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fluxusbox.artisopensource.net/
Fluxus boxes were intended as non linear narratives to be handled, touched, performed, disseminated, destroyed, reassembled, counted and reconfigured.
Just as cinema montage and music had learned, the orchestration of symbols, visions and other sensorial components was able to create novel scenarios. Interactivity and tangibility created a state of continuous recombination, multiplying interpretation and cognitively activating people, who became part of the artwork while handling, imagining and communicating. The connection with the ordinary flow of life created new dimensions in the world: stratified, recombinant and engaging.
In occasion of the 50 years of FLUXUS we have decided to research on this wonderful form of expression, both for the innovation it has provided in the arts and for its connection with many of the mutation processes that are going on with contemporary humanity and their ability to experience media, communicate and interact.
At the event Mercoledì da NABA series of events, on December 15th 2010, we will hold a workshop/performance in which we will build a Fluxus Box using Augmented Reality and other cross-medial techniques and technologies.
The ojective will be to research on the Fluxus Box approach, and to appy it at a “meta” level. The objects contained in the box will be tools through which the experience of multiple Fluxus Boxes will be holdable, remixable, juxtaposable, recombinable, enacting a meta-performance encompassing possibly infinite remixed reenactments of Fluxus performances, experiences and events.
The box we will produced will be donated to the NABA, and the custom software that will be created for the occasion will be released under a GPL2 licensing scheme, so that it will be usable by artists, students and practitioners worldwide, in a further level of the performance.
more info at:
Grand Army Plaza in New York City’s Central Park received its most iconic marker, the Sherman equestrian statue, on Memorial Day 1903. The sculpture features Sherman astride his horse with its right hoof slightly raised. The horse’s rear hoofs are orchestrated atop a series of Georgian pine, a subtle reference to the Sherman’s famed March to the Sea. Leading Sherman is a winged figure with a large palm frond in her left hand while her right arm is extended as if pointing the way to “Victory” for the General. The statue has been ornately covered in a gold leaf that adds to the sculpture’s brilliance. When the sculpture was being constructed, its designer Augustus Saint-Gaudens mandated that the work be covered in two layers of gold to ensure the statue maintained its skin and did not take on a “smoke stack” appearance.
Saint-Gaudens was commissioned to create the sculpture of Sherman in 1892 shortly after the General’s death the year prior. Already a noted artist for his creations of the Diana statue that formerly resided atop Madison Square Garden and the Robert Gould Shaw Memorial within the Boston Common, he was known for both his elegance and perfectionism that led to works being unveiled a bit less timely than most artists. For instance, Saint-Gaudens spent fourteen years working on the Robert Gould Shaw Memorial before he deemed it complete. Fortunately park officials only had to wait eleven years for the unveiling of the Sherman statue.
To create a likeness of Sherman, Saint-Gaudens leveraged a prior bust he had created of the General in 1888. While sculpting the bust, Sherman posed for eighteen two-hour sessions for the artist to ensure he accurately captured the man’s image. During one especially lengthy session it was reported that Saint-Gaudens instructed Sherman to re-button his shirt collar which had become disheveled. Sherman retorted back to the artist that, “The General of the Army of the United States will wear his coat any damn way he pleases.”
Saint-Gaudens used another model as his inspiration for the image of the winged “Victory”. Harriette (“Hettie”) Eugenia Anderson was an African-American model whose image Saint-Gaudens also captured in his design of the Indian Head eagle coin that was minted between 1907 and 1916.
During his eleven years of laboring over the sculpture, Saint-Gaudens became ill and his presence at the unveiling was documented as being quite frail. Unfortunately the Sherman Memorial would be Saint-Gaudens’ last significant work as he passed away four years later in 1907.
Thanks in part to Saint-Gaudens’ obsessive request to ensure two layers of gold leaf on the Sherman Memorial, it maintained its glamour longer than many sculptures. By 1989, however, the statue had started to show signs of wear and tear and the monument was restored.
As to the man himself, Sherman was born William Tecumseh Sherman on February 8, 1820. His unique middle name has long been a source of speculation as to its derivation. Various accounts have been reported over the years. Sherman himself claimed his father suggested the name in honor of the great Shawnee leader who had attempted to unite the tribes in the Ohio Valley versus Americans encroaching on their lands. Other accounts, such as the one published in a 1932 biography, claim that Tecumseh was not even Sherman’s middle name but his first. The biography states that “William” was first given to him as a good Christian name later in life at the age of nine or ten by his then foster mother, Maria Ewing.
At the age of sixteen Sherman enrolled in the United States Military Academy at West Point. Although he would later be declared the first “modern” general and become recognized for his efforts in ending the Civil War, Sherman was not always considered prime cadet material. Sherman recalled, “At the Academy (West Point) I was not considered a good soldier, for at no time was I selected for any office, but remained a private throughout the whole four years.”
Sherman proved his worth over the course of the Civil War though in key battles such as Bull Run and Shiloh. His tenacity made him a natural leader that led others to follow. His resolve was demonstrated for instance in the Battle of Shiloh where despite having three horses shot out from under him and being wounded on two separate occasions (in the hand and shoulder), he continued his pursuit of the enemy. Sherman’s success would lead him to being promoted to major general in 1862.
Perhaps Sherman’s most noted encounter during the Civil War was his infamous March to the Sea in November 1864. After capturing the city of Atlanta for the Union army his troops set fire to the city. Sherman later stated that he never intended for the complete destruction of Atlanta as occurred, since he only instructed his troops to burn munitions factories and other resources of the Confederate army. By the time all was said and done though, Sherman and his troops had left a trail of destruction that measured sixty miles between Atlanta and Savannah. Although criticized as being inhumane by some, the tactics used had the effect of requiring Confederate troops to scatter and led to their surrender shortly thereafter.
Upon conclusion of the war Sherman retired to a townhouse on West 71st Street in New York City. He would often spend his time in retirement riding his horse in Central Park. When not riding, Sherman also began work on his personal Memoirs which were published in 1875. These Memoirs are considered one of the best historical accounts of the Civil War. Accepting an invite to share his personal accounts to the graduate class of the Michigan Military Academy in 1879, Sherman explained to students that “War is hell.” His usage of the phrase is the first documented account of an expression that would grace many a politician and soldier’s lips in the years to come. Sherman remained in New York City for the remainder of his days. The general passed away at the age of seventy-one in 1891.
For more history regarding this site, including how you can visit this locale via one of our MP3 audio walking tours, check out our site here: iwalkedaudiotours.com/2013/11/iwalked-new-york-citys-cent...
Led and Orchestrated by poet Bob Holman, the reading of Howl includes a “Greek chorus” of voices... Poets representing The Bowery Poetry Club, The Poetry Project at St. Marks Church in the Bowery, The Nuyorican Poets Cafe, and A Gathering of the Tribes... Including Stephanie Berger, Nina Freeman, David Henderson, Paolo Javier, Vincent Katz, Eliel Lucero, Sheila Maldonado, Ace McNamara, Nancy Mercado, Kristin Prevallet, Joseph D Robbins, Bob Rosenthal, Caroline Rothstein, Judah Rubin, Tahani Salah, Jon Sands, Edwin Torres & Bruce Weber.
Following in the footsteps of the large Painted Turtle, I managed to carry this praying mantis across the road on a stick and set it up on this log so I could take a picture or two.
KAKEGAWA, Japan – Swirling sand obscures the sunlit sky as a UH-1 “Huey” helicopter touches down on a freshly cut baseball field. Mere moments pass before the Huey’s Japan Ground Self-Defense Force crew chief dismounts from his metallic steed and sprints toward four U.S. Army Soldiers bearing a stretcher. The crew chief’s commanding shout cuts through the roar of rotor blades, springing his American partners into action. With swift, expert precision, the stretcher bearers carry their wounded comrade—a mannequin sporting an Army Combat Uniform—to the Huey.
Casualty evacuation was one of the many training missions orchestrated during Shizuoka Prefecture’s annual Comprehensive Disaster Drill conducted here Sept. 4, 2016. The drill demonstrated the emergency response capabilities of a diverse collection of local, regional, national and international organizations. Its static displays, interactive classes and practical workshops conducted throughout Kakegawa also provided lifesaving lessons for the city’s citizens.
“The people of Shizuoka Prefecture have organized this annual exercise for 35 years,” said Yuka Ogura, a supervisor for the prefectural government’s Emergency Countermeasures Division. “Although the drill’s size and scope has become increasingly complex with the inclusion of specialized government agencies and advanced equipment, the individual residents play the most pivotal role in preparing for the worst.”
Among the participants stood a dozen Soldiers assigned to U.S. Army Japan, I Corps (Forward) and Public Health Command-Pacific. The group packed two Humvees with fuel, rations and medical supplies before embarking on their 120-mile journey from Camp Zama to Kakegawa.
“The U.S. Army has actively participated in this drill since 2010,” said Maj. Donald Kim, U.S. Army liaison officer for to the JGSDF's Eastern Army and Central Readiness Force. “It demonstrates our capabilities in humanitarian response assistance by testing our troops’ expertise in first aid, supply distribution, convoy operations and medical evacuation. Our participation also sends a strong message to our Japanese partners that we are willing and able to provide immediate support when disaster strikes.”
“Since the great east Japan earthquake and tsunami [in 2011], local communities have a greater understanding and openness to collaborate with international agencies in the aftermath of a major disaster,” added Ogura. “The U.S. Army has proved on many occasions that it has the talent and resources to respond to any emergency in the country.”
Throughout the exercise, the American Soldiers worked closely with their Japan Ground Self-Defense Force partners from the 34th Infantry Regiment, Eastern Army, JGSDF. The respective units set up their base of operations at a local gym where they combined resources to coordinate convoy routes, establish mobile communication sites, and set up supply distribution points.
“The JGSDF and U.S. Army have specialized equipment and highly trained personnel that many of our civilian counterparts cannot afford,” said JGSDF Sgt. 1st Class Miura Hatoshi, a squad leader in the 2nd Company, 34th Infantry Regiment. “However, these assets are practically worthless if we don’t properly use them. That’s why it’s essential that we seize every opportunity to train together so we may make the right decisions together.”
The drill concluded with a closing ceremony at a demolished neighborhood used as a training site for search, rescue and recovery operations. Standing alongside hundreds of service members, firefighters, police officers and first responders, Heita Kawakatsu, governor of Shizuoka Prefecture, expressed his appreciation for the American participants.
“The citizens of Shizuoka Prefecture and I are grateful for the support from the U.S. Army and Marines,” said Kawakatsu. “Your skill and professionalism were second only to your care and compassion.”
As the troops shook hands and exchanged small tokens of appreciation with their gracious hosts, Kim reflected on his team’s immense effort, energy and enthusiasm.
“I’m proud of these men,” said Kim. “Many of them have Military Occupation Specialties far separated from the desired skillsets for humanitarian assistance and disaster relief missions. However, their proficiency in their basic warrior tasks and their eagerness to learn from the experts shows our Japanese partners that they can count on us anytime, anywhere.”
Photo by Sgt. John L. Carkeet IV, U.S. Army Japan
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.
Pre-production Photos
35mm: A Musical Exhibition
October 26, 2018 to October 28, 2018
Friday, October 26, 2018, 8:00 PM
Saturday, October 27, 2018, 8:00 PM
Sunday, October 28, 2018, 2:00 PM
Corthell Concert Hall, USM Gorham Campus
$15 adult, $10 seniors, USM employees and alumni, $5 students.
Music and Lyrics by Ryan Scott Oliver
Based on Photographs by Matthew Murphy
Vocal Arrangements and Orchestrations by Ryan Scott Oliver
Additional Percussion arrangements by Jeremy Yaddaw
Additional Guitar arrangements by Matt Hinkley
Directed by Edward Reichert
A picture is worth 1,000 words - what about a song? In 35mm: A Musical Exhibition, each photo creates a unique song, moments frozen in time; a glimmer of a life unfolding, a glimpse of something happening. The University of Southern Maine School of Music fall musical theatre production is part concert, part exhibition, part poetry jam, part performance art...an intricately woven collection of stories that re-imagines what the modern American musical can be.
Three performances take place in Corthell Concert Hall on the Gorham campus on Friday, October 26 and Saturday, October 27 at 8 p.m., and Sunday, October 28 at 2 p.m. Tickets are $15 for the general public, $10 for seniors, USM alumni and employees, and $5 for students. They can be purchased online at usm.maine.edu/music/boxoffice, by phone at (207) 780-5555, or at the door.
The show is sponsored by Saco & Biddeford Savings Institution.
Art moves and touches people in different ways. The stories told through song in 35mm are all based on or inspired by the eclectic photography of Matthew Murphy. Composer Ryan Scott Oliver provides us with a collection of stories and photographs about life: gorgeous songs about love and loss, more complex issues like insanity, abuse...and some humor too. Oliver states, “it covers a wide range of experiences and sensations.” This show is recommended for mature audiences.
The show’s director, Ed Reichert says, “The score is fascinating to me because it covers so many genres such as rock, gospel, country, pop, and musical comedy. Ryan Scott Oliver openly talks about some of his creative influences including Lady Gaga, The Scissor Sisters, Schubert, and Rufus Wainwright. He is equally inspired by the likes of Quentin Tarantino, Stephen King, and Stephen Sondheim.” Reichert adds, “With Halloween just around the corner, at least three of the songs are timely: Leave, Luanne (a Southern Gothic Ghost Story), Twisted Teeth (a duet between two vampires), and The Ballad of Sara Berry (think prom queen...).”
The cast includes: Samuel Allen (Harpswell), Matthew Boyd (Medford, NJ), Andrew Carney (Millinocket), Mikayla Clifford (Yarmouth), Noli French (New Gloucester), Aaron Kircheis (Bucksport), Katie Lind (Standish), Ayann Main (Wiscasset), Megan Mayfield (Marlborough, MA), Miles Obrey (Gorham), Alyssa Pearl-Ross (Sangerville), Victoria Stackpole (Biddeford), March Steiger (Buxton), Ben Walker-Dubay (Kennebunk), Megan Walz (Portland), Meg Ward (Bangor), Abby White (Dalton, Mass.).
The band includes Lynnea Harding, associate music director, violin and viola; Catherine Begin, cello; Jake Cooper, guitar; Shannon Allen, bass; Sam Smith, drums, and Ed Reichert on piano.
Those needing special accommodations to participate fully in this program, contact Lori Arsenault, (207) 780-5142, loria@maine.edu. Hearing impaired: call USM's telex / TDD number (207) 780-5646.
35mm: A Musical Exhibition is presented by special arrangement with SAMUEL FRENCH, INC.
Pre-production Photos
35mm: A Musical Exhibition
October 26, 2018 to October 28, 2018
Friday, October 26, 2018, 8:00 PM
Saturday, October 27, 2018, 8:00 PM
Sunday, October 28, 2018, 2:00 PM
Corthell Concert Hall, USM Gorham Campus
$15 adult, $10 seniors, USM employees and alumni, $5 students.
Music and Lyrics by Ryan Scott Oliver
Based on Photographs by Matthew Murphy
Vocal Arrangements and Orchestrations by Ryan Scott Oliver
Additional Percussion arrangements by Jeremy Yaddaw
Additional Guitar arrangements by Matt Hinkley
Directed by Edward Reichert
A picture is worth 1,000 words - what about a song? In 35mm: A Musical Exhibition, each photo creates a unique song, moments frozen in time; a glimmer of a life unfolding, a glimpse of something happening. The University of Southern Maine School of Music fall musical theatre production is part concert, part exhibition, part poetry jam, part performance art...an intricately woven collection of stories that re-imagines what the modern American musical can be.
Three performances take place in Corthell Concert Hall on the Gorham campus on Friday, October 26 and Saturday, October 27 at 8 p.m., and Sunday, October 28 at 2 p.m. Tickets are $15 for the general public, $10 for seniors, USM alumni and employees, and $5 for students. They can be purchased online at usm.maine.edu/music/boxoffice, by phone at (207) 780-5555, or at the door.
The show is sponsored by Saco & Biddeford Savings Institution.
Art moves and touches people in different ways. The stories told through song in 35mm are all based on or inspired by the eclectic photography of Matthew Murphy. Composer Ryan Scott Oliver provides us with a collection of stories and photographs about life: gorgeous songs about love and loss, more complex issues like insanity, abuse...and some humor too. Oliver states, “it covers a wide range of experiences and sensations.” This show is recommended for mature audiences.
The show’s director, Ed Reichert says, “The score is fascinating to me because it covers so many genres such as rock, gospel, country, pop, and musical comedy. Ryan Scott Oliver openly talks about some of his creative influences including Lady Gaga, The Scissor Sisters, Schubert, and Rufus Wainwright. He is equally inspired by the likes of Quentin Tarantino, Stephen King, and Stephen Sondheim.” Reichert adds, “With Halloween just around the corner, at least three of the songs are timely: Leave, Luanne (a Southern Gothic Ghost Story), Twisted Teeth (a duet between two vampires), and The Ballad of Sara Berry (think prom queen...).”
The cast includes: Samuel Allen (Harpswell), Matthew Boyd (Medford, NJ), Andrew Carney (Millinocket), Mikayla Clifford (Yarmouth), Noli French (New Gloucester), Aaron Kircheis (Bucksport), Katie Lind (Standish), Ayann Main (Wiscasset), Megan Mayfield (Marlborough, MA), Miles Obrey (Gorham), Alyssa Pearl-Ross (Sangerville), Victoria Stackpole (Biddeford), March Steiger (Buxton), Ben Walker-Dubay (Kennebunk), Megan Walz (Portland), Meg Ward (Bangor), Abby White (Dalton, Mass.).
The band includes Lynnea Harding, associate music director, violin and viola; Catherine Begin, cello; Jake Cooper, guitar; Shannon Allen, bass; Sam Smith, drums, and Ed Reichert on piano.
Those needing special accommodations to participate fully in this program, contact Lori Arsenault, (207) 780-5142, loria@maine.edu. Hearing impaired: call USM's telex / TDD number (207) 780-5646.
35mm: A Musical Exhibition is presented by special arrangement with SAMUEL FRENCH, INC.
Annual celebration of all things pig orchestrated by Chef Jeremiah Bullfrog of the gastroPod on November 15, 2015.
twitter: @frodnesor
instagram: @frodnesor
D Afonso IV 8 February 1291 – 28 May 1357), called the Brave (Portuguese: o Bravo), was the seventh king of Portugal and the Algarve from 1325 until his death. He was the only legitimate son of King Denis of Portugal by his wife Elizabeth of Aragon.
Afonso, born in Lisbon, was the rightful heir to the Portuguese throne. However, he was not, according to several sources, Dinis' favourite son; his half-brother, the illegitimate Afonso Sanches, enjoyed full royal favour. From early in life, the notorious rivalry led to several outbreaks of civil war. On 7 January 1325, Afonso's father died and he became king, taking full revenge on his brother. His rival was sentenced to exile in Castile, and stripped of all the lands and fiefdoms donated by their father. Afonso Sanches, however, did not sit still. From Castile, he orchestrated a series of attempts to usurp the crown for himself. After a few failed attempts at invasion, both brothers signed a peace treaty, arranged by Afonso's mother Queen Elizabeth.
In 1309, Afonso IV married Infanta Beatrice of Castile, daughter of King Sancho IV of Castile by his wife Maria de Molina. The first-born of this union, Infanta Maria of Portugal, married King Alfonso XI of Castile in 1328, at the same time that Afonso IV's heir, Peter I of Portugal, was promised to another Castilian infanta, Constance of Penafiel. These arrangements were imperiled by the ill will of Alfonso XI of Castile, who was, at the time, publicly mistreating his wife. Afonso IV was not happy to see his daughter abused, and started a war against Castile. Peace arrived four years later, with the intervention of Infanta Maria herself. A peace treaty was signed in Seville in 1339 and, in the next year, Portuguese troops played an important role in the victory of the Battle of Rio Salado over the Marinid Moors in October 1340.
The last part of Afonso IV's reign is marked not by open warfare against Castile, but by political intrigue. Civil war between King Pedro of Castile and his half-brother Henry of Trastamara led to the exile of many Castilian nobles to Portugal. These immigrants immediately created a faction among the Portuguese court, aiming at privileges and power that, somehow, could compensate what they lost at home. The faction grew in power, especially after Inês de Castro, daughter of an important nobleman and maid of the Crown Princess Constance, became the lover of her lady's husband: Peter, the heir of Portugal. Afonso IV was displeased with his son's choice of lovers, and hoped that the relationship would be a futile one. Unfortunately for internal politics, it was not. Peter was openly in love with Ines, recognized all the children she bore, and, worst of all, favoured the Castilians that surrounded her. Moreover, after his wife's death in 1349, Peter refused the idea of marrying anyone other than Ines herself.
The situation became worse as the years passed and the aging Afonso lost control over his court. Peter's only male heir, future king Fernando of Portugal, was a sickly child, while the illegitimate children sired with Ines thrived. Worried about his legitimate grandson's life, and the growing power of Castile within Portugal's borders, Afonso ordered the murder of Inês de Castro in 1355. He expected his son to give in, but the heir was not able to forgive him for the act. Enraged at the barbaric act, Peter put himself at the head of an army and devastated the country between the Douro and the Minho rivers before he was reconciled to his father in early 1357. Afonso died almost immediately after, in Lisbon in May
As king, Afonso IV is remembered as a soldier and a valiant general, hence the nickname the Brave. But perhaps his most important contribution was the importance he gave to the Portuguese navy. Afonso IV granted public funding to raise a proper commercial fleet and ordered the first maritime explorations. The Canary Islands (today a part of Spain) were discovered during his reign.
English
en.wikipedia.org/wiki/Palace_of_the_Marquesses_of_Fronteira
The Palace of the Marquesses of Fronteira, also known as Fronteira Palace (in Portuguese Palácio Fronteira), in Lisbon, was built in 1640 as a hunting pavilion to Dom João de Mascarenhas, 1st Marquis of Fronteira.
In spite of some tall buildings, the palace is still located in a very quiet area, near the Monsanto forest-park (Lisbon). The house and the garden have beautiful glazed tiles representing different themes such as battles or monkeys playing trumpets.
In spite of being the current Marquis residence, some of the rooms, the library and the garden are open to public visits. The Battles Room has beautiful panels representing scenes of the Portuguese Restoration War; one of them shows D. João de Mascarenhas fighting a Spanish general. For his loyalty to King Pedro II of Portugal, during that war, he received the title of 1st Marquis of Fronteira.
The Dining Room is decorated with portraits representing some members of the Portuguese nobility, painted by artist such as Domingos António de Sequeira.
The Chapel, dated from the end of the 16th Century is the oldest part of the palace. The façade is adorned with stones, shells, broken glass and porcelains. It seams that those pieces were used during the palace’s inauguration and were broken on purpose just not to be used again.
The palace garden has an area of 5,5 ha. The visits to the garden begin in the Chapel yard. There, you will find niches with glazed tiles with pictures that represent the different arts as well as mythological figures. The garden hedges are cut in order to represent the different year seasons. There is also a stone staircase which take us to a yard where several niches are decorated with the Kings of Portugal busts
Português
pt.wikipedia.org/wiki/Pal%c3%a1cio_dos_Marqueses_de_Front...
O Palácio Fronteira, em Lisboa, foi construído em 1640 como pavilhão de caça para D. João de Mascarenhas, o primeiro marquês de Fronteira.
Apesar de alguns prédios altos serem visíveis à distância, continua a ocupar um lugar tranquilo, à beira do Parque Florestal de Monsanto. A casa e o jardim têm belos azulejos cujos temas vão desde as batalhas a macacos que tocam trombetas.
Embora o palácio ainda seja ocupado pelo 12º marquês, algumas das salas, a biblioteca e o jardim podem ser visitados. A Sala das Batalhas tem belos painéis com cenas da Guerra da Restauração e um pormenor de João de Fronteira que combate um general espanhol. Foi a sua lealdade a D. Pedro II, durante esse conflito, que o fez ganhar o título de marquês.
A Sala de Jantar está decorada com frescos retratos da nobreza portuguesa, de artistas como Domingos António de Sequeira.
A Capela de finais do século XVI é a parte mais antiga. A fachada está dornada com pedras, conchas, vidros partidos e restos de porcelanas. Diz-se que essas peças foram usadas na inauguração do palácio e partidas para que ninguém mais as utilizasse.
♥ Throughout history we see that God loves numbers! He’s an architect and engineer; He made the universe! He loves to show off, show His glory, and make us marvel! Many numbers have very significant, God ordained meanings & implications. Note: “3 dots, 3 dashes, 3 dots” is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS message! Think! WHAT IF!! What if GOD is really trying to get your attention! Even if you don't believe in God, WHAT IF!! I would hope, if it were me, I would somehow respond. But, CAUTION! Whatever you do, do not place your trust in the purveyors of ANGEL NUMBERS & such! Although it's essentially true that the 333 may indeed be delivered by an angel, it would be an extreme injustice & mistake to associate it with the various spiritualist and profit oriented sites that pop up when "meaning of 333" is Googled. See "Satan's # Games". Unfortunately, although certainly more accurate, it's a shame one has to add "biblical" to "meaning of 333" for this site to be ranked high on the list by Google. Don't know whether to blame Satan or praise Google! It represents God, the 3-in-1, Father, Son, & Holy Spirit. Jesus prayed 3 times in the Garden of Gethsemane before His arrest. He was placed on the cross at the 3rd hour of the day (9 a.m.) and died at the 9th hour (3 p.m.). There were 3 hours of darkness that covered the land while Jesus was on the cross. Three is also the number of resurrection. Christ arose after 3 days and 3 nights in the tomb.
There are many more illustrations of the #3s biblical significance. Jonah prophetically spent 3 days in the belly of a big fish. After the flood, new life started in 3 persons: Shem, Ham, & Jepheth. Israel was founded in the 3 persons of Abraham, Isaac, & Jacob. Three (3) of the most memorable Biblical edifices, Noah's Ark, Solomon's Temple, and The Millennial Temple, are 3 stories tall; and they all represent God's saving grace. 33 = After 3 years of ministry and raising 3 people from the dead, Jesus died at age 33. His death and resurrection fulfilled all the old testament promises concerning the Messiah. Thus, the number 33 is connected to promise, in particular, to Gods promise of salvation to humanity. “3 dots, 3 dashes, 3 dots”, as noted above, is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS (Save Our Souls) message! On Nov.29,1947, the 333rd day of the year, the United Nations voted for the establishment of a Jewish State. God gave His chosen people the homeland that He had promised to their forefathers!
Genesis 15:9, The LORD told Abraham, "Bring me a three-year-old heifer, a three-year-old female goat, a three-year-old ram, a turtledove, and a young pigeon." This has to do with the covenant God made with Abraham, promising the land of Israel to the Jews. Thus 333 just may be considered a COVENANT number!!! As seen above, the numbers 3, 33, or 333 just scream of Jesus &/or the Bible! No other, not Mohammad, Buddha, Satan, or any other religion can proclaim such a connection. And again, 333 is surely God’s International Distress Signal; an urgent end-times SOS message! good link below
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.
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.
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.
We attended a very early morning walk and listen activity called “DAWN CHORUS” and led by Michael Pollock, the NJ Audubon Society Naturalist and Teacher. Listening the building chorus of songs from a great number of birds of different species was truly an incredible experience. The build up to the final crescendo seemed as if meticulously orchestrated by the birds, themselves . . . Each body chimed in and backed out in a very systematic manner, creating a sense of design. Then, as the distant Eastern Sun began to slowly ascend, while casting its initial golden rays onto the tips of the tall trees, the scene was stunning. It appeared as if the trees were giant candles with the fire burning at the whisk. Interestingly, the birds that began to emerge from their overnight resting spots would often fly straight up the lit tips of the trees, practically stepping into day, while leaving night only a matter of feet below.
The late, Doris Duke, had left a wonderful legacy in converting her magnificent estate into a Natural Wildlife Preserve for the public’s education and enjoyment. The paths throughout the estate offer such splendid scenery. One is forever exploring, always seeing something subtly beautiful. There are always pleasant surprises, from the general scenery to the world of the wildlife, even tiny insects and flowers are enjoyable to observe. The bucolic nature of the preserve is so relaxing—akin to meditating while experiencing the landscape. The beauty of visiting Duke Farms is that so many incredible views are there simply by observing all of the surroundings.
Besides the wonderful diversity of nature’s jewels, Doris Duke has left a part of her legacy through her passion for art—well situated throughout the preserve is a collection of glorious sculptures and fabulous examples of supreme stonework and design in the bridges, old ruins of enormous barns and stables, and a variety of other structures. The old Hay Barn ruin with its fabulous sculpture garden is truly a favorite of ours, for each and every statue seems to possess a spirit and sense of life. The landscape and backdrop can alter the mood, accordingly, depending on the time of day and seasonal changes in particular. So, spotting new and fascinating wildlife (both animals and plants) and art never ceases to add to the experience.
Lynne Williams - Anti monarchy and Republican group. says
The notion that the Royals add to Britains wealth is a carefully orchestrated myth. They are actually a net loss to the economy of about £340 million. The claim that royalty in itself increases tourism is also incorrect.
In reality, the vast majority of people don’t even bother with visiting Buckingham Palace – apart from the obligatory photo opportunity with the guards outside: they focus on Westminster, the Tower and the West End.
The Queen is head of that tiny group of wealthy individuals: the aristocracy - 0.6 per cent of the population, who own over 60 percent of rural land in Britain.
The Queen is the largest land-owner in the world: she and her family own 1 billion square metres of private land and 3, 84 billion square metres of Royal land, as well as over 660 million square metres of the Lancaster estate. All the above produce an annual income of around £80 million per year.
Prince Charles is the owner of 1.5 billion square metres in Britain and receives over £20 million annually.
Overall the Royal family has a fortune of £8 billion and has under its administration other assets over £12 billion
The multi-million pound surplus revenue from the Duchies of Cornwall and Lancaster is paid each year to the Queen and Prince Charles: around £20 million flows from the Duchy into Charles’s pockets.
The Duchy invests little back into local communities, while demanding bedroom taxes, taxes on using the airport and ferry and huge increases to land rents.
It continues to limit tenants’ rights, demand more money from residents and local communities and resist serious scrutiny. There have been stories of harassment and threats by the Duchy, leaving local residents fearful of speaking out.
The Duchy isn’t some quaint left-over from feudal times. It is a hard headed and ruthless business run for the profit of Prince Charles.
It is only in recent years that the Queen finally reluctantly agreed to pay tax - something which she had fought tooth and nail against for decades.
The Royal Household has tried to claim that the monarchy is good value for money: that the monarchy contributes to the wealth of the country through tourism and trade.
The reality is that the cost to the taxpayer runs into the hundreds of millions every year, while the tourism and trade revenue is a figment of the spin doctor’s imagination.
Meanwhile, whilst royal income is increasing exponentially, the UK is now more Dickensian than it has ever been since WWII.
People are driven more and more into abject poverty. 137,000 people were recorded as having avoidably died during the winter of 2014 from lack of food and/or heating (and these are government statistics, so likely to actually be quite conservative), hence the ghastly new expression in the lexicon: 'Heat or eat.' 250,000 people in England are homeless. Britain is now one of the most unequal societies in the developed world.
Queen Street West, Toronto
You could place your camera and sort of tell a story with parked or locked bicycles. - Mike
*****
"The Ride of the Valkyries (German: Walkürenritt), is the popular term for the beginning of Act III of Die Walküre by Richard Wagner. The main theme of the ride, the leitmotif labelled Walkürenritt was first written down by the composer on 23 July 1851. The preliminary draft for the Ride was composed in 1854 as part of the composition of the entire opera which was fully orchestrated by the end of the first quarter of 1856. Together with the Bridal Chorus from Lohengrin, the Ride of the Valkyries is one of Wagner's best-known pieces.
In the opera-house, the Ride, which takes around eight minutes, begins in the prelude to the Act, building up successive layers of accompaniment until the curtain rises to reveal a mountain peak where four of the eight Valkyrie sisters of Brünnhilde have gathered in preparation for the transportation of fallen heroes to Valhalla. As they are joined by the other four, the familiar tune is carried by the orchestra, while, above it, the Valkyries greet each other and sing their battle-cry. Apart from the song of the Rhinemaidens in Das Rheingold, it is the only ensemble piece in the first three operas of Wagner's Ring cycle. Outside the opera-house, it is usually heard in a purely instrumental version, which may be as short as three minutes.
...The Ride of The Valkyries has been used to accompany moving pictures since the earliest days of Hollywood. The original score for D. W. Griffith's film The Birth of a Nation (1915), compiled by Joseph Carl Breil and Griffith, used the music in the climactic scene of the third act, when 'The former enemies of North and South are united again in defense of their Aryan birthright' against liberated former black slaves after the end of the American Civil War. The beleaguered white group are rescued by the Ku Klux Klan to the sound of the music.
Since then, 'The Ride of the Valkyries' has been used in a scene in Apocalypse Now where a squadron of helicopters attacks a Vietnamese village. Lieutenant Colonel Bill Kilgore (Robert Duvall), commander of the 1/9 AirCav, orders its use because 'Charlie hates Wagner!' In the 2009 film Watchmen, it is used in a similar scene portraying Dr. Manhattan and the Comedian's service in Vietnam.
Through the music, this scene has been parodied and referenced in television and film since, such as the 1998 movie Fear and Loathing in Las Vegas and the 2009 movie Watchmen as well as in the final episode of the third season of the American crime drama The Wire.
The theme was also prominently featured in Chuck Jones's 1957 animated short What's Opera Doc? starring Elmer Fudd and Bugs Bunny, and featuring the lyrics 'Kill the wabbit! Kill the wabbit! Kill the wabbit!' sung to the main theme.
In the film Valkyrie (2008) 'Ride of the Valkyries' is heard playing on a record player as Colonel Claus Schenk Graf von Stauffenberg and his family hide in their shelter during an air raid. It is 'Ride of the Valkyries' that inspires von Stauffenberg to amend Operation Valkyrie in an attempt to assassinate Adolf Hitler and end the Second World War.
...A group of German tanks are said to have played 'Ride of the Valkyries' on their shortwave radios just before an assault launched in World War II. The scenario is described in the book The Forgotten Soldier, written in late 1940s and first published in French in the 1960s, which claims to be a personal account of the author, Guy Sajer, and his experience as a soldier of the German 'Großdeutschland Division'. He describes standing next to the tanks in the Battle of Memel (now Klaipeda) where he was gathering together with a ragtag force to attempt a breakout from a surrounded position, and says in the book that it was 'a fitting accompaniment to supreme sacrifice'.
'Ride of the Valkryies' was used to accompany several editions of Die Deutsche Wochenschau, the German wartime newsreel. The films in question were typically narrated by Harry Geise and featured sequences of Luftwaffe bombings." en.wikipedia.org/wiki/Ride_of_the_Valkyries
Science fiction retelling of the classic novel “Robinson Crusoe” by Daniel Defoe.
Nathan Van Cleave (1910-1970) was a prolific composer and orchestrator known for his work in film and television during the mid-20th century. For “Robinson Crusoe on Mars,” he composed an extraordinary musical score that contributed greatly to the film’s atmosphere and showcased his talent for creating music that perfectly complemented the science fiction genre. His music for this film has been appreciated by fans and critics alike, and the soundtrack has been released in various formats over the years, allowing enthusiasts to enjoy his compositions outside of the film.
Van Cleave worked on a variety of projects, including other science fiction films like “Conquest of Space” (1955), which was also directed by Byron Haskin. His music is remembered for its distinctive style and its ability to transport listeners to the otherworldly settings of the films he scored. His contribution to “Robinson Crusoe on Mars” remains a notable part of this legacy in the world of film music. [Sources: Screen Archives, YouTube, and Discogs.com]
Original film music on YouTube: www.youtube.com/watch?v=wXAGr3IMEbs
Al Capone orchestrated the most notorious gangland killing of the century, the 1929 St. Valentine's Day Massacre in the Lincoln Park neighborhood on Chicago's North Side. Although details of the killing of the seven victims in a garage at 2122 North Clark Street are still in dispute and no one was ever indicted for the crime, their deaths are generally linked to Capone and his henchmen.
Mt Carmel Catholic Cemetery
Hillside, Chicago, IL
April 2008
This image comes from my continuing exploration of the natural world through arranging free and fallen pieces in to mandalas or "maps of our universe". I am interested in communicating inter-connectivity through the way we effect nature and in turn, the way nature effects us.
Ballets Russes produced this version of “Sleeping Beauty” and renamed it “The Sleeping Princess.” Leon Bakst designed the costumes and scenery and Marius Petipa and Bronislava Nijinska were responsible for the choreography. The music by Tchaikovsky was partly re-orchestrated by Igor Stravinsky for Ballets Russes. It was a lavish and costly production which premiered at London’s Alhambra Theatre on November 2, 1921, and it nearly bankrupted Diaghilev’s company. The National Gallery of Australia describes the ballet and the reasons for the ensuing financial disaster as follows:
“…At the birth of his daughter, King Florestan XXIV and his queen invite all the fairies of the land to be godmothers to the baby Princess Aurora at her christening at the palace. All the fairies arrive and bestow a magic wish on the young princess. However, the ceremony is interrupted by the wicked fairy Carabosse who, angry that she has been left off the invitation list, curses Aurora, promising that one day she will prick her finger and die. Although she cannot break the curse, the Lilac Fairy frustrates Carabosse by exchanging Aurora’s imminent death with a long slumber, from which Aurora can only be woken by the kiss of a prince. Aurora’s awakening by Florimund a hundred years later is followed by their spectacular marriage.
“This ballet had its genesis as Sleeping Beauty, presented in 1890 by Marius Petipa for the Mariinsky Theatre and celebrated for its lavish production quality and for the commissioning of Tchaikovsky for its musical score. The young Bakst, Benois and Diaghilev saw this production, and were enthralled by its fusion of historical art, design and contemporary music. The ballet was given a number of times outside Russia, including a version for Anna Pavlova’s company in New York in 1916, with costume designs by Bakst. While the Ballets Russes had reached the end of the decade as the acknowledged leader in modern ballet, Diaghilev’s decision to stage this ballet in 1921 was driven by the company’s weak financial position and the hope that such a classic might secure for the Ballets Russes a long-running season in the conservative, but lucrative, London theatre world. He reconciled with Bakst, offering him the design work, secure in the knowledge of Bakst’s previous experience with this production and his sketches prepared for the earlier Pavlova commission. Diaghilev secured the backing of Sir Oswald Stoll, the director of the Alhambra Theatre, to fund the production, renamed in English The Sleeping Princess, but soon ran over budget. The costs of Bakst’s costumes for a huge cast spiralled due to their lavish use of expensive materials and couture-like construction and detailing, with the final detail of every costume personally overseen and approved by Diaghilev. The National Gallery’s costume for a lady-in-waiting is an indication of the extravagance, as a costume provided for a relatively minor character. Bakst’s six elaborate sets, inspired by the Baroque work of the seventeenth-century theatre designer Ferdinando Galli Bibiena (1656–1743) and the eighteenth-century work of Bérain and Boquet (for the later period of Aurora’s awakening), also drained the budget.
“The demanding, lengthy performance of a single ballet did not appeal to audiences used to a more varied repertoire, and crucial audience numbers did not eventuate, forcing the production to close after 114 performances and leaving Diaghilev with crippling debt. As security, Stoll impounded the valuable costumes and properties at his Coliseum Theatre until Diaghilev was able to repay the debt, something he did not achieve until 1926. Having fled London before the production finished, without his properties and unable to return to Britain due to the risk of legal action and penalty, Diaghilev was again forced to change direction and focus. An unplanned future benefit of this episode was that the sturdily crafted costumes remained in relatively good condition, having been worn lightly and stored for a long period. By the time they were released, Diaghilev had moved on from such historical spectacles and the costumes, like Aurora, entered another long period of slumber and obscurity.” [National Gallery of Australia at www.nga.gov.au]
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
Throughout history we see that God loves numbers! He’s an architect and engineer; He made the universe! He loves to show off, show His glory, and make us marvel! Many numbers have very significant, God ordained meanings & implications. Note: “3 dots, 3 dashes, 3 dots” is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS message! Think! WHAT IF!! What if GOD is really trying to get your attention! Even if you don't believe in God, WHAT IF!! I would hope, if it were me, I would somehow respond. But, CAUTION! Whatever you do, do not place your trust in the purveyors of ANGEL NUMBERS & such! Although it's essentially true that the 333 may indeed be delivered by an angel, it would be an extreme injustice & mistake to associate it with the various spiritualist and profit oriented sites that pop up when "meaning of 333" is Googled. See "Satan's # Games". Unfortunately, although certainly more accurate, it's a shame one has to add "biblical" to "meaning of 333" for this site to be ranked high on the list by Google. Don't know whether to blame Satan or praise Google! It represents God, the 3-in-1, Father, Son, & Holy Spirit. Jesus prayed 3 times in the Garden of Gethsemane before His arrest. He was placed on the cross at the 3rd hour of the day (9 a.m.) and died at the 9th hour (3 p.m.). There were 3 hours of darkness that covered the land while Jesus was on the cross. Three is also the number of resurrection. Christ arose after 3 days and 3 nights in the tomb.
There are many more illustrations of the #3s biblical significance. Jonah prophetically spent 3 days in the belly of a big fish. After the flood, new life started in 3 persons: Shem, Ham, & Jepheth. Israel was founded in the 3 persons of Abraham, Isaac, & Jacob. Three (3) of the most memorable Biblical edifices, Noah's Ark, Solomon's Temple, and The Millennial Temple, are 3 stories tall; and they all represent God's saving grace. 33 = After 3 years of ministry and raising 3 people from the dead, Jesus died at age 33. His death and resurrection fulfilled all the old testament promises concerning the Messiah. Thus, the number 33 is connected to promise, in particular, to Gods promise of salvation to humanity. “3 dots, 3 dashes, 3 dots”, as noted above, is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS (Save Our Souls) message! On Nov.29,1947, the 333rd day of the year, the United Nations voted for the establishment of a Jewish State. God gave His chosen people the homeland that He had promised to their forefathers!
Genesis 15:9, The LORD told Abraham, "Bring me a three-year-old heifer, a three-year-old female goat, a three-year-old ram, a turtledove, and a young pigeon." This has to do with the covenant God made with Abraham, promising the land of Israel to the Jews. Thus 333 just may be considered a COVENANT number!!! As seen above, the numbers 3, 33, or 333 just scream of Jesus &/or the Bible! No other, not Mohammad, Buddha, Satan, or any other religion can proclaim such a connection. And again, 333 is surely God’s International Distress Signal; an urgent end-times SOS message! good link below
New Market is a market in Kolkata situated on Lindsay Street. Technically, it referred to an enclosed market but today in local parlance the entire Lindsay Street shopping area is often known as New Market.
HISTORY
Some of the earliest English quarters of Calcutta were in an area known then as Dalhousie Square. Terretti and Lalbazar nearby were the customary shopping haunts of the British. Later settlements arose in Kashaitola, Dharmatala and Chowringhee.By the 1850s, British colonists held sway in Calcutta and displayed increasing contempt for the “natives” and an aversion to brushing shoulders with them at the bazaars. In 1871, moved by a well orchestrated outcry from English residents, a committee of the Calcutta Corporation began to contemplate a market which would be the preserve of Calcutta’s British residents. Spurred by the committee’s deliberations, the Corporation purchased Lindsay Street, made plans to raze the old Fenwick’s Bazar located there, and commissioned Richard Roskell Bayne, an architect of the East Indian Railway Company, to design the Victorian Gothic market complex which would take its place. It began to take shape in 1873, and Bayne was honoured for his achievement with a Rs. 1,000 rupee award, a large sum in the 1870s.The giant shopping arcade was thrown open to the English populace with some fanfare on January 1, 1874. News of Calcutta’s first municipal market spread rapidly. Affluent colonials from all over India shopped at exclusive retailers like Ranken and Company (dressmakers), Cuthbertson and Harper (shoe-merchants) and R.W. Newman or Thacker Spink, the famous stationers and book-dealers.
Sir Stuart Hogg, then the Chairman of Calcutta Corporation, had shown tenacious support for the plans to build the New Market. So, 28 years later, on December 2, 1903, the market was officially named Sir Stuart Hogg Market and later shortened to Hogg Market. Bengali society, in the British era, called it Hogg Shaheber Bajaar, a name that is still in use, just as a painting of Sir Stuart Hogg still hangs in Calcutta Corporation’s portrait gallery. But the earliest provisional nickname, New Market, which remained in use throughout, proved to have the most sticking power.
New Market’s growth kept pace with the city until World War II. The northern portion of the market came up in 1909 at an expense of 6 lakh rupees. Despite the gathering storm of World War II, an extension was engineered on the south flank, and the historic clock tower on the eastern end of the market was shipped over from Huddersfield and installed in the 1930s. Florists were located near the front entrance, and stalls selling fresh and preserved foods were placed towards the rear of the market. Beyond the vegetable stalls, fishmongers and slaughterhouse butchers plied their trade, and, until the mid-1970s, at the very back of the market, exotic animals from all over the British Empire could be bought as pets.
DESCRIPTION
Despite the appearance of new air-conditioned, American-style, shopping malls all over Kolkata, New Market, which has survived two devastating fires and regular flooding, remains at the core of the shopping experience in the city. Over 2000 stalls under its roof sell everything from clothing to wheeled luggage to electronics to a special cheese found nowhere else. Under its apparent chaos lie extraordinary finds as well as remarkable bargains.
There are several renowned confectioners in New Market: Nahoum & Sons (estd. 1902) is truly historic, with its original mahogany cabinetry and marble counters. For over a century, millions of customers have sworn by Nahoum’s Rich Fruit Cake, its brownies, marzipan, macaroons and much more. Imperial Confectioners and D Gama compete for a close second and third place. New Market is also home to a plethora of saree shops, such as Dayaram & Co. (estd. 1908),Bombay Silk House and Ghanashyam.It houses a world famous kashmiri shawl store Pumposh-kashmir shawl emporium (estb.1935). A huge section of New Market is allotted to floriskts, where customers can choose from a wide seasonal selection of many varieties of carnations, gerbera, gladiolas, orchids, tuberoses, roses and lilies, and other flowers. Among the most renowned are A. Bose Pvt. Ltd. (estd.1874), and Coondoo Florists. Another huge section of the market houses crockery and crystal stores, such as Staffordshire Stores (estd.1938), that sell everything from champagne flutes, wine glasses, and cocktail funnels to dinner and tea sets and flower vases..
Situated on Lindsay Street, Kolkata (Calcutta), just off Chowringhee Road, the market is open 10 a.m. until 8 p.m. Monday to Friday, until 7 p.m. on Saturdays, and closed on Sundays.
FIRE OF 1985 & 2011
A fire burned down large portions of the original building on December 13, 1985. It has since been rebuilt, and provided with a new wing. Another fire broke out on July 20, 2011 but was confined to a small area in the Flower Range near the Lindsay Street entrance.
WIKIPEDIA
Pre-production Photos
35mm: A Musical Exhibition
October 26, 2018 to October 28, 2018
Friday, October 26, 2018, 8:00 PM
Saturday, October 27, 2018, 8:00 PM
Sunday, October 28, 2018, 2:00 PM
Corthell Concert Hall, USM Gorham Campus
$15 adult, $10 seniors, USM employees and alumni, $5 students.
Music and Lyrics by Ryan Scott Oliver
Based on Photographs by Matthew Murphy
Vocal Arrangements and Orchestrations by Ryan Scott Oliver
Additional Percussion arrangements by Jeremy Yaddaw
Additional Guitar arrangements by Matt Hinkley
Directed by Edward Reichert
A picture is worth 1,000 words - what about a song? In 35mm: A Musical Exhibition, each photo creates a unique song, moments frozen in time; a glimmer of a life unfolding, a glimpse of something happening. The University of Southern Maine School of Music fall musical theatre production is part concert, part exhibition, part poetry jam, part performance art...an intricately woven collection of stories that re-imagines what the modern American musical can be.
Three performances take place in Corthell Concert Hall on the Gorham campus on Friday, October 26 and Saturday, October 27 at 8 p.m., and Sunday, October 28 at 2 p.m. Tickets are $15 for the general public, $10 for seniors, USM alumni and employees, and $5 for students. They can be purchased online at usm.maine.edu/music/boxoffice, by phone at (207) 780-5555, or at the door.
The show is sponsored by Saco & Biddeford Savings Institution.
Art moves and touches people in different ways. The stories told through song in 35mm are all based on or inspired by the eclectic photography of Matthew Murphy. Composer Ryan Scott Oliver provides us with a collection of stories and photographs about life: gorgeous songs about love and loss, more complex issues like insanity, abuse...and some humor too. Oliver states, “it covers a wide range of experiences and sensations.” This show is recommended for mature audiences.
The show’s director, Ed Reichert says, “The score is fascinating to me because it covers so many genres such as rock, gospel, country, pop, and musical comedy. Ryan Scott Oliver openly talks about some of his creative influences including Lady Gaga, The Scissor Sisters, Schubert, and Rufus Wainwright. He is equally inspired by the likes of Quentin Tarantino, Stephen King, and Stephen Sondheim.” Reichert adds, “With Halloween just around the corner, at least three of the songs are timely: Leave, Luanne (a Southern Gothic Ghost Story), Twisted Teeth (a duet between two vampires), and The Ballad of Sara Berry (think prom queen...).”
The cast includes: Samuel Allen (Harpswell), Matthew Boyd (Medford, NJ), Andrew Carney (Millinocket), Mikayla Clifford (Yarmouth), Noli French (New Gloucester), Aaron Kircheis (Bucksport), Katie Lind (Standish), Ayann Main (Wiscasset), Megan Mayfield (Marlborough, MA), Miles Obrey (Gorham), Alyssa Pearl-Ross (Sangerville), Victoria Stackpole (Biddeford), March Steiger (Buxton), Ben Walker-Dubay (Kennebunk), Megan Walz (Portland), Meg Ward (Bangor), Abby White (Dalton, Mass.).
The band includes Lynnea Harding, associate music director, violin and viola; Catherine Begin, cello; Jake Cooper, guitar; Shannon Allen, bass; Sam Smith, drums, and Ed Reichert on piano.
Those needing special accommodations to participate fully in this program, contact Lori Arsenault, (207) 780-5142, loria@maine.edu. Hearing impaired: call USM's telex / TDD number (207) 780-5646.
35mm: A Musical Exhibition is presented by special arrangement with SAMUEL FRENCH, INC.
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
Pre-production Photos
35mm: A Musical Exhibition
October 26, 2018 to October 28, 2018
Friday, October 26, 2018, 8:00 PM
Saturday, October 27, 2018, 8:00 PM
Sunday, October 28, 2018, 2:00 PM
Corthell Concert Hall, USM Gorham Campus
$15 adult, $10 seniors, USM employees and alumni, $5 students.
Music and Lyrics by Ryan Scott Oliver
Based on Photographs by Matthew Murphy
Vocal Arrangements and Orchestrations by Ryan Scott Oliver
Additional Percussion arrangements by Jeremy Yaddaw
Additional Guitar arrangements by Matt Hinkley
Directed by Edward Reichert
A picture is worth 1,000 words - what about a song? In 35mm: A Musical Exhibition, each photo creates a unique song, moments frozen in time; a glimmer of a life unfolding, a glimpse of something happening. The University of Southern Maine School of Music fall musical theatre production is part concert, part exhibition, part poetry jam, part performance art...an intricately woven collection of stories that re-imagines what the modern American musical can be.
Three performances take place in Corthell Concert Hall on the Gorham campus on Friday, October 26 and Saturday, October 27 at 8 p.m., and Sunday, October 28 at 2 p.m. Tickets are $15 for the general public, $10 for seniors, USM alumni and employees, and $5 for students. They can be purchased online at usm.maine.edu/music/boxoffice, by phone at (207) 780-5555, or at the door.
The show is sponsored by Saco & Biddeford Savings Institution.
Art moves and touches people in different ways. The stories told through song in 35mm are all based on or inspired by the eclectic photography of Matthew Murphy. Composer Ryan Scott Oliver provides us with a collection of stories and photographs about life: gorgeous songs about love and loss, more complex issues like insanity, abuse...and some humor too. Oliver states, “it covers a wide range of experiences and sensations.” This show is recommended for mature audiences.
The show’s director, Ed Reichert says, “The score is fascinating to me because it covers so many genres such as rock, gospel, country, pop, and musical comedy. Ryan Scott Oliver openly talks about some of his creative influences including Lady Gaga, The Scissor Sisters, Schubert, and Rufus Wainwright. He is equally inspired by the likes of Quentin Tarantino, Stephen King, and Stephen Sondheim.” Reichert adds, “With Halloween just around the corner, at least three of the songs are timely: Leave, Luanne (a Southern Gothic Ghost Story), Twisted Teeth (a duet between two vampires), and The Ballad of Sara Berry (think prom queen...).”
The cast includes: Samuel Allen (Harpswell), Matthew Boyd (Medford, NJ), Andrew Carney (Millinocket), Mikayla Clifford (Yarmouth), Noli French (New Gloucester), Aaron Kircheis (Bucksport), Katie Lind (Standish), Ayann Main (Wiscasset), Megan Mayfield (Marlborough, MA), Miles Obrey (Gorham), Alyssa Pearl-Ross (Sangerville), Victoria Stackpole (Biddeford), March Steiger (Buxton), Ben Walker-Dubay (Kennebunk), Megan Walz (Portland), Meg Ward (Bangor), Abby White (Dalton, Mass.).
The band includes Lynnea Harding, associate music director, violin and viola; Catherine Begin, cello; Jake Cooper, guitar; Shannon Allen, bass; Sam Smith, drums, and Ed Reichert on piano.
Those needing special accommodations to participate fully in this program, contact Lori Arsenault, (207) 780-5142, loria@maine.edu. Hearing impaired: call USM's telex / TDD number (207) 780-5646.
35mm: A Musical Exhibition is presented by special arrangement with SAMUEL FRENCH, INC.
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
018
McKinsey Global Infrastructure Initiative Summit
Tokyo, Japan
Thursday, October 20th, 2022
08:30–09:30DISCUSSION SESSIONS
ORCHESTRATING THE ENERGY TRANSITION
A successful decarbonization and energy-transition strategy will need to accommodate new regulations; rethink planning, permitting, and prioritization; leverage new skills, technology, and capital; and adopt an unprecedented sense of urgency to deliver at the required scale and pace. What steps should senior leaders from across the value chain take now to plan and accelerate the transition? How do we gear up for an anticipated tripling of the current pace of construction to meet net-zero targets?
Panelists:
Peter Aschenbrenner, Chief Strategy Officer, Maxeon Solar Industries
Jon Creyts, Chief Program & Strategy Officer, RMI
Nicole Lockwood, Chair, Infrastructure WA
Rajiv Ranjan Mishra, Managing Director, Apraava Energy
Moderator: Zak Cutler, Partner, McKinsey & Company
Kevin Klowden, Chief Global Strategist, The Milken Institute
Photograph by McKinsey Global Infrastructure/Stuart Isett
Jimmy Carter and his sisters and brother got their start in this high chair.
The Jimmy Carter Library and Museum, located on the site where Union General William T. Sherman orchestrated the Battle of Atlanta in 1864 at 441 Freedom Parkway, was opened to the public on October 1, 1986. James Earl "Jimmy" Carter, Jr. served as the 39th President of the United States from 1977 to 1981 following two terms as a Georgia State Senator, representing the 14th district, and one as the 76th Governor of Georgia, from 1971 to 1975. The museum and library, run by the National Archives and Records Administration as part of the Presidential Library system, are housed in a 69,750 square feet building with 15,269 square feet of space for exhibits and 19,818 square feet of archive and storage space. The library stacks house 27 million pages of documents; 500,000 photos, and 40,000 objects, along with films, videos, and audiotapes covering cover all areas of the Carter administration, from foreign and domestic policy to the personal lives of President and Mrs. Carter. Privately owned areas of the complex ouse Carter's offices and the offices of the Carter Center, a non-profit human rights agency.
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.
Throughout history we see that God loves numbers! He’s an architect and engineer; He made the universe! He loves to show off, show His glory, and make us marvel! Many numbers have very significant, God ordained meanings & implications. Note: “3 dots, 3 dashes, 3 dots” is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS message! Think! WHAT IF!! What if GOD is really trying to get your attention! Even if you don't believe in God, WHAT IF!! I would hope, if it were me, I would somehow respond. But, CAUTION! Whatever you do, do not place your trust in the purveyors of ANGEL NUMBERS & such! Although it's essentially true that the 333 may indeed be delivered by an angel, it would be an extreme injustice & mistake to associate it with the various spiritualist and profit oriented sites that pop up when "meaning of 333" is Googled. See "Satan's # Games". Unfortunately, although certainly more accurate, it's a shame one has to add "biblical" to "meaning of 333" for this site to be ranked high on the list by Google. Don't know whether to blame Satan or praise Google! It represents God, the 3-in-1, Father, Son, & Holy Spirit. Jesus prayed 3 times in the Garden of Gethsemane before His arrest. He was placed on the cross at the 3rd hour of the day (9 a.m.) and died at the 9th hour (3 p.m.). There were 3 hours of darkness that covered the land while Jesus was on the cross. Three is also the number of resurrection. Christ arose after 3 days and 3 nights in the tomb.
There are many more illustrations of the #3s biblical significance. Jonah prophetically spent 3 days in the belly of a big fish. After the flood, new life started in 3 persons: Shem, Ham, & Jepheth. Israel was founded in the 3 persons of Abraham, Isaac, & Jacob. Three (3) of the most memorable Biblical edifices, Noah's Ark, Solomon's Temple, and The Millennial Temple, are 3 stories tall; and they all represent God's saving grace. 33 = After 3 years of ministry and raising 3 people from the dead, Jesus died at age 33. His death and resurrection fulfilled all the old testament promises concerning the Messiah. Thus, the number 33 is connected to promise, in particular, to Gods promise of salvation to humanity. “3 dots, 3 dashes, 3 dots”, as noted above, is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS (Save Our Souls) message! On Nov.29,1947, the 333rd day of the year, the United Nations voted for the establishment of a Jewish State. God gave His chosen people the homeland that He had promised to their forefathers!
Genesis 15:9, The LORD told Abraham, "Bring me a three-year-old heifer, a three-year-old female goat, a three-year-old ram, a turtledove, and a young pigeon." This has to do with the covenant God made with Abraham, promising the land of Israel to the Jews. Thus 333 just may be considered a COVENANT number!!! As seen above, the numbers 3, 33, or 333 just scream of Jesus &/or the Bible! No other, not Mohammad, Buddha, Satan, or any other religion can proclaim such a connection. And again, 333 is surely God’s International Distress Signal; an urgent end-times SOS message! good link below
Pre-production Photos
35mm: A Musical Exhibition
October 26, 2018 to October 28, 2018
Friday, October 26, 2018, 8:00 PM
Saturday, October 27, 2018, 8:00 PM
Sunday, October 28, 2018, 2:00 PM
Corthell Concert Hall, USM Gorham Campus
$15 adult, $10 seniors, USM employees and alumni, $5 students.
Music and Lyrics by Ryan Scott Oliver
Based on Photographs by Matthew Murphy
Vocal Arrangements and Orchestrations by Ryan Scott Oliver
Additional Percussion arrangements by Jeremy Yaddaw
Additional Guitar arrangements by Matt Hinkley
Directed by Edward Reichert
A picture is worth 1,000 words - what about a song? In 35mm: A Musical Exhibition, each photo creates a unique song, moments frozen in time; a glimmer of a life unfolding, a glimpse of something happening. The University of Southern Maine School of Music fall musical theatre production is part concert, part exhibition, part poetry jam, part performance art...an intricately woven collection of stories that re-imagines what the modern American musical can be.
Three performances take place in Corthell Concert Hall on the Gorham campus on Friday, October 26 and Saturday, October 27 at 8 p.m., and Sunday, October 28 at 2 p.m. Tickets are $15 for the general public, $10 for seniors, USM alumni and employees, and $5 for students. They can be purchased online at usm.maine.edu/music/boxoffice, by phone at (207) 780-5555, or at the door.
The show is sponsored by Saco & Biddeford Savings Institution.
Art moves and touches people in different ways. The stories told through song in 35mm are all based on or inspired by the eclectic photography of Matthew Murphy. Composer Ryan Scott Oliver provides us with a collection of stories and photographs about life: gorgeous songs about love and loss, more complex issues like insanity, abuse...and some humor too. Oliver states, “it covers a wide range of experiences and sensations.” This show is recommended for mature audiences.
The show’s director, Ed Reichert says, “The score is fascinating to me because it covers so many genres such as rock, gospel, country, pop, and musical comedy. Ryan Scott Oliver openly talks about some of his creative influences including Lady Gaga, The Scissor Sisters, Schubert, and Rufus Wainwright. He is equally inspired by the likes of Quentin Tarantino, Stephen King, and Stephen Sondheim.” Reichert adds, “With Halloween just around the corner, at least three of the songs are timely: Leave, Luanne (a Southern Gothic Ghost Story), Twisted Teeth (a duet between two vampires), and The Ballad of Sara Berry (think prom queen...).”
The cast includes: Samuel Allen (Harpswell), Matthew Boyd (Medford, NJ), Andrew Carney (Millinocket), Mikayla Clifford (Yarmouth), Noli French (New Gloucester), Aaron Kircheis (Bucksport), Katie Lind (Standish), Ayann Main (Wiscasset), Megan Mayfield (Marlborough, MA), Miles Obrey (Gorham), Alyssa Pearl-Ross (Sangerville), Victoria Stackpole (Biddeford), March Steiger (Buxton), Ben Walker-Dubay (Kennebunk), Megan Walz (Portland), Meg Ward (Bangor), Abby White (Dalton, Mass.).
The band includes Lynnea Harding, associate music director, violin and viola; Catherine Begin, cello; Jake Cooper, guitar; Shannon Allen, bass; Sam Smith, drums, and Ed Reichert on piano.
Those needing special accommodations to participate fully in this program, contact Lori Arsenault, (207) 780-5142, loria@maine.edu. Hearing impaired: call USM's telex / TDD number (207) 780-5646.
35mm: A Musical Exhibition is presented by special arrangement with SAMUEL FRENCH, INC.
The Jimmy Carter Library and Museum, located on the site where Union General William T. Sherman orchestrated the Battle of Atlanta in 1864 at 441 Freedom Parkway, was opened to the public on October 1, 1986. James Earl "Jimmy" Carter, Jr. served as the 39th President of the United States from 1977 to 1981 following two terms as a Georgia State Senator, representing the 14th district, and one as the 76th Governor of Georgia, from 1971 to 1975. The museum and library, run by the National Archives and Records Administration as part of the Presidential Library system, are housed in a 69,750 square feet building with 15,269 square feet of space for exhibits and 19,818 square feet of archive and storage space. The library stacks house 27 million pages of documents; 500,000 photos, and 40,000 objects, along with films, videos, and audiotapes covering cover all areas of the Carter administration, from foreign and domestic policy to the personal lives of President and Mrs. Carter. Privately owned areas of the complex ouse Carter's offices and the offices of the Carter Center, a non-profit human rights agency.
I wrote about the difference between orchestration and choreography some time ago. Still surprises me how many people still think either thing is just a thing you put in an box on an architecture diagram.
Pre-production Photos
35mm: A Musical Exhibition
October 26, 2018 to October 28, 2018
Friday, October 26, 2018, 8:00 PM
Saturday, October 27, 2018, 8:00 PM
Sunday, October 28, 2018, 2:00 PM
Corthell Concert Hall, USM Gorham Campus
$15 adult, $10 seniors, USM employees and alumni, $5 students.
Music and Lyrics by Ryan Scott Oliver
Based on Photographs by Matthew Murphy
Vocal Arrangements and Orchestrations by Ryan Scott Oliver
Additional Percussion arrangements by Jeremy Yaddaw
Additional Guitar arrangements by Matt Hinkley
Directed by Edward Reichert
A picture is worth 1,000 words - what about a song? In 35mm: A Musical Exhibition, each photo creates a unique song, moments frozen in time; a glimmer of a life unfolding, a glimpse of something happening. The University of Southern Maine School of Music fall musical theatre production is part concert, part exhibition, part poetry jam, part performance art...an intricately woven collection of stories that re-imagines what the modern American musical can be.
Three performances take place in Corthell Concert Hall on the Gorham campus on Friday, October 26 and Saturday, October 27 at 8 p.m., and Sunday, October 28 at 2 p.m. Tickets are $15 for the general public, $10 for seniors, USM alumni and employees, and $5 for students. They can be purchased online at usm.maine.edu/music/boxoffice, by phone at (207) 780-5555, or at the door.
The show is sponsored by Saco & Biddeford Savings Institution.
Art moves and touches people in different ways. The stories told through song in 35mm are all based on or inspired by the eclectic photography of Matthew Murphy. Composer Ryan Scott Oliver provides us with a collection of stories and photographs about life: gorgeous songs about love and loss, more complex issues like insanity, abuse...and some humor too. Oliver states, “it covers a wide range of experiences and sensations.” This show is recommended for mature audiences.
The show’s director, Ed Reichert says, “The score is fascinating to me because it covers so many genres such as rock, gospel, country, pop, and musical comedy. Ryan Scott Oliver openly talks about some of his creative influences including Lady Gaga, The Scissor Sisters, Schubert, and Rufus Wainwright. He is equally inspired by the likes of Quentin Tarantino, Stephen King, and Stephen Sondheim.” Reichert adds, “With Halloween just around the corner, at least three of the songs are timely: Leave, Luanne (a Southern Gothic Ghost Story), Twisted Teeth (a duet between two vampires), and The Ballad of Sara Berry (think prom queen...).”
The cast includes: Samuel Allen (Harpswell), Matthew Boyd (Medford, NJ), Andrew Carney (Millinocket), Mikayla Clifford (Yarmouth), Noli French (New Gloucester), Aaron Kircheis (Bucksport), Katie Lind (Standish), Ayann Main (Wiscasset), Megan Mayfield (Marlborough, MA), Miles Obrey (Gorham), Alyssa Pearl-Ross (Sangerville), Victoria Stackpole (Biddeford), March Steiger (Buxton), Ben Walker-Dubay (Kennebunk), Megan Walz (Portland), Meg Ward (Bangor), Abby White (Dalton, Mass.).
The band includes Lynnea Harding, associate music director, violin and viola; Catherine Begin, cello; Jake Cooper, guitar; Shannon Allen, bass; Sam Smith, drums, and Ed Reichert on piano.
Those needing special accommodations to participate fully in this program, contact Lori Arsenault, (207) 780-5142, loria@maine.edu. Hearing impaired: call USM's telex / TDD number (207) 780-5646.
35mm: A Musical Exhibition is presented by special arrangement with SAMUEL FRENCH, INC.
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
Models of the Ninjago characters were placed at the center of Gardens Mall for the Lego Takeover. Maybe this means Master Wu was orchestrating the whole event?
This is one of the few pictures I got with a security gaurd in it. While I didn't talk to the one pictured, I did speak with three of them during my attempts to get some good pictures. They were all very friendly people. I was told that the mall has a policy against recording video, but I don't know why. There is no policy against taking still pictures, though.
The first guard I spoke with showed up within maybe a couple minutes of when I pulled out my camera. I spoke with another gaurd that day, but during several return trips I only spoke once more with a gaurd despite seeing several I hadn't seen earlier. I guess the people watching the security cameras recognized me and decided not to bother me.
I don't remember this much security when I went to malls up until I went to college. At that point I mostly quit going because I had too much to do and no money to spend.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.