View allAll Photos Tagged orchestration
3 layers of printed block...trunk effect has taken some real puzzling to orchestrate by hand...still fussing around with it & colors a bit #woodcut #4blockprint #printmaking #wip #woodcutprinting #reliefprint #branching #woodcutprocess #woodblock
Wishing everyone a very happy, healthy & safe holiday season!
Image Details: Taken by Jay Edwards from the Snake River Plain in Idaho before, during and after totality of the the Total Solar Eclipse of August 21, 2017; the attached is a composite of several exposures utilizing a Star Adventurer tracking mount to carry an Orion ED80T CF triplet apochromatic refractor connected to a Canon 700D DSLR whose exposure sequence was controlled by a windows laptop running Eclipse Orchestrator. The overall image has been resized down to HD resolution and the bit depth lowered to 8 bits per channel to reduce the file size.
EdgeIQ provides a full suite of device management solutions. Our local service running on the local gateway communicates directly with the device and delivers full configuration updates, software updates, and monitors the device health and wellness for correct operation. Visit: www.edgeiq.io/field-service
The orchestration of the universe has gone democratic since its birth, where each performer, even a small blade of grass with the sunbeams has its fare share of contribution to the eternal melody, being conducted by the invisible composer.
It's a new "Dawn", it's a new day. As dawn struck, on Sydney Harbour, the "sexiest Rolls Royce ever built" was launched gracing Australia's largest superyacht available for charter, Tango.
Bray Management are proud to have orchestrated the yacht charter for the launch.
3D red/cyan anaglyph created from stereograph courtesy of National Portrait Gallery, Smithsonian Institution; Frederick Hill Meserve Collection, at: npg.si.edu/portraits
NPG Title: Charles and Lavinia Stratton
Date: Feb 1863
Photographer: Mathew Brady N.Y. Studio
Notes: Charles Stratton (aka General Tom Thumb) and Lavinia Warren were married in a packed ceremony, orchestrated by P.T. Barnum, on Feb 10, 1863, at Grace Church on N.Y.'s Broadway.
Across the street was Mathew Brady's N.Y. studio, where the wedding party sat for various "Fairy Wedding" poses, which within days, would be advertised by the publisher, E. H. & T. Anthony, for sale in newspapers across the country. These "card photographs" (CdV's) sold for 25 cents, 12 1/2 cents extra for colored, or a "stereoscopic picture" (stereo card) could be had for 50 cents, 75 cents for a "stereoscopic colored." The publisher even provided for mail delivery as the ad states, "...can be sent by mail on receipt of price and postage."
Some 43 years later, "Mrs. Tom Thumb" had "some recollections" of the event, which were published in the Oct 7, 1906, edition of the NY Tribune. The article also gives her account of meeting President Lincoln and Mrs. Lincoln at a White House reception, later that week, excerpts below:
---------------------------
New-York Tribune
October 07, 1906
Some Recollections
The Story of My Marriage and Honeymoon
By MRS. TOM THUMB
"To me as to every other woman, my marriage was the most important event of my life, and as I look back upon it, I think I can safely say that no other event ever occasioned so great public interest in me as did that. We were married in Grace Church, New York, on Tuesday, February 10, 1863. The further particulars are taken from the report published in "Frank Leslie's Weekly"
“Before the hour of high noon," says the report, "the entire neighborhood of Grace Church was thronged by expectant and smiling crowds. All vehicles had been turned from the route by the police, whose cooperation had been obtained by the foresight of the presiding genius, P.T. Barnum.
"To the diminutive bridal pair, the ordinary arrangements of the chancel would have been far too Brobdignagian. The chancel rail would have towered above their heads, and the chancel steps would have proved heights beyond their powers to scale. Therefore, a neat platform was erected in front of the chancel, to the right of the pulpit, carpeted like the aisles, six steps leading to it, and spanning the three ordinary steps which suffice for ordinary sized mortals. The platform was prettily bordered with gilded moldings, and the surface of it was at about half the height of the chancel rail.
"The interior of the church was crowded with a gay assemblage of the youth, beauty, wealth, and worth of the metropolis. The cards of invitation had requested full dress, which was, in most instances, complied with, so that, the swarming, bustling congregation resembled one vast parterre of brilliant tulips all ablaze in the midday sun. Major General Ambrose L. Burnside was, perhaps, the most notable guest who assisted upon the extraordinary occasion.
The General as a Bridegroom
GENERAL THUMB looked the respectable gentleman in miniature, wearing a full dress suit of the finest broadcloth, vest of white corded silk, with blue silk under vest, white gloves, and shining boots. Commodore Nutt was similarly tired, with a pink under vest.
"The graceful form of the bride was displayed to peculiar advantage in her robe of white satin, its skirt, fashioned with a flowing train, decorated with a superb point lace flounce, which cost its half hundred a yard. Her massive hair, slightly waved, was rolled a la Eugenie in front, and elaborately puffed behind. The bride's jewels consisted of a complete parure of diamonds comprising a superb necklace, with pendants, bracelets, and brooch of star design, ear rings, solitaires with pear shaped pendants, while two diamond pins fastened the bridal veil.
"'The tiny bridesmaid, who had just attained sweet sixteen, wore a white silk dress covered with tulle puffings, interspersed with bright rosebuds, the low necked corsage having a bertha to match. A wreath of small roses rested on her short curls, and unobtrusive diamond ornaments completed her toilet.
"The ceremony was performed by the Rev. Mr. Willey of Bridgeport. Connecticut; the bride was given away, at the request of her parents, by the Rev. Dr. Putnam of Middleboro; and the benediction was pronounced by the Rev. Dr. Taylor, rector of Grace Church. After the wedding, reentering the carriages in waiting, they were rapidly driven through the animated crowds that nearly blocked Broadway, to the Metropolitan hotel, where they received their 'clear five thousand friends,' from one until three o'clock.
"Among the many bridal gifts presented to the happy pair were a coral and gold set brooch, earrings, and studs, of the finest workmanship, presented by Mrs. Cornelius Vanderbilt ; a pair of silver cups and saucers lined with gold, by Mrs. William Bassett ; a silver miniature tea set, by Mrs. James Gordon Bennett; a set of charms in gold, presented to the bride by August Belmont ; a necklace of Tuscan gold, by Mrs. Belmont; coral leaf brooch and earrings with diamond center, by Mrs. Astor……set of Chinese fire screens by Mrs. Lincoln.
"At ten o'clock in the evening the New York Excelsior band serenaded the bridal party at the Metropolitan. The street in front of this hotel was so densely crowded with people that stage and other vehicles were brought to a standstill, or obliged to turn off through other streets in order to pursue their way. After the band had played several airs, Mr. and Mrs. Stratton appeared upon the balcony, and were greeted with cheers."
The day after our wedding we set out on our bridal tour, stopping first at Philadelphia and then at Washington, where we were invited to the White House. “The Washington Star” gives the following account of it: "Last evening, at eight o’clock, the little couple visited, by invitation, at the White House, and were introduced to the President, Mrs. Lincoln, Secretaries Chase, Stanton, Welles, Blair, and Usher, and Senator Wilson, Generals Butler and Clay, Hon. J. J. Crittendon, and many other gentlemen of distinction, nearly all of whom were accompanied by their families. The President, in the course of the evening, remarked to General Thumb that he had thrown him completely in the shade; that he, the General, was now the great center of attraction. Refreshments were served to the guests of the President and Mrs. Lincoln, which the little folks appeared to relish as much as any person present. At half past nine they left the White House and repaired to Willard 's, where they received the members of the press and a few select friends.
Mr. and Mrs. Lincoln received us cordially. When Mr. Lincoln stooped his towering form to greet us, there was a peculiarly quizzical expression in his eye, which almost made me laugh outright. Knowing his predilection for story telling, I imagined he was about to utter something of a humorous nature; but he only said, with a genial smile, "Mrs. Stratton, I wish you much happiness in your union." After receiving the congratulations of all present, the President took our hands and led us to the sofa, lifting the General up and placing him at his left hand, while Mrs. Lincoln did the same service for me, placing me at her right. We were thus seated between them.
"Tad," the favorite son, stood beside his mother and gazed at me for a few moments, then, looking at his father, said half audibly, "Mother, isn't it funny that father is so tall, and Mr. and Mrs. Stratton are so little?" The President, overhearing the remark, replied, "My boy, it is because Dame Nature sometimes delights in doing funny things. You need not seek for any other reason; for here you have the short and the long of it," pointing to the General and himself. This created quite a laugh. A few minutes afterward "Tad" again whispered to his mother, "Mother, if you were a little woman like Mrs. Stratton, you would look just like her."
"Mr. Stanton," said the President, "is General Tom Thumb's name upon our army list?"- -"No," said Mr. Stanton; then, turning to the General he inquired, "Where did you receive your title?" "From Queen Victoria," replied the General (this is a fact not generally known). "Why, how was that?" asked Mr. Lincoln. "When I appeared before the Queen at Buckingham Palace," said the General, "there were present besides the Queen, Prince Albert, the Prince of Wales, the Princess Royal" (since Empress of Germany; they were children then), "the Queen Dowager, the Duke of Wellington, and a number of nobility. Mr. Barnum had introduced me as Tom Thumb. The Duke of Wellington remarked to one of the nobility, 'Their Royal Highnesses are head and shoulders taller than Tom Thumb.’ Her Majesty heard it, and turning to the old Duke said, 'General Tom Thumb.' The Duke bowed, and with a military salute to me, repeated General Tom Thumb, and everybody bowed. After that I was always called by the title, and English soldiers always present arms as I pass."
"You have never been called upon to do active duty in the field?" said Mr. Stanton. "Oh," quickly responded the President, "his duty now will always be required in the matrimonial field. He will serve with the home guard."
The next morning we received from the President a pass allowing us to cross the "Long Bridge,” and a permit to visit the Army Camp on Arlington Heights. About one hundred and fifty thousand soldiers were concentrated there. Regiments were arriving and departing almost hourly. My brother Benjamin's regiment, the Fortieth Massachusetts, had fortunately arrived from the front the evening before, so we had a happy meeting with him; he was granted a furlough for a few days that he might accompany us north. As we rode through the vast camp, we were greeted with cheers, throwing up of caps, and shouts from all sides….”
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Red/Cyan (not red/blue) glasses of the proper density must be used to view 3D effect without ghosting. Anaglyph prepared using red cyan glasses from The Center For Civil War Photography / Civil War Trust. CCWP Link: www.civilwarphotography.org/
Chroma, Royal Opera House London, 2006. John Pawson, architect.
John Pawson, the minimalist architect, takes on set design at the Royal Opera House in London.
Chroma
Royal Opera House, London
November 2006
Director of The Royal Ballet: Monica Mason OBE
Music: The White Stripes, arranged by Joby Talbot, orchestrated by Christopher Austin
Choreography: Wayne McGregor
Costume: Moritz Junge
Lighting: Lucy Carter
Project Architect: Mark Treharne
Dancers: Federico Bonelli, Alina Cojocaru, Lauren Cuthbertson, Sarah Lamb, Steven McRae, Ludovic Ondiviela, Tamara Rojo, Eric Underwood, Edward Watson and Jonathan Watkins
A design for the stage which uses the architectural motifs of inside and outside, entrance and exit, light and shadow, void and plenitude to create a spatially charged environment which is explored through the medium of the dancers’ bodies.
Minimalist Architecture is the physical expression of a way of being: the form does not follow a particular fashion, it follows a particular life.
The only universal measure is whether the space feels comfortable and right to the people who use it. Minimalism - or, as the sculptor Donald Judd preferred to put it, the simple expression of complex thought - is only one valid response of an aesthetically diverse society, answering the needs of particular individuals and provoking debate in society at large about how we choose to live and how we expect architecture to support these choices.
I believe we have to get away from the idea of minimalism as a style and instead understand it as a way of thinking about space: its proportions, its surfaces, and the fall of light. The vision is comprehensive and seamless, a quality of space rather than forms; places, not things. This is why, in its fullest and most satisfying expression, it is not something that you can readily acquire a piece of.
I think it is important, too, to understand that minimalism is not a manifesto for spartan living. This is a recurrent misunderstanding that springs in part from its association with movements where renunciation of one sort or another is a central theme - it is unusual for a discussion of architectural simplicity not to include some reference to Zen Buddhism, the Cistercian monks or the Shakers. One may respond to the aesthetic expressions and indeed share many of the needs that these movements have sought to address without adopting particular codes of behaviour: one can want a place where it is possible to be still without necessarily wanting to pray in it.
Minimalism is not an architecture of self-denial, deprivation or absence: it is defined not by what is not there, but by the rightness of what is there and by the richness with which this is experienced.
This is definitively not about creating the architectural equivalent of the hair shirt, but about making the best possible contexts for the things that matter in life, on paring back the accretions of surface and behaviour to what is essential: the glory lies not in the act of removal, but in the experience of what is left. Profound - and pleasurable - experience is located in ordinary experience: in the taking of a shower or the preparation of food.
People tend to home in on the idea of removal, believing that it is all somehow a case of throwing out the furniture and painting the walls white. The serious thought that underlies the endeavour is missed. Real comfort is not about a large sofa; in my view, many things that look as though they should be comfortable aren't at all.
For me, comfort is synonymous with a state of total clarity where the eye, the mind and the physical body are at ease, where nothing jars or distracts. This emphasis on a quality of experience is important. Some people seem to have an idea that the only role the individual has in such spaces is the capacity to contaminate. In the sort of work that interests me, the antithesis is true: the individual is always at its heart.
We are living through a period of rapid change, which we fuel with our hunger for the latest new thing. Novelty as an end in itself is overrated. Instead of pleasure in its more profound forms, we chase distraction. We are preoccupied by ideas of the future when what we are really trying to do is make the present feel new and engaging.
In architecture, this translates into rolling programmes of refurbishment. We change everything and nothing. If our interest in the future is really the desire for a present that satisfies us - physically, visually and psychologically - can we develop perpetually interesting forms that exist outside the forces of time and fashion? This, I believe, is what the aesthetic of simplicity, with its vast and paradoxical potential for richness and sensuality, offers.
Rewire Festival 2016
Grote Kerk, Den Haag
Experimental post-punk band Xiu Xiu (US) is known for it’s versatility and high productivity; in thirteen years time the group – based around Jamie Stewart – has released no less than eleven records. Xiu Xiu’s music varies from damaged avant-pop to artfully orchestrated rock to squalls of black-hearted noise and most bases around and between.
For a series of special performances Xiu Xiu have made new interpretations of the music from the legendary ’90’s TV-show Twin Peaks, emphasizing its chaos and drama. Rather than attempting to replicate the original music, the group offers new interpretations of the music. These new interpretations make the drama of David Lynch’s classic series come alive.
Digitally painted with Tayasui Sketches (iPad app). Looks best on a retina display set to the brightest, which is how it looked to me as I "painted" (and erased) it on an iPad Mini 2.
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016
Las Fallas, Valencia Spain Spring Festival, the building and burning of the Falla 15th to 19th March. Europe's largest and longest street party, an exuberant, anarchic, round the clock swirl of fireworks, music, explosions and fire that brings an estimated two million visitors to the city. The more than 350 fallas are giant sculptures of papier maché and wood. They satirise celebrities and politicians and local customs. The cremà after midnight on 19th March is when every falla goes up in flames except for one small ninot.
The Royal Ballet: Beauty Mixed Programme
Beauty Mixed Programme, 26 June - 11 July 2021. Live Stream 9 July 2021.
The Royal Ballet continues to share a broad range of classics and new work across this Season and into the next, shining a light on the Company’s rich history and vibrant future as it turns 90. In honour of the Company’s founder Dame Ninette de Valois who created the company we know now as The Royal Ballet, and whose vision was to ‘respect the past, herald the future but concentrate on the present’, the Beauty Mixed Programme features work across the generations from Madam’s third act of The Sleeping Beauty to a world premiere by one of the Company’s choreographers.
Programme & Casting:
Anemoi (World Premiere)
Choreography: Valentino Zucchetti
Dancers: Mariko Sasaki, Leticia Dias, Lukas Bjørneboe Brændsrød, Taisuke Nakao
Morgen
Choreography: Wayne McGregor
Dancers: Francesca Hayward, Cesar Corrales
Winter Dreams – ‘farewell’ pas de deux
Choreography: Kenneth MacMillan
Dancers: Laura Morera, Ryoichi Hirano
After the Rain - pas de deux
Choreography: Christopher Wheeldon
Dancers: Beatriz Stix-Brunell, Reece Clarke
Woman with water (new to The Royal Ballet)
Choreography: Mats Ek
Dancers: Mayara Magri, Lukas Bjørneboe Brændsrød
Voices of Spring
Choreography: Frederick Ashton
Dancers: Anna Rose O’Sullivan, Marcelino Sambé
The Sleeping Beauty Act III
Choreography: Marius Petipa
Dancers: Natalia Osipova, Reece Clarke (Grand Pas de deux)
Isabella Gasparini, Joonhyuk Jun (Blue Bird pas de deux)
photo © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
by kind permission of the Royal Opera House
A Science & Symphony Film by José Francisco Salgado
Music by Modest Mussorgsky. Orchestrated by M. Ravel
A KV 265 Production
© 2015 José Francisco Salgado, PhD.
Do not use without permission.
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016
"Experimental Psychiatry" by Lucas E. Wagner [me]
Styling, Idea, Concept, Editing, Orchestration, & Photograph by Me
Modeled by Marcelle Morrison
31 photo panorama stitched together in photoshop, mirror twin trick, this is NOT a photo manipulation, I didn't photoshop him in I just moved him during my exposure.
Makeup by: Sophia P.A. Burke
Reblog on tumblr & <3 lucasembry.tumblr.com/post/25125262297
Favorite and comment on Deviantart: shadyblues.deviantart.com/art/Experimental-Psychiatry-308...
“The Concert,” 2022, Latifa Echakhch, b. 1974, Morocco, Moroccan-French visual artist working in Switzerland at Switzerland Pavilion
Latifa Echakhch creates an exhibition akin to an orchestrated time-travel experience. A rhythmic and spatial environment that allows for a counter clockwise perception of time and of one’s own body, simultaneously exploring continuity, movements, and sequences. Ephemeral sculptures inspired by the folk statuary emerge in the orchestrated lighting capturing the rhythms composed by percussionist Alexandre Babel. You can see the music, but you can’t hear it. The artist draws from the vocabulary of ephemeral chariot constructions, tackling concerns and disputes, dreams, and utopias, playing with harmonies and dissonances, with the mixed feelings of expectation, fulfilment, destruction, and memories.
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
Varosha - Maras is the southern quarter of the Famagusta, a de jure territory of Cyprus, currently under the control of Northern Cyprus. Varosha has a population of 226 in the 2011 Northern Cyprus census. The area of Varosha is 6.19 km2 (2.39 sq mi).
The name of Varosha derives from the Turkish word varoş (Ottoman Turkish: واروش, 'suburb'). The place where Varosha is located now was empty fields in which animals grazed.
In the early 1970s, Famagusta was the number-one tourist destination in Cyprus. To cater to the increasing number of tourists, many new high-rise buildings and hotels were constructed. During its heyday, Varosha was not only the number-one tourist destination in Cyprus, but between 1970 and 1974, it was one of the most popular tourist destinations in the world and was a favorite destination of such celebrities as Elizabeth Taylor, Richard Burton, Raquel Welch, and Brigitte Bardot.
Before 1974, Varosha was the modern tourist area of the Famagusta city. Its Greek Cypriot inhabitants fled during the Turkish invasion of Cyprus in 1974, when the city of Famagusta came under Turkish control, and it has remained abandoned ever since. In 1984 a U.N. resolution called for the handover of the city to UN control and said that only the original inhabitants, who were forced out, could resettle in the town.
Entry to part of Varosha was opened to civilians in 2017.
In August 1974, the Turkish Army advanced as far as the Green Line, a UN-patrolled demilitarized zone between the Greek Cypriots and Turkish Cypriots, and controlled and fenced Varosha. Just hours before the Greek Cypriot and Turkish armies met in combat on the streets of Famagusta, the entire Greek Cypriot population fled to Paralimni, Dherynia, and Larnaca, fearing a massacre. The evacuation was aided and orchestrated by the nearby British military base. Paralimni has since become the modern-day capital of the Famagusta province of Greek Cypriot-led Cyprus.
The Turkish Army has allowed the entry of only Turkish military and United Nations personnel since 2017.
One such settlement plan was the Annan Plan to reunify the island that provided for the return of Varosha to the original residents. But this was rejected by Greek Cypriots in a 2004 referendum. The UN Security Council Resolution 550 states that it "considers attempts to settle any part of Varosha by people other than its inhabitants as inadmissible and calls for the transfer of this area to the administration of the United Nations".
The European Court of Human Rights awarded between €100,000 and €8,000,000 to eight Greek Cypriots for being deprived of their homes and properties as a result of the 1974 invasion. The case was filed jointly by businessman Constantinos Lordos and others, with the principal judgement in the Lordos case dating back to November 2010. The court ruled that, in the case of eight of the applicants, Turkey had violated Article 1 of Protocol 1 of the European Convention on Human Rights on the right of peaceful enjoyment of one's possessions, and in the case of seven of the applicants, Turkey had violated Article 8 on the right to respect for private and family life.
In the absence of human habitation and maintenance, buildings continue to decay. Over time, parts of the city have begun to be reclaimed by nature as metal corrodes, windows are broken, and plants work their roots into the walls and pavement and grow wild in old window boxes. In 2014, the BBC reported that sea turtles were observed nesting on the beaches in the city.
During the Cyprus Missile Crisis (1997–1998), the Turkish Cypriot leader, Rauf Denktaş, threatened to take over Varosha if the Cypriot government did not back down.
The main features of Varosha included John F. Kennedy Avenue, a street which ran from close to the port of Famagusta, through Varosha and parallel to Glossa beach. Along JFK Avenue, there were many well known high rise hotels including the King George Hotel, The Asterias Hotel, The Grecian Hotel, The Florida Hotel, and The Argo Hotel which was the favourite hotel of Elizabeth Taylor. The Argo Hotel is located near the end of JFK Avenue, looking towards Protaras and Fig Tree Bay. Another major street in Varosha was Leonidas (Greek: Λεωνίδας), a major street that came off JFK Avenue and headed west towards Vienna Corner. Leonidas was a major shopping and leisure street in Varosha, consisting of bars, restaurants, nightclubs, and a Toyota car dealership.
According to Greek Cypriots, 425 plots exist on the Varosha beach front, which extends from the Contandia hotel to the Golden Sands hotel. The complete number of plots in Varosha are 6082.
There are 281 cases of Greek Cypriots who filed to the Immovable Property Commission (IPC) of Northern Cyprus for compensation.
In 2020, Greek Cypriot Demetrios Hadjihambis filed a lawsuit seeking state compensation for financial losses.
The population of Varosha was 226 in the 2011 Northern Cyprus census.
In 2017, Varosha's beach was opened for the exclusive use of Turks (both Turkish Cypriots and Turkish nationals).
In 2019, the Government of Northern Cyprus announced it would open Varosha to settlement. On 14 November 2019, Ersin Tatar, the prime minister of Northern Cyprus, announced that Northern Cyprus aims to open Varosha by the end of 2020.
On 25 July 2019, Varosha Inventory Commission of Northern Cyprus started its inventory analysis on the buildings and other infrastructure in Varosha.
On 9 December 2019, Ibrahim Benter, the Director-General of the Turkish Cypriot EVKAF religious foundation's administration, declared all of Maraş/Varosha to be the property of EVKAF. Benter said "EVKAF can sign renting contracts with Greek Cypriots if they accept that the fenced-off town belongs to the Evkaf."
In 2019–20, inventory studies of buildings by the Government of Northern Cyprus were concluded. On 15 February 2020, the Turkish Bar Association organised a round table meeting at the Sandy Beach Hotel in Varosha, which was attended by Turkish officials (Vice President Fuat Oktay and Justice Minister Abdulhamit Gül), Turkish Cypriot officials, representatives of the Turkish Cypriot religious foundation Evkaf, and Turkish and Turkish Cypriot lawyers.
On 22 February 2020, Cyprus declared it would veto European Union funds to Turkish Cypriots if Varosha were opened to settlement.
On 6 October 2020, Ersin Tatar, the Prime Minister of Northern Cyprus, announced that the beach area of Varosha would reopen to the public on 8 October 2020. Turkey's president, Recep Tayyip Erdoğan, said Turkey fully supported the decision. The move came ahead of the 2020 Northern Cypriot presidential election, in which Tatar was a candidate. Deputy Prime Minister Kudret Özersay, who had worked on the reopening previously, said that this was not a full reopening of the area, that this was just a unilateral election stunt by Tatar. His People's Party withdrew from the Tatar cabinet, leading to the collapse of the Turkish Cypriot government. The EU's diplomatic chief condemned the plan and described it as a "serious violation" of the U.N. ceasefire agreement. In addition, he asked Turkey to stop this activity. The U.N. Secretary-General expressed concern over Turkey's decision.
On 8 October 2020, some parts of Varosha were opened from the Officers' Club of Turkish and Turkish Cypriot Army to the Golden Sands Hotel.
In November 2020, the Turkish President Recep Tayyip Erdoğan and Turkey's ambassador to Nicosia, visited Varosha. In addition, the main avenue in Varosha has been renamed after Semih Sancar, Chief of the General Staff of Turkey from 1973 to 1978, a period including the 1974 Turkish invasion of Cyprus.
The European Parliament on 27 November, asked Turkey to reverse its decision to re-open part of Varosha and resume negotiations aimed at resolving the Cyprus problem on the basis of a bi-communal, bi-zonal federation and called on the European Union to impose sanctions against Turkey, if things do not change. Turkey rejected the resolution, adding that Turkey will continue to protect both its own rights and those of Turkish Cypriots. The Turkish Republic of Northern Cyprus presidency also condemned the resolution.
On 20 July 2021, Tatar, the president of Northern Cyprus announced the start of the 2nd phase of the opening of Varosha. He encouraged Greek Cypriots to apply Immovable Property Commission of the Turkish Republic of Northern Cyprus to claim their properties back if they have any such rights.
Bilal Aga Mosque, constructed in 1821 and taken out of service in 1974, was re-opened on 23 July 2021.
In response to a decision by the government of Turkish Cyprus, the presidential statement of the United Nations Security Council dated on 23 July said that settling any part of the abandoned Cypriot suburb of Varosha, "by people other than its inhabitants, is 'inadmissible'." The same day, Turkey rejected the presidential statement of the UNSC on Maras (Varosha), and said that these statements were based on Greek-Greek Cypriot propaganda, were groundless and unfounded claims, and inconsistent with the realities on the Island. On 24 July 2021, the presidency of Northern Cyprus condemned the presidential statement of the UNSC dated on 23 July, and stated that "We see and condemn it as an attempt to create an obstacle for the property-rights-holders in Varosha to achieve their rights".
By 1 January 2022, nearly 400,000 people had visited Varosha since its opening to civilians on 6 October 2020.
On 19 May 2022, Northern Cyprus opened a 600m long X 400m wide stretch of beach on the Golden Sands beach (from the King George Hotel to the Oceania Building) in Varosha for commercial use. Sun beds and umbrellas were installed.
UNFICYP said it would raise the decision taken by Turkish Cypriot authorities to open that stretch of beach in Varosha with the Security Council, spokesperson for the peacekeeping force Aleem Siddique said on Friday. The UN announced its "position on Varosha is unchanged and we are monitoring the situation closely".
In October 2022, the Turkish Cypriots announced that public institutions will be opened in the city.
In April 2023, Cleo Hotel, the 7-floor Golden Seaside Hotel, and the 3-star Aegean Hotel were purchased by a Turkish Cypriot businessman (from their Greek Cypriot owners) who will operate them within 2025.
On 10 August 2023, the Government of Northern Cyprus decided to construct a marina and tourist facility in Varosha.
Varosha was analyzed by Alan Weisman in his book The World Without Us as an example of the unstoppable power of nature.
Filmmaker Greek Cypriot Michael Cacoyannis described the city and interviewed its exiled citizens in the film Attilas '74, produced in 1975.
In 2021, the Belarusian group Main-De-Gloire dedicated a song to this city that has become a ghostly place.
Northern Cyprus, officially the Turkish Republic of Northern Cyprus (TRNC), is a de facto state that comprises the northeastern portion of the island of Cyprus. It is recognised only by Turkey, and its territory is considered by all other states to be part of the Republic of Cyprus.
Northern Cyprus extends from the tip of the Karpass Peninsula in the northeast to Morphou Bay, Cape Kormakitis and its westernmost point, the Kokkina exclave in the west. Its southernmost point is the village of Louroujina. A buffer zone under the control of the United Nations stretches between Northern Cyprus and the rest of the island and divides Nicosia, the island's largest city and capital of both sides.
A coup d'état in 1974, performed as part of an attempt to annex the island to Greece, prompted the Turkish invasion of Cyprus. This resulted in the eviction of much of the north's Greek Cypriot population, the flight of Turkish Cypriots from the south, and the partitioning of the island, leading to a unilateral declaration of independence by the north in 1983. Due to its lack of recognition, Northern Cyprus is heavily dependent on Turkey for economic, political and military support.
Attempts to reach a solution to the Cyprus dispute have been unsuccessful. The Turkish Army maintains a large force in Northern Cyprus with the support and approval of the TRNC government, while the Republic of Cyprus, the European Union as a whole, and the international community regard it as an occupation force. This military presence has been denounced in several United Nations Security Council resolutions.
Northern Cyprus is a semi-presidential, democratic republic with a cultural heritage incorporating various influences and an economy that is dominated by the services sector. The economy has seen growth through the 2000s and 2010s, with the GNP per capita more than tripling in the 2000s, but is held back by an international embargo due to the official closure of the ports in Northern Cyprus by the Republic of Cyprus. The official language is Turkish, with a distinct local dialect being spoken. The vast majority of the population consists of Sunni Muslims, while religious attitudes are mostly moderate and secular. Northern Cyprus is an observer state of ECO and OIC under the name "Turkish Cypriot State", PACE under the name "Turkish Cypriot Community", and Organization of Turkic States with its own name.
Several distinct periods of Cypriot intercommunal violence involving the two main ethnic communities, Greek Cypriots and Turkish Cypriots, marked mid-20th century Cyprus. These included the Cyprus Emergency of 1955–59 during British rule, the post-independence Cyprus crisis of 1963–64, and the Cyprus crisis of 1967. Hostilities culminated in the 1974 de facto division of the island along the Green Line following the Turkish invasion of Cyprus. The region has been relatively peaceful since then, but the Cyprus dispute has continued, with various attempts to solve it diplomatically having been generally unsuccessful.
Cyprus, an island lying in the eastern Mediterranean, hosted a population of Greeks and Turks (four-fifths and one-fifth, respectively), who lived under British rule in the late nineteenth-century and the first half of the twentieth-century. Christian Orthodox Church of Cyprus played a prominent political role among the Greek Cypriot community, a privilege that it acquired during the Ottoman Empire with the employment of the millet system, which gave the archbishop an unofficial ethnarch status.
The repeated rejections by the British of Greek Cypriot demands for enosis, union with Greece, led to armed resistance, organised by the National Organization of Cypriot Struggle, or EOKA. EOKA, led by the Greek-Cypriot commander George Grivas, systematically targeted British colonial authorities. One of the effects of EOKA's campaign was to alter the Turkish position from demanding full reincorporation into Turkey to a demand for taksim (partition). EOKA's mission and activities caused a "Cretan syndrome" (see Turkish Resistance Organisation) within the Turkish Cypriot community, as its members feared that they would be forced to leave the island in such a case as had been the case with Cretan Turks. As such, they preferred the continuation of British colonial rule and then taksim, the division of the island. Due to the Turkish Cypriots' support for the British, EOKA's leader, Georgios Grivas, declared them to be enemies. The fact that the Turks were a minority was, according to Nihat Erim, to be addressed by the transfer of thousands of Turks from mainland Turkey so that Greek Cypriots would cease to be the majority. When Erim visited Cyprus as the Turkish representative, he was advised by Field Marshal Sir John Harding, the then Governor of Cyprus, that Turkey should send educated Turks to settle in Cyprus.
Turkey actively promoted the idea that on the island of Cyprus two distinctive communities existed, and sidestepped its former claim that "the people of Cyprus were all Turkish subjects". In doing so, Turkey's aim to have self-determination of two to-be equal communities in effect led to de jure partition of the island.[citation needed] This could be justified to the international community against the will of the majority Greek population of the island. Dr. Fazil Küçük in 1954 had already proposed Cyprus be divided in two at the 35° parallel.
Lindley Dan, from Notre Dame University, spotted the roots of intercommunal violence to different visions among the two communities of Cyprus (enosis for Greek Cypriots, taksim for Turkish Cypriots). Also, Lindlay wrote that "the merging of church, schools/education, and politics in divisive and nationalistic ways" had played a crucial role in creation of havoc in Cyprus' history. Attalides Michael also pointed to the opposing nationalisms as the cause of the Cyprus problem.
By the mid-1950's, the "Cyprus is Turkish" party, movement, and slogan gained force in both Cyprus and Turkey. In a 1954 editorial, Turkish Cypriot leader Dr. Fazil Kuchuk expressed the sentiment that the Turkish youth had grown up with the idea that "as soon as Great Britain leaves the island, it will be taken over by the Turks", and that "Turkey cannot tolerate otherwise". This perspective contributed to the willingness of Turkish Cypriots to align themselves with the British, who started recruiting Turkish Cypriots into the police force that patrolled Cyprus to fight EOKA, a Greek Cypriot nationalist organisation that sought to rid the island of British rule.
EOKA targeted colonial authorities, including police, but Georgios Grivas, the leader of EOKA, did not initially wish to open up a new front by fighting Turkish Cypriots and reassured them that EOKA would not harm their people. In 1956, some Turkish Cypriot policemen were killed by EOKA members and this provoked some intercommunal violence in the spring and summer, but these attacks on policemen were not motivated by the fact that they were Turkish Cypriots.
However, in January 1957, Grivas changed his policy as his forces in the mountains became increasingly pressured by the British Crown forces. In order to divert the attention of the Crown forces, EOKA members started to target Turkish Cypriot policemen intentionally in the towns, so that Turkish Cypriots would riot against the Greek Cypriots and the security forces would have to be diverted to the towns to restore order. The killing of a Turkish Cypriot policeman on 19 January, when a power station was bombed, and the injury of three others, provoked three days of intercommunal violence in Nicosia. The two communities targeted each other in reprisals, at least one Greek Cypriot was killed and the British Army was deployed in the streets. Greek Cypriot stores were burned and their neighbourhoods attacked. Following the events, the Greek Cypriot leadership spread the propaganda that the riots had merely been an act of Turkish Cypriot aggression. Such events created chaos and drove the communities apart both in Cyprus and in Turkey.
On 22 October 1957 Sir Hugh Mackintosh Foot replaced Sir John Harding as the British Governor of Cyprus. Foot suggested five to seven years of self-government before any final decision. His plan rejected both enosis and taksim. The Turkish Cypriot response to this plan was a series of anti-British demonstrations in Nicosia on 27 and 28 January 1958 rejecting the proposed plan because the plan did not include partition. The British then withdrew the plan.
In 1957, Black Gang, a Turkish Cypriot pro-taksim paramilitary organisation, was formed to patrol a Turkish Cypriot enclave, the Tahtakale district of Nicosia, against activities of EOKA. The organisation later attempted to grow into a national scale, but failed to gain public support.
By 1958, signs of dissatisfaction with the British increased on both sides, with a group of Turkish Cypriots forming Volkan (later renamed to the Turkish Resistance Organisation) paramilitary group to promote partition and the annexation of Cyprus to Turkey as dictated by the Menderes plan. Volkan initially consisted of roughly 100 members, with the stated aim of raising awareness in Turkey of the Cyprus issue and courting military training and support for Turkish Cypriot fighters from the Turkish government.
In June 1958, the British Prime Minister, Harold Macmillan, was expected to propose a plan to resolve the Cyprus issue. In light of the new development, the Turks rioted in Nicosia to promote the idea that Greek and Turkish Cypriots could not live together and therefore any plan that did not include partition would not be viable. This violence was soon followed by bombing, Greek Cypriot deaths and looting of Greek Cypriot-owned shops and houses. Greek and Turkish Cypriots started to flee mixed population villages where they were a minority in search of safety. This was effectively the beginning of the segregation of the two communities. On 7 June 1958, a bomb exploded at the entrance of the Turkish Embassy in Cyprus. Following the bombing, Turkish Cypriots looted Greek Cypriot properties. On 26 June 1984, the Turkish Cypriot leader, Rauf Denktaş, admitted on British channel ITV that the bomb was placed by the Turks themselves in order to create tension. On 9 January 1995, Rauf Denktaş repeated his claim to the famous Turkish newspaper Milliyet in Turkey.
The crisis reached a climax on 12 June 1958, when eight Greeks, out of an armed group of thirty five arrested by soldiers of the Royal Horse Guards on suspicion of preparing an attack on the Turkish quarter of Skylloura, were killed in a suspected attack by Turkish Cypriot locals, near the village of Geunyeli, having been ordered to walk back to their village of Kondemenos.
After the EOKA campaign had begun, the British government successfully began to turn the Cyprus issue from a British colonial problem into a Greek-Turkish issue. British diplomacy exerted backstage influence on the Adnan Menderes government, with the aim of making Turkey active in Cyprus. For the British, the attempt had a twofold objective. The EOKA campaign would be silenced as quickly as possible, and Turkish Cypriots would not side with Greek Cypriots against the British colonial claims over the island, which would thus remain under the British. The Turkish Cypriot leadership visited Menderes to discuss the Cyprus issue. When asked how the Turkish Cypriots should respond to the Greek Cypriot claim of enosis, Menderes replied: "You should go to the British foreign minister and request the status quo be prolonged, Cyprus to remain as a British colony". When the Turkish Cypriots visited the British Foreign Secretary and requested for Cyprus to remain a colony, he replied: "You should not be asking for colonialism at this day and age, you should be asking for Cyprus be returned to Turkey, its former owner".
As Turkish Cypriots began to look to Turkey for protection, Greek Cypriots soon understood that enosis was extremely unlikely. The Greek Cypriot leader, Archbishop Makarios III, now set independence for the island as his objective.
Britain resolved to solve the dispute by creating an independent Cyprus. In 1959, all involved parties signed the Zurich Agreements: Britain, Turkey, Greece, and the Greek and Turkish Cypriot leaders, Makarios and Dr. Fazil Kucuk, respectively. The new constitution drew heavily on the ethnic composition of the island. The President would be a Greek Cypriot, and the Vice-President a Turkish Cypriot with an equal veto. The contribution to the public service would be set at a ratio of 70:30, and the Supreme Court would consist of an equal number of judges from both communities as well as an independent judge who was not Greek, Turkish or British. The Zurich Agreements were supplemented by a number of treaties. The Treaty of Guarantee stated that secession or union with any state was forbidden, and that Greece, Turkey and Britain would be given guarantor status to intervene if that was violated. The Treaty of Alliance allowed for two small Greek and Turkish military contingents to be stationed on the island, and the Treaty of Establishment gave Britain sovereignty over two bases in Akrotiri and Dhekelia.
On 15 August 1960, the Colony of Cyprus became fully independent as the Republic of Cyprus. The new republic remained within the Commonwealth of Nations.
The new constitution brought dissatisfaction to Greek Cypriots, who felt it to be highly unjust for them for historical, demographic and contributional reasons. Although 80% of the island's population were Greek Cypriots and these indigenous people had lived on the island for thousands of years and paid 94% of taxes, the new constitution was giving the 17% of the population that was Turkish Cypriots, who paid 6% of taxes, around 30% of government jobs and 40% of national security jobs.
Within three years tensions between the two communities in administrative affairs began to show. In particular disputes over separate municipalities and taxation created a deadlock in government. A constitutional court ruled in 1963 Makarios had failed to uphold article 173 of the constitution which called for the establishment of separate municipalities for Turkish Cypriots. Makarios subsequently declared his intention to ignore the judgement, resulting in the West German judge resigning from his position. Makarios proposed thirteen amendments to the constitution, which would have had the effect of resolving most of the issues in the Greek Cypriot favour. Under the proposals, the President and Vice-President would lose their veto, the separate municipalities as sought after by the Turkish Cypriots would be abandoned, the need for separate majorities by both communities in passing legislation would be discarded and the civil service contribution would be set at actual population ratios (82:18) instead of the slightly higher figure for Turkish Cypriots.
The intention behind the amendments has long been called into question. The Akritas plan, written in the height of the constitutional dispute by the Greek Cypriot interior minister Polycarpos Georkadjis, called for the removal of undesirable elements of the constitution so as to allow power-sharing to work. The plan envisaged a swift retaliatory attack on Turkish Cypriot strongholds should Turkish Cypriots resort to violence to resist the measures, stating "In the event of a planned or staged Turkish attack, it is imperative to overcome it by force in the shortest possible time, because if we succeed in gaining command of the situation (in one or two days), no outside, intervention would be either justified or possible." Whether Makarios's proposals were part of the Akritas plan is unclear, however it remains that sentiment towards enosis had not completely disappeared with independence. Makarios described independence as "a step on the road to enosis".[31] Preparations for conflict were not entirely absent from Turkish Cypriots either, with right wing elements still believing taksim (partition) the best safeguard against enosis.
Greek Cypriots however believe the amendments were a necessity stemming from a perceived attempt by Turkish Cypriots to frustrate the working of government. Turkish Cypriots saw it as a means to reduce their status within the state from one of co-founder to that of minority, seeing it as a first step towards enosis. The security situation deteriorated rapidly.
Main articles: Bloody Christmas (1963) and Battle of Tillyria
An armed conflict was triggered after December 21, 1963, a period remembered by Turkish Cypriots as Bloody Christmas, when a Greek Cypriot policemen that had been called to help deal with a taxi driver refusing officers already on the scene access to check the identification documents of his customers, took out his gun upon arrival and shot and killed the taxi driver and his partner. Eric Solsten summarised the events as follows: "a Greek Cypriot police patrol, ostensibly checking identification documents, stopped a Turkish Cypriot couple on the edge of the Turkish quarter. A hostile crowd gathered, shots were fired, and two Turkish Cypriots were killed."
In the morning after the shooting, crowds gathered in protest in Northern Nicosia, likely encouraged by the TMT, without incident. On the evening of the 22nd, gunfire broke out, communication lines to the Turkish neighbourhoods were cut, and the Greek Cypriot police occupied the nearby airport. On the 23rd, a ceasefire was negotiated, but did not hold. Fighting, including automatic weapons fire, between Greek and Turkish Cypriots and militias increased in Nicosia and Larnaca. A force of Greek Cypriot irregulars led by Nikos Sampson entered the Nicosia suburb of Omorphita and engaged in heavy firing on armed, as well as by some accounts unarmed, Turkish Cypriots. The Omorphita clash has been described by Turkish Cypriots as a massacre, while this view has generally not been acknowledged by Greek Cypriots.
Further ceasefires were arranged between the two sides, but also failed. By Christmas Eve, the 24th, Britain, Greece, and Turkey had joined talks, with all sides calling for a truce. On Christmas day, Turkish fighter jets overflew Nicosia in a show of support. Finally it was agreed to allow a force of 2,700 British soldiers to help enforce a ceasefire. In the next days, a "buffer zone" was created in Nicosia, and a British officer marked a line on a map with green ink, separating the two sides of the city, which was the beginning of the "Green Line". Fighting continued across the island for the next several weeks.
In total 364 Turkish Cypriots and 174 Greek Cypriots were killed during the violence. 25,000 Turkish Cypriots from 103-109 villages fled and were displaced into enclaves and thousands of Turkish Cypriot houses were ransacked or completely destroyed.
Contemporary newspapers also reported on the forceful exodus of the Turkish Cypriots from their homes. According to The Times in 1964, threats, shootings and attempts of arson were committed against the Turkish Cypriots to force them out of their homes. The Daily Express wrote that "25,000 Turks have already been forced to leave their homes". The Guardian reported a massacre of Turks at Limassol on 16 February 1964.
Turkey had by now readied its fleet and its fighter jets appeared over Nicosia. Turkey was dissuaded from direct involvement by the creation of a United Nations Peacekeeping Force in Cyprus (UNFICYP) in 1964. Despite the negotiated ceasefire in Nicosia, attacks on the Turkish Cypriot persisted, particularly in Limassol. Concerned about the possibility of a Turkish invasion, Makarios undertook the creation of a Greek Cypriot conscript-based army called the "National Guard". A general from Greece took charge of the army, whilst a further 20,000 well-equipped officers and men were smuggled from Greece into Cyprus. Turkey threatened to intervene once more, but was prevented by a strongly worded letter from the American President Lyndon B. Johnson, anxious to avoid a conflict between NATO allies Greece and Turkey at the height of the Cold War.
Turkish Cypriots had by now established an important bridgehead at Kokkina, provided with arms, volunteers and materials from Turkey and abroad. Seeing this incursion of foreign weapons and troops as a major threat, the Cypriot government invited George Grivas to return from Greece as commander of the Greek troops on the island and launch a major attack on the bridgehead. Turkey retaliated by dispatching its fighter jets to bomb Greek positions, causing Makarios to threaten an attack on every Turkish Cypriot village on the island if the bombings did not cease. The conflict had now drawn in Greece and Turkey, with both countries amassing troops on their Thracian borders. Efforts at mediation by Dean Acheson, a former U.S. Secretary of State, and UN-appointed mediator Galo Plaza had failed, all the while the division of the two communities becoming more apparent. Greek Cypriot forces were estimated at some 30,000, including the National Guard and the large contingent from Greece. Defending the Turkish Cypriot enclaves was a force of approximately 5,000 irregulars, led by a Turkish colonel, but lacking the equipment and organisation of the Greek forces.
The Secretary-General of the United Nations in 1964, U Thant, reported the damage during the conflicts:
UNFICYP carried out a detailed survey of all damage to properties throughout the island during the disturbances; it shows that in 109 villages, most of them Turkish-Cypriot or mixed villages, 527 houses have been destroyed while 2,000 others have suffered damage from looting.
The situation worsened in 1967, when a military junta overthrew the democratically elected government of Greece, and began applying pressure on Makarios to achieve enosis. Makarios, not wishing to become part of a military dictatorship or trigger a Turkish invasion, began to distance himself from the goal of enosis. This caused tensions with the junta in Greece as well as George Grivas in Cyprus. Grivas's control over the National Guard and Greek contingent was seen as a threat to Makarios's position, who now feared a possible coup.[citation needed] The National Guard and Cyprus Police began patrolling the Turkish Cypriot enclaves of Ayios Theodoros and Kophinou, and on November 15 engaged in heavy fighting with the Turkish Cypriots.
By the time of his withdrawal 26 Turkish Cypriots had been killed. Turkey replied with an ultimatum demanding that Grivas be removed from the island, that the troops smuggled from Greece in excess of the limits of the Treaty of Alliance be removed, and that the economic blockades on the Turkish Cypriot enclaves be lifted. Grivas was recalled by the Athens Junta and the 12,000 Greek troops were withdrawn. Makarios now attempted to consolidate his position by reducing the number of National Guard troops, and by creating a paramilitary force loyal to Cypriot independence. In 1968, acknowledging that enosis was now all but impossible, Makarios stated, "A solution by necessity must be sought within the limits of what is feasible which does not always coincide with the limits of what is desirable."
After 1967 tensions between the Greek and Turkish Cypriots subsided. Instead, the main source of tension on the island came from factions within the Greek Cypriot community. Although Makarios had effectively abandoned enosis in favour of an 'attainable solution', many others continued to believe that the only legitimate political aspiration for Greek Cypriots was union with Greece.
On his arrival, Grivas began by establishing a nationalist paramilitary group known as the National Organization of Cypriot Fighters (Ethniki Organosis Kyprion Agoniston B or EOKA-B), drawing comparisons with the EOKA struggle for enosis under the British colonial administration of the 1950s.
The military junta in Athens saw Makarios as an obstacle. Makarios's failure to disband the National Guard, whose officer class was dominated by mainland Greeks, had meant the junta had practical control over the Cypriot military establishment, leaving Makarios isolated and a vulnerable target.
During the first Turkish invasion, Turkish troops invaded Cyprus territory on 20 July 1974, invoking its rights under the Treaty of Guarantee. This expansion of Turkish-occupied zone violated International Law as well as the Charter of the United Nations. Turkish troops managed to capture 3% of the island which was accompanied by the burning of the Turkish Cypriot quarter, as well as the raping and killing of women and children. A temporary cease-fire followed which was mitigated by the UN Security Council. Subsequently, the Greek military Junta collapsed on July 23, 1974, and peace talks commenced in which a democratic government was installed. The Resolution 353 was broken after Turkey attacked a second time and managed to get a hold of 37% of Cyprus territory. The Island of Cyprus was appointed a Buffer Zone by the United Nations, which divided the island into two zones through the 'Green Line' and put an end to the Turkish invasion. Although Turkey announced that the occupied areas of Cyprus to be called the Federated Turkish State in 1975, it is not legitimised on a worldwide political scale. The United Nations called for the international recognition of independence for the Republic of Cyprus in the Security Council Resolution 367.
In the years after the Turkish invasion of northern Cyprus one can observe a history of failed talks between the two parties. The 1983 declaration of the independent Turkish Republic of Cyprus resulted in a rise of inter-communal tensions and made it increasingly hard to find mutual understanding. With Cyprus' interest of a possible EU membership and a new UN Secretary-General Kofi Annan in 1997 new hopes arose for a fresh start. International involvement from sides of the US and UK, wanting a solution to the Cyprus dispute prior to the EU accession led to political pressures for new talks. The believe that an accession without a solution would threaten Greek-Turkish relations and acknowledge the partition of the island would direct the coming negotiations.
Over the course of two years a concrete plan, the Annan plan was formulated. In 2004 the fifth version agreed upon from both sides and with the endorsement of Turkey, US, UK and EU then was presented to the public and was given a referendum in both Cypriot communities to assure the legitimisation of the resolution. The Turkish Cypriots voted with 65% for the plan, however the Greek Cypriots voted with a 76% majority against. The Annan plan contained multiple important topics. Firstly it established a confederation of two separate states called the United Cyprus Republic. Both communities would have autonomous states combined under one unified government. The members of parliament would be chosen according to the percentage in population numbers to ensure a just involvement from both communities. The paper proposed a demilitarisation of the island over the next years. Furthermore it agreed upon a number of 45000 Turkish settlers that could remain on the island. These settlers became a very important issue concerning peace talks. Originally the Turkish government encouraged Turks to settle in Cyprus providing transfer and property, to establish a counterpart to the Greek Cypriot population due to their 1 to 5 minority. With the economic situation many Turkish-Cypriot decided to leave the island, however their departure is made up by incoming Turkish settlers leaving the population ratio between Turkish Cypriots and Greek Cypriots stable. However all these points where criticised and as seen in the vote rejected mainly by the Greek Cypriots. These name the dissolution of the „Republic of Cyprus", economic consequences of a reunion and the remaining Turkish settlers as reason. Many claim that the plan was indeed drawing more from Turkish-Cypriot demands then Greek-Cypriot interests. Taking in consideration that the US wanted to keep Turkey as a strategic partner in future Middle Eastern conflicts.
A week after the failed referendum the Republic of Cyprus joined the EU. In multiple instances the EU tried to promote trade with Northern Cyprus but without internationally recognised ports this spiked a grand debate. Both side endure their intention of negotiations, however without the prospect of any new compromises or agreements the UN is unwilling to start the process again. Since 2004 negotiations took place in numbers but without any results, both sides are strongly holding on to their position without an agreeable solution in sight that would suit both parties.
This is what happens when, as the youngest of six sisters, you are orchestrating a photo op and order all your older sisters to walk closer. :-)
A beautiful maiden, draped in pristine white, her ebony curls cascading like silken tendrils, orchestrating a ballet with blades of grass beneath the verdant gaze of an ancient tree.
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016
When we first saw the stunning motif in design on such a grand scale of elegance, our jaws dropped in awe. What a fantastic display orchestrated by the supreme landscape architects and artists of Longwood Gardens . . . truly second to none in passion and talent. It the 7-Part close-up series of the remarkable pair of swans, notice that every bit of material employed is from nature. In retrospect, perhaps some extreme close-up of various sections of these works of art should have been photographed. The problem was that there was a fairly decent crowd around this particular spot, with many of the individuals also taking photos—thus, there was limited time to do the shooting. Luckily, for a very brief moment, each for my wife and I, these pictures turned out successful in the sense that no people are in them to take away from the main subjects. The 3-Part series of shots that follows the 7 here will show the views from the other end looking back toward the swans and the Orangery beyond—where all the seas of poinsettias and other flowers and plants were depicted in earlier photos in our album on Longwood.
We wanted to share our experience of the visit to Longwood Gardens’ 2014 Christmas Spectacular (the main theme this year is BIRDS). The festivities begin on Thanksgiving Day and continues through the end of the first week of 2015. In recent years, we have found that it works perfectly for us to go on Thanksgiving Day, for we would celebrate TG early and afterward. This allows an opening day attendance at Longwood, where the crowd is significantly less than during the peak weekend days. There will be a good number of photos to view, and for the most part, presented in correct sequence. Please check out our ALBUMS titled “LONGWOOD GARDENS of Kennett Square, PA” and/or “CHRISTMAS SCENES” for a better flow in exploring the photos, since the continuity is lost when uploading into FLICKR while many others are doing the same, thus, having a variety of shots mixed in between the ones representing our visit on this day.
The wide variety of flowers and plants at Longwood Gardens are absolutely stunning in all stages and species . . . truly a Garden of Eden for anyone with a deep passion for these gifts of nature. The annual Longwood Gardens Christmas never fails to awe the visitors with one spectacular display after another. Whether these are in the magnificently elegant grand Conservatory, or outdoors within the over 1,000 acres of fabulous grounds, each and every thing is meticulously planned and designed, always arriving at some fresh ideas and/or concepts, while also maintaining the traditionally classic holiday floral and lighting appointments throughout. Given that the main theme for the 2014 holiday season is BIRDS, this can be seen in such spectacularly tasteful fashion throughout the displays of the vast indoor landscape. From the moment one enters the architectural marvel of the Conservatory, whether through the main Orangery or the East Conservatory, an awe inspiring view awaits.
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.
As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.
The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.
The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.
The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.
These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.
The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.
In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016
PREMIK RUSSELL TUBBS, MULTI-INSTRUMENTALIST | IMPERMANENCE; EXPANDING UNIVERSE; OUT-OF -THE -BOX - IMPROV -
World Music, Jazz, Experimental, Improv, East-West, Ambient, Pop
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www.flickr.com/photos/42514297@N04/sets/72157632988389457/
Album slideshow (This graphic series, akin to a slow animation, appears at the end of the slideshow, 3 of the 5 ).
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To dissolve into...become one with...
“To be completely within myself, in perfect communion WITH the self, the atman, the overmind, beyond both knower and known… a place of perfect poise, not affected by the din and commotion of the outer world….Aum Tat Sat” –Premik Russell Tubbs
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"Improvisation is an onion of infinite layers. You explore one set of ideas or a specific pattern, taking it to the enth degree, than another layer presents itself. Then another, then another, ad infinitum. Then you wonder why so many creative artists over the years have turned to drugs or other substances, hoping for a short cut to that final layer, but there is no short cut or final layer. That’s the wonderful thing about creativity." -Premik Russell Tubbs
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'Defining the indefinable - In the moment, multi-dimensional, experimental, expression, improv, rhythm, line, texture, energy, thickness, fluidity, space, freedom...
Making music with a world view, deconstructing and reassembling with joyful abandon.'
-Premik Russell Tubbs
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“So it is said, for him who understands Heavenly joy, life is the working of Heaven; death is the transformation of things. In stillness, he and the yin share a single Virtue; in motion, he and the yang share a single flow.”
― Zhuangzi, The Complete Works of Chuang Tzu
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“The dance between darkness and light will always remain— the stars and the moon will always need the darkness to be seen, the darkness will just not be worth having without the moon and the stars.”
― C. JoyBell C.
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The Buddha’s last words were :
“Subject to change are all things,
Strive on with diligence."
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"To every thing there is a season, and a time to every purpose under the heaven" -Ecclesiastes 3:1
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"Wear gratitude like a cloak and it will feed every corner of your life." -Rumi
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"As you start to walk out on the way, the way appears." -Rumi
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"If you are irritated by every rub, how will you be polished?" -Rumi
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"Your task is not to seek for love, but merely to seek and find all the barriers within yourself that you have built against it." -Rumi
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"The wound is the place where the Light enters you." -Rumi
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"I want to sing like the birds sing, not worrying about who hears or what they think." -Rumi
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"Let yourself be drawn by the stronger pull of that which you truly love." -Rumi
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"Our passions and desires are unruly, but our character subdues these elements into a harmonious whole. Does something similar to this happen in the physical world? Are the elements rebellious, dynamic with individual impulse? And is there a principle in the physical world which dominates them and puts them into an orderly organization? … It is the constant harmony of chance and determination which makes it eternally new and living." -Tagore
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PREMIK RUSSELL TUBBS
YouTubes
www.youtube.com/watch?list=UU3hE8wtW3VeyOU17sQd2GQQ&v...
"Bangalore Breakdown" - Prermik Russell Tubbs
Performed by Journey to Light Ensemble
Premik Russell Tubbs - Saxophone
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www.youtube.com/watch?v=LViBPfPrR90
SONG FOR WAKIYA
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www.youtube.com/watch?v=GUlvj2_2AQw
HAPPYNESS
by Uli Geissendoerfer and Premik Russell Tubbs
Composed by Premik Russell Tubbs
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www.youtube.com/watch?v=XbhReDbyIOY
Premik solo with the London Royal Philharmonic performing "Apla Kathar."
The main melody was composed by Sri Chinmoy & orchestrated by Vapushtara Matthijs Jongepier.
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myspace.com/supremefactory/video/premik-russell-tubbs-liv...
-Sinagoga (en.wikipedia.org/wiki/Sinagoga)
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Most recent recordings and projects:
In 2012 Premik recorded with 2011 Grammy nominee vocalist and composer Chandrika Krishnamurthy Tandon. 'Over 75 musicians came together to record the album in the US and India combining ancient traditional instruments like the rhumba, calypso, ektara, dugdugi and esraj with saxophone, banjo and piano to transcend musical boundaries.'
Sound Samples:
Amazon
www.amazon.com/Soul-March-Chandrika-Krishnamurthy-Tandon/...
CB Baby
www.cdbaby.com/cd/chandrikakrishnamurthyta2
Check out "JOG"
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Recording projects in 2010-2012 with Grammy award-winning producer and founder of Windham Hill Records Will Ackerman include albums by Fiona Jay Hawkins, Shambhu, Dean Boland, Rebecca Harrold, Ronnda Cadle and Masako.
Will Ackerman: ...‘The criteria for who works here go way past simple talent. Imaginary Road is my home and I’m only letting wonderful people into my home. I don’t care how talented you are; if you’re not able to wear your heart on your sleeve don’t bother to turn up. We use Keith Carlock (Sting and Steeley Dan) as a drummer too along with Arron Sterling (John Mayer and Sheryl Crow). Only last year I met Premik Russel Tubbs who plays sax and wind synths for us.
‘Premik has become part of the family...'
www.newagemusicworld.com/will-ackerman-interview-new-in-2...
imaginaryroadstudios.com/
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Premik recorded with Heidi Breyer and accompanied her at the ZMR Awards 2013, staged in New Orleans.
www.zonemusicreporter.com/admin/performers.asp
ZMR Awards 2013 -Best Instrumental Album – Piano - “Beyond the Turning” - Heidi Breyer - Winterhall Records, produced at Synchrosonic Productions by Grammy winner Corin Nelsen. www.heidibreyer.com/
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New Age / Ambient / World Top 100 Radio Chart
ZoneMusicReporter.com
Top 100 Radio Play - #1 Top Recordings for January 2014
Title: Call of the Mountains - Artist: Masako
www.zonemusicreporter.com/charts/top100.asp
Premik plays wind synth on tracks 4 "Watching the Clouds", & 9 "Purple Indulgence".
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Premik, in conjunction with jazz pianist Uli Geissendoerfer heads Bangalore Breakdown, an exciting, world music ensemble. They released their first CD, titled Diary, in 2008. In the words of noted Jazz author Bill Milkowski: Is it world music? Is it jazz? Is it some kind of new uncategorizable fusion that hasn’t yet been labeled?
Sound samples here: www.bangalorebreakdown.com/music.html
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Premik and Uli Geissendoerfer released in 2014 their own collaborative duo CD titled Passport to 'Happyness' (yes, happiness with a 'y'') www.ulimusic.com
www.flickr.com/photos/42514297@N04/15543396956/
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Premik will soon be featured in Carman Moore's Cd “Concerto for Ornette” in which Premik will play the orchestral solo saxophone part. Premik is also the featured saxophonist with SKYBAND on its recording of Carman Moore’s “DON AND BEA IN LOVE,” a fantasy concept album roughly about the intense Renaissance love between Dante and Beatrice which, in part, takes place in outer space! Carman Moore is a 2013 Guggenheim Fellowship winner. www.carmanmoore.com
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Premik’s ‘Journey To Light Ensemble’
Sound is East/West, jazz., a journey....
With Premik Russell Tubbs (saxpohones, flutes, lap steel, wind synth),
Dave Phelps (guitar),
Leigh Stuart (cello),
Nathan Peck (upright & electric bass),
www.alexskolnick.com/biography-nathan-peck/
Todd Isler (drums, percussion)
Naren Budakar (tabla)
www.sooryadance.com/html/Milan/naren.htm
Watch for a Journey To Light Ensemble album to be released in 2014
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TriBeCaStan
Premik (saxophones, flutes, lap steel, wind synth)
TriBeCaStan's "Coal Again"- Cd Release 2014
www.flickr.com/photos/42514297@N04/15447303643/in/photost...
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Performing in:
25th Anniversary of the Rainforest Fund Benefit Concert
Thursday, April 17, 2014
Carnegie Hall
Stern Auditorium / Perelman Stage
7 PM
www.carnegiehall.org/Calendar/2014/4/17/0700/PM/25th-Anni...
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Premik solo in SINGING THE OCEANS ALIVE CONCERT with the ROYAL PHILHARMONIC ORCHESTRA
Fairfield Hall concert LONDON, ENGLAND APRIL 25, 2014
Watch/Listen
YouTubes
Premik solo with the London Royal Philharmonic performing "Apla Kathar."
The main melody was composed by Sri Chinmoy & orchestrated by Vapushtara Matthijs Jongepier.
www.youtube.com/watch?v=XbhReDbyIOY
High praise from Craig Pruess:
"The piece was excellent, thrilling even, very well orchestrated, and your playing was note perfect. An honor to work with you, my man." –Craig Pruess Composer, Musician, Arranger, and a Gold & Platinum Record Producer
www.heaven-on-earth-music.co.uk/
www.youtube.com/watch?v=4euUuBNUzco
Song of the Ocean by Kristin Hoffmann
All performers of the evening take the stage with the London Royal Philharmonic Orchestra
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Premik Russell Tubbs | The Music of Karl Jenkins | Carnegie Hall
MARTIN LUTHER KING DAY
Monday, January 19, 2015
Premik Russell Tubbs played "bansuri & ethnic flutes" in this concert. (Bansuri is an Indian bamboo flute).
nyconcertreview.com/reviews/distinguished-concerts-intern...
Distinguished Concerts International New York (DCINY) presents The Music of Karl Jenkins in Review
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Contact/Listen
www.emusic.com/album/premik/mission-transcendence/10884302/
en.wikipedia.org/wiki/Premik_Russell_Tubbs
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Short Bio
World / Jazz / Experimental / Improv / East-West / Ambient / Pop
PREMIK RUSSELL TUBBS
Premik, a composer, arranger, producer and an accomplished multi-instrumentalist performs on various flutes, soprano, alto and tenor saxophones, wind synthesizers, and lap steel guitar.
Premik has worked with everyone from Carlos Santana, Whitney Houston, Herbie Hancock, John McLaughlin, Ravi Shankar, Narada Michael Walden, Clarence Clemons, Ornette Coleman, Jackson Browne, Jean-Luc Ponty, Lonnie Liston-Smith, Scarlet Riveria, James Taylor, Sting and Lady Gaga, just to name a few. He is equally adept in pop, R&B, jazz, world and experimental genres.
Sax solos on #1 Hits -: “How Will I Know” (Whitney Houston) and “Baby, Come To Me” (Regina Belle).
Premik's first major recording breakthrough was with John McLaughlin and the Mahavishnu Orchestra on the album“Visions of the Emerald Beyond.” Premik was a major part of the landmark Carlos Santana album "The Swing of Delight" which featured Herbie Hancock as co-arranger and co-musical director. Also featured were Wayne Shorter, Tony Williams, Ron Carter and several members of the Santana band.
www.premik.com/recordings/discography/
In 1978 Premik joined Carlos Santana on a six-week European tour as part of an opening act for the Santana Band called Devadip Oneness.
www.youtube.com/watch?v=beD58ordH08
"Gardenia" - DEVADIP European tour w/ Carlos Santana, Dec.'78 in Paris
www.youtube.com/watch?feature=player_embedded&v=juVuh...
!978 Devidip Orchestra
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To view as a slideshow (album: "A Life Of Music - to be cont'd...(with GRATITUDE!") click links below (non-animated).
www.flickr.com/photos/42514297@N04/sets/72157632988389457...
For Flickr animated slideshow click double box icon at the top right of the album.
View album: “Photos for Media” slideshow
View as non-animated slideshow
For animated slideshows click double box at right corner of the album
www.flickr.com/photos/42514297@N04/sets/72157635185040413...
For animated slideshows click double box at right corner of the album
The Royal Ballet: Beauty Mixed Programme
Beauty Mixed Programme, 26 June - 11 July 2021. Live Stream 9 July 2021.
The Royal Ballet continues to share a broad range of classics and new work across this Season and into the next, shining a light on the Company’s rich history and vibrant future as it turns 90. In honour of the Company’s founder Dame Ninette de Valois who created the company we know now as The Royal Ballet, and whose vision was to ‘respect the past, herald the future but concentrate on the present’, the Beauty Mixed Programme features work across the generations from Madam’s third act of The Sleeping Beauty to a world premiere by one of the Company’s choreographers.
Programme & Casting:
Anemoi (World Premiere)
Choreography: Valentino Zucchetti
Dancers: Mariko Sasaki, Leticia Dias, Lukas Bjørneboe Brændsrød, Taisuke Nakao
Morgen
Choreography: Wayne McGregor
Dancers: Francesca Hayward, Cesar Corrales
Winter Dreams – ‘farewell’ pas de deux
Choreography: Kenneth MacMillan
Dancers: Laura Morera, Ryoichi Hirano
After the Rain - pas de deux
Choreography: Christopher Wheeldon
Dancers: Beatriz Stix-Brunell, Reece Clarke
Woman with water (new to The Royal Ballet)
Choreography: Mats Ek
Dancers: Mayara Magri, Lukas Bjørneboe Brændsrød
Voices of Spring
Choreography: Frederick Ashton
Dancers: Anna Rose O’Sullivan, Marcelino Sambé
The Sleeping Beauty Act III
Choreography: Marius Petipa
Dancers: Natalia Osipova, Reece Clarke (Grand Pas de deux)
Isabella Gasparini, Joonhyuk Jun (Blue Bird pas de deux)
photo © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
by kind permission of the Royal Opera House
As the proud hosts of the parade, FDMB and Baynard Police are hard at work orchestrating the event from down on the street, and up in the air.
ASTRO 2 is one of the aviation unit's unmanned aerial vehicles, AKA drone.
Apparently, the Captain that oversees the UAS program is an Adam-12 fan.
Click on the notes for more views:
2018 Non-Denominational End of Year Emergency Vehicle Procession
Pelican Plaza Shopping Center
Olympus OM-D E-M5 Mark II
Olympus M.14-42mm F3.5-5.6 II R
For more info about the dioramas, check out the FAQ: 1stPix FAQ
The Royal Ballet: Beauty Mixed Programme
Beauty Mixed Programme, 26 June - 11 July 2021. Live Stream 9 July 2021.
The Royal Ballet continues to share a broad range of classics and new work across this Season and into the next, shining a light on the Company’s rich history and vibrant future as it turns 90. In honour of the Company’s founder Dame Ninette de Valois who created the company we know now as The Royal Ballet, and whose vision was to ‘respect the past, herald the future but concentrate on the present’, the Beauty Mixed Programme features work across the generations from Madam’s third act of The Sleeping Beauty to a world premiere by one of the Company’s choreographers.
Programme & Casting:
Anemoi (World Premiere)
Choreography: Valentino Zucchetti
Dancers: Mariko Sasaki, Leticia Dias, Lukas Bjørneboe Brændsrød, Taisuke Nakao
Morgen
Choreography: Wayne McGregor
Dancers: Francesca Hayward, Cesar Corrales
Winter Dreams – ‘farewell’ pas de deux
Choreography: Kenneth MacMillan
Dancers: Laura Morera, Ryoichi Hirano
After the Rain - pas de deux
Choreography: Christopher Wheeldon
Dancers: Beatriz Stix-Brunell, Reece Clarke
Woman with water (new to The Royal Ballet)
Choreography: Mats Ek
Dancers: Mayara Magri, Lukas Bjørneboe Brændsrød
Voices of Spring
Choreography: Frederick Ashton
Dancers: Anna Rose O’Sullivan, Marcelino Sambé
The Sleeping Beauty Act III
Choreography: Marius Petipa
Dancers: Natalia Osipova, Reece Clarke (Grand Pas de deux)
Isabella Gasparini, Joonhyuk Jun (Blue Bird pas de deux)
photo © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
by kind permission of the Royal Opera House
Common european frog.
The annual frog mating has just started in the local pond. For about a week or so there is an immense number of frogs to be seen in and around the little pond as they are busy with their orchestrated mating season. All along the banks of the pond there are thousands, if not millions of frog eggs that float in large clusters. Females lay from 400 to 2000 eggs in a cluster.
When you walk around the pond everywhere along the banks you can see frogs mating or waiting to mate. I gave up counting after counting close to fifty in a 30 meter stretch..
I suspect this one to be male because of the bright throat.
Canon EOS 7D, Sigma 150mm f/2.8 EX DG HSM Macro@ ISO 400, f/9 -1/3 EC, 1/160 sec, 150mm. Handheld.
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016
A Science & Symphony Film by José Francisco Salgado
Music by Modest Mussorgsky. Orchestrated by M. Ravel
A KV 265 Production
© 2015 José Francisco Salgado, PhD.
Do not use without permission.