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All posts tagged Cycladic art
Being Human: An exhibition of modern sculpture @ Bristol Museum and Art Gallery
'Can sculpture capture what it is to be human?' That is the question posed at the beginning of this small but varied and high-quality exhibition at the Bristol Art Gallery.
Spread over two floors, Being Human shows a selection of very different twentieth century sculptors (and a brace of film-makers) have conceived, worked, shaped and reproduced the human body.
At the traditional end of the spectrum, there are female nudes such as Wilhelm Lehmbruck's Small female torso (1910). Wearing its Greek origins on its (armless) sleeves, the hair braided like a statue of Aphrodite, looking demurely down, her diaphragm and belly button nicely defined, the nipples oddly burnished as if generations of gallery goers have touched them for good luck or other purposes.
La Jeunesse by Robert Wlerick (1935)
Whereas only a few yards away, and well on the way to the abstract end of the spectrum, is Ken Armitage's Moon Figure of 1948. This was my favourite piece in the second room, although a moment's reflection suggests it is less a bold leap forward into modernity than an appropriation of Cycladic art from around 3,000 BC – even down to the crossed arms, which feature in so many really ancient Greek statues.
Moon Figure by Kenneth Armitage (1948)
More thoroughly abstract were Yee Soo Kyung's Translated vases number 8 of 2012. Yee has smashed up ceramics into fragments which she then reassembles using the traditional art of kintsugi, visible repairs in gold, to create something which is only vestigially 'human' at all in form.
In the first room is maybe the best, or my favourite piece, from the exhibition, Help by Bernard Meadows. It's from as long ago as 1966, and is one of a series Meadows began to make in the mid-60s expressing 'human fear and anxiety'. The idea is that crushed sphere is crying for help, and that the piece pays tribute to the harrowing existentialist philosophy of Jean-Paul Sartre. Does it, though? If you hadn't read all that, might you not mistake it for a bit of sculptural fun by a jokey modern artist like Anish Kapoor?
Help by Bernard Meadows (1966) Tate
The wall labels tell us that at the core of the exhibition is a set of works associated with the so-called 'Geometry of Fear' school of British sculptors. According to the Tate website:
Geometry of Fear was a term coined by the critic Herbert Read in 1952 to describe the work of a group of young British sculptors characterised by tortured, battered or blasted looking human, or sometimes animal figures.
Read used the phrase in a review of the British pavilion at the Venice Biennale of that year. The British contribution was an exhibition of the work of the group of young sculptors that had emerged immediately after the Second World War in the wake of the older Henry Moore. Their work, and that of Moore at that time, was characterised by spiky, alien-looking twisted and tortured figures.
They were executed in pitted bronze or welded metal and vividly expressed a range of states of mind and emotions related to the anxieties and fears of the post-war period. The artists were:
Kenneth Armitage
Reg Butler
Lynn Chadwick
Geoffrey Clarke
Bernard Meadows
Eduardo Paolozzi
William Turnbull
Of their work Read wrote:
These new images belong to the iconography of despair, or of defiance; and the more innocent the artist, the more effectively he transmits the collective guilt. Here are images of flight, or ragged claws 'scuttling across the floors of silent seas', of excoriated flesh, frustrated sex, the geometry of fear.
Possibly the most ominous figure here is one of Elizabeth Frink's many space-age, sculpted heads, brooding and minatory.
Prisoner by Elisabeth Frink (1988)
To quote the wall label:
As a child in the Second World War, Elisabeth Frink witnessed falling planes and burning soldiers in the airfield near where she lived. On a holiday in Devon she had hidden in the bushes to avoid getting caught in the crossfire of a battle. These visions haunted her sculpture which examines the human capacity for cruelty. She was taught by Bernard Meadows, one of the postwar 'Geometry of Fear' artists. Frink added pity to their earlier generation's images of alienation. Prisoner has a hypnotic vulnerability.
Maybe all this angst is true of half a dozen of the works on show here, but there are plenty of other utterly angst-free enjoyments of the physical heft and thews of the human body conceived as a big solid object in space.
Thus there is nothing particularly fearful about Henri Gaudier-Brzeska's bust of Horace Brodzky. Brodzky was an artist and critic, and Gaudier-Brzeska made the work as he was falling under the influence of – or influencing – the pre-war London movement known as Vorticism, which was much fascinated by planes and lines and angular shapes, cubes and squares.
Horace Brodzky by Henri Gaudier-Brzeska (1913, cast 1956)
And what could be more prosaic than a sculpture of a woman bending over to dry her feet, which combines a posture from degas with the clunky clayiness of Rodin's sticky fingers.
Woman Drying her Feet by Hubert Dalwood (1955)
And the curators astonished me by singling out as one of the most sexy or erotic statues, this exercise in elongation by Reg Butler, one of the geometry of fear sculptors who didn't let his existentialist alienation stop him from producing numerous sculptures of naked or nearly naked girls.
Girl by Reg Butler (1953-4)
An example of post-war deformation, influenced by Alberto Giacometti's walking stick people, her head worryingly disappearing into a blunt dollop, her bulemic pre-pubescent body scrawny with malnutrition… but sexy? Not to my mind.
Featured sculptures
Ken Armitage – Moon Figure (1948)
Emile-Antoine Bourdelle – La Bacchante (1909)
Ralph Brown – Lovers
Reg Butler – Girl
Lynn Chadwick, Idiomorphic Beast 2017
Frank Dobson – Noni
Hubert Dalwood – Woman Drying her Feet
Jacob Epstein – Sleeping Baby
Jacob Epstein – Hands of Nan
Jacob Epstein – Kathleen (1935)
Elisabeth Frink – Prisoner bronze
Henri Gaudier-Brzeska – Bust of Horace Brodzky
Henri Gaudier-Brzeska – The Wrestler
Wilhelm Lehmbruck – Small female torso (1910)
Bernard Meadows – Help
Robert Wlerick – La Jeunesse (1935)
Yee Soo Kyung – Translated vases number 8 (2012)
Elizabeth Frink – Horse and rider (1970)
Henri Gaudier-Brzeska – Woman on horseback
Two films are included. What have they got to do with sculpture? Nothing whatsoever, that I can make out. A film is a film is a film, although they are both about 'the body'.
Mary Reid Kelley – This is Offal
John Wood & Paul Harrison, 1994 – Harry Houdini (there's no escape that I can see)
Curators have to come up with themes and ideas for exhibitions, and 'twentieth century sculptures of the human body' is a reasonable enough theme – although it is odd to include a couple of very average drawings, and some completely off-the-wall videos into the mix.
But then its quirkiness is, maybe, the appeal of this small-ish exhibition. Coherence is over-rated. The very fact that the pieces are so disconnected and random creates more space for the visitor to wander around them and relate to each one individually, trying to figure out which ones you like, and why.
And, incidentally, hints at the extraordinary explosion in ways of seeing and conceiving and making art which occurred in the twentieth century and which this tiny but intriguing selection represents.
Being Human: An exhibition of modern sculpture continues at Bristol Museum and Art Gallery until 4 October 2020
Other Bristol reviews
Bristol Museum and Art Gallery
Women with Vision @ the Royal West of England Academy
165 Annual Open Exhibition @ The Royal West of England Academy
Metamorphoses by PJ Crook at the Royal Western Academy
Other blog reviews with 'human' in the title
AI: More than Human @ Barbican
Only Human by Martin Parr @ the National Portrait Gallery
All Too Human @ Tate Britain
The Human Factor by Graham Greene (1978)
by Simon on November 26, 2019 • Permalink
Posted in Art, Exhibition, Sculpture
Tagged Alberto Giacometti, Anish Kapoor, Being Human, Bernard Meadows, Bristol Art Gallery, Cycladic art, Eduardo Paolozzi, Elisabeth Frink, Emile-Antoine Bourdelle, exhibition, Frank Dobson, Geoffrey Clarke, Geometry of Fear, Greek statues, Help, Henri Gaudier-Brzeska, Henry Moore, Herbert Read, Hubert Dalwood, human, Jacob Epstein, Jean-Paul Sartre, John Wood & Paul Harrison, Ken Armitage, Kenneth Armitage, Lynn Chadwick, Mary Reid Kelley, Ralph Brown, Reg Butler, Robert Adams, Robert Wlerick, sculpture, Second World War, Translated vases number 8, twentieth century, Vorticism, Wilhelm Lehmbruck, William Turnbull, Yee Soo Kyung
Posted by Simon on November 26, 2019
https://astrofella.wordpress.com/2019/11/26/being-human-modern-sculpture-bristol-art-gallery/
Takis @ Tate Modern
This exhibition is loads of fun on two levels.
The works themselves are funny, beguiling, surprising and inventive
Takis was a creature of the 1960s and many of the works here, along with photos of art 'happenings' and manifestos and action poetry, all create a warm nostalgic glow for that long-vanished era of optimism, peace and love
Takis's real name is Panayiotis Vassilakis. He was born in Greece in 1925, so he was a teenager during the German occupation and then a young man during the ruinous Greek Civil war of 1946-9.
He came from a poor background and had to teach himself about art and poetry and philosophy. To escape the repressive aftermath of the war he went in 1954 to Paris, centre of European art and his earliest works are sculptures, small ones which are derivative of early Greek cycladic art (so called because found on the Cyclades islands), and taller slender, featureless human figures which are a bit reminiscent of Giacometti.
Bronze Figure and Plaster Figure (1954-1955) by Takis © Takis
But in 1959 Takis had a Eureka moment and transformed his art into something completely new and different which he maintained for the rest of his long career.
He started working with industrial components and forces. Specifically, he became interested in magnetism. He had a revelation that sculptures merely gestured towards energy and dynamism – why not incorporate real, actual electro-magnetic energy into works of art? Why put an industrial magnet at one end of a plank of wood, and secure two nails on wires at the other end, and let the magnetic forces attract attract attract the nails but the wire not quite be long enough for them to touch it? Thus highlighting the space and energy and force.
Why not make these invisible forces which are all around us visible?
Magnetron (1966) by Takis
Thus a work like Magnetron which made me laugh out loud and there's plenty more where it came from. Taut wires pulled by household or waste metal objects straining towards a magnetised lump or shape or implement of metal.
Takis literally grew up amid the wreckage of the Second World War, exacerbated by the Greek Civil War. In Paris he scoured second hand shops and army surplus stores looking for bits of kit and equipment he could reversion into his dynamic sculptures.
Why not create a field of scores of metal balls or nodes or cogs, each supported by a slender wobbly metal wire from secure metal stands, and over this field of metal flowerheads suspend a couple of strong magnets. All you'd have to do is brush your hand through the metal flowerheads and then the complex forces of attraction and repulsion will keep them swinging and swaying for hours afterwards.
Magnetic Fields by Takis (1969) on show for the first time since the 1970s
Many many artists have painted abstract paintings, big canvases of red or black or white or blue and then made them dynamic by adding on angular shapes, mathematical shapes, cones and triangles and so on. But – why not create the same effect in three dimensions be concealing magnets behind the surface of the canvas so that the black cones (and any other abstract shapes you want – are not flat on the surface but caught in suspended animation as if hurtling towards it!
Magnetic Wall 9 (Red) by Takis © Pompidou centre
Why not dangle wires with metal needles from the ceiling and have them brush against a wire suspended from two electrified poles and have the wire rigged up to an amplifier which amplifies the sound it makes and projects it from a loudspeaker. As the metal plumb or needle sways in the random breeze or zephyrs created in a gallery it will strike or brush along the stationary wire creating an eerie electrical signal.
In fact why stop at one? Why not create a set of them with different wire lengths and thicknesses to create an eerie orchestral or polyphonic effect?
Musicales (1984-2004) by Takis © Foundation Louis Vuitton
And why, after all, stop with magnets and electromagnetism? The greatest use of electricity is to power lights.
According to a wall label Takis got stuck at a train station somewhere on the journey from London back top Paris (an experience anyone who's ever travelled on a British train is familiar with) long enough to become dazzled and awed by the forest of lights of all different shapes and sizes and colours which festooned the station.
Why not recreate that visual overload in a gallery – although filtered through his trademark fondness for the slender and tall, for poles and stands (remember those Giacometti statues?)
Installation view of Takis at Tate Modern (2019) Photo by Mark Heathcote
So it is that through his long career since about 1959, Takis explored all kinds of logical consequences of this basic insight, the idea of making dynamic sculptures using the electrical and magnetic forces created by industrial bric-a-brac.
Apparently he gave birth to a genre or field or movement known as Kinetic Art and, as you might expect, he became a daaaahling of the avant-garde, feted by Beat Poets and French intellectuals.
I love art made from industrial junk. I love the whole Italian Arte Povera movement and 1970s minimalism for this reason. We live in a society overwhelmed with machinery, defined by machinery and gadgets, it seems crazy not to incorporate it into art, to turn it into art.
There's also just a boyish love of gadgets and ingenious devices. I liked the piece which looked like a clock face with one arrow headed hand swinging round it at random. There's a love for the time and effort which has clearly gone to produce the sheer beauty of industrial design. And then there's an anarchist, science fiction pleasure to be taken in seeing bits of important sober kit taken completely out of context and set to surreal and comic uses.
There are quite a few of the magnetic works but it is surprising how much variety can be wrung out of one idea.
The last room is enormous and contains a forest of the so-called Signals works, where he takes three large slender flexible poles and tops them with a wide range of industrial artefacts.
Triple Signal by Takis (1976)
The first Signals works were so distinctive they gave rise to a famous London avant-garde gallery named Signals in their honour, location of many a happening and event. As well as industrial parts some of them incorporate used ordnance from the Greek Civil War, or even fragments of apparatus which he himself blew up in the studio.
An abiding fascination with all manifestations of energy. Maybe that's why I like industrial art as well. It bespeaks an enormous amount of design and effort which has gone into their manufacture.
The Signals in fact reminded me quite a bit of the mobiles developed by Alexander Calder in the 1930s, especially when you came to look at the shadows they cast on the walls. That was one of the claims to fame of the mobiles, not only the restless movement of the thing itself but its shadows fleeting across surfaces.
This big final room also contains a couple of massive balls
Electromagnetic spheres by Takis (1979)
When these are set in motion by external events (wind, a push) their movement over a live coil generates energy which can be translated into sound. In the 1980s he set up the Takis Foundation to encourage art and education. He took to talking about the music of the spheres, and how his objects restored a spiritual dimension to a world in danger of being overwhelmed by technology.
To be honest, I thought that was just artistic boilerplate. The kind of high-minded hogwash artists often come out with, which is often the result when they sit down and think about what they're doing, or is often a rationalisation after-the-fact of something, a discovery or style or innovation, which they felt themselves towards much more intuitively. Or accidentally.
It was also an odd thing for him to be saying, as if he was trying to run away from the consequences of his own life's work. Some of the wall labels explained his desire to get away from technology, the threat of technology, the encompassing power of technology – and I watched visitor after visitor step up and take photos of the work and its label on their super-smart mobile phones before posting them to social media.
It is far too late to try and revive medieval beliefs in the music of the spheres or Romantic ideas about earth and authenticity. Everyone lives in the cloud now, all our memories are digitised and stored half-way round the world, and being sorted and categorised by the artificial intelligence algorithms of countless advertising agencies.
If anything, Takis's work, taken altogether, is testament to a vanished era of optimism when guys in polo-necked sweaters thought that playing with lights and magnets in small London art galleries could stop the vast tsunami of the future rolling over the human race.
Writer and curator Guy Brett, who was closely involved in the original Signals art gallery, London
Michael Wellen, Curator, International Art, Tate Modern
Helen O'Malley, Assistant Curator, Tate Modern
Takis at Tate Modern
Introducing Takis
Reviews of other Tate exhibitions
Takis @ Tate Modern (October 2019)
William Blake @ Tate Britain (October 2019)
Natalia Goncharova (August 2019)
Art Now: France-Lise McGurn: Sleepless (July 2019)
Mike Nelson: The Asset Strippers (July 2019)
Frank Bowling (July 2019)
Franz West @ Tate Modern (May 2019)
Van Gogh and Britain @ Tate Britain (May 2019)
Magic Realism: Art in Weimar Germany 1919 – 1933 @ Tate Modern (April 2019)
Dorothea Tanning @ Tate Modern (March 2019)
Pierre Bonnard: The Colour of Memory @ Tate Modern (February 2019)
Christmas slugs @ Tate Britain (December 2018)
Turner Prize 2018 @ Tate Britain (December 2018)
Anni Albers @ Tate Modern (December 2018)
Edward Burne-Jones @ Tate Britain (October 2018)
Aftermath: Art in the wake of World War One @ Tate Britain (September 2018)
All Too Human @ Tate Britain (March 2018)
Ilya and Emilia Kabakov: Not Everyone Will be Taken Into the Future (January 2018)
Red Star over Russia (December 2017)
Impressionists in London @ Tate Britain (November 2017)
Giacometti @ Tate Modern (September 2017)
Soul Of A Nation: Art In The Age Of Black Power @ Tate Modern (July 2017)
Wolfgang Tillmans: 2017 @ Tate Modern (June 2017)
Queer British Art 1861-1967 @ Tate Britain (April 2017)
David Hockney @ Tate Britain (February 2017)
Robert Rauschenberg @ Tate Modern (February 2017)
Paul Nash @ Tate Britain (December 2016)
Painting with Light @ Tate Britain (August 2016)
Georgia O'Keefke @ Tate Modern (July 2016)
Frank Auerbach @ Tate Britain (February 2016)
Every Room in Tate Modern (January 2016)
Every room in Tate Britain (part one) (January 2016)
Every room in Tate Britain (part two) (January 2016)
Artist and Empire: Facing Britain's Imperial Past @ Tate Britain (January 2016)
Alexander Calder: Performing Sculpture @ Tate Modern (December 2015)
The EY Exhibition: The World Goes Pop @ Tate Modern (November 2015)
Agnes Martin @ Tate Modern (September 2015)
Fighting History @ Tate Britain (August 2015)
Barbara Hepworth: Sculpture for a Modern World @ Tate Britain (August 2015)
Sonia Delaunay @ Tate Modern (May 2015)
Sculpture Victorious @ Tate Britain (April 2015)
Late Turner @ Tate Britain (January 2015)
Malevich: Revolutionary of Russian art @ Tate Modern (August 2014)
British Folk Art @ Tate Britain (June 2014)
Ruin Lust @ Tate Britain (March 2014)
Richard Deacon @ Tate Britain (February 2014)
Paul Klee – Making Visible @ Tate Modern (January 2014)
Art under Attack: Histories of British Iconoclasm @ Tate Britain (December 2013)
Lowry and the painting of modern life @ Tate Britain (September 2013)
Lichtenstein: A Restrospective @ Tate Modern (March 2013)
Pre-Raphaelites: Victorian avant-garde @ Tate Britain (September 2012)
Damien Hirst @ Tate Modern (September 2012)
Picasso and Modern British Art @ Tate Britain (July 2012)
John Martin @ Tate Britain (December 2011)
Posted in Art, Exhibition
Tagged 1960s, Alexander Calder, art, circuits, Cycladic art, Electromagnetic, electromagnetic force, exhibition, Giacometti, Greece, Greek civil war, installation, Kinetic art, lights, Magnetic Fields by Takis, Magnetic Wall 9 (Red), Magnetron, magnets, modern art, Modernism, Musicales, Panayiotis Vassilakis, Paris, sculpture, Signals, Takis, Tate Modern, the Second World War
https://astrofella.wordpress.com/2019/10/27/takis-tate-modern/


Clearly, you don't have to look far to find land mines that could jeopardize good relations between the two nations.
But if you sit down to lunch with members of the Carolinas Chinese Chamber of Commerce, as Observer Business Editor John Arwood and I did recently, your frame of reference might shift a little.
The group of volunteers serves as a networking center and a voice for the more than 500 Chinese companies operating in the Carolinas, said Richard Yang, a leader of the group and vice president of AC Furniture, one of America's largest furniture manufacturers serving the hospitality industry.
(If you've eaten in an O'Charley's, Olive Garden or Golden Corral restaurant lately, you probably parked your bottom on his company's handiwork, Yang noted with a chuckle).
Many of the group's members went to college in China, but they now work for companies here in America. When the chamber celebrated its first anniversary in May, Yang said, more than 180 successful Chinese-American businessmen from across the Carolinas showed up at the Ballantyne Hotel.
Members of the group believe the United States is getting only a fraction of the Chinese business investment available for the taking. Yang said old Cold War fears are keeping America's leaders from capitalizing fully on the money to be made as China's growing economy looks for places to invest.
Joining us at lunch that day were business consultant Peter Dong, IT entrepreneur Jack Su, Wells Fargo director Ernest Lang and Daniel McVety, the chamber's executive director.
They made it clear that, while their roots are Chinese, their hopes and dreams are as American as any other Charlotte businessman's. They want their companies and careers to thrive, and given their first-hand knowledge of China, they sense U.S. businesses are missing huge opportunities.
They have noticed the relatively small presence of Chinese firms in Charlotte, for instance, especially when compared to the number hailing from Germany and other European countries.
Eileen Cai, a Shanghai native who serves as the Charlotte Chamber's economic development point person for Asia, has said at least 11 Chinese firms have established offices in Charlotte in the past two years.
There are about 200 German firms with operations in the region.
As Yang sees it, China's a better economic bet than recession-hampered Europe. Socialism's dead, he said, and European countries that still subscribe to it are bound to continue struggling.
But what about Communism, we asked. Hasn't the Soviet Union's collapse pointed out the flaws in that economic model?
China isn't doing true-believer Communism, he and his colleagues responded. China's government has allowed individual entrepreneurs to flourish within the larger framework of its command economy. (I later thought of them when I watched a "60 Minutes" piece on Zhang Xin, who went from sweatshop worker to billionaire real estate mogul).
The way they described it, China's government is more focused on growth than ideological purity. It's all about business. If one city needs more roads, the government simply builds them.
If another needs more multifamily housing, up it goes, by order of the government – no messy retail politics necessary.
"They run the country like a business," Yang said.
What about freedom of speech, we asked. Google, for instance, has been battling censorship in China for years, and has said cyberattacks have been launched seeking access to the Gmail accounts of Chinese human rights activists.
But the businessmen said there's more freedom of speech than one might think in China. Yang and business consultant Dong said people there are free to speak their minds on the Internet.
They acknowledged, however, that free expression in China has its limits: For instance, they said, the government pays contractors small fees to delete some posts it might not like.
After so many news stories about China as a competitive threat, it was interesting to hear the perspectives of Chinese-American business leaders. As they repeatedly made clear, they want to see the United States do better in its trade relations with China.
They'd love to see more airline routes open from Charlotte to Asia, and they're just as chagrined as everyone else about the ongoing fight for control over the airport between the city and state lawmakers.
They say they will continue to do their part in recruiting Chinese investment by putting out the good word on the Carolinas with their business contacts in Asia.


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redpajama_set_name: RedPajamaCommonCrawl


"The Beiruti Mayor" is what people in Jaffa used to call my father. He had inherited mayorship from his father and used to practice it in his small shop in Manshiyyah Street. The people of Jaffa had affectionately nicknamed him "Beiruti" as a token of their immense gratitude for the services he had rendered to them free of charge. Another reason why he was named "Beiruti" was because the ancestry of his family, the Houts, was deeply rooted in Lebanon. My grandfather, Salim Youssef al-Hout, constantly visited Jaffa at the end of the 19th century. The glamour of the city attracted him like it did other Lebanese people. He then decided to settle there and married a Jaffa woman from the Manshiyyah quarter.
My five siblings were born in my grandfather's house, while I was born in my parents' small, humble house. In fact, when my parents decided to have their own house they were accused of being revolutionaries. This unpleasant incident angered both my father's and my mother's families equally. Characteristically, the entrance to our home was like most of Jaffa's houses. It had a well and a palm tree under which we indulged playing for hours on end. It also had a backyard planted with fragrant flowers and juicy vegetables. Not very far from my house was a sandy playground where we played football with our neighbors.
The window of my room overlooked the street below, thus providing me with a panoramic view. I remember being very happy in Ramadan, since during that time of the year I could see Abu Hussein, the musahharati who used to bang the drum and wake people up for suhur — the early morning last meal the faithful are allowed to have before daybreak, when actual fasting starts.
Although my house appealed to me, it was in my grandparents' house that I really felt at home. In fact, my happiest days were those I spent playing with my cousins in grandparents' house. Nothing used to stop our noise and our running except my grandfather's arrival home. My grandfather, by the way, wasn't necessarily the ideal grandfather. He was a serious, tough man; he never told us stories, or hugged us like grandfathers usually do. All I remember of him is a hand stretched out, waiting to be kissed, and, with much discipline, we all stood in line upon his arrival to do the ritual. On holidays this ritual was our first duty of the day. He would sit on his armchair and next to him was his cloth bag filled with money. Each of us would in turn kiss his stretched hand and take his eidiyyah — a holiday allowance that was always proportional to our age.
In my grandfather's house, I had the opportunity to meet Jewish kids Mael, Maraz and Sholomesh, with whose parents my father and grandfather had commercial relations. The wedding party of Haim Bazar, whose brother Daoud used to play football with me, was another memorable event that I can still remember vividly.
I received my schooling, up to high school, at Ameriyyah Public School, which was adjacent to al-Zaharaa School for Girls. I used to climb the walls of the school together with my friends to look at girls and be looked back at flirtatiously. The girls from al-Zaharaa School used to do the same.
Next, I joined the boy scouts at school, and as a result, I was able to form a clear picture about this great institution. Our first trip was to the Dead Sea. Upon our arrival there, and as soon as we alighted from our buses, we all dashed towards the sea and furiously dove into its irresistible waters, only to come out as quickly as we could, crying and shouting because our eyes would all be burning with salt!
In addition to our school activities, we had our special hobbies. Swimming on Jaffa's gorgeous beach with its white, sugar-like sand was our favorite pastime. We used to call each other and go to the shore to swim, wrestle or play football. When bicycles first arrived in Jaffa, we started renting them out and used them to roam in its streets. We'd head towards the clock tower and then back to our quarter.
When we got a bit older, we started enjoying going to movie theaters, which were located in different parts of Jaffa. The al-Hamra movie theater was similar to the Roxy in Beirut. In this theater I watched many plays such as The Green Table, directed by Youssef Wehbeh, and The Street Kids, as well as many other movies starring Ismail Yassin, Abdel Wahab and Layla Murad. One of the movies, which I can still remember very well, was First Look, featuring "al-Sahroura" Sabah and Abdel Wahab.
After watching the movies we used to discuss them and argue about their themes and morals. These movies used to make us aspire to become actors some day in the future. Each of us would choose an actor as his ideal; someone with a nice voice, for instance, would aspire to be like the towering personality of Abdel Wahab; another young fan with a good sense of humor would dream of becoming Ismail Yassin. I personally delighted in taking the role of the great Youssef Wehbeh, maybe because he played the cool lawyer in most of his roles, and becoming a lawyer someday was one of my most cherished dreams. I frequently spent time in front of the mirror and imitated that kind of voice he would have when defending or prosecuting someone. I even used to imagine cases and include every single detail in the courtroom of my mind with its defendants, prosecutors, culprits and judges. I would also visualize myself dynamically defending or prosecuting some troubled soul in my imaginary courtroom.
April 1948 is a month I can never forget. During this month, [Palestinian resistance leader] Abdel Qader al-Husseini was martyred and sadness overshadowed Jaffa and the entire country of Palestine. In this month as well, my rebel brother Jamal attained martyrdom, which added to the sorrow I inherited as a result of being a citizen of an usurped country, the personal sorrow of now losing a very dear spiritual brother.
After al-Husseini died, signs of defeat started to become apparent. We in Jaffa used to hear news about Palestinian villages falling into Jewish hands as well as massacres committed by the Jews. This was news that reached us on a daily basis. The people of Jaffa grew restless after hearing such news. This restlessness turned into fright after the British started shelling Jaffa's squares and streets haphazardly.
The people of Jaffa resisted, hoping for Arab support, but our patience was running out since this support was taking too long, possibly because Jaffa was far from the Arab borders and close to Tel Aviv, or because of its narrow terrestrial passages, along with the impossibility of the arrival of any troops by sea.
In April 1948, a small number from the Arab Rescue Army, accompanied by some Yugoslavians — fierce fighters with Arab names — arrived, so one would find Khalids, Umars and Jaafars among them. They were more punctual and better organized than the Rescue Army.
News about the Deir Yassin massacre reached Jaffa, causing a wave of anger and fright in the city. Meanwhile, a spontaneous decision was taken to evacuate the children, the women and the elderly from the city until the Arab troops would enter it and until things went back to normal.
Under these disturbing circumstances my family decided to leave the country for Beirut as we had some roots there. This way, we would spend the summer enjoying the beautiful Lebanese landscape. My father insisted on getting an entry visa to Lebanon. The Lebanese Consul, Edmond Rock, used to live in Jaffa, so he granted us a visa free of charge. My visa was stamped on a Palestinian passport numbered 21203. I had that passport prepared a short while before that, since I had planned to travel to Britain and study law there, to realize my dream and stand for people's rights.
How could we possibly reach Beirut? The land road was closed, and also dangerous, since the [Jewish militia] Haganah had taken positions all over the place. We had no choice but the sea. Thus we headed for the sea where a Greek ship called "Dolores" was awaiting us. Being among the lucky few that arrived early, we were able to rent a cabin in the ship which was so crowded, even on deck, that it was about to sink due to the huge number of people who hoped to seek refuge in the ports of Lebanon.
I can still remember the fright stamped on people's faces in the port of Jaffa. Thousands from Jaffa were elbowing their way through the crowd trying to escape death. No naval transportation means available was left unused, even boats two meters long. Boats would head to wherever the captain or the wind would take them, regardless of the direction. Some headed north and reached Lebanon, and others headed south and found themselves in Egypt.
The flight was random. There were many families whose members were "distributed" on different boats, going in different directions.
I spent most of the day's long trip sitting next to the captain, observing two large fish that were escorting us all along our journey. They bade us farewell as we approached Lebanese territorial waters.
We arrived at the port of Beirut the next day in the morning. Thousands of Palestinians and thousands of Lebanese were there to welcome their Palestinian relatives. All faces were bewildered and gloomy, not knowing what the future was going to be like. With unprecedented cordiality and ardor, the port workers greeted us. They were used to seeing Palestinians come and spend their summer vacations there.
Our Lebanese cousin, who was there to receive us, then drove us to his house where we were to spend a few weeks in the summer. Then, we decided to rent a house in the Souk al-Ghareb region to spend the summer as we always did, and we planned to go back to Palestine in the wintertime. However, this much-awaited return was not meant to happen as soon as we had thought. Winter was fast approaching and people started searching for apartments in Beirut to rent. But my grandfather, who originally was Lebanese, had insisted not to settle in Lebanon. He refused to rent anything but a furnished apartment. Toward the end of the summer, he got ill. He had no prayer but to be buried in Jaffa. When he got seriously ill and became delirious, he started confusing the pine trees that his window overlooked in Souk al-Ghareb, with the orange trees that could be seen from his window in Jaffa. He would point to the pine trees and ask my father to bury him under the orange tree that he himself had planted. And this was how the Souk al-Ghareb pine trees became my grandfather's Jaffa orange trees.
Beirut, where we ended up living after spending our summer in Aley [a village in Mount Lebanon]. Our long-awaited return to Jaffa was, once again, postponed. This new nickname triggered in me a lot of new questions pertaining to my identity. In Jaffa we were called the "Beirutis" [the ones from Beirut] and in Beirut we became known the Yafawi. Who am I? Why should we have restricted or specific identities? I must have an identity broader than Beiruti or Yafawi — an identity even broader than Lebanon and Palestine.
At the beginning, we followed my father's wish to rent a furnished apartment instead of a house, because we felt our return to Jaffa could happen anytime soon and we should be ready to travel light, and therefore, buying furniture wouldn't be such a great idea. It was in that house that I received a telegram from my friend Ibrahim Abu Loghod congratulating me for passing the matriculation of the British high school. At that very moment, big questions regarding my future began to pervade my mind.
I wouldn't be able to defend my clients the way my hero Youssef Wehbeh used to do in his movies. Further, I had to abandon that dream because this major didn't exist at the American University of Beirut (AUB), my only hope, and since I was English-educated, I could not continue my studies in any other institution. So what were my other alternatives?
"Why don't you join the faculty of medicine and become a doctor — someone who will bring joy to our hearts, someone we'd all take great pride in?" my father suggested, and I obeyed. I enrolled in AUB in 1949.
During my first few months there, I was literally fought for — like all the newcomers — by adherents of the different political persuasions who were at AUB, as the whole of the Arab world was potentially on the brink of an explosion.
Virtually all political groups tried to convert us to their ideologies, from the leaders of the Baath Party to Mansour Armaly, who used to grab my hand, drag me away from AUB's West Hall to invite me for a cup tea and a cigarette at the cafeteria, and assure me that it was the Soviet Union that would help solve the Palestinian cause. "We have to struggle for the oppressed classes because they will revolt and liberate us from oppression," he used to say. I just couldn't tell who had the truth.
At the beginning, the university and all that was going in it wasn't really my concern. I was living there, while my people were outside its compounds. In collaboration with a group of friends, we decided to establish a Palestinian club and applied to the Lebanese Ministry of Interior for a license.
"Let's visit Mufti Amin al-Husseini, and ask for his support in getting the license. He is quite influential among the Lebanese officials," I suggested. So we went to al-Nouzha, next to Mansourieh, where Hajj Amin lived, but both Hajj Amin and the Lebanese authorities disappointed us. We didn't get the license. What to do then?
My friend and I toured the refugee camps, trying to enlist Palestinians capable of shouldering the responsibility for our cause. Despite the horrible conditions that still plagued the refugees, they received us with an unbelievable zeal, repeatedly asserting their readiness to do anything they could to return home. Such admirable commitment to the Palestinian cause was present in the camps of Tel al-Zaatar, Shatila, Burj al-Barajne and Rashidieh. All this great political mobilization, it seems, alarmed the followers of Hajj Amin al-Husseini, who didn't subscribe to our ideologies. This explains the several threats we received from his followers, which culminated with an ambush they had prepared for us, when we were severely beaten. To make things worse, they also called the Lebanese General Security Services and accused us of being communists. At that time, communism was one of the worst crimes that any person could be accused of.
I then decided that the best thing for me to do was to shift the focus of my work to the university's campus. During that time, our economic conditions started to deteriorate. We moved to live in the same house where my uncles and aunts were living. Moreover, my dad was no longer capable of paying my university tuition fees.
The competition among the various political movements at AUB was at its peak, and communists, nationalists and Baathists, in addition to others, were fighting for supremacy on campus. I joined the communists who strongly appealed to me because they focused on the students' basic necessities of life. These necessities were a major cause of suffering to me as well as to my Palestinian colleagues. After the student elections of 1951, as I was working in the chemistry laboratory, I was summoned to the office of Archie Crawford, who was then the university's vice president. I thought he wanted me to pay the late tuition fees, but it never occurred to me, not for a second, that I was about to be banned from being involved in any political activity henceforward. That was soon to become evident to me when Crawford started his interrogation into the nature of my extra-curricular activities within and outside the AUB campus. Both he and the Lebanese authorities condemned such activities and considered them a sort of breeding ground for riots and mutiny. After the interrogation, I was shocked by two Lebanese inspectors who stepped from behind a curtain, cuffed my hands, and led me beyond the university's gates to a jeep that had been waiting for us. During the interrogation at the police station, I was accused of being a communist. When I was released a week later, I found that President Charles Helou had issued a presidential decree ordering my deportation from Lebanon.
The Lebanese members of my family tried to approach several political Lebanese leaders in an attempt to get me a permission to stay in Lebanon, but it was all in vain. And then my day of judgment came! It turned out to be a day of joy when we discovered that the judge who was to preside over my case was Mr. Mahmoud al-Nouman, who was married to one of my father's cousins.
Just a few hours before my trial, my father was surprised by an unexpected visit by Judge Nouman to our house; my father at first he thought that the judge had come to assure him that everything was going well. How wrong he was!
The next day the judge read the verdict that had already been written for him: "Imprisonment for three months and deportation from Lebanon." By the time I was released, however, my family had successfully convinced Prime Minister Sami Solh to suspend the presidential decree ordering my deportation from Lebanon.
I went out of prison to find out, however, that the decree banishing my friends Muhammad Lasawi and Nashat al-Shaar was carried out. The first was deported to the Lebanese-Palestinian border where he met a Lebanese shepherd who sympathized with him and helped him cross over to Syria. But the Shishakli government, which shared the Lebanese government's anti-communist position, arrested and imprisoned him for eight years, and when he was released some time later, he was a sick and disabled man. As for the second deportee, he was lucky enough to escape from Syria to Iraq, where he might still be living.
When I was released from prison I discovered that I had been suspended from the university for one year. This latest setback hurt my father terribly, as he was passing through the worst days of his life; he had to line up in order to receive UNRWA [the United Nations agency for Palestine refugees] rations, given the magnitude of our financial problems … I decided to seek a job and started teaching at the Makassed schools, but the administration disliked the discussions I usually had with the students on the Palestinian cause, and eventually kicked me out. The seemingly unending saga of moving from one school to another without finding a job drove me to an acute state of desperation to the point that I was now even contemplating suicide.
My father's reaction forced me to apply on my own for Lebanese citizenship, and to submit forged papers stating that I was born in Lebanon a year before my real date of birth. Three times the case was rejected and during that period, I graduated from the American University of Beirut. Later, Judge Othman al-Dana summoned me and tried to find out about my reasons for persisting to obtain Lebanese citizenship. I told him that I had signed a contract with a school in Kuwait and that I had to go there before the beginning of the school year. That was how, without any further questions, I was declared Lebanese and given Lebanese citizenship.
When I reached Kuwait [following unexpected complications related to obtaining citizenship], I found out that the Ministry of Education had decided to replace me for being late and hired another teacher, but I found another job at another school. At that time, I started to correspond with Salim al-Lawzi who was the head of al-Hawadeth, a prestigious magazine in Lebanon. I returned to Beirut and started to work as a journalist for al-Hawadeth and this magazine became the platform from which I would vouch for the Palestinian cause. In addition, the magazine provided me with the opportunity to communicate with the Palestinians now scattered in the Diaspora. Through this platform, we were able to start a secretive political movement called the Front for the Liberation of Palestine, and issued a monthly newsletter titled Tariq al-Awda, or "The Path of Return," which until 1964 was printed at al-Hawadeth Printing House. Membership in the Front increased steadily and by now it included newcomers from the refugee camps in Lebanon, Kuwait, Syria, Jordan, Amman, the West Bank, as well as people belonging to the different Palestinian classes, ranging from simple workers to teachers and engineers. Our aim was to struggle for the liberation of Palestine and emphasize the Arab character of this cause.


text:
La tranvia Trescore-Lovere, altrimenti nota come tranvia della val Cavallina faceva parte di un insieme integrato di collegamenti che metteva in comunicazione le province di Bergamo e Brescia attraverso il Lago d'Iseo.

Attivata a tappe fra il 1904 e il 1908 la linea, esercita a vapore, nonostante la presenza di ampie tratte in sede propria che la rendevano simile a una ferrovia ebbe vita breve e fu soppressa a favore di un autoservizio nel 1931, in un periodo non favorevole agli investimenti nei sistemi su rotaia.

Storia

Il 3 giugno 1901 venne costituita la Società Tramvia di Valle Cavallina con oggetto la costruzione e l'esercizio di una linea tranviaria sulla direttrice Trescore-Endine-Pianico-Castro-Lovere., di completamento rispetto alla Bergamo-Trescore-Sarnico allora appena completata. La durata della concessione prevista era di 50 anni dalla data decreto di approvazione del tribunale di Bergamo; fra i capitali finanziari apportati risultavano anche quelli della Banca bergamasca di depositi e conti correnti, che diede il suo appoggio a diverse imprese di carattere pubblico come la costruzione delle tranvie di Sarnico e della ferrovia della Valle Brembana.

Avviati i lavori di costruzione, il 30 giugno 1904 la linea era pronta nel percorso fino a Sovere, comune che sovrasta il lago, la cui inaugurazione avvenne il giorno successivo, 1º luglio 1904; il capolinea, a monte di Lovere, suscitava peraltro malumori e si auspicò dunque a il prolungamento della linea sino al porto lacuale così da facilitare il trasbordo sui piroscafi per Iseo, nonché per consentire la prosecuzione dei viaggi sulla tramvia della Valle Camonica Lovere-Cividate Camuno.

La nuova tratta di proseguimento fino a Lovere venne finalmente inaugurata il 1º gennaio 1908 con due coppie giornaliere sull'intero percorso da Bergamo-Lovere che si aggiungevano alle cinque coppie di corse giornaliere previste fra Trescore e Lovere-Pianico; il tempo di percorrenza era di un'ora e tredici minuti.

Un aspetto caratteristico del servizio è che lo stesso risultava integrato rispetto alle altre offerte di trasporto della zona: nell'orario di battelli che navigavano nel lago d'Iseo, ad esempio, erano indicate le coincidenze ferrotramviarie agli imbarcaderi di, Lovere (con la guidovia camuna), Iseo (con la guidovia per Chiari e con le ferrovie Brescia-Edolo e Iseo-Cremona) e Sarnico (con la tranvia per Bergamo e con la ferrovia Palazzolo-Paratico).

Dopo che già nel 1921 era stata soppressa la Trescore-Sarnico si cominciò a parlare di sopprimere la tranvia, provocando l'insorgere dei sindaci dei paesi attraversati, degli industriali e del sindacato fascista lombardo dei ferrotranvieri, ma non ci fu niente da fare: il deficit di esercizio nel frattempo accumulato dalla società di gestione, che risentiva fortemente del periodo di crisi economica in conseguenza della grande depressione, risultava troppo oneroso per l'Amministrazione provinciale chiamata a risanarlo.

L'intera Bergamo-Lovere cessò il servizio il 16 dicembre 1931, sostituita da autobus della ditta Luigi Busti di Bergamo (che eserciva sin dal 1929 l'autolinea Bergamo-Lovere-Darfo). La stessa società gestiva anche l'autolinea Bergamo-Sarnico.

La prima tratta fino a Negrone, nel frattempo elettrificata e integrata nella rete tranviaria di Bergamo, sopravvisse fino al 1953.

Caratteristiche
Secondo quanto riportato dalla stampa locale, la Trescore-Lovere "più che una semplice tramvia, la si può chiamare una ferrovia economica sia per la qualità delle locomotive, delle vetture e dei carri, sia per quel tratto di strada propria che va da Piangaiano a Lovere".

L'intera linea, con pendenze che su una tratta di sei chilometri raggiungevano il trentacinque per mille, misura compalessivamente poco meno di cinquanta chilometri, ventinove dei quali costituivano la tratta di nuova realizzazione. Per raggiungere Lovere da Bergamo occorrevano due ore e quaranta minuti.

Percorso

La stazione di Trescore, comune alla tranvia Bergamo-Sarnico, sorgeva nell'area antistante la parrocchia di San Pietro Apostolo, in seguito urbanizzata con la costruzione di alcuni palazzi. Tale impianto disponeva di circa settecento metri di binari; in occasione della sua realizzazione fu realizzata un'apposita condotta che incanalava l'acqua che sgorgava dalla sorgente detta "salina", posta sul colle dalla Madonna del Castello, convogliandola verso la stazione per il rifornimento delle locomotive delle due linee e per i servizi della stazione, nonché a servizio del Comune di Trescore.

Lasciato Trescore Balneario, borgata così chiamata poiché nota sin dai tempi dei Romani per i suoi bagni solforosi, il tram impegnava la valle Cavallina.

Passata la stazione di Casazza, il binario costeggiava il lago di Endine, incontrando il paese di Spinone nella cui stazione, come a quella di Gaverina, scendevano anche tutti coloro che dovevano fare "la cura delle acque"; la Fonte San Carlo di Spinone era facilmente raggiungibile per un sentiero che partiva direttamente dalla stazione.

Il lago, di modeste dimensioni, veniva lasciato poco dopo Endine lasciata la quale la tranvia entrava nella piana di Gaiano, con un altro piccolo lago; i tram proseguivano dunque per Pianico e per la conca di Poltragno.

Lungo la conca del Tinazzo, infine, grazie alla costruzione di importanti manufatti fra cui la galleria urbana in seguito riadattata alla circolazione automobilistica, si arrivava a Lovere la cui stazione capolinea sorgeva nella piazza principale, sul porto, e dalla quale era possibile l'interscambio con la "guidovia camuna".

Materiale rotabile

Sulla Bergamo-Trescore-Lovere-Bersaglio prestavano servizio quattro locomotive di costruzione Borsig immatricolate matricole 1÷4, costruite nel 1904/1905; dotate di tre assi motori (rodiggio C) erano capaci di raggiungere la velocità di 45 km/h, con prestazioni superiori rispetto a quella delle tradizionali tranvie e di parecchie ferrovie economiche. VC al prezzo di ventimila lire cadauna.

Le carrozze furono fornite dalla Carminati e Toselli di Milano ed erano di due tipi: quelle più lunghe, a carrelli, erano suddivise in scompartimenti, le altre, più piccole e dotate di assi radiali, erano caratterizzate dal classico ambiente unico adatto ai servizi locali. Tutte le unità erano fornite di freno Westinghouse.

Dopo la prima guerra mondiale, la società Ferrovia della Val Seriana, che gestiva altresì la tranvia Bergamo-Soncino, manifestò l'intenzione di abbandonare l'esercizio di quest'ultima: nel 1921, a seguito dell'opposizione alla chiusura da parte delle amministrazioni locali e dell'opinione pubblica, tale impresa decise di donare impianti e materiale rotabile alle province di Bergamo e Cremona. Per garantirne l'esercizio, le due amministrazioni stipularono una convenzione provvisoria con la TVC e con la Bergamo-Trescore-Sarnico (BTS). La nuova convenzione durò dal 1º agosto al 31 dicembre 1921 e vide il trasferimento del materiale rotabile dalla stazione di Bergamo FVS a quella in comune alle due linee tranviarie.

Note

Bibliografia
 Francesco Ogliari e Franco Sapi, Albe e tramonti di prore e binari, a cura degli autori, Milano, 1963.
 Pilade Frattini e Renato Ravanelli, Il Novecento a Bergamo: Cronache di un secolo, UTET / De Agostini, 2013. ISBN 978-88-5112-123-5.
  Consultabile su Google books

Voci correlate
 Linee tranviarie italiane
 Lovere
 Tranvia Bergamo-Trescore-Sarnico
 Tranvia Lovere-Cividate Camuno
 Trescore Balneario

Altri progetti

Tranvie dismesse in Lombardia
Trasporti a Bergamo

redpajama_set_name: RedPajamaWikipedia


text:
The Baroness and Crimson Peak
Tuesday, January 26th, 2016, News, Stories
So, as you may have heard, last April I was Jessica Chastain's piano-pounding body double in the Guillermo Del Torro thriller "Crimson Peak". Crazy, right? Let me tell you, it was more than a fluke opportunity – it was more like a ripple in space/time…
In April 2014 I received two emails out of the blue from two distant acquaintances – the first, from a guitarist I had hired probably 5 years ago, the second, from a voice teacher in the city I had worked with once a few months prior. They both described the production's urgent need for a female pianist of Ms. Chastain's dimensions, with long, slim fingers, who could play the last page of Chopin's Ballade in G Minor convincingly. I sent in my measurements, photos of my hands, and a quick recording of the Ballade. They called me into wardrobe for a fitting the next day. I've been on movie sets before, I even had an acting agent for a while, but I'd never been called in to do anything remotely like this – it came, quite literally, from out of nowhere. What struck me as particularly surreal and eerie was that I was the lead's double, a shadow self, a twin, a mirror image. I was a walking echo… Carl Jung would have had opinions here I'm sure.
I was fitted into exact replicas of Jessica's full period-piece gown (including corset, skirt, collar, bustle), wig, and jewelry. The skirt and bustle weighed about 20 pounds. Nothing unusual occurred to me during the fittings or makeup sessions – the crazy, mind-bending realization came only during the piano scene where I took Jessica's place for a few seconds to play, and then stepped out to watch the next scenes on the monitor.
The set was one of the lavish ballrooms in Casa Loma, filled to capacity with characters in gorgeous period regalia. The evil main character and her brother are hosting a lavish party and at one point in the evening, she sits at the piano to perform for her guests as they dance. Enter Slean.
Surrounding the wildly ornate piano was a string quintet of men in tuxedos with perfectly combed mustaches, tiny round spectacles and pristine white gloves. That's when I started thinking, "Wow, this is a bit odd. What are the chances of me being asked to play with a string ensemble? It's the way I've been performing for the last 4 years… And in this time period too, with which I've been enamoured for almost all my adult life? And in a red gown?" Red gowns have figured into my art and music since Night Bugs way back in 2002. Recall the Sweet Ones video? My painting on the back of the album? Press photos for the Baroness? Red gowns red gowns red gowns.
When I finished my take I stood watching the monitor to witness the next scene – Jessica turns around on the piano bench, as if she had just played, and stares malevolently into the camera. When these exact motions unfolded on the screen, I actually gasped out loud. I quite literally clapped my hand over my mouth. The very scene I was looking at, I had PAINTED over TEN YEARS PRIOR, in exquisite detail. The dress, the piano surrounded by musicians, the precise pose, the hair, everything. It turns out, as I thought about it, I've painted this character numerous times in my life and always in a red dress almost EXACTLY like the red dress I was wearing at that moment. But this – the whole carefully orchestrated scene from my imagination – right in front of my eyes… it was mind-bending.
I had chills. I found photos of the painting in my phone and started to show some members of the crew, who were visibly gobsmacked.
I was then talking to Jessica (yep, just chatting away with Jessica, my bestie.. 😉 ) and she said "this sort of thing happens on Guillaume's sets all the time".
What?! Then (and this still kills me to this day) Jessica tells me her character's name in the film. Lucille. No big deal, right? Except,
THE BARONESS Lucille. I'm not kidding.
"The Baroness" was an alter ego I created in 2002 or so, as a painting for my major label debut (see below). I hadn't named her at that time, but this character has lived within me as a kind of fuel source – she was the boldness and juice I required to be able to get on stage and perform. When I was younger, the attention I received for my music rattled my psyche significantly. I felt I needed this protection. Later, in 2006-7 or so, as I was writing a new album (mostly in Paris) I named her "The Baroness", which was eventually the title of that recording. What could have possessed a shy girl from Pickering to select this name as an alter ego, dress her this way, paint her repeatedly, sing from that energy, and to rely on her vivid presence? What are the odds that I would MEET this character on the earthly plane?! Here are some of the images that blew me away. First – me in the costume.
Me in the costume
Here is the painting I made for the back of my first record Night Bugs **in 2002**. That was the first appearance of this character in my art
Here is the album "The Baroness" released in 2008
An album cover from 2010. This is ALL BEFORE the making of this movie – which was filmed in 2014.
And here is another – look at this collar!
Red gown promotion 2008's Baroness
Have you ever experienced something like this? I want to hear your stories – the ones that seem to scream that some kind of greater narrative is happening and the cosmos is indeed a living, thinking, thing…
Still in awe… xo
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BRISTOL, Tenn. (Dec 27, 2017) - After a thrilling inaugural Short Track U.S. Nationals at Bristol Motor Speedway last May, Track and Series officials diligently went to work to on ways to make the next event better than ever for competitors.
According to Champion Racing Association's (CRA) managing partner R. J. Scott, "For a first of its kind event, last year's Short Track U.S. Nationals was exciting and super competitive. We learned a lot and received some great ideas that we wanted to implement immediately. We hope the competitors will be as thrilled as we are for the 2018 enhancements."
Also new in 2018, organizers are proud to welcome the I-CAR All-Star Modified Tour as the lead sanctioning body for the Modified division. In addition, the Short Track U.S. Nationals continues to be led by the Champion Racing Association powered by JEGS (CRA), who will be co-sanctioning the Super Late Model race with the ARCA/CRA Super Series Powered by JEGS, The CARS Super Late Model Tour (CARS) and the Southern Super Series (SSS). CRA also will oversee the action for the crate late model event with their JEGS/CRA All-Stars Tour presented by Chevrolet and the Street Stocks with their Lawrence Towing/CRA Street Stock Series. The CARS officials will oversee the Late Model Stock portion of the event with their CARS Late Model Stock Tour while compacts will be organized and overseen by the Vore's Compact Touring Series. The Short Track U. S. Nationals is being presented by Vore's Welding & Steel.
The inaugural Short Track U.S. Nationals event featured nearly 350 cars on track and crowned 13 different winners, including current full-time NASCAR Cup Series driver Darrell "Bubba" Wallace, Myatt Snider, Cole Williams and Chad Poole, among others.
Racers should follow the websites of the appropriate sanctioning bodies for more news and information as details are released. Fans can tune to BMS' social channels and www.BristolMotorSpeedway.com for updates.


On the date listed below engineers will be performing scheduled maintenance in the location listed below. This maintenance is necessary to perform upgrades to the storage infrastructure supporting the Cloud Services. During this maintenance we will be upgrading storage devices to the latest vendor approved and tested OS release. Although this type of maintenance has been performed in the past without impact, there is a low risk of latency and service disruption to Client Cloud Servers.
Note this maintenance is specific only to the affected data center location and other Geographic Regions will continue to function normally.
This scheduled maintenance affected: EU - United Kingdom (Public CaaS EU2, Public CaaS EU8).
Subscribe to updates for SCHEDULED MAINTENANCE: LONDON (EU2/EU8) INFRASTRUCTURE MAINTENANCE via email and/or text message. Whenever an update is posted, you'll receive a notification.


Welcome to the most amazing website ideas on crab-cakes-recipes, with totally you should to know about preparing and cooking your favorite crab cake recipes.
Or your freshly steamed Snow-Crabs, to freshly caught Blue-Swimmer-Crabs, Blue-Crabs, King-Crab, Spider-Crab and any other breed of crabs you like to eat and enjoy. All of them make great crab cakes and making the prefect crab cake is an art form.
There are so a number of questions to answer on crab salad recipes and this website will try and answer them all, these are merely some of the crab cakes to look at!
Are you looking for a fast and effortless cold-crab-salad? Or how about an imitation-crab-salad-recipe, or a excellent crab-pasta-salad-recipe to go with your scrumptious crab cake? Try these outstanding tips out, I have and they all work!
There are loads of ideas to select from and also experiment with the imitation-crab-salad of you are on a budget and imitation-crab-meat is a popular summer lunch idea. Another favorite of mine is crab-stuffed-mushrooms.
Step One Break the bread into small pieces and moisten with the milk.
Step Two Add in the Mayonnaise, Worcestershire sauce, parsley flakes, baking powder, Old Bay Seasoning and salt and combine well.
Step One Place all the ingredients except crab meat, bread crumbs and butter in a large bowl and combine well.
Step Two Then add in the crab meat and fold in gently.
Step Three Gradually add in the bread crumbs and fold into the mixture evenly.
Step Four Shape the mixture into portions and form crab cake patties. When done place in the refrigerator for an hour to chill.
Step Five When ready to cook, melt butter in pan and saute the patties 4 minutes on each side.
Step One Saute green pepper, shallots and onion in 1 tbs Olive or Canola oil until soft.
Step Two Remove from heat and put in a mixing bowl.
Step Three Add crabmeat, breadcrumbs, eggs and Cajun seasoning.
Step Four Mix well and form into patties.
Step Five Bread the patties in some breadcrumbs.
Step Six Heat 2 tbs. Olive oil and fry patties until golden brown on both sides.


text:
Crank up the Stress – Zach Parise & Company Send Wild to Game Seven
By Anthony Bloch April 29th, 2014
Zach Parise and Ryan Suter both signed with the Wild in 2012 (Brace Hemmelgarn-USA TODAY Sports)
Zach Parise and his Minnesota Wild teammates won Game 6, sending this electric and emotional filled series to a Game 7 at the Pepsi Center in Denver on Wednesday night.
If you're like me you get extremely nervous and stressed when your team is in a playoff series. Not only am I stressed I go absolutely berserk when my team does well and wins or. I also go crazy when they lose. The lows can be as intense as the highs as I experienced after game five between my Minnesota Wild and the Colorado Avalanche.
Now the stress, intensity and nail biting has been cranked up. Game seven will be a winner takes all contest and it's anyone's game at this point.
I'm sure that game seven will be an exciting game to watch but my stress levels will be through the roof as well.
We've Seen it All in this Series
This series has showcased just about everything. We've had the comebacks (by Colorado), the overtimes, the controversies (Matte Cooke butchering Tyson Barrie and questionable officiating. Through it all, both Colorado Avalanche and Minnesota Wild fans have been treated to the best first round series in the 2014 Stanley Cup Playoffs.
Colorado came from behind in dramatic fashion in games one and five. Down by two goals late in game one, Minnesota coughed up the puck twice in their defensive zone and the opportunistic Avalanche pounced on those mistakes to tie the game and send them into OT.
Then it was Minnesota's turn in game four to win a game in overtime. It was the Wild's Granlund who would score a beautiful goal in OT to tie the series at two.
Then came game five, a game that Minnesota Wild players and fans want to forget. Minnesota was ahead with over a minute to play, Charlie Coyle was about to score an empty net goal, he was mugged, no penalty was called, that gave Colorado an odd man rush. Colorado went offside, no call was made. Colorado scored the equalizer and then the eventual OT winner.
This series has been stressful to say the least. There have been ups and downs, joy and sadness for both team's fans. Through it all both teams have waded through the chaos and remained composed. I think that is especially true for the Wild, who've had their fair share of bad luck as they've seen their leads evaporate in the waning moments of three games.
Empty Net Thrillers
A lot of credit has to be given to the heartbreak kid, head coach Patrick Roy. On a number of occasions as mentioned above his Colorado Avalanche had come from behind to send games into OT. On their home ice they have prevailed to win those games.
Roy has pulled his goalie with three minutes left when his team was down. Each time (until Game 6) his team hasn't let him down. No matter what you say about the Wild making critical errors or bad officiating hurting the Wild, the Avalanche have made the most of their opportunities. That's playoff hockey.
When all is said and done, Colorado will be remembered for making the most out of nothing. It's not always about out-shooting, out-chancing and out-hitting an opponent. Sometimes it's about great goaltending (Semyon Varlamov) and capitalizing on a few chances. That's what the Colorado Avalanche have done.
As I've said before, it's made for some stressful moments, heartbreaking moments and moments of extreme anguish. Last night something changed and it was a joy to watch.
The Wild went up two in the first period, only to see that lead disappear. I'm sure most Wild fans were saying to themselves; here we go again.
But the third period was Minnesota's. Zach Parise scored the game winner with 6:29 minutes to play when he tipped a Mikko Koivu shot behind Varlamov. Then the nail biting really began.
I thought that another Avalanche victory was inevitable. Patrick Roy pulled his netminder again, around the three minute mark and Colroado put on the pressure right off the bat. This time, however, Jason Pomminville and Marco Scandella got empty net goals and won the game 5-2.
Parise netted two goals in game six and he was clearly the best player on the ice. He was also the leader of the Wild. Mikko Koivu might wear the 'C' on his jersey but it's Zach Parise who leads his teammates and he does it with his play on the ice. The guy never gives up and puts himself in position to get game changing goals.
Hopefully winning game six and scoring two empty net goals will provide the Wild with confidence heading into game seven. The home teams have won all their games on home ice. It's a clear advantage. The fans provide their team with a boost and energy.
Minnesota will be looking to create 2003 Game 7 heroics. Minnesota Wild fans remember that series and how exciting it was to see their team come from a 3-2 game deficit to win in Colorado. At this point in the series anything is possible. I'm sure hockey fans are in for an exciting game. It's a certainty that my heart will be pounding until the last second of the game.
This has been a crazy fun series. The Minnesota Wild have provided their fans with something their other major professional teams haven't done in a few years. That's making the playoffs and winning some games in the playoffs.
Hopefully the Wild will do something it hasn't done in a decade. That's winning a playoff series.


text:
Zhengyi Jiang
Ph.D. (1996): Northeastern University
M. Eng. (1990): Northeastern University
B. Eng. (1987): Northeastern University
Rolling Theory and Technology
Advanced Strip Shape Development in Rolling
Development of High Precision Mathematical Models in Rolling Process
Tribology in Metal Manufacturing
Contact and Computational Mechanics in Metal Manufacturing
Micro Manufacturing
Novel Composite
Multi-scale Simulation in Metal Manufacturing
Artificial Intelligent Applications
jiang@uow.edu.au
I have carried out research on advanced manufacturing with over two decades expertise in rolling theory and technology, tribology in metal manufacturing, contact and computational mechanics in metal manufacturing, micro manufacturing, novel composite, multi-scale simulation in metal manufacturing and artificial intelligent applications in rolling process. I obtained my PhD from Northeastern University, and was promoted full professor at Northeastern University in 1998 and at University of Wollongong in 2010. I have over 460 publications including over 310 journal articles and 125 conference papers and a monograph on complex strip rolling theory and practice. I have also been awarded over 33 prizes and awards from Australia, Japan and China, including Australian Research Fellowship (twice) and ARC Future Fellowship (FT3), Huo Yingdong Youth Teachers Fund Award. I also have extensive experience in managing large research projects where I am pro! j ect leader. I was Deputy Director of the State Key Laboratory of Rolling Technology and Automation (1996-1998), the only State Key Laboratory in rolling and automation area in China, and have accumulated exceptionally broad knowledge and extensive interdisciplinary experience through my work in China, Japan and Australia. I am also an editor or editorial board member for 8 international journals and have been a chair or co-chair for over 12 international conferences, and have given plenary or keynote talks at many international conferences.
tags: rolling-theory-and-technology, rolling-process, metal-production, micro-manufacturing, artificial-intelligence, mmmb
categories: MMMB


Every other year my school requires us to embark on a week-long backpacking expedition. For most of my class, the thought of a week straight of hiking—detached from all technology—is daunting. Thankfully, my experiences peaking a few "14ers" (14,000-foot mountains), as well as the wilderness expeditions I've participated in as part of a program for young Christian Scientists, strengthened my confidence about being in that environment.
When we arrived at headquarters at the start of the trip, we learned that our group would be breaking the school record for elevation gain and distance hiked. Immediately, the group's anxiety was palpable, and it was at that moment that I realized I had a choice. I could either join them in feeling worried and afraid, or I could do my best to help lift everyone up. But despite my best attempts to remain a source of positivity and inspiration, after the first day my confidence started to fade, and I was also beginning to feel anxious.
Discouraging, fearful thoughts, such as "We'll never be able to complete this trail," began to rush toward me, and I started feeling sick. I had a terrible headache, and my instructors immediately told me to drink more water or I would fall behind on hydrating and never catch up. This was especially important since the next day would be our most challenging day of climbing yet, so I needed to be well rested and hydrated.
That night, as I lay in the tent with my two tent mates, I decided to think about everything I was grateful for before I fell asleep. During my trips with the program for young Christian Scientists, we'd ended our days by giving gratitude to God for the blessings we'd experienced that day and any healings we'd had. Since then, I've often started with gratitude as the basis for my prayers, because gratitude always helps me shift my attention to God. I've found that as God's goodness completely occupies my thoughts, there's no room for anything negative.
Lying there that night, I was filled with gratitude for seven days when all I had to do was be present and enjoy nature. I didn't have to worry about schoolwork, tests, or anything else that usually consumes my time, but instead could experience more of the beauty of God's creation and feel God's presence and reality.
As I lay in the tent with my two tent mates, I decided to think about everything I was grateful for.
The next morning when I woke up, I felt completely fine—the headache was gone, as were the worries I'd struggled with the previous day. Before we set out on our second day of hiking—with three thousand feet of elevation gain in just over a mile and a half—I decided I would pray about the day ahead. I love to pray by knowing that the course of the day is not mine to control; rather, my job is to listen for how I can serve God that day and be more aware of His goodness.
I love this hymn, because it reminds me that no matter what the trial, God is with me. Whether I'm climbing a mountain or facing a challenging course at school, I never have to fear anything because God is always there to guide me. However, what stood out to me most was the line "The joy that none can take away is mine." I saw that I could stand firm in the fact that the joy of this trip was God-given and always present—enabling me to bask in the beauty of the Pacific Northwest and to be totally present with and attentive to my classmates, many of whom I knew very little about. And, that I didn't have to let "cruel fear" cause me to miss out on these moments by taking away my ability to enjoy them.
Each day of the trip got better, and I saw the mental and physical barriers start to fade away.
For the rest of the week that hymn stayed with me. Each day of the trip got better, and I saw the mental and physical barriers that we thought would prevent us from finishing out the course start to fade away, as God's guidance and comfort inevitably replaced anxiety and fear. Even on the most physically and mentally demanding days, knowing that we were walking every step with God allowed me to walk, sing, and dance through the trip with total joy. And we all finished the trip successfully—breaking the record for our school and overcoming every obstacle along the way.


In what circumstances should I not donate blood?
Which blood groups can receive my blood?
The Macao Blood Transfusion Service will be closed for blood donations on December 20th, 22nd, 24th and 25th.
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You won't want to miss this important, free event. And, if you're unable to join us live, you can still register now, and watch the recorded event at your convenience.


text:
Q: connect headphones to TV RCA output? My TV has two RCA female connectors for audio output. I assume it is the line-out. No female jack connector specfic for headphones.
I want to connect usual headphones that has a male jack connector. I've buy an adapter "two male RCA => one stereo jack" (Y-cable) and everything seems ok, just volume a few low.
However, after read wikipedia:
https://en.wikipedia.org/wiki/Line_out_(signal)
it seems this is really a bad idea, headphones has not the valid input impedance, and that can cause low sound, damage my TV, and an economical world crisis.
Any hint?
Addendum:
According to samsung (see here), the solution is the Y-cable. It seems they are not worried about impedances (and, in photo, it seems they are not worried about what is RCA or jack ?).

A: That Wiki page sums it up pretty clearly. Except for the world crisis part, you mentioned.
Why not use a commercially offered amplifier designed for the purpose? These days, there are fewer available amplifiers (in the US, anyway) which are designed only for this purpose (you usually have to buy more than just an amplifier), but they exist. They are rare these days and usually only supplied to "tube" people, now, it seems. I kind of hate the fact that the market for a simple stereo amplifier has dwindled down to such a small market. But it has. That said, for example, something like this will do the job quite well and it does exactly and only the job you want done.
I don't know your limitations, though.
You could also consider the idea of making something. If so, would you prefer a kit amplifier, an IC solution, or discrete schematic? If you are posting here, perhaps you are comfortable approaching one of those?
Regardless, you do some some kind of active amplification. It doesn't have to be complicated. And you'd have to decide if you want the two RCA sides combined into a mono-output or if you wanted stereo retained. But it will need a source of power, whether battery or otherwise.

Interesting catch from Samsung. I still wouldn't go that way. It doesn't seem correct to me. You already mentioned that the audio seemed muted to you. I think that tells you what you need to know, here..
You might consider something like a TDA2822, for example. It's a stereo IC and will operate off of low voltages. But it lacks an intrinsic volume control and may be a little over-powered for your needs. The TDA7053A is also a stereo amplifier, with a built in volume control, but it is bridge-tied and headphones usually have a common ground. So when reading these, you need to be aware that you probably want single-ended operation. Search around for something still closer than those two I just found. They are usually very easy to use. (EDIT: Just saw the TPA6021A4 show up on a search, which at first glance looks closer. I'm not going to read the datasheet fully for now, though. But you might check it out. They are available at the usual suspects, Digikey, Arrow, and so on, for about $2 each. It operates both as single-ended and bridge-tied. Also, TI has an evaluation module that retails for about $50 called the TPA6021A4EVM. Here is the user's guide for it. Look at Figure 3 for a headphone connection that may work for you.)
The value for \$V_{pk}=\sqrt{2 P R}\$, plus a little for whatever overhead is required. That's \$V_{pk}\$ and not \$V_{pp}\$ so if using a single DC supply keep in mind that you'd need twice that value and more for a DC supply rail. But I think the power you require for headphones is very modest, so it's likely that whatever voltage supply you use, so long as you have a way to control the volume, will work.

A: The TV probably uses an Op Amp to drive 1V line out so consider external Y to 3.5mm jack with 3.5mm plug from portable powered speakers and plug headphones into speaker jack.

redpajama_set_name: RedPajamaStackExchange


It's easy to miss the gray house flanked by similar-sized homes on the stretch of Main Street just west of the Rte. 109 dogleg. Particularly on a snowy afternoon. But if it happens to be the third Sunday of the month, it's worth keeping an eye out for the carriage house that volunteers spent years converting into the historical society's home.
Editor's note: This is the third installment of "Our Place in History," an occasional series on local historical societies' treasures and curiosities.
It's easy to miss the gray house flanked by similar-sized homes on the stretch of Main Street just west of the Rte. 109 dogleg.
Particularly on a snowy afternoon.
But if it happens to be the third Sunday of the month, it's worth keeping an eye out for the carriage house that volunteers spent years converting into the historical society's home.
It's worth it, particularly if you've never seen a Kaligraph writing machine designed to help "those who have tremulous, paralytic or maimed hands ... or are destitute of fingers."
Or a working 1904 Victrola from the Reynolds Music Store in Milford.
Or an 1800s daguerreotype portrait of Hepsibeth Adams.
Or a wooden bench rocker with a removable slat to keep a sleeping baby from rolling off.
"Some Yankee ingenuity" must have produced the design, said Mark Wilcox, Medway Historical Society president, as he demonstrated the antique bench kept on the top floor of the two-story museum.
Evidence of Yankee craftsmanship is displayed closer to the front door below.
Sitting on a case that includes a Native American beaded moccasin and medicine man's bag, and a flier offering a reward for a Civil War-era thief who stole more than $300 worth of merchandise from the Dry Goods Store, is an exhibit showing how Medway residents of the 1800s fashioned straw into hats.
The display shows samples of different weaves and braids, as well as a milliner's catalog used to order a favorite bonnet style.
As in many neighboring towns, "it started out as a cottage industry, but eventually there were several mills" producing hats here, said curator Priscilla Howker.
The town also had a thriving shoe and boot industry. A small pair of children's boots, with well-worn leather uppers and impeccably resoled bottoms, and metal-reinforced toes, show there was a thriving shoe-repair business as well.
Some elements of the society's collection, such as the boots, are difficult to date.
"What we have hasn't been well-researched," said Howker.
But it's easy to find out what folks were eating on July 4, 1913. A program from the town's 200th anniversary celebration spells out gala attendees were fed grapefruit, cold bullion, sherry, roast turkey, cucumbers and banana fritters.
"A very varied menu," Howker said.
Like the meal town forefathers enjoyed, the historical society has a surprising variety of artifacts and mementos.
"We spent a lot of the past summer going through our collection," said Wilcox. A World War I poster featuring Joan of Arc was among the finds, he said. The poster urging "Women of America, Save Your Country" by buying war bonds, just as Joan of Arc saved France 500 years earlier, stands next to the display case of tintype and daguerreotype portraits of Civil War soldiers and other 19th-century residents.
"Some we have identified, some we haven't," said Wilcox. Those whose names are known are labeled.
Other artifacts show the expected and unexpected elements of Medway's history: A portrait of the town's first kindergarten teacher, Lillian Hodgson, who taught from 1890-1931; a whale-oil lamp; a leather fire bucket from 1795; tools and implements that reflect Medway's past as a farming community; pre-Civil War gunpowder horns; a sampler sewn by Sally Thayer in 1803; the Civil War uniform and canteen belonging to Medway resident David Allen Partridge, who served with the 42nd Regiment, Massachusetts Volunteer Militia; a milk bottle from Shady Oaks Farm; photographs from the 1938 hurricane and flood; and a sign from Congregation Agudath Achim, the Village Street synagogue founded in 1919, which, after declining membership, joined with Holliston's Temple Beth Torah in 2002.
"We really do have a very large collection," said Grace Hoag, an honorary director of the historical society.
Medway also has its share of unique features, such as copies of "The Old Farmer's Almanac" of the mid- to late-1800s visitors can purchase for $2 apiece.
Not for sale are the granite post from 1767 noting the town's location "30 miles from Boston," and the circa-1865 Kaligraph writing machine, which Wilcox thinks might have been a salesman's sample. The contraption uses a series of bars and levers to transform motions traced with a metal stylus onto a piece of paper clamped to a base.
"I have an idea it wasn't a runaway success," said Howker.
For younger visitors, the Underwood typewriter from the 1920s is a great success, said Wilcox. "This is the one thing they really had an interest in," he said of children on a recent tour. They wanted to know, "Where do the words come out?"
Like other historical societies in the region, Medway provides research assistance for those with questions about ancestors or a homestead's past. "We get quite a bit" of queries, said Hoag, and it's possible to submit questions via the Web site, medwayhistoricalsociety.org.
Like members of other historical organizations, they also have wish-lists.
"We are always looking for items pertaining to Medway history," said Wilcox, particularly items from the 20th century. "We've become a very disposable society," he said.
"I'd like more old letters and old diaries," said Hoag.
At the top of the wish-list is more members, and more visitors during the open houses at 223 Main St., held from 1 to 3 p.m. on the third Sunday of the month.
"People know a lot about world history, but not as much about their own town," Wilcox said.


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Desk four shows the public sector growth expenditures within the Seventh Plan and compares these with the development expenditures beneath the Sixth Plan. The share of agriculture and water in public sector allocations was diminished from sixteen.three p.c within the Sixth Plan to thirteen.5 %. The energy sector allocation, however, was elevated from 34.eight to 38.2 p.c. There was a pointy decline within the share of industry from 5.three to 2.eight p.c. This after all mirrored the federal government's desire to assign a main position to the private sector in industrial improvement. The expenditures on the transport and communications sectors, an important part of infrastructure, showed a small increase from 17.three to 18.9 percent. A major quantity of Rs 25.three billion was also made available in the Seventh Plan for special provincial budgetary development programmes.
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