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Brexit, New Nationalism, and the New Politics of Migrancy
The role, function, ideological position and real legal (or illegal) status of migrancy has again come under closer scrutiny and the possibility of multiple abuse and/or reuse. Far from a simple noun to denote the positive neoliberal condition of human movement, or a verb to identify the action of this desired movement, migrancy has become, once again, a contradictory symbol of our status, fragility, precarity and provisionality under the present conditions of globalised capital, emergent nationalism and the overt shift towards government as business.
Charles Esche,	Manuel Borja-Villel
Use, Knowledge, Art, and History. A Conversation between Charles Esche and Manuel Borja-Villel
Thread Alter Institutionality
The map published in the book: Ranko Petković, Teorijski pojmovi nesvrstanosti, Rad, Belgrade, 1974.
The Non-Aligned Movement1 (NAM) functioned as a social movement in the international system, a third way between the two blocs, aiming to change the existing global structures and to create a more just, equal and peaceful world order. It was, in its essence, an anti-imperialist, anticolonial and antiracist movement (Singham & Hune 1986, p. 1).
The NAM thus represented the first major disruption in the Cold World map. While the 1961 Belgrade Summit was mostly an Afro-Asian and Yugoslav project, the movement acquired worldwide dimensions with the inclusion of Latin America2 a few years later. The fate of this constellation of energies is probably one of the least understood phenomena of our times, but it is certain that its disappearance from the world's political stage is directly linked to the rise and victory of neoliberalism, especially after 1989.
Great importance was given to art and culture in cultural politics influenced by the NAM and specific types of socialism. I will focus on transnational solidarity projects such as the Museo de la Solidaridad in Santiago, Chile, the Ljubljana Biennial of Graphic Art and the Week of Latin America in Belgrade, Yugoslavia, and argue that this was solidarity as a national project. Political solidarity within the NAM, economic solidarity between the "Third World" (which was stimulated by the New International Economic Order in the 1970s), and cultural solidarity3 were not only in line with the official approach and pragmatic goals set by the non-aligned governments, they were an expression of a much wider historical and political moment of peoples' struggle for decolonisation and liberation in the world.
Various newspaper clips from Slovenian press, 1978, Archives of Moderna galerija, Ljubljana.
Fifty years ago, Yugoslavia was still a relatively prosperous socialist, non-aligned country with a fairly well-developed economy, following principles of self-management. In 1970, Salvador Allende, the Unidad Popular party candidate, was sworn in as the first elected Marxist president of Chile. The Chilean Path to Socialism – socialismo chileno – was widely admired in some parts of the world. At the Non-Aligned Summit in Algeria in 1973, Chile became a full time member (for less than a year).
Words like solidarity, fraternity, equality, peace, and fight against imperialism, colonialism, and apartheid resonated at the NAM summits, at UNESCO seminars on culture, at political rallies around the world, in museums... It also seemed as though art and politics were united in their quest to create utopian models adapted to social and political changes. It is no coincidence that experimental museology and concepts such as the integrated museum, the social museum, the living museum, and the museum of the workers were widely discussed in the so-called Global South.
There seemed to be a specific "socialist inspired internationalism". In 1956, at the UNESCO conference in New Delhi, shortly after the 1955 Bandung conference, representatives of the Third World (or "the South", south as a critical geopolitical entity) dedicated themselves to promoting alternative routes of cultural exchange (Gardner & Green 2013), different from those in the First and Second Worlds. A wave of new biennials sprung up in NAM countries like in Alexandria, Medellin, Havana, Ljubljana, Baghdad, for instance. Amilcar Cabral, anti-colonial thinker and political leader from Guinea-Bissau wrote: "people are only able to create and develop the liberation movement because they keep their culture alive despite the continual and organized repression of their cultural life and because they continue to resist by means of culture, even when their political and military resistance is destroyed" (Cabral 1983, p. 6). The 1970 Lusaka NAM resolution in Zambia stated: "World solidarity is not only a just appeal, but an overriding necessity; it is intolerable today for some to enjoy an untroubled and comfortable existence at the expense of the poverty and misfortune of others"4. In 1972, a UNESCO seminar was organised in Santiago, at which museum workers discussed a new type of a social or integrated museum that would link cultural rehabilitation with political emancipation. It would be socially progressive without being ideologically restricted by any political representation. At the 6th Conference of the Non-Aligned Countries in Havana, Cuba, in 1979, Josip Broz Tito, president of Yugoslavia, spoke of the "resolute struggle for decolonisation in the field of culture"5. The emphasis was on questioning intellectual colonialism and cultural dependency. The idea was not only to study the Third World, but to make the Third World a place from which to speak. "Location" ("a horizon beyond modernity, a perspective of one's own cultural experiences" according to Enrique Dussel) was the philosophical theme addressed in 1974 when the "South-South Dialogue" between thinkers from Africa, Asia, and Latin America was initiated. The first meeting was held in Dar-es-Salaam, Tanzania.
One common issue shared by the NAM states was the question of cultural imperialism. Secondly, there was a need to create different modernities; the so-called "epistemologies of the south" (de Sousa Santos 2016), as an understanding of the world that was larger than the Western understanding of the world. The NAM had made cultural equality one of their most important principles very early on, at the Cairo conference in Egypt in 1964. This meant, on the one hand, that a number of African and Asian countries sought to regain works of art which had been taken out of their countries during colonial times and put in various museums in New York, London, and Paris, and on the other hand, that people who had been denied their culture in the past started to realise the emancipatory role it played in their lives. The cultural development of decolonising countries became as important as their economic development. Importantly, this culture was no longer meant only for the elites; art and culture were to be accessible to all. We could even say this was a kind of epistemological solidarity.
A new world information and communications system was formed, so called The Non-Aligned News Agencies Pool6, which worked as an international, collaborative cooperation between Third World news agencies whose main objective was to decolonise the news, provide its own mass media channels and to offer counter-hegemonic reports on world news concerning the developing nations.
THE CASES
The concept of non-alignment became the main component of Yugoslavia's foreign policy as early as the late 1950s. Socialist revolutions had a lot in common with anti-colonial and anti-imperialist revolutions, which made the Yugoslav emancipation in the context of socialism particularly significant. As Singham and Hume put it: "It was Tito who revealed to the Afro-Asian world the existence of a non-colonial Europe which would be sympathetic to their aspirations. By bringing Europe into the grouping, Yugoslavia helped to create an international movement" (Singham & Hune 1986, p. 52). President Tito traveled to various African and Asian countries on so-called "Journeys of Peace" (for example his famous visit to Western African countries on the Galeb (Seagull) ship in 1961) to support their independence and to express solidarity with the newly independent countries. These "solidarity" travels subsequently acquired a strong economic (and cultural) dimension and resulted in new spheres of interest and exchange amongst NAM countries (architecture, student exchange programmes, trade fairs, industrial design, art exhibitions).
In 1984, The Josip Broz Tito Gallery for the Art of the Non-Aligned Countries was inaugurated in then Titograd, Yugoslavia, with the aim to collect, preserve and present the arts and cultures of the non-aligned and developing countries. The document was adopted at the 8th summit in Harare, Zimbabwe, and soon after the gallery became a common institution for all the NAM countries. Unfortunately, their goal to create a Triennial of art from the NAM countries never happened because of the war in Yugoslavia. Nevertheless, the collection still exists today and includes over 1000 works, mostly donations from all over the world.
The Ljubljana (International) Biennial of Graphic Arts started in 1955 at the Moderna galerija. This biennial was specifically linked to the non-aligned cultural politics. It was founded by a long-time director of the museum, Zoran Kržišnik who saw this as a possibility "for a projection of values such as the presence of freedom, modernity, democracy, openness and so on in society" (Grafenauer 2013). In an interview, he pointed out that he had shown President Tito that the Biennial of Graphic Arts was actually a materialisation of what was being referred to as openness, then seen as non-alignment. The approach for acquiring works for the exhibitions was twofold: on one hand, the biennial jury made their own selections in order to get the best representatives of, for example, the Ecole de Paris, and on the other, some countries were offered direct discretionary invitations so they could present whatever they wanted without interference. Consequently, the biennial exhibited "basically everything, the whole world" especially after the first NAM Conference in 1961. The jury included representatives of museums such as the Guggenheim, the Tate Gallery, Moderna Museet in Stockholm, the National Museum of Modern Art in Tokyo, as well as the curator critics Pierre Restany, Harald Szeemann, William Lieberman and others.
Installation view with the international jury, 5th International Exhibition of Graphic Arts, Moderna galerija, Ljubljana, 1965. Photo courtesy: Moderna galerija, Ljubljana.
In Chile, the Museo de la Solidaridad was born in 1971 out of the visionary idea of a handful of individuals later named the International Committee of Artistic Solidarity with Chile, with Mario Pedrosa, a Brazilian art critic in exile there, serving as its president.
Letter from Mário Pedrosa to President Salvador Allende. April 26, 1972. Solidaridad (Fonds), Museo de la Solidaridad Salvador Allende Historical Archives, Santiago.
Among the committee members were Dore Ashton, an art critic from the United States, Pablo Neruda, poet and ambassador of Chile in Paris, Edward de Wilde, director of the Stedelijk Museum in Amsterdam, Giulio Carlo Aragan, Luis Aragon, and Harald Szeemann. The founding idea was articulated in April during "Operation Truth", when President Allende invited international artists and journalists to "understand the process that his nation was living". He sent an appeal to artists to support the new path Chile was taking by donating works of art. Donations from all over the world started to arrive, 600 works in the first year of the museum's existence alone, in a heterogeneous mixture of styles: Latin American social realism, Abstract Expressionism, Geometric style, Art Informel, experimental proposals, and conceptualist works. Harald Szeemann, who was at the time directing documenta 5, sent a letter to all the participating artists asking them to donate works of art to the new museum in Chile.
Circular note from Harald Szeemann inviting artists from documenta 5 to donate to the Museo de la Solidaridad. December 8, 1972. Solidaridad (Fonds), Museo de la Solidaridad Salvador Allende Historical Archives, Santiago.
The act of donation was a political act in itself. It was also a museological experiment; "a network of people from the world of culture who contributed works, ideas and connections toward the shaping of a museum that was not hierarchical, but transversal and polyphonic" (García Pérez de Arce 2014, p. 45).
Justo Pasto Mellado summarised the situation thus: "While in other parts of the world, some works by the avant-garde bring into question the legitimacy of museums, in those places where the history of museums is incomplete, the desire for one becomes an absolute imperative" (Mellado 2008).
This museum was in tune with cultural democratisation underpinning the party politics: to bring art out of the museums and into non-specialised spaces. This was done through approaches such as the "Tren popular de la cultura", the "casas de la cultura", traveling shows in tents, protest posters, murals (Brigada Ramona Parra), etc. Pedrosa spoke about the connection between art and workers, especially Chilean copper miners. President Allende seemed to understand the new mission of museums when he exclaimed at the museum inauguration in 1972: "This is not just a museum anymore. This is a museum of the workers!"7
This museum experiment ended abruptly in 1973 with Pinochet's coup d'état. Throughout the dictatorship, the art collection remained in the basement of the Museum of Contemporary Art of the University of Chile, which was in the hands of the military. Dore Ashton was declared persona non grata and Pedrosa had to go to another exile, to Mexico. Some works were lost, and some destroyed.
Subsequently, the world reacted. The 1974 edition of the Venice Biennale was atypical: with a "clear and distinct antifascist choice of direction" (Archivio, p. 72). The Permanent Working Group of the Biennale dedicated a series of artistic activities to the freedom of, and solidarity with, Chile. These took place all over Venice, in the industrial suburbs, parks, factories, garages, sports grounds... and involved films, music, performances, an exhibition of posters (in the Giardini and in the Italian pavilion), discussions, and sixty-two murals painted by the Salvador Allende International Brigade.
La Biennale di Venezia, Annuario 1975 / Eventi del 1974.
Along similar lines was the Week of Latin America (Vesić c. 2012/2014) in 1977, in the Belgrade Student Cultural Center, which consisted of a series of art events dedicated to burning political issues (debate about military regimes and the politics of non-alignment in Latin America) with an emphasis on art practices that "closely connect artistic and revolutionary acts". The Salvador Allende Brigade painted a mural entitled Solidarity.
This should not be considered as some kind of exoticism of the past, nor should it harbor nostalgia of the movement itself, as we know that many NAM states were quite far from the principles the movement promoted. From today's perspective, the concepts of nation-states, identity politics, and exclusive national cultures, which appeared in cultural political agendas at the time, can be seen as highly problematic. The concept of solidarity also needs to be treated with caution: with whom are we solidary and how are we solidary? How can we avoid the "white savior complex" (Spivak 1988)? And what should be done with the fact that Syria, Pakistan, Libya and most African states are still members of the NAM?
Nevertheless, the movement should not be forgotten in so far as it envisioned forms of humanism that took as a starting point the life of peoples and societies that had been forcibly placed on the margins of the global economic, political and cultural system. The struggle against poverty, inequality, and colonialism in the world system coupled with trans-national solidarity could be useful in a reconsideration of the history and legacies of the NAM today, at a time when colonialism has become more than evident once again.
In culture we are already doing that at some level by being involved in various networks, alliances, museum federations, knowledge production platforms, etc. These do not consist only of cultural operators, but join forces with social movements, grass-roots organisations and many others. They take into consideration the question of how relevant these ideas are to the development of international solidarity in the sphere of culture, transversally linking it with politics. Simultaneously new models of being together in the world, are envisioned, models that would enable us to live and not merely to survive, to paraphrase Svetlana Alexievich (2016, p. 30).
Alexievich, S. 2016, Second Hand Time, Fitzcarraldo Editions, London.
Archivio storico delle arti contemporanee, 1975, La Biennale di Venezia, Annuario 1975 / Eventi del 1974, Stamperia di Venezia, Venice.
Cabral, A. 1983, Return to the Source: Selected Speeches by Amilcar Cabral, Monthly Review Press, New York.
de Sousa Santos, B., 2016, Epistemologies of the South: Justice Against Epistemicide, Routledge.
García Pérez de Arce, I. 2014, "Museo de Solidaridad /Museum of Solidarity Santiago, Chile, The Polyphonic Museum of Salvador Allende", in Politicization of Friendship, Moderna galerija, Ljubljana.
Gardner, A.; Green, C. 2013, "Biennials of the South on the Edges of the Global", Third Text, vol. 27, no. 4.
Grafenauer, P. 2013, in The Biennial of Graphic Arts - Serving You Since 1955, on the occasion of the 30th Biennial of Graphic Arts Ljubljana.
Jakovina, T. 2011, Treća strana Hladnog rata, Fraktura, Zagreb.
Mellado, J.P. 2008, "Museo de la Solidaridad Salvador Allende: the History of a Collection", in exhibition catalogue Lo Spazio dell'uomo, Fondazione Merz, Turin, viewed 26 September 2016.
Petković, R. 1974, Teorijski pojmovi nesvrstanosti, Rad, Belgrade.
Singham, A.W.; Hune S, 1986, Non- Alignment in an Age of Alignments, The College Press, Zimbabwe.
Spivak, G. 1988, "Can the Subaltern Speak?", in C. Nelson and L. Grossberg (eds.), Marxism and the Interpretation of Culture, University of Illinois Press.
Vesić, J. c. 2012/2014, "The Week of Latin America: Murals by Salvador Allende (Ramona Parra) Brigades – 'Non-Aligned' Street Art", part of Parallel Chronologies. An Archive of East European Exhibitions, viewed 26 September 2016.
Interview with Oliver Ressler
A Few Notes On A Time Of Uncertainties
The Use of History and the Histories of Use: Museum of Arte Útil and Really Useful Knowledge
Around the Postcolony and the Museum. Curatorial Practice and Decolonizing Exhibition Histories
1 — In former Yugoslavia, especially during the 1970s, many books were published on the NAM subject, such as: Petković 1974; Edition Nesvrstanost i nesvrstani, Rad, Belgrade, 1974; Skupovi nesvrstanih zemalja, Međunarodna politika, Belgrade, 1974; or more recently Jakovina 2011.
2 — Some countries of Latin America were either members or observers, depending on their political situation.
3 — Projects such as International Art Exhibition For Palestine, 1978; Artist of the World Against Apartheid initiative, 1980; Exhibition in support of the Nicaraguan people, 1981, as researched by Rasha Salti and Kristine Khouri.
4 — "Resolutions of the Third Conference of Non-Aligned States", Lusaka, 1971, viewed 26 September 2016.
5 — See for example a special issue of the newspaper Delo, 4 May 1982, Ljubljana, Slovenia (Yugoslavia), dedicated to the anniversary of Josip Broz Tito's death (he died on 4 May 1980). One chapter is about his role in the Non-Aligned Movement.
6 — It functioned from 1975 to the mid-1990s and was based in Belgrade, Yugoslavia.
Ivan Picelj, poster for the 6th International Exhibition of Graphic Arts, 1965, Archives of Moderna galerija, Ljubljana.
Exterior installation, 4th International Exhibition of Graphic Arts, 1961, Moderna galerija, Ljubljana. Photo courtesy: Moderna galerija, Ljubljana.
7 — "Palabras del presidente de la Republica", typescript, 1972. From the archives of the Museo de la Solidaridad Salvador Allende, Santiago, Chile.
Tagged alter institutionality,	cultural solidarity,	real democracy
Oliver Ressler,	November Paynter
Merve Bedir
Rasha Salti


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Ararat (armeniska: Արարատ) är en provins i Armenien, belägen vid gränsen till Turkiet och den till Azerbajdzjan tillhörande autonoma republiken Nachitjevan. Provinsen omger även en annan (betydligt mindre) av Azerbajdzjans exklaver. Huvudort är Artasjat.

Provinsen hade 260 367 invånare (2011).

Angränsande berget Ararat i Turkiet
Den armeniska provinsen har samma namn som berget Ararat. Ursprungligen tillhörde berget Ararat det historiska Armenien, men efter det armeniska folkmordet lever inga armenier runt berget, som nu ligger i Turkiet.

Referenser

Externa länkar

Armeniens provinser

redpajama_set_name: RedPajamaWikipedia


It's a milestone year for Wishbone Ash as they tear up the highway and cut loose in the studio.
In 2005, British twin-lead guitar band Wishbone Ash celebrates 35 years of rock 'n' roll in true Ash fashion: touring, touring and more touring – in Turkey, Germany, Holland the United States, the United Kingdom and France. Plans are also under way to record a new studio album and to release a live CD.
Formed in October 1969, Wishbone Ash was gigging by 1970. The band garnered notice in the early days for a unique blend of blues, jazz and English folk. But it was the way the guitars played melodic leads together that would become Wishbone Ash's trademark, inspiring such bands as Thin Lizzy and Iron Maiden. Throughout the years, many notable musicians have contributed their talents to the band, including Asia's John Wetton, Trevor Bolder from Uriah Heep and Laurie Wisefield, who would later play guitar for Joe Cocker and Tina Turner.
Late in 2004, founding guitarist Andy Powell, bassist Bob Skeat and drummer Ray Weston were joined by Finnish guitar slinger Muddy Manninen, who replaced fellow Finn Ben Granfelt. Wishbone Ash introduced Manninen to a receptive crowd at the annual UK AshCon in October, and US fans came out to get a look at the new guitar duo in action on a late fall tour.
One of Helsinki's top players, Manninen is a natural fit with the Ash. He played alongside Granfelt in the acclaimed '80s outfit Gringos Locos, something of a twin-lead guitar band itself. He and Powell share musical influences such as John Renbourn, Peter Green and Albert King. With Manninen, Wishbone Ash regains a slide guitarist; he is also an accomplished acoustic player and songwriter.
With a new band member comes a new dynamic that Wishbone Ash fans have embraced enthusiastically. It is this synergy that the band hopes to capture in the studio this summer. Writing is scheduled to begin in May. There are also plans to release an XM Satellite Radio show, recorded in December 2004 and broadcast in February 2005, as a live CD in the US.


Life Excellence Insights: How successful people look at failure ?
How successful people look at failure ?
Jeff bezos, Founder, and CEO of Amazon has said in one of the interviews that if his people have a one in 10 chance of making a 100 x return on an investment, he wants them to experiment every time. This message has a profound on the way he looks at failures. His message implicit that he is willing to tolerate failing nine of out 10 times because his chance of making one big success is high.
This is a very hard concept for us to believe as we had come from an environment where we measure individual or organizational worthiness only with materialistic values. We think that failing is something as a personal failure and with that mindset, we achieve or lead a life what we can do in the safe environment.
The point is when we take the failure as normal in business or in a personal endeavor and then there is a high possibility to make the breakthrough result as we are open to much experimentation. This is purely mindset issues and needs to be challenged with awareness. This is how highly successful people look at failure and moves on!!


Market focus is largely aligned with global trade developments, with a delegation of US officials set to travel to China for the next round of negotiations this week.
The last set of trade talks will take place in Beijing from Monday. It comes after discussions in Washington last week, concluded without agreement.
Both sides are trying to secure a comprehensive trade agreement before March 1, when US $ 200 billion US tariffs of Chinese imports are scheduled to increase to 25 percent from 10 percent.
Increasing tensions between the world's two largest economies have cost both countries billions of dollars and ruled global financial markets.
In Asia, Chinese shares are whipped on Monday after they resumed trading after a week-long New Year's holiday. The Blue-chip index increased by 0.4 percent, but trading volumes are still expected to be light with Japan on a holiday holiday.


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redpajama_set_name: RedPajamaGithub


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Beanie Feldstein will not perform from April 29 through May 2 and from August 26 through August 28.
Funny Girl Tickets
August Wilson Theatre
Beanie Feldstein stars as Fanny Brice in the first Broadway revival of this classic musical.
Tickets starting at $39.00
No Performances
Previews Mar 26, 2022
Opening Apr 24, 2022
This bittersweet comedy is the story of the indomitable Fanny Brice, a girl from the Lower East Side who dreamed of a life on the stage. Everyone told her she'd never be a star, but then something funny happened—she became one of the most beloved performers in history, shining brighter than the brightest lights of Broadway.
Featuring some of the most iconic songs in theatre history including "Don't Rain On My Parade," "I'm the Greatest Star," and "People," Michael Mayer's bold new production marks the first time Funny Girl will return to Broadway since its debut 58 years ago. The original production of Funny Girl premiered on Broadway in 1964 starring Barbra Streisand as Fanny Brice and was nominated for eight Tony Awards including Best Musical.
The Greatest Star! Here's a First Look at Funny Girl's Beanie Feldstein as Fanny Brice
Ramin Karimloo, Jane Lynch and Jared Grimes to Join Beanie Feldstein in Funny Girl on Broadway
Hello, Gorgeous! Beanie Feldstein to Star in Funny Girl on Broadway Next Year
Funny Girl on Broadway

redpajama_set_name: RedPajamaCommonCrawl


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Discover the Flavors of Tommy Tamale
Wednesday, November 11, 2015 by Daniel Horsch
More meat than masa. It's more than a mantra for the Barker family. It is a recipe for success that has been gaining steam since 2010.
With his wife, JoAnn, by his side, Steve Barker recounted the early days of selling tamales at the Grapevine Farmers Market in April of 2010. The pair giggled down memory lane as Steve recalled the early years of their tamale operation that they've grown into the brand new Tommy Tamale restaurant on 1689 W. Northwest Hwy in Grapevine.
"That first season we were setup under a canopy with two tables, an ice chest full of tamales and just two bottles of salsa," said Steve.
It was a lean and mean operation to say the least. By the end of their first season at the farmers market, the Barkers were astounded by the amount of requests they were getting from their fanatical customers. They wanted to know where they would be able to place their orders once the farmers market was closed for the season.
It was at that moment Steve and JoAnn knew they had struck tamale gold!
Fast forward 6 seasons at the farmers market, 5 years and two locations later, the Barkers have found that consistency is the key to success.
"Our customer knows that every time they come through our doors they'll get a quality product," said Steve. "Whether they tried one 6 months ago, today or 6 months into the future, our tamales will always have the same great taste."
I would certainly agree with this sentiment. The flavors pop with every bite. The pork is their number one seller but my favorite had to be the chicken that's fused with the rich and bold flavors of tomatillos and jalapenos. If you're hungry, you could probably eat a half dozen of them without blinking an eye. So good! Plus, it doesn't hurt that all of their tamales are lard and gluten free.
But that's not all! Tommy Tamales prides itself on a variety of other tasty menu items like their cheesy quesadillas or the popular "Tommy Bowl." Don't forget to try one of their in-house salsas for an extra punch of flavor.
One of the best parts of the meal is trying out the different salsas that are readily available. From mild flavors to over the top heat, you're bound to find something that will suit your tastes.
By the time you're done with your meal, you'll feel like part of the family. The entire tamale-tottin' Barker family is there each and every day from 9 a.m. to 9 p.m to provide the best service possible in Grapevine, Texas.
1689 W. Northwest Hwy.
Hours: Monday - Saturday from 10 a.m. - 8 p.m.
Categories: Food, Shopping
Tags: Grapevine
Author: Daniel Horsch
Daniel served as the Digital Marketing Manager for Visit Grapevine. An explorer by nature, he is always looking for great new places to eat and fun places to visit.
Fun Fact: Daniel once shared an elevator with Matthew McConaughey during a college football game between Texas and Texas Tech. Texas Tech won. Guns Up!
Christmas Capital of Texas (5)
North Pole Express (1)
Christmas Capital of Texas (15)
Craft Brew (5)
GrapeFest (8)
Grapevine Vintage Railroad (5)
Main Street (56)
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Nash Farm (5)
Urban Wine Trail (24)
Wine of the Week (10)


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'There Are 17 Families Who Are Waiting For This To Get Going.' More Debate Over Delays In Confessed Parkland Shooter's Case
Wednesday, May 26, 2021 by Caitie Switalski Muñoz (WLRN)
Pool image via AP.
The defendant's team of public defenders has mental health experts from around the country scheduled throughout the summer to fly in and evaluate him through the end of August. The State wants a speedier timeline.
Zoom court was back in session for the 2018 case of The State of Florida versus the confessed Parkland shooter. His last hearing was in April, where presiding Broward County Judge Elizabeth Scherer announced she wants to see the trial begin in September.
In fact, the topic of a September start for the trial did not come up again in discussions Tuesday.
Visits by mental health experts to evaluate the defendant were the focus of the state and the public defenders' timelines.
Mental health experts are scheduled to go into the Broward County jail to meet with and test the defendant throughout the summer, flying in from all over the country.
The last expert is scheduled to meet with the confessed shooter — at the end of August.
The state argues this timeline is too slow.
Melisa McNeill is one of the public defenders. She told Scherer the mental health expert visits are taking a while for several reasons, including that they were affected by the pandemic and the experts' individual schedules.
"COVID has put us all for a spin, judge. But as soon as we were able to get our experts in there, we did. It's not a delay tactic. It's how it's all played out," McNeill said. "Not everybody in the world's life is controlled by Nikolas Cruz."
"I don't think we need to go there," Scherer said.
Cruz faces 17 charges of first degree murder and 17 charges of attempted first degree murder for the massacre at Marjory Stoneman Douglas High School on Feb. 14, 2018.
Former Broward County State Attorney, Mike Satz is still prosecuting this case after his time in office. Scherer asked Satz about the state's preferred timeline for the mental health expert visits.
"State, if you're asking me to set a deadline, what deadline are you asking me to set?" she asked.
"It's hard to give you a deadline when we don't have any information," Satz said. "We have to get their raw data, their test scores, any reports, their notes. So it's hard if they're going to send them in in August, you know, it's going to take us time to prepare."
"There are 17 families who are waiting for this to get going," Satz said.
Scherer said she is considering whether or not to order a deadline before the end of August for the defense's mental health experts. According to attorneys at Tuesday's hearing, Cruz is the only defendant in the 17th judicial circuit that experts are being allowed to visit and the exception to start allowing them began in April.
Cruz's defense team objected earlier this month to the state wanting to admit evidence into the case that has hand-etched swastikas on it — including the firearm magazine in the AR-15 left on the scene from Feb. 14, 2018.
The state argued that hand-drawn swastika symbols are relevant to proving identity of the shooter in this case.
The two sides will try to decide amongst themselves and, if they can't ,the motion about admitting that evidence or not will come back in front of the judge at the next hearing, which is scheduled for June 30.
Update: FAA says Firehawk helicopter was attempting water-drop exercise before Leesburg crash
Citizen Scientists To Document King Tides In Sarasota, Manatee Counties


How does it work for a teacher?
How much extra time will this take?
Why do students improve quicker?
Can I try out the student's experience?
When you join the Golf Mentor as a teaching professional you have a Dashboard that allows you to guide the student's experience. You should first invite your students to join. At present, your students will receive 10 free days. Before you ask the student to join, you should agree on their goals for the next six months or so. These goals include how many lessons they will have each month.
When your student accepts your invitation, they will appear in your Dashboard, with a brief summary of their progress. You can view the goals that you have agreed with them. You can also dig down and view their progress in much more detail.
If your student is making good progress, then you can send them a congratulatory message. If the student is not making progress, or you otherwise feel that it is time for them to come for a lesson, then you can send them a reminder that it is time for a lesson.
If you are already keeping track of your students using a spreadsheet or pen and paper, this will save you time. If you are not, you need only spend a matter of minutes every week, for a very considerable return.
The cost is US$39.99 per month, with a 10 day free trial and no credit card needed. As long as five of your students are platinum members, there is no monthly fee.
The student can have a free online handicap that goes up to 99 over par, so it is useful even for beginners.
You can set the student goals, so ensuring they will be guided by a clear and achievable aim.
They can post practice sessions and games in order to capture key aspects of what you are trying to teach them.
They can take a set of scientifically designed challenges, that cover the full swing, approach shots, near the green, and putting.
They students have an advanced mental game training.
They can analyze their game to identify strengths and weaknesses.
Students join as ordinary members of the Golf Mentor as opposed to Pro membership that teaching professionals enjoy. Ordinary members set their goals, make posts about their practice sessions and game, analyze their progress, take challenges, do mental game training and many other activities. They cannot see the posts made by other students nor can they see your dashboard.
Can I try out the student experience?
You can try out the student experience as a guest user. Note that when you have finished trying out the student experience, you need to click Terminate in the top right menu. You can try the student experience by clicking here.
Ready to earn more with The Golf Mentor?
Teachers can try The Golf Mentor FREE for 10 days! No credit card needed.


In our second issue we've interviewed bartenders in their labs, giving them free rein to get a bit nerdy about the equipment they use to make concoctions that defy the imagination. We've invited world-class scientists to explain how hearing can affect what we taste. We've commissioned incredible under-the-microscope photography of classic mixed drinks, answering some questions in the process - is there really a difference between a vodka martini, shaken and stirred?


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Aviation Airplanes
Bed Breakfast Inns
City Information & Guides
Golf Travel & Resorts
Holy Pilgrimages
Limo Rentals
Staying In A Luxury Serviced Apartment Is The Best Way To Visit London
By Denton White on March 20, 2018 0
If you are visiting London, whether it is on business or for pleasure you may choose to stay in one of the top hotels in Park Lane or elsewhere in Mayfair. This places you right in the centre of London with easy access to the finest shopping in Bond Street, Oxford Street, Regent Street, and Knightsbridge. All of London's finest stores are almost on your doorstep.
If you fancy a night at the theatre, you are ideally placed. The London Palladium, Apollo Victoria Theatre, Her Majesty's Theatre, Queens Theatre, Fairfield Hall, Victoria Palace Theatre, and Bloomsbury Theatre are all to hand.
Restaurants abound. Bellamy's Restaurant is in Bruton Place and is the only restaurant known to be visited by the Queen. Bentley's Bar & Grill is famous for its' fish and is in Swallow Street. Corrigan's in upper Grosvenor Street is the haunt of the huntin' and shootin' set and is the place to find game. At the 2015 Tatler restaurant Awards the chef at Corrigan's won Best Dish for his game pie.
Kitty Fisher's in Shepherd Market is extremely popular and it can be hard to get a table. If you are lucky enough, try the duck with rhubarb and black cabbage, or the sirloin of beef with pickled walnuts - both cooked on a wood grill. Scotts in Mount Street is famous for its' fish and for the stars that visit: Michael Caine and Kelly Hoppen are regulars. Try the caviar - some say the best in London - or you might want to go with langoustines, oysters, turbot, Dover sole, or lobster.
Jamavar Restaurant is in Mount Street and is well-known for outstanding Indian food. Chef Rohit Ghai was previously head chef at the Michelin-starred Gymkhana, and offers Malai stone-bass Tikka with mace and avocado chutney following a crispy guineafowl Malligai starter.
It goes without saying that Mayfair has its' fair share of nightlife as well. Clubs and bars include Trader Vic's in the Park Lane Hilton, The Cuckoo Club - which ironically is in Swallow Street - The Carpenter's Arms in Seymour Place, Shampers in Kingly Street, The Library Bar in Lanesborough Hotel at Hyde Park Corner, The Audley in Mount Street, The Argyll Arms in Argyll Street, and The Old Coffee House in Beak Street.
Of course, if you like to keep fit with an early morning run, Hyde Park is on your doorstep. Alternatively, you might like to hire a horse from the riding stables, or listen to people's opinions at Speaker's Corner. Other events in Hyde Park include the firing of Royal Gun Salutes on special royal occasions, and British Summer Time which is an extravaganza lasting for ten days featuring live music and comedy acts, cafes, bistros, and food halls, and an assortment of themed pubs and bars.
Certainly there is an awful lot to occupy your time in central London, but after a while a hotel becomes more like a prison if you are staying for any length of time. The alternative is to look for independent accommodation and enjoy your stay in a home away from home. If you look around you will find that there are some luxury serviced apartments London, Mayfair, available. Facilities vary, of course, from one to another, but you should be able to find one, two, three, or even more bedroom apartments in central London.
Most apartments have fully fitted kitchens and bathrooms and have a 24 hour concierge. Some will have lifts direct to the upper floors. Almost all will have the latest HDTV's with some apartments having them in every room. Spacious and tastefully furnished recreation rooms mean that you can easily invite guests into your home from home. With your own apartment you can also invite business colleagues or customers to visit and you can work in peace, which you really can't easily do in a hotel.
Of course, if you bring your own car or you want to hire one, parking in central London is nothing short of a nightmare, but some apartments have their own underground car park or have other parking space available close by. One other big advantage of renting a luxury serviced apartment is that it should cost considerably less than staying in a hotel, so you have the best of both worlds: you are in central London without the central London expense.
Resource Box: Carlton Court is situated in Down Street in central Mayfair and offers a choice of one, two, and three bedroom luxury serviced apartments whether you require one for a single night or for a long term stay. With far more space than a hotel, all apartments have on-site management, TV's in every room, fully fitted kitchens and bathrooms, king sized beds in every bedroom, security/concierge 24 hours a day, Wi-Fi, air conditioning, and all staff are multi-lingual. For the larger family, there is also a five bedroom house just around the corner in Brick Street.
Staying In A Luxury Serviced Apartment Is The Best Way To Visit LondonNot Rated Yet
Denton White has published 20 post. Article submitted on March 20, 2018 . Word count: 714
Car Hire For a Great Vacation
Plan on a worry-free vacation by having car hire in your to-do list. The best way to do just that would be to book on car hire online for they offer reasonable rates and wider choices. You do not want to be one of the many travelers who happen to have stories about their stressful trip caused
Written by: Urle Andy
Car Hire Geneva is The Best Way to Explore This Amazing City
Read information about the most impressive places in Geneva, Switzerland. Use Geneva car hire to visit them all. Car Hire Geneva is the best way to tour this amazing city.
Written by: Jane Small
Know What Is The Best Time To Visit England
England is certainly a diverse nation with so much variety in all different places. This article is all about the information to travellers about the best time to visit England.
Written by: Ashley Gerrald
Travel Guide - The Best Way to Plan Your Holiday
Holidays are the exciting times when you get to visit new places and add cherished memories to your life. When you travel with good planning, the holiday becomes more joyful and convenient. There are a lot of ways in which you can plan your vacations and have a gala time.
Written by: Amrita Jadon


Why should I apply for an Island Appliance credit card?
You can apply for a Island Appliance Credit card* at any of our convenient locations. Click here to find our locations.
Island Appliance offers three convenient ways to pay your Island Appliance Credit Card bill.


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World Thrombosis Day Announces Winners for Annual Activity and Ambassador of the Year Awards
CHAPEL HILL, NC, USA, October 11, 2022 — The International Society on Thrombosis and Haemostasis (ISTH) today announced the recipients of two prestigious global thrombosis advocacy awards for its World Thrombosis Day campaign, now in its ninth year, including the World Thrombosis Day Activity of the Year Award and the Ambassador of the Year Award.
For the World Thrombosis Day 2022 Activity of the Year, the campaign recognizes the Mexican Society of Thrombosis and Hemostasis (Sociedad Mexicana de Trombosis y Hemostasia, SOMETH) for its multifaceted advocacy activities in Mexico. The organization's array of activities include a drawing contest for children and teens, educational workshops and sessions for healthcare professionals and the general public, building and monument illuminations and press conferences. The Activity of the Year Award recognizes a World Thrombosis Day partner organization that has shown outstanding effort in developing an engaging and successful activity to raise awareness about thrombosis. Based in Mexico City, SOMETH is a multidisciplinary medical organization created to expand the acknowledgment of the field of thrombosis and hemostasis.
Since 2020, SOMETH has organized a World Thrombosis Day Drawing Challenge for children and teens wherein participants create drawings about thrombosis. Due to pandemic restrictions, the challenge was initially developed as a creative outlet to involve the community, particularly a younger age demographic. The activity is now a popular annual challenge that receives numerous submissions from participants between the ages of 5 to 16.
Each year, the organization also illuminates prominent monuments and buildings throughout Mexico in red and blue colors of the World Thrombosis Day movement, including Mexico's Revolution Monument, Angel of Independence, National Palace and the National Cancer Institute. Additionally, SOMETH hosts several well-attended educational sessions on topics such as psychological support for patients and the prevention and management of thrombosis.
The World Thrombosis Day campaign also named Gordon McPherson of Scotland as the World Thrombosis Day 2022 Ambassador of the Year. This award recognizes Gordon's extraordinary commitment to achieving the mission of the World Thrombosis Day campaign and for raising awareness through patient support and education.
Gordon's daughter Katie, who was 23-years-old, died from a deep vein thrombosis (DVT) in 2003 and since then he has worked tirelessly as an advocate for thrombosis awareness and prevention in Scotland and across the globe. Gordon collaborates closely with Scotland's National Health Service and the Scottish government to create more accountability for thrombosis-related deaths, and he has been interviewed in numerous global media outlets sharing his daughter Katie's story.
"The World Thrombosis Day awards program provides an important opportunity to spotlight the incredible work of thrombosis advocates and organizations around the world," said Prof. Beverley Hunt, O.B.E., chair of the World Thrombosis Day Steering Committee. "We are incredibly proud to recognize Gordon McPherson and SOMETH for their outstanding awareness efforts and achievements as part of World Thrombosis Day's overall mission."
In addition to the award winners, World Thrombosis Day also recognizes several runner-up awardees in both award categories. Honorable mention awardees are among the top ranked candidates in their categories.
Ann Marie O'Neill (Ireland): 2022 Ambassador of the Year Honorable Mention
University College Hospital (Nigeria): 2022 Activity of the Year Honorable Mention
Brazilian Society of Thrombosis and Hemostasis (Brazil): 2022 Activity of the Year Honorable Mention
All award winners were selected following a rigorous review by an award selection sub-group of the World Thrombosis Day Steering Committee of the International Society on Thrombosis and Haemostasis. The final award recipients were selected by committee members with no affiliation to the candidates.
To learn more about World Thrombosis Day, visit www.worldthrombosisday.org.
About World Thrombosis Day
Launched in 2014 and held annually on October 13, World Thrombosis Day (WTD) aims to increase public, healthcare professional and health care systems' awareness of thrombosis and, ultimately, to reduce deaths and disabilities from thromboembolic disease through a greater awareness of its causes, risk factors, signs and symptoms, and evidence-based prevention and treatment. Our mission supports the World Health Assembly's global target of reducing premature deaths by non-communicable disease by 25 percent by 2025, as well as the World Health Organization's Thirteenth General Programme of Work 2019–2023, the Montevideo Roadmap 2018-2030 on NCDs and the Political Declaration of UNGA' Third High-level Meeting on NCDs. Visit www.worldthrombosisday.org for more information and to get involved.
About the International Society on Thrombosis and Hemostasis (ISTH)
Founded in 1969, the ISTH is the leading worldwide not-for-profit organization dedicated to advancing the understanding, prevention, diagnosis, and treatment of conditions related to thrombosis and hemostasis. ISTH is an international medical-scientific professional membership organization with more than 7,500 clinicians, researchers, and educators working together to improve the lives of patients in more than 110 countries around the world. Among its highly regarded activities and initiatives are education and standardization programs, research activities, meetings and congresses, peer-reviewed publications, expert committees, and World Thrombosis Day on 13 October. Visit ISTH online at www.isth.org.
Melissa DiMercurio
ISTH Media Relations Manager
Melissa_dimercurio@isth.org


::For January, we are reading about the artist Thomas Gainsborough at Garden of Praise, and we've purchased small art stickers from Dover.
::We're printing Franz Joseph Haydn's biography page over at Making Music Fun, as well as printing and playing his Surprise Symphony. And we are enjoying another one of Anna Harwell Celenza's beautiful composer picture books, The Farewell Symphony. We'll also be listening to the radio shows about Haydn at Classics for Kids.
::We're savoring A Visit to William Blake's Inn: Poems for Innocent and Experienced Travelers by Nancy Willard (and illustrated by Alice and Martin Provensen, two of my favorites!) and Poetry for Young People: William Blake.
Wow. I look at all that you do schoolwise in a week and am blown away. We're also doing CC Cycle 2, thanks for the links.


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Arkansas Highway 263
Maintained by ArDOT
July 10, 1957[1]–present
AR 9 at Rushing
AR 66 at Timbo
AR 14 in Big Flat
Cleburne, Stone, Baxter
Arkansas Highway System
Suffixed
← AR 262 AR 264 →
Highway 263 (AR 263, Ark. 263, and Hwy. 263) is a north–south state highway in the Arkansas Ozark Mountains. A low-volume, two-lane road, Highway 263 connects several rural unincorporated communities to the state highway system. The highway was first established on July 10, 1957 in Stone County and extended by the Arkansas State Highway Commission in 1963 and 1965. A second segment was created in Cleburne County in 1963, and the gap was closed between the two segments in 1994. The route is maintained by the Arkansas Department of Transportation (ARDOT).
3 Major intersections
Highway 263 at Rushing
Highway 263 begins in the Lower Boston Mountains, a subset of the Ozark Mountains ecoregion, and winds north to the Dissected Springfield Plateau-Elk River Hills within the Ozark Highlands.[3]
The highway begins at Highway 92 approximately 3 miles (4.8 km) northeast of Greers Ferry, a small city on Greers Ferry Lake in northern Cleburne County. Highway 263 runs north, crossing the Devil's Fork of the Little Red River and passing through the sparsely populated wooded hills of the Boston Mountains. The highway passes through the National Register of Historic Places-listed Woodrow Store[4] in the unincorporated community of Woodrow before intersecting Highway 225 in Prim.[5] Continuing north into Stone County, the highway winds west through forested hills along the northern edge of the Cherokee Wildlife Management Area (WMA)[6] and the community of Parma before forming a concurrency with Highway 9 through Rushing. West of this overlap, Highway 263 turns northward, continuing through rural areas and small communities Fox and Mozart toward a concurrency with Highway 66 at Timbo.[7]
Turning north from Timbo, Highway 263 continues through sparsely populated rural areas. Beginning at Onia, the highway serves as the southwestern limits of the Sylamore WMA,[8] while also passing another segment of the Cherokee WMA on the highway's western side.[9] The highway enters the southern corner of Baxter County, terminating at Highway 14 in the small town of Big Flat.[10]
The ARDOT maintains Highway 263 like all other parts of the state highway system. As a part of these responsibilities, the Department tracks the volume of traffic using its roads in surveys using a metric called average annual daily traffic (AADT). ARDOT estimates the traffic level for a segment of roadway for any average day of the year in these surveys. As of 2017, the peak AADT on the highway (excluding concurrencies) was 710 vehicles per day (VPD) north of Timbo. All remaining segments were below 700 VPD, dropping below 400 VPD in some segments.[11] For reference, the American Association of State Highway and Transportation Officials (AASHTO), classifies roads with fewer than 400 vehicles per day as a very low volume local road.
No segment of Highway 263 has been listed as part of the National Highway System,[2] a network of roads important to the nation's economy, defense, and mobility.[12]
The Arkansas General Assembly passed the Act 148 of 1957, the Milum Road Act, creating 10–12 miles (16–19 km) of new state highways in each county.[13] Highway 263 was created by the Arkansas State Highway Commission between Rushing and Timbo on July 10, 1957.[1] During another period of highway system expansion in 1963, the highway was extended north from Timbo through Onia, and a second segment was created from Brownsville to the Cleburne-Stone county line.[14] It was extended north to Big Flat on June 23, 1965.[15]
Highway 263 would remain unchanged for 30 years, until a study was requested by the Stone County Judge and various members of the Arkansas General Assembly to consider closing the gap between the two segments by adopting Stone County Road 18 (CR 18) into the state highway system in 1993.[16] The study recommended taking CR 18 into the state highway system and upgrading it to state highway standards, finding that "due to recent transfers of state highway mileage to counties and cities in the region, no increase in total state highway mileage or increase in financial obligation will be incurred by this addition". The Highway Commission accepted the transfer on April 28, 1994.[17]
Major intersections[edit]
Mile markers reset at some concurrencies.
Cleburne
0.00 AR 92 – Greers Ferry, Drasco Southern terminus
2.90 Bridge over Devils Fork, Little Red River
12.55 AR 225 south AR 225 northern terminus
Stone Rushing
31.82 AR 9 – Mountain View, Shirley officially designated exception
0.00 AR 66 – Mountain View, Alco, Leslie
Baxter Big Flat
19.01 AR 14 Northern terminus
Concurrency terminus
Arkansas portal
U.S. Roads portal
List of state highways in Arkansas
^ a b "Minutes of the Meeting of the Arkansas State Highway Commission" (PDF). Little Rock: Arkansas State Highway Commission. 1953–1969. p. 1795. OCLC 21798861. Retrieved February 17, 2019.
^ a b c System Information and Research Division (2015). "Arkansas Road Log Database" (MDB). Arkansas State Highway and Transportation Department. Retrieved March 27, 2016.
^ This article incorporates public domain material from the United States Environmental Protection Agency document "US Level IV Ecoregions shapefile with state boundaries (SHP file)". Retrieved on January 18, 2018.
^ National Park Service (November 2, 2013). "National Register Information System – Woodrow Store (#00001592)". National Register of Historic Places. National Park Service. Retrieved February 10, 2019.
^ Transportation Planning and Policy Division (November 19, 2014). General Highway Map, Cleburne County, Arkansas (PDF) (Map). 1:62,500. Little Rock: Arkansas State Highway and Transportation Department. OCLC 910671512. Retrieved February 10, 2019.
^ GIS Division (January 30, 2019). "1:63000" (Map). Cherokee WMA (PDF). Little Rock: Arkansas Game and Fish Commission. Retrieved February 10, 2019.
^ Transportation Planning and Policy Division (October 6, 2016) [October 31, 2001]. General Highway Map, Stone County, Arkansas (PDF) (Map) (Revised ed.). 1:62,500. Little Rock: Arkansas State Highway and Transportation Department. OCLC 910671512. Retrieved February 10, 2019.
^ GIS Division (January 22, 2019). "1:75000" (Map). Sylamore WMA (PDF). Little Rock: Arkansas Game and Fish Commission. Retrieved February 16, 2019.
^ "1:63000" (Map). Cherokee WMA (PDF). Arkansas Game and Fish Commission. January 30, 2019. Retrieved February 10, 2019.
^ Transportation Planning and Policy Division (December 28, 2016) [May 30, 2002]. General Highway Map, Baxter County, Arkansas (PDF) (Map) (Revised ed.). 1:62,500. Little Rock: Arkansas State Highway and Transportation Department. OCLC 909039471. Retrieved February 16, 2019.
^ System Information & Research Division (2017). Annual Average Daily Traffic Estimates (GIS Map) (Map). Various. Arkansas Department of Transportation. Retrieved February 9, 2019.
^ Natzke, Stefan; Neathery, Mike & Adderly, Kevin (June 29, 2017). "What is the National Highway System?". National Highway System. Federal Highway Administration. Retrieved July 15, 2018.
^ Planning and Research Division, Policy Analysis Section (2010). Development of Highway and Transportation Legislation in Arkansas (PDF). A Review of the Acts Relative to Administering and Financing Highways and Transportation in Arkansas. Little Rock: Arkansas State Highway and Transportation Department. p. 13. Retrieved July 11, 2017.
^ "Minutes" & 1953–69, pp. 913-918.
^ "Minutes of the Meeting of the Arkansas State Highway Commission" (PDF). Little Rock: Arkansas State Highway Commission. 1990–1999. p. 418. OCLC 21798861. Retrieved February 17, 2019.
^ "Minutes" & 1953–69, p. 511.
Template:Attached KML/Arkansas Highway 263
Media related to Arkansas Highway 263 at Wikimedia Commons
Retrieved from "https://en.wikipedia.org/w/index.php?title=Arkansas_Highway_263&oldid=883765767"
State highways in Arkansas
Transportation in Cleburne County, Arkansas
Transportation in Stone County, Arkansas
Transportation in Baxter County, Arkansas
Wikipedia articles incorporating text from the United States Environmental Protection Agency


M. Joann Moretz - Canterbury House Publishing, Ltd.
M. Joann Moretz, a native of Watauga County, North Carolina, holds childhood Christmas memories of the family kitchen or occasionally the backyard shed being turned into a workshop for her mother's wreath making. Her grandmother Sarah, older sister Brenda, and other family members also learned the craft of wreath making as did many Appalachian Mountain women.
Joann worked in collaboration with author Julia Taylor Ebel on Mama's Wreaths due for release in September 2011.


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River Clyde
Last Azamara cruise ship departs Glasgow tonight after over a year docked on the River Clyde
The Azamara Journey will bid its farewell to the city at around 11.30pm this evening - it's been docked on the Clyde since June 2020 alongside sister ships the Pursuit and Quest.
Gary ArmstrongJournalist
The Azamara Journey (right) is the last of the three ships to depart Glasgow after over a year in the city (Image: Reach Plc)
The last of three huge cruise ships docked in Glasgow amid the pandemic is set to depart the city later this evening.
Azamara Journey is due to set sail along the River Clyde at around 11.30pm after months berthed at the King George V dock near Braehead.
Tug boats have already been spotted on the river as they prepare to guide the huge liner out of the city.
Local residents braved the wet weather to wish farewell to the Azamara Pursuit on Saturday morning, following the departure of sister ship Azamara Quest at the end of July.
The Azamara Journey was last of the three ships to arrive in Glasgow over a year ago on June 24, 2020. As we reported back then, hundreds gathered on the banks of the River Clyde at Renfrew to greet the ship as it pulled in to berth at Shieldhall.
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And in June of this year, Captain of the Journey, Gianmario Sanguineti, described Glasgow as the 'friendliest city' he's ever been to, after he and fellow crew members spent months in the city amid the coronavirus crisis.
Due to the suspension of the cruise industry as a result of the pandemic, cruise lines were required to moor vessels in ports worldwide.
And with UK ports berthing cruise vessels on a temporary basis, including at Rosyth, Tilbury, Bristol and Southampton, Glasgow was chosen as the location to moor the Azamara fleet - which have all had skeleton crews of around 40 crew members on board.
Do you have any videos or pictures of the ships you'd like to share with us? Send them in to news@glasgowlive.co.uk
Captain of cruise ship stranded on River Clyde calls Glasgow the 'friendliest city' he's ever been to
Azamara Journey cruise ship arrives in Glasgow this afternoon


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Kevin Hart opens up about the birth of his fourth child and why he won't have another
Kevin Hart has made an appearance on The Ellen DeGeneres Show to chat about family.
The comedian welcomed his fourth child, a little girl called Kaori Mai, with his wife Eniko Parrish in September last year. During the chat the star admitted that after having kids in the past, he was a bit "jaded" about the experience.
Ellen DeGeneres asked if this time in the delivery room was any different, Hart joked that it wasn't.
Kevin Hart makes an appearance on Ellen DeGeneres. (Nine)
"Am I jaded? Yes," he responded as DeGeneres and the audience laughed.
The 47-year-actor went on to describe that on the day he was definitely cool, calm and collected — due to having done it several times before.
RELATED: Political commentator Van Jones discusses Kim Kardashian's future as a lawyer
"'It's a baby girl? Cool, where's she at? Let me see her. Aight, there she go. Can we wrap her up? Do we leave today? What do we have to do? Honey, what do your legs feel like? You walking or no?'" Hart recalled.
"At this point, all of the panic that goes into it is gone. I've been there, I've done it, I've seen it."
The actor recently welcomed his fourth child. (Nine)
But while he may have been pretty chill about the experience, he did realise that he couldn't give off the air that he was uncaring to the doctors or hospital support staff.
RELATED: Seth Meyers reveals the bizarre stories behind the birth of his children
"You gotta be careful to not be too relaxed cause it can come off weird to some of the people in the room, like some of the nurses and the doctors around," he said.
Kevin Hart and wife Eniko Hart. (Instagram)
Kaori is the second child for Hart and Eniko, and he's not planning on growing their brood any further.
RELATED: Ellie Kemper impresses Ellen with hilarious British accent
"You know, if I could Ellen, I would throw these balls in the trash. I don't want them," he joked.
"I don't want no more babies. It's not up to me. I'd take these balls and throw them on the roof if I could."
And why is Hart so happy to part with his reproductive organs? He just wants some peace and quiet.
"I don't need anymore activity in my house," Hart explained to DeGeneres.
"If I could say respectfully, in the nicest way, I think that our family is fine the way it is. I don't think we need anymore additions, personally."
Auto news: 2022 Maserati SUV lineup due by the end of the year - drive.com.au


<2004> Jun. Jul. Aug. Sep. Oct. Nov. Dec.
<2005> Jan. Feb. Mar. Apr. May Jun. Jul. Aug. Sep. Oct. Nov. Dec.
<2006> Jan. Feb. Mar. Apr. May Jun. Jul. Aug. Sep. Oct. Nov. Dec.
<2007> Jan. Feb. Mar. Apr. May Jun. Jul. Aug. Sep. Oct. Nov. Dec.
<2008> Jan. Feb. Mar. Apr. May Jun. Jul. Aug. Sep. Oct. Nov. Dec.
<2009> Jan. Feb. Mar. Apr. May Jun. Jul. Aug. Sep. Oct. Nov. Dec.


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Q: Echo the basename in shell I have a path to the directory and I need to extract the filename out of it so that I can use further in the shell script.
#!/bin/sh
dir=/var/tmp/file1
fname= basename $dir
echo $fname
echo "The script executes:" $fname
echo $fname

Here the fname gets printed only once. In all other cases, it comes as blank.
Where is it that I am going wrong?

A: This below is working.
#!/bin/sh
dir=/var/tmp/file1
fname=`basename $dir`
echo $fname
echo "The script executes:" $fname
echo $fname

output $: ./tt.sh
file1
The script executes: file1
file1

A: Some more points to add on top the above answers.
If u want only the filename without any extensions
use below command
basename filename.type .type

redpajama_set_name: RedPajamaStackExchange


If you wish to show your love for your country'ss armed forces in a stylish manner then you can sew or iron on your patriotism using an embroidered military badge www.dogbadge.com. These badges offer visually incredible images of emblems or insignias of varied regiments of the armed forces that could show your support for the defense force and even turn any drab part of clothing right into a wearable piece of art.
These badges display a military theme that contains names of varied regiments, their motto along with their logo or insignia, which could really look cool when attached to any item of clothing. One example is, an air force badge might showcase a parachute with the name of the regiment as well as their motto mentioned below. Similarly an army badge might feature an embroidered photo of a rifle or machine-gun along with their motto. You could search through thousands of military badges which feature guns, tanks, warships, helmets, lions, crowns, etc that form a part of any regiment.
You may acquire metal badges that could be affixed in your cap however if you intend to fix any badge or patch to your t-shirt, jacket or any other part of clothing then an embroidered badge is the ideal. These colorful badges give you a 3 dimensional effect that is sure to catch the eye of a typical viewer in an instant and display your passion for your country or whatever relates to the defense force. In case you also love your pet dog then you can now extend the military theme to your four-legged friend too by fixing such badges on dog clothing as well.
You can now find attractive dog badges or dog patches that sport a military theme from many top online stores and get them delivered straight to your home by a few clicks of the mouse button. It is possible to choose from several stunning iron on badges or sew patches depending on whether you intend to connect them on regular clothing or on nylon cloth. Should you have a service dog then you can certainly also order for a service dog badge and then attach a military badge close to that badge against your dog'ss vest or other part of dog cloth like a dog t-shirt.
You can easily iron on or sew on a badge with a military insignia to turn that bland part of clothing to a colorful and attractive part of flexible art. The complete process takes only a few minutes if you have to iron on that badge as well as a bit more time if you have to sew on the patch upon 100% nylon cloth. You may as well order for various types of badges that sport military insignias and turn to a badge collector. It's easy to complement with other like-minded collectors and appreciate each other'ss badge collection, and can also exchange these badges to help keep on increasing your love for such badges. In addition, your pet dog can display his or her affiliation towards your country by sporting embroidery badges or patches with a military theme.
You've got a wonderful chance of combining your love for your country together with love for your dog by proudly displaying a badge of your army in your proud chest. Your pet dog can also continue that theme once you sew or iron on your patriotism using an embroidered military badge on an appropriate item of dog clothing.


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On Saturday January 14th, 2023 at approximately 8:26 a.m., Pierce County Sheriff's Office was notified of a subject that was struck and injured by falling haybales on Cty Tk S near 530th Ave, in Rock Elm Township.
It was determined a 1998 Peterbuilt tractor trailer operated by Raymond Leffingwell, 66 years old from Elmwood WI, was delivering haybales at a farm when a load of haybales shifted and fell off a 2009 Load King flatbed trailer. The haybales struck John Robey, 60 years old from Elmwood, WI.
Mr. Robey was transported from the scene to Western Wisconsin Health in Baldwin, WI by the Elmwood Ambulance Service where he was pronounced deceased. Mr. Leffingwell was not injured in the accident.
Pierce County Sheriff's Office was assisted on scene by Elmwood Ambulance Service, Elmwood Fire Department and Baldwin Ambulance Service.
Pierce County Sheriff's Office
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Future Residents
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Office Hours: 9am to 4:30pm Monday - Friday. Closed for lunch 12pm-12:30pm
Picture of Sun Dial bridge located in Redding, CA, By Inder Wadhwa
© 2019 Real Property Management, Inc.


A recognized degree or three year post secondary diploma from an accredited institution in Biotechnology, Biology, or a closely related field.
Applicants will be invited to attend an orientation session where they will complete the Pre-Admissions English test, logic test and applicant profile.
Applicants are ranked based on the strength of their Pre-Admissions English test, logic test and applicant profile.
Previous exposure to computer programming/coding.


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Das Haus Heineken in Bremen - Mitte, Sandstraße 3, direkt neben dem Bremer Dom, gehört zu den letzten altbremischen Bürgerhäusern mit spätgotischer Bausubstanz und besitzt die älteste erhaltene bemalte Holzdecke in Bremen.

Das Gebäude steht seit 1917/1973 unter Bremischen Denkmalschutz.

Geschichte

Der Bremer Bürgermeister Christian Abraham Heineken (1752–1818) war der bekannteste Bewohner des Hauses Sandstraße 3. Nach ihm wurde im Volksmund das Gebäude als Haus Heineken bekannt. Aber er war nicht der erste Bewohner dieser in seinen älteren Teilen noch erhaltenen einstigen Domkapitelskurie, deren erste urkundliche Erwähnung aus dem Jahr 1744 stammt. Die Zeit davor ist nur sehr lückenhaft dokumentiert.

Nach einer einst am Haus angebrachten und überlieferten Inschrift hat der erzbischöfliche Kanzler Gideon Eggeling 1579 eine gründliche Instandsetzung und Erweiterung des verfallenen Giebelhauses vorgenommen. Nicht bekannt ist, ob er die neuen Räumlichkeiten dann selbst bezog oder nur als Auftraggeber des nunmehr evangelischen Domkapitels fungierte.

Ein weiterer Bewohner soll nach einer Notiz des Archivars Hermann Post (1693–1762) der Schwede Georg Bernhard von Engelbrechten († 1730) gewesen sein, der Kanzler für Bremen und Verden für den schwedischen König war und dessen Sarkophag – eine Arbeit des Bremer Bildhauers Theophil Frese (1696–1763) – heute im Bleikeller steht.

In der Urkunde von 1744 wird als Vorbewohner des Hauses ein Mitglied der Familie von Galen genannt. Die Brüder Jost (Jodochus) und Dietrich (Theodorus) von Galen waren zwischen 1570 bzw. 1561 und 1601/1602 Domherren in Bremen. Ihr gemeinsames Epitaph befindet sich im Dom an einem Pfeiler des Mittelschiffs gegenüber der Kanzel. Direkte Nachkommen der Brüder lassen sich zwar nicht durch Quellen belegen, aber in den Kirchenbüchern von St. Ansgarii und des St.-Petri-Doms sind unter Beerdigungen bis 1748 mehrere von Galens festzustellen. Möglicherweise waren also die 1744 erwähnten Bewohner der Sandstraße 3 Nachfahren dieser beiden Domherren.

Durch schriftliche Dokumente gesicherte Kenntnisse über die Bewohner des Hauses finden sich im Bremer Staatsarchiv erst für den Anfang des 18. Jahrhunderts. Sie belegen 1744 den Verkauf des Anwesens "Domkapitelskurie Nr. 30 sowie der beiden dazugehörigen Buden Nr. 28 u. 29" durch die Domstrukturei an den stadtbremischen Syndicus und Kanzleidirektor Everhard Otto (1685–1756).

Der nächste Eigentümer war ab 1759 der Richter und spätere Bürgermeister Diedrich Smidt (1711–1787), ein Onkel zweiten Grades des Bürgermeisters Johann Smidt (1773–1857).

1787 kaufte der Senator und spätere Bürgermeister Christian Abraham Heineken das Haus. Heineken war bereits mit 27 Jahren Ratsherr, ab 1792 bekleidete er das Bürgermeisteramt und ab 1802 war er Ältester Bürgermeister. Über mehrere Jahrzehnte hatten Heineken und seine Nachkommen einen heute ebenfalls noch bekannten Nachbarn in der Sandstraße, den Arzt und Astronom Wilhelm Olbers (1758–1840); sein Haus lag dem Heinekenschen gegenüber.

Die Erben von Senator Friedrich Wilhelm Heineken (1787–1848) und seiner 1865 verstorbenen Witwe Anna Theodora, geb. Oelrichs veräußerten 1897 die Sandstraße 3 an die Firma Heinrich Bremer, Domshof 14. Anhand des Adressbuchs von 1893 wird deutlich, dass die Erben Heineken es zu diesem Zeitpunkt bereits nicht mehr selbst bewohnten. Einer der im Adressbuch genannten Mieter war der bekannte Bremer Architekt Johann Georg Poppe (1837–1915), der hier sein "Bureau" hatte.

1898 ging das Haus an den Verein Vorwärts über. Von diesem kaufte es später die Stadt Bremen.

1917 wurde das Haus von Paul Ludwig Troost ausgestaltet. Nachdem es nicht mehr als Sitz einer großen Familie bewohnt worden war, war das Obergeschoss zu Mietwohnungen umgebaut worden. Im Erdgeschoss hatten Handwerksbetriebe ihr Domizil. So war seit den 1920er Jahren bis kurz vor dem Einzug der Denkmalpflege das Haus in der Sandstraße Sitz der Buchdruckerei Adolf Willers.

Landesamt Für Denkmalpflege
Das Haus beherbergt seit März 1974 das Landesamt für Denkmalpflege Bremen (LfD Bremen). Noch zwei Jahre vorher sollte das Gebäude – obwohl unter Denkmalschutz stehend – abgebrochen und das Areal Wilhadistraße / Violenstraße / Sandstraße mit einem Parkhaus bebaut werden. Zwar war einem Abbruch auch seitens des Denkmalamtes zunächst zugestimmt und ersatzweise ein "Wiederaufbau" der Nr. 3 in Oberneuland vorgeschlagen worden, aber nach erneuten Verhandlungen und mit Rückenstärkung der Bremer Presse setzte die Denkmalpflege sich gegen die Parkhaus-Planung durch. Dabei kamen nicht nur historische und kunsthistorische Argumente zum Tragen – Sandstraße 3 als eines der letzten fünf altbremischen Bürgerhäuser mit spätgotischer Bausubstanz –, sondern auch die mögliche Gefährdung des Domes durch Autoabgase und Erschütterungen.

Mit dem Projekt Revitalisierung Sandstraße wurde nicht nur das Haus Nr. 3 gerettet, auch die Nummern 5, 4, 4A und 2 konnten bleiben. Lediglich das Haus Nr. 1, quer zur Buchtstraße gelegen, war bereits dem Ausbau der Violenstraße gewichen.

Im Januar 1973 erteilte die Bürgerschaft dem Hochgaragenprojekt in der ursprünglich geplanten Form eine Absage. Im März desselben Jahres fiel die Entscheidung über die zukünftigen Nutzer der Sandstraße 3 und es erfolgte die Bereitstellung der nötigen Mittel für erste grundlegende Sanierungsarbeiten.

Das Denkmalamt zog im März 1974 ein, benutzte zunächst die im ersten Bauabschnitt renovierten Räume im vorderen Teil des Hauses. Die beiden zur Violenstraße gelegenen Räume, von denen der untere jahrzehntelang einer Druckerei gedient hatte, blieben aus Geldmangel zunächst im unrenovierten bzw. unrestaurierten Zustand.

Baugeschichte

Baugeschichtlich sind drei Hauptbauabschnitte erkennbar.
Der älteste erhaltene Teil des Hauses ist der von der Sandstraße aus gesehen erste der beiden Kellerräume. Er hat ein einfaches Tonnengewölbe und gehörte wahrscheinlich zu einem sogenannten Steinwerk, dem aufgrund seines Baumaterials feuersicheren Teil eines Fachwerkhauses. In einem solchen Bauteil wurden wertvolle Haushaltsgegenstände und Urkunden aufbewahrt. Bei einer durch Sanierungsarbeiten bedingten Grabung im vorderen Teil des Hauses stieß man nicht nur auf "Abfall" des 18. Jahrhunderts, darunter viele Scherben chinesischen Porzellans, sondern auch auf spätmittelalterliche Mauerreste und Teile einer Pflasterung – möglicherweise gab es an dieser Stelle einmal eine Tordurchfahrt.

Straßenbauarbeiten in der Sandstraße legten ferner 1985 parallel zur Fassade von Nr. 3 verlaufende Reste einer 62,5 cm dicken Mauer aus Klosterformatsteinen frei. Aus all diesen Puzzleteilen lässt sich jedoch kein schlüssiges Bild der ältesten Bauphase erstellen. Wahrscheinlich war es ein mit dem Giebel zur Sandstraße gerichtetes Fachwerkhaus.

1579 erfolgte, wie oben bereits erwähnt, eine gründliche Instandsetzung des Hauses durch den erzbischöflichen Kanzler Gideon Eggeling. Das Haus blieb zur Sandstraße hin giebelständig, wurde aber in Richtung Buchtstraße (heute Violenstraße) um einen großen Raum, einen Festsaal, verlängert. Die Entstehungszeit dieses hinteren Teiles des Hauses untermauert noch eine 1987 vorgenommene dendrochronologische Untersuchung des Alters von Balken des Dachstuhls sowie der Saaldecke. Das Fälldatum der Hölzer liegt zwischen 1576 und 1578. Der jetzt von der Violenstraße aus sichtbare rückwärtige Giebel ist aus dieser Zeit erhalten, ebenfalls der zweite, kreuzgratgewölbte Kellerraum, der ein bemerkenswertes Detail aufweist: Als frühe Form der Isolierung vor eindringender Feuchtigkeit wurden kleine Glasstücke schuppenartig in den Verputz der Wand eingearbeitet. Diese "Sanierungsmaßnahme" ist dem 18. Jahrhundert zuzuschreiben.

Seine heutige Gestalt erhielt das Haus mit dem Umbau nach dem Verkauf an Syndikus Everhard Otto. In dem Vertrag vom 2. Dezember 1744 wurde festgehalten, dass das Fundament des Hauses zu dieser Zeit so zerfallen war, "daß es keiner Haupt-Reparation mehr wert sey und von Grund aus neu aufgeführt werden müsse". Offenbar hat Otto diesen Neubau ausführen lassen, dabei jedoch den hinteren Teil des Hauses lediglich überformt. Das Vorderhaus wurde durch einen jetzt traufenständigen in L-Form an den hinteren Teil anschließenden Neubau ersetzt. Dafür mussten die beiden Buden Nr. 28 u. 29 weichen. Wahrscheinlich war der hintere Teil des Hauses doch nicht so baufällig, wie die Akten aussagen. Jedenfalls blieb er erhalten. Der Festsaal wurde umgestaltet und erhielt eine Rokoko-Stuckdecke. An der rückwärtigen Wand befanden sich eine Ofennische sowie eine dekorative Blindtür. Die heute wieder vorhandenen Fenster zur Violenstraße hatte man vermauert.

Aus der Otto-Zeit hat sich im Erdgeschoss auch noch eine jetzt als Besenkammer genutzte "Butze" erhalten: Ein winziger Raum unterhalb der Treppe ins Obergeschoss, der wahrscheinlich einem Dienstmädchen als Schlafplatz diente. Die Tür ließ sich von innen verriegeln; Reste einer Marmorimitation blieben auf dem Türstock erhalten. Nach dem Vorbild des hier noch vorhandenen originalen Türdrückers wurden "Nachbauten" für andere Türen des Hauses angefertigt.

Bestandteil des Anwesens war ferner eine barocke Gartenanlage, deren Grundstruktur zunächst von der Denkmalpflege durch die Form der Hofpflasterung erkennbar gemacht worden war. Der später doch noch in kleinerer Form durchgesetzte Bau eines Parkhauses hat deren Spuren dann beseitigt.

Sanierung

Die Sanierung des Gebäudes wurde in drei Bauabschnitten durchgeführt. Der erste Abschnitt 1973/74 umfasste die zur Sandstraße gelegenen vorderen und mittleren Räume und die Dielen im Erd- und Obergeschoss des Bauteils von 1745. Während es im Erdgeschoss Türen gab, die der Heineken-Zeit zugeordnet werden können, besaßen die Wohnungen im ersten Stock ein Sammelsurium von Türen der Jahrhundertwende bis zur Nachkriegszeit. Mehrere Türblätter des 18. Jahrhunderts aus Abbrüchen in der Bremer Altstadt standen aus Lagerbeständen des Denkmalamtes zur Verfügung und konnten in das neue Amt eingebaut werden; die zugehörigen Zargen fehlten allerdings.

Der zweite Bauabschnitt umfasste 1979 die Sanierung der beiden hinteren Räume. Für eine statische Untersuchung wurde im Erdgeschoss die zu diesem Zeitpunkt bereits schwer beschädigte Rokoko-Stuckdecke aus der zweiten Hälfte des 18. Jahrhunderts (Umbau E. Otto) geöffnet und dabei eine äußerst detailreiche Deckenbemalung aus der Renaissancezeit entdeckt. Daraufhin wurden die erhaltenen Teile der schadhaften Stuckdecke gesichert und abgenommen um sie auf den Raum darüber zu übertragen. Hierbei fanden sich über einer farbig gefassten hölzernen Sockelverkleidung Überbleibsel einzelne Fäden, die vermutlich von einer ornamental gestalteten Rupfenbespannung stammten. Mit der Freilegung der Decke von 1580 wurden dann auch Planungen verworfen, das Haus an der Rückfront im Erdgeschoss um eine Achse zu verkürzen und mit einer Arkade für Fußgänger der geänderten Verkehrsführung der Violenstraße anzupassen.

Im Zuge eines dritten, über einen längeren Zeitraum verteilten Abschnitts wurden Fußböden im Erdgeschoss saniert sowie das Mauerwerk, besonders das Kellermauerwerk, das Hauptgesims, das Dachwerk und zuletzt die Gewände von zwei Renaissancefenstern instand gesetzt. Auf die Erneuerung von zwei Gauben, die bei Reparaturen nach dem Krieg aufgegeben worden waren, musste verzichtet werden. Der früher nicht freistehende Giebel zur Violenstraße wurde bewusst in seinem Rohzustand belassen.

Deckenbilder

Bei der mit 1580 datierten Malerei handelt es sich um die älteste erhaltene bemalte Holzdecke Bremens. Sie ist älter als die beiden Renaissance-Decken im Haus Blomendal und wesentlich älter als die Decke der oberen Rathaushalle von 1612. Der Leimfarbenauftrag wurde auf ungrundierten Eichenbalken und Nadelholzdielen aufgebracht.

In hervorragendem Erhaltungszustand zeigt die Deckenmalerei fünfzehn Medaillons mit zeittypischen allegorischen Darstellungen, eingerahmt von Beschlag- und Rollwerk, Akanthusranken und Tieren. Die Themen der Allegorien, von Frauenfiguren verkörpert, sind die fünf Sinne, die sieben Kardinaltugenden und zwei der sieben freien Künste. Aus dem Rahmen fällt das fünfzehnte Medaillon, hier spielt ein Mann Dudelsack – vielleicht ein Hinweis darauf, dass der Raum als Festsaal genutzt wurde. Eines der Medaillons enthält die Datierung der Malerei: die Jahreszahl 1580. Zu dieser Deckenfassung gehörte eine malerische, dekorative Wandgestaltung, von der aber nur noch ein kleiner Rest erhalten ist.

Ausführung

Den ehemaligen zu ebener Erde gelegenen Gartensaal durchziehen sechs große Deckenbalken, die fünf über den ganzen Raum sich erstreckende Felder mit den Hauptteilen der Malerei bilden. Die Bemalung der neu gefundenen Decke ist weitgehend erhalten und in Qualität und Reichtum ihres ikonographischen Programmes in Bremen bei vergleichbaren Deckenbemalungen bisher nicht anzutreffen. Bis auf kleine Schäden, bei denen der Malgrund vom Holz abgeplatzt ist, ist die Malerei erstaunlich gut erhalten, was auch dem Umstand zu verdanken ist, dass die über 400 Jahre alte Decke über mehr als die Hälfte dieser Zeit gut geschützt war.

Die durch die Balken gebildeten Bildstreifen sind durch gemaltes Beschlagwerk gegliedert, das in der Mitte ein rhombisches Bildfeld und seitlich davon je eine ovale Kartusche umschließt. In jedem Feld wird eine Figur mit ihren Attributen vor einer Landschaft gezeigt. Alle Balken sind ebenfalls mit Beschlagwerk bemalt, das abwechselnd ovale und rhombische Felder bildet. Die zwischen dem Beschlagwerk freibleibenden Flächen sind mit Pflanzenornamenten gefüllt. Die Farbigkeit konzentriert sich auf Erdfarben, auf einen heute etwas blass wirkenden ockergelben Ton, der ursprünglich sicher wie Gold gewirkt hat. Figuren und Landschaft in den Bildkartuschen sind mit Schwarz und ein wenig Braun gemalt und mit Weiß gehöht. Auf den Balken ist der Hintergrund zwischen dem Beschlagwerk schwarz, das Rankenornament darauf weiß.

Die Bilder kennzeichnet ein feiner Pinselstrich, das Ornament dagegen ist lockerer, mit breiterem Pinsel und kräftigerem Schwung hingesetzt. Das schwach plastische Ornament des Beschlagwerkes läuft in aufgerollten Bandenden aus, dem sogenannten Rollwerk. Diese aus der Schmiedekunst übernommenen Formen wurden vor allem seit der 2. Hälfte des 16. Jahrhunderts besonders beliebt. Durch den Ornamentstich der Vorlagenbücher, vor allem der Niederländer wie Cornelis Floris, Cornelis Bos oder Hans Vredeman de Vries, wurden Beschlag- und Rollwerk sowie die Groteske schnell verbreitet und allgemein beliebt.

Allegorien

Die ikonografische Bedeutung der einzelnen Bildfelder erschließt sich aus den dargestellten Figuren und ihren Attributen. Es sind fast ausschließlich Frauen. Sie verkörpern Allegorien, symbolische Personifikationen menschlicher Tätigkeiten und Verhaltensweisen. Sieben Bildkartuschen stellen die Kardinaltugenden dar, zwei weitere sind den sieben freien Künsten zugehörig. Bis auf die "Rhetorik" sitzen alle Frauen auf einer Art Bühne in einem offenen Raum, im Hintergrund eine Landschaft. Ihre Betonung verweist auf niederländischen Einfluss. Auf fünf weiteren Bildmedaillons mit einer Fülle von Attributen sind Tiere dargestellt. Diese Allegorien verkörpern die fünf menschlichen Sinne, ein Thema, das um 1580 in der Kunst als noch sehr neu anzusehen ist.

Das letzte Bild mit dem Dudelsack spielenden Mann fällt etwas aus dem Rahmen der Gemäldefolge. Als einzige männliche Figur ist sie, da sie stehend dargestellt ist, auch kleiner als die anderen Sitzenden. Ihre Bedeutung könnte auf die Allegorie der "Musik" oder des "Tanzes" ("Chorus" – Rundtanz, Reigen) hinweisen. Das Motiv geht auf einen Stich von Albrecht Dürer (1514) zurück, was lange Zeit nicht bekannt war.

Die ikonologische Bedeutung des ornamentalen Umfeldes der Bildkartuschen verweist mit den Fruchtgehängen auf Christus und die Tugenden. Sie werden zum Beispiel an der Kanzel der Ansgarikirche, die 1592 Hermen Wulff schuf, unterhalb der Tugendallegorien angebracht. Hier rahmen sie die geistlichen Kardinaltugenden. Der Affe ist dagegen das Symbol des Bösen und des Lasters, er verweist auf die Sündhaftigkeit des Menschen und die Fehlerhaftigkeit seiner Taten. Der Hund ist meist auch ein negatives Symbol, mit dem Unzüchtige, Mörder und andere Übeltäter verglichen werden, die nicht ins Paradies aufgenommen werden. Bei der Figur mit dem Hund auf dem Schoß symbolisiert er "Treue".

Auftraggeber und Künstler

Über den Besitzer des zum Domstift gehörenden Hauses, den Auftraggeber der Malerei oder auch die Nutzung des Saales ist bis jetzt nichts bekannt. Dass aus den Allegorien der freien Künste gerade "Rhetorik" und "Dialektik" ausgewählt wurden, könnte auf einen Geistlichen weisen.

Unbekannt ist auch der Künstler. Zu der Zeit lagen Kunst und Handwerk in Bremen noch ausschließlich in einer Hand, zumindest jedoch in einer Werkstatt. So verstand man sich, wie auch die Steinhauer und "Snitker" (Tischler), in erster Linie als Handwerker. Die haben, solange sie sich nicht ausgesprochen als Künstler fühlten, ihre Arbeiten in den seltensten Fällen signiert.

Einzelnachweise

Literatur

 Detlev G. Gross  und Peter Ulrich: Bremer Häuser erzählen Geschichte. Döll Edition, 3. Auflage 1998, ISBN 3888082455
 Staatsarchiv Bremen (Hrsg.): Bremisches Jahrbuch. Selbstverlag des Staatsarchivs Bremen, Band 57, 1979,
 Hans-Christoph Hoffmann: ERFORSCHEN · PFLEGEN · SCHÜTZEN · ERHALTEN. Ein Vierteljahrhundert Denkmalpflege in der Freien Hansestadt Bremen. Ein Rückblick. Hauschild Verlag, Bremen, 1998, ISBN 393178567X

Weblinks

 www.denkmalpflege.bremen.de

Baudenkmal in Bremen
Mitte (Bremen)