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July, 1985 Interview Magazine with Kathleen Turner. Publisher, Andy Warhol. Brittle condition.
Contents:
Upfront - Al Corley, Lisa Bonet, Hnut Slonem & Bill Campbell, Ann Magnuson, Taimak, Virginia Madsen & Helen Slater, Run-D.M.C., Ray Lata, Rob Compono, Eric Stoltz, Scott Farnsworth, Max Wigram, Toby Morris
Interviews - Kathleen Turner, Washington: Caspar W. Weinberger, Books: Baron Guy de Rothschild, Hollywood Confidential: Emilio Estevez & Judd Nelson, True Confessions: Belinda Carlisle, Music: Darlene Love, Modern Masters: Joel-Peter Witkin, Art: David McDermott & Peter McGough
Features - Pierre Franey, Stars In Stripes, The Mennonite Farmers, Art In View, Made In The Shades, In Hollywood, Beat, American Food Revisited, In Milan & Rome, Awful But True
Interviewed by ethnotraveler about one of my favourite photo that i recently shot in Chennai on New Year
you can read the article here
Larissa Waters (Australian Greens Senator for Queensland and Andrew Bartlett (Australian Greens Senate Candidate for Queensland interviewed by Channel 9. In the city
Melville House - Trade PB - ISBN 978-1-61219-779-1
Ursula K. Le Guin - The Last Interview and other conversations [non-fiction - review no. 0932 - October 3, 2021]
For admirers of the writings of Ursula K. Le Guin (1920-18) this is an excellent source of factual information concerning this exceptional writer. Seven interviews from different viewpoints conducted over the period 1977 to 2018 allows a very public author to express herself on her books and opinions.
I was pleased to read that Ms. Le Guin was an admirer of author Philip K. Dick.
The "Last Interview" is a series of trade paperback books that feature conversations with notable individuals, mostly authors but not exclusively so, that are deceased. This is the third volume I have read. The other two were Ray Bradbury and Philip K. Dick.
Toshihiro Oshima (Tommy Oshima) was ever so kind to let Kai interview him with 10 questions and share with us some of his photos and videos. Read the full interview: 10 Q&A with Toshihiro Oshima - Virtuoso of Visual Creation
Check out Tommy on Flickr.
Note: portrait of Tommy in the banner is taken by Masanori Miyauchi
Kansas City District Natural Resource Specialist Scott A. Rice (left) is interviewed during the July 17, 2014, Springfield Cardinals minor league game by play announcer Andrew Buchbinder on live radio. They discussed water safety and the importance of wearing a personal floatation device while recreating on the water. Photo by David S. Kolarik.
This band (guy on left) had just played in a small bar in Szombathely, Hungary. The guy on the right was taking photos throughout then after he pulled out this dictaphone and did a 10 minute interview in front of us in the bar. I'm guessing from a local paper or musi magazine,
This shot really captured the discomfort of the band member even though taken in very low light and no flash. Nokton @f1.4 at ISO 3200.
Quarterback Matt Hasselbeck gets interviewed as the majority of his teammates make their way off the field and into the locker room following the annual Seahawks Scrimmage at Qwest Field on August 2, 2008.
If you wanna know a bit more on my photographic work, here is a recent inteview for Mull It Over : mullitover.cc/post/135635325748
Mayor Bill de Blasio sits for an interview with NY1's Errol Louis in Brooklyn Bridge Park during City Hall In Your Borough on Monday, August 20, 2018. Michael Appleton/Mayoral Photography Office
A screen grab of a Dec 1957 episode of The Phil Silvers Show that I watched on You Tube. Note the decorative keystone over the fireplace. I have enjoyed watching this old series although his morals do not represent Masonic values.
Dick Cavett interviews Phil Silvers in Hollywood in 1981: youtu.be/eg5_zgHtXVc
Square and Compasses - This symbolic stone was removed from above the entrance to the Lambton Mills Masonic Temple erected by Mimico Lodge on the north side of Dundas Street in 1882.
Masonic Square and Compasses.
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest.”
The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.
Masonic Square and Compasses.
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest."
NOTE: INFORMATION HAS BEEN RECEIVED ON 4/21/13 WHICH CALLS THE VERACITY OF THIS ACCOUNT INTO QUESTION.
Jo Quasney is a survivor of Hurricane Katrina. Of French Creole heritage, Quasney is a native of New Orleans who was living alone in her house in the eighth ward when the hurricane struck on August 29, 2005. Quasney bred birds and had no way of transporting or finding shelter for the birds when New Orleans residents were advised to evacuate so she stuck it out. Her neighborhood began to flood after she heard an explosion that she attributes to a Halliburton company oil barge breaking through a levee. (For a discussion on the cause of the breech, see en.wikipedia.org/wiki/ING_4727)
A third of her roof was blown off but she managed to escape upstairs from the rising waters. To this day she has nightmares from hearing her birds drowning on the floor below. She had bottles of water but no food for three days and recalls most vividly the silence around her, hearing only her own breathing, a silence so profound it was deafening. From time to time she waved, in vain, to a helicopter passing overhead.
After the third day, she noticed that the waters had receded sufficiently for her to exit the house. Throwing her briefcase and a small bag of clothes into a recycling bin, she left the house and, turning around to look back, then knew in her heart she would probably not see her home again.
For more than ten hours she pushed her bin through the floodwaters to the Superdome where she endured three horrific days of body odor, people out of control and authorities treating the hurricane victims like prisoners.
She left and started walking along Highway 10 and says she was halfway to Baton Rouge when she got picked up by a relief worker. There was no place to stay in Baton Rouge so she wound up for another three days at the Cajun Dome in Lafayette, Louisiana which was not much better than the Superdome but she at least got a chance to shower.
Authorities suggested that she relocate to Arkansas but she was determined to come to Philadelphia, where she had studied years before. For three days she sat in a chair in the Greyhound bus station waiting for a bus that could get her to Atlanta from where she get her connection north.
Upon arriving in Philadelphia, a very kindly hotel manager at a hotel she was acquainted with from before converted the $68 nightly charge to $60 for the week upon learning of she had survived Katrina.
After a couple days of recuperating, the manager knocked at her door and told her to go to the Wanamaker School. The people there were incredible, she says- firefighters, police and Housing Authority personnel volunteering their off-time. She received food stamps, help filling out FEMA and other forms, a $300 gift card from the Red Cross and relocation assistance. She still maintains friendships with people she met there.
Finally, Quasney decided to accept placement at the Emlen Arms, a Philadelphia Housing Authority building. In her small, but very cozy apartment, she has the company of Ziggy, a parrot rescued from a crack house, a parakeet and a cat. She has amassed a sizable little collection of ceramic elephants, like the one she had in New Orleans, and numerous pothos plants adorn her small living room.
She loves Mardi Gras so that’s what she misses most about New Orleans but she continues the tradition here. She decorates a tree in green and gold, the Mardi Gras colors, and bakes King cakes for the community room. Friends and neighbors usually cajole her into making jambalaya and gumbo.
As she has become settled in her new home, she is now the one regularly helping newly entering residents who often arrive with few possessions. Of her Emlen Arms sanctuary, Quasney says, “They’ll have to carry me out of here feet first.”
Mayor Eric Adams visits the memorial for Brandon Hendricks and does walk and talk with NBC News' Lester Holt in the Bronx on Thursday, July 7, 2022. Michael Appleton/Mayoral Photography Office
Workshops in villages in Tanzania in September and October 2017 brought local villagers together to discuss inclusive agriculture, as part of CIFOR's work on corporate commitments to sustainability and the incorporation of outgrowers.
Photo by Nkumi Mtimgwa/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Gorgeous Nimrat Khaira Interview in Tashan Da Peg – Gorgeous Nimrat Khaira Punjabi Singer Inerview in Tashan Da Peg. She is Very Talented Punjabi Singer and Winner of Voice Punjab Season 3 (2013) Nimrat Khaira Was Born on 22 December 1992. Nimrat Khaira Mother Goverment Teacher and Father R...
punjabitoday.com/news/gorgeous-nimrat-khaira-interview-ta...
I have several escape routes out of the job I'm currently doing. I applied last week for a 3 year secondment to the Boundary Commission for Wales, dealing with electoral boundary reviews.
Today I had this letter telling me I've got an interview for the job! Here's hoping I get it as I know it would make me feel so much happier than I do now.
You people call me a ghost crab but I have never worked out why. Someone tried to tell me once but the answer was confusing. Because I am a light colour, because I am the colour of sand and you think I am well camouflaged, because I can run fast and hide in my burrow or dash into the sea if I hear your big clumsy footsteps and loud voices, because I come out at night. I was also told you think I am a scavenger.
I agreed to talk off the record today and pose for some photos so as to set things straight. Not true I only come out at night. I’m out here now, aren’t I. And if you sit down quietly here, where the sand is damp, you will see many of my relatives and neighbours. One topic we probably shouldn’t go into is the name we give you human beans. Well, you do stamp all over our homes and chase after and grab us for crab knows why! No wonder we run away from you!
I know that you sometimes confuse us with fiddler crabs, but it’s not hard to tell the difference. In fiddler crabs only the male has one claw larger than the other but with us ghost crabs we all do. We spend a lot of time cleaning our burrows and eating and probably not as much time fighting as the fiddlers. Our eyes are different too.
I showed the human bean how I eat and make small neat sand balls of the remains of my food, how I can carry bigger balls of sand when cleaning out my home, how I throw the sand a long way ( but she’s too slow to get that; we ghost crabs have competitions to see how fast we can throw sand balls and I am the current seaweed record holder), how I can hold my eyes down and make a funny face.
I wanted this human to do a photo story, some writing and a photo, some more writing and a photo to illustrate etc but the human tells me that “flickr” doesn’t do that well anymore. Oh well, I will just have to find a video photographer for my next interview.
Note from the photographer
This photo entailed considerable physical discomfort as the day before I had slipped on seaweed and fallen heavily on my posterior end. This made sitting on the sand to listen to the above very painful and errors of translation may have crept into the account. ( But my camera is Okay ; - ))))
I have no idea who she is or what they were interviewing her about. I was interested to see that that were using Canon 5D Mark (II or III). When the cameraman saw me, he gave my 5DII a careful once over.
Bob in Michigan (according the car tag and heavy coat) interviewing a Shell owner for one of Shell's in-house publications.
I have a few of Bob's stories -- will dig them out and post them soon.