#Horn Hong & Co.
Photo
Untitled Chinatown street, c. 1898. (Photograph by Oscar Maurer (from the collection of the Oakland Museum of California, Museum Income Purchase Fund). The men seen in Maurer’s photo are standing on the landing of the stairs to 116 – 118 Waverly Place. Occupying a lot on the east side of the small street (and across from the Tin How temple and the headquarters and shrine of the Ning Yung district association), the building served as a boarding house.
Locating Oscar Mauer on Waverly Place (with a little help from D.H. Wulzen and the Goldsmith Bros.)
The Great Earthquake and Fire of 1906 obliterated San Francisco Chinatown so thoroughly that identifying the subject matter depicted by the scant photographic record of the community necessarily relies on chance and coincidence, and it often ends in futility. Not surprisingly, the untitled photo by Oscar Maurer taken in the late 1890s has eluded clarification by researchers of old Chinatown for decades.
Maurer migrated from his native New York City to study at the University of California at Berkeley and thereafter opened a photography studio in San Francisco. According to the Getty Museum, he became an associate member of Alfred Stieglitz's Photo-Secession and the first California-based photographer to achieve national prominence. “The only entrant from California in the first Chicago Camera Club Salon of 1900, Maurer received critical acclaim for his atmospheric landscape photograph The Storm. Encouraged by this success, he helped establish the first San Francisco Salon, held at the Mark Hopkins Institute of Art in 1901. Maurer regularly contributed his Pictorialist landscape photographs to Camera Craft, the journal of the California Camera Club, and to Camera Work, Stieglitz's influential publication.
As was the case of most of his fellow photographers in San Francisco (such as his colleague and collaborator, Arnold Genthe), Maurer lost his studio and its contents in the earthquake and fire. Although he reopened his studio in Berkeley, where he remained for the rest of his life, his photographs of old Chinatown remain very rare.
“Group of Highbinders Discussion a Late Proclamation, c. 1900. Photograph by Oscar Maurer (from the collection of the Bancroft Library).
“San Francisco, 1906” Photograph by Oscar Maurer (from the collection of the Oakland Museum of California)
“San Francisco, 1906” Photograph by Oscar Maurer (courtesy of John Aronovici)
Fortunately for the researchers of old Chinatown, Maurer captured two crucial pieces of signage in his 1898 photograph that help in identifying the precise location in Chinatown of the buildings. The first example can be seen in the vertical sign appearing at the left of the frame, containing the characters 致和堂參茸藥材 (lit.: “Gee Wo Ginseng Medicinal Herbs;” canto: “gee wo tong sum yung yeuk choy;” pinyin: “Zhì hé táng cān rōng yàocái”). The Horn Hong & co. Chinese business directory and lunar calendar for 1892 shows the Gee Wo Tong company located at 124 Waverly Place.
Detail from the Horn Hong & Co. Chinese directory for 1892 for the Gee Wong Tong company.
By the publication of the 1895 Langley directory the Gee Tau Hong & Co. and Gee Wo Tong & Co. shared the premises at 124 Waverly Place. The 1905 Sanborn map for this Chinatown street confirmed the presence of, and use of the property by, the Chinese herbalists. Having established the street on which the herbalists operated, the location of the basement eatery whose entrance signage can be seen in the center can be located with equal precision.
Moreover, by comparing Maurer’s photo with one by D.H. Wulzen of the same basement entrance, the full tradename of the eatery can be discerned as “Wah Ying Lung” 華英隆(canto: ��wah ying loong”), a name which could also constitute literal shorthand for Chinese/English (or Chinese American). When viewed together, Mauer’s photo corroborates the partially-obscured address plate in the Wulzen photo as located at 120 Waverly Place.
Restaurant worker returning from a delivery to a basement eatery, c. 1900. Photograph by D. H. Wulzen (from the D.H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library). The last two digits of the address at 120 Waverly Place can be seen over the door to the basement entrance. The right portion of the sign advertises literally seasonal, i.e., 時款 (canto: “see foon”) food.
Two boys play near the sign of the basement eatery “Wah Ying Lung” 華英隆(canto: “wah ying loong”), c. pre-1900. Photograph by the Goldsmith Bros. (from a private collection).
Having established the address of the Wah Ying basement eatery at 120 Waverly Place, the men seen in Maurer’s photo are standing on the landing of the stairs to 116 – 118 Waverly Place. Occupying a lot on the east side of the small street, and across from the Tin How temple and the headquarters and shrine of the Ning Yung district association, the building served as a boarding house. The 1905 Sanborn map confirmed its use as “lodgings.”
Detail showing Waverly Place in San Francisco Chinatown from the 1905 Sanborn Insurance Map (Vol. 1, Page 39-40) of San Francisco, prepared by the Sanborn-Perris Map Company, Limited, of New York.
A detail from “Waverly Place - April 9, 1900” Photograph by D. H. Wulzen (from the D. H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library). This close-up looks north on Waverly Place from the intersection with Clay Street. Magnification of the center portion of the image shows the building elevation, the partial signage for the basement entrance to the Wah Ying eatery, and the stairs on which the trio of Chinese men stood for Oscar Maurer’s photo.
Thanks to the photographers of pre-1906 Chinatown such as Oscar Maurer, D.H. Wulzen, and the Goldsmith brothers, determined researchers can view the visual legacy of the Pictorialists and expand the public’s understanding of the gone world of old Chinatown.
[updated 2024-3-11]
#Oscar Maurer#Waverly Place#Gee Wo Tong & Co.#Wah Ying restaurant#D.H. Wulzen#Horn Hong & Co.#Goldsmith Bros.
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THE SIGN – CULTURAL REFERENCES, MYTHOLOGY AND META
This post comes on the heels of the one by @respectthepetty about mythology and meta of The Sign, linked here. 😍👍 If you've not read it yet, I recommend you do before watching any more of this series, because it will help things make more sense (especially if you're not familiar with some of the cultural references thrumming in the background).
Anyway, I'd previously done some research on the legend(s) of the Garuda and the Naga in Southeast Asia, and so I'm writing this post to share what I've found because it does have relevance to at least some of what we're seeing onscreen in The Sign, and elaborates on @respectthepetty's post.
The Garuda and the Naga are mythical beings with origins in Indian mythology that have been transposed into cultures across Southeast Asia.
In Hinduism, Garuda is a single deity, depicted in either full-bird form or part-bird and part-human, and is the king of birds and also a divine sun-bird (with physical attributes similar to an eagle's). His elder brother, Aruna, is the chariot driver for Surya the sun-god, while Garuda himself is the mount of Vishnu.
In Buddhist mythology, the garudas (sometimes also spelt garulas) are a society and race of gigantic predatory birds, sometimes also depicted as part-human in form. The garudas are intelligent, social and blessed with might and magical powers.
Thailand may be predominantly Buddhist, but it has also been strongly influenced by ancient Indian culture and Hinduism, and thus both the concept of a single deity Garuda and the race of garudas co-exist in Thai mythological beliefs.
The nagas on the other hand, are snake-like or dragon-like creatures, whose realm is the water world. (The word naga is derived from Sanskrit and is also etymologically related to the English word snake.)
In mythology nagas and garudas are perpetual enemies, although neither side is actually identified with good or evil – they are simply two groups eternally at war with each other (so occidental-leaning minds should dispel any preconception that the water serpents are necessarily the bad guys in The Sign, even though the narrative seems to be tilting in that direction).
When borrowed into popular culture (as has been done for The Sign) you may sometimes see influences of Chinese dragon and phoenix mythology (as Chinese cultural influence is also present in Thailand, and the dragon/phoenix motif of Sinitic culture nicely parallels the naga/garuda conflict pairing). And because of Garuda's association with the sun in Hinduism, and a parallel with the fiery phoenix of Western mythology, you may sometimes see garudas portrayed as aligned with the sun and/or flame as well.
There are some hints of these in The Sign. The naga that Phaya encounters while struggling underwater during the open sea training challenge in Ep.1 is very Thai in appearance (especially with the curved, forward-pointing crest, making it look much like the nagas that adorn Thai temple architecture). But the array of pronged, backward-pointing horns and trailing antennae appear to be a design nod at Chinese or Japanese dragons (East Asian dragons are also strongly identified with the watery realm, by the way). And in the graphics of the series (e.g., in the poster at the start of this post), the sky (the realm of Garuda) is suffused with sunlight and speckled with what look like drifting sparks, referencing sun and flame.
Because of the wings tattooed on his back and his time in the air force, Phaya is most likely the reincarnation of a garuda in human form (and this is why he struggled with the water challenge, as he was completely out of his element).
This is also possibly why we see him smoking early on in the series (because of the alignment of Garuda with the element of fire), and significantly he does this while Naga Tharn (irked by Yai's teasing at the dining table) seeks refuge in the washroom (which is ห้องน้ำ/hong naam in Thai, literally water room):
Billy also describes Phaya's character in the promo video for the series (linked here) as being "like fire, always hot and burning... quite hot-headed." 👍
Elsewhere in the same promo video (linked here), Tharn's good friend Chalothon is explicitly identified as the reincarnation of an important naga, which immediately signals that he and Phaya will be at odds in the series:
The water deity that saves Phaya during the open sea challenge – Wansarat, whom he drew in his sketchbook – is not just Freen Sarocha in a fancy scuba suit. 😂
If you look at her arm and hand when she reaches out to save Phaya (before she turns into Tharn) the green scales meld into the skin of her human wrist – they're part of her natural covering, and she's really a nakhee/nagin/nagini, a female naga, appearing in human form to save Phaya.
The narrative has made it strongly obvious that Phaya is a reincarnated garuda, while Tharn is the reincarnation of Wansarat, from the lineage of the nagas. And the teaser-trailer (linked here) tells us that Phaya and Tharn/Wansarat are lovers bound to each other through time:
However, the special promo video (released 24 November 2023) also tells us (in Heng's interview linked here) that Chalothon and Wansarat were lovers in past lives, even while it is Phaya and Wansarat (reincarnated as Tharn) who are paired by fate in The Sign.
And as the nagas and garudas are bitter enemies, the love story between Phaya and Tharn/Wansarat that transcends time and reincarnation cycles is also one that must have been (and will continue to be) forbidden by their respective naga and garuda tribes (especially since Tharn/Wansarat also used to be naga Chalothon's lover), and will undoubtedly be a source of conflict in the series. This is way beyond the Montagues and Capulets! 😍
So with this as the base, I took a look at the characters' names, and those belonging to Phaya, Chalothon, Tharn and Wansarat especially also reflect their garuda/naga origins. 🤩
Phaya's name (พญา) means lord, king or leader. While it can be applied to the nagas (พญานาค/phaya naak refers to the King of the Nagas) it is also used for Garuda (the Thai national symbol) – พญาครุฑ/phaya khroot, or Lord Garuda (and is what his name references in The Sign).
(above) Billy Patchanon as Phaya
Chalothon's name (ชโลทร) is rare, but it is derived from Pali/Sanskrit and means river, sea or body of water, reflecting the watery homeland of his naga persona.
(above) Heng Asavarid as Chalothon
Tharn's name (ธาร) also has a connection to his water-dwelling naga roots. Tharn/ธาร is short for ลำธาร/lam thaan and means stream, brook or creek (and he is thus a naga nong to Chalothon's phi).
(above) Babe Tanatat as Tharn/Wansa
However, Tharn is his chue len. His formal name is Wansa, and is the same Wansa in Wansarat (which the narrative lets us know at Ep.1 [3/4] 9.35).
(above) Freen Sarocha as Wansarat
Now Wansarat is spelt วรรณษารัตน์ in the subtitles (at Ep.1 [3/4] 9.02), and I can't find any translation of it that makes sense in the context of The Sign's world-building.
But Wansarat's name is spelt differently elsewhere on the Internet (on Thai drama websites, and movie databases, etc. like thaimovie.org), and I assume they've all based it on official releases from Idol Factory because the spelling is consistent across these other sources – it's วรรษารัตน์ there.
And Wansa/Wansarat spelt this way also reflects the nagas' dominion over water, because วรรษา/wansa (an archaic word, referenced in an older dictionary but not newer ones) means rain or rainy season (from the Sanskrit varsha) – in Thailand the nagas are also associated with rain control, and prayers are offered to them for timely and abundant rainfall when it is needed. (The -rat part of Wansarat is a feminine ending meaning jewel or gemstone, and may echo with meaning for speakers of Indian and Sri Lankan languages, since it's derived from the Pali/Sanskrit ratna).
Just out of interest (because nobody asked 😂) some of these naga/garuda elements were also present in the early episodes of KinnPorsche – the den of the Theerapanyakuls (nagas, wealthy beings of the underworld) was full of watery elements (e.g., the waterfall, the various pools, and Tankhun's carp – which in Chinese belief are the original, natal form of dragons). The -nak in Kinn's formal first name Anakin (which is not a traditional Thai name) is also a nod at the word naga. Porsche had the tattoo of a fiery phoenix on his back, and was out of his element whenever water was concerned (e.g., his failed pool challenge, the mermaid costume punishment, his misadventure with the sprinkler when he tried to smoke in the store room – water vanquishing the flame). Kinn was unable to make fire when they were trapped in the forest, despite claiming to be friends with the flame, while Porsche could immediately do it.
But I didn't see the KinnPorsche narrative taking the naga/garuda themes much further than these random nods in the earlier episodes. Maybe it did (like Kinn and Porsche could be seen acclimatizing to each other's realms more), but I just couldn't be bothered to look at the show more closely since it didn't really stand up to deeper scrutiny, and after the first few episodes I just went along for the exhilaration of the ride instead. 👍
Anyway, I'm totally bedazzled by the level of world-building going on in The Sign and look forward to more from the series. If the first episode is anything to go by, I think Executive Producer Saint Suppapong may be on to something! 😍
#the sign#the sign the series#mythology#naga#garuda#naga and garuda#thai mythology#thai bl#phayatharn
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Train Battery Market To Undertake Strapping Growth By The End 2033 | FMI
As per the reports published by FMI, the global train battery market is projected to have an average-paced CAGR of 5.0% during the forecast period. The current valuation of the market is US$ 599.1 Mn in 2023. The market value of the train battery market is anticipated to surpass a market valuation of US$ 975.9 Mn by the year 2033. A historical market valuation of US$ 567.9 Mn has been recorded by the analysts of Future Market Insights for the concerned market during the base year.
A train battery is a type of lead-acid battery that is specifically designed for use in trains and locomotives. The battery is used to supply power to the train's electrical systems, including lighting, heating, and cooling, as well as auxiliary equipment such as sanders, horn, and wipers.
Train batteries are typically designed to operate in harsh railway environments and must be able to withstand vibration, shock, and extreme temperatures. They are also designed for high current discharge, which is required for starting the train's engine, as well as for providing backup power in case of a failure in the main electrical system.
Lead-acid batteries are used in train applications because of their reliability, durability, and low cost. They can also be recharged using the train's alternator, making them a convenient power source for train applications.
In addition to providing backup power, train batteries also play an important role in maintaining safety. They are used to power safety systems such as emergency brakes, signaling systems, and communication systems.
Key Takeaways from the Train Battery Market
The train battery market has witnessed an approximate rise of US$ 31.2 Mn from the base year to the current.
The lithium-ion battery segment by battery type category is projected to hold a dominant share of the market. Currently, the segment is advancing at a CAGR of 13.1% in 2023.
The auxiliary battery segment by application type is likely to hold dominant shares and has accounted for a market share of 66.4% in 2022.
The U.S. has emerged as the leading country with a market share of 18.1% in 2023.
The train battery market in Europe is estimated to foster at a moderate pace, registering a CAGR of 3.1% through 2033.
For more Information: https://www.futuremarketinsights.com/reports/train-battery-market
“Latest technology setups and heavy investment for developments in railway infrastructure are likely to curate a favorable market for the growth of the train battery industry.” – Says an FMI Analyst.
Competitive Landscape in the Train Battery Market
The manufacturers in the train battery market are leveraging advancements in technology to launch new and advanced batteries and gain a competitive advantage. These firms are continually investing in research and development activities to keep themselves in tandem with the changing consumer preferences and end-use industry demands. Efforts are being made to comply with the safety regulations in the market and aid the further progression of the train battery market. Thus, the market is likely to witness significant growth through 2033.
HOPPECKE Carl Zoellner & Sohn GmbH (Germany), FENGRI POWER & ELECTRIC CO., LIMITED. (Japan), Power & Industrial Battery Systems GmbH (Germany), Saft2022 (France), SEC Battery (Hong Kong), and Shuangdeng Group Co, Ltd (China) are some of the key companies marking their prominence in the train battery industry.
Recent Developments
In July 2019, the Japan Railway Company made a demonstration for its first fully battery-operated Shinkasen N700S train at a press event.
In September 2018, Canadian transportation organization Bombardier made reintroduction its battery-powered electro-hybrid train named Bombardier Talent 3.
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OT23 MTL likely to have their v card
Most
Jisung - not just cos of his age - he just seems like the sort who’s afraid of getting fans upset. very conscious of keeping the right image. Plus I think he gives off too much nervous energy to pursue someone. If they pursue him he would probably run and hide.
Sungchan - again he’s young, but he also has this air of innocence about him.
Renjun - sure, he rejected the pure boy image. Sure we have seen him dance to 119 and Havana. He’s even tried humping a tree in the chilling vlog. But you can’t fool us mr Huang. You’re still a virgin.
Mark - he’s overworked, I don’t think he has had the time in between being in 4 units including super m. Plus he’s got strong religious beliefs. Might have fooled around but not gone all the way.
Jaemin - putting him here cos he seems to be very guarded and needs to be in an established relationship before going all the way.
Hendery - He seems like he will take his time. Coming from a family with 3 elder sisters he probably keeps a respectful pace in love and relationships and ensures he’s truly committed before going all the way. probably more interested in gaming than sex.
Yangyang - he probably has a lot of knowledge in his head (thanks Wine Aunt!) but there’s also a very shy side to him. Has an air of innocence too.
Haechan - behind the scenes I really think he takes his work very seriously and is focussed on it, and spends his free time gaming. The only reason why I’m putting him here is he strikes me as being a horn dog. Not only that he’s surrounded by more experienced ppl (cough Johnny)
Jeno - I can’t read jeno. I’m only putting him here cos he was brought up Catholic, and says he is now no longer one. As someone who was brought up Catholic and now says she’s no longer one I’m quite sure he’s catching up on meeting his needs. If he isn’t he’s channeling all his energy into working out
Lele - he’s fearless and very free spirited, the sort who will do what he feels like on a whim. That probably includes anything regarding the opposite sex. Importantly he now stays alone with daegal. After he became a legal adult in Korea it was no longer required by law for him to stay with a guardian so mummy Zhong went back to China. This is why of all the Dreamies I have him as the least likely to be one. The only reason why he’s not 100% wilding is because Kun has him on an invisible leash.
Jungwoo and Sicheng - there’s more to these two that meet The Eye. The whole innocent thing is just an act to me at least. Sicheng was popular in school and age of consent in China is 14. Don’t ask me why it’s so Low.
Doyoung - he sings like his pregnant wife ran away with another man there’s no way he’s inexperienced with love. They mostly ended badly though. Lol and I bet his bro isn’t one
Taeyong - as an expert in cancer men (ok 1 cancer man aka my bf) I can tell you they crave relationships and bonding both physically and emotionally.
Taeil and Kun - these dudes are so chill they must be getting sex on the regular.
Xiaojun - he hung out with the theatre crowd before joining SM. China isn’t as conservative as Korea. Go figure.
Shotaro - have you seen his TikToks? Dude knows what he’s doing. Then he joined SM and they sanitised him. Also age of consent in Japan is 13. I kid you not.
Jaehyun - the smirk on his face says it all. He gets regular pussy. And not the same pussy.
Johnny - dude probably lost it even before he landed on Korean soil. Sorry.
Lucas - another one who lost it before landing on Korean soil (Hong Kongs age of consent is 16 by the way) Lucas seems like the type who always needs to have a gf. If he doesn’t have one he’s pretending his phone is his gf. There was this Weibo live where Lucas joked about having a gf and the look on Kun and Sichengs face looked like they were unhappy he let a secret out in the open.
Ten - patron saint of non virgins
Yuta - not a fucking chance in hell.
Least
#nct mtl#nct 127 mtl#nct dream mtl#wayv mtl#nct dream smut#nct smut#nct 127 smut#wayv smut#nct imagines#nct dream imagines#wayv imagines#nct 127 imagines#nct dream#wayv#nct 127
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TOP 2020
25/12/2020
A) Great movies made since 2015 seen for the first time in 2020:
Buoyancy(Freedom;Rodd Rathjen, 2019)
Les choses qu’on dit, les choses qu’on fait(Emmanuel Mouret, 2020)
L’Île au trésor(Guillaume Brac, 2018)
Le Sel des larmes(Philippe Garrel, 2019/20)
Ghawre Bairey Aaj(Home and the World;Aparna Sen, 2019)
Undine(Christian Petzold, 2020)
Happī awā(Happy Hour;Hamaguchi Ryūsuke, 2015)
Netemo Sametemo(Asako I & II;Hamaguchi Ryūsuke, 2018)
Adolescentes(Sébastien Lifshitz, 2013-9/20)
Family Romance, LLC.(Werner Herzog, 2019)
Demain et tous les autres jours(Noémie Lvovsky, 2017)
Gamak Ghar(Achal Mishra, 2019)
Lunana:A Yak in the Classroom(Pawo Choyning Dorji, 2019)
Semina il vento(Sow the Wind;Danilo Caputo, 2020)
Objector(Molly Stuart, 2019)
La France contre les robots(Jean-Marie Straub, 2020)
Paris Calligrammes(Ulrike Ottinger, 2019/20)
Un film dramatique(Éric Baudelaire, 2019)
B) Great movies made before 2015 seen for the first time in 2020:
Là-Haut, un Roi au-dessus des nuages(Pierre Schoendoerffer, 2003)
Pangarap ng Puso(Demons/Whispers of the Demon/Hope of the Heart;Mario O’Hara, 2000)
Les Films rêvés(Eric Pauwels, 2009)
La vida en rojo(Andrés Linares, 2007/8)
Come Next Spring(R.G. Springsteen, 1955/6)
Song of Surrender(Mitchell Leisen, 1948/9)
Adventure in Manhattan(Edward Ludwig, 1936)
Strannaia zhenshchina(A Strange Woman;Iuli Raízman, 1978)
Chastnaia zhízn(Private Life;Iuli Raízman, 1982)
Málva(Vladimir Braun, 1956/7)
Zhila-byla devochka(Once There Was a Girl;Viktor Eisimont, 1944)
The Unknown Man(Richard Thorpe, 1951)
Aisai Monogatari(Story of a Beloved Wife;Shindō Kaneto, 1951)
Practically Yours(Mitchell Leisen, 1944)
A Summer Storm(Robert Wise, 1999/2000)
Lettre d’un cinéaste à sa fille(Eric Pauwels, 2000)
Sombra verde(Untouched;Roberto Gavaldón, 1954)
Fantasma d’amore(Dino Risi, 1981)
Adieu, Mascotte(Das Modell vom Montparnasse;Wilhelm Thiele, 1929)
Mori no kajiya(The Blacksmith of the Forest;Shimizu Hiroshi, 1928/9;fragment)
Zwischen Gestern und Morgen(Between Yesterday and Tomorrow;Harald Braun, 1947)
Last Holiday(Henry Cass, 1950)
Dialogue d’ombres(Danièle Huillet & Jean-Marie Straub, 1954-2013)
Out-Takes from the Life of a Happy Man(Jonas Mekas, 2012)
Nice Time(Claude Goretta & Alain Tanner, 1957)
Aloma of the South Seas(Alfred Santell, 1941)
A Feather in Her Hat(Alfred Santell, 1935)
La Danseuse Orchidée(Léonce Perret, 1928)
Underground(Vincent Sherman, 1941)
Time Out(in Twilight Zone-The Movie)(John Landis, 1983)
Lackawanna Blues(George C. Wolfe, 2005)
Janie(Michael Curtiz, 1944)
Dernier Amour(Léonce Perret, 2016)
Jeunes Filles en détresse(Georg Wilhelm Pabst, 1939)
Kisapmata(Blink of an Eye;Mike De Leon, 1981)
La Dernière Lettre(Frederick Wiseman, 2002)
The Lady of the Dig-Out(W.S. Van Dyke II, 1918)
Their Own Desire(E.Mason Hopper, 1929)
C) Very good movies made since 2015 seen for the first time in 2020:
Zumiriki(Oskar Alegria, 2019)
Atlantique(Mati Diop, 2019)
J’accuse(An Officier and A Spy;Roman Polanski, 2019)
Richard Jewell(Clint Eastwood, 2019)
Alice et le Maire(Nicolas Pariser, 2019)
Contes de Juillet(July Tales;Guillaume Brac, 2017)
Dark Waters(Todd Haynes, 2019)
Ofrenda a la tormenta(Fernando González Molina, 2020)
Nomad:In the Footsteps of Bruce Chatwin(Werner Herzog, 2019)
Into the Inferno(Werner Herzog, 2016)
The Zookeeper’s Wife(Niki Caro, 2017)
Journal de septembre(Eric Pauwels, 2019)
La Deuxième Nuit(Eric Pauwels, 2016)
Kaze no denwa(Voices in the Wind;Suwa Nobuhiro, 2019/20)
Da 5 Bloods(Spike Lee, 2020)
Izaokas(Isaac;Jurgis Matulevičius, 2019)
A Metamorfose dos Pássaros(Catarina Vasconcelos, 2020)
Tabi no Owari Sekai no Hajimari(To the Ends of the Earth;Kurosawa Kiyoshi, 2019)
La Nuit d’avant(Pablo García Canga, 2019)
My Mexican Bretzel(Nuria Giménez, 2018-9)
Domangchin yeoja(The Woman Who Ran;Hong Sang-soo, 2019/20)
Öndög(Wang Quanan, 2019)
Hatsukoi(First Love;Miike Takashi, 1959)
Million raz pogivaet odin Cheloviek(One man dies a million times;Jessica Oreck, 2018/9)
The Two Popes(Fernando Meirelles, 2019)
Félicité(Alain Gomis, 2016/7)
Salt and Fire(Werner Herzog, 2016)
Ni de lian(Your Face;Tsai Ming-liang, 2018)
Qi qiu(Balloon;Pema Tseden, 2019)
River Silence(Rogério Soares, 2019)
Charlie’s Angels(Elizabeth Banks, 2019)
La boda de Rosa(Iciar Bollain, 2020)
Guerra(War;José Oliveira & Marta Ramos, 2020)
My Thoughts Are Silent/Moyi dumky tykhi(Antonio Lukich, 2019)
Namo(The Alien;Nader Saeivar;co-script-Jafar Panahi, 2020)
Los silencios(The Silences;Beatriz Seigner, 2018)
Terminal Sud(Rabah Ameur-Zaïmeche, 2019)
Tu mérites un amour(You Deserve a Lover;Hafsia Herzi, 2019)
Les Misérables(Ladj Ly, 2019)
Padre no hay más que uno(Santiago Segura, 2019)
Honeyland(Tamara Kotovska & Ljubomir Stefanov, 2019)
Izbrisana(Erased;Miha Mazzini & Dusan Joksimovic, 2018)
This Is Not A Burial, It’s A Resurrection(Lemohang Jeremiah Mosese, 2019)
Primero Enero(Darío Mascambroni, 2016)
Lahi, Hayop(Pan, Genus/Genus Pan;Lav Diaz, 2020)
D) Very good movies made before 2015 seen for the first time in 2020:
Topaze(Marcel Pagnol, 1936)
The SIGN OF THE RAM(John Sturges, 1947/8)
Abandoned(Joseph M. Newman, 1949)
Bewitched(Arch Oboler, 1944/5)
La Femme du Bout du Monde((Jean Epstein, 1937)
The Outcast(William Witney, 1954)
Saadia(Albert Lewin, 1953)
Un monde sans femmes(Guillaume Brac, 2011)
Dishonored Lady(Robert Stevenson, 1947)
Always Goodbye(Signey Lanfield, 1938)
A Blueprint for Murder(Andrew L. Stone, 1953)
Bedevilled(Mitchell Leisen, 1955)
That Forsyte Woman(Compton Bennett, 1949)
The Miracle(Irving Rapper, 1959)
The Madonna’s Secret(Wilhelm Thiele, 1946)
The Town That Dreaded Sundown(Charles B. Pierce, 1976)
Grayeagle(Charles B. Pierce, 1977)
Barricade(Peter Godfrey, 1949/50)
Tomorrow is Forever(Irving Pichel, 1945/6)
David Harum(James Cruze, 1934)
The Vanquished(Edward Ludwig, 1953)
Keisatsukan(Uchida Tomu, 1933)
...Enfants des courants d’air(Édouard Luntz, 1959, short)
The Winds of Autumn(Charles B. Pierce, 1976)
Suddenly It’s Spring(Mitchell Leisen, 1946)
Uchūjin Tōkyō ni arawaru(Warning from Space;Shima Kōji, 1956)
Swiss Family Robinson(Edward Ludwig, 1940)
Ludwig der Zweite, König von Bayern(Wilhelm Dieterle, 1930)
Faithless(Harry Beaumont, 1932)
Botan-dorō(Peony Lanterns;Yamamoto Satsuo, 1968)
Ginza 24 chou(Tales of Ginza;Kawashima Yūzō, 1955)
Goodbye Again(Michael Curtiz, 1933)
Lines of White on a Sullen Sea(D.W. Griffith, 1909)
You Gotta Stay Happy(H.C. Potter, 1948)
Cave of Forgotten Dreams(Werner Herzog, 2010)
Riff-Raff(Ted Tetzlaff, 1947)
The Moon is Down(Irving Pichel, 1943)
The Bride Wore Boots(Irving Pichel, 1946)
Adventures in Silverado(Phil Karlson, 1948)
The Stolen Ranch(William Wyler, 1926)
Congo Maisie(H.C. Potter, 1940)
Marcides(Mercedes;Yousry Nasrallah, 1993)
Hell’s Five Hours(Jack L. Copeland, 1958)
Daniel(in Stimulantia;Ingmar Bergman, 1967)
Diên Biên Phú(Pierre Schoendoerffer, 1992)
Canyon River(Cattle King;Harmon Jones, 1956)
Dos Basuras(Kurt Land, 1958)
Smart Girls Don’t Talk(Richard L. Bare, 1948)
The Big Shakedown(John Francis Dillon, 1933/4)
Corvette K-225(Richard Rosson;p.,collab.Howard Hawks, 1943)
The Gay Deception(William Wyler, 1935)
The Invisible Woman(A.Edward Sutherland, 1940)
Rage in Heaven(W.S. Van Dyke II;collab.Robert B. Sinclair,Richard Thorpe, 1941)
Wild Side(Sébastien Lifshitz, 2004)
I bambini e noi(Luigi Comencini, 1970//7)
The House Across The Street(Richard L. Bare, 1948/9)
The Doughgirls(James V. Kern, 1944)
The Love Trap(William Wyler, 1929)
Torch Song(Charles Walters, 1953)
The Meanest Man in the World(Sidney Lanfield, 1942/3)
Cole Younger, Gunfighter(R.G. Springsteen, 1958)
Ballerine(Gustav Machatý, 1936)
Via Mala(Josef von Báky, 1945//8)
Sky Giant(Lew Landers, 1938)
Les Invisibles(Sébastien Lifshitz, 2012)
Promène toi donc tout nu(Emmanuel Mouret, 1998)
A Story for the Modlins(Una historia para los Modlin;Sergio Oksman, 2012)
Something in the Wind(Irving Pichel, 1947)
Spoveď(Confession;Pavol Skýkova, 1968)
Guilty Hands(W.S. Van Dyke II;collab.Lionel Barrymore, 1931)
Atto di accusa(Giacomo Gentilomo, 1950)
Suspense(Frank Tuttle, 1956)
This Is The Night(Frank Tuttle, 1932)
Escape in the Fog(Oscar ‘Budd’ Boetticher,Jr., 1945)
The Price of Fear(Abner Biberman, 1956)
Happy People:A Year in the Taiga(Werner Herzog, 2010)
Urok(The Lesson;Kristina Grozeva & Petar Valchanov, 2014)
Le Naufragé(Guillaume Brac, 2009)
Lili Marlen(Peter Mihálik;script.Dušan Hanák, 1970;short)
Deseo(Antonio Zavala Kugler, 2013)
E) Great movies that improved by new watchings:
Shanghai Express(Josef von Sternberg, 1932)
The Best Years of Our Lives(William Wyler, 1946)
Till We Meet Again(Frank Borzage, 1944)
Man’s Favorite Sport?(Howard Hawks, 1963/4)
Along The Great Divide(Raoul Walsh, 1951)
Hondo(John V. Farrow, 1953)
Where The Sidewalk Ends(Otto Preminger, 1950)
Mrs. Miniver(William Wyler, 1942)
Driftwood(Allan Dwan, 1947)
‘Good-bye, My Lady’(William A. Wellman, 1956)
Touch of Evil(Preview version, 1975;not later ‘improvements’)(Orson Welles, 1958)
Le Crabe-Tambour(Pierre Schoendoerffer, 1977)
Unfinished Business(Gregory LaCava, 1941)
Madigan(Don Siegel, 1968)
Big Business(James Wesley Horne;s.Leo McCarey, 1929)
Putting Pants on Philip(Clyde A. Bruckman;s.Leo McCarey, 1927)
The Runner Stumbles(Stanley Kramer, 1979)
Yushima no Shiraume(Romance at Yushima;Kinugasa Teinosukē, 1955)
David Harum(Allan Dwan, 1915)
The Virginian(Cecil B. DeMille, 1914)
Island in the Sky(William A. Wellman, 1953)
All About Eve(Joseph L. Mankiewicz, 1950)
L’Eclisse(Michelangelo Antonioni, 1962)
The Roaring Twenties(Raoul Walsh, 1939)
The Plainsman(Cecil B. DeMille, 1936)
JLG/JLG-Autoportrait de décembre(Jean-Luc Godard, 1994)
‘Je vous salue, Marie’(Hail Mary;Jean-Luc Godard, 1984)
La Roue(Abel Gance, 1923)
They All Laughed(Peter Bogdanovich, 1981)
Innocent Blood(John Landis, 1992)
An American Werewolf in London(John Landis, 1981)
The Thing Called Love(Peter Bogdanovich, 1993)
Into the Night(John Landis, 1985)
The File On Thelma Jordon(Thelma Jordon;Robert Siodmak, 1949)
The Little American(Cecil B. DeMille, 1917)
In Our Time(Vincent Sherman, 1944)
The Hunters(Dick Powell, 1958)
Phase IV(Saul Bass, 1974)
L’Honneur d’un Capitaine(Pierre Schoendoerffer, 1982)
Backfire(Vincent Sherman, 1948//50)
Five(Arch Oboler, 1951)
Somewhere in the Night(Joseph L. Mankiewiz, 1946)
A Man Alone(Ray Milland, 1955)
Die Geiger von Florez(Paul Czinner, 1926)
Living on Velvet(Frank Borzage, 1934/5)
La Recta provincia(Raúl Ruiz, 2007//15)
La Noche de enfrente(Raúl Ruiz, 2012)
Carrie(Sister Carrie;William Wyler, 1951/2)
The Spiral Staircase(Robert Siodmak, 1945/6)
The Paradine Case(Alfred Hitchcock, 1947)
L’Amore(Una voce umana+Il Miracolo)(Roberto Rossellini, 1947/8)
The Heiress(William Wyler, 1949)
F) Very good movies watched again
Bluebeard’s 10 Honeymoons(W.Lee Wilder, 1960)
The Five Pennies(Melville Shavelson, 1958)
Take a Letter, Darling(Mitchell Leisen, 1942)
Escape(Joseph L. Mankiewicz, 1948)
Appassionatamente(Giacomo Gentilomo, 1954)
Así como habían sido(Trío)(Andrés Linares, 1986/7)
San Antone(Joseph Kane, 1953)
The High and the Mighty(William A. Wellman, 1954)
Taki no Shiraito(The Water Magician;Mizoguchi Kenji, 1933)
The Web(Michael Gordon, 1947)
The Buccaneer(Anthony Quinn;s.Cecil B. DeMille, 1958)
The Buccaneer(Cecil B. DeMille, 1938)
Desire Me(uncredited:George Cukor/Jack Conway/Mervyn LeRoy/Victor Saville, 1946)
Flaxy Martin(Richard L. Bare, 1948/9)
Swing High, Swing Low(Mitchell Leien, 1937)
Death Takes A Holiday(Mitchell Leisen, 1934)
Irene(Herbert Wilcox, 1940)
Beloved Enemy(H.C. Potter, 1936)
The Cowboy and the Lady(H.C. Potter, 1938)
Der Golem, wie er in die Welt kam(Paul Wegener, 1920)
Mia madre(Nanni Moretti, 2015)
Hell On Frisco Bay(Frank Tuttle, 1955)
Stormy Weather(Andrew L. Stone, 1943)
The Milky Way(Leo McCarey;w.Harold Lloyd, 1936)
Pietà per chi cade(Mario Costa, 1954)
Repeat Performance(Alfred L. Werker, 1947)
Das indische Grabmal:1.Die Sendung des Yoghi,2.Der Tiger von Eschnapur(Joe May, 1921)
Julie(Andrew L. Stone, 1956)
The Member of the Wedding(Fred Zinnemann, 1953)
Winterset(Alfred Santell, 1936)
The Right to Romance(Alfred Santell, 1933)
As Young as You Feel(Harmon Jones, 1951)
You’ll Never Get Rich(Sidney Lanfield, 1941)
The Woman Accused(Paul Sloane, 1933)
Foma Gordeiev(Mark Donskoí, 1959)
The Parent Trap(David Swift, 1961)
High Wall(Curtis Bernhardt, 1947)
Mr. Lucky(H.C. Potter, 1943)
Un Marido de Ida y Vuelta(Luis Lucia, 1957)
The Safecracker(Ray Milland, 1957/8)
She’s Funny That Way(Peter Bogdanovich, 2014)
Oh...Rosalinda!!(Michael Powell & Emeric Pressburger, 1955)
Caribbean(Edward Ludwig, 1952)
Harper(The Moving Target;Jack Smight, 1966)
For You I Die(John Reinhardt, 1947)
Crashing Hollywood(Lew Landers, 1937/8)
Le Souvenir d’un avenir(Chris. Marker & Yannick Bellon, 2001)
Susan Slept Here(Frank Tashlin, 1954)
Bishkanyar Deshot(In the Land of Poison Women;Manju Borah, 2019)
Pollyanna(David Swift, 1960)
A Tale of Two Cities(Jack Conway;collab.Val Lewton & Jacques Tourneur, 1935)
Café Society(Woody Allen, 2016)
Shadow on the Wall(Patrick Jackson, 1949/50)
Tonnerre(Guillaume Brac, 2013)
Le Jouet criminel(Adolfo G. Arrieta, 1969)
‘Once more, with feeling!’(Stanley Donen, 1959)
The Shopworn Angel(H.C. Potter, 1938)
The Absent Minded Professor(Robert Stevenson, 1961)
Gavaznha(The Deer;Masud Kimiai, 1974)
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There's A Right Way To Talk About Bar And There's Another Way...
Change restaurant and bar layouts to ensure that every one buyer parties remain no less than 6 ft apart (e.g., eradicating tables/stools/chairs, marking tables/stools/chairs that are not for use). Talk that permits parties to share their ideas or negotiate enterprise offers directly are now not keys to enterprise negotiation, but assume different which means after people have 'sung collectively'. An exploratory research investigated the interpersonal meaning of karaoke to its individuals in East Asia. http://more resources , fifty one East Asian undergraduate-stage college students who had participated in karaoke, have been interviewed regarding the social contexts wherein karaoke takes place, the capabilities of karaoke in these social contexts, and the extent to which karaoke contributors talk interpersonally in a karaoke session. The massive benefit for the patron and the trade individuals shall be nicely-funded clinical trials to additional make clear well being benefits, dosing, facet-results, and extra. Then all you'll have to worry about is getting the children organized and helping them with their music and selections. In this chapter, I might like to point out how karaoke modified the Japanese well-liked music scene, first in the early karaoke stage, then in the karaoke box stage. But when you don't use the correct method to keep up a successful bar then it may very well be very troublesome job to manage it.
The article concludes with suggestions of additional Beatles music lyrics for use as supplemental texts in ESL classrooms. Why: It's kiiiinda arduous to screw up a track with mainly no lyrics. Singing the lyrics of popular songs gives ESL students with a number of exposures to essential foundational oral and written English vocabulary and grammatical constructions. This observe develops students' familiarity with the pronunciation and spelling of excessive frequency sight phrases, thereby growing reading skills and oral language proficiency (Pinkerton, Van Horn, Hewitt, & Dalton, 2015). Equally necessary, singing English tune lyrics provides college students with a new style of English language material for lifelong learning and enjoyment. With fashionable stools, this concern is just not founded, since the supplies undergo baking at excessive temperatures, to withstand such publicity. As karaoke establishments are of excessive inhabitants density, evacuation becomes the key concern of the controlling authority. Karaoke institutions are normally subdivided into three sorts of compartments particularly, unprotected zones, partially protected zones, and totally protected zones.
Following the highest One Karaoke blaze In Tsim Sha Tsui, Hong Kong in early 1997, the Hong Kong Government has set up an inter-departmental working group to co-ordinate efforts In planning for the management of karaoke establishments. Such activity is extremely standard in Hong Kong and Pacific Rim nations. A minimum width of 1200mm for the interior corridor has been steered as an extra requirement to the requirements prescribed by the hearth codes in Hong Kong. Within the fire, the victims had been killed by smoke and their our bodies have been found Within the corridor of the karaoke. Karaoke was discovered not only to be able to provide subjects for conversation but additionally to turn out to be communication per se. Karaoke and Interpersonal Communication in East Asia. However, after a few years gracing the best and the seediest karaoke establishments, it has develop into clear that some songs should be erased from the songbooks. It has additionally been his natural bigotry of being born in a Europe that was extremely anti-semitic for over a whole bunch of years -- which after all is the result of Christian thought. Appearently it was after that period that the Japanese made the Karaoke leisure and for the first 20 years it solely was there in Japan, later it got here everywhere in the world.
People the world over like music as a result of of these aforementioned attributes. We offer detailed songs listing with detailed songs info for utilizing them in karaoke system like index quantity, music title, singer name, singer kind, music channel, category, language,and so forth. It let you to take away the original voice of the song so to record the music in your voice. Limit your survey to about five questions, and let respondents know that it will only take a few minutes of their time. You too can treat your self to a spa day or simply take a bubble bath at residence. Ryan Chrys and The Rough Cuts take Yarnell Arizona by storm on November the sixth 2019! This is because this category of individuals don’t like to have interaction in rough games and they’re always willing to spend extra on games they find passable. It's a spot that has a heat welcoming for its guests and believes in giving the very best time to everyone out there.The theme used here for decorating the place belongs to the fashion of a 1980's man cave where you will see that that the interior brick walls are lined up with only beer cans and a light bikini chick poster which is posted close to the pool table within the corner gives the single's a home look.
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Veronica Lake (born Constance Frances Marie Ockelman; November 14, 1922 – July 7, 1973) was an American film, stage, and television actor. Lake was best known for her femme fatale roles in film noirs with Alan Ladd during the 1940s and her peek-a-boo hairstyle. By the late 1940s, Lake's career began to decline, due in part to her alcoholism. She made only one film in the 1950s, but made several guest appearances on television. She returned to the big screen in 1966 in the film Footsteps in the Snow (1966), but the role failed to revitalize her career.
Lake's memoir, Veronica: The Autobiography of Veronica Lake, was published in 1970. Her final screen role was in a low-budget horror film, Flesh Feast (1970). Lake died in July 1973 from hepatitis and acute kidney injury at the age of 50.
Lake was born Constance Frances Marie Ockelman in the New York City borough of Brooklyn. Her father, Harry Eugene Ockelman, was of German and Irish descent, and worked for an oil company aboard a ship. He died in an industrial explosion in Philadelphia in 1932. Lake's mother, Constance Frances Charlotta (Trimble; 1902–1992), of Irish descent, married Anthony Keane, a newspaper staff artist, also of Irish descent, in 1933, and Lake began using his surname.
The Keanes lived in Saranac Lake, New York, where young Lake attended St. Bernard's School. She was then sent to Villa Maria, an all-girls Catholic boarding school in Montreal, Quebec, Canada, from which she was expelled. Lake later claimed she attended McGill University and took a premed course for a year, intending to become a surgeon. This claim was included in several press biographies, although Lake later declared it was bogus. Lake subsequently apologized to the president of McGill, who was simply amused when she explained her habit of self-dramatizing. When her stepfather fell ill during her second year[vague], the Keane family later moved to Miami, Florida. Lake attended Miami High School, where she was known for her beauty. She had a troubled childhood and was diagnosed with schizophrenia, according to her mother.
In 1938, the Keanes moved to Beverly Hills, California. While briefly under contract to MGM, Lake enrolled in that studio's acting farm, the Bliss-Hayden School of Acting (now the Beverly Hills Playhouse). She made friends with a girl named Gwen Horn and accompanied her when Horn went to audition at RKO. She appeared in the play Thought for Food in January 1939. A theatre critic from the Los Angeles Times called her "a fetching little trick" for her appearance in She Made Her Bed.
She also appeared as an extra in a number of movies. Keane's first appearance on screen was for RKO, playing a small role among several coeds in the film Sorority House (1939). The part wound up being cut from the film, but she was encouraged to continue. Similar roles followed, including All Women Have Secrets (1939), Dancing Co-Ed (also 1939), Young as Your Feel (1940), and Forty Little Mothers (also 1940). Forty Little Mothers was the first time she let her hair down on screen.
Lake attracted the interest of Fred Wilcox, an assistant director, who shot a test scene of her performing from a play and showed it to an agent. The agent, in turn, showed it to producer Arthur Hornblow Jr., who was looking for a new girl to play the part of a nightclub singer in a military drama, I Wanted Wings (1940). The role would make Lake, still in her teens, a star. Hornblow changed the actress's name to Veronica Lake. According to him, her eyes, "calm and clear like a blue lake", were the inspiration for her new name.
It was during the filming of I Wanted Wings that Lake developed her signature look. Lake's long blonde hair accidentally fell over her right eye during a take and created a "peek-a-boo" effect. "I was playing a sympathetic drunk, I had my arm on a table ... it slipped ... and my hair — it was always baby fine and had this natural break — fell over my face ... It became my trademark and purely by accident", she recalled.
I Wanted Wings was a big hit. The hairstyle became Lake's trademark and was widely copied by women.
Even before the film came out, Lake was dubbed "the find of 1941". However, Lake did not think this meant she would have a long career and maintained her goal was to be a surgeon. "Only the older actors keep on a long time ... I don't want to hang on after I've reached a peak. I'll go back to medical school", she said.
Paramount announced two follow-up movies, China Pass and Blonde Venus. Instead, Lake was cast in Preston Sturges's Sullivan's Travels with Joel McCrea. She was six months pregnant when filming began.
Paramount put Lake in a thriller, This Gun for Hire (1942), with Robert Preston as her love interest. However, she shared more scenes with Alan Ladd; the two of them were so popular together that they would be reteamed in lead roles for three more films. Both had cameos in Star Spangled Rhythm (1942), an all-star Paramount film.
Lake was meant to be reunited with McCrea in another comedy, I Married a Witch, (also 1942) produced by Sturges and directed by René Clair, but McCrea refused to act with her again, reportedly saying, "Life's too short for two films with Veronica Lake". Production was delayed, enabling Lake to be reunited with Ladd in The Glass Key (again 1942), replacing Patricia Morison. The male lead in I Married a Witch was eventually played by Fredric March and the resulting movie, like The Glass Key, was successful at the box office. René Clair, the director of I Married a Witch, said of Lake, "She was a very gifted girl, but she didn't believe she was gifted."
Lake was meant to co-star with Charles Boyer in Hong Kong for Arthur Hornblow, but it was not made. She received acclaim for her part as a suicidal nurse in So Proudly We Hail! (1943). At the peak of her career, she earned $4,500 a week.
Lake had a complex personality and acquired a reputation for being difficult to work with. Eddie Bracken, her co-star in Star Spangled Rhythm, in which Lake appeared in a musical number, was quoted as saying, "She was known as 'The Bitch' and she deserved the title." However, Lake and McCrea did make another film together, Ramrod (1947). During filming of The Blue Dahlia (1946), screenwriter Raymond Chandler referred to her as "Moronica Lake".
During World War II, Lake changed her trademark peek-a-boo hairstyle at the urging of the government to encourage women working in war industry factories to adopt more practical, safer hairstyles. Although the change helped to decrease accidents involving women getting their hair caught in machinery, doing so may have damaged Lake's career. She also became a popular pin-up girl for soldiers during World War II and traveled throughout the United States to raise money for war bonds.
Lake's career faltered with her unsympathetic role as Nazi spy Dora Bruckman in The Hour Before the Dawn (1944), shot in mid 1943. Scathing reviews of The Hour Before the Dawn included criticism of her rather unconvincing German accent. She had begun drinking more heavily during this period, and a growing number of people refused to work with her. Lake had a number of months off work, during which time she lost a child and was divorced.
In early 1944 she was brought back in Bring On the Girls (1945), Lake's first proper musical, although she had sung in This Gun for Hire and Star Spangled Rhythm. She was teamed with Eddie Bracken and Sonny Tufts. The movie was not a financial success.
In June 1944, Lake appeared at a war bond drive in Boston, where her services as a dishwasher were auctioned off. She also performed in a revue, with papers saying her "talk was on the grim side". Hedda Hopper later claimed this appearance was responsible for Paramount giving her the third lead in Out of This World (1945), supporting Diana Lynn and Bracken, saying "Lake clipped her own wings in her Boston bond appearance ... It's lucky for Lake, after Boston, that she isn't out of pictures".
Lake had a relatively minor role in a film produced by John Houseman, Miss Susie Slagle's (also 1945), co starring Sonny Tufts; Lake was top billed but her part was smaller than Joan Caulfield. In November 1944 she made a third film with Bracken, Hold That Blonde (1945). She liked this part saying "it's a comedy, rather like what Carole Lombard used to do ... It represents a real change of pace".
Lake then made a second film produced by John Houseman, The Blue Dahlia (1946), which reunited her with Ladd. While waiting for the films to be released in 1945, she took stock of her career, claiming, "I had to learn about acting. I've played all sorts of parts, taken just what came along regardless of high merit. In fact, I've been a sort of general utility person. I haven't liked all the roles. One or two were pretty bad".
Lake expressed interest in renegotiating her deal with Paramount:
The studio feels that way about it too. They have indicated they are going to fuss more about the pictures in which I appear. I think I'll enjoy being fussed about ... I want this to be the turning point and I think that it will. I am free and clear of unpleasant characters, unless they are strongly justified. I've had a varied experience playing them and also appearing as heroines. The roles themselves haven't been noteworthy and sometimes not even especially spotlighted, but I think they've all been beneficial in one way or another. From here on there should be a certain pattern of development, and that is what I am going to fight for if necessary, though I don't believe it will be because they are so understanding here at Paramount.
Since So Proudly We Hail only The Blue Dahlia had been a hit. She made her first film outside Paramount since she became a star, a Western, Ramrod (1947), directed by her then-husband Andre DeToth, which reunited her with Joel McCrea, despite his earlier reservation. It was successful.
Back at her home studio she had a cameo in Variety Girl (1947) then was united with Ladd for the last time in Saigon (1948), in which she returned to her former peek-a-boo hairstyle; the movie was not particularly well received. Neither was a romantic drama, Isn't It Romantic (also 1948) or a comedy The Sainted Sisters (1948). In 1948 Paramount decided not to renew Lake's contract.
Lake moved to 20th Century Fox to make Slattery's Hurricane (1949), directed by DeToth. It was only a support role and there were not many other offers.
In 1950 it was announced she and DeToth would make Before I Wake (from a suspense novel by Mel Devrett) and Flanagan Boy. Neither was made.
She appeared in Stronghold (1951), which she later described as "a dog", an independent production from Lippert Pictures shot in Mexico. She later sued for unpaid wages on the film. Lake and DeToth filed for bankruptcy that same year.
The IRS later seized their home for unpaid taxes. On the verge of a nervous breakdown and bankrupt, Lake ran away, left DeToth, and flew alone to New York.
"They said, 'She'll be back in a couple of months,'" recalled Lake. "Well I never returned. Enough was enough already. Did I want to be one of the walking dead or a real person?"
She performed in summer stock theatre and in stage roles in England. In October 1955, she collapsed in Detroit, where she had been appearing on stage in The Little Hut.
After her third divorce, Lake drifted between cheap hotels in New York City, and was arrested several times for public drunkenness and disorderly conduct. In 1962, a New York Post reporter found her living at the all-women's Martha Washington Hotel in Manhattan, working as a waitress downstairs in the cocktail lounge. She was working under the name "Connie de Toth". Lake said she took the job in part because "I like people. I like to talk to them".
The reporter's widely distributed story led to speculation that Lake was destitute. After the story ran, fans of Lake sent her money which she returned as "a matter of pride". Lake vehemently denied that she was destitute and stated, "It's as though people were making me out to be down-and-out. I wasn't. I was paying $190 a month rent then, and that's a long way from being broke". The story did revive some interest in Lake and led to some television and stage appearances, most notably in the 1963 off-Broadway revival of the musical Best Foot Forward.
In 1966, she had a brief stint as a television hostess in Baltimore, Maryland, along with a largely ignored film role in Footsteps in the Snow. She also continued appearing in stage roles. She went to Freeport in the Bahamas to visit a friend and ended up living there for a few years.
Lake's memoirs, Veronica: The Autobiography of Veronica Lake, which she dictated to the writer Donald Bain, were published in the United Kingdom in 1969, and in the United States the following year. In the book, Lake discusses her career, her failed marriages, her romances with Howard Hughes, Tommy Manville and Aristotle Onassis, her alcoholism, and her guilt over not spending enough time with her children. In the book, Lake stated to Bain that her mother pushed her into a career as an actress. Bain quoted Lake, looking back at her career, as saying, "I never did cheesecake like Ann Sheridan or Betty Grable. I just used my hair". She also laughed off the term "sex symbol" and instead referred to herself as a "sex zombie".
When she went to the UK to promote her book in 1969 she received an offer to appear on stage in Madam Chairman. Also in 1969, Lake essayed the role of Blanche DuBois in a revival of A Streetcar Named Desire on the English stage; her performance won rave reviews. With the proceeds from her autobiography, after she had divided them with Bain, she co-produced and starred in her final film, Flesh Feast (1970), a low-budget horror movie with a Nazi-myth storyline.
After purchasing an airplane for her husband, André de Toth, Lake earned her pilot's license in 1946. She later flew solo between Los Angeles and New York when leaving him.
Lake's first marriage was to art director John S. Detlie, in 1940. They had a daughter, Elaine (born in 1941), and a son, Anthony (born July 8, 1943). According to news from the time, Lake's son was born prematurely after she tripped on a lighting cable while filming a movie. Anthony died on July 15, 1943. Lake and Detlie separated in August 1943 and divorced in December 1943.
In 1944, Lake married film director Andre DeToth with whom she had a son, Andre Anthony Michael III (known as Michael DeToth), and a daughter, Diana (born October 1948). Days before Diana's birth, Lake's mother sued her for support payments. Lake and DeToth divorced in 1952.
In September 1955, she married songwriter Joseph Allan McCarthy. They were divorced in 1959. In 1969, she revealed that she rarely saw her children.
In June 1973, Lake returned from her autobiography promotion and summer stock tour in England to the United States and while traveling in Vermont, visited a local doctor, complaining of stomach pains. She was discovered to have cirrhosis of the liver as a result of her years of drinking, and on June 26, she checked into the University of Vermont Medical Center in Burlington.
She died there on July 7, 1973, of acute hepatitis and acute kidney injury. Her son Michael claimed her body. Lake's memorial service was held at the Universal Chapel in New York City on July 11.
She was cremated and, according to her wishes, her ashes were scattered off the coast of the Virgin Islands. In 2004, some of Lake's ashes were reportedly found in a New York antique store.
For her contribution to the motion picture industry, Lake has a star on the Hollywood Walk of Fame at 6918 Hollywood Boulevard.
#veronica lake#classic hollywood#classic movie stars#classic cinema#old hollywood#1940s cinema#1940s hollywood
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Not Your Pre-Pandemic Las Vegas A decade ago, after a rained-out Thanksgiving desert camping trip with our five kids, my wife, Kristin, and I headed to the nearest available lodging, the now-shuttered Hard Rock Casino in Las Vegas. Watching our brood eat their Thanksgiving meal as cigarette smoke and slot-machine clamor wafted over their cheeseburgers, Kristin and I locked eyes with an unspoken message: We are the world’s worst parents. We have avoided Las Vegas with the kids since then, but an aborted drive to slushy Aspen this April with three of our heirs caused us to pause in Vegas. At the time, the city was just awakening from its Covid slumber, with mandatory masks and limited capacity in most indoor spaces, traffic so light that cars were drag-racing down the normally packed Strip, and a lingering, troubling question over the whole place: Will this reopening really be safe? But extraordinary things have been happening during this slumber, and while we were only going to spend one night there, we had so much fun that we ended up staying four. At first we spent most of our time in the relative safety of the outdoors, but then we started to relax along with the rest of the city, drowning our hands beneath the ubiquitous liquid sanitizer dispensers, masking up and heading indoors. I knew things had shifted in Sin City when, while maneuvering the minivan through some seemingly dicey neighborhood between Downtown and the Strip, I noted on the back alley wall of a hair salon a striking mural depicting the cult outsider artist Henry Darger’s seven Vivian Girl warriors in their trademark yellow dresses. What were the Vivian Girls doing here? Farther along, Vegas’s ghost-town adult stores, shuttered warehouses and other buildings were also sporting increasingly elaborate murals: a blood-squirting horned lizard spanning half a city block; a dog with an impressively slobbering tongue piloting an open cockpit plane; a colorful phoenix and dragon rising like fireworks from an empty parking lot — all producing collective surprised “Wows!” from inside our minivan. Las Vegas, it seems, is emerging from the Covid crisis as a place of spectacle and creativity, especially outside the air-conditioned gambling ghettos of the Strip. Over the next four days we did a lot of walking, crawling, flying and even railroading, all of it away from the casinos. We explored the Arts District, an area that has gone into hyper drive — so much so that we waited 30 minutes to get into my once “secret” Colombian breakfast joint, Makers & Finders — and wandered along Spring Mountain Road, the hub of the city’s Chinatown, rapidly expanding westward. In the midcentury mecca of East Fremont Street, a $350 million investment by the tech titan Tony Hsieh, who died last year, has produced a boulevard of fantastical art installations, restored buildings and a sculptural playground surrounded by stacked shipping containers converted to boutiques and cafes, all guarded by a giant, fire-spewing, steel praying mantis. “Vegas is going through a cultural renaissance,” a former member of the city’s Arts Commission, Brian “Paco” Alvarez, told me in a recent telephone interview. “A lot of the local culture that comes out of a city with two million unusually creative people didn’t stop during the pandemic.” A mysterious, windowless building The most striking newcomer is Area15, which opened in February in a mysterious, airport-hanger-size, windowless building two miles west of the Strip. Imagine an urban Burning Man mall (indeed, many of the sculptures and installations came from the annual arts festival held in northern Nevada), with some dozen tenants providing everything from virtual reality trips to nonvirtual ax throwing, accompanied by Day-Glo color schemes, electronic music, giant interactive art installations and guests flying overhead on seats attached to ceiling rails. Face masks are currently only mandatory in Area15 for self-identified unvaccinated people, though some of the attractions within still require face masks for everyone. Everywhere, we encountered the constant presence of cleaning attendants spraying and wiping surfaces. On the second floor of Area15’s art riot I met an old acquaintance from New York, Chris Wink, one of the co-founders of the joyously weird Blue Man Group, who was bringing his creative magic to Area15 in the form of a “Psychedelic Art House Meets Carnival Funhouse” called Wink World (adult tickets start at $18). Wink World is centered around six rooms with infinity mirror boxes reflecting Slinkys, plasma balls, fan spinners, Hoberman Spheres and ribbons dancing to an ethereal soundtrack of electronic music, rhythmic chanting and heavy breathing. “I worked on these installations for six years in my living room in New York,” Mr. Wink told me. “I was trying to evoke psychedelic experiences without medicine.” My unmedicated children were transfixed, as if these familiar toys frolicking into eternity were totems to their own personal nirvanas. I’ve never seen them stand so still in front of an art exhibit. Lava-filled caves and artificial lawns Omega Mart (adult admissions start at $45, face mask and temperature check mandatory), the biggest attraction in the complex, lines one side of the complex’s atrium and seemed — at first — to provide a banal respite from Area15’s sensory overload. Along the sale aisles I found Nut Free Salted Peanuts, Gut Monkey Ginger Ale and cans of Camels Implied Chicken Sop. My kids, good campers, immediately ducked into a small demonstration tent erected in the back of the store. They never came out again. A hidden entry brought them through the wall and into a world of artificial lawns, lava-filled caves, drab offices, a desert canyon, locker rooms, a secret bar and other divergent spaces often linked by hidden entrances. “Pull every knob and open every closet you see, Dad,” my daughter, Vivian, breathlessly advised as she whizzed by me for the fourth time in this 52,000-square-foot maze. Created by the renowned Santa Fe artist collective Meow Wolf (the name derived from pulling two random words from a hat during their first meeting), Omega Mart is an amalgamation of some 325 artists’ creations tied together by disparate overlapping story lines which one can follow — or not. For a short time, I tracked the story of the takeover of Omega Mart’s corporate headquarters by a hilariously manipulative New Agey daughter, and then got sidelined into the tale of a teen herbalist leading a rebellion to something else. I have no idea what I experienced other than that Brian Eno composed the music to one of the installations. None of my kids could explain what they experienced either, other than something mind-expanding. If it wasn’t for dinner, we might still be in there. Feasting in Chinatown Dinner! The choices are dizzying and there are now 10 Michelin-starred restaurants in the city. We weren’t going to any of them. Leaving Area15, even the distant lights of the Strip seemed relatively calming. But we were driving the opposite direction, to Chinatown. A decade ago, Chinatown was mainly a small enclave of restaurants and shops behind an ornate red gate overlooking a strip mall called Chinatown Plaza, catering to Vegas’s growing wave of Asian immigrants. Chinatown has now expanded to the far reaches of Spring Mountain Road, a desert Hong Kong of neon signs in Mandarin, Japanese, Vietnamese and Korean, advertising restaurants, coffee houses, foot-massage salons and lots of stuff I couldn’t read. Our goal was an unlikely corner of a strip mall, where hides, in the Jones family’s collective opinion, the best Japanese restaurant in North America, Raku. Step behind an understated white backlit sign and you enter an aged wood interior of an intimate restaurant that you might find off a Kyoto alley. We slid into the family-style tables behind the main dining room and commenced to feast. There’s a $100 tasting menu if you are feeling adult, but my tribe ordered cream-like tofu with dried fish, foie gras skewers and a dozen other items. Chinatown became our go-to-spot for snacks and boba tea between adventures. A favorite spot became Pho 90, a low-key Vietnamese cafe with outstanding noodle dishes and exquisitely layered banh mi sandwiches for picnics in the wild. Beyond the city Las Vegas’s expanding grid abruptly surrenders to the desert, which might be the most overlooked part of Vegas family vacations. Red Rock Canyon, 17 miles west of the Strip, is like walking into a Road Runner cartoon with a Technicolor ballet of clashing tectonic formations. We grabbed our admittedly reluctant brood on a 2.4-mile, round-trip hike on the Keystone Thrust Trail through a series of gullies until we emerged above epic white limestone cliffs jutting through the ocher-colored mountains. Here we had our Vietnamese picnic overlooking the monolithic casinos in the distance. Our last night’s excursion into nature didn’t take any persuasion: Half an hour’s drive south to Boulder City, a company called Rail Explorers has set up rail bike tours on the abandoned tracks leading to the Hoover Dam construction site. We booked a sunset tour (from $85 to $150 for a tandem quad bike). After some quick instruction, we, along with three dozen other visitors, climbed into an 800-pound, four-person Korean-made bike rig and, giving the group ahead of us a three-minute head start for some space, started peddling. Our route was along four miles of desert track gently sloping into a narrowing canyon pass. As we effortlessly peddled at 10 miles per hour, we noticed that the spikes holding down the railroad ties were often crooked or missing. “I bet these were all driven in by hand,” my teenage son, Cody, a history buff, noted. In the enveloping dusk, we glimpsed shadows moving along the sagebrush: bighorn sheep, goats and other critters emerging for their nocturnal wanderings. But the most surreal sight was at the end of the ride, where a giant backlit sign for a truck stop casino appeared over a desert butte — Vegas was beckoning us back, but now we welcomed the summons. Here we were, peddling into the sunset, feeling more athletic, cool and (gasp!) enlightened than when we first rolled into Vegas four days ago. Oh what good parents we were! “The moniker of ‘Sin City’ is totally wrong,” Mr. Alvarez told me, “if you know where to look.” Source link Orbem News #Las #prepandemic #Vegas
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“B 7. Store Window in Chinatown, S.F., Cal.” c. 1885. Photograph by Isaiah West Taber (from the Cooper Chow collection at the Chinese Historical Society of America). The “B” designation referred to Taber Photo’s “Boudoir Photos” sold in the 5 x 8 size
The characters 祥隆 (canto: “Cheung Lung”), literally “auspicious prosperity” appear in the center pane of the storefront window. A second sign is visible inside the store, inscribed with the characters “榮生,” which, when read from right to left would be “生榮” (canto: “Saang Wing”). In the lower left-hand corner of the photo, the vertical signage for a business located in the basement appears below the lower left corner of the window display area. The name 有記 (canto: “Yow Gay”) appears, followed by what appear to the characters 包料木工枱瞪 (canto: “bau liu muk gung toy duhng;” lit. “packing woodworking table”), indicating the business of a woodworker or carpenter. The ghostly figure of a vendor can be seen in the entryway at right, presumably overseeing the small sidewalk display to the left of the store entrance. His relationship to the operators of the interior store space is not apparent. The left-center portion of I.W. Taber’s photo of a “Store Window in Chinatown” shows the prominent 押 character on the signage for a pawnshop. Typical for that era, the two-part signage of the bat hanging upside down and holding a coin is suspended from underneath the overhang of the first story’s balcony.
Pawnshops of Old Chinatown
When the Chinese pioneers began to settle in America, the appearance of pawnshops and pawnbrokers in cities and Chinatowns throughout the Pacific Coast and the western United States, became inevitable. Pawnshops, offering loans to borrowers and secured by personal property collateral, had traced their history more than three millennia to ancient China.
For lower income groups, pawnshops have, in the words of professor Heiko Schrader, “a high outreach, are very often financially viable and have several advantages, compared to other institutions of the micro financial sector. Clients cannot fall into long-term indebtedness, due to the fact that they have to deposit a pawn of at least the same value. And for the pawnshop this pawn reduces the risk to provide a loan to poor people, and monitoring is not necessary.”
“Street in Chinatown, San Francisco. Completely Burned. No. 2168,” published c. 1906. Photographer unknown for the Photo. Co. of America, Chicago. The street is the pre-1906 pawnshop row along the north side of Washington Street at the southern entrance to Ross Alley. The pawnshop signage for the On Wing (安榮) store at 828 Washington appears in the center of the photo.
The photographic record of old San Francisco Chinatown’s streetscape provides numerous scenes of the southern Chinese pawn shop sign – the 押 character or symbol (canto: “aap”), literally a “mortgage” or pledge. Additional signage showing a bat holding a coin 蝠鼠吊金錢 (lit. “bat mouse hanging money;” canto: “fūk syú diu gām chin”), signifying fortune and the benefits denoted by the coin, can be discerned.
“The Sign of the Pawn Shop” c. 1896-1906. Photograph by Arnold Genthe (from the Genthe photograph collection, Library of Congress, Prints and Photographs Division). A print of a similar image appears in Old Chinatown : a book of pictures by Arnold Genthe with text by Will Irwin (New York : M. Kennerley, 1913, p. 195). The signage for the pawnbroker, Hang Lee & Co. (亨利押; canto: “Hung Lei aap;” pinyin: “Heng Li”) or “Pervasive Profit” pawnshop was located at 830 Washington Street near the entrance to Ross Alley, can be seen suspended in the foreground of the image. The Hang Lee pawnshop was located at 830 Washington Street, on the northwest corner of Washington Street and Stouts (or Ross) Alley – strategically situated within easy walking distance of gambling establishments and bordellos.
Historian Jack Tchen wrote in reference to Arnold Genthe’s photo “The Sign of the Pawnshop” for the Hang Lee & Co. as follows:
“Amid the gambling rooms where savings were quickly lost, pawnshops thrived. Pawnshops had very high counters upon which the item to be pawned would be place for inspection by an unseen shop worker, hidden behind the counter for security purposes. Often a man visiting his favorite prostitute or singsong girl would stop by the shop and pick up a present. [Arnold] Genthe developed his collection of jades by frequenting these stores. “
The residents of old Chinatown preferred to hold liquid assets in the form of gold or gems because of the relative ease with which they could arrange loans from pawnshops when they needed cash urgently. The neighborhood’s pawnbrokers located their shops in strategic proximity to houses of gambling and/or prostitution, with particular concentrations of shops on Washington and Jackson Streets.
“Dupont St. Wood Carriers of Chinatown Sf Cal.” c. 1890. Photograph by A.J. McDonald (from the Marilyn Blaisdell collection). The wood carriers might have been based on Dupont Street, but the signage in the upper left-hand corner of the frame advertise the location of the Hang Lee & Co. pawnshop or “Pervasive Profit” pawnshop (亨利押; canto: “hung lei aap”), at 830 Washington Street, at the northwest corner of Washington Street and Stouts (or Ross) Alley. Also, the barely discernible signage for the On Wing (安榮) pawnshop slightly down the eastern incline of the street at 828 Washington can be seen in the upper center of the photo.
"Hung Ai[sic] Art Co. doorway, August 24, 1901" Photograph by D. H. Wulzen (from the D.H. Wulzen Glass Plate Negative Collection (Sfp 40), San Francisco History Center, San Francisco Public Library).
In contrast to the misfortune which befell his contemporaries, the glass negatives of photographer D.H. Wulzen survived the quake and fire of 1906. As a result, the San Francisco Public Library provides higher quality images of Wulzen’s work online, such as his 1901 photo of the Hung Hai Art Co. at 832 Washington Street. Its name (恒泰) and address appear clearly in the center of the photo, as well as a prominent 押 (canto: “hung tai aap”) character emblazoned on an oversized coin topped by the usual inverted bat icon which holds the coin.
Additional confirmation of the address location on Washington Street may be found by the partially-obscured signage of its adjacent pawnshop, the Hang Lee & Co. (亨利押; canto: “hung lei aap”). The Hang Lee shop was located below street-level at 830 on the northwest corner of Washington Street and Stouts (or Ross) Alley.
The below-street grade location of the Hang Lee & Co. pawnshop at 830 Washington Street on the northwest corner of the intersection of Washington Street and Ross Alley, c. 1900. Photograph by Henry H. Dobbin (from the Marilyn Blaisdell collection).
Detail of the locations of Chinese pawnbrokers’ shops on the north side of Washington Street as depicted on the San Francisco Board of Supervisors’ special committee map of July 1885 (from the Cooper Chow collection at the Chinese Historical Society of America). The address numbers of 828 (at the northeast corner of the inverse “T”-intersection and 830 (which was located below street level were omitted by the 1885 survey.
A wider-angle view of the north side of Washington Street at Ross Alley, showing the entrances to the Hung Hai Art Co. at no. 832, Hang Lee & Co. at no. 830, and On Wing at 828 Washington Street. The trio of businesses represented a strategic and convenient cluster of pawnshops which San Francisco’s 1885 “vice map” recorded as occupying the north-side frontage of Washington extending west from Dupont Street and across Stouts (a.k.a. Ross) Alley.
The Horn Hong Company’s business calendar-directory of 1892 shows the pawnshops located in the 800-block of Washington Street, flanking the southern entrance to Ross Alley’s gambling establishments..
The 1885 map and the various business directories for Chinatown of the 1890’s show the pawnbrokers (including the Hung Hai company’s predecessor, Fong Chong Fook Kee & Co, which had occupied the 832 Washington premises during the 1880s and early ‘90s), had strategically situated themselves adjacent to, and within easy walking distance of, the gambling establishments and bordellos on Ross Alley.
Three Children outside of the Hung Hai Art Co. pawnshop at 832 Washington Street and Ross Alley. The signage for the pawnbroker, Hang Lee & Co. (亨利押; canto: “Hung Lei aap;” pinyin: “Heng Li”) or “Pervasive Profit” pawnshop at 830 Washington Street is visible above the head of the boy in the right half of the frame. Photograph by Arnold Genthe, c. 1896 – 1906 (from the collection of the Library of Congress).
“Ross Alley Chinatown 1904.” Photograph by Henry H. Dobbin (from the collection of the California State Library). At right, the sign for the 巨興 (canto: “Geuih Hing”) or “Great Prosperity” pawnshop can be seen.
“The Morning Market” c. 1896-1906. Photograph by Arnold Genthe (from the Genthe photograph collection, Library of Congress, Prints and Photographs Division).
In the center of Arnold Genthe’s “Morning Market” photo of a Jackson Street block dominated by grocery stores, the glass windows of the Kung Wo pawnshop (公和押; pinyin: “Gunghe;” canto: “Gung Wo aap;” lit. “Honorable Peace Mortgage”) can be seen in the center of the photo at 639 Jackson Street, between the grocers Tuck Wo (德和) at 635 Jackson and Yee Chong (裕昌) at 639 Jackson.
The Chinese preferred to buy assets like gold or gems because of the relative ease with which they could arrange loans from pawnshops when they needed cash urgently. To respond to the cash demands by the dominant population of single male workers for the recreational services provided by sex workers and gambling operations, pawnshops proliferated in old Chinatown.
Detail from San Francisco’s 1885 vice map of the location of the predecessor pawnbrokerage to the Kung Wo pawnshop (公和押; pinyin: “Gunghe;” canto: “Gung Wo aap;” lit. “Honorable Peace Mortgage”) which would occupy 639 Jackson Street at the time of Arnold Genthe’s photo of the block, “The Morning Market.” The pawnshop was located at the top of the T-intersection of Jackson Street and the southern end of Bartlett Alley. The alley contained the highest concentration of Chinese houses of prostitution as depicted by the “C.P.” coding in the San Francisco Board of Supervisors’ special committee map of July 1885 (from the Cooper Chow collection at the Chinese Historical Society of America).
According historian Jack Tchen notes, “[Chinatown’s] pawnbrokers were primarily located on Jackson and Washington Streets, near the concentration of gambling rooms,” and the city’s 1885 “vice map” shows such location, as well as near houses of prostitution.
“Ross Alley, Chinatown” 1886. Oil painting by Edwin Deakin. The painting depicts a Chinese New Year’s celebration at the southern end of Ross Alley as viewed from Washington Street and the pawnshops flanking the entrance to the alleyway.
Having operated for more than three decades, Chinatown’s pawnshops were all destroyed during the Great Earthquake and Fire of 1906. However, the pawnbrokers reestablished their shops in the rebuilt neighborhood and often on familiar streets.
This post-1906 photo shows the T.G. Kong Co. pawnshop at the renumbered street address of 852 Washington Street, on the same northwest corner of Washington Street and Ross Alley.
The reminiscences of longtime Chinatown resident, Lyle Jan, about the new Chinatown’s pawnshops provide insights into how business was conducted during the era between the world wars:
“There were several pawn shops in Chinatown. I remember one in particular. It was located on the corner of Waverly Place next to Washington Street. I remember this particular pawnshop because my mother often visited this shop whenever we were short of cash.
“The pawn broker, or as he was also called, the moneylender, would provide money with interest, on personal property deposited with him as security. The pawnbroker kept the personal property until the borrower paid off his loan. Chinese gold jewelry is a personal property that can be easily pawned. The moneylender knew that if the borrower did not redeem the item, the gold jewelry would be fairly easy to sell to customers who seek a bargain on gold jewelry. The unredeemed gold jewelry is also attractive to goldsmiths who can melt the gold and make new jewelry from it.
“As a bit of added interest, during the 1930s and even up to the 40s, the street windows of pawn shops in Chinatown were boarded up so that passerbys on the street could not see the person inside the shop making a transaction. Inside the shop, the borrower faced an approximate 6 foot high counter with a wrought iron framework on the top. There was an opening in the framework much like the one for a teller in a bank. The borrower would hand the item he wanted to pawn with a raised arm and give it to the moneylender seated behind the opening of the wrought iron framework. The moneylender appraises the item to be pledged as security for the loan, then quotes the loan amount plus interest available to the borrower. If the borrower agrees to the loan terms, the money and a receipt is handed down to the borrower by the money lender. At no time was there a direct face to face contact between the moneylender and the borrower. . . .
“Customer at pawnbroker's shop remains hidden, slips camera through window for the Chinese consider it a disgrace to pawn anything”, 1944. Photograph by James Wong Howe on assignment for LOOK magazine (from the collection of the Bancroft Library).
“The reason for the boarded street windows and the high counter between the moneylender and borrower was an effort to provide privacy for the borrower during the loan transaction. It was considered a loss of face for anyone to go to a pawnshop to borrow money. This privacy bit was rather comical, in that probably more than half of the Chinatown residents have had to walk into the portals of a pawn shop for cash to tie them over temporarily, especially during the Depression Years in America. I wouldn't be surprised that when a borrower walked out the doors of a pawnshop after receiving a loan, his best friend or relative might be just walking in to pawn his or her personal property.
“There was another purpose for the high counter besides privacy. In case there was an attempted robbery, the height of the high counter would act as a physical obstacle to the robber.”
-- from China 2227 Long, Long Ago: Memoirs of Old San Francisco by Lyle Jan (Infinity Publishing.com, 2005)
The Yick Lung Co. pawnshop operated at 852 Washington Street on the same northwest corner of Washington Street and Ross Alley as had its pre-1906 predecessor pawnbrokers. The proprietor’s name was Alexander Dea. Photographer unknown.
The sign of the Foo Wah Cheung hangs over the premises of 852 Washington Street at Ross Alley on June 8, 2022. Photograph by Doug Chan
“Toymaker Off Ross Alley” Oil painting by Mian Situ. This historically-inspired painting by Situ depicts a street artist working under the faded signage of a pawnshop in front of a building façade (blending elements from the Hung Hai Art Co.’s Washington Street store frontage and the Ross Alley streetscape) from pre-1906 Chinatown. Although purporting to depict old Chinatown, the artist’s juxtaposing children with a deteriorating pawnbroker’s sign foreshadows the decline of a business sector which had served the old bachelor society and the concurrent rise of fully-formed families in the community.
With the dramatic growth of the Chinese population and families in Chinatown, the neighborhood’s once-ubiquitous pawnshops no longer play as prominent a role in the micro-economy of the once-segregated community. The pawnbrokers have faded from view, their functions assumed in large part by institutional lenders and the jewelry stores. They remain, however, an integral part of the colorful and historical past of San Francisco Chinatown’s.
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“Arrest in Chinatown, San Francisco, Cal.” (c) October 25, 1897 by Thomas A. Edison, Inc., from the collection of the Library of Congress. “This film shows the arrest and conveyance of a Chinese man in Chinatown, watched by a crowd of onlookers. The precise date of this film and the arrest charge are uncertain. It is possible that the arrest was connected with the smuggling of illegal immigrants from China. By mutual agreement between China and the United States, a small quota of merchants and students was allowed to immigrate yearly, but few legal immigrants actually were of these professions, and illegal immigration continued. One of the San Francisco residences for new arrivals was located at 830/832 Washington Street, the general location from which the arrest[ed] party ascends at the start of the film. . ..” The signs of the pawnshops can be seen in the background.
#Pawnshops of San Francisco Chinatown#Chinatown pawnbrokers#Sign of the Pawnshop#Arnold Genthe#I.W. Taber#Hang Lee & Co.#Hung Hai Art Co.#On Wing#Horn Hong Company#Kung Wo pawnshop#Washington St.#Jackson St.#Ross Alley#Bartlett Alley#James Wong Howe#Mian Situ
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Satellite Antenna Market Predicted To Rise At A Lucrative CAGR Throughout 2020 To 2027
Market Analysis and Insights: Global Satellite Antenna Market
Satellite Antenna Market is expected to reach USD 4.32 billion by 2027 witnessing market growth at a rate of 7.75% in the forecast period of 2020 to 2027. Data Bridge Market Research report on satellite antenna market provides analysis and insights regarding the factor such as effective launch of satellite operations.
Surging deployment of small satellites and phased array antenna, growing number of space exploration mission, provision of cost effective satellite launch are some of the factors that will accelerate the growth of satellite antenna market in the forecast period of 2020-2027. On the other hand, increasing applications of satellite antenna from automobile industry and development of satellite network for the provision of internet access in remote areas will further create new and ample opportunities for the growth of the satellite antenna market in the above mentioned forecast period.
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Signal problems and high maintenance cost will obstruct the satellite antenna market in the above mentioned forecasted period. On the other hand, unavailability of qualified workforce and issues regarding radio spectrum will become a challenge for the growth of the market.
This satellite antenna market report provides details of new recent developments, trade regulations, import export analysis, production analysis, value chain optimization, market share, impact of domestic and localised market players, analyses opportunities in terms of emerging revenue pockets, changes in market regulations, strategic market growth analysis, market size, category market growths, application niches and dominance, product approvals, product launches, geographical expansions, technological innovations in the market. To gain more info on satellite antenna market contact Data Bridge Market Research for an Analyst Brief, our team will help you take an informed market decision to achieve market growth.
Global Satellite Antenna Market Scope and Market Size
Satellite antenna market is segmented on the basis of antenna type, component, platform and frequency band. The growth among segments helps you analyse niche pockets of growth and strategies to approach the market and determine your core application areas and the difference in your target markets.
Satellite antenna market on the basis of antenna type has been segmented as parabolic reflector antenna, flat panel antenna, fiberglass reinforced plastic antenna, horn antenna, iron antenna with mold stamping and others
Based on component, the satellite antenna market has been segmented into reflectors, feed horns, feed networks, low noise block (LNB) converters and others
On the basis of platform, the satellite antenna market has been segmented into land, space, maritime and airborne
On the basis of frequency band, the satellite antenna market has been segmented into K/Ku/Ka band, L & S band, C band, X band, VHF & UHF band and others
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Satellite Antenna Market Country Level Analysis
Satellite antenna market is analysed and market size, volume information is provided by country, antenna type, component, platform and frequency band as referenced above.
The countries covered in the satellite antenna market report are U.S., Canada and Mexico in North America, Brazil, Argentina and Rest of South America as part of South America, Germany, Italy, U.K., France, Spain, Netherlands, Belgium, Switzerland, Turkey, Russia, Rest of Europe in Europe, Japan, China, India, South Korea, Australia, Singapore, Malaysia, Thailand, Indonesia, Philippines, Rest of Asia-Pacific (APAC) in Asia-Pacific (APAC), Saudi Arabia, U.A.E, South Africa, Egypt, Israel, Rest of Middle East and Africa (MEA) as a part of Middle East and Africa (MEA).
North America will dominate the satellite antenna market due to the increasing research activities for the development of advanced technology and prevalence of improved infrastructure while Asia-Pacific is expected to grow in the forecast period of 2020-2027 due to rising demand of satellite antennas from automobile industry.
The country section of the report also provides individual market impacting factors and changes in regulation in the market domestically that impacts the current and future trends of the market. Data points like down-stream and upstream value chain analysis, technical trends and porter's five forces analysis, case studies are some of the pointers used to forecast the market scenario for individual countries. Also, the presence and availability of global brands and their challenges faced due to large or scarce competition from local and domestic brands, impact of domestic tariffs and trade routes are considered while providing forecast analysis of the country data.
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Competitive Landscape and Satellite Antenna Market Share Analysis
Satellite antenna market competitive landscape provides details by competitor. Details included are company overview, company financials, revenue generated, market potential, investment in research and development, new market initiatives, regional presence, company strengths and weaknesses, product launch, product width and breadth, application dominance. The above data points provided are only related to the companies’ focus related to satellite antenna market.
The major players covered in the satellite antenna market report are Airbus S.A.S., Honeywell International Inc., General Dynamics Mission Systems, Inc., Cobham Limited, Harris Corporation, Mitsubishi Electric Corporation, Maxar Technologies Ltd., GILAT SATELLITE NETWORKS., Elite Antennas Ltd., Xi'an Space Star Technology (Group) Co., Ltd, Viasat, Inc., Norsat International Inc., Kymeta Corporation, Digisat International Inc., SVH Tech Pvt. Ltd., TICRA, among other domestic and global players. Market share data is available for global, North America, Europe, Asia-Pacific (APAC), Middle East and Africa (MEA) and South America separately. DBMR analysts understand competitive strengths and provide competitive analysis for each competitor separately.
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BREAKING:China calls for new talks with US after Biden win.
New Post has been published on https://thebiafrastar.com/breakingchina-calls-for-new-talks-with-us-after-biden-win/
BREAKING:China calls for new talks with US after Biden win.
China’s top diplomat on Monday called for the resumption of talks with the incoming US administration of president-elect Joe Biden, as relations between the world’s two largest economies continued to nosedive. Beijing and Washington have locked horns over issues from trade and China’s human rights record to its expansionist ambitions in the South China Sea.
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But speaking during a video call with the board of the US-China Business Council (USCBC) on Monday, foreign minister Wang Yi said “the two sides should work together.” “We need to strive to restart the dialogue, get back on the right track, and rebuild mutual trust in the next phase of China-US relations,” he said, according to a readout of his remarks on the foreign ministry website. His comments come days after Washington unveiled travel restrictions for members of the Chinese Communist Party over human rights abuses in the restive region of Xinjiang, as relations between the two tumble to the lowest point in decades. More sanctions are expected this week, with Bloomberg reporting Monday that the US was set to slap at least a dozen officials with asset freezes over their role in the disqualification of pro-democracy lawmakers in Hong Kong.
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China’s relations with US allies, most notably Australia, have also plummeted in recent weeks. Amid a growing spat between Beijing and Canberra, a senior Chinese official sparked outrage last Monday when he tweeted a staged image of an Australian soldier holding a bloody knife to an Afghan child’s throat. But China’s top diplomat appeared to strike a more conciliatory tone from his so-called “Wolf Warrior” colleagues on Monday, saying the two sides should work to “expand consensus” and co-operation.
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“For problems that cannot be immediately resolved, we need to maintain a constructive attitude to manage the situation to avoid intensifying and escalating the overall situation of China-US relations,” Wang said. Biden is set to assume the presidency on January 20, succeeding Donald Trump, who launched a bruising trade war against China and targeted the global ambitions of groups including telecoms giant Huawei. The president-elect is expected to be more measured in tone and knit back together tattered alliances on the global stage. But he has told US media that he will keep Donald Trump’s trade war tariffs on China for the time being when he moves into the Oval Office.
Sources:Vanguard News Nigeria
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5 Questions on Art & Activism: Tse Tse Fly Middle East
In an exploration of art and activism, we are launching a new blog series - 5 Questions on Art & Activism - interviewing artists who have been actively fighting for various causes with their creative practice. To begin with, we have the pleasure to pose the 5 questions to Tse Tse Fly Middle East, formed by artist, curator and writer Simon Coates in the United Arab Emirates in 2015.
About Tse Tse Fly Middle East
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Tse Tse Fly Middle East started life as a monthly experimental music, noise and film night in the Al Barsha district of Dubai. Intended as a safe space for like-minded artists, they showcased local experimental musicians, noise-makers, film-makers and visual creatives, with the night spawning a collective of like-minded individuals. Based in London since 2017, Tse Tse Fly Middle East is now a non-profit platform that produces and curates live events, radio work, interventions and artworks in the name of human rights and freedom of speech. Their work was deemed as culturally significant by the British Library and their audio productions was requested to be added into the archives.
Tse Tse Fly Middle East produces live events in partnership with human rights and freedom of speech charities and NGOs, typically mixing curated experimental short films with live music performances. They have partnered with the likes of Reprieve, Amnesty International, Index On Censorship, English PEN, War On Want, Labour.
In September 2019 they partnered with UK charity FORWARD to release an album of spoken word and experimental music entitled These Are Our Friends Too that highlights issues around female genital mutilation. Tracks from the set were featured, among others, on the BBC radio programme Late Junction and Resonance FM programme Sonic Imperfections.
The 5 questions
The Instrument of the State - Tse Tse Fly Middle East
YBI: How do you see art and activism? Do you see them inseparable?
Tse Tse Fly Middle East:
I think it would be naïve to say that art and activism are inseparable.
Mark Rothko was an incredible painter and the fact that he wasn’t an activist as well doesn’t detract from his work. For me, if you’re looking for a way to present a socio-political opinion then art can be a powerful conduit. But it’s the arts in a broad spectrum that work best for the activist – music, film and literature will always be more immediate than, say, expressionist painting or avant-garde mime.
By way of an example, we recently worked with women’s rights charity FORWARD on a spoken word and experimental music album on themes around female genital mutilation. It’s a difficult listen presented in a difficult art form about a difficult subject. In the planning stages we knew this and, because we wanted to reach as many people as possible, we put together a load of literature and photos, and did radio programmes and podcast interviews to properly explain the project.
So I don’t think art and activism are inseparable. They’re complementary and, if used skilfully, can deliver a powerful punch. I remember one event we did in Bath in the UK. We showed a series of experimental short films, specifically about conflict and refugeeism in the Middle East. When the films finished the audience burst into spontaneous applause. That was very rewarding.
YBI: Do you believe that artists have a responsibility as citizens of the world to act/ respond, in whatever means, to the many crises our world faces right now? Be it human rights violations, climate crisis, racism, sexism and so on?
TTFME:
I don’t really see the point of art that doesn’t have a message of some sort. Art shouldn’t be decorative, art should an antagonistic, argumentative and emotional. It should start fires and ignite discussion.
Having lived in the Middle East I don’t think it’s fair, though, to put all artists under some kind of political or social obligation, simply because I know that in certain countries being outspoken can mean ending up in dire circumstances. I’m talking prosecution, imprisonment and torture.
However I do have the utmost respect for artists and activists that give themselves the responsibility to act and fight the power. At times I think that blue chip artists and creatives could do a lot more to support others that need help, but I’m not sure what a difference, say, Damien Hirst, would make if he suddenly started making overtly political work. For me the truly politicised artists are the ones who have always put messages in their work, right from the start. People like Ai Weiwei and William Kentridge, for example. Look at what Joseph Beuys did to highlight environmental issues. From my own point of view I find it very difficult to make anything that doesn’t have a message, or that doesn’t attempt to prove a point.
YBI: What could we, as artists and creatives, do in your opinion?
TTFME: Based on my own experience in the UK I think, no matter what you do, - if you want to make a difference, you should be realistic and set yourself achievable goals. I honestly thought that coming back to the UK would be the start of another amazing chapter in the story of for Tse Tse Fly Middle East. With everything that’s going on right now (and was happening back then) - especially the rise of the right – I imagined that people would be only too eager to get involved in what we do, and join in in order to spread the message. The trouble is that the darkening of the political landscape and the ridiculous move to leave the European Union means that people in the UK are drawing in their horns and looking after their own self-interests. Not that I blame them, we really are living in ludicrous times.
That being said, I do wonder why activists in far more difficult places than the UK - in Iran, Hong Kong, Iraq and Lebanon - seem to be a lot more fired up than they do in Britain. I have enormous admiration for these people who seem fearless in their determination and I wish the UK would take note. Extinction Rebellion have achieved a lot in terms of bringing attention to environmental issues, and I wish that other individuals and organisations would be as vociferous and as willing to take risks.
Overall, my own advice to artists and activists alike who want to make a difference would be to communicate, collaborate, co-operate and to keep going.
YBI: How did you begin fighting for human rights and freedom of speech in the Middle East with your creative practice?
TTFME: I lived in Dubai from 2011 until 2017 and it was during my time there that I witnessed all manner of human rights and freedom of speech abuses. It’s all the more shocking as it takes place in plain sight – whether its construction workers being forced to work in intolerable heat for a pittance, women being treated as second class citizens, migrant workers having their passports and phones confiscated.
Websites that the government doesn’t want you to see are blocked, the local press is heavily self-censored. People who express an opinion that’s counter to that of the ruling families are prosecuted and imprisoned. Homosexuality is illegal. One time I was curating a corporate exhibition in Dubai and the company who had commissioned the show said they wanted only Sunni artists’ work on display (I ignored them). The list goes on.
I’d formed Tse Tse Fly Middle East there in 2015 and, when I decided to come back to the UK, I did consider ending the project. However, I was determined to let people know about the social injustices that happen in the UAE and surrounding region, and re-inventing Tse Tse Fly as a non-profit organisation in the UK means that it works as the perfect communication vehicle.
YBI: Could you tell us one figure, collective or organisation that inspired your work in art and activism?
TTFME: I’m just old enough to remember the Rock Against Racism movement in the UK. The idea behind the movement was to unite musicians of all genres against the right wing and everything they stood (and stand) for. This meant you’d see bands like The Clash stand shoulder to shoulder with the likes of Misty in Roots to pass on their message. Also, there was the organisation Crass - a band, plus a record label plus a bunch of artists and poets - who had a fervent anarchist ideology that was strongly politicised against social injustice. Having these kind of people around meant that, if you were into stuff that seemed left field from a cultural point of view, you weren’t marginalised, and that you could come together under a common flag.
I’d see posters around town advertising social benefit concerts with line-ups that included punk and reggae bands, stand-up comedians, artists, film-makers and ranting poets, all in one evening. Real diversity united, and perfect for a young teenager who was terrified of nuclear war.
Also, in March 2019 we were chosen to put together some work in Yinka Shonibare’s studio for his Guest Projects initiative. Yinka is an amazing human being, an incredible artist. His work on themes of colonialism and black identity is dignified, astute and beautifully put together.
Images from the Tse Tse Fly Middle East Guest Projects residency
Projects
Station Electric - Human Rights & Freedom of Speech on Air
Partnering with In Place of War, the UK charity that uses creativity as a tool for positive change, Tse Tse Fly Middle East is curating a selection of radio programmes on themes of human rights, censorship and free speech for the project, to be launched on 30 Jan 2020. The exhibition marks four years of the Tse Tse Fly Middle East radio programme on UK arts station Resonance EXTRA.
Hosted on the Tse Tse Fly Middle East website, the exhibition will feature contemporary and archived radio programme episodes that champion human rights and freedom of speech. These may be programmes that were made in extreme circumstances, episodes that feature discourse on the key themes of social politics or programmes that approach censorship and civil rights from a unique perspective.
Alongside the radio recordings there will be a gallery of photographs from the Tse Tse Fly Middle East archive.
These Are Our Friends Too
Tse Tse Fly Middle East have partnered with leading UK-based African diaspora women's campaign and support organisation FORWARD to produce These Are Our Friends Too, a unique album that highlights the work FORWARD does to eradicate FGM (female genital mutilation).
The first stage of the project resulted in a book of the same name that features more than thirty pieces of work, a short film made with Media Trust, and the new collaboration will see twenty of the poems re-imagined.
For the new album Tse Tse Fly Middle East hand-picked a selection of female artists and musicians, and each one was given a spoken word recording of one of the poems from the These Are Our Friends book read by members of the FORWARD team. The artists then composed and recorded a sonic background for their designated piece, with the resulting spoken word and experimental music compositions making up the new, nineteen-track set, These Are Our Friends Too. The album features contributions from some of the foremost female proponents of noise from Egypt, Iran, Turkey, Lebanon, Serbia, Bulgaria and Sweden, as well as UK-based collaborators. And the visceral, uncompromising and unsettling tracks that result reflect the disturbing nature of female genital mutilation.
Buy These Are Our Friends Too here.
To find out more about Tse Tse Fly Middle East, check out their website here
The blog post is published by Candy Choi
#tse tse fly middle east#sound art#art and activism#activism#freedom of speech#human rights#art#london
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A Walk on the Frontier of Art, Where the Sky Is the Limit
This article is part of our continuing Fast Forward series, which examines technological, economic, social and cultural shifts that happen as businesses evolve.When walking on the High Line, it’s tough to look more lost than some of the tourists, but I did a pretty good job of it last month when I tripped on a curb while looking at art. (I caught myself before falling, but still.)I was taking in an exhibition from Aery, a new augmented reality platform tailored to digital art exhibitions. Looking up to the heavens through an iPad, and not at my feet, I was using a loaner tablet to get an artwork by Richard Humann to magically appear.But it worked: On the iPad, a constellation of a rose appeared, at an angle in the sky and topped by a crown, as Mr. Humann intended. A couple of out-of-towners who were watching me seemed mightily impressed when they looked over my shoulder at the screen.The technologies known as augmented reality and virtual reality (AR and VR, for short) may seem futuristic, but they are being employed by artists more often.For me — someone who looks at art for a living, but also avoids downloading new apps — experiencing three exhibitions of augmented reality art over a couple of weeks was a crossing of a threshold, one that more and more people will experience in the years ahead.“It’s going to have a huge impact on the art world,” said Jay Van Buren, who, as chief executive and co-founder of the tech company Membit, helped create Aery, a joint venture between Membit and the real estate firm Related Companies. “Artists can do anything with it,” Mr. Van Buren said.Membit’s technology is based on what it calls a Human Positioning System, its version of GPS. Essentially, the user adjusts the placement of the device based on a set of instructions. Aery is currently in beta mode, but is coming to Apple’s App Store soon for iPad and iPhone, and eventually will have an Android version.As part of Aery’s inaugural exhibition, the artist Shuli Sade created a piece called “Wild, Heterotopias,” based on her photographs of the landscaping along the High Line. I viewed it in the High Line Nine Galleries: What appeared before me on the iPad, in an otherwise empty white gallery, were globes of spinning, floating greenery and flowers.Ms. Sade, who is based in New York, has worked with augmented reality a few times during the past five years, building on her background in photography.She likened the technology to a kiln or a paint brush: In the big picture, it is simply another way for an artist to create. “It’s a fabrication tool,” Ms. Sade said. “It’s a medium.”“Whether it will develop further, I’m not sure,” she said. “But it’s a fun ride.”In the same way that most sculptors do not cast a piece in bronze themselves — that work is done by experts at a foundry, to the artist’s specifications — Ms. Sade sent her photographs to Mr. Van Buren to be turned into augmented reality.That is how it worked for T Walk, a joint venture from Apple and the New Museum in New York City. The experience is free in six cities — San Francisco, New York, London, Paris, Hong Kong and Tokyo — and is slightly customized in each. Seven artists contributed, including the poet-artist John Giorno, who died last month, and the Chicago-based Nick Cave.Massimiliano Gioni, the New Museum’s artistic director who helped curate the artist contributions, said that when Apple approached the museum about collaborating on the project, the curators saw the same potential the company did.“The benchmarks were previously more from the world of entertainment and gaming,” Mr. Gioni said of augmented reality and virtual reality. “And they wanted to go well beyond that.” (Mr. Van Buren said that whenever he was called upon to explain augmented reality, he mentioned Pokémon GO, the interactive game craze.)I did T Walk on a glorious fall day in Central Park, starting at the Apple store on 59th Street and Fifth Avenue. I used one of its iPhones (you do not use your own) to experience the artworks, and to get each piece to appear, I pointed the phone at an object, usually a sign, part of process that the company calls “anchoring.”The art is calibrated based on the position of you and the anchor, and when you have lined up the phone and the sign correctly you feel a slight vibration in the phone that the company calls “haptic feedback.”Mr. Cave’s contribution, “Accumul-Istic Quest,” had his usual ebullience: At the beginning I was asked to pick one of several personality types, and on the screen I was suddenly being shadowed by a very bouncy, multicolored fright wig. He calls the different characters “istics.” (Mr. Cave also created an in-store augmented reality piece called “Amass,” which can be experienced in any Apple outlet around the world on your own iPhone.)Normally the walk is a group affair of about 10 people, and every participant gets an istic. About five minutes into the walk, a large, friendly monster of sorts appears above the tree line — it has a head like a gramophone horn, a version of Mr. Cave’s “Soundsuits” characters, which he has been working with for years — and consumes everyone’s istics.Though done with humor, Mr. Cave told me there was a larger theme at work.“I wanted it to absorb and swallow everybody, becoming multicultural in the process,” he said.The process of making the work involved many phone calls, with Mr. Cave sketching his ideas and making multiple trips to Apple headquarters in Silicon Valley. “We were practically in a relationship,” Mr. Cave joked.For now, augmented reality seems to be getting more play among fine artists than virtual reality. As Mr. Van Buren put it, “AR loops you in more firmly to the place where you are, rather than taking you away into another world.”But that could change. Bjarne Melgaard’s “My Trip” (2019) is a virtual reality work that can be experienced through Dec. 15 in Berlin at the Julia Stoschek Collection. It is a production of Acute Art, a virtual reality studio that collaborates with international artists.Daniel Birnbaum, Acute Art’s director, said “My Trip” was a “trippy fantasy about darkness” that worked as an autobiography of the Norwegian artist.To create the characters in the piece, Acute’s team scanned sculptures by Mr. Melgaard, and for some of the environments that people can experience in the piece, the artist provided developers with photographs of paintings.“AR is easier, but it has limitations,” Mr. Birnbaum said. “You only see things on the phone. It can be a little gimmicky.”But augmented reality’s ability to show two realities at once can be a powerful storytelling approach, as demonstrated by the New York-based artist Alan Michelson’s show “Wolf Nation,” at the Whitney Museum of American Art through Jan. 12.Two of the four works in the show are made with augmented reality, and Mr. Michelson — a Mohawk member of Six Nations of the Grand River — collaborated on both with Steven Fragale, a painter who has become an augmented reality specialist, creating his own apps for his work.One of the pieces, “Town Destroyer,” looks like a two-dimensional wall work depicting George Washington’s home at Mount Vernon. But when activated by the show’s augmented reality app on an iPhone, the bust of Washington in the center goes through a rapid transformation, overlaid with a series of colors, patterns and texts. “Town Destroyer” was the name given to Washington by the people of the Iroquois Confederacy, whose villages were burned and pillaged during the Revolutionary War.To present an indigenous perspective on a familiar icon, “AR provided a solution — more than a solution, actually, a tool with all sorts of metaphorical aspects,” Mr. Michelson said.Mr. Michelson said that the idea of multiple people holding up their phones to see his works at the same time also made him think of the technology’s “social possibilities.”Although augmented reality and virtual reality explicitly take us out of the real world — our noses in another screen or two, and possibly tripping along the way — they also can be an invitation to interact with others about what they are seeing.Mr. Gioni of the New Museum agreed. “The effects are in some ways just a pretext to come together,” he said. “This gets real only when you share it.”
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