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28, 29 e 30 dicembre e 4 gennaio al Teatro Palapartenope di Napoli, le date di Napule è - tutta n'ata storia”, con cui Pino Daniele torna a suonare nella sua città.
4 serate-evento dedicate al progressive napoletano, quella corrente musicale e culturale che a partire dagli anni ’70 ha affermato Napoli come protagonista nel panorama della cultura pop contemporanea a livello internazionale.
Una storia musicale e non solo, raccontata da Pino Daniele insieme agli artisti che hanno reso grande il progressive napoletano e ai giovani artisti che oggi ne proseguono il cammino: uno spettacolo corale, ricco di emozioni uniche!
Questi gli amici e colleghi che l’artista inviterà sul palco per una nuova serie di indimenticabili serate: Almamegretta, Enzo Gragnaniello, Eugenio Bennato, Jenny Sorrenti, Lina Sastri, Napoli Centrale, Nccp, Osanna, Teresa De Sio e ancora Agostino Marangolo, Antonio Onorato, Clementino, Ernesto Vitolo, Gigi De Rienzo, Nello Daniele, Rosario Jermano, Toni Cercola, Elisabetta Serio, A67 e tanti altri.
Sulla scia dello straordinario successo dei sei concerti sold out dello scorso inverno (con 20.000 biglietti venduti), nelle 4 serate-evento di “Napule è - tutta n'ata storia”, Pino Daniele proporrà una scaletta pensata unicamente per il pubblico della sua città, accompagnato dalla sua band storica, composta dai grandi musicisti napoletani con cui ha collaborato nel corso della sua lunga carriera: James Senese, Joe Amoruso, Rino Zurzolo, Tony Esposito e Tullio De Piscopo.
'Mylecharaine', a three act play in Anglo-Manx dialect by Cushag. It was first published by S. K. Broadbend in Douglas, Isle of Man, in 1915.
As for all three of her 'Peel Plays' published in 1908, Cushag has taken her theme from Manx folk traditions.
'Mylecharaine' was one of the most popular and well-known Manx folk songs. Although widely known, it was first collected by A. W. Moore in his 1896 book, 'Manx Ballads and Music', where it was produced in both the Manx original and in an English translation. (A less antiquainted translation is available in Robert Corteen Carswell's excellent, 'Manannan's Cloak: An Anthology of Manx Literature').
(The tune for this song was, interestingly, the starting place for the Manx National Anthem, which was written W. H. Gill and first performed in 1907).
The song is a call response between a daughter and her father, named Mylecharaine (a common Manx surname). It revolves around Mylecharaine's miserly ways, despite having a store of wealth, which he got from "in the Curragh, deep, deep enough". It carries the refrain after every line, "My-lomarcan daag oo mee" / "Alone you left me".
Cushag takes on this rather dark theme and spins a nice narrative around it. She interestingly manages to get a happy ending out of it, by placing the song half-way through, when all seems lost, before it is all regained in the final Act.
The play has some wonderful Manx characterisations - something that Cushag is a master of - and some very nice exchanges in a pleasing Manx dialect. However, the play overall is disappointingly executed, particularly in the final Act (and, startingly, in the sleep-talking scene of Act II, which couldn't possibly work on stage today).
Anyone looking to get a taste of Manx theatre would be well advised to come to Cushag, but a better impression might be made by looking first at her 'Peel Plays', perhaps in particular, 'Lazy Wife'.
Cushag's three 'Peel Plays' can be found online here:
www.isle-of-man.com/manxnotebook/fulltext/pp1908/index.htm
The original poem of Mylecharaine, as it appears in A. W. Moore is online here:
www.isle-of-man.com/manxnotebook/fulltext/mb1896/p052.htm
The tune for Mylecharaine can be fonud here:
www.isle-of-man.com/manxnotebook/fulltext/mb1896/p253.htm
Cushag's Wikipedia page is here:
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Catalogue published c.1937.
Document owned and scanned by rebollo_fr. It is in public domain, as are all anonymous works published more than fifty years ago in Japan.
See also the Camera-wiki page about Tougodo.
Published in Mar 09 Scrapbook News & Review.
supplies: everything from Cupcake; except: alpha from Swatches: Elizabeth; swirl from Swatches: Bess; date card from Calendar Cards; all by Carina Gardner at www.twopeasinabucket.com; font: Batik Regular; software: Adobe Photoshop Elements 6.0
Size 49x49in. w/ 7in sqs. Using Espresso and Sunflower fr 100 Afghans to Knit & Crochet. For the book go to amazon.com and search for Jean Leinhauser and Rita Weiss.
This photograph was published in the Illustrated Chronicle on the 24/08/1917.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognize anyone in the images and have any stories and information to add please comment below.
Photos from the Publish and Be Damned self-publishing fair held at the ICA on Saturday 17 March 2012.
Photo: Lucy Pawlak
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Photos from the Publish and Be Damned self-publishing fair held at the ICA on Saturday 17 March 2012.
Photo: Lucy Pawlak
The Postcard
A postally unused carte postale published by Ern. Thill of Brussels.
Ypres
Ypres is a Belgian municipality in the province of West Flanders. Though the Dutch Leper is the official name, the city's French name Ypres is most commonly used in English.
During the First World War, Ypres (or 'Wipers' as it was commonly known by the British troops) was the centre of the Battles of Ypres between German and Allied forces.
The famous Cloth Hall was built in the 13th century. At this time cats, then the symbol of the devil and witchcraft, were thrown from the Cloth Hall in the belief that this would get rid of demons. Today, this act is commemorated with a triennial Cat Parade through the town.
-- Ypres in the Great War
Ypres occupied a strategic position because it stood in the path of Germany's planned sweep across the rest of Belgium and into France from the north (the Schlieffen Plan).
The neutrality of Belgium, established by the First Treaty of London, was guaranteed by Britain; Germany's invasion of Belgium brought the British Empire into the war. The German army surrounded the city on three sides, bombarding it throughout much of the war. To counterattack, British, French, and allied forces made costly advances from the Ypres Salient into the German lines on the surrounding hills.
-- The First Battle of Ypres
In the First Battle of Ypres (19th. October to 22nd. November 1914), the Allies captured the town from the Germans. The Germans had used tear gas at the Battle of Bolimov on the 3rd. January 1915.
-- The Second Battle of Ypres
The Germans' use of poison gas for the first time on the 22nd. April 1915 marked the beginning of the Second Battle of Ypres, which continued until the 25th. May 1915.
They captured high ground east of the town. The first gas attack used chlorine. Mustard gas, also called Yperite from the name of the town, was also used for the first time near Ypres, in the autumn of 1917.
Vera Brittain was an English Voluntary Aid Detachment nurse, writer, feminist and pacifist who made the following observation in her 1933 memoir, 'Testament of Youth':
“I wish those people who talk about going
on with this war whatever it costs could see
the soldiers suffering from mustard gas
poisoning.
Great mustard-coloured blisters, blind eyes,
all sticky and stuck together, always fighting
for breath, with voices a mere whisper, saying
that their throats are closing, and they know
they will choke.”
-- The Third Battle of Ypres
Of the battles, the largest, best-known, and most costly in human suffering was the Third Battle of Ypres (31st. July to 6th. November 1917, also known as the Battle of Passchendaele), in which the British, Canadian, ANZAC, and French forces recaptured the Passchendaele Ridge east of the city at a terrible cost of lives.
After months of fighting, this battle resulted in nearly half a million casualties to all sides, and only a few miles of ground won by Allied forces. During the course of the battle Ypres was all but obliterated by artillery fire.
-- Lieutenant-Colonel Beckles Willson
In 1920 Lieutenant-Colonel Beckles Willson wrote:
'There is not a single half-acre in Ypres
that is not sacred.
There is not a single stone which has not
sheltered scores of loyal young hearts,
whose one impulse and desire was to fight
and, if need be, to die for England.
Their blood has drenched its cloisters and
its cellars, but if never a drop had been spilt,
if never a life had been lost in defence of
Ypres, still would Ypres have been hallowed,
if only for the hopes and the courage it has
inspired and the scenes of valour and sacrifice
it has witnessed'.
-- Ypres Today
After the Great War the town was extensively rebuilt using money paid by Germany in reparations, with the main square, including the Cloth Hall and town hall, being rebuilt as close to the original designs as possible (the rest of the rebuilt town is more modern in appearance).
The Cloth Hall today is home to the 'In Flanders Fields Museum', dedicated to Ypres's role in the First World War and named after the 'Poppy' poem by John McCrae.
Ypres these days has the title of 'City of Peace' and maintains a close friendship with another town on which war had a profound impact: Hiroshima. Both towns witnessed warfare at its worst: Ypres was one of the first places where chemical warfare was employed, while Hiroshima suffered the debut of nuclear warfare.
Ypres hosts the international campaign secretariat of Mayors for Peace, an international Mayoral organisation mobilising cities and citizens worldwide to abolish and eliminate nuclear weapons by the year 2020. It didn't happen.
Lila Downs
Town Hall, New York City
April 19th, 2014
© 2014 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
This photograph was published in the Illustrated Chronicle on the 2nd of March 1917.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
One of my photos of Coldplay performing at Dingwalls for BBC Radio 2 In Concert is currently being used on the iPlayer
Published 27/10/1917.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
This photograph was published in the Illustrated Chronicle August 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
Photograph published 9th April 1918.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognize anyone in the images and have any stories and information to add please comment below.
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PAID SHOOTS ARE 1st PRIORITY
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from bit.ly/ObDNsJ
Good morning, QuiBidders!
[Assuming you’re in the western hemisphere and reading this post when it was published, at 4:33 p.m. Central Standard Time.]
While the bulk of our customer base is spread out across the U.S. (where QuiBids is headquartered) and Canada, and probably reading this post as they’re getting ready to head home for the day, a whole other market is drinking their morning coffee, perhaps checking to see if they can score a great deal on out site. They’re down under in the beautiful, broad continent of Australia, probably feeling awesome about the fact that super-adorable koalas are native to there.
Because QuiBids operates in multiple countries and the fairly recent introduction of the short-lived Global Auctions, we often field questions specific to our various markets. As a result we thought it might be helpful to spell out some of the facts about QuiBids Australia and how new customers there can get started bidding and winning!
First: Australia auctions are not open to Canada or U.S. customers.
With the exception of Global Auctions —which are not currently operating on our site— all QuiBids auctions are separated by country. Australian customers only bid against Australian customers, just as Canadian customers only bid against Canadian customers. It operates the same way in the U.S. As such, not all items are available across all of our markets. So if you see an item on the blog or advertised somewhere online but can’t find it on the website, it could be because it’s simply not available in your market.
We’re always working to build more and more relationships with vendors to cast a wider net with our products, but some items are simply impossible to move in a way that makes for a sustainable business.
Second: Shipping doesn’t cost more because you’re outside the U.S.
Our relationships with vendors (the people who ship our products) extend across the globe, which means we don’t have to ship all our items from Oklahoma City, where our office is headquartered. Instead, we can tell our vendors (who are in Brisbane, Sydney, Montreal, or Denver, or wherever!) where to ship items for us, which cuts down on our shipping costs, which directly saves you money, too!
Third: Aussie Aussie Aussies! Here’s how you get started with QuiBids!
We launched in Australia way back in September 2011 (September 14, 2011, to be exact) but we’ve been picking up new customers especially frequently lately. For those of you who are still trying to figure out exactly how it works, here are a handful of online resources you may want to bookmark as you begin to learn how QuiBids works!
QuiBids 101
We specifically built QuiBids 101 with starters in mind, so head here to check out exactly how our auction model works, how to avoid the most common beginner’s mistakes, and even how to use particularly important site features, like the Bid-O-Matic and the QBar!
QuiBids HelpIn addition to hosting its own separate search feature, the QuiBids Help section’s got a ton of FAQs that explain everything from the Buy Now to how to customize your email preferences. It’s for newbies and old hands alike!
QuiBids Customer Support
We employ a large team of customer support representatives and managers to help you understand and use QuiBids in a way that’s convenient and fun for you! Hit them up via phone, email, or even live chat!
QuiBids Social
Lastly, there are a ton of ways to enrich your QuiBids experience with social media. This blog post explains it pretty well, but put short you can follow us on Twitter and like us on Facebook for daily free bid giveaways, promotions, discussions of strategy and site feature information, too!
Happy bidding, Aussies!
I was approached online by them with a request to use a specific photo, and they did a pretty good job of it, too. No pay, but then i wasn't concerned about that, just my name and some copies - which arrived today! Thanks Where Maps!
The originally flickr-posted photo is here.
I forgot to upload this earlier, but here it is. From the March 2007 Photo Life magazine.
Here's the original picture.
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© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
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Sir Rod Stewart, la voce dietro canzoni come “ Sailing”, The First Cut Is The Deepest”, “ Rhythm Of My Heart” e “Maggie May” torna in Italia dopo diversi anni di assenza il 31 gennaio 2018 al Mediolanum Forum di Assago a Milano, in uno show che lo vedrà interpretare tutte le hit della sua pluridecennale carriera.
Inserito per ben 2 volte nella Rock and Roll Hall of Fame, nella sua lunghissima carriera ha venduto oltre 200 milioni di album a livello mondiale e conquistato sei volte la prima posizione nella classifica degli album più venduti nel Regno Unito. Famosissimo anche in America, ha raggiunto la top ten della Billboard Hot 100 con 6 singoli, di cui 4 al primo posto. Dal 2016, inoltre, è stato nominato ufficialmente Cavaliere di sua Maestà dal principe William.
Di recente ha collaborato con i DNCE, gruppo vincitore di numerosi dischi di platino, dando vita ad una rivisitazione di una delle sue canzoni più iconiche di tutti i tempi, ovvero “ Da Ya Think I’m Sexy”.
Photograph published 9th July 1918.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognize anyone in the images and have any stories and information to add please comment below.
The Postcard
A postally unused postcard that was published by Hinode-Shoko of Seoul. The card has a divided back.
Itinerant vendors in Korea in the early part of the 20th. century generally used to transport their wares on large wooden frames carried on their back.
The man's burden of poultry would have been heavy.
The Korean Gat
The man in the photograph is wearing the traditional Korean gat (Korean: Hunminjeongeum 갓)
A gat is a traditional hat worn by men along with hanbok (Korean traditional clothing) during the Joseon period. It is made from bamboo or horsehair with a bamboo frame, and is partly transparent.
Most gats are cylindrical in shape with a wide brim on a bamboo frame. Before the late 19th. century, only noble class men could wear gat, which represented their social status and protected their topknots.
Robert Neff of the Korean Times has written the following about Korean male headware:
'One of the most important articles of clothing for Koreans in the late 19th. century was the hat. The elderly man with his majestic black horse hair hat, often seen in pictures, is the iconic image of Korean male society during the Joseon Dynasty (1392 - 1910).
According to Percival Lowell, an American who stayed in Seoul in the winter of 1883-84:
"No Korean can in decency appear
without it [hat], except only to make
room for some other hat."
It was a sign of manhood, "the most essential of attributes," and a badge of one's position in Korean society.
Lowell seemed amused with the difference between Korean and American culture. In the United States it was considered poor manners to wear a hat indoors, and one would rarely remove one's shoes, but the opposite was true in Korea:
"A man would part with any or all of
his clothing sooner than take off his
hat. On entering a house, he leaves
his shoes outside to await his return,
but he and his hat go in together.
As he sits down to eat, he divests
himself of his outer garments that he
may eat with greater freedom, but his
hat stays on; and so it sticks to him
through life ― a permanent black halo."
There were many types of hats. The iconic hat, the gat, was made from horse hair and bamboo and was black and somewhat transparent.
It had a fairly wide brim that in the past, according to popular legend, was much wider as a means of preventing unrest. Because of its wide brim, conspirators were kept apart, and were unable to whisper their plans to one another.
There was also a large mourning hat made from bamboo. It was designed to hide the face of mourners from others they might encounter on the streets. It was considered a grievous breach of etiquette to look into the face of the mourner.
Early French missionaries used the mourning hat to disguise themselves as they traveled the Korean peninsula before the 1880's. They were able to move about in relative secrecy for no one would attempt to communicate with a mourner.
Court officials' hats had slightly bent-forward ear-shaped horizontal wings. It was said they symbolized the wearer's attentiveness and willingness to "catch every word of command that the King may utter."
As Korea entered the 20th. century, there were many reforms forced on the population. Some were readily accepted and appreciated, but others, especially those that dealt with hair styles and hats, were vehemently opposed.
"A man is much more firmly bound to
his hat than he is attached to his wife.
He may put away the latter; without
the hat, life becomes a hollow mockery,
for the hat makes the man. Without it
he remains forever a boy."
Hats remained a part of male culture throughout the first half of the 20th. century, but have since disappeared. The only exceptions are those worn by elderly males in the Jongno area, or the bright colorful caps that young teens and adults wear while out with their friends. The "permanent black halo" is no more.'
How Japan Took Control of Korea
Erin Blakemore has written the following for history.com in 2018, and updated it in 2023:
In 1910, Korea was annexed by the Empire of Japan after years of war, intimidation and political machinations; the country would be considered a part of Japan until 1945. In order to establish control over its new protectorate, the Empire of Japan waged an all-out war on Korean culture.
Schools and universities forbade speaking Korean, and emphasized manual labor and loyalty to the Emperor. Public places adopted Japanese, too, and an edict to make films in Japanese soon followed.
Topographical and other postcards of Korea were published with descriptions in Japanese text.
It also became a crime to teach history from non-approved texts, and authorities burned over 200,000 Korean historical documents, essentially wiping out the historical memory of Korea.
During the occupation, Japan took over Korea’s labor and land. Nearly 100,000 Japanese families settled in Korea with the land they had been given; they chopped down trees by the million and planted non-native species, transforming a familiar landscape into something many Koreans didn’t recognize.
Nearly 725,000 Korean workers were made to work in Japan and its other colonies, and as World War II loomed, Japan forced hundreds of thousands of Korean women into life as “comfort women”—sexual slaves who served in military brothels.
Korea’s people weren’t the only thing that was plundered during Japan’s colonization—its cultural symbols were considered fair game, too. One of the most powerful symbols of Korean sovereignty and independence was its royal palace, Gyeongbokgung, which was built in Seoul in 1395 by the mighty Joseon dynasty.
Soon after assuming power, the Japanese colonial government tore down over a third of the complex’s historic buildings, and the remaining structures were turned into tourist attractions for Japanese visitors.
As historian Heejung Kang notes, the imperial government also attempted to preserve treasures of Korean art history and culture—but then used them to uphold imperial Japan’s image of itself as a civilizing and modern force.
This view of Korea as backward and primitive compared to Japan made it into textbooks, museums and even Koreans’ own perceptions of themselves.
The occupation government also worked to assimilate Koreans with the help of language, religion and education. Shinto shrines originally intended for Japanese families became places of forced worship.
Historian Donald N. Clark explains:
"The colonial government made Koreans
worship the gods of imperial Japan,
including dead emperors and the spirits
of war heroes who had helped them
conquer Korea earlier in the century.”
This forced worship was viewed as an act of cultural genocide by many Koreans, but for the colonists, it was seen as evidence that Koreans and Japanese were a single, unified people.
Though some families got around the Shinto edict by simply visiting the shrines and not praying there, others grudgingly adopted the new religious practices out of fear.
By the end of its occupation of Korea, Japan had even waged war on people’s family names. At first, the colonial government made it illegal for people to adopt Japanese-style names, ostensibly to prevent confusion in family registries.
But in 1939, the government made changing names an official policy. Under the law, Korean families were “graciously allowed” to choose Japanese surnames.
At least 84 percent of all Koreans took on the names since people who lacked Japanese names were not recognized by the colonial bureaucracy, and were shut out of everything from mail delivery to ration cards. Historian Hildi Kang writes:
“The whole point was for the government
to be able to say that the people had
changed their names ‘voluntarily.’”
The Plundering of Korea by Japan
(a) Historic Korean Artifacts
Koreans accuse the Japanese of plundering hundreds of thousands of ancient Korean artifacts, mostly during their 36-year occupation of the peninsula. Most Japanese consider the issue a dead one, resolved by the 1965 Japan-Korea Treaty, which led to the return of some 1,400 items.
However the treaty was not definitive, as it neglected artifacts in Japanese private collections, as well as those originating in North Korea.
The size of the haul is astounding. Eighty percent of all Korean Buddhist paintings are believed to be in Japan. And, says Seoul art historian Kwon Cheeyun:
"35,000 Korean art objects and
30,000 rare books have been
confirmed to be there, too."
However that is only the tip of the iceberg: vastly more is believed to be hidden away in private collections.
Determining legal ownership is far more difficult than with the art looted by the Nazis. Toshiyuki Kono, a law professor at Kyushu University. states:
"It's almost impossible to trace the
provenance of centuries-old artifacts."
Besides, the Japanese annexation was internationally recognized in 1910, meaning that relocating Korean artifacts within "Japanese territory" was lawful at the time.
To Korea's annoyance, Japan holds many items of particular value. More than 1,000 bronze, gold and celadon pieces owned by the late businessman Takenosuke Ogura now make up the core of the Tokyo National Museum's Korean section.
A lot of precious Korean artifacts are now owned by private Japanese citizens or organizations, which means that the Japanese government can’t just acquire them and hand them back to Korea. So, unless the Korean government offers to actually spend millions of dollars to buy back the artifacts, it is unlikely they will ever be returned.
As well as removing cultural artifacts to Japan, the Japanese also burned countless Korean government buildings and palaces.
(b) Natural Resources
The Japanese also removed vast amounts of Korea's natural resources, including lumber, rice, coal, iron ore and many other minerals.
The land itself was also appropriated by the Japanese; by 1910 an estimated 8% of all arable land in Korea had come under Japanese control. This ratio increased steadily, and by 1932, the ratio of Japanese land ownership had grown to 53%.
Japanese landlords included both individuals and corporations. Many former Korean landowners became tenant farmers, having lost their entitlements almost overnight because they could not pay for the land reclamation and irrigation improvements forced upon them. As often occurred in Japan itself, tenants had to pay over half their crop in rent.