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“Gracious even God Bloodied on the cross. Your sins are washed enough…This is the Last Stop”
The Last Stop: Dave Matthews Band, Before These Crowded Streets
As with so many of Dave’s songs… he pours himself into every aspect of this song. When I hear Dave sing this song, I cannot help but wonder at different phrases and question “what was he thinking here…” The levels of passion that he pours into parts of this song just seem to go over and above the usual artist’s passion: they seem much more personal.
I believe I mentioned it before in another post but I absolutely love how they laid out the album… and I’d swear it was a concept album if I didn’t have such a draw to albums like that. Beautiful work guys- this one always gets me in the throat.
*** Artist Notes ***
The last stop as one looks up to the sky… for the one who bloodied the cross…
Lyrics:
Fire
The sun is well asleep
The moon is high above
But fire grows from the East
And how is this
Hate so deep?
Lead us all so blindly, killing, killing
Fools are we
If hate's the gate to peace
This is the last stop.
Oh is War
The only way to peace
Well, I don't fall for that
You're Raining tears
You're righteous, so righteous, SO RIGHTEOUS
You're always so right
Go ahead and dream
Go ahead believe that you are the chosen one.
Rain tears...
Oh no
Gracious even God
Bloodied on the cross
Your sins are washed enough
A mother's cry:
"Is hate so deep
Must my baby's bones
This hungry fire feed?"
Smoke clouds roll in
The symphony of death
This is the last stop.
Scream
Right is wrong now
Ha, shut up you big lie
Oh and the "black is white" lie
You comb your hair to
Hide your lying eyes
You're righteous, so righteous, SO RIGHTEOUS
You're always so right oh man
But why your lie
Go ahead and dream
Go ahead believe that you are the chosen one
This is the best stop.
Here there's always blowing up
And I hope that we can break it down
So it's not so black and white oh...
This is the last stop.
Here there's more than showing us
And I hope that we can break it down
So it's not so black and white
Black and white oh man...
You're righteous, you're righteous, you're RIGHTEOUS
You're always so right oh
And there you are nailing good to a tree
And then say forgive me, forgive me oh
Go ahead and dream
Go ahead believe that you are the chosen one
rain oh...
This is the last stop...
Here there is more than growing up
And I hope that we can break it back
It's not so black and white
So right...
Influencers church (Paradise) fireworks 19/12/2014
Carols and Fireworks.
Canon EOS 5D, 24-70L, ND2-400 Variable filter, 1 sec exposure and longer
2015
_MG_9025
Flaming Pool—Dogtown - 1931
Artist: Marsden Hartley (American, 1877–1943)
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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Army Command Sgt. Maj. John W. Troxell ,senior enlisted advisor to chairman of the Joint Chiefs of Staff, goes on a motivational run through the National Mall with Marines attending the Sergeants Course at Marine Corps University, Nov. 3, 2017. The Sergeants Course is a primary level course for Marine Sergeants (E-5s). This four week course provides students with the knowledge and skills to recognize how personal actions influence processes, in order to comprehend warfighting functions and their impact on operations, and to use communication skills to effectively relay courses of action. This course is intended to enable Marines to serve as ethical leaders, professional warfighters, critical thinkers, and sound decision makers.(DOD photo by Navy Petty Officer 1st Class Dominique A. Pineiro)
Human activities influence the environment and reduce the value of forests, tundra and plains in terms of original biodiversity and habitat. Primarily larger mammals are hit by the fragmentation caused by roads and pipelines. The GLOBIO methodology has modeled the future impact of human activities in the Arctic, as seen in this map. Infrastructure and settlements are used as proxies for human activities, using the GLOBIO model from the Global Environment Outlook 3.
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This photo has been graciously provided to be used in the GRID-Arendal resources library by: Hugo Ahlenius
ROCKTROPOLIS is a progressive rock band that is like a volcano ready to explode upon your ears. Members include guitarist ROCKTROPOLIS, Bassist and Keyboardist Sam Metropoulos and Drummer Marc Stemmler. Influences are Dream Theater, Rush, Yngwie, Yes, Deep Purple and Iron Maiden to name a few. Guitarist ROCKTROPOLIS has worked with The Process, Gabe Gonzalez (George Clinton) and former drummer John Macaluso (Yngwie Malmsteen, ARK and VOX). Multi instrumentalist Sam Metropoulos has collaborated on several albums with The Process, played with John Macaluso and has opened for Yngwie Malmsteen. Akin to the pillars of the great Parthenon, drummer Marc Stemmler provides the foundation for which ROCKTROPOLIS bridges the hemispheres between classical and progressive rock music. ROCKTROPOLIS is a Nominee of the 2013 Detroit Music Awards.
ROCKTROPOLIS is represented by Howard Hertz/Joseph Bellanca (Hertz Schram, p.c.) Mr. Hertz’s impressive roster includes George Clinton, Sippie Wallace, The Romantics, The Bass Brothers, Eminem, Marilyn Manson, Russell Simmons, O-Town, Pantera, Marcus Belgrave, The GO, Mike Posner, Elmore Leonard, Warner Tamerlane and Atlantic Records.
ROCKTROPOLIS is currently recording/producing their debut album, with Chris Lewis as their recording engineer (Fire Hyena Studio). Projected release date is summer 2013. Be prepared to own a collection of brilliant compositions that are melodic, epic and infectious to the soul.
www.RocktropolisMusic.com (c) 2012
Meeting details at 2011 Top 100 SMB Influencers. Picture by Grant Wickes principal of Wickpoint Management Services and currently VP Businss Development Wasp Barcode Technologies.
In picture: gary Swank, Rieva Lesonsky
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
14 February 2020 - Day one of the ICAN Paris Forum: how to ban bombs and influence people
Photo: Orel Kichigai | ICAN
People talk about who has made the largest influence on their lives and they usually list people like Albert Einstein, or Ghandi, or Martin Luther King Jr. Nobody wants to admit their heroes are people like Sgt. Bilko or Secret Squirrel.
After thinking about it, I realized that these two men have had the largest impact on me. Through them, I learned self-sacrifice, honor, the perils of substance abuse, and how to carry yourself like a man. Their influence has led me to become a humanist, an environmentalist, and a whole slew of ist's and ism's that have ultimately made me a better and stronger person.
Not bad for a fictional character and a persona created to sell tickets.
Travel agents can use our influencers to increase revenue #travelwriter #travel #instatravel #travelgram #tourism #instago #passportready #travelblogger #wanderlust
#ilovetravel #writetotravel #instatravelling #instavacation #travelblogger #instapassport #postcardsfromtheworld
#traveldeeper #travelstroke #travelling #trip #traveltheworld #igtravel #getaway #travelblog #instago
#tourist #wanderer
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
ROCKTROPOLIS is a progressive rock band that is like a volcano ready to explode upon your ears. Members include guitarist ROCKTROPOLIS, Bassist and Keyboardist Sam Metropoulos and Drummer Marc Stemmler. Influences are Dream Theater, Rush, Yngwie, Yes, Deep Purple and Iron Maiden to name a few. Guitarist ROCKTROPOLIS has worked with The Process, Gabe Gonzalez (George Clinton) and former drummer John Macaluso (Yngwie Malmsteen, ARK and VOX). Multi instrumentalist Sam Metropoulos has collaborated on several albums with The Process, played with John Macaluso and has opened for Yngwie Malmsteen. Akin to the pillars of the great Parthenon, drummer Marc Stemmler provides the foundation for which ROCKTROPOLIS bridges the hemispheres between classical and progressive rock music. ROCKTROPOLIS is a Nominee of the 2013 Detroit Music Awards.
ROCKTROPOLIS is represented by Howard Hertz/Joseph Bellanca (Hertz Schram, p.c.) Mr. Hertz’s impressive roster includes George Clinton, Sippie Wallace, The Romantics, The Bass Brothers, Eminem, Marilyn Manson, Russell Simmons, O-Town, Pantera, Marcus Belgrave, The GO, Mike Posner, Elmore Leonard, Warner Tamerlane and Atlantic Records.
ROCKTROPOLIS is currently recording/producing their debut album, with Chris Lewis as their recording engineer (Fire Hyena Studio). Projected release date is summer 2013. Be prepared to own a collection of brilliant compositions that are melodic, epic and infectious to the soul.
www.RocktropolisMusic.com (c) 2012
This is one of three sets of pictures showing all of the pieces I painted on myself. Check it out at www.philinthecircle.com/influence
The Huguenot Monument in Franschhoek, South Africa, is dedicated to the cultural influences that Huguenots have brought to the Cape Colony (and ultimately the whole of South Africa) after their immigration during the 17th and 18th centuries.
The monument was designed by J.C. Jongens, completed in 1945 and inaugurated by Dr. A.J van der Merwe on 17 April 1948.
The three high arches symbolizes the Holy Trinity, the Father, Son and Holy Spirit. On top of the arches is the sun of righteousness and above that, the cross of their Christian faith.
The central female figure, created by Coert Steynberg, personifies religious freedom with a bible in her one hand and broken chain in the other. She is casting off her cloak of oppression and her position on top of the globe shows her spiritual freedom. The fleur-de-lis on her robe represents a noble spirit and character.
The southern tip of the globe shows the symbols of their religion (the Bible), art and culture (the harp), the agriculture and viticulture (the sheaf of corn and grape vine) and industry (spinning wheel).
The water pond, reflecting the colonnade behind it, expresses the undisturbed tranquility of mind and spiritual peace the Huguenots experienced after much conflict and strife.
This is a very interesting chart developed by participants with an Influencer DISC profile. This was done in a leadership training workshop conducted in Brisbane by James McNamara from the Impact Factory.
art, assemblage, bark, foil, washers, beads, hand warmer, brass symbol, word from old book, found object
4.5" X 5.5"
ROCKTROPOLIS is a progressive rock band that is like a volcano ready to explode upon your ears. Members include guitarist ROCKTROPOLIS, Bassist and Keyboardist Sam Metropoulos and Drummer Marc Stemmler. Influences are Dream Theater, Rush, Yngwie, Yes, Deep Purple and Iron Maiden to name a few. Guitarist ROCKTROPOLIS has worked with The Process, Gabe Gonzalez (George Clinton) and former drummer John Macaluso (Yngwie Malmsteen, ARK and VOX). Multi instrumentalist Sam Metropoulos has collaborated on several albums with The Process, played with John Macaluso and has opened for Yngwie Malmsteen. Akin to the pillars of the great Parthenon, drummer Marc Stemmler provides the foundation for which ROCKTROPOLIS bridges the hemispheres between classical and progressive rock music. ROCKTROPOLIS is a Nominee of the 2013 Detroit Music Awards.
ROCKTROPOLIS is represented by Howard Hertz/Joseph Bellanca (Hertz Schram, p.c.) Mr. Hertz’s impressive roster includes George Clinton, Sippie Wallace, The Romantics, The Bass Brothers, Eminem, Marilyn Manson, Russell Simmons, O-Town, Pantera, Marcus Belgrave, The GO, Mike Posner, Elmore Leonard, Warner Tamerlane and Atlantic Records.
ROCKTROPOLIS is currently recording/producing their debut album, with Chris Lewis as their recording engineer (Fire Hyena Studio). Projected release date is summer 2013. Be prepared to own a collection of brilliant compositions that are melodic, epic and infectious to the soul.
www.RocktropolisMusic.com (c) 2012
Travel agents use #tribefluence to get your vacation packages Spread by our #vacation #hospitality and #travelblogger #influencers #greece #thegoodlife #travelogue #influencermarketing #socialinfluencersapp #instalike #instagood #instagrammers
Fondazione Querini Stampalia by Carlo Scarpa (Venice 1906 – Sendai, Japan 1978). Scarpa was an Italian architect, influenced by the materials, landscape, and the history of Venetian culture, and Japan. He attended the Academy of Fine Arts where he focused on architectural studies. Graduated from the Accademia in Venice, with the title of Professor of Architecture, he apprenticed with the architect Francesco Rinaldo.
His architecture is deeply sensitive to the changes of time, from seasons to history, rooted in a sensuous material imagination. He was Mario Botta's thesis adviser along with Giuseppe Mazzariol; the latter was the Director of the Fondazione Querini Stampalia when Scarpa completed his renovation and garden for that institution.
Scarpa taught drawing and Interior Decoration at the "Istituto universitario di architettura di Venezia" from the late 1940s until his death. While most of his built work is located in the Veneto, he made designs of landscapes, gardens, and buildings, for other regions of Italy as well as Canada, the United States, Saudi Arabia, France and Switzerland. His name has 11 letters and this is used repeatedly in his architecture.
One of his last projects, left incomplete at the time of his death, was altered in 2006) by his son Tobia: the Villa Palazzetto in Monselice. This work is one of Scarpa's most ambitious landscape and garden projects, the Brion Sanctuary notwithstanding. It was executed for Aldo Businaro, the representative for Cassina who is responsible for Scarpa's first trip to Japan.
The three men in this photo are sitting near the door of a polling place, hoping to influence voters in the moments before they step into the booth. In the past, I've even been blocked by candidates and their staff, as I tried to enter the door. Once, when I reported to authorities inside that a woman with a clipboard wouldn't let me in without first hearing her speech, the person in charge shrugged and said, "It's a free country."
The guys in this photo had been standing earlier in the day, handing out printed propaganda.
In the past, and in other places, I've stood in plain view to photograph this sort of activity. Invariably, the staffers ask me why I'm pointing a camera at them. I just say that I'm doing a blog. So this time, I took a shot from my car as I waited for the red light.
Meeting details at 2011 Top 100 SMB Influencers. Picture by Grant Wickes principal of Wickpoint Management Services and currently VP Businss Development Wasp Barcode Technologies.
In picture: Gary Swart (oDesk), IvanaTaylor (@DIYMarketers)
This Book of Hours was completed for the Use of Tournai and was illuminated ca. 1500 under the influence of the Master of the Prayer Books. Synthesis of text and decoration is well balanced in this manuscript. Evidence of an early owner is found on fol. 18v, where he is depicted in prayer with St. William the Great. However, because St. William the Great is not mentioned in the calendar, the manuscript may have been intended for an owner other than the gentleman portrayed in the full-page miniature on fol. 18v. Featuring fifteen full-page miniatures (inserted), twenty-nine panel miniatures, as well as some illusionistic borders, this manuscript has an ambitious pictorial program. However, there is also a sophisticated interrelationship between the textual and pictorial programs, a relationship especially apparent in the Suffrages.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Sicily.
Late spring break.
The Villa del Casale is one of the most luxurious of its kind and is famous for the richness and quality of its mosaics (4th century AD), which are recognized as the most beautiful in situ Roman mosaics. This mosaic treasure testifies to the lifestyle habits of the Roman ruling class and shows the mutual influences between cultures and exchanges in the ancient Mediterranean - between the Roman world and the North African area.
The villa is spread over 48 rooms (about 3500 square meters of surface) covered with mosaics in perfect condition, perhaps by African masters, which allow you to retrace the history of the greatest of the Empires, with scenes of daily life, the depictions of heroes and gods, hunting and game scenes.
The Villa del Casale therefore represents a fundamental testimony for the understanding of Roman life and civilization to which it offers us, thanks to the perfect conservation of the environments and mosaic representations, an inimitable fresco.
The Room of the Dance is a guest room in the Villa Romana del Casale. It is located to the north of the peristyle, between the Service rooms with geometric mosaics and the Room of the Fishing Cupids. There is an antechamber between the room and the peristyle.
The room is, together with the antechamber, most likely a cubiculum, i.e., a bedroom, intended for the guests of the owner of the villa. It is certainly a high status room, due to the use of figurative mosaics. Such expensive mosaics would not be placed in a service room mostly used by slaves.
The mosaic in the room has large lacunae, but some figures are almost complete. In the upper part, away from the door, there are one or two dancing women to the left and to the right a man is grabbing a woman who is resisting. In the middle there are fragments of a female dancer. The dancing women are hurling their scarfs into the air.
Little remains of the lower part of the mosaic, but to the left a woman appears to evade the attempts of a man to grab her, and to the right there are very small fragments of at least two persons.
The mosaic is very damaged, but from what remains it could be a depiction of the Rape of the Sabine Women.
The lower parts of the wall is still covered with stucco painted with geometric designs.
The antechamber has all but lost the mosaics.
sights.seindal.dk/italy/sicily/piazza-armerina/villa-roma...
Meeting details at 2011 Top 100 SMB Influencers. Picture by Grant Wickes principal of Wickpoint Management Services and currently VP Businss Development Wasp Barcode Technologies.
In picture: Lauren Simonds, Elaine Bennett
Reservists from 38 Brigade Group’s Influence Activities Company conduct patrols and execute key leader engagements in the fictional village of Bayan during Exercise MAPLE RESOLVE 19 at 3rd Canadian Division Support Base Detachment Wainwright on May 11th, 2019.
Image By: Private Jordyn Anderson
Garrison Wainwright Imaging
WT07-2019-0013-0017
Influencers church (Paradise) fireworks 19/12/2014
Carols and Fireworks.
Canon EOS 5D, 24-70L, ND2-400 Variable filter, 1 sec exposure and longer
2015
_MG_9062
Reservists from 38 Brigade Group’s Influence Activities Company conduct patrols and execute key leader engagements in the fictional village of Bayan during Exercise MAPLE RESOLVE 19 at 3rd Canadian Division Support Base Detachment Wainwright on May 11th, 2019.
Image By: Private Jordyn Anderson
Garrison Wainwright Imaging
WT07-2019-0013-0020
Meeting details at 2011 Top 100 SMB Influencers. Picture by Grant Wickes principal of Wickpoint Management Services and currently VP Businss Development Wasp Barcode Technologies.
In picture: Anita Campbell, Erika Kerekes
Meeting details at 2011 Top 100 SMB Influencers. Picture by Grant Wickes principal of Wickpoint Management Services and currently VP Businss Development Wasp Barcode Technologies.
In picture: Donna Fenn (Inc), JJ Ramberg (NMNBC), Courtney Colwell
Reservists from 38 Brigade Group’s Influence Activities Company conduct patrols and execute key leader engagements in the fictional village of Bayan during Exercise MAPLE RESOLVE 19 at 3rd Canadian Division Support Base Detachment Wainwright on May 11th, 2019.
Image By: Private Jordyn Anderson
Garrison Wainwright Imaging
WT07-2019-0013-0019
“I got heartaches in my pocket. I got echoes in my head. And all that I keep hearing are the cruel, cruel things that you said”
A Thousand Miles From Nowhere: Dwight Yoakam, This Time
This song always had a very mellow California feel to it… very long drawn out chords on the guitar that pull the listener in. I was always entranced and sentimental with the notion that I wanted to get on the road and go a thousand miles away. I’m sure that I’m not alone in saying that I have often wanted to drive and drive till I was lost after a break up…
*** Artist Notes ***
Lost in the path of “Where the hell am I?”
Lyrics:
I'm a thousand miles from nowhere
Time don't matter to me
'Cause I'm a thousand miles from nowhere
And there's no place I want to be
I got heartaches in my pocket
I got echoes in my head
And all that I keep hearing
Are the cruel, cruel things that you said
I'm a thousand miles from nowhere
Time don't matter to me
'Cause I'm a thousand miles from nowhere
And there's no place I want to be
Oh, I… Oh, I…
I got bruises on my memory
I got tear stains on my hands
And in the mirror there's a vision
Of what used to be a man
I'm a thousand miles from nowhere
Time don't matter to me
'Cause I'm a thousand miles from nowhere
And there's no place I want to be
I'm a thousand miles from nowhere
Time don't matter to me
'Cause I'm a thousand miles from nowhere
And there's no place I want to be
I'm a thousand miles from nowhere
Time don't matter to me
'Cause I'm a thousand miles from nowhere
And there's no place I want to be
I'm a thousand miles from nowhere
Time don't matter to me
'Cause I'm a thousand miles from nowhere
And there's no place I want to be
I'm a thousand miles from nowhere
Time don't matter to me
'Cause I'm a thousand miles from nowhere
And there's no place I want to be
Meeting details at 2011 Top 100 SMB Influencers. Picture by Grant Wickes principal of Wickpoint Management Services and currently VP Businss Development Wasp Barcode Technologies.
In picture: ?, John Lawson (@ColderICE), Marcy Dobozy, Brent Leary (@BrentLeary)
Reservists from 38 Brigade Group’s Influence Activities Company conduct patrols and execute key leader engagements in the fictional village of Bayan during Exercise MAPLE RESOLVE 19 at 3rd Canadian Division Support Base Detachment Wainwright on May 11th, 2019.
Image By: Private Jordyn Anderson
Garrison Wainwright Imaging
WT07-2019-0013-0014
Ahmad Jamal (born July 2, 1930 as Frederick Russell Jones) is an innovative and influential American jazz pianist, composer, and educator. According to Stanley Crouch, Jamal is second in importance in the development of jazz after 1945 only to Charlie Parker.[For five decades, he has been one of the most successful small-group leaders in jazz.
Since the 1980s Jamal has been regularly touring the major clubs of the United States and the large European jazz festivals. He is generally accompanied by bassist James Cammack Jamal was born in Pittsburgh, Pennsylvania, and attended George Westinghouse High School. He began playing piano at the age of three, when his uncle Lawrence challenged him to duplicate what he was playing on the piano. Jamal began formal piano training at the age of seven with Mary Cardwell Dawson, whom he describes as greatly influencing him. He converted to Ahmadiyya Islam in 1952.
Jamal began touring with George Hudson's Orchestra. He joined another touring group known as The Four Strings, which was soon disbanded. He moved to Chicago in 1950, and made his first sides in 1951 for the Okeh label with The Three Strings:
Jamal typically plays with a bassist and drummer; his current trio is with bassist James Cammack and drummer Idris Muhammad. He has also performed with percussionist Manolo Badrena.Jamal has recorded with saxophonist George Coleman on the album