View allAll Photos Tagged proofreading
Had a lovely Saturday, just pottering around at home (what's new?) Did a bit of cleaning in the bathroom this morning, caught up a bit on my photos, and sat outside with my laptop this afternoon to do a bit more proofreading of my friend's novel (I'm about two-thirds of the way through now). Went out for a walk after dinner - it was looking a little gloomy, but the evening sun was just starting to break through and it was lovely by the time I got to the heath.
Slightly shocked to strike out across one part of the heath and then see a car coming towards me at high speed across the grass (thankfully not directly at me!) I fully expected to see a police car follow after it, but there was none. The car drove off onto the road at the end of the heath and sped off round the corner. I just managed to video it as it did that, but couldn't get the reg number, unfortunately.
Anyway, made it to the pond alive and stalked the Egyptian geese again. It seems this is a regular perch for mummy goose :)
copyright © Mim Eisenberg/mimbrava studio. All rights reserved.
I was the proofreader for the Atlanta Audubon Society's monthly newsletter for more than 12 years but retired from that volunteer job a couple of years ago. I was asked to be interviewed for a forthcoming issue, as a featured artist, and yesterday Beth Giddens of AAS came to my house for the interview. The picture she took of me holding a 16x20 print of my 'luminous' photo will appear in the newsletter, but since this was one of the better photos taken of me (I usually take lousy pictures), I decided to share it with you before it's published there. First I did a big crop to remove the print, then I de-noised the photo and framed it. It was taken at my back door. In the background, through the screen, are small trees and shrubs in front of my new fence.
Please keep sending your healing energy to lucy(ms.lume). She is recovering, but she still needs our thoughts and prayers. Thanks, Flickr friends.
See my shots on flickriver:
www.flickrriver.com/photos/mimbrava/
Please join us on Super Eco and enter our October photo contest “A Festival of Leaves” by tagging it SuperEco, posting it in the pool, and entering it in the contest thread. Thanks.
The contest ends October 31st.
Now with elements 106-109, a legend/key to the bubble colours, and a school badge!!
Didn't find any errors when I proofread, so I'm slightly wary.
Do feel free to snag for own use, should you ever need a periodic table!
Bachelor in Paradise, by Vera Caspary
Dell First Edition C121, 1961 PBO
Cover art by Robert McGinnis
Movie tie-in
"staring" Bob Hope?? Fire the proofreader !!
I wonder who the lucky recipient of this piece was, and whether or not it was a genuine sentiment or an "I hate you" as the design is so...questionable!
People have wondered what I do for work, and the fact is, that it's usually too damned strange to explain. I work with rare coins. This usually elicts one of two responses from people: a blank stare or a comment such as, "my grandpa used to collect," or "what's my old quarter worth?". The fact is, that it's a highly specialized, incestuous industry. Everyone knows each other. There are countless small time dealers and countless crooks and scheisters, too. But in the top tier of auction houses...there are few. I work for one. My father is a famous numismatist (aka, coin weenie). I have had the privelege for the last seven years to work with arguably the most famous and respected, knowledgable numismatists of our time, Q. David Bowers. He is also a prolific and award winning author, and I am proud to say I have proofread a few of his books and my name appears in the credits and thank yous. : ) When I started in the business I was actually in our auction department, working with all incoming consignments, and I had to learn the ropes. I learned how to put things in "Red Book Order" and became familiar with several series, I can give surface descriptions, simple tasks. I am NOT a numismatist, though. I can't tell you what your coin is worth. Chances are good, if you have it in a drawer somewhere because you found it in pocket change and thought it was neat, chances are good it's not worth much more than face value, I can tell you that. If you think you have an 1804 Silver Dollar...you are mistaken, we know where all the examples of them are. The 1913 Liberty Head Nickels? Accounted for.
In my years in numismatics I finally was moved into the photography department, where for several years now I have spent hours a day, in a room with the lights off, opening up batches of raw coin images, and through a series of Photoshop actions I created, deleted the background, adjusted the levels and curves, added paths, and created catalogue-ready files. I've even worked the camera, though once it's set up a deak monkey could do the actual shooting. That's not to tear down the head of the photography department, who is the best in the business, no questions asked. But he created the set up, that's where the talent came in.
My boss, Dave (QDB), has said coins are romantic and I know what he means. To hold something in your hands and contemplate where it's been, who has handled it, what it may have meant to someone or been spent on, there's a lot of romance to that back story. Coins sometimes have a "provenance" and we know exactly who owned them, what major collecter had it in a collection. That's just as exciting, really! (Although who owned the above piece is a mystery.)
Over the years, if it was an important or rare coin to pass through our office, I've had the luck to hold it and contemplate its "romance", its story, its importance in our strange little hobby.
And over the years its become obvious to me I could never afford to have the sort of collection I would require. I would want the best. Not the rarest per se, but the most appealing of each type. I am spoiled, I have truly seen the rarest and most beautiful of coins.
But I would spend my money on camera equipment, or cars, before I ever got into the hobby aside from the work I've done.
So, I have a collection of absurd things.
The above piece...a love token...is perhaps the stranges and funny and most fabulous piece I own. This piece brings out hearty laughs and double takes from every numismatist I show. I had a coworker whip out $100 in cash the other day he wanted it so badly, "That's the best love token I've ever seen!" he said. I agree. It's not for sale, no matter how badly I could have used the cash lately.
Love Tokens are "generally defined as coins on which one side (or sometimes both sides) has been smoothed down and engraved with initials, names, phrases and/or scenes. These were often given to young ladies as "tokens of love" by suitors, seems to have originated as a practice in Great Britain in the early 1800's, and migrated to the United States in the mid- to late-1800's. The Seated Liberty dime of the 1850's - 1880's is by far the most popular "host coin", but tokens are known on all denominations of U. S. coins from half cents through twenty-dollar gold pieces as well as numerous world coin denominations."
The Love Token Society has a good amount of information on these odd little pieces.
But they don't seem to have anything related to "cat's assholes" on their site. Hmph.
Our annual report is almost finshed. But after editing and before printing, the report is proofread by our charming expert. Nobody could do this better!
---------------
„ Sicher ist, dass nichts sicher ist. Selbst das nicht.“
(Joachim Ringelnatz)
What's the matter, you eliminated your proofreader position?
Sheesh.
Central Experimental Farm; Ottawa, Ontario.
A pair of anti-abortion billboards popped up along I-5 in Woodland in both directions which read like a more poorly proofread Dr. Bronner's bottle if it catches your eye at 70mph and you double back and pull over to read it.
They were paid for by Dr. Richard D. Rasmussen, apparently a dermatologist with a practice in Grants Pass, Oregon, who suddenly became very spendy in support of the crackpot wave rising within the Republican Party suddenly in 2008 for some reason (Thanks, Obama!).
There are some weird leaps of ill-logic in this billboard, beginning with the contents of a dialog bubble from the mouth of a young Lizzie Borden, appropos of nothing. The chief point being made here is protesting abortions publicly funded through Medi-Cal, but there's a lot of muddying the message. If you're half as loopy as Rasmussen, you might believe he's okay with abortion if the embryo-daddy or fetus-daddy pays for it. The "Lizzie's AXE worked" blurb seems to suggest abortion is okay if a pregnant woman does a DIY hatchet job. The bilingual sign's messages in Español are the most unmoored missives of all; e.g., "Lentejuelas para malo o' [sic] para bien" means "sequins for bad or for good."
Text of billboard:
Foul play suspected in disappearance. sister, Tonya, thinks her...
brother has been killed and buried somewhere,,, The Del Norte "BRADY BURIAL GROUNDS"?
DA Katherine Micks , Del Norte County please DO NOT CONTACT DISTRICT ATTORNEY.
DA RESIG RESPONDS. Does NOT meet threshold to be considered criminal
LAW FIRM IN SAC GOES DOWNEY TUBES. FRAUD ON COURT? (Judge Gutierrez Solano)
LIZZIE BORDEN TOOK AN AXE GAVE HER FETUS 40 WHACKS WHEN SHE FOUND WHAT SHE HAD DONE, Gave the fetus 41.
ABORTION FREE in CALIFORNIA IF YOU HAVE MEDI-CAL. AND ARE California RESIDENT. Otherwise, Lizzie's AXE Worked.
Medi-Cal AND RESIDENT. EASY ABORTION.
CHOOSE LIFE GET AN ULTRASOUND FREE @ PCC's
DUDE WHO IMPREGNATED YOU? Pay Up U Slug.
California... Y BABOSA ERES TU...
HOLD the men in California who impregnate responsible.
THE CALIFORNIA Fact ACT DENIES WOMEN
REPRODUCTIVE RIGHTS.
CALL SENATOR HARRIS & call N.O.W.
RICO accepts this as their CHOICE. Rico is a non-resident of California, a non-citizen of California and Rico dice Gracias Dios for los dos todos los Dias.
26 week fetus by ultrasound.
Paid for by Richard D. Rasmussen MD PhD. Non-citizen of California Lentejuelas Para Malo o' Para Bien
Up in the top right of the billboard is a scan of a letter on official letterhead from the office of Yolo County DA Jeff Reisig addressed to Rasmussen's vacation home address on Wollam Road in Brookings, Oregon.
⊙
ИN
Deflowering Eyes
Igigi
www.saatchiart.com/print/New-Media-Deflowering-Eyes-Inna-...
Igigi are the gods of heaven in the mythology of Mesopotamia.
The name has unknown origin. The signs for the names, and one of the options for the etymology of the igigi are i2-gi3-gi3, which are the same signs for 5-1-1 or 5-60-60 5*(60+60)=600 which are by some traditions All the gods.
Another option is to try to interpret the words themselves. Igi means (eye) in the Sumerian language, and it used as logogram in the Akkadian language, gi stands for (penetrate sexually). Therefore, Igigi could be translated to (Eyes in the sky, the watchers, who deflower).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Igigi/Igigu (a group of gods)
This Semitic term describes a group of possibly seven or eight gods. It is likely that the god Marduk was one of them, but the total membership in this group is unclear and likely changed over time.
Functions
Like the term Anunna, the term Igigu is equally complicated and in need of a comprehensive new study. Igigu, which is likely of Semitic origin, indicates a group of gods in the Mesopotamian pantheon. It is, however, not entirely clear what distinguishes the Igigu from the Anunna.
The story of Atrahasis, the Babylonian story of the Flood and a precursor to the flood story in the Gilgameš Epic (Tablet XI), offers some evidence on the relationship between the Annunaki and the Igigu. The poem begins with the lines "When the gods like men bore the work and suffered the toil, the toil of the gods was great, the work was heavy, the distress was much" (lines 1-4) (Lambert and Millard 1999 [1969]: 43). The composition continues: "The Seven great Anunnaki were making the Igigu suffer the work" (lines 5-6) (Lambert and Millard 1969 [1999]: 43). What follows is partly fragmentary, but seems to indicate that the Igigu gods did not want to work any more and therefore the Anunnaki had to find a solution. Ultimately, this led to the creation of humans, who from then on had to bear the gods' work. In this story it appears that the Igigu were subordinate to the Anunnaki (von Soden 1989: 341-2). It is unclear which deities were included in the Igigu group.
In the prologue to the famous Code of Hammurabi it is indicated that the Anunnaki elevated the god Marduk among the Igigu gods (for a translation see Roth 1997: 76-142; also see von Soden 1966: 144), but it is difficult to assess the significance of this passage.
Some mythological texts, such as the Anzu myth, speak of an assembly of the Igigu gods, but whether this might be an institutionalized assembly, as suggested by Kienast 1965: 146, remains doubtful.
Divine Genealogy and Syncretisms
As mentioned above, it is not clear how many and which gods belonged to the Igigu, although the god Marduk appears to belong to this group for certain. It is possible that the group included only seven (von Soden 1966), eight (Kienast 1965: 144) or ten (Black and Green 1998: 106) gods, but this is uncertain as well.
Other gods who may belong to this group are Ištar, Asarluhi, Naramṣit, Ninurta, Nuska, and Šamaš (Kienast 1965: 149). Some gods seem to belong to both the Anunnaki and the Igigu (Kienast 1965: 152), yet more research is needed to gain a better understanding of this situation in the first millennium BCE.
Cult Place(s)
We currently know of no cult places for the Igigu. Kienast (1965; 1976-80) has repeatedly suggested that the Igigu are only attested in literary and mythological texts. However, von Soden (1966) has brought forth some evidence that might indicate that there are very few theophoric personal names TT which invoke the Igigu, thus offering some evidence for their veneration.
Time Periods Attested
The term Igigu is first attested in texts from the Old Babylonian period (Kienast 1976-80: 40; von Soden 1989: 340) and only occurs in Akkadian contexts (Edzard 1976-80: 37). A Sumerian logographic equivalent of the term Igigu is nun-gal-e-ne, to be translated as "the great princes/sovereigns." This term is mentioned in a literary text that has been ascribed to the princess Enheduanna, daughter of king Sargon, the founder of the Old Akkadian dynasty (Inana C, ETCSL 4.7.3 l. 2). This particular composition is only attested in Old Babylonian manuscripts and it is unclear whether an older date can be proven. According to Edzard (1976-80: 39) it is possible that nun-gal-e-ne was originally an epithet of the Anunna gods that later became identified with the Igigu under influence from Akkadian.
The Igigu and Anunnaki are frequently attested in literary, mythological, and religious (incantations and prayers) texts until the end of the cuneiform tradition. The Igigu are mentioned, among others, in the Anzu myth (Foster 2005: 555-578), in Enāma eliš TT (Foster 2005: 436-486), and the Erra poem (Foster 2005: 880-913), all of which are attested in manuscripts of the first millennium BCE.
Iconography
Because this term describes a group of gods, there are no known images of the Igigu.
Name and Spellings
The etymology of this term is unclear. It has been suggested the term is of Old Akkadian (Kienast 1965: 157; 1976-80: 40) or of (Old) Amorite (von Soden 1966: 144) or possibly Arabic origins (von Soden 1989: 340). For the various spellings see Kienast 1965: 142.
Written forms:
logographic: dnun gal-e-ne, dnun-gal-meš;
syllabic and pseudo-logographic: i-gi-gu, i-gi-gi, di-gi4-gi4, di-gi4-gi4-ne, i-gi4-gu, dí-gì-gì (the latter appears first in ninth century BCE);
cryptographic: dgéš-u
Normalized forms:
Igigu, Igigi
Igigu in Online Corpora
The Corpus of Ancient Mesopotamian Scholarship
Nungalene in Online Corpora
The Electronic Text Corpus of Sumerian Literature
Further Reading
Edzard 1976-80, "[Igigu], Anunna und."
Kienast 1965, "Igigu und Anunnakku nach den akkadischen Quellen."
Kienast 1976-80, "Igigu, Anunnakku und."
von Soden 1966, "Die Igigu-Götter."
von Soden 1989, "Die Igigu-Götter in altbabylonischer Zeit."
Nicole Brisch
Nicole Brisch, 'Igigi/Igigu (a group of gods)', Ancient Mesopotamian Gods and Goddesses, Oracc and the UK Higher Education Academy, 2012 [oracc.museum.upenn.edu/amgg/listofdeities/igigi/]
Released under a Creative Commons Attribution Share-Alike license 3.0, 2011.
The Pennsylvania
Sumerian Dictionary
igi [EYE] (1133x: ED IIIb, Old Akkadian, Lagash II, Ur III, Early Old Babylonian, Old Babylonian, unknown) wr. igi; i-bi2; i-gi "eye; carved eye (for statues)" Akk. īnu
psd.museum.upenn.edu/epsd/epsd/e2510.html
The Pennsylvania Sumerian Dictionary Project is carried out in the Babylonian Section of the University of Pennsylvania Museum of Anthropology and Archaeology. It is funded by the National Endowment for the Humanities and private contributions.
____________________________________
Cycles of the earth, winds, Igigi it's all here and no wonder the church has been hiding the text. The smoke sedates the Elohim (judges) they have their Territories, Not demons nor angels but IGIGI; the Watchers the little big eyed guys who have been stealing my eggs while I sleep 1-4.
archive.org/details/bookofenochproph00laur
ia802707.us.archive.org/10/items/bookofenochproph00laur/b...
The book of Enoch the prophet
by Laurence, Richard, 1760-1838
Publication date 1883
Publisher London : Kegan Paul, Trench
Collection Princeton; americana
Digitizing sponsor Internet Archive
Contributor Princeton Theological Seminary Library
Language English.
Addeddate 2008-11-12 13:13:18
Call number 185459
Camera Canon 5D
External-identifier urn:oclc:record:1041620576[WorldCat (this item)]
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Identifier bookofenochproph00laur
Identifier-ark ark:/13960/t16m3hr86
Lcamid
Missingpages
Openlibrary_edition OL23282189M
Openlibrary_work OL16734660W
Pages 244
Possible copyright status NOT_IN_COPYRIGHT
Ppi 500
Rcamid
Scandate 20081117214436
Scanfactors 4
Scanner scribe2.nyc.archive.org
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en.wikipedia.org/wiki/Watcher_(angel)#Grigori
Philo
According to PrEv 1.10.1-2 of Philo of Byblos, Sanchuniathon mentioned "some living beings who had no perception, out of whom intelligent beings came into existence, and they were called Zophasemin (Heb. șōpē-šāmayim, that is, 'Watchers of Heaven'). And they were formed like the shape of an egg."
The Old Testament Pseudepigrapha, volume 1, Apocalyptic Literature and Testaments
EDITED BY JAMES H. CHARLES WORTH, DUKE UNIVERSITY
DOUBLEDAY & COMPANY, INC. GARDEN CITY, NEW YORK
Library of Congress Catalog Card Number: ISBN: 0-385-09630-5 Copyright © 1983 by James H. Charlesworth All Rights Reserved Printed in the United States of America Designed by Joseph P. Ascherl Library of Congress Cataloging in Publication Data Main entry under title: Old Testament pseudepigrapha.
eclass.uoa.gr/modules/document/file.php/THEOL264/James%20...
____________________________________
Livius.org Articles on ancient history
www.livius.org/sources/content/anet/104-106-the-epic-of-a...
The Epic of Atraḥasis
The Epic of Atraḥasis is the fullest Mesopotamian account of the Great Flood, with Atraḥasis in the role of Noah. It was written in the seventeenth century BCE
The text is known from several versions: two were written by Assyrian scribes (one in the Assyrian, one in the Babylonian dialect), a third one (on three tablets) was written during the reign of king Ammi-saduqa of Babylonia (1647-1626 BCE). Parts are quoted in Tablet XI of the Epic of Gilgameš; other influences are in the Babylonian History by Berossus (quote). These texts can be used to reconstruct the lost parts of the Epic of Atraḥasis, while the overall structure is, of course, known from the Bible.
Summary
The conditions immediately after the Creation: the Lower Gods have to work very hard and start to complain
Revolt of the Lower Gods
Negotiations with the Great Gods
Proposal to create humans, to relieve the Lower Gods from their labor
Creation of the Man
Man's noisy behavior; new complaints from the gods
The supreme god Enlil's decision to extinguish mankind by a Great Flood
Atraḥasis is warned in a dream
Enki explains the dream to Atraḥasis (and betrays the plan)
Construction of the Ark
Boarding of the Ark
Departure
The Great Flood
The gods are hungry because there are no farmers left to bring sacrifices, and decide to spare Atraḥasis, even though he is a rebel
Regulations to cut down the noise: childbirth, infant mortality, and celibacy
The translation offered here is adapted from the one by B.R. Foster.
Translation
Complaints of the Lower Gods
[1] When the gods were man
they did forced labor, they bore drudgery.
Great indeed was the drudgery of the gods,
the forced labor was heavy, the misery too much:
[5] the seven great Anunna-gods were burdening
the Igigi-godsnote with forced labor.
[Lacuna]
[21] The gods were digging watercourses,
canals they opened, the life of the land.
The Igigi-gods were digging watercourses
canals they opened, the life of the land.
[25] The Igigi-gods dug the Tigris river
and the Euphrates thereafter.
Springs they opened from the depths,
wells ... they established.
...
They heaped up all the mountains.
[Several lines missing]
[34] ... years of drudgery.
[35] ... the vast marsh.
They counted years of drudgery,
... and forty years, too much!
... forced labor they bore night and day.
They were complaining, denouncing,
[40] muttering down in the ditch:
"Let us face up to our foreman the prefect,
he must take off our heavy burden upon us!
Enlil, counsellor of the gods, the warrior,
come, let us remove him from his dwelling;
[45] Enlil, counsellor of the gods, the warrior,
come, let us remove him from his dwelling!"
[Several lines missing]
[61] "Now them, call for battle,
battle let us join, warfare!"
The gods heard his words:
they set fire to their tools,
[65] they put fire to their spaces,
and flame to their workbaskets.
Off they went, one and all,
to the gate of the warrior Enlil's abode.
...
Insurrection of the Lower Gods
[70] It was night, half-way through the watch,
the house was surrounded, but the god did not know.
It was night, half-way through the watch,
Ekur was surrounded, but Enlil did not know!
[Several lines missing; the great gods send a messenger]
The Great Gods Send a Messenger
[132] Nusku opened his gate,
took his weapons and went ... Enlil.
In the assembly of all the gods,
[135] he knelt, stood up, expounded the command,
"Anu, your father,
your counsellor, the warrior Enlil,
your prefect, Ninurta,
and your bailiff Ennugi have sent me to say:
[140] 'Who is the instigator of this battle?
Who is the instigator of these hostilities?
Who declared war,
that battle has run up to the gate of Enlil?
In ...
[145] he transgressed the command of Enlil.'"
Reply by the Lower Gods
"Everyone of us gods has declared war;
...
We have set ... un the excvation,
excessive drudgery has killed us,
[150] our forced labor was heavy, the misery too much!
Now, everyone of us gods
has resolved on a reckoning with Enlil."
[The great gods decide to create man, to relieve the lower gods from their misery.]
Proposals by Ea, Belet-ili, and Enki
[a1] Ea made ready to speak,
and said to the gods, his brothers:
"What calumny do we lay to their charge?
Their forced labor was heavy, their misery too much!
[a5] Every day ...
the outcry was loud, we could hear the clamor.
There is ...
Belet-ili, the midwife, is present.note
Let her create, then, a human, a man,
[a10] Let him bear the yoke!
Let him bear the yoke!
Let man assume the drudgery of the god."
Belet-ili, the midwife, is present.
[190] Let the midwife create a human being!
Let man assume the drudgery of the god."
They summoned and asked the goddess
the midwife of the gods, wise Mami:note
"Will you be the birth goddess, creatress of mankind?
[195] Create a human being, that he bear the yoke,
let him bear the yoke, the task of Enlil,
let man assume the drudgery of the god."
Nintu made ready to speak,note
and said to the great gods:
[200] "It is not for me to do it,
the task is Enki's.
He it is that cleanses all,
let him provide me the clay so I can do the making."
Enki made ready to speak,
[205] and said to the great gods:
"On the first, seventh, and fifteenth days of the month,
let me establish a purification, a bath.
Let one god be slaughtered,
then let the gods be cleansed by immersion.
[210] Let Nintu mix clay with his flesh and blood.
Let that same god and man be thoroughly mixed in the clay.
Let us hear the drum for the rest of the time.
[215] From the flesh of the god let a spirit remain,
let it make the living know its sign,
lest he be allowed to be forgotten, let the spirit remain."
The great Anunna-gods, who administer destinies,
[220] answered "yes!" in the assembly.
The Creation of Man
On the first, seventh, and fifteenth days of the month,note
he established a purification, a bath.
They slaughtered Aw-ilu, who had the inspiration, in their assembly.
[225] Nintu mixed clay with his flesh and blood.
That same god and man were thoroughly mixed in the clay.
For the rest of the time they would hear the drum.
From the flesh of the god the spirit remained.
It would make the living know its sign.
[230] Lest he be allowed to be forgotten, the spirit remained.
After she had mixed the clay,
she summoned the Anunna, the great gods.
The Igigi, the great gods, spat upon the clay.
[235] Mami made rady to speak,
and said to the great gods:
"You ordered me the task and I have completed it!
You have slaughtered the god, along with his inspiration.
[240] I have done away with your heavy forced labor,
I have imposed your drudgery on man.
You have bestowed clamor upon mankind.
I have released the yoke, I have made restoration."
They heard this speech of hers,
[245] they ran, free of care, and kissed her feet, saying:
"Formerly we used to call you Mami,
now let your name be Belet-kala-ili:"note
[The human population increases and their noise disturbs the gods, who decide to wipe out mankind. The god Enki, however, sends a dream to Atrahasis. When the text resumes, Enki is still speaking.]
Enki explains Atraḥasis' dream
[i.b35] "Enlil committed an evil deed against the people."
[i.c11] Atraḥasis made ready to speak,
and said to his lord:
"Make me know the meaning of the dream.
let me know, that I may look out for its consequence."
[i.c15] Enki made ready to speak,
and said to his servant:
"You might say, 'Am I to be looking out while in the bedroom?'
Do you pay attention to message that I speak for your:
[i.c20] 'Wall, listen to me!
Reed wall, pay attention to all my words!
Flee the house, build a boat,
forsake possessions, and save life.
[i.c25] The boat which you build
... be equal ...
...
...
Roof her over like the depth,
[i.c30] so that the sun shall not see inside her.
Let her be roofed over fore and aft.
The gear should be very strong,
the pitch should be firm, and so give the boat strength.
I will shower down upon you later
[i.c35] a windfall of birds, a spate of fishes.'"
He opened the water clock and filled it,
he told it of the coming of the seven-day deluge.
Atraḥasis and the Elders
Atraḥasis received the command.
He assembled the Elders at his gate.
[i.c40] Atraḥasis made ready to speak,
and said to the Elders:
"My god does not agree with your god,
Enki and Enlil are constantly angry with each other.
They have expelled me from the land.
[i.c45] Since I have always reverenced Enki,
he told me this.
I can not live in ...
Nor can I set my feet on the earth of Enlil.
I will dwell with my god in the depths.
[i.c50] This he told me: ..."
Construction of the Ark
[ii.10] The Elders ...
The carpenter carried his axe,
the reedworker carried his stone,
the rich man carried the pitch,
the poor man brought the materials needed.
[Lacuna of about fifteen lines; the word Atraḥasis can be discerned.]
Boarding of the Ark
[ii.29] Bringing ...
[ii.30] whatever he had ...
Whatever he had ...
Pure animals he slaughtered, cattle ...
Fat animals he killed. Sheep ...
he choose and and brought on board.
[ii.35] The birds flying in the heavens,
the cattle and the ... of the cattle god,
the creatures of the steppe,
... he brought on board
...
[ii.40] he invited his people
... to a feast
... his family was brought on board.
While one was eating an another was drinking,
[ii.45] he went in and out; he could not sit, could not kneel,
for his heart was broken, he was retching gall.
Departure
The outlook of the weather changed.
Adadnote began to roar in the clouds.
[ii.50] The god they heard, his clamor.
He brought pitch to seal his door.
By the time he had bolted his door,
Adad was roaring in the clouds.
The winds were furious as he set forth,
[ii.55] He cut the mooring rope and released the boat.
[Lacuna]
The Great Flood
[iii.5] ... the storm
... were yoked
Anzu rent the sky with his talons,
He ... the land
[iii.10] and broke its clamor like a pot.
... the flood came forth.
Its power came upn the peoples like a battle,
one person did not see another,
they could not recognize each other in the catastrophe.
[iii.15] The deluge belowed like a bull,
The wind resounded like a screaming eagle.
The darkness was dense, the sun was gone,
... like flies.
[iii.20] the clamor of the deluge.
[Lacuna. The gods find themselves hungry because there are no farmers left and sacrifices are no longer brought. When they discover that Atrahasis has survived, they make a plan to make sure that the noise will remain within limits: they invent childbirth, infant mortality, and celibacy.]
Mankind Punished
[iii.45] Enki made ready to speak,
and said to Nintu the birth goddess:
"You, birth goddess, creatress of destinies,
establish death for all peoples!
[iii.d1] "Now then, let there be a third woman among the people,
among the people are the woman who has borne
and the woman who has not borne.
Let there be also among the people the pasittu (she-demon):
[iii.d5] Let her snatch the baby from the lap who bore it.
And etablish high priestesses and priestesses,
let them be taboo,note and so cut down childbirth."
This page was created in 2007; last modified on 12 October 2020.
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Brain Magick: Exercises in Meta-Magick and Invocation by Philip H. Farber
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"Satana-il was the supreme leader of an extraterrestrial race that accompanied the Anunnaki in their second landing on earth.
This galactic race was physically and genetically different from the An unna ki and the Igigi. Their duty was to serve the Anu nna ki.
They rebelled against the An unna ki and broke the laws of their leader by breeding with the women of the Earth.
Contrary to the general belief, the An unna ki were not the first extraterrestrial race to marry, or the have sexual relations with the women of earth."
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archive.org/details/img20190908220021901
Ancient Creation Myths
by Alberta Parish
Publication date 2019-09-08
Topics Enlil, Enki, Anunnaki, Sumerians, ancient myths, Babylonians, Enuma Elish, Atrahasis, Noah, Genesis Flood, Sumerian flood myth
God: The Original Slavemaster by Alberta Parish
Ever since I was a child, I have always believed in a benevolent God called Yahweh and Jehovah that biblical writers claimed created mankind for the express purpose of his will. In a Christianized Western culture, I was taught that only through Jesus Christ could I have eternal life with him and Yahweh. The epic of Atrahasis, an Akkadian tablet dating from the 18th Century BCE, gives a completely different account of mankind's creation and how the universe was formed beginning with the primordial waters.
Atrahasis was the last Sumerian king before the Great Deluge who was saved from the flood by the Anunnaki god Enki who had rulership of the great deep. According to Atrahasis, Homo Sapiens were created to serve the Anunnaki, which were extraterrestrials that landed in the Persian Gulf region about 450,000 years ago in search of gold to repair their home planet Nibiru's ozone.They made the Igigi gods, who were lower gods, mine for gold. Enlil, the ruler of earth and sky, who is also the equivalent of the biblical God Yahweh, also made the Igigi build canals, reedbeds, rivers and mountains. They built the Tigris and Euphrates rivers, and after 3,600 years, rebelled against their oppressor, Enlil.
Atrahasis had recorded that the Igigi cast off their work tools and surrounded Enlil's temple demanding to be relieved of their hard labor. It was later decided that the Anunnaki would make a species that were intelligent enough to do the work that the Igigi had refused to do. This was mankind's original purpose for being created by these extraterrestrials. It was also decided that an Anunnaki had to be sacrificed to make mankind.
The epic of Atrahasis states, "They slaughtered Aw-ilu, who had the inspiration, in their assembly.
Nintu mixed clay with his flesh and blood.
That same god and man were thoroughly mixed in the clay...After she had mixed the clay, she summoned the Anunna, the great gods.
The Igigi, the great gods, spat upon the clay.
Mami made ready to speak, and said to the great gods: "You ordered me the task and I have completed it!
You have slaughtered the god, along with his inspiration.
I have done away with your heavy forced labor,
I have imposed your drudgery on man.
You have bestowed clamor upon mankind."
With the help of Enki, half-brother of Enlil, the mother goddess Nintu (i.e., Mami) formed seven males and seven females from fourteen pieces of clay. It was also after this event that the human population grew, because the first seven males and females were given the ability to reproduce. When the human population grew, Enlil complained of their noise. He then set about to reduce the population. First, he caused a drought and mankind was destroyed. But it did nothing to reduce the population. Then, pestilence followed. Still, the population continued to grow. Lastly, Enlil caused a great famine. Eventually, the people turned cannibal as a result of the famine. Finally, Enlil proposed a solution to destroy the human population through a flood.
Read the remainder of my essay at www.ancientcreationmyths.com.
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ETCSLtranslation
etcsl.orinst.ox.ac.uk/cgi-bin/etcsl.cgi?charenc=gcirc&...
© Copyright 2003, 2004, 2005, 2006 The ETCSL project, Faculty of Oriental Studies, University of Oxford
Updated 2006-12-19 by JE
Igigi Search the English translations
Result: 3 paragraph(s)
A hymn to Marduk for Abī-Ešuḫ (Abī-Ešuḫ A): c.2.8.5.1
King who gathers up the divine powers of heaven and earth, foremost son of Enki, Marduk, mighty lord, perfect hero, foremost of the Great Princes (a name for the Igigi gods), strong one of the Anuna, the great gods who have given him justice and judgment! Great prince, descendant of holy An, lord who decides destinies, who has everything in his grasp (?), wise, august knower of hearts, whose divinity is manifest, who shows concern for all that he looks upon! Your ancestor An, king of the gods, has made your lordship effective against the armies of heaven and earth.
A hymn to Inana (Inana C): c.4.07.3
The great-hearted mistress, the impetuous lady, proud among the Anuna gods and pre-eminent in all lands, the great daughter of Suen, exalted among the Great Princes (a name of the Igigi gods), the magnificent lady who gathers up the divine powers of heaven and earth and rivals great An, is mightiest among the great gods -- she makes their verdicts final. The Anuna gods crawl before her august word whose course she does not let An know; he dare not proceed against her command. She changes her own action, and no one knows how it will occur. She makes perfect the great divine powers, she holds a shepherd's crook, and she is their magnificent pre-eminent one. She is a huge shackle clamping down upon the gods of the Land. Her great awesomeness covers the great mountain and levels the roads.
The debate between Bird and Fish: c.5.3.5
"You are like a watchman living on the walls (?), ……! Fish, you kindled fire against me, you planted henbane. In your stupidity you caused devastation; you have spattered your hands with blood! Your arrogant heart will destroy itself by its own deeds! But I am Bird, flying in the heavens and walking on the earth. Wherever I travel to, I am there for the joy of its …… named. ……, O Fish, …… bestowed by the Great Princes (a name for the Igigi). I am of first-class seed, and my young are first-born young! …… went with uplifted head …… to the lustrous E-kur. …… until distant days. …… the numerous people say. How can you not recognise my pre-eminence? Bow your neck to the ground."
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A song to Ninimma (Ninimma A): translation
web.archive.org/web/20060925024833/http://www-etcsl.orien...
SEGMENT A
1-18You are the seal-holder of the treasury of the ....... You are the caretaker of the great gods, you are ....... Ninimma, you are the lady of all the great rites in the E-kur. Lady, you are the ...... of Enlil, you are the heavenly scribe. You ...... the tablet of life.
1 line fragmentary
You, who bring the best corn, are the lady of the E-sara. The surveyor's gleaming line and the measuring rod suit you perfectly. You can hold your head high among the great princes. You are ....... You are ......, the cherished one.
1 line fragmentary
......; you are exceptional in wisdom. ...... joy ....... My lady, you were exalted already in the womb; you are resplendent like the sunlight. You are suited to the lapis-lazuli crown (?); you are the heavenly ....... ...... adorned with loveliness .......
1 line fragmentary
approx. 10 lines missing
SEGMENT B
1-11...... like a strong (?) ....... ...... of the E-kur ...... lady ....... ...... the forceful one of Nanna ....... You are profoundly intelligent, one who knows everything. You are the shining light which fills the exalted sanctuary. You are she who ...... by Enlil. You are ....... You are ....... You are most apt for the holy susbu rites and lustration rites.
1 line unclear
Ninimma of the holy divine plans, it is sweet to praise you!
SEGMENT C
1You are .......
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Revision history
22.x.1999 : GZ : adapting translation
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13.xii.1999 : GC : tagging
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22.xii.1999 : ER : converting to HTML 4.0
7.ix.2001 : ER : header and footer reformatted; substantive content of file not changed
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Inly, Bohdan
The history of printing in East Asia starts with the use of woodblock printing on cloth during the Han dynasty (206 BC–220 AD) and later paper (in Imperial Court as early as the 1st century, or around 80 AD), and continued with the invention of wooden movable type by East Asian artisans in Song China by the 11th century. Use of woodblock printing quickly spread to other East Asian countries. While the Chinese used only clay and wood movable type at first, use of metal movable type was pioneered in Korea by the 13th century. The Western-style printing press became known in East Asia by the 16th century but was not fully adopted until centuries later.
WOODBLOCK PRINTING
Traditionally, there have been two main printing techniques in Asia: woodblock printing (xylography) and moveable type printing. In the woodblock technique, ink is applied to letters carved upon a wooden board, which is then pressed onto paper. With moveable type, the board is assembled using different lettertypes, according to the page being printed. Wooden printing was used in the East from the 8th century onwards, and moveable metal type came into use during the 12th century.
The earliest specimen of woodblock printing on paper, whereby individual sheets of paper were pressed into wooden blocks with the text and illustrations carved into them, was discovered in 1974 in an excavation of Xi'an (then called Chang'an, the capital of Tang China), Shaanxi, China. It is a dharani sutra printed on hemp paper and dated to 650 to 670 AD, during the Tang Dynasty (618-907). Another printed document dating to the early half of the Chinese Tang Dynasty has also been found, the Saddharmapunṇḍarīka sutra or Lotus Sutra printed from 690 to 699.
In Korea, an example of woodblock printing from the eighth century was discovered in 1966. A copy of the Buddhist Dharani Sutra called the Pure Light Dharani Sutra (Hangul: 무구정광대다라니경; hanja: 無垢淨光大陀羅尼經; RR: DMugu jeonggwang dae darani-gyeong), discovered in Gyeongju, South Korea in a Silla dynasty pagoda that was repaired in 751 AD, was undated but must have been created sometime before the reconstruction of the Shakyamuni Pagoda of Pulguk Temple, Kyongju Province in 751 AD. The document is estimated to have been created no later than 704 AD.
THE PRINTING PROCESS
The manuscript is transcribed onto thin slightly waxed sheets of paper by a professional calligrapher. The paper is placed face down on a block on which a thin layer of rice paste has been thinly spread and the back rubbed with a flat palm-fibre brush so that a clear impression of the inked area is left on the block. The engraving uses a set of sharp-edged tools to cut the characters with a double edged tool used to cut away any extra surfaces. The knife is held like a dagger in the right hand and guided by the middle finger of the left hand, drawing towards the cutter. The vertical lines are cut first, then the block is rotated 90 degrees and the horizontal lines cut.
Four proof-readings are normally required - the transcript, the corrected transcript, first sample print from block and after any corrections have been made. A small correction to a block can be made by cutting a small notch and hammering in a wedge-shaped piece of wood. Larger errors require an inlay. After this the block is washed to remove any refuse.
To print, the block is fixed firmly on a table. The printer takes a round horsehair inking brush and applies ink with a vertical motion. The paper is then laid on the block and rubbed with a long narrow pad to transfer the impression to the paper. The paper is peeled off and set to dry. Because of the rubbing process, printing is only done on one side of the paper, and the paper is thinner than in the west, but two pages are normally printed at once.
Sample copies were sometimes made in red or blue, but black ink was always used for production. It is said that a skilled printer could produce as many as 1500 or 2000 double sheets in a day. Blocks can be stored and reused when extra copies are needed. 15,000 prints can be taken from a block with a further 10,000 after touching up.
SPREAD OF PRINTING IN ASIA
Printing started in China in the 593 AD. Printing was promoted by the spread of Buddhism.
The Buddhist scroll known as the "Great Dharani Sutra of Immaculate and Pure Light" or "Spotless Pure Light Dharani Sutra" (Hangul: 무구정광대다라니경; hanja: 無垢淨光大陀羅尼經; RR: DMugu jeonggwang dae darani-gyeong) is currently the oldest surviving woodblock print. It was published in Korea before the year 751 A.D. during the Silla Kingdom. This Darani Sutra was found inside the Seokga Pagoda of Bulguksa Temple in Gyeongju, Korea. Bulguksa Temple in Gyeongju in October 1966 within the seokgatap (释迦塔)while dismantling the tower to repair much of the sari was found with the prints. One row of the darani gyeongmun 8-9 are printed in the form of a roll. Tripitaka Koreana was printed between 1011 and 1082. It is the world's most comprehensive and oldest intact version of Buddhist canon. A reprint in 1237-51 used 81,258 blocks of magnolia wood, carved on both sides, which are still kept almost intact at Haeinsa. A printing office was established in the National Academy in 1101 and the Goryeo government collection numbered several tens of thousands.
In Japan, one thousand copies of the Lotus sutra were printed in 1009 as a pious work, not intended to be read and therefore legibility was not so important. The spread of printing outside Buddhist circles didn't develop until the end of the 16th century.
The westward movement of printing started from eastern Turkestan where printing in the Uyghur language appeared in about 1,300, though the page numbers and descriptions are in Chinese. Both blocks and moveable type printing has been discovered at Turfan as well as several hundred wooden type for Uighur. After the Mongols conquered Turfan, a great number of Uighurs were recruited into the Mongol army and after the Mongols incorporated Persia in the middle of the 13th century, paper money was printed in Tabriz in 1294, following the Chinese system. The first description of the Chinese printing system was made by Rashid-al-Din Hamadani in 1301-11 in his history of the world.
Some fifty pieces of printed matter have been found in Egypt printed between 900 and 1300 in black ink on paper by the rubbing method in the Chinese style. Although there is no transmission evidence, experts believe there is a connection.
According to the print scholar A. Hyatt Mayor, "it was the Chinese who really discovered the means of communication that was to dominate until our age." Both woodblock and movable type printing were replaced in the second half of the 19th century by western-style printing, initially lithography.
MOVABLE TYPE
CERAMIC MOVABLE TYPE IN CHINA
Bi Sheng (毕昇) (990–1051) developed the first known movable-type system for printing in China around 1040 AD during the Northern Song dynasty, using ceramic materials. As described by the Chinese scholar Shen Kuo (沈括) (1031–1095):
When he wished to print, he took an iron frame and set it on the iron plate. In this he placed the types, set close together. When the frame was full, the whole made one solid block of type. He then placed it near the fire to warm it. When the paste [at the back] was slightly melted, he took a smooth board and pressed it over the surface, so that the block of type became as even as a whetstone.
For each character there were several types, and for certain common characters there were twenty or more types each, in order to be prepared for the repetition of characters on the same page. When the characters were not in use he had them arranged with paper labels, one label for each rhyme-group, and kept them in wooden cases.
If one were to print only two or three copies, this method would be neither simple nor easy. But for printing hundreds or thousands of copies, it was marvelously quick. As a rule he kept two forms going. While the impression was being made from the one form, the type was being put in place on the other. When the printing of the one form was finished, the other was then ready. In this way the two forms alternated and the printing was done with great rapidity.
In 1193, Zhou Bida, an officer of Southern Song Dynasty, made a set of clay movable-type method according to the method described by Shen Kuo in his Dream Pool Essays, and printed his book Notes of The Jade Hall (《玉堂杂记》).
The claim that Bi Sheng's clay types were fragile and "not practical for large-scale printing" and "short lived" was refuted by facts and experiments. Bao Shicheng (1775–1885) wrote that baked clay moveable type was "as hard and tough as horn"; experiments show that clay type, after being baked in an oven, becomes hard and difficult to break, such that it remains intact after being dropped from a height of two metres onto a marble floor. Korea could have tried clay movable type, but with little success, probably due to misinterpration of Shen Kua's description "as thin as coin", which likely referred to the depth of the character matrix, not the total length of the moveable type body. The length of clay movable types in China was 1 to 2 centimetres, not 2mm, thus hard as horn. Clay type printing was practiced in China from the Song dynasty through the Qing dynasty, never "short lived". As late as 1844 there were still books printed in China with ceramic movable types.
WOODEN MOVABLE TYPE IN CHINA
Wooden movable type was also first developed around 1040 AD by Bi Sheng (990–1051), as described by the Chinese scholar Shen Kuo (1031–1095), but was abandoned in favour of clay movable types due to the presence of wood grains and the unevenness of the wooden type after being soaked in ink.In 1298, Wang Zhen (王祯/王禎), a Yuan dynasty governmental official of Jingde County, Anhui Province, China, re-invented a method of making movable wooden types. He made more than 30,000 wooden movable types and printed 100 copies of Records of Jingde County (《旌德县志》), a book of more than 60,000 Chinese characters. Soon afterwards, he summarized his invention in his book A method of making moveable wooden types for printing books. Although the wooden type was more durable under the mechanical rigors of handling, repeated printing wore the character faces down, and the types could only be replaced by carving new pieces. This system was later enhanced by pressing wooden blocks into sand and casting metal types from the depression in copper, bronze, iron or tin. This new method overcame many of the shortcomings of woodblock printing. Rather than manually carving an individual block to print a single page, movable type printing allowed for the quick assembly of a page of text. Furthermore, these new, more compact type fonts could be reused and stored. The set of wafer-like metal stamp types could be assembled to form pages, inked, and page impressions taken from rubbings on cloth or paper. In 1322，a Fenghua county officer Ma Chengde (马称德) in Zhejiang, made 100,000 wooded movable types and printed 43 volume Daxue Yanyi (《大学衍义》). Wooden movable types were used continually in China. Even as late as 1733, a 2300-volume Wuying Palace Collected Gems Edition (《武英殿聚珍版丛书》) was printed with 253500 wooden movable type on order of the Yongzheng Emperor, and completed in one year.A number of books printed in Tangut script during the Western Xia (1038–1227) period are known, of which the Auspicious Tantra of All-Reaching Union that was discovered in the ruins of Baisigou Square Pagoda in 1991 is believed to have been printed sometime during the reign of Emperor Renzong of Western Xia (1139–1193). It is considered by many Chinese experts to be the earliest extant example of a book printed using wooden movable type.
A particular difficulty posed the logistical problems of handling the several thousand logographs whose command is required for full literacy in Chinese language. It was faster to carve one woodblock per page than to composit a page from so many different types. However, if one was to use movable type for multitudes of the same document, the speed of printing would be relatively quicker.
Although the wooden type was more durable under the mechanical rigors of handling, repeated printing wore the character faces down, and the types could only be replaced by carving new pieces.
METAL MOVABLE TYPE IN CHINA
Bronze movable type printing was invented in China no later than the 12th century, according to at least 13 material finds in China, in large scale bronze plate printing of paper money and formal official documents issued by Jin (1115–1234) and Southern Song (1127–1279) dynasties with embedded bronze metal types for anti counterfeit markers. Such paper money printing might date back to the 11th-century jiaozi of Northern Song (960–1127)
The typical example of this kind of bronze movable type embedded copper-block printing is a printed "check" of Jin Dynasty with two square holes for embedding two bronze movable type characters, each selected from 1000 different characters, such that each printed paper money has different combination of markers. A copper block printed paper money dated between 1215–1216 in the collection of Luo Zhenyu's Pictorial Paper Money of the Four Dynasties, 1914, shows two special characters one called Ziliao, the other called Zihao for the purpose of preventing counterfeit; over the Ziliao there is a small character (輶) printed with movable copper type, while over the Zihao there is an empty square hole, apparently the associated copper metal type was lost. Another sample of Song dynasty money of the same period in the collection of Shanghai Museum has two empty square holes above Ziliao as well as Zihou, due to lost of the two copper movable types. Song dynasty bronze block embedded with bronze metal movable type printed paper money was issued in large scale and in circulation for a long time.
In the 1298 book Zao Huozi Yinshufa (《造活字印书法》/《造活字印書法》) of the early Yuan dynasty (1271–1368) official Wang Zhen, there is mention of tin movable type, used probably since the Southern Song dynasty (1127–1279), but this was largely experimental. It was unsatisfactory due to its incompatibility with the inking process.
During the Mongol Empire (1206–1405), printing using movable type spread from China to Central Asia.[clarification needed] The Uyghurs of Central Asia used movable type, their script type adopted from the Mongol language, some with Chinese words printed between the pages, a strong evidence that the books were printed in China.
A page from bronze movable-type book by Hua Sui, printed in 1490
During the Ming Dynasty (1368–1644), Hua Sui in 1490 used bronze type in printing books. In 1574 the massive 1000 volume encyclopedia Imperial Readings of the Taiping Era (《太平御览》/《太平御覧》) were printed with bronze movable type.
In 1725, the Qing Dynasty government made 250,000 bronze movable-type characters and printed 64 sets of the encyclopedic Gujin Tushu Jicheng (《古今图书集成》/《古今圖書集成》, Complete Collection of Illustrations and Writings from the Earliest to Current Times). Each set consisted of 5040 volumes, making a total of 322,560 volumes printed using movable type.
METAL MOVABLE TYPE IN KOREA
The transition from wood type to movable metal type occurred in Korea during the Goryeo Dynasty, some time in the 13th century, to meet the heavy demand for both religious and secular books. A set of ritual books, Sangjeong Gogeum Yemun were printed with movable metal type in 1234. The credit for the first metal movable type may go to Choe Yun-ui of the Goryeo Dynasty in 1234.
The techniques for bronze casting, used at the time for making coins (as well as bells and statues) were adapted to making metal type. Unlike the metal punch system thought to be used by Gutenberg, the Koreans used a sand-casting method. The following description of the Korean font casting process was recorded by the Joseon dynasty scholar Song Hyon (15th century):
At first, one cuts letters in beech wood. One fills a trough level with fine sandy [clay] of the reed-growing seashore. Wood-cut letters are pressed into the sand, then the impressions become negative and form letters [molds]. At this step, placing one trough together with another, one pours the molten bronze down into an opening. The fluid flows in, filling these negative molds, one by one becoming type. Lastly, one scrapes and files off the irregularities, and piles them up to be arranged.
While metal movable type printing was developed in Korea and the oldest extant metal print book had been printed in Korea, Korea never witnessed a printing revolution comparable to Europe's:
Korean printing with movable metallic type developed mainly within the royal foundry of the Yi dynasty. Royalty kept a monopoly of this new technique and by royal mandate suppressed all non-official printing activities and any budding attempts at commercialization of printing. Thus, printing in early Korea served only the small, noble groups of the highly stratified society.
A potential solution to the linguistic and cultural bottleneck that held back movable type in Korea for two hundred years appeared in the early 15th century - a generation before Gutenberg would begin working on his own movable type invention in Europe - when King Sejong devised a simplified alphabet of 24 characters called Hangul for use by the common people, which could have made the typecasting and compositing process more feasible.
MOVABLE TYPE IN JAPAN
Though the Jesuits operated a Western movable type printing-press in Nagasaki, Japan, printing equipment brought back by Toyotomi Hideyoshi's army in 1593 from Korea had far greater influence on the development of the medium. Four years later, Tokugawa Ieyasu, even before becoming shogun, effected the creation of the first native movable type, using wooden type-pieces rather than metal. He oversaw the creation of 100,000 type-pieces, which were used to print a number of political and historical texts.
An edition of the Confucian Analects was printed in 1598 using metal moveable type printing equipment at the order of Emperor Go-Yōzei. This document is the oldest work of Japanese moveable type printing extant today. Despite the appeal of moveable type, however, it was soon decided that the running script style of Japanese writings would be better reproduced using woodblocks, and so woodblocks were once more adopted; by 1640 they were once again being used for nearly all purposes
COMPARISON OF WOODBLOCK AND MOVABLE TYPE IN EAST ASIA
Despite the introduction of movable type from the 11th century, printing using woodblocks remained dominant in East Asia until the introduction of lithography and photolithography in the 19th century. To understand this it is necessary to consider both the nature of the language and the economics of printing.
Given that the Chinese language does not use an alphabet it was usually necessary for a set of type to contain 100,000 or more blocks, which was a substantial investment. Common characters need 20 or more copies, and rarer characters only a single copy. In the case of wood, the characters were either produced in a large block and cut up, or the blocks were cut first and the characters cut afterwards. In either case the size and height of the type had to be carefully controlled to produce pleasing results. To handle the typesetting, Wang Zhen used revolving tables about 2m in diameter in which the characters were divided according to the five tones and the rhyme sections according to the official book of rhymes. The characters were all numbered and one man holding the list called out the number to another who would fetch the type.
This system worked well when the run was large. Wang Zhen's initial project to produce 100 copies of a 60,000 character gazetteer of the local district was produced in less than a month. But for the smaller runs typical of the time it was not such an improvement. A reprint required resetting and re-proofreading, unlike the wooden block system where it was feasible to store the blocks and reuse them. Individual wooden characters didn't last as long as complete blocks. When metal type was introduced it was harder to produce aesthetically pleasing type by the direct carving method.
It is unknown whether metal movable types used from the late 15th century in China were cast from moulds or carved individually. Even if they were cast, there were not the economies of scale available with the small number of different characters used in an alphabetic system. The wage for engraving on bronze was many times that for carving characters on wood and a set of metal type might contain 200-400,000 characters. Additionally, the ink traditionally used in Chinese printing, typically composed of pine soot bound with glue, didn't work well with the tin originally used for type.
As a result of all this, movable type was initially used by government offices which needed to produce large number of copies and by itinerant printers producing family registers who would carry perhaps 20,000 pieces of wooden type with them and cut any other characters needed locally. But small local printers often found that wooden blocks suited their needs better.
MECHANICAL PRESSES
Mechanical presses as used in European printing remained unknown in East Asia.[41] Instead, printing remained an unmechanized, laborious process with pressing the back of the paper onto the inked block by manual "rubbing" with a hand tool. In Korea, the first printing presses were introduced as late as 1881-83, while in Japan, after an early but brief interlude in the 1590s, Gutenberg's printing press arrived in Nagasaki in 1848 on a Dutch ship.
Contrary to Gutenberg printing, which allowed printing on both sides of the paper from its very beginnings (although not simultaneously until very recent times), East Asian printing was done only on one side of the paper, because the need to rub the back of the paper when printing would have spoilt the first side when the second side was printed. Another reason was that, unlike in Europe where Gutenberg introduced more suitable oil-based ink, Asian printing remained confined to water-based inks which tended to soak through the paper.
WIKIPEDIA
in two places, this sign has been patched to correct the spelling. And I was the Karen who complained to make them do that. Seriously, it is just just sloppy to put up signage without proofreading!
Round 141 ANSH
Part 4 is here! I sincerely hope you guys have the time to read it and enjoy it.
thesims2.ea.com/exchange/story_detail.php?asset_id=183012
Thanks to Punki (helping with the cover), Brianna, and Lisha(proofreading) for all their help with this chapter.
Can you figure the meaning behind this picture?
To animate the image scroll down to the first comment below or view original size (1098 x 1200).
Details and History
The Wikimedia Commons website offers a multitude of historical images with no restrictions on use. This 1901 Thomas R. Lewis stereograph, from Cambridgeport Mass., shows proofreader Sophie Baldwin and an assistant at work in her office.
Quick Links to related animated stereo images:
Images from Massachusetts.
Browse the 19th century or by decade: 1850s, 1860s, 1870s, 1880s, 1890s.
Browse the 20th century or by decade: 1900s, 1910s, 1920s, 1930s, 1940s.
Copyright Advisory
This item is indicated as being in the public domain on its Wikimedia page:
secure.wikimedia.org/wikipedia/commons/wiki/File:Office_o... .
This image is also available with bibliographic notes from the New York Public Library's Digital Library under the digital ID digitalgallery.nypl.org/nypldigital/id?G90F228_046F .
Technical trivia
Contrast was enhanced using Jeff Masamori's quick method (generate a copy, equalize histogram, then blend with the original). Subsequent image manipulations and animated gif generation done with StereoPhotoMaker, a freeware program by Masuji Suto & David Sykes.
Who gives a fuck about an Oxford comma?
I've seen those English dramas too, they're cruel
So if there's any other way to spell the word
It's fine with me, with me
I'm finished editing for today. When I was about to give up, I youtubed "You can call me Al" by Paul Simon. I have no idea why, it just popped up in my head, and I think I saw it 8 times just because it put a stupid grin on my face to see him with Chevy Chase. Have you ever listened to the lyrics though? They're pretty far out. Vampire Weekend sound a lot like Paul Simon too - not Oxford Comma in particular, but their general sound.
A man walks down the street
He says why am I soft in the middle now
Why am I soft in the middle
The rest of my life is so hard
I need a photo-opportunity
I want a shot at redemption
Don't want to end up a cartoon
In a cartoon graveyard
Bonedigger Bonedigger
Dogs in the moonlight
Far away my well-lit door
Mr. Beerbelly Beerbelly
Get these mutts away from me
You know I don't find this stuff amusing anymore
A man walks down the street
He says why am I short of attention
Got a short little span of attention
And wo my nights are so long
Where's my wife and family
What if I die here
Who'll be my role-model
Now that my role-model is
Gone Gone
He ducked back down the alley
With some roly-poly little bat-faced girl
All along along
There were incidents and accidents
There were hints and allegations
A man walks down the street
It's a street in a strange world
Maybe it's the Third World
Maybe it's his first time around
He doesn't speak the language
He holds no currency
He is a foreign man
He is surrounded by the sound
The sound
Cattle in the marketplace
Scatterlings and orphanages
He looks around, around
He sees angels in the architecture
Spinning in infinity
He says Amen! and Hallelujah!
Anaglyphes sur verre pour lanterne magique. REPOST
Anaglyphs on glass for magic lantern. Rouen. FR. 1897
Je voulais juste comprendre pourquoi il n'y avait que si peu d'effets sur cette plaque de verre...
Les deux prises un peu / beaucoup trop différentes. Et surtout l'inversion des couleurs par apport à nos standards ! ( 01/20 )
Anaglyphes sur verre pour lanterne magique.
Deux procédés existaient, soit une double projection, une lanterne pour le bleu et une pour le rouge ou comme ces exemples ; en colorant la gélatine dont une des couleurs sera cliché inversé pour être ensuite assemblées afin de donner un anaglyphe. Un tout petit peu après viendra des Lanternes spéciales anaglyphes…
85 x 100 m/m
Albert Marguery . Déville les Rouen
1851 à Rouen (Seine-Maritime) - Décès: 1929
Société(s)
Photo-club rouennais : Vice-président 1896, puis président 1900-1927
Société industrielle de Rouen : Membre du comité des beaux-arts et arts photographiques
Biographie
Ingénieur-architecte.
Dessinateur, correcteur d'imprimerie, puis auxiliaire dans le service de navigation de la Seine à Rouen. Fils de Émile Marguery ; demeurait 1 avenue Carnot à Déville-lès-Rouen.
- Photographe, membre du Photo-club de Rouen. Ses photographies illustrent régulièrement les revues et publications de la région rouennaise : publia des photographies en 1874 dans L'Artiste Normand (1er journal de province illustré avec des photoli- thographies), en 1877 dans Rouen, ses monuments et leurs souvenirs de Lucien d'Hura et en 1885 dans Rouen, église Saint-Vincent de l'abbé Renaud.
- Vice-président (1896) puis président (1900-1927) du Photo-Club Rouennais
- Membre du comité des beaux-arts et arts photographiques à la Société industrielle de Rouen
- Participe à l'exposition des Arts photographiques de Rouen en 1898 et au Salon du Photo Club de Paris en 1909. Médailles d'or à Gand, Bruxelles, Amsterdam, Rouen ; médaille d'argent au Photo-Club de Paris ; hors concours à l'Union des Sociétés Photographiques de France à Rouen en 1914 ; médaille d'or au Photo-Club Toulousain en 1927.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Indispensable : Magie Lumineuse, J. Remise, P. Remise & R. Van de Walle . BALLAND Ed.
I just wanted to understand why there was so little effect on this glass plate ...
The two taken a little / much too different. And especially the inversion of the colors by contribution to our standards ! (01/20)
Anaglyphs on glass for magic lantern.
Two methods existed, either a double projection a lantern for blue and one for red or like these examples; by coloring the gelatin, one of the colors of which will be inverted, to be then assembled to give an anaglyph. A very short time later will come from the Lanterns speciasl anaglyphs.
85 x 100 m / m
Albert Marguery. Die Rouen
1851 in Rouen (Seine-Maritime) - Death: 1929
Company (s)
Rouen photo-club: Vice-president 1896, then president 1900-1927
Industrial Company of Rouen: Member of the Fine and Photographic Arts Committee
Biography
Architectural engineer.
Designer, proofreader, then assistant in the Seine navigation service in Rouen. Son of Émile Marguery; lived 1 avenue Carnot in Déville-lès-Rouen.
- Photographer, member of the Rouen Photo-club. His photographs regularly illustrate the reviews and publications of the Rouen region: published photographs in 1874 in L'Artiste Normand (1st provincial newspaper illustrated with photolithographies), in 1877 in Rouen, its monuments and their memories of Lucien d ' Hura and in 1885 in Rouen, Saint-Vincent church of Father Renaud.
- Vice-president (1896) then president (1900-1927) of the Photo-Club Rouennais
- Member of the committee of fine and photographic arts at the Industrial Society of Rouen
- Participated in the exhibition of Photographic Arts in Rouen in 1898 and in the Salon du Photo Club in Paris in 1909. Gold medals in Ghent, Brussels, Amsterdam, Rouen; silver medal at the Photo-Club of Paris; outside competition at the Union of Photographic Societies of France in Rouen in 1914; gold medal at the Photo-Club Toulousain in 1927
.
:::::::::::::::::::::::::::::::::::::::::::::::::: :::::::::::::::::::::::::::::::::::::::::::::::::: ::::::::::::::::::
Indispensable: Luminous Magic, J. Remise, P. Remise & R. Van de Walle. BALLAND Ed.
Written & Directed by: Yi Chen
Executive Producer: Fausto Di Marco
Cast:
Fausto Di Marco
Yi Chen
Danyal Zafar
Eric Mayer
Kira Walls
Lakni Hansika
Lucas Shepherd
Matteo Pennarts
Pihla Pekkarinen
Sylvie Dumont
William Tippins
Assisstant Director: William Tippins
Cinematography Supervisor: Marina Buening
Director of Drama: Lakni Hansika
First Assisstant Camera & Lights: Alessandra N. Garber
Second Assisstant Camera: Pihla Pekkarinen
Original Music:
Brian Balmages
Yi Chen
Sets & Props: Fausto Di Marco
Lights & Lenses:
Oisin Curran
Marina Buening
Focus Puller: Pihla Pekkarinen
Script Proofreading:
Jacob Sadoff
Lucas Shepherd
Location Scout: William Tippins
In Association with St. Stephen's Cineasti. Visit their Youtube page: www.youtube.com/channel/UCci2oEOTzPvg2DGPfr7dnlw
Visit Marina Buening's website: www.marinabuening.com
The wiki for this film: thetimemachinefilm.wikia.com/
Something I made in Inkscape because Google Images wasn't turning up any examples I liked. Licensed under Creative Commons (attribution only).
1999-2000.
edited by Dorothy Howard.
Aylmer, Proof Press, spring 2ooo . a handful of copies of the 4 issues of volume 6 of Raw Nervz Haiku (all issues released separately) as a set in 5-1/2 x 8-1/2 x 3/4 plain white mayfair card wrappers with white xerographic bond dj with 1" flaps printed black photocopy outside covers & spine only with orange rubberstamp addition to spine, the 4 volumes held in with brown rubber bands.
the 4 issues are:
a) Vol.VI No.1 ; spring 1999. 5-7/16 x 8-1/2, 13 sheets white xerographic bond folded to 52 pp & stapled twice into white mayfair card wrappers, all printed black photocopy with green rubberstamp additions to title page & p.38, with 3 leaves laid in:
–1. 2 x 7, white xerographic bond broadsheet printed black laser with green rubberstamp addition recto, laid inside front cover;
–2. 5-1/2 x 4-1/4, mauve xerographic bond broadsheet printed black laser with blue rubberstamp addition recto, laid inside front cover;
–3. 1-1/2 x 1-3/8 peacock blue xerographic bond broadside printed black laser, laid in pp.1o/11;
b) Vol.VI Nr.2 ; summer 1999. 5-7/16 x 8-1/2, 13 sheets white xerographic bond folded to 52 pp & stapled twice into white mayfair card wrappers, all printed black photocopy with rubberstamp additions, pink to title page & black to p.7, with 2 x 7 white xerographic bond broadsheet printed black laser with pink rubberstamp addition recto laid inside front cover;
c) Vol.VI Nr.3 ; fall 1999. 5-3/8 x 8-1/2, 13 sheets white xerographic bond folded to 52 pp & stapled twice into white mayfair card wrappers, all printed black photocopy with rubberstamp additions, orange to title page & green to p.33, with 2 x 7 white xerographic bond broadsheet printed black laser with orange rubberstamp addition recto laid inside front cover, Betty Drevniok & Ava Kar's DAY'S END laid inside rear, 3-1/2 x 4-1/4, single sheet white xerographic bond folded thrice vertically to 8 pp leaflet, all printed black laser with green rubberstamp addition to front cover, in 5/8 x 3-9/16 paper band found printed 3-colour process offset;
d) Vol.VI Nr.4 ; winter 1999/2ooo. 5-5/16 x 8-1/2, 13 sheets white xerographic bond folded to 52 pp & stapled twice into white mayfair card wrappers, all printed black photocopy with turquoise rubberstamp additions to title page & p.34, with 2 x 7 white xerographic bond broadsheet printed black laser with turquoise rubberstamp addition recto laid inside front cover.
cover by Dorothy Howard.
276 contributors:
Mikhammad Abdel-Ishara, Roger Abe, Suezan Aikins, Leonardo Alishan*, Mike Allen, Paul Amphlett, Dimitar Anakiev, Astrid Andreescu, Faye Aoyagi, Kaji Aso, David Aylward, Akiko Baba, Pamela A.Babusci*, Winona Baker, Peter Bakowski, Mike Barber, John Barlow, Gary Barwin, Matsuo Basho, Derek Beaulieu, Louise Beaven, Donna Bechar, Sabina C.Becker, Guy R.Beining, Laura Bell, Ed Bennett*, John M.Bennett, Jonathan P.Bernick, Ernest J.Berry*, Barbara Bloom, Harry Bloomfield, Marianne Bluger, Ken J.Boivin, Susan Bond, Stephen Bone, Bob Booker, Jennifer Books, Chris Bose, Harry Bose*, Janice M.Bostok, David Brady, John Brandi, Tim Bravenboer, Caleb Brooks, Randy M.Brooks, Helen Buckingham, Marjorie Buettner, Jeanne Casler, Terry Ann Carter, Jeanne Casler, Tom Clausen, R.A.Coates, David Cobb, Kathy Lippard Cobb, Ion Codrescu, Mihaela Codrescu, Leslie Cohen, Carlos Colón, Cid Corman, Mary Jo Courtney, Chris Creelman, John Crook, Wilfred Croteau, jwcurry*, Cherie Hunter Day, Raffael De Gruttola, Andrew Detheridge, Alana Dodds, Zoran Doderovic, Steve Dolphy, P.N.W.Donnelly, John Alan Douglas, Betty Drevniok, Michael Dudley, Catherine Duhaime, Marie-Noël Duhaime, John J.Dunphy*, Dennis H.Dutton*, Chuck Easter, John Elsberg, Paul Engel, Stephen S.Engleman, Judson Evans*, Greg Evason, Dee Evetts, Liz Fenn, Thomas Fitzsimmons, Alicia Flores, A.M.Forbes, Stanford M.Forrester, Melissa J.Fowle, Marco Fraticelli, John M.Freiermuth, Warren D.Fulton*, Bernard Gadd, William Scott Galasso, D.Claire Gallagher*, Jack Galmitz, Garry Gay, Gerad George, Gerry Gilbert, Kevin Gillam, Lloyd Gold, Tom Gomes, Chris Gordon, LeRoy Gorman, Tod Gorward, George Gott, Caroline Gourlay, Claudia Graf, Bob Gray, Lee Gurga, Albert W.Haley Jr, Carolyn Hall, Steve Hamm, Yvonne Hardenbrook, William Hart, Elizabeth Hazen, Doris Heitmeyer, George Held*, Chrisopher Herold, Graham High, G.Craig Hobbs, Lee Hobbs, Eric L.Houck Jr*, Dorothy Howard*, Marshall Hryciuk, John Hudak, June Hopper Hymas, Kobayashi Issa, Beth Jankola, Hans Jongman, Jean Jorgensen, Jim Kacian, Ava Kar, Hatsue Kawamura, Michael Ketchek*, Larry Kimmel*, Toshio Kimura, Shawn Klemmer, Joann Klontz, George Knox, Kris Kondo, Richard Kostelanetz, Rich Krivcher, Rosanna L, Mark Laba, Watha Lambert*, Carol Lebel, Chad Lebo, Karen Vickie Lee, Jim Leftwich, Kenneth C.Leibman, John Leonard, Angela Leuck, Ai Li*, Lisa Liken, Michelle V.Lohnes, Martin Lucas, David Lunde, Catherine Mair*, Robey Major, Makiko, Giovanni Malito, Margaret Manson, John Martone*, Steve Mason, Giselle Maya, Brynne McAdoo, Michael McClintock, David McCoy, Sally McDaniel, Tyrone McDonald, David A.McGregor, Anne McKay, Rob McLennan, Gerry McRae, David Meyers*, Manuela Miga, Bogoljub T.Mihajlovic, Sue Mill, Joanne Morcom*, Matt Morden*, Gustave Morin, Rob Morrow, Marlene Mountain*, A.Mary Murphy, Mariola Musial, Ban'ya Natsuishi, Pamela Miller Ness*, Michael Nickels-Wisdom, Nicola Nilic*, David Oates, Eamer O'Keeffe, John Ower, Page, Jeanne Painchaud, Tom Painting*, Old Pajamas, Stephen Pate, Carl Patrick, Aleksander Pavic, John Perlman, Francine Porad, Laurie Porad, Claire Pratt, Patricia Prime*, Zivko Prodanovic, Anthony J.Pupello*, William M.Ramsey, Anne Ranasinghe, Larry Rapant, Jean Rasey, Jane Reichhold, Mark Renney, Uta Riccius, Edward J.Rielly, Carolyne Rohrig, Nicholaes Roosevelt, Richard Rosenberg, Bruce Ross, Alexis K.Rotella*, Philip Rowland, Bruce Roxburgh, Timothy Russell, Elizabeth Saint Jacques, Nanao Sakaki, Katherine Samuelowicz, Steve Sanfield, Carla Sari, Hiroaki Sato, Grant Savage, Fred Schofield, David Schuster, Robert Scotellaro, Roger Sedarat, Bob Spicer, Vasile Spinei, Ruby Spriggs*, James Spyker, R.A.Stefanac*, Art Stein*, John Stevenson*, Richard Straw, George Swede, Akiko Takazawa, Maurice Tasnier, Rick Taylor, Steven Taylor, John Thompson, Marc Thompson, Denise Thompson-Slaughter, Tom Tico*, Serge Tome, Twixt, Eugene Waldteufel, Linda Jeanette Ward*, Robert William Watkins, Paul Watsky, Don Wentworth, Bill West, John West, Frank Williams, Peter Williams, Rod Willmot, John Wills, Jean Wilson, Sue Wilson, Ulf Wiman, Jeffrey Winke*, Jeff Witkin, William Woodruff, Ruth Yarrow, Laura Young, Arizona Zipper*, Edward Zuk.
curry contributes:
i) [untitled photograph, lights from a train] (vol.6:1/p.2o)
ii) [untitled photograph, big cloud] (vol.6:2/p.26)
iii) [untitled photograph, passing train running lights in Hull] (vol.6:3/p.51)
iv) [untitled photograph, light patterns in a boxcar] (vol.6:4/p.25)
v) [untitled graphic], with Mark Laba (vol.6:4/rear cover)
also includes:
vi) more books, by Dorothy Howard (prose capsule reviews with notes on the curry-edited Graffito 4:1 & 1cent 334, vol.6:2/p.2o)
vii) ACKNOWLEDGEMENTS, NOTES, etc., by Dorothy Howard (with thanks to curry for proofreading, vol.6:2/p.51)
viii) books, by Dorothy Howard (with quotes from 1cent 35o, vol.6:4/p.12)
___________________________
• vol.6:1
• vol.6:2
• vol.6:3
• vol.6:4
Let's see, should I get the CHICHEN or the TENDERS?
Ah yes — the value of a good proofreader:
The difference between chicken and chichen…
…is the difference between dinner and confusion. 😄
A good proofreader:
Saves meals, reputations, and occasionally marriages
Prevents immortal typos from living forever in screenshots
Knows that one rogue letter can turn confidence into comedy
They don’t just catch mistakes — they quietly protect meaning.
Unsung heroes, red pens holstered, doing the lord’s work. ️✨
(And for the record: I still vote tenders.)
May 10: It's been a full day--prompt, sitting, web class, long talk with Kathi, hike at Garland, dinner out at Tarpy's. But mostly, it was work, proofreading--as this early-morning shot illustrates.
The KOM League
Flash Report
For
Week of June 5—11, 2016
Note: The person in the photo of the 1946 pitching staff as Bob White was actually William Denzil White.
______________________________________________________________________________
A word of advice:
The appeal of this report will only affect those who have heard of the following: Iola, KS, Ban Johnson baseball, John Handzo, Kenneth Johnson, Al Reitz, Walter Johnson, Babe Ruth, Al Kluttz, Claude and Keith Willoughby, Harold Liell, Fred Kipp, Bill Essick, Dutch Zwilling and a few other names added as filler material.
This author strongly suggests that the reader limit his/her consumption of this material to 1.4 pages per day. That will give you something to read until the next edition of this publication most likely will be shared.
___________________________________________________________________________
Death of former Carthage Cub pitcher
www.lehrergibilisco.com/memsol.cgi?user_id=1576926
John G. Handzo Jr. 81, died Sunday, May 3, 2015 at home. Mr. Handzo was born in Elizabeth and lived in Linden for 65 years and in Rome PA., for the past 20 years. John worked for DuPont Corp in Linden for 25 years retiring in 1984. Mr. Handzo was a U.S. Marine Corp during Korean conflict. He was a graduate of Linden High School in 1951. He was an avid fisherman, hunter and loved gardening. He was a loving husband, father, grandfather and great grandfather and friend and will be missed by all.
Mr. Handzo is predeceased by his wife Catherine who passed away in 2014. They were married in Hawaii in 1954.He is survived by his daughters: Kathy McKeever and her husband Mike, and Marylou Calaman and her husband Mark and one son John G III. Also survived by 7 grandchildren: Jacquelyn, Jessica, Caitlin, Michael, Cassandra, Megan, and Matthew and also six great grandchildren.
Memorial Mass will take place on Saturday May 9, 2015 at 10:00 am at St. Elizabeth RC Church Linden. Burial of cremains will be at St. Gertrude Cemetery Colonia. Arrangements under the Lehrer-Gibilisco Funeral Home, 275 West Milton Avenue, Rahway NJ 07065. www.lehrergibilisco.com
Ed comment:
There were two guys around the Carthage Cub ballpark, in 1951, with the initials of “JGH.” One was a late season pitcher for the team and the other was the team’s batboy. Gee, I should know that guy’s name. Can anyone help me out with that?
Handzo wasn’t quite 18 when he showed up in Carthage and for a youngster he did reasonably well posting a 2-3 record and playing on the only playoff championship team in Carthage Cub history.
There aren’t too many of the 1951 Carthage Cubs still living and even fewer who receive the Flash Reports. Hoping to get a quote from one of Handzo’s teammates, I shared the obituary and photo with Walt Babcock. He replied “John, thank you. I would never have recognized him.”
Just to make sure this article was correct I asked Babcock if he recalled if Handzo was right or left handed and that precipitated a shareable quote. “Why are you asking me? I can’t remember which way I threw. For some reason I think, right.”
_____________________________________________________________________________
Honoring the memory of a former manager of Carthage Cardinals
Forgive me if you’ve seen (and written in your Flash Reports about) this but thought you’d be interested in the three-part series on Alvin Kluttz.
www.salisburypost.com/2016/05/27/alvin-kluttz-rowan-hero-...
www.salisburypost.com/2016/05/28/203325/
m.salisburypost.com/2016/05/29/kluttz/
That note was sent to me by baseball necrologist, Jack Morris, mere moments prior to finishing this report.
Alvin Clifton Kluttz managed the Carthage Cardinals for all or parts of two seasons in 1947-48. I have written about him in the past and he made it into my first book. Over the Memorial Day weekend he was remembered in his hometown newspaper Look them up if interested. I have proofread the stories and found only one glaring error. Kluttz played for Springfield, MO in 1941 and not Springfield, Illinois. He was the reason future KOM leaguer Oscar “Pappy” Walterman was released that year. In reading the stories found on the URL’s it will explain how Kluttz received the wounds that received many comments from the former Carthage Cardinals who saw him without wearing a shirt. They said his torso looked like hamburger. To find out how that happened you will have to refer to those links.
One of the regrets I have had in the search for former KOM leaguers is that I didn’t find Kluttz in time to interview him. He died in May of 1995.
____________________________________________________________________________
1946 Iola, Kansas Cubs
In a recent Flash Report finding Russell Austin White of the 1946 Iola Cubs was highlighted. That drove me to look closer at the remaining members of that team that I never located. Immediately, after this article, the saga of searching for Kenneth Carstensen Johnson is shared.
However, I want to go back to the Iola Cubs photo in the previous report. The photo is available at: www.flickr.com/photos/60428361@N07/26683806133/. Also in that photo was a guy who knew Babe Ruth and another who was the uncle of future Minnesota Twins player, Rich Reece. Don’t have room to address those items in this report
It is my guess that the person drawing the least interest in that old photo would have been the fellow in the back row wearing a straw hat and identified as Lloyd Ayers. To many people he was known as “Rabbit.” He was born in 1888 in Erie, Kansas, which is about 38 miles south of Iola. Prior to 1900 Rabbit’s father passed away and he was adopted by Caleb Fowler and his wife Susan who lived in Big Bear Township, in Neosho County, which was and still is located east of Chanute, Kansas.
Prior to going further with this story I wanted to get in touch with someone who remembered Rabbit Ayers. I sent a note to a former Iola catcher who now resides in Arizona and here was the response from Buck Walz. “Rabbit. I really liked him. He was a lot of fun to be around. Al Reitz was always picking on him. I was glad to get the story of his life.” So, I continue with some of the information shared with Walz.
Caleb Fowler passed away in 1901 and his wife Susan did likewise three years later. Thus, their step-son, Lloyd was basically on his own at age 16. He learned the cattle business and was a stockman and cattle trader most of his working life. Only one thing got in the way of work and that was baseball. There are details of Ayers playing and later managing amateur teams in Iola from the early part of the 20th century up to the time he joined the Iola Baseball Assn. as their business manager.
In the early 1900’s in order to play baseball in that area the teams were basically comprised of towns such as Humboldt, Iola and Chanute. Later, with better transportation the teams on which Ayers played and managed went as far as Lawson which is in the Kansas City Metro area.
In his teen years Ayers played against Humboldt, Kansas which featured a pitcher that was 6’ 1” and weighed around 200 pounds. Comparatively, Ayers was 5’ 6” and weighed in at 130. The Humboldt pitcher was future Hall of Famer, Walter Johnson. The age differential in the two country boys from Kansas was one year. Each went their own way in life with Johnson racking up 21 seasons in the big leagues and Ayers playing and managing the Iola Gassers and later a Ban Johnson league team for more years than Johnson played in the big leagues.
In 1934 Ayers was equal to Johnson, they were both managers. Ayers was managing the Iola Ban Johnson Cubs and his old friend was doing the same job with the Cleveland Indians.
To start the 1941 season Iola and Independence, Kans. were slated to play at Independence, Kansas. Since Independence had been the site of the first night game played under the lights Ayers was involved in attempting to draw a huge crowd. He and his friends in the area decided to ask Johnson and one of his baseball buddies to attend that contest. Johnson’s buddy was Babe Ruth. But, as with most dreams of that nature, it never came to fruition. .
*********
*
8/11/1925
The Iola Gassers scored three in their first turn at bat when "Rabbit" Ayers walked. Burns flied to Moore. Scott singled after Ayers stole second and both runners eventually scored.
6/15/1934
The Iola Cubs, down in seventh and last place in. the Eastern Kansas league, have the league leading Fredonia club to entertain here Sunday in attempting to stage' a comeback In the race. Humboldt handed the Cubs their second loss in a row and their third of the season last Sunday to shove the local entry down into the league cellar. Iola, the largest town in the league, doesn't appreciate the cool temperatures of the basement and the Cubs are intent on climbing out Sunday, despite the fact they will have to knock over the pace-setters to do the climbing act. Manager Lloyd Ayers of the Cubs announces he expects to have no new additions Sunday. Pat Patterson who was out last week with an injured shoulder, will be ready to play,
July 4, 1935
In 1939 Rabbit Ayers declared that he had recommended to Bill Essick of the Yankees that one of his pitchers was ready for big league ball. Ayers declared that either the Yankees or Detroit Tiger would sign Harold Liell. In looking around the Internet I found a reference that occurred four years earlier. Here is the site: Harold Liell-
nationalpastime.com/site/index.php?action=baseball_team_s...
For those without access to the site here is the full quote: “Due to his 'wandering' ball, Iola hurler Harold Liell, a 5' 6 1/2", 155-pounder with pigeon-toed feet, is called up for a tryout with the Kansas City Blues. The K.C. manager Dutch Zwilling is impressed with the young southpaw's performance, but advises the Greeley, Kansas lad to get more experience, suggesting he suggests he play in the Ban Johnson League.
May 12, 1939
The first "home" game of the lola Ban Johnson team will be played away from home. Manager Lloyd “Rabbit" Ayers said today. In the absence of a suitable playing field here, Ayers' athletes will Journey to Humboldt Sunday, where they will meet the Chanute club on the neutral Walter Johnson field. On the basis of comparative scores, it looks {like a bad day Sunday for the lola club.
Play Has Improved--- Ayers, however, points-to the 11-8 victory of his club 'over Parsons last Sunday as an indication that the boys' play has improved immensely, and although he was reticent about predicting a victory, he would admit that it will be a close ball game. Willoughby, the son of the former big-leaguer, Claude Willoughby, who has, been, burning up the semi-pro ball games in this part of the state, will hurl for Chanute Sunday. (Ed note: Willoughby came along seven years later as a first baseman for the Bartlesville Oiler of the KOM league which his dad managed.)
There are many events in the life of Rabbit Ayers that made it into the newspaper and here is the one from May 7, 1941.
To observe Night Ball's Birthday lola Ban Johnson team To Help Independence B-J’s At Celebration There Next Tuesday Night.
Iola's baseball team will take part in a game of national significance at Independence next Tuesday night. The regularly scheduled home opener for the Independence Ban Johnson league team falls on that date, with Iola as the opposition, and the host club is planning to make It a celebration of the eleventh anniversary of the first game of organized night baseball in the world. Independence, along with another city or two, claims to have held the first night contest played by an organized professional team. The date was April 28, 1930. Despite the Des Moines claim that they have long asserted, the right to the distinction and has been credited in most quarters with playing the first game under lights, but Independence baseball men contend that the Des Moines game was played a week later than the April 28 date. Pre-game ceremonies are being arranged for Tuesday night and members of the Independence team of 1930 and notables of baseball are being invited to take part.
Among those extended invitations are Walter Johnson and Babe Ruth.
Invites lolans-- A letter from Lawrence Ferrell, Secretary of the Independence Baseball Association, extends a special invitation to lola fans to attend the game and accompanying festivities. "We would like to see a large crowd of lola fans here," he says. Meanwhile lola's club is preparing for its own home opener here Sunday against Parsons.
APRIL 12. 1941.
Seeking Players For Ban Johnson Ayers to Build Club Around Three Vets And Possibly a Few Imported Players
Executives of the new Iola Baseball association got down to balls, and strikes, and singles in a meeting last night, reviewing the player situation in a lengthy confab. "They finally filtered the subject down to a decision that the club will be able to pay for the importation of possibly four tried and proven athletes, and that boys already here will be counted upon to fill the bill for additional talent. Last year's edition has been riddled by "graduation" and the defense program….The board members were in agreement last night that at least two pitchers of class must be found in a hurry and also a catcher. They have a string on one able hurler. Jim Smith, the Illinois boy who hurled for Humboldt last season. He pleased highly there. With Humboldt out of the league this time, Smith has made known a desire to come here. Manager Lloyd Ayers, who, incidentally, was hired officially last night, is counting at present on "Red" Williams to handle first base. Ayers plans a practice session tomorrow and an invitation is extended to boys of the surrounding com- munity to take part. The club voted to place Ayers on salary this season. With the schedule doubled, the work will be intensive. Some other clubs have been paying their managers in the past.
There are many events in the life of Rabbit Ayers that made it into the newspaper and here is the one from May 7, 1941.
To observe Night Ball's Birthday lola Ban Johnson team To Help Independence B-J’s At Celebration There Next Tuesday Night.
Iola's baseball team will take part in a game of national significance at Independence next Tuesday night. The regularly scheduled home opener for the Independence Ban Johnson league team falls on that date, with Iola as the opposition, and the host club is planning to make It a celebration of the eleventh anniversary of the first game of organized night baseball in the world. Independence, along with another city or two, claims to have held the first night contest played by an organized professional team. The date was April 28, 1930. Despite the Des Moines claim that they have long asserted, the right to the distinction and has been credited in most quarters with playing the first game under lights, but Independence baseball men contend that the Des Moines game was played a week later than the April 28 date. Pre-game ceremonies are being arranged for Tuesday night and members of the Independence team of 1930 and notables of baseball are being invited to take part.
Among those extended invitations are Walter Johnson and Babe Ruth.
Invites lolans-- A letter from Lawrence Ferrell, Secretary of the Independence Baseball Association, extends a special invitation to lola fans to attend the game and accompanying festivities. "We would like to see a large crowd of lola fans here," he says. Meanwhile lola's club is preparing for its own home opener here Sunday against Parsons.
September 22, 1946
Sandlot Stars In Sunday Ayers to Boss Cubs, Reitz to Manage Visitors in Try-Out Camp Game Here The K-O-M league baseball season now being history, the long- awaited appearance of sandlot stars against the Cubs is near—scheduled Sunday afternoon. A few of the Cubs—Al Etie, Walter Dunkovich, and Buck Walz— have departed for their homes, but club officials gave assurance today that a sufficient number will be on hand for the Sunday exhibition game. Reitz to Maneuver Visitors Remuneration for the visiting players will be confined to an opportunity of being under the experienced eye of Manager Al Reitz of the Cubs," who will turn the K-O-M team over to Lloyd Ayers while skippering the sand-lotters himself. Response from teams having promising young prospects has been gratifying. Ayers said this morning. Many replies came in to the 69 invitations sent out a month ago presenting the tryout plan to managers in towns within a radius of 60 miles of Iola. Intra-Squad Game The number of young players appearing cannot be determined but has been estimated all the way from 20 to 100. They will begin arriving early In the morning and Reitz and Ayers work with them from 8 a. m. until about 11:00. A recess will be called, it was stated this morning, until about 12:30, when workouts will be resumed and may include an intra-squad practice game. From that contest, a starting lineup will be selected to face the Cubs about 3 p. m. Gates to the park will be opened at 12:30. Ayers .said today, he plans to use most of the Cub pitchers in brief turns. Bob Burris will come from Tulsa, where he has enrolled in college, and will fill in at second base, vacated by Etie. The try-out idea, with accompanying exhibition game, was originally suggested by John Yowell of Geneva, a loyal Cub fan who has assisted in organizing the event.
Bonus earnings of the players participating in the Chanute and lola baseball play-off series are being figured now and are not yet known. Fans curious to know the value of the series to the players may meanwhile toy with the figures themselves to gain a rough idea. Players shared in receipts of the first four games only. Tax was the first "take" from the total. Next went a ten per cent sum to the league for administrative expenses. Expenses of the games—balls, umpires, lights, ticket sellers, and other items—were covered next. The winning team in the first four games received 60 per cent of the receipts, the loser 40. (The teams broke even in the first four.) Players will receive half the team shares. Their regular salaries carry on,
Sept. 20. 1946
Sandlot Stars In Sunday-- Ayers to Boss Cubs, Reitz to Manage Visitors in Try-Out Camp Game Here The K-O-M league baseball season now being history, the long- awaited appearance of sandlot stars against the Cubs is near—scheduled Sunday afternoon. A few of the Cubs—Al Etie, Walter Dunkovich, and Buck Walz— have departed for their homes, but club officials gave assurance today that a sufficient number will be on hand for the Sunday exhibition game.
Reitz to Maneuver Visitors --Remuneration for the visiting players will be confined to an opportunity of being under the experienced eye of Manager Al Reitz of the Cubs, who will turn the K-O-M team over to Lloyd Ayers while skippering the sand-lotters himself. Response from teams having promising young prospects has been gratifying. Ayers said this morning. Many replies came in to the 69 invitations sent out a month ago presenting the tryout plan to managers in towns within a radius of 60 miles of Iola.
Intra-Squad Game-- The number of young players appearing cannot be determined but has been estimated all the way from 20 to 100. They will begin arriving early in the morning and Reitz and Ayers work with them from 8 a. m. until about 11:00. A recess will be called, it was stated this morning, until about 1230, when workouts will be resumed and may include an intra-squad practice game. From that contest, a starting lineup will be selected to face the Cubs about 3 p. m. Gates to the park will be opened at 12:30. Ayers .said today he plans to use most of the Cub pitchers in brief turns. Bob Burris will come from Tulsa, where he has enrolled in college, and will fill in at second base, vacated by Etie. The try-out idea, with accompanying exhibition game, was originally suggested by John Yowell of Geneva, a loyal Cub fan. who has assisted in organizing regular salaries carry on,
An unlikely outcome to sand-lotters vs. Iola Cubs.. Truly a “Gone With the Wind” event.
Sept. 23, 1946
Baseball Try-Out Attracts 80 About 40 Towns Are Represented in Squad;--Storm Forces Cancellation of Game --More than 80 young baseball prospects from about 40 towns, some as far away as Missouri, were at Riverside park yesterday for the Cubs' try-out camp and exhibition game that was halted in mli-afternoon by the storm. The wind and rain that scattered the crowd at the park came just as the batter's box was being marked off at home plate for the start of the exhibition contest, climax of the all-day program. Earlier, 12 innings of practice baseball had been played with about all the candidates present getting a chance to take a turn on the field at least a few minutes. Lineups were changed completely each three innings.
Many arrived early Manager Al Reltz of the Cubs sat on the sidelines and noted his selections for the afternoon game with the lola K-O-M league team, aided by Lloyd Ayers, business manager of the Cubs, and other officials of the team. Twenty-five players were on hand at 8 a. m. when organizers of the try-out camp appeared at the park to open the gates. A successful day had been expected by Cub officials but the number and quality of the candidates amazed some of those having connection with sponsoring it. . It Is believed that a few of the players may be signed to contracts with the lola team next spring, as a result of the inspection given by Reitz.
List Is Blown Away-- The storm not only wiped out the exhibition game, but also blew away a paper bearing a list of the visiting players that the lola officials had compiled. It had been placed on the top of the dugout just before the wind suddenly swept in. "It might be in LaCygne today," Clair Morgan, who helped organize the players, commented this morning. Reitz had posted the following lineup for the start of the game: Krepps, Buffalo. 2b; W. Prazell, lola, ss; J. Shlnn, Bronson, cf; Beaman, Uniontown, c;.Dimlop,, Neosho Falls, 3b; Bacon, Moran, lb; Frischenmeyer, Neosho Palls, Kipp, Piqua, rf; Westhoff, Parsons, p. About' two dozen additional players were to be used in later innings. Manager Ayers of the Cubs planned to start with the following lineup: Bubnak ss. Wood rf. B. Burris 2b, Singleton cf, Aubrey 3b. Giebel lb, Alivojvodic rf, Phillips c, Plvorunas p. Among towns reported as being represented by players trying out were the following: LaCygne, Pleasanton. Uniontown, Fort Scott, Nevada. Mo.. Burlington, Buffalo, Yates Center, Ottawa, Princeton, Neosho Falls, LeRoy, Westphalia, Colony, Wellsville, Welda, Sarcoxie, Mo.. Gamett, Kincaid. Moran, Bronson, Chanute, Mound City, Blue Mound, Stark, Savonburg, Elsmore, Walnut, Toronto, Waverly, Geneva, Carlyle, Gridley and Greeley.
Editorial comment:
Seventy years after Al Reitz’s list of candidates blew away I regret it happened. I would love to have known the names of the other young men at that tryout. I can assure the readers that Beaman of Uniontown and Westhoff of Parsons wound up in the KOM league the following year/ It was Gerald Nate Beaman who caught for the Pittsburg, KS Browns and Lloyd “Curley” Westhoff pitched for the Chanute Athletics. (Ed note: Beaman still lives in Uniontown and turns 92 in August. Westhoff died in a Pittsburg, KS nursing home in 1996 although his home was still Parsons. Won’t go very far into the story here but one of the most moving events I ever witnessed occurred while Westhoff was in a semi-comatose state. I accompanied a couple of this Chanute teammates to the nursing home and he looked at Bernie Tye and uttered “Bernie Tye 6’ 7” and lapsed back to his previous condition. He died shortly thereafter.)
On Reitz’s lineup card that day was a 15-year old from Piqua, KS (sounds like Pickway) who he had slotted to play right field. Seven years late Kipp had graduated from Emporia State and signed a professional contract. Eleven years after that tryout the big kid was no longer an outfielder but pitching in the big leagues with Brooklyn in their last year and then at Los Angeles the next season. Yes, that young man was Fred Leo Kipp. www.baseball-reference.com/register/player.cgi?id=kipp--0...
A real gum shoe effort in attempting to locate former Iola/Chanute pitcher
When a particular team is mentioned in a Flash Report I usually pause a few days later to see who I have and haven’t located or determined their fate. Buoyed by the recent locating of Russell Austin White of the 1946 Iola Cubs I headed out once again to determine the fate of Kenneth Johnson.
In the very early days of writing about the KOM league Bernie Tye furnished me with a number of photos of the 1946 Chanute, Kansas Owls. If your turn in your KOM hymnal to page 18, (The KOM League Remembered published by Arcadia), there is a photo of the 1946 pitching staff of the Owls. www.flickr.com/photos/60428361@N07/27105962820/
One of those guys was Kenneth “Crow” Johnson. How he got from Iola to Chanute was mentioned in the July 3, 1946 edition of the Iola Register. “Cubs Release Johnson; Hoffman to Rejoin (team).. Kenneth Johnson, right-handed pitcher whose home is at Exira, Iowa, was released yesterday by the Iola baseball club. Johnson was one of the members of the original squad reporting here in the spring from Hutchinson Since then he pitched five victories for the Cuba and lost the same number of games. Club officials reported today that Lou Hoffman, first baseman, will be available for the Chanute games here tomorrow. He has/been out three days because of illness.”
After joining the Chanute pitching staff, Johnson won and lost three to make his KOM record eight wins and eight losses.
For the past 22 years I searched high and low for Mr. Johnson. He was listed in some reports as being from Elk Horn, (not to be confused with Elkhorn) Iowa. Search after search turned up a big fat zero in looking through all manner of data sources. Over the Memorial Day weekend I determined that I would find what became of Johnson or I’d eat myself into a stupor.
Going back to the July 3, 1946 newspaper reference I looked for any Johnson in Exira, Iowa and found a reference that a person by the name of Johnson might know a family by the name of Lacanne. With nothing to lose I called the Lacanne number but the person answering didn’t have that name. Now, with no way to turn I asked the “old guy” who answered if he ever heard of Kenneth Johnson who once played baseball. He had heard of him but said his father went to school with him and would know more about him. The fellow said I could speak with his father but he was pretty hard of hearing. Again, I thought to myself, I have nothing to lose. So, a 90-year-old friend of Johnson got on the line and identified himself as Paul Hansen. I asked Hansen what he recalled about Johnson and it turned out to be they went to school together and Johnson turned out to be a farmer and “died a long time ago.”
Prior to hanging up I inquired of Mr. Hansen if he knew where Johnson’s final resting place was and he said “up in the cemetery in Elk Horn.”. Well, the best or worst part of the next hour was spent going through threw the names all those listed on cemetery rolls located in Shelby County. Guess what? You got it, no Kenneth Johnson.
Now, becoming a bit frustrated, I decided to insert Kenneth Johnson into a search engine and add “Shelby County” instead of Exira or Elk Horn, Iowa. Those towns are only 12 miles apart and it was possible that the Johnson family lived in neither of those places but somewhere in between.
Did the 22-year wait to find a clue on the whereabouts of Kenneth Johnson pay off or did I go down another blind alley? When I inserted ‘Johnson in Shelby County’ I found a Nels Johnson who was from Norway who had “fled” to South Dakota and then into Iowa. It showed he had five children by 1940 with the oldest being 33 and the youngest, 16. The 16-year old was named…you guessed it, Kenneth.
Usually, when having that much information, you are on a roll and the capture of the person you are seeking is well-nigh accomplished. But, as the last 22-years has proven, finding Kenneth Johnson isn’t easy. I then decided to see if I could track the two brothers of Kenneth. His oldest brother, Folmer died at age 91 and I was sure with those facts I could do some tracking through cemetery records. Guess what? You’re right, there was no reference to Folmer’s final resting place.
So, what next? I dug into the obituary of Levi Johnson who died in Elk Horn in 1986. It mentioned he had a brother by the name of Kenneth who had a wife by the name of Betty and that they lived in Omaha, Nebraska.
A run through Betty and Kenneth Johnson, in Omaha, turned up an obituary of Betty who passed away in 2011 and she had been preceded in death by her husband, Kenneth. I scoured her obituary and found her date of birth would have made her about Kenneth’s age. So, I pounded on the computer keys a while longer looking for any sign of a Kenneth Johnson, in Omaha. Then, a partial obituary was found with the notation that the Omaha Journal World obituaries were no longer available at the site I was using. However, with a bit of skullduggery I found this; “Kenneth Carstensen Johnson, age 84 passed away 2/8/2008, loving husband of Betty J. for 63 years. Graduated from Iowa State University in Animal Husbandry.” And, that is all the site would allow me to see.
With that bit of information contact was made with baseball necrologist, Jack Morris, and he will search on the source material he can access to determine if there is more to learn about Johnson With the information found I know that “Crow” was a nickname and that while at Iola and Chanute he wasn’t running around after ball games since he was a newly-married man or on the verge of being so. I suspect, when all is learned about him there will be an account of him serving during WW II for at least two years.
A few hours later Jack Morris came through with the following obituary.
JOHNSON- Kenneth Carstensen, age 84. Passed away in Omaha on February 8th. Born in rural Shelby County, IA. Loving husband to Betty J. for 63 years. Father of two sons, Courtney D. and M. Kyle, Grand father of three and Great-Grand father of one. Graduate of Iowa State University in Animal Husbandry. Head Swine-herdsman at Boystown and long-time cattle salesman in the Omaha Stockyards.
Memorial Service, 11 AM, Feb. 21, 2009 at Elk Horn Lutheran Church, 4313 Main St, Elk Horn IA. Memorials suggested to family's wishes.
THE ARBOR SOCIETY --2819 S 125th Ave · Omaha NE 68144
Omaha World-Herald (NE) - Sunday, February 15, 2009
Ed comment:
After compiling the material on Johnson some additional time was spent looking for more information. Knowing that there couldn’t be many, if any more guys with that name I inserted first middle and last name into the computer and up came another name. I looked at it and said to myself “There ain’t no way that is possible.” The search engine located that three name combination and attributed it to a Kenneth Johnson who was born in Topeka, Kansas in 1923 and made it all the way to the big leagues with the Cardinals and Phillies by early 1950. Here is the site which needs to be updated to get the Kenneth Johnson, who made it to the big leagues lined up with his real middle name of Wandersee. www.baseballhistorian.com/trade_details.cfm?first_name=Ke...
______________________________________________________________________________
I’m done.
If there are any questions regarding this report I probably couldn’t answer them but you can still give it try.
GENERAL DESCRIPTION: -
THIS IS A CARTA EXECUTORIA DE HIDALGUIA (GRANT OF NOBILITY) IN FAVOUR OF BROTHERS AUGUSTIN AND PEDRO PEREZ DE CAMINO AND THEIR COUSIN CRISTOBAL PEREZ, ALL OF THE TOWN OF CASSA DE LA REYNA, ILLUMINATED MANUSCRIPT IN SPANISH ON VELLUM (WITH END LEAVESOF PAPER). SPAIN, VALLADOLID, DATED 21ST. JULY 1661 DURING THE REIGN OF PHILLIP IV, KING OF SPAIN (1621-1665).
76 leaves (with two blank fly leaves at the back and at the front) complete, collation: i-vii10, viii6, leaf size 296mm x198mm (11 13/20ins. x 7 8/10ins.), written space 210mm x 98mm (8 3/20ins. x 5 2/10ins.), single column, 24 lines in a superb, calligraphic script in dark brown within twin, double-ruled, frames in the text ink, many two-, three-, four- and five-line initials, as well as two-line high lines of text, in liquid gold on either magenta or blue grounds and all outlined in liquid gold with many initials with liquid gold tracery, on many occasions notes left in the margin by the scribe against the text on coloured two-line high panels to indicate to the illuminator what that text should be, official stamp and proofreader's paraph in lower margin on recto of each leaf, FULL PAGE FRONTISPIECE (folio 1v) showing the Arms of the grantee (description attached to the scan of it) and large blank space (on folio 2r) where a miniature of the grantee and family may be expected and with a red silk guard bound in between the two pages, attestations and additions on ff.1r, 75v and 76r, contemporary blind- and gilt-tooled binding of brown goatskin over paste boards with external lacing on spine, remnants of original silk ties, some rubbing to the binding but otherwise only minor age related wear.
PROVENANCE: -
1. Written in July 1661 for Augustine and Pedro Perez de Camino and their cousin Cristobal Perez, all of the town of Cassa de la Reyna (in the vacinity of Valencia?), at Valladolid, Spain.
2. Swann Auction Galleries, 104 East 25th. Street, New York, NY 10010, USA, their sale on 28th. February 2013, Lot 134 for $2,280 (including buyer's premium) to Philadelphia Rare Books and Manuscripts, 2375, Bridge Street, Philadelphia, PA 19137, USA.
3. Philadelphia Rare Books and Manuscripts, their Stock No. 32217, sold to a Philadelphia collector, probably Jason Schiff.
4. Purchased from Jason Schiff of Philadelphia, USA.
TEXT: -
This is the “Grant of Nobility” issued to Augustine and Pedro Perez de Camino and their cousin Cristobal Perez. When the various male members of the Perez de Camino family sought to have their nobility confirmed, their claim was denied by the local herald authority. They appealed this decision and, despite that local opposition, their claim was upheld when it eventually reached the king, who here grants them their coat of arms. In order to win their case the family produced a large number of witnesses who testified as to the family's history, the legitimacy of their marriages and the purity of their blood. Transcriptions of these testimonies are included at length.
GENERAL COMMENTS: -
This is a very nice example of this type on manuscript with very little wear to the cover and very little internal damage. It is complete, but it is unfortunate that the miniature of the family to whome the Grant of Nobility was issued was never completed. Of the 142 pages, 78 of them are illuminated.
It is not intended to download scans of all the pages (or a transcription and translation) but what follows is a small selection of openings from the book which give a flavour of its entirety.
“Final systems checkout for the National Aeronautics and Space Administration’s Lunar Module (LM-6) are conducted in the Open Bay Area of the Manned Spacecraft Operations Building (MSOB). The LM-6 will be flown on the first lunar landing mission, Apollo 11. The Flight Crew is Neil A. Armstrong, commander, Michael Collins, command module pilot, and Edwin E. Aldrin, Jr., Lunar Module Pilot.”
Obviously, no proofreading of the above text…at least WRT consistency, punctuation and vehicle identification. At least it’s a great photo.
No one wants to do it.
Garages deal with hundreds of cars a day, with more coming in and going out everyday. By the time they make double-checks and proofread, half the lot have sold!
Labouring on a Cat D Aygo? Why proofread?
After a hard day producing numberplates, the last thing you'd want to do is proofread them.
Proofreading's overrated anyway. I hope whoever purchases this enjoys their 2113 Toyota Aygo.
**Not my image**
Found whilst playing around on Autotrader.
Source: www.autotrader.co.uk/classified/advert/201403312954721/so...
This is a copy of "Cook charts the Pacific"
It appears the source for this portrait may have been from:
www.nmm.ac.uk/collections/displayRepro.cfm?reproID=BHC262...
A copy of this painting, a Portrait in oil at the National Maritime Museum
A three-quarter-length portrait of Captain Cook, seated to the left, facing the right. He is wearing captain's full-dress uniform, 1774-87, consisting of a navy blue jacket, white waistcoat with gold braid and gold buttons and white breeches. He wears a grey wig or his own hair powdered. He holds his own chart of the Southern Ocean on the table and his right hand points to the east coast of Australia on it. His left thumb and finger lightly hold the other edge of the chart over his knee. His hat sits on the table behind him to the left on top of a substantial book, perhaps his journal, itself resting on the chart.
In 1772, Cook sailed for the second time to the fringes of the Antarctic and the Pacific, returning in 1775. He sat for this portrait, commissioned by Sir Joseph Banks, 'for a few hours before dinner' on 25 May 1776 but it is not known whether he did so again before he left London on 24 June for his third voyage, never to return. None the less, David Samwell, surgeon's mate in 'Resolution' on the second voyage and surgeon of 'Discovery' on the third, thought it 'a most excellent likeness ... and ... the only one I have seen that bears any resemblance to him'. This view was based on John Sherwin's later engraving of the portrait, which probably argues even more favourably for the original despite an element of idealization, not least omission of a large burn scar (from 1764) on the right hand. Banks had sailed with Cook on his first voyage in the 'Endeavour' and took an influential interest in his subsequent ones. This portrait hung over the fireplace in the library of his London house. After his death, it was presented to the Naval Gallery at Greenwich Hospital by his executor, Sir Edward Knatchbull, following a request by E.H. Locker, the Hospital Secretary.
The artist worked with Pompeo Batoni in Rome and on his return to London in 1765 achieved success as a portrait and history painter. In 1768, he joined a group of artists who successfully petitioned George III to establish the Royal Academy in that year.
Title: Foot-prints of Travel
or, Journeyings in Many Lands
Author: Maturin M. Ballou
Release Date: January 23, 2009 [EBook #27874]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK FOOT-PRINTS OF TRAVEL ***
Produced by Julia Miller, Martin Pettit and the Online
Distributed Proofreading Team at www.pgdp.net (This
file was produced from images generously made available
by The Internet Archive/American Libraries.)
[Pg i]
FOOT-PRINTS OF TRAVEL;
OR,
JOURNEYINGS IN MANY LANDS,
BY
MATURIN M. BALLOU.
Armado. How hast thou purchased this experience?
Moth. By my journey of observation.—Shakespeare.
BOSTON, U.S.A.:
PUBLISHED BY GINN & COMPANY.
1889.
From the June 2013 Regency Newsletter.
Put together at The Regency, Laguna Woods, California. © 2013 All Rights Reserved.
My images are not to be used, copied, edited, or blogged without my explicit permission.
Please!! NO Glittery Awards or Large Graphics...Buddy Icons are OK. Thank You!
ScavChal June 2013 #19 ~ What are you (personally) doing to help make the world a better place?
It can be something as simple as recycling plastics or as complex as working with a youth group.
Every month I pull together this Photo Page for The Regency Newsletter. I collect 20 to 25 images of residents, flowers, outings, events, etc. ~ some are mine and some are emailed to me ~ and crop them, adjust their exposure, add names where necessary, reduce their size and email the set to our Activities Director. Then I go to her computer and download them, place them one by one onto the Photo Page, adjust the alignment, and add borders and text. I also add 4 or 5 images to the Calendar Page and proof read the rest of the Newsletter. I also proofread our Weekly Menus. Once a year for the past two or three years I have collected over 500 of these images and loaded them onto a flash drive for an hour-long show for the TV in our Lobby near the Entrance. Does what I do make the world a better place? I hope so! I am very grateful to be able to shsare my interest in and passion for photography in these ways!
Many thanks, my Flickr friends, for all your comments and faves! Have a grand weekend!!
we are professionals in unique, user attractive and SEO friendly content writing with years of experience and knowledge in press release writing services, website content writing services, article writing services, blog writing services, theme writing services. Quality content provided by us diverts huge traffic to your site and increase your web presence.
Casting a final eye over the proof of my Retrospective Cycles book before signing off the imminent print run. RETROSPECTIVE CYCLES is being launched at 'look mum no hands!' cycle bar/cafe, Mare Street, Hackney, London on 29th May, 7pm till late - all welcome ... Otherwise book is available to order securely online here - www.vespamore.bigcartel.com/product/retrospective-cycles-...
Casting a final eye over the proof of my Retrospective Cycles book before signing off the imminent print run. RETROSPECTIVE CYCLES is being launched at 'look mum no hands!' cycle bar/cafe, Mare Street, Hackney, London on 29th May, 7pm till late - all welcome ... Otherwise book is available to order securely online here - www.vespamore.bigcartel.com/product/retrospective-cycles-...
I’m the volunteer proofreader for the Chopin Society of Atlanta, and get to attend its recitals and other functions. Last week was the annual fundraiser at the home of the society’s president, Dorota Lato, and her husband, Piotr Folkert, an internationally renowned concert pianist. I took this photo during a recital he gave at the gala; it was among quite a few that I gave to Dorota afterwards. She then forwarded some to the local weekly, which published this one.
I had sent her low-res shots and would have sent high-res if asked, but I wasn't, so the quality leaves quite a bit to be desired. The grainy effect is actually rather interesting in the large size.
The beautiful instrument he is playing is an Erard piano, made in France in 1865 and would have been a piano Chopin himself might have played on or heard. It has only six octaves, and the white keys are shorter than on other pianos, posing a challenge Piotr met well. It was delightful to be sitting in a "salon" and hearing music as people did in the 1800s.
© All rights reserved. Use without permission is illegal.
Had a really good sleep last night - and I don't say that often! Tim was still feeling a bit washed out today, so we decided not to do any DIY (relief!). I sorted out a massive pile of magazines - lots of recycling - and cleaned the kitchen later, too. Oh, and finally got back to proofreading my old schoolfriend's novel.
Also got out for a gentle walk to the heath this afternoon; bit tired out from yesterday's longer walk, but it was nice to be out in the fresh air and sunshine. The white geese on the pond were very amenable to being photographed - I think they were hoping I might feed them (sorry geese!)
Cooked another spinach-y curry for dinner (this one, with chick peas and spinach added - really tasty, and very filling).
This would be a marked-up, proofread version of the first page of Chapter 6 of that novel I'm working on. The mark-up was provided by my mother who read it and proofread it while at work, awhile ago.
In this scene, written in the first-person of Dan Williard, he describes his meeting with Student Council at school and broaches the annoying fact that he has to work with Tom Woodfern, the other main character, to the rest of the council. They all agree he's kind of odd, especially as he hangs out with the teachers, except for the character of Kristen, who sees the difference in the character and refrains from judging him.
I'm currently writing Chapter 16.
Sergei Alexandrovich Yesenin, sometimes spelled as Esenin, was a Russian lyric poet. He is one of the most popular and well-known Russian poets of the 20th century, known for "his lyrical evocations of and nostalgia for the village life of his childhood – no idyll, presented in all its rawness, with an implied curse on urbanisation and industrialisation".
Biography
Early life
Sergei Yesenin was born in village of Konstantinovo in Ryazan County, Ryazan Governorate of the Russian Empire (now Rybnovsky District, Ryazan Oblast) to a peasant family. His father was Alexander Nikitich Yesenin (1873–1931), his mother's name was Tatyana Fyodorovna (nee Titova, 1875–1955).
Both his parents spent most of their time looking for work, father in Moscow, mother in Ryazan, so at age two Sergei was moved to the nearby village Matovo, to join Fyodor Alexeyevich and Natalya Yevtikhiyevna Titovs, his relatively well-off maternal grandparents, who essentially raised him.
The Titovs had three grown-up sons, and it was they who were Yesenin's early years' companions. "My uncles taught me horse-riding and swimming, one of them... even employed me as hound-dog, when going out to the ponds hunting ducks," he later remembered. He started to read aged five, and at nine began to write poetry, inspired originally by chastushkas and folklore, provided mostly by the grandmother whom he also remembered as a highly religious woman who used to take him to every single monastery she chose to visit. He had two younger sisters, Yekaterina (1905–1977), and Alexandra (1911–1981).
In 1904 Yesenin joined the Konstantinovo zemstvo school. In 1909 he graduated from it with an honorary certificate, and went on to study in the local secondary parochial school in Spas-Klepiki. From 1910 onwards, he started to write poetry systematically; eight poems dated that year were later included in his 1925 Collected Works. In all, Yesenin wrote around thirty poems during his school years. He compiled them into what was supposed to be his first book which he titled "Bolnye Dumy" (Sick Thoughts) and tried to publish it in 1912 in Ryazan, but failed.
In 1912, with a teacher’s diploma, Yesenin moved to Moscow, where he supported himself working as a proofreader's assistant at Sytin's printing company. The following year he enrolled in Shanyavsky Moscow City People's University to study history and philology as an external student (вольнослушатель), but had to leave it after eighteen months due to lack of funds. In the University he became friends with several aspiring poets, among them Dmitry Semyonovsky, Vasily Nasedkin, Nikolai Kolokolov and Ivan Filipchenko. Yesenin’s first marriage (which lasted three years) was in 1913 to Anna Izryadnova, a co-worker from the publishing house, with whom he had a son, Yuri.
1913 saw Yesenin becoming increasingly interested in Christianity, biblical motives became frequent in his poems. "Grisha, what I am reading at the moment is the Gospel and find a lot of things which for me are new," he wrote to his close childhood friend G. Panfilov. That was also the year when he became involved with the Moscow revolutionary circles: for several months his flat was under secret police surveillance and in September 1913 it was raided and searched.
Birch Tree) appeared in the children's magazine Mirok (Small World). More appearances followed in minor magazines such as Protalinka and Mlechny Put. In December 1914 Yesenin quit work "and gave himself to poetry, writing continually," according to his wife. Around this time he became a member of the Surikov Literary and Music circle.
In 1915, exasperated with the lack of interest in Moscow, Yesenin moved to Petrograd. He arrived to Petrograd on 8 March and the next day met Alexander Blok at his home, to read him poetry. He was quickly acquainted with fellow-poets Sergey Gorodetsky, Nikolai Klyuev and Andrei Bely who were well known. Blok was especially helpful in promoting Yesenin's early literary career, describing him as "a gem of a peasant poet" and his verse as "fresh, pure and resounding", even if "wordy".
The same year he joined the Krasa (Beauty) group of peasant poets which included Klyuyev, Gorodetsky, Sergey Klychkov and Alexander Shiryayevets, among others. In his 1925 autobiography Yesenin said that Bely gave him the meaning of form while Blok and Klyuev taught him lyricism. It was Klyuyev who introduced Yesenin to the publisher Averyanov, who in early 1916 released his debut poetry collection Radunitsa which featured many of his early spiritual-themed verse. "I would have eagerly relinquished some of my religious poems, large and small, but they make sense as an illustration of poets' progress towards the revolution," he would later write. Yesenin and Klyuyev maintained close and intimate friendship which lasted several years, and indeed it is likely they became lovers.
Later in 1915, Yesenin became a co-founder of the Krasa literary group and published numerous poems in the Petrograd magazines Russkaya Mysl, Ezhemesyachny Zhurnal, Novy Zhurnal Dlya Vsekh, Golos Zhizni and Niva. Among the authors he met later in the year were Maxim Gorky, Vladimir Mayakovsky, Nikolai Gumilyov and Anna Akhmatova; he also visited painter Ilya Repin in his Penaty. Yesenin's rise to fame was meteoric; by the end of the year he became the star of St Petersburg's literary circles and salons. "The city took to him with the delight a gourmet reserves for strawberries in winter. A barrage of praise hit him, excessive and often insincere," Maxim Gorky wrote to Romain Rolland.
On 25 March 1916, Yesenin was drafted for military duty and in April joined a medical train based in Tsarskoye Selo, under the command of colonel D.N. Loman. In 22 July 1916, at a special concert attended by the Empress Alexandra Fyodorovna (the train's patron) and her daughters, Yesenin recited his poems "Rus" and "In Scarlet Fireglow". "The Empress told me my poems were beautiful, but sad. I replied, the same could be said about Russia as a whole," he recalled later. His relationships with Loman soon deteriorated. In October, Yesenin declined the colonel's offer to write (with Klyuyev) and have published a book of pro-monarchist verses, and spent twenty days under arrest as a consequence.
In March 1917, Yesenin was sent to the Warrant Officers School but soon deserted Kerensky's army. In August 1917 (having divorced Izryadnova a year earlier) Yesenin married for a second time, to Zinaida Raikh (later an actress and the wife of Vsevolod Meyerhold). They had two children, a daughter Tatyana and a son Konstantin. The parents subsequently quarreled and lived separately for some time prior to their divorce in 1921. Tatyana became a writer and journalist and Konstantin Yesenin would become a well-known soccer statistician.
Yesenin supported the February Revolution. "If not for [it], I might have withered away on useless religious symbolism," he wrote later. He greeted the rise of the Bolsheviks too. "In the Revolution I was all on the side of the October, even if perceiving everything in my own peculiar way, from a peasant's standpoint," he remembered in his 1925 autobiography. Later he criticized the Bolshevik rule, in such poems as "The Stern October Has Deceived Me". "I feel very sad now, for we are going through such a period in [our] history when human individuality is being destroyed, and the approaching socialism is totally different from the one I was dreaming of," he wrote in an August 1920 letter to his friend Yevgeniya Livshits. "I never joined the RKP, being further to the left than them," he maintained in his 1922 autobiography.
Artistically, the revolutionary years were exciting time for Yesenin. Among the important poems he wrote in 1917–1918 were "Prishestviye" (The Advent), "Preobrazheniye" (Transformation, which gave the title to the 1918 collection), and "Inoniya". In February 1918, after the Sovnarkom issued the "Socialist Homeland is in Danger!" decree-appeal, he joined the esers' military unit. He actively participated in the magazine Nash Put (Our Way), as well as the almanacs Skify (Скифы) and Krasny Zvon (in February his large poem "Marfa Posadnitsa" appeared in one of the latter). In September 1918 Yesenin co-founded (with Andrey Bely, Pyotr Oreshin, Lev Povitsky and Sergey Klychkov) the publishing house Трудовая Артель Художников Слова (the Labor Artel of the Artists of the Word) which reissued (in six books) all that he had written by this time.
In September 1918, Yesenin became friends with Anatoly Marienhof, with whom he founded the Russian literary movement of imaginism. Describing their group's general appeal, he wrote in 1922: "Prostitutes and bandits are our fans. With them, we are pals. Bolsheviks do not like us due to some kind of misunderstanding." In January 1919, Yesenin signed the Imaginists' Manifest. In February he, Marienhof and Vadim Shershenevich, founded the Imaginists' publishing house. Before that, Yesenin became a member of the Moscow Union of Professional Writers and several months later was elected a member of the All-Russian Union of Poets. Two of his books, Kobyliyu Korabli (Mare's Ships) and Klyuchi Marii (The Keys of Mary) came out later that year.
In July–August 1920, Yesenin toured the Russian South, starting in Rostov-on-Don and ending in Tiflis, Georgia. In November 1920, he met Galina Benislavskaya, his future secretary and close friend. Following an anonymous report, he and two of his Imaginist friends, brothers Alexander and Ruben Kusikovs, were arrested by the Cheka in October but released a week later on the solicitation of his friend Yakov Blumkin. In the course of that year, the publication of three of Yesenin's books were refused by publishing house Goslitizdat. His Triptych collection came out through the Skify Publishers in Berlin. Next year saw the collections Confessions of a Hooligan (January) and Treryaditsa (February) published. The drama in verse Pygachov came out in December 1921, to much acclaim.
In May 1921, he visited a friend, the poet Alexander Shiryaevets, in Tashkent, giving poetry readings and making a short trip to Samarkand. In the fall of 1921, while visiting the studio of painter Georgi Yakulov, Yesenin met the Paris-based American dancer Isadora Duncan, a woman 18 years his senior. She knew only a dozen words in Russian, and he spoke no foreign languages. Nevertheless, they married on 2 May 1922. Yesenin accompanied his celebrity wife on a tour of Europe and the United States. His marriage to Duncan was brief and in May 1923, he returned to Moscow.
In his 1922 autobiography, Yesenin wrote: "Russia's recent nomadic past does not appeal to me, and I am all for civilization. But I dislike America intensely. America is a stinking place where not just art is being murdered, but with it, all the loftiest aspirations of humankind. If it's America that we are looking up to, as [a model for our] future, then I'd rather stay under our greyish skies... We do not have those skyscrapers that's managed to produce up to date nothing but Rockefeller and McCormick, but here Tolstoy, Dostoyevsky, Pushkin and Lermontov were born."
In 1923, Yesenin became romantically involved with the actress Augusta Miklashevskaya to whom he dedicated several poems, among them those of the Hooligan's Love cycle. In the same year, he had a son by the poet Nadezhda Volpina. Alexander Esenin-Volpin grew up to become a poet and a prominent activist in the Soviet dissident movement of the 1960s. Since 1972, till his death in 2016, he lived in the United States as a famous mathematician and teacher. As Yesenin's popularity grew, stories began to circulate about his heavy drinking and consequent public outbursts. In autumn 1923, he was arrested in Moscow twice and underwent a series of enquiries from the OGPU secret police. Fellow poet Vladimir Mayakovsky, wrote that, after his return from America, Yesenin became more visible in newspaper police log sections than in poetry. This may have been caused by a struggle to deal with his bisexuality.
More serious were the accusations of anti-Semitism against Yesenin and three of his close friends, fellow poets, Sergey Klytchkov, Alexei Ganin and Pyotr Oreshin, made by Lev Sosnovsky, a prominent journalist and close Trotsky associate. The foursome retorted with an open letter in Pravda and, in December, were cleared by the Writers' Union burlaw court. It was later suggested, though, that Yesenin's departure to the Caucasus in the summer of 1924 might have been a direct result of the harassment by the NKVD. Earlier that year, fourteen writers and poets, including his friend Ganin, were arrested as the alleged members of the (apparently fictitious) Order of the Russian Fascists, then tortured and executed in March without trial.
In January–April 1924, Yesenin was arrested and interrogated four times. In February, he entered the Sheremetev hospital, then was moved into the Kremlin clinic in March. Nevertheless, he continued to make public recitals and released several books in the course of the year, including Moskva Kabatskaya. In August 1924 Yesenin and fellow poet Ivan Gruzinov published a letter in Pravda, announcing the end of the Imaginists.
In early 1925, Yesenin met and married Sophia Andreyevna Tolstaya (1900–1957), a granddaughter of Leo Tolstoy. In May, what proved to be his final large poem Anna Snegina came out. During the year, he compiled and edited The Works by Yesenin in three volumes which was published by Gosizdat posthumously.
Death
On 28 December 1925, Yesenin was found dead in his room in the Hotel Angleterre in Leningrad. His last poem Goodbye my friend, goodbye (До свиданья, друг мой, до свиданья) according to Wolf Ehrlich was written by him the day before he died. Yesenin complained that there was no ink in the room, and he was forced to write with his blood.
До свиданья, друг мой, до свиданья.
Милый мой, ты у меня в груди.
Предназначенное расставанье
Обещает встречу впереди.
До свиданья, друг мой, без руки, без слова,
Не грусти и не печаль бровей, –
В этой жизни умирать не ново,
Но и жить, конечно, не новей.
Farewell, my good friend, farewell.
In my heart, forever, you’ll stay.
May the fated parting foretell
That again we’ll meet up someday.
Let no words, no handshakes ensue,
No saddened brows in remorse, –
To die, in this life, is not new,
And living’s no newer, of course.
According to his biographers, the poet was in a state of depression and committed suicide by hanging.
After the funeral in Leningrad, Yesenin's body was transported by train to Moscow, where a farewell for relatives and friends of the deceased was also arranged. He was buried 31 December 1925, in Moscow's Vagankovskoye Cemetery. His grave is marked by a white marble sculpture.
There is a theory that Yesenin's death was actually a murder by OGPU agents who staged it to look like suicide. The novel Yesenin. Story of a Murder by Vitali Bezrukov, is devoted to that version of Yesenin's death. In 2005, a TV serial, Sergey Yesenin, based on the novel, was shown on Channel One Russia, with Sergey Bezrukov playing Yesenin.[citation needed] Facts tending to support the assassination hypothesis were cited by Stanislav Kunyaev and Sergey Kunyaev in the final chapter of their biography of Yesenin.
Enraged by his death, Mayakovsky composed a poem called To Sergei Yesenin, where the resigned ending of Yesenin's death poem is countered by these verses: "in this life it is not hard to die, / to mold life is more difficult." In a later lecture on Yesenin, he said that the revolution demanded "that we glorify life." However, Mayakovsky himself would commit suicide in 1930.
Cultural impact
Yesenin's suicide triggered an epidemic of copycat suicides by his mostly female fans. For example, Galina Benislavskaya, his ex-girlfriend, killed herself by his graveside in December 1926. Although he was one of Russia's most popular poets and had been given an elaborate state funeral, some of his writings were banned by the Kremlin during the reigns of Joseph Stalin and Nikita Khrushchev. Nikolai Bukharin's criticism of Yesenin contributed significantly to the banning.
Only in 1966 were most of his works republished. Today Yesenin's poems are taught to Russian schoolchildren; many have been set to music and recorded as popular songs. His early death, coupled with unsympathetic views by some of the literary elite, adoration by ordinary people, and sensational behavior, all contributed to the enduring and near mythical popular image of the Russian poet.
Ukrainian composer Tamara Maliukova Sidorenko (1919-2005) set several of Yesenin’s poems to music.
Bernd Alois Zimmermann included his poetry in his Requiem für einen jungen Dichter (Requiem for a Young Poet), completed in 1969.
The Ryazan State University is named in his honor.
Multilanguage editions
Anna Snegina (Yesenin's poem translated into 12 languages; translated into English by Peter Tempest) ISBN 978-5-7380-0336-3
Works
The Scarlet of the Dawn (1910)
The high waters have licked (1910)
The Birch Tree (1913)
Autumn (1914)
Russia (1914)
A Song About a Dog/The B*tch (1915)
I'll glance in the field (1917)
I left the native home (1918)
Hooligan (1919)
Hooligan's Confession (1920) (Italian translation sung by Angelo Branduardi)
I am the last poet of the village (1920)
Prayer for the First Forty Days of the Dead (1920)
I don't pity, don't call, don't cry (1921)
Pugachev (1921)
Land of Scoundrels (1923)
One joy I have left (1923)
A Letter to Mother (1924)
Tavern Moscow (1924)
Confessions of a Hooligan (1924),
A Letter to a Woman (1924),
Desolate and Pale Moonlight (1925)
The Black Man (1925)
To Kachalov's Dog (1925)
Who Am I, What Am I (1925)
Goodbye, my friend, goodbye (1925) (His farewell poem)
Proofreading the text of my new book (exciting!)
Blogged: bugsandfishes.blogspot.co.uk/2013/05/starting-and-finishi...
Brooklyn, New York City, New York, United States of America
SUMMARY
The Ocean on the Park Historic District comprises a group of twelve row houses built between 1909 and 1918 on Ocean Avenue, between Lincoln Road and Parkside Avenue, in Flatbush overlooking Prospect Park.
Flatbush, an area once home to the Canarsee band of the Lenape, was established by the Dutch in the seventeenth century as a farming community divided into forty-eight large land patents and a civic center with church, courthouse and school. Flatbush retained its rural character until after the Civil War when civic improvements like Prospect Park and the Brooklyn Bridge and improved transportation to Brooklyn and Manhattan attracted developers to the area.
In 1905, Charles G. Reynolds, a prominent Brooklyn developer purchased a large parcel on Ocean Avenue across from Prospect Park that had once belonged to Jeremiah Vanderbilt, a descendant of Jan Aertsen Vanderbilt progenitor of the Vanderbilt family in America, and which had most likely had been part of the 1661 land patent granted to the family by Peter Stuyvesant. After supplementing this parcel with the purchase of a gore in 1909, Reynolds hired Axel S. Hedman, a prolific designer of row houses in Brooklyn, to design a row of fourteen houses. Construction was halted c. 1910 after completion of only ten houses. Nos. 193 to 211 Ocean Avenue are fine examples of the Renaissance Revival style with limestone facades featuring angular or rounded bays, terraces with balustrades or parapets above raised basements, subdued classical ornament and deep galvanized-iron cornices. Taking advantage of the 150-foot deep lots, Hedman set the row back thirty feet providing unusually deep front yards that he interconnected by a common walkway and bordered by a low wall adjoining the sidewalk.
In 1915, Philip A. Faribault, a civil engineer, purchased one of the remaining lots from Reynolds and designed his own residence in the Federal Revival style. The brick house at No. 191 Ocean Avenue has stone stills and lintels, a simple cornice and segmental-arched entrance surround with Ionic columns in antis characteristic of the style. In recognition of the growing popularity of the automobile among the middle-class, a garage (since converted into a medical office) was incorporated into the first story of the house.
No. 189 Ocean Avenue was designed for Charles G. Reynolds in 1917 by Eric O. Holmgren, another prominent Brooklyn architect, and completed the following year. The Arts and Crafts style house, while altered, retains its simple form, subtle brick detailing and a bracketed metal cornice surmounted by a hipped roof with pantiles.
The Ocean on the Park Historic District, with its uniform 30-foot setback and low-scale, reflecting an earlier period in the urbanization of Flatbush, forms a distinctive enclave on a block otherwise densely occupied by apartment houses.
HISTORICAL AND ARCHITECTURAL DEVELOPMENT OF THE OCEAN ON
THE PARK HISTORIC DISTRICT
By the latter part of the 19th century and the beginning of the 20th century, the once rural community of Flatbush was developing as a significant residential neighborhood. Residents from the more developed city of Brooklyn as well as Manhattan, attracted by the newly opened Prospect Park and aided by improved transportation and the construction of the Brooklyn Bridge, pushed farther into the rural areas of Kings County. Much of the building in Flatbush during this period took the form of freestanding, single-family, frame residences built for the middle class like those that began to appear on Ocean Avenue by 1888. As Flatbush’s popularity increased, two-family frame dwellings, one- and two-family row houses, apartment houses, and tenements were constructed to house the growing population. Like the nearby Prospect Lefferts Gardens Historic District, the Ocean on the Park Historic District continues the tradition of the turn-of-the-century urbanistic row houses.
Colonial Period
When the Dutch arrived in the seventeenth century, the western end of Long Island was covered by fields and forests divided by a ridge of hills (the glacial moraine) that ran northeasterly from the Narrows. Between these hills and the waters of Jamaica Bay and the Atlantic Ocean was a plain with patches of treeless tracts surrounded by forests through which an Indian trail passed. This is the area that would become the settlements of Flatbush, Flatlands, and New Utrecht.
Until the arrival of the Dutch colonists, the area had been home to the Canarsee band of the Lenape whose principal settlement, Keskachane (meaning “council fire”), was located near the intersection of modern-day Flatbush Avenue and King’s Highway. The main trail, Mechawanienk, meaning old or ancient path or trail, and its adjoining paths provided the Canarsee with access to campsites along the shore for fish and shellfish, the woods for fuel and game and arable land for agriculture. The Dutch habitation of the area began around the mid-1630s when three plots known to the Dutch as “flats” were “purchased” from the Canarsee by Jacobus van Corlear and Wolphert Gerritsen, Andreas Hudde and Wouter van Twiller, director of the province.
The Dutch West India Company’s policy directed that all land be bought and owned by the Company, not individuals. Consolidation of all land holdings under the company began under Director William Kieft (1637-1647) and continued under his successor, Director-General Peter Stuyvesant (1647-1664). Stuyvesant established the farming hamlet of Midwout or Midwood c. 1652 and on October 1, 1652 he and his councilors annulled all individually held land titles and transferred the property to the company claiming that “private ownership was to the serious damage and prejudice of the new village of Midwout.”
The farms had been laid out in an irregular manner making them poorly defensible. In 1655 Jan Snedecker, Thomas Swartwout and Adrian Hegeman presented Governor Stuyvesant with a new town plan which he accepted. Under this plan, Midwout stretched from the moraine on the north to a pond and creek that separated it from Amersfoort or Flatlands on the south and by hardwood forests on the east and west. Forty-eight lots were staked out running east or west from the old Native American trail. The lots were distributed by letters patent and others set aside for public buildings such as the church and courthouse. By 1658 Midwout or Flatbush had become the county seat and an important market town.
In 1664 Governor Stuyvesant surrendered New Amsterdam to the British. The British moved the county seat to Gravesend circa 1668 and created a separate administrative district of the five Dutch towns of Brooklyn, Bushwick, Flatbush, Flatlands and New Utrecht. In 1685 under Governor Thomas Dongan, the more centrally located Flatbush became the seat of justice once more. That same year Dongan, in response to an application from the residents of Flatbush, granted a new confirmatory patent covering Flatbush, Canarsee Meadows, Keuters Hook and New Lots. Among the patentees listed in the grant was Aries Jansen Vanderbilt.
Slavery, already established in Manhattan, spread to Kings County in 1660 under the governorship of Peter Stuyvesant and continued to grow under the British. The first census of Kings County in 1698 recorded the presence of 296 slaves or 15 percent of the population. That year seventy-one of the slaves were owned by residents of Flatbush. By 1737 the percentage of black slaves in Brooklyn had grown to 25 percent. In Flatbush the percentage was slightly higher, nearly 30 percent. One hundred fifty-eight of the town’s 539 residents were enslaved; the men working long hours as farm laborers while the women joined the women of the household in domestic chores. By 1771 the slave population for the county had grown to 1,162. Slavery in Flatbush continued until 1827 when it was officially abolished in New York State.
At the start of the American Revolution, the Dutch inhabitants of Brooklyn were ambivalent towards the patriot cause although they did send delegates to a Provincial Congress in 1775. In March 1776, General George Washington ordered the fortification of New York City and the surrounding area in expectation of an attack on New York. The British fleet under Admiral Sir Richard Howe arrived in New York Harbor on June 29, 1776 but he landed his troops in Staten Island to await reinforcements before attacking Long Island. The Battle of Brooklyn (or Battle of Long Island) began with the arrival of the first British troops at what is today Fort Hamilton on August 22, 1776. The British and their Hessian allies soon began the march across Brooklyn aiming for the four passes through the moraine that the Americans defended. The Hessians under General Philip De Heister left for Flatbush on August 25, 1776 where the residents of the town found themselves in the direct line of skirmish between the American forces and the Hessians. On August 27th, the far larger Hessian force attacked the American line under General John Sullivan at Flatbush Pass now the East Drive of Prospect Park. Following the British victory in the Battle of Brooklyn, Flatbush like the rest of the city remained under the control of the British forces until the end of the war.
Flatbush in the 19th Century
The community of Flatbush was laid out along one of the old Native American trails which was later incorporated into what became Flatbush Avenue. The institutional center with its church, courthouse and school was located at the modern-day intersection of Church and Flatbush Avenues. The first Flatbush Dutch Reformed Church was constructed in 1662 and replaced twice over the course of the next one hundred and thirty-one years. The current Federal-style Flatbush Dutch Reformed Church designed by Thomas Fardon (a designated New York City Landmark) has been in use since 1793. The courthouse was built next door and the first public school was built in 1658 opposite the church. In 1787 the private Erasmus Hall Academy, the first secondary school chartered by the New York State Board of Regents, was established near the public school.
A fire destroyed the courthouse in 1832 and the courts were moved to the city of Brooklyn. No longer the county seat, Flatbush reverted to a quiet rural community until after the Civil War when continuing advances in public transportation, the construction of the Brooklyn Bridge and the creation of Prospect Park attracted developers to the area. Some residential development had occurred in Flatbush in the 1830s; but, with only Smith Birdsall’s single daily stagecoach connecting it to Brooklyn, Flatbush was still too remote from the commercial centers of Brooklyn and Manhattan. In 1840, the population of Flatbush was only 1,537.
Transportation between Brooklyn and Flatbush improved as Birdsall’s stagecoach was replaced by omnibuses in 1843 and other stage lines in the 1850s with more frequent service. Flatbush Avenue was laid out from Fulton Street Brooklyn to the city line in 1854 and extended to Malbone Street (now Empire Boulevard) in 1858. Meanwhile, the original plank road that ran through the village of Flatbush was replaced with macadam. In 1860, the Brooklyn City Railroad Company extended its horsecar line down Flatbush Avenue to the village of Flatbush, improving travel time between Flatbush and downtown Brooklyn.
Development in Flatbush was further spurred by the construction of Prospect Park (Frederick Law Olmsted and Calvert Vaux, 1866-73, a designated New York City Scenic Landmark) whose southern portion lies within the boundaries of Flatbush. Within a year, streets were being laid out near the park and many of the descendants of the old Dutch families were selling off their acreage. By 1880, Flatbush had lost about half of its agricultural land to development.
In 1878 the Brooklyn, Flatbush & Coney Island Railroad, the forerunner of today’s Brighton Beach (B and Q) Line of the New York City Subway, began service through Flatbush in an open culvert adjoining the eastern boundary of the Ocean on the Park Historic District. Built as an excursion line carrying passengers to the Brighton Beach Hotel, the line inaugurated service on July 2nd of that year. The railroad hit hard times in the mid-1880s after the Long Island Railroad canceled its lease but it was reincorporated as the Brooklyn & Brighton Beach Railroad in 1887 and by 1896 the new company was offering through-service between the Brooklyn Bridge and Brighton Beach over a newly constructed link to the Fulton Street Elevated. The Brooklyn Rapid Transit company acquired the Brooklyn & Brighton Beach in 1899 and under their ownership the line was electrified and service extended to Manhattan. In 1905 the Brighton Beach
Railroad through Flatbush was expanded to four tracks, grade-crossings were removed and the overhead power lines were replaced with a third rail. Complementing this newly improved rail service was the construction of a trolley line along Ocean Avenue by the Nassau Electric Railroad circa 1893.
With these improvements, the suburbanization of Flatbush began in the 1880s as an increasing number of freestanding homes were constructed for individual owner-occupants. In 1886 large scale speculative development in Flatbush began when Richard Ficken, a local entrepreneur, purchased land in the center of Flatbush for his Tennis Court project. Houses were built within specific boundaries in which the construction and sale of houses could be carefully controlled. Other developers followed, the Germania Real Estate and Improvement Company began their project in Vanderveer Park in 1892, following it with another in South Midwood in 1899. That same year Dean Alvord began Prospect Park South between Church Avenue and Beverly Road, west of the railroad tracks, the finest suburban style development in Flatbush and a designated New York City Historic District. Large developments of freestanding houses continued into the first decade of the 20th century with Beverly Square West (1901), Ditmas Park (1902, a designated New York City Historic District), Ditmas Park West (1903) and Fiske Terrace and Midwood Park (1905 and 1903, a designated New York City Historic District).
In the northern section of Flatbush, James Lefferts subdivided his family farm east of Flatbush Avenue into 600 lots in 1893 for the construction of Lefferts Manor, a high-grade, middle-class residential development between Lincoln Road, Fenimore Street, Flatbush Avenue and Rogers Avenue. Covenants restricted construction to stone or brick single-family dwellings, two stories high with basements and set back a minimum of fourteen feet from the street, with bay windows and bow fronts.
The first row houses in Flatbush began to appear around the turn of the century. A row of four houses in the Romanesque Revival/Renaissance Revival style were constructed in 1895 at 185-191 Lincoln Road in the Prospect Lefferts Gardens neighborhood (a designated New York City Historic District that includes the aforementioned Lefferts Manor). Between 1897 and 1899 over 160 dwellings of various types were constructed in this area of Flatbush but sales were slow and development ceased altogether in 1903 as a result of the financial panic that occurred that year. Residential development east of Flatbush Avenue resumed in 1905 and continued unabated until 1911. Presumably it was this increased activity that encouraged Charles
G. Reynolds to purchase and develop the property on Ocean Avenue.
Development of Ocean on the Park
The land on which the Ocean on the Park Historic District was constructed was once owned by Jeremiah Vanderbilt, a descendant of Jan Aertsen Vanderbilt, and may have been part of the land patent granted to his ancestor by Peter Stuyvesant in 1661.
The first Vanderbilt to settle in America, Jan Aertsen Vanderbilt, was born in Bilt, the Netherlands c. 1627. He emigrated as a boy in 1640 and settled in Flatbush where he was apprenticed to Peter Wolphertsen Van Couwenhoven for three years. In 1650 he married Annekin Hendricks and the following year their son Aris Janse was born. Jan Aertsen received a conveyance for his patent in 1661 from Governor Stuyvesant. His name appears on the tax list for Flatbush in 1683. However, at the time of his death c. 1705, he had moved to Bergen County, New Jersey.
Aris Janse Vanderbilt who was named on the 1685 Dongan patent for Flatbush married Hilletie or Hillegond Remsen in 1677 two years after first appearing on the tax rolls for Flatbush. By 1698 the Vanderbilt household not only included Aris Janse and his wife, but their ten children and five slaves. Two of the younger children were Jeremias
(b. 1695) whose line would remain in Flatbush and Jacob (b. 1692) founder of the Staten Island branch of the family and ancestor of “Commodore” Cornelius Vanderbilt. The Vanderbilt holdings which extended westward from what would become Flatbush Avenue remained intact for several generations until the death of John Vanderbilt, greatgreat-grandson of Jan Aertsen, in 1812 when it was divided between his surviving sons Jeremiah (1778-1853) and John (1794-1843).
John (1752-1812), a farmer, and his wife Marritje Ditmars (1757-1830) had ten children (four of whom died in childhood) and owned several slaves. Jeremiah and John continued to farm the family land with the assistance of slaves into the 1820s. John manumitted two of his slaves in 1822, five years before the official abolition of slavery in New York State in 1827.
When the land was divided between the brothers, the family holdings extended from Flatbush Avenue westward to the “patent line between the towns of Flatbush and Brooklyn.” In 1860, Jeremiah’s holdings were sold by the family to investors. Within a decade Prospect Park soon consumed much of the western portion of the former Vanderbilt lands and Ocean Avenue was laid out along the park’s eastern edge between 1871 and 1873. The former Vanderbilt land was further divided when the Brooklyn, Flatbush and Coney Island Railroad obtained easements to lay its line from Lincoln Road to Parkside Avenue.
The block of Ocean Avenue opposite Prospect Park remained relatively undeveloped until the 20th century. Several frame houses set on large lots had been constructed by 1888 but it was not until Charles G. Reynolds purchased the large 150foot deep plot on Ocean Avenue in 1905 that the more urbanistic row house type appeared on this block of Ocean Avenue.
Charles G. Reynolds (1863-1926), the son of an immigrant house builder, had a thirty-year career as a house and apartment developer in his native Brooklyn. Among the 500 buildings he constructed over his career were the row houses at 1291 and 1293 Dean Street (c. 1903) in the Crown Heights North Historic District and 153-181 Rutland Road
(c. 1908) in the Prospect Lefferts Gardens Historic District, all of which were designed by Axel S. Hedman, with whom he collaborated on his Ocean Avenue project.
Reynolds and Hedman filed an application with the Department of Buildings for a row of fourteen, single-family limestone houses on Ocean Avenue in 1909. Ten of the houses (Nos. 193-211 Ocean Avenue) were completed c. 1910. Four of them were purchased in 1910, but it took another eight years to sell the remaining six. Reynolds cancelled the construction of the last four houses in 1911 and the lots remained undeveloped for several years.
The Swedish-born architect Axel S. Hedman (1861-1943) immigrated to the United States in 1880 and settled in Brooklyn. His architectural career appears to have begun around 1894 when he was a principle in the firm of Hedman & Dahlander (18941896) with Magnus Dahlander and continued well into the 20th century both as a solo practitioner and a partner in the firm of Hedman & Schoen (1906-1918) with Eugene Schoen. Although Hedman designed a wide variety of buildings he is best known for his row house designs, particularly those in the Renaissance Revival style.
The Renaissance Revival style, popular from about 1880 to 1920, is characterized by simple, restrained Renaissance design forms; an interest in classicism; light-colored facades; subdued classical ornament concentrated around the door and window openings; applied detail including motifs of wreaths, baskets of fruit and garlands of flowers; entrance surrounds featuring a full stone enframement; iron grille-work at the door and simple iron cornices with Renaissance-inspired ornament. The limestone-fronted houses at 193 to 211 Ocean Avenue are fine examples of this style. Similar to rows he was designing at 1374 to 1384 Dean Street and 891 to 901 St. Mark’s Avenue (now part of the Crown Heights North Historic District) at around the same time, the three-story houses on raised basements have angular or rounded bays and balustraded terraces in lieu of the traditional L-shaped stoops. Here however, Hedman was able to take advantage of the site’s 150-foot depth to set the row back thirty feet providing the houses with unusually deep front yards. Along the row, Hedman alternated rounded and two sizes of angular bays, each of which is associated with specific details at the windows and doors. Yet, through the deft application of different ornamental elements each house is unique from its companions.
The early residents of the Ocean on the Park Historic District were middle-class businessmen or professionals and their families. The most historically prominent of them was Charles H. Ebbets, owner of the Brooklyn Baseball Club (later the Brooklyn Dodgers) and developer of Ebbets Field. Others were Warren H. Bristol, a lawyer; William H. Meyer, a retired liquor wholesaler; and Daniel A. Killeen, a proofreader for the New York Tribune. Within a few years, they were joined by Frederick Westlake, an executive in a paper company and Ivan Shestacovsky and Semeon (or Simon) Gloushkoff, Russian émigrés who came to the United States with their families following the Russian Revolution.
In 1915 Philip Faribault (1869-1952) purchased a lot from Reynolds immediately to the north of the completed row. Faribault immigrated to the United States from Canada in 1891. He settled in Brooklyn, where he worked from 1896 to 1908 as a civil engineer in the Bureau of Buildings before opening his own engineering firm. Acting as his own architect, Faribault designed his brick residence in the then fashionable Federal Revival style. The Federal Revival style drew on the precedents of the earlier Federal style which had been characterized by modest scale and simple architectural ornament inspired by ancient Greek and Roman architecture. The brick dwelling at 191 Ocean Avenue with its stone sills and lintels, simple cornice and entrance with arched brick lintel with Ionic columns in antis is a fine example of the adaptation of Federal-style elements to the needs of the 20th century. The intentional asymmetry of the façade results from Faribault’s incorporation of a ground floor garage (since converted to a doctor’s office) which he camouflaged with a variation on French doors.
In 1917-18 Reynolds developed the last of his lots. He hired Eric O. Holmgren to design a pair of houses in the Arts and Crafts style.
Holmgren (1879-1950) practiced architecture in his native Brooklyn from 1896 until shortly before his death in 1950. In addition to the house at 189 Ocean Avenue, he designed the row houses at 122-134 Brooklyn Avenue (c. 1918) in the Crown Heights North Historic District. His institutional designs included St. Paul’s Lutheran Church on McDonough Street, Zion Lutheran Church at 59th Street and 11th Avenue and the Kallman Home for Children (now the Adelphi Academy) at Ridge Boulevard and 85th Street. In the 1940s he served as a director of the Brooklyn Chapter of the American Institute of Architects.
The Arts and Crafts movement originated in England in the late 19th century as a reaction to the more elaborate revival styles of the time. Its emphasis was on simplicity of form, modest decoration and an ‘honest” use of materials. Although modified, the brick dwelling at 189 Ocean Avenue reflects the edict of the Arts and Crafts style through its simple design and subtle brick detailing.
Reynolds sold the semi-attached house at No. 189 to Mrs. Emily Howe, a doctor’s wife, who used it as investment property for several years.
Subsequent History
The population of Flatbush continued to increase as the Brighton Beach subway line was opened in 1920 drawing new residents, many of them Irish or Jewish, to the area. By 1930, the population of Brooklyn had risen to 2,560,401. The previous year the Flatbush Chamber of Commerce estimated that the area’s population was approximately 400,000, one third of them Jewish. To house the growing population, residential construction shifted to multiple-family dwellings beginning in the 1920s. Along Ocean Avenue, the freestanding houses that had abutted the Ocean on the Park Historic District were replaced by four to six story apartment houses by the end of the decade.
During this period, community boosters and promoters, like the Chamber of Commerce, touted the neighborhood’s benefits. Flatbush had fifteen theatres, including the Loew’s Kings, an architectural confection inspired by the Palace of Versailles, and one of the chain’s five “Wonder Theaters” built in the New York area. Two subways and six trolley lines served the neighborhood. Residents had a choice of five weekly newspapers to read. Education was provided at twenty public schools, nine parochial grade schools and three high schools including Erasmus Hall. During the Great Depression, the New Deal funded the construction of the Brooklyn College campus in Flatbush.
By the 1930s several of the houses in the Ocean on the Park Historic District had been purchased by doctors and converted to residences with medical offices, while others were subdivided to accommodate more than one family. Reflecting the large Jewish population in Flatbush, No. 211 Ocean Avenue was owned by Rabbi Pinchas S. Hamber and served as a synagogue for Congregation Lomdei Torah from 1947 to 1972.
Following the Second World War, the demographics of Flatbush began to change. The population of Flatbush remained predominately white through the 1950s but increasing numbers of black families moved into Flatbush in the 1960s. By 1980 Flatbush had become home to a population that was 80 percent non-white, many of the new residents were from the Caribbean as well as parts of Asia and Latin America.
Located across from Prospect Park, the deeply setback three-story dwellings with generous front yards in the Renaissance Revival, Federal Revival and Arts and Crafts styles represent the early stages of urban development in Flatbush. Now dwarfed by the apartment houses which share the blockfront between Lincoln Road and Parkside Avenue, the Ocean on the Park Historic District remains as a fine example of small scale residential development in Flatbush, Brooklyn.
- From the 2009 NYCLPC Landmark Designation Report
During my editing and proofreading work for my upcoming book for children and young people which tells about the last main apparitions of the Virgin Mary with texts and illustrations.
During this duty, I always get nice ideas for new projects, in the future I don't exclude photo books and recipes books :-P
Oct. 11th, 2007
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