicated to his memory the song "Epitafium dla Włodzimierza Wysockiego" ("Epitaph for Vladimir Vysotsky").

 

Every year on Vysotsky's birthday festivals are held throughout Russia and in many communities throughout the world, especially in Europe. Vysotsky's impact in Russia is often compared to that of Wolf Biermann in Germany, Bob Dylan in America, or Georges Brassens and Jacques Brel in France.

 

The asteroid 2374 Vladvysotskij, discovered by Lyudmila Zhuravleva, was named after Vysotsky.

 

During the Annual Q&A Event Direct Line with Vladimir Putin, Alexey Venediktov asked Putin to name a street in Moscow after the singer Vladimir Vysotsky, who, though considered one of the greatest Russian artists, has no street named after him in Moscow almost 30 years after his death. Venediktov stated a Russian law that allowed the President to do so and promote a law suggestion to name a street by decree. Putin answered that he would talk to Mayor of Moscow and would solve this problem. In July 2015 former Upper and Lower Tagansky Dead-ends (Верхний и Нижний Таганские тупики) in Moscow were reorganized into Vladimir Vysotsky Street.

 

The Sata Kieli Cultural Association, [Finland], organizes the annual International Vladimir Vysotsky Festival (Vysotski Fest), where Vysotsky's singers from different countries perform in Helsinki and other Finnish cities. They sing Vysotsky in different languages and in different arrangements.

 

Two brothers and singers from Finland, Mika and Turkka Mali, over the course of their more than 30-year musical career, have translated into Finnish, recorded and on numerous occasions publicly performed songs of Vladimir Vysotsky.

 

Throughout his lengthy musical career, Jaromír Nohavica, a famed Czech singer, translated and performed numerous songs of Vladimir Vysotsky, most notably Песня о друге (Píseň o příteli – Song about a friend).

 

The Museum of Vladimir Vysotsky in Koszalin dedicated to Vladimir Vysotsky was founded by Marlena Zimna (1969–2016) in May 1994, in her apartment, in the city of Koszalin, in Poland. Since then the museum has collected over 19,500 exhibits from different countries and currently holds Vladimir Vysotsky' personal items, autographs, drawings, letters, photographs and a large library containing unique film footage, vinyl records, CDs and DVDs. A special place in the collection holds a Vladimir Vysotsky's guitar, on which he played at a concert in Casablanca in April 1976. Vladimir Vysotsky presented this guitar to Moroccan journalist Hassan El-Sayed together with an autograph (an extract from Vladimir Vysotsky's song "What Happened in Africa"), written in Russian right on the guitar.

 

In January 2023, a monument to the outstanding actor, singer and poet Vladimir Vysotsky was unveiled in Yuzhno-Sakhalinsk, in the square near the Rodina House of Culture. Author Vladimir Chebotarev.

 

After her husband's death, urged by her friend Simone Signoret, Marina Vlady wrote a book called The Aborted Flight about her years together with Vysotsky. The book paid tribute to Vladimir's talent and rich persona, yet was uncompromising in its depiction of his addictions and the problems that they caused in their marriage. Written in French (and published in France in 1987), it was translated into Russian in tandem by Vlady and a professional translator and came out in 1989 in the USSR. Totally credible from the specialists' point of view, the book caused controversy, among other things, by shocking revelations about the difficult father-and-son relationship (or rather, the lack of any), implying that Vysotsky-senior (while his son was alive) was deeply ashamed of him and his songs which he deemed "anti-Soviet" and reported his own son to the KGB. Also in 1989 another important book of memoirs was published in the USSR, providing a bulk of priceless material for the host of future biographers, Alla Demidova's Vladimir Vysotsky, the One I Know and Love. Among other publications of note were Valery Zolotukhin's Vysotsky's Secret (2000), a series of Valery Perevozchikov's books (His Dying Hour, The Unknown Vysotsky and others) containing detailed accounts and interviews dealing with the bard's life's major controversies (the mystery surrounding his death, the truth behind Vysotsky Sr.'s alleged KGB reports, the true nature of Vladimir Vysotsky's relations with his mother Nina's second husband Georgy Bartosh etc.), Iza Zhukova's Short Happiness for a Lifetime and the late bard's sister-in-law Irena Vysotskaya's My Brother Vysotsky. The Beginnings (both 2005).

 

A group of enthusiasts has created a non-profit project – the mobile application "Vysotsky"

 

The multifaceted talent of Vysotsky is often described by the term "bard" (бард) that Vysotsky has never been enthusiastic about. He thought of himself mainly as an actor and poet rather than a singer, and once remarked, "I do not belong to what people call bards or minstrels or whatever." With the advent of portable tape-recorders in the Soviet Union, Vysotsky's music became available to the masses in the form of home-made reel-to-reel audio tape recordings (later on cassette tapes).

 

Vysotsky accompanied himself on a Russian seven-string guitar, with a raspy voice singing ballads of love, peace, war, everyday Soviet life and of the human condition. He was largely perceived as the voice of honesty, at times sarcastically jabbing at the Soviet government, which made him a target for surveillance and threats. In France, he has been compared with Georges Brassens; in Russia, however, he was more frequently compared with Joe Dassin, partly because they were the same age and died in the same year, although their ideologies, biographies, and musical styles are very different. Vysotsky's lyrics and style greatly influenced Jacek Kaczmarski, a Polish songwriter and singer who touched on similar themes.

 

The songs – over 600 of them – were written about almost any imaginable theme. The earliest were blatnaya pesnya ("outlaw songs"). These songs were based either on the life of the common people in Moscow or on life in the crime people, sometimes in Gulag. Vysotsky slowly grew out of this phase and started singing more serious, though often satirical, songs. Many of these songs were about war. These war songs were not written to glorify war, but rather to expose the listener to the emotions of those in extreme, life-threatening situations. Most Soviet veterans would say that Vysotsky's war songs described the truth of war far more accurately than more official "patriotic" songs.

 

Nearly all of Vysotsky's songs are in the first person, although he is almost never the narrator. When singing his criminal songs, he would adopt the accent and intonation of a Moscow thief, and when singing war songs, he would sing from the point of view of a soldier. In many of his philosophical songs, he adopted the role of inanimate objects. This created some confusion about Vysotsky's background, especially during the early years when information could not be passed around very easily. Using his acting talent, the poet played his role so well that until told otherwise, many of his fans believed that he was, indeed, a criminal or war veteran. Vysotsky's father said that "War veterans thought the author of the songs to be one of them, as if he had participated in the war together with them." The same could be said about mountain climbers; on multiple occasions, Vysotsky was sent pictures of mountain climbers' graves with quotes from his lyrics etched on the tombstones.

 

Not being officially recognized as a poet and singer, Vysotsky performed wherever and whenever he could – in the theater (where he worked), at universities, in private apartments, village clubs, and in the open air. It was not unusual for him to give several concerts in one day. He used to sleep little, using the night hours to write. With few exceptions, he wasn't allowed to publish his recordings with "Melodiya", which held a monopoly on the Soviet music industry. His songs were passed on through amateur, fairly low quality recordings on vinyl discs and magnetic tape, resulting in his immense popularity. Cosmonauts even took his music on cassette into orbit.

 

Musically, virtually all of Vysotsky's songs were written in a minor key, and tended to employ from three to seven chords. Vysotsky composed his songs and played them exclusively on the Russian seven string guitar, often tuned a tone or a tone-and-a-half below the traditional Russian "Open G major" tuning. This guitar, with its specific Russian tuning, makes a slight yet notable difference in chord voicings than the standard tuned six string Spanish (classical) guitar, and it became a staple of his sound. Because Vysotsky tuned down a tone and a half, his strings had less tension, which also colored the sound.

 

His earliest songs were usually written in C minor (with the guitar tuned a tone down from DGBDGBD to CFACFAC)

 

Songs written in this key include "Stars" (Zvyozdy), "My friend left for Magadan" (Moy drug uyekhal v Magadan), and most of his "outlaw songs".

 

At around 1970, Vysotsky began writing and playing exclusively in A minor (guitar tuned to CFACFAC), which he continued doing until his death.

 

Vysotsky used his fingers instead of a pick to pluck and strum, as was the tradition with Russian guitar playing. He used a variety of finger picking and strumming techniques. One of his favorite was to play an alternating bass with his thumb as he plucked or strummed with his other fingers.

 

Often, Vysotsky would neglect to check the tuning of his guitar, which is particularly noticeable on earlier recordings. According to some accounts, Vysotsky would get upset when friends would attempt to tune his guitar, leading some to believe that he preferred to play slightly out of tune as a stylistic choice. Much of this is also attributable to the fact that a guitar that is tuned down more than 1 whole step (Vysotsky would sometimes tune as much as 2 and a half steps down) is prone to intonation problems.

 

Vysotsky had a unique singing style. He had an unusual habit of elongating consonants instead of vowels in his songs. So when a syllable is sung for a prolonged period of time, he would elongate the consonant instead of the vowel in that syllable.

 

The Vladimir Semyonovich Vysotsky Statue is a prominent monument located in Voronezh, Russian Federation, dedicated to the legendary Russian singer-songwriter, actor, and poet Vladimir Semyonovich Vysotsky. This statue stands as a tribute to Vysotsky's immense contributions to Russian culture and his enduring legacy.

 

Vladimir Vysotsky was born on January 25, 1938, in Moscow, Russia. He quickly gained recognition for his unique artistic style, characterized by his powerful voice, poetic lyrics, and charismatic stage presence. Vysotsky's songs captured the essence of the Soviet era, addressing social issues, human emotions, and political satire. His music resonated deeply with the masses, and he became an iconic figure in Russian popular culture.

 

The idea of erecting a statue in Voronezh to honor Vladimir Vysotsky was conceived to commemorate his connection to the city. Vysotsky had a special relationship with Voronezh, as he spent a significant portion of his early career performing in local theaters and interacting with the local artistic community. The statue serves as a reminder of this bond and celebrates his artistic contributions.

 

The Vysotsky Statue was unveiled on November 18, 2009, in front of the Voronezh Academic Drama Theater, where Vysotsky performed numerous times. The monument was created by renowned Russian sculptor Grigory Pototsky. Standing at approximately 5 meters tall, the bronze statue captures Vysotsky in a dynamic pose, holding a guitar and singing passionately.

 

The sculpture depicts Vysotsky in mid-performance, capturing his energy and intensity on stage. The attention to detail in the statue is remarkable, with intricate facial features, flowing hair, and realistic clothing. The sculptor aimed to convey Vysotsky's passion and charisma through the artwork, and the statue successfully embodies these qualities.

 

The location of the statue, in front of the Voronezh Academic Drama Theater, is significant. It symbolizes Vysotsky's strong ties to the theater and his impact on the performing arts. The statue serves as a meeting point for admirers of Vysotsky's work, attracting locals and tourists alike. It has become an iconic landmark in Voronezh, attracting visitors who come to pay their respects and celebrate Vysotsky's artistic legacy.

 

The statue's unveiling was accompanied by a grand ceremony, attended by government officials, artists, and Vysotsky's fans. The event highlighted the significance of Vysotsky's artistic contributions and celebrated his enduring influen

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Anna Sewell is the author of 'Black Beauty'.

 

She was born on 30th. March 1820 at 26 Church Plain, Great Yarmouth, Norfolk into a devoutly Quaker family, the daughter of Isaac Phillip (1793-1879), and Mary Sewell, nee Wright (1798 - 1884), a successful author of children's books. Anna had one sibling, a younger brother named Philip. The children were largely educated at home by their mother due to a lack of money for schooling. Their education was heavily influenced by their mother's religious and educational convictions.

 

In 1822 the family moved to Dalston in the Borough of Hackney, East London. Life was difficult for the family, and Anna and Philip were frequently sent to stay with their mother's parents, John and Ann Wright, in Buxton, Norfolk

 

When Anna was 12 years old, the family moved to Stoke Newington, an area in the north-west part of Hackney. It was there that she attended school for the first time and gained instruction in areas new to her such as mathematics and foreign languages. Two years later, however, she slipped while walking home from school and severely injured both of her ankles.

 

Her father took a job in Brighton, East Sussex in 1836, partly in the hope that the climate there would help to cure her. Despite this, and most likely because of the mistreatment of her injury, Anna was lame for the rest of her life and was unable to stand without a crutch or to walk for any length of time. For greater mobility, she frequently used horse-drawn carriages, which contributed to her love of horses and concern for the humane treatment of animals. In 1845, the family moved to the coastal village of Lancing in East Sussex, and Anna's health began to deteriorate. She travelled to Europe the following year to seek treatment. On her return, the family continued to relocate, to Abson in South Gloucestershire in 1858 and to Bath, Somerset in 1864.

 

In 1866, Anna's brother Philip's wife died, leaving him with seven young children to care for, and the following year the Sewell's moved to Old Catton, a village 2 miles (3.2 km) north-east of central Norwich in Norfolk, to support him.

 

Anna's only published work was Black Beauty, written at Old Catton between 1871 to 1877. During this time her health was declining and she was often so weak that she couldn't get out of bed and writing was a challenge. She dictated the text to her mother and from 1876 began to write on slips of paper which her mother then transcribed.

 

Anna sold the novel to the publisher Jarrolds of Norwich on 24th. November 1877 for a single payment of £40. Black Beauty, one of the best selling books of all time, was published in 1877. It is considered to be one of the first English novels to be written from the perspective of an animal. Although it is considered a children's classic, Anna originally wrote it for those who worked with horses. She said "a special aim was to induce kindness, sympathy, and an understanding treatment of horses". In many respects the book can be read as a guide to horse husbandry, stable management and humane training practices for colts. It is considered to have had an effect on reducing cruelty to horses.

 

After the publication of Black Beauty, Anna fell seriously ill and was in extreme pain, discomfort and completely bedridden for the following months. Anna died on 25th. April 1878, aged 58 of hepatitis or tuberculosis. She was buried on 30th. April 1878 in the Quaker burial ground at Lamas, near Buxton.

 

On 1st. September 1984, the graveyard at Lamas was bulldozed by contractors under the direction of Mrs Wendy Forsey, without prior warning or permission. Tombstones, graves and cypress trees were removed and dumped at the edge of the burial ground. The act was condemned by locals and Council Chairman John Perkins, who said: "I know the land belongs to a private person but I would almost say it was as bad as vandalism. I know Quaker ground is not consecrated, but for anybody to just pull down gravestones of any Quaker, whether it's Anna Sewell or not, well, I think it's despicable". The gravestones of Anna, her parents and maternal grandparents were subsequently placed in a flint and brick wall outside the old Lammas Quaker meeting house.

 

The house was given Grade: II listed building status on 27th. June 1953.

12 x 9 inches, mixed media on paper. August 2023. Available for purchase on scottbergey.etsy.com

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Commentary.

 

In a similar way to the influence of Sissinghurst Gardens,

Great Dixter’s evolution has had a profound effect on the wider development of English Country Gardens.

The flower borders, here, are quite spectacular.

Mature trees, extensive lawns and borders ranging from Dahlias and Pampas Grass to Chrysanthemum and Bamboo.

There is also present orchards and wild flower meadows to attract pollinating insects.

In a sheltered part of the estate there is even a tropical area with New Zealand Cabbage Palms, Date Palms, Yuccas and Banana plants.

The house itself is mostly 15th. Century and is half-timbered,

with an enormous porch and leaded windows.

The site is now owned and managed by the National Trust

and is something of a horticultural showground that is very impressive indeed.

 

Chardonnay Grapes, SLO County Edna Valley

 

Wikipedia, Chardonnay Grapes

Chardonnay (UK: /ˈʃɑːrdəneɪ/, US: /ˌʃɑːrdənˈeɪ/,[1][2] French: [ʃaʁdɔnɛ] i) is a green-skinned grape variety used in the production of white wine. The variety originated in the Burgundy wine region of eastern France, but is now grown wherever wine is produced, from England to New Zealand. For new and developing wine regions, growing Chardonnay is seen as a 'rite of passage' and an easy entry into the international wine market.[3]

 

The Chardonnay grape itself is neutral, with many of the flavors commonly associated with the wine being derived from such influences as terroir and oak.[4] It is vinified in many different styles, from the lean, crisply mineral wines of Chablis, France, to New World wines with oak and tropical fruit flavors. In cool climates (such as Chablis and the Carneros AVA of California), Chardonnay wine tends to be medium to light body with noticeable acidity and flavors of green plum, apple, and pear. In warmer locations (such as the Adelaide Hills and Mornington Peninsula in Australia and Gisborne and Marlborough region of New Zealand), the flavors become more citrus, peach, and melon, while in very warm locations (such as the Central Coast AVA of California), more fig and tropical fruit notes such as banana and mango come out. Wines that have gone through malolactic fermentation tend to have softer acidity and fruit flavors with buttery mouthfeel and hazelnut notes.[5]

 

Chardonnay is an important component of many sparkling wines around the world, including Champagne and Franciacorta in Italy. Chardonnay's popularity peaked in the late 1980s, then gave way to a backlash among those wine connoisseurs who saw the grape as a leading negative component of the globalization of wine. Nonetheless, it is one of the most widely planted grape varieties, with 210,000 hectares (520,000 acres) worldwide, second only to Airén among white wine grapes and fifth among all wine grapes.[6]

 

History

 

Gouais blanc, one of the parent varieties of Chardonnay

For much of its history, a connection was assumed between Chardonnay and Pinot noir or Pinot blanc. In addition to being found in the same region of France for centuries, ampelographers noted that the leaves of these plants have near-identical shape and structure. Pierre Galet disagreed with this assessment, believing that Chardonnay was unrelated to any other major grape variety. Viticulturalists Maynard Amerine and Harold Olmo proposed descent from a wild Vitis vinifera vine that was a step removed from white Muscat. Chardonnay's true origins were further obscured by vineyard owners in Lebanon and Syria, who claimed that the grape's ancestry could be traced to the Middle East, from where it was introduced to Europe by returning Crusaders. Little external evidence supports this theory.[7] Another theory stated that it originated from an ancient indigenous vine found in Cyprus.[8]

 

Modern DNA fingerprinting research at University of California, Davis, now suggests that Chardonnay is the result of a cross between the Pinot noir and Gouais blanc (Heunisch) grape varieties.[4] The Romans are thought to have brought Gouais blanc from Croatia, and it was widely cultivated by peasants in eastern France.[citation needed]

 

The Pinot of the French aristocracy grew in close proximity to the Gouais blanc, giving the two ample opportunity to interbreed. Since the two parents were genetically distant, many of the crosses showed hybrid vigour and were selected for further propagation. These "successful" crosses included Chardonnay and siblings such as Aligoté, Aubin vert, Auxerrois, Bachet noir, Beaunoir, Franc Noir de la-Haute-Saône, Gamay Blanc Gloriod, Gamay noir, Melon, Knipperlé, Peurion, Roublot, Sacy,[9] and Dameron.[10]

 

Clones, crossing, and mutations

 

Chardonnay grapes after harvest

As of 2006, 34 clonal varieties of Chardonnay could be found in vineyards throughout France; most of these were developed at the University of Burgundy in Dijon. The so-called "Dijon clones" are bred for their adaptive attributes, with vineyard owners planting the clonal variety best suited to their terroir and which will produce the characteristics that they are seeking in the wine. Examples include the lower-yielding clones 'Dijon-76', '95' and '96' that produce more flavor-concentrated clusters. 'Dijon-77' and '809' produce more aromatic wines with a "grapey" perfume, while 'Dijon-75', '78', '121', '124', '125' and '277' are more vigorous and higher-yielding clones. New World varieties include the 'Mendoza' clone, which produced some of the early California Chardonnays. The 'Mendoza' clone is prone to develop millerandage, also known as "hens and chicks", where the berries develop unevenly.[4] In places such as Oregon, the use of newer Dijon clones has had some success in those regions of the Willamette Valley with climates similar to that of Burgundy.[8]

 

Chardonnay has served as parent to several French-American hybrid grapes, as well as crossings with other V. vinifera varieties. Examples include the hybrid Chardonel, which was a Chardonnay and Seyval blanc cross produced in 1953 at the New York State Agricultural Experiment Station. Mutations of the Chardonnay grape include the rare pink-berried 'Chardonnay Rose'; also 'Chardonnay Blanc Musqué', which produces an intensely aromatic wine.[4] Chardonnay Blanc Musqué is mostly found around the Mâconnais village of Clessé and sometimes confused with the 'Dijon-166' clone planted in South Africa, which yields Muscat-like aromas.[8]

 

In the 1930s, Chardonnay was crossed with a Seibel grape to create the hybrid grape Ravat blanc.[11]

 

Viticulture

 

Chardonnay grapes in Champagne

Chardonnay has a wide-ranging reputation for relative ease of cultivation and ability to adapt to different conditions. The grape is very "malleable", in that it reflects and takes on the impression of its terroir and winemaker. It is a highly vigorous vine, with extensive leaf cover which can inhibit the energy and nutrient uptake of its grape clusters. Vineyard managers counteract this with aggressive pruning and canopy management. When Chardonnay vines are planted densely, they are forced to compete for resources and funnel energy into their grape clusters. In certain conditions, the vines can be very high-yielding, but the wine produced from such vines suffers a drop in quality if yields go much beyond 80 hl/ha (4.5 tons per acre). Producers of premium Chardonnay limit yields to less than half this amount.[4] Sparkling wine producers tend not to focus as much on limiting yields, since concentrated flavors are not as important as the wine's finesse.

 

Harvesting time is crucial to winemaking, with the grape rapidly losing acidity as soon as it ripens. Some viticultural hazards include the risk of damage from springtime frost, as Chardonnay is an early-budding vine – usually a week after Pinot noir. To combat the threat of frost, a method developed in Burgundy involves aggressive pruning just prior to budburst. This "shocks" the vine and delays budburst up to two weeks, which is often long enough for warmer weather to arrive.[8] Millerandage and coulure can also pose problems, along with powdery mildew attacking the thin skin of the grapes.[4] Because of Chardonnay's early ripening, it can thrive in wine regions with short growing seasons, and in regions such as Burgundy, can be harvested before autumn rain sets in and brings the threat of rot.[7]

 

While Chardonnay can adapt to almost all vineyard soils, the three it seems to like most are chalk, clay, and limestone, all very prevalent throughout Chardonnay's traditional "homeland". The Grand crus of Chablis are planted on hillsides composed of Kimmeridgian marl, limestone, and chalk. The outlying regions, falling under the more basic "Petit Chablis" appellation, are planted on portlandian limestone which produces wines with less finesse. Chalk beds are found throughout the Champagne region, and the Côte-d'Or has many areas composed of limestone and clay. In Burgundy, the amount of limestone to which the Chardonnay vines are exposed also seems to have some effect on the resulting wine. In the Meursault region, the premier cru vineyards planted at Meursault-Charmes have topsoil almost 2 m (79 in) above limestone and the resulting wines are very rich and rounded. In the nearby Les Perrières vineyard, the topsoil is only around 30 cm (12 in) above the limestone and the wine from that region is much more powerful, minerally, and tight, needing longer in the bottle to develop fully. In other areas, soil type can compensate for lack of ideal climate conditions. In South Africa, for example, regions with stonier, shaley soils and high clay levels tend to produce lower-yielding and more Burgundian-style wine, despite having a discernibly warmer climate than France. In contrast, South African Chardonnay produced from more sandstone-based vineyards tend to be richer and more weighty.[8]

 

Confusion with Pinot blanc

 

Closeup of a Chardonnay leaf (from the image of Chardonnay grapes in Champagne above): The yellow box highlights the naked veins around the petiolar sinus of the grape vine leaf.

Due to some ampelographical similarities, Pinot blanc and Chardonnay were often mistaken for each other and even today share many of the same synonyms. The grape vines, leaves, and clusters look identical at first glance, but some subtle differences are seen. The most visible of these can be observed as the grapes are ripening, with Chardonnay grapes taking on a more golden-green color than Pinot blanc grapes. On closer inspection, the grapevine shows slight differences in the texture and length of the hairs on the vine's shoot, and the veins of a Chardonnay leaf are "naked" near the petiolar sinus – the open area where the leaf connects to the stem is delineated by veins at the edge.[8] Cabernet Sauvignon is one of the few other Vitis vinifera grape vines to share this characteristic.[12] This confusion between Pinot blanc and Chardonnay was very pervasive throughout northern Italy, where the two vines grew interspersed in the vineyard and were blended in winemaking. The Italian government did not dispatch researchers to try to distinguish the two vines until 1978. A similar situation occurred in France, with the two vines being commonly confused until the mid-19th century, when ampelographers began combing through the vineyards of Chablis and Burgundy, identifying the true Chardonnay and weeding out the Pinot blanc.[8]

 

France

In France, Chardonnay is the second-most widely planted white grape variety just behind Ugni blanc and ahead of Sémillon and Sauvignon blanc. The grape first rose to prominence in the Chablis and Burgundy regions. In Champagne, it is most often blended with Pinot noir and Pinot Meunier, but is also used to produce single varietal blanc de blancs styles of sparkling wine. Chardonnay can be found in Appellation d'origine contrôlée (AOC) wines of the Loire Valley and Jura wine region, as well as the vin de pays wines of the Languedoc.[4]

 

Burgundy

See also: Burgundy wine

 

Harvesting Chardonnay in the Chablis Premier Cru of Fourchaume

Chardonnay is one of the dominant grapes in Burgundy, though Pinot noir vines outnumber it by nearly a three-to-one ratio. In addition to Chablis, Chardonnay is found in the Côte d'Or (largely in the Côte de Beaune), as well as the Côte Chalonnaise and Mâconnais. It is grown in eight grand cru vineyards; The "Montrachets"-Montrachet, Criots-Bâtard-Montrachet, Bâtard-Montrachet, Chevalier-Montrachet, and Bienvenues-Bâtard-Montrachet, as well as Charlemagne, Corton-Charlemagne, and Le Musigny. In addition to being the most expensive, the Burgundy examples of Chardonnay were long considered the benchmark standard of expressing terroir through Chardonnay. The Montrachets are noted for their high alcohol levels, often above 13%, as well as deep concentration of flavors. The vineyards around Chassagne-Montrachet tend to have a characteristic hazelnut aroma to them, while those of Puligny-Montrachet have more steely flavors. Both grand cru and premier cru examples from Corton-Charlemagne have been known to demonstrate marzipan, while Meursault wines tend to be the most round and buttery examples.[4]

 

South of the Côte d'Or are the Côte Chalonnaise and Mâconnais wine regions. The villages of Mercurey, Montagny-lès-Buxy, and Rully are the largest producers of Chardonnay in the Côte Chalonnaise, with the best-made examples rivaling those of the Côte de Beaune. In the Mâconnais, white wine production is centered on the town of Mâcon and the Pouilly-Fuissé region. The full-bodied wines of the Pouilly-Fuissé have long held cult wine status with prices that can rival the grand cru white burgundies. Further south, in the region of Beaujolais, Chardonnay has started to replace Aligoté as the main white wine grape and is even replacing Gamay in some areas around Saint-Véran.[4] With the exception of Pouilly-Fuissé, the wines of the Mâconnais are the closest Burgundy example to "New World" Chardonnay, though it is not identical. Typically, Mâcon blanc, basic Bourgogne, Beaujolais blanc, and Saint-Véran are meant to be consumed within two to three years of release. However, many of the well-made examples of white Burgundy from the Côte d'Or need at least three years in the bottle to develop enough to express the aromas and character of the wine. Hazelnut, licorice, and spice are some of the flavors that can develop as these wines age.[3]

 

Chablis

Main article: Chablis (wine)

 

The Serein River runs through the town of Chablis, with many of the region's most prestigious vineyards planted on hillsides along the river.

Chardonnay is the only permitted AOC grape variety in the Chablis region, with the wines there developing such worldwide recognition that the name "Chablis" has taken on somewhat generic connotations to mean any dry white wine, even those not made from Chardonnay. The name is protected in the European Union and for wine sold in the EU, "Chablis" refers only to the Chardonnay wine produced in this region of the Yonne département. The region sits on the outer edges of the Paris Basin. On the other side of the basin is the village of Kimmeridge in England, which gives its name to the Kimmeridgean soil that is located throughout Chablis. The French describe this soil as argilo-calcaire and is a composition of clay, limestone, and fossilized oyster shells. The most expensive examples of Chardonnay from Chablis come from the seven Grand Cru vineyards that account for around 247 acres (100 ha) on the southwest side of one slope along the Serein River near the towns of Chablis—Blanchots, Bougros, Les Clos, Grenouilles, Preuses, Valmur, and Vaudésir. The wines from these crus most often capture the goût de pierre à fusil or "gunflint" quality that is characteristic of Chablis wine.[13]

 

Chardonnay was believed to be first planted in Chablis by the Cistercians at Pontigny Abbey in the 12th century.[14] Today, the Chardonnay made in the Chablis region is one of the "purest" expression of the varietal character of the grape due to the simplistic style of winemaking favored in this region. Chablis winemakers want to emphasise the terroir of the calcareous soil and cooler climate that help maintain high acidity. The wines rarely go through malolactic fermentation or are exposed to oak (though its use is increasing). The biting, green apple-like acidity is a trademark of Chablis and can be noticeable in the bouquet. The acidity can mellow with age and Chablis are some of the longest-living examples of Chardonnay.[7] Some examples of Chablis can have an earthy "wet stone" flavor that can get mustier as it ages before mellowing into delicate honeyed notes.[3] The use of oak is controversial in the Chablis community, with some winemakers dismissing it as counter to the "Chablis style" or terroir, while others embrace its use, though not to the length that would characterise a "New World" Chardonnay. The winemakers who use oak tend to favor more neutral oak that does not impart the vanilla characteristic associated with American oak. The amount of "char" in the barrel is often very light, which limits the amount of "toastiness" perceived in the wine. The advocates of oak in Chablis point to the positive benefits of allowing limited oxygenation with the wine through the permeable oak barrels. This can have the effect of softening the wine and making the generally austere and acidic Chablis more approachable at a younger age.[13]

 

Champagne

See also: Champagne

 

A Blanc de Blancs Champagne made only from Chardonnay grapes

In the Champagne, Chardonnay is one of three major grape varieties planted in the region. It is most commonly found in the Aube and Marne départments which, combined with Chablis, accounted for more than half of all plantings of Chardonnay in France during the 20th century. In the Côte des Blancs (white slope) district of the Marne, Chardonnay thrives on the chalk soil. The three main villages around the Côte grow Chardonnay that emphasizes certain characteristics that the Champagne producers seek depending on their house style. The village of Avize grows grapes that produce the lightest wines, Cramant makes the most aromatic, and Mesnil produces wines with the most acidity. The Côte des Blancs is the only district in the Champagne region predominately planted with Chardonnay. In the four other main districts – Aube, Côte de Sézanne, Montagne de Reims, and Vallée de la Marne – Chardonnay lags behind Pinot noir in planting. In the outlying region of Aisne, only Pinot Meunier has a significant presence. Despite being less planted, the Blanc de Blancs style of Champagne (made from only Chardonnay grapes) is far more commonly produced than Blanc de Noirs. This is partly because Pinot noir and Pinot Meunier produce very coarse and heavy wines that lack the finesse and balance that Chardonnay brings to the mix. Nonsparkling still wine Chardonnay is produced under the Coteaux Champenois AOC. The wine is much more acidic than that of Chablis and is normally made bone-dry.[7]

 

Despite receiving the same amount of sunshine as the Chablis region, Chardonnay grapes in Champagne rarely attain full ripeness due to the mean temperature of the region being around 10 °C (50 °F), barely above the minimum average temperature needed to ripen grapes. Therefore, the Chardonnay grapes do not fully develop their fruit flavors and the still version of Champagne can taste very "un-Chardonnay"-like because of this. However, it does lessen the premium on needing to keep yields low that other wine regions battle, since not much flavor is going to develop in the grapes, anyway. Rather, the element in Chardonnay that Champagne wine-makers look for is the finesse and balance of acidity that it brings to the blend. Some flavors that can emerge from, particularly with extended time on its lees, include creamy and nuttiness with some floral notes.[8]

 

Other French regions

 

A Chardonnay from the Pay d'Oc region of the Languedoc

Champagne, Chablis, and Burgundy account for more than three-fifths of all Chardonnay plantings in France. The next-largest concentration is found in the Languedoc, where it was first planted around the town of Limoux and up to 30% can be blended with Mauzac in the sparkling Blanquette de Limoux.[3] Every year since 1991, Chardonnay production is celebrated in Limoux during the Toques et Clochers festival. By 2000, more than 9,000 hectares (22,000 acres) were planted, with many being used for wines under the Vin de Pays d'Oc. These wines were unique in that they were some of the first examples of Chardonnay to be varietally labeled as "Chardonnay". Other French wine regions with Chardonnay plantings include Alsace, Ardèche, Jura, Savoie, and the Loire Valley.[4] In Jura, it is used to create vin de paille dessert wines. Here, the grape is known as Melon d'Arbois or Gamay blanc and is sometimes blended with Savagnin. It is most widely found in Arbois, Côtes du Jura, and L'Étoile AOCs. In the Loire, up to 20% of Chardonnay can be included in the Chenin blanc-based wines of Anjou blanc and more producers are using the grape to soften some of the edges of Chenin blanc.[7] It can also be used in the sparkling wines of Saumur and some Muscadet producers have begun experimenting with oak-aged Chardonnay.[3]

 

North America

In North America, particularly California, Chardonnay found another region where it could thrive and produce a style of wine noticeably different from that of France. It is the dominant white wine variety of the area, overtaking Riesling in 1990. In the United States, it is found most notably in California, Oregon, Texas, Virginia, and Washington,[4] but also in Alabama, Arizona, Arkansas, Colorado, Connecticut, Georgia, Idaho, Illinois, Indiana, Iowa, Maryland, Massachusetts, Michigan, Minnesota, Missouri, New Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio, Oklahoma, South Carolina, Tennessee, and Vermont wine. In Canada, Chardonnay is found in British Columbia, Nova Scotia, Ontario, and Quebec.,[15] and in Mexico is found in Baja California(Valle de Guadalupe) and in Coahuila(Valle de Parras) states.

 

California

 

A California Chardonnay that has been barrel fermented.

The first successful commercial production of California Chardonnay was from plantings in the Livermore Valley AVA. Wente Vineyards developed a Chardonnay clone that was used to introduce the grape variety in several Californian vineyards throughout the 1940s. In the 1950s, James David Zellerbach, one-time US Ambassador to Italy in Rome, started Hanzell Vineyards winery and dedicated it to making Burgundian-style Chardonnay. His success encouraged other Californian winemakers to follow suit and culminated in Chateau Montelena's victory over Burgundy Chardonnay in the 1976 blind tasting event conducted by French judges known as the Judgment of Paris. In response, the demand for Californian Chardonnay increased and Californian winemakers rushed to increase plantings.[16] In the 1980s, the popularity of Californian Chardonnay increased so much, the number of vines planted in the state eclipsed that of France by 1988. By 2005, nearly 100,000 acres (40,000 ha) accounted for almost 25% of the world's total Chardonnay plantings. The early trend was to imitate the great Burgundy wines, but this soon gave way to more rich buttery and oaked styles.[4] Starting with the 1970s, the focus was on harvesting the grapes at more advanced degrees of ripeness and higher Brix levels. New oak barrels were used to produce wines that were big in body and mouthfeel. Frank J. Prial of The New York Times was an early critic of this style, particularly because of the lack of "food friendliness" that was common with these massive wines.[7] Another criticism of California Chardonnays, and one that has been levied against other Californian wines, is the very high alcohol levels which can make a wine seem out of balance. In recent years, California winemakers have been using process such as reverse osmosis and spinning cones to bring the alcohol levels down to 12 to 14%.[8]

  

Chardonnay is often aged on its lees in barrels with the lees periodically stirred to give it a softer, creamy mouthfeel. The example on the right is a barrel of Chardonnay that has had its lees recently stirred.

The California wine regions that seem to favor producing premium quality Chardonnay are the ones that are most influenced, climatically, by coastal fogs that can slow the ripening of the grape and give it more time to develop its flavors. The regions of Alexander Valley, Los Carneros, Santa Maria Valley, Russian River Valley, and other parts of Sonoma County have shown success in producing wines that reflect more Burgundian styles.[3] Other regions often associated with Chardonnay include Napa Valley, Monterey County, and Santa Barbara County. The California Central Valley is home to many mass-produced Chardonnay brands, as well as box and jug wine production. While the exact style of the wine varies by producer, some of the terroir characteristics associated with California Chardonnay include "flinty" notes with the Russian River Valley and mango and guava from Monterey. A large portion of the Californian sparkling wine industry uses Chardonnay grapes from Carneros, Alexander, and Russian River valleys, with these areas attracting the attention of Champagne producers such as Bollinger, Louis Roederer, Moët et Chandon, and the Taittinger family, which have opened up wineries in last few decades.[8]

 

New York

 

Chardonnay harvest in the Hudson River Region AVA

Chardonnay was one of the first European grape varieties to have been grown commercially east of the Rocky Mountains. After three centuries of failure with V. vinifera, this achievement was realized in the Finger Lakes region of upstate New York. Frenchman Charles Fournier and Russian Konstantin Frank experimented with Chardonnay and other varietals in hopes of producing sparkling wines based on Old World grapes for the Gold Seal wine company. In the late 1950s, they succeeded in harvesting the first commercial quantities of European grapes in eastern North America.[17] Frank went on to found Konstantin Frank Vinifera Wine Cellars which helped demonstrate that a winery in the eastern US can produce European-style wines as a basis for a winery business. Chardonnay became an important part of that strategy.

 

New York, like Burgundy and Washington, is a cool-climate viticultural region. Being cold tolerant, the Chardonnay grape is well suited for New York. Not only can it endure its cold winters, but also buds late, reducing the risk of spring frosts. New York's comparatively cooler growing season causes slower ripening, requiring a longer time on the vine, which allows the grapes to develop greater complexity and character at more reasonable sugar levels than warmer Chardonnay-producing regions. New York has subsequently developed significant plantings of the variety[18] since Fournier and Frank's early experiments.

 

Other states

 

A Chardonnay from the Columbia Valley AVA of Washington

Washington Chardonnays can be very similar to Californian Chardonnays, but tend to have more emphasis on fruit than creaminess. In 2000, it was the most widely planted premium wine grape in the state. Rather than using Dijon clones, Washington vineyards are planted with clones developed at the University of California-Davis that are designed to take longer to ripen in the warmer weather of the state's wine regions. This allows winemakers to maintain the acidity levels that balance the fruity and flint earthiness that have characterized Washington Chardonnay. Apple notes are common, and depending on producer and appellation, can range from flavors of 'Golden Delicious' and 'Fuji' to 'Gala' and 'Jonathan'.[19] In Oregon, the introduction of Dijon clones from Burgundy has helped to adapt the grape to the Oregon climate and soils.[4]

 

Canada

 

A 50-plus-year-old vine planting of Chardonnay in Ontario

In Canada, Chardonnay has seen some success with rich, oaky styles produced in Ontario and lighter styles produced in Quebec and British Columbia.[8] In 2009, Le Clos Jordanne winery, of Jordan Village on the Niagara Peninsula, Ontario, received critical acclaim for its 2005 Claystone Terrace Chardonnay, which won the top spot for Chardonnay in the "Judgement of Montreal" experts’ tasting. This recognition, which caught the attention of the wine community, resulted from a blind tasting held in Quebec for Cellier magazine. Thirty-three years after the "Judgment of Paris", Cellier organized a blind tasting in Montreal based on the Judgment of Paris. In the "Judgement of Montreal", 10 judges at the Cellier tasting assessed 16 red and 14 white wines, primarily from France and California. The Chardonay from Le Clos Jordanne placed first out of the 14 white wines, some of which were notable international wines, including: Chateau Montelena, Mer Soleil, Kumeu River, an aged reserve wine from Rosemount Estates, and a number of Burgundian entrants from producers such as Drouhin, Lamy, Boisset, Maison Louis Jadot, and others. Other great examples of Ontario chardonnay include Closson Chase and Norman Hardie from the Prince Edward County region, and Tawse Winery, Hidden Bench Vineyards, and Southbrook Vineyards from the Niagara region.

 

The Chardonnay vintages of the early 1990s from British Columbia helped generate international attention to the quality of Canadian wines apart from ice wine varietals. In British Columbia, Chardonnay from the Okanagan are characterized by delicate citrus fruits. They are typically light-bodied, but producers who use barrel fermentation and oak aging can produce fuller-bodied wines.[20]

 

Australia and New Zealand

 

An Australian Chardonnay, from the Margaret River wine region of Australia

Like many grape varieties, Chardonnay first came to Australia in the collection of James Busby in 1832, but it only really took off in the 1950s. It is most significant in South Australia, New South Wales — especially the Hunter Valley - and Victoria.[21] One of the first commercially successful Chardonnays was produced by Murray Tyrrell in the Hunter Valley in 1971. Tyrell's vineyard was planted with Chardonnay cuttings that he "borrowed" from Penfolds' experimental plantings by hopping over their barb-wire fence one night and pruning their vines.[8][22] The export driven Australian wine industry was well situated for the Chardonnay boom of the 1980s and 1990s and Australia responded with a unique style of wine that was characterized by big fruit flavors and easy approachability. To compensate for the very warm climate, richness was enhanced by the use of oak chips and acid was added during fermentation. During this period the number of Chardonnay plants increased fivefold and by 1990 it was the most widely planted white wine grape in Australia and third most planted overall behind Shiraz and Cabernet Sauvignon. Early in the 21st century, demand outpaced supply and there was a shortage of Chardonnay grapes which prompted Australian winemakers to introduce new blending partners like Sémillon (known as "SemChard") and Colombard.[4]

  

Freshly harvested Chardonnay grapes being sorted in Tasmania to remove bad clusters and MOG (material other than grapes) such as leaves

Being a rather neutral grape, Australian winemakers first approached Chardonnay in the same manner they were making wine from the similarly neutral Sultana grape. Aromatic yeast were added and maceration was extended to get more flavors from skin contact.[8] While the style of Australian Chardonnay is mostly characterized by the mass-produced products of the hot Riverland region, the cooler climates of the Southern Highlands in New South Wales, Victoria and Tasmania have been creating more crisp, less oaked wines with lime notes.[4] In the Cowra region, Chardonnay's citrus notes are emphasized while Hunter Valley examples have more richness and smoky notes. The Adelaide Hills and Yarra Valley produce a more Burgundian style while Mount Barker in the Great Southern wine region of Western Australia produces Chardonnay that more closely resembles those of Chablis.[7] A rare, isolated clone exists in the Mudgee region that locals believe traces its ancestry back to some of the first vines brought to Australia in the 19th century. While the wine made from this clone is not particularly distinguished, it can still be of very good quality.[3] Overall, there has been a shift in style since the 1980s from deep golden, oily wines with melon and butterscotch flavors to lighter, paler Chardonnays with more structure and notes of white peaches and nectarines. Sparkling wines from Chardonnay are produced in the cool regions of Geelong, Adelaide Hills, Macedon Ranges and Tasmania.[8]

  

Sémillon (cluster pictured) is sometimes blended with Australian Chardonnay in the "SemChard" style.

Despite being more famous for its Sauvignon blanc production, Chardonnay was New Zealand's most widely planted grape variety from 1990 till 2002 when Sauvignon blanc finally surpassed it. The east coast of the North Island, in places like Hawke's Bay and Wairarapa, have seen the most success with Chardonnay wine that has noticeable acidity and leanness.[4] As better clonal varieties are discovered and planted, the overall quality of New Zealand Chardonnay have increased, particularly from places like Canterbury, Marlborough and Nelson.[8] Some producers in the Gisborne region have recently developed a cult following for their Chardonnay among New Zealand wine drinkers.[3] While many New Zealand winemakers are still developing a characteristic style, the Chardonnay produced so far have emphasized the grape's affinity for oak.[7]

 

Italy

 

Pinot blanc grapes

Chardonnay has a long history in Italy but for a large part of it, the grape was commonly confused with Pinot blanc—often with both varieties interplanted in the same vineyard and blended together. This happened despite the fact that Chardonnay grapes get more golden-yellow in color close to harvest time and can be visually distinguished from Pinot blanc. In the Trentino-Alto Adige/Südtirol region this confusion appeared in the synonyms for each grape, with Pinot blanc being known as "Weissburgunder" (White Burgundy) and Chardonnay was known as "Gelber Weissburgunder" (Golden White Burgundy). By the late 20th century, more concentrated efforts were put into identifying Chardonnay and making pure varietal versions of the wine. In 1984, it was granted its first Denominazione di origine controllata (DOC) in the province of South Tyrol. By 2000, it was Italy's fourth most widely planted white wine grape.[4]

  

A bottle of Chardonnay from Croatia

Though many varietal forms of Chardonnay are produced, and the numbers are increasing, for most of its history in Italian winemaking Chardonnay was a blending grape. Besides Pinot bianco, Chardonnay can be found in blends with Albana, Catarratto, Cortese, Erbaluce, Favorita, Garganega, Grecanico, Incrocio Manzoni, Nuragus, Procanico, Ribolla Gialla, Verdeca, Vermentino and Viognier. It even blended into a dry White Zinfandel-style Nebbiolo wine that is made from the white juice of the red Nebbiolo grape prior to being dyed with skin contact.[8] Most Chardonnay plantings are located in the northern wine regions, though plantings can be found throughout Italy as far south as Sicily and Apulia. In Piedmont and Tuscany, the grape is being planted in sites that are less favorable to Dolcetto and Sangiovese respectively. In Lombardy, the grape is often used for spumante and in the Veneto it is often blended with Garganega to give more weight and structure to the wine. Chardonnay is also found in the Valle d'Aosta DOC and Friuli-Venezia Giulia wine region.[4]

 

South Africa

 

An unoaked Chardonnay from the South African wine region of Stellenbosch

Due to quarantine restrictions, plant cuttings were often smuggled into South Africa in the 1970s and 1980s and many times were misidentified as to what grape variety it really was. A large portion of the Chardonnay plantings from this period turned out to be Auxerrois blanc. A similar event happened in the German wine region of Baden during the 1980s.[8] By the late 1990s, efforts to promote "authentic" Chardonnay helped to increase plantings and by 2004 it was the third-most widely planted white wine grape behind Chenin blanc and Colombard.[4] Winemakers in the Western Cape have experimented blending Chardonnay with Riesling and Sauvignon blanc.[3]

 

Other wine regions

 

Chardonnay growing in Moldova

Outside of the regions discussed above, Chardonnay can be found in cooler climate sites in Italy, Greece, Israel and Lebanon as well as Austria, Bulgaria, Croatia, England, Georgia, Germany, Slovakia, Hungary, Macedonia, Moldova, Portugal, Romania, Slovenia, Spain, Serbia, Switzerland and Ukraine. In Austria, the grape varieties known as Feinburgunder in Burgenland & Vienna and Morillon in Styria was not identified as Chardonnay till the late 1980s. Today, Austrian Chardonnays range from the rich, oaked aged varieties to leaner, more aromatic styles based on Austrian Rieslings to sweet late harvest styles. In nearby Germany, this distinctly French wine grape was slow to gain a footing being only officially sanctioned since 1991. Today it is most commonly found in the Baden, Palatinate and Rheinhessen regions. In Switzerland, Chardonnay is found mostly around Bündner Herrschaft, Geneva and Valais. In Spain, Chardonnay has been increasingly used in the sparkling wine Cava. It is also permitted in the denominación de origen (DO) wines of Costers del Segre, Navarra and Somontano. In the wine regions of the former Soviet Union, Chardonnay has lagged behind in white wine grapes plantings in favor Rkatsiteli, Aligote and Riesling.[4] The Portuguese experimentation with Chardonnay has been mostly influenced by flying winemakers from Australia and the examples produced so far are very New World in style.[8]

 

New World wine regions

 

A Viognier-Riesling-Chardonnay blend from Argentina

In the cool-climate wine regions of Argentina's Uco Valley, Chardonnay has started to develop a presence. In the 1990s, Chardonnay became the second most widely planted white grape variety in Argentina-second only Torrontés. India and Uruguay have been steadily increasing their plantings.

 

Winemaking

Chardonnay lends itself to almost any style of wine making from dry still wines, to sparkling wines to sweet late harvest and even botrytized wines (though its susceptibility to other less favorable rot makes these wines rarer). The two winemaking decisions that most widely affect the end result of a Chardonnay wine is whether or not to use malolactic fermentation and the degree of oak influence used for the wine. With malolactic fermentation (or MLF), the harder malic acid gets converted into the softer lactic acid, and diacetyl which creates the "buttery-ness" that is associated with some styles of Chardonnay.[23] The wines that do not go through MLF will have more green (unripe) apple like flavors. Oak can be introduced during fermentation or after in the form of the barrel aging.[4] Depending on the amount of charring that the oak was treated with, this can introduce a "toastiness" and flavors that many wine drinkers mistake as a characteristic of the grape itself. These flavors can include caramel, cream, smoke, spice, coconut, cinnamon, cloves and vanilla.[24]

  

Oak chips in fermenting Chardonnay

Other winemaking decisions that can have a significant effect include the temperature of fermentation and what time, if any, that the wine allowed to spend aging on the lees. Burgundian winemaking tends to favor extended contact on the lees and even "stirring up" the lees within the wine while it is aging in the barrel in a process known as bâtonnage. Colder fermentation temperatures produces more "tropical" fruit flavors like mango and pineapple.[8] The "Old World" style of winemaking favors the use of wild, or ambient yeast, though some will also use specially cultivated yeast that can impart aromatic qualities to the wine. A particular style of yeast used in Champagne is the Prise de Mousse that is cultivated for use worldwide in sparkling Chardonnay wines. A potential drawback of using wild yeast is that the fermentation process can go very slow with the results of the yeasts being very unpredictable and producing potentially a very different wine each year. One Burgundian winemaker that favors the use of only wild yeast is Domaine des Comtes Lafon which had the fermentation of its 1963 Chardonnay batch take 5 years to complete when the fermentation process normally only takes a matter of weeks.[8]

  

Winemaker conducting fining bench trails on Chardonnay samples

The time of harvesting is a crucial decision because the grape quickly begins to lose acidity as it ripens. For sparkling wine production, the grapes will be harvested early and slightly unripe to maintain the acid levels. Sparkling Chardonnay based wines tend to exhibit more floral and steely flavors in their youth. As the wine ages, particularly if it spends significant time on lees, the wines will develop "toasty" notes.[3] Chardonnay grapes usually have little trouble developing sugar content, even in cooler climates, which translates into high potential alcohol levels and limits the need for chaptalization. On the flip side, low acid levels can be a concern which make the wine taste "flabby" and dull. Winemakers can counteract this by adding tartaric acid in a process known as "acidification". In cooler climates, the extract and acidity of Chardonnay is magnified which has the potential of producing very concentrated wines that can develop through bottle aging.[7] Chardonnay can blend well with other grapes and still maintain some of its unique character. The grapes most often blended with Chardonnay include Chenin blanc, Colombard and Sémillon.[4]

 

Wine style

 

An unoaked Chardonnay from the Russian River

Due to the "malleability" of Chardonnay in winemaking and its ability to reflect its terroir, there is not one distinct universal "style" or set of constants that could be applied to Chardonnay made across the globe. According to Jancis Robinson, a sense of "smokiness" is one clue that could be picked up in a blind tasting of Chardonnay but there are many styles that do not have any "smokey" notes. Compared to other white wine grapes like Sauvignon blanc, Gewürztraminer and Viognier-Chardonnay has a more subtle and muted nose with no overwhelming aromatics that jump out of the wine glass. The identifying styles of Chardonnay are regionally based. For example, pineapple notes are more commonly associated with Chardonnay from Napa Valley while Chablis will have more notes of green apples.[7] While many examples of Chardonnay can benefit from a few years of bottle aging, especially if they have high acidity, most Chardonnays are meant to be consumed in their youth. A notable exception to this is the most premium examples of Chablis and white Burgundies.[3]

 

With food

See also: Wine and food matching

 

Chardonnay based Champagnes, such as blanc de blancs, can be very versatile in food pairings.

Due to the wide range of styles, Chardonnay has the potential to be paired with a diverse spectrum of food types. It is most commonly paired with roast chicken and other white meats such as turkey. Heavily oak influenced Chardonnays do not pair well with more delicate fish and seafood dish. Instead, those wines tend to go better with smoked fish, spicy southeast Asian cuisine, garlic and guacamole dips.[8] The regional influences of Chardonnay can help it pair with different food styles. Chardonnays from Washington, which is characterized by maintaining more acidity, tend to pair well with tomato-based dishes and items featuring sweet onions. Older, more mellow Chardonnays are often paired with more "earthy" dishes like mushroom soup and aged cheese.[19]

 

Popularity and backlash

 

Chardonnay has become a popular component in the wine-based cocktail Kir

Chardonnay long had a reputation as one of France's great white wines, but due to the dominance of geographical labeling, the fact that Chardonnay was the grape behind white Burgundy was not widely known by the wine-drinking public. The success of California and new world Chardonnays, partly encouraged by the Californian showing at the Judgment of Paris wine tasting, brought varietal wine labeling to more prominence and the easy to pronounce Chardonnay grape was one of the largest beneficiaries. In the late 1980s, a sort of "Chardonnay-mania" developed as wine regions (particularly new and developing ones) dramatically increased their planting of the grape to meet the worldwide demand.[4]

 

As more vineyards responded with massive new plantings of the variety, they found that fashions were changing again. The market was drinking more red wine, and there was a backlash against heavy, oaky, New World Chardonnays in favor of lighter wines such as Pinot grigio. There was a new fashion, "ABC" – Anything But Chardonnay, identified by Frank Prial in 1995.[25] Another reason for the backlash was that Chardonnay was seen as a symbol of the globalization of wine, in which local grape varieties were grubbed up in favor of the big names demanded by international markets. Oz Clarke described a view of Chardonnay as "the ruthless coloniser and destroyer of the world's vineyards and the world's palates."[26] The criticism was centered on the habits of winemakers to pull out or give up on local varieties in order to plant more Chardonnay which offered potentially more income but lack the uniqueness and character of local varieties. Examples of this occurred in south Italy and Spain when ancient Negroamaro, Primitivo, Grenache and Mataro vineyards were ripped up in favor of new Chardonnay plantings.[8]

 

Chardonnay became very fashionable in the 1990s, as the stereotypical drink of young urban women of the Bridget Jones generation.

 

By 2002, the association of chardonnay with suburban, unsophisticated tastes was being explored in Australian TV show Kath & Kim, where lower middle class characters mispronounce the varietal as 'kardonnay'.

 

Despite the backlash, Chardonnay remains very popular. In 2004 Chardonnay was estimated to be the world's 6th most widely grown grape variety, covering 179,300 hectares (443,000 acres).[27]

 

Genetic modification

Currently trials are being run on genetically modified Chardonnay. Trials are underway in the US and South Africa.[28][29]

 

Synonyms

 

Chardonnay vines in Chassagne-Montrachet, Burgundy

Due to the worldwide recognition of the name of "Chardonnay", many of these synonyms have fallen out of favor as winemakers use the more marketable Chardonnay:[7]

 

Arboisier, Arnaison blanc, Arnoison, Aubain, Aubaine, Auvergnat blanc, Auvernas, Auvernas blanc, Auvernat blanc, Auxeras, Auxerras blanc, Auxerrois blanc, Auxois, Auxois blanc, Bargeois blanc, Beaunois, Biela Klevanjika, Blanc de Champagne, Blanc de Cramant, Breisgauer Suessling, Breisgauer Sussling, Burgundi Feher, Chablis, Chardenai, Chardenay, Chardenet, Chardennet, Chardonay, Chardonnet, Chatenait, Chatey Petit, Chatte, Chaudenay, Chaudenet, Chaudent, Clävner, Clevner Weiss, Cravner, Epinette, Epinette blanc, Epinette blanche, Epinette de Champagne, Ericey blanc, Feher Chardonnay, Feherburgundi, Feinburgunder, Gamay blanc, Gelber Weissburgunder, Gentil blanc, Grosse Bourgogne, Klawner, Klevanjka Biela, Klevner, Lisant, Luisant, Luizannais, Luizant, Luzannois, Maconnais, Maurillon blanc, Melon blanc, Melon D'Arbois, Meroué,[7] Moreau blanc, Morillon blanc, Moulon, Noirien blanc, Obaideh, Petit Chatey, Petit Sainte-Marie, Petite Sainte Marie, Pineau blanc, Pino Sardone, Pino Shardone, Pinot Blanc à Cramant, Pinot Blanc Chardonnay, Pinot Chardonnay, Pinot de Bourgogne, Pinot Giallo, Pinot Planc, Plant de Tonnerre, Romere, Romeret, Rouci Bile, Rousseau, Roussot, Ruländer Weiß, Sainte Marie Petite, Sardone, Shardone, Shardonne, Später Weiß Burgunder, Weiß Burgunder (normally refers to Pinot blanc), Weiß Clevner, Weiß Edler, Weiß Elder, Weiß Klewner, Weiß Silber, Weißedler, Weißer Clevner, Weißer Rulander.[10]

 

www.intersectionconsulting.comI just finished reading Seth Godin’s latest book, Linchpin. One thing that caught my attention with respect to social media and social business culture was Seth’s reference to the “front line”.

 

To paraphrase: The closer employees are to the consumer “front line”, the more impact they have on social media.

 

Using social tools, employees on the front line have the power to:

 

1. Fuel positive customer experiences that build brand equity OR

2. Create negative content that can cause irreparable brand damage

 

Fear of the latter sends some organizations scrambling to implement policies that ban all use of social media in the workplace. I don’t agree with this strategy because:

 

* It’s impossible to control social media use – anybody with a smart phone has the power to access the social grid, create content, etc.

* Employees are a brands secret weapon…not its weak link

 

The solution is governance – social media training, policies and resources that support employees by communicating expectations, teaching best practices and informing how social activity contributes to organizational goals.

Single SB-800 placed just in front of LCD.

 

Learn how to light at strobist.blogspot.com/2006/02/welcome-to-strobist.html.

 

when i was young i often sensed the bad vibes of others.

i felt opressed by social controll, myself anxiously acting, to fulfil,

what seemed intended for me by people and the whole society, hiding my real emotions and thougths, which seemed forbidden.

 

it was a hard process for me learning to let the stream of good vibes into my soul and gaining the feeling to be connected

with people, which let me be myself.

getting old, i'm especially impressed by the warm flowing stream of love and sympathy waving into my formerly scared

soul.

now favouriting the connections with people which

send good vibes to me and let me grow.....

grateful to have found them in the last years.

FIB 2018, Benicasim (Castellón).

Devotion and Desire, Asian Civilization Museum, Singapore, Tamron SP Non-VC 17-50/2.8

Reason for title: i felt like this was a perfect pose and example for the above the influence campaign. details on the pose and how it deals with the title and campaign state that by my head turning away from the marijuana plant and the word "weed" above it state that i am against anything drug related, and that i am in fact drug free.

friendly, all can

paz

historical Hermetism : religio mentis The influence of Ancient Egypt on Greek philosophy as well as the history of the rise of Hermetism have been discussed elsewhere. These studies showed the presence of three fundamental phases :native Hermopolitan theology : as early as the Old Kingdom (ca. 2670 - 2198 BCE), the perennial worship of the native Egyptian Thoth, "the mightiest of the gods", was centered in Hermopolis ("Hermoupolis Magna"). Although the contents of this theology is only know from Ptolemaic sources, "Khnum Khemenu", "the Eight town" (also called "Per-Djehuty", the "house of Thoth") existed in the Vth Dynasty (ca. 2487 - 2348 BCE) and was associated with the Ogdoad or company of eight precreational gods (frog heads) & goddesses (serpent-headed). A few of them were mentioned in the Pyramid Texts, but the complete list is first mentioned in the Middle Kingdom (ca. 1938 - 1759 BCE). These deities emerged from Nun (the primordial, undifferentiated ocean) and constituted the soul of Thoth. They may also be understood as further characterizations of this dark, unlimited pre-creational realm : Amun and Amaunet (hiddenness), Heh and Heket or Huh and Hauhet (eternity), Kek and Keket or Kuk and Kauket (darkness), Nun and Nunet or Nun and Naunet (primordial chaos). Hermopolitan theology will provide the framework for Ptolemaic Hermetism. Other textual traces of this worship are found in the Coffin Texts, the Book of the Dead and the Books of the Netherworld, whereas in the Late Period (ca. 664 - 30 BCE), its theology was written down on the walls of more than one Ptolemaic temple (ca. 332 - 30 BCE). Because Thoth was Lord of Time, he was associated with astrology, in particular when the astral science of Chaldea entered Egypt (at the end of the Third Intermediate Period, ca. 1075 - 664 BCE) ;

historical Hermetism : or the identification of Thoth, "Thrice Greatest", with Hermes Trismegistus, who, in his philosophical teachings, is Greek and human (although Egyptian elements persist), but who assumed, in the technical Hermetica, the cosmicity of the native Egyptian Thoth. The technical Hermetica are attested under the Ptolemies, and the existence, in the first century BCE, of an Alexandrian multi-cultural Hermetic Lodge is likely. The philosophical sources are the 17 treatises of the Corpus Hermeticum, the Latin Asclepius, the Armenian Hermetic Definitions and the Coptic Hermetica found at Nag Hammadi, in particular The Eighth and the Ninth Sphere (Codex VI.6), which all date from the first centuries CE. It is possible to see Hermetism as a "gnosticism" (for "gnosis", i.e. direct spiritual insight, is all-important). But Hermetic gnosticism is particular to imperial Alexandrian culture, for the notion of an evil demiurge (as in Christian Gnosticism) is not present. Constituted by Egyptian, Greek and Jewish elements, Hermetism will influence Judaism (the Merkabah mystics of the Jewish gnostics of Alexandria), Christianity (Clement of Alexandria, the Greek Fathers, the "Orientale Lumen") and the Islam (the Hermetic star worshippers of Harran and Sufism) ;literary Hermeticism : Renaissance Hermeticism produced a fictional Trismegistus as the Godhead of its esoteric concept of the world as an organic whole, with an intimate sympathy between its material (natural) and spiritual (supernatural) components. This view was consistent with the humanistic phase of modernism, which was followed by a mechanization of the world and the "enlightenment" of the 18th century. These new forces ousted all formative & final causes from their physical inquiries, and reduced the four Aristotelian categories of determination (material, efficient, formal and final cause) to material & efficient causes only. Astrology, magic and alchemy were deemed scientifically backward & religiously suspect. "Actio-in-distans" was deemed impossible, and Paganism was Satanical. In 1666, Colbert evicts astrology from the Academy of Sciences (the court-astrologer Morin de Villefranche, 1583 - 1656, was concealed behind a curtain in the royal apartment at the time when the future Grand Monarque was born). In the nineteenth century, under the influence of the morbid but exotical fancies of the Romantics, Hermeticism became part of Rosicrucianism, Freemasonry, Theosophy and generalized egyptomania (cf. Golden Dawn, Thelemism, Pyramidology, etc.). Today it returns as the ideological core of the expanding New Age religion.Before the first, steady interactions between Greek & Egyptian culture emerged (ca. 670 BCE), the "Hermetic" particularities of Late New Kingdom henotheist theology were inscribed on the Shabaka Stone and elucidated in its Memphite theology. This XXVth Dynasty (ca. 716 - 702 BCE) stone copy of an important Ramesside papyrus scroll, contained thoughts which look remarkably like those developed in the contexts of the Platonic, Philonic and Christian "logos". More than a century ago, Breasted wrote regarding the Memphite theology :"The above conception of the world forms quite a sufficient basis for suggesting that the later notions of nous and logos, hitherto supposed to have been introduced into Egypt from abroad at a much later date, were present at this early period. Thus the Greek tradition of the origin of their philosophy in Egypt undoubtedly contains more of the truth than has in recent years been conceded. The habit, later so prevalent among the Greeks, of interpreting philosophically the function and relations of the Egyptian gods (...) had already begun in Egypt before the earliest Greek philosophers were born ..."

Breasted, 1901, p.54.Indeed, the Greek words "nous" ("mind, thinking, perceiving") and "noés" ("perceive, observe, recognize, understand"), could be derived from the Egyptian "nu" ("nw"), "to see, look, perceive, observe" :On the one hand, according to Stricker (1949), the Corpus Hermeticum is a codification of the Egyptian religion. Ptolemy I Soter (304 - 282 BCE) and his son Ptolemy II Philadelphus (282 - 246 BCE) promised to publish the secret literature of the three groups of citizens of Egypt : native Egyptians, Greeks and Jews. For him, Hermetism is the Greek version of a redaction of Egyptian literature. Its form is Greek, but its contents is Egyptian (the Septuagint being the equivalent Jewish redaction). On the other hand, father Festugière (1945) claims the CH contains extremely little Egyptian elements, except for the context, the ideas expressed being those of popular Greek thought, a mixture of Platonism, Aristotelism and Stoicism ... Both positions are avoided. Most agree the CH contains no Christian elements (the opposite is true - cf. the influence of Philonic thought in particular and Alexandrian philosophy in general on the apostle Paul - Quispel, 1992).

 

Let us conjecture the emergence, under the first three Ptolemies, of a Greek elitist version of the Egyptian religion, a Graeco-Egyptian religion, and this among the upper native classes (of priest, scribes, administrators & high-skilled workmen). This Graeco-Egyptian religion would be based in Alexandria and Memphis, and (at first) entail a strong emphasis on the native component. It emerged in the priestly scribal class and had its focus on Thoth, who created the world by means of his Divine words, in accord with the verbal tradition founding Egypt. For the Greeks, Thoth was "Hermes, Trismegistos", indicative of both his antiquity and greatness. Because of the important influence of the native intellectual milieu on the genesis of this Alexandro-Egyptian cultural form, "Graeco-Egyptian religion turns out to be based on a profound imbalance, in favour of the autochthonous, between its two constituent elements." (Fowden, 1986, p.19). Zandee (1992, p.161) mentions a Hermetical text going back to the third century BCE and for Petrie (1908) at least some passages of the Corpus Hermeticum had to refer to the Persian period ... This feature proves to be essential in a possible thematical reconstruction.

 

But, the Hellenization entailed by using the Greek language and participating in the syncretic Alexandrian intellectual climate (the Mouseion and Serapeion), should not be underestimated, and makes Stricker's proposals too unlikely. These native Egyptians must have been proud of their Hermopolitan & Memphite theologies (both verbal & scribal), but eventually accepted to incorporate uncompromisingly un-Egyptian elements in their Hermetism (like the popular Greek denial of the physical body, evasive mysteries and an elusive, vague description of the afterlife). The importance of the Netherworld is no longer felt.

 

Many other Greek themes are to be found in the Corpus Hermeticum, showing Festugière was not completely wrong. In a study of Zandee published in 1992, the Egyptian influence was confirmed, although besides the negative view on the body, he also identified the depreciation of the world, the celestial voyage of the soul (or mystical initiation - cf. Mahé, 1992) and reincarnation as Hermetic teachings not to be found in Ancient Egypt. To this list could be added the Hermetic variant of the Greek mysteries and magical techniques aimed to compel the will of the gods (impossible in Ancient Egypt). Indeed, the difference between Egyptian initiation and Greek mysteries is pertinent (the attitude of the worshipper as well as the responsiveness of the deities differ).We may argue that the technical Hermetica are rooted in perennial Egyptian traditions like magic ("heka") and the "books of Thoth". It is probable that, at least insofar as medicine & magic were concerned, this indeed was the case ? The philosophical Hermetica also share certain features with the Egyptian wisdom-discourses or instruction genre.Hermetism is not a "Sammelbecken" (heterogeneous doctrines), nor a single synthesis, but an autonomous mode of discourse, a "way of Hermes" (Iamblichus), more theological than philosophical (like Plotinus, who -compared to Plato- was more religious than political) and foremost (in number) "technical" : astrology, magic & alchemy. This Graeco-Egyptian religion was influenced by three major players : the Greeks, the native Egyptians and the Jews. It could define its own path precisely because of its roots in the Ancient Egyptian Mystery Tradition, to which most of its members adhered. In its mature stage, Hermetism manifested the religion of the mind ("religio mentis") of Mediterranean Antiquity. This Late Hellenistic Hermetism would survive and eventually fire the European Renaissance and humanism. But the "ad fontes" principle of the latter only returned to Late Hellenism. Antiquity would remain unavailable for several centuries. Not unlike Spinoza's "amor intellectualis Dei", philosophical Hermetism gave body to an intellectual love for the One, albeit in modo antiquo, and never without magic & alchemy. In the 17th century, this technical side was left behind by the European academia, whereas the philosophical Hermetica became part of Hermeticism and its various branches.The "gnosis" of Hermetism (the secret it shared through initiation) was an ecstasy born out of cognitive activities, involving trance, contemplation, ritual, music and astrology. In Hermetism, astrology served as the bridge between the purely technical Hermetica -magic, medicine- and the theological & philosophical Hermetica. Astrology was concerned with the timing of events, both festive, initiatory or individual."It is certain that the Hermetics had no cult, with priests, sacrifices, processions and the like. But the texts suggest the existence of (small) Hermetic 'communities', conventicles, groups or lodges, in which individual experiences and insights were collectively celebrated with rituals, hymns and prayers."Quispel, 1992/1994, p.15.

 

What would happen if people in NY would use scooters instead of cars..

Taken somewhere on Church St., near Duane St. and Reade St.

31-1/2" x 35-3/4"

2008

 

No content.

No brand.

His work is unconventional, unique and he paints for himself and really doesn't give a hoot to what others think. Need to take a leaf from his page! Olga

Persephone supervising Sisyphus in the Underworld, Attica black-figure amphora (vase), c. 530 BC, Staatliche Antikensammlungen[1]

In Greek mythology Sisyphus (/ˈsɪsᵻfəs/;[2] Greek: Σίσυφος, Sísuphos) was the king of Ephyra (now known as Corinth). He was punished for his self-aggrandizing craftiness and deceitfulness by being forced to roll an immense boulder up a hill, only to watch it come back to hit him, repeating this action for eternity. Through the classical influence on modern culture, tasks that are both laborious and futile are therefore described as Sisyphean (/ˌsɪsᵻˈfiːən/).

Sisyphus was the son of King Aeolus of Thessaly and Enarete. He was the founder and first king of Ephyra (supposedly the original name of Corinth).He was the father of Glaucus, Ornytion, Almus, and Thersander by the nymph Merope, the brother of Salmoneus, and the grandfather of Bellerophon through Glaucus.King Sisyphus promoted navigation and commerce but was avaricious and deceitful. He also killed travellers and guests, a violation of xenia, which fell under Zeus's domain. He took pleasure in these killings because they allowed him to maintain his iron-fisted rule.

 

Sisyphus and his brother Salmoneus were known to hate each other, and Sisyphus consulted with the Oracle of Delphi on just how to kill Salmoneus without incurring any severe consequences for himself. From Homer onward, Sisyphus was famed as the craftiest of men. He seduced Salmoneus's daughter Tyro in one of his plots to kill Salmoneus, only for Tyro to slay the children she bore by him when she discovered that Sisyphus was planning on eventually using them to dethrone her father.

 

King Sisyphus also betrayed one of Zeus' secrets by revealing the whereabouts of Aegina (an Asopides who was taken away by Zeus) to her father (the river god Asopus) in return for causing a spring to flow on the Corinthian acropolis.[citation needed]

 

Zeus then ordered Thanatos, Death, to chain King Sisyphus down below in Tartarus. Sisyphus was curious as to why Hermes, whose job it was to guide souls to the Underworld, had not appeared on this occasion. King Sisyphus slyly asked Thanatos to demonstrate how the chains worked. As Thanatos was granting him his wish, Sisyphus seized the opportunity and trapped Thanatos in the chains instead. Once Thanatos was bound by the strong chains, no one died on earth. This caused an uproar especially for Ares (who was annoyed that his battles had lost their fun because his opponents would not die), and so he intervened. The exasperated Ares freed Thanatos and turned King Sisyphus over to Thanatos.[9]

 

In another version, Hades was sent to chain Sisyphus and was chained himself. As long as Hades was tied up, nobody could die. Because of this, sacrifices could not be made to the gods, and those that were old and sick were suffering. The gods finally threatened to make life so miserable for Sisyphus that he would wish he were dead. He then had no choice but to release Hades.[10]

 

Before King Sisyphus died, he had told his wife to throw his naked body into the middle of the public square (purportedly as a test of his wife's love for him). This caused King Sisyphus to end up on the shores of the river Styx. Then, complaining to Persephone that this was a sign of his wife's disrespect for him, King Sisyphus persuaded her to allow him to return to the upper world. Once back in Corinth, the spirit of King Sisyphus scolded his wife for not burying his body and giving it a proper funeral (as a loving wife should). When King Sisyphus refused to return to the Underworld, he was forcibly dragged back there by Hermes.[citation needed] In another version of the myth, Persephone, goddess of the Underworld, was tricked by Sisyphus that he had been conducted to Tartarus by mistake, and so she ordered that he be released.

 

In Philoctetes by Sophocles, there is a reference to the father of Odysseus (rumoured to have been Sisyphus, and not Laërtes, whom we know as the father in the Odyssey) upon having returned from the dead.

 

As a punishment for his trickery, King Sisyphus was made to endlessly roll a huge boulder up a steep hill. The maddening nature of the punishment was reserved for King Sisyphus due to his hubristic belief that his cleverness surpassed that of Zeus himself. Zeus accordingly displayed his own cleverness by enchanting the boulder into rolling away from King Sisyphus before he reached the top, which ended up consigning Sisyphus to an eternity of useless efforts and unending frustration. Thus it came to pass that pointless or interminable activities are sometimes described as Sisyphean. King Sisyphus was a common subject for ancient writers and was depicted by the painter Polygnotus on the walls of the Lesche at Delphi.

 

Interpretations

According to the solar theory, King Sisyphus is the disk of the sun that rises every day in the east and then sinks into the west.[15] Other scholars regard him as a personification of waves rising and falling, or of the treacherous sea.[15] The 1st-century BC Epicurean philosopher Lucretius interprets the myth of Sisyphus as personifying politicians aspiring for political office who are constantly defeated, with the quest for power, in itself an "empty thing", being likened to rolling the boulder up the hill.[16] Søren Kierkegaard saw the myth as pertaining to anything a person loves too much: "It is comic that a mentally disordered man picks up any piece of granite and carries it around because he thinks it is money, and in the same way it is comic that Don Juan has 1,003 mistresses, for the number simply indicates that they have no value. Therefore, one should stay within one’s means in the use of the word “love."[17] Friedrich Welcker suggested that he symbolises the vain struggle of man in the pursuit of knowledge, and Salomon Reinach[18] that his punishment is based on a picture in which Sisyphus was represented rolling a huge stone Acrocorinthus, symbolic of the labour and skill involved in the building of the Sisypheum. Albert Camus, in his 1942 essay The Myth of Sisyphus, saw Sisyphus as personifying the absurdity of human life, but Camus concludes "one must imagine Sisyphus happy" as "The struggle itself towards the heights is enough to fill a man's heart." More recently, J. Nigro Sansonese,[19] building on the work of Georges Dumézil, speculates that the origin of the name "Sisyphos" is onomatopoetic of the continual back-and-forth, susurrant sound ("siss phuss") made by the breath in the nasal passages, situating the mythology of Sisyphus in a far larger context of archaic (see Proto-Indo-European religion) trance-inducing techniques related to breath control. The repetitive inhalation–exhalation cycle is described esoterically in the myth as an up–down motion of Sisyphus and his boulder on a hill.

 

In experiments that test how workers respond when the meaning of their task is diminished, the test condition is referred to as the Sisyphusian condition. The two main conclusions of the experiment are that people work harder when their work seems more meaningful, and that people underestimate the relationship between meaning and motivation.

 

Literary interpretations.

 

Sisyphys (1548–49) by Titian, Prado Museum, Madrid, Spain

 

Sisypher dwarves by Tomasz Moczek (pl) in Wrocław

Homer describes Sisyphus in both Book VI of the Iliad and Book XI of the Odyssey.

 

Ovid, the Roman poet, makes reference to Sisyphus in the story of Orpheus and Eurydice. When Orpheus descends and confronts Hades and Persephone, he sings a song so that they will grant his wish to bring Eurydice back from the dead. After this song is sung, Ovid shows how moving it was by noting that Sisyphus, emotionally affected, for just a moment, stops his eternal task and sits on his rock, the Latin wording being inque tuo sedisti, Sisyphe, saxo ("you sat upon your rock, Sisyphus").

 

Though purported to be one of the dialogues of Greek philosopher Plato, the Sisyphus is generally believed to be apocryphal, possibly written by one of his pupils. In his Apology, Socrates considers Sisyphus to be a wise man he may meet in the afterlife.

 

Albert Camus, the French absurdist, wrote an essay entitled The Myth of Sisyphus, in which he elevates Sisyphus to the status of absurd hero. Franz Kafka repeatedly referred to Sisyphus as a bachelor; Kafkaesque for him were those qualities that brought out the Sisyphus-like qualities in himself. According to Frederick Karl: "The man who struggled to reach the heights only to be thrown down to the depths embodied all of Kafka's aspirations; and he remained himself, alone, solitary." The philosopher Richard Taylor uses the myth of Sisyphus as a representation of a life made meaningless because it consists of bare repetition. James Clement van Pelt, co-founder of Yale's Initiative in Religion, Science & Technology, suggests that Sisyphus also personifies humanity and its disastrous pursuit of perfection by any means necessary, in which the great rock repeatedly rushing down the mount symbolizes the accelerating pace of unsustainable civilization toward cataclysmic collapse and cultural oblivion that ends each historical age and restarts the sisyphean cycle. The Myth of Sisyphus, saw Sisyphus as personifying the absurdity of human life, but Camus concludes "one must imagine Sisyphus happy"

en.wikipedia.org/wiki/Sisyphus

Architectural influences from the 20th century are limited, and restricted to a few points.

Are you sick of chrysanthemums, yet? I'm not quite finished sharing a variety of mums from the ongoing Chrysanthemum Festival at Longwood Gardens. If flower-macros/abstracts are your thing, though... then I may have a special announcement for you in the next few days. Stay tuned! :)

This commission was heavily influenced by the burial/wedding gown of Lucy designed by Ishioka Eiko for the movie Bram Stoker's Dracula. The original gown was a Victorial satin corset dress with long rouched hem under a Gustav Klimpt inspired sheer lace overdress. To maintain the same air I made a huge beaded double ruff collar, a beaded lace hat and puff sleeves wrapped tight around forearms with more lace and beading. However, to make this an original design I changes the silhouette into a empire gown made of pleated sheer silk chiffon and adorned the hem with more lace. The pleats are gathered below the bust line with lace and beading and for a modern twist I added a double buckled white leather belt I cut into a lacy shapes. The gown can be worn with or without the belt and changes it's silhouette and waistline accordingly.

 

My model and muse for this project was the divine Red Tian Shi, a Deva doll I've lusted for a long time. I was very honoured to hold her for the week it took me to create this gown for her and I'm sad to see her return to her home again. She was so inspiring to work with and poses with amazing grace, not to mention her enchanting Chinese facila features. I think this is the only fashion doll I've ever seen that actually looks Chinese.

 

It was also exiting to work in this project because it was Ishioka Eiko's costume design in the movie Dracula that got me interested in fashion and costume design in the first place. This is my homage to her talent.

vintage

Olympus digital camera

The Influencers

Elvis Aaron Presley[a] (January 8, 1935 – August 16, 1977), often referred to mononymously as Elvis, was an American singer and actor. Dubbed the "King of Rock and Roll", he is regarded as one of the most significant cultural figures of the 20th century. His energized interpretations of songs and sexually provocative performance style, combined with a singularly potent mix of influences across color lines during a transformative era in race relations, led him to both great success and initial controversy.

 

Presley was born in Tupelo, Mississippi, and relocated to Memphis, Tennessee, with his family when he was 13 years old. His music career began there in 1954, recording at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Presley, on rhythm acoustic guitar, and accompanied by lead guitarist Scotty Moore and bassist Bill Black, was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. In 1955, drummer D. J. Fontana joined to complete the lineup of Presley's classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who would manage him for more than two decades. Presley's first RCA Victor single, "Heartbreak Hotel", was released in January 1956 and became a number-one hit in the United States. Within a year, RCA would sell ten million Presley singles. With a series of successful network television appearances and chart-topping records, Presley became the leading figure of the newly popular sound of rock and roll; though his performative style and promotion of the then-marginalized sound of African Americans[6] led to him being widely considered a threat to the moral well-being of the White American youth.

 

In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, Presley relaunched his recording career two years later with some of his most commercially successful work. He held few concerts, however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided. Some of his most famous films included Jailhouse Rock (1957), Blue Hawaii (1961), and Viva Las Vegas (1964). In 1968, following a seven-year break from live performances, he returned to the stage in the acclaimed television comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours. In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii. Years of prescription drug abuse and unhealthy eating habits severely compromised his health, and he died suddenly in 1977 at his Graceland estate at the age of 42.

 

Having sold over 400 million records worldwide, Presley is recognized as the best-selling solo music artist of all time by Guinness World Records. He was commercially successful in many genres, including pop, country, rhythm & blues, adult contemporary, and gospel. Presley won three Grammy Awards, received the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame. He holds several records, including the most RIAA-certified gold and platinum albums, the most albums charted on the Billboard 200, the most number-one albums by a solo artist on the UK Albums Chart, and the most number-one singles by any act on the UK Singles Chart. In 2018, Presley was posthumously awarded the Presidential Medal of Freedom.

 

Elvis Aaron Presley was born on January 8, 1935, in Tupelo, Mississippi, to Vernon Elvis (April 10, 1916 – June 26, 1979) and Gladys Love (née Smith; April 25, 1912 – August 14, 1958) Presley in a two-room shotgun house that his father built for the occasion. Elvis's identical twin brother, Jesse Garon Presley, was delivered 35 minutes before him, stillborn. Presley became close to both parents and formed an especially close bond with his mother. The family attended an Assembly of God church, where he found his initial musical inspiration.

  

A photo of Elvis's parents at the Historic Blue Moon Museum in Verona, Mississippi

Presley's father Vernon was of German, Scottish and English origins. He was a descendant of the Harrison family of Virginia through his ancestor Tunis Hood. Presley's mother Gladys was Scots-Irish with some French Norman ancestry. His mother and the rest of the family believed that her great-great-grandmother, Morning Dove White, was Cherokee. This belief was restated by Elvis's granddaughter Riley Keough in 2017. Elaine Dundy, in her biography, supports the belief.

 

Vernon moved from one odd job to the next, showing little ambition. The family often relied on help from neighbors and government food assistance. In 1938, they lost their home after Vernon was found guilty of altering a check written by his landowner and sometime-employer. He was jailed for eight months, while Gladys and Elvis moved in with relatives.

 

In September 1941, Presley entered first grade at East Tupelo Consolidated, where his teachers regarded him as "average". He was encouraged to enter a singing contest after impressing his schoolteacher with a rendition of Red Foley's country song "Old Shep" during morning prayers. The contest, held at the Mississippi–Alabama Fair and Dairy Show on October 3, 1945, was his first public performance. The ten-year-old Presley stood on a chair to reach the microphone and sang "Old Shep". He recalled placing fifth. A few months later, Presley received his first guitar for his birthday; he had hoped for something else—by different accounts, either a bicycle or a rifle. Over the following year, he received basic guitar lessons from two of his uncles and the new pastor at the family's church. Presley recalled, "I took the guitar, and I watched people, and I learned to play a little bit. But I would never sing in public. I was very shy about it."

 

In September 1946, Presley entered a new school, Milam, for sixth grade; he was regarded as a loner. The following year, he began bringing his guitar to school on a daily basis. He played and sang during lunchtime and was often teased as a "trashy" kid who played hillbilly music. By then, the family was living in a largely black neighborhood. Presley was a devotee of Mississippi Slim's show on the Tupelo radio station WELO. He was described as "crazy about music" by Slim's younger brother, who was one of Presley's classmates and often took him into the station. Slim supplemented Presley's guitar instruction by demonstrating chord techniques. When his protégé was 12 years old, Slim scheduled him for two on-air performances. Presley was overcome by stage fright the first time, but succeeded in performing the following week.

 

In November 1948, the family moved to Memphis, Tennessee. After residing for nearly a year in rooming houses, they were granted a two-bedroom apartment in the public housing complex known as the Lauderdale Courts. Enrolled at L. C. Humes High School, Presley received only a C in music in eighth grade. When his music teacher told him that he had no aptitude for singing, he brought in his guitar the next day and sang a recent hit, "Keep Them Cold Icy Fingers Off Me", to prove otherwise. A classmate later recalled that the teacher "agreed that Elvis was right when he said that she didn't appreciate his kind of singing". He was usually too shy to perform openly and was occasionally bullied by classmates who viewed him as a "mama's boy".

 

In 1950, he began practicing guitar regularly under the tutelage of Lee Denson, a neighbor two and a half years his senior. They and three other boys—including two future rockabilly pioneers, brothers Dorsey and Johnny Burnette—formed a loose musical collective that played frequently around the Courts. That September, he began working as an usher at Loew's State Theater. Other jobs followed at Precision Tool, Loew's again, and MARL Metal Products. Presley also helped Jewish neighbors, the Fruchters, by being their shabbos goy.

 

During his junior year, Presley began to stand out more among his classmates, largely because of his appearance: he grew his sideburns and styled his hair with rose oil and Vaseline. In his free time, he would head down to Beale Street, the heart of Memphis's thriving blues scene, and gaze longingly at the wild, flashy clothes in the windows of Lansky Brothers. By his senior year, he was wearing those clothes. Overcoming his reticence about performing outside the Lauderdale Courts, he competed in Humes' Annual "Minstrel" show in April 1953. Singing and playing guitar, he opened with "Till I Waltz Again with You", a recent hit for Teresa Brewer. Presley recalled that the performance did much for his reputation: "I wasn't popular in school ... I failed music—only thing I ever failed. And then they entered me in this talent show ... when I came onstage I heard people kind of rumbling and whispering and so forth, 'cause nobody knew I even sang. It was amazing how popular I became in school after that."

 

Presley, who received no formal music training and could not read music, studied and played by ear. He also frequented record stores that provided jukeboxes and listening booths to customers. He knew all of Hank Snow's songs, and he loved records by other country singers such as Roy Acuff, Ernest Tubb, Ted Daffan, Jimmie Rodgers, Jimmie Davis, and Bob Wills. The Southern gospel singer Jake Hess, one of his favorite performers, was a significant influence on his ballad-singing style. He was a regular audience member at the monthly All-Night Singings downtown, where many of the white gospel groups that performed reflected the influence of African-American spiritual music. He adored the music of black gospel singer Sister Rosetta Tharpe.

 

Like some of his peers, he may have attended blues venues—of necessity, in the segregated South—only on nights designated for exclusively white audiences. He certainly listened to the regional radio stations, such as WDIA-AM, that played "race records": spirituals, blues, and the modern, backbeat-heavy sound of rhythm and blues. Many of his future recordings were inspired by local African-American musicians such as Arthur Crudup and Rufus Thomas. B.B. King recalled that he had known Presley before he was popular when they both used to frequent Beale Street. By the time he graduated from high school in June 1953, Presley had already singled out music as his future.

 

Graceland is a mansion on a 13.8-acre (5.6-hectare) estate in Memphis, Tennessee, United States, which was once owned by the rock and roll singer Elvis Presley. His daughter, Lisa Marie Presley, inherited Graceland after his death in 1977. Following Lisa Marie Presley's death in 2023, the mansion is to be inherited by her daughters. In addition to being the final resting place of Elvis Presley himself, the property contains the graves of his parents, paternal grandmother and grandson, and contains a memorial to Presley's stillborn twin brother. In addition, Lisa Marie Presley will be buried there.

 

Graceland is located at 3764 Elvis Presley Boulevard in the Whitehaven neighborhood, about nine miles (14 kilometers) south of central Memphis and fewer than four miles (6.4 km) north of the Mississippi border.[5] It was opened to the public as a house museum on June 7, 1982. The site was listed in the National Register of Historic Places on November 7, 1991, becoming the first site recognized for significance related to rock music. Graceland was declared a National Historic Landmark on March 27, 2006, also a first for such a site. Graceland attracts more than 650,000 visitors annually.

 

Graceland Farms was originally owned by Stephen C. Toof, founder of S.C. Toof & Co., the oldest commercial printing firm in Memphis. He worked previously as the pressroom foreman of the Memphis newspaper, the Memphis Daily Appeal. The "grounds" (before the mansion was built in 1939) were named after Toof's daughter, Grace. She inherited the farm/property from her father in 1894. After her death, the property was passed to her niece Ruth Moore, a Memphis socialite. Together with her husband, Thomas Moore, Ruth Moore commissioned construction of a 10,266-square-foot (953.7 m2) Colonial Revival style mansion in 1939. The house was designed by architects Furbringer and Ehrman.

 

After Elvis Presley began his musical career, he purchased a $40,000 home for himself and his family at 1034 Audubon Drive in Memphis. As his success and fame grew, especially after his appearances on television, the number of fans who would congregate outside the house multiplied. Presley's neighbors, although happy to have a celebrity living nearby, soon concluded that the constant gathering of fans and journalists was a nuisance.

 

In early 1957, Presley gave his parents, Vernon and Gladys Presley, a budget of $100,000 and asked them to find a "farmhouse"-like property to purchase, with buffer space around it. At the time, Graceland was located in southern Shelby County, several miles south of Memphis' main urban area. In later years, Memphis would expand with residential developments, resulting in Graceland being surrounded by other properties. Presley purchased Graceland on March 19, 1957, for the amount of $102,500.

 

Later that year, Presley invited Richard Williams and singer Buzz Cason to the house. Cason said: "We proceeded to clown around on the front porch, striking our best rock 'n' roll poses and snapping pictures with the little camera. We peeked in the not-yet-curtained windows and got a kick out of the pastel colored walls in the front rooms with shades of bright reds and purples that Elvis most certainly had picked out." Presley was fond of claiming that the US government had mooted a visit to Graceland by Nikita Khrushchev of the Soviet Union, "to see how in America a fellow can start out with nothing and, you know, make good."

 

After Gladys died in 1958 aged 46, Presley's father Vernon remarried to Dee Stanley in 1960, and the couple lived at Graceland for a time. There was some discord between Presley and his stepmother Dee at Graceland, however. Elaine Dundy, who wrote about Presley and his mother, said that

 

"Vernon had settled down with Dee where Gladys had once reigned, while Dee herself – when Elvis was away – had taken over the role of mistress of Graceland so thoroughly as to rearrange the furniture and replace the very curtains that Gladys had approved of." This was too much for the singer, who still loved his late mother deeply. One afternoon, "a van arrived ... and all Dee's household's goods, clothes, 'improvements,' and her own menagerie of pets, were loaded on ... while Vernon, Dee and her three children went by car to a nearby house on Hermitage until they finally settled into a house on Dolan Drive which ran alongside Elvis' estate."

 

According to Mark Crispin Miller, Graceland became for Presley "the home of the organization that was himself, was tended by a large vague clan of Presleys and deputy Presleys, each squandering the vast gratuities which Elvis used to keep his whole world smiling." The author adds that Presley's father Vernon "had a swimming pool in his bedroom", that there "was a jukebox next to the swimming pool, containing Elvis' favorite records", and that the singer himself "would spend hours in his bedroom, watching his property on a closed-circuit television." According to the singer's cousin, Billy Smith, Presley spent the night at Graceland with Smith and his wife Jo many times: "we were all three there talking for hours about everything in the world! Sometimes he would have a bad dream and come looking for me to talk to, and he would actually fall asleep in our bed with us."

 

Priscilla Beaulieu lived at Graceland for five years before she and Presley wed in Las Vegas, Nevada, on May 1, 1967. Their daughter Lisa Marie Presley was born on February 1, 1968, and spent the first years of her life on the estate. After her parents divorced in 1972, her mother moved with the girl to California. Every year around Christmas, Lisa Marie Presley and all her family would go to Graceland to celebrate Christmas together. Lisa Marie often returned to Graceland for visits.

 

When Elvis would tour, staying in hotels, "the rooms would be remodeled in advance of his arrival, so as to make the same configurations of space as he had at home – the Graceland mansion. His furniture would arrive, and he could unwind after his performances in surroundings which were completely familiar and comforting." 'The Jungle Room' was described as being "an example of particularly lurid kitsch."[

 

On August 16, 1977, Presley died aged 42 at Graceland. The official cause of death was cardiac arrhythmia, although later toxicology reports strongly suggested that polypharmacy was the primary cause of death; "fourteen drugs were found in Elvis' system, with several drugs such as codeine in significant quantities. Presley lay in repose in a 900-pound (410 kg), copper-lined coffin just inside the foyer; more than 3,500 of his mourning fans passed by to pay their respects. A private funeral with 200 mourners was held on August 18, 1977, in the house, with the casket placed in front of the stained glass doorway of the music room. Graceland continued to be occupied by members of the family until the death of Presley's aunt Delta in 1993, who had moved in at Elvis's invitation after her husband's death. Elvis's daughter, Lisa Marie Presley, inherited the estate in 1993 when she turned 25.

 

Presley's tombstone, along with those of his parents Gladys and Vernon Presley, and his grandmother Minnie Mae Presley, are installed in the Meditation Garden next to the mansion. They can be visited during the mansion tours or for free before the mansion tours begin. A memorial gravestone for Presley's stillborn twin brother, Jesse Garon, is also at the site.

 

In 2019, the owners of Graceland threatened to leave Memphis unless the city provided tax incentives. The Memphis City Council subsequently voted on a deal to help fund a $100 million expansion of Graceland.

 

Constructed at the top of a hill and surrounded by rolling pastures and a grove of oak trees, Graceland is designed by the Memphis architectural firm, Furbringer and Erhmanis. It's a two-story, five-bay residence in the Colonial Revival style, with a side-facing gabled roof covered in asphalt shingles, a central two-story projecting pedimented portico, and two one-story wings on the north and south sides. Attached to the wing is an additional one-story stuccoed wing, which was originally a garage that houses up to four cars. The mansion has two chimneys; one on the north side's exterior wall, the second rising through the south side's roof ridge. The central block's front and side facades are veneered with tan Tishomingo limestone from Mississippi and its rear wall is stuccoed, as are the one-story wings. The front facade fenestration on the first floor includes 9x9 double-hung windows set in arched openings with wooden panels above, and 6x6 double-hung windows on the second floor.

 

Flanked by two marble lions, four stone steps ascend from the driveway to the two-story central projecting pedimented portico. The pediment has dentils and a small, leaded oval window in the center while the portico contains four Corinthian columns with capitals modeled after architect James Stuart's conjectural porticos for the "Tower of the Winds" in Athens, Greece. The portico's cornered columns are matched by pilasters on the front facade. The doorway has a broken arched pediment, full entablature, and engaged columns while its transom and sidelights contain elaborate and colorful stained glass. And above the main entrance is another rectangular window, completed with a shallow iron balcony.

 

Graceland is 17,552 square feet (1,630.6 m2) and has a total of 23 rooms, including eight bedrooms and bathrooms. To the right of the Entrance Hall, through an elliptical-arched opening with classical details, is the Living Room. The Living Room contains a 15-foot-long (4.6 m) white couch against the wall overlooking the front yard. To the left are two white sofas, a china cabinet and a fireplace with a mirrored wall. The painting that hangs in the room was Elvis' last Christmas present from his father, Vernon, and also displayed are photographs of Elvis' parents Vernon and Gladys, Elvis and Lisa Marie. Behind an adjoined doorway is the Music Room, framed by vivid large peacocks set in stained glass and contains a black baby grand piano and a 1950s style TV. And the third adjacent room is a bedroom that was occupied by Elvis' parents. The walls, carpet, dresser, and queen size bed are bright white with the bed draped in a velvet-looking dark purple bedspread along with an en-suite full bathroom done in pink.

 

To the left of the Entrance Hall, mirroring the Living Room, is the Dining Room, headlined by a massive crystal chandelier. It features six plush chairs in golden metal frames set around a marble table, all of which are placed on black marble flooring in the center with carpet around the perimeter. Connected to the Dining Room is the Kitchen, which was used by Elvis' aunt Delta until her death in 1993 before it was opened to the public two years later.

 

The original one-story wing on the north end of the residence includes a mechanical room, bedroom, and bath. In the mid-1960s, Presley enlarged the house to create a den known as the Jungle Room which features an indoor waterfall of cut field stone on the north wall. The room also contains items both related to and imported from the state of Hawaii because, after starring in the tropical film "Blue Hawaii" (1961), the musician wanted to bring some memorabilia from The Aloha State to his mansion, which gives visitors the same feeling. In 1976, the Jungle Room was converted into a recording studio, where he recorded the bulk of his final two albums, From Elvis Presley Boulevard, Memphis, Tennessee (1976) and Moody Blue (1977); these were his final known recordings in a studio setting.[27] During the mid-1960s expansion of the house, Presley constructed a large wing on the south side of the main house that was a sidewalk, between the music room in the original one-story wing and the swimming pool area, that connected to the house by a small enclosed gallery. The new wing initially housed a slot car track and to store his many items of appreciation, but was later remodeled to what is now known as the Trophy Building, which now features an exhibit about the Presley family, and includes Priscilla's wedding dress, Elvis' wedding tuxedo, Lisa Marie's toy chest and baby clothes and more.

 

The Entrance Hall contains a white staircase leading to the house's second floor with a wall of mirrors. However, the second floor is not open to visitors, out of respect for the Presley family, and partially to avoid any improper focus on the bathroom which was the site of his death. Still, it features Elvis' bedroom at the southwest corner that connects to his dressing room and bathroom in the northwest. His daughter Lisa Marie's bedroom is in the northeast corner, and in the southeast is a bedroom that served as a private personal office for the musician. The floor has been untouched since the day Elvis died and is rarely seen by non-family members.

 

Downstairs in the basement is the TV room, where Elvis often watched three television sets at once, and was within close reach of a wet bar. The three TV sets are built into the room's south wall and there's a stereo, and cabinets for Elvis' record collection. And painted on the west wall is The King's 1970s logo of a lightning bolt and cloud with the initials TCB, both of which represent 'taking care of business in a flash'. And the last room in the mansion opposite of the TV room is the billiard room; an avid billiards player, Elvis bought the pool table in 1960 and had the walls and ceiling covered with 350–400 yards of pleated cotton fabric after the two basement rooms were remodeled in 1974. The pool balls are arranged just the way they were in the musician's final days along with a strict warning sign to visitors that says "Please Do Not Touch! Thank You!" in capital letters. And in one corner of the pool table, there's a rip in the green felt, which was caused by one of Elvis' friends in a failed attempt of a trick shot.

 

Critics such as Albert Goldman write: "Though it cost a lot of money to fill up Graceland with the things that appealed to Elvis Presley, nothing in the house is worth a dime." In chapter 1 of his book, Elvis (1981), the author describes Graceland as looking like a brothel: "it appears to have been lifted from some turn-of-the-century bordello down in the French Quarter of New Orleans. Lulu White or the Countess Willie Piazza might have contrived this plushy parlor for the entertainment of Gyp the Blood. The room is a gaudy mélange of red velour and gilded tassels, Louis XV furniture and porcelain bric-a-brac..." And he dismisses the interior as "bizarre," "garish" and "phony," adding that "King Elvis's obsession with royal red reaches an intensity that makes you gag."

 

In similar terms, Greil Marcus writes that people who visited the inside of Graceland—"people who to a real degree shared Elvis Presley’s class background, and whose lives were formed by his music—have returned with one word to describe what they saw: ‘Tacky.’ Tacky, garish, tasteless—words others translated as white trash."

 

According to Karal Ann Marling, Graceland is "a Technicolor illusion. The façade is Gone With the Wind all the way. The den in the back is Mogambo with a hint of Blue Hawaii. Living in Graceland was like living on a Hollywood backlot, where patches of tropical scenery alternated with the blackened ruins of antebellum Atlanta. It was like living in a Memphis movie theater... Diehard fans are sometimes disappointed by the formal rooms along the highway side of Graceland. They’re beautiful, in a chilly blue-and-white way, but remote and overarranged." The Jungle Room's "overt bad taste" lets nonbelievers "recoil in horror and imagine themselves a notch or two higher than Elvis on the class scale."

 

After purchasing the property Presley spent in excess of $500,000 carrying out extensive modifications to suit his needs including a pink Alabama fieldstone wall surrounding the grounds that has several years' worth of graffiti (signatures and messages) from visitors, who simply refer to it as "the wall". Designed and built by Abe Sauer is the wrought-iron front gate shaped like a book of sheet music, along with green colored musical notes and two mirrored silhouettes of Elvis playing his guitar. Sauer also installed a kidney shaped swimming pool and a racquetball court, which is reminiscent of an old country club, furnished in dark leather and a functional bar. There is a sunken sitting area with the ever-present stereo system found throughout Graceland, as well as the dark brown upright piano upon which Elvis played for what were to be his last songs, Willie Nelson's "Blue Eyes Crying in the Rain" and "Unchained Melody".

 

However, reports conflict about which one was the last song. The sitting area has a floor-to-ceiling shatterproof window designed to watch the many racquetball games that took place there when Elvis was alive. In the early hours of the morning on which Elvis died, he played a game of racquetball with his girlfriend Ginger Alden, his first cousin Billy Smith and Billy's wife Jo before ending the game with the song on the piano before walking into the main house to wash his hair and go to bed. Today the two story court has been restored to the way it was when Elvis used the building.

 

Elsewhere on the estate is a small white building that served as an office for Vernon, along with an old smokehouse that housed a shooting range and a fully functional stable of horses.

 

One of Presley's better known modifications was the addition of the Meditation Garden, designed and built by architect Bernard Grenadier. It was used by the musician to reflect on any problems or situations that arose during his life. It is also where his entire family is buried: himself (1935–1977), his parents Gladys (1912–1958) and Vernon (1916–1979), and grandmother Minnie Mae Hood (1890–1980) while a small stone memorializes his twin brother Jesse Garon, who died at birth thirty minutes before Elvis was born on January 8, 1935. In late 2020, Lisa Marie's son Benjamin Keough was laid to rest on the opposite end of the Meditation Garden after his death from suicide in July of that year. Lisa Marie Presley died from sudden cardiac arrest in January 2023 and is buried next to her son.

 

After Elvis Presley's death in 1977, Vernon Presley served as executor of his estate. Upon his death in 1979, he chose Priscilla to serve as the estate executor for Elvis's only child, Lisa Marie, who was only 11. Graceland itself cost $500,000 a year in upkeep, and expenses had dwindled Elvis's and Priscilla's daughter Lisa Marie's inheritance to only $1 million. Taxes were due on the property; those and other expenses due came to over $500,000. Faced with having to sell Graceland, Priscilla examined other famous houses/museums, and hired a CEO, Jack Soden, to turn Graceland into a moneymaker. Graceland was opened to the public on June 7, 1982. Priscilla's gamble paid off; after only a month of opening Graceland's doors the estate made back all the money it had invested. Priscilla Presley became the chairwoman and president of Elvis Presley Enterprises, or EPE, stating at that time she would do so until Lisa Marie reached 21 years of age. The enterprise's fortunes soared and eventually the trust grew to be worth over $100 million.

 

An annual procession through the estate and past Elvis's grave is held on the anniversary of his death. Known as Elvis Week, it includes a full schedule of speakers and events, including the only Elvis Mass at St. Paul's Church, the highlight for many Elvis fans of all faiths. The 20th Anniversary in 1997 had several hundred media groups from around the world that were present resulting in the event gaining its greatest media publicity.

 

One of the largest gatherings assembled on the 25th anniversary in 2002 with one estimate of 40,000 people in attendance, despite the heavy rain. On the 38th anniversary of Elvis's death, an estimated 30,000 people attended the Candlelight Vigil during the night of August 15–16, 2015. On the 40th anniversary of Elvis's death, on August 15–16, 2017, at least 50,000 fans were expected to attend the Candlelight Vigil. No official figure seems to have been released, maybe because, for the first time, attendees had to pay at least the lowest tour fare, $28.75, to cover the extra security costs due to a larger than usual crowd.

 

For many of the hundreds of thousands of people who visit Graceland each year, the visit takes on a quasi-religious perspective. They may plan for years to journey to the home of the 'King' of rock and roll. On site, headphones narrate the salient events of Elvis's life and introduce the relics that adorn the rooms and corridors. The rhetorical mode is hagiographic, celebrating the life of an extraordinary man, emphasizing his generosity, his kindness and good fellowship, how he was at once a poor boy who made good, an extraordinary musical talent, a sinner and substance abuser, and a religious man devoted to the Gospel and its music. At the meditation garden, containing Elvis's grave, some visitors pray, kneel, or quietly sing one of Elvis's favorite hymns. The brick wall that encloses the mansion's grounds is covered with graffiti that express an admiration for Presley as well as petitions for help and thanks for favors granted.

 

The Graceland grounds include a new exhibit complex, Elvis Presley's Memphis, which includes a new car museum, Presley Motors, which houses Elvis's Pink Cadillac. The complex features new exhibits and museums, as well as a studio for Sirius Satellite Radio's all-Elvis Presley channel. The service's subscribers all over North America can hear Presley's music from Graceland around the clock. Not far away on display are his two aircraft including Lisa Marie (a Convair 880 jetliner) and Hound Dog II (a Lockheed JetStar business jet). The jets are owned by Graceland and are on permanent static display.

 

In early August 2005, Lisa Marie Presley sold 85% of the business side of her father's estate. She kept the Graceland property itself, as well as the bulk of the possessions found therein, and she turned over the management of Graceland to CKX, Inc., an entertainment company (on whose board of directors Priscilla Presley sat) that also owns 19 Entertainment, creator of the American Idol TV show.

 

Graceland Holdings LLC, led by managing partner Joel Weinshanker, is the majority owner of EPE. Lisa Marie Presley's estate retains a 15% ownership in the company.

 

In August 2018, Gladys Presley's headstone, which contained the Jewish star of David on one side and a cross on the other and was designed by Elvis himself, which become publicly displayed when it placed in Graceland's Mediation Garden after being stored for many years in the Graceland Archive.

 

Lisa Marie Presley's estate, which is being held in trust for her daughters Riley Keough and Harper and Finley Lockwood, retain 100% sole personal ownership of Graceland Mansion itself and its over 13-acre original grounds as well as Elvis Presley's personal effects – including costumes, wardrobe, awards, furniture, cars, etc. Prior to her death in 2023, Lisa Marie Presley had made the mansion property and her father's personal effects permanently available for tours of Graceland and for use in all of EPE's operations.

 

According to Elvis Presley's Enterprises, staff at Graceland informally kept a list of celebrities who had visited in the first years following Elvis's death. This practice was not formalized for a decade. Muhammad Ali was an early celebrity visitor in 1978, as was singer Paul Simon. He toured Graceland in the early 80s and afterward wrote a song of the same name; it was the title track of his Grammy-winning album Graceland.

 

During the Joshua Tree Tour in 1987, U2 toured Graceland. The footage was filmed for the film Rattle & Hum. During the visit, drummer, Larry Mullen Jr., sat on Elvis Presley's motorcycle -- against the rules for Graceland visitors.

 

On June 30, 2006, then US President George W. Bush hosted Japanese Prime Minister Junichiro Koizumi for a tour of the mansion. It was one of the few private residences on United States soil to have been the site of an official joint-visit by a sitting US president and a serving head of a foreign government. On August 6, 2010, Prince Albert II, Head of State of the Principality of Monaco, and his fiancée (now Princess of Monaco) Charlene Wittstock, toured Graceland while vacationing in the US. On May 26, 2013, Paul McCartney of The Beatles visited Graceland. Prince William and Prince Harry, while in Memphis for a friend's wedding, visited Graceland on May 2, 2014.

 

The home has also been visited by former US President Jimmy Carter; the late Duchess of Devonshire, the sitting ambassadors of India, France, China, Korea and Israel to the United States; as well as several US governors, members of the US Congress, and at least two Nobel Prize winners, namely singer-songwriter Bob Dylan, a Literature Prize laureate, and the former President of Costa Rica, Oscar Arias, a Peace Prize honoree, who visited it on October 10, 2001.

 

In May 2016, Graceland welcomed a newlywed couple as its 20 millionth visitor.

 

In June 2022, actors Austin Butler and Tom Hanks visited the mansion and were interviewed virtually by the Good Morning America news program from the Jungle Room to talk about their biographical film Elvis.

 

In popular culture

Paul Simon named an album Graceland, as well as its title track. The song won the Grammy Award for Record of the Year in 1987.

The song "Walking in Memphis" by Marc Cohn mentions Graceland; in the second verse, he refers to the mansion and the Jungle Room. This song was later covered by Cher and Lonestar, among others.

The film 3000 Miles to Graceland is about a group of criminals who plan to rob a casino during an international Elvis week, disguised as Elvis impersonators. No scenes take place at or near the estate.

The film Finding Graceland stars Harvey Keitel with Johnathon Schaech. Keitel is an impersonator who claims to be the real Elvis after Schaech picks him up as a hitch-hiker.

In the rock music "mockumentary" This Is Spinal Tap, band members gather around Presley's grave at Graceland and attempt to sing a verse of "Heartbreak Hotel".

Pop punk group Groovie Ghoulies have a song called "Graceland" on their 1997 album Re-Animation Festival.

In the movie Zombieland: Double Tap, the protagonists venture to Graceland in hopes of shelter during a zombie apocalypse, but are distressed to find it in a ruined state.

During the credits of Lilo & Stitch, there's a photograph of Lilo, Nani, David and Stitch visiting the front gates of Graceland. Almost 20 years later, the original painting of that shot was put on display as part of the traveling Walt Disney Archives exhibition at Graceland.

In the season three episode of American Dad “The Vacation Goo”, Steve Smith asks Stan Smith if they can go to Graceland for their next vacation and Stan says “Steve, if you want to pay your respects to a fat man who died on the toilet, we can visit your Aunt Mary’s grave.”

Phoebe Bridgers has a song "Graceland Too" on her second studio album Punisher.

In the third episode of National Treasure: Edge of History, "Graceland Gambit," the main protagonist, Jess (portrayed by Lisette Olivera) is on a treasure hunt that leads her and her friends to Graceland.

Florence + The Machine reference Graceland and Elvis in their song "Morning Elvis" on their 2022 album Dance Fever.

Sony a1 + Zeiss Milvus 85mm f/1.4 ZF.2 lens

Nancy Buchanan & Joseph Santarromana Present in association with Phantom Galleries LA:

The Long Weekend

Installations and Performances

Jordan Biren and Corrina Peipon, Ashley McLean Emenegger, MaryLinda Moss and Nikii Henry, Danial Nord, Cielo Pessione & John O'Brien, Astra Price, Natasa Prosenc, Joseph Santarromana & William Roper, Evelyn Serrano, Suzanne Siegel, Kyungmi Shin & Todd Gray

Organized by Nancy Buchanan & Joseph Santarromana

Phantom Galleries LA in Pasadena

680 E. Colorado Boulevard, Pasadena 91101

Friday, March 28, Saturday March 29, Sunday March 30

7 to 10 pm

 

For information:

Liza Simone

Phantom Galleries LA Executive Director

PhantomGalleriesLA.com

213.626.2854

 

Examining themes of fashion and consumption, we will present durational performances and installation works in this former furniture store's windows. Questions regarding the relationship of art and commerce today are myriad, and while there are no simple answers, most observers agree that there are many troubling implications of the influences of speculation, branding and celebrity on the current climate. Giving away the aesthetic experience through such a temporary event is a return to earlier, more idealistic times, yet placing the work within a shopping district anchors it to the realistic present. We imagine this to be an exciting event which will attract art audiences, as well as provide an unusual experience to passers-by.

Jordan Biren and Corrina Peipon present a tableau/performance, "The Exchange of the Avant-Garde" inspired by quotes taken from a recent Norman Klein discussion of the late Jean Baudrillard:

"...avant-garde strategies are now central to the branding of all products..."

"...The simulacrum was simply the original itself. It had emerged as the glowing center of all global branding...It was simply the mood that sold anything. "

The tableau represents the "look" of a business transaction, while an inner dialogue belies conflicted psychological realities of personal negotiation through a world of branded transactions. With the supporting text contradicting the appearance of the action, only the image of the event remains, an image meant to draw attention to the presumptions, or "branded" recognition, of what is taking place. A search for what defines in what we see that which we are told we are seeing. _

Nancy Buchanan's "3 Fates" sees myth reduced to marketing; throughout cultural history, sacred and mythic women have appeared in threes, sometimes also merging into one mythic figure. In Greek mythology, the three Fates personified destiny and controlled the thread of life from birth to death (and beyond). The Greek word moira (_____) translates as a part or portion—and so, one's fate is the part one is destined to play in life. While their forerunners were draped in white, could the gowns worn by these fashionable "Fates" hint at what lies beyond fashion? Siren-red satin, prison-jumpsuit orange, camouflage (with glitter).

In Ashley McLean Emenegger's "Judgment Day," colorful felt cut out dolls hang in the balance above a miniature, faux mythological environment, the Garden of Eden meets a metaphoric apocalyptic collapse, where the yearning for sincere expression clashes with the expectation and imposition of compliance to the contemporary notion of aesthetics. Beckoned by the allure and idealization of the Promised Land below, the dolls, both identical and unique, are naturally confused by the conundrum of self declaration versus the desire to fit in.

MaryLinda Moss collaborates with Nikii Henry to create a Performative Installation. Through the evening figures moving through space will leave an imprint, a record of the presence of the body in the world. Using gauze and plaster, 'clothing" will be formed on the body. As the body moves on, it's image is left behind to create a record of the journey through time and space

Danial Nord addresses the troubling relationships between art and commerce, and the implications and influences of speculation, branding and celebrity on the current art-making climate. His inspiration comes from Hollywood's historical misrepresentation of artists, and overheard dialogues between dealers and potential clients at recent Art Fairs. Nord's installation centers on a projected clip from the film "On the Town" which shows a ballerina as an artist, described in the film as "the perfect urban woman", making a painting.

Cielo Pessione & John O'Brien create a tableau in which two personages appear in the dark at the center of the space, like a players in a theatre. The female personage will have a pile of rags or fashion magazines under her She could be a Queen, he a Poet. Each has a different style of dress, which means different ways to live and to consider the capitalism of attire.

Astra Price addresses what food we have and what food we use. Inspired by constantly seeing fruit trees that have gone unharvested and unused, this two-part work will repurpose unused domestic fruit in two phases. On night one, she will process this food; juice, simple salad, etc… and serve it to the people on the streets. Given the city of Pasadena's origin having strong ties to citrus production, this work addresses some issues of site specificity, but can just as easily be applied to larger concepts of consumption and waste.

Natasa Prosenc's installation, "Innocence – Dissolved" metaphorically performs the impasse of fast lane consumerism wrapped into the ideology of progress; the discarded toys suffocating in the thickened gooey mass of the past embodied emotional investment, that has nowhere else to go except release into obsession with possession and consumption. As our environment is cluttered with an unprecedented excess of material objects, our culture witnesses a steadily dissolving ability to infuse these objects with emotion. It is this emotional investment that animates our relationship with objects and with materiality as such. Now that this emotional link is loosening, our world is changing. These old-fashioned toys, once brimming with the energy from a child's power of imagination and warmth of her touch are now discarded, as are the imaginative and emotive habits that go along with them.

—Media and film theoretician Maja Manojlovic

Joseph Santarromana & William Roper reprise their 2007 "Malambing Thang in which the artists contemplated the nature of desire and longing and how these emotional states create and/or affect the perception of ones identity. In the current 'Malambing Thang (Live),' these same issues of longing, desire and identity attempt to play themselves out as pure commodity. Viewers on the street will see the backs of a group of people in the video projection and will have to look around the projection to view the live performers.

Evelyn Serrano invites viewers to a session of dysfunctional, mid-air storytelling, where the "truth" is spinned, Serrano has engaged a sign spinner to manipulate a short poem exploring connections between the spectacle of corporate identity, the branding of culture and the contemporary choreography of meaning.

Suzanne Siegel once shopped for chairs at this very furniture store – she recalls that they were expensive and the salespeople had attitude. Siegel's "Shopping Expedition" references memories of shopping trips to the city (Boston) as a child and also nostalgia for a gentler consumer experience.

Kyungmi Shin & Todd Gray will create a performance and a video projection piece for "The Long Weekend" during the performance night, Todd will be installed in the window space and drum for the duration of the evening; this drumming will trigger a random choice of short video projection sequences created by Kyungmi of Kumasi market in Ghana. The Kumasi market is the largest open-air market in West Africa, and the video was shot walking around the market.

=======

About the artists:

JORDAN BIREN has recently resumed his long dormant performance practice to augment over two decades of work in single channel video. In both video and perfomance, his work considers permutations of meaning behind narrative articulation. He teaches Video Art at Cal State University San Bernardino.

Nancy Buchanan addresses issues of power and money in her work, taking the form of video, drawing, collage, and installation. She is faculty of Film/Video at CalArts.

Todd Gray has exhibited his photo based work internationally and is represented in the permanent collections of museums and universities here and abroad. Gray maintains studios in both Inglewood, California and Takoradi, Ghana.

Ashley McLean Emenegger is by tradition an assemblage artist whose work questions established "absolutes", reveres and summons the feminine, and speaks to the tender parts of the soul. Her felt installation work also contends with the issues of absolutes versus personal mythology but in a more humorous manner with vibrant color, child-like media, and less subdued irreverence.

MaryLinda Moss delves into the ephemeral, the transitional, the transformative in ourselves, the vulnerable point from which we come to a new awareness of self. Her sculpture relates to the body and its processes, and has a unique quality in its use of organic matter in conjunction with other materials. Her sculptural and installation pieces are an abstracted embodiment of our emotional and spiritual experiences often relating to the cycles and elements of the natural world.

Danial Nord's work critiques the influence of consumerism and commercial media in our overstimulated environment. He currently lives and works in Los Angeles. Nord studied at the Tyler School of Art and the NYU Center for Digital Multimedia. This past year he exhibited solo projects at HAUS and Fringe in Los Angeles.

John O'Brien was born in Sagamihara, Japan; he currently lives and works in Los Angeles, California and Umbria, Italy. His work has shown itself to bear an effective confluence of diverse attitudes and disciplines. Installation, video, performance, sculpture, painting and drawing come together in an artistic practice pointed at the investigation of objects and their significance to us. His practice encompasses studio art, public art, art writing and curatorial work.

Cielo Pessione was born in Rome Italy, she currently lives and works in Los Angeles, California and Umbria, Italy. After finishing her art degree at the Liceo Artistico, she completed her University studies with a doctorate in Modern Literature at the Sapienza University of Rome. She works in the visual arts (fiber arts, installation and printmaking) and works with performance in both traditional and experimental settings.

Astra Price is a new media artist interested in exploring the non-static

world in art and life. Currently she gives shape to her explorations through

video in a variety of forms including improvisation, installations and

single channel work and has been recently been focusing on concerns of food

in her kitchen and in her art.

Natasa Prosenc is an internationally acclaimed visual artist whose work challenges the conventions assigned to video art and narrative film. By escaping the categories her visual concepts tap into the preconscious sentient self prior to all thought and theory.

William Roper is an artist working in the disciplines of music, theater and the visual arts. He eagerly awaits the return of The Great Waschbär.

Joseph Santarromana's work is biographical, addressing the perception and construction of identities. His work has been exhibited internationally and he is currently teaching at California State University in Long Beach and the University of California in Riverside, He also runs a video art DVD Publishing company: www.system-yellow.com.

Evelyn Serrano is a Cuban artist, mother, and independent curator currently living in Los Angeles County, California. She is also the Assistant Director of Programs at the CalArts Community Arts Partnership (CAP). She has exhibited her work in solo and group exhibitions nationally and internationally. Serrano feels honored to have worked with talented groups of visual artists, writers and actors for several exhibitions and art events she has curated both nationally and internationally.

Kyungmi Shin is an installation artist whose work weaves the language of photoraphy, sculpture, painting and video. She studied at SF Art Institute & UC Berkeley, and currents lives and works in Los Angeles and Ghana.

Suzanne Siegel is an assemblage artist whose work focuses on social/feminist concerns. She has been exhibiting locally and nationally for thirty years.

 

photo by Liza Simone

Oh my dear v. :))

shot w/ canon bf-7 + kodak gold 200 film

The Postcard

 

A postally unused carte postale that was published by the Édition des Musées Nationaux of Paris. The card has a divided back, and the image is a real photograph. It presents a relatively unusual view of the Palace of Fontainebleau.

 

The Palace of Fontainebleau

 

The Palace of Fontainebleau, or Château de Fontainebleau, is located 55 kilometers (34 miles) southeast of the centre of Paris.

 

The castle and subsequent palace served as a residence for French monarchs from Louis VII to Napoleon III.

 

Francis I and Napoleon were the monarchs who had the most influence on the Palace as it stands today.

 

It became a national museum in 1927, and was designated a UNESCO World Heritage Site in 1981 for its unique architecture and historical importance.

 

The Medieval Palace

 

The earliest record of a fortified castle at Fontainebleau dates to 1137. It became a favorite residence and hunting lodge of the Kings of France because of the abundant game and many springs in the surrounding forest.

 

Fontainebleau took its name from one of the springs, la Fontaine de Bliaud, located now in the English Garden, next to the wing of Louis XV.

 

Fontainebleau was used by King Louis VII, for whom Thomas Becket consecrated the chapel in 1169; also by Philip II; by Louis IX (later canonised as Saint Louis), who built a hospital and a convent, the Couvent des Trinitaires, next to the castle; and by Philip IV, who was born and died in the castle.

 

The Renaissance Château of Francis I (1528–1547)

 

In the 15th. century some modifications and embellishments were made to the castle by Isabeau of Bavaria, the wife of King Charles VI, but the medieval structure remained essentially intact until the reign of Francis I (1494–1547).

 

He commissioned the architect Gilles Le Breton to build a palace in the new Renaissance style, recently imported from Italy. Le Breton preserved the old medieval donjon, where the King's apartments were located, but incorporated it into the new Renaissance-style Cour Ovale, built on the foundations of the old castle.

 

It included the monumental Porte Dorée, as its southern entrance. as well as a monumental Renaissance stairway, the Portique de Serlio, to give access the royal apartments on the north side.

 

Beginning in about 1528, Francis constructed the Galerie François I, which allowed him to pass directly from his apartments to the chapel of the Trinitaires. He brought the architect Sebastiano Serlio from Italy, and the Florentine painter Rosso Fiorentino, to decorate the new gallery.

 

Between 1533 and 1539 Fiorentino filled the gallery with murals glorifying the King, framed in stucco ornament in high relief, and panelling sculpted by the furniture maker Francesco Scibec da Carpi.

 

Another Italian painter, Francesco Primaticcio from Bologna, joined later in the decoration of the palace. Together their style of decoration became known as the first School of Fontainebleau. This was the first great decorated gallery built in France. Fontainebleau introduced the Renaissance to France.

 

In about 1540, Francis began another major addition to the château. Using land on the east side of the Château purchased from the order of the Trinitaires, he began to build a new square of buildings around a large courtyard.

 

The Château was surrounded by a new park in the style of the Italian Renaissance garden, with pavilions and the first grotto in France.

 

The Château of Henry II and Catherine de' Medici (1547–1570)

 

Following the death of Francis I, King Henry II decided to continue and expand the Château. The King and his wife chose the architects Philibert de l'Orme and Jean Bullant to do the work.

 

They extended the east wing of the lower court and decorated it with the first famous horseshoe-shaped staircase which was built between 1547 and 1559. The staircase was subsequently re-built for Louis XIII by Jean Androuet du Cerceau in about 1632-1634.

 

In the Oval Court, they transformed the loggia planned by Francois into a Salle des Fêtes or grand ballroom with a coffered ceiling. Facing the courtyard of the fountain and the fish pond, they designed a new building, the Pavillon des Poeles (destroyed), to contain the new apartments of the King.

 

The decoration of the new ballroom and the gallery of Ulysses with murals by Francesco Primaticcio and sculptured stucco continued.

 

At Henri's orders the Nymphe de Fontainebleau by Benvenuto Cellini was installed at the gateway entrance of Château d'Anet, the domain of Henri's primary mistress Diane de Poitiers (the original bronze lunette is now in the Musée du Louvre, with a replica in place).

 

Following the death of Henry II in a jousting accident, his widow, Catherine de' Medici, continued the construction and decoration of the château. She named Primaticcio as the new superintendent of royal public works.

 

He designed the section known today as the wing of the Belle Cheminée, noted for its elaborate chimneys and its two opposing stairways. In 1565, as a security measure due to the Wars of Religion, she also had moat dug around the château to protect it against attack.

 

Château of Henry IV (1570–1610)

 

King Henry IV made more additions to the château than any King since Francis I. He extended the oval court toward the west by building two pavilions, called Tiber and Luxembourg.

 

Between 1601 and 1606, he remade all the façades around the courtyard, including that of the chapel of Saint-Saturnin, to give the architecture greater harmony. On the east side, he built a new monumental domed gateway, the Porte du Baptistère.

 

Between 1606 and 1609, he built a new courtyard, the Cour des Offices or Quartier Henry IV, to provide a place for the kitchens as well as residences for court officials.

 

Two new galleries, the Galerie de Diane de Poitiers and the Galerie des Cerfs, were built to enclose the old garden of Diane. He also added a large Jeu de Paume, or indoor tennis court, the largest such court in the world.

 

A Second School of Fontainebleau painters and decorators went to work on the interiors. The architect Martin Fréminet created the ornate chapel of the Trinity, while the painters Ambroise Dubois and Toussaint Dubreuil created a series of heroic paintings for the salons. A new wing, named after its central building, La Belle Cheminée, was built next to the large carp pond.

 

Henry IV also devoted great attention to the park and gardens around the Château. The garden of the Queen or garden of Diane, created by Catherine de' Medici, with the fountain of Diane in the centre, was located on the north side of the palace.

 

Henry IV's gardener, Claude Mollet, who trained at Château d'Anet, created a large parterre of flower beds, decorated with ancient statues and separated by paths into large squares.

 

The fountain of Diana and the grotto were made by Tommaso Francini, who may also have designed the Medici Fountain in the Luxembourg Garden for Marie de Medici.

 

On the south side, Henry created a park, planted with pines, elms and fruit trees, and laid out a grand canal 1200 meters long, sixty years before Louis XIV built his own grand canal at Versailles.

 

The Château from Louis XIII through Louis XVI

 

King Louis XIII was born and baptized in the Château, and continued the works begun by his father. He completed the decoration of the chapel of the Trinity, and assigned the court architect Jean Androuet du Cerceau to re-construct the horseshoe stairway on the courtyard that had become known as the Cour de Cheval Blanc.

 

After his death, his widow, Anne of Austria, re-decorated the apartments within the Wing of the Queen Mothers (Aile des Reines Mères) next to the Court of the Fountain, designed by Primatrice.

 

King Louis XIV spent more days at Fontainebleau than any other monarch. He liked to hunt there every year at the end of summer and the beginning of autumn.

 

He made few changes to the exterior of the Château, but did build a new apartment for his companion Madame de Maintenon. He furnished it with major works of André-Charles Boulle. He also demolished the old apartments of the baths under the Gallery of Francis I to create new apartments for the royal princes.

 

The architect Jules Hardouin-Mansard built a new wing alongside the Galerie des Cerfs and the Galerie de Diane in order to provide more living space for the Court.

 

Louis XIV made major changes to the park and gardens; he commissioned André Le Nôtre and Louis Le Vau to redesign the large parterre into a French formal garden. He destroyed the hanging garden which Henry IV had built next to the large carp lake, and instead built a pavilion, designed by Le Vau, on a small island in the centre of the lake.

 

Louis XIV signed the Edict of Fontainebleau at the Château on the 22nd. October 1685, revoking the policy of tolerance towards Protestants begun by Henry IV.

 

Louis welcomed many foreign guests at the Château, including the former Queen Christina of Sweden, who had just abdicated her crown. While a guest in the Château on the 10th. November 1657, Christina suspected her Master of the Horse and reputed lover, the Marchese Gian Rinaldo Monaldeschi, of betraying her secrets to her enemies.

 

Her servants chased him through the halls of the Château and stabbed him to death. Louis XIV came to see her at the Château, did not mention the murder, and allowed her to continue her travels.

 

On the 18th. and 20th. May 1717, following the death of Louis XIV, the Russian Czar Peter the Great was a guest at Fontainebleau. A hunt for stags was organized for him, along with a banquet.

 

Although officially the visit was a great success, later memoires revealed that Peter disliked the French style of hunting, and that he found the Château too small, compared to the other royal French residences.

 

The routine of Fontainebleau also did not suit his tastes; he preferred beer to wine (and brought his own supply with him) and he liked to get up early, unlike the French Court.

 

The renovation projects of Louis XV were more ambitious than those of Louis XIV. To create more lodging for his enormous number of courtiers, in 1737–38 the King built a new courtyard, called the Cour de la Conciergerie or the Cour des Princes, to the east of the Galerie des Cerfs.

 

On the Cour du Cheval Blanc, the wing of the Gallery of Ulysses was torn down and gradually replaced by a new brick and stone building, built in stages in 1738–1741 and 1773–74, extending west toward the Pavilion and grotto of the pines.

 

Between 1750 and 1754, the King commissioned the architect Ange-Jacques Gabriel to build a new wing along the Cour de la Fontaine and the carp lake.

 

The old Pavilion des Poeles was demolished and replaced by the Gros Pavilion, built of cream-colored stone. Lavish new apartments were created inside this building for the King and Queen. The new meeting room for the Royal Council was decorated by the leading painters of the day, including François Boucher, Carle Vanloo, Jean-Baptiste Marie Pierre and Alexis Peyrotte. A magnificent small theatre was created on the first floor of the wing of the Belle Cheminée.

 

King Louis XVI also made additions to the Château in order to create more space for his courtiers. A new building was constructed alongside the Gallery of Francis I; it created a large new apartment on the first floor, and a number of small apartments on the ground floor, but also blocked the windows on the north side of the Gallery of Francis I.

 

The apartments of Queen Marie-Antoinette were redone, a Turkish-style salon was created for her in 1777, a room for games in 1786–1787, and a boudoir in the arabesque style. Louis XVI and Marie-Antoinette made their last visit to Fontainebleau in 1786, on the eve of the French Revolution.

 

The Château During the Revolution and the First Empire

 

During the French Revolution the Château did not suffer any significant damage, but all the furniture was sold at auction. The buildings were occupied by the Central School of the Department of Seine-et-Marne until 1803, when Napoleon I installed a military school there.

 

As he prepared to become Emperor, Napoleon wanted to preserve as much as possible of the palaces and protocol of the Old Regime. He chose Fontainebleau as the site of his historic 1804 meeting with Pope Pius VII, who had travelled from Rome to crown Napoleon Emperor.

 

Napoleon had a suite of rooms decorated for the Pope, and had the entire Château refurnished and decorated. The bedroom of the Kings was transformed into a throne room for Napoleon. Apartments were refurnished and decorated for the Emperor and Empress in the new Empire style.

 

The Cour du Cheval Blanc was re-named the Cour d'Honneur. One wing facing the courtyard, the Aile de Ferrare, was torn down and replaced with an ornamental iron fence and gate, making the façade of the Palace visible.

 

The gardens of Diane and the gardens of the Pines were replanted and turned into an English landscape garden.

 

Napoleon's visits to Fontainebleau were not frequent, because he was occupied so much of the time with military campaigns. Between 1812 and 1814, the Château served as a very elegant prison for Pope Pius VII. On the 5th. November 1810, the chapel of the Château was used for the baptism of Napoleon's nephew, the future Napoleon III, with Napoleon serving as his godfather, and the Empress Marie-Louise as his godmother.

 

Napoleon spent the last days of his reign at Fontainebleau, before abdicating there on the 4th. April 1814. On the 20th. April, after failing in an attempt to commit suicide, he gave an emotional farewell to the soldiers of the Old Guard, assembled in the Court of Honor. Later, during the One Hundred Days, he stopped there on the 20th. March 1815.

 

In his memoires, written while in exile on Saint Helena, he recalled his time at Fontainebleau:

 

"The true residence of Kings, the house of

the centuries. Perhaps it was not a rigorously

architectural palace, but it was certainly a place

of residence well thought out and perfectly

suitable. It was certainly the most comfortable

and happily situated palace in Europe.”

 

The Château during the Restoration and the Reign of Louis-Philippe (1815–1848)

 

Following the restoration of the Monarchy, Kings Louis XVIII and Charles X each stayed at Fontainebleau, but neither made any major changes to the palace. Louis-Philippe was more active, both restoring some rooms and redecorating others in the style of his period.

 

The Hall of the Guards and Gallery of Plates were redecorated in a Neo-Renaissance style, while the Hall of Columns, under the ballroom, was remade in a neoclassical style. He added new stained glass windows, made by the royal manufactory of Sèvres.

 

The Château During the Second Empire

 

Emperor Napoleon III, who had been baptised at Fontainebleau, resumed the custom of long stays at the Château, particularly during the summer. Many of the historic rooms, such as the Galerie des Cerfs, were restored to something like their original appearance, while the private apartments were redecorated to suit the tastes of the Emperor and Empress.

 

Numerous guest apartments were squeezed into unused spaces within the buildings. The old theatre of the palace, built in the 18th. century, was destroyed by a fire in the wing of the Belle Cheminée 1856. Between 1854 and 1857 the architect Hector Lefuel built a new theatre in the style of Louis XVI.

 

On the ground floor of the Gros Pavilion, the Empress Eugénie built a small but well-stocked museum, containing gifts from the King of Siam in 1861, and works of art taken during the pillage of the Summer Palace in Beijing.

 

The museum also featured paintings by contemporary artists, including Franz Xaver Winterhalter, and the sculptor Charles Henri Joseph Cordier. Close by, in the Louis XV wing, the Emperor established his office, and the Empress made her Salon of Lacquer.

 

These were the last rooms created by the royal residents of Fontainebleau. In 1870, during the Franco-German War, the Empire fell, and the Château was closed.

 

The Château from the Third Republic to the Present Day

 

During the Franco-Prussian War, the palace was occupied by the Prussians on the 17th. September 1870, and briefly used as an army headquarters by Frederic Charles of Prussia from March 1871.

 

Following the war, two of the buildings became the home of the advanced school of artillery and engineering of the French Army, which had been forced to leave Alsace when the province was annexed by Germany.

 

The Château was occasionally used as a residence by the Presidents of the Third Republic, and to welcome state guests including King Alexander I of Serbia (1891), King George I of Greece (1892) Leopold II of Belgium (1895) and King Alphonse XIII of Spain (1913).

 

It also received a visit by the last survivor of its royal residents, the Empress Eugenie, on the 26th. June 1920.

 

The façades the major buildings received their first protection by classification as historic monuments on the 20th. August 1913.

 

In 1923, following the Great War, the Château became the home of the Écoles d'Art Américaines, schools of art and music, which still exist today. In 1927 it became a national museum. Between the wars the upper floors of the wing of the Belle Cheminée, burned in 1856, were rebuilt by a grant from the Rockefeller Foundation.

 

During World War II, Fontainebleau was occupied by the Germans on the 16th. June 1940, and occupied until the 10th. November 1940, and again from the 15th. May to the end of October 1941.

 

Following the war, part of the Château became a headquarters of the Western Union and later NATO's Allied Forces Central Europe/Supreme Headquarters Allied Powers Europe, until 1966.

 

The general restoration of the Château took place between 1964 and 1968 under President Charles De Gaulle and his Minister of Culture, Andre Malraux. It was classified as a UNESCO World Heritage Site in 1981. In 2006, the Ministry of Culture purchased the royal stables, and began their restoration.

 

Beginning in 2007, restoration began of the theatre of the Château, created by Napoleon III during the Second Empire. The project was funded by the government of Abu-Dhabi, and in exchange the theater was renamed after Sheik Khalifa Bin Zayed al Nahyan. It was inaugurated on the 30th. April 2014.

 

On the 1st. March 2015, the Chinese Museum of the Château was robbed by professional thieves. They broke in at about six in the morning, and, despite alarms and video cameras, in seven minutes stole about fifteen of the most valuable objects in the collection, including the replica of the crown of Siam given by the Siamese government to Napoleon III, a Tibetan mandala, and an enamel chimera from the reign of the Qianlong Emperor (1736–1795).

 

The Grand Apartments at Fontainebleau

 

The Gallery of Francis I

 

The Gallery of Francis I is one of the first and finest examples of Renaissance decoration in France. It was originally constructed in 1528 as a passageway between the apartments of the King with the oval courtyard and the great chapel of the convent Trinitaires, but in 1531 Francis I made it a part of his royal apartments, and between 1533 and 1539 it was decorated by artists and craftsmen from Italy, under the direction of the painter Rosso Fiorentino, in the new Renaissance style.

 

The lower walls of the passage were the work of the master Italian furniture maker Francesco Scibec da Carpi; they are decorated with the coat of arms of France and the salamander, the emblem of the King. The upper walls are covered by frescoes framed in richly sculpted stucco. The frescoes used mythological scenes to illustrate the virtues of the King.

 

On the side of the gallery with windows, the frescoes represent Ignorance Driven Out; The Unity of the State; Cliobis and Biton; Danae; The Death of Adonis; The Loss of Perpetual Youth; and The Battle of the Centaurs and the Lapithes.

 

On the side of the gallery facing the windows, the frescoes represent: A Sacrifice; The Royal Elephant; The Burning of Catane; The Nymph of Fontainebleau (painted in 1860–61 by J. Alaux to cover a former entry to the gallery); The Sinking of Ajax; The Education of Achilles and The Frustration of Venus.

 

The Ballroom

 

The Ballroom was originally begun as an open passageway, or loggia, by Francis I. In about 1552 King Henry II closed it with high windows and an ornate coffered ceiling, and transformed it into a room for celebrations and balls.

 

The 'H', the initial of the King, is prominent in the decor, as well as figures of the crescent moon, the symbol of Henry's mistress Diane de Poitiers.

 

At the western end is a monumental fireplace, decorated with bronze statues originally copied from classical statues in Rome. At the eastern end of the room is a gallery where musicians played during balls.

 

The decor was restored many times over the years. The floor, which mirrors the design of the ceiling, was built by Louis-Philippe in the first half of the 19th. century.

 

The frescoes on the walls and pillars were painted beginning in 1552 by Nicolo dell'Abate, following drawings by Primatice. On the garden side of the ballroom, they represent: The Harvest; Vulcan forging weapons for Love at the request of Venus; Phaeton begging the sun to let him drive his chariot; and Jupiter and Mercury at the home of Philemon and Baucis.

 

The frescoes on the side of the Oval Courtyard represent: The feast of Bacchus; Apollo and the Muses on Mount Parnassus; The Three Graces dancing before the gods; and The wedding feast of Thetis and Peleus.

 

St. Saturnin's Chapel

 

Behind the ballroom, there is St. Saturnin's Chapel. The lower chapel was originally built in the 12th. century, but was destroyed and completely rebuilt under Francis I. The windows made in Sèvres were installed during Louis Philippe's period, and were designed by his daughter Marie, an artist herself.

 

The upper chapel was the royal chapel decorated by Philibert de l'Orme. The ceiling, made in the same style as the ballroom, ends with a dome.

 

Room of the Guards

 

A room for the guards was always located next to the royal bedchambers. The Salle des Gardes was built during the reign of Charles IX. Some traces of the original decor remain from the 1570's, including the vaulted ceiling and a frieze of military trophies attributed to Ruggiero d'Ruggieri.

 

In the 19th. century Louis Philippe turned the room into a salon, and redecorated it with a new parquet floor of exotic woods echoing the design of the ceiling, along with a monumental fireplace (1836), which incorporates pieces of ornament from demolished rooms that were built the 15th. and early 16th. century.

 

The bust of Henry IV, attributed to Mathieu Jacquet, is from that period, as are the two figures on either side of the fireplace. The sculpted frame around the bust, by Pierre Bontemps, was originally in the bedchamber of Henry II.

 

The decorations added by Louis Philippe include a large vase decorated with Renaissance themes, made by the Sèvres porcelain manufactory in 1832.

 

During the reign of Napoleon III, the hall was used as a dining room.

 

Stairway of the King

 

The stairway of the King was installed in 1748 and 1749, in the space occupied during the reign of Francis I by the bedroom of Anne de Pisseleu, the Duchess of Étampes, a favorite of the King.

 

It was designed by the architect Ange-Jacques Gabriel, who used many decorative elements from the earlier room, which had originally been decorated by Primatice.

 

The upper portion of the walls is divided into panels, oval and rectangular, with scenes representing the love life of Alexander the Great. The paintings are framed by large statues of women by Primatice. The eastern wall of the room was destroyed during the reconstruction, and was replaced during the reign of Louis Philippe in the 19th. century with paintings by Abel de Pujol.

 

The Queen's Bedroom

 

All of the Queens and Empresses of France from Marie de Medici to the Empress Eugènie slept in the bedchamber of the Queen. The ornate ceiling over the bed was made in 1644 by the furniture-maker Guillaume Noyers for the Dowager Queen Anne of Austria, the mother of Louis XIV, and bears her initials.

 

The room was redecorated by Marie Leszczynska, the Queen of Louis XV in 1746–1747. The ceiling of the alcove, the decoration around the windows and the wood panelling were made by Jacques Vererckt and Antoine Magnonais in the rocaille style of the day. The decoration of the fireplace dates to the same period.

 

The doors have an arabesque design, and were made for Marie-Antoinette, as were the sculpted panels over the doors, installed in 1787. The bed was also made especially for Marie Antoinette, but did not arrive until 1797, after the Revolution and her execution. it was used instead by Napoleon's wives, the Empress Josephine and Marie-Louise of Austria.

 

The walls received their ornamental textile covering, with a design of flowers and birds, in 1805. It was restored in 1968–1986 using the original fabric as a model.

 

The furniture in the room all dates to the First Empire. The balustrade around the bed was originally made for the throne room of the Tuileries Palace in 1804. The armchairs with a sphinx pattern, the consoles and screen and the two chests of drawers were placed in the room in 1806.

 

The Boudoir of Marie-Antoinette

 

The boudoir next to the Queen's bedroom was created for Queen Marie-Antoinette in 1786, and permitted the Queen to have a measure of privacy.

 

The room is the best surviving example of the decorative style just before the French Revolution, inspired by ancient Roman models, with delicately painted arabesques, cameos, vases, antique figures and garlands of flowers against a silver background, framed by gilded and sculpted woodwork.

 

The room was made for the Queen by the same team of artists and craftsmen who also made the game room; the design was by the architect Pierre Rousseau (1751-1829); the wood panelling was sculpted by Laplace, and painted by Michel-Hubert Bourgeois and Louis-François Touzé.

 

Eight figures of the Muses were made in plaster by Roland; the ornate mantle of the fireplace was made by Jacques-François Dropsy, and decorated with glided bronze works by Claude-Jean Pitoin.

 

The mahogany parquet floor, decorated with the emblems of the Queen, was made by Bernard Molitor, and finished in 1787. The painted ceiling, by Jean-Simon Berthélemy, shows Aurora with a group of angels.

 

The furnishings were designed for the room by Jean-Henri Riesener, using the finest materials available; mother of pearl, gilded bronze, brass, satin and ebony. Some of the original furnishings remain, including the cylindrical desk and the table, which were made between 1784 and 1789.

 

The two armchairs are copies of the originals made by Georges Jacob which are now in the Gulbenkian Museum in Lisbon, while the footstool is the original.

 

The Throne Room of Napoleon (former bedroom of the King)

 

The Throne Room was the bedroom of the Kings of France from Henry IV to Louis XVI.

 

In 1808 Napoleon decided to install his throne in the former bedroom of the Kings of France in the location where the royal bed had been. Under the Old Regime, the King's bed was a symbol of royal authority in France and was saluted by courtiers who passed by it. Napoleon wanted to show the continuity of his Empire with the past monarchies of France.

 

The majority of the carved wood ceiling, the lower part of the wood panelling, and the doors date to the reign of Louis XIII. The ceiling directly over the throne was made at the end of the reign of Louis XIV.

 

Louis XV created the portion of the ceiling directly over the throne, a new chimney, sculpted wooden medallions near the fireplace, the designs over the doors, and the fine carved woodwork facing the throne (1752–54).

 

He also had the ceiling painted white and gilded and decorated with mosaics, to match the ceiling of the bedroom of the Queen.

 

Napoleon added the standards with his initial and the Imperial eagle. The decoration around the throne was originally designed in 1804 by Jacob-Desmalter for the Palace of Saint-Cloud, and the throne itself came from the Tuileries Palace.

 

The chimney was originally decorated with a portrait of Louis XIII painted by Philippe de Champaigne, which was burned in 1793 during the French Revolution. Napoleon replaced it with a portrait of himself, by Robert Lefèvre. In 1834, King Louis-Philippe took down Napoleon's picture and replaced with another of Louis XIII.

 

The Council Chamber

 

The Council Chamber, where the Kings and Emperors met their closest advisors, was close to the Throne Room. It was originally the office of Francis I, and was decorated with painted wooden panels showing following designs of Primatice, the virtues and the heroes of antiquity.

 

The room was enlarged under Louis XIV, and the decorator, Claude Audran, followed the same theme.

 

The room was entirely redecorated between 1751 and 1754 by the architect Ange-Jacques Gabriel, with arcades and wooded panels showing the virtues, and allegories of the seasons and the elements, painted by Jean-Baptiste Marie Pierre and Carle van Loo.

 

The painter Alexis Peyrotte added another series of medallions to the upper walls depicting floral themes, the sciences and arts. The five paintings on the vaulted ceiling were the work of François Boucher, and show the seasons and the sun beginning its journey and chasing away the night.

 

A half-rotonda on the garden side of the room was added by Louis XV in 1773, with a painted ceiling by Lagrenée depicting Glory surrounded by his children.

 

The room was used as a council chamber by Napoleon I, and the furnishings are from that time. The armchairs at the table for the ministers are by Marcion (1806) and the folding chairs for advisors are by Jacob-Desmalter (1808).

 

Apartment of the Pope and of the Queen-Mothers

 

The apartment of the Pope, located on the first floor of the wing of the Queen Mothers and of the Gros Pavillon, takes its name from the 1804 visit of Pope Pius VII, who stayed there on his way to Paris to crown Napoleon I the Emperor of France.

 

He stayed there again, involuntarily, under the close supervision of Napoleon from 1812 to 1814. Prior to that, beginning in the 17th. century it was the residence of the Queen Mothers Marie de' Medici and Anne of Austria.

 

It was also the home of the Grand Dauphin, the oldest son of Louis XIV. In the 18th. century it was used by the daughters of Louis XV, and then by the Count of Provence, the brother of Louis XVI.

 

During the First Empire it was used by Louis, the brother of Napoleon, and his wife Queen Hortense, the daughter of the Empress Josephine. During the reign of Louis-Philippe, it was used by his eldest son, the Duke of Orleans.

 

During the Second Empire, it was occupied by Stephanie de Bade, the adopted niece of Napoleon I. It was restored in 1859–1861, and used thereafter for guests of high rank. It was originally two apartments, which were divided or joined over the years depending upon its occupants.

 

The Grand Salon, the Antechamber to the Bedroom of the Queen-Mother (Mid-17th. century)

 

The Salon de Reception was the anteroom to the bedroom of Anne of Austria, wife of Louis XIII and mother of Louis XIV. It features a gilded and sculpted ceiling divided into seven compartments, representing the sun and the known planets, along with smaller compartments for military trophies.

 

The room was created in 1558 by Ambroise Perret as the bedroom of Henry II in the pavilion des Poeles, a section of the Château that was later destroyed. Anne had it moved and decorated with her own emblems, including a pelican. The wood paneling in the room is probably from the same period.

 

The decor of the bedroom dates largely to the 1650's; it includes grotesque paintings in compartments on the ceiling, attributed to Charles Errard; richly carved wood paneling featuring oak leaves and putti; and paintings over the doors of Anne of Austria costumed as Minerva and Marie-Therese of Austria costumed as Abundance, both painted by Gilbert de Sève.

 

The bedroom was modified in the 18th. century by the addition of a new fireplace and sculptured borders of cascades of flowers around the mirrors added in 1784. During the Second Empire, painted panels imitating the style of the 17th. century were added above the mirrors and between the mirrors and the doors.

 

The Gallery of Diana

 

The Gallery of Diana, an eighty-metre (242 feet) long corridor now lined with bookcases, was created by Henry IV at the beginning of the 17th. century as a place for the Queen to promenade. The paintings on the vaulted ceiling, painted beginning in 1605 by Ambroise Dubois and his workshop, represented scenes from the myth of Diana, goddess of the Hunt.

 

At the beginning of the 19th. century, the gallery was in ruins. In 1810 Napoleon decided to turn it into a gallery devoted to the achievements of his Empire. A few of the paintings still in good condition were removed and put in the Gallery of Plates.

 

The architect Hurtault designed a new plan for the gallery, inspired by the Grand Gallery of the Louvre, featuring paintings on the ceiling illustrating the great events of Napoleon's reign.

 

By 1814 the corridor had been rebuilt and the decorative frames painted by Moench and Redouté, but the cycle of paintings on the Empire had not been started when Napoleon fell from power.

 

Once the monarchy was restored, King Louis XVIII had the gallery completed in a neoclassical style. A new series of the goddess Diana was done by Merry-Joseph Blondel and Abel de Pujol, using the painted frames prepared for Napoleon's cycle.

 

Paintings were also added along the corridor, illustrating the history of the French monarchy, painted in the Troubador style of the 1820's and 1830's, painted by a team of the leading academic painters.

 

Beginning in 1853, under Napoleon III, the corridor was turned into a library and most of the paintings were removed, with the exception of a large portrait of Henry IV on horseback by Jean-Baptiste Mauzaisse. The large globe near the entrance of the gallery, placed there in 1861, came from the office of Napoleon in the Tuileries Palace.

 

The Apartments of Napoleon

 

In 1804 Napoleon decided that he wanted his own private suite of apartments within the Palace, separate from the old state apartments. He took over a suite of six rooms which had been created in 1786 for Louis XVI, next to the Gallery of Francis I, and had them redecorated in the Empire style.

 

The Emperor's Bedroom

 

Beginning in 1808, Napoleon had his bedroom in the former dressing room of the King. From this room, using a door hidden behind the drapery to the right of the bed, Napoleon could go directly to his private library or to the offices on the ground floor.

 

Much of the original decor was unchanged from the time of Louis XVI; the fireplaces, the carved wooden panels sculpted by Pierre-Joseph LaPlace and the sculpture over the door by Sauvage remained as they were.

 

The walls were painted with Imperial emblems in gold on white by Frederic-Simon Moench. The bed, made especially for the Emperor, was the summit of the Empire style; it was crowned with an imperial eagle and decorated with allegorical sculptures representing Glory, Justice, and Abundance.

 

The Emperor had a special carpet made by Sallandrouze in the shape of the cross of the Legion of Honor; the branches of the cross alternate with symbols of military and civilian attributes.

 

The chairs near the fireplace were specially designed, with one side higher than the other, to contain the heat from the fire while allowing the occupants to see the decorations of the fireplace.

 

The painting on the ceiling of the room was added later, after the downfall of Napoleon, by Louis XVIII. Painted by Jean-Baptiste Regnault, it is an allegory representing The clemency of the King halting justice in its course.

 

The study was a small room designated as Napoleon's work room. In 1811 he added the camp bed, similar to the bed he used on his military campaigns, so he could rest briefly during a long night of work.

 

The salon of the Emperor was simply furnished and decorated. It was in this room, on the small table on display, that the Emperor signed his abdication in 1814.

 

The Theatre

 

Concerts, plays and other theatrical productions were a regular part of court life at Fontainebleau. Prior to the reign of Louis XV these took place in different rooms of the palace, but during his reign, a theatre was built in the Belle-Cheminée wing. It was rebuilt by the architect Gabriel, but was destroyed by a fire in 1856.

 

It had already been judged too small for the court of Napoleon III, and a new theatre was begun in 1854 at the far eastern end of the wing of Louis XIV. It was designed by architect Hector Lefuel in the style of Louis XVI, and was inspired by the opera theatre at the palace of Versailles and that of Marie-Antoinette at the Trianon Palace.

 

The new theatre, with four hundred seats arranged in a parterre, two balconies and boxes in a horseshoe shape, was finished in 1856. It has the original stage machinery, and many of the original sets, including many transferred from the old theatre before the fire of 1856.

 

The theatre was closed after the end of the Second Empire and was rarely used. A restoration began in 2007, funded with ten million Euros by the government of Abu-Dhabi. In exchange, the theatre was renamed after Sheik Khalifa Bin Zayed al Nahyan.

 

It was inaugurated on the 30th. April 2014. The theatre can be visited, but it no longer can be used for plays because some working parts of the theater, including the stage, were not included in the restoration.

 

The Chinese Museum

 

The Chinese Museum, on the ground floor of the Gros Pavillon close to the lake, was among the last rooms decorated within the Chateau while it was still an imperial residence.

 

In 1867, the Empress Eugenie had the rooms remade to display her personal collection of Asian art, which included gifts given to the Emperor by a delegation sent by the King of Siam in 1861, and other objects taken during the destruction and looting of the Old Summer Palace near Beijing by a joint British-French military expedition to China in 1860.

 

The objects displayed in the antechamber include two royal palanquins given by the King of Siam, one designed for a King and the other (with curtains) for a Queen. Inside the two salons of the museum, some of the walls are covered with lacquered wood panels in black and gold, taken from 17th. century Chinese screens, along with specially designed cases to display antique porcelain vases.

 

Other objects on display include a Tibetan stupa containing a Buddha taken from the Summer Palace in China; and a royal Siamese crown given to Napoleon III.

 

The salons are lavishly decorated with both Asian and European furnishings and art objects, including silk-covered furnishings and Second Empire sculptures by Charles Cordier and Pierre-Alexandre Schoenewerk. The room also served as a place for games and entertainment; an old bagatelle game and a mechanical piano from that period are on display.

 

In addition to the Chinese Museum, the Empress created a small office in 1868, the Salon of Lacquerware, which was also decorated with lacquered panels and Asian art objects, on the ground floor of the Louis XV wing. This was the last room decorated before the fall of the Empire, and the eventual transformation of the Chateau into a museum.

 

The Chapel of the Trinity

 

The Chapel of the Trinity was built at the end of the reign of Francis I to replace the old chapel of the convent of the Trinitaires. It was finished under Henry II, but was without decoration until 1608, when the painter Martin Freminet was commissioned to design frescoes for the ceiling and walls.

 

The sculptor Barthèlemy Tremblay created the vaults of the ceiling out of stucco and sculpture. The paintings of Freminet in the central vaults depict the redemption of Man, from the appearance of God to Noah at the launching of the Ark (Over the tribune) to the Annunciation.

 

They surrounded these with smaller paintings depicting the ancestors of the Virgin Mary, the Kings of Judah, the Patriarchs announcing the coming of Christ, and the Virtues.

 

Between 1613 and 1619 Freminet and Tremblay added paintings in stucco frames between the windows on the sides of the chapel, depicting the life of Christ. Freminet died in 1619, and work did not resume until 1628.

 

The Trinity chapel, like Sainte-Chapelle in Paris other royal chapels, had an upper section or tribune, where the King and his family sat, with a separate entrance; and a lower part, where the rest of the Court was placed.

 

Beginning in 1628, the side chapels were decorated with iron gates and carved wood panelling, and the Florentine sculptor Francesco Bordoni began work on the marble altar. The figure to the left depicts Charlemagne, with the features of Henry II, while the figure on the right depicts Louis IX, or Saint Louis, with the features of Louis XIII, his patron.

 

Bordoni also designed the multicolored marble pavement before the altar and on the walls of the nave. The painting of the Holy Trinity over the altar, by Jean Dubois the Elder, was added in 1642.

 

In the mid-17th. century the craftsman Anthony Girault made the sculpted wooden doors of the nave. while Jean Gobert made the doors of the tribune where the Royal family worshipped.

 

In 1741 the royal tribune was enlarged, while ornate balconies of wrought iron were added between the royal tribune and the simpler balconies used by the musicians and those who chanted the mass. In 1779, under Louis XVI, the frescoes of Freminet illustrating the life of Christ, which had deteriorated with time, were replaced by new paintings on the same theme. The paintings were done in the same style by about a dozen painters from the Royal Academy of Painting and Sculpture.

 

Under Napoleon, the old tabernacle of the chapel, which had been removed during the Revolution, was replaced by a new one designed by the architect Maximilien Hurtault.

 

Beginning in 1824, the chapel underwent a program of major renovation and restoration that lasted for six years. The twelve paintings of the life of Christ were removed, as well as the gates to the side chapels.

 

During the Second Empire, the wood panelling of the side chapels was replaced. The restoration was not completed until the second half of the 20th. century, when the twelve paintings, which had been scattered to different museums, were brought together again and restored in their stucco frames. Between 1772 and 1774, a small organ made by François-Henri Cilquot was installed on the left side of the chapel, near the altar.

 

On the 5th. September 1725, the chapel was the setting for the wedding of Louis XV and Marie Leszczynska. Napoleon III was baptized there on 4 November 1810, and Ferdinand-Philippe d'Orleans, the son of King Louis-Philippe, was married there to Helene de Mecklembourg Schwerin on the 30th. May 1837.

 

The Gardens and the Park at Fontainebleau

 

From the time of Francis I, the palace was surrounded by formal gardens, representing the major landscaping styles of their periods; the French Renaissance garden, inspired by Italian Renaissance gardens; the French formal garden, the favorite style of Louis XIV; and, in the 18th. and 19th. century, the French landscape garden, inspired by the English landscape garden.

 

The Garden of Diana

 

The Garden of Diana was created during the reign of Henry IV; it was the private garden of the King and Queen, and was visible from the windows of their rooms.

 

The fountain of Diana was originally in the centre of the garden, which at that time was enclosed by another wing, containing offices and later, under, Louis XIV, an orangery. That building, and another, the former chancellery, were demolished in the 19th. century, thereby doubling the size of the garden.

 

From the 17th. until the end of the 18th. century, the garden was in the Italian and then the French formal style, divided by straight paths into rectangular flower beds centred on the fountains, and decorated with statues, ornamental plants and citrus trees in pots.

 

It was transformed during the reign of Napoleon I into a landscape garden in the English style, with winding paths and trees grouped into picturesque landscapes, and it was enlarged during the reign of Louis-Philippe. it was opened to the public after the downfall of Napoleon III.

 

The fountain in the centre was made by Tommaso Francini, the master Italian fountain-maker, whose work included the Medici Fountain in the Jardin du Luxembourg in Paris.

 

The bronze statue of Diana, the goddess of the hunt, with a young deer, was made by the Keller brothers in 1684 for another royal residence, at Marly. It is a copy of an antique Roman statue, Diana of Versailles, which was given by the Pope to King Henry IV, and which is now in the Louvre.

 

The original statue of the fountain, made by Barthelemy Prieur in 1602, can be seen in the Gallery of the Cerfs inside the palace. The sculptures of hunting dogs and deer around the fountain were made by Pierre Biard.

 

The Carp Lake, English Garden, Grotto and Spring

 

The lake next to the palace, with an area of four hectares, was made during the reign of Henry IV, and was used for boating parties by members of the Court, and as a source of fish for the table and for amusement.

 

Descriptions of the palace in the 17th. century tell of guests feeding the carp, some of which reached enormous size, and were said to be a hundred years old. The small octagonal house on an island in the center of the lake, Pavillon de l'Étang, was added during the reign of Louis XIV, then rebuilt under Napoleon I, and is decorated with his initial.

 

The English garden also dates back to the reign of Henry IV. In one part of the garden, known as the garden of pines, against the wing of Louis XV, is an older structure dating to Francis I; the first Renaissance-style grotto to be built in a French garden, a rustic stone structure decorated with four statues of Atlas.

 

Under Napoleon, his architect, Maximilien-Joseph Hurtault, turned this part of the garden into an English park, with winding paths and exotic trees, including catalpa, tulip trees, sophora, and cypress trees from Louisiana, and with a picturesque stream and boulders.

 

The garden also features two 17th. century bronze copies of ancient Roman originals, the Borghese gladiator and the Dying Gladiator. A path leads from the garden through a curtain of trees to the spring which gave its name to the palace, next to a statue of Apollo.

 

The Parterre and Canal

 

On the other side of the Château, on the site of the garden of Francis I, Henry IV created a large formal garden, or parterre Along the axis of the parterre, he also built a grand canal 1200 metres long, similar to one at the nearby château of Fleury-en-Biere.

 

Between 1660 and 1664 the chief gardener of Louis XIV, André Le Nôtre, and Louis Le Vau rebuilt the parterre on a grander scale, filling it with geometric designs and paths bordered with boxwood hedges and filled with colourful flowerbeds.

 

They also added a basin, called Les Cascades, decorated with fountains, at the head of the canal. Le Nôtre planted shade trees along the length of the canal, and also laid out a wide path, lined with elm trees, parallel to the canal.

 

The fountains of Louis XIV were removed after his reign. More recently, the Cascades were decorated with works of sculpture from the 19th. century. A large ornamental fountain was installed in the central basin in 1817.

 

A bronze replica of an ancient Roman statue, "The Tiber", was placed in the round basin in 1988. It replaced an earlier statue from the 16th. century which earlier had decorated the basin.

 

Two statues of sphinxes by Mathieu Lespagnandel, from 1664, are placed near the balustrade of the grand canal.

 

Why you ask?

 

Vandana ShivaActivist, scholar. Shiva believes in the rights of the traditional agriculturalists in India and around the world -who were often women working the land to feed their families in such a way that was regenerative rather than destructive. Believes in the value of environmental elements as part of a greater ecological whole.

 

Luce Irigaray

My favourite philosopher, feminist, scholar. Believes in an ethics of difference: equality that does not reduce everyone to the same neutral being (which is always male not truly neutral anyway). writes scholarly works that read like abstract poetry. multiplicity rather than dichotomies. fluid not solid. Critical, insightful, hopeful. ideas can be about the very big picture and very private,subjective intimacies at the same time.

 

Annette Messager

Visual Artist: textiles, photography, taxidermy, soft sculpture. Identity as always multiple, fragmented -roles being played -especially for the female. explores the private human world without revealing herself in them biographically.

 

Gemma Ward

Supermodel. When I first saw Gemma I felt faint because it was like seeing that someone I imagined was actually real- she looks uncannily like the main character in a book I am writing- a character who has been in my head for well over a decade. I was pleased, as I followed her career, that she is skilled in her craft. showing poise and humility while surpassing her unconventional beauty to become a chameleon of looks.

 

Regina Spektor

Singer, songwriter. when you're this good at songwriting all you need is yourself and your piano. She uses her voice to all extremes of strength and softness, grating or cooing. She creates characters and worlds and tell stories that stick. She finds new perspectives in existing classic stories and myths;new intimate truths in the archetypes.

 

Michael Ende

After I read The Neverending Story I lamented that I would never be able to find another book that would affect me in the same way. There is so much timeless truth and unmatchable wonder in it. In a way I think I really never have been able to move on from it. Ende's Momo is another great fable that is sometimes overlooked in the neverending story's shadow but I recommend it also it is about a girl whose great talent is her ability to listen and a world in which grey men in bowler hats smoking cigarettes are thieves of time.

 

Michael Leunig

Cartoonist, artist. Leunig has been hugely influential on my life. He values the simple the homely, the small, the comfortable and the slow. Not exactly in tune with the modern world. His shakey line drawn characters are actually created with extraordinary precision and care. He admirably never shies from the political but I prefer his more abstract philosophical musings.

 

Margaret and David Along with (early) Recovery (with dylan lewis or laterin the house instead of a studio with leigh whannell) and Good news week The movie show/At the movies with margaret and david make me appreciate free to air tv in Australia. Having watched them for so long I know what sort of things each of them dislike that may not put me off seeing a film. Perhaps this is why they are the onlyfil;m reviews i can rely on at all. I think of them as adopted grandparents who I visit once a week they give me advice and I watch them squabble about the state of the world.

 

mary

I went to a catholic girls school. do I need to say more about this? she's the main female character in the bible? sacred feminine.

 

Bjork

Singer songwriter. Passionate, proudly unique creator of transcendently beautiful music. I especially appreciate when she sings about sex and having feelings for boys in much the same way as men have been about women for centuries -but also not the same. She is tiny and gutsy. I like that

 

Cate Blanchett

Actress. Probably the best Australian export we have! Aside from being far and away the best actress in the world (in my opinion) she is poised, graceful, articulate, humble and radiant. There's something about her, like an aura, that makes her beautiful to watch. You can tell she is proud to inhabit herself and she is very giving in her craft and yet you don't see her in the tabloids she keeps her private life just that-private. kudos.

 

Wes Anderson

Director.Underneath the precisely formed, quirky aesthetic worlds Anderson deals with themes of family, belonging and human connection in such a way that is actually honest. Aren't we tired of straight up naturalism/realism? it takes just as much artifice to create anyway, I'd rather more directors were as upfront about what it looks like inside their head.

 

Sophia Coppola

her films are quiet, slow, subtle and intimate. Visually like watercolour. Focused on feeling and atmosphere rather than plot -unusual for western filmmakers.

 

Conor Oberst

singer songwriter. Much mocked and criticised for being selfindulgent, overtly emotional, not being able to sing. I would take a dozen conor's over 1 restrained, refined trained singer any day! Apart fromthe fact that his style of music is actually to my taste there are manythings I admire about Conor Oberst. He is incredibly prolific, and he's been creating music and putting it out there, since he was very young. It seems to be compulsive for him to create and reveal. He is smart and emotional and a boy. He offers himself in a way that invites the kind criticism he always faces- he does this intentionally and knowingly but that's never why he creates. Although not superficially apparent sometimes , he loves life, he is an excellent observer and recorder of it. He values experience, connection and friendship. Like Regina he musically references and reinterprets existing pieces of music and cultural archetypes: post modernism in the good way. There's no point denying it, he's easily the most beautiful man alive (according to my strange specific taste).

 

Nick Cave

I took my time to come around to this man but once i did it was a complete come around. A renaissance man with his roots of influence stretching back even earlier he is still a Modern Master of his craft. Dirty old man or prophet his voice cut's deep, so does his personal exploration of morality and spirituality.He is a soulful balladeer and gritty rocker.

 

Thom Yorke

Were do I begin with Thom Yorke. Radiohead are flatout the greatest band in the world. they are smarter than you, they are cooler than you. In Rainbows is all kinds of Masterpiece. Even the release gimmick became more profound than a gimmick. I challenge you to watch any of the live broadcasts of in rainbows and not admit that: Thom Yorke is crazier than you, coolr than you, more talented than you, smarter than you and looks better than you in a plain old hoodie even though he has a lazy eye. On top of all this he looks like Vincent Van Gogh.

 

Neutral Milk Hotel

They have a mere two albums they are both original, creative, lyrically and musically genius. If these albums do not continue to build in critical and popular favour with the passing of time they will nonetheless influence canny bands long into the future. In the Aeroplane over the sea is about being in love with Anne frank. no seriously. beat that for a concept album. you can't.

 

Adrien Brody

actor. Is a beautiful, beautiful man. a moving sculpture of manly manly goodness. and he can act, man oh man can he act.

 

Sarah Blasko

is still growing. I think and hope that she's yet to write her greatest songs. Still, seeing her perform is a revelation. I would pay to do so again and again even if she never wrote any new material and kept churning out covers of vintage rock -which she doesn't much alter but for the addition of her singular voice. She dances like some kind of wooden doll puppet. she dresses like like a proper 60s secretary. Every single performance more than one person yells out 'marry me sarah'. every single time. boys and girls. And I'm usually thinking it in spite of not yelling it so there'sprobably others in the same position.

 

Augie March

In spite of being Australian they could just as well be a old british pub band but their writing is smart and literary. They defied the odds to win the Hottest One Hundred with "One Crowded Hour" A song by an Australian band (that wasn't powderfinger) that was accessible and smart and musically unconventional (it doesn't really have a chorus) i was so excited I ran around my house squealing.

 

Alice

haunts me phantonwise

culturally all pervasive

 

Jeff Buckley

I'm actually quite lost for words here. Jeff Buckley's music has featured in my life deeply in times of personal hardship. It's hard to separate this objectively. Watching dvd versions of his concerts has been a driving force in making me to go see live music of bands i love whatever the cost whenever i can, because I wish I had been able to see him live.

 

Jake Gyllenhaal

he's got rrrreal peeeeerty eyes. Donnie Darko is my equal favourite movie. my boy asked me out with a donnie darko reference aaaw-cheeesy-yay-ness. and brokeback mountain made me cry so much. I am a sap. that's what we learned from this. oh well. do i really need to explain why jake gyllenhall is amazing? i think not.

 

Maggie Gyllenhaal

marvelous actress and let's just take a moment to boy down before some good Genetic material shall we. these two provide us with the ultimate pansexual generation hypothetical "who would you rather be with Jake or Maggie Gyllenhaal?" It's almost as hard as deciding which of your friend you'd eat first on a desert island.

 

Shiloh Jolie-Pitt

actually makes my ovaries spontaneously release eggs. which is cruel because I could never make someone that beautiful. She's on the list for being influential upon my cluckiness.

 

Photo on the Left:

Our American Century Turbulent Years: The 60s. 1998. Edited by Sara Brash and Loretta Britten. Alexandria, Virginia: Time-Life Books, 159. (Photography Copyright Apple Corps LTD., London.)

 

Photo on the Right:

Our American Century Turbulent Years: The 60s. 1998. Edited by Sara Brash and Loretta Britten. Alexandria, Virginia: Time-Life Books, 156. (Photography taken by: Harry Benson, 1964.)

 

With their very first entrance into America (pictured right in 1964), the Beatles like the rest of their country at that initial time defined and solidified the mod culture of the early 60’s. The Beatles took the popular transformation of the crew cut and parted hair to that of longer, un-parted hair. They often had an effect on men’s fashion, with the appearance of Sgt. Pepper’s Lonely Hearts club band album in 1967, satin uniforms with braids like those on the cover became popular (American Decades: 1960-1969 1995).

 

Just as they had defined the cleanness of the mod look, they took a complete opposite direction when they decided to loosen up and thus help in the defining of the youth counterculture (pictured left in August 1969.)Their style of music and dress over a single decade alone is somewhat of an outward illustration of the changes of that time. From their initial boyish clean-cut looks and matching coats upon their arrival to their long hair and beards like those being sported by many of the hippies, they had helped to launch not only the wearing of long hair by men; but as the years passed, the wearing of outlandish outfits to their gradual but dramatic loosening of appearance over the decade (Chalmers 1991).

 

At their peak in 1966, the summer of love, their songs were reflective of the unfolding of drugs, as they got high with such songs as “Revolver” and higher with “Lucy in the Sky with Diamonds” (Chalmers 1991).

 

They followed not only the hippie movement in their fashion, but also in their call for peace as John Lennon wrote the anti-Vietnam War anthem “Give Peace a Chance.” However, one song, “Helter Skelter”, was greatly misinterpreted leading to a far cry from peace (Chalmers 1991).

 

“The range and excitement of the Beatles’ musicianship and creative talent were part of the bridge that brought the high culture into a loose combination with the popular culture of the sixties. The constant experimentation with dress, drug, lifestyle, and musical form both reflected the frantic pace of the sixties and also influenced the many young people who took the Beatles as cultural heroes and models” (Chalmers 1991).

 

American Decades: 1960-1969. 1995. Edited by Richard Layman. New York: Gale Research International Limited.

 

Chalmers, David. And the Crooked Places Made Straight: The Struggle for Social Change in the 1960s. 1991. Baltimore: The Johns Hopkins University Press.

  

For further information on the Beatles: en.wikipedia.org/wiki/Beatles

  

the influence of Monty Python on real life

Museum MORE in Gorssel.

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Thom Puckey, influenced early on by the Viennese Actionism movement, was intensely active as a performance artist in the 1970s and early 1980s with his performance art duo Reindeer Werk; this trained him in the expressive possibilities of the body, in its relational abilities and in how to render their image. His apprenticeship can still be seen in the artwork he produces today and, especially, in his use of live models for his sculpture. Many long posing sessions are required to establish the position of each figure and during these a great many photographs are taken, snapped from every angle in order to verify the subject's validity and how it will take shape in space. So it follows that the artist treats each model as a true performer in two senses: in that, with her body, she incarnates a living, unexpected form constituting an expressive possibility, and in that she is an actress playing a role, lending her face and body to an otherwise abstract idea. Marble defies time. Still the photographic plays its role. In his relationship with reality, he has used photography as an intermediate step. In that sense he prefers to call his sculptures three dimensional images. Besides the reference to neoclassicism, this is a strong determining factor in the realisation of his marbles. A fine example of the visual relationship between photography and his sculptures is the image Falling Backwards with Two Carbines (2010). It refers to the Fallen Soldier (1936) by war photographer Robert Capa. It gets even more fascinating artistically when one knows that this world-famous photo may not be a snapshot of what happened in the Spanish civil war, but an enacted scene. Thus a different artistic layering is added. Meanwhile it must have become obvious that Thom Puckey is not an academic realist but a conceptual one. Thinking about realism is his objective. Without wanting to be a herald he asks himself to what his image owes its power. The individual female figures, young and completely or partially nude, are invariably and disquietingly accompanied by the presence of modern weaponry. Sometimes their derivation from classical models is rather evident.. The meticulous rendering of the firearms and blades dressing the figures, together with the taste for anatomical detail, the sometimes aggressive poses, the bodies themselves sometimes amputated, are open declarations of a strategy which doesn't refer culturally to the past; indeed the choice of a noble material like monochrome marble is almost subversive with respect to the artist's intention.

Thus a statue, albeit executed in a “timeless” material like marble, is not the concretization of an ideal, nor even of womanly beauty; on the contrary, a real beauty, like that of a young model, prefigures the statue she will become (which is certainly true also for the other contemporary artists, from Anthony Gormley to Marc Quinn, who have chosen or who have fallen into figurative sculpture). (...)The works suggest that the depicted women will sooner hurt themselves than others, even though one does not know what goes through their heads. This philosophical reflection in the work of Thom Puckey, which may be called essential, is expressed most effectively in his latest pieces. In Figure on Bed with Camera and Weapons (2013) a naked woman lies the wrong way round on a bed stretching her arms out so as to make a portrait of herself. A camera plays the role of a weapon. Language allows us to speak of ‘shooting’ photos. Even colloquially the kinship with a weapon is recognised. Once someone has a picture of you, to some extent he takes possession of you. But the person lying down is taking her own picture, so that the photo takes on the function of the mirror in the piece discussed earlier. The photographic image too is always a lie. That simply put is its paradox. The piece provides a beautiful synthesis of Thom Puckey’s oeuvre: the bed as a risky, intimate place, the young woman, vulnerably naked, as representative of humanity as youthfulness, the weapons as danger from the outside world and the photo camera as self-reflection doomed to failure; and all that, carved in brilliant marble as back-to-fine-art. Beauty has to continue becoming beauty.

 

Extracts from the texts of Marco Senaldi ( in: Thom Puckey/Jan Van der Ploeg - The Prato Project, Centro per l'arte Contemporanea Luigi Pecci - Prato, 2010) & Willem Elias (in: Fatal Beauty - The Sculptures of Thom Puckey, Stedelijk Museum 'S - Hertogenbosch, 2013)