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Print May 28, 2014 8 comments
God Has Become Cancer:
Damien Hirst, Religion, & Death
Jonathan Yeo, Portrait of Damien Hirst, 2013
For the radical Right the issue of contemporary art is something of a non-starter. The past century or so of developments in the fine arts have been dominated by American (and often Jewish) theoreticians who have fashioned a sensibility wherein anything that smacks of European tradition is automatically verboten, unless it can be refracted through a distorting lens of ironic detachment or disinheritance.
Given this, the attitude of nationalist commentators is to dismiss contemporary art out of hand and to long for a return to a more representational art. One of the best statements of this position is provided by Lasha Darkmoon.[1]
While this is certainly a coherent position, and one that accords well with the observations of the common man, it is lacking in visionary ambition. What I mean by this is that the desire to return to something resembling Renaissance art is a limited and parochial view of art history. The sort of art produced from the 15th and 16th centuries onwards was visually determined by the discovery of perspective in the early 15th century. It is certainly true that this art represents some of the jewels in the western crown but it is not really Traditional art at all.
In Traditional art symbolism and meaning take precedence over naturalism. The use of perspective in art tends to elevate naturalism above meaning, or at least it greases the tracks of this decline. Furthermore, perspective puts the observer of the work into the position of ultimate authority. David Hockney wittily referred to some of his landscape works as figurative paintings because the viewer becomes a figure in the landscape. He was right, and perspective in art inevitably tends to privilege the position of the observer as a special locus of interpretation.
In this sense even Renaissance art and its successors foreshadow the assumptions of post-structuralism and deconstructionism: that there are no pre-existing hierarchical arrangements in the world, merely socially organized ones, and that the work of art has no objective existence but is merely subject to fresh interrogation by each individual who encounters it. If you hate Tracy Emin, blame Brunelleschi.
A more radical response to the shallowness of contemporary art would be to advocate for a return to pre-Renaissance art forms, to iconography, illuminated manuscripts, and the like.
But the obvious flaw in such a return would be that those preceding art worlds came from a very different time and place to where we are today. In Traditional societies there was no clear sense of demarcation between art and craft, or between art and religion. The creation of an art work would have been an act of worship in itself. Perhaps the closest we have to such art today might be the creations of someone like Andy Goldsworthy, but even here the value of the art arises from the aesthetic and spiritual talents of the individual artist.
Andy Goldsworthy, Early Morning Calm, 1988
We do not live in a time when collective worship through shared iconography is a possibility. To long for a return to either Renaissance or pre-Renaissance art forms is misguided because the social conditions that gave rise to those art forms no longer exist. Art that tries to return to those forms will produce surface imitations that may be aesthetically pleasing but will fail to achieve the same sense of numinous expression because they will only communicate from individual to individual rather than arising from the shared experiences of a particular community.
So, at one level, the artistic revolution of the 20th century was entirely healthy and necessary. The post-impressionists and their successors recognized that the Pre-Raphaelites' hopes had not been realized and that the world was plunging headlong into modernity. The artwork of the 20th century reflects the breakdown and fragmentation suffered by the individual, and posits fresh ways for the individual to come to terms with this sense of disintegration. But this is not sufficient; there needs to be a reintegration. Where contemporary art has been useful is as an antenna, receiving and transmitting the metaphysical chaos of a secular age. But it has failed to articulate anything resembling a genuine European ethos appropriate for modernity and post-modernity. Early attempts such as Futurism and Vorticism were rendered stillborn after 1945. (After 1945 there can be no European art, perhaps?)
Given this rather depressing situation, it seems to me reasonable to investigate some of the more meaningful occurrences in contemporary art and to ask whether there might be some latent residue of a Traditional perspective lurking beneath the often tawdry surface. My motivation here is backed up by a suspicion that post-modernism will inevitably undo itself; that, in a world where all values must be equalized, there is always the chance that values detrimental to the present system orthodoxy will be able to smuggle themselves into the Academy and into popular consciousness. And it is with these considerations in mind that I turn to the work of Damien Hirst.
Hirst's primary medium is conceptualism, and he is probably the most famous and successful conceptual artist ever. The narrative of conceptual art tells us that when Marcel Duchamp exhibited a urinal in 1917, this allowed the art object to attain a degree of ontological autonomy that had never before been thought possible. Instead of art creating a representational or symbolic picture of the world, it now became possible for actual elements of the real world to enter into the field of art appreciation, thus challenging the hierarchy of aesthetic value judgement.
The point of such conceptualism is essentially twofold. Firstly, it asserts that the process of selection that had previously been a necessary prerequisite to the production of an artwork is redundant. The accepted symbolism and subject matter of Western art, so the argument goes, are part of a wider matrix of ideological oppression that seeks to assert a regressive sense of order and hierarchy, and to validate such notions. The task of the artist then is to undermine such systems of oppression by undermining the symbolic structures of Western discourse. So, a urinal becomes sculpture, as does the artist's own shit as it sells for its weight in gold. A false alchemy of commercial and conceptual praxis replaces Western metaphysics.
Secondly, the locus of meaning retreats a step back in the process of artistic production. Whereas it had always before been axiomatic that the conceptualizing of the artwork is the prior stage to its execution in a particular craft context, it now becomes possible to formulate a particular concept in the mind and then present it in a more or less unadorned fashion. The "artistry" involved in the process has become less important as the artist's own conceptualization of the object has become foregrounded.
The effect of this is that contemporary conceptual art en masse is badly formulated and badly executed. In theoretical terms it fails to achieve an objective correlative in two ways. 1. The subject matter of the artwork is badly chosen, it is precisely that which should be excluded from the artwork, or at least be subordinated to other dominant functions of the work. 2. There is no clear objective manifestation of that which is to be expressed. The signification of the work is not contained within itself but points back to the anterior formulation that inspired it; it points to the mind of the artist.
For many observers, these considerations alone are sufficient to condemn conceptual art entirely. The common sense view, that an unmade bed or a pile of bricks cannot possibly be considered genuine art, has a great deal of merit. But it cannot be denied that art praxis and theory during the 20th century developed a unique and telling language, a language that has become culturally dominant. For most of today's critics who set the agenda for contemporary art, representational art has been superseded by photography, film and television, and the only practicing artists worthy of note are those who work with some form of conceptualism.
Hirst's Works
Within this critical milieu the figure of Damien Hirst looms large. Both an enfant terrible and a fêted celebrity, his work is simultaneously central and tangential to the focus of late 20th/early 21st century art appreciation. This dual aspect stems from the nature of the work itself which achieves a remarkable duplicity of intent: both sincere and removed at the same time. To a large degree, this bipolarity of intention is a reflection of Hirst's core subject matter which consistently revolves around ideas of death; what, if anything, death means to the living, and how we should orientate ourselves towards death now that religion is deemed outmoded. Hirst presents these questions (and occasionally tentative answers) in stark and illuminating ways. The apparent coolness and lack of emotional engagement evident in his work marks it out as a wholly contemporary project, but the obsessive return to this rather metaphysical subject matter suggests that Hirst is less of a modern than he would necessarily admit.
Hirst's early work consisted of Jeff Koons-style conceptual objects and are of little note. The turning point came at the beginning of the 1990s with A Thousand Years (1990), and was followed with some of his signature works, The Physical Impossibility of Death in the Mind of Someone Living (1991), and Away from the Flock (1994).
Damien Hirst, A Thousand Years, 1990
A Thousand Years presents a cow's head in a glass cube on which maggots feast, and from which they emerge as flies only to find that the cube also contains an insect-o-cutor which ends their brief lives. This is an artwork that attempts to present the entire life cycle, but in a repellent way. Blood from the severed head pools on the floor, as do the increasing number of dead flies. Watching this piece is a depressing and somewhat repugnant experience, but it does exert a grim fascination nonetheless. In its attempt to exhibit death as a stark fact it represents the beginning of Hirst's mature style.
Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991
The Physical Impossibility of Death in the Mind of Someone Living and Away from the Flock are representative of the work that Hirst is best known for, namely dead animals floating in formaldehyde. The Physical Impossibility of Death in the Mind of Someone Living, or Dead Shark as it is often known, is a huge triptych of steel framed glass cubes, within which a dead shark floats, its fearsome jaw forever agape in a static parody of its former ferocity.
Damien Hirst, Away from the Flock, 1994
Away from the Flock consists of a dead lamb in formaldehyde, its title pointing towards religious symbolism. The lamb might have a personal resonance for Hirst, who is a former Catholic. It is also suggestive of pastoral art, but problematically so.
With all of these works we are invited to view death behind glass. Glass works to reveal what is behind it but it also acts as a barrier, and in this respect Hirst shares some of Francis Bacon's ambivalence towards the art object. The framing device simultaneously acts as a window on the object, thus revealing it as though without mediation, and it also works to delineate the art object as a special category requiring a predisposed form of observation. Furthermore, considering the way in which Hirst frames his dead creatures so as to present a cold, taxonomic portrait of mortality, is it overstating things to suggest that these works were a sort of proto-critique of internet culture, wherein all of life is presented vicariously and pseudo-objectively on a screen?
Damien Hirst, Boredom/Nowhere, 1994
Also of interest is a series of display cabinet works. One series of these works is the medicine cabinets which are literally medicine cabinets filled with packs and bottles of pharmaceuticals. These works hint at the medicalized approach to life that has eclipsed the religious. Hirst presents these drugs as though they were icons, and the clinical appearance of the medicine cabinets reminds us that an age of reason provides clarity rather than faith. But the exchange is problematic. Whereas religion offered the certainty of immortality, medicine now offers the possibility of increased longevity; a humbling trade-off. We believe in these drugs as a new form of Eucharistic sacrament and we swallow them whole, hoping that they will defer our meeting with our maker. As Hirst puts it, "in the world today everybody dies of cancer, if you avoid all the potholes that life throws up. And in a way God has become cancer or it starts to feel like that. . . . If God is to be found anywhere today why not there?"[2]
Another strand of the display cabinet pieces variously features shells, fish, diamonds, and cigarette butts. All in different ways point towards death but also suggest more of the museum curator approach rather than that of the fine artist, and Hirst has noted that he would prefer art galleries to be more like the Natural History Museum.[3] With these pieces there is a sense of the Victorian collector, of the self-confident taxonomist, who can discover the pre-existing order in the world; who can map out God's plan.
Damien Hirst, Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Right), 1991
Isolated Elements Swimming in the Same Direction for the Purpose of Understanding consists of a pair of display cabinets featuring an array of fish species. In the one cabinet the fish swim left, in the other, right. The only things that distinguish this work from an actual natural history display are the title and the fact that the fish are facing in different directions, which invites some degree of interpretation. The fish can't make up their minds whether they are objective scientific artefacts or higher level artistic creations, so they swim in both directions at the same time, like Hirst.
These works potentially violate one of the laws of conceptualism: that reality does not consist of pre-existing categories of value and hierarchy. Hirst seems to enjoy the sense of taxonomy in these works rather than trying to subvert it.
More recently, in the first decade of the 21st century, Hirst executed a series of biopsy paintings. Each was a large scale work based on medical photographs of diseased cells. Each piece was titled after the original photograph's digital name (<M132/770 Skin cancer, LM_SPL.jpg>, <M122/337 Cells of breast cancer, light_micrograph_SPL.jpg>, etc.) again combining his obsessions of classification and death.
Damien Hirst, <M132/770 Skin cancer, LM_SPL.jpg>, 2007
The pieces are enlarged to a huge size so that the individual cells become monstrously large. Yet, at the same time, the bright coloration of these microscopic images gives them a vivid appeal, creating a sense of a psychedelic interior cosmos. When viewed closely, the pictures reveal razor blades, hooks and other objects which have been attached to the high resolution images. It is as though Hirst is captivated by the power of medical imaging to capture these extraordinary images of disease but he cannot allow the neutral gaze of the scientist to be dominant. The addition of various blades and other loaded imagery channels the viewer's interpretation so that the aesthetically pleasant pictures are ruptured with a violent realization of their malignant intent; but more importantly, we are compelled to notice the metaphysical twist that the artist has added to these artifacts of the physical sciences. The omniscient eye of medicine is able to chart our bodies down to the cellular level and with this information forestall death. But it cannot defer death forever, and because death remains an inevitability it remains for Hirst-as-artist-as-priest to provide a stark exegesis of the terminal condition.
Beyond Postmodernism: Hirst as Metaphysical Artist
It is this attempt to smuggle metaphysical ideas into the discourse of postmodernism that marks Hirst's work as significant and that distinguishes him from most of his contemporaries. It is a radical strategy for two reasons.
Firstly, because postmodernism does not allow for sincere, authentic expressions of feeling but instead insists upon a screen of irony or cynical detachment through which experience must be filtered, the presentation of ideas concerning death and its meaning disrupts the ruthlessly curated scope of contemporary discussion and posits an emotionally resonant subject matter at the heart of the work.
Secondly, the ontological status of the art object had previously been leveled by conceptualism in order to erase the hierarchical nature of Western culture. By utilizing the art object to evoke a contemplation of death, Hirst necessarily (even if perhaps inadvertently) points to an ultimate boundary, a locus of fundamental meaning. This reintroduces the concepts of hierarchy and value into contemporary art. Thus Hirst's oeuvre has the effect of bringing sincerity and hierarchy back into the Western art tradition, whether or not this is his actual intention.
This aspect of Hirst's work has been noted and is a cause for deep suspicion by some critics, particularly American ones who seek to uphold the theoretical foundations of conceptualism. According to this analysis Hirst's work suffers from the allures of populism so that it conspires with a pre-existing system of signifiers to elaborate what are seen as mystical gestures. The aim of contemporary art, so the critique goes, is to draw attention to the existence of this network of signifiers and to undermine the hidden ideological assumptions that support it. In this way, the artist can subvert oppressive power structures even if doing so means the art work's complicity in its own commodification. This perspective has been articulated by one critic who writes that Hirst's work "consisted of a diluted variant of 1980s appropriation art. Anglicised and ontologised into aura-laden tableaux that dealt, not with the seriality or sign-value of the commodity, but with the timeless universals of the 'human condition'. The regressive, conservative nature of his art was masked, however, by the coolness and slickness of its presentation, and by his own self-promotion."[4]
In this sense, Hirst's work cannot easily be assimilated by the art world over which he reigns. It is only because the art world is concerned with fashion and celebrity, rather than with meaning, that the implications of Hirst's work are not pursued. Hirst is fully aware of this, stating, "I've said you have to get people listening to you before you can change their minds. . . . You've got to become a celebrity before you can undermine it, and take it apart, and show people there's no difference between celebrities and real life."[5] His work is replete with the ambiguity of this position to the point of bi-polarity. If he is, as he suggests, engaging in Faustian pact with celebrity culture, it is important to note that many of the ideas he brings to the table are frankly archaic in the best possible sense.
Is Damien Hirst a great artist? Before answering this question it would be worth remembering Coomaraswamy's potent maxim: "The artist is not a special kind of man, every man is a special kind of artist." Hirst is certainly not a great artist in the sense in which we understand Renaissance art to be great. He is instead a clever taxidermist, one full of ideas and obsessed with death. But this is not a demeaning judgment; he has a clear vision and he pursues it rigorously. At the present time, it is difficult to see beyond the post-modern assumptions that impel the movement of conceptual art, including the notion that the artist is a special mediator who acts as a secular priest. But Hirst's tableaux do raise the interesting notion that these very assumptions can return to notions of classification, hierarchical order, death, and speculations concerning what might lie beyond it. When all things are rendered possible, it should be unsurprising if reality makes a reappearance.
1. Lasha Darkmoon, "The Plot Against Art," The Occidental Observer, September 19, 2009, http://www.theoccidentalobserver.net/authors/Darkmoon-ArtI.html
2. Ann Gallagher, ed., Damien Hirst (London: Tate Publishing, 2012), p. 216.
3. Damien Hirst, "Natural History," Damien Hirst official website, http://www.damienhirst.com/texts1/series/nat-history
4. Robert Garnett, "Brit Pop and Popism," http://www.john-russell.org/Reviews/BT1.pdf
5. Gallagher, Damien Hirst, p. 199.
Remembering Filippo Marinetti
(December 22, 1876–December 2, 1944)
Remembering René Guénon:
November 15, 1886–January 7, 1951
La métaphysique de l'écologie intégrale
Χάιντεγγερ εναντίον Παραδοσιοκρατών
Savitri Devi, Traditionalism, & Nature Religion
Remembering Savitri Devi
(September 30, 1905–October 22, 1982)
How Tom Wolfe's The Painted Word Exposed the Modern Art Racket
If You're So Trad, Why Don't You Move to Afghanistan?
art criticismChristopher Pankhurstconceptual artDamien Hirstmodern artTraditionalism
buffalo jenkins says:
nonsense – searching for revelation amongst bad ideas… very few specifically request a return to the rensaissance specifically – all of the art movements post-renaissance are equally valid until the inception of 'expressionism' which was the first abstract style to catch on (championed by the jew kandinski), and all the other since follow suit. As mentioned at the beginning of the article they all represent backlash against traditional painting/sculpture, and nothing much more. The idea would be to go back to any pre post-modern movement (art nouveau, deco, baroque, pre-raphaelite, romantic etc) and mix approrpirate inspirations from each while following the rules of the old masters (symmetry, idealizing beuaty, sacred geometry etc).
the moment you are philosophizing over abstractions, the moment the piece may indeed have been made by a child or a monkey, is the moment you have eaten the post-modern apple, the original sin and still in my opinion the most potent weapon in the hebraic arsenal.
Modern day 'realists' (despicable term) too often shoot their own foot by skirting creative flourish or romanticising or idealizing in favour of near-photo realism, which is a terrible mistake, but we will have to take a step back before we can go foward meaningfully. We've been down a dark maze for too long.
James J. O'Meara says:
"It now becomes possible to formulate a particular concept in the mind and then present it in a more or less unadorned fashion. The "artistry" involved in the process has become less important as the artist's own conceptualization of the object has become foregrounded."
As Dr. Darkmoon would point out, due no doubt to the increasing predominance of a certain tribe not noted for their visual acuity or manual dexterity, but able to generate yards of double-talk with ease.
Justin Huber says:
rhondda says:
Excellent assessment. Thanks for the help in understanding this. It is not that death and dying are beautiful, but that they are real. Death is still something everyone wants to deny will happen to them. When post modernism reaches its limit, there will be artists, some even working now that will step into this void. These pictures are more like what one would find in a science lab than in an art gallery. Sort of another kind of transgression that speaks to our degenerate society.
Bain says:
Probably Hirst's best work is For the Love of God, the diamond skull.
http://hforhelsinki.files.wordpress.com/2010/10/img_6340.jpg
'Fame', an oil of a laurel-wreathed skull, treads the same ground.
http://24.media.tumblr.com/ec81eeece001d860a32ae2e5a0cfe9ce/tumblr_mn7n8gmQNc1qzix81o1_500.jpg
In Hirst's interpretation the satire is slanted towards modern materialism, whose adherents cannot ever laugh from the grave as Carroll's grinning skull does. Instead, the closest they can come to accomplishment on a hierarchy of metaphysical values is by purchasing a hyper-expensive trinket. The anonymous skull, unearthed and diamond encrusted, laughs at its owner.
White Liberty says:
Art is the beautification and veneration of the Aryan Race; that has survival value.
Modern art is the vilification and displacement of whites in art; that has no value.
Hirst is a typical Jew-backed iconoclast. Instead of burning art and smashing statues, Jews took over the funding of museums and, in return, displaced Aryan Appeal.
What unites WASPS, Jews, and Islamists is iconoclasm.
Whites need art to project and venerate themselves, consciously, subliminally, subconsciously, explicitly, implicitly, you name it.
Art is non-doctrinaire. Often because it doesn't require literacy, it can reach whites of all ages and levels of intelligence. Jews have doctrines and rituals they need to enforce to survive. Whites have art to survive. We rise and fall on our art. Art projects us and by art we model ourselves.
The cultivation of health and beauty is a vitamin; art is a vitamin.
When art collapsed, the white race followed. Now Tweety-bird on the ass, holes in the face, and tattoos displace where beauty should shine.
Hirst's work is simply distracts whites from real art they need to survive.
Aryan Appeal is THE key to the survival of the white race.
The_Brahmin says:
The Indo-European sensibility is inclined towards visual representation from very early times – beautiful temples, statues, carved figures, animal motifs, heroes and gods…seeking transcendence through such representation. I have travelled through Eurasia and seen it in the ruins of ancient Indo-European civilisations – from the United Kingdom to Greece and from Anatolia to the plains of India.
The mid-east desert lands gave birth to another sensibility – of idol smashing, anti-art and anti-music. Very anti Indo-European. This disturbing, abominable strain runs through the mid-east Abrahamic religions. Post-modern art is probably is merely reflecting the mid-east sensibility of being anti-art and anti-music, in essence, anti Indo-European.
Petronius says:
Hirst is different from most "conceptual artist" as his work does indeed point to grave existential matters and has a gruesome, gut-wrenching seriousness to it, far from post-modern irony and detachment. It is absolutey true that there is a "conservative" core inside him. Some of his works are stunning and fascinating, some even stRik-Eikingly beautiful, as his butterfly collages. Still I'd consider most of this rather "borderline" art.
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Playground safety is child's play for Care UK
Pupils at St Matthew's C of E Primary School on Church Road in Stroud received a boost from its neighbours at Care UK's Scarlet House care home, when 15 high visibility tabards were donated to a group of year five pupils who make up the school's playground support team.
Playing an essential part in school life by ensuring break times are safe for all, the playground support team comprises a group of volunteers aged nine and ten. All pupils go through a training programme before they become a member of the team, ensuring they are fully prepared to support younger children in their games and to facilitate happy play times.
Pyela Mwale, home manager at Scarlet House, said: "Since we first opened our doors, the team at Scarlet House has been focused on establishing links with the local community and getting to know our neighbours better.
"We already have a fantastic relationship with St Matthew's C of E Primary School and when we became aware of the playground support team and fantastic role it performs we were very keen to lend a helping hand. The tabards distinguish the members of the playground support team from the other pupils and help to give them a sense of identity. We understand they are very happy with the donation and we look forward to continuing to work with the school on future projects.
Gina Thomson, head teacher at St Matthew's C of E Primary School, said: "We were delighted to receive the donation from Care UK and the new high visibility tabards for our year five playground support team allow the pupils to really stand out, so they are easily spotted by the other children during break time. The team does a great job and the tabards help to give the pupils a sense of importance around their role.
"Providing new equipment creates a lot of excitement among the children and we are all grateful to Pyela and the Care UK team at Scarlet House for their continued support."
Situated in Ebley, Scarlet House is a state-of-the-art care home designed to deliver the very best standards of care, and to enable residents to live active and fulfilled lives. The home offers a range of services including residential care, specialist dementia care and respite care.
For further information, please visit www.careuk.com/scarlet-house or call Scarlet House customer relations manager, Jim Macleod, on 0333 321 0932 or email: jim.macleod@careuk.com.
123 Westward Road, Ebley, Stroud, Gloucestershire, GL5 4SP
Scarlet House
CQC Rating: Good

redpajama_set_name: RedPajamaCommonCrawl


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Vintage Mattel 1950's Jack in the Box – Jolly Tune the Clown.
Arguably one of the creepiest toys ever made is the 'Jack-in-the-box', and more specifically those early vintage Jack-in-the-box's created by Mattel. A Jack-in-the-box is a children's toy that consists of a brightly coloured box within which sits a clown or other figure. The box features a crank which when turned usually plays a melody (often 'Pop Goes the Weasel') and at the end when this tune has finished playing the lid springs open and out pops 'Jack'.
Mattel has been responsible for producing some of the best examples of the Jack-in-the-box since the companies founding in 1945, and has been producing numerous and varied Jack-in-the-box toys ever since.
As a child I was the proud owner of a vintage Mattel Jack-in-the-box and it was a treasured toy to be treated both with respect and with caution. There is something a little unnerving all in all about the Jack-in-the-box as a child's toy, and in the same way that these days many children are terrified of clowns, it is easy to see how the jack-in-the-box could install the same fear, and it is this that adds to the unique attraction I feel for these vintage Mattel toys.
After all, in French the Jack-in-the-box is known as 'diable en boît' meaning 'boxed devil'.
Vintage Mattel Jack-in-the-box collectors would love to get their hands on one of these 1952 model vintage Jack-in-the-box's designed by 'Bob Routledge'. The detail of both box and doll is exquisite and makes for a perfect example of an early Mattel Jack-in-the-box.
* The U.S. Fast Food restaurant chain of the same name uses a Jack-in-the-box toy clown as its mascot.
* 'Zebedee' from the popular children's TV show 'The Magic Roundabout' is a Jack-in-the-box that has lost its box.
Another 1950's vintage Mattel Jack in the box 'Jolly Tune' the Clown. His box is made of stiff cardboard or wood and features illustrations on each side with the words from popular children's songs. 'Jolly-Tune' the clown wears a felt hat and a red and white polka dot shirt and was designed by 'Bob Routledge'.
* Pre-owned Jack-in-the-box's (especially clowns) regularly feature damage to the nose due to it scraping against the edge of the opening as it pops out.
* In an episode of 'Family Guy' when the family is at the toy store, Lois says she has something for Stewie, to which Stewie remarks "Oh, let me guess, you're going to give me a box with a crank that you expect me to turn and turn until "Oh!" A jack pops out. You laugh, and the dog laughs, and the kids laugh, and I die a little more inside..."
these things still give me the creeps. There was always one hanging around somehwere. Horrible, eerie and altogether freaky. And that awful plink plonk noise that was part of the music mechanism.
*shudder* I just found this post...I was looking for something else, but now here I am..I distinctly remember when I was 5 or 6 visting my Grandparents. They had a jack in the box in with a bunch of other old creepy broken toys, dolls that say "mama" when you pull the string and that sort of stuff. I HATED that thing. The music, the clink clink, the anticipation of this scary faced clown suddenly flinging out at you. It scared me every time it popped out, but I would keep turning the crank. I would cry and cry, trying to turn the crank slooooowly, hopeing it wouldn't pop out. I thought, if I could get to the end, and it didn't pop out, I could stop. My Mom thougt it was hillarious. I cant believe they still exist, and with sock monkeys too! creepy!!!
I've always found these toys to be suspect. I can't hazard a guess as to who the demographic would be for, as I'd imagine after witnessing the contraption once I would quickly tire of it.
I don't find these boxes scary at all, never did. I had the original Mattel Jack in the Box when I was 3 or 4 years old - 1951-52, it never scared me and I was a kid that didn't like sudden, loud sounds such as fire crackers. The only thing I did, being the ever curious kid that I was, I broke the music mechanism trying to find out what makes the music, and what makes the clown pop up. LOL. I'm happy to say, I've just bought another one on E-Bay just like my original one - and it works perfectly!


Creative nature conservation in action to design some experimental bird boxes with . This three day project is for 12 – 18 year olds to investigate how birds nest and how to design our own experimental bird boxes. The first day will involve a visit to Newcastle University School of Architecture for an insight into design processes. At the end of the project different ideas will be pulled together to create our Woodland Pioneers Bird Box to be installed at Rainton Meadows Nature Reserve.
Please contact Kirsty (kpollard@durhamwt.co.uk) for more details and to register your place.


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Data product (36)
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Observed (36)
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Data files (36)
Graphical (12)
Mapped (22)
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Almanac Averages and Extremes (Opens in a new Window)
The Almanac Averages and Extremes dataset contains the average and extreme temperature and precipitation observations at monitoring stations over the entire period of record. Where available, the most recent 5 years of daily data are also displayed. Data can be searched by calendar date and station name.
Array for Real-time Geostrophic Oceanography (Argo Canada) (Opens in a new Window)
Array for Real-time Geostrophic Oceanography (ARGO) is a worldwide climate monitoring system providing data on ocean temperature and salinity. 400 free floating drifts were deployed worldwide from Fisheries and Oceans Canada since 2001, of which 88 are still operating. Data are available in tabular, graphical, and mapped formats.
Government of Canada: Fisheries and Oceans Canada
Marine Environmental Data Service
Canadian Blended Precipitation version 0 CanBPv0 (Opens in a new Window)
Canadian Blended Precipitation Datasets contain blended precipitation measurements from gauges (in situ) and satellite (remote) data. Historic precipitation rates are provided as mean monthly precipitation in mm/day across Canada between January 1979 and December 2007. Gridded data are provided at a resolution of half degree.
Click here to view or download this data (Opens in a new Window)
Canadian Disaster Database (Opens in a new Window)
The Canadian Disaster Database contains information on Canadian and international disasters from 1900 to present. Disasters are separated into natural (biological, meteorological/hydrological, and geological), conflict (arson, civil incidents, hijacking, and terrorist), and technology (fire, hazardous chemical, transportation accident, infrastructure failure, explosion, and space event). Point and gridded historical data are available.
Government of Canada: Public Safety Canada
Data product Tool
Canadian Drought Monitor (Opens in a new Window)
The Canadian Drought Monitor (CDM) uses a classification system that defines severity, extent, and impacts of drought to monitor and report drought. This dataset includes a variety of information regarding the monitoring and reporting of drought. This includes current drought conditions, drought analysis, historic drought maps and data, and the Canadian Drought Monitor application. Current drought severity is shown in polygon format.
Government of Canada: Agriculture and Agri-Food Canada
Canadian Station Inventory and Data Download (Opens in a new Window)
Canadian Station Tide and Water Level Inventory and Data Download contains observations of water level data from stations across Canada for the historical period of 1970 to present. Stations may be selected using an interactive map. Data are available for download in tabular format
Canadian Tides and Water Levels Data Archive (Opens in a new Window)
The Canadian Tides and Water Levels Data Archive contains historical observations of tides and water levels from Canadian and global monitoring stations. Data include Canadian tide and water level data, Canadian Hydrographic Service station benchmarks, and international sea level data. Data are available for download in tabular format or can be visualized using an interactive map.
Climate Atlas of Canada (Opens in a new Window)
The Climate Atlas of Canada is an interactive tool developed for users to learn about climate change in Canada. It combines climate science, mapping and storytelling. The primary source of climate model data presented in maps, charts and tables is the Pacific Climate Impacts Consortium. Statistically downscaled data was derived from 12 Coupled Model Intercomparison Project Phase 5 (CMIP5) global climate models for two emissions scenarios: Representative Concentration Pathway (RCP) 4.5 and 8.5. For comparative purposes, observed data are included in all time-series graphs for the period 1950-2005. The source of the observed data used in the Atlas is Natural Resources Canada.
Prairie Climate Centre
Climate Indices (Opens in a new Window)
Climate Indices includes time series, seasonal, and annual data for a number of variables including sea & air temperature, salinity, runoff, flow, ice coverage, iceberg count, and North Atlantic Oscillation Index. Data are observed or observation-based, and are available in a variety of temporal resolutions and historical periods, depending on the variable of interest. Data are available in tabular and graphical formats.
CLIMOD 2 (Opens in a new Window)
CLIMOD2 (Climate Information for Management and Operational Decisions) allows for retrieval and presentation of climate data from one or more stations in the Eastern Atlantic. Historical data are available as point data. Available climate products include daily data for a month, daily degree days, calendar day summaries, and daily/normal graphs. Data could be appended in a graphical or tabular time series.
Northeast Regional Climate Center (NRCC)


Standard fonts (Std) are the standard type of OpenType font available from TPTQ Arabic (as opposed to OpenType Pro which offer additional support for non-Latin-based languages).
If you only work with Latin-based languages (e.g. English, French, Polish, Czech or Turkish) then our OpenType Std fonts will meet your needs. If you also require support of Vietnamese, Russian or Greek, then you'll need OpenType Pro fonts.


text:
@interface UIFont (Voltaire)

+ (instancetype)voltaireFontOfSize:(CGFloat)size;

@end

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Let me just stop right here and warn you that this is not a pretty post with fun or pretty pictures. This is a post where I just want to step back from the chaos of all the craziness of blogging and social media for a minute or so and talk with y'all.
I have many "old" friends that have been readers of my blog for many years. And then I have some new friends that weren't with me in the beginning. So, I thought it was time to just chat for awhile.
So, grab a cuppa, turn off the sound (you know all those little dings and beeps you get when an email, facebook comment etc.) disturbs us and sit back and pretend we are having a real live chat.
I started blogging about 6 years ago. It wasn't even this blog. It was just a little family and friends blog (private blog). I actually started it as a sort of journal. And I was doing the whole "Extreme Couponing" at the time. So, I would post about this shopping trip or that shopping trip and how much I saved.
That led to more people wanting to read about how I did the couponing to save that much money. So, when I started posting more about that I realized that the blog was taking a different turn and more people friends (mainly from church) wanted to know about more deals. So, I decided to start a 2nd blog about being thrifty and how to save money. In came The Thrifty Groove. A silly name that was never supposed to last!!
At the time I subscribed to and follow about 60 blogs that were all about couponing and deals. So, I started posting just tiny blips like "head over to such and such a site and download the new coupon. Then grab this coupon from the paper, stack and get ____ for 6 cents". I would post this type of post 5-8 times a day. As soon as I read a deal, I posted it.
Now the blogging experts tell me I need to go back and clean up all those 100's of posts that were just "Get a free magazine subscription here" type of blip posts. It has something to do with your overall blog standing. I really don't know what all that means. Maybe I will do that some time or maybe I won't.
I also started doing Couponing Classes for different groups. I had a pretty nice set up at the time regarding sources and what nots.
Since Lia was with us and was just a baby, I also was involved in a lot of Mommy bloggers. And that was where I started getting more into "How to find deals and redo things". I grew up going to thrift stores and yard sales so, I have always looked for a cheaper alternative. And I applied that to turning what was just a spare room into a baby's room. My budget was so low it was scary. But, I knew I had imagination and could think outside the box. So, I started sharing the things I was doing.
I remember 3 months after I started TTG I received an email from a company asking if I would like to try a new product and offer a giveaway on it. I was so freaking excited!
I was also writing about thrifty tips, weekly menu and any good thrifty sites I came across. I remember doing my weekly menu online starting the first week of April back in 2009. And then at the end of the month I discovered there was huge party of bloggers sharing their weekly menu and I was so thrilled to join! It is still a weekly party at Laura's blog I'm an Organizing Junkie. She was the first big blogger I "met".
I started finding some thrifty weekly parties and started joining them. It felt good to share with others that were of like mind.
Then late one night, after a day of being super sick, I was just laying in bed with my laptop checking out blogs. I accidently stumbled across a blog that showed at the bottom that this blogger was joining a "meme". I had no clue what that meant. I didn't know that meant basically a blog party. So, I clicked it.
I discovered a party called Rednesday and it was all about sharing something red. It didn't have to be thrifty or regarding being a mommy. It was just share something. Holy cow, what a concept! I had no idea there were blogs out there that had nothing to do with freebies, deals, couponing or kids!
From Sue's blog I discovered a whole new blogging world! I found Outdoor Wednesday and was so excited to start sharing my love of gardening by sharing pictures of my flowers and things! Then I discovered there we people out there that also loved vintage things via Vintage Thingie Thursday! And Blue Monday, just something blue!
Discovering these parties, which of course just led into more and more blog parties, gave me the first taste of sharing just me. Things I liked or did or have. What an eye opener!
Then one day I saw a word that I had never read of….Tablescape! I followed the link and discovered Susan's blog Between Naps on the Porch (if you click the link, you will see her first tablescape back in 2008)! I realized that I had been tablescaping for years and didn't even know it!
I literally spent hours clicking party linkups and discovering new blogs and looking at all the amazing and gorgeous tablescapes! I think my eyes glazed over for a week! I remembering thinking that I would so love to join this party but, there was no way I could do the tablescapes I was seeing. All of my dishes and accessories were from thrift stores, yard sales, flea markets and dollar stores. I didn't have Neiman Marcus dishes or accessories that I picked up clearance for $269.00 (just a random number) or at Estate sales (still costing over $100.00). And I honestly felt I would not be accepted into this exclusive group. I just didn't fit. And that was my first time feeling a blogging peer pressure. Now don't get me wrong, Susan never once said that the tablescapes need to be high end or perfectly matched or anything like that. I just felt my things were way too inferior to join.
I still watched each week all the beautiful tablescapes being created. And I have to confess, I watched with serious envy. Everything was stunningly matched and coordinated. Just gorgeous!
Then Thanksgiving of 2009 came around and I was setting our table just for the two of us. I always loved to set a pretty holiday table. Troy had commented on how nice the table looked. I told him about the tablescaping party and showed him all the beautiful tablescapes people were posting. He told me I should take pictures and join the party. He also said I should show how I "built" the table. I told him I couldn't because I would be too embarrassed at my whole used mix and match thrift finds. He basically told me I was crazy to think like that and there were probably other people who felt the same way I did. And also just showing how the tablescape was set up from start to finish might interest people.
So, I did just that. I figured I might as well go all in and tell where I bought each piece and how much I paid for them. I knew that no one was every going to mistake my thrifted treasures for brand new expensive stuff!
You can see that first Thanksgiving tablescape by clicking here.
Guess what? people left comments and liked it! They actually liked seeing all the bargains and deals put together! I was so shocked and excited! I really was nervous when I did the post. I just knew that everyone would think I was just some poor schmuck and I really should keep my so called thrifted treasures to myself.
So, there you have it, how The Thrifty Groove started and why. Well, the Readers Digest version anyway.
It has taken everything I have not to add pictures to this post! But, I kind of miss just writing. Blogging has changed big time over the past years. And there is a lot of good and a lot of bad that came with those changes. My blog is continually changing to reflect what is going on in my life at that moment. But, the one thing that has never changed is the fact that I am thrifty and I lead a thrifty life.
I have a lot more to say on the topic of blogging and will probably write more posts about it in the future. And I see my blog going through more changes in the future as well.
Why did you start your blog? Has it changed direction since the beginning? Do you experience the whole "Blog Peer Pressure" or the stinking thinking of not being good enough or have the prefect this or that to share on a blog? Do you still get those feeling from time to time? I know I still do! I have to stop myself and realize that I am me. I don't have a "perfect" life.
Thanks for listening to me ramble. I hope you all are having a wonderful day!
I've known you since my second post, 3 years ago, Diann but I now I feel like I *know* you :-) Wonderful post! And, I am totally digging the new look!!
Diann you were one of the first blogs I 'found' about thrifty things and we quickly became friends. I love your blog and have been with you through all the changes over the years and I will be with you for many more! True Friends Forever!
I have followed you for a while.... but enjoyed hearing about how you started out. I like what you do and enjoy reading.
Very nice! It's cool to see how you started!
I hope you do more posts about blogging and your years of experience. I had no idea what I was doing when I started three years ago and I've never really managed to stick to one style of blog. I just write about what I'm into that particular day and I'm sure it hurts my stats to not develop a niche blog. It's a comfort to know that someone else "is just me" when they write.
It's nice to meet you Diann!
We started around the same time. You have been faithful, I have started to take long breaks. I don't know why people think they have to post so often, and often about nada, lol. SO rather than point out that I dusted or moved a vase, I remain quiet, lol! Summer is so busy anyway, have to get out there and enjoy, take a bite out of it now, as it will soon be over!
Blog ratings, really? Just for fun, not for ratings!
That was great! Oh I've had a couple of different blogs and they do change direction as I change. I was more homemaking centered when my daughter was younger, now since it's just going to be the my husband and I I'm more interested in organizing and actually getting out of the house and doing things (I'll always be thrifty it's just my nature).
I do think that since blogging has become professional things have to look Pinterest perfect in your photos. Which is why I don't really read decorating blogs anymore and I don't do many decorating type posts anymore as well.
I have a blog that sits and stares at me. I have had it for a few years and haven't done a thing with it. First of all, I am not all that bright about computers and as my son said a few years back when I got my computer, "Mom! It's about time you came out of the stone age!"
I have followed along with your blog for quite some time and really enjoyed reading this post. I have not kept up with blog reading as much as I used to but do read when I can. Keep doing what you do so well.
Golly, I don't know any other way to live except by thrifting. I like my tables that get pieced together over a period of time. The fun part is the hunt. It is quite a challenge to have an idea and to transform that idea one piece at a time into a tablescape. I do have to confess that the HomeGoods store is a great resource for a few things here and there (especially when you can find four of an item in the mark down section). Susan at BNOTP has influenced me more than any other blogger. When my company shut down several years ago I found myself with way to much time on my hands. I found out about blogs and in between sending out resumes I would check out sites about gardening and decorating. I found the garden web and in some random comments I came across a link to the first real tablescape I had ever seen. Somehow from there I found Susan's blog. I thrilled at every post and all of the link parties, many of which I still have bookmarked. Yes I am sometimes in awe of the fabulous china and crystal that I see out there in blogland, but I really do love a tablescape with a personality of it's own, not just a set of pretty china with a vase of roses in the middle, but a table that has been thought about and put together to represent an idea or theme that catches my imagination. I can see opulence in any high end magazine, but to see imagination and creativity I will choose a blog of a thrifter that just loves to make pretty tablescapes.
Thank you for sharing your story with us and allowing us to share ours with you and your readers.
I started my blog last year when I decided it was time to make some changes in my life and I was getting more interested in tablescaping. At first it was going to be all about my new preppy wardrobe and pink & green goodies along the way. Miss Janice is the one who got me interested in blogging and her's is still my favorite blog.
My blog quickly changed to just tablescapes, which is fun but a lot of pressure. When I was just reading other blogs I couldn't understand why some bloggers went so long between posts but when I started my own blog it became very obvious. Setting the table is the easy part, I really enjoy it. Taking all the pictures, downloading them, editing them & watermarking them is the hard part. I tried to post at least every-other week but even that turned out to be a challenge. Now, I just try to get in there once a month. I was trying to be witty with my posts then decided that I didn't have to be and I could just let the pictures speak for themselves. I love the Tablescaper blog and she really doesn't write much at all.
It's a bit daunting when you first start out. I started linking up with anyone who was having a 'party' and started to get lots of views on my pages. That's so gratifying!
My tablescaping has evolved; I was spending a lot of money at first buying stuff for the table. I talked to a tablescaper friend and she was telling me how she finds things at GW or thrift shops, it was then that I started to visit thrift shops and shopped around the house and decided to make some stuff for myself. I still find the whole centerpiece thing a challenge but they're getting better.
I'm in awe of anyone who can keep their blog up to date more than twice a month and hold down a fulltime job, and especially anyone with kids. That's some serious organization talent and they should be running 'Fortune 500' company.


From the entrance to a casino just off Interstate 5 in Canyonville, Oregon.
posted in public, sculpture, today by practice on November 15, 2009 .
posted in public, sculpture, today by practice on March 21, 2009 .
In the staff room of the Bonnefanten Museum a practice of decorating white plastic coffee cups has evolved into a tradition. Periodically, the technical team makes a new display case to house the overflow, but the supply never seems to be contained.
posted in drawing, sculpture, today by practice on January 29, 2009 .
My favorite little street message from Maastricht.
posted in drawing, public, today by practice on January 20, 2009 .
I feel lame for finding this funny, but still, it's kind of a perfect readymade…. From the Maastricht grocery store.
posted in today by practice on January 19, 2009 .


Lead is an invisible danger that hurts children. It can cause behavior problems, learning difficulties, and health problems. Children under the age of 6 and pregnant women are at the greatest risk for lead poisoning.
Lead paint and lead dust could be in your home causing harm but lead poisoning is preventable!
Lead in soil - Lead in soil, from fallen lead paint flakes or dust, around foundations of older homes can contaminate hands, shoes, clothing, pets and plants that come in contact with the soil. Soil near roads may have become contaminated from with lead from car fumes (until as late as 1986, lead was put in gasoline as an additive).
Lead in food - lead dust can get into soil where food is grown. Wash food before eating and cooking. However, some plants actually take up the lead out of the ground and washing will not remove it. Do not grow food crops near old buildings.
Imported or handmade pottery and tableware with leaded glaze - The lead from the glaze gets into food and beverages when these ceramics are used for cooking or storing food.
Imported food in cans that are sealed with lead solder - Some countries other than the United States still allow lead solder in food cans. Cans that have lead solder have very wide seams.
Imported home remedies and imported cosmetics may contain lead - They often are imported from the Middle East, Southeast Asia, India, the Dominican Republic, or Mexico. The remedies are often bright yellow or orange in color.
Examples include: Alarcon, Alkohl, Azarcon, Bali goli, Bint al zahab, Coral, Greta, Farouk, Ghasard, Kandu, Kohl, Liga, Litargirio, Lozeena, Pay-loo-ah, Sindoor, and Surma. There are many others.
Is Lead Poisoning still a problem in our area?
Yes, lead poisoning is still a problem in Polk County!
The rate of lead poisoning in Polk County is so high because 60% of its housing stock was built before 1978, the year lead paint was outlawed.
Why should Iowans be concerned about Lead Poisoning?
Nearly one out of every seven Iowa children tested has elevated levels of lead in their blood.
Iowa's rate of lead poisoning is three times the national average.
Nearly 50% of the homes in Iowa, both in rural and urban areas, were built before 1960. Almost all of these pre-1960 homes contain some lead-based paint. Many also contain lead-based paint hazards that can harm children.


A little while ago I was featured in Sew Now magazine as part of their "Sewing Start Up" series. It was the first magazine publication for me, so you can probably imagine how chuffed I was when I received an email from them!
Magazines like to polish things up a bit and make them look more glamorous than they are, which is why I thought I'd write my first blog post about the everyday reality of being a Work At Home Mum.
Many people think it must be the best of both worlds, being able to work from home and spend time with the children simultaneously. The truth is that it is a real challenge! Don't get me wrong, obviously I think it's brilliant or I wouldn't be doing it. However children don't look after themselves and merely getting any house jobs done is a bonus when you're also clearing up bathroom accidents, administering first-aid, being an on-demand waitress service, you name it... Add to that running a one-woman business and you have a recipe for chaos!
My children are in nursery 2 days a week from 9-3, which gives me about 10 child-free working hours a week. As and when needed, I also have a child-minding arrangement with my neighbour whom my kiddies adore. This peaceful quiet time is what keeps me sane and my orders flying out the door. Still, there is always more work to be done. On home days, the monsters often play quite happily together in the morning which gives me a chance to catch up on some emails, check on orders etc. Then we go out, playgroups, weekly shop, playground. When we return in the afternoon the kids are usually tired out and happy to play by themselves or watch a film, which means I can squeeze in some cutting, photo editing or work on my product listings, before cooking dinner.
Evenings bring the usual bedtime monkey business. Once we have both kids in bed and soundly asleep, often all we have left in us is planting ourselves on the sofa for an hour or two. Although I have to admit that at least one evening a week is also spent working.
Sometimes I think about how life would be if I didn't have my business, how we'd probably have the same amount of money and more free time, how I'd be a better and less pre-occupied mum. But I always come to the same conclusion, I can't imagine life without it, just like I can't imagine life without my children. My kids and my work co-exist in some kind of symbiotic relationship, growing up alongside each other. Without my business and the time it gives me to be alone and make things, I'd not be able to keep my sanity. Without my children my life would be void and my business would have no inspiration and no reason for existing.
So actually, I do have the best of both worlds... Chaos for life!


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text:
Q: Laravel mysql select count of joined table I have a table with a list of users (users). I have a pivot table (sign_in_out) with fields user_id and signed_in. I want to get a list of all the users with their respective counts of how many sign_in_out rows contain a NULL value.
This is what I have now:
$publishers = Sentry::getUserProvider()
    ->createModel()
    ->select('users.id', 'users.first_name', 'users.last_name', 'sio.sign_in_count')
    ->join('users_groups', 'users.id', '=', 'users_groups.user_id')
    ->join(DB::raw('(
        SELECT user_id, COUNT(*) sign_in_count
        FROM sign_in_out
        WHERE signed_in IS NULL
        GROUP BY user_id) sio'), function($join)
    {
        $join->on('users.id', '=', 'sio.user_id');
    })
    ->where('users_groups.group_id', '=', 2)
    ->orderBy('users.last_name', 'ASC')
    ->orderBy('users.first_name', 'ASC')
    ->get();

This returns only results where signed_in is NULL along with the count of how many times it occurs but I want to return all users regardless if they have any any matching rows in the sign_in_out table or not. I know WHERE signed_in IS NULL is gumming this up so how do I isolate that away from the main query?

A: Figured it out - query should have been using a left join when querying the sio table:
$publishers = Sentry::getUserProvider()
    ->createModel()
    ->select('users.id', 'users.first_name', 'users.last_name', 'sio.sign_in_count')
    ->join('users_groups', 'users.id', '=', 'users_groups.user_id')
    ->leftJoin(DB::raw('(
        SELECT user_id, COUNT(*) sign_in_count
        FROM sign_in_out
        WHERE signed_in IS NULL
        GROUP BY user_id) sio'), function($join)
    {
        $join->on('users.id', '=', 'sio.user_id');
    })
    ->where('users_groups.group_id', '=', 2)
    ->orderBy('users.last_name', 'ASC')
    ->orderBy('users.first_name', 'ASC')
    ->get();

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text:
Pietro Rava (; 21 January 1916 – 5 November 2006) was an Italian football defender and coach, who played as a full-back. He won the 1936 Summer Olympics and the 1938 FIFA World Cup with the Italy national team.

Club career
Rava, born in Cassine, Province of Alessandria, played for the clubs U.S. Alessandria (1928–35, 1946–47), Juventus F.C. (1935–46 and 1947–50) and Novara Calcio (1950–51). He won two Italian Cups in the 1937–38 and 1941–42 seasons, and two scudetti in the 1934–35 and 1949–50 seasons. He was Juventus's captain from 1947 to 1950. In total, he played in 352 Serie A matches (including 303 for Juventus), scoring 15 goals.

International career
Rava appeared in 30 international matches with the Italy national team between 1935 and 1946, losing only one game, and becoming the Italy captain in 1940. He won the gold medal at the 1936 Summer Olympics, and won the 1938 FIFA World Cup. Rumour has it, before the 1938 finals fascist Italian Prime Minister Benito Mussolini was to have sent a telegram to the team, saying "Vincere o morire!" (literally translated as "Win or die!"). However, no record remains of such a telegram, and Rava said, when interviewed, "No, no, no, that's not true. He sent a telegram wishing us well, but no never 'win or die'." He was selected to the "Best XI" of the 1938 World Cup. Along with Alfredo Foni, Sergio Bertoni, and Ugo Locatelli, Rava is one of only four Italian players ever to win both the Olympic tournament and the World Cup.

After retirement
As a coach, he managed the clubs Sampdoria, Palermo, Padova, Monza, Alessandria, Novara, Carrarese, and A.C. Cuneo.

On 5 November 2006, Rava, the last surviving member of the 1938 World Cup champion squad, died in Turin after having had surgery on his right femur due to a fracture days before. He had been suffering from Alzheimer's disease for several years. Juventus announced that the following day, for a Serie B match against Napoli, the players would wear mourning armbands in his memory.

He was the last surviving member of the 1938 FIFA World Cup Italy squad.

Honours

Club
Juventus
 Serie A: 1949–50; Runner-up: 1937–38, 1946–47
 Serie A-B Runner-up: 1945–46
 Coppa Italia: 1937–38, 1941–42

International
Italy
 Olympic Gold Medal: 1936
 FIFA World Cup: 1938

Individual
 1938 FIFA World Cup All-star Team

References

Further reading
Player bio - www.tifonet.it - Retrieved November 2006.
Rava's statistics at Juventus - www.myjuve.it - Retrieved November 2006.
Pietro Rava - International Appearances - www.rsssf.com - by Roberto Di Maggio, RSSSF.

is stated as fact:
website FIFA  in November 2009 introduced some changes in date of birth the player's instead 21 January 1916 (originally written) wrote 12 January 1916

1916 births
2006 deaths
Accidental deaths from falls
Italian footballers
Italy international footballers
Association football defenders
U.S. Alessandria Calcio 1912 players
Juventus F.C. players
Novara F.C. players
Olympic footballers of Italy
Olympic gold medalists for Italy
Footballers at the 1936 Summer Olympics
1938 FIFA World Cup players
FIFA World Cup-winning players
Italian football managers
U.C. Sampdoria managers
Palermo F.C. managers
Calcio Padova managers
A.C. Monza managers
U.S. Alessandria Calcio 1912 managers
Novara F.C. managers
Carrarese Calcio managers
A.C. Cuneo 1905 managers
People from Cassine, Piedmont
Olympic medalists in football
Medalists at the 1936 Summer Olympics
People with Alzheimer's disease
Footballers from Piedmont
Sportspeople from the Province of Alessandria

redpajama_set_name: RedPajamaWikipedia


ZuneHD on the Big Screen – Why get excited though?
Lothar writes… I've always thought UMPCs have had a lot of potential. Check out this review to see if Samsung's second offering has made many improvements over previous options.


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Charges for Video (DVD) of the Activity, if required will be extra.
For any further information, please feel free to call us on +91 9810441244, 9910441244.


Antique Elegant Signed BACCARAT Porcelain Banquet GWTW Oil Lamp Cast Brass Frame. Hand Painted Opal White Glass.
Banquet GWTW Oil Lamp Cast Brass Frame. Gorgeous "Baccarat" glass - Signed. Hand painted banquet oil lamp - thick opal white glass with a glaze over the paint that has preserved it through the years Very heavy lamp - without a chimney or shade, it still weighs over 9 lbs.
16" high to top of burner; porcelain font holder is 5 1/2" wide Base is 7 3/4" diagonal at the feet Font is 4" diameter, 4" deep P&A HARVARD center draft brass burner #2 with working wick (I do not know if it was designed to have a flame spreader, but there is not one); burner/chimney gallery will accept a chimney with a 2" fitter rim Heavy and intricate cast brass frame - prettier than pictures depict! Please look closely at the pictures and consider them part of the description; we are describing what we see but you are the expert. If our item is described as VINTAGE or ANTIQUE, it is old and should never be expected to look "like new" as they are usually used items. Understand that color or image quality as displayed on your computer may not be exactly as the item appears in person, but we do not alter our pictures. Since we are from the historic northeast section of the United States, we have access to many of the early and unusual items from our country's past. We are pleased to be able to make these items availabe to those in other areas of the United States and worldwide. Thank you for visiting AntiquesEtcetera!
Auctiva Offers Free Image Hosting and Editing. The item "BACCARAT Glass Kerosene Antique Oil Lamp Elegant Hand Painted SIGNED Cast Brass" is in sale since Monday, October 30, 2017. This item is in the category "Antiques\Decorative Arts\Lamps".
The seller is "dustydaffodils" and is located in Macungie, Pennsylvania. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, Sweden, South Korea, Indonesia, Taiwan, South africa, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Russian federation, Israel, Mexico, New Zealand, Singapore, Switzerland, Norway, Saudi arabia, Ukraine, United arab emirates, Qatar, Kuwait, Bahrain, Croatia, Malaysia, Brazil, Chile, Colombia, Costa rica, Panama, Trinidad and tobago, Guatemala, Honduras, Jamaica.


text:
Onlinegallery
Papelart
Exhibition Merveilleuses rêveries/Wonderful daydreams
Carte blanche to the artist Michaël Cailloux
Jean-Jacques Rousseau Museum
From 4 June to 30 October 2022
Nature, at the heart of Rousseau's philosophy, is also the source of inspiration for Michaël Cailloux, an internationally renowned contemporary artist. His colourful works, populated by animals evolving in a luxuriant flora, question the fragile beauty and preciousness of biodiversity, currently in danger with climate change.
An internationally renowned artist, Michaël Cailloux has collaborated with such great houses as Dior, Bernardaud and Baccarat, to name but a few. His work is regularly exhibited in Paris (Galerie Nathalie Béreau), London (The Invisible Collection) and Tokyo (Galerie Irène).
His colourful universe, populated by animals evolving in a luxuriant flora, is displayed in the Jean-Jacques Rousseau Museum, revealing the common passion of the artist and Jean-Jacques Rousseau for nature.
This is an opportunity for the public to discover his new series "Renaissances", made up of works in a variety of techniques, combining the art of jewellery and etching and felt-tip pen printing.
In the garden, a sublimated fauna hides, evoking today's threatened biodiversity, while being integrated into a dreamlike universe. Along a playful path, children and adults are invited to search for the species hidden in the trees and groves and to distinguish those that are endangered.
The exhibition transcends a nature that is today disrupted and threatened, but whose beauty and poetry are still as pervasive and conducive to the reverie of walkers.
The exhibition is accompanied by a cultural programme for all audiences.
5 rue Jean-Jacques Rousseau
95160 Montmorency
Discover the works of Michaël Cailloux
Careful packaging, secure payment, certificate of authenticity
PapelArt®
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PapelArt®| ©Nathalie Béreau


text:
Енгелберт I (, * 1185 или 1186 в дворец Бург в Золинген, † 7 ноември 1225 при Гевелсберг), наречен по-късно Светия, от Дом Берг е архиепископ на Кьолн от 1216 до 1225 г. и като Енгелберт II граф на Берг от 1218 до 1225 г.

Произход
Той е вторият син на граф Енгелберт I († 1189) и съпругата му Маргарета от Гелдерн (1158-1185), дъщеря на граф Хайнрих I от Гелдерн († 1182).

От 1199 до 1216 г. той е домпропст на Кьолн. През 1203 г. той е избран за епископ на Мюнстер, но отказва понеже не е на изискваните 30 години. През 1212 г. той участва 60 дена заедно с брат си граф Адолф в Албигойския кръстоносен поход.

Избор и управление
На 29 февруари 1216 г. той е избран за архиепископ на Кьолн, след като получил съгласието на папата Инокентий III и на крал Фридрих II.

След смъртта на по-големия му брат Адолф III без мъжки наследник през 1218 г. по време на Третия кръстоносен поход Енгелберт става граф на Берг.

Енгелберт е тясно свързан с император Фридрих II, който през 1220 г. го прави имперски провизор и опекун на син му Хайнрих, когото Енгелберт коронова през 1222 г. в Аахен за крал Хайнрих VII. Енгелберт запазва тези служби до края на живота си и така е политически най-силният човек на империята ("Gubernator Regni Teutonici").

Убийство
На 7 ноември 1225 г. Енгелберт (висок 1,80 м) по време на връщанаето му за Кьолн е нападнат и убит с почти 50 пробождания при Гевелсберг. Нападението е ръководено от племенника му 2. град, граф Фридрих фон Изенберг с още над 20 души.

Погребан е в Кьолн. На 14 ноември 1226 г. Фридрих фон Изенберг е заловен в Лиеж и осъден в Кьолн, замъците му изравнени. Енгелберт скоро след това е почитан от народа, но официално не е признат за Светия.

След неговото убийство през 1225 г. граф на Берг става Хайнрих фон Лимбург († 1246), съпругът на племенницата му Ирмгард фон Берг († 1248 или 1249), наследничката на графство Берг.

Източници

 Friedrich Wilhelm Bautz: Engelbert I. von Köln. In: Biographisch-Bibliographisches Kirchenlexikon (BBKL). Band 1, Bautz, Hamm 1975. 2., unveränderte Auflage Hamm 1990, ISBN 3-88309-013-1, Sp. 1510–1511.
 Caesarius von Heisterbach: Leben, Leiden und Wunder des hl. Erzbischofs Engelbert von Köln, übersetzt von Karl Langosch, Band 100 der Reihe Die Geschichtsschreiber der deutschen Vorzeit, Münster/Köln 1955.
 Julius Ficker: Engelbert der Heilige, Erzbischof von Köln und Reichsverweser. Köln 1853, Nachdruck: Aalen 1985.
 Hans Foerster: Engelbert von Berg, der Heilige. Elberfeld 1925.
 Josef Lothmann: Erzbischof Engelbert I. von Köln (1216–1225), Graf von Berg, Erzbischof und Herzog, Reichsverweser. Dissertation, Band 38 der Veröffentlichungen des Kölnischen Geschichtsvereins e.V., Köln 1993.
 Wido Meister: Der Hohlweg, in dem der Erzbischof Engelbert von Berg überfallen wurde. In: Romerike Berge, Heft 4/2003, S. 2–6.
 Eduard Winkelmann: Engelbert, Erzbischof von Köln. In: Allgemeine Deutsche Biographie (ADB). Band 6, Duncker & Humblot, Leipzig 1877, S. 121–124.
 Erich Wisplinghoff: Engelbert I. Graf von Berg. In: Neue Deutsche Biographie (NDB). Band 4, Duncker & Humblot, Berlin 1959, ISBN 3-428-00185-0, S. 508 f. (Digitalisat).
 Vinzenz Jakob von Zuccalmaglio: Engelbert der Heilige, Graf von Berg, Erzbischof von Köln und Wiederhersteller der Deutschen Reichs-Einheit, Ein Vortrag, Opladen 1875.
 Altenberger Blätter, Ausgabe 30; Ausführliche Artikel zum Mord an Engelbert 1225

Външни препратки

 7. November 1225 , Ausstellung NRW 2000
 Der Tod des Erzbischofs Engelbert von Cöln, Projekt Gutenberg
 Schrein des Engelbert von Köln

Архиепископи на Кьолн
Римокатолически архиепископи от 13 век
Римокатолически епископи от 13 век
Графове на Берг
Личности от кръстоносните походи
Германски светци
Берги


← Where Does the Buck Start?
Fundraising: Nonprofit board roles and responsibilities – Part 4.
Have you heard this before: "We'll hire the right person and they will raise the money." Hmmm…. If only fundraising were so simple. Here's a short list of problems associated with this perspective. First, the board is ultimately responsible for fundraising and needs to be engaged at all times. Then there's the issue of how to identify, hire, manage and retain experienced fundraisers. Let's not forget the adage "people give to people" which includes peer-to-peer fundraising.
While fundraising staff cannot go it alone, there is plenty they can and should focus on. Their number one priority is to support and supplement the fundraising work of board members and volunteers. Fundraising professionals are actually volunteer managers who identify, motivate and support the work of volunteers. They have strong people skills.
As a means of supporting volunteers, staff develop materials that "make the case" for giving to your organization. They develop and manage the fundraising plan, organizing the work of volunteers, employees and others. Working closely with the CEO and chair of the development committee, they keep the board up-to-date on fundraising successes, challenges, and opportunities.
They also maintain accurate information on current and prospective donors, produce reports that show funds raised from different sources using different methods; manage online and direct mail campaigns; write proposals and submit reports to funders; send thank you notes and gift receipts; and manage special events.
Fundraising staff are responsible for building infrastructure and capacity. They help ensure marketing and communications tie to fundraising, and, as appropriate, help develop cause marketing programs and donor benefit packages. They focus on fundraising all day, every day.
When hiring, consider people new to fundraising with successful sales experience. Many understand the identification, cultivation, solicitation, stewardship cycle and are experienced meeting goals. Always allocate time for staff to attend meetings or conferences of the Association of Fundraising Professionals and for other training and networking opportunities.
© Copyright Saad & Shaw. Mel and Pearl Shaw are the owners of Saad & Shaw. They help non-profit organizations and institutions rethink revenue sources. They are the authors of How to Solicit a Gift: Turning Prospects into Donors. Visit them at www.saadandshaw.com or call (901) 522-8727.
This entry was posted in FUNdraising Good Times and tagged careers, fundraising, non-profit management. Bookmark the permalink.


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