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"Dr. Martha Starks (Modes of Therapeutic Action) defines maturity as "being able to accept the reality of people and things as they are, without needing them to be other than that." Humans tend to upset themselves if life is not the way they think it should be. What is - is… make your plan and move on to productive behaviors.
Our brains will believe anything we tell them. If you tell your brain that you are in danger (physically, emotionally or psychologically) it reacts as if you are sliding face first down a mountain. If you replace negative irrational, self-limiting thoughts, your emotional control will improve dramatically. What does that mean? It means that your relationships improve, you feel in control and self-confident, you like yourself, and you are more likely to reach your life goals."
Dr. Dorothy McCoy, www.personalityone.com/emotional-maturity.html
A digital artwork of the Tibetan Spaniel. The Tibetan Spaniel is listed #125 on the AKC list of most popular dog breeds
In the "Chronicon Moissiacense" 806 the place Halle is mentioned for the first time as "Halla". In 968, Otto I founded the Archdiocese of Magdeburg, to which Halle belonged until 1680. Around 1120 the city was extensively expanded. This was possible due to the increasing salt trade and the wealth associated with it. Initially, this was managed by archbishops. From the end of the 12th century the Guild of the Panners (salt makers) was formed. This gave rise to a self-confident bourgeoisie, which concluded a contract with Archbishop Rupert of Magdeburg in 1263, according to which the archbishop was not permitted to build any castles within a mile radius. The Panners determined the politics of the city for centuries. Halle was first mentioned in a document in 1281 as a member of the Hanseatic League, and in 1310 the city's self-government was contractually recorded. In 1341 the construction of a strong tower between the scales and the town hall began, which was used until 1835 to securely accommodate the city's privileges.
In 1478 ended the approximately 200-year city independence. In 1484, Archbishop Ernst II (1464–1513) had Moritzburg Castle built as a fortified residential palace in the north-west corner of the city and ceremoniously moved into it in 1503. It was actually supposed to be a stronghold against Halle's self-confident citizens, the salt workers. Until 1680, Halle was the capital and residence of the Archdiocese of Magdeburg.
The market church was built between 1529 and 1554 on the site of two previous churches St. Gertrud and St. Maria. The church of St. Gertrud in the west dates from the 11th century and was the church of the salt makers, the Marienkirche in the east dates from the 12th century and was the parish church of merchants and craftsmen. Only the four towers of these churches survived. In between, the new church was erected and in 1537 (still unfinished) consecrated. Justus Jonas, who officially introduced the Reformation in Halle in 1541, preached from this pulpit. Luther himself preached three times in the Marktkirche in 1545 and 1546.
The church was badly damaged in the air raid in March 1945. Part of the vault collapsed. Artillery shelling in 1945 broke out the tracery window on the west front. The restoration work lasted until 1948. A necessary general renovation took place after 1967 when the interior and the furnishings were severely damaged by a burst district heating pipe. It was decided to restore the appearance of the 16th century as much as possible.
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“Don't wait until everything is just right. It will never be perfect. There will always be challenges, obstacles and less than perfect conditions. So what. Get started now. With each step you take, you will grow stronger and stronger, more and more skilled, more and more self-confident and more and more successful.”
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“Success is not the key to happiness. Happiness is the key to success. If you love what you are doing, you will be successful.”
I PASSED Bss
I'm So Saaad About My Maark :'')
so i have to get Great Marks Next Year :''')
Mabrook For All who got GREAT Mark
See ya
Originally posted September 20, 2010.
I'm moving up a few choice photos of Wrinkle, born: May 14, 1998, Gone: July 2, 2013. Rest in peace, Stinky..
Original text:
Sisters. Littermates. Daughters of Toaster and Biscuit.
Leaders.
These two had some serious battles with each other in the past, but we learned how to work through it. They may even like each other now. While they are littermates they are quite different in looks, personality and temperament. Each is self-confident, smart, strong and affectionate in her own unique way. I really couldn't ask for better dogs.
Au cours des années 20, la plupart des artistes d’avant-garde semblent revenir à un certain classicisme et aux références aux maîtres anciens. Généralement appelé « Retour à l’ordre », cette tendance touche aussi bien Pablo Picasso, dans les portraits délicats qu’il réalise d’Olga, sa dernière épouse, que Matisse et Derain qui adoucissent l’intensité de leur palette et les déformations qui caractérisaient leurs toiles d’avant-guerre. Le Mécanicien, par son relatif raide et figé s’inscrit dans ce questionnement nouveau de la tradition. Représenté avec le corps de face et le visage de profil, Le Mécanicien évoque ainsi certaines figures assyriennes ou égyptiennes, alors que ses volumes saillants et marqués lui confèrent la calme sérénité des sculptures grecques.
Au premier plan, on voit un homme représenté en buste qui fume une cigarette. Il est brun, regarde vers sa droite. Son visage est impassible, il a l’air détendu, sa moustache est souriante. Tout ceci laisse penser que ce personnage savoure pleinement un instant de repos au coeur d’une journée de travail. Il porte un tatouage représentant une sorte d’ancre sur le bras droit. Le cadrage serré met en valeur sa musculature composée de volumes luisants comme du métal. Il semble un ouvrier. Il est habillé en débardeur et porte deux bagues à la main droite. La position négligée de sa main tenant la cigarette et le port de ces deux bagues montre la confiance en soi de l’ouvrier. Le regard de l'homme est vide comme celui d’un robot, il est en étroite relation avec le fond qui est très abstrait. Ses épaules forment des courbes même si ses bras semblent un peu « mécanisés ». Le titre de l’œuvre, Le Mécanicien, ancre immédiatement le tableau dans un univers : celui de la machine, de l’effort, du travail physique de l’homme du peuple.
L’arrière-plan forme et fond plat dans lequel on voit des formes géométriques abstraites disposées de couleurs vives en aplats.
Ce fond évoque une usine par les formes qui ressemblent à des tuyaux. Elles sont orthogonales (angles droits), contrastées et colorées.
Des couleurs primaires (rouge, jaune) créent une relation rythmique entre le personnage et le fond : le mécanicien ressort et en même temps s’inscrit dans ce décor (communion entre les êtres et les choses). Ces couleurs évoquent le monde moderne sans le décrire.
During the 1920s, most avant-garde artists seem to return to a certain classicism and references to old masters. Generally referred to as "Back to Order", this trend also affects Pablo Picasso, in the delicate portraits he makes of Olga, his last wife, and Matisse and Derain, who soften the intensity of their palette and the deformations that characterized their pre-war paintings. The Mechanic, by its relative stiff and frozen fits into this new questioning of tradition. Represented with the body in front and the face in profile, Le Mécanicien evokes certain Assyrian or Egyptian figures, while its prominent and marked volumes give it the calm serenity of the Greek sculptures.
In the foreground, we see a man represented in a bust who smokes a cigarette. He is brown, look to his right. His face is impassive, he looks relaxed, his mustache is smiling. All this suggests that this character fully enjoys a moment of rest in the middle of a day's work. He wears a tattoo representing a sort of anchor on his right arm. The tight framing emphasizes its musculature composed of volumes shining like metal. He seems a worker. He is dressed as a tank top and wears two rings in his right hand. The neglected position of his hand holding the cigarette and the wearing of these two rings shows the self-confidence of the worker. The man's gaze is empty like that of a robot, it is in close relation with the background which is very abstract. His shoulders form curves even if his arms seem a little "mechanized". The title of the work, Le Mécanicien, immediately anchors the painting in a universe: that of the machine, the effort, the physical work of the man of the people.
The background forms and flat bottom in which we see abstract geometric shapes arranged in bright colors in flat areas.
This background evokes a factory by the shapes that look like pipes. They are orthogonal (right angles), contrasted and colored.
Primary colors (red, yellow) create a rhythmic relationship between the character and the background: the mechanic stands out and at the same time fits into this setting (communion between people and things). These colors evoke the modern world without describing it.
Fetenacity
A mid summers dream series
A)Dreams tending Arousal
Lakefront Cottage Dream
A narration in one acte
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This story is based from a rather intense dream/ experience I had some weeks past when I stayed for a extended autumn weekend alone at my uncles lake cottage.
It was at this same cottage where we held my Cousins wedding late the previous year
I had attended a formal dinner/dance/ fundraiser in the area and was using the lakefront cottage to save on having to rent a room during my extended visit there.
My friend from university, who also was coming, and I had dared each other to wear the glittery sequined , sleek blue bridesmaids gowns that had been collecting dust in our closets since a mutual friends wedding the previous month.
We both did, with her adding her good jewels to wear with, and I wore my matching set of antique rhinestones I had come across at an antique shoppe, along with my favorite rings.
We must have made a pleasing pair for we were continuously being approached for conversation and then asked to dance by several blokes.
As things were wrapping up and we were given the boot, we stopped in a pub for a drink and that was when my friend told me she had been creeped upon after leaving her hotel earlier!
A young man in a houndstooth sports jacket had been standing in her hotel lobby talking to a pretty young lady wearing a black satin blouse, her buxomy figure loaded up with shiny gold chains .
As my friend walked through the lobby, dressed as she was for the dance, the girl had eyed her over .
She , of course, smiled at her, and surprisingly the girl had just looked back to the guy wearing the houndstooth sport coat without acknowledging her.
Then as she walked outside down the block, realized the guy in the houndstooth sports jacket was following along.
He had seen her look at him and darted down an alley.
Uncomfortable about it, she had spied an approaching hansom and had hailed it to be driven to her destination.
“Do you think he may have wanted to ask me something?” she wondered as she played with her string of white pearls, the rings in her fingers all glittery.
I soothed her by telling her she was “being a silly sod, and not to fret over it!”
Which at the time was my honest opinion of the affair? Certainly did not think the bloke was “creeping” and I told her so with conviction!
I did see her home safely to her hotel room before heading to the lake.
But then walking quite alone up to the cottage in early morning hours, moving in and out of creeping shadows,slightly intoxicated, I heard the rich swishing of my long gown along the path.
I must have presented an interesting picture, waking about alone, dressed such as I was!
I remembered my friend’s story, if someone was following her and had been listening to us, they would know I was here, alone!
This made my hairs prickle as of course my run away imagination Formed some rather chilling , foreboding conjectures
I shook my head to get rid of the thoughts, feeling my earrings swinging up against my cheeks.
Buggers, my bloody jewels would give me away!
I scurried to the cottage, feeling foolish with myself as I unlatched the door!
But entering the dark ,sinisterly empty house, did me no good either, and I held my breath as I cautiously tip toes in to turn on the lights!
My mind was reeling at that point keeping me from feeling tired, as I checked all the windows and doors to make sure they were fastened!
Without bothering to change , I tried watching some telly, before going to bed.
But I ended up watching the only channel that was coming in.. and all it had was an old BW crime thriller that night, which also added fuel to the building fire of my imagination!
Though I will admit that I harbor a like for those type of situations depicted in such movies, experiencing a titillating thrill when a shadow emerged from a dark alleyway, similar to those that compels one to watch horror flicks!
Also, on top of all that, having just being also all dressed up in that wedding party a fortnight ago, before appeared to have been added to the subconscious mix!
Finding I had fallen asleep without seeing the ending,I stretched, rose and went to the bedroom I was staying in.
Dressing for bed, loop-lolly half asleep , watched my reflection in the long mirror removing my twinkling rhinestones, an old silent film I once had critiqued for a term paper quite some time ago popped in from somewhere in a forgotten recess of my mind ...
Of course..!!
- [ ] 1927 Called “Cat and the Canary” and is a dark moody film taking place in a secret passage laced mansion, with sinisterly dark figures , and a sleeping lady whose diamonds are robbed off from around her throat .
There is a 1930 sound remake called “The Cat Creeps” with Helen Twelvetrees that i really had wanted to write about, but found out it is unfortunately an Americans “lost” film!
So I do imagine that it ‘twas those concerns and remembrances all combined, which took root in my sleep, taking a dark flight with my dreams of fancy that night!
For, as I was soon asleep;
I found myself experiencing a sweating combination of nightmare/ wet dream that was so utterly realistic that the scare nearly caused me to soil my slip nightie before I managed to awaken sweating from its horrible hold, feeling some dampness around my crotch!
In the process I had become so entangled in my Blankets that it took some time to extract myself.
Finally awake and free of the blankets I rose...
Placing a thin black robe over my purple slip nightgown, I got a mixed drink, and sat down upon a sofa to collect my wits as I convinced myself it had only been a rather intriguingly wicked dream!
And then I, of course me being me, was compelled to take notes of my night terror before the last vestiges drifted off , as I was then unable to sleep in the empty cottage anyways!
So the long and short is that from those notes taken from that night terror was risen this dream inspired tale!
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Mid-summer Dream sequence A
A beguiling Evening at the Lake House
My dream, not surprisingly,took me innocently enough, to the wedding at my uncle’s family’s rather posh Lakefront “Cottage” where I have spent many a week since youthful childhood...
Mixing in bits of both reality and fiction, my dream went on ...
My cousin(with whom I had been with at University) was getting married at the end of the week which is why I had gone, that and I was to be her Maid of honour.
The week went fast, planning, getting ready for the guests.
What little time I had to myself, I spent on a small deserted island in middle of the lake, just off of the bottom hill landing above which sat my Cousin’s family’s lake front cottage.
The island is a rather secluded, private spot,a great place to just think.
Then came the time for the wedding to be held at the lake village church with reception behind the family lake cottage.
The groom’s best man and I were the only members of the bridal party.
My Cousin had selected a dazzling white satin dream gown.
Sleeveless with a Lacey bodice and a daringly plunging neckline. The skirt fell down to her silver heels in a glistening flow of sleekness. An emerald green rippled satin sash encircled her jealousy petite waist with a glittering crescent shaped emerald rhinestone broach pinned to the centre. Long green satin gloves all added a splash of color for her naturally red hair.
As bridesmaid I was wearing my rather elegant burgundy coloured slick taffeta gown she had helped me pick out.
The neckline is squared , the skirt was short in front reaching just below my knees, and long in back, reaching the tickling down to just past my ankles.
Full sleeves that scrunched up, with their bottom bit reaching up to my wrist, but the top part reaching over my hands ending in pointed tips at my middle finger and held on by gold rings that went on along my middle fingers.
It also had a darling matching flat satin waist-hugging sash that was detachable and tied snugly in the back
Actually the whole outfit was a rather tightly snug fit, but my Cuz liked the look and I will be able to have it let out before wearing it out again.
But it was fun that I appeared to have a pair of noticeably rounded breasts for a change !
Compliments of the gowns fairly tight molded cleavage !
Because my Cousin has decided on wearing her rather handsome collection of pearls, I decided not to wear my own good pearls, but instead opted to wear my rhinestones, which of course in my dream became valuable diamonds.
Also amongst the fine jewels I was wearing was Included at the last minute a rather daring ruby and diamond brooch which I had just picked up in an antique store that is located in the village at the northern most end of the lake.
It was quite a dazzling pretty overall effect we both were putting on, as noted when we poised giggling like a brace of school girls before the bedroom mirror hanging on the backside of our basement bedrooms’ door.
My cousins younger sister, who is just a school girl, overhead us and sauntered down in from the upstairs kitchen.
In my dream she was dressed as she had really been at the actual wedding.
A red head also, she was fetchingly wearing a green satin gown pouring down along her figure, re-wearing It from a dance she had attended that spring.
She also was strikingly wearing the new set of my Aunt’s expensively matched emerald and diamond jewelry !
I felt her gown was rather to slinky in my silent opinion, and the “always gets my way “party girl a bit too immature to be wearing good jewels, but the ensemble certainly grabbed one’s attention I will with a bit of jealousy, admit to that!
But then I guess that is what weddings are all in about, and the bride and I were certainly in no position, glammed up as we were , to caste the first (Gem)stones!
After a bit more girl talk, we put on our serious faces and headed upstairs to begin the day long festivities!
So the wedding and reception proper went off with very few minor hitches and we killed much time pleasantly , dancing and drinking till midnight!
It was a very pretty affair in many aspects!
Then well after midnight as most of the remaining guests were hanging around a fire in the back terrace of the cottage, I felt a wanderlust whimsical feeling to go and sit on one of the antique benches set around a small landing that was set up down the bottom front hillside, the top of which was where the cottage had been built.
Grabbing a flute of wine, I headed off away around the cottage, then down the hillside stairs leading down to the landing, looking forward to finally being away from the lime lite as it were!
I was quite alone in this secluded spot. With a view of my small island off some 50 meters from the landing.
I was setting there for some time lost in my thoughts, feeling sleepy, when I realized with a shiver that it was getting chilly!
But then a warm breeze came in and my mind started to play tricks on me.
That I had not shivered because of the cold, but instead I was getting goose pimples from feeling someone’s eyes upon me !
But then I started to imagined that I was indeed being watched from the island!
A dark figure in a houndstooth sports jacket with hard cold eyes and a mind to be up the to no good!
Someone was watching me I convinced myself!
I nervously turned around and jumped a little!
There was actually a long shadowy figure at the top of the stairs, framed in moonlight, staring me down!!!
As I watched the figure slipped down the stairs, by the flapping dress I knew it was female.
Finally I could make out who it was as she came into the light cast off from the docks lanterns.
It was lady in a slinky black satin number , wearing a bouncing emerald/ diamond pendent and swinging earrings that glittered noticeably from her as she moved.
She smiled, rising a hand that held a tall glass of ice and some clear liquid, her expensive looking bracelet twinkling in a mesmerizing display of its rich coloured emerald/diamond gemstones.
I recognized her as one of the guests I had briefly met,whom, much like a humming bird, had been flittering about amongst us without never really staying long in any one place!
When I first met the slowly approaching lady , She had been a total stranger to me,coming up to me at the reception to compliment me on my pretty attire.
Said she was there alone and was usually quite shy around strangers, though she had not appeared to me in anyway a timid dear!
She had blushed ever so prettily, her eyes magnified by the horned rim glasses she was wearing.
She was actually quite handsome, wearing a long black satin dress with vertical gold stripes. I complimented her on it and she smiled, prettily blushing . She was wearing no jewelry, so I was not able to use that as a topic of conversation or admirations!
Feeling sorry for the poor thing, we had chatted a bit, light talk, and she had taken her leave, apologizing if she was appearing rude, but she must compliment my cousin, the bride, who I saw had just came in, new husband and her pouty younger sister in tow!
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I was watching her now, coming down then over to me as I was sitting on the landings bench, inwardly shuddering a bit!
She was a odd bird, especially the way she was eagerly looking down upon me like an old friend!
But there was something different about her now, something had changed, but in my befuddled state of mind at her appearance it was something could not place a finger on at the time?
But trying to work out a solution to that mystery slipped from my mind as I again felt a chill and wished I had brought my gowns matching wrap!
I couldn’t be rude enough to hurriedly make that as an excuse and leave her just as she arrived. So I settled down to hold ground and meet my fate!
So much for quiet solitude I thought wryly, and assuming my role as part of the bridal party, politely motioned the unwished for guest to come sit with me.
She swished down over, laid a hand on my shoulder, her bracelet sparkling , as I looked up. I could see my own necklace shimmering in her horned rim glassed, rather surprised over how lavish the reflection appeared!
“‘Ello, we meet again !” she said adjusting her gown as she sat next to me.
“Cheers “ she continued clinking her glass to mine and we both took a drink.
She was looking out over the misty waters as she sipped...
“Must say, you are brave, to be down here all alone ?” she asked me, glancing around.
“Not really.” I replied ... “ I come down here a lot to sit and think, it’s one of my favorite spots.”
“Here, and the island over there also!” I added, pointing across the water to the small island.
She shivered. “Creepy island, who knows what or who may be over there lurking in the shadows watching us!”
Despite myself I did jump a little at her words.
She was beginning creeping me out saying things I had already been thinking.
She started to babble on about odd things she had heard happening to others. Footsteps in the dark with no one appearing and other sorts of unwarranted , alone in a dark alleyway ,like tidbits that began to make me a bit uncomfortable!!!
She was on about an old silent movie where a deranged mental patient had broken into an isolated mansion where a young heiress was spending a lonely evening when I decided enough was enough!!!
I was quite done with this uninvited guest and decided it had been time enough, and I could ethically take my leave.
Surrendering my dock landing hideaway to her and head up to rejoin the guests around the warm friendly fire!
I turned to her, startled by the way for a second she had been smiling at me like she knew an untold secret, but her expression changed immediately as I had looked, smiling she leaned over to pat my wrist, her fingers touching my diamond bracelet.
Then, like she had been eerily reading my mind...
“Hope I’m not making you uncomfortable luv?” She said consolingly, but without any real depth to her apology!
Then, while patting me, her drink sloshed, spilling some of the ice cubes, which pooled down upon the lap of my gown, making me shiver,the cool air and the dampness on my gown increasingly adding on an overwhelming need to use the loo, which also added to my already existing urge to excuse myself!!
“Oh dear I’ve solid your dress! Here let me get something...”
As she fumbled in a small, rather bulging, black clutch purse, I declined her assistance ,just glad of a reason to be rid of this odd lady , and told her I would clean up inside the cottage!
She in turn gave me an odd , knowing smile as I rose and politely took my leave.
I managed to stand up without shaking and went back up the deck stairs resisting the urge to run!
At the top I looked back to the island for a few seconds, nothing moved, except the rising shapes of mist that was forming over the long lakes waveless dark waters.
Of course no one was watching from there!
I looked down upon the interloper still seated on my bench...
She was just sitting there, dress fluttering not bothering to look up at me.
The breeze was still warm, so why did I still feel chilled?
I then headed inside through the kitchen to the downstairs basement bath.
The house was quiet and empty, lending to the atmosphere and I was trembling on pins and needles as I was making myself scared silly to be in there, looking down darkened corridors that appeared to be passing themselves off as sinister alleyways!!!
I went in and downstairs to the basement bedroom I was sharing with my cousin .
Going to the small toilet I quickly did my business, dabbed at the wet spot on my party dress , deciding I should not take time to change!
As I took a quick look in the mirror, I scolded my panicked stricken looming reflection that I was a “silly old duck”, and then hurriedly left to head back to join the rest of the dwindling reception guests by the warm fire.
I froze in my tracks , the bedroom door that I had left open was now forbiddingly, firmly shut!!!
Suddenly I was grasped from behind by a pair of strong hands.
My whole figure jumped with the enveloping shivering shock , while an ice cold hand clamped over my mouth silencing my startled shriek as it started. ...
A most menacing voice muttered with conviction, “What have we here saide the spyder to the pretty butterfly?”
A chilling feeling swept down over me! As the voice continued on answering my silent question...
“I was coming down to leave, lady and imagine my surprise when I saw you heading downstairs into this hidden bedroom!”
I began to quiver in delicious fright...
“Now Don’t move about my pretty red bird!”
The voice snarled as something hard was stroked along up against my side , and then poked into my waist ,as my heart was pounding in my throat!
“No cry’s for help either Miss “ he hissed close in my ear “Or I may have to use this!” , and the thing he was poking was pressed in even harder into my back to make his point known!
I nodded helplessly in submissive agreement to his threat!
I was cringing and feeling waves of shivers sparking up and down my spine as he held me captive in his hard unforgiving grasp!
Not really knowing with any sickening realty what all was going to happen next, though I was fairly certain my pretty jewels would be on his list!!
He turned me around and I was face to face with an evily black attired man wearing an even blacker, snarly appearing ski mask!
Holding me close as he stared at me with his hard grey eyes he muttered, half to himself.
“Well, well, look at the pretty package we have caught!”
“I only was interested in riffling through the contents of your bedrooms rooms wasn’t I luv, while your fine lot were distracted outside !” He said happily.”
“But the bonus of watching you and your sparklers appear for your ill timed call to nature is appreciated, I will say that !”
“And the discovery of a new bedroom to have a look around is always appreciated, always nice things to be found in ‘em aint there now, Miss !”
He hissed this as he was eyeing me over as I noticed my long shimmering diamond earrings were richly sparkling , reflected in his lusting evil eyes!
I gulped as a dryly feeling scratchy frog came lumping up in my throat!
In answer his rough left hand began excitedly snaking up my front, up over my breasts and lifting up the end of my twinkling diamond necklace as he smirked!
As he had groped along my breasts , he drooled his words, talking to himself .
“A rather fine plump one we have!
Then while he tugged greedily at my necklace. “With some Rather nice ice to be melted away!”
I tried pulling back, but he grasped me harder by the waist and held me to him as I squirmed, I could quite feel that this Wankers figure was undeniably hot and quite stiff with desire!
“Dem flashy jewels your wearin luv, I believe I’ll have them then now won’t” I ! he purred nastily, with a craving conviction.
I countered. “Not my jewels sir I whined, they are worthless!”
But he ignored my pleas and began working me over quite thoroughly chuckling with delight as he , with adept precision ,felt searchingly along my cringing my figure for jewels!
The mirror that was hanging down on the closed door that we had primped in front of earlier, was in view, and I could see my reflection in it, and ... also his as he was working me over. I tried not to look but failed miserably and I began to feel my whole being wilt in utter despair as one by one he I watched him plucking my trembling figure clean!
Starting first by forcing off my flashing rings, then unclamping my favorite diamond cuff bracelet,then yanked off both my earrings , greedily pocketing the lot!
Once finished with that he concentrated on working off the main prize, my shiny necklace!
Reaching up behind my neck, unfastening, drooling over, and then finally pocketing my diamond necklace!
He had taken my Diamond Necklace! And I squirmed uncomfortably as he stashed it away !!
The wanker was all too fondly enjoying this game he was playing at my expense!!!
Finished with that job, he lastly reached down over to my waist to begin prying off my shimmery new broach which my Cousin had had me pin to my sash as a last minute addition so as to match her’s!
I loved that broach!
I managed out a sobbing, crackling dry plea for him not to take it
Surprisingly, He listened and removed his hand from it promising he would not lay a finger on it, “Scouts honours” dame!
Then had me turn around.
“All right dame, lets see you raise those hands up, and keep ‘em there if you know what’s good fer you!”
Wondering “ what now ?!” I obeyed.
He placed his hands upon the sides of my gown, reaching just up under my armpits, and started carefully to pat me down from behind .
I knew he knew he had taken me for everything and was just playing me, adding insult to injury while he was satisfying a dreadful lust to cope a feel of my tight fitting ultra smooth gown! Typical male!
I realized that, Like a seasoned male actor, he obviously was a professional and had played this role enough times that he was self-confident, assuredly in control, and was cravingly, relishing every second of this wicked game!
Everything he did had a purpose, rhyme and reason behind it !
I was just beginning to realize, but I still was not fast enough to figure those reasons ahead of time, and it would cost me !!!
I sighed deeply in my misery and despair, unable to move in my utterly vulnerably paralyzing distress !
Sighing as deeply as I just had, the monster finished, and stood back behind me.
I was still too frozen in fear to move, and saw in the reflection that he had reached into his pocket and pulled out some gold silk handkerchiefs.
The unscrupulous Git must have snatched them from a silky pocket that must have been inside one of the dresses hanging in another bedroom closet!!
“To make sure the creeping cat keeps your tongue!” he said as he gagged me silent with one!
Then he reached up, and yanking down my arms so the were behind my back, he tightly bound my hands with another!
Cheeky Bastard !
But the wanker wasn’t through with me yet!
He pulled my back up against his lustful body and I felt the cold damply sweaty fingers of his right hand reach up and laying his right hand on my the front of my dress !
He than happily felt along my breasts, while his left hand held me securely by the waist as I squirmed in his hold as he fondled about.
It was a bittersweet prickling process I felt as I helplessly underwent his obviously practiced ritual!
“Pity You’re not hiding anything there !” he hissed in my ear he withdrew his hand.
“ Only one more hiding hole to clear !” he said matter of factley taking deep breaths!
Knowing what was coming, I stiffened as he crouched down and cringed as I felt his hand press up into my dress, pushing the still damp material up in between my thighs as I put my legs together in an attempts to force the walkers hand out!!!
My back arched in a spasm as the thief’s right hands fingers attempted to penetrate and grope through my gown to reach towards my private’s !!
As I squirmed about I tried to say through my gag. “ I thought you have my diamonds isn’t that enough you touchy git!”
But he did pull away as I clamped my knees on him!
Prevented from going any further with his groping fingers, he rose quickly as he held his hands onto my waist for support!
“Nuttin in there either, guess I’ve cleaned you out dame !” he said chuckling at his crude humour!
He finally stopped chuckling , than said
“Times a eating !” And pushed me over to my cousins bed and had me turn and awkwardly sit down upon it .
The bastard was having me watch him as he worked over our room for our valuables!
As if what he had done so far wasn’t enough!
As I squirmed with acute anxiety in my bindings, he went about it!
He was thorough I will admit, quickly, unerringly, ransacking our room with expert precision, wasting no time, as he checked through drawers, riffling through our shared closet, quickly fingering over the expensive clothes he was finding within.
Then he searched the bed-stands, discovering both our jewel cases, which he spotlessly cleaned out!
He even pocketed my small gold (plated) antique brush with the rhinestone handle!
The thief was cannily taking anything found that was small, shiny, easily carried, and of any possible value!!
He even managed to find the thin silver headband, the one set with pricey diamond chips, that my cousin had placed hidden at the bottom drawer of her lingerie cabinet!
I had convinced her not to wear it this evening, she had looked better in her bridal gown with her long red hair down and flowing free
And now she would never be wearing it again, and she had that blue satin sequined gown that went amazingly with it as she wore it to hold up her hair at the rehearsal dinner!
Actually that sleek blue gown was now lying in a glittery heap in the floor outside the closet. He had greedily yanked it out to make sure none of the sparkling his hungry eyes had drooled over were actual gems!
He had even shot me a look as he held up it in his touchy paws to see if I was flinching to indicate that it may be valuable enough to steal.
At my lifeless blank stare, he just grunted and tossed it down in a heap!
For some reason my heart had sunk piercingly lower at his discovery of the glittery silver headband even more than it had been doing while I watched him looting our room.
When he had finished, he went and stood over me
“Anything I missed luv?!” he demanded loudly!
Startled, I couldn’t help myself.
He saw me glance over to my pillow
The unethical stinker!
“Thought so!” he said preening with satisfaction at his tomfololery!
I deflatedy cringed as directly he went over to my bed, bending over over and lifting my plum satin coverlet and picking up the matching pillow.
He grasped up the long thin silk purple slip I was wearing for a night gown and looked underneath !
He cackled as he plucked up greedily, the small black velvet satchel that had been hidden underneath my night gown.
He walked it over and emptied it onto his palm before my puppy sad eyes!
I tearfully watched as my pearls, my beautiful set of gleaming white pearls, spilled out onto his eager hand as he whistled his triumphant find!
Now my heart really plummeted !
The greedy, unscrupulous bastard, he had now taken everything with any value that I owned from me and our bedroom!
Then he added his insult to the already deep injury
Leaning over me, looking at me dead in the eye..
Been ever so nice doing business with you, luv!”
He smirked while as he stuffed my pearls roughly inside his pocket, then he slid his fingers along my shoulder and down my tied up taffeta clad arm as I twitched, wallowing in misery...!!
“Where did you come from?” I Irrationally tried to asked, again my words muffled by the gag!
He was watching me struggle to speak...
And once again he answered my unspoken question...
“Followed you from the hotel now didn’t we !” , he said mysteriously as he put on a houndstooth sport jacket.
Then he backed out the door closing it,
I could hear feet rapidly going down the stairs.
Stiff with fright I jumped as a door slams from above
Squirming I managed to quickly undo my tied wrists, silk does not make for solid knots, but then he probably knew that!
It was as I untied my gag, that I coldly realized I had not actually seen the pistol.
“Twit!” I said admonishing myself
That was because he had had no pistol!
The bastard had used only his index finger to utterly fool me into compliancy because I believed he had one!!
Rising I went upstairs to the door leading to the dock stairs.
I should warn her , if she was still setting there on the bench waiting for my return!
Too late, I saw him head down the stairs to the landing.
The lady on the bench rose, diamonds and emeralds rippling a sparkling riot of fire along around her wrist as she walked up to join him, hugging!
She was in on it, had planned this, had set me up in their fiendishly evil trap!
She must have been coming down to wait and meet up with her partner once he was done burgling the cottage bedrooms!
Then she had spied me surpriseingly alone , all dressed up and sitting there by my myself!
What a sweetly plump lamb I must have looked under her wolffish gaze.
All she had to do was simply figure out a way to get this shimmering bird to go alone into the house where her partner was busy looting the bedrooms of guests staying there of their jewels !
And she had decided the ones I had been wearing were to be added into that loot!
She must have been laughing at how easy it had been to trick me into walking into the trap!
And the emeralds/diamonds jewelry she was wearing?
I had suddenly just then remembered , She had not been wearing my any jewelry, when she first approached me!!!
She had been flaunting it, why?
A cold realization finally pierced through the fog of my memory!
They were from the collection of jewelry my cousin had been wearing! Not the bride, but her younger, green satin siren gowned, sister!
The cretins must have surreptitiously (hopefully)removed them from her!
In my minds eye I briefly had a picture of how easily it would have been to stoke the vain ego of my overly dressed flashy young cousin, with her upper levels typically arrogant manner, in order to get her to willingly, literally be played into their hands !!!
Shuddering I watched with falling heart as arm in arm the scoundrels turned a corner and I soon saw a punt appear, with him earnestly rowing away them both away!
I had my hand to my waist as I watched , then with icy cold revelation , suddenly I realized that my sash was gone!
I looked down, with it the also was gone the brilliantly shimmering broach he had promised not to touch, but he had not promised to not touch my sash !
The cold jellied eel like turd had done it as he had been patting me down. And while behind me, fondling me to distraction, his eyes were on another prize!
He flagrantly had white lied to me and untied the sash , unnoticed by me, had slipped it off from my around my waist.
Untying it it with his left hand and pulling it off as he was distracting me by pawing and trying to grope my private bits with his right !
The devil had fooled me entirely, for I had believed his fondling of me had been for his self pleasure, but it had been entirely for the self gain of my valuably gemmed one of a kind broach!!
No wonder he had appeared to be so thoroughly loving his work!
Damn fool I am
I placed a hand to my neck, ears, looked down wrist and fingers.. all of my pretty jewels were gone, going away with the thief as he escaped with his bulging pockets!!
Then I again felt my waistline, hoping I was wrong!
I wasn’t !!!
If I had noticed I pondered, felt him untying it from around my waist ?
Caught red handed, would he then have stopped his pickpocketing? I tried to reason,
“Twit !” I called myself again, “ He wouldn’t have stopped taking the sash. But then he may have demanded I strip and hand over my sumptuous party dress just to be a pisser for my cheekiness !!!”
“But it was all of no use! I hadn’t caught on to his cruel deception, and now the pair of thieves were making off with the jewels, all of my…and our guests , expensively pretty jewels!”
“Never trust a bloody thief!”
I thought sarcastically as I watched the pair of em disappearing into the mist that was rising on the evil appearing black water of the lake, rowing past the lake small island!
It was then I finally found my tongue and screamed the alarm!
With that I managed to wake myself up from the paralyzingly wicked, far too realistic, nightmare I had been caught up in while asleep, tangled up in my covers !!
Fini
Some time ago, i met this man.He was clever, self-confident, good-looking and successful. He had a lot of charm and i fell head over heels in love with him. He loved the stars, astronomy. He told me about Orion´s Belt. Orions Belt is a group of stars. It consists of the three bright stars: ζ Ori (Alnitak), ε Ori (Alnilam), and δ Ori (Mintaka). At one wonderful night he gave me one of them, Alnilam, the string of pearls. He said that we were as beautiful together as this bright star. I melted.
He changed and I recognised that he is not able to love others. He manipulates people and then drops them.
I am sure that I am not the only woman who looks at a starry night in the sky, searching for Alnilam.
He has broken my heart, but his heart turned into a stone a long time ago. I am so sorry for him because he will never love someone with all his heart and soul.
American postcard by Abbeville Publishing Group, New York. Photo: Cinetext, Frankfurt. Hanna Schygulla in Lili Marleen (Rainer Werner Fassbinder, 1980).
German actress and chanson singer Hanna Schygulla (1943) was the icon of the New German Cinema of the 1970s and early 1980s. Schygulla was Rainer Werner Fassbinder's muse and anti-star, and over 12 years, she appeared in 23 of his films. After he died in 1982, she worked with several major European directors.
Hanna Schygulla was born in Königshütte in Germany (now Chorzów in Poland), in 1943. Her parents were Antonie (née Mzyk) and Joseph Schygulla, a timber merchant by profession. Her father was drafted as an infantryman in the German Army and was captured by American forces in Italy, subsequently being held as a prisoner of war until 1948. In 1945, Schygulla, and her mother, arrived as refugees in Munich following the expulsion of the majority German population of Königshütte by Communist Poland. In the 1960s, Schygulla studied Roman languages and German studies, while taking acting lessons in Munich during her spare time. She met Rainer Werner Fassbinder in 1965 and became a member of his collective theatre troupe, Munich Action Theatre. This group eventually evolved into Fassbinder’s film group, and Schygulla played the female lead in his first feature film Liebe ist kälter als der Tod/Love is Colder Than Death (Rainer Werner Fassbinder, 1969). The reception was generally negative, and the film was even booed at the 19th Berlin International Film Festival in 1969. Today, it is seen as a fine example of Fassbinder's early style, with a heavy 'Nouvelle Vague' influence. The cast as an ensemble won an award at the German Film Awards in 1970. She was again the lead actress in Katzelmacher (Rainer Werner Fassbinder, 1969). The film centres on an aimless group of friends whose lives are shaken up by the arrival of an immigrant Greek worker, Jorgos (played by Fassbinder himself, in an uncredited role). Other early Fassbinder films in which she starred were Götter der Pest/Gods of the Plague (Rainer Werner Fassbinder, 1970) with Margaretha von Trotta and Harry Baer, Rio dad Mortes (Rainer Werner Fassbinder, 1971), and the Western Whity (Rainer Werner Fassbinder, 1971) with Günther Kaufmann. The filming of Whity in Spain inspired the Semo-autobiographical drama Warnung vor einer heiligen Nutte/Beware of a Holy Whore (Rainer Werner Fassbinder, 1971) featuring Lou Castel, Eddie Constantine, Schygulla and Fassbinder himself. Holed up in a hotel with too much drink, drugs and time the cast and crew of a film are gradually disintegrating as they await the arrival of their director. Very interesting was also Händler der vier Jahreszeiten/The Merchant of Four Seasons (Rainer Werner Fassbinder, 1971) featuring Hans Hirschmueller as a fruit-peddler in 1950s West Germany, who is driven over the edge by an uncaring society. The following year Schygulla played the object of obsession for fashion designer Petra von Kant (Margit Carstensen) in Die bitteren Tränen der Petra von Kant/The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder, 1972). During the making of Effi Briest (1974), an adaptation of a German novel by Theodor Fontane, Fassbinder and Schygulla fell out over divergent interpretations of the character. Another problem for Schygulla was the low pay, and she led a revolt against Fassbinder on this issue during production in 1972. Fassbinder's response was typically blunt: "I can't stand the sight of your face any more. You bust my balls". After the clash, she did not work with him again for five years.
Hanna Schygulla started to work with other film-makers. She played the female lead in Falsche Bewegung/The Wrong Move (1975), a road movie directed by one of the other major directors of the New German Cinema, Wim Wenders. In 1978, she reunited with Fassbinder for one of their greatest successes Die Ehe der Maria Braun/The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979). Schygulla stars as Maria, whose marriage to the soldier Hermann remained unfulfilled due to World War II and his post-war imprisonment. Maria adapts to the realities of post-war Germany and becomes the wealthy mistress of an industrialist, all the while staying true to her love for Hermann. Critic Derek Malcolm called it in The Guardian ‘a landmark in German cinema’ and writes: “Schygulla gives a magnificent performance as a vulnerable young woman who becomes a self-confident, independent and competent survivor yet still comes to a bad end, largely because of the basic corruption of her world”. The film was entered into the 29th Berlin International Film Festival, where Schygulla won the Silver Bear for Best Actress for her performance. She also appeared opposite Günter Lamprecht in the 14-part television miniseries Berlin Alexanderplatz (1980), adapted and directed by Rainer Werner Fassbinder from the Alfred Döblin novel of the same name. Another success was Lili Marleen (Rainer Werner Fassbinder, 1981), based on the autobiographical novel Der Himmel hat viele Farben (Heaven Has Many Colors) by singer Lale Andersen. The film tells about the forbidden love between the German singer Willie (Schygulla) and the Swiss Jewish composer Robert Mendelssohn (a character based on Rolf Liebermann and played by Giancarlo Giannini), who actively seeks to help an underground group of German Jews during the Third Reich. It was to be her last film with Fassbinder, who died in 1982 at the age of 37. In the following decade, Schygulla acted in French, Italian and American productions. Among her best known films are La Nuit de Varennes/That Night in Varennes (Ettore Scola, 1982), Passion (Jean-Luc Godard, 1982) with Isabelle Huppert, Storia di Piera/The Story of Piera (Marco Ferreri, 1983) with Huppert and Marcello Mastroianni, Eine Liebe in Deutschland/A Love in Germany (Andrzej Wajda, 1983), and the psychological thriller Dead Again (Kenneth Branagh, 1990) starring Branagh and Emma Thompson. In the 1990s Schygulla also became known and well-regarded as a chanson singer. In Juliane Lorenz's documentary film Life, Love and Celluloid (1998), on Fassbinder and related topics, Schygulla performs several songs. She also continued to make interesting films, like Werckmeister Harmóniák/Werckmeister Harmonies (Bela Tarr, 2000) and Auf der anderen Seite/The Edge of Heaven (Fatih Akın, 2007). In 2010, she received the Honorary Golden Bear from the Berlin Film Festival. A year later she played in the Russian film Faust (Alexander Sokurov, 2011), a free interpretation of the Faust legend and its literary adaptations by Johann Wolfgang von Goethe and Thomas Mann. The film won the Golden Lion at the 68th Venice International Film Festival. At the end of 2013, she published her autobiography, ‘Wach auf und trauma, to mark her 70th birthday. Hanna Schygulla who lived in Paris since 1981, returned to Berlin in 2014.
Sources: Derek Malcolm (The Guardian), David Stevens (IMDb), AllMovie, Deutschland.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
This is Leo, the child of an old-time friend of mine, a very brave and self-confident young man. I already had a little photoshoot with him while he was only 1 yo, You will find two or three images of him in the first page of my photostream.
NIkon FA, Nikkor 50mm f 2,0, Apinar Yellow/Green filter.
Ilford FP4+ in Rodinal
French postcard in the Collection Magie Noire by Editions Hazan, Paris, 1992, no. 6330. Photo: Catherine Faux.
German actress and chanson singer Hanna Schygulla (1943) was the icon of the New German Cinema of the 1970s and early 1980s. Schygulla was Rainer Werner Fassbinder's muse and anti-star, and over 12 years, she appeared in 23 of his films. After his death in 1982, she worked together with several major European directors.
Hanna Schygulla was born in Königshütte in Germany (now Chorzów in Poland), in 1943. Her parents were Antonie (née Mzyk) and Joseph Schygulla, a timber merchant by profession. Her father was drafted as an infantryman in the German Army and was captured by American forces in Italy, subsequently being held as a prisoner of war until 1948. In 1945, Schygulla, and her mother, arrived as refugees in Munich following the expulsion of the majority German population of Königshütte by Communist Poland. In the 1960s, Schygulla studied Roman languages and German studies, while taking acting lessons in Munich during her spare time. She met Rainer Werner Fassbinder in 1965 and became a member of his collective theatre troupe, Munich Action Theatre. This group eventually evolved into Fassbinder’s film group, and Schygulla played the female lead in his first feature film Liebe ist kälter als der Tod/Love is Colder Than Death (Rainer Werner Fassbinder, 1969). The reception was generally negative, and the film was even booed at the 19th Berlin International Film Festival in 1969. Today, it is seen as a fine example of Fassbinder's early style, with a heavy 'Nouvelle Vague' influence. The cast as an ensemble won an award at the German Film Awards in 1970. She was again the lead actress in Katzelmacher (Rainer Werner Fassbinder, 1969). The film centres on an aimless group of friends whose lives are shaken up by the arrival of an immigrant Greek worker, Jorgos (played by Fassbinder himself, in an uncredited role). Other early Fassbinder films in which she starred were Götter der Pest/Gods of the Plague (Rainer Werner Fassbinder, 1970) with Margaretha von Trotta and Harry Baer, Rio dad Mortes (Rainer Werner Fassbinder, 1971), and the Western Whity (Rainer Werner Fassbinder, 1971) with Günther Kaufmann. The filming of Whity in Spain inspired the Semo-autobiographical drama Warnung vor einer heiligen Nutte/Beware of a Holy Whore (Rainer Werner Fassbinder, 1971) featuring Lou Castel, Eddie Constantine, Schygulla and Fassbinder himself. Holed up in a hotel with too much drink, drugs and time the cast and crew of a film are gradually disintegrating as they await the arrival of their director. Very interesting was also Händler der vier Jahreszeiten/The Merchant of Four Seasons (Rainer Werner Fassbinder, 1971) featuring Hans Hirschmueller as a fruit-peddler in 1950s West Germany, who is driven over the edge by an uncaring society. The following year Schygulla played the object of obsession for fashion designer Petra von Kant (Margit Carstensen) in Die bitteren Tränen der Petra von Kant/The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder, 1972). During the making of Effi Briest (1974), an adaptation of a German novel by Theodor Fontane, Fassbinder and Schygulla fell out over divergent interpretations of the character. Another problem for Schygulla was the low pay, and she led a revolt against Fassbinder on this issue during production in 1972. Fassbinder's response was typically blunt: "I can't stand the sight of your face any more. You bust my balls". After the clash, she did not work with him again for five years.
Hanna Schygulla started to work with other film-makers. She played the female lead in Falsche Bewegung/The Wrong Move (1975), a road movie directed by one of the other major directors of the New German Cinema, Wim Wenders. In 1978, she reunited with Fassbinder for one of their greatest successes Die Ehe der Maria Braun/The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979). Schygulla stars as Maria, whose marriage to the soldier Hermann remained unfulfilled due to World War II and his post-war imprisonment. Maria adapts to the realities of post-war Germany and becomes the wealthy mistress of an industrialist, all the while staying true to her love for Hermann. Critic Derek Malcolm called it in The Guardian ‘a landmark in German cinema’ and writes: “Schygulla gives a magnificent performance as a vulnerable young woman who becomes a self-confident, independent and competent survivor yet still comes to a bad end, largely because of the basic corruption of her world”. The film was entered into the 29th Berlin International Film Festival, where Schygulla won the Silver Bear for Best Actress for her performance. She also appeared opposite Günter Lamprecht in the 14-part television miniseries Berlin Alexanderplatz (1980), adapted and directed by Rainer Werner Fassbinder from the Alfred Döblin novel of the same name. Another success was Lili Marleen (Rainer Werner Fassbinder, 1981), based on the autobiographical novel Der Himmel hat viele Farben (Heaven Has Many Colors) by singer Lale Andersen. The film tells about the forbidden love between the German singer Willie (Schygulla) and the Swiss Jewish composer Robert Mendelssohn (a character based on Rolf Liebermann and played by Giancarlo Giannini), who actively seeks to help an underground group of German Jews during the Third Reich. It was to be her last film with Fassbinder, who died in 1982 at the age of 37. In the following decade, Schygulla acted in French, Italian and American productions. Among her best known films are La Nuit de Varennes/That Night in Varennes (Ettore Scola, 1982), Passion (Jean-Luc Godard, 1982) with Isabelle Huppert, Storia di Piera/The Story of Piera (Marco Ferreri, 1983) with Huppert and Marcello Mastroianni, Eine Liebe in Deutschland/A Love in Germany (Andrzej Wajda, 1983), and the psychological thriller Dead Again (Kenneth Branagh, 1990) starring Branagh and Emma Thompson. In the 1990s Schygulla also became known and well-regarded as a chanson singer. In Juliane Lorenz's documentary film Life, Love and Celluloid (1998), on Fassbinder and related topics, Schygulla performs several songs. She also continued to make interesting films, like Werckmeister Harmóniák/Werckmeister Harmonies (Bela Tarr, 2000) and Auf der anderen Seite/The Edge of Heaven (Fatih Akın, 2007). In 2010, she received the Honorary Golden Bear from the Berlin Film Festival. A year later she played in the Russian film Faust (Alexander Sokurov, 2011), a free interpretation of the Faust legend and its literary adaptations by Johann Wolfgang von Goethe and Thomas Mann. The film won the Golden Lion at the 68th Venice International Film Festival. At the end of 2013, she published her autobiography, ‘Wach auf und trauma, to mark her 70th birthday. Hanna Schygulla who lived in Paris since 1981, returned to Berlin in 2014.
Sources: Derek Malcolm (The Guardian), David Stevens (IMDb), AllMovie, Deutschland.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Rainbow Lorikeets are such beautiful birds. Such a range of eye-catching colours combined with a gaudy and self-confident attitude.
They are much more aggressive than many other birds, including birds larger than them.
It is one of the many joys of going to the coast--always a cause for celebration when you here the first Rainbow Lorikeets calling overhead when you arrive at the coast. Unluckily, Canberra has no real population of lorikeets.
Another shot from the archives (shot on 24.12.2006)!! This 14th-century Gothic church in Wuerzburg (Germany) overlooks the city's popular outdoor market in the market square. Started in 1377, it was finished in 1481 as a symbol of self-confident townsmen.
The reason I didn't upload it earlier was that this shot had too many perspective distortions. I am not sure whether it was the angle or the lens or both. So, while cleaning the archives, I thought of giving it another try... it took me some time to get an acceptable version. It still has some imperfections but, I guess, now it looks kinda OK.
Do have a look at my Würzburg set.
Wishing you all a great week ahead!!
Berlin war zu Beginn des 20. Jahrhunderts der wichtigste Telegraphen-Knotenpunkt in Europa. Postbaurat Wilhelm Waltger und Architekt Max Lehmann errichteten zwischen 1910 und 1916 das Haupttelegraphenamt, ein prachtvolles Beispiel einer selbstbewussten Industriebauweise im Stil des Neobarocks. Nach dem Ende des Ersten Weltkriegs wurde es technisch hochwertig ausgestattet und beherbergte die modernste Technik, die in den Zwanziger- und Dreißigerjahren des 20. Jahrhunderts verfügbar war. Im Jahr 1916 nahm im Kellergeschoss des Gebäudes die Stadtrohrpostzentrale ihre Dienste auf. Das Gebäude beherbergt heute auf großzügigen modernen Büroflächen eine Anzahl weltweit agierender IT-Unternehmen, zwei moderne Eventflächen und das Lifestyle Hotel "Telegraphenamt".
Text einer Informationstafel vor dem Hoteleingang
At the beginning of the 20th century, Berlin was the most important telegraph hub in Europe. Between 1910 and 1916, the postal building supervisor Wilhelm Walter and architect Max Lehmann built the main telegraph office - a magnificent example of self-confident industrial architecture in neo-Baroque style. After the end of World War I, it was equipped to a high technichal standard and housed the most modern technology available in the early decades of the 20th century. Berlin's tube system central office took up operation in the basement of the building in 1916. Today, the building houses a number of international IT companies in spacious and modern office spaces, along with two modern event spaces and the lifestyle hotel "Telegraphenamt".
Text of an information panel in front of the hotel entrance
I came across this little "whitebell" growing and thriving, despite being surrounded by Bluebells, and it just made me think of how I often feel inferior and different to those around me, maybe not as knowledgeable or intelligent, quick witted or self confident, and yet I, like the whitebell, am coping, living and thriving, despite being what I perceive as "that little bit different".
The area around Lübeck, today a large city with a population of more than 200,000, had been settled by Slavs since the 7th century. Slavs had a settlement north of the present city called "Liubice", which was razed by the pagan Rani tribe in 1128.
15 years later Adolf II, Count of Schauenburg and Holstein, founded the modern town as a German settlement on the river island of Bucu. He built a new castle, first mentioned as existing in 1147. Adolf II had to cede the castle to the Duke of Saxony, Henry the Lion, in 1158. After Henry's fall from power in 1181, the town became an Imperial city. Emperor Barbarossa ordained that the city should have a ruling council of 20 members. With the council dominated by merchants, trade interests shaped Lübeck's politics for centuries.
In the 14th century, Lübeck became the "Queen of the Hanseatic League", being by far the largest and most powerful member of that medieval trade organization. In 1375, Emperor Charles IV named Lübeck one of the five "Glories of the Empire", a title shared with Venice, Rome, Pisa, and Florence.
Conflicts about trading privileges resulted in fighting between Lübeck (with the Hanseatic League) and Denmark and Norway – with varying outcome. While Lübeck and the Hanseatic League prevailed in conflicts in 1435 and 1512, Lübeck lost when it became involved in a civil war that raged in Denmark from 1534 to 1536. From then on Lübeck's power slowly declined. The city remained neutral in the Thirty Years' War, but the devastation from the decades-long war and the new transatlantic orientation of European trade caused the Hanseatic League – and thus Lübeck with it – to decline in importance. However, Lübeck still remained an important trading town on the Baltic Sea.
In 1160 Henry the Lion moved the bishopric of Oldenburg to Lübeck and endowed a cathedral chapter. In 1163 a wooden church was built, however, at the beginning of the 13th century, it was no longer sufficient to meet the representative demands of the self-confident burghers.
St. Marien was built 1250 - 1350. It has always been a symbol of the power and prosperity of the Hanseatic city. It situated at the highest point of the island that forms the old town.
Gothic cathedrals in France and Flanders made of natural stone were the models for the new construction of Lübeck's three-nave basilica.
St. Marien epitomizes North German "Brick Gothic" and set the standard for many churches in the Baltic region. The church embodied the towering style of Gothic architecture using brick.
The incentive for the City Council to undertake such an enormous project was rooted in the bitter dispute with the Lübeck bishopric. As a symbol of the long-distance merchants' desire for freedom and the secular power of the city, which had been free of the Empire since 1226, the church building in the immediate vicinity of Lübeck's city hall and the market square was intended to clearly and uncatchably surpass in size the city's bishop's church, Lübeck Cathedral.
Details of the choir stalls.
The exhibition "I, Mary of Guelders" in Museum Het Valkhof in Nijmegen NL is the first comprehensive exhibition on Mary of Guelders (1380 - after 1427). It tells the life story of this self-confident medieval monarch and ‘power woman’. After 10 years of marriage, Mary of Guelders commissioned between 1415 - 1426 an extraordinary prayer book. With more than 1,200 pages, it is more extensive and elaborate than any comparable prayer book that we know of.
More of Mary's Prayer Book at johanphoto.blogspot.com/2018/11/maria-van-gelre.html
One of our better ideas was a family outing to a treetop adventure walk. Our 7 year old grand daughter, who is a very independent young lady - much like her mother was at that age - thought it was pretty cool to be outfitted in a waist harness, helmet, leather gloves, and safety lines. There was hesitation when looking up the tall ladder attached to the side of the tree but she pressed on. A little peer pressure and a helping hand from Mom and her older brother also helped. From my point of view, it was wonderful to see her progression from fearful to self confident. She was "in the zone" and at the end of it, we had to do it again.
AO Stand Animations from "ALANA" OUT NOW @ MOVE Animations Cologne !
MAINSTORE:
maps.secondlife.com/secondlife/MOVE%20Animations%20Cologn...
- High Framerate
- Long Animation Length
- Self-Confident
- Sexy
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The construction St. Lorenz started around 1250, replacing a smaller Romanesque church. At the same time St. Sebaldus, another great church in Nuremberg was under construction - only 300 meters east. That probably caused a kind of rivalry.
Nuremberg was a "Free Imperial City". The "Golden Bull" (1356) named Nuremberg as the city where newly elected kings of Germany must hold their first Imperial Diet, making Nuremberg one of the three highest cities of the Empire.
So it is no surprise, that St. Lorenz, a church that was (financially) cared of by the city council and by wealthy citizens, was a kind of very prestigious object for the city.
St. Lorenz was completed ~ 1390, but - following St. Sebaldus - already a decade later alterations started. The side aisles got demolished and were replaced by wider ones. The erection of the Gothic hall-chancel was done 1439 - 1477.
Since 1525 St. Lorenz is a (Evangelical) Lutheran parish church. Only 8 years after Martin Luther nailed his Ninety-five Theses to the door of the Schlosskirche in Wittenberg. Though Lutheran that early St. Lorenz never suffered from an iconoclast, maybe the now Lutheran citizens respected, what their ancestors had created here (by funding!).
The about 20 metres high tabernacle is a masterpiece, created by Adam Kraft (and his studio) 1493 - 1496. Donor was Hans IV. Imhoff, a wealthy, prominent merchant and city councilman. The contract between Hans IV. Imhoff and Adam Kraft is in the archives of the "Germanisches Nationalmuseum" in Nuremberg. Imhoff paid more than 77 guldens, the doors were another 20.
Three life size figures support the structure. In the center is a self portrait of Adam Kraft. He must have been a very self confident artist.
German actress and chanson singer Hanna Schygulla (1943) was the icon of the New German Cinema of the 1970s and early 1980s. Schygulla was Rainer Werner Fassbinder's muse and anti-star, and over 12 years, she appeared in 23 of his films. After his death in 1982, she worked together with several major European directors.
Hanna Schygulla was born in Königshütte in Germany (now Chorzów in Poland), in 1943. Her parents were Antonie (née Mzyk) and Joseph Schygulla, a timber merchant by profession. Her father was drafted as an infantryman in the German Army and was captured by American forces in Italy, subsequently being held as a prisoner of war until 1948. In 1945, Schygulla, and her mother, arrived as refugees in Munich following the expulsion of the majority German population of Königshütte by Communist Poland. In the 1960s, Schygulla studied Roman languages and German studies, while taking acting lessons in Munich during her spare time. She met Rainer Werner Fassbinder in 1965 and became a member of his collective theatre troupe, Munich Action Theatre. This group eventually evolved into Fassbinder’s film group, and Schygulla played the female lead in his first feature film Liebe ist kälter als der Tod/Love is Colder Than Death (Rainer Werner Fassbinder, 1969). The reception was generally negative, and the film was even booed at the 19th Berlin International Film Festival in 1969. Today, it is seen as a fine example of Fassbinder's early style, with a heavy 'Nouvelle Vague' influence. The cast as an ensemble won an award at the German Film Awards in 1970. She was again the lead actress in Katzelmacher (Rainer Werner Fassbinder, 1969). The film centres on an aimless group of friends whose lives are shaken up by the arrival of an immigrant Greek worker, Jorgos (played by Fassbinder himself, in an uncredited role). Other early Fassbinder films in which she starred were Götter der Pest/Gods of the Plague (Rainer Werner Fassbinder, 1970) with Margaretha von Trotta and Harry Baer, Rio dad Mortes (Rainer Werner Fassbinder, 1971), and the Western Whity (Rainer Werner Fassbinder, 1971) with Günther Kaufmann. The filming of Whity in Spain inspired the Semo-autobiographical drama Warnung vor einer heiligen Nutte/Beware of a Holy Whore (Rainer Werner Fassbinder, 1971) featuring Lou Castel, Eddie Constantine, Schygulla and Fassbinder himself. Holed up in a hotel with too much drink, drugs and time the cast and crew of a film are gradually disintegrating as they await the arrival of their director. Very interesting was also Händler der vier Jahreszeiten/The Merchant of Four Seasons (Rainer Werner Fassbinder, 1971) featuring Hans Hirschmueller as a fruit-peddler in 1950s West Germany, who is driven over the edge by an uncaring society. The following year Schygulla played the object of obsession for fashion designer Petra von Kant (Margit Carstensen) in Die bitteren Tränen der Petra von Kant/The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder, 1972). During the making of Effi Briest (1974), an adaptation of a German novel by Theodor Fontane, Fassbinder and Schygulla fell out over divergent interpretations of the character. Another problem for Schygulla was the low pay, and she led a revolt against Fassbinder on this issue during production in 1972. Fassbinder's response was typically blunt: "I can't stand the sight of your face any more. You bust my balls". After the clash, she did not work with him again for five years.
Hanna Schygulla started to work with other film-makers. She played the female lead in Falsche Bewegung/The Wrong Move (1975), a road movie directed by one of the other major directors of the New German Cinema, Wim Wenders. In 1978, she reunited with Fassbinder for one of their greatest successes Die Ehe der Maria Braun/The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979). Schygulla stars as Maria, whose marriage to the soldier Hermann remained unfulfilled due to World War II and his post-war imprisonment. Maria adapts to the realities of post-war Germany and becomes the wealthy mistress of an industrialist, all the while staying true to her love for Hermann. Critic Derek Malcolm called it in The Guardian ‘a landmark in German cinema’ and writes: “Schygulla gives a magnificent performance as a vulnerable young woman who becomes a self-confident, independent and competent survivor yet still comes to a bad end, largely because of the basic corruption of her world”. The film was entered into the 29th Berlin International Film Festival, where Schygulla won the Silver Bear for Best Actress for her performance. She also appeared opposite Günter Lamprecht in the 14-part television miniseries Berlin Alexanderplatz (1980), adapted and directed by Rainer Werner Fassbinder from the Alfred Döblin novel of the same name. Another success was Lili Marleen (Rainer Werner Fassbinder, 1981), based on the autobiographical novel Der Himmel hat viele Farben (Heaven Has Many Colors) by singer Lale Andersen. The film tells about the forbidden love between the German singer Willie (Schygulla) and the Swiss Jewish composer Robert Mendelssohn (a character based on Rolf Liebermann and played by Giancarlo Giannini), who actively seeks to help an underground group of German Jews during the Third Reich. It was to be her last film with Fassbinder, who died in 1982 at the age of 37. In the following decade, Schygulla acted in French, Italian and American productions. Among her best known films are La Nuit de Varennes/That Night in Varennes (Ettore Scola, 1982), Passion (Jean-Luc Godard, 1982) with Isabelle Huppert, Storia di Piera/The Story of Piera (Marco Ferreri, 1983) with Huppert and Marcello Mastroianni, Eine Liebe in Deutschland/A Love in Germany (Andrzej Wajda, 1983), and the psychological thriller Dead Again (Kenneth Branagh, 1990) starring Branagh and Emma Thompson. In the 1990s Schygulla also became known and well-regarded as a chanson singer. In Juliane Lorenz's documentary film Life, Love and Celluloid (1998), on Fassbinder and related topics, Schygulla performs several songs. She also continued to make interesting films, like Werckmeister Harmóniák/Werckmeister Harmonies (Bela Tarr, 2000) and Auf der anderen Seite/The Edge of Heaven (Fatih Akın, 2007). In 2010, she received the Honorary Golden Bear from the Berlin Film Festival. A year later she played in the Russian film Faust (Alexander Sokurov, 2011), a free interpretation of the Faust legend and its literary adaptations by Johann Wolfgang von Goethe and Thomas Mann. The film won the Golden Lion at the 68th Venice International Film Festival. At the end of 2013, she published her autobiography, ‘Wach auf und trauma, to mark her 70th birthday. Hanna Schygulla who lived in Paris since 1981, returned to Berlin in 2014.
Sources: Derek Malcolm (The Guardian), David Stevens (IMDb), AllMovie, Deutschland.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Sam is so in love with Nero. He's the kind of guy she loves: mysterious, sexy and self-confident.
But he does not seem to be as interested in this relationship at all.
The Altes Museum (German for Old Museum) is a museum building on Museum Island in Berlin, Germany. Since restoration work in 2010–11, it houses the Antikensammlung (antiquities collection) of the Berlin State Museums. The museum building was built between 1823 and 1830 by the architect Karl Friedrich Schinkel in the neoclassical style to house the Prussian royal family's art collection. The historic, protected building counts among the most distinguished in neoclassicism and is a high point of Schinkel's career. Until 1845, it was called the Königliches Museum (Royal Museum). Along with the other museums and historic buildings on Museum Island, the Altes Museum was designated a UNESCO World Heritage Site in 1999.
In the early nineteenth century, Germany's bourgeoisie had become increasingly self-aware and self-confident. This growing class began to embrace new ideas regarding the relationship between itself and art, and the concepts that art should be open to the public and that citizens should be able to have access to a comprehensive cultural education began to pervade society. King Friedrich Wilhelm III of Prussia was a strong proponent of this humboldtian ideal for education and charged Karl Friedrich Schinkel with planning a public museum for the royal art collection.
Schinkel's plans for the Königliches Museum, as it was then known, were also influenced by drafts of the crown prince, later King Friedrich Wilhelm IV, who desired a building that was heavily influenced by antiquity. The crown prince even sent Schinkel a pencil sketch of the large hall adorned with a classical portico.
Schinkel’s design carefully mixed various references to classical architecture, such as the frontal portico adorned with Ionic columns and this large rotunda, inspired by that of the Pantheon in Rome.
Just before the end of Second World War, the museum was badly damaged when a tank truck exploded in front of the museum, and the frescoes designed by Schinkel and Peter Cornelius, which adorned the vestibule and the back wall of the portico, were largely lost.
Under General Director Ludwig Justi, the building was the first museum of Museum Island to undergo reconstruction and restoration, which was carried out from 1951 to 1966 by Hans Erich Bogatzky and Theodor Voissen. Following Schinkel's designs, the murals of this rotunda were restored in 1982. However, neither the ornate ceilings of the ground floor exhibition rooms nor the pairs of columns under the girders were reconstructed. The former connection to the Neues Museum has also not been rebuilt; instead, an underground passageway connecting all of the museums of Museum Island is planned as part of the Museumsinsel 2015 renovations.
Das Alte Museum ist ein Museumsgebäude auf der Museumsinsel in Berlin. Seit den Restaurierungsarbeiten 2010/11 befindet sich hier die Antikensammlung der Berliner Landesmuseen. Das Museumsgebäude wurde zwischen 1823 und 1830 vom Architekten Karl Friedrich Schinkel im neoklassizistischen Stil erbaut, um die Kunstsammlung der preußischen Königsfamilie zu beherbergen. Das historische, geschützte Gebäude zählt zu den bedeutendsten im Neoklassizismus und ist ein Höhepunkt in Schinkels Karriere. Bis 1845 hieß es Königliches Museum. Zusammen mit den anderen Museen und historischen Gebäuden auf der Museumsinsel wurde das Alte Museum 1999 zum UNESCO-Weltkulturerbe erklärt.
Zu Beginn des 19. Jahrhunderts war die deutsche Bourgeoisie zunehmend selbstbewusster und selbstbewusster geworden. Diese wachsende Klasse begann, neue Ideen in Bezug auf die Beziehung zwischen sich selbst und der Kunst anzunehmen, und die Konzepte, dass Kunst für die Öffentlichkeit zugänglich sein sollte und dass die Bürger Zugang zu einer umfassenden kulturellen Bildung haben sollten, begannen die Gesellschaft zu durchdringen. König Friedrich Wilhelm III. Von Preußen war ein starker Befürworter dieses humboldtianischen Bildungsideals und beauftragte Karl Friedrich Schinkel mit der Planung eines öffentlichen Museums für die königliche Kunstsammlung.
Schinkels Pläne für das damalige Königliche Museum wurden auch von Entwürfen des Kronprinzen, später König Friedrich Wilhelm IV., Beeinflusst, der ein stark von der Antike geprägtes Gebäude wünschte. Der Kronprinz schickte Schinkel sogar eine Bleistiftskizze des großen Saals, der mit einem klassischen Portikus geschmückt war.
Schinkels Entwurf mischte sorgfältig verschiedene Bezüge zur klassischen Architektur, wie den mit ionischen Säulen geschmückten frontalen Portikus und diese große Rotunde, die von der des Pantheons in Rom inspiriert war.
Kurz vor dem Ende des Zweiten Weltkriegs wurde das Museum schwer beschädigt, als ein Tankwagen vor dem Museum explodierte und die von Schinkel und Peter Cornelius entworfenen Fresken, die den Vorraum und die Rückwand des Portikus schmückten, weitgehend verloren gingen .
Unter Generaldirektor Ludwig Justi wurde das Gebäude als erstes Museum der Museumsinsel rekonstruiert und restauriert, das von 1951 bis 1966 von Hans Erich Bogatzky und Theodor Voissen durchgeführt wurde. Nach Schinkels Entwürfen wurden 1982 die Wandgemälde dieser Rotunde restauriert. Weder die verzierten Decken der Ausstellungsräume im Erdgeschoss noch die Säulenpaare unter den Trägern wurden rekonstruiert. Die frühere Verbindung zum Neuen Museum wurde ebenfalls nicht wieder aufgebaut; Stattdessen ist im Rahmen der Renovierung der Museumsinsel 2015 ein unterirdischer Durchgang geplant, der alle Museen der Museumsinsel verbindet.
Dutch freecard by Free Card, Haarlem for the R.W. Fassbinder retrospective at Rialto and De Meervaart, Amsterdam 1993 Hanna Schygulla in Lili Marleen (Rainer Werner Fassbinder, 1980).
German actress and chanson singer Hanna Schygulla (1943) was the icon of the New German Cinema of the 1970s and early 1980s. Schygulla was Rainer Werner Fassbinder's muse and anti-star, and over 12 years, she appeared in 23 of his films. After he died in 1982, she worked with several major European directors.
Hanna Schygulla was born in Königshütte in Germany (now Chorzów in Poland), in 1943. Her parents were Antonie (née Mzyk) and Joseph Schygulla, a timber merchant by profession. Her father was drafted as an infantryman in the German Army and was captured by American forces in Italy, subsequently being held as a prisoner of war until 1948. In 1945, Schygulla, and her mother, arrived as refugees in Munich following the expulsion of the majority German population of Königshütte by Communist Poland. In the 1960s, Schygulla studied Roman languages and German studies, while taking acting lessons in Munich during her spare time. She met Rainer Werner Fassbinder in 1965 and became a member of his collective theatre troupe, Munich Action Theatre. This group eventually evolved into Fassbinder’s film group, and Schygulla played the female lead in his first feature film Liebe ist kälter als der Tod/Love is Colder Than Death (Rainer Werner Fassbinder, 1969). The reception was generally negative, and the film was even booed at the 19th Berlin International Film Festival in 1969. Today, it is seen as a fine example of Fassbinder's early style, with a heavy 'Nouvelle Vague' influence. The cast as an ensemble won an award at the German Film Awards in 1970. She was again the lead actress in Katzelmacher (Rainer Werner Fassbinder, 1969). The film centres on an aimless group of friends whose lives are shaken up by the arrival of an immigrant Greek worker, Jorgos (played by Fassbinder himself, in an uncredited role). Other early Fassbinder films in which she starred were Götter der Pest/Gods of the Plague (Rainer Werner Fassbinder, 1970) with Margaretha von Trotta and Harry Baer, Rio dad Mortes (Rainer Werner Fassbinder, 1971), and the Western Whity (Rainer Werner Fassbinder, 1971) with Günther Kaufmann. The filming of Whity in Spain inspired the Semo-autobiographical drama Warnung vor einer heiligen Nutte/Beware of a Holy Whore (Rainer Werner Fassbinder, 1971) featuring Lou Castel, Eddie Constantine, Schygulla and Fassbinder himself. Holed up in a hotel with too much drink, drugs and time the cast and crew of a film are gradually disintegrating as they await the arrival of their director. Very interesting was also Händler der vier Jahreszeiten/The Merchant of Four Seasons (Rainer Werner Fassbinder, 1971) featuring Hans Hirschmueller as a fruit-peddler in 1950s West Germany, who is driven over the edge by an uncaring society. The following year Schygulla played the object of obsession for fashion designer Petra von Kant (Margit Carstensen) in Die bitteren Tränen der Petra von Kant/The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder, 1972). During the making of Effi Briest (1974), an adaptation of a German novel by Theodor Fontane, Fassbinder and Schygulla fell out over divergent interpretations of the character. Another problem for Schygulla was the low pay, and she led a revolt against Fassbinder on this issue during production in 1972. Fassbinder's response was typically blunt: "I can't stand the sight of your face any more. You bust my balls". After the clash, she did not work with him again for five years.
Hanna Schygulla started to work with other film-makers. She played the female lead in Falsche Bewegung/The Wrong Move (1975), a road movie directed by one of the other major directors of the New German Cinema, Wim Wenders. In 1978, she reunited with Fassbinder for one of their greatest successes Die Ehe der Maria Braun/The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979). Schygulla stars as Maria, whose marriage to the soldier Hermann remained unfulfilled due to World War II and his post-war imprisonment. Maria adapts to the realities of post-war Germany and becomes the wealthy mistress of an industrialist, all the while staying true to her love for Hermann. Critic Derek Malcolm called it in The Guardian ‘a landmark in German cinema’ and writes: “Schygulla gives a magnificent performance as a vulnerable young woman who becomes a self-confident, independent and competent survivor yet still comes to a bad end, largely because of the basic corruption of her world”. The film was entered into the 29th Berlin International Film Festival, where Schygulla won the Silver Bear for Best Actress for her performance. She also appeared opposite Günter Lamprecht in the 14-part television miniseries Berlin Alexanderplatz (1980), adapted and directed by Rainer Werner Fassbinder from the Alfred Döblin novel of the same name. Another success was Lili Marleen (Rainer Werner Fassbinder, 1981), based on the autobiographical novel Der Himmel hat viele Farben (Heaven Has Many Colors) by singer Lale Andersen. The film tells about the forbidden love between the German singer Willie (Schygulla) and the Swiss Jewish composer Robert Mendelssohn (a character based on Rolf Liebermann and played by Giancarlo Giannini), who actively seeks to help an underground group of German Jews during the Third Reich. It was to be her last film with Fassbinder, who died in 1982 at the age of 37. In the following decade, Schygulla acted in French, Italian and American productions. Among her best known films are La Nuit de Varennes/That Night in Varennes (Ettore Scola, 1982), Passion (Jean-Luc Godard, 1982) with Isabelle Huppert, Storia di Piera/The Story of Piera (Marco Ferreri, 1983) with Huppert and Marcello Mastroianni, Eine Liebe in Deutschland/A Love in Germany (Andrzej Wajda, 1983), and the psychological thriller Dead Again (Kenneth Branagh, 1990) starring Branagh and Emma Thompson. In the 1990s Schygulla also became known and well-regarded as a chanson singer. In Juliane Lorenz's documentary film Life, Love and Celluloid (1998), on Fassbinder and related topics, Schygulla performs several songs. She also continued to make interesting films, like Werckmeister Harmóniák/Werckmeister Harmonies (Bela Tarr, 2000) and Auf der anderen Seite/The Edge of Heaven (Fatih Akın, 2007). In 2010, she received the Honorary Golden Bear from the Berlin Film Festival. A year later she played in the Russian film Faust (Alexander Sokurov, 2011), a free interpretation of the Faust legend and its literary adaptations by Johann Wolfgang von Goethe and Thomas Mann. The film won the Golden Lion at the 68th Venice International Film Festival. At the end of 2013, she published her autobiography, ‘Wach auf und trauma, to mark her 70th birthday. Hanna Schygulla who lived in Paris since 1981, returned to Berlin in 2014.
Sources: Derek Malcolm (The Guardian), David Stevens (IMDb), AllMovie, Deutschland.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
just a wrap
is it not?
freeform
freestyle
for divas
divos
self-confident stargods
but,
of course
stargods are always
self- aware
& shining their light on
the core
of divine energy
A Tale of Two Sheddies.
Freightliner's 66955 with 4L32 Bristol to Tilbury intermodal passes DB's 66114 waiting for the road with 6B49 Llanwern to Swindon steel working at Royal Wootton Bassett. The steel train was waiting for over an hour as another freight and 2 passenger workings passed, no wonder the driver had his feet up!
A Tale of Two Cities was of course a historical novel published in 1850 by that giant of English literature Charles Dickens, the two cities in question being London and Paris.
On rail-related matters, on 9 June 1865 Dickens was a passenger on the train involved in the Staplehurst Rail Crash, 10 passengers were killed in the incident, apparently the experience greatly affected Dickens. Interestingly he died from a stroke five years to the day after the accident.
This location in Wiltshire was the location of the 2015 Wootton Bassett SPAD incident in which a steam-hauled charter train operated by West Coast Railway Company passed a signal at danger and came to a stand across the junction (presumably in a similar spot to that of 4L32 in this image), thankfully an HST passenger service from Swansea to Paddington had cleared the junction moments before the errant working arrived and tragedy was averted.
Of further interest, and hopefully lightening the mood, Charles Dickens, the second of 8 children born to John and Elizabeth (nee Barrow) Dickens, married Catherine Thomson "Kate" Hogarth and together they produced 10 children.... maybe it's something to do with the family surname...., you'll have to make up your own punchlines.
Apparently in his early 20s Charles Dickens was described as "energetic and increasingly self-confident"- you're not kidding!! There's no truth in the rumor that Dickens authored the first edition of "The Joy of Sex" though😄
Last weekend I started a masterclass focused on photographic projects: how to work and develop them. We didn't talk about light, techniques, gear, lenses, composition, exposure, rules….We simply skipped rules. Our tutors brought us to another level. Whereas technique is a tool - as a paintbrush- you shall certainly need to transform your intuitions into something visual, you must overcome that obsession of rules, techniques, formal research…Everything is useful and important. But at the end of the day, emotions are the language you need to speak. Make your street photography, enjoy your landscape works, build up your fine art, concentrate on your portraits and develop your reportage…But don't be slave of techniques, rules, formalisms. Study, learn, analyze other people's works, but then go back to your personal mindset and think of yourself as an open book. Your works are made of emotions. If you don't feel, you are probably not communicating anything.
I don't know how much I have been able to feel and communicate feelings till today. Sometimes I feel I probably did. Sometimes I am afraid I tried to reach formal compositions to please a certain fashion or style. Other times I wanted to express my feelings, but was probably scared or not self-confident enough to go the whole hog. Sometimes I just stopped a step before revealing my feelings.
No matter what, I did what I could. My promise to myself is to do it from now on. Photography is a life-long diary, if you like this symbol. And if you are not sincere to your diary, you don't need to write it at all. Would you ?
So, let this diary be.
French postcard by Editions Gendre, no. XL 3. Photo: Xavier Lambours. Caption: Hanna Schugulla, Cannes, May 1983.
German actress and chanson singer Hanna Schygulla (1943) was the icon of the New German Cinema of the 1970s and early 1980s. Schygulla was Rainer Werner Fassbinder's muse and anti-star, and over 12 years, she appeared in 23 of his films. After his death in 1982, she worked together with several major European directors.
Hanna Schygulla was born in Königshütte in Germany (now Chorzów in Poland), in 1943. Her parents were Antonie (née Mzyk) and Joseph Schygulla, a timber merchant by profession. Her father was drafted as an infantryman in the German Army and was captured by American forces in Italy, subsequently being held as a prisoner of war until 1948. In 1945, Schygulla, and her mother, arrived as refugees in Munich following the expulsion of the majority German population of Königshütte by Communist Poland. In the 1960s, Schygulla studied Roman languages and German studies, while taking acting lessons in Munich during her spare time. She met Rainer Werner Fassbinder in 1965 and became a member of his collective theatre troupe, Munich Action Theatre. This group eventually evolved into Fassbinder’s film group, and Schygulla played the female lead in his first feature film Liebe ist kälter als der Tod/Love is Colder Than Death (Rainer Werner Fassbinder, 1969). The reception was generally negative, and the film was even booed at the 19th Berlin International Film Festival in 1969. Today, it is seen as a fine example of Fassbinder's early style, with a heavy 'Nouvelle Vague' influence. The cast as an ensemble won an award at the German Film Awards in 1970. She was again the lead actress in Katzelmacher (Rainer Werner Fassbinder, 1969). The film centres on an aimless group of friends whose lives are shaken up by the arrival of an immigrant Greek worker, Jorgos (played by Fassbinder himself, in an uncredited role). Other early Fassbinder films in which she starred were Götter der Pest/Gods of the Plague (Rainer Werner Fassbinder, 1970) with Margaretha von Trotta and Harry Baer, Rio dad Mortes (Rainer Werner Fassbinder, 1971), and the Western Whity (Rainer Werner Fassbinder, 1971) with Günther Kaufmann. The filming of Whity in Spain inspired the Semo-autobiographical drama Warnung vor einer heiligen Nutte/Beware of a Holy Whore (Rainer Werner Fassbinder, 1971) featuring Lou Castel, Eddie Constantine, Schygulla and Fassbinder himself. Holed up in a hotel with too much drink, drugs and time the cast and crew of a film are gradually disintegrating as they await the arrival of their director. Very interesting was also Händler der vier Jahreszeiten/The Merchant of Four Seasons (Rainer Werner Fassbinder, 1971) featuring Hans Hirschmueller as a fruit-peddler in 1950s West Germany, who is driven over the edge by an uncaring society. The following year Schygulla played the object of obsession for fashion designer Petra von Kant (Margit Carstensen) in Die bitteren Tränen der Petra von Kant/The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder, 1972). During the making of Effi Briest (1974), an adaptation of a German novel by Theodor Fontane, Fassbinder and Schygulla fell out over divergent interpretations of the character. Another problem for Schygulla was the low pay, and she led a revolt against Fassbinder on this issue during production in 1972. Fassbinder's response was typically blunt: "I can't stand the sight of your face any more. You bust my balls". After the clash, she did not work with him again for five years.
Hanna Schygulla started to work with other film-makers. She played the female lead in Falsche Bewegung/The Wrong Move (1975), a road movie directed by one of the other major directors of the New German Cinema, Wim Wenders. In 1978, she reunited with Fassbinder for one of their greatest successes Die Ehe der Maria Braun/The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979). Schygulla stars as Maria, whose marriage to the soldier Hermann remained unfulfilled due to World War II and his post-war imprisonment. Maria adapts to the realities of post-war Germany and becomes the wealthy mistress of an industrialist, all the while staying true to her love for Hermann. Critic Derek Malcolm called it in The Guardian ‘a landmark in German cinema’ and writes: “Schygulla gives a magnificent performance as a vulnerable young woman who becomes a self-confident, independent and competent survivor yet still comes to a bad end, largely because of the basic corruption of her world”. The film was entered into the 29th Berlin International Film Festival, where Schygulla won the Silver Bear for Best Actress for her performance. She also appeared opposite Günter Lamprecht in the 14-part television miniseries Berlin Alexanderplatz (1980), adapted and directed by Rainer Werner Fassbinder from the Alfred Döblin novel of the same name. Another success was Lili Marleen (Rainer Werner Fassbinder, 1981), based on the autobiographical novel Der Himmel hat viele Farben (Heaven Has Many Colors) by singer Lale Andersen. The film tells about the forbidden love between the German singer Willie (Schygulla) and the Swiss Jewish composer Robert Mendelssohn (a character based on Rolf Liebermann and played by Giancarlo Giannini), who actively seeks to help an underground group of German Jews during the Third Reich. It was to be her last film with Fassbinder, who died in 1982 at the age of 37. In the following decade, Schygulla acted in French, Italian and American productions. Among her best known films are La Nuit de Varennes/That Night in Varennes (Ettore Scola, 1982), Passion (Jean-Luc Godard, 1982) with Isabelle Huppert, Storia di Piera/The Story of Piera (Marco Ferreri, 1983) with Huppert and Marcello Mastroianni, Eine Liebe in Deutschland/A Love in Germany (Andrzej Wajda, 1983), and the psychological thriller Dead Again (Kenneth Branagh, 1990) starring Branagh and Emma Thompson. In the 1990s Schygulla also became known and well-regarded as a chanson singer. In Juliane Lorenz's documentary film Life, Love and Celluloid (1998), on Fassbinder and related topics, Schygulla performs several songs. She also continued to make interesting films, like Werckmeister Harmóniák/Werckmeister Harmonies (Bela Tarr, 2000) and Auf der anderen Seite/The Edge of Heaven (Fatih Akın, 2007). In 2010, she received the Honorary Golden Bear from the Berlin Film Festival. A year later she played in the Russian film Faust (Alexander Sokurov, 2011), a free interpretation of the Faust legend and its literary adaptations by Johann Wolfgang von Goethe and Thomas Mann. The film won the Golden Lion at the 68th Venice International Film Festival. At the end of 2013, she published her autobiography, ‘Wach auf und trauma, to mark her 70th birthday. Hanna Schygulla who lived in Paris since 1981, returned to Berlin in 2014.
Sources: Derek Malcolm (The Guardian), David Stevens (IMDb), AllMovie, Deutschland.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
I found this beautiful man in a park at summer temperatures above 40 degrees Celsius and felt 200% humidity.
And: This man does his job - no more and no less!
Upright, dignified and self-confident!
This is a true hero - a hero of everyday life!
Thank you Franz! You're just great!
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Press L and then F11 for a large view -
you must absolute fully enjoy this picture!
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circular freeform
crochet & knitting mix
pattern knitting
chunky winter coat
for fashion divas
& self-confident individuals
who enjoy to
express their true self
Berlin: Fountain on the Kutscherhof (Coachmen's Courtyard) of the former Main Telegraph Office. The hay bales placed around the fountain serve as reminiscence of the former use of the courtayard.
Berlin war zu Beginn des 20. Jahrhunderts der wichtigste Telegraphen-Knotenpunkt in Europa. Postbaurat Wilhelm Waltger und Architekt Max Lehmann errichteten zwischen 1910 und 1916 das Haupttelegraphenamt, ein prachtvolles Beispiel einer selbstbewussten Industriebauweise im Stil des Neobarocks. Nach dem Ende des Ersten Weltkriegs wurde es technisch hochwertig ausgestattet und beherbergte die modernste Technik, die in den Zwanziger- und Dreißigerjahren des 20. Jahrhunderts verfügbar war. Im Jahr 1916 nahm im Kellergeschoss des Gebäudes die Stadtrohrpostzentrale ihre Dienste auf. Das Gebäude beherbergt heute auf großzügigen modernen Büroflächen eine Anzahl weltweit agierender IT-Unternehmen, zwei moderne Eventflächen und das Lifestyle Hotel "Telegraphenamt".
Text einer Informationstafel vor dem Hoteleingang
At the beginning of the 20th century, Berlin was the most important telegraph hub in Eurpe. Between 1910 and 1916, the postal building supervisor Wilhelm Walter and architect Max Lehmann built the main telegraph office - a magnificent example of self-confident industrial architecture in neo-Baroque style. After the end of World War I, it was equipped to a high techichal standard and housed the most modern technology available in the early decades of the 20th century. Berlin's tube system central office took up operation in the basement of the building in 1916. Today, the building houses a number of international IT companies in spacious and modern office spaces, along with two modern event spaces and the lifestyle hotel "Telegraphenamt".
Text of an information panel in front of the hotel entrance
German autograph card.
German actress and chanson singer Hanna Schygulla (1943) was the icon of the New German Cinema of the 1970s and early 1980s. Schygulla was Rainer Werner Fassbinder's muse and anti-star, and over 12 years, she appeared in 23 of his films. After his death in 1982, she worked together with several major European directors.
Hanna Schygulla was born in Königshütte in Germany (now Chorzów in Poland), in 1943. Her parents were Antonie (née Mzyk) and Joseph Schygulla, a timber merchant by profession. Her father was drafted as an infantryman in the German Army and was captured by American forces in Italy, subsequently being held as a prisoner of war until 1948. In 1945, Schygulla, and her mother, arrived as refugees in Munich following the expulsion of the majority German population of Königshütte by Communist Poland. In the 1960s, Schygulla studied Roman languages and German studies, while taking acting lessons in Munich during her spare time. She met Rainer Werner Fassbinder in 1965 and became a member of his collective theatre troupe, Munich Action Theatre. This group eventually evolved into Fassbinder’s film group, and Schygulla played the female lead in his first feature film Liebe ist kälter als der Tod/Love is Colder Than Death (Rainer Werner Fassbinder, 1969). The reception was generally negative, and the film was even booed at the 19th Berlin International Film Festival in 1969. Today, it is seen as a fine example of Fassbinder's early style, with a heavy 'Nouvelle Vague' influence. The cast as an ensemble won an award at the German Film Awards in 1970. She was again the lead actress in Katzelmacher (Rainer Werner Fassbinder, 1969). The film centres on an aimless group of friends whose lives are shaken up by the arrival of an immigrant Greek worker, Jorgos (played by Fassbinder himself, in an uncredited role). Other early Fassbinder films in which she starred were Götter der Pest/Gods of the Plague (Rainer Werner Fassbinder, 1970) with Margaretha von Trotta and Harry Baer, Rio dad Mortes (Rainer Werner Fassbinder, 1971), and the Western Whity (Rainer Werner Fassbinder, 1971) with Günther Kaufmann. The filming of Whity in Spain inspired the Semo-autobiographical drama Warnung vor einer heiligen Nutte/Beware of a Holy Whore (Rainer Werner Fassbinder, 1971) featuring Lou Castel, Eddie Constantine, Schygulla and Fassbinder himself. Holed up in a hotel with too much drink, drugs and time the cast and crew of a film are gradually disintegrating as they await the arrival of their director. Very interesting was also Händler der vier Jahreszeiten/The Merchant of Four Seasons (Rainer Werner Fassbinder, 1971) featuring Hans Hirschmueller as a fruit-peddler in 1950s West Germany, who is driven over the edge by an uncaring society. The following year Schygulla played the object of obsession for fashion designer Petra von Kant (Margit Carstensen) in Die bitteren Tränen der Petra von Kant/The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder, 1972). During the making of Effi Briest (1974), an adaptation of a German novel by Theodor Fontane, Fassbinder and Schygulla fell out over divergent interpretations of the character. Another problem for Schygulla was the low pay, and she led a revolt against Fassbinder on this issue during production in 1972. Fassbinder's response was typically blunt: "I can't stand the sight of your face any more. You bust my balls". After the clash, she did not work with him again for five years.
Hanna Schygulla started to work with other film-makers. She played the female lead in Falsche Bewegung/The Wrong Move (1975), a road movie directed by one of the other major directors of the New German Cinema, Wim Wenders. In 1978, she reunited with Fassbinder for one of their greatest successes Die Ehe der Maria Braun/The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979). Schygulla stars as Maria, whose marriage to the soldier Hermann remained unfulfilled due to World War II and his post-war imprisonment. Maria adapts to the realities of post-war Germany and becomes the wealthy mistress of an industrialist, all the while staying true to her love for Hermann. Critic Derek Malcolm called it in The Guardian ‘a landmark in German cinema’ and writes: “Schygulla gives a magnificent performance as a vulnerable young woman who becomes a self-confident, independent and competent survivor yet still comes to a bad end, largely because of the basic corruption of her world”. The film was entered into the 29th Berlin International Film Festival, where Schygulla won the Silver Bear for Best Actress for her performance. She also appeared opposite Günter Lamprecht in the 14-part television miniseries Berlin Alexanderplatz (1980), adapted and directed by Rainer Werner Fassbinder from the Alfred Döblin novel of the same name. Another success was Lili Marleen (Rainer Werner Fassbinder, 1981), based on the autobiographical novel Der Himmel hat viele Farben (Heaven Has Many Colors) by singer Lale Andersen. The film tells about the forbidden love between the German singer Willie (Schygulla) and the Swiss Jewish composer Robert Mendelssohn (a character based on Rolf Liebermann and played by Giancarlo Giannini), who actively seeks to help an underground group of German Jews during the Third Reich. It was to be her last film with Fassbinder, who died in 1982 at the age of 37. In the following decade, Schygulla acted in French, Italian and American productions. Among her best known films are La Nuit de Varennes/That Night in Varennes (Ettore Scola, 1982), Passion (Jean-Luc Godard, 1982) with Isabelle Huppert, Storia di Piera/The Story of Piera (Marco Ferreri, 1983) with Huppert and Marcello Mastroianni, Eine Liebe in Deutschland/A Love in Germany (Andrzej Wajda, 1983), and the psychological thriller Dead Again (Kenneth Branagh, 1990) starring Branagh and Emma Thompson. In the 1990s Schygulla also became known and well-regarded as a chanson singer. In Juliane Lorenz's documentary film Life, Love and Celluloid (1998), on Fassbinder and related topics, Schygulla performs several songs. She also continued to make interesting films, like Werckmeister Harmóniák/Werckmeister Harmonies (Bela Tarr, 2000) and Auf der anderen Seite/The Edge of Heaven (Fatih Akın, 2007). In 2010, she received the Honorary Golden Bear from the Berlin Film Festival. A year later she played in the Russian film Faust (Alexander Sokurov, 2011), a free interpretation of the Faust legend and its literary adaptations by Johann Wolfgang von Goethe and Thomas Mann. The film won the Golden Lion at the 68th Venice International Film Festival. At the end of 2013, she published her autobiography, ‘Wach auf und trauma, to mark her 70th birthday. Hanna Schygulla who lived in Paris since 1981, returned to Berlin in 2014.
Sources: Derek Malcolm (The Guardian), David Stevens (IMDb), AllMovie, Deutschland.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Meet Alice! I finally finished her outfit and my "I can't bond with her omg I need to sell her"-time came to an end ^//////^ I'm really happy that she decided to start.. talking with me finally? x/D I spent a lot of time with her the past few days and I feel like I understand her character and appearence a lot more now.
Alice is Simons 16 years old girlfriend (his body is ordered!!) and overall a very cute, friendly and helpful little girl. She can be stubborn and moody sometimes but always tries her best to hide those character traits of her when she's with Simon so he doesn't get mad at her. Since her relationship with Simon isn't the healthiest you could also describe her as naive and not really self-confident since she doesn't even think about leaving her boyfreind even though he did a lot of awful things to her.
Her and Simons story take place when Alice get's pregnant and eventually gives birth to their son Finn ♥
She looks incredibly beautiful and sexy, wearing her so amazing and elegant blouse-dress, with her wide cleavage and her large knot at the side of her waist.
And her lovely silk scarf is tied so sexily around her neck, wrapped at least twice and fastened with an adorable knot, covering her throat and falling down on her breast.
She looks so cute and so self-confident!
( SUNDRIES ) photos of this series www.flickr.com/gp/97695964@N02/MZz6Ec
Ju-.Jutsu Training session July 23. 2014.