text:
Five Eight
AthFest 2017 (23-25 June 2017)
Drivin' N Cryin' Setlist
Eastern European Carney Man
Scarred But Smarter
Little Record Store Just Around the Corner
Let's Go Dancin'
Honeysuckle Blue
Straight To Hell
Ain't Waitin' On Tomorrow
Five Eight Setlist
Square Peg
I'm Still Around
Pleaides
Palace Estates
Song for Jim Gordon
Behead Myself
Prepare yourselves to see and hear some amazing local and regional bands at AthFest Music & Arts Festival 2016, running from June 24-26 in Athens, GA…
Drivin' N Cryin' (rock, Atlanta) headline the main stage on Friday, Saturday and Sunday, respectively. The Club Crawl features of Montreal, Muuy Biien, Cindy Wilson (of the B-52's) and Lazer/Wulf, among many others. …
Distortion is often a good thing and has always been a part of Five Eight's unique sound, but when it eclipses everything else, then you've got a problem. David Barbe …
Muuy Biien
On October 28, 2016 Muuy Biien will release Age of Uncertainty on Autumn Tone Records. This is the Athens, GA post-punk group's third LP, but their first true studio album. ...
On Saturday July 27, I went to the 40 Watt Club to see Athens' much lauded punk pop powerhouse, the female-fronted Monsoon. They did not disappoint. Sienna Chandler .…
AthFest 2017 featured all kinds of bands and all kinds of weather.
Day 1 was the day of the woman. The three-female, one-male band Powerkompany mixes performance art and dance with electronic beats and violin. They played the Hull Street stage, but they are most certainly destined for the main stage in the future. Their onstage antics bring of Montreal to mind. They utilize masks, makeup, gauzy sheets, feather boas and leotards. Their music and stage presence make you want to dance, goggle and swoon all at once. These ladies and this gentleman are just lovely all across the board.
Speaking of the surreal, Harlot Party played a relaxed, low-key set at Cine. Singer KyKy Renee Knight was tending bar and took a break from work to perform. Her band is super tight, and she has the voice of a melancholy angel.
Monsoon totally punk-rocked the Caledonia Lounge. There was crowd surfing, groping of Sienna Chandler's hair and general ecstatic mayhem.
Day 2 brought with it intermittent rain. Brooklyn's Super Yamba Band had to cut short their incredibly skillful funk performance due to the weather. That day's headliner Zoogma moved to an alternate location and played a smokin' show inside where it was dry at Live Wire Athens.
Intermittent precipitation continued during the Club Crawl, but not so much that anyone really noticed.
At Flicker, Don Chambers played in a darkened room while illuminating himself with nothing but a utility light on a long cord that he either attached directly to his microphone or allowed to swing from his guitar. This gave his face an otherworldly appearance to go along with his hauntingly beautiful music.
And now we come to the pièce de résistance: Material Girls. This is how they describe themselves on their Bandcamp page:
"Think Captain Beefheart (mid 70's vintage), Sun City Girls, The Sonics and your mother's underwear drawer."
This is a fitting and clever description, and it really captures the spirit of this delightfully flamboyant band.
Material Girls did not allow a little bit of rain to scare them one bit; their show on the Georgia Theatre rooftop carried on in all its glory.
These men and this woman make up their faces to go onstage, but not just that; they bring the whole package. Dresses, stilettos and a horn section… oh my! Their singer resembles Lux Interior of The Cramps, and he can really rock a natty suit and stiletto heels. The horn section consists of a couple very tall and slender drag queens who know just how to strut while making their instruments sing. Add to that a kickass drummer, a moody and masterful guitarist and a superb bassist who resembles a beautifully risqué Bettie Page. Often the band members will switch instruments and vocal duties, and this makes for an even more exciting and dynamic performance.
Material Girls beat all I've ever seen. They are wonderful to hear and to gaze upon. They don't just stay quiet between songs either. They create a rowdy rapport with their audience, and they are not at all shy. Now that I've witnessed what they can do with their looks, attitude and music, I hereby include them on my "highly recommended/must see" list.
After Material Girls' set, things got bittersweet. Muuy Biien played what they say might be their final show, because frontman Joshua Evans is moving to Los Angeles. Given the fact that he is probably the best frontman in Athens (and undoubtedly beyond), L.A. seems like where he truly belongs. He and the band will be missed, but it's exciting to envision what his future holds.
If ever a band embodied the spirit of Athens, Georgia, that band would be Five Eight. They rocked the Hull street stage on Day 3. I first started going to their shows when I moved to Athens in 1993. These were some of the very first shows I saw at the 40 Watt Club. I went to just about every single one, always front and center. Singer Mike Mantione contorts, leaps and wreaks just as much frenzied, beautiful havoc now as he did back then. Not only the musical connection but also the friendship between these guys is palpable. Mike Mantione, Dan Horowitz, Patrick Ferguson and Sean Dunn make up a huge part of the backbone of our musical community.
For the first time in years the weather during AthFest was relatively cool. In that respect, the rain did us a favor. At 7:00 pm, a decidedly un-sweaty audience gathered at the main stage for the festival's headliner, Atlanta's own Drivin' N Cryin'. Their rock-with-a-twang went well with the likes of Roadkill Ghost Choir and Futurebirds; fans of the genre were in virtual heaven this weekend. As with every one of the many times I've seen Drivin' N Cryin,' they rocked the neighborhood up, down and sideways. Singer/guitarist Kevn Kinney penned and always plays what is perhaps the world's best song to sing along to. I'm talking about "Straight To Hell" from 1989's Mystery Road. It's quite possibly the best song you've never heard. After kneeling and contorting to get some photos in the press pit, the opening chords of "Straight To Hell" sent me straight to that other place. I rested my head against a muralled wall and watched the stage from a comfortable distance in one of the festival's many beer gardens. Then and there, the stress of working for the past three days melted away.
Drivin' N Cryin' (Kevn Kinney) at AthFest 2017 (06/25)
Harlot Party (KyKy Renee Knight) at Cine (06/23)
Monsoon at Caledonia Lounge (06/23)
Monsoon (singer Sienna Chandler) at Caledonia Lounge (06/23)
Material Girls at Georgia Theatre (06/24)
Five Eight (Mike Mantione) at AthFest's Street Stage (06/25)
Five Eight (Mantione & bass player Dan Horowitz) at AthFest's Street Stage (06/25)
dena (dena@weheartmusic.com) ♥ weheartmusic.com ♥ facebook.com ♥ twitter.com/weheartmusic
Posted by W♥M on Tuesday, 27 June 2017 at 07:07 AM in Material Girls, Athens, Athfest, Dena, Don Chambers, Drivin' N Cryin', Five Eight, Harlot Party, Monsoon, Muuy Biien, Powerkompany, Super Yamba Band, Zoogma | Permalink | Comments (3)
Athens VS Trump Comp 2017
Athens VS Trump Comp 2017 Track Listing
The Powder Room – On Notice
Five Eight – I Knew This
Lago – World Wars III & IV
Monsoon – I'm Sick
Mean Queen – Accelerated
Hunger Anthem – Leave
Karbomb – Pralines and Dick
Shehehe – Red, White, F*** You
Tabloid – Dressing The Stage
Hot Fudge – King Of Ooh
Hello Cobra – Old Fashioned Trash Fire
Space Brother – True Power
Joe Willey and the Movin' Men – Oleta Hardin
Monsoon – Over Now
White Rabbit Collective – We're The Ones We've Been Waiting For
Honey Sliders – The Night The Toy Soldiers Came To Life
Meth Wax – Local Music
Lingua Franca – A Man's World
Broken String Band & Friends – Mr. Cow
Fester Hagood – Uncharted Waters
Shehehe
... Athens punk favorites Shehehe and the hard to define noise-rock of Bambara, a band that started in Athens and currently resides in Brooklyn..…
On Athens VS Trump Comp 2017, hip hop, bluegrass, country, punk and rock come together to find common ground and a common enemy. That's right. He of the orange hair.
I remember the morning I got the news. I woke up around 6 am. I asked my husband "what happened?" And then came the words "somehow he won." It was like a punch in the back of the head; you're never prepared for something like that. But did I see it coming? I think so, yeah. I may live in Athens, but we're surrounded on all sides by cities and counties that are a lot more conservative than us. I saw the signs in all those yards…
I heard his praises on the lips of family members and co-workers. But he had pulled so many stupid stunts toward the end, said so many ridiculous things. If nothing else, he demonstrated that he was simply unqualified for the job. We wouldn't want someone without a CDL to drive an eighteen-wheeler on a highway we travel every day, so why would we want someone like him at the helm?
These bands from Athens, GA are preaching to the choir; most of us who enjoy the music on this album didn't vote for Trump in the first place. Yet there are a lot of people on the fence, and hopefully these kickass songs will appeal to them and help to educate them as to what the real issues are: things like discrimination… against minorities, women, the disabled and the elderly; women's rights to bodily agency; war and corporate greed. Just to name a few.
You'll find amusing, creative and downright "hell yeah"-inducing song titles on this musical collaboration of 20 Athens artists. You'll find thoughtful lyrics and you will be educated. Maybe you'll even change your mind, if you're unsure of your political stance.
Five Eight sums up our country's situation perfectly with the lyric "I knew this." And I love how Monsoon's Sienna Chandler calls Donald Trump "son." Lingua Franca tells it like it is with her promise to "turn you feminist by the time we're well acquainted, baby." Shehehe brings a rowdy good time with Red, White, F*** You. And Karbomb adds a terrific reference to 'Wayne's World' with Pralines and Dick. Joe Willey and the Movin' Men's Oleta Hardin- the story of a minority's death gone unpunished- reminds me a lot of the song Ramon Casiano from Athens' Drive-By Truckers' own protest album American Band. Hot Fudge's King Of Ooh has spot-on lyrics and flows like a classic protest song.
Yes, this album has already caused quite a stir in our small southern town. In the comments section of the 2017 Flagpole Athens Music Awards page on Facebook, a Trump supporter has already complained about the album's cover art (a zombie-fied Trump-head floating in a sea of Cheetos), likening it to the photos of comedian Kathy Griffin holding a severed Trump-head-in-effigy. He informs the reader that Flagpole Magazine endorses the album… simply because they're writing about it!? He then goes on to warn the reader to "be aware of what you're endorsing" if they attend the awards ceremony. No one from Athens even dignified this comment with a response.
Athens VS Trump Comp 2017 is available now as a free download at Bandcamp via this link: athensvstrump.bandcamp.com
A $5 donation to the ACLU is encouraged but not required, and can be accomplished by following this link: action.aclu.org
Posted by W♥M on Tuesday, 20 June 2017 at 10:15 PM in Athens, Dena, Donald Trump, Drive-By Truckers, Five Eight, Hot Fudge, Joe Willey, Karbomb, Lingua Franca, Monsoon, SheHeHe | Permalink | Comments (0)
AthFest: Kishi Bashi, Monsoon, Five-Eight (26 June 2016)
Kishi Bashi Setlist
AthFest - Pulaski Street (6/26/2016)
Philosophize In It! Chemicalize With It!
Carry On Phenomenon
Atticus, In The Desert
Bright Whites
Who'd You Kill?
Can't Let Go
Bittersweet Genesis For Him And Her
Say Yeah
The Ballad Of Mr. Steak
M'lover
It All Began With A Burst
I Am The Antichrist To You
Monsoon Setlist
Never Knows Best
Let's Go To The Grit
Ride A'Rolla
Five-Eight Setlist
I Can't Stand It (Lou Reed cover)
You Know Me Too Well
You Never Look In My Eyes
Depressed All The Time
God Damn It Paul
AthFest Music & Arts Festival 2016 just celebrated their 20th anniversary in Athens, Georgia, on June 24 to 26.
AthFest Day Three: 6/26/2016
AthFest 2016 was a celebration of the 20th anniversary of Athens' stellar music and arts festival, and there was a lot to celebrate.
Arrested Development at AthFest (06/25)
Just to recap Saturday's headliner: Arrested Development showed us that they're still going strong after all these years, having come back in a slightly different incarnation after a mid-90s breakup. They played early 90s hits the crowd knew and loved- Mr. Wendell and Tennessee- in addition to some exciting new material. Their bright colors and Caribbean love vibe really brought something positive and refreshing to the festival. It's nice to see how the music of AthFest has evolved into such a diverse collection of genres that appeal to a wide range of people. Arrested Development left the crowd happy by closing with a slightly altered cover of Sly and the Family Stone's Everyday People, which they call People Everyday.
Sunday marked the final day of this year's festival, with bands playing exclusively on the two outdoor stages, with the main stage at Pulaski Street.
Five-Eight at AthFest (06/26)
Five-Eight has not slowed down much at all during their twenty-odd years as a band; they're still a bundle of energy and they also have a new album in the works. Mike Mantione (vocals, guitar), Dan Horowitz (bass), Patrick Ferguson (drums) and Sean Dunn (guitar) are one tight unit of rock'n'roll. The connectedness and synchronicity between these four guys is something both beautiful and rare. Dan kept us laughing with his impromptu jokes and banter with Mike between songs. It was impossible not to be blissfully carried back in time when they played the classic God Damn It Paul from 1992's I Learned Shut Up.
Mike began the set wearing- of all things- a suit and tie. Everyone else was sweating profusely in the 90+ degree heat. He could tell we were hot, so he picked up a bottle of water and gave us a heads-up to cover our cameras. He removed the cap and hurled the bottle into the crowd, and we were thankful for a little something cool.
Monsoon at AthFest (06/26)
Monsoon took their rightful place on the main stage this year. Lead singer and rhythm guitarist Sienna Chandler, wearing her customary red attire, radiated charm and personality. She has mastered the art of stealing the show with her frenetic energy and expressive eyes. Widening her eyes at the ecstatic crowd and tackling her lead guitarist, she ran around onstage and even went airborne on a couple of occasions. The music from this band was even more impressive than at last year's AthFest when they played the 40 Watt Club. It's nice to see such an awesome and fun band hone their chops even further. They especially impressed with Shotgun Wedding and Ride A'Rolla.
The AthFest 2016 lineup was amazing, and I can't think of a better headliner to close the festival than Kishi Bashi. This band is pure joy. There is no way you could watch them play and not fall in love with their music, which makes it impossible not to dance. During The Ballad of Mr. Steak, the band was joined onstage by a gigantic T-bone who danced, shook his booty and generally drove the crowd wild. The band's founder, lead singer and violinist Kaoru Ishibashi radiated love with his dazzling smile and beautiful music.
As AthFest 2016 drew to a close, I looked around at all the people who had come to see Kishi Bashi. There were people of all ages and all backgrounds dancing together on the hot pavement of Washington Street. It was a blast, as always. We were all hot, but the music took our minds off the weather, and that's the thing that really matters.
Kishi Bashi at AthFest (26 June 2016)
Posted by W♥M on Saturday, 02 July 2016 at 08:49 AM in Athens, Athfest, Dena, Five Eight, Kishi Bashi, Monsoon, Music Festival | Permalink | Comments (0)
Five Eight: Weirdo re-issue review
Weirdo Track Listing
01. Mystery James
02. Karaoke
03. Behead Myself
04. Fall Asleep
05. What They Did
06. You Never Look In My Eyes
07. Stars
08. Tense It Up
09. Hurt You
10. Weirdo
11. Shouldn't Be Here
12. Drummer Divorce*
13. Nowhere In A Circle*
14. Strings*
15. The Only One*
16. Ghost In This Town*
* Bonus Tracks
Out Now on Chicken Ranch Records.
Club Crawl Five Eight at The Foundry (June 26) Tunabunny at Little Kings Shuffle Club (June 26) …
Distortion is often a good thing and has always been a part of Five Eight's unique sound, but when it eclipses everything else, then you've got a problem. David Barbe of Chase Park Transduction (by far the coolest name for a studio ever) did the original mix of the Athens, GA band's third album, Weirdo, back in 1994. Barbe broke away from 90s conventions, creating an album with a clean sound and a raw feel. The band- vocalist/guitarist Mike Mantione, bassist Dan Horowitz, guitarist Sean Dunn and drummer Patrick Ferguson- was happy with his work and ready to release the album when all hell broke loose. A purposely unnamed individual- referred to only as "the A&R man"- got hold of the recording, had someone else remaster it to add more distortion than the band ever intended, and ruined the band's original vision. In the debate over which mix sounded best, Sky Records- their label at the time- took the A&R man's side, and Five Eight was pressured into releasing a much modified version of Weirdo; one which both they and Barbe feared would sound dated and stuck in the 90s.
With the July 2015 re-release of Weirdo, the band finally got the mix they wanted all along. You can better hear the individual vocals and instruments on the newly remastered album because there is less distortion and background noise.
The album was re-released by Chicken Ranch Records of Austin, TX and only David Barbe got his hands on it- he produced, remixed and remastered the album. This new and improved version of Weirdo contains five previously unreleased bonus tracks.
When I found out Weirdo had been reissued, I was eager to review it. I was quite familiar with the album, having purchased a copy of the original release in 1994. Listening to the remixed and remastered version, I was pleasantly surprised to realize that one of my favorite Five Eight albums was indeed improved for the better. The changes are subtle. These are still the same songs we all know and love; they are just crisper, less drowned in distortion, and indeed more raw and timeless. Here are my own personal highlights from the 2015 reissue of Weirdo:
I always liked how the intro to Karaoke begins with what appears to be the sound of rustling paper. Multilayered voice tracks in the verses give the vocal a tinny quality, which remains- yet to a lesser degree- in the remixed version. The new version is fuller and not as busy; there are less vocal tracks piled on top of each other. This song is infinitely fun and danceable. Mike pronounces 'karaoke' the proper Japanese way ('ka-ro-kay'), which uses three syllables instead of four. This makes the song much easier to sing along to. After all, isn't that the point of karaoke?
Behead Myself is a beautiful and melancholy song about suicidal urges. Its effectiveness lies in the fact that it doesn't glamorize suicide, but also doesn't make it overwhelmingly dark and gloomy. The delivery of its message is refreshingly matter-of-fact, as much so today as it was two decades ago:
"when I hurt / who will change / when it hurts / will you remain / I'm gonna behead myself." Bass and guitar provide the hook. There is even a bit of a country-influenced twang. I use the term 'country' because in 1994 I don't believe Americana had fully emerged as a musical genre. The song comes to a close with machine gun-like guitar and rapid stop/start repetition, and the ending is abrupt; a piece of chopped-off guitar feedback. There is some nice guitar reverb (toned down on re-issue) at the end with Mike yelling/singing "behead myself" over & over.
What They Did is a ballad about meeting a mentor who gives the singer an honest evaluation of some things he's been doing wrong in his pursuit of becoming a musician, and the self-discovery and self improvement that results. It's about letting go of old patterns and bad habits in order to become a better person & musician. It's about living a genuine life; not trying to emulate the 'cool kids' or the latest trends. Patrick Ferguson demonstrates his musical versatility by playing jazz style drums on this song. What They Did also shows the softer, more melodic side of Mike's vocals; he hits high notes and shows his inner crooner. "The light comes from any angle" is a wonderful lyric of hope.
Stars is one of my favorite songs on the album; it's lulling, dreamy and rocking all at once. Once again Mike hits some high notes with his versatile voice. The song gets less lulling and becomes more angsty toward the end, and features some Neil Young style guitar. By the way, Five Eight plays an excellent cover of The Needle and the Damage Done on their album The Angriest Man.
Hurt You is a slow and beautiful ballad about a relationship coming to an end. It's got some truly heartbreaking lyrics: "Well you caught me, I was practicing hurting you / I thought it through at work. It made my day go a little slower / 'Til I got it right, and left your heart lying there one the floor / I could've hurt you, you know I should have, I could have, done it before."Fellow Athens musician Dave Domizi's cello playing adds sadness to the song.
Weirdo shows us the angst of being a teenage outsider; trying to be cool but being called "weirdo," sleepless nights and loneliness. There is a pleasant tension between vocal and guitar at the song's beginning. This song features a lyric that is both masterful and unforgettable: "Here's a phone call to you from / the all night diner of my mind." Sparse instrumentation in the form of a simple guitar riff puts the main focus on Mike's voice. His final lines are "What I said I thought it was funny / what I did, I tried to be cool / what I showed is my impersonation of you all and I'm the weirdo." The final firm declaration of "weirdo" at the end of the song has no instrumental accompaniment; it's just Mike's voice abruptly ending the song and driving home the finality of his words.
both masterful and unforgettable
Shouldn't Be Here is a song of frustration about being in a place where you don't feel like you belong. It features fast paced rock guitar and speeds up even more towards the end, building up to Mike's climactic moaning yell of "I quit, I quit, I quit." The song ends with a final yell of "I quit!" which is more dramatic, raw and effective than on the original recording.
The bonus tracks continue the themes of loneliness, frustration, social anxiety and broken relationships. Of these five songs, The Only One has the best hook. It really sticks in your head. This song could quite possibly achieve the commercial success that has inexplicably eluded the band for so long.
Lead singer Mike Mantione's lyrics tackle some tough subject matter: mental illness, social anxiety and suicide, to name a few. Yet he's not flip or ironic about these things; he doesn't glamorize them, and at the same time he also manages to craft songs which are neither dire nor depressing. He is matter-of-fact in his delivery of such lyrics as: "and now you know that I want to take my life… I want to behead myself." Mantione uses these unlikely tools to craft beautiful, melodic and haunting songs that actually make the listener feel good. You may have to hear it to believe it, but it's absolutely true, as the band's swarms of loyal fans will not hesitate to tell you.
dena (dena@weheartmusic.com) ♥ weheartmusic.com ♥ podcast.weheartmusic.com ♥ twitter.com/weheartmusic ♥ itunes.apple.com
Posted by W♥M on Sunday, 23 August 2015 at 07:11 PM in Athens, Chicken Ranch Records, Dena, Five Eight, Review | Permalink | Comments (0)
W♥M238: Athfest 2015
W♥M238: Athfest 2015 (53 mins)
Athfest Outdoor Line-up
5:00pm Wrenn
6:30 Sam Burchfield
7:45 New Madrid
9:00 The Whigs Hull Street Stage:
6:00pm Purses
7:15 Tedo Stone
8:30 Blue Blood
12:00pm Drift
1:00 Walden
2:15 Athens Band
3:30 Emily Hearn
4:45 Sol Driven Train
6:00 Stokeswood
7:45 Kuroma
9:00 of Montreal Hull Street Stage:
12:30pm Check the Signs
1:45 Flamethrowers Surf Band
3:00 Big C & Velvet Delta
4:15 Halem Albright Band
5:30 Sumilan
7:00 Blacknerd Ninja
8:25 T. Hardy Morris
12:30pm Ruby Love Jr
1:45 Hobohemians
3:15 John King
4:30 Ruby Velle
5:45 We Love Tractor
7:00 Baseball Project Hull Street Stage:
1:15 Ken Will Morton
2:45 Houston in the Blind
4:00 Lona
5:15 Partial Cinema
6:30 Honeychild
As excitement for the 19th annual AthFest Music and Arts Festival mounts, AthFest Educates, the organization behind the three day long celebration of Athens' music and art scene, released the full line-up for the free outdoor stages. …
Vu and Dena talked about Athfest 2015 on W♥M Radio.
Topics/Quiz:
BB King passed away on May 14 at age 89
Mike Mills & Peter Buck, of R.E.M., are in a band called The Baseball Project
Denitza Torodrova, aka DENA, released Flash in March 2014. The Berlin based singer just played Woman Of The World Festival on May 15, 2015.
Thom Yorke (from Radiohead) had his image stolen and used in Russia to advertise for medicine (apparently Thom looks unwell), according to @local_stigmatic: russia. "we will help you to forget about your headache and insomnia"
Athens Jazz Fest 2015 was postponed due to the death of Carl Lindberg
Vu approves of D-Box Seating for Mad Max: Fury Road.
AthFest Educates Free Stage - June 26-28:
The Whigs
T. Hardy Morris & The Hardknocks
Club Crawl
Five Eight at The Foundry (June 26)
Tunabunny at Little Kings Shuffle Club (June 26)
Timmy and the Tumblers at Flicker Theatre (June 27)
SheHeHe at the 40 Watt Club (June 27)
Grape Soda at Flicker Theatre (June 26)
Monsoon at the 40 Watt Club (June 27)
Song of the show:
Icky Blossoms: "Sex to the Devil"
BONUS: The Video Nasty and Sean & Julian Lennon.
W♥M Radio is available on iTunes, please subscribe!
Archive of this show at archive.org. More information on podomatic.com. Recording of this podcast was made possible by Skype, CallGraph, and Audacity.
W♥M237: Road to SXSW 2015 (28 Feb 2015)
Vu, Jonathan, Christopher, Brody
W♥M236: Fuzzy Machete #1 Fan (21 Feb 2015)
Vu, Fuzzy Machete
W♥M235: Bud Petal (15 Feb 2015)
Sally, Bud
W♥M234: London Grammar and Until the Ribbon Breaks (04 Feb 2015)
Vu, John
W♥M233: S*M*A*S*H (3 January 2015)
Vu, Edward Borrie
W♥M232: Morrissey v Bowie (28 December 2014)
Vu, Emily, Cristina
vu ( ) ♥ weheartmusic.com ♥ podcast.weheartmusic.com ♥ twitter.com/weheartmusic
Posted by W♥M on Monday, 18 May 2015 at 07:43 PM in BB King, Dena, Five Eight, Grape Soda, Icky Blossoms, Monsoon, of Montreal, Podcast, SheHeHe, T. Hardy Morris, The Baseball Project, The Whigs, Timmy and the Tumblers, Tunabunny, Vu | Permalink | Comments (0)


You already know that the future of design is everywhere the customer touches your product or service.
Whether you call it service design, customer experience, cross-channel design or just plain old common sense, you know that the customer interacts across channels, from physical product, voice and mobile to face-to-face service, word of mouth and more.
Staying relevant as user experience practitioners requires thinking about the complete context where people use products and services, not just within the digital world. But designing for a full experience lifecycle across all channels and touchpoints is easier said than done. You need the right methods to move from single channel digital design to holistic cross-channel design. Just as importantly, as channels multiply, so does the political landscape. You need to also develop the necessary influence to succeed in prioritizing and designing cross-channel interactions, products and services.
In this workshop, we'll provide you with practical, actionable ways of designing for cross-channel based on our experiences in private and public sector organizations. We'll use an integrated set of hands-on exercises that will allow you to learn immediate ways to incorporate cross-channel design into your own work.
You will leave the day ready to integrate cross-channel design techniques into your toolkit, ensuring a more holistic experience for your customers, regardless of where they are interacting.


we cant choose our roomate. all is arranged by ums...hehe!!!
cant choose roomate..u will stay with student same badge with u during MSM week. After that maybe u will stay with other seniors or juniors..all mix up..


Each of us may have inside our mouths a key to the pathological and disease biomarker library hidden inside our bodies. Saliva – the source of all this information – is the secretory product of glands located in or around the oral cavity. If we could read the stories of diagnostic information present within saliva, then the abundance of information waiting to be found could be comparable to a vast vault of information such as the internet. The relationship between salivation and behaviors within our daily lives is undeniable. Yet most people never appreciate the uniqueness of saliva. Throughout the world, saliva carries definite positive and negative connotations with it based upon its social, psychological, behavioral, and cultural settings. The thought of saliva may be viewed as grotesque in one population, yet conversely it may be the vehicle of blessing in other cultures. Saliva's double nature brings up some interesting cultural, social, behavioral, and psychological points about how saliva is perceived in the world, some of which are stated below in order to present saliva as the spirited fluid it is.


text:
Where And When To Watch Fourth Of July Fireworks This Year
By Susan Dunne
sdunne@courant.com |
What's happening in Connecticut to celebrate the Fourth of July? Three weekends full of fireworks, festivals and music.
The Fourth of July falls on a Wednesday this year, which makes for the possibility of a long weekend on either side of the holiday. But for most of us, it most likely means just a single day off. Either way, we can celebrate our independence with fireworks, festivals and concerts nearly every day from June 29 to July 14.
On the actual holiday, you'll find fireworks at the Great American Boom festival in New Britain's Stanley Park and at Quassy Amusement Park in Middlebury. The weekend before there are fireworks at Lake Compounce and Six Flags New England, and the weekend afterward Middletown hosts its annual festival on the riverfront. Greater Hartford's Riverfest wraps up the major festivities on July 14.
READ: How To Take Fabulous Fireworks Photos
Celebrate America!: Concert of patriotic songs with Asylum Hill Congregational Church Choir, the Newington Church of Christ Congregational Choir, soprano Sonja Dutoit Tengblad and a tribute to Leonard Bernstein. Fireworks after. Starts at 7:30 p.m. at Simsbury Meadows Performing Arts Center. $40 for table seating, $25 for lawn. (Rain date June 30.) hartfordsymphony.org.
Hamden Independence Day Celebration: Performance by Hamden Symphony Orchestra music by a DJ, followed by fireworks. Events start at 6 p.m. at Hamden Town Center Park, 2761 Dixwell Ave. Rain date June 30. hamdenartscommission.org.
Killingly Red White & Blue BBQ: Music by Pirates for Peace, barbecue, road race, food vendors, fireworks at 9 p.m. Events start at 5 p.m. at Owen Bell Park, 572 Hartford Pike in Dayville. facebook.com
Ticket to Ride: Beatles tribute band performs, followed by fireworks. Show starts at 8 p.m. at Ocean Beach Park, 98 Neptune Ave. in New London. Parking is $17 and includes admission for up to five guests. ocean-beach-park.com.
Windsor Locks Fire Department Carnival: Rides, food, music and fireworks. Open from 6 to 11 p.m. at Veterans Memorial Park on Southwest Avenue. Carnival, with no fireworks, also to be held Thursday and Saturday, June 28 and 30, from 6 to 11 p.m. wlfd.com.
Coca-Cola July 4th Fest: Live music, prizes, other entertainment. Saturday, June 30, to Wednesday, July 4, at Six Flags New England, 1623 Main St. in Agawam, Mass. Fireworks at dark nightly. Park admission starts at $47.99 online, more at gate, free to active and retired military. sixflags.com/newengland.
Lake Compounce: Fireworks show free with price of admission, which is $41.99, $32.99 juniors, $24.99 seniors. Fireworks at 9:30 p.m. at Lake Compounce, 822 Lake Ave. in Bristol. lakecompounce.com.
The fireworks at Lake Compounce are (Courant file photo)
Coventryfest: 23rd annual town festival begins at 4 p.m. with games, rides, hot dog-eating contest, bounce houses, music by Nightshift, fireworks at 9 p.m. Patriot's Park in Coventry. (Rain date July 1.) Free, onsite parking $8, offsite $5 with shuttle bus. coventryfest.org.
Fireworks Beach Party: Starts at noon, with music by Merchants of Cool, Mid Life Crisis, Hit List, Juice Box and Rob & Karen's Salute To America's Heroes. Fireworks at 9 p.m. Presented by Vietnam Veterans of America, Chapter 484. East Haven Town Beach. townofeasthavenct.org.
Hebron Lions Fireworks: Car show, vendor fair, kids' activities, live music, touch-a-truck, food and fireworks. Event starts at 2 p.m. at Hebron Lions Fairground, 347 Gilead Road in Hebron. (Rain date July 1.) Free. hebronharvestfair.org.
Kick Off To Summer: Family festival with food, music by Gear Junkies and Rum Runners, games starts at 4 p.m., concluding with fireworks at 9:15 p.m. Milford Harbor at Lisman Landing, 37 Helwig St. (Rain date July 7. ) Free. ci.milford.ct.us.
[From CTNow] Your guide to eating and drinking at MGM Springfield »
Lime Rock Park: Event benefits Salisbury Rotary Club. Fireworks start at 9 p.m. at Lime Rock Park, 60 White Hollow Road in Lakeville section of Salisbury. Gates open at 6 p.m. $20 per car, $5 for walk-ins. limerock.com.
New Britain Bees: Fireworks follow game between New Britain Bees and the Southern Maryland Blue Crabs. Game begins at 6:35 p.m. at New Britain Stadium, 230 John Karbonic Way. Admission $8 to $11. nbbees.com.
Redding Rock 'N' Roots Revival: Fourth annual music festival starts at 1 p.m., fireworks at 9:45 p.m. Lonetown Farm, 43 Lonetown Road in Redding. Admission $20, $10 Redding residents, $5 students and seniors, free to 12 and younger. Fireworks only, $20 per car. (Rain date July 1.) rockinrootsrevival.org.
Barnumpalooza: Starts at 11 a.m. with car show, touch-a-truck, street parade, fireworks at 9:15 p.m. Seaside Park on Soundview Drive in Bridgeport. Free. barnumfestival.com.
Food Truck & Firework Fest: About 40 food trucks, vendors, costumed characters, live music and fireworks. 11 a.m. to 10 p.m. at Brass Mill Center mall, 495 Union St. in Waterbury. facebook.com
Tips For Photographing Fireworks This Fourth Of July
Here are a few strategic ways to increase the odds of capturing a great fireworks shot this Fourth of July weekend.
By John Woike
Independence Day Concert: Tribute band The British Invasion Years performs before fireworks. Music at 6:30 p.m., fireworks at 9:30 p.m. at Orange Fairgrounds, 525 Orange Center Road in Orange. Free. (Rain date July 2.) orange-ct.gov.
[From CTNow] El Pollo Guapo has expanded to Hartford's Front Street, and there are nachos »
Juice Box: Band performs at 7 p.m., before fireworks at 9:30 p.m. Free. (Rain date July 8.) Rotary Park on Kennedy Drive in Putnam. putnamct.us.
Trumbull Day: Carnival rides, performances by Tony Silber, Fred Astaire Dance, The Highland Rovers Band and Trumbull Youth Association, games, food trucks, band music, car show and fireworks at dark. Sunday, July 1, from 1 to 11 p.m. at Trumbull High School. Part of a three-day carnival also running June 28 and 29. trumbull-ct.gov/trumbullday.
Sand Jam: Music with DJ Marvin Parsons from 6 to 8:45 p.m. on Jennings Beach in Fairfield. Music starts at 6:45 p.m. on Penfield Beach. Fireworks conclude the show. Fireworks are shot from barge in Long Island Sound and can be seen from Penfield and Jennings beaches. Parking $50 per car. fairfieldct.org.
Independence Day fireworks: 9:30 p.m. at the waterfront off of West Wharf Beach. Viewing areas are at Surf Club Park. East Wharf Beach and West Wharf Beach in Madison. (Rain date July 6.) Free. madisonfireworks.org.
Naugatuck fireworks: Food, music, family fun starting at 6 p.m. Fireworks at 9:15 p.m. Old Firehouse Road. (Rain date July 6.) Free. naugatuck-ct.gov.
New Britain Bees: Fireworks follow game between New Britain Bees and Long Island Ducks. Game begins at 6:35 p.m. at New Britain Stadium, 230 John Karbonic Way. Admission $8 to $11. nbbees.com.
[From CTNow] Balos restaurant invites you to take a vacation to Greece via West Hartford »
Norwalk fireworks: Part of family fun festival starting at 5:30 p.m., with "Amazing Andy Show," DJ Nuzzo, BonJourney, fireworks at dark. Calf Pasture Beach. Free. norwalkct.org/calendar.
Savin Rock Firework Spectacular: Show begins at 9:15 p.m. at Bradley Point Park on Captain Thomas Blvd. in West Haven. (Rain date July 5.) cityofwesthaven.com.
Stratford fireworks: 9 p.m. at Short Beach Park, sponsored by the International Brotherhood of electrical Workers. (Rain date July 6.) Free. townofstratford.com.
The Great American Boom festival in New Britain's Stanley Park is July 4. (Courant file photo)
The Great American Boom: Festival with live music, food, inflatables, face painters and magicians, followed by fireworks. Events start at 5 p.m. in Stanley Quarter Park, 451 Blake Road in New Britain, fireworks at 9:15 p.m. Free. (Rain date July 5.) newbritainct.gov.
WILI Boombox parade: Annual parade in Jillson Square Park in Willimantic. 11 a.m. wili.com/am
3-D Fireworks: At Quassy Amusement Park, 2132 Middlebury Road in Middlebury. Special viewing glasses will be sold to benefit Healthy Eyes Alliance. 10:15 p.m. quassy.com.
[From CTNow] Monza Karting At Foxwoods: 1,500 Feet Of Hairpin Turns »
America's Birthday Bash: Auto racing with fireworks after the races. Races start at 7 p.m. at New London-Waterford Speed Bowl, 1080 Hartford Turnpike in Waterford. $8, $5 youth, $20 pit. speedbowlct.com
Connecticut Tigers: Fireworks following 7:05 p.m. game between Connecticut Tigers and Lowell Spinners. Dodd Stadium, 14 Stott Ave. in Norwich. Admission $20. milb.com/connecticut.
Fourth of July Bike Parade & Lawn Games: Decorated bikes, scooters and wagons parade, followed by festival with face painting, sack races, hula hoop contest, Revolutionary Relay, crafts, history trivia, food and music. 10 a.m. to noon at Pequot Library, 720 Pequot Ave. in Southport. pequotlibrary.org.
Madison Exchange Independence Day Parade: Sponsored by Exchange Club of Madison. Begins at 11 a.m. on Boston Post Road, from Samson Rock Drive to the West Wharf Road, proceeding to The Surf Club. eventbrite.com
Pet Parade and Turn-of-the-Century Fest: Community participation parade for people with or without pets. Arrive by 2:15 p.m. to register. Town festival after parade with sack races, tug-of-war, seed spitting, ice cream social. Litchfield town green. litchfieldhistoricalsociety.org/july-4th.
Search for Fireworks Sunset Cruise: Boat ride takes off at 8 p.m. from Eagle Lading State Park in Haddam. $40. Picnic baskets and beverages welcome. (Note: The cruise does not produce a fireworks show, but the boat goes up the river in search of fireworks shows.) ctriverquest.com.
[From CTNow] Your clues to navigating the new Lara's Labyrinth escape room »
Welcoming New Americans: Naturalization ceremony for 50 new citizens at Dunkin' Donuts Park in Hartford before 4:05 p.m. game between the Hartford Yard Goats and the Portland Sea Dogs. Admission $10 to $20. milb.com/hartford.
Reading of Declaration of Independence: Public reading of Declaration of Independence and Frederick Douglass' 1852 oration "What to the Slave is the Fourth of July?" 4 p.m. at Beinecke Rare Book and Manuscript Library, 121 Wall St. in New Haven. Presented in connection with exhibit of first printing of the Declaration. Free. beinecke.yale.edu.
Hartford fireworks: Fireworks at Dunkin' Donuts Park in Hartford after 7:05 p.m. game between the Hartford Yard Goats and the Portland Sea Dogs. Admission $10 to $20. milb.com/hartford.
Independence Day Celebration: Weekly NASCAR racing event, followed by fireworks. Racing starting at 4 p.m. at Stafford Motor Speedway, 55 West St. $18.50, $5 ages 6 to 14, free 5 and younger, $20 reserved. staffordmotorspeedway.com
Norwich Harbor Fireworks: Family fun festival with food trucks, live music, games, fireworks. 5 to 10 p.m. at Howard Brown Park in Norwich. Free. facebook.com/NorwichCTFireworks
Middletown Fireworks Festival: Food, family fun, gospel music, salsa, soul, Nigerian pop and acoustic music and fireworks. 5 to 10 p.m. at City Hall Lawn, 245 deKoven Drive. middletownct.gov.
Fireworks festivalin Middletown's Harbor Park will be July 7. (Courant file photo)
Latest CTNow
Review: Something for everyone at HSO's excellent 'Four Seasons' concert
Mandy Patinkin to sing from 'Diaries' at the Shubert
What's your beef? Plant-based or animal? The great pseudo-meat debate
James "Dutch" Fogarty 4th of July Celebration: Music by MASS CONN-FUSION and North Cove Rogues at Bicentennial Band Shell at Manchester Community College. Fireworks after. (Rain date: July 8). manchesterbandshell.com/Schedule
Enfield Fourth of July Town Celebration: Car show, craft fair, soccer and basketball tournaments, cheerleader and self-defense demos, chalk art contest, wine tasting, live music by Last Licks, Raised on the Radio and Changes in Latitudes. Fireworks at 9:45 p.m. Festival runs from 10 a.m. to 10 p.m. at Enfield Town Green. Part of three-day celebration from July 6 to 8. No fireworks on July 6 and 7. Free. enfieldcelebration.org
July In the Sky Fireworks & Fun Zone: Live music, food, family fun starting at 4 p.m., concluding with fireworks, at Henry Park, 120 South St. in Vernon. (Rain date July 11.) facebook.com
The Riverfront fireworks in Hartford are July 14. (Courant file photo)
Riverfront Fireworks and Food Truck Festival: Food Truck Festival (July 12 to 14) starts at noon on its final day; the fireworks at 9 p.m. At Great River Park in East Hartford and Mortensen Riverfront Plaza in Hartford. riverfront.org.
Weekender Newsletter
Our picks for things to do and places to go this weekend
Hartford Yard Goats
Mohegan Sun Wine & Food Fest returns with celebrity-chef appearances, tastings
A hootenanny and nude-body painting: Here's what's happening at this year's two-week Hygienic winter arts festival in New London
WeHa Unified Business Club Supports Students With Disabilities

redpajama_set_name: RedPajamaCommonCrawl


THE FRENCH POLISH IS DONE, it is time to glue on the bridges for these two tenors. First you must find the perfect position and wall the bridge in with tape to mark the spot.
Then with a sharp razor blade you scrape away some of the shellac that you just took weeks to apply.
Then, you apply the glue and with special clamps amd glue on the bridge.
I have already drilled the string holes in the bridge, and through the toneboard and the walnut plate under it. This allows me to insert a wire through the holes so that the bridge will not slip when the clamp is tightened. Tomorrow after putting on the tuners and strings we will see how these babies sing. Thats the really exciting part of the build. I am betting they will sing like canaries.


To receive notifications or updates, or to join Darin's Beta Reader List, please fill out the email form below.
The Sight of Demons: Book 1 is available in Paperback or E-book format, click on the link for Amazon. The Sound of Suffering is also available on Amazon and other online retailers.
My latest EVENTS, BLOG posts or reviews, and STORE offerings are available from the top menu bar, as is a CONTACT page.


text:
Joseph Étienne Frédéric Mistral (wym. []; ur. 8 września 1830 w Maillane, zm. 25 marca 1914 tamże) – francuski poeta, filolog i leksykograf tworzący w dialekcie prowansalskim języka oksytańskiego. Najwybitniejszy pisarz grupy felibrów, dążącej do odnowy kulturowego dziedzictwa Prowansji. Jego przesiąknięta tradycją romantyczną poezja ukazuje przede wszystkim sielską atmosferę rodzinnego regionu. Znaczącą rolę odgrywa w niej mistyczna więź człowieka z przyrodą, często wzmocniona kultem świętych. Za najsłynniejsze dzieło Mistrala uchodzi poemat epicki w 12 pieśniach Mirejo. W 1904 poetę uhonorowano Nagrodą Nobla w dziedzinie literatury (drugim laureatem w tym samym roku został hiszpański dramaturg José Echegaray y Eizaguirre) za – jak podano w uzasadnieniu – "świeżość i oryginalność pełnych natchnienia utworów poetyckich, prawdziwie oddających realia życia oraz ducha narodu".

Dzieciństwo i młodość

Frédéric Mistral (w klasycznym zapisie prowansalskim znany jako Frederic, w zapisie własnym pod imieniem Frederi) był synem zamożnego chłopa skoligaconego z najstarszymi rodami Prowansji, niegdyś napoleońskiego żołnierza, i jego drugiej żony, Adélaïde Poulinet. Matka początkowo chciała dać chłopcu na imię Nostradamus, ale nie wyrażono na to zgody ani w kościele, ani w merostwie. Ojca, François Mistrala, poeta przez całe życie uważał za swój autorytet. Edukację rozpoczął dopiero w wieku 9 lat. Początkowo uczył się w pobliskich wiejskich szkółkach. Później, już w Collège Royal w Awinionie (dzisiaj Liceum im. Frédérica Mistrala), zdobył solidne podstawy w zakresie nauk humanistycznych. Tam też znalazł się pod opieką młodego nauczyciela i wydawcy, Josepha Roumanille'a (Josèp Romanilha według zapisu klasycznego, Jóusè Roumaniho według zapisu Mistrala), uważającego prowansalski za swój język ojczysty i pragnącego doprowadzić do odrodzenia zapomnianej kultury. W roku 1847 Mistral zdał egzamin maturalny w Nîmes i powrócił w rodzinne strony, gdzie napisał kilka wierszy oraz poemat w czterech pieśniach Li Meissoun (1848), wydany dopiero po jego śmierci. Już te najwcześniejsze utwory zdradzały niezwykły talent wersyfikacyjny poety, jego zamiłowanie do badań leksykograficznych i etnograficznych oraz fascynację bukolicznym nurtem liryki antycznej.

Gdy wybuchła rewolucja 1848 roku, Mistral, wbrew rojalistycznym zapatrywaniom najbliższego otoczenia, pisał wiersze wspierające republikanów. W tym samym roku w Aix-en-Provence podjął studia prawnicze  zakończone licencjatem. Napisał wtedy dziesięć utworów, które weszły w skład antologii Li Prouvençalo (Prowansalki), wydanej przez Roumanille'a w Awinionie (1852). Po studiach wrócił do Maillane i postanowił zamieszkać na wsi, by całkowicie poświęcić się kultywowaniu tradycyjnego języka Prowansji oraz upowszechnianiu jej historii. Najtragiczniejszym wydarzeniem młodych lat poety była śmierć ojca w roku 1855, zwłaszcza że po rozdzieleniu dziedzictwa musiał wraz z matką opuścić dom rodzinny znany powszechnie jako "Sędziowska Zagroda", który przypadł w udziale jego przyrodniemu bratu. Nawiązał do tych przeżyć w roku 1910, umieszczając na frontyspisie swojego prowansalskiego przekładu Księgi Rodzaju (La Genèsi) werset mówiący o wygnaniu Hagar i Izmaela z domu Abrahama. Wprowadzili się wtedy do "Domu pod Jaszczurką" nazwanego tak od ozdobnego zegara słonecznego na fasadzie. W tamtym też czasie poeta wymyślił dewizę, którą ozdobił między innymi swój ekslibris: Lou soulèu me fai canta (Słońce budzi moją pieśń). O sprawach prywatnych wypowiadał się rzadko i tylko w sposób konwencjonalny. W roku 1876 poślubił z rozsądku znacznie od siebie młodszą Marie Rivière (1857-1943) z Dijon i to bezdzietne małżeństwo przetrwało aż do jego śmierci.

Działalność felibrów

Odrodzenie prowansalskie

Mistral nie był odosobniony w walce o odrodzenie rozbitego na wiele odmian dialektalnych języka oksytańskiego. Nie dążył jednak do sztucznego ujednolicenia wszystkich dialektów, raczej zalecając pisarzom wykorzystywanie mowy z okolic rodzinnych. Uznał bowiem, że językiem literackim stanie się ten dialekt, w którym powstaną najlepsze dzieła. W sierpniu 1852 roku odbył się w Arles zjazd poetów oksytańskich zwołany przez Josepha Roumanille'a. Spotkanie to cieszyło się takim powodzeniem, że rok później doszło do kolejnego zjazdu w Aix-en-Provence. Émile Zola wspominał po latach, że przy tej okazji Mistral recytował swój wiersz La Mort dau mèissounier (Śmierć żniwiarza), który ukazał się w zbiorowym tomiku Lou Roumavàgi deis troubaires (Zjazd trubadurów). W okresie rozkwitu kultury prowansalskiej wyraźnie wyodrębnił się nurt awinioński, którego niepisanymi przywódcami byli Roumanille i Mistral. Do grupy młodych poetów z tego kręgu należeli także Théodore Aubanel (według zapisu klasycznego Teodòr Aubanèu, według zapisu Mistrala Teoudor Aubanèu), Anselme Mathieu (Ansèume Matieu), Jean Brunet (Joan Brunet), Alphonse Tavan (Anfós Tavan) i Paul Giéra (Pau Giera). Na jednym z zebrań w dworku Font-Ségugne, 21 maja 1854 roku, uznali się za Związek Felibrów, a na swoją patronkę wybrali świętą Estellę. Nazwa grupy nawiązywała do starej pieśni o świętym Anzelmie. Była w niej mowa o młodym Jezusie dyskutującym w świątyni z siedmioma znawcami (felibrami) prawa, choć w tym wypadku stanowione prawa miały dotyczyć dialektu prowansalskiego.

Poeci swoją twórczością pragnęli nawiązać do osiągnięć renesansowej Plejady. Wzorem stał się dla nich Joachim du Bellay, toteż próbowali przenieść w prowansalskie realia główne założenia jego przełomowego manifestu Obrona i uświetnienie języka francuskiego (1549). Istotne stało się również nawiązanie do twórczości Pierre'a de Garros, autora Poesias gasconas (Poezje gaskońskie, 1567), oraz do utworów Nicolasa Saboly, którego Noëls (Kolędy, wydane w roku 1699) są do dzisiaj śpiewane na południu Francji. Już w roku 1855 grupa felibrów zaczęła publikować redagowany przez Mistala "Armana Prouvençau" ("Almanach Prowansalski"), później ogłoszony w trzech zbiorach, w którym uwzględniając wszystkie dialekty, przytaczano miejscowe legendy i wydarzenia historyczne oraz udzielano czytelnikom porad gospodarczych. W okresie największej poczytności nakład "Armana" osiągał 10 tysięcy egzemplarzy. Kwestią podstawową stało się również ujednolicenie ortografii dla wszystkich dialektów Południa i oczyszczenie zapisu z francuskich naleciałości, w czym Mistralowi bardzo pomagał Roumanille.

Felibryzm a Francja

Nie wszyscy z równym entuzjazmem odnieśli się do koncepcji prowansalskiego odrodzenia. Victor Gélu (Victor Gelu), twórca rewolucyjnych pieśni w gwarze marsylskiej, nie zgodził się przystąpić do felibrów, uzasadniając to chęcią utrzymania pełnej niezależności. Mimo to Mistral nigdy nie przestał darzyć go podziwem i opatrzył serdeczną przedmową pośmiertne wydanie jego dzieł. Od roku 1862, kiedy to zredagowano pierwszy statut, Związek Felibrów szybko się rozrastał, zyskując uznanie jako kulturalna i literacka organizacja zwolenników francuskiego Południa. W latach 1876-1888 Mistral, wybrany na pierwszego oficjalnego przewodniczącego Związku,  aktywnie współtworzył i rozbudowywał oddziały regionalne, a w latach 1891-1899 nadzorował wydawanie ambitnego literackiego kwartalnika "L'Aiòli". Chociaż poeta nigdy nie zebrał w jednym dziele swoich koncepcji społecznych i politycznych, powszechnie mówiono o "doktrynie Mistrala", zgodnie z którą należy usilnie dążyć do rozkwitu kultury prowansalskiej. Tak szeroka definicja planowanej działalności sprawiła, że z felibryzmem mogli się utożsamiać ludzie o całkowicie odmiennych poglądach.

Ponieważ Mistral był powszechnie uważany za duchowego przywódcę całego ruchu, musiał łagodzić burzliwe spory polityczne między świeckimi postępowcami i republikanami ("czerwoni") a odłamem konserwatywnym, w którym dochodzili do głosu nawet monarchiści ("biali"). Autonomiczne, często nastawione separatystycznie grupy felibrów ściągnęły na siebie zdecydowaną niechęć władz centralnych. Sam  Mistral, kiedy domagał się w artykułach wprowadzenia do szkół nauczania po prowansalsku, padł ofiarą zajadłej nagonki paryskiej prasy. Również Ministerstwo Wyznań Religijnych, wspierane przez część episkopatu, stanowczo sprzeciwiło się głoszeniu kazań w południowych dialektach. Język oksytański, jako fakultatywny, dopuszczono do szkół dopiero w roku 1953, kiedy osiągnięcia felibrów zostały przytłumione przez wszechobecną francuszczyznę.

Felibryzm a Europa

Działania felibrów i autorytet Mistrala szybko doceniono w całej Europie, co przyczyniło się do odrodzenia wielu regionalnych kultur i dialektów. Szczególnie silne więzy, także dzięki pracy translatorskiej Damasa Calveta, połączyły Prowansalczyków z ruchem katalońskim, którego przywódcą był poeta Víctor Balaguer. Oba te ugrupowania opowiadały się za federalizmem, regionalizmem i krzewiły ideę wspólnoty latyńskiej. W roku 1867 działacze katalońskiego odrodzenia narodowego wręczyli Mistralowi srebrny ozdobny puchar. Była to forma podziękowania za gościnę, której Prowansalczycy udzielili Balaguerowi wygnanemu przez Izabelę II za udział w zamachu stanu. Mistral odpowiedział wierszem La Coupo santo (Święty puchar), który wkrótce stał się hymnem felibrów. W roku 1868 poeta pojechał do Barcelony, żeby wziąć udział w igrzyskach kwietnych. Tam wyraził swój podziw dla utalentowanego Katalończyka Jacinta Verdaguera.

Sympatyków i naśladowców felibrzy znaleźli także we Włoszech, w Szwajcarii, a nawet w Irlandii, gdzie ich sprzymierzeńcem był bliski krewny Napoleona III, piszący po prowansalsku poeta William Bonaparte-Wyse. Dzięki obchodom pięćsetnej rocznicy śmierci Petrarki (Awinion, 1874) i spotkaniom na Kongresie Wszechlatyńskim (Montpellier, 1878) utworzyła się nieformalna federacja poetów oksytańskich, katalońskich, włoskich i portugalskich wspierających twórczość w swoich językach. Podczas kongresu w Montpellier niespodziewanie dołączyli do tego grona Rumuni, którzy po uniezależnieniu się od Imperium Osmańskiego uznali, że odrodzenie ojczystej mowy to konieczny warunek odzyskania narodowej tożsamości. Powszechną aprobatę wzbudziła więc propozycja Mistrala, by jedną z nagród przyznać rumuńskiemu poecie Vasile Alecsandriemu. Sam Mistral na kongresie odniósł wielki sukces recytując jeden ze swoich najpopularniejszych wierszy politycznych, odę A la raço latino (Do rasy latyńskiej).

Mirejo i sława

Publikacja

Pracę nad poematem epickim w dwunastu pieśniach Mirejo Mistral zakończył w roku 1858 i od razu przystąpił do tłumaczenia swojego dzieła na francuski. Wyimki z tekstu przeczytał Adolphe'owi Dumas, który niezwłocznie podzielił się swoim zachwytem z czytelnikami "La Gazette de France", a ponadto przedstawił młodego twórcę prekursorowi francuskiego romantyzmu, Alphonse'owi de Lamartine. Ten z kolei w Quarantième entretien (Pogadanka czterdziesta) zawartej w Cours familier de la littérature (Popularny kurs literatury) ogłosił narodziny wielkiego talentu, przyrównując dzieło Mistrala do Odysei Homera oraz Dafnisa i Chloe Longosa. Entuzjastyczne opinie wygłosili również Stéphane Mallarmé i Barbey d'Aurevilly. Pierwsze wydanie Mirejo ukazało się 21 lutego 1859 roku w Awinionie, drugie z dedykacją dla Lamartine'a już rok później. Ostateczną formę nadał Mistral swojemu dziełu w edycji Alphonse'a Lemerre'a z roku 1886 i ta właśnie wersja tekstu jest podstawą wydań krytycznych. Pierwotnie poemat miał się nazywać od zawodu bohatera  Panieraire (Koszykarczyk), lecz już na wczesnym etapie pracy pojawił się ostateczny tytuł, czyli imię Mirejo. W rzeczywistości słowo mirèio było w Prowansji rzeczownikiem pospolitym i znaczyło 'cud'; imieniem  stało się dopiero pod wpływem ogromnej popularności dzieła Mistrala.

Struktura i forma wierszowa
Struktura poematu wyraźnie nawiązywała do klasyki rzymskiej. Utwór, podobnie jak Eneida, składa się z dwunastu pieśni, z których pięć pierwszych przywodzi na myśl Prace i dni Hezjoda oraz Georgiki Wergiliusza. Sielankowy nastrój początkowych części umożliwił poecie ukazanie prowansalskiej wsi i realiów codziennego życia żeńców, ratajów, jedwabniczek, wolarzy i pokłośnic, które już w czasach Mistrala stopniowo odchodziło w przeszłość. Mimo daleko posuniętej idealizacji poeta, przedstawiając dzieje nieszczęśliwej miłości ubogiego rękodzielnika i córki bogatego gospodarza, wyraźnie zaznaczył kwestie nierówności społecznych w środowisku wiejskim. Wraz z rozwojem akcji rodzajowość traciła na znaczeniu, a pojawiły się elementy fantastyki i grozy, których kulminacja – znów jak w Eneidzie – nastąpiła w pieśni szóstej o wyraźnym zabarwieniu pogańskim. Atak topielców na podstępnego zalotnika to zapowiedź wędrówki po świecie skrzatów, upiorów i strzyg, który ukazuje zakochanej parze miejscowa czarownica. Także mocno zaakcentowany w pieśni dziewiątej motyw wróżb odsyłał czytelnika bezpośrednio do kultury rzymskiej.

Równie istotna była w Mirejo sfera mistyczna wyrastająca bezpośrednio z tradycji katolickich, często o zabarwieniu niemal franciszkańskim. Jej najistotniejsze elementy to podkreślony w pieśni jedenastej szacunek dla relikwii, miejsc pielgrzymkowych oraz kult świętych, w tym wypadku trzech Marii: Marii Magdaleny, Marii Salome i Marii Kleofasowej. Zgodnie z apokryficzną przypowieścią przybiły one łodzią do ziemi prowansalskiej, a towarzyszyli im: Trofim, w przyszłości pierwszy biskup Arles, Łazarz, brat Marii Magdaleny, oraz jej siostra, Marta, która zdołała uwolnić Tarascon od smoka. To przemieszanie pierwiastków chrześcijańskich i pogańskich sprawiło, że cały utwór przenikała typowa dla eposu atmosfera ludowej religijności.

Poemat napisany został strofą siedmiowersową, złożoną z pięciu ośmiozgłoskowców o rymach żeńskich i dwu dwunastozgłoskowców o rymach męskich. Strofę ułożono według schematu 8, 8, 12, 8, 8, 8, 12, przy czym pierwszy wers rymuje się z drugim, trzeci z siódmym, a czwarty, piąty i szósty ze sobą. To połączenie ośmiozgłoskowca z aleksandrynem dało w rezultacie dynamiczną formę wierszową, którą Mistral doprowadził do perfekcji. Niekiedy poeta uciekał się do przerzutni międzystroficznych, żeby oddać rytm gwałtownej rozmowy albo szybkość wydarzeń. W obrębie poematu trzykrotnie wykorzystano odmienne schematy wersowe. W pieśni o admirale Suffrenie (Lou Baile Suffren), mającej charakter narracyjny, Mistral zastosował strofę sześciowersową, używając  dziewięciozgłoskowca typowego dla dawnej epopei. Zrymował przy tym pierwszy wiersz z czwartym i szóstym, a drugi z trzecim i piątym. Ośmiowersowa strofa w żartobliwej pieśni o Magali składa się z sześciu ośmiozgłoskowców i dwu czterozgłoskowców (8, 8, 8, 8, 8, 4, 8, 4) o czterech rymach męskich i czterech żeńskich w układzie abab abcc. Pieśń inwokacyjna do trzech Marii (O Santi Mario) składa się zaś ze strof pięciowersowych zbudowanych z pięciozgłoskowców w układzie rymów abbab.

Popularność Mirejo

Pierwszego przekładu na francuski dokonał sam Mistral. To nierymowane tłumaczenie budzi dziś zastrzeżenia jako zbyt dosłowne, a miejscami nawet niezrozumiałe dla czytelnika, który nie zna prowansalskiego. Z konieczności niektóre wyrażenia związane z materialną kulturą wsi poeta musiał pozostawić w ojczystym dialekcie. Zabrakło również wielu zwrotów idiomatycznych, więc wersja ta, choć oddająca wiernie treść utworu, była dość uboga pod względem eufonii i obrazowania. Wkrótce ukazały się przekłady na kataloński (1864) i angielski (1867), oba autoryzowane przez Mistrala. Później opublikowano wersje niemiecką, włoską i portugalską, co sprawiło, że Mirejo bardzo szybko zdobyła sobie w Europie dużą popularność. Obecnie przekładów na rozmaite języki jest już ponad 50. W roku 1864 na podstawie poematu Michel Carré napisał libretto operowe, do którego Charles Gounod podczas pobytu w Prowansji skomponował muzykę. Ale sceniczna Mireille poniosła na premierze klęskę i później, mimo wielokrotnych przeróbek, nigdy nie stała się operą powszechnie znaną. Wersję filmową poematu już w roku 1906 zrealizowali Louis Feuillade i Alice Guy-Blaché. Sława Mirejo była tak duża, że dzięki niej postacią literacką został sam Mistral. Alphonse Daudet, wieloletni przyjaciel,  opisał go w Listach z mojego młyna (Lettres de mon moulin, 1870) jako dziarskiego poetę, "którego sakiewka dla innych zawsze była otwarta" i który zasłuchanym wieśniakom czyta fragmenty swojego Calendau. Również Sully Prudhomme poświęcił Mistralowi jeden z sonetów zamieszczonych w tomie Le prisme (Pryzmat, 1886).

Portrety Prowansji

Poematy

Prowansja ukazana wprost lub symbolicznie była obecna we wszystkich następnych utworach Mistrala. W roku 1867 opublikował kolejny poemat epicki, Calendau, pisany taką samą strofą, jaką wykorzystał w Mirejo. Tym razem całe dzieło odznaczało się tonem refleksyjnym, a niezbyt wartką akcję często przerywały dygresje o charakterze dydaktycznym lub patriotycznym. Bohaterem poematu był rybak, który zabiegał o miłość nieprzystępnej dziewczyny wywodzącej się z rodu dawnych książąt prowansalskich i ratował ją przed groźnym napastnikiem. Zdaniem interpretatorów ową księżniczką była sama Prowansja, a zagrażający jej awanturnik to niebezpieczna Francja. Pracując nad tym utworem, Mistral przeprowadził wśród marynarzy badania leksykologiczne, które umożliwiły mu dogłębne poznanie używanej przez nich fachowej terminologii. W rezultacie jednak poemat uchodził za erudycyjny i pod względem słownictwa trudny nawet dla czytelników, którzy na co dzień posługują się prowansalskim. Również ten tekst stał się inspiracją dla kompozytora:  Henri Maréchal na jego podstawie stworzył w 1894 czteroaktową operę Calendal.

W roku 1884 Mistral wydał Nerto, fantastyczną opowieść awanturniczą wierszem. Za źródło inspiracji posłużyła mu średniowieczna legenda o feudale, który zaprzedał diabłu duszę własnej córki. Tłem wydarzeń stały się magnackie dwory, pustelnia i Awinion z czasów antypapieża Benedykta XIII, a siły nadprzyrodzone znowu odgrywały decydującą rolę w losach bohaterów. Autorem czteroaktowej, muzycznej wersji tego poematu, której prapremiera odbyła się w roku 1924, był Charles-Marie Widor. Jedyny utwór sceniczny Mistrala, pięcioaktowa tragedia wierszem La Rèino Jano (1890), to w gruncie rzeczy udramatyzowany poemat epicki. Autor gloryfikował w nim postać Joanny I, królowej Neapolu, która dla mieszkańców Południa stała się ucieleśnieniem piękna i dobroci. Czterokrotnie zamężna, niebezpodstawnie oskarżona o mężobójstwo i uduszona w więzieniu, przez poetę została ukazana jako ofiara tragicznego splotu okoliczności. Zdaniem niektórych krytyków także w tym wypadku należało dopuścić interpretację symboliczną. Prowansją była tu sama królowa, którą nieszczęśliwie ożeniono z zupełnie jej obcym człowiekiem, reprezentującym inną wrażliwość i kulturę. Mistral pragnął – czemu dał wyraz w korespondencji – żeby operę na motywach jego tragedii skomponował Ignacy Jan Paderewski, jednak nigdy do tego nie doszło.

Czwarty i zarazem ostatni poemat epicki Mistrala to wskrzeszający świat flisaków Poemat o Rodanie (1897), pisany białym wierszem, którego rytm typowy dla tradycyjnego dziesięciozgłoskowca uwypuklał wewnętrzne homofonie, a w sensie przenośnym naśladował rozlewny nurt Rodanu. Symboliczne znaczenie tego dzieła wiązało się z zanikiem dawnej żeglugi, której kres położyło wykorzystanie na rzekach Prowansji nowych środków transportu. Parostatek, zapowiedź zmian cywilizacyjnych, w finale poematu rozbijał barki przewoźników, tak jak postępująca industrializacja rozbijała dawny układ społeczny i ekonomiczny na południu Francji. W katastrofie ginęli złączeni w uścisku kochankowie, dziewczyna z ludu i ostatni książę Oranii, ukazani jako wcielenie swojskiej prostoty i poszanowania tradycji. Ten utwór, zbyt hermetyczny dla szerokiego kręgu czytelników, wielu recenzentów uznało za arcydzieło.

Zbiory wierszy

Dokonania Mistrala w zakresie liryki w prostej linii wywodziły się od pieśni trubadurów. Dorównywał im kunsztem formalnym, choć w jego twórczości poezja miłosna nie była istotna, a w opublikowanych zbiorach wiele miejsca zajmowały utwory okolicznościowe.  W pierwszym tomie,  Lis Isclo d'or, który ukazał się w roku 1875, poeta wykorzystał 36 schematów stroficznych o różnej liczbie sylab. Do najpopularniejszych opublikowanych w nim wierszy należały: La Coumtesso (Hrabina), przyrównujący Prowansję do hrabiny więzionej przez swoją przyrodnią siostrę; Lou Tambour d'Arcolo (Dobosz z Arcole) o starcu, który umiera ze wzruszenia, gdy rozpoznaje na pomniku samego siebie jako chłopca u boku Napoleona; Roumanin, w którym poeta oglądając o zmroku ruiny prowansalskiego zamku rozmawia z duchami średniowiecznych postaci oraz La Coumunioun di sant (Świętych obcowanie) z zapisem dialogu czterech kościelnych posągów, które zachwycone pobożną dziewczyną ukazują jej we śnie mszę celebrowaną przez Chrystusa. W tomie tym znalazły się również panegiryki, epitalamia i toasty (I Troubaire catalan – Do katalońskich trubadurów, En l'ounour de Jaussemin – Ku czci Jasmina, A dono Miolan-Carvalho – Do pani Miolan-Carvalho).

Drugi tom, Lis Oulivado, znacznie bardziej melancholijny i zwieńczony wierszem Moun toumbèu (Mój grób), został wydany na dwa lata przed śmiercią poety. Mistral opiewał w nim, stosując zróżnicowane formy wierszowe, wielkie wydarzenia z życia narodu, prowansalskich bohaterów, chwałę krajów śródziemnomorskich oraz swoich przyjaciół (La Cansoun dis àvi – Pieśń przodków,  Au Pople Nostre – Do naszego ludu, L'Or de Toulouso – Złoto Tuluzy). Liryki te miały często charakter pieśni przeznaczonych do powszechnego użytku.

Wspomnienia
Dużą popularnością cieszyły się utrzymane w tonie pogodnej gawędy Pamiętniki i opowieści (1906), które nie tyle były autobiografią w klasycznym tego słowa znaczeniu, ile poetycką rekonstrukcją przeszłości. Mistral w swoich wspomnieniach z lat 1830-1859 stworzył regionalny fresk z całym bogactwem ówczesnych zwyczajów, zabobonów, odpustów, wieczornic i pielgrzymek, sam ukazując się jako zwolennik tolerancji, wolności ludów i wiecznego pokoju. Dbając o swój wizerunek pominął wszystko, co mogło zburzyć wyidealizowany obraz beztroskiego dzieciństwa, młodości pośród wiernych przyjaciół i spełnienia w wieku męskim. Nie wspomniał nawet słowem o samobójczej śmierci swojego przyrodniego brata, który utopił się w Rodanie, ani o Valentine Rostand (1847-1903), która w roku 1873, po długoletniej znajomości, definitywnie odrzuciła jego oświadczyny. Przemilczał także nazwiska dawnych towarzyszy, którzy odeszli ze Związku Felibrów albo sprzeniewierzyli się samej idei felibryzmu.

Słownik

Skarbiec felibryzmu, dwutomowy słownik, który powstawał przez blisko dwadzieścia lat, stał się dla autora największym powodem do dumy. Dzieło Mistrala było zarazem nawiązaniem do dokonań jego wybitnych poprzedników. Najważniejsi to François Raynouard, który opracował obszerny słownik języka trubadurów (Lexique de la langue des troubadours, 1824), oraz Simon-Jude Honnorat, twórca cenionego słownika prowansalsko-francuskiego (1846-1848). Skarbiec felibryzmu w chwili publikacji stał się świadectwem żywotności dialektów Oksytanii, które od czasów dekretu Franciszka I (1539) na długo zniknęły z dokumentów publicznych. Dialektów nie zdołały wykorzenić nawet restrykcyjne rozporządzenia jakobińskie (1793-1794), nakazujące nauczać w szkołach wyłącznie po francusku i przewidujące karę więzienia za sporządzanie jakichkolwiek aktów prawnych w języku innym niż francuski.

Słownik Mistrala zawierał zbiór wyrazów i frazeologizmów w układzie prowansalsko-francuskim, ale w szerokim zakresie uwzględniał także pozostałe dialekty języka oksytańskiego: gaskoński, langwedocki, limuzyński, owerniacki i wiwaroalpejski (prowansalski alpejski). Ponadto Mistral przy większości haseł podawał odpowiedniki w innych językach romańskich, etymologię wyrazów oraz opisywał kontekst, w jakim dane słowa mogą być użyte. Zawartość słownika daleko wykraczała poza typowe opracowanie leksykograficzne, autor starał się bowiem zamieszczać także objaśnienia związane z toponimią, gnomy, typowe nazwiska i przydomki, wzory odmian czasowników oraz zwięzłe informacje dotyczące etnografii, historii i geografii.

Lata chwały

Postawa polityczna

Mistral, chociaż pozostawał w bliskich stosunkach z Charles'em Maurras, sceptycznie traktował tych członków Związku Felibrów, którzy w latach 90. XIX wieku zaczęli wstępować do radykalnej Akcji Francuskiej. Mimo prawicowego światopoglądu nie chciał deklarować się po stronie konserwatystów, żeby jego dorobku nie zawłaszczyła tylko jedna opcja polityczna. Natomiast kiedy Francję podzieliła sprawa Dreyfusa, opowiedział się po stronie przeciwników niesłusznie oskarżonego o szpiegostwo oficera. Wstąpił nawet do nacjonalistycznej Ligi Ojczyzny Francuskiej, uzasadniając taką postawę chęcią obrony narodowych tradycji. Po latach jednak, przygotowując do upublicznienia większość osobistych dokumentów, próbował zatrzeć ślady swojej antydreyfusowskiej działalności.

W 1895 został komandorem Legii Honorowej, co było wydarzeniem niezwykłym, bo wyróżnienie to przyznawano na ogół za zasługi dla całego państwa, a Mistral działał tylko na rzecz Prowansji. Jako powszechnie szanowany autorytet uczestniczył we wszystkich istotnych lokalnych wydarzeniach: w roku 1894 wsparł mieszkańców Nîmes, którzy protestowali przeciwko przepisom zakazującym walk byków, a w 1909 w Arles, na uroczystości odsłonięcia własnego pomnika, recytował fragment Mirejo. Wierny swoim ideałom nie zgodził się zostać członkiem Akademii Francuskiej, za to od roku 1878 tytułowano go mistrzem Akademii Igrzysk Kwietnych w Tuluzie, a od 1886 należał do Akademii Marsylskiej.

Nagroda Nobla

Ponieważ w roku 1904 mijała 50. rocznica utworzenia Związku Felibrów, Komitet Noblowski postanowił uczcić głównego przedstawiciela tej organizacji. W uzasadnieniu podkreślono, że dla fundatora nagrody, Alfreda Nobla, ważny był idealizm, a na pewno nie można odmówić go pisarzowi, który przez całe życie próbował wskrzesić narodowy język i literaturę. Z powodu choroby Mistral nie zdołał pojechać do Sztokholmu. Dzięki otrzymanej nagrodzie odnowił jeden z renesansowych pałaców i umieścił w nim kolekcję Muzeum Arlezyjskiego, które założył już w roku 1899. Zgromadzono tam bogate zbiory prezentujące prowansalską sztukę ludową, meble, stroje i ceramikę, narzędzia rolnicze oraz wiele pamiątek po pisarzu. Znajdują się tam również rękopisy większości jego utworów i liczne egzemplarze przekładów obcojęzycznych, w tym pierwsze polskie tłumaczenie Mirejo z roku 1897. Mistral do śmierci  mieszkał w swoim dworku odwiedzany przez poetów i luminarzy z całego świata, na czele z prezydentem Raymondem Poincaré. Także przez młode pokolenie traktowany był na ogół jako mistrz godny najwyższego szacunku. Kiedy w roku 1913 wybrał się do Aix-en-Provence na uroczystości ku czci świętej Estelli, studenci wyprzęgli konie z jego dorożki i sami ciągnęli powóz. Zmarł 25 marca 1914 roku na bronchit, którego nabawił się w kościele, oglądając nowy dzwon ozdobiony wymyśloną przez siebie inskrypcją.

Wkrótce po śmierci Mistrala między poszczególnymi regionami Południa wybuchły antagonizmy, a partykularne interesy doprowadziły do znacznego osłabienia jedności ruchu. Mimo to pamięć o osiągnięciach poety nie zaginęła. W roku 1930 odsłonięto w Cannes pomnik, który ukazuje Mistrala w towarzystwie pięciu postaci z jego dzieł. Chilijska poetka i laureatka Nagrody Nobla za rok 1945, Gabriela Mistral, zaczęła używać nazwiska Frédérica w uznaniu dla jego twórczości i zachwycona zbieżnością z nazwą silnego prowansalskiego wiatru. Nie zamarła również twórczość literacka wyrosła z kultury prowansalskiej. Do najsłynniejszych następców Mistrala należeli René Char, Jean-Claude Izzo,  Marcel Pagnol i Jean Giono. Po raz pierwszy Poczta Francuska uczciła Mistrala pojedynczym znaczkiem w roku 1941, po raz drugi w roku 1980 w serii poświęconej słynnym ludziom. W roku 1964 50. rocznicę śmierci poety upamiętniło na znaczku Księstwo Monako. W roku 1993 Alain Meilland wyhodował wielkokwiatową odmianę róży w kolorze jasnoróżowym, którą nazwał 'Frédéric Mistral'.

Główne dzieła

Wiersze i poematy
 Li Meissoun, napisane w 1848, wydane pośmiertnie w 1927 (Żniwa) – poemat
 Mirejo, 1859 (Mirèio, przekład Zofii Trzeszczkowskiej,  pseudonim Adam M...ski, 1897; przekład Czesława Jastrzębca-Kozłowskiego, 1964) – poemat
 Calendau, 1867 – poemat
 Lis Isclo d'or,  1875  (Złote wyspy, kilka utworów z tego tomu przełożyła Seweryna Duchińska, 1878) – zbiór wierszy
 Nerto, 1886 – poemat
 Poemat o Rodanie, 1897 (Lou Pouèmo dóu Rose, przekład Elżbiety Jogałły, 2021; wydanie dwujęzyczne) – poemat
 Lis Oulivado, 1912 (Zbiór oliwek) – tom wierszy

Sztuki
 La Rèino Jano, 1890 (Królowa Joanna) – tragedia wierszem

Proza
 Lou Tresor dóu Felibrige, 1878-1886 (Skarbiec felibryzmu) – słownik prowansalsko-francuski
 Pamiętniki i opowieści. Moje początki, 1906 (Memôri e raconte, przekład Anny Ludwiki Czerny, 1959) – wspomnienia
 Discours e dicho, 1906 (Przemówienia i zagajenia) – wybór tekstów okolicznościowych
 Proso d'Armana, 1926 (Proza z Almanachu) – wybór tekstów
 Nouvello proso d'Armana, 1927 (Nowa proza z Almanachu) – wybór tekstów
 Darriero proso d'Armana, 1930 (Ostatnia proza z Almanachu) – wybór tekstów

Przypisy

Bibliografia
 Descremps Marcel, Mistral, mage de l'Occident, La Colombe, Paris 1954.
 Downer Charles Alfred, Frédéric Mistral: Poet and Leader in Provence, NabuPress, Charleston 2007, .
 Durand Joachim, La Vie et L'Oeuvre de Frédéric Mistral, J. Durand, Nîmes 1974.

 Jean-Desthieux François, Frédéric Mistral, son oeuvre, Éditions du Carnet-Critique, Paris 1922.
 Lafont Robert, Mistral ou l'illusion, Librairie Plon, Paris 1954.

 Pélissier Jean, Frédéric Mistral au jour le jour, Éditions Ophrys, Aix-en-Provence 1967.

Linki zewnętrzne

 Dzieła Mistrala w oryginale i w przekładach
 Nagroda Nobla 1904
 Pamiętniki i opowieści w przekładzie na angielski
  Dzieła Mistrala i o Mistralu w Internet Archive
 Lou Tresor dóu Felibrige tom , tom
 Archiwalne numery "Armana Prouvençau"

Francuscy poeci XIX wieku
Francuscy prozaicy XIX wieku
Francuscy dramaturdzy
Literatura prowansalska
Nobliści – literatura
Pisarze związani z Awinionem
Urodzeni w 1830
Zmarli w 1914

redpajama_set_name: RedPajamaWikipedia


through the Holy Spirit. It is an outstanding opportunity for an intensive time of spiritual nurture, encouragement, praise, worship and ministry in and with a larger segment of the Body of Christ. This conference belongs to the Holy Trinity of God. As trustees for those who attend, the ""Conference Committee"" covets your prayers and the Lord's leading as we lovingly shepherd this celebration. God give us wisdom, strength and LOVE to continue Your work. To God, ALL honor and glory."


New York Times bestselling authors of Lincoln's Last Trial take readers inside the courtroom to witness an epic case in which Theodore Roosevelt, weighing one last presidential run, challenged corruption in the political party that made him.
Teddy Roosevelt, the boisterous and mostly beloved national hero, had accused his former friend and political ally, now turned rival, the Republican Party leader William Barnes of corruption. The furious Barnes responded by suing Roosevelt for an enormous sum that would have financially devastated him.
Following the case through court transcripts, news reports, and other primary sources, New York Times bestselling authors Dan Abrams and David Fisher present a high-definition picture of the former president, still fighting for his own political career and, just as importantly, the patriotic ideals he held dear.


text:
using OrchardCore.Modules.Manifest;

[assembly: Module(
    Name = "Publish Later",
    Author = ManifestConstants.OrchardCoreTeam,
    Website = ManifestConstants.OrchardCoreWebsite,
    Version = ManifestConstants.OrchardCoreVersion,
    Description = "The Publish Later module adds the ability to schedule content items to be published at a given future date and time.",
    Dependencies = new[] { "OrchardCore.Contents" },
    Category = "Content Management"
)]

redpajama_set_name: RedPajamaGithub


A few months ago, we decided to trial run a #30daysofselfie competition as a way to either keep people on the band wagon, or give them a challenge to work towards. From my own personal experience, there is nothing more motivating than the prospect of a semi-naked selfie each morning. It really does incentivise you to hit the gym and drop the chip and dip… Regression is a horrible feeling!
We didn't anticipate the vast number number of people who were apparently desperate for something like this to keep them ticking over in the run up to the Summer hols. What was even more impressive, was the fact that in just 30 days people were seeing some pretty amazing transformations… And no, before you say it, that's not because the before photo was taken in a frumpy pair of underwear whilst slouching in stark, natural, unforgiving daylight, with the after snap captured after lots of heavy editing and skin the deep shade of St Tropez. It's because as soon as you introduce a competitive element, people are genuinely motivated to work that little bit harder.
Thousands of selfies rolled in, but one transformation in particular stood out. That was our competition winner, Jasmine Mason. Here she tells us how she did it and why we should all ditch the scales.
At the start, I found myself bumbling around the gym aimlessly, and even more aimlessly in the kitchen. I didn't know what I needed to do to achieve my goals, nor the right nutrition either (How much food? When should I eat? What shouldn't I eat? What should I eat? Etc).
2. I'm exactly the same – I absolutely loathe cardio! So tell us how you came across Healthy Selfie?
I follow an abundance of Fitness accounts on Instagram, and I saw Clean Eating Alice (a fave of mine for food inspiration, and envy of course) post a link to the App. I was a sceptic at first, as I wasn't sure about the concept of posting photos of myself demonstrating 'progress'. It's safe to say the scepticism soon wore off.
3. What have you found most useful about Healthy Selfie as a means to track your progress?
For me, the most useful thing about Healthy Selfie is the ability to date stamp all your photos. It is a great facility to be able to track exactly what you looked like and what you ate on a certain day. To my knowledge, no other App allows you to track progress in this way, and it's what sets Healthy Selfie apart from other Apps, for example Instagram.
4. Your 30 days of selfie transformation was amazing and as such, you were voted by other Healthy Selfiers as the winner (quite rightfully so!) – were you really strict during the 30 days?
Yet again, thank you to everyone who did vote, and for all the motivation along the way! I wasn't any stricter in the 30 days than I am at any other time. I'm only human after all, I have cravings and temptations, and some days I just cannot muster the energy to work out. 95% of the time I do eat well and train hard, but the other 5% of the time I am guilty of having treats and not training.
5. Would you recommend using progress pictures as opposed to scales?
Without a question of doubt, I would 110% recommend progress pictures as opposed to scales. Scales do not tell you how your body looks, how your shape is changing, what percentage is fat/muscle/water. Pictures tell you a million more things than scales ever could. From the start of my fitness journey, and my Healthy Selfie journey, I have weighed virtually the same, with only a couple of Lbs difference. There's more to progress than a number on the scales, and it's about time people ditched the scales for good.
6. If there was one thing you could add to Healthy Selfie, what would it be? We are still relatively new so love to hear what our users want!
This is a very tough one, especially as a self-confessed lover of Healthy Selfie….I guess if I had to pick one thing, it would be a messaging facility. I often get asked a lot of questions about my diet/exercise regime, and it would sometimes be easier if two people could message instead of commenting on photos, although I understand where there perhaps isn't a messaging facility. Perhaps a good alternative would be to not have a restriction on the lengths of comments, and allow people to type as much as they want instead of across several comments.
7. What advice would you give someone starting out on their fitness journey? How do you stay motivated?
My advice for anyone would be to remember that fitness and progress is a long-haul flight. You can't expect to achieve your goals and see huge changes immediately. You're on a journey, and it is a long one, so I would recommend to anyone that they embrace the journey and learn to love it. Going to the gym, working hard, eating well, meal prepping, isn't all bad. If you give yourself a chance to enjoy it, trust me when I say you will. Find a training and nutrition/meal plan that works for you. It takes a while to find out exactly what your body responds best to, but when it's right you will know. Sticking to it and seeing results was enough to keep me motivated. Once it becomes a habit, it becomes hard to break.
8. There's a lot of negative press around the usage of selfies, particularly their association with eating disorders. What's your opinion after using them yourself?
Selfies are a great tool for measuring progress for getting into shape, but also the other way around too. I have seen a lot of selfies of people who are battling eating disorders, and selfies are a way for anyone to be accountable and ensure that they are moving in the right direction with their journey, regardless of whether it is a journey to gain or lose weight. I see no reason why there should be negative press against selfies, especially when they are helping so many people. The only issues are when people start being derogatory about other people, but on Healthy Selfie I have never seen anyone be negative about another person, particularly as all users of the App are like minded individuals all on the same journey.


text:
@class ProjectSettings;
@class CCBWarnings;

@interface CCBPublisherController : NSObject

@property (nonatomic, weak) ProjectSettings *projectSettings;
@property (nonatomic, strong) NSArray *packageSettings;
@property (nonatomic, strong) NSArray *oldResourcePaths;
@property (nonatomic, weak) id<TaskStatusUpdaterProtocol> taskStatusUpdater;
@property (nonatomic, copy) PublisherFinishBlock finishBlock;

@property (nonatomic, strong, readonly) CCBWarnings *warnings;

- (void)startAsync:(BOOL)async;
- (void)cancel;

@end


Barefoot Prince George celebrates his third birthday today with four stunning new photographs released by Kensington Palace.
The little prince, third in line to the throne, can be seen in four shots playing at his parents' country home, Anmer Hall.
And while all the attention may be on the youngster today, people are wondering who the man honoured with capturing the young royal's special day is.
In recent years the royal household has often issued pictures taken of the Royal children by their keen amateur photographer mother, the Duchess of Cambridge. This time, however, they were taken by a professional photographer, Matt Porteous.
So who is the man behind the lens? Matt is - until now - an unknown award-winning photographer, from Jersey who dubs himself a 'commercial lifestyle, wedding and underwater photographer' in an online profile.
'My experience comes from traveling the world, being inspired by fantastic sites, wonderful people and inspirational mentors,' he said.
As his website explains: 'As a young boy, Matt showed an unusual interest in photography and in his parent's photo albums. His first yellow, underwater Minolta accompanied him everywhere. It was through that simple lens that he learnt to capture the sublime beauty of nature.
'Matt's love and delight in his surroundings is evident in his work. He captures and reveals the expression and detail that is seldom evident to the naked eye. His images are alive with emotion and movement; he enters the world of that image and allows us a glimpse of his excitement, his humour, his soul.
'His mentors, close friends and travel opportunities have all influenced his approach to his work over the past 20 years. He is passionate about his photography and always has been.
The brunette snapper also works as a director of a company called Studio_M.
The professional photographer has won many awards for sports, travel and wedding photography in the UK.
The little prince, third in line to the throne, can be seen in two shots playing on a swing in casual shorts and a T-shirt at his parents' country home, Anmer Hall, that is inscribed with their names, William and Catherine. It is believed to have been a wedding gift to the couple.
Another equally casual shot shows him cheekily offering an ice cream to the family's dog, spaniel Lupo.
A fourth shows George running through the gardens, this time wearing a £29.40 jumper by Pepa & Co - a brand Kate turns to time and time again - and his favourite Trotters shoes.
The three-year-old today enjoyed a birthday party with all the trimmings at the family's Norfolk mansion, Anmer Hall. He was joined by his grandparents, Michael and Carole Middleton, as well as friends from his nearby Montessori School, Westacre.
Fortunately for the mischievous toddler, who is third in line to the throne, granny and grandpa run one of the country's most successful online party goods companies – which helpfully sells a range of 3rd birthday-themed balloons, banners, sparklers and even piñatas – so the day is bound to go with a swing.
Born at the private Lindo Wing at St Mary's Hospital on July 22 2013, George was, apparently, quite a handful as a baby and caused the Duke and Duchess endless sleepless nights.
An equally energetic toddler, it seems as if becoming an elder brother to sister Princess Charlotte, one, has calmed the little prince down somewhat.
And on a series of recent public engagements, including an appearance on the Buckingham Palace balcony after Trooping the Colour and a visit to a country air show, the little future king has conducted himself with aplomb.
George's first birthday was marked with a party at their 20-room apartment in Kensington Palace with his great-grandmother, the Queen, as guest of honour, and a tuneful rendition of 'Happy Birthday' by the band of the Irish Guards.
But since then then William and Kate have made Anmer their main base and have celebrated all their major family events there.
The ten bedroom Georgian mansion, which was a gift from the Queen and underwent a multi-million refit before they moved in, has its own swimming pool and tennis court and is in set in acres of glorious parkland.
As part of the Queen's Sandringham Estate, it provides the Cambridges's with the privacy and seclusion they crave for their family.


text:
Q: How to create switching views I have an app with the following views and view transistions.
View 1 -> View 2 -> View 3 -> View 4
On the return it can go View 1 <- View 2 <- View 3 <- View 4
or                      View 1 <- View 2 <- View 4
Basically on view 4 you go either go view 3 or view 2.
When app closes either sleep or user left the app, it loads on view 1.
Issue I have, each view I put as its own view controller. And called by the following method.
    TableViewSelect *tableviewselect = [[TableViewSelect alloc] initWithNibName:nil bundle:nil];
    [self presentViewController: tableviewselect animated:YES completion:NULL];

This raised the issue, of the new view being displayed ontop of the old view and the old view and all memory in it not being deallocated.
I was told that I should have used uinavigationcontroller instead of view controllers. Is this correct? So in an ideal world how should I add the views? Only issue I want is all memory being deallocated (such as nsmutablearray) when leaving the view.
Thanks

A: If you really need to have the previous controller be deallocated when you leave it, then neither your approach nor a navigation controller approach will accomplish that. One way to do it would be to change the root view controller of the window whenever you want to change controllers,
TableViewSelect *tableviewselect = [[TableViewSelect alloc] initWithNibName:nil bundle:nil];
self.view.window.rootViewController = tableviewselect;

Unless your controllers are using a lot of memory though, a navigation controller approach might be better. It gives you transitions (which the above way does not), and a navigation bar for easily going backwards.

A: UINavigationController would be your best option in this case. UINavigationController has methods for pushing and popping views off of the navigation "stack" (look up stacks related to computer science if you aren't familiar with the term). Depending on what path the user wants to take through the views (they would interact through the UI), you can push/pop a certain number of views, like popping twice to "skip" over view 3.
When you are notified that the app is closing, (depending on your implementation and goals, this could be done through notifications or view cycle methods like viewWillUnload) you can call the UINavigationController method to pop all views off of the stack, thereby returning to your first view. Good luck!

redpajama_set_name: RedPajamaStackExchange


St. Anthony Parish is dedicated to the patronage of St. Anthony the Hermit (251-c.356), also known as St. Anthony of Egypt. He is considered to be the founder of Christian monasticism. He was born in Coma, Egypt to wealthy parents. His parents died when he was a young man leaving him a large inheritance. Not long after his parent's death he heard at Mass the Lord's instructions in the Gospel to "go, sell what you have, give to the poor, and thou shalt have treasure in heaven." He divided his inheritance among the poor and retired to a mountain cave on the east bank of the Nile living as a hermit for about 20 years. He emerged to organize monastic life for the crowds who followed him. He again retired to the desert lying between the Nile and the Red Sea and lived for 45 years on the mountain where stands the monastery named for him, Der Mar Antonios. He died in the area of Mount Colzin, near the Red Sea. The monks have never revealed his place of burial. He was admired for his meekness. He is often pictured with a pig. Some believe Satan took the form of a pig to torment the hermit. Others believe he was a healer and probably used an ointment made from pig skin. He is the patron of Hospitallers, domestic animals, butchers, brush-makers, basket-makers, grave-diggers, and graveyards. He is called to invoke against pestilence, epilepsy, erysipelas, and skin-diseases. His symbols include: tau-shaped cross (Saint Anthony's cross), small bell, hermit, pig, book. The Catholic Church celebrates his feast January 17.


text:
Peter King Wants Nationwide Surveillance of Muslim Americans
Rep. Peter King (R-NY), fresh out of a meeting at Trump Tower yesterday, said he pressured President-elect Donald Trump to implement a nationwide surveillance program directed at Muslim Americans "similar to what" existed in the New York Police Department's Demographics Unit under Commissioner Ray Kelly.
Rep. King insisted that the NYPD program "which unfortunately the civil liberties union and The New York Times didn't like … [was] very effective in stopping terrorism and really should be a model for the country."
There is little evidence that the program "stopped terrorism," and Rep. King did not provide any revelations. The evidence we do have (much of it from agents themselves) points in the opposite direction. In more than a decade of pervasive surveillance, the program simply didn't work.
"You could use it at a specific event. You could use it at a shooting-prone location…"
That's NYPD Commissioner Ray Kelly touting a new technology called "terahertz imaging detection" to a local news outlet.
August 3, 2010 9:26AM
Nat Hentoff on 'Stop & Frisk' Police Tactics
Nat Hentoff has a terrific column in the Village Voice on the stop and frisk tactics of the New York City Police Department. Here's an excerpt:
Commissioner Kelly and Mayor Bloomberg, your stop-and-frisk approach trashes the Fourteenth Amendment. So while Governor Paterson merits our cheers for not being at all intimidated by you, a lot more has to be done to bring the Constitution back into New York City.


KLUEEE 2019 Application Form: Tomorrow (10th April 2019) is the last date to fill and submit the application form of KLUEEE 2019. Candidates must hurry in order to apply for the exam. The form has been released and made available in both online and offline mode. The application for KLUEEE 2019 was released on 5th of September 2018. The Koneru Laxshmaiah University will be releasing the application form for all the candidates who wish to take admission in undergraduate courses in B. Tech degree courses. The engineering entrance examination is going to be conducted on 20th April 2019 for the written test and the online test will be held from 26th April 2019 till 30th April 2019.
Applicants have only 1 day to make entries as KLUEEE 2019 Application Form will be closing tomorrow. Make sure you apply before the deadline by clicking on the provided link.
KLUEEE 2019 Application Form has been released.
Those who are planning to take the exam must first fill and submit the KLUEEE 2019 Application form. The Application form will be made available in both online as well as offline mode. Candidates must make sure to submit the form before the deadline with all correct details. The KLUEEE 2019 Application form filling procedure will include steps like registration, filling up the form, uploading images and payment of fees. Applicants must note that they can obtain the form in offline mode through post.
Applicants will be required to pay Rs. 1100 as the KLUEEE 2019 application fee. The application fee can be either paid in online mode or offline mode. Candidates must make sure that they check the eligibility criteria before filling out the application form for KLUEEE 2019.
How to fill KLUEEE 2019 Application Form Online?
Students must make sure that they check the full procedure given below to fill the form correctly.
Registration – The applicant has to visit the official website or click on the application form link given here. Then you must register by providing a valid email Id and password.
Filling up the application form – After successful registration, candidates will be required to fill up the application form with correct personal and academic details.
Uploading Scanned Images – In this step, the candidates must upload the scanned images of photograph and signature. The uploaded images should be in the correct specifications.
Payment of Application Fee – In the next step, candidates must pay KLUEEE 2019 application fee 2019 of Rs. 1100 in online mode through credit card, debit card or net banking.
Submitting the Form – After reviewing all the details in the form, students must submit the application form.
How to fill KLUEEE Application Form 2019 in offline mode?
The application form will be available in the offline mode. You can check the procedure to obtain and fill the form here.
Application form can also be obtained and submitted in person or through post.
It can be obtained along with a self-addressed envelope cover by remitting Rs. 1100/- by Cash or DD at the below address.
DD should be drawn for Rs. 1100/- in favor of K L University payable at Vijayawada on any scheduled bank.
Candidates must write only the correct details in the form and submit it before the last date.
The KLUEEE 2019 application fee has to be paid by each candidate to successfully fill and submit the application form. The KLUEEE 2019 application fee is Rs. 1100. The mode of application fee payment will depend on the mode of application form filling.
The application fee can be paid in the online mode through credit card, debit card or net banking.
In offline mode, an applicant has to pay the KLUEEE 2019 application fee in cash or through a demand draft drawn in favour of in favor of K L University payable at Vijayawada on any scheduled bank.
Candidates must check all the important dates mentioned in the table below. The University will soon be announcing the final dates which will be provided here soon.
Before applying for the examination, candidates must make sure that they have checked the full eligibility criteria. The KLUEEE eligibility criteria 2019 have been laid down by the exam conducting body and can be noted down from the points given below.
The candidate should have passed 10+2 with an average of 60% or above and 60% and above on all group subjects.
The student applicant must have studied Physics, Chemistry, and Mathematics for admission in B. Tech degree courses whereas those who have taken Physics, Chemistry, and Biology can apply for B. Tech Biotechnology and B. Pharmacy.
All those who have taken JEE Main, JEE Advanced, EAMCET, Uni-GAUGE, or any other engineering entrance examination can apply for direct admissions.
If there is any question in your mind regarding the KLUEEE 2019 application form, do ask us in the comments section below.
Next articleAIIMS MBBS Application form 2019 – Admit Card to be Released Soon!
3 How to fill KLUEEE 2019 Application Form Online?
4 How to fill KLUEEE Application Form 2019 in offline mode?