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Born in Craiova, he attended Carol I High School. In 1915 he moved to Vienna, in 1919 to Bucharest, where he worked as a painter, before becoming a stage decorator in Paris. In 1927 he went to New York City for an exhibition of his paintings, and settled there. He lived in New York and Washington, DC before moving to Seattle. By the late 1920s he had settled in Hollywood, California.
During the Depression he appears to have abandoned painting in favor of film directing. His directing credits include such films as "Johnny Belinda" and "Three Coins in a Fountain"
In 1934 he entered the film industry, first as a sketch artist, then as an assistant producer, second unit director and in the late 1930s he became a director and screenwriter. He made a reputation at Warner Brothers by directing short subjects, particularly a series of band shorts featuring unusual camera angles and dramatic use of shadows and silhouettes.
Negulesco's first feature film as director was Singapore Woman (1941). In 1948 he was nominated for an Academy Award for Directing for Johnny Belinda. In 1955, he won the BAFTA Award for Best Film for How to Marry a Millionaire. His 1959 movie, The Best of Everything, was on Entertainment Weekly's "Top 50 Cult Films of All-Time" list. Upon retirement in the late 1960s, Negulesco settled in the Mediterranan coastal town of Marbella, Spain where he remained until his demise on July 18, 1993.
It all started in 1994. TV scriptwriter Stefan Struik had an interview with a meditating hermit in Baarn (NL) who was complaining about gnomes who disturbed the power network in his house. A month later he ran into trolls in a Norwegian clothing store in the Dutch-Frisian village Dokkum. A year before he got surprised by the amount of one meter high garden gnomes just across the border between Germany and Poland. It all seemed to point into a new direction he would hit a few months later. In December 1994 he opened with his sister a small game and bookstore in Delft (NL), named Elf Fantasy Shop. The games were a golden opportunity. Three years later the duo could open an second store in The Hague.
In 1995 Stefan also started a new adventure with a free magazine called Elf Fantasy Magazine. In 2001 the magazine became professionalized and despite it never realised any profits it existed until 2009.
Stefan and his sister already organised lectures in the Elf Fantasy Shops about druidism, Tolkien and other fantasy related subjects. In 2001 Stefan decided to combine a few things into a totally new and unique festival concept that later would be copied many times: the Elf Fantasy fair. Starting in the historical theme parc Archeon (NL) it moved the year after to the largest castle in the Netherlands: castle de Haar. With the exception of 2004 (castle Keukenhof, Lisse) it remained in castle de Haar, Haarzuilens since then. In 2009 a second version of the Elf Fantasy Fair started 400 meters from the border with Germany in the small village Arcen in Northern Limburg. In January 2013 the name Elf Fantasy Fair™ was replaced by the name Elfia™. The spring edition of Elfia is also called the 'Light Edition', while the autumn edition is characterized as the 'dark edition'.
On 5th May 2011 Master Simon Wong's paintings were in the Dragons in the Lions Den show which exhibited Chinese Contemporary Art from Beijing to London, which was organised by YD Gallery www.ydgallery.co.uk Charlie Pycraft(Photographer) www.charliepycraft.co.uk and Ping Works(Creative network) www.pingworks.org a UK creative hub at Forman's Smokehouse Gallery.
"Finally a special thanks to Charlie for spotting the potential" Peng Seng Ong Executive Director MBS Limited
"Wow, what an amazing evening. Thanks to you all for your putting this even together, Ping is on the map!" Philip Mayer BSc (Econ) MIC NLPdip Director MBS Ltd
"Hi Peng…I second that. I thought it was an excellent evening and thanks so much to you and Charlie and all the artists for making it such a success." William Chamberlain Business Affairs Consultant
"Thank you so much to Charlie and Peng for organising the prestigious event, developing the concept, getting the artists together, the copy together, design etc, it all looked great, a lot of hard work and it showed." Kathryn McMann Holistic Marketing Consultancy Integrated Strategic Marketing : Social Media : Project Management : Trans-media : Creative Concepts
Master Simon Wong is originally from China and has been a British resident since 1978. Master Simon Wong is a spiritual Master, a Feng Shui Master, a professional Chinese Astrologer, an artist, musician, songwriter, scriptwriter and author. Master Simon Wong does not give names to his paintings. The Tao Te Ching states: The Tao that can be told is not the eternal Tao. The name that can be named is not the eternal Name. When the Master uses the finger to point at the moon the student should not just be looking at the finger. The finger is just a tool pointing to the direction. Painting is the same, the medium that is used is not important, it is the mental expression behind the art work that gives a picture its spirit. After perfecting his artistic style for the last 40 years, Master Simon Wong is now exhibiting and selling his work.
Jafar Gafar oglu Jabbarli ( March 20, 1899, Khizi , Guba district - December 31, 1934, Baku , USSR ) — Azerbaijani playwright, poet and writer, theater critic, film critic, translator, screenwriter, journalist, actor , director . Honored Artist of the Azerbaijan SSR (1933)*.
Jafar Jabbarli was born on March 20, 1899 in a poor peasant family in the village of Khizi (currently the center of the district) , located 110 km from Baku province . After his coal miner father (Gafar Jabbarli) lost his sight, the family was forced to move to Baku and started living in the so-called " mountain quarter ". His father died when Jafar was 3 years old. The burden of the house fell on his mother Shahbika Khanum. He washed the clothes of wealthy families, baked bread and sent Jafar to religious schools. Jafar occasionally went to Khizi, where he met his aunt Zarnishan, who wrote love poems, and his relatives in the mountain villages.
In 1924, Jafar's elder brother Huseyngulu died. This death shook Jafar a lot because Huseyngulu had fathered him along with brotherhood. Jafar was the youngest child in the family. His father Ghafar was a coal miner. His mother, Mrs. Shahbika, was a housewife. In 1922, Jafar married his cousin Sona. He had 2 children named Aydın and Gulara from this marriage. His eldest son Aydin Jabbarli was born in 1924. He was a candidate of medical sciences. His daughter Gulara Jabbarli was a philologist and director of Jafar Jabbarli's house-museum . In the questionnaire submitted by J. Jabbarli himself, 8 people are dependent on him - his wife Sonakhanim, 3-year-old son Aydin, mother-in-law Zeynab, 50-year-old wife of his deceased brother Huseyngulu Zinyat, 65-year-old other wife, 4-year-old son Heydar, 12-year-old son Albanda , has a 14-year-old daughter Malak — and notes that he receives a monthly salary of only 99 manats. He worked in the Communist newspaper for almost 8 years, but later he had to leave this team. Since 1928, he has been working as a translator and director of the literary department at the Azerbaijan State Turkish Academic Drama Theater.
In order not to deprive Ms. Jafar of education, Shahbika first made her read "charekah" with the mullah of the neighborhood, and after a while, she made her read the Koran with mullah Qadir. Realizing that Mollakhana will not give him anything, Jafar, along with other children, entered the first grade of the three-class "7th Muslim and Russian" school, which was opened in 1905 in the private property of Haji Mammadhuseyn Badalov at "Stariy Poshkovi-25". Jafar's first teachers were pedagogue-writer Suleyman Sani Akhundov , Abdulla Shaig , Rahim Bey Shikhlinski, Alimammad Mustafayev. Jafar Jabbarli graduated from the "7th Muslim and Russian" school in 1908 and helped the family for a while. Later, he studied at the "3rd Higher Primary School" named after Alekseyev in Baku . On April 2, 1915, Jafar graduated from school.
In 1915, the writer entered the electro-mechanics department of the Baku Polytechnic School and completed his studies on May 6, 1920, receiving a certificate and certificate. Then he entered the Faculty of Medicine of the Azerbaijan State University . However, he wrote an application and left that faculty. From September 1923, Jabbarli began to listen to lectures at the Baku Turkish Theater School in order to become familiar with the stage world and theater history. In 1924-1927, J. Jabbarli also studied at the philology department of the Faculty of Oriental Studies of the Azerbaijan State University.
From Ms. Sona's memoirs: "Generally, Jafar worked very hard during these years, despite his poor health. He never once went to a spa or sanatorium. He didn't even have time to come to the garden or meadow; when he came, he only came to work and write . "
As a result of being addicted to work and not paying attention to his heart disease, which was gradually worsening, Jabbarli became very weak and died at the end of 1934, on December 31, at 4 o'clock in the morning.
So, at 4 o'clock in the night on December 31, Mrs. Sona, the wife of J. Jabbarli, suddenly woke up, when she turned on the light, she saw Jafar's smiling face and two drops of tears frozen on her cheeks.
At 10 o'clock in the morning, Jabbarli was supposed to meet with the chairman of the Union of Writers of Azerbaijan, Mammadkazim Alakbarli, the first secretary of the Central Committee, Mirjafar Bagirov , and the chairman of the Council of People's Commissars , Huseyn Rahimov . He was supposed to read the short story "Baku" written for the newspaper "Pravda" by the order of Mirjafar Bagirov , later known as "Firuze", for the head of the republic.
The body of C. Jabbarli is taken to the hospital named after "Semashko". His brain is sent to a brain research institute in Moscow without an autopsy. As a result, he is said to have died of cardiac arrest. However, rumors about the writer's sudden death cannot subside for a long time. Even Abdulvahab Yurdsevar, in his article "Jafar Jabbarli, one of the Azerbaijani drama writers", published in Ankara, mentions that the artist committed suicide because he could not stand the pressure.
The last farewell ceremony of Jafar Jabbarli was held on January 2, 1935 in Ismailiyya building. A large crowd escorts the artist to the Alley of Honor .
According to Jabbarli's daughter Gulara Jabbarli's claim, doctors told her mother Sona that after Jafar Jabbarli's death, his brain was removed and taken to Moscow and from there to Leningrad . There, it was kept together with the brains of Maxim Gorky and Lenin in some museum . Its weight is up to 2.5 kg. It is bigger than Lenin's and Gorky's mind. According to Mrs. Sona's claim, all these facts were not told to anyone because they were issues under the attention of the State Security Committee at that time.
Muhammad Amin Rasulzade mentioned in his work:
"He died at a young age, full of strength and energy, at the end of 1934. He was buried at the expense of the state. Azerbaijani commissars stood in line at his coffin and wanted to show that while he was not a communist, he embraced communism. One of the events that showed that he was not a communist is also his famous speech at the congress of writers gathered in Moscow. In this speech, he spoke against the method of "social order that is not worthy of the glory of a true artist and writer", i.e. forcing poets to write on certain topics by the government .
From what Samad Vurgu wrote:
"J. Jabbarli is one of the rarest figures in the history of 19th and 20th century Azerbaijani literature. Jabbarli is the most prominent figure of 20th century literature after Mirza Fatali Akhundov and Jalil Mammadguluzade (Molla Nasreddin) in terms of the scope of his creativity and the richness of his artistic treasure . He is a person who grew up in the background, developed the most beautiful traditions of our national literature, and created a new literary school of dramaturgy" .
Jafar Jabbarli became a member of the Musavat Party in the 1910s, and a member of the Baku Committee of the Musavat Party in 1919 . Jafar Jabbarli was a stenographer of the Parliament of the Azerbaijan Democratic Republic . He also participated in the II Congress of the Musavat Party held in 1919.
With the consent of Mohammad Amin Rasulzadeh , Mirza Bala Mammadzade was appointed as the head of the Secret Musavat created after the April occupation , Abdulwahab Yurdsevar was appointed the deputy head, and Jafar Jabbarli was appointed the general secretary of its general center.
Jafar Jabbarli became a member of Azerbaijan Writers' Union in March 1934 , and in August of the same year, he participated in the First Congress of All-Union Soviet Writers and was elected a member of the Union's Board of Directors and Presidium.
Jafar Jabbarli was elected deputy to the Baku City Council in 1934 .
Jabbarli came to literature with poetry and his first printed poems were published in 1911 in the Haqiqati-Afkar newspaper, and on April 3, 1915, his poem "Spring" was published in the 6th issue of the "Maktab" magazine. "Maktab" magazine was able to attract C. Jabbarli with its position and wide distribution among schoolchildren. "Maktab" magazine also had a certain role in the beginning of C. Jabbarli's creativity.
In 1915, Jabbarli's poem "An Orphan at Sunset" was approved in the contest announced by "Qurtuluş" magazine, and he won first place and was awarded Sabir's " Hophopname " and a one-year subscription to "Qurtuluş" magazine.
Young Jabbarli sees the plight of people, the division of society into the poor and the rich, from his childhood, he observes that they live in a difficult and difficult life, and he tries to write down all this and express his attitude to them. The plight of individual families makes him think. He reflected his thoughts in poems such as "Stormy winter night", "For those who celebrate holidays", "Beggar" and "Contribution to a Muslim preparing for Nowruz holiday".
In his poems "Hurriyeti-Nisvanchilara Protest", "Wives Say", "Men Say", "Protest from Girls to Men" and other poems, the poet mentioned that the issue of women's freedom, which had become fashionable at the time, was incompletely resolved, and that women were still deprived of basic rights. Sometimes the poet's criticism is directed towards social and political issues and exposes the flaws in the state structure.
As in Jafar Jabbarli's plays and stories, the issue of attitude towards women in the conditions of capitalism plays an important role in his satirical poems. In his satirical poems, the writer criticizes the negative attitudes of his society towards women and calls them to defend their rights.
Jabbarli wrote his first poems, stories and dramas in 1915-1916. The years 1915-1920 were not only Jafar Jabbarli's student years, but also the period when he came to literature and art. One after the other, he wrote "Loyal Series, or Laughter in Tears", "Pale Flowers", "Nasreddin Shah", "Trablis War" or "Star", "Conquest of Edirne", "Baku War", "Aydin" wrote works of Azerbaijan like One of his first stories, "Aslan and Farhad", is dated July 15, 1916. A manuscript copy of the story "Mansur and Sitara" and also the opera "Sitara" were written in late 1915 or mid-1916.
Although Jabbarli started his creativity with poetry, he wrote his most famous works in the genre of drama and was known as an Azerbaijani dramatist and theater worker. Seeing the main line of the people's progress in the development of culture and theater, the artist created beautiful stage works one after the other, and also worked in various fields of art.
According to the note on the work "Faithful Series or Laughter in Tears", which belongs to the first period of J. Jabbarli's creativity, the work was written on December 30, 1915. In this work, the author talks about the injustice in the society, expressed his anger and hatred for the injustices he saw. After the work "Faithful Series or Laughter in Tears", the writer wrote the work "Pale Flowers". The work was written in 1915. In the drama, the writer expressed his protest against the social structure. Based on the contradictions of the bourgeois-proprietary society in which he lived in "Pale Flowers", the writer tried to present it within a family. At the same time, he revealed that money and the state, which play a dominant role in that society, violate people's morals, disfigure their inner worlds, and torment and torture loyal, pure-hearted people. The work was performed for the first time in 1916 in the Ismailiyya Palace . The play is dedicated to the theme of family and household. In the work, Jabbarli depicted life with realistic colors and was able to show the source of injustice and disasters.
"Nasreddin Shah" is the first historical play of J. Jabbarli. Among the writer's manuscripts, the oldest version of the play "Nasreddin Shah" dates back to about 1916. In the work, Jabbarli showed the hard life of the hardworking peasants, the depravity of the khans, and the struggle for freedom of the progressive Iranian youth against the background of the despotism of the Shah ( Qajars ) ruling in Iran .
For the first time in Azerbaijan, Jafar Jabbarli enriched the historical drama genre with the ideas of national freedom and the speech of the masses against the Shah's absolutism.
The play "Nasreddin Shah" reflected the struggle of the masses against tyranny and absolutism. "Nasreddin Shah" was a new stage in the development of historical themes in Azerbaijani dramaturgy and Jafar Jabbarli's work. "Nasreddin Shah" was performed for the first time in 1919 in Ashgabat .
In 1917, Jabbarli wrote the plays "War of Trablis" or "Star" and "Conquest of Edirne" on Ottoman history. The theme of both works is taken from the heroic struggles of the Turks against the foreigners. Taking into account the closeness of the image and theme, the play "Conquest of Edirne" can be considered a continuation of the play "Trablis war". Since these works promote Turkish life, Turkish heroism and bravery, from the day they were written, they were received by vulgar and Soviet critics as "pan-Turkist" and "pan-Islamist" oriented works, and soon after they were completely removed from the stage.
The theme of the works "War of Triblis" and "Conquest of Edirne" is taken from the recent past (1911-1913) of the struggle-filled history of the Ottoman population and Turkish Turks. Jafar Jabbarli is the first Azerbaijani playwright who brought Nuru Pasha to fiction with the historical tragedy "Trablis War" . The first performance of the work was shown on March 10, 1918, on the eve of Nowruz holiday, in the "Ismailiyya" building in Baku.
The author wrote the works "War of Trablis" and "Conquest of Edirne" in his youth (18 years old), in the initial stage of his creativity. Although Jafar Jabbarli was a student of Baku Polytechnic School, he followed the period of Balkan wars (1911-1913) of Ottoman history based on the press information, had a creative attitude to the historical facts he used, and created these stage works by confronting the conflicting points of problems and characters.
The events in "Trablis War" unfold against the background of the Italian-Ottoman war of 1911-1912 .
The tragedy "Conquest of Edirne" was finished by young Jabbarli on October 17, 1917 , and the work was shown for the first time in the presentation of Abbas Mirza Sharifzade on December 15 of the same year . Jafar Jabbarli spoke at the reception after the first performance of the works "Trablis war" and "Conquest of Edirne" and talked about the antiquity of the Turkish people and their rich cultural and military traditions. In addition to describing the artistic image of Nuru Pasha as a military figure and personality in the "Trablis War", he has dedicated "The Conquest of Edirne" to this topic , and promised to write a new work that will tell about the triumphant march of the general for the salvation of Baku. Jafar Jabbarli's fiery speech impressed Nuru Pasha. After the banquet, the general accepted the invitation of Jabbarli, whom he called "friend", and became his guest. The next day, Haji Shahbika, Jabbarli's mother, received the gifts sent by Nuru Pasha. These included: a nickel-plated iron bedstead, a wall hanger for clothes, and a wall clock. The main content of the play is the anger of the Turkish people against the ruling circles who took a submissive and hypocritical position during the Balkan wars, the patriotic movement for the lost lands of Edirne , heroism and bravery.
The writer's work "Baku War" describes the bloody events that took place in Baku in March 1918 , the atrocities inflicted by the Armenian Dashnaks on the Azerbaijanis , and the heroic savior Turkish army, led by Nuru Pasha, saved the city from the Armenian savages. That tragedy was staged on September 16, 1919, under the direction of AM Sharifzade, in "Turkish Hearth" (Turkish State Theater). However, the work was not found later.
The result of Jafar Jabbarli's literary activity in 1920-1923 were the plays "Aydyn" (1919) and "Ogtay Eloglu" (1922). Both works were staged at the Azerbaijan State Theater in 1921-1923 and were included in the theater's repertoire. In these works, which are close to each other in terms of ideas and style, Jabbarli showed a society dominated by money and the tragedy of oppressed workers in this society.
Jafar Jabbarli was arrested and tortured twice in 1922-1923. Jafar Jabbarli's daughter Gulara Jabbarli says about this:
They always accused my father of pan-Turkism and looked for a moment to arrest him.
In 1923, he was called to the security authorities several times. They suffered there for 2-3 months. In my father's works "Conquest of Edirne" and "Ulduz" ("Trablis War"), the struggle of the youth of Turkey for freedom plays a central role. That is why they tortured him mercilessly. My father, who is not afraid of persecutions and sufferings related to all these and other issues, did not name any of his friends. Although they did not find consistent facts, they constantly hurt my father. Perhaps it was these persecutions that caused him to live a short time.
In 2013, Jafar Jabbarli's poem written in Baku prison on July 17, 1923 was found. At the end of the poem " Blooming-fading flowers " is written "Baku, FK 19. July 17, 1923" in Arabic script. Most likely, "FK 19" refers to the initials of the name of the Extraordinary Commission (in Russian "Cherezvychaynaya Komisiya" — ed.), cell number 19 of that department. "Blooming and fading flowers" is one of the first examples of Soviet prison poetry. This poem, found among the investigation materials, reflects that Jafar Jabbarli no longer has faith in life or anything. The poem was found by Asif Rustamli, a researcher of C. Jabbarli's heritage, doctor of philological sciences .
The idea of writing the tragedy " The Bride of Fire " first arose in Jabbarli in 1924. "Bride of Fire" is mainly dedicated to the typical historical events of the 9th century and the struggle of the people's leader Babak against the Arab invaders. While the first version of the work was ready in the middle of 1925, Jabbarli worked on it for three years, improved it, and only then gave it to the theater.
In 1928, with the play "The Bride of Fire", the playwright addressed a topic that is problematic due to its historical origin and topical due to its time. In the first version, the work was written as a play consisting of 38 pictures, and in the process of preparation for the performance, it was reduced to 18 pictures.
The tragedy, which the Soviet critic evaluated as an "atheist spirit" and a very effective work in the fight against religion, does not specifically describe Islam and its harmful aspects, but the scenes depicting Arab invasion , robbery, encroachment on the people's customs, religion, and self-esteem alternate with each other.
Muhammad Amin Rasulzadeh wrote in "Contemporary Azerbaijani Literature":
"Fire Bride" was written by Jafar after he was released from "Cheka" prison. He was arrested together with a group of "Musavatchilars" for an incident that made a noise both in the country and outside the country. This work describes the fight against the Muslim-Arab invasion of fire-loving Azerbaijan. The new owners are taking away all the wealth of the country. Oil is declared the property of the state. It is transported to Arabia. They force Azerbaijanis to convert to Islam.
The symbolism of the landscape is obvious. For the audience, replacing the words "Arab" and "Islam" with the words "Russian" and "communism" is enough to actualize the meaning".
"Bride of Fire" was staged in 1928. The production director of the work was AA Tuganov.
Already in 1922-1923, he submitted the verse tragedy "Araz River" to the State Drama Theater for Jabbarli to play. Most likely, this poem was dedicated to the issue of the unity of the Azerbaijani people. At that time, "Araz river, get out of here, let Azerbaijan unite!" It is assumed that the verse is from that tragedy. Unfortunately, this work has not been found and there is no detailed information about it. Beginning in 1923, Jabbarli published his legendary poem "Girl's Fortress" in the "Education and Culture" magazine. "Maiden Castle" was written in 1922-1923.
In 1924, while studying at the Eastern Faculty of Azerbaijan State University, Jabbarli continued his literary activities. Along with writing a number of stories and poems, he was also engaged in translation, and made speeches with articles in different media. In 1924-1925, the writer's theoretical thoughts about theater art were published in "Zahmat" newspaper, "The latest state of Azerbaijani literature", "Bizde teatro", "Azerbaijan theater school", "Literary disputes" in 1922, etc. In his articles, the issue of creating a new repertoire, training artistic actors, actresses and directors was put forward.
Jafar Jabbarli worked in Akhbar newspaper as a result of Mammad Said Ordubadi's efforts. He used to go to Baku, Sheki, Shamakhi, Ganja, Nakhchivan and other regions to watch his plays and meet his literary friends.
From the notes of Muhammad Amin Rasulzadeh :
"Jabbarli is not only a writer, but also a director. The famous music professor Gilyer turned his verse play "Shahsanem" into music and wrote an opera. Like the poem "Maiden's Castle", some of his works have been translated into Caucasian languages as well as Russian. Apart from his dramas, Jabbarli's poems and there were also stories. Jabbarli's dramaturgy is an important stage in Azerbaijani dramaturgy".
In 1925, he translated Shakespeare's tragedy "Hamlet" for the state theater, and at the beginning of 1927, he published the story "The Charmer", and at the same time he translated a part of F. Gladkov's work "Cement". In 1928, he translated and published Leo Tolstoy's story "Childhood" and Maxim Gorky's story "Rings".
The 1920s-1930s, rich in complex social and political events, constitute a special stage in both the political and literary history of the Azerbaijani people. There are many historical documents and examples of literature reflecting the truths of this period characterized by complex events such as the Bolshevik rule, the Soviet regime, the establishment of collective farms, and collectivization.
From 1928, the third period of the writer's creativity begins. After the establishment of the Soviet power in Azerbaijan, the writer took a break from drama creation for a while and wrote the work "Seville" in 1927. The work is dedicated to the theme of women's freedom.
Women's freedom is one of the main themes of Jabbarli's drama. Most of the writer's stories are devoted to the unfortunate fate of Azerbaijani women, but the writer described Azerbaijani women in development rather than in a frozen state. They gradually become conscious and realize their human dignity. Jabbarli's female images rise from passive protest to active protest and social struggle. In the women's liberation movement, the press and fiction had an important role, and Jabbarli's play "Seville" was of particular importance in this struggle. In the work, the life of an Azerbaijani woman yesterday, today, and even in the future is reflected in the face of Sevil.
In the play "Seville", which had a direct impact on the literary and social environment of the 1930s and resonated with a large audience and readership, the playwright made an effort to depict the new society, new people, new family and moral norms in an artistic illustration. The work describes the life path of a humble woman, the process of spiritual evolution. In the play, the writer reflected the struggle of oldness and newness based on the material of modern life.
In 1930, Jabbarli started working as a director and director of the artistic department at the Turkish State Theater.
After "Sevil", the playwright was thinking about two topics; one of them was the friendship of peoples, and the second was the issue of the new village.
C. Jabbarli's dramatic work of the 1930s begins with the play "Diamond". The first performance of the work was shown on April 13, 1931. The play was a great success.
One of the main social issues of the period of building socialism, 1929-1930, was the collectivization of agriculture. In the person of Almaz, the writer created an image of a young man, which is characteristic of a socialist society.
In 1931, Jabbarli completed the play "In 1905" and gave it to the theater. The work is about the friendship of peoples. The Turkish State Drama Theater opened its 1931 season with this play. Jabbarlı himself worked on the production as the production director of the work Lütse left the work unfinished.
In 1932, C. Jabbarli wrote the work "Dönüş". In a letter to his wife Sona, he says the following about the work:
"I'm going to start writing a little play. If I can't finish it here, I'll come and finish the rest in the garden..."
The small play that Jabbarli showed in this letter written in the summer of 1932 was the play "Dönüş". In his letter to AA Tuganov, Jabbarli states that he will write a small satirical play on the occasion of the anniversary of the State Drama Theater. It turns out that Jabbarli was working on a play that criticized its shortcomings in a friendly manner to be performed on the theater's anniversary. This play was to be a comedy in one or two acts, a critical work as a "mirror of our stage". However, during the work, the work gradually grew, the topic expanded, and in the end it turned into a serious play covering the issues of socialist art. The main goal of the writer in writing the work was to reveal the flaws in the world of literature and art, to clean the theater environment of harmful and bad ideas and theories. The play can be taken as a continuation of "Ogtay Eloglu".
At the same time as "Dönüş", in 1932, Jabbarli worked on the play "Yaşar". The work was staged in December 1932. The image of a new Azerbaijani intellectual was created in the work. Yasar is a new type of young scientist. He wants to improve his homeland with his invention. In the play, Jabbarli opposes science that worships old scientific norms and outdated methods, and welcomes new, enterprising scientists who boldly break the outdated rules that hinder development. "Yaşar" was Jabbarli's last completed work.
In 1933-1934, despite the fact that Jabbarli did not give a new work to the stage, these years were the most active years in his life. At that time, he worked in the drama theater, the opera theater, and the cinema.
In 1934, the first congress of Azerbaijan Shura writers was held. Jafar Jabbarli criticized Huseyn Javid's work at the June 16 meeting of the Kurultai .
Jafar Jabbarli highly appreciated the theater. In one of his notes about the theater, we read:
"If the theater is at a high artistic level, the country will develop well in general. Culture consists of science and art. The theater combines other parts of art . "
On the occasion of the 50th anniversary of Mirza Fatali Akhundov's death in 1928, the dramatist who worked as the director of the literary section at the Azerbaijan State Drama Theater for a long time, a movie called "Sona" is being shot based on the motifs of the work "Haji Kara".
The movie " Sevil " was shot in 1929 based on the script of Jafar Jabbarli. This film was the first protest voice of Azerbaijani cinematographers against women's rightslessness and female slavery. Jabbarli was closely involved in the search for a suitable Azerbaijani girl to play the role of Sevil in the movie. C. Jabbarli went to the streets of Baku and went door to door looking for an Azerbaijani girl in houses, offices and universities in order to find an actress who would portray his hero on the screen. Jafar wanted Sevili to play an Azerbaijani girl in the film. He achieved this dream with his own stubbornness. Based on the impression he received during this search, he wrote the story "Güler". The role of Seville was played by Izzet Orujova, a student of the Azerbaijan State Oil and Chemical Institute.
The film " Sevil " was a great success. Jabbarli wrote screenplays for the plays "Almaz" and "In 1905" and immediately after "Seville" he started filming the movie " Almaz ".
From Ms. Sona's memories:
"Here, too, the role of the hero, that is, Almaz, was played by Izzet Khanum. Unfortunately, Jafar could not finish this structure. Merciless death separated him from this work too soon. Jafar's artistic friends finished shooting the film " Almaz " without Jafar, and at the end of 1935, after his death On the first anniversary, they gave a report on the grave about the successful completion of the work".
From the memoirs of Mrs. Sona Jabbarli, it is known that the writer spent the last years of her life working in the film studio and was forced to leave the theater against her will.
His critics claimed that Jabbarli had monopolized the Azerbaijan State Drama Theater and as long as Jafar was in the theater and writing, they would not give plays there.
Jafar Jabbarli wrote the following letter to the Organizing Committee of the Union of Soviet Writers:
"...If this is true, I am ready to leave the theater immediately, if only they will write. I will go to other enterprises: to the opera, where no one has written anything for 14 years, and for which I have to write two librettos this year; for which I have never worked, and yet the repertoire is mine "1905 to the Russian workers' theater, which organized my plays "Almaz", "Yashar", "Sevil"; to Azerkino, where no one has done anything for 14 years, and I consider myself indebted there; as well as Uzbek, Turkmen, Tajik, Tatar, where most of my plays are performed I work in theaters and workers' clubs, finally, I may not write at all, let only those comrades write."
Thus, Jafar completely left the theater and went to a permanent job at the Baku film factory. He worked there both as a screenwriter and a director.
Jabbarli raised the issue of training cameramen, artists, directors and film-actresses from Azerbaijanis , and when he worked in cinema, he was seriously active in this field. The writer, who approached film work very seriously, as well as in theater, paid attention to training and training of national personnel in this field. In his article "Where is Azerkino Going" he wrote:
"When I asked the managers of Azerkino: why is it that not one of the four editors in your printing house located near the factory (and two of them have just been hired) is not Turkish, and the Turkish writings are distorted by those who do not know this language in such a way that "beautiful girls" - "beautiful nuts" is written, they answer that there are no Turkish composers, and here the Turkish composer walks for himself and plays backgammon.
But right here, in the factory, a Turkish woman Orujova (one of the 8-9 Turks among the 125 non-Turkish employees of Azerkino, a beautiful actress) works as a typist. No one can give a clear answer to the question of why actors are invited from Moscow , Leningrad , Kharkiv in male roles , and the director throws the director over the director, the director over the cameraman, the cameraman over the director, and sia Azerkino does not have its own face. He needs to find his own creative face. Azerkino's only way of salvation is in giving up distrust of the working masses of Azerbaijan, which they mainly serve, and in choosing the creative will and nature of this mass as the basis for all its work. We need to open the doors of our film factory and let in this lively creative crowd. Only he is capable of defining the true face of Azerbaijani cinema. And all the rest is fake, artificial, surrogate, not believable and therefore not worth a penny and doomed to destruction. This is how other film organizations work, and this is how ours should work. The sooner the directors of our cinema realize this, the better. And if they decide to be stubborn again, it is very likely that this time it will end badly for them. And now we are warning, our cinema is going to destruction in the wrong way".
After starting to work in the cinema, Jabbarli completely forgot about rest. In his letter dated August 29, 1933 to Mrs. Sona Jabbarli, Jafar Jabbarli described his stressful work situation as follows:
"... Then, Sonasi, my own case is as follows: it was decided in Moscow that only I should give the pastanovka of "1905" in the cinema. They did not agree to give it to someone else. It was decided in Moscow which cinemas can go and which one should be shown by which director. " When we talked about the director of the film "In 1905", they said that they don't know Braginski-Mraginski, Jafar should direct it himself. He should be this year. And he should switch from theater to cinema. I said: I will not leave the theater. Then they said to work in both theater and cinema. Now Let's start the director's script. I've only finished the 1st, 2nd and 3rd scenes of "Safa". He says: you need to finish "Shahsanam" in a week. They say I don't have time. On the other hand, "The Fugitives" by Schiller... In short, my work is very complicated. , I am writing to you... Then, I have to perform "In 1905" in the Turkish theater. "In 1905" also plays in the Russian theater. Mayorov says, we have to work together, I can't leave him alone. In the opera, I have to give the pastanovka of "Safa". It is up to me to renew "Othello" in our theater as well. I somehow avoided them. They all say it at the same time. In short, the world is panicked and I don't know what to do. Yes, I will work with Mayorov on "Bride of Fire". Here is roughly my work. Now let's get down to business..."
In 1928, he wrote a screenplay based on Mirza Fatali Akhundov's play "Haji Kara" and became the first national cinema screenwriter of Azerbaijan .
Works
" The Faithful Series, or Laughter Through Tears " (1915)
"Pale Flowers" (1915)
"Nasreddin Shah" (1916)
"Trablis War" (1917)
"Conquest of Edirne" (1917)
"Baku War" (1918)
"Clear" (1919)
" Ogtay Eloglu " (1922)
"Bride of Fire" (1928)
"Gulzar" (1924)
"Dilara" (1924)
"The Charmer" (1927)
"Seville" (1928)
"The Diamond" (1931)
"In 1905" (1931)
Yashar (1932)
"The Return" (1932)
His memory
Statue of Jafar Jabbarli in Baku . Sculptor Mirali Mirgasimov
The named station in the Baku metro
Named streets in many cities and towns
Azerbaijan film studio named after Jafar Jabbarli
There are house-museums in Baku and Khizi.
On December 17, 2018, the President of Azerbaijan signed a decree on celebrating the 120th anniversary of Jafar Jabbarli.
In February 2019, a conference was held on the occasion of the 120th anniversary of the prominent playwright Jafar Jabbarli at the central headquarters of the International Organization of Turkish Culture (TURKSOY) in Ankara .
According to the Resolution No. 211 of the Cabinet of Ministers of the Republic of Azerbaijan dated May 7, 2019, Jafar Jabbarli was included in the list of authors whose works were declared state goods in the Republic of Azerbaijan .
After the death of Jafar Jabbarli, since 1935, Huseyn Rahmanov awarded the Jafar Jabbarli prize to young writers. Young people were also given cash prizes. Cherishing the memory of Jafar Jabbarli, his family and researchers established the "Jafar Jabbarli Award" on the eve of the great writer and artist's 100-year anniversary to honor outstanding people in the fields of literature, science, music and art. The Jafar Jabbarli award was presented for the first time in 1999, and for the second time in 2010.
Filmography
Abbas Mirza Sharifzade (film)
Agasadig Garaybeyli (film, 1974)
Almaz (film, 1936) - scriptwriter, author of the work
Roads to Freedom (film, 1990)
Baku gardens. Buzovna (film, 2007)
The Fishermen (film, 1927)
The Life of Javid (film, 2007)
Jafar Jabbarli (film, 1944)
Jafar Jabbarli (film, 1969)
Jafar Jabbarli. Plays (film, 1973)
The Funeral of Jafar Jabbarli (film, 1935)
The Black Pilgrim (film, 1929)
The Return (film, 1992)
Gambar Huseynli (film, 2007)
That's How They Loved (TV Show, 2007)
Seville (film, 1929)
Seville (film, 1970)
Like an Everlasting Spring (film, 1979)
The Bat (film, 1995)
Jafar Jabbarli was awarded the honorary title of "Honored Artist of the Azerbaijan SSR" by the Protocol No. 32 of the meeting of the Presidium of the All-Azerbaijan Central Executive Committee dated April 25, 1933.
Baku is the capital of Azerbaijan Republic, which was also the capital of Shirvan (during the reigns of Akhsitan I and Khalilullah I), Baku Khanate, Azerbaijan Democratic Republic and Azerbaijan SSR and the administrative center of Russian Baku governorate. Baku is derived from the old Persian Bagavan, which translates to "City of God". A folk etymology explains the name Baku as derived from the Persian Bādkube (بادکوبه ), meaning "city where the wind blows", due to frequent winds blowing in Baku. However, the word Bādkube was invented only in the 16th or 17th century, whereas Baku was founded at least before the 5th century AD.
Starting from the 13th century AD the name of Baku begins to appear in mediaeval European Sources. Spelling of the name varies from Vahcüh (Pietro Della Valle), to Bakhow, Baca, Bakuie and Backu.
On the coins minted by Shirvanshahs name appears as Bakuya.
Various different hypotheses have been proposed to explain the etymology of the word Baku. According to L.G.Lopatinski[3] and Ali Huseynzade "Baku" is derived from Turkic word for "hill". K.P. Patkanov, a specialist in Caucasian history, also explains the name as "hill" but in Lak language.
Around 1000 years ago, the territory of modern Baku and Absheron was savanna with rich flora and fauna. Traces of human settlement go back to the Stone Age. From the Bronze Age there have been rock carvings discovered near Bayil, and a bronze figure of a small fish discovered in the territory of the Old City. This have led some to suggest the existence of a Bronze Age settlement within the city's territory. Near Nardaran in a place called Umid Gaya, a prehistoric observatory was discovered, where on the rock the images of sun and various constellations are carved together with a primitive astronomic table. Further archeological excavations revealed various prehistoric settlements, native temples, statues and other artifacts within the territory of the modern city and around it.
In the 1st century, Romans organized two Caucasian campaigns and reached Baku. Near Baku, in Gobustan, Roman inscriptions dating from 84–96 AD were discovered. The remnant of this period is the village of Ramana in the Sabunchu district of Baku.
In the Life of the Apostle Bartholomew, Baku is identified as Armenian albanus. Some historians assume that during the existence of Caucasian Albania Baku was called Albanopolis. Local church traditions record the belief that Bartholomew's martyrdom occurred at the bottom of the Maiden Tower within the Old City, where according to historical data, a Christian church was built on the site of the pagan temple of Arta.
A record from the 5th-century historian Priscus of Panium was the first to mention the famous Bakuvian fires (ex petra maritima flamma ardet – from the maritime stone flame emerges). Owing to these eternal fires Baku became a major center of ancient Zoroastrianism. Sassanid shah Ardashir I gave orders "to keep an inextinguishable fire of the god Ormazd" in the city temples.
There is little or no information regarding Baku in medieval sources until the 10th century. The earliest numismatic evidence found in the city is an Abbasid coin dating from the 8th century AD. At that time Baku was a domain of the Arab Caliphate and later of Shirvanshahs. During this period, they frequently came under assault of the Khazars and (starting from the 10th century) the Rus. Shirvanshah Akhsitan I built a navy in Baku and successfully repelled another Rus assault in 1170. After a devastating earthquake struck Shamakhy, the capital of Shirvan, Shirvanshah's court moved to Baku in 1191. A mint was put into operation.
Between the 12th and 14th centuries, a massive fortification was undertaken in the city and around it. The Maiden Tower, castles of Ramana, Nardaran, Shagan and Mardakan, and also famous Sabayel castle on the island of the Baku bay was built during this period. The city walls were also rebuilt and strengthened.
The biggest problem of Baku during this time was the transgression of the Caspian Sea. The rising levels of the water from time to time engulfed much of the city and the famous castle of Sabayel went completely into the sea in the 14th century. These led to several legends about submerged cities such as Shahriyunan ("Greek city").
Hulagu Khan occupied Baku under the domain of the Shirvan state during the third Mongol campaign in Azerbaijan (1231–1239) and it became a winter residence for Ilkhanids. In the 14th century, the city prospered under Muhammad Oljeitu who relieved it from some of the heavy taxes. Bakuvian poet Nasir Bakui wrote a panegyric to Oljeitu thus creating the first piece of poetry in Azerbaijani language.
Marco Polo had written of Baku oil exports to Near Eastern countries. The city also traded with the Golden Horde, the Moscow Princedom, and European countries.
In 1501, Safavid shah Ismail I laid siege to Baku. The besieged inhabitants resisted, relying for defense on their fortifications. Due to the resistance, Ismail ordered part of the fortification's wall to be undermined. The fortress's defense was destroyed and many inhabitants were slaughtered. In 1538, the Safavid Shah Tahmasp I put an end to the Shirvanshahs' reign and in 1540, Baku was recaptured by Safavid troops again.
Between 1568 and 1574 there is a record of six English missions to Baku. English men named Thomas Bannister and Jeffrey Duckett described Baku in their correspondence. They wrote that the "...town is a strange thing to behold, for there issueth out of the ground a marvelous quantity of oil, which serveth all the country to burn in their houses. This oil is black and is called nefte. There is also by the town of Baku, another kind of oil which is white and very precious, and it is called petroleum." The first oil well outside of Baku was drilled in 1594 by a craftsman named A. Mamednur oglu. This man finished the construction of a high-efficiency oil well in the Balakhany settlement. This area was historically outside city territory.
In 1636, German diplomat and traveler Adam Olearius described Baku's 30 oil fields, noting that there was a great quantity of brown oil.[citation needed] In 1647, famous Turkish traveler Evliya Çelebi visited Baku. In April 1660, Cossacks under Stepan Razin attacked the Baku coast and plundered the village of Mashtaga. In 1683, Baku was visited by the ambassador of the Kingdom of Sweden, Engelbert Kaempfer. In the following year, Baku was temporarily recaptured by the Ottoman Empire.
Baku is noted for being a focal point for traders from all across the world during the Early modern period, commerce was active and the area was prosperous. Notably, traders from the Indian subcontinent established themselves in the region. These Indian traders built the Ateshgah of Baku during 17th–18th centuries; the temple was used as a Hindu, Sikh, and Parsi place of worship.
The fall of the Safavid dynasty in 1722 caused widespread chaos.[citation needed] Baku was invaded by the Russian and Ottoman empires.
On 26 June 1723, after a long siege, Baku surrendered to the Russians and the Safavids were forced to cede the city alongside many other of their Caucasian territories. In accordance with Peter the Great's decree, the soldiers of two regiments (2,382 people) were left in the Baku garrison under the command of Prince Baryatyanski, the commandant of the city. Peter the Great, while equipping a new military expedition commanded by General Mikhail Matyushkin, charged him with sending more oil from Baku to St. Petersburg, "which is a basis of an eternal and sacred flame"—Old Russian: "коя является основой вечного и священного пламени". However, due to Peter's death, this order was not carried out.
In 1733, Baku was visited by physician Ioann Lerkh, an employee of the Russian embassy and, like many others before him, described the city oil fields. By 1730, the situation had deteriorated for the Russians as Nadir Shah's successes in Shirvan forced the Russians to make an agreement near Ganja on 10 March 1735, ceding the city and all other conquered territories in the Caucasus back to Persia.
After the disintegration of the Safavid Empire and after the death of Nader Shah, the semi-independent principality of Baku Khanate was formed in 1747 following the power vacuum which had been created. It was ruled by Mirza Muhammed Khan and soon became a dependency of the much stronger Quba Khanate. The population of Baku was small (approximately 5,000), and the economy was ruined as a result of constant warfare, banditry, and inflation. The khans benefited, however, from the sea trade with the rest of Iran. Feudal infighting in the 1790s resulted in the dominance of an anti-Russian faction in the city resulting in the Russian-leaning brother of the Khan being exiled to Quba.
By the end of the 18th century, Tsarist Russia now began a more firm policy with the intent to conquer all of the Caucasus at the expense of Persia and Ottoman Turkey. In the spring of 1796, by Yekaterina II's order, General Valerian Zubov's troops started a large campaign against Qajar Persia following the sack of Tbilisi and Persia's aim to restore its suzerainty over Georgia and Dagestan. Zubov had sent 13,000 men to capture Baku, and it was overrun subsequently without any resistance. On 13 June 1796, a Russian flotilla entered Baku Bay, and a garrison of Russian troops was placed inside the city. Later, however, Pavel I ordered the cessation of the campaign and the withdrawal of Russian forces following the death of his predecessor, Yekatarina II. In March 1797, the tsarist troops left Baku.
Prince Pavel Tsitsianov was shot to death when he tried to make Baku surrender during the Russo-Persian War (1804–1813).
Coat of arms of Baku Governorate
Tsar Alexander I set out to conquer Baku once again during the Russo-Persian War (1804-1813) during which Pavel Tsitsianov tried to capture Baku in January 1806. But aide-de-camp and cousin of Huseyngulu Khan suddenly shot Tsitsianov to death during the presentation of the city's keys to him. Left without a commander, the Russian Army left Baku and the occupation of Baku Khanate was delayed for a year. Baku was captured on October of the same year and eventually absorbed into the Russian Empire after formal ceding of the city amongst other integral territories in the North Caucasus and South Caucasus by Persia in the Treaty of Gulistan, in 1813. However, it was not until the aftermath of the Russo-Persian War (1826-1828) and the Treaty of Turkmenchay that Baku came under nominal Russian rule, as the city was retaken by Persia during the war.
When Baku was occupied by the Russian troops during the war of 1804–1813, nearly the entire population of some 8,000 people was ethnic Tat.
In 1809, at the time of the Russian conquest, the Muslim population grew to become 95% of the city's population.
On 10 July 1840, the Russian Duma approved "The Principles of Ruling of the Transcaucasian Region", and Baku uyezd was turned into an administrative region of the Russian Empire.
Fortstadt, a new suburb, grew from the dispersed buildings scattered within the city's fortifications. Medieval seaside fortifications were demolished in 1861 to allow for the creation of the port and a customs house in the quay.
Baku became a center of the eponymous province after the devastating earthquake of 1859 in Shamakha. The population of Baku Governorate began to increase steadily. It is recorded that the number of police stations increased. The first Baku stock exchange had ten brokers, all of Russian nationality.
In 1823, the world's first paraffin factory was built in the city, and in 1846, the world's first oil well was drilled in Bibi-Heybat. Javad Melikov from Baku had built the first kerosene factory in 1863. In 1873, the Russian government offered competition for free land, and Baku caught the eye of the Nobel brothers. In 1882, Ludvig Nobel invited technical staff to Baku from Finland, Sweden, Norway, and Germany and founded a colony that he called Villa Petrolea. This colony was located in the "Black City". Bullock-cart drivers used wineskins and flasks to transport oil until the 1870s. In 1883, a Rothschild's plenipotentiary arrived from Paris and created the "Caspian-Black Sea Joint-Stock Company". Famous Baku oil magnates of the era included Musa Nagiyev, Murtuza Mukhtarov, Shamsi Asadullayev, Seid Mirbabayev, and many others.
The companies owned by Musa Nagiyev and Shamsi Asadullayev were the largest of Baku's oil producers. Established respectively in 1887 and 1893, they produced between 7 million and 12 million poods (110 to 200 Gg) of oil annually. The companies owned oil fields, refineries, and tankers. By the beginning of the next century, more than a hundred oil firms operated in Baku.
The oil boom of the late 19th and early 20th centuries contributed to massive growth of Baku. Between 1856 and 1910 Baku's population grew at a faster rate than that of London, Paris or New York.
The second half of the 19th century was notable for its advancement in communication. In 1868, the first telegraph line to Tiflis was established, and in 1879, an under-sea telegraph line connected Baku with Krasnovodsk. In the same year, the Baku-Sabunchi-Surakhany was in operation. The tracks were 520 versts (555 kilometres) from Tiflis and was completed in a relatively short time on 8 May 1883. The first telephone line was in operation in 1886. In 1899, the first horse tramway appeared.
In 1870, a Lutheran-Evangelical community was established in Baku. However, in 1937, the clerics as well as the representatives of other religious communities were banished or shot. The Lutheran community was not revived until 1994, after the fall of the Soviet Union.
In the 1870s, the number of administrative and public institutions had grown, among them a provincial court and arbitration. In the first years of the 20th century, a case considered in the district court won great popularity and lawyers from Petersburg, Moscow, Tiflis, and Kiev became involved because of fabulous fees often received there.[clarification needed] The loudest litigations passed with the participation of a certain Karabek, who knew by heart the extensive code of laws of the Russian Empire and remembered all decrees of the Sacred Synod with exact reference numbers and dates.
In the beginning of October 1883, tsar Alexander III with his wife and two sons, accompanied by a huge retinue, arrived to Baku from Tiflis. The railway station had been prepared for the solemn ceremony. The city authorized Haji Zeynalabdin Taghiyev to welcome Alexander. The visitors examined the oil storage of Nobel brothers, the pump station, and three powerful oil wells of Shamsi Asadullayev. Beginning from the 1890s, Baku provided 95% of the oil production in the Russian Empire and approximately half of world oil production. Within ten years, the city had become the foremost producer of oil overtaking the United States.
In 1914–1917, Baku produced 7 million tons of oil each year, totaling 28,683,000 tons of oil , which constituted 15% of world production at the time. Germany did not trust Turkey in oil matters and transferred General Friedrich Freiherr Kress von Kressenstein from the Middle Eastern front with his troops to Georgia in order to enter Baku, through Ukraine, the Black Sea and Georgia. Great Britain, in February 1918, urgently sent General Lionel Dunsterville with troops to Baku through Anzali to block the German troops. Having studied the Caucasus from the strategic point of view, Dunsterville concluded: "Those who capture Baku, will control the sea. That's why it was necessary for us to invade this city." On 23 August 1918, Lenin in his telegram to Tashkent wrote: "Germans agree to attack Baku provided that we would kick the British out of Baku".
Having been defeated in World War I, Turkey had to withdraw its forces from the borders of Azerbaijan in the middle of November 1918. Led by General William Thomson, British troops of 5,000 soldiers arrived in Baku on 17 November, and martial law was implemented on the capital of Azerbaijan Democratic Republic until "the civil power would be strong enough to release the forces from the responsibility to maintain the public order".
In the same year, Thompson was faced with an enormous challenge to recreate confidence in the economy. His fundamental requirement was to recreate a sound and reliable banking system. He wrote, however: "the political situation in Baku does not permit the opening of a British Bank because this would have increased suspicion and jealousy as to British intentions".
In the spring of 1918, Armenian interests in Baku were protected by the Baku Soviet of People's Commissars, who became known as the 26 Baku Commissars.
In February 1920, the 1st Congress of the Communist Party of Azerbaijan legally took place in Baku and made a decision about preparation of the armed revolt. On 27 April of the same year, units of the Russian 11th Red Army crossed the border of Azerbaijan and began to march towards Baku. Soviet Russia presented the Azerbaijan Democratic Republic with an ultimatum to surrender, and the troops entered Baku the next day, accompanied by Grigory Ordzhonikidze and Sergey Kirov of the Bolshevik Kavbiuro. The city became a capital of the Azerbaijan SSR and underwent many major changes. As a result, Baku played a great role in many branches of the Soviet life. Since about 1921, the city was headed by the Baku City Executive Committee, commonly known in Russian as Bakgorispolkom. Together with the Baku Party Committee (known as the Baksovet), it developed the economic significance of the Caspian metropolis. From 1922 to 1930, Baku was the venue for one of the major Trade fairs of the Soviet Union, serving as a commercial bridgehead to Iran and the Middle East.
On 8 February 1924, the first tram line and two years later the electric railway Baku-Surakhany—the first in the USSR—started to operate.
While being in Baku in May 1925 Russian poet Sergei Yesenin wrote a verse "Farewell to Baku":
Farewell to Baku! I'll see you no more
A sorrow and fright are now in the soul
And a heart under the hand is more painful and closer
And I feel the simple word "friend" more distinctly.
However Yesenin returned to the city on 28 July of the same year.
Maxim Gorkiy wrote after visiting Baku: "The oil fields remained in my memory as a perfect picture of the grave hell. This picture suppressed all the fantastic ideas of depressed mind, I was aware of." Well-known—at that time—industrialist V. Rogozin noted, in relation with the Baku oil fields, that everything there was done "without counting and calculating". In 1940, 22.2 million tons of oil were extracted in Baku which comprised nearly 72% of all the oil extracted in the entire USSR.
In 1941, the trolley bus line started to operate in the city, meanwhile the first buses appeared in Baku in 1928.
The US Ambassador to France, W. Bullitt, dispatched a telegram to Washington concerning "the possibilities of bombing and demolition of Baku" which were being discussed in Paris at the time. Charles de Gaulle was extremely critical of the plan according to both his wartime and postwar statements. Such ideas, he believed, were made by some "crazy heads that were thinking more of how to destroy Baku than of resisting Berlin". In his report submitted on 22 February 1940, to French Prime Minister Édouard Daladier, General Maurice Gamelin believed the Soviets would fall into crisis if those resources were lost. However, during the Soviet-German War, ten defense zones were built around the city to prevent possible German invasion, planned within the Operation Edelweiss.
Even a cake for Hitler was adorned by a map of the Caspian Sea with the letters B-A-K-U spelled out in chocolate cream. After eating the cake, Hitler said: "Unless we get Baku oil, the war is lost".
The first offshore oil platform in the world, originally called "The Black Rocks", was built in 1947 within the city's metropolitan area. In 1960, the first Caucasus house-building plant was built in Baku, and on 25 December 1975, the only plant producing air-conditioners in the Soviet Union was turned over for operation.
In 1964–1968, the level of oil extraction rose to the stable level and comprised about 21 million tons per year. By the 1970s, Azerbaijan became one of the largest producers of grapes, and a champagne factory was subsequently constructed in Baku. In 1981, a record quantity of 15 billion m³ of gas was extracted in Baku.
In 1990, Shaumyan rayon of Baku was renamed to Khatai and Ordzhonikidze rayon to Narimanov. In 1991, following the collapse of the Soviet Union and the Bakgorispolkom as a result, the first independent city mayor Rafael Allahverdiyev was appointed. On 29 April 1992, the names of some more city rayons were changed:
With the initiatives for saving the city in the 2000s, Baku embarked on a process of restructuring on a scale unseen in its history. Thousands of buildings from Soviet Period were demolished to make way for a green belt on its shores; parks and gardens were built on the land claimed by filling up the beaches of the Baku Bay. Improvements were made in the general cleaning, maintenance, garbage collection fields and these services are now at Western European standards. The city is growing dynamically and developing at full speed on an east-west axis along the shores of the Caspian Sea.
Most Soviet era street names have been replaced after the collapse of the Soviet Union. More than 225 streets have been renamed since 1988; however, some people still use the old names. Namely, the first street ever to be built outside the Inner City, originally called Nikolayevskaya after Nicolas I, was renamed to Parlaman Kuchesi, because the Parliament of Azerbaijan Democratic Republic held its meeting in a building located at that street, then during soviet era it became Kommunisticheskaya Ulitsa and now is called İstiqlaliyyet Kuchesi (Azeri: "independence").
German postcard by Verlag Ross, no. 626/6. Photo: Viggo Larsen, Tempelhof. Viggo Larsen and Erra Brognar in Der Fürst der Diebe und seine Liebe/The King of Thieves and His Love (Viggo Larsen, 1919).
Der Fürst der Diebe und seine Liebe/The King of Thieves and His Love was a four-part German film about a gentleman-criminal and his beloved. It premiered in Berlin on 4 November 1919. Director and star was Danish actor, director, scriptwriter, and producer Viggo Larsen. The scriptwriter was Hans Hyan, and the photographer Julius Balting. Initially, the state censorship of 1921, completely forbade the film but after cuts, it remained only forbidden for youngsters.
Viggo Larsen (1880-1957) was a Danish actor, director, scriptwriter and producer. He was one of the pioneers in film history. With Wanda Treumann he directed and produced many German films of the 1910s.
It all started in 1994. TV scriptwriter Stefan Struik had an interview with a meditating hermit in Baarn (NL) who was complaining about gnomes who disturbed the power network in his house. A month later he ran into trolls in a Norwegian clothing store in the Dutch-Frisian village Dokkum. A year before he got surprised by the amount of one meter high garden gnomes just across the border between Germany and Poland. It all seemed to point into a new direction he would hit a few months later. In December 1994 he opened with his sister a small game and bookstore in Delft (NL), named Elf Fantasy Shop. The games were a golden opportunity. Three years later the duo could open an second store in The Hague.
In 1995 Stefan also started a new adventure with a free magazine called Elf Fantasy Magazine. In 2001 the magazine became professionalized and despite it never realised any profits it existed until 2009.
Stefan and his sister already organised lectures in the Elf Fantasy Shops about druidism, Tolkien and other fantasy related subjects. In 2001 Stefan decided to combine a few things into a totally new and unique festival concept that later would be copied many times: the Elf Fantasy fair. Starting in the historical theme parc Archeon (NL) it moved the year after to the largest castle in the Netherlands: castle de Haar. With the exception of 2004 (castle Keukenhof, Lisse) it remained in castle de Haar, Haarzuilens since then. In 2009 a second version of the Elf Fantasy Fair started 400 meters from the border with Germany in the small village Arcen in Northern Limburg. In January 2013 the name Elf Fantasy Fair™ was replaced by the name Elfia™. The spring edition of Elfia is also called the 'Light Edition', while the autumn edition is characterized as the 'dark edition'.
It all started in 1994. TV scriptwriter Stefan Struik had an interview with a meditating hermit in Baarn (NL) who was complaining about gnomes who disturbed the power network in his house. A month later he ran into trolls in a Norwegian clothing store in the Dutch-Frisian village Dokkum. A year before he got surprised by the amount of one meter high garden gnomes just across the border between Germany and Poland. It all seemed to point into a new direction he would hit a few months later. In December 1994 he opened with his sister a small game and bookstore in Delft (NL), named Elf Fantasy Shop. The games were a golden opportunity. Three years later the duo could open an second store in The Hague.
In 1995 Stefan also started a new adventure with a free magazine called Elf Fantasy Magazine. In 2001 the magazine became professionalized and despite it never realised any profits it existed until 2009.
Stefan and his sister already organised lectures in the Elf Fantasy Shops about druidism, Tolkien and other fantasy related subjects. In 2001 Stefan decided to combine a few things into a totally new and unique festival concept that later would be copied many times: the Elf Fantasy fair. Starting in the historical theme parc Archeon (NL) it moved the year after to the largest castle in the Netherlands: castle de Haar. With the exception of 2004 (castle Keukenhof, Lisse) it remained in castle de Haar, Haarzuilens since then. In 2009 a second version of the Elf Fantasy Fair started 400 meters from the border with Germany in the small village Arcen in Northern Limburg. In January 2013 the name Elf Fantasy Fair™ was replaced by the name Elfia™. The spring edition of Elfia is also called the 'Light Edition', while the autumn edition is characterized as the 'dark edition'.
On 5th May 2011 Master Simon Wong's paintings were in the Dragons in the Lions Den show which exhibited Chinese Contemporary Art from Beijing to London, which was organised by YD Gallery www.ydgallery.co.uk Charlie Pycraft(Photographer) www.charliepycraft.co.uk and Ping Works(Creative network) www.pingworks.org a UK creative hub at Forman's Smokehouse Gallery.
"Finally a special thanks to Charlie for spotting the potential" Peng Seng Ong Executive Director MBS Limited
"Wow, what an amazing evening. Thanks to you all for your putting this even together, Ping is on the map!" Philip Mayer BSc (Econ) MIC NLPdip Director MBS Ltd
"Hi Peng…I second that. I thought it was an excellent evening and thanks so much to you and Charlie and all the artists for making it such a success." William Chamberlain Business Affairs Consultant
"Thank you so much to Charlie and Peng for organising the prestigious event, developing the concept, getting the artists together, the copy together, design etc, it all looked great, a lot of hard work and it showed." Kathryn McMann Holistic Marketing Consultancy Integrated Strategic Marketing : Social Media : Project Management : Trans-media : Creative Concepts
Master Simon Wong is originally from China and has been a British resident since 1978. Master Simon Wong is a spiritual Master, a Feng Shui Master, a professional Chinese Astrologer, an artist, musician, songwriter, scriptwriter and author. Master Simon Wong does not give names to his paintings. The Tao Te Ching states: The Tao that can be told is not the eternal Tao. The name that can be named is not the eternal Name. When the Master uses the finger to point at the moon the student should not just be looking at the finger. The finger is just a tool pointing to the direction. Painting is the same, the medium that is used is not important, it is the mental expression behind the art work that gives a picture its spirit. After perfecting his artistic style for the last 40 years, Master Simon Wong is now exhibiting and selling his work.
Well known for his Radio scripts until his Vaudeville inheritance found he could act as well.
His Droll northern accent and lack of profanities made him popular as an all round entertainer. Can't wait to read his Autobiography.
His spectacles have no lenses, they are his hearing aid.
On 5th May 2011 Master Simon Wong's paintings were in the Dragons in the Lions Den show which exhibited Chinese Contemporary Art from Beijing to London, which was organised by YD Gallery www.ydgallery.co.uk Charlie Pycraft(Photographer) www.charliepycraft.co.uk and Ping Works(Creative network) www.pingworks.org a UK creative hub at Forman's Smokehouse Gallery.
"Finally a special thanks to Charlie for spotting the potential" Peng Seng Ong Executive Director MBS Limited
"Wow, what an amazing evening. Thanks to you all for your putting this even together, Ping is on the map!" Philip Mayer BSc (Econ) MIC NLPdip Director MBS Ltd
"Hi Peng…I second that. I thought it was an excellent evening and thanks so much to you and Charlie and all the artists for making it such a success." William Chamberlain Business Affairs Consultant
"Thank you so much to Charlie and Peng for organising the prestigious event, developing the concept, getting the artists together, the copy together, design etc, it all looked great, a lot of hard work and it showed." Kathryn McMann Holistic Marketing Consultancy Integrated Strategic Marketing : Social Media : Project Management : Trans-media : Creative Concepts
Master Simon Wong is originally from China and has been a British resident since 1978. Master Simon Wong is a spiritual Master, a Feng Shui Master, a professional Chinese Astrologer, an artist, musician, songwriter, scriptwriter and author. Master Simon Wong does not give names to his paintings. The Tao Te Ching states: The Tao that can be told is not the eternal Tao. The name that can be named is not the eternal Name. When the Master uses the finger to point at the moon the student should not just be looking at the finger. The finger is just a tool pointing to the direction. Painting is the same, the medium that is used is not important, it is the mental expression behind the art work that gives a picture its spirit. After perfecting his artistic style for the last 40 years, Master Simon Wong is now exhibiting and selling his work.
Filipino scriptwriter Ricky Lee being interviewed on camera by a local TV show. The photo denotes how often media interprets life with "more color" than what it really has.
AB – You’re a scriptwriter now. Who would you say were your main influences?
PP – Ooooh a tough one! I have to say Forrester for his Samantha adventures, and Dunedin for his Memento Mori. On Flickr, Paprika’s Toy Photo Story has kept me hooked for ages and ages! I have to also say a quick mention to Louie at Triad for obvious reasons, all the lovely guys at USPS, MWD for being the best forum in the world and Crusader for sending me loads of nice things recently. I love all of you guys! Wow! Sounds like the Oscars, don’t it?
Dunedin's stuff is here - www.mickbaltes.de/af/comix.html
Louie is here - www.triadtoys.com/
My pals are here - menwithdolls.yuku.com/
Toy Photo story is here: www.flickr.com/photos/paprikariverweed/collections/721576...
Dramafeste 2010
Hadley-Hullett
play
Joshua Tung, as Siti
Geraldine Wong, as Jillian
Xiao Yi Fei, as Li Fen
Zaki Lee, as Tze Kang
Gregory Antono, as Jarrell
Claire Li, director/scriptwriter
Tiv filmmakers in Makurdi after a Nollywood conference at Benue State University: (left to right) Director Ralph Ogbaje, Producer John Agbaingya, Producer Kenneth Iornumbe, Producer and scriptwriter Shadrachi Tsokar Dangi, and Director Shadrach Ukuma.
It all started in 1994. TV scriptwriter Stefan Struik had an interview with a meditating hermit in Baarn (NL) who was complaining about gnomes who disturbed the power network in his house. A month later he ran into trolls in a Norwegian clothing store in the Dutch-Frisian village Dokkum. A year before he got surprised by the amount of one meter high garden gnomes just across the border between Germany and Poland. It all seemed to point into a new direction he would hit a few months later. In December 1994 he opened with his sister a small game and bookstore in Delft (NL), named Elf Fantasy Shop. The games were a golden opportunity. Three years later the duo could open an second store in The Hague.
In 1995 Stefan also started a new adventure with a free magazine called Elf Fantasy Magazine. In 2001 the magazine became professionalized and despite it never realised any profits it existed until 2009.
Stefan and his sister already organised lectures in the Elf Fantasy Shops about druidism, Tolkien and other fantasy related subjects. In 2001 Stefan decided to combine a few things into a totally new and unique festival concept that later would be copied many times: the Elf Fantasy fair. Starting in the historical theme parc Archeon (NL) it moved the year after to the largest castle in the Netherlands: castle de Haar. With the exception of 2004 (castle Keukenhof, Lisse) it remained in castle de Haar, Haarzuilens since then. In 2009 a second version of the Elf Fantasy Fair started 400 meters from the border with Germany in the small village Arcen in Northern Limburg. In January 2013 the name Elf Fantasy Fair™ was replaced by the name Elfia™. The spring edition of Elfia is also called the 'Light Edition', while the autumn edition is characterized as the 'dark edition'.
These are not the official photos so stay tuned for the pics by Anabella Ravinelli..
Please join me in applauding the fantastic models who took part in today’s Countdown Show for their hard work and for looking simply amazing:
Ananya Mai
Nala Kurka
Furry Fizgig
Mayumi Sugarplum
Tyra Eiren
Estela Serenity
Eleya Kenin
Katherine Comet
And now, please welcome the Designer of these amazing fashions AntoniaXp Resident to the boudoir. Please give her a round of applause.
Thank you Antonia for creating a fantastic line of clothing. Please visit COUNTDOWN to see more of her wonderful designs at Meadow Blossom sim.
We would also like to thank kikunosuke eel of MANDALA for providing the amazing jewelry, and Tabata Jewell of Vanity Hair for showcasing her newest fantastic hair designs. And also, Mo Miasma of Morantique for providing the beautiful bedroom furniture for our set.
None of this would be possible without our amazing owners and Staff. Let's hear another round of applause for IMA Owner Ananya Mai, DJ Justice Topaz, show graphics by Polisi Artis, backup model Irina Strazyski, scriptwriter Raphael Treves, and I was your humble host Sheldon Kanfel.
Thank you ladies and gentlemen, for your attendance. We look forward to seeing you again at our next IMA Production and make sure you follow IMA's Blog www.internationalmodelagency.com and tp to -Countdown- today to pick up one of these incredible designs!
slurl.com/secondlife/Meadow%20Blossom/100/229/24
Mandala - slurl.com/secondlife/TEMPURA%20SOBA/83/108/140
Vanity Hair - slurl.com/secondlife/Waterton%20Way/171/138/795
Morantique - slurl.com/secondlife/Liberty/248/220/22
Calle Larios se encuentra impresionante, con guiones e History Board por el suelo a tamaño gigante, alfombras verdes en sus laterales y Carteles de películas. Homenaje a la editorial / librería Ocho y Medio de Madrid, en cuyo catálogo han publicado directores de cine, guionistas y periodistas
Larios street is impressive, with scripts and History Board by the ground to giant size, carpets green in their lateral and Posters of films. Tribute to the publishing house/bookstore Eight and Average of Madrid, in whose catalogue they have published directors of cinema, scriptwriters and journalist.
On 5th May 2011 Master Simon Wong's paintings were in the Dragons in the Lions Den show which exhibited Chinese Contemporary Art from Beijing to London, which was organised by YD Gallery www.ydgallery.co.uk Charlie Pycraft(Photographer) www.charliepycraft.co.uk and Ping Works(Creative network) www.pingworks.org a UK creative hub at Forman's Smokehouse Gallery.
"Finally a special thanks to Charlie for spotting the potential" Peng Seng Ong Executive Director MBS Limited
"Wow, what an amazing evening. Thanks to you all for your putting this even together, Ping is on the map!" Philip Mayer BSc (Econ) MIC NLPdip Director MBS Ltd
"Hi Peng…I second that. I thought it was an excellent evening and thanks so much to you and Charlie and all the artists for making it such a success." William Chamberlain Business Affairs Consultant
"Thank you so much to Charlie and Peng for organising the prestigious event, developing the concept, getting the artists together, the copy together, design etc, it all looked great, a lot of hard work and it showed." Kathryn McMann Holistic Marketing Consultancy Integrated Strategic Marketing : Social Media : Project Management : Trans-media : Creative Concepts
Master Simon Wong is originally from China and has been a British resident since 1978. Master Simon Wong is a spiritual Master, a Feng Shui Master, a professional Chinese Astrologer, an artist, musician, songwriter, scriptwriter and author. Master Simon Wong does not give names to his paintings. The Tao Te Ching states: The Tao that can be told is not the eternal Tao. The name that can be named is not the eternal Name. When the Master uses the finger to point at the moon the student should not just be looking at the finger. The finger is just a tool pointing to the direction. Painting is the same, the medium that is used is not important, it is the mental expression behind the art work that gives a picture its spirit. After perfecting his artistic style for the last 40 years, Master Simon Wong is now exhibiting and selling his work.
A simple tablet records where the ashes of Douglas Noel Adams (1852 - 2019) are interred in East Cemetery, Highgate. Douglas Adams was an English author, scriptwriter, essayist, humorist, satirist and dramatist. He is best know as the author of The Hitchhiker's Guide to the Galaxy.
Sy Montgomery is a naturalist, author, documentary scriptwriter, and radio commentator who writes for children as well as adults. Among her award-winning books are Journey of the Pink Dolphins, Spell of the Tiger, and Search for the Golden Moon Bear. She has made four trips to Peru and Brazil to study the pink dolphins of the Amazon; and on other expeditions, she was chased by an angry silverback gorilla in Zaire; bitten by a vampire bat in Costa Rica; undressed by an orangutan in Borneo; and hunted by a tiger in India. She also worked in a pit crawling with eighteen thousand snakes in Manitoba; handled a wild tarantula in French Guiana; and swam with piranhas, electric eels, and dolphins in the Amazon. She lives in New Hampshire.
David Walliams has donated a classically stylish pair of Church’s black dress shoes.
David Walliams is a British comedy actor. He is best known for his award winning work with Matt Lucas in the sketch show Little Britain. Walliams first met comedy partner Matt Lucas at the National Youth Theatre. After graduating from Bristol University and a stint as a stand-up comedian, children's television presenter and scriptwriter, he teamed up with Lucas in 1995. They took their Sir Bernard Chumley and Friends show to the Edinburgh Festival, returning in 1996 and 1997. Following this, they embarked on a sell-out UK tour throughout 1997 and appeared at the Just For Laughs Comedy Festival in Montreal, Canada in 1999. Walliams has made numerous television appearances including Spaced and The League of Gentlemen. Little Britain was originally a radio series written and performed by Lucas and Walliams and later made into a successful TV series. He won the Best Comedy Newcomer at the 2003 British Comedy Awards and his upcoming projects include writing and starring with Rob Brydon in Home.
On 5th May 2011 Master Simon Wong's paintings were in the Dragons in the Lions Den show which exhibited Chinese Contemporary Art from Beijing to London, which was organised by YD Gallery www.ydgallery.co.uk Charlie Pycraft(Photographer) www.charliepycraft.co.uk and Ping Works(Creative network) www.pingworks.org a UK creative hub at Forman's Smokehouse Gallery.
"Finally a special thanks to Charlie for spotting the potential" Peng Seng Ong Executive Director MBS Limited
"Wow, what an amazing evening. Thanks to you all for your putting this even together, Ping is on the map!" Philip Mayer BSc (Econ) MIC NLPdip Director MBS Ltd
"Hi Peng…I second that. I thought it was an excellent evening and thanks so much to you and Charlie and all the artists for making it such a success." William Chamberlain Business Affairs Consultant
"Thank you so much to Charlie and Peng for organising the prestigious event, developing the concept, getting the artists together, the copy together, design etc, it all looked great, a lot of hard work and it showed." Kathryn McMann Holistic Marketing Consultancy Integrated Strategic Marketing : Social Media : Project Management : Trans-media : Creative Concepts
Master Simon Wong is originally from China and has been a British resident since 1978. Master Simon Wong is a spiritual Master, a Feng Shui Master, a professional Chinese Astrologer, an artist, musician, songwriter, scriptwriter and author. Master Simon Wong does not give names to his paintings. The Tao Te Ching states: The Tao that can be told is not the eternal Tao. The name that can be named is not the eternal Name. When the Master uses the finger to point at the moon the student should not just be looking at the finger. The finger is just a tool pointing to the direction. Painting is the same, the medium that is used is not important, it is the mental expression behind the art work that gives a picture its spirit. After perfecting his artistic style for the last 40 years, Master Simon Wong is now exhibiting and selling his work.
On 5th May 2011 Master Simon Wong's paintings were in the Dragons in the Lions Den show which exhibited Chinese Contemporary Art from Beijing to London, which was organised by YD Gallery www.ydgallery.co.uk Charlie Pycraft(Photographer) www.charliepycraft.co.uk and Ping Works(Creative network) www.pingworks.org a UK creative hub at Forman's Smokehouse Gallery.
"Finally a special thanks to Charlie for spotting the potential" Peng Seng Ong Executive Director MBS Limited
"Wow, what an amazing evening. Thanks to you all for your putting this even together, Ping is on the map!" Philip Mayer BSc (Econ) MIC NLPdip Director MBS Ltd
"Hi Peng…I second that. I thought it was an excellent evening and thanks so much to you and Charlie and all the artists for making it such a success." William Chamberlain Business Affairs Consultant
"Thank you so much to Charlie and Peng for organising the prestigious event, developing the concept, getting the artists together, the copy together, design etc, it all looked great, a lot of hard work and it showed." Kathryn McMann Holistic Marketing Consultancy Integrated Strategic Marketing : Social Media : Project Management : Trans-media : Creative Concepts
Master Simon Wong is originally from China and has been a British resident since 1978. Master Simon Wong is a spiritual Master, a Feng Shui Master, a professional Chinese Astrologer, an artist, musician, songwriter, scriptwriter and author. Master Simon Wong does not give names to his paintings. The Tao Te Ching states: The Tao that can be told is not the eternal Tao. The name that can be named is not the eternal Name. When the Master uses the finger to point at the moon the student should not just be looking at the finger. The finger is just a tool pointing to the direction. Painting is the same, the medium that is used is not important, it is the mental expression behind the art work that gives a picture its spirit. After perfecting his artistic style for the last 40 years, Master Simon Wong is now exhibiting and selling his work.
Mi Querido Amigo Juanma, es actor y Oli -su hija- está en camino, estudiando para ello...
Juan Manuel Lara tiene una imponente carrera como actor, director y guionista...es un tío de escándalo y un actor como la copa de un pino os dejo un enlace a su curriculum de cine y televisión www.imdb.com/name/nm1030766/filmoyear
Ahora comienza una nueva serie en Tele Cinco " A Ver Si Llego" de la mano de José Luís Moreno co-protagonizando la misma junto a Neus Asensi y un amplio elenco de actores....
Desde aquí le deseo mucha, pero mucha que mucha mierda...
BzosX4
My Dear a Friend Juanm, is actor and Oli - her daughter- is on way, studying for it… Juan Manuel Lara has an imposing race like actor, director and scriptwriter… are an fabulous man and an actor as the glass of a pine I leave to you a connection to its curriculum of cinema and television www.imdb.com/name/nm1030766/filmoyear
Now begins a new series in Tele Cinco "A Ver Si Llego" of the hand of José Luís Moreno Co-carrying out next to Neus Asensi and an ample list of actors….
From here desire all the best one him...
KissesX4
Speaking to Akhtar was Anubha Rohatgi of the BBC Hindi Service. He told her how Mumbai represents the country of India as a whole.
This is my brother-in-law, Al. Together, we're taking care of his father while his mother takes some time for herself. Al lives in Brooklyn, New York City, with his wife, Polly. By day, he's a carpenter: by night, he's front man for the pop rock band 1-800-BAND.
I've know Al since he was 12. He's the brother I never had, and the elaborate pranks we used to play on the pizza delivery people of Delaware, Ohio, became the inspiration for my middle school-grade book, Pizza Man.
Al and I are funny apart, but together we're a tidal wave of hilarity. (Just ask us.) Every couple of years, on Christmas Day, we make a bad movie that makes us laugh and laugh and laugh. Here's a link to the last one we made: www.youtube.com/watch?v=JpZoQuqFp84
I'm grateful for you, brother. :)
P.S. If you watch the movie, and I hope you do, you'll see me (as the director), my son (as the mumbling personal assistant to Al's character, Art Martial) and my nephew Ben (as the scriptwriter). My daughter Mara provides the voice-over narration.