Cadillac, Michigan- Michael Silversides, of Cadillac, passed away on Wednesday, January 23, 2019. Michael suffered a traumatic brain injury in a bicycle accident this past summer. He was 76.
Michael was born on August 7, 1942 to Fredrick and Margaret (Reddy) Silversides in Detroit. He attended Saint Agatha's Catholic School in Redford Township. He spent his career working as an industrial tool salesman for over 50 years. Michael will be remembered by his family as a loving husband, father, grandfather, a devout Catholic and a proud, patriotic American. Michael was a faithful member of St. Ann Catholic Church where he served as both an usher and eucharistic minister. He was also a 3rd Degree member of the Knights of Columbus in Indian River. Michael cherished the time spent with his family, especially his grandchildren.
Michael is survived by his loving wife of over 30 years, Leonie Silversides; children, Tim Silversides of Novi, Marybeth (Ron) Munch of Cadillac, Craig (Michelle) Silversides of Brighton, Steven (Faith) McNitt of Wilmington, NC and Kevin (Keiko) McNitt of St. Joseph; grandchildren, Megan McNitt, Caitlin (Nick) Lengerich, Alexa Silversides, Lauren Munch, Ian Munch, Sierra Silversides, Savanna Silversides and Grace Munch; and many other loving family members and friends.
He was preceded in death by his parents; first wife, Carol Ann Silversides; 5 brothers and sisters; and a granddaughter, Breanne McNitt.
Visitation will be held on Sunday, February 3, 2019 from 1 p.m. until 4 p.m. with the Divine Mercy Chaplet to be held at 3 p.m. and another visitation held from 6 p.m. until 8 p.m. with a recitation of the Holy Rosary at 7:30 p.m. at Hitesman-Holdship Funeral Home. A Mass of Christian Burial will be conducted on Monday, February 4, 2019 at 11 a.m. at St. Ann Catholic Church with Fr. Michael Janowski to preside. Interment will take place in the spring at Mt. Carmel Catholic Cemetery.
Memorial contributions may be directed to the following organizations that were very dear to Micheal's heart: Life Resources of Northern Michigan, SmileTrain or the Leukemia & Lymphoma Society.


Gretchen supports the firmwide Business & Finance and Commercial Litigation Departments. She recently focused on supporting an internal investigation of a Fortune 500 company in its suit against the government, the sale of a local software company and a litigation concerning contract matters.
Gretchen has actively practiced in both Pennsylvania and Washington State. While practicing in Washington, her practice focused mainly on transactional work. She represented both large and small real estate developers, coffee companies and smaller corporate clients in forming business entities, corporate transactions and sale of businesses. In Pennsylvania, her practice has been more general, involving both transactional and litigation work which allowed her to regularly appear at motions and at trial. Through this wide-ranging legal practice, Gretchen has experience in drafting a variety of transaction and litigation documents. Such documents include limited partnership and limited liability agreements, bylaws, articles of incorporation, 501(c)(3) filings, company resolutions, releases, joint venture agreements, leases, subleases, assignments, promissory notes, real estate purchase agreements, closing binders, deeds, condominium agreements, real estate finance documents, estate planning documents, pleadings, discovery and motions.
In addition, Gretchen represented clients in disabled person and probate proceedings.
University of Pittsburgh School of Law, 1992, J.D.


Just hours later after Makwala was denied entry, he revealed that he had felt fit to race both in the 200m heats on Monday and the 400m final.
Li Lingwei credited her Asian Championships gold medal-winning performance for boosting her confidence ahead of the IAAF World Championships.
Wayde van Niekerk is hoping to emulate American legend Michael Johnson in 1995 by winning 200m and 400m world gold.
Here's all you need to know about the schedule of events to be held in IAAF World Athletics Championship 2017 on Day 4.
For more than a decade, Usain Bolt has been the soul and conscience of a sport that has been steadily murdered in broad daylight. The Jamaican brought credibility and joy of running uninhibitedly.
Nineteen Russians have been cleared to compete internationally after demonstrating to the IAAF that their training environment meets the required anti-doping standards.


The IASB expects to issue the final insurance contracts standard around the end of 2016.
Companies should begin assessing the potential impact on their financial statements and business.
At its February meetings, the IASB instructed the staff to begin the balloting process for the forthcoming insurance contracts standard.
In the Board's view, the revisions to the 2013 Insurance Contracts exposure draft (the ED) respond to constituents' feedback, and re-exposing the proposals would not reveal any new concerns of those constituents.
all changes have been made by responding to feedback received in comment letters, education sessions and subsequent outreach to interested parties.
With the mandatory due process steps having been met and its proposals sufficiently developed, the Board agreed that the balloting process should begin.
complete targeted external reviews of certain areas of the standard to ensure the wording is interpreted consistently with the Board's objectives.
The Board will also redeliberate and finalise its proposed amendments to IFRS 4 Insurance Contracts by the end of this summer.
The final insurance contracts standard is coming very soon. As it is highly likely to be issued around the end of 2016, companies should begin assessing the potential impact on their financial statements and business, and closely follow issues that may arise during the balloting process.
For some companies, the implementation will be a complicated process. Read our visual guide to understand what to start thinking about now.
Speak to your usual KPMG contact to discuss in more detail how these proposals may impact you.
Visit our IFRS – Insurance hot topics page for the latest developments in the insurance contracts project.


For the first time this century, the Governor has signed a Writ for a referendum in Queensland.
The Governor is the representative of Queensland's Head of State, and undertakes various important constitutional, community and ceremonial duties.
One of the Governor's rarely exercised constitutional duties – referenda have only happened only 7 times previously in Queensland, the last time in 1992 – is signing Writs which bring about referenda.
Some parts of Queensland's Constitution – including the provision which says the Queensland Parliament shall not continue for longer than 3 years – need to be taken to the people before they can be altered.
Before a referendum can be held, Parliament first passes a Bill, or settles on a question, to be taken to the people.
The Governor then signs the Writ. In practice, the Governor is advised by Executive Council in the exercise of this power.
The Writ empowers the Electoral Commission of Queensland to conduct the referendum in accordance with the details contained in the Writ and the laws of Queensland.
The signing of a Writ happened today (8 February 2016), and there will be a referendum in Queensland on 19 March 2016 for 4 year fixed parliamentary terms.
If a majority of electors voting approve the Bill presented at the referendum, the Bill is presented to the Governor for Assent.


The following prayer was written by confederate soldier, Private William Pennington of the 38th Georgia Infantry Regiment, Company G after he was wounded in Virginia in 1864. Ironically, he makes no direct mention of his own wounds. Read the note following the prayer for "the rest of the story".
O, My God, I trust in Thee. Let us not be ashamed of Thee; yea let none that wait on Thee be ashamed; Let them be ashamed that transgress without cause.
Show us Thy ways oh Lord; teach us Thy ways to walk faithfully; teach us, O Lord, how to walk; lead us in Thy Truth and holiness; for thou art the God of our salvation.
Remember, O Lord, They tender mercies and Thy loving kindness, for they have been ever abundant.
O Lord, turn Thou unto us and have mercy upon us, for we are desolate and afflicted.
Remember O Lord, my dear companion and little ones that I am distant from.
O Lord, guide and protect them in their daily walk; give them a sufficiency of Thy grace; keep them from all harm.
Oh may the prayers be heard with full power and purpose in behalf of her little ones, O Lord, I beseech Thee, raise them up in the way they should go, and if it is Thy holy will that I should be united with them again, O may I walk upright before them.
Do, O Lord, let me realize the comforts of my family once more if it is Thy holy will; but O Lord, Thy will be done; regard Thy children everywhere.
Bless the sick and afflicted. O Lord, lend Thy helping hand and let this awful war cease. Heavenly Father, bring peace in our country once more if it can consist with Thy holy will. O God, bless our country; bless our soldiers from the highest to the lowest.
Lord, protect us through life; when done with us on earth hand us down to our graves in peace with Thee and all mankind; then receive our souls in heaven where we can praise Thee more perfect, World without end, Amen.
"William Pennington died 28 Aug. 1864 in Winchester Virginia York Hospital. He was a true soldier to his restless country and a faithful soldier of the cross. His nurse sent this to me." Mary Beasley Pennington, wife."
William Pennington and his wife Mary Beasley Pennington lived in Jefferson County, Georgia before the war. He enlisted on 1 Oct. 1861 in Company G, 38th Georgia Infantry Regiment. He was wounded on 28 August 1864 and died two days later on August 30th. He is credited with distinguished service in the Confederate Army records.
Source: A copy of the above prayer was given to me by Hinson Mosley of Jesup, Georgia at the Southern Iron Cross dedication ceremony for my ancestor, John Thompson in 2002. Mr. Mosley told me the prayer document was authentic and considered a family heirloom. He stated that he was a direct descendant of private William Pennington and was duly proud of his ancestor's service to God, country and family. At that time he, Mr Mosley, was (and still is) a member of the Georgia Legislature in the House of Representatives..
23 Aug 2004 - T.T.


There s a nearby sandy beach, just a 5 minute drive from Bo'a, called Kite Beach. This beautiful white beach is stretched across the bay and provides excellent conditions for kite and windsurfing during the months of July and August specially, when a constant South East wind hits the coast. During the other months of the year, it is a beautiful place to swim and relax under the shady trees. It's definitely not one to miss!


Will Brain MRi show chiari?
Does this sound/look like Chiari?
Dizziness after Chiari surgery .....anyone else ?
How long after surgery did it take?
Is the surgery with dura opening the last straw?
Things to do before surgery to help after surgery.
My wife has been in bed with disabling headaches for 3 years, and ideas?


Die Hard Pinball League presents the second annual YEGPIN – 2018 Edmonton Pinball and Arcade Expo which will be held the weekend of May 4th-6th, 2018. The show is centrally located at the Edmonton Aviation Museum in Edmonton at 11410 Kingsway NW. This is an ALL AGES event!
This will be the third annual pinball and arcade expo in the Edmonton area. Are you a pinball buff, a collector or just have fun playing some pinball? Want to relive your younger days with some of the classic arcade games from your childhood, or introduce your family to the world of pinball and classic arcade games? Are you interested in seeing some of the latest game technology and what the resurgence in pinball and arcade is all about? Or maybe you're looking to buy a pin or arcade game for your home or office? If yes is the answer to any of these questions then come join us at YEGPIN!!!!!!
We endeavor to fill the historic Alberta Aviation Museum hangar with more than 100 pinball machines, classic video games, and other game room goodies set up on free play for everyone to enjoy the entire weekend. YEGPIN will strive to showcase the best pinball and arcade collections in the city and be able to provide you with three fun-filled days of playing pinball machines and arcade games.
The event will also be hosting two IFPA (International Flipper Pinball Association) backed pinball tournaments which you will receive WPPR (World Pinball Player Rankings). This will be a great, friendly competition that is open to novice and advanced players alike. We offer trophies and prizes to the winners and to the grand prize winner his or her own pinball machine!!!
As if that weren't enough, we will have a space for a designated licensed area, and our games rooms will be open late on Friday and Saturday. For our guests who are volunteers, those that contribute game(s), or advance purchase a VIP weekend pass will be invited to a VIP party where food will be served, the lights go down and music is played and you can party and play on the machines till 1:00 AM on Friday night. There will also be special rates set up for hotel guests that want to come visit from out of town. See the hotel partners here.
Pre-register for the YEGPIN and receive extra rewards or find out how get in FREE when you bring a game! T-shirts, tournament tickets, and other merchandise will be available for sale at the show. You can find details on the pricing for the event on our tickets page.
There will be a silent auction for a chance to buy pinball and game room related items, different groups of merchandise will be put out on the Friday, Saturday, and Sunday with all proceeds going back to support this wonderful event.
The show will conclude Sunday afternoon shortly after the winner of the Western Canadian Pinball championship has been determined.
This show will draw people from all over Canada and beyond. Our goal is to have one of the largest shows in Canada and you have an opportunity to experience it first-hand in the great city of Edmonton.
Come join us for the third annual YEGPIN – 2018 Edmonton Pinball and Arcade Expo. It's going to be another great weekend!


text:
Мајснерова телашца су врста механорецептора које су открили анатом Георг Мајснер (1829–1905) и Рудолф Вагнер. Ово тело је тип нервног завршетка у кожи који је одговоран за осетљивост на притисак. Конкретно, они имају највећу осетљивост (најнижи праг) када осете вибрације између 10 и 50 херца. Они су брзо адаптивни рецептори. Највише су концентрисани у дебелој кожи без длаке, посебно на јастучићима прстију.

Структура
Мајснерова телашца су инкапсулирани мијелинизовани нервни завршеци, окружени Швановим ћелијама. Инкапсулација се састоји од спљоштених потпорних ћелија распоређених као хоризонталне ламеле окружене капсулом везивног ткива. Тело је 30-140 μм у дужини и 40-60 μм у пречнику. Једно нервно влакно вијуга између ламела и кроз цео корпускул.

Локација
Распрострањени су на различитим деловима коже, али су концентрисани у областима посебно осетљивим на лагани додир, као што су прсти, усне и мушки препуцијум. Тачније, они се првенствено налазе у голој кожи непосредно испод епидермиса унутар дермалних папила.

Поређење са другим рецепторима
Осећај дубоког притиска (од убода, на пример) се генерише из Пачинијевих телашца (једини други тип фазног тактилног механорецептора), који се налазе дубље у дермису, и неких слободних нервних завршетака.

Такође, Мајснерова телашца не откривају штетне стимулусе; ово се сигнализира искључиво слободним нервним завршецима.

Развој
Број Мајснерових телашаца по квадратном милиметру људске коже на врховима прстију опада четири пута између 12. и 50. године. Брзина којом се губе добро корелира са губитком осетљивости на додир за мале сонде у вези са узрастом.

Функција
Мајснерова телашца брзо се прилагођавају. Осетљиви су на промене облика и текстуре у истраживачком и дискриминаторном додиру. Њихова акутна осетљивост пружа неуронску основу за читање Брајевог писма. Због своје површне локације у дермису, ова тела су посебно осетљива на додир и вибрације, али су из истих разлога ограничена у детекцији јер могу само да сигнализирају да нешто додирује кожу.

Било каква физичка деформација телешца довешће до уласка натријумових јона у њега, стварајући акциони потенцијал у нервном влакну телешца. Пошто се брзо прилагођавају или су фазни, генерисани акциони потенцијали се брзо смањују и на крају престају (то је разлог зашто човек престаје да "осећа" своју одећу).

Ако се стимулус уклони, телашце поново добија свој облик и при томе (тј.: док се физички реформише) изазива стварање још једног таласа акционих потенцијала.

Референце

Нервно ткиво
Рецепторске ћелије

redpajama_set_name: RedPajamaWikipedia


text:
Q&A: Lisa Kereszi
© Lisa Kereszi
Lisa Kereszi's recent work, featured here, was shortlisted for the 2013 Cord Prize.
Kereszi was born in 1973 in Pennsylvania and grew up in Suburban Philadelphia to a father who ran the family auto junkyard and to a mother who owned an antique shop. In 1995 she graduated from Bard College with a Bachelor of Arts. After college she worked as an assistant to Nan Goldin, and in 2000 she received a Master of Fine Arts degree from the Yale School of Art. She has been on the faculty there as a Lecturer since 2004, now serves as Director of Undergraduate Studies in Art, and wae was appointed Critic in 2012. She was also a 2010 National Endowment for the Arts MacDowell Fellow.
Her work is in many private collections and in that of the Whitney Museum of American Art, the Study Collection at the Museum of Modern Art, the Altoids Curiously Strong Collection of the New Museum of Contemporary Art, the Brooklyn Museum of Art, the Norton Museum of Art, the Ogden Museum of Southern Art, the Berkeley Art Museum and the Yale University Art Gallery, among others. Her work has been shown in group shows at the Whitney Museum, MoMA, the Aldrich Museum, the Bronx Museum of Art, the Brooklyn Museum of Art, the Queens Museum of Art, the Berkeley Art Museum, the Urban Center Gallery at the Municipal Art Society in New York, among many others. She had solo shows in 2002 and 2003 at Pierogi in Brooklyn. She is represented by Yancey Richardson Gallery in New York, where she had Winter 2005, Spring 2007 and Spring 2009 and 2012 solo shows. Other solo shows include the Galleries at Moore College in Philadelphia, the Alcott Gallery at the University of North Carolina in Fall 2006 and also at the Matrix Gallery at UC Berkeley, the latter as part of her 2005 Baum Award for Emerging American Photographers.
Her editorial work has appeared in many books and magazines, including The New York Times Magazine, The New Yorker, Nest, New York, Harper's, TIME, W, The London Telegraph Sunday Magazine, Details, GQ, Black Book, Jane, Newsweek, House & Garden, Penthouse, Nylon, Orion, Bon Appetit, zingmagazine, Flaunt, wallpaper* and others. Her pictures regularly appeared in The New Yorker's "Goings on About Town" section. She was included in the 2003 list of the 30 top emerging photographers by Photo District News, and was granted a commission to photograph Governors Island by the Public Art Fund the same year, which culminated in shows at the Urban Center Gallery and the Mayor's Office at City Hall and a 2004 exhibition catalog, Governors Island, as well as a permanent installation on the island.
Three monographs are in print – Fun and Games with Nazraeli Press in 2009, and two with Damiani Editore: Fantasies in 2008 and her latest book, Joe's Junk Yard, which was released in early Fall 2012. Kereszi lives and works in New Haven.
In editing my recent work, I realized that it was made during a period in which I have had my entire notion of what the medium is forcefully challenged by (so-called?) concept based, forward-thinking images made in what feels like an acting-out against a tradition of straight photography that I entirely trust and believe in. Rather than jumping ship and seeking out newness for newness's sake, I hold tight to my belief in the power of that plain picture - one made out in the world without hard preconceived, overly thought-out notions - that tells me, and you, something about this place we live in, and your and my place in it. These pictures, then, in homage, are about photography, really, and my attempts to make a sense out of the world by using my camera as an extension of my eye and mind. - Kereszi on her recent work. Full statement here.
fototazo: In your statement you write that this work is about photography itself and that it was created during a period in which your notion of the medium was forcefully challenged by concept-based photography. Conceptual photography, at least as part of the Conceptual Art movement goes back to the 60s. Why has your work, after years of working with a faith in straight photography in comfort alongside conceptual photography, come to a point of confrontation with it?
Lisa Kereszi: Right, exactly, yes. Good point. I have been making somewhat, I suppose, "Conceptual" (notice I put it in quotes?) and abstract pictures for years, and even just took some today that I'm really excited about. I have been toying with editing together more of my minimal, myopic, semi-abstract work for several years now. But it's a looking back on what I have already done, and piecing it together, like I can now look back and say that I am now aware of what I had been doing all along with these kinds of pictures, making them alongside details, vignettes and room shots. I didn't set out to make abstractions consciously; it just happened here and there.
As a child of the junkyard, I have always been interested in found art, which I guess is "conceptual," and elevating some everyday object, pointing at it, putting a frame around it, and calling it art. But I feel like that is just part of my job as an artist who uses photography, and that it is nothing special. So, you are right - I have had no problem, and still do not, quoting and referencing the likes of Duchamp, Twombly, etc... However, in my opinion, and it is just that - an opinion - there appears to be a bit too much work being floated in the art world these days that doesn't have a leg to stand on. But some of this work really looks like it does, though; it's obtuse, and makes a viewer feel quite dumb in not being able to understand or crack the code. I feel like a lot of work is getting held up and supported right now only if it has a "book" of a press release to go along with it.
Photography is a form of communication, so it should communicate something on its own terms to a viewer. I'm not saying it should be super easy to understand, but it seems like a fair number of people are being attracted to just what appears hard, but that which is really just merely opaque, so as to look a lot like it's about some big idea. I am all for great ideas, but maybe there's a need to gestate such ideas longer, before putting them down on inkjet paper. The art world is such oftentimes that it rushes people to press, rushes young artists to show, valuing slick and edgy and difficult-to-understand style over substance. A colleague, Benjamin Donaldson, likes to quote his old teacher, the photographer Nicholas Nixon, who said, "The world is infinitely more interesting than any ideas I have about it." I think those words are a pretty strong case for making pictures out in the world versus the studio. Now, don't misunderstand me and think I'm saying art should not be made in the studio - it can be, and can be done well. And art shouldn't necessarily be all that simple. Einstein said, "The most incomprehensible thing about the world is that it is comprehensible." My pictures have some mystery in them, but only just enough, so that there is still somewhere for one's imagination to go when standing in front of the picture.
I love a lot of contemporary art that one would label as conceptual – Matthew Barney and Mike Kelley, for example. It's thought out in a way I can glean on some level, and is unashamed and smart, and still feels new, even today. In a recent lecture, former MoMA curator and current Dean at Yale Robert Storr, spoke in a cautionary manner to students about "Misconceptual Art," which is actually the kind of shallow work that I am really against, and up against.
f: How have your investigations of the themes of fantasy, escapism and loss found in your other projects been affected by this new exploration of photography itself? Is this work presented here still investigating those themes actively? Is it still important for this work to be made in the types of spaces you have been working in?
LK: No, these pictures could be made anywhere – in a parking lot, on a street corner, in the woods. Of course, I remain attracted to those sorts of fantastical spaces, but they are no longer necessary to inspire and grab me. I think this work still investigates some of these themes, in that there are portals, entryways, places to enter and lose oneself, junctures between what is real and what is reflected or a mirage.
f: To what degree does the exploration of photography itself remain an open subject for your work at this point?
LK: I think this is just the beginning. I think it has come out of teaching, in many ways, because I have to explain how lenses work to the best of my ability, how a camera obscura works, and how to learn to see. Just like the abstraction series I mentioned previously, this group of pictures came out of my looking at what I already had and letting it lead me to a new place. It came out of a love of straight photography, and a desire to put that out there unabashedly. Like a love letter. It's conceived of and edited together the opposite of having some idea that I imposed consciously on the world. When I was a writer, I was a poet, and was miserable at trying to write any kind of fiction. I just have to react against what is already there in front of me – if it's in the real world, or existing only as 2D on paper or the screen.
Tags: Benjamin Donaldson, Lisa Kereszi, Matthew Barney, Mike Kelley, Nicholas Nixon, Robert Storr

redpajama_set_name: RedPajamaCommonCrawl


Elytis was born in Heraklion on the island of Crete and his pen name was Odysseus Alepoudellis. Later his family settled permanently in Athens where the poet finished his secondary school studies and later visited the Law School of the Athens University. His first appearance as a poet in 1935 through the magazine "Nea Grammata" ("New Culture") was saluted as an important event and the new style he introduced – though giving rise to a great many reactions – succeeded in prevailing and effectively contributing to the poetical reform commencing in the Second World War's eve and going on up to our days.
He lived in Paris for a short time after the Greek military coup of 1967. His later works include Ho hēlios ho hēliatoras (1971; The Sovereign Sun), Ta eterothalē (1974; "The Stepchildren"), Ho mikros nautilos (1986; The Little Mariner), and Ta elegeia tis Oxopetras (1991; The Oxopetra Elegies). The Collected Poems of Odysseus Elytis (1997) is a volume of his poetry in English translation.
This romantic verse came from "The Axion Esti" (1959) written by Odysseas Elytis, one of the greatest poets of modern Greece. "Axion Esti" is inspired by the memories of the 1940-1941 war, the German occupation, the Greek resistance and the Greek Civil War that followed. However, Elytis gave a romantic shape, too.
Elytis has a living experience of all these crucial phases of the modern Greek history and understands them as aspects of the timeless siege of Greece by the forces of Evil. Axion Esti was made into a song and was generally enthusiastically received by the Greek readers and the literature critics. This did not happen only due to its artistic value, but also due to its operation as a fundamental work that redefined the Greek collective unconscious by elaborating repressed experiences and myths from the modern Greek history.
During his life (1911 – 1996), Elytis came in touch with significant Greek painters, poets and authors who influenced his artistic expression. His significance was highlighted when he awarded with a Nobel Prize in Literature in 1979. The choice of the Swedish Academy of Letters came as a surprise nonetheless.
The academy declared in its presentation that his poetry ``depicts with sensual strength and intellectual clearsightedness, modern man's struggle for freedom and creativeness``.


Whimsical Racing Roadways Round Area Rug, 5 ft.
Your child's playroom will look incredible with this Whimsical Racing Roadways Round Area Rug. The racing path will surely spark their imagination.
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text:
Episode 1 Chatsworth
Subtitles Found! We found subtitles for the program Episode 1. Please scroll down to get them, or go here for a preview
Documentary series detailing a year in the life of Chatsworth House. The 12th duke and duchess join the annual litter pick as the house is being prepared to open to the public.
Browse content similar to Episode 1. Check below for episodes and series from the same categories and more!
Duke of Devonshire
Stately home
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Chatsworth. Palace of the Peaks.
0:00:02 0:00:05
300 rooms.
35,000 acres.
62 farms
and three villages.
Living here, we tend to forget how big it is,
and it seems strange that it should just be for one couple.
For more than four-and-a-half centuries,
Chatsworth has been owned by one family.
We've got a Duke and we've got a Duke's son
and the Duke's grandson, so we've got the next two lined up.
A line now led by the 12th Duke of Devonshire and his wife,
the Duchess.
These days, Chatsworth is a major commercial venture.
A yearly show...
Hello, would you like champagne?
..bigger than any theatre production,
with a backstage team of 700 just to keep it running.
If I see the Duke and Duchess coming, I go round and go, "nee-noh..."
Like that, you see, and they know what I'm on about.
Stand by your beds is what it is.
I've met the Duke and Duchess once.
I thought you had to bow and things like that, the first time,
-I was standing like this.
-HE LAUGHS
People who come, they either leave the next day,
or they stay for the rest of their lives.
Centre stage is the house.
-Morning, Duchess, morning, Duke.
-Morning, Duke, morning, Duchess.
From public displays...
It's not really "don't do that ever again,"
it's just be careful what you're obscuring.
..to private views.
I love going round the back.
We all like polishing his bottom.
It's an unfolding drama where everyone has a role to play.
You've messed it all up, Mister.
This is a year in the life of Chatsworth.
Derbyshire in winter. Chatsworth is closed.
Opening week, in the middle of March,
it always is a bit of a deadline,
because the so-called quiet period when we're not open,
from just before Christmas, that is much the busiest time.
Everything is frenetic.
They call it the deep clean.
And everything must be done and dusted
before the curtain goes up on the new season.
With 100 rooms to get ready,
it's tough work for the Duke's 20-strong housekeeping team.
You go first.
In the winter clean, things get moved all the time,
because it's the only time of year when we can get things out of the way
cos there's no public coming through, and one slip... Ooh, it doesn't bear thinking about!
Ooh!
And there are specialists.
A textile department to prepare carpets, furnishings and drapes.
I'm pretty tired, but actually, it's the adrenaline, you get going,
and, you know...
It's not for ever,
so the adrenaline gets pumping and you just get through it.
To preserve the 1,250 works of art, much of it priceless,
the Duke has a team of expert curators.
When you think you've got everything sorted,
and then suddenly realise you've got other little bits to do,
that's when you start to panic slightly.
But not too much when you're handling this!
SHE LAUGHS
And Chatsworth has one of Britain's biggest private libraries.
There's an ongoing thing with cleaning books,
we've got 17,500 in here and in the ante-library,
and they all get taken off the shelves and dusted.
How's it going, Jan?
-Must have done quite a few.
-I think I'm on 1650.
Sprucing up 105 acres of world-famous gardens
is the midwinter challenge for the Duke's 21 gardeners.
So you're more than halfway now, I was just working it out.
-We won't get it finished today.
Brilliant what you're doing, thank you very, very much.
And it will be really appreciated, I'm sure.
We just keep plodding along, all the paths should be re-gravelled,
everything else is in place, all the signs, all the benches are up.
Whether I feel the pressure or not... HE CHUCKLES
It still has to be done, and we just do it.
There's enough stone, brickwork, timber and glass
to keep 17 housemen busy every day of the year.
We've got to get these jobs done before Sunday,
-or else we get shouted at.
All to put on a show for Chatsworth's 700,000 visitors.
And topping the bill is the grand dining room.
This year, the table setting will recall an historic moment
in Chatsworth's history.
Well, we are just laying the table ready for the new season,
which opens next weekend, and we've come in on a Sunday to do it
because it's a bit quieter.
We are doing a setting
which is based on Queen Victoria's visit in 1843.
There's quite a lot of silver going out.
It was in December that year when 37 guests,
including the Duke of Wellington and Lord Palmerston,
joined the Queen and Prince Albert for a weekend at Chatsworth.
There's a report in the illustrated London News about her visit,
which describes how the table looked,
so we know what pieces were on.
A foot.
Her Majesty, Prince Albert and Lady Louisa Cavendish and Lord Melbourne
sat on the right of His Grace in the centre of the table.
Being faced by the Duke of Wellington and the Duke and Duchess of Buccleuch.
'So fingers crossed it'll all fit.'
'It just feels really uncomfortable,'
if you don't get the distances sort of equal, it's just, you look at it
and it just makes you feel very uncomfortable for some reason.
Either that or we're just fussy curators, I don't know which.
-SHE LAUGHS
-Probably the latter.
I've been cleaning this silver for about three weeks.
It's therapeutic, in a way.
You can clean one piece and compare it to the other piece
that hasn't been cleaned for a year or whatever,
and it just looks really nice.
So what we're setting up for is we've got the soup,
and then the fish course, and then the meat course,
and then salad, but the forks go this way down,
because originally, if you had very lacy cuffs around your sleeves,
sort of like in the 18th century, obviously the laces catch on that,
so that's why we've got forks with the tines, sort of, face down.
We all joke that by the end of winter,
you're fitter than you were at the beginning
because there's so much to do.
Just that difference between the burnished silver,
that's sort of really shiny, and then the more matte silver as well,
and they comment about it even in the newspapers at the time, in 1843.
I just feel, to sort of see it close up, with the daylight on it,
it's just, just beautiful.
So I've probably stripped and laid this table
about 20 times over the years,
I'm sort of getting professional at this now.
HE LAUGHS
-Phew!
-SHE LAUGHS >
It's amazing, things always take longer than you think!
Especially in a house like this.
Well, it's exciting, there's always an awful lot to do,
but you've seen how hard everybody is working, so, you know, it's always,
like any deadline, one always longs for another day,
but then people have been wonderful,
and they've come in on the weekend and worked in the evenings,
and, you know, we're very lucky, they're very dedicated.
A dedication that late winter in Derbyshire can test to the limit.
THUNDER RUMBLES
Good morning. Today, we're litter picking.
It's raining outside,
but it's the estate combined litter picking day, which we do annually.
So there's lots of teams going out around the estate,
but it's absolutely a huge feat,
because actually it's miles and miles and miles,
so I think we're probably covering about a nine-mile-square radius.
Who's hiding?
Despite the drizzle, when it comes to picking up litter,
even the Duke and Duchess join in.
One, two, three.
-We're walking, we're walking.
-From here?
-We're picking, yeah.
Anybody who wants to can volunteer
to do an hour-and-a-half or two hours,
picking up litter on the roads
and the public footpath through the estate.
You mustn't keep chatting like that.
-Well...
-You're meant to be looking down the edge.
'I think of this place, completely inaccurately,'
as a private house in a private garden.
And I am told, and I believe it because it suits me,
that that is what our visitors want.
What do we do with this?
'I think I was more bothered with growing up
'than worrying about who was going to look after this place when I was a child.
'I don't think I had any concept of that, it was just something... It was where we lived.'
'Historically, a duke was like any other hereditary peer,
'and they have the right to, and usually did,
'sit in the House of Lords.
'Quite rightly, the Blair government abolished the right
'for hereditary peers, and so I have no political role as a right.
'And I'm delighted,'
because I wouldn't be any good at all at that.
I think that had been in there for quite a long time, it was,
sort of, almost buried treasure.
'But what we do now, my wife and I, are like the equivalent of the,
'sort of, executive chairman and chairwoman.'
I haven't actually ever found anything very interesting at all.
No fivers yet.
The good thing that comes out of this,
we've all got our patches where we obviously litter pick,
and then two weeks later, when you drive past it and see this litter,
you go, "Oh, the cheeky buggers."
Come out, you little bugger.
The minute this bag goes in the skip, I'm back to work, so...
Everybody else will be going for a shower
and making sure they smell nice, but I don't care.
I think it's better than last year, don't you?
I think there was more than last year.
-They...
-Really?
-Yeah.
But it's worth doing, I think.
From do-it-yourself rubbish collection
to a £14 million facelift.
This year, Chatsworth is getting a major makeover.
And for a 21st-century duke, some armour.
A plastic hard hat.
-Do you want me to go in front so I can just...
-No, no, I'll be all right, if I'm not, I'll stop.
Thank you, Tom.
The place was beginning to fall to bits.
A piece quite nearly killed my great grandmother before the war,
so bits have been falling off for a long time,
and we didn't want to spend the rest of our lives in these.
Sunday, 13th March.
Opening day.
No, he's not, I'm afraid. OK, thanks, bye.
It's all a little bit fraught today,
so I'm going to see if I can find some keys.
Keys have been Christine Robinson's life for 36 years.
While only a third of the house is open to visitors,
there's still 100 rooms to unlock every day.
For 29 years before the current duke took over,
Christine worked for his parents.
We wondered, we've moved the two candelabra,
we've moved one of them onto the table at the end, your Grace, and we've moved...
-That's not in the middle, Christine, is it? Not quite.
-I don't think it is, quite, no, it isn't.
I have a recurring nightmare before house opening,
that I'm going round with my bunch of keys, and I get overtaken by the visitors.
I know this is because I'm terrified the house isn't going to be open on time.
That's OK.
It's quite terrifying, really.
But it's a wonderful incentive to crack on and get it ready.
I keep threatening to get a pedometer.
Only I think it would terrify us if we realised just how far we walked.
This should all be all right,
because I came through here and dusted it this morning,
so if I find any dust through here, then it's me that's left it.
As head housekeeper, and an old hand, it's all routine.
But not for newcomers.
Aaaah!
Staff.
You've got to love them, haven't you?
-PHONE RINGS
-Yeah, I've got you.
Good morning, Heather speaking.
24-year-old local girl Heather first visited Chatsworth as a baby.
In a slightly panicky stage until we're opened...
After working for the National Trust,
she's on trial in her dream job, head guide.
So I'm the first female head guide, which is quite, I think,
new to them, I think some struggled at the start,
but they're fine with that now.
There's just loads to do.
But I like that, it keeps you busy.
I've only got three more months left of my probation,
then we'll see if they still want me.
Whether Heather is the right long-term fit for Chatsworth
will be decided by her boss, Christine.
When the six months is up, there's...
A letter comes through from HR
to say that they have successfully completed their six-month probationary period,
and then they are a fully-fledged member of the team.
Sadly, if things don't work out, they get a different sort of letter,
which terminates their employment.
So we're off now to do the briefing.
They used to have them up in the mess room,
but I've moved them down here, so that we can start work straightaway.
And who wouldn't want to have a briefing in somewhere like this?
It's beautiful.
At the briefing, new girl Heather must win over 60 other guides.
Many have been doing the job since before she was born.
-Why didn't she tell me, then?
I don't know, she just forgot to tell you.
We thought long and hard about her appointment
before we actually gave her the job, because,
I think the key thing, really, was her youth,
and the fact that the majority of the guiding team when she took it on
were of an older generation.
-Morning, everybody.
-ALL: Good morning.
-Hello.
Right, six coaches in today.
-All of them at 11 o'clock.
-THEY ALL CHUCKLE
So it's going to be a bit of a squeeze,
but we'll manage, it'll be fine.
Have you all seen the new iPod handset as well?
You haven't?
-LAUGHTER
-Well, it's been going for about five days.
-So you can have a play. And it's really easy to use.
-Thank you.
I think the first time, I was quite worried about, obviously,
so many guides, and having to look after them, and how they perceive me as well.
But I think they're OK with it.
It's, er... Yeah, it's going well, it's good.
Hello, Stuart.
-Are you all right? You OK?
Superb. What do you think?
-It's a bit wrong.
-Which bit?
-It's the intro.
"the Duke's death at the age of 55 was sudden and unexpected,
and death duties at the maximum rate..."
So that... Actually, that's the 10th duke.
SHE SIGHS
-It's out. The full paragraph is out.
-It is, isn't it? Let's have a look.
Brilliant, thank you for letting me know.
11:00am.
Gates open.
'In some ways, it's a relief that we've got everything ready.'
And it's wonderful, we always go, the Duke and I,
we always go to the top of the stairs
'and welcome the first visitor.'
'I want people to come to Chatsworth and say,'
"This is the most amazing place," because that's what I think it is.
I want people never to forget it once they've been here,
and want to come back.
'I'm very, very proud of it, and I want to share that.'
-How are you? Long time no see!
-Yes, it is. How are things?
-Oh, not bad.
-Good morning, good morning.
-How are you?
This is a fantastic service.
Well, it's always exciting as the beginning of the season,
you know, we've been waiting for this for a couple of months, so...
'It's sort of a relief that the work is done,
'and that the visitors still want to come.'
-Priceless. Thank you very much.
-Good to see you.
-All right, bye.
Hello, have you got your tickets already? Thank you very much.
A lot of changes.
-Yes, there's always something new.
-Yes.
-Different things appeal to different people.
-Don't they?
-And some of it is very nice.
-And some of it we think, ooh... I don't like that!
-Some of them...
The estate staff needs to manage up to 6,000 visitors a day.
With so many people,
it's a priority to protect the house and its contents.
Can you just take your rucksack off and pop it on your front?
-Oh...
-just so you don't knock anything, that's all.
Excuse me sir, sorry to bother you,
can you take your rucksack off and put it on your front?
-Please?
-There's nothing in the bag, it's OK.
No, no, no, because you might knock something.
You have to carry it on your front.
OK? Thank you.
It's just so rude, I don't mean him, but I mean,
-you know, if you've asked somebody, you expect them to...
-Exactly.
-You know?
I just don't understand.
Plus, it makes our jobs really difficult,
cos we're trying to do our security points,
we're trying to engage with people,
-and we're having to deal with something as basic as that, aren't we?
-That's it.
It can get so frustrating. You see my frustrated face right now! SHE LAUGHS
Excuse me, can you...
No, no, it's all right,
can you just take your rucksack off and put it on your front?
-Ah...
-Yeah. Just in case you knock anything, that's all, all right?
You know, it's not a museum,
we don't shut things off behind glass cabinets,
we do leave things open, this is someone's home,
and I wouldn't do it in someone else's house,
and I don't expect people to do it here, really.
And he's done it again.
OK, back in again.
I'm sorry, sir, can you take the... Thank you.
Can't cope with it.
I should throw more diva strops, shouldn't I, really?
A stately home is a costly place to run.
These days, income must be earned.
Working the land, charging admission and selling produce
through a farm shop are key to Chatsworth's financial future.
And driving this commercial approach...
Hello, Alan...
..is the Duchess.
I think it's fascinating, the shop.
My mother-in-law started it, and it was a brilliant idea.
And it started as an outlet for produce from the estate.
And then it grew and grew and grew, and she was brilliant.
At developing it into something
which is now a very popular farm shop,
in fact, Farm Shop Of The Year.
And the manager of that farm shop is Andre Birkett.
How can you buy the tubs?
When they've got plants in them.
He's been part of Chatsworth for 29 years.
It's got to look loved.
If it doesn't look loved, then...
The job's jiggered.
Starting in the kitchens of the house, he worked his way up.
Can I help you with that, sir? Let me carry that to your car.
I can't see you struggle!
Now responsible for 120 staff,
Chatsworth's gourmet farm shop is Andre's pride and joy.
What are you actually doing?
Well, you've put the labels in the wrong place, Andrew.
So if I see gazpacho, that's exactly what the shelf edge should say.
He's continually fettling.
I still have to fettle!
ANDREW LAUGHS
He has got very high standards.
It's just so that I can say that I have put my mark on it,
but when I come down in an hour,
it'll all be higgledy-piggledy again.
We have an excellent turnover of £5.5 million per year.
We are all working hard to provide the funds for Chatsworth.
I can remember when we did our first thousand-pound Saturday,
which was the biggest achievement, and, you know,
everyone was so glad that we'd managed to turn over £1,000,
that the champagne was opened.
And then, actually, a few years on then,
to turn our first million pounds, was significant.
Convinced his hands-on management has brought success
to the farm shop and restaurant,
Andre's latest mission has been to upgrade the lavatories.
The Duchess was very keen
when we had the toilets revamped at the farm shop,
that the walls weren't blank, so over the last three months,
she's been collating lots of photographs of the family
and images of Chatsworth.
And they were only installed yesterday, and somebody's already tried to pinch one.
So it has been ripped off the wall, apparently,
so I will just nip across and have a look and see.
See what the damage is.
Something not right.
Ooh...
God!
HE SIGHS
Somebody's messed their underpants.
I do sometimes judge people's... mentality.
People do the most disgusting things.
I just knew something was happening,
cos it was obviously just carrying on filling up.
The problem is that we have here at Chatsworth,
is that locally there is no more public loos about.
Van drivers, people that aren't even coming here,
use this as a free toilet.
And they have got absolutely no respect.
For what we do.
One of the images has disappeared,
so somebody's pulled it off the wall and taken it away.
And obviously, this has just been
fully revamped, redecorated, re-plastered...
And so, that's what happens, which is very sad.
It feels like a personal attack to me.
I know it isn't, I know it's just one of those things,
somebody else hasn't thought about their actions.
But to me...
You're trying to enhance things and make things nice,
and they're not here for any other reason than to make it a better,
more pleasant experience for the visitor that's coming in
and using these facilities.
And yet, sadly, it's the minority that spoil it for the majority.
The Duchess would be mortified if...
she'd known already that this happened,
so I think we can probably get away with it.
Get something up as if it's not happened.
And hope it doesn't happen again.
'Listen, across the world, I think people do the strangest of things,
'don't they, so Chatsworth is no different.'
You know, accidents do happen.
HE CHUCKLES
At the house, staff are expected to have all the answers.
No-one more so than Heather.
The badge obviously says Head Guide, Um...
People tend to think I've probably been here for years and years,
and so they expect you to have a certain standard of knowledge,
so I find I have to perhaps research a bit more than the regular guides,
so I can keep up there.
You might get occasional people asking you about specific bits,
at which point, I need to dig into the depths of my mind
and try and remember what they're about.
But the basics, I know, so that's OK.
Ooh, can you please...
-I'm sorry.
-Try not to touch it, sorry.
This is by Edmund De Waal, modern art.
2007, it's called The Sounding Line.
Erm... And it was created for this area.
-These down here, can you see they're slightly wonky?
-They're created in three parts, fired in three parts and stuck on top of each other.
-Oh, I see.
Do they make sounds, and if you... Or why are they called The Sound...
Why are they called The Sounding Line? I'm not sure. I'm sure somewhere it'll explain.
All these are religious paintings, so you've got Jacob's Ladder...
and then you've got Joseph, Technicolour Dreamcoat, and... Oh, what was his wife's name?
Joseph's?
What do we know about Jim Allison, on the table?
Ooh, these, I'm not sure, actually. If you have a look at the, erm...
-I've seen it on this.
-Let's have a quick look, what does it say there?
The foot is Greek.
Something in my head was saying Roman, but it's not, it's Greek.
I'm trying to find the Tintoretto as well,
because I know it's Samson and Delilah, but I can't remember the exact date.
-And they're a piece of modern art...
-Urgh...
-Created in 2007.
-Sorry.
-Are you not convinced?
-No, I don't like modern art.
-HEATHER LAUGHS
So as soon as Paul gets back, then I can go and swot up a little bit.
-Hi.
5:00pm.
Doors close.
The last visitors melt away.
Usually, the first thing that we know that visitors have left,
is when people sort of trickle away from the garden,
and then the water gets turned off at 5:30pm,
the Cascade and the Emperor Fountain get turned off.
Our day doesn't usually end until dinner time, which is about...
After eight o'clock sometime.
We try not to go back to the office after dinner if we can.
We don't actually watch the television, hardly ever,
but we read a book and then probably fall asleep quite quickly,
but the day is never really over, and the house is never really quiet.
Except very late at night.
For some, after a day being bombarded with questions,
there is work to do.
Struggling with her work-life balance,
but knowing she is on probation, Heather brushes up on Chatsworth.
At the moment, really, I'm just swotting up.
You know, I'm still learning very quickly,
and often, I'll read during the evening.
You know, you do find that you can sometimes get a bit engrossed in books, really,
and not pay much attention to your family instead, but I've got to do it.
I've got to try and get as much knowledge as possible, really.
I think for me as a confidence thing, the more I know,
the more I can kind of, almost forget about the probation a little bit as well,
really, and try and concentrate on something else at the moment.
'You know, I've always worked in stately homes,
'but they've always been slightly smaller ones,'
and now it's Chatsworth, I mean, Chatsworth's Chatsworth.
And I'm just, kind of, thinking, "Have I done enough?"
Really, have I done enough yet? Am I proving myself?
You know, I'm managing a team of 60, am I managing to do that OK?
You know, I mean, you just don't know, do you?
I will never let anyone else know I'm nervous,
and I'd never let the guides know I'm nervous,
but, you know, sometimes it's something I am, deep down.
I think, I wouldn't even let Christine know I'm nervous,
but I am.
So we'll see.
Hopefully they have faith.
SHEEP BLEAT
The show Chatsworth puts on is all about English history.
And at its heart is the legacy of the Devonshire family.
It in the middle is the first Duke,
so he is the key person, he was very, very important,
he built the square bit of the house you see now, not the wing.
The second key figure is the bachelor Duke, up there.
And he built the new wing, a wonderful man in many, many ways,
very, very extravagant.
Left a huge amount of debt on his death,
but really reinvigorated Chatsworth,
and I think the third most important is my father,
because he really saved Chatsworth after the war.
Chatsworth would have become a national museum or something.
We had 80% death duties to pay when my grandfather died in 1950.
My father was only 30 then.
And he and my mother together, over 40 or 50 years,
really the rest of their life, they spent,
first of all saving Chatsworth, and then building it up.
Now, Chatsworth is about the house,
not so much about the people who live here.
Today, with 700 staff and a multi-million pound turnover,
Chatsworth is the biggest local employer.
And the Duke is the boss.
'I was here all day on Saturday, literally, I think, from about eight till eight.'
I mean, in theory, I'm two or three years past the old retirement age,
but luckily they changed the law so you can't make people retire at 65 any more.
PHONE RINGS
Hello, Liz, um, could you come and look at the diary, please? Thanks.
My work life is 70% probably Chatsworth stuff.
If it's your own house, it does matter what colour the paint is
and it does matter what sort of tulips you're going to plant.
Those little things matter a lot to us cos it's where we live,
it's not just a job.
It's far more than that, so inevitably we micromanage
and I don't really apologise for that.
-I'll be with the guests most of the morning.
-Mm-hm.
Then I've got a private meeting at half past six in the lower library
which, in the diary, you may or may not have seen just yet.
-Yep. Do you want tea and coffee for that?
Er...erm.
-I'll just let the butlers know.
-OK, that's fine. Good, thanks.
-All right.
I mean, a lot of people who live in big houses decide at a certain
stage in their life - sometimes pre-announced, sometimes not -
to move out and let the next person take over.
Whether we stay here until we die or whether we move out, I don't know.
But I think you can certainly retire from this job.
But, erm, we're not ready for that.
When the Duke succeeded his father in 2004,
the Duke's mother, the dowager duchess, moved to Edensor.
A village on the estate.
And she remains a pillar of local life.
Her three-volume autobiography, personally signed,
takes pride of place in the Chatsworth shop.
It's a different world,
a completely different world to what I was used to.
It is now a proper business.
All the houses of this kind are run as businesses now.
But anyway, I'm delighted to be here
because it's two steps from the garden, two steps from the kitchen.
At Chatsworth you had to think which was the quickest way to get to the kitchen.
I was getting too old for it.
Besides, it was high time my son and daughter-in-law came.
But for Andre the dowager holds a special place.
For most of his time working at Chatsworth, she was in charge.
This morning we're going to go and see the dowager,
the Duchess of Devonshire.
I've got some books that she needs to sign.
As a boy I found it very difficult coming to Chatsworth, it was
very much like Upstairs Downstairs at the time and I was, on arrival,
with my tatty old suitcase and my family drove off down the drive.
There were tears in my eyes.
The first time away from home and it was a very difficult time.
My intentions were only to stay at Chatsworth for 18 months.
29 years later I'm still here.
This is the old vicarage and this is where the dowager lives.
I feel quite at home here.
But we'll go in t'servants' entrance like I always do.
Good morning Your Grace, I've got some books to sign, if that's possible.
-That's very good.
-Would you be able to do that for me?
-Have you got a pen?
I think I have.
-One customer came and said they wanted an unsigned book.
Which was a rather bizarre request.
Normally I'm getting told off cos a book's gone out that hasn't
been signed and then I'm coming and saying, "Can you get me a book that's NOT signed?"
-So...
-That's very funny.
Well, it's quite hard to find an unsigned book.
The Dowager is the youngest and last survivor of the legendary Mitford
sisters whose lives and loves transfixed society during the 1930s.
Known to her family as Debo, she married Andrew Devonshire in 1941.
I've been there for 46 years and one month.
People who come, they either leave the next day, fed up with the way
the place is run or they stay for the rest of their lives, like these two.
Absolutely, yes.
They get terribly attached to this place for some reason, don't they?
I think we all do Your Grace, don't we?
There's something magical about it,
but it's also that tradition, I think.
And it's sort of pretty well unique because this village is all
occupied by people who have worked on the estate or who have retired.
I think from outside everybody looks on us like we're
perhaps a bit odd living together and working together.
Do you think they do?
Well, I think some people find it bizarre.
Yes, I suppose they do!
But you see the trouble is that all humans are the same
so there's no point making a great fuss about who's what.
It's better for everyone to get together, I reckon.
Wait a minute, let's get this thing proper. There we are.
-One.
-Wonderful.
And the figures were good last week, Your Grace, weren't they, for the farm shop?
Did the beef lead?
The beef did very well
and we've got some more venison in from the estate which is good.
Oh...don't muddle me! HE LAUGHS
That's all right, sorry.
-That's all your fault!
-I won't talk after this one.
You CAN'T not talk! It's not in your nature.
Under the dowager and her husband
the estate first moved into the retail trade.
Today it's 62 farms and 100 acres of woodland supply the farm shop
with all its beef, lamb and venison.
-You know the Fairsize farm?
-There's a little valley runs up from it. It's in that.
-On the right?
-I'll go and have a look.
-Well, it may have gone. The fox may have taken it anyway.
-There's no foxes here, is there?
-No foxes?!
You tell me!
When she was in charge, she pushed the estate to make money,
helped by young farmer Ian Turner.
-He's got some funny theories!
-Has he?!
And today he still runs the farm.
Lambing time's a marvellous time on a farm, the creation of new life.
You know, it all depends on what number of lambs we get for what
we sell and then the economics of the running of the estate.
We've got to keep this place running for evermore.
and a duke's grandson so we've got the next two lined up!
My first lambing was in January.
I had to be told step-by-step what to do but I think I've got the gist of it now.
Come on, girl.
There we go.
Check to see if she's having another.
No, she's not having another. That's her two.
So far I'd say we've had over 3,000 lambs.
I'm not sure how many we're going to have in total
but last year I think they had 4,800, which is quite a number!
Hello, lass, what've you got? Two Texels. What've you got?
Two Suffolks, two Texels.
Here we are we've got a ewe that's only has one lamb here.
We had a ewe down the bottom end who's had three lambs.
The ewes have got a design fault.
They've only got two buttons on their waistcoat.
They could do with four, some days here.
It's more economical for us for a ewe to raise two lambs than
what it is to raise one lamb.
If she has one lamb it'll probably go fat early on but
if she has two lambs, there's chance of her making twice as much money.
Right, Frances has just put the ewe down and she's going to hold
her down and Natalie's going to simulate that she's lambing again.
You've found another lamb in there?
You've made sure both the teats work first, have you?
Well done, girls. Don't rub it on there, rub it on t'lamb.
There you are, she thinks she's had two.
She's loving them both now.
She's drying her second lamb, which is her foster lamb, very well.
And it looks like it'll be a good take.
Spring lambs on the farm,
but not all their visitors are spring chickens.
With over 100 acres to cover, electric buggies are in high demand.
-We might be lucky, I think, on the next one.
-Yes!
I can get five of you on.
Last one went without us cos it only takes five.
There are six of us.
So we said we'd wait for the next one so we're hopefully on it.
-Americans stereotypically do not like to wait.
Garden buggies at the moment are a bit of a problem for us.
We've had a few issues with queue-jumping
and customers getting irate with each other.
-Then I've still got to wait for that to come back?
-They'll be about half an hour.
-Oh.
-Not at the moment.
How many buggies do we actually have in our possession on the front of house side of things?
Er, three at the moment.
Have we got three down at, what do you call it, maintenance?
I think we've got five in total.
Yeah, one of them at the minute is completely out of commission.
-Apart from that I'm not 100% sure.
Er, do you have an ETA for the second buggy? Over.
Fighting to keep their visitors mobile is the estate's only qualified mechanic, Andy.
Wants fixing.
Can't fix it.
I think that about sums it up.
That one's a new engine in it.
These two are... that's ready for servicing
and them two are sort of... if I ever get time.
They are quite busy on the garden tours at the moment.
It doesn't help if some of them are off the road and we haven't got
any spare ones so we have to mend these to get them back in the loop.
I've got so many jobs, so many mixed jobs that everything's a priority
and you struggle a bit to try and get which priority you should be on.
We could be anything from toilet cleaners, dog catchers,
you name it, we do it.
If I was to wear a badge with the things that I did on here,
I wouldn't be able to carry it.
Whatever time I spend on it now will keep it going for the next
three or four months, hopefully.
I don't want a big queue of people waiting for something that's
not going to turn up.
Until Andy can patch up more buggies...
We were waiting for 40 minutes for a buggy and then before we could
get on everybody else had piled on and we were the first in the queue!
And I thought, "Hello?!"
Anyway, he assured me we'd get on the next one in half
in hour's time...everybody jumped on and here we are without,
not on the buggy again.
And with skirmishes breaking out amongst the visitors...
Do you want to take a seat...
..Heather calls for back up.
Hi, it's Heather from the Sculpture Gallery. I really need your help.
We have no other buggies at all.
Right, OK. Have you got two in the gardens, do you know where they are?
-Let's see if we can use the Duke's buggy.
-Shall I go and fetch it?
Will the keys be in it?
Hi, it's Heather from Sculpture Gallery. I really need your help.
Is there any way at all that we could use the Duke's buggy?
Oh, what, the door near where the garden buggy is?
Great, I'll send David down there. OK, thank you, bye.
Yeah, we're going to use the Duke's buggy.
If you go and you meet Dina, she'll be stood at the door
near where the buggy is and she'll hand the keys straight over to you.
-Now?
-Now.
And now we're going to have one all to ourselves.
the Duke's buggy!
You know, sometimes you've got to think on your feet little bit
with these things but it's part of your job really.
And I don't mind. That's why I'm here.
Overseeing the shops and restaurants,
the present duchess is on call throughout the summer.
When my mother-in-law handed over the farm shop for us to run,
I found there was a large pair of shoes to fill
but it's very important to keep the farm shop evolving
because our customers know what they want and they're always looking for
something new and interesting, and so we need to keep one step ahead.
Andre has asked me to look at some cheeses, some new, different cheeses
to choose and decide if we want to sell them in the shop.
I think we'll have a look around the shop, while I'm there.
As Amanda Carmen Heyward-Lonsdale,
daughter of Commander Edward Gavin Heyward-Lonsdale,
she married Peregrine Cavendish on 28th June 1967
at St Martin-in-the-Fields, London.
Now she's running a grocer's shop.
If I see the Duke and Duchess coming up the drive,
I go around... and they know what I'm on about.
We've had some delicious cod which is excellent. Really, really fresh.
Andre, will you send some tuna up next time when Sophie asks you?
-Of course you can.
-Yes, please. Thank you.
It's great when she does come and says,
like she said to Sophie on the fish counter, "The fish was fantastic that we had yesterday."
It's good customer feedback from...
the head of the table, as you might say.
-I think it's a really good thing to do.
-Well, it brings the customers in.
And the head of the table is ready to move on to the cheese course.
Now, what have you got?
We've now had two years of the continental cheeses
we've got on the counter.
There are only six but they've been excellent sellers
and that was your driving... driving force to get those in
and they've been brilliant.
-And I just wondered if maybe it's time for...
-a change.
-..a change with them.
-Fine, OK.
-This looks very strong. What is it? Unpasteurised.
-Unpasteurised.
-Shall we have a try?
-No, don't let's start with the strongest.
-Let's start with the weakest. Are we going to be able to taste all of them?
-Of course we are.
That's going to start with, is it?
Selling foreign cheeses in an English farm shop is very controversial
so I think it's something the family should always be involved in
and I'd always speak to the Duchess first before doing things like this
because we're very proud that we've got 99% of our products being British.
So, absolutely, I wouldn't dare do it without consultation.
I like that one. It's creamy. I don't like that one as much.
It's too dry. It's a bit like Gouda.
Yeah. Stronger.
-I like it.
-Sweet, that's very nice. Excellent.
We know what we like now and we know what we don't like.
-We know where we are.
Anything to show me downstairs?
Photographs in the loos.
-Did you know we had a little bit of a mishap?
-No, what happened?
One of them was stolen after day three.
-Which one, the Duke?
-No, it wasn't the Duke!
It was one of the gardens in the gents but while it's a bad thing
that it's happening, it's because they're so good.
-Notify the builder.
-Absolutely.
Great country houses have always been
a source of employment for the local community.
The commercial success of Chatsworth is helping to keep
this tradition alive.
A lot of families have worked here for more than a generation.
They're hefted to the place like a flock of sheep can be hefted to a hill.
They don't need to be shepherded after several generations.
And I think that they're really proud to see that Chatsworth
is voted the most popular historic house.
When we get those awards, that is... I think we all feel,
everybody here feels we've all played a part in winning that award.
Good morning, everybody.
This is the Countryside Alliance lifetime achievement award.
It's for the whole estate
and all the things that have happened at Chatsworth
over the last 20 or 30 years, so it's really more for my parents than for us,
but it's certainly for an awful lot of you who have been involved
for a long time and so is about to go up outside my mother's front door.
So thank you very much. Well done.
I feel a sense of obligation to my parents -
a really strong obligation to them
because they did such a fantastic job because they kept this place going
when lots of other people would have just given up and with good reason.
We're really only building on what they created.
They did nearly all the hard work.
I think it's nice. A proper bit of kit.
They'll probably give an award to the person who made it.
This is the Countryside Alliance annual awards.
It's a lovely thing to be given.
It's the first time they've given a lifetime achievement award.
In the '50s when my parents started all this,
everything was at a really low ebb, including Chatsworth, and now it
goes very well and it has done for 20 years but it wasn't always like that.
-It was much more of a struggle.
-It was a terrific struggle.
And the taxation was so high.
I suddenly realised that if we could have a butchery
-and sell direct to the public...
-From the farm.
..from the farm, everybody would know that it was Chatsworth produce.
And that was the strength of it. I had no official job here.
I just was behind the scenes.
So I just rattled on until they got so bored of it,
in the end they said, "All right, we had better do it then."
"We'll try," they said.
I suppose you'd call it that very rare thing called common sense.
I do believe it was.
THEY LAUGH
-So that was good.
-It's unheard of.
We can put it there. That looks of it.
-Or up here.
-That a bit too high.
-Too high? Yes.
OK, well it can go there.
-That'll be lovely.
-That will be all right, won't it? Just perfect.
We could put it on... Under the bell, so people have to see it.
-Well, and then...
-And you could say underneath, "Aren't I clever?"
or something like that? All right.
-Well, we'll try once more we get some screws.
-Yes, all right. Yes.
All right. Very good. Lovely.
Thank you very much indeed. I shall see you soon.
-I really will ask you to lunch next time.
-Yes, please.
Today is the annual sheep service and at the village church,
the Dowager meets the flock.
The name Jacob sheep derives from Jacob in the Bible,
one of the shepherds,
and he had all piebald sheep and they become name as Jacob sheep.
The fourth Duke introduced six Jacob ewes.
I think next year, It'll be 250 years that Jacobs have been on the estate.
Right, we'll have these two out.
There you go, you two.
These are two we've selected to take.
They're not too big for the kids to carry.
Morning, your Grace. Are you OK?
Are you happy with all the sheep in the churchyard?
-You've got three Jacob ewes.
-At last. You're a very good fellow.
Everything is doing well.
# All things bright and beautiful
# All creatures great and small
# All things wise and wonderful
# The Lord God made them all... #
O, Lamb of God, bless this thy lamb, which bears thy name.
O, Lamb of God, bless this lamb, which bears thy name. Amen.
Probably both go in and feed
because they've had a couple of hours away and it's comforting for them.
She's going to be all right. She's letting them feed.
They'll just smell a bit of people holding them and covering them.
We'll leave her a day and keep an eye on her. Good.
With the Duchess keen to sell French cheese alongside local fare,
Andre has set up a tasting to test her selection.
For the last three weeks,
we've had the Duchess's favourite choices of foreign cheeses on sale.
It's the first time really we've accepted openly foreign produce into the shop.
And what we want to do now, moving on from that,
we've got Bob to come in and do tastings from our cheese suppliers.
It's all very new to us, Bob, doing this.
-All these foreign cheeses, you know.
-It's good foreign cheese though.
-It's good.
-It's the best you can get.
Try that cheese, Angie, as you go by. Speak to Bob, he doesn't bite.
Quite strong but the aftertaste is fantastic.
There you go, sir.
These represent the top end of the very best of French cheeses
so we've presented them to Andre and they've picked eight.
-It wasn't me, it was the Duchess.
-It was the Duchess.
It's not as strong as it looks.
I love cheese, I'm terrible.
-I love cheese.
-I do as well.
-Hand ladled, a beautiful flavour quite sticky.
-It is quite sticky.
People can now choose to buy it or not but we've given it a nice push.
-That's nice. I'll have one of those. Thank you.
-I'm very pleased.
I could eat them all. They're all nice.
Change. Embrace it, that's what I say.
-Shall we just look at the cheeses?
-Yes, come on.
I want to hear about these cheeses.
I think you'd be very interested to find out that
all these that we tried, these are all on sale now.
14% of our total cheese sales have been your choice.
-Our choice, come on.
-Our choice.
We've given it a boost. We've had tastings with customers.
We've had their feedback and it's been really, really positive.
-So... really positive.
-That's really exciting.
I think these two were probably the best that we did the tastings with.
-And it's obviously boosted the sales on the counter as well.
This is good.
What about like the photographs in the loos?
-The photographs in the toilets...
-Are they still flying off the wall?
No, they're not. They've been screwed to the wall now
so whoever's got a collection of two that can pull them off,
I think that's where that collection will stop.
So unless they're going to bring a toolkit with them.
-No, they're all there and in tact.
-That's good.
-They're still looking fine.
-That sorted that out, well done.
OK, that's fine.
For Heather, judgement day.
With her probation at an end,...
Have I got everyone? We look a bit empty.
..next stop, the head housekeeper's office.
I can't even comprehend it at the moment, to be honest.
I'm trying not to think about it. I'm trying to see the positive side.
I've done everything I can, that's all I can go for really.
I just hope she's seen that.
Yeah, I laugh more when I'm nervous.
I don't even want to think about it, really.
I just want to get in there,
see what she says and get it done.
KNOCK AT THE DOOR
-Come in. Hi, Heather.
We need to sit down and have a chat, talk about what's happened.
What's gone well, what hasn't gone quite so well over the last six months.
When you arrived, the relationship with the guides was very challenging.
I think for you coming in, not knowing anything really
and having to take over a team who have been here for a very long time,
I think that must have been a real challenge for you.
-It's one that I think you've risen to.
-I feel a lot more confident.
A couple of negative things but... Don't look like that.
Because what I feel is important really is about being honest
and I think that's the key.
There were one or two things that I've asked you to do things
and they've slipped through the net.
I think as well, because things are slotting in together
when you say stuff it makes sense to me so I will remember it,
whereas before it might be something that I'm not used to.
Is made perfect sense to me but it probably wouldn't to you,
so that's a fair comment.
On a personal note, I really do... I love your sense of fun
and your enthusiasm and your passion.
And I've got your letter here, to confirm your appointment.
Oh, lovely, thank you very much.
-I've also got you some work the next year, a diary for 2012.
-Yay!
-Well done, Heather. I'm pleased.
-Thank you very much, thank you.
Great, got it, so I'm really chuffed. Really happy.
Really, really happy.
It just means I can just like forget about that now
and get on with my job.
I've got to say, I'd have been absolutely gutted
if I hadn't have carried on so, no, I'm really happy.
Next week on Chatsworth...
Conflict blossoms at the flower festival.
This is a rather amazing gallery.
I've got to work on their home, fundamentally, so I don't want
to do anything that's going to offend or upset them.
Just be careful what you're obscuring.
For the Duchess,
the highlight of her social calendar
turns into a bumpy ride...
Hold tight, everybody!
..as she struggles to get the Chatsworth International horse trials under starter's orders.
I'm feeling sick at this very moment, very sick.
Pressure!
And some serious problems need ironing out.
-Oh, Janet.
-You know they always say, a bad workman always blames his tools?
-What's wrong with your iron, Jane?
-My steam button has got stuck.
Subtitles by Red Bee Media Ltd
Three-part documentary series detailing life of the new aristocracy over Chatsworth's entire 2011 season. For the first time ever, the palace of the peaks, Chatsworth House in Derbyshire, has opened its doors to the cameras for a whole year. It is a unique opportunity to take an in-depth glimpse of life upstairs and downstairs in the 21st century.
The first programme joins the 12th duke and duchess as the house is being prepared to open to the public. It is the busiest time of year for the house staff and everyone has a role to play - even the duke and duchess, as they join the annual litter pick around the estate.
2011 sees the six month probation period of the youngest and very first female head guide, Heather Redmond. Will she win over the 60-strong guide team, some of whom have worked at Chatsworth since before she was born, and get the job for keeps?
Chatsworth's award-winning farm shop is presided over by manager Andre Birkett. Man and boy he has worked for the family, starting in the kitchens of the house. He is now responsible for 120 staff and an annual turnover of over five million pounds. But there are always new challenges for Andre, and it is a first for him as he has to deal with a pair of discarded underpants in the cistern of the farm shop toilets.
As winter turns to spring it is lambing season on the estate's 62 farms, and farm manager Ian Turner, who has 32 years service under his belt, takes us on a tour of the farm, where we get to see first-hand a sheep adopting a rejected lamb.
For four and a half centuries Chatsworth has been owned by one family, and for one year we have been there to bring you an exclusive insight into the real-life Downton Abbey.
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Hello readers, In this article CDS, AFCAT, NDA, TA 2018: History Quiz we have given various practice questions for written exams. Candidates are requested to go through the questions below. For any questions in mind feel free to ask below in comments. Candidates go through the questions below and try to solve the as many of questions you are able to solve surely this will help you to enhance your confidence for the exams and will help you to score well.
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Restyled Rules of Evidence. Consistent with the restyling of the Federal Rules of Evidence, the language of these rules has been amended as part of the restyling of the Evidence Rules to make them more easily understood and to make style and terminology consistent throughout the rules. These changes are intended to be stylistic only. There is no intent to change any result in any ruling on evidence admissibility.


Join Preserve Louisiana and Dr. Laura Kelley, historian and author of The Irish in New Orleans, for a Lagniappe Lecture discussing Irish culture in Louisiana.
Kelley will explore the colorful, amusing and adventurous history of the Irish in our region. After the lecture, guests will enjoy entertainment and signature cocktails provided by Happy's Irish Pub..


text:
The Decorated Flowerpots of Brooklyn
Joseph Sciorra (October 17, 2012)
Decorated planter, 1601 81st Street, Dyker Heights, Brooklyn, 2012.
Looking (again) at a little known Italian-American folk art.
I spent this September looking at and thinking about a little known Italian-American folk art: the pebble and cobble mosaic planters in front of private homes in southern Brooklyn.
Articles1/2
An Epic of Mediterranean Culture
The Garden of Earthly Delights in Fresno
As a life-long resident of the borough, I have known these objects for decades. And I have studied the technique as part of my research on Italian-American yard shrines. But I had never focused specifically on these stone-encrusted vessels found in front yards, stoops, and porches. While they exist in neighborhoods with once large Italian-American populations, like Astoria, Queens, and Williamsbridge, the Bronx, I spent time in Dyker Heights and Bensonhurst, Brooklyn, trying to learn more.
I was fortunate to have as my guide Anthony Scotto, who has been an invaluable source of information on Italian-American horticultural and artisan traditions. As he told me in an email:
"Maybe I'm imagining a past here, but I can recall clearly a pebble and cement-filled childhood, a childhood where all surfaces where either pebbles or cement and where the two were united in planter containers across Brooklyn and Queens."
Anthony and I visited five locations:
7005 and 7009 14th Avenue, Dyker Heights
1594 73rd Street, Bensonhurst. One of two rectangular boxes and an urn on a porch.
1077 Bay Ridge Parkway, Dyker Heights.
1611 81st Street, Dyker Heights. One of three houses with decorated planters on the porches, including 1601 81st Street (two rectangular boxes) and 1609 81st Street (two rectangular boxes flanking an urn).
1570 and 1572 80th Street, Dyker Heights.
I wasn't able to verify the makers of these objects. Neither Michael Miranda and Leung Fong Seto (via his son Simon), the two homeowners on 81st Street that I spoke with, were able to provide any information about their provenance. "They were here when I bought the house," both men told me.
Genoa, 2009.
These decorated planters emerge out of a centuries-old tradition in the wider Mediterranean, going back to antiquity. Italy is one place where pathways, steps, and gardens are decorated with such pebble mosaics.
(left) Genoa, 2009; (right) Bickleigh Castle, Devon, England,
courtesy Maggy Howarth's The Complete Pebble Mosaic Book (2009).
Italian emigrants brought these aesthetics and skills when they went abroad. While I am still waiting to hear from the Frick Museum if the patterned stone walkways there were created by Italian artisans (a definitive book about the mansion fails to mention the outdoor stonework), we know that Italian POWs held in Devon during World War II took it upon themselves to craft a walkway of local river stones in a scalloped pattern.
Frick Museum, New York City, 2010. Photograph: Leon Read.
While this artisan tradition is not unique to Italy or Italian Americans, in New York City, this art is distinctly Italian American.
Brooklyn yard art: (left) lighthouse, house facade decoration, and planters, 114 Mina Street, Kensington, 1985; (right), nonextant tower, 1235 78th Street, Dyker Heights, 1985. Photograph: Martha Cooper.
It is difficult to date the planters. With the exception of the row houses on 81st Street that were built in 1950, all the houses were built before World War II.
These planters are embedded with what appears to be quartz beach pebbles and cobbles, primarily oval in shape and off-white in color. These may very well be from Long Island. Did the makers cull the city's beaches to gather their materials? I asked geologist Stanley Schleifer for his input and he graciously offered the following:
It's hard to tell in the images but the white pebbles are probably quartz. Quartz is next to the hardest mineral commonly found on Long Island and it is the most resistant to weathering. Pebbles as large as the ones shown in your images are not likely to be found on south shore beaches and city beaches such as Rockaway, Brighton Beach, and Coney Island. There the beaches consist almost entirely of sand sized particles. On the north shore the headland beaches are likely to be composed of glacial till which is more likely to contain large pebbles and cobbles. Many of these would be composed of quartz, with the white "milky quartz" variety being the most common. White feldspar pebbles and cobbles would also be a major constituent. Headlands such as Montauk Point and Orient Point would also be expected to contain large pebbles and cobbles. While we can't know for sure where the pebbles came from without doing a provenance study, the people creating these mosaics would be likely to get their materials from closest (and therefore cheapest) possible source. Excavating and sieving the till in the terminal moraines that run the length of Long Island, and are also found in Staten Island, would also be a good way to get these kinds of pebbles.
Anthony has suggested that the makers most likely obtained the pebbles (as aggregate) from building suppliers or house contractors, in an era before ready-mix.
Walkway trim, 1077 Bay Ridge Parkway, Dyker Heights.
There are a number of design elements that can be found among these examples and others found throughout the city:
horizontal bands outlining edges to create distinct panels or sections,
vertical lines dividing upper and base, in the urns,
circular, oval, and diamond shapes, with the latter being prominent,
the insides of these three shapes may contain a single stone creating a center, a cross (as with the walkway trim), or be filled in either with stones of similar size as those creating the form or with much tinier pebble.
It is in the specific detailing of these common motifs that I believe we can begin to ascertain the individual craftsperson. But it has been, what I assume, to be decades since their creation, and we are far removed from the original makers' identities.
Other Brooklyn planters.
I might have come up with answers and perhaps met the makers had I inquired during the 1980s when I began my research on Italian-American folk arts and vernacular architecture in New York City.
Nonextant house shrine, 108-50 48th Steet, Corona, Queens, 1985.
Photograph: Martha Cooper.
But in 2005, I did meet Vincent Albi, a 87-year-old retired lithographer, who built a yard shrine in 1979 when he bought his corner house across the street from Marine Park, Brooklyn, as a tribute to his Barese immigrant father, Gregorio, who was a stone mason.
(left) 2184 Stewart Street, Marine Park, Brooklyn, 2005; (right), St. Anthony shrine, Rosebank, Staten Island, 2012, Photograph: Christoper Mulé.
Perhaps the most spectacular use of the pebble mosaic technique can be found at the Our Lady of Mt. Carmel Grotto in Rosebank, Staten Island. Hundreds upon hundreds of stones have been embedded in the surface of this structure—along with smaller shrines on the property—that was listed on the National Register of Historic Places in 2000.
Our Lady of Mt. Carmel Grotto, Rosebank, Staten Island, 2012. Photograph: Christoper Mulé.
The grotto was a collaborative effort of members of the Our Lady of Mt. Carmel Society who began working on the structure in 1930s. The masonry work was attributed to Umberto Summa and Angelo Madrazzo. The stones were pressed into sandbox forms into which cement was poured, and when it hardened, the wooden frames were dismantled and the stone‑encrusted sections were removed and secured in place with cement, wire, and/or metal rods.
While we may never know the names of the artisans who created the mosaics on this handful of planters in Brooklyn, their artistry and workmanship continues today. Simon was quick to point out how his Chinese-American immigrant father continues to use the flowerpots, having planted Calamondin oranges in each of the three. The decorated planters are the city's legacy of Italian-American folk art.
1609 81st Street, Dyker Heights, Brooklyn.
Addendum April 21. 2013: See decorated flowerpots from southern France at: http://www.nytimes.com/interactive/2013/04/14/t-magazine/14arena-irene.html?_r=0
Maggy Howarth's The Complete Pebble Mosaic Handbook (2009)
Dan Gregory's "Eye on Design" blog (2009)
Kate Murphy's 2009 NYT article "Turning Every Stone for a Perfect Fit."
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On October 18th, 2012 Luisa Del Giudice wrote
Wonderful. And remember,
Wonderful. And remember, Sabato Rodia decorated flower pots before he went on to build the Watts Towers!
On October 17th, 2012 Joan Saverino wrote
decorated flowerpots in Philadelphia
Very nice article Joe and important documentation. A variation of pebble work, embellishments in terrazzo were done by Italian artisans in Chestnut Hill (NW neighborhood in Philly) to their own homes. Trained in terrazzo in their native Friuli, the immigrants worked as commerical artisans and a few owned their own tile businesses. I saw flower pots with this technique in front of one immigrant Friulan home and have a photo. This work is documented in my article "Mapping Memories in Stone: Italians and the Transformation of a Philadelphia Landscape," in the volume Global Philadelphia, edited by Takenaka and Osirim (Temple U. Press, 2010). Alas, the photo of the flowerpots, however, doesn't appear in the article.
On August 1st, 2013 Kitchens Adelaide wrote
Occhio contro occhio | i-ITALY
Thanks for writing these details within your website.
On July 5th, 2016 wooden garden decorations wrote
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On October 18th, 2012 sciorra wrote Joseph Sciorra wrote
thanks Joan! I look forward to reading your article. tile flowerposts in Brooklyn is the next blog!
On March 3rd, 2016 Stanley wrote
This design is spectacular! You most certainly know how to keep a reader entertained. Between your wit and your videos, I was almost moved to start my own blog (well, almost...HaHa!) Excellent job. I really loved what you had to say, and more than that, how you presented it. Too cool!
Cultural Politics/Reimagining Italian
Decorated Flowerpots
Folk Art/Vernacular Architecture/Cultural Landscapes
The Imaginarium of Joey Skee
italianrap è morto! Viva Italian Rap!
Sal Paradise was an Italophobe.
A Ph.D. in Basket Weaving
A Tourist Visits Italian in California
Operation Rescue Flowerpot
The Vergognosi of Staten Island
Linking the Diaspora Musically
"C'è la luna": Anatomy of an Italian-American "Folk" Song
The New Negative Image of Italian Americans
Why I'm Boycotting This Year's Italian American Studies Association Conference
A moribund italianità.
The Cultural Politics of Coffee
Mr. Piccolo's Peculiar Obsession
St. Joseph's Altar, Barese Style
Lace in the Crystal City
Remembering James Groppi
Chi è Pete Panto?
Whose Day Is It Anyway?
Fear and (Self-)Loathing in Italian America
Williamsburg Radicale
An entry from The Encyclopedia of Imagined Italian-Americana
Real Italians
The Italian-American Political & Moral Bocce Club of Paradise's Inaugural Annual Spring Fling Dinner Dance, Gala, and Reception
Una malia contro il malocchio dei prominenti.
Serendipitous Encounters of an Italian-American Kind
Rethinking 150 Years
Giovanni Crozzoli, Immigrant Tower Builder
Thinking Neapolitan
Routes of Return
Mapping Flowerpots
Talkin' Hybrid Moments
Andrea Cuomo, Immigrant Pebble Artisan
An American Folklorist in Italy
Return of the Italian-American Voldemort
The Wacky World of Arthur Piccolo
WOV-AM's La Grande Famiglia
Flatlands Flowerpot Find
Giovanni Indelicato, Bootblack Artist, Rediscovered and Reclaimed
Tony Soprano Made Me Do It!
What's his name?! What's his name?!
My Italian American Museum
Giovanni Crozzoli, Pebble Flowerpot Artisan
Vittoria Pietropaoli, An Appreciation
The Italian-American Political & Moral Bocce Club of Paradise Funds the Documentary Film Baci Bocce!!!
Innovation in Tradition: The Columbus Day Giglio Party
Folk Performances of the Italian-American Prominenti
Talking Folklore
Backyard Figs from Brooklyn
Wise Men Melchior and Balthazar banned in northern Italian city.
Chalking Memory
Watching Mob Movies with my Fourteen-Year-Old Son
An Ex-W.O.P. Casts His Vote
The Man Who Played Judas
The Sound of Italian-American Cultural Philanthropy
Francesco Pepe, My Dutch Paisan
Benefit Concert for Calandra Institute, June 10th


text:
Q: neDB database only loads on full restart Electron So I switched from working on a mac to working on windows and this weird bug popped up. I have a database(Compendium) and on render of a React component I fire React.useEffect to call a function to pull out some information out of the database.
Here is my load function:
export function LoadRaces(callback) {
  const returnRaces: Race[] = [];
  const Datastore = require("nedb"),
    races = new Datastore({ filename: "Compendium.db" });
  races.loadDatabase();
  console.log("Preloading Races Test");
  races.find({ size: { $exists: true } }, function (err, docs) {
    console.log("Loading Races");
    docs.map((c) => {
      returnRaces.push(c);
      callback(returnRaces);
    });
  });
}

my UseEffect is rather simple:
{React.useEffect(() => {
                        LoadRaces((result) => {
                            DisplayRaces(result);
                        });
                    }, [])}

Here is the problem: When I first start my Electron app via npm run start the LoadRaces function runs how it's supposed to, prints out "Preloading Races Test" followed by "Loading Races" into the console, displays the races how it supposed to.
However when I reload the electron app(not close it just go ctrl-R or even force reload) the .find() of the LoadRaces does not run at all it seems.
Update: after more testing it looks like the database just doesn't load at all on the reload.

redpajama_set_name: RedPajamaStackExchange


Source: In: Dickinson, Matthew B., ed. 2006. Fire in eastern oak forests: delivering science to land managers, proceedings of a conference; 2005 November 15-17; Columbus, OH. Gen. Tech. Rep. NRS-P-1. Newtown Square, PA: U.S. Department of Agriculture, Forest Service, Northern Research Station: 269.
Bova, Anthony S.; Dickinson, Matthew B. 2006. Thermocouple probes in surface fires. In: Dickinson, Matthew B., ed. 2006. Fire in eastern oak forests: delivering science to land managers, proceedings of a conference; 2005 November 15-17; Columbus, OH. Gen. Tech. Rep. NRS-P-1. Newtown Square, PA: U.S. Department of Agriculture, Forest Service, Northern Research Station: 269.


In 2012 I had a heart attack. Upon waking at the hospital, I knew I needed to focus my life on my art. Few years before I had attended Art school, but my art took second place after the corporate work routine and mundane day to day stuff. This tragedy really pushed me to understand that the only thing truly valuable is the time you have on this planet. I needed to work on my art, I needed to work on my legacy, and more than ever I needed to express this new found energy through my imagery. After weeks of bed rest, I finally immersed myself in my studio, focusing on a new body of works that represented my rebirth.
I started creating fully analog portraits with an optical illusion twist, something I had experimented with in Art school but never fully embraced til now. I fully committed to my new trademark and quickly earned the title of "queen of double eyes" from local artists.
Since then, I never stopped exploring new ways to bring vibrancy to portraits: by duplicating elements, superposing forms, multiplying facial features. I try to keep the work elegant and classic, but my favorite art is when people see the final paintings for the first time, especially hanging on the walls of a gallery. Some people feel dizzy, some nauseous, some people are visually annoyed or positively captivated. The only thing that matters to me is that people FEEL something when looking at my work. It would create a disturbance, it should be an experience different than just looking at " pretty art".
I really hope people see my legacy as an artist who made people stop and look at art differently.
Not just the drawning but the idea behind it; feel something, I find quit beautiful!
This one has my head spinning!
As a pioneer of Contemporary Figurative Op Art, Alex Garant studied visual arts in Quebec City. Her works have been shows in galleries in museums all over the world. She now lives in Toronto, Canada.
I love it. It is different and weird, and yes, as the artist said, those are good things! I love weird! Usually with art works like this, closing one eye will do the trick. But with most of these, while closing one eye, I still feel like I see double (or most of the cases more than just double). It is really captivating! I LOVE her works!
There is something vulnerable in every one of these. Maybe a reflection of the artist following a life changing event? They are beautiful. maybe because of this. IDK.


Established in 1996 by Ossi Kortesalmi, an excavator operator, Sleipner is an accomplished company that serves in over 30 countries in four continents around the world, letting its customer experience quality, dependability and the accessibility of Sleipner products.
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German Made Steam Tractor Shows Us How Amazing Old Technology Was!


The LCR4X series are advanced instruments that greatly simplifies the testing of passive components. Traditional LCR bridges are inherently complex and very time consuming to use. The Atlas LCR does everything automatically, it tells you the component type in addition to component value data, the LCR45 is more than just evolution, it incorporates advanced math based on complex impedance analysis and allows enhanced component value measurement.


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