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sesiondemadrugada · 7 months
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Die Pest in Florenz (Otto Rippert, 1919).
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diioonysus · 2 months
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castles + art
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adarkrainbow · 5 months
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Various illustrations from a book of the Brothers Grimm fairytales, adapted for children by Gisela Fischer. Credits go to Felicitas Kuhn, Anny Hoffmann and Carl Benedek.
Pictures 1 to 3: Hansel and Gretel
Pictures 4 and 5: Rumplestiltskin
Pictures 6 to 8: Puss in Boots
Picture 9: The Goose-Girl
Pictures 10 to 12: Snow-White and Rose-Red
Pictures 13 to 16: The Wolf and the Seven Kids
Picture 17: Little Brother and Little Sister
Picture 18 to 22: Cinderella
Picture 23 to 25: Little Snow-White
Picture 26 to 28: Briar Rose
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fashionbooksmilano · 2 years
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Die Stoffe der Wiener Werkstätte 1910-1932
Angela Völker
Verlag Christian Brandstätter, Wien 2004, 288 Seiten mit 415 Abbildungen, davon 306 in Farbe
euro 140,00
email if you want to buy [email protected]
Herausgegeben vom Österreichischen Museum für Angewandte Kunst in Wien
The textile patterns and prints of the Wiener Werkstätte were among the most popular and successful designs of the early twentieth century, reflecting both the tastes of Viennese high society and the general trend towards artistic abstraction. Textiles of the Wiener Werkstätte, 1910-1932 presents selections from the original gouache drawings, pattern books and about 20,000 actual samples now in the collection of the Museum for Applied Arts in Vienna - a truly remarkable archive of most of the over 1,800 recorded fabric designs. These range from the early rounded naturalistic motifs of Art Nouveau to the later angular geometric designs associated with Art Deco. Angela Völker 's text gives succinct accounts of a range of topics, including the designs by Koloman Moser and Josef Hoffmann for Backhausen and Sohne prior to the foundation of the textile department in about 1910, methods of production, sales policy, customers and end use. A wealth of reproductions, many in colour, are supplemented by an exhaustive catalogue and artist biographies, as well as contemporary photographs of the textiles' uses in fashion and interior decoration, including exhibition pavilions and the Wiener Werkstätte's own showrooms. For designers, decorators or anyone simply in search of visual inspiration, this book is a goldmine and an amazing tribute to a period of astonishing creativity.
03/04/22
orders to:     [email protected]
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er1chartmann · 3 months
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Baldur von Schirach
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These are some facts and curiosities about Baldur von Schirach, the head of the Hitler Youth:
He  was born in Berlin, the youngest of four children of theatre director Rittmeister Carl Baily Norris von Schirach.
Through his mother, Schirach descended from two signatories of the United States Declaration of Independence.
On 31 March 1932 von Schirach married 19-year-old Henriette Hoffmann, the daughter of Heinrich Hoffmann, Adolf Hitler's personal photographer and close friend. Von Schirach's family was vehemently opposed to the marriage to Henriette, but Hitler insisted
He  joined a Wehrjugendgruppe (military cadet group) at the age of 10 and became a member of the Nazi Party (NSDAP) in 1925. 
 He was named Reichsjugendführer (Youth Leader) of the NSDAP in 1931, and in 1933 he was made head of the Hitler Youth (Hitler-Jugend) and given an SA rank of Gruppenführer. 
He set the militaristic tone for the youth organisation, and they participated in military style exercises, as well as practising use of military equipment, such as rifles.
 He lost control of the Hitler Youth to Artur Axmann, and was appointed Governor (Gauleiter or Reichsstatthalter) of the Reichsgau Vienna, a post in which he remained until the end of the war. He was an anti-Semite and an anti-Christian.
During his tenure 65,000 Jews were deported from Vienna to Poland, and in a speech on 15 September 1942 he mentioned their deportation as a "contribution to European culture''
He  was notoriously anxious about air raids.
Schirach surrendered in 1945 and was one of the officials put on trial at Nuremberg.
He was found guilty on 1 October 1946 of crimes against humanity for his role in the deportation of the Viennese Jews to certain death in Poland. He was sentenced and served 20 years as a prisoner in Spandau Prison, Berlin.
He died on 8 August 1974 in Kröv.
He and Henriette had four children:
Angelika von Schirach 1933-
Klaus von Schirach: 1935-
Robert von Schirach: 1938-
Richard von Schirach: 1942-
Sources:
Military Wiki: Baldur von Schirach
Wikipedia: Baldur von Schirach
❗❗I DON'T SUPPORT NAZISM,FASCISM OR ZIONISM IN ANY WAY, THIS IS AN EDUCATIONAL POST❗❗
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anotherdayinbliss · 10 months
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Cover of program of Cabaret Fledermaus by Carl Otto Czeschka, 1907.
Illustration for the first program of Cabaret Fledermaus by Bertold Löffler and Carl Otto Czeschka, 1907.
Illustration for the second program of Cabaret Fledermaus by Moriz Jung, 1907.
Cover of the second program of Cabaret Fledermaus by August Chwala, 1907.
Draft of a poster for Cabaret Fledermaus by József Divéky, 1907.
Folding fan for Cabaret Fledermaus by Bertold Löffler.
In October of 1907, on the corner of Kärntner Straße 33 and Johannesgasse 1 in Vienna, a new kind of club emerged in a converted basement of a residential building. Cabaret Fledermaus was conceived as a place where the ‘boredom’ of contemporary life would be replaced by ‘ease, art and culture’. It was created by the Wiener Werkstätte (Vienna Workshop), a group of artists and designers founded by architect Josef Hoffmann, artist Koloman Moser and businessman Fritz Waerndorfer. Their aim was to stimulate the senses through a synthesis of modern architecture, painting, poetry, music and dance creating a space where ‘none of the arts were excluded’ and craftsmanship was championed. [...] Live performance was at the cabaret’s heart: it hosted short satirical plays, evocative shadow theatre, avant-garde dance, poetry readings and musical performances ranging in tone from humour to decadence. In particular, the stage offered a platform for epoch-defining female performers such as Grete Wiesenthal and Marya Delvard, supported by extravagant sets and elaborate costume designs. [...] Cabaret Fledermaus closed its doors in 1913 due to financial difficulties and there are only a few records that remain of what this dazzling club space would have looked like. There are three surviving photographs, postcards by the Wiener Werkstätte, and floorplan and elevation sketches by Le Corbusier from 1907, when he was in close contact with Hoffmann while staying in Vienna. source
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byneddiedingo · 10 months
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Faust (F.W. Murnau, 1926)
Cast: Gösta Ekman, Emil Jannings, Camilla Horn, Frida Richard, William Dieterle, Yvette Guilbert, Eric Barclay, Hanna Ralph, Werner Fuetterer. Screenplay and titles: Gerhart Hauptmann, Hans Kyser, based on a play by Johann Wolfgang von Goethe. Cinematography: Carl Hoffmann. Art direction: Robert Herlth, Walter Röhrig. Film editing: Effi Bötrich. 
Power corrupts, as we knew long before Lord Acton so nicely formulated it for us. It's the truth underlying so many myths, from the Garden of Eden to the Nibelungenlied to the Faust legend. Goethe's Faust is a philosophical poem, a closet drama not designed for stage or film, but that hasn't prevented playwrights, opera librettists, or screenwriters from making the attempt. F.W. Murnau's version is probably the most distinguished cinematic attempt, but not because of its fidelity to the source. Murnau's version works because it concentrates on the power struggle, initially between Good, as represented by the archangel (Werner Fuetterer), and Evil, as represented by Mephisto (Emil Jannings), and later by the attempt of Faust (Gösta Ekman) to obtain mastery over Time. It begins with a wager, borrowed from the book of Job, between the archangel and Mephisto, over whom Faust's soul will belong to. Then it eventually devolves into what is the core of most dramatic treatments of Goethe's story, the seduction of Gretchen (Camilla Horn), with the aid of Mephisto. In the end, both Gretchen and Faust are redeemed by his willingness to sacrifice himself, an abnegation of power. But that too-familiar story is distinguished by Murnau's staging of it, with the significant help of Carl Hoffmann's cinematography and the art direction of Robert Herlth and Walter Röhrig. This is one of the most beautiful of silent films because of the interplay between light and dark, a superb evocation of the paintings of Rembrandt in the composition and lighting of scenes. The tone of the film is set near the beginning by the spectacular image of a gigantic Mephisto looming over a German town, which clearly influenced the similar scene in the "Night on Bald Mountain" sequence of Walt Disney's Fantasia (1940). Jannings manages to be both sinister and gross as Mephisto -- the latter mode most in evidence in his scenes with Gretchen's lustful Aunt Marthe (Yvette Guilbert). (If Guilbert looks familiar it's because, as a Parisian cabaret singer during the Belle Époque, she was the subject of numerous portraits by Toulouse-Lautrec.) This was the last of Murnau's films in Germany: The following year he moved to Hollywood, where he made probably his greatest film, Sunrise. He was soon followed to America by the actor who played Gretchen's brother, Valentin, William Dieterle, who became a prominent Hollywood director.
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Top: Yvette Guilbert and Emil Jannings in Faust. Bottom: Yvette Guilbert by Henri de Toulouse-Lautrec.
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indiesole · 5 months
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THE 236 GREATEST PERSONALITIES IN THE ENTIRE KNOWN HISTORY/COLLECTIVE CONSCIOUSNESS OF THIS WORLD! (@INDIES)
i.e. THE 236 GREATEST PERSONALITIES IN WORLD HISTORY! (@INDIES)
Rajesh Khanna
Lionel Messi
Leonardo Da Vinci
Muhammad Ali
Joan of Arc
William Shakespeare
Vincent Van Gogh
Online Indie
J. K. Rowling
David Lean
Nadia Comaneci
Diego Maradona
Wolfgang Amadeus Mozart
Meena Kumari
Julius Caesar
Harrison Ford
Ludwig Van Beethoven
William W. Cargill
Fritz Hoffmann-La Roche
Samuel Curtis Johnson
Sam Walton
John D. Rockefeller
Andrew Carnegie
Roy Thomson
Tim Berners-Lee
Marie Curie
James J. Hill
Cornelius Vanderbilt
Roman Polanski
Samuel Slater
J. P. Morgan
Cary Grant
Dmitri Mendeleev
John Harvard
Alain Delon
Ramakrishna Paramhansa (Official God)
The Lumiere Brothers, Auguste & Louis
Carl Friedrich Benz
Michelangelo
Maharishi Mahesh Yogi
Ramana Maharishi
Mark Twain
Swami Sri Yukteswar Giri
Bruce Lee
Bhagwan Krishna (Official God)
Charlemagne
Rene Descartes
John F. Kennedy
Bhagwan Ganesha (Official God)
Walt Disney
Albert Einstein
Nikola Tesla
Alfred Hitchcock
Pythagoras
William Randolph Hearst
Cosimo de’ Medici
Johann Sebastian Bach
Alec Guinness
Nostradamus
Christopher Plummer
Archimedes
Jackie Chan
Guru Dutt
Amma Karunamayi/ Mata Parvati (Official God)
Peter Sellers
Gerard Depardieu
Joseph Safra
Robert Morris
Sean Connery
Petr Kellner
Aristotle Onassis
Usain Bolt
Jack Welch
Alfredo di Stefano
Elizabeth Taylor
Michael Jordan
Paul Muni
Steven Spielberg
Louis Pasteur
Ingrid Bergman
Norma Shearer
Dr. B. R. Ambedkar
Ayn Rand
Jesus Christ (Official God)
Luciano Pavarotti
Alain Resnais
Frank Sinatra
Allah (Official God)
Richard Nixon
Charlie Chaplin
Thomas Alva Edison
Alexander Graham Bell
Wright Brothers
Arjun (of Bhagwan Krishna’s Gita)
Jim Simons
George Lucas
Swami Sri Lahiri Mahasaya
Carl Lewis
Brett Favre
Helen Keller
Bernard Mannes Baruch
Buddha (Official God)
Hugh Grant
K. L. Saigal
Roger Federer
Rash Behari Bose
Tiger Woods
William Blake
Jesse Owens
Claude Miller
Bernardo Bertolucci
Subhash Chandra Bose
Satyajit Ray
Hippocrates
Chiang Kai-Shek
John Logie Baird
Geeta Dutt
Raphael (painter)
Bhagwan Shiva (Official God)
Radha (Ancient Krishna devotee)
George Orwell
Jorge Paulo Lemann
Catherine Deneuve
Pierre-Auguste Renoir
Bill Gates
Bhagwan Ram (Official God)
Michael Phelps
Michael Faraday
Audrey Hepburn
Dalai Lama
Grace Kelly
Mikhail Gorbachev
Vladimir Putin
Galileo Galilei
Gary Cooper
Roger Moore
John Huston
Blaise Pascal
Humphrey Bogart
Rudyard Kipling
Samuel Morse
Wayne Gretzky
Yogi Berra
Barry Levinson
Patrice Chereau (director)
Jerry Lewis
Louis Daguerre
James Watt
Henri Rousseau
Nikita Krushchev
Jack Dorsey
Dev Anand
Elia Kazan
Alexander Fleming
David Selznick
Frank Marshall
Viswanathan Anand
Major Dhyan Chand
Swami Vivekananda
Felix Rohatyn
Sam Spiegel
Anand Bakshi
Victor Hugo
Bhagwan Sri Sathya Sai Baba (Official God)
Steve Jobs
Srinivasa Ramanujam
Lord Hanuman
Stanley Kubrick
Giotto
Voltaire
Diego Velazquez
Ernest Hemingway
Francis Ford Coppola
Michael Douglas
Kirk Douglas
Mario Lemieux
Kishore Kumar
James Stewart
Douglas Fairbanks
Confucius
Babe Ruth
Raj Kapoor
Titian aka Tiziano Vecelli
El Greco
Francisco de Goya
Jim Carrey
Mohammad Rafi
Steffi Graf
Pele
Gustave Courbet
Rani Laxmibai of Jhansi
Milos Forman
Steve Wozniak
Georgia O’ Keeffe
Mala Sinha
Aryabhatta
Magic Johnson
Patanjali
Leo Tolstoy
Tansen
Henry Fonda
Albrecht Durer
Benazir Bhutto
Cal Ripken Jr
Samuel Goldwyn
Mumtaz (actress)
Panini
Nicolaus Copernicus
Pablo Picasso
George Clooney
Olivia de Havilland
Prem Chand
Imran Khan
Pete Sampras
Ratan Tata
Meerabai (16th c. Krishna devotee)
Queen Elizabeth II
Pope John Paul II
James Cameron
Jack Ma
Warren Buffett
Romy Schneider
C. V. Raman
Aung San Suu Kyi
Benjamin Netanyahu
Frank Capra
Michael Schumacher
Steve Forbes
Paramhansa Yogananda
Tom Hanks
Kamal Amrohi
Hans Holbein
Shammi Kapoor
Gerardus Mercator
Edith Piaf
Bhagwan Shirdi Sai Baba (Official God)
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branded-perceptions · 2 months
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Your consciousness does not steer your body and behaviour,
it only ALTERS (CHANGE RATE, DIFFERENTIAL CALCULUS) your otherwise predictable flow of body, behaviour, habits & reactionary pattern FORMED by the CONTENTS (INTEGRAL CALCULUS) of your unconscious mind (intuition Gary Klein, adam ALTER drunk tank pink).
That is why when you drive a bike or a car for the first time it is so difficult, but after some time you do not think about it anymore, it then happens unconsciously as the process of learning to DIFFERENTIATE psychological triggers and symbols has been INTEGRATED into your unconscious contents.
The learning process is fundamentally driven by mistakes and failures
("prediction errors" as explained by Free Energy Principle by Karl Friston)
being IRONY because differential (superego) & integral (ID) calculus are an IRONIC PROCESS to each other: ego functions.
Similarly, both
our collective cultural evolution (mimetic theory rene girard) since dawn of mammal brain (emotional projections upon shared symbols)
and your individual whole perceptions of reality since birth
are formed this way:
spiral dynamics as explored by
🔍Adult Development Robert Kegan
and 🔍9 stages of increasing ego development by Susanne R Cook-Greuter
and 🔍DTF and CDF by Otto Laske.
EVERYHING in your mind is nothing but constructed (mythos) and does NOT equal objective reality (causation) which you NEVER interact with directly, only through subjective biased "Interface of Perception Donald D Hoffmann" which you constantly modify via Leibnizian calculus which we as culture exchange to modify collective functionality:
Monadologie of Leibniz = Archetypes by Carl Jung
exchanged via mimetic repressions.
Psychosis means getting lost in reductionistic DIFFERENTIATION without (self)ironic INTEGRATION.
You do not need to understand mathematics to understand these fundamental relations.
A 4 year old child would understand what is explained here if explained in context of their personal trial & errors of deepest troubles and hardships, and, opposed to colonial master-slave robot school system, it would actually spark their INTRINSIC interest to learn ... not just mathematics.
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Caged
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“Pile out, you tramps. It’s the end of the line!”
“In this cage, you get tough, or you get killed.”
“Who’s the cute trick?”
“Kindly omit the flowers.”
“Keep it active. She’ll be back.”
Screenwriter Virginia Kellogg went behind bars to capture slang and elements of prison routine, and boy did it pay off. John Cromwell’s CAGED (1950, TCM, Plex) is a punchy good time, even when it’s hectoring the audience about the need for prison reform. It set many of the tropes of the women’s picture, but stands on its own perched on the dividng line between camp and high drama. It’s also unusual in that it got veiled lesbianism and references to drugs and prostitution past the Production Code. Eleanor Parker stars as the young innocent sent to prison because she was in the car while her husband got himself killed trying to rob a gas station. She’s thrown into a world of corruption, sadism, sexuale exploitation and terrific character women. A lot of the fun comes from watching the situation change her, and Parker gives a carefully modulated performance in which the young innocent is as interesting and believable as the woman she becomes. She’s not the whole show. You also get Ellen Corby as a crazed husband killer, Jan Sterling as a dumb blonde, Betty Garde (the original Aunt Eller) as the recruiter for a shop-lifting ring, Lee Patrick as a vice queen who could be the dictionary illustration for “lipstick lesbian,” Olive Deering as a suicidal inmate, Jane Darwell as matron of the isolation room, Gertrude W. Hoffmann as a lifer and Gertrude Michael as a fallen society woman. Best of all are Agnes Moorehead, who could ring nuance out of a laundry list, as the sympathetic warden and Hope Emerson as the sadistic matron who looks on Parker as a source of income and possibly something more. Cromwell was always a whiz at directing actors and melds the cast into a solid ensemble. He and cinematographer Carl E. Guthrie create some powerful visuals, but one of the most stunning effects uses sound. In her first night in the cell block, Allen has to adjust to sleeping in a room full of people as the soundtrack fills with coughs, yawns, and sobs that gradually overwhelm her and us.
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indiejones · 5 months
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THE 236 GREATEST PERSONALITIES IN THE ENTIRE KNOWN HISTORY/COLLECTIVE CONSCIOUSNESS OF THIS WORLD! (@INDIES)
ie. THE 236 GREATEST PERSONALITIES IN WORLD HISTORY! (@INDIES)
Rajesh Khanna
Lionel Messi
Leonardo Da Vinci
Muhammad Ali
Joan of Arc
William Shakespeare
Vincent Van Gogh
Online Indie
J. K. Rowling
David Lean
Nadia Comaneci
Diego Maradona
Wolfgang Amadeus Mozart
Meena Kumari
Julius Caesar
Harrison Ford
Ludwig Van Beethoven
William W. Cargill
Fritz Hoffmann-La Roche
Samuel Curtis Johnson
Sam Walton
John D. Rockefeller
Andrew Carnegie
Roy Thomson
Tim Berners-Lee
Marie Curie
James J. Hill
Cornelius Vanderbilt
Roman Polanski
Samuel Slater
J. P. Morgan
Cary Grant
Dmitri Mendeleev
John Harvard
Alain Delon
Ramakrishna Paramhansa (Official God)
The Lumiere Brothers, Auguste & Louis
Carl Friedrich Benz
Michelangelo
Maharishi Mahesh Yogi
Ramana Maharishi
Mark Twain
Swami Sri Yukteswar Giri
Bruce Lee
Bhagwan Krishna (Official God)
Charlemagne
Rene Descartes
John F. Kennedy
Bhagwan Ganesha (Official God)
Walt Disney
Albert Einstein
Nikola Tesla
Alfred Hitchcock
Pythagoras
William Randolph Hearst
Cosimo de’ Medici
Johann Sebastian Bach
Alec Guinness
Nostradamus
Christopher Plummer
Archimedes
Jackie Chan
Guru Dutt
Amma Karunamayi/ Mata Parvati (Official God)
Peter Sellers
Gerard Depardieu
Joseph Safra
Robert Morris
Sean Connery
Petr Kellner
Aristotle Onassis
Usain Bolt
Jack Welch
Alfredo di Stefano
Elizabeth Taylor
Michael Jordan
Paul Muni
Steven Spielberg
Louis Pasteur
Ingrid Bergman
Norma Shearer
Dr. B. R. Ambedkar
Ayn Rand
Jesus Christ (Official God)
Luciano Pavarotti
Alain Resnais
Frank Sinatra
Allah (Official God)
Richard Nixon
Charlie Chaplin
Thomas Alva Edison
Alexander Graham Bell
Wright Brothers
Arjun (of Bhagwan Krishna’s Gita)
Jim Simons
George Lucas
Swami Sri Lahiri Mahasaya
Carl Lewis
Brett Favre
Helen Keller
Bernard Mannes Baruch
Buddha (Official God)
Hugh Grant
K. L. Saigal
Roger Federer
Rash Behari Bose
Tiger Woods
William Blake
Jesse Owens
Claude Miller
Bernardo Bertolucci
Subhash Chandra Bose
Satyajit Ray
Hippocrates
Chiang Kai-Shek
John Logie Baird
Geeta Dutt
Raphael (painter)
Bhagwan Shiva (Official God)
Radha (Ancient Krishna devotee)
George Orwell
Jorge Paulo Lemann
Catherine Deneuve
Pierre-Auguste Renoir
Bill Gates
Bhagwan Ram (Official God)
Michael Phelps
Michael Faraday
Audrey Hepburn
Dalai Lama
Grace Kelly
Mikhail Gorbachev
Vladimir Putin
Galileo Galilei
Gary Cooper
Roger Moore
John Huston
Blaise Pascal
Humphrey Bogart
Rudyard Kipling
Samuel Morse
Wayne Gretzky
Yogi Berra
Barry Levinson
Patrice Chereau (director)
Jerry Lewis
Louis Daguerre
James Watt
Henri Rousseau
Nikita Krushchev
Jack Dorsey
Dev Anand
Elia Kazan
Alexander Fleming
David Selznick
Frank Marshall
Viswanathan Anand
Major Dhyan Chand
Swami Vivekananda
Felix Rohatyn
Sam Spiegel
Anand Bakshi
Victor Hugo
Bhagwan Sri Sathya Sai Baba (Official God)
Steve Jobs
Srinivasa Ramanujam
Lord Hanuman
Stanley Kubrick
Giotto
Voltaire
Diego Velazquez
Ernest Hemingway
Francis Ford Coppola
Michael Douglas
Kirk Douglas
Mario Lemieux
Kishore Kumar
James Stewart
Douglas Fairbanks
Confucius
Babe Ruth
Raj Kapoor
Titian aka Tiziano Vecelli
El Greco
Francisco de Goya
Jim Carrey
Mohammad Rafi
Steffi Graf
Pele
Gustave Courbet
Rani Laxmibai of Jhansi
Milos Forman
Steve Wozniak
Georgia O’ Keeffe
Mala Sinha
Aryabhatta
Magic Johnson
Patanjali
Leo Tolstoy
Tansen
Henry Fonda
Albrecht Durer
Benazir Bhutto
Cal Ripken Jr
Samuel Goldwyn
Mumtaz (actress)
Panini
Nicolaus Copernicus
Pablo Picasso
George Clooney
Olivia de Havilland
Prem Chand
Imran Khan
Pete Sampras
Ratan Tata
Meerabai (16th c. Krishna devotee)
Queen Elizabeth II
Pope John Paul II
James Cameron
Jack Ma
Warren Buffett
Romy Schneider
C. V. Raman
Aung San Suu Kyi
Benjamin Netanyahu
Frank Capra
Michael Schumacher
Steve Forbes
Paramhansa Yogananda
Tom Hanks
Kamal Amrohi
Hans Holbein
Shammi Kapoor
Gerardus Mercator
Edith Piaf
Bhagwan Shirdi Sai Baba (Official God) .
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brookstonalmanac · 9 months
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Beer Events 7.16
Events
John Schmelzer patented Improvement in Refrigerators or Beer-Coolers (1872)
Budweiser trademark registered by Carl Conrad, a longtime friend of Adolphus Busch (1878)
David Paige patented an Apparatus for Racking Beer (1901)
George Laubenheimer patented a Hop Jack (1907)
Louis Dettling died (1917)
Prohibition ended in Saskatchewan, after 8 years (Canada; 1923)
Maryrose Hoffmann patented a beer Faucet (1935)
Cecil Keller and Ernest Simons patented a Detachable Handle for Bottles and Drinking Glasses (1940)
Investors invited to buy shares in Caribou Brewing (BC, Canada; 1956)
Eugene Blea patented a Beer Dispenser (1968)
New World Liberation Front bombed a Coors Beer Distributor as an act of solidarity with striking brewery workers in Colorado (San Jose, California; 1977)
Schneider & Brooklyner Hopfen-Weisse debuted simultaneously (New York & Germany; 2007)
Brewery Openings
Hacker-Pschorr Brau (Germany; 1417)
Penrhos Court Brewery (UK; 1977)
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merriammusicinc · 10 months
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Bechstein vs Steinway Pianos | Everything You Need to Know
youtube
If you're a piano shopper or performer and you're investigating the highest echelons of the piano business, it's going to be awfully tough to miss these two titans - Steinway & Sons and C. Bechstein. Sure, there are a small handful of other pianos in the same top-quality tier that garner an equal level of musical respect, such as Bosendorfer, Fazioli and Steingraeber & Sohne, but no other two piano makers have achieved the same scale and dominance in their respective markets than Steinway or C. Bechstein have.
Whereas Fazioli and Bosendorfer sell just a few hundred units per year, C. Bechstein produces over 4,000 musical instruments annually in Seifhennersdorf Germany, and Steinway also remains well into the four-digit territory between their Hamburg Germany and New York factories.
But what many don't realize is just how close in design these two instruments actually are, despite the fact that they are musically very different from one another.
In today's article and companion video, we're going to cover the musical and technical differences between Bechstein vs Steinway pianos. We’ll also look at their similarities, a rundown of their histories, and a snapshot of how things look for these manufacturers today.
Let’s start with C. Bechstein.
C. Bechstein Early History
German company C. Bechstein has been producing pianos for over 150 years. Their story begins in the city of Berlin in 1853 when German Master Piano Maker Carl Bechstein began constructing highly personalized, bespoke upright pianos for the top artists of the day - a tradition of excellence with the vertical format that continues to the present day.
The small shop quickly grew to a large-scale operation, and by the turn of the 20th century, C. Bechstein was producing several thousand pianos annually.
WWII
At the height of C. Bechstein's popularity, their pianos were the preferred choice of European and British aristocracy, as well as the preeminent concert halls of the day due to their superb build quality, musical capabilities and stunning cabinetry.
Unfortunately, the tensions and the destruction resulting from the two World Wars virtually ended the company. Luckily for us, C. Bechstein has undergone a complete rejuvenation over the past couple of decades.
Today
With new ownership and a massive investment of capital into the company, C. Bechstein has been experiencing a renaissance since the early 2000s. With the purchase of the already existing Bohemia Piano Factory in the Czech Republic, they've also begun producing pianos under the C. Bechstein Europe umbrella with the resurrected W. Hoffmann brand, serving as a high-value European alternative to the top-level professional Japanese pianos from Kawai and Yamaha.
In addition to that factory acquisition, they've also revamped many of their flagship piano models with more advanced scale designs, improved cabinetry, and very notably, a brand new action and hammer division, making them one of the few piano companies worldwide to manufacture their own hammers in-house.
Current Piano Lineup
In addition to the three quality lines from their Czech factory, C. Bechstein produces German-made upright and grand pianos in two quality levels. The lower-priced Academy Series line is on par quality-wise with the very best handmade Japanese pianos and certain other German companies.
The higher-priced C. Bechstein Concert Series sits right at the top of the heap for overall quality and craftsmanship in terms of what’s available anywhere in the world today.
With extensive recent redesigns throughout the entire C. Bechstein Academy and Concert Series lineups, the current C. Bechstein pianos are noticeably superior to what the company was producing even 10 to 15 years ago.
Certain C. Bechstein grand pianos and C. Bechstein uprights are regarded as the best pianos available for their specific size - the C. Bechstein Concert 8 is held by many as the finest upright piano money can buy, and the C. Bechstein C234 is widely considered as the best semi-concert grand piano currently in production.
Differences Between Academy and Concert Series Lines Materials
Some of the specific material differences include the AAA Austrian white spruce in the Academy Series versus the much more expensive Val di Fiemme spruce used in the Concert series - this is an extremely rare red spruce, and is sourced from the same forest that Stradivarius cultivated for his legendary violins.
Mahogany hammer moldings are used in the Academy line versus the stronger and lighter walnut hammer moldings in the Concert line. From there, C. Bechstein uses the high-quality Silver Line Action in the Academy Series versus their top-tier Gold Line Action featured on the Concert Series. The geometry is quite similar between these two actions, but the Gold Line Action is built to an even stricter tolerance level.
C Bechstein Hammers Manufacturing Time & Designs
The manufacturing time for the Academy series is roughly half that of the time they spend on their Concert Series. Certain specific design differences include non-tapered soundboards in the Academy Series versus tapered soundboards in the Concert Series. A thicker, full hardwood rim with more laminations is used in the Concert Series along with solid beech bridges and a pinblock that also has more laminations, contrasted with a slightly thinner rim and less complex bridge design and pinblock in the Academy series.
There is some debate amongst C. Bechstein lovers throughout the world as to which design is superior. The mid-20th century C. Bechstein’s had a very romantic sound with a less complex tone and less projection often described as intimate.
The present-day C. Bechstein models use virtually every best practice and design feature known to the piano industry and as a result, the tone is probably described best as something falling between a Steinway and a Fazioli in terms of the dynamic response, extremely wide color pallet and staggering cabinet resonance.
Steinway & Sons Early History
Steinway & Sons is without a doubt the most recognizable piano brand in the world. German immigrant Heinrich Engelhart Steinweg, eventually known as Henry E. Steinway, opened a small workshop in Manhattan in 1853 after years of piano making in Germany.
After obtaining over 100 design patterns, multiple location changes, and of course, anglicizing the family name to Steinway, Steinway would emerge as the dominant force in American piano manufacturing. In the 1880s, wanting to expand to the European market, Steinway opened a facility in Hamburg, Germany to supply Europe and the rest of the world.
Rise to Worldwide Prominence
Into the 1900s, Steinway became one of the most successful consumer brands in the world, pioneering many of the marketing techniques that we would now call product placement. Steinway Concert halls in London, New York, and Germany became the center of culture for many affluent and newly moneyed successful families and business people.
The newly minted Steinway Artist Program created and to this day maintained a monopoly among touring classical pianists.
Today
Steinway still produces pianos in both New York and Germany, with the New York factory supplying the Americas and the German factory supplying the rest of the world.
Steinway is no longer family-owned, and it has changed hands several times throughout the last 100 years. The company has had stable ownership since about 2013 after it was acquired by a New York-based private equity firm.
While the pianos from both factories are renowned for their quality, pianos from the German Hamburg factory are often regarded as superior to New York, though, there has been an effort in recent years to bring the American factory up to a similar standard that was established by its German counterpart.
Current Piano Lineup New York Steinway Steinway Pianos - Model D
Steinway’s New York facility currently produces a single upright piano, the well-regarded 52” K52, which is available in a couple of different finishes.
In terms of the grand pianos, they offer a full lineup ranging from the 5’1” Model S baby grand piano to the 9’ Model D with four models in between. Their pianos are very popular in the high-end market among musicians and play the role of a sort of status symbol.
Despite improvements to quality consistency in recent years, the NY Steinway’s are still generally regarded as a step below their German counterparts.
Hamburg Steinway
Like the New York facility, Steinway’s Hamburg facility also offers the 52” K-52 as their only upright piano currently in production.
The grand piano lineup is the same except for one extra model, - the 7’5” C227. The German pianos are voiced quite differently from their American counterparts and do feature some differences in materials.
Differences between Bechstein vs Steinway Sub-Brands
When we sit down to compare these two venerable brands, several key differences emerge. The first thing is their approach to their sub-brands and sublines. In Steinway’s case, we're talking about the Boston and Essex lines, and with C. Bechstein, we're talking about W. Hoffmann and Zimmermann.
Where Steinway elected to contract the construction of Boston to Kawai (Samick now manufactures one model as well) and Essex to a series of changing Chinese manufacturers, C. Bechstein directly manufactures all aspects of their five European-made lines and contracts the manufacturer of the Zimmermann line only.
The major differences between these two approaches has to do with consistency, both in terms of a model-to-model comparison, but also in terms of the overall quality of a given line from year to year.
For example, Essex have gone through different manufacturers over the years, with varying degrees of success. On the other hand, every single W. Hoffman acoustic piano from all three lines (Vision, Tradition, Professional) leaves C. Bechstein’s Czech factory with no detectable differences from one year of manufacture to the next.
Design C Bechstein Design
There are of course also a number of design differences between these two manufacturers when comparing lines of equivalent quality. Virtually every structural part of a Steinway grand is made with hard rock maple, including the rim. This focus on a specific, very dense wood colors the tone in a very distinctive way and also creates a very resonant structure.
C. Bechstein uses a variety of dense hardwoods in their grands as opposed to only maple. In addition to maple, they also use mahogany as well as beech. Whereas maple tends to produce a mid-range heavy tone with great projection, C. Bechstein’s use of multiple hardwoods combined with a super precise structure produces a tonal profile that is much closer to that of a Fazioli - very colorful, but with a dynamic response closer to that of a Steinway.
New York Steinway & C. Bechstein actions are also quite different. New York Steinways feature their patented Accelerated Action while C. Bechstein uses an action that is much closer to a Hamburg Steinway action. On first touch, C. Bechsteins feel lighter with a sense of a deeper key bed, whereas a Steinway will have a heavier touch and the sense that the key bed is more shallow.
Musical Differences
Musically speaking, Steinways tend to have a much more broad range of tone between dynamic extremes. In other words, the character of tone is quite different when playing softly versus when playing loudly. This is less consistent from model to model and less consistent through the top to the bottom of the range, however, whereas C. Bechstein’s tend to be extremely consistent throughout all ranges and across different models.
Steinway’s tend to have a slightly darker color in the upper range with less clarity, and the softer dynamic ranges are more notably flat in tone compared to a C. Bechstein. Bechstein’s are also known for their unique bloom-like character of tone.
What These Differences Mean
The real-world implications of these musical observations mean that anyone considering a Steinway will most definitely want to play the exact piano in the showroom that they’ll be taking home due to the lack of consistency from piano to piano and model to model.
This also brings us to another question people always ask; will a piano from either of these manufacturers increase in value over time? The short answer is no.
Although there are instances where one could sell their piano for more than they bought it for, i.e. a high-end piano purchased in the 1920s will of course sell for a higher price than one hundred years ago, this completely ignores the effects of inflation.
Ultimately, these instruments are highly complex machines that unfortunately do not improve with age over time. Unlike a violin or cello, in which age may legitimately make the instrument more valuable as the wood seasons, a piano is at its absolute peak at some point within the first five years of its ownership. When inflation is accounted for, the best that an owner can probably hope for is a lifetime of wonderful music-making with a slow and predictable depreciation against its replacement cost.
Similarities Between C. Bechstein & Steinway & Sons
Despite many differences, there are surprising similarities between these two manufacturers that not everyone is aware of. For one, C. Bechstein Concert and Hamburg Steinway grands use a treble bell in their larger models. This is something that was originally innovated by Steinway and later adopted by C. Bechstein.
A second similarity is that both manufacturers use a highly tapered, old-growth spruce soundboard in their top German instruments. Steinway doesn't disclose their exact type of sourcing of spruce, but by all accounts, they still use Alpine Sitka. C. Bechstein on the other hand is a little more transparent in this regard and they use a minimum of 1,000-meter altitude red spruce from the Val di Fiemme, which is in Italy, of Stradivarius fame.
Closing Thoughts
We hope that you've enjoyed this exploration of the history, similarities and differences between C. Bechstein and Steinway & Sons pianos.
Thanks very much for reading, and be sure to check out the companion video!
The post C Bechstein Concert 8 | Upright Piano Review first appeared on Merriam Pianos
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docrotten · 1 year
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FAUST (1926) – Episode 145 – Decades Of Horror: The Classic Era
“Poor Faust, why do you seek death when you have not yet lived?” That does seem kind of backward. Join this episode’s Grue-Crew – Chad Hunt, Whitney Collazo, Daphne Monary-Ernsdorff, and Jeff Mohr, along with guest host Ralph Miller – as they head for the realm of silent horror with F.W. Murnau’s Faust (1926). Care to make a bargain?
Decades of Horror: The Classic Era Episode 145 – Faust (1926)
Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine
ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/
The demon Mephisto has a bet with an Archangel that he can corrupt a righteous man’s soul and destroy in him what is divine. If he succeeds, the Devil will win dominion over the earth.
  Director: F.W. Murnau
Writers: Gerhart Hauptmann (titles), Hans Kyser (titles), Johann Wolfgang von Goethe (play “Faust”) (as Johann Wolfgang Goethe)
Producer: Erich Pommer
Cinematographer: Carl Hoffmann
Selected Cast:
Gösta Ekman as Faust
Emil Jannings as Mephisto
Camilla Horn as Gretchen
Frida Richard as Gretchen’s mother
William Dieterle as Valentin, Gretchen’s brother
Yvette Guilbert as Marthe Schwerdtlein, Gretchen’s aunt
Eric Barclay as Duke of Parma
Hanna Ralph as Duchess of Parma
Werner Fuetterer as Archangel
Featuring innovative special effects for the time, Faust, directed by F.W. Murnau (Nosferatu, 1922), is one of the preeminent examples of German expressionism. Faust is Murnau’s final German film before heading to the U.S. where he would make three more films before passing in 1931 at the young age of 42. In the movie, Mephisto sets out to prove to an Archangel that he can corrupt a man’s soul. An early example of superb cinema and intellectual horror, it is a must-see indeed. Check out what the Grue-Crew thinks of this true masterpiece. 
At the time of this writing, Faust can be streamed from the Classic Horror Movie Channel, Kanopy, and Hoopla, as well as various subscription and PPV options. The movie is also available on physical media as a Blu-ray from Kino Lorber’s Kino Classics line. If you haven’t yet experienced Faust, there is no time like the present.
If silent films are your thing, you might want to check out these episodes of the Classic Era focusing on silent horror films:
THE CABINET OF DR. CALIGARI (1920) – Episode 13 
NOSFERATU (1922) – Episode 21
THE PHANTOM OF THE OPERA (1925) – Episode 42
THE CAT AND THE CANARY (1927) – Episode 60
HÄXAN (1922) – Episode 79
PHANTOM CARRIAGE (1921) – Episode 85
THE GOLEM (1920) – Episode 99
Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule is one chosen by Jeff. In honor of Raquel Welch’s passing on 15 February 2023, the crew’s next topic will be Fantastic Voyage (1966). Despite what you might think, the film is not based on an Isaac Asimov novel. It does, however, feature Oscar-winning special effects along with performances from Donald Pleasance and a bevy of top-notch character actors.
Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at [email protected]
To each of you from each of them, “Thank you so much for watching and listening!”
Check out this episode!
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byneddiedingo · 11 months
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Rudolf Klein-Rogge in Dr. Mabuse the Gambler (Fritz Lang, 1922)
Cast: Rudolf Klein-Rogge, Aud Egede-Nissen, Gertrud Welcker, Alfred Abel, Bernhard Goetzke, Paul Richter, Robert Forster-Larrinaga, Hans Adalbert Schlettow, Georg John, Károly Huszár, Grete Berger, Julius Falkenstein. Screenplay: Thea von Harbou, Fritz Lang, based on a novel by Norbert Jacques. Cinematography: Carl Hoffmann. Art direction: Otto Hunte, Erich Kettelhut, Karl Stahl-Urach, Karl Vollbrecht. 
Dr. Mabuse the Gambler is a four-and-a-half-hour movie, and I've seen two-hour movies that felt longer. It zips along because Fritz Lang never fails to give us something to look at and anticipate. There is, first and foremost, the almost literally hypnotic performance of Rudolf Klein-Rogge as Mabuse, a role that could have degenerated into mere villainous mannerisms. There is his dogged and thwarted but always charismatic opponent, von Wenk (Bernhard Goetzke), who seems on occasion to resist Mabuse's power by mere force of cheekbones. There is the extraordinary art decoration provided by Otto Hunte and Erich Kettelhut, which often gives the film its nightmare power: Consider, for example, the exceedingly odd stage decor provided for the Folies-Bergère performance by Cara Carozza (Aud Egede-Nissen), in which she contends with gigantic heads with phallic noses (or perhaps beaks), or the collection of primitive and Expressionist art belonging to the effete Count Told (Alfred Abel). The story itself, adapted from the novel by Norbert Jacques by Lang's wife-to-be Thea von Harbou, is typically melodramatic stuff about a megalomaniac psychiatrist, who uses his powers to become a master criminal. But l think it succeeds not only because it has so much to say about the period in which it was made but also because of our continuing fascination with mind control. It sometimes feels like there's a little Mabuse in everyone who seeks power. Somehow we continually lose our skepticism, born of hard experience, about the manipulators and find ourselves once again yielding to them. And somehow we usually, like von Wenk, find a way to pull ourselves back from the brink. But, as Lang himself experienced, we don't always manage to do so. 
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