#devotion to the cross 1953

[camus-cat-cigarette]

Camus: "I have never felt more full of strength and life. The enormous joy that fills me would raise the world..."

Casarès: " All my life will fall short to love you...'

~~~♡♥︎~~~

"If Albert was a Don Juan, Maria was a Don Juana." ~ Oliver Todd

"Love that is not madness is not love." ~ Pedro Calderón de la Barca

Duo CamCasa: Costume Rehearsal at the Angers Festival; Play "Devotion to the Cross" by Pedro Calderón de la Barca; dramaturgy and direction: AlbertCamus; photographer: Emile Muller, 1953

#albert camus #correspondance #maria casares #love letters #lovers #literature #theatre #pedro calderón de la barca #devotion to the cross 1953 #oliver todd #camus biography

[acknowledgetheabsurd]

Do you understand, my darling? I'm not the only one who wields contradictions; but I believe in you and nothing and no one will ever stop me from believing in you again. But I promised you that I would never lie to you and that I would never hide anything from you. You wanted to promise and I rejected your promise. You could have kept your mouth shut so as not to hurt me, without missing me in some way. The result? I simply found that I prefer any pain to the compulsion of your heart. That's all.

Moving on. I fight hard for you. I call myself "crazy" with a touch of voluptuousness and I love you to death. Dussane* has come back to see the play and this time she's come up to see me. She told me that she had sent you a love letter which you had answered with another one "of tenderness". You hadn't told me about it!!! She said again... but she wouldn't stop; she was delirious, she was in delirium. She worries me. She should take care of herself. I love her very much, God knows !!!

As for your "darkness", I do not and will not understand it. I persist in thinking that it is a kind of scarecrow that some people invent to defend themselves from I don't know what and not to let themselves be totally indulged in what you write, because, in the end, it is impossible for one to have such a closed mind and heart. But why this blindness? Mystery. I don't understand. I will never understand. I know we're not all from the same family, but, well, no one in the world can deny the day or the night. Yet the sun's part in the darkest of your writings seems as obvious to me as the sun itself. No; I do not understand it, and perhaps it is better that way.

I'd like to get to know Kim. I have a passion for German shepherds. Tell her many things from me, and ask her to lick the tip of your nose for me. I want to keep it within propriety. Darling. I want to take your face in my hands and kiss you all over, all the time, all over your face. Then your hands. And then your... Oh! Darling! Oh, my dearest love. Oh, you! Oh! My life.

How's your work? Is it going well? Will you send me your introduction? The essay. How far along are you? Have you put on weight? I'm starting. I'm not sleeping more, but I'm eating like three again. Take me as an example. I'm cozy. I'm waiting for you. I love you. I'm happy and sad. At times, it's sweet - at times, unbearable. Often, unbelievable, senseless. Speak to me. Write to me. Tell me. If you knew how happy you make me when I read to you, you'd be happy until you get back. That's wonderful, Albertchéri. Ah! My dear, my beautiful love. How I thank you, how I feel, heavy with you... See you tomorrow. Go to sleep. Sleep in peace. I believe you, I'm happy, I'm waiting for you.

Maria Casarès to Albert Camus, Correspondance, January 16, 1950 [#132]

* The actress and dramatic chronicler Béatrice Dussan (1888-1969), known as Béatrix Dussane, joined the Comédie-Française in 1903 and became a member in 1922. A professor at the Conservatoi d'art dramatique de Paris, her students included Michel Bouquet, Serge Reggiani, Alice Sapritch, Sophie Desmarets and Maria Casarès, to whom she devoted a volume in 1953 (Maria Casarès, Calmann-Lévy) composed of excerpts from her diary: "From that day in October 1939 when she first crossed the threshold of my Conservatoire class, what she had of exceptional talent became obvious to me. She alone, in front of our curiosities and our meditations, and in their most exhilarating aspect, poses all the problems of the art of acting." Dussane has also devoted many pages to Albert Camus's theatrical work.

#albert camus #camus #absurd #absurdism #maria casares #correspondance #love letters #love #lie #crazy #tenderness #darkness #mind #heart #world #day #night #sun #passion #face

[outoftowninac]

THE HAREM

1924

The Harem is a three-act play by Ernest Vajda adapted by Avery Hopwood. It was originally produced and staged by David Belasco. It starred Lenore Ulric as Carla and featured William Courtenay.

The story is set in Budapest. 

Carla is the actress wife of Roland Valetti, a Budapest musician. Quite by accident, someone carelessly upsets a can of water on Manon, an attractive divorcee, who stops at the Valetti residence to rest and dry her gown. Remarks lead to a bit of philosophizing between Carla and Manon. Valetti, coming in unawares, mistakes Manon for his wife and plants a passionate kiss upon wet lips. Whereupon Carla proceeds to put Manon's theory to the test. Manon avers that every man has a harem, and that no husband will remain true to his wife. Roland is intrigued into a visit to Manon's apartment. Carla goes there, too, as a Turkish princess. In this guise she succeeds in deceiving her husband, and the play ends with the customary cross-questioning, false explanations. and final confession.

Lenore Ulric (1892-1970)  was discovered by David Belasco in 1913.  He would go on to manage her stage career, in which she was noted for portraying fiery, hot-blooded women; the typical vamp. Belasco managed her stage career until shortly before his death in 1931. In a tribute to Belasco, she said: 

All of us who were with him depended upon him so much that we'd just flounder around and say, "What do I do now?" He was a good soldier, a hard worker, and a great director.

The Harem opened in Atlantic City at Nixon’s Apollo Theatre on November 10, 1924. It then moved on to Washington DC at The National, and Fords in Baltimore. 

The Harem opened on Broadway at the Belasco Theatre (111 West 44th Street). 

About the Venue: David Belasco built it in 1907 with all the luxuries available. Best of all was a ten-room duplex penthouse apartment he built for himself. After his death, the theatre was leased to Katharine Cornell, then Elmer Rice. The Shuberts bought it in 1949 and, after leasing it to NBC for three years, returned it to legit use in 1953.

“There never was such a harem as this, not even to represent a Ziegfeld folly or a John-Murray-Anderson dream in chiffon. It is a gorgeous room hung in billowing silk and lighted with a smoldering Belascoan passion.” ~ BURNS MANTLE

Comparisons were inevitably made to its similarity to The Guardsman, by Ferenc Molnár, a play with a similar theme and storyline. 

In early March 1925, New York theatres came under fire for immoral content. The District Attorney’s office got involved and producers, including David Belasco, were asking to revise their scripts or face suppression. Even Eugene O’Neill’s Desire Under the Elms was deemed “fundamentally bad”.

At the insistence of District Attorney Banton, Manager Belasco last week called several midnight rehearsals of ‘The Harem’ and succeeded in making numerous changes, even against the expressed and, I gather, rather vociferous opposition of Lenore Ulric.  

In the second act, the bedroom upstage has been removed and in its place there is now a grand piano topped with a vase of roses. 

Here is a cleaning up indeed. Nothing certainly can be more chaste than a grand piano. Unless it be two grand pianos. And what could more sweetly suggest home and mother than a vase of roses? 

But will the play juror appreciate this? If Miss Ulric, as the lady of the play, should walk up to that section of the stage and remark: "Here where I stand, and where my bed used to be before they moved in this d---- piano, I say to you, musseer, I am not going back to my husband this evening!"

More scandal then rocked The Harem...

Lenore Ulric and Belasco had not been on speaking terms since he sold the screen rights to Kiki, a play she devoted three years of her life to, to United Artists, who would certainly cast Norma Talmadge in the title role. [Which is indeed what happened.]  Ulric was also not happy about the play being censored and felt that Belasco did not fight hard enough for the play. Ulric suddenly gave two weeks notice. Belasco set into action to recast the role, summoning Vivienne Osborne, whom he had seen in another play still running on Broadway, to his office. She accepted his offer to replace Ulric and gave her two weeks notice to the play she was then appearing in. Broadway managers cried foul, claiming Belasco breached their gentlemen’s agreement about poaching actors. Others carped that Belasco was a ‘law unto himself’ and ran roughshod over others. The unions, however, confirmed that as long as two weeks notice was given, the actors were within their rights. Rumors persisted that Ulric was about to get married to actor Sidney Blackmer, who was also appearing on stage at the time, in a play in Brooklyn. As for Ulric, she denied that she and Belasco had fallen out, and claimed she was leaving to nurse her failing voice. Ulric’s final performance in The Harem would be on May 9, 1925. 

Two weeks after Osborne’s first performance, Belasco posted a closing notice for May 30, 1925. The play scored 183 performances. 

To bolster Miss Osborne, Belasco announced that he ‘may’ make the actress his next big star. But this was simply to save face. Although Osborne returned to Broadway in 1927, she never again worked for David Belasco. In 1926, Ulric returned to work for Belasco and they stayed together till his death. In 1929, Ulric married Sidney Blackmer. They were together ten years. She accepted the blame for their divorce. 

“I don't think I'm comfortable to live with. I have a temper. I'm difficult. I'm too quick and too impulsive. And men have a right to be comfortable.” 

#David Belasco #The Harem #Lenore Ulric #1924 #Atlantic City #Broadway #Broadway Play #Vivienne Osborne

[kaymurray36]

The Grandeur Of Grand Canyon National Park

Moment has come very favored by tourists and it's also often used as a lunch stop en route between Mombasa and Nairobi. Hobart, particularly, is rich in history as well as hip and going down. The eastern corner of this park has several riverbeds. After a 20 minutes stop we hopped back onto the vehicle for even more action. On descending down we saw many rock hyraxes. Tin Top Cà Mau AZ 247 Having been seeing and hearing them for directory submission time and appearance vise might bigger versions of the mouse. They have another species of tree hyrax found only on forests. We could see a full community and multiple families laying on rocks. They were swift in climbing rocks and hiding within them. View More: topcamauaz.com - Top Ca Mau AZ Reviewed by Team Leader in Top Ca Mau AZ: Nguyễn Thảo Phương - Nguyen Thao Phuong Not only is it the capital of New Zealand, involved with also the southernmost capital in the field of. Heaps of iconic structures here - from the famous beehive (Parliament House) to Te Papa Museum (NZ's best museum at my opinion). The lesser known ones are Weta Museum and Cable Car. 12.If notice cars parked along the roadside, slow down. You may even want to pull over yourself before event. It not only is the safest way to proceed, you have a better than average chance that the cars are there because someone has spotted wildlife curiosity.

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#Top Ca Mau AZ #Ca Mau Viet Nam #Ca Mau

[abishek-sources-and-significance]

The Academic Blog: 2

In this blog, I am going to talk about intertextuality and transmedia.

What do transmedia and intertextuality mean?

The study of intertextuality explores how texts link to and impact one another by making direct quotations, allusions, or references to widely held literary or cultural views. Transmedia storytelling is the telling of stories using a variety of media, such as video games, novels, movies, and social media, each of which adds a unique element to the story universe, making it more fully realized.

Connection: In transmedia storytelling, intertextuality is essential because it can unite various media to form a cohesive story or include references to other works. The coherence and richness of the entire storytelling experience have been improved by this connection.

Intertextuality and Transmedia in the James Bond Universe: Ian Fleming launched the James Bond series in 1953 with "Casino Royale," a novel that followed the famed spy on his mission to defeat a Soviet operative in a high-stakes game of Baccarat (Fleming, 1953). With this literary first appearance, James Bond's global legacy, which includes movies, books, video games, and comic books, began. Intertextuality and transmedia are combined to create an extensive narrative world.

Casino Royale, first edition (Fleming, 1953)

Intertextuality: The Literary Origins and Cinematic References of James Bond: Ian Fleming's literary legacy acts as the source of inspiration for the James Bond phenomenon. Fleming's novels introduced the dapper MI6 agent, and the movies have consistently acknowledged their literary forerunners. Fleming's literary works are seamlessly adapted for the big screen, bringing characters, scenes, and even brief dialogue from the pages to the screen. In addition, the Bond movies are a veritable gold mine of allusions. Every movie pays homage to its predecessors with recognizable lines like "Shaken, not Stirred" and the return of specific toys and cars. In addition to honoring the franchise's rich past, this intertextual layering gives devoted followers a feeling of continuity and familiarity.

Transmedia: Bond Outside of the Films: Transmedia storytelling allows the James Bond universe to extend beyond cinema and appear across a wide range of media platforms. Video games have proven to be an especially successful medium for extending Bond's travel. Players can step into the role of the well-known spy by engaging in interactive missions that enhance the movie plots. These books mostly follow the basics of Bond's universe but offer original storylines. (Jakekemp, 2015)

Novels and comics play a significant role in the transmedia environment. Following in Ian Fleming's footsteps, other authors have continued to produce James Bond novels, discovering previously unrecorded missions and diving into the secretive mindset of the spy. Because of the distinctive visual style of comics, readers can study additional lore and get a different perspective on the Bond universe.

Cross-Media References: A Common Universe: A sense of continuity and a common universe are skillfully maintained by the Bond franchise, despite the lead actor's numerous look changes. Cleverly placed cross-references to earlier Bond actors and movies create a story that takes place across several decades. Recurring characters, made-up technologies, and institutions like the MI6 are all used to bring different media elements together into a cohesive, interconnected universe. Essentially, one of the best examples of how intertextuality and transmedia narrative work is the James Bond series.

The Bond universe is expertly crafted by combining elements from movies, books, video games, and other forms of media, creating a vibrant, dynamic world that attracts audiences and is constantly changing. Looking ahead to the next chapter in Bond's cinematic journey, the spy who has survived over the years owes a great deal of his continuing appeal to the intricate dance between intertextuality and transmedia storytelling.

Conclusion: The vast James Bond universe welcomes intertextuality and transmedia storytelling. Bond's story is told through a variety of media, including comic books, video games, and Fleming novels. This allows for an immersive experience. Even when actors change roles, cross-media references maintain a shared universe that keeps everything cohesive. In addition to films, James Bond's legacy lives on in books, video games, and comic books, captivating readers worldwide.

Reference list

Fleming, I. (1953). Casino Royale. [online] Ian Fleming. Ian Fleming Publications. Available at: https://www.ianfleming.com/items/casino-royale-2/

GameSpot Universe (2020). The Evolution of James Bond - 007 from Connery to Craig. www.youtube.com. Available at: https://youtu.be/_6D6Hiv3uDM?si=mSfoBOPtzZmzihnW

Jakekemp (2015). A Textual Analysis. [online] James Bond in Time. Available at: https://jakekemp.wordpress.com/2015/05/21/20/

MacReady, M. (2020). Every James Bond Video Game in Order of Release (With Years). [online] TheGamer. Available at: https://www.thegamer.com/every-james-bond-video-game/#james-bond-007-1983

Nah, N. (2013). James Bond Movies in Chronological Order. [online] IMDb. Available at: https://www.imdb.com/list/ls056263820/

#james bond #movies

[justiceheartwatcher]

☕️ LOVE AND POPPIES ☙ Monday, May 29, 2023 ☙ C&C NEWS 🦠

Good morning, C&C, it’s Memorial Day! This is a short, but thought-provoking post to get you through. Today I give you some unvarnished thoughts about the AI revolution and a guess at how the AI revolution is related to the pandemic and ‘misinformation.’

And remember the troops!

🗞 *MEMORIAL DAY COMMENTS* 🗞

In Flanders fields the poppies blow

Between the crosses, row on row,

That mark our place; and in the sky

The larks, still bravely singing, fly

Scarce heard amid the guns below.

We are the Dead. Short days ago

We lived, felt dawn, saw sunset glow,

Loved and were loved, and now we lie

In Flanders fields.

Take up our quarrel with the foe:

To you from failing hands we throw

The torch; be yours to hold it high.

If ye break faith with us who die

We shall not sleep, though poppies grow

In Flanders fields.

“In Flanders Fields,” Lieutenant Colonel John McCrae (written during World War I).

The Civil War birthed Memorial Day. As the Nation slowly recovered from the horrifying after-effects of its self-hatred and the near-fatal, apocalyptic violence as the Country attacked itself in a sort of civil autoimmunity, various townships began observing Decoration Day. On May 30, 1868, General John A. Logan, commander-in-chief of the Grand Army of the Republic, declared Decoration Day as a special day of remembrance, a day to decorate fallen Union soldiers’ graves with flowers.

Logan, a military man, pragmatically picked the May 30th date for its optimal weather for floral decorations.

Over time, Decoration Day evolved into Memorial Day, and as new bloody conflict led to new bloody conflict, the holiday expanded to include remembrance of soldiers from all American wars. In 1971, LBJ signed the bureaucratically-named “Uniform Monday Holiday Act,” making Memorial Day a federal holiday, and moving it to the last Monday in May, creating a three-day weekend for Americans, since the fixed May 30th date had often inconveniently fallen during the work week.

For remembrance, here is the list of the major U.S. wars and conflicts usually recognized on Memorial Day (not including smaller conflicts like the Indian Wars, Operation Desert Fox, or the Bosnian ‘peacekeeping’ mission):

American Revolutionary War (1775-1783)

War of 1812 (1812-1815)

Mexican-American War (1846-1848)

American Civil War (1861-1865)

Spanish-American War (1898)

World War I (1917-1918)

World War II (1941-1945)

Korean War (1950-1953)

Vietnam War (1955-1975)

Persian Gulf War (1990-1991)

Afghanistan War (2001-?)

Iraq War (2003-2011)

It often feels awkward to wish folks a “Happy Memorial Day,” but the dead paid their ultimate price, gave the last full measure of their devotion, so that we — their national brothers and sisters — could preserve and enjoy our cherished freedoms. So enjoy your Memorial Day as a free American, spend time with your family, and Remember.

As Colonel MacRae stressed in his now-famous poem, our dead soldiers passed the torch of preserving freedom to we, the living. Let us keep the torch alight.

[eug]

Week in and week out when the New York City Ballet is in season at Lincoln Center, dance aficionado Robert Schulman is in his front row seat alongside a curated group of folks he invites nightly. Great art deserves devoted audiences Robert told me when we met years ago and he invited me to join his #FrontRowGang at an NYCB performance. On Wednesday at Lincoln Center, Robert invited 60+ friends to fill rows down front at the New York City Ballet and celebrate his birthday experiencing George Balanchine’s Divertimento No. 15, Allegro Brillante, and The Four Temperaments as well as Afternoon of a Faun by Jerome Robbins. At an intermission, Robert’s sons — filmmakers Ariel & Nev Schulman (pictured center) — hosted a champagne toast to their dad. Robert (right, in his trademark cap) raised a glass to his beloved NYCB and the opportunity to bring folks together for a communal, cultural experience. I encountered (and reconnected with) many people I’d met through Robert over the years. Dancers, photographers, filmmakers, local business owners, family, and friends. I even sat alongside, and gain valuable insights from, Justin Peck and Patricia Delgado. Both dancers, Justin is NYCB’s resident choreographer and Patricia an instructor (he was choreographer and she associate choreographer on Spielberg’s recent “West Side Story”)!! Earlier, I crossed paths with documentarians Nancy Buirski and Chris Hedgedus and, armed with my first experience seeing the iconic Afternoon of a Faun, I rewatched Nancy’s 2013 documentary “Afternoon of a Faun: Tanaquil Le Clercq” (from the 51st NYFF) when I got home. A tragic, fascinating and moving story is explored in Buirski’s doc. Tanaquil Le Clercq (former NYCB principal dancer, wife of NYCB’s George Balanchine and muse to he and Jerome Robbins) was stuck down with polio at age 27, while a leading dance star. It was for her that Robbins created his 1953 variation of Faun, a gripping ‘pas de deux’ set in a dance studio, where a couple encounter each other, share a dance, and  retreat, all in front of the studio’s ‘mirror’ (the live audience seated together, watching). It was a special evening. Happy birthday, Robert Schulman! 🙏🏽 (at New York City Ballet) https://www.instagram.com/p/Cc7KwRWOTgv/?igshid=NGJjMDIxMWI=

#frontrowgang

[bantarleton]

Since its introduction in 1857, 1,355 individuals have been awarded the Victoria Cross but only three men have been awarded it twice. Arthur Martin-Leake was born in Hertfordshire in 1874. He served in the Boer war in South Africa firstly with the Hertfordshire Yeomanry and later with the South African Constabulary. He was awarded the Victoria Cross and the citation reads:- “During the action at Vlakfontein, on the 8th February, 1902, Surgeon-Captain Martin-Leake went up to a wounded man, and attended to him under a heavy fire from about 40 Boers at 100 yards range. He then went to the assistance of a wounded Officer, and, whilst trying to place him in a comfortable position, was shot three times, but would not give in till he rolled over thoroughly exhausted. All the eight men at this point were wounded, and while they were lying on the Veldt, Surgeon-Captain Martin-Leake refused water till everyone else had been served”. In 1914 when war was declared against Germany, Arthur volunteered for service and joined the 5th Field Ambulance, 2nd Division with the rank of Lieutenant. His unit was involved in the First Battle of Ypres and it was for his actions at this time that he was awarded a bar to his Victoria Cross. The citation read:- “Lieutenant Arthur Martin-Leake, Royal Army Medical Corps, who was awarded the Victoria Cross on 13th May, 1902, is granted, a Clasp for conspicuous bravery in the present campaign: — For most conspicuous bravery and devotion to duty throughout the campaign, especially during the period 29th October to 8th November, 1914, near Zonnebeke, in rescuing, whilst exposed to constant fire, a large number of the wounded who were lying close to the enemy's trenches”. Arthur finished his wartime service in 1918 as Temporary Lieutenant-Colonel in commanded a Casualty Clearing Station. He returned to India and worked there until his retirement in 1937 when he brought his wife and family back to England. Arthur Martin-Leake died in 1953 aged 79. In the accompanying photo Arthur is wearing the Victoria Cross and Bar and two South African War campaign medals.

#british army #victoria cross #ww1 #world war one #first world war #boer war

[skyfire85]

-A Bell X-2 at Edwards AFB. A Boeing B-47 is visible in the background. | Photo: NACA/USAF

FLIGHTLINE: 159 - BELL X-2 STARBURSTER

The X-2 was built to investigate the "thermal thicket" at speeds above Mach 2, but the two examples completed had a short service life.

Building on the work of the Bell X-1 and Douglas D-558 aircraft, the X-2 (nicknamed Starburster, though it was rarely used) was designed to explore speeds in excess of Mach 2. Engineer calculations, backed up by flights of the former aircraft, indicated the existence of a "thermal thicket"; that is: escalating aerodynamic heating as speeds increased. As a result, Bell devoted extensive time to development of advanced materials, aerodynamics, and control systems all with the goal of creating an aircraft capable of flying faster and higher than any human had done previously.

-Orthograph of the X-2. | Illustration: NASA-DFRC

The X-2 incorporated numerous advances over the X-1, including a swept wing and horizontal stabilizer. The airframe was built from K-Monel, an alloy of coper and nickel, as well as stainless steel. An XLR-25 two-chamber throttleable rocket motor provided 2,500 to 15,000 pounds of thrust, burning a mix of liquid oxygen and alcohol. The XLR-25, produced by Curtiss-Wright, was actually based on a WWII RATO bottle developed by Robert Goddard for the US Navy. The aircraft were designed with a skid rather than main landing wheels, though a nose gear was equipped, as well as skids on the wingtips.

-An XLR-25 motor on display at the Aviation Hall of Fame in New Jersey. | Photo: Bill Maloney

In a worst-case scenario, the cockpit section of the X-2 could be ejected. With stability provided by a parachute, the pilot could then eject the canopy and bail out. Like the Skyrocket and X-1 before it, the X-2 would be carried aloft by a bomber (in this case a Boeing B-50), then dropped to begin its flight.

-One of the X-2s, its ground support personnel, the B-50 and its crew, F-86, F-80 and F-100 chase planes, and H-19 rescue helicopter. | Photo: NACA

FLIGHT TEST PROGRAM

X-2 number 1 was chosen to have the first engine installed, so ship #2 was sent to Edwards AFB for initial unpowered tests. The first glide test of the X-2 was on 27 June 1952, and ended rather inauspiciously. During the landing on Muroc dry lake bed, the aircraft pitched unexpectedly, forcing the right wingtip to contact the ground, breaking off the bumper. The nose gear collapsed as well, and the aircraft slid along the lakebed on its fuselage for some distance before coming to rest. The second flight was delayed while repairs were completed, and took place on 8 October, followed by the third flight two days later.

-Bell test pilot Jean Ziegler sits in the cockpit of the damaged X-2 #2 after the 1st rough landing. | Photo: NACA

X-2 number 2 was returned to Bell's factory in New York state afterwards, and the XLR-25 engine was installed. A captive carry flight over Lake Ontario on 12 May 1953 resulted in the loss of aircraft #2, Ziegler, and Frank Wolko from the B-50 crew. During a test of the liquid oxygen system, an explosion rocked the combined aircraft, jettisoning the Starburster, Ziegler and Wolko. The remains of the X-2 fell into Lake Ontario, and neither it, nor the bodies of the two men were recovered. The B-50 mother ship was able to return to the Bell facility, but was judged to be uneconomical to repair, and was scrapped. Similar explosions destroyed one of the X-1s, the X-1A and X-1D, and were eventually traced to Ulmer leather gaskets in the fuel system. The gaskets, treated with tricresyl phosphate (TCP), would react with liquid oxygen, making them explosive if sufficiently jarred. The Ulmer leather gaskets were replaced, and the explosions stopped.

-A Bell X-2 is loaded aboard the Boeing B-50A-5-BO Superfortress “mothership,” 46-011. | Photo: USAF

Modifications to the first X-2 and the engine delayed flights until 1955, with the first powered flight occurring on 18 November, reaching a speed of Mach 0.95. The test series began in earnest at this point, with the Starburster showing both its promise but also its limitations. On his final flight in July 1956, Lt. Col. Pete Everest was propelled to Mach 2.87, earning him (temporarily at least) the title of "Fastest Man Alive". Everest reported that the controls were only marginally effective at those speeds however, as the center of pressure for the aircraft changed at high speed, coupled with aeroelasticity of the empennage rendered the flight surfaces ineffective.

-Photo of the first X-2, showing shock diamonds in both exhaust plumes. | Photo: NACA

Testing continued however, with Captain Iven Kincheloe crossing 100,000 for the first time on 7 September 1956 and Captain Milburn Apt setting a new (unofficial) speed record of Mach 3.2. This mark came a grave cost however, as Apt, likely the victim of a lagging or miscalibrated instrument, attempted a banked turn above Mach 3, far in excess of what the X-2 could achieve. The aircraft tumbled out of control, with Apt unable to counter the control coupling, inertial roll coupling and supersonic spinning faced by the aircraft. Apt triggered the ejection of the nose, but was incapacitated by the forces he encountered, and was unable to release the canopy and free himself to activate his own parachute, and was killed when the capsule struck the lakebed. The nose-less X-2 continued on, eventually returning to Earth with little damage. A proposal was made to salvage the plane and modify it for hypersonic research, but was not funded, and the first X-2 was scrapped.

-Color photo of an X-2 still coupled to the B-50D mothership prior to launch. | Photo: USAF

LEGACY

The two X-2s completed 20 flights between 1952 and 1956, and although they set records in both altitude and speed, their contribution to the knowledge of high speed aerodynamics and heating was debatable. The unmanned X-7 and research variants of the Bomarc missile were capable of the same speeds, and the destruction of both X-2s meant that much of NACA's planned test program was left unflown. Manned exploration of hypersonic speeds and ultra-high altitudes would have to wait for the North American X-15, still several years off.

The X-2 was made a part of the 1956 film "Toward the Unknown", as the movie depicts several real and fictional test programs taking place at the USAF Flight Test Center at Edwards AFB. The climax of the movie depicts and accident roughly similar to Mel Apt's, although the pilot survives the crash.

-Film crews surround the X-2 during filming for Toward the Unknown. | Photo: Bob Rohrer

The plane was later included in the pilot movie "Genesis" for the NBC series "Quantum Leap", in which the main character time travels into the body of a fictional pilot for the aircraft. A full-scale mockup of the X-2 was created for the show, and was later acquired by the Planes of Fame Museum in California. The prop is still in the museum's collection, though years of exposure have not been kind to the faux-X plane, which was not built to last in the first place.

-Photo of the X-2 mockup at the Planes of Fame Museum in Chino, CA, some time in 1994. | Photo: Jon Goto

#aircraft #aviation #avgeek #airplanes #cold war #airplane #cold war history #coldwar #usaf #aviation history #naca #nasa #nasa history #edwards air force base #muroc dry lake #dryden flight research center #bell aircraft #x2 #x 2 #research aircraft #xplane #x plane

[flapperdame16]

The Queen by Matthew Dennison Book Review!

(image: Head of Zeus Publishing)

Anyone who knows even a little inkling about me will know how much of a supporter I am of The Queen and the British Royal family. Since my childhood, I've been fascinated with Queen Elizabeth, even telling my Mom as young as age three (in the late 90s) I wanted to, "visit a place with a Queen".

At that age I didn't know the Queen by name, but the image I had inside my head was definitely of Elizabeth. A woman with short white hair wearing a crown was what the image of a, "Queen" , was to me. Fast forward to late 2010, just before William and Kate's engagement, and I became a full blown Royal watcher. Since I have been 14, I collect magazines, make an effort to watch video appearances, see documentaries, and follow many Monarchy devoted blogs and social media accounts to keep up with what is happening within "the fold". I watch The Crown every season on its release date (or close to its release date), and know all the latest buzz, but bizarrely, I never have sat down to read a full life biography of Queen Elizabeth. I have magazines, and coffee table books about her, but never chose out a biography. It's so difficult to choose a good one in a sea full of books, and for that, I am so thrilled I got the opportunity to read distinguished royal author Matthew Dennison's (he has written three other royal biographies) newest book simply and elegantly titled: The Queen. What makes Dennison's book stand out against the rest is firstly it's one of the first books to be published about the Queen after the death of Prince Philip, The Duke of Edinburgh. It looks at their relationship throughout its entirety, giving a fresh examination on the longest royal marriage in history. It was comforting to be reassured how strong the bond between Philip and Elizabeth was. Sure they had their rough patches in their relationship, and nasty rumors along the way, (particularly in the late 50s), but I'd venture to say any marriage, and relationship that was established for 73 years does. It's not so much the bumps in the road they had, it was how they were able to navigate and work through them that counts. It's important to remember Philip and Elizabeth fought for their love, at the time of their marriage with anti-German sentiment, and they endured right up to Philip's death. Its inspiring, especially in the time we live in now. Secondly, I will mention this book does not deviate on tangents about others, its focus is always centered on Elizabeth. Throughout  her long reign, many players both personally and professionally have crossed paths with HM; prime ministers, daughters-in-law, members of staff, and a whole bunch of others. Rather than devoting entire paragraphs to other players such as Prime Minister Winston Churchill, Princess Diana, HM The Queen Mother, or Private Secretary Martin Charteris, Dennsion gives us info about them on a need to know basis in relation to their relation to Queen Elizabeth. This keeps the writing focused with a strong flow in regards to the star subject. At the same time, it allows you to have basis of facts of certain players you may not know much about. During my own reading, to have a background context of the Prime Ministers was certainly a highlight for me, as I personally don't know much about the British Parliament and the people in it! Moreover, I want to point out how fascinating it was to read an in depth analysis of HM's childhood and young adult life before becoming Queen, as it's really the "least" documented part of her life. As with Queen Victoria many people only see Elizabeth as, "The old lady Queen", and it's sad many  forget at one point she was a vibrant young women who reveled in being a 1950s military wife, and someone who grew up in a close knit household in a family unit of consisting of "we four" (herself, her parents, and sister, Margaret).

When she was born in 1926, Elizabeth was not in immediate line for the throne as her father Bertie (later George VI) was the second son of George V. David (later the abdicated, Edward VIII) was the oldest son and therefore, first in line. Elizabeth's childhood until the 1936 abdication (and the following Second World War) was spent as minor royalty, that only serious royal watchers in the 1920s/1930s would read about. Yet at the same time, she was the only "princess" at the time of her birth, and she was the only titled royal grandchild. Elizabeth had cousins who were daughter of her aunt, Princess Mary, Countess of Harewood, but those two sons were not HRHs. I learned just how fascinated people were with HM in her childhood, and it really drew parallels to how today people are fascinated with Princess Charlotte. From sparking name trends, to clothing trends, to making popular toys come en vogue, princess inspiration has always been in the public interest! Finally, I'd like to bring the to attention the fair criticism this book brings to Elizabeth's reign: it's no secret that no one is perfect. Elizabeth has had her fair share of political clashes, family problems and even scandals within her long reign. Its balanced in saying the longer one lives, the more events- both good and bad- you witness. The book is pretty nuanced when bringing up touchy topics such as the Princess Margaret and Group Captain Peter Townsend's romance, HM's parenting skills/ relationships with her children, the Aberfan disaster of 1966, and Princess Diana' death to name a few.

As in within the book, it's all about points of view and the facts. I'm delighted to say the book doesn't take sides when viewing these topics, rather gives enough info for the reader to form their own opinion. I must say, however, I particularly didn't care for the slightly snide remarks given towards Princess Diana- always calling her every move "revenge" towards the family. That rubbed me the wrong way, but as I said, it's all about perception.

Overall, this book was a really informative read that is not just a rehash of the same ol', same ol' you would read in any random biography of Queen Elizabeth. With the last chapter clocking in at page 506, it may seem like a long dung out read, but it goes by quickly once you start digging in. (Personally I spotted one error on page 403, it's William Arthur Philip Louis, not William Philip Arthur!)

What I personally took away from the read was The Queen is an enduring woman. She's witnessed hardships of war, family crisis, premature deaths, scandals, and even the covid-19 pandemic, yet she's always been there for her people, her family and her country. She's been able to navigate changing times and as The Crown actress Claire Foy has said in her 2017 Golden Globes acceptance speech, Elizabeth has been at "the center of the world" since 1953 when she ascended to the throne. I don't think I myself could do better if I were in her shoes, and all that's left to do now, I believe,  is to appreciate her hard work and dedication. God save the Queen!

Above: My Copy of The Queen with (some of!) my other Royal books! :)

I'd like thank Hailey and the whole team at Kaye Publicity for sending me a copy of the book to read and review. The Queen by Matthew Dennison will be available to own on September 1, 2021 in the USA and is available worldwide online and in participating stores. Links are as follows, and check out my YouTube Review video HERE)

AMAZON USA (Hardcover)

Barnes and Noble

AMAZON UK (Hardcover)

The Queen Goodreads' page

Matthew Dennison Author page

The Queen (Head of Zeus Publishing page)

#queen elizabeth ii #book review #matthew dennison #british royal family #prince philip #prime minister #world leaders #biography #royal book review

[rachelbethhines]

Vintage Shows to Watch While You Wait for the Next Episode of WandaVision - The 50s

So the first three episodes of Wandavision have dropped onto Disney Plus and like me you’re probably already obsessing over it. Also like me you’re probably jonesing for another fix while waiting for more as the episodes only come out once a week. 

But never fear, we literally have decades of cheesy comedy sitcoms to sift through to keep us entertained during quarantine. Along with the occasional action and/or horror stuff  if you’re so inclined. So if you’re trying to decide where to start I’ll be making short lists for each decade that coincides with each episode. 

1. I Love Lucy (1951- 1957)

The granddaddy of all American television sitcoms staring the first lady of comedy herself, Lucille Ball. While not the first sitcom to air, tv had been kicking around since the late 40s, this show did pave the way for many technical innovations for the new medium both on and behind the scenes. As such Elisabeth Olsen cited Miss Ball’s work as one of her inspirations for her role as Wanda in the series, as do many a woman entering into the comedic field. 

Also the show is just flat out funny. One of those rare 50s sitcoms that manages to overcome some of it’s more dated aspects through shear force of personality and peak comedic screwball antics. The only downside is you have to have Hulu to watch it as the copywrite is tightly controlled even to this day.  

2. Amos ‘n Andy (1951-1953)

The 1950s television landscape was overwhelemingly white. It’s no secret that POC had a hard time finding work in the field of entertainment let alone be the stars of the show. Amos ‘n Andy, a spin off of the earlier same titled radio show, was one of, if not the first black led shows on television and so deserves a mention just for that alone. 

Now I will not act as if this show is perfect or ahead of it’s time. The series was controversial even during its day for is depictions of racial stereotypes. Eventually the series was canceled because of protests from the NAACP despite being very popular in the ratings. However I’m a full believer that history should be observed and talked about in order to progress further so check out an episode or two on youtube and decide for yourself if it’s worth remembering or not. 

3. The Adventures of Superman (1952 - 1958)

Ok, not a sitcom, but as we all know, Wandavision isn’t just a sitcom it’s also a superhero show and this is one of the first tv series in this genre. It and the Fleischer Superman cartoons from the previous decade helped to make the juggernaut industry that we know today. 

Plus Superman did an official crossover with I Love Lucy, seriously. 

4. The Adventures of Ozzie and Harriet (1952 - 1966)

Hardly anyone talks about it today, but Ozzie and Harriet is the longest running sitcom to date. It's Always Sunny in Philadelphia being the only other show threating to up seat it come next year. However the two sitcoms couldn’t be any more different. 

The series stared the real life Nelson family who had got their start in radio as comedians and singers who then crossed over into tv. While the show was completely scripted it tried to hew as close to real life as possible, kicking off American’s obsession with platonic voyeurism. Much in the way Wandavision has the meta storyline of being watch in their own home. 

5. Father Knows Best (1954 - 1960)

Another radio to television entry here, however the series drastically changed the main character during the transition. During the 40s radio sitcoms were very biting and sarcastic, often either going the complete surreal screwball route or were satires of the day. This fell out of favor as tv became more dominated by commercials and advertisers feared offending their potential costumers. So things were greatly toned down as the decade progressed. 

Therefore when Father Knows Best hit the small screen gone was the rude and domineering dad and in his place we got the very model tv father; affable, gentle, loving, devoted, and very congenial. All traits we love to see in Vision some six decades later.      

6. The Honeymooners (1955 - 1956)

I physically can not make a recommendation list of 50s sitcoms and not mention The Hoonymooners. I just can’t. It’s one of the greatest sitcoms ever made and hugely influential. So much so that The Flintstones ripped off the series whole sale to the point that Jackie Gleason threatened to sue Hanna-Barbera. However there’s little such influence in Wandvision. 

See what made The Honeymooners stand out at the time and what gave it such longevity is the fact that the main characters were poor. They lived in a cramped and over crowded sparsely furnitured one bedroom apartment in Brooklyn. They owed bills, they dressed plainly, they worked long hours at low paying jobs, and they were often dirty from said work. 

Much like how Wandavision will pull back the curtain a little to see the reality hiding underneath their suburban utopia, so too did The Honeymooners defy the the ‘perfect American dream’ that was soled on tv during the 50s to show us the trauma of poverty and the only thing that you can do when you find yourself trapped within that reality, laugh. 

7. Leave it to Beaver (1957 - 1963)

You can not get any more quintessentially 50s than Leave it to Beaver. The series has become synonymous with the decade and it’s take on the ideal American family life to the point where it’s become a punchline of numerus jokes criticizing the values and attitudes of the era. 

Does it really deserve such mockery? Who knows. I think one needs to watch it for themselves to decide. However it slots right into the aesthetic that the first episode of Wandavision is trying to recreate and it must have been popular for a reason, right? 

8. The Many Loves of Dobie Gillis (1959 - 1963)

We featured wholesome family sitcoms and screwball comedies with married folks but we haven’t covered any surrealist humor yet, and Wandavision is seeped into that sort of stuff. That’s because there really isn’t a lot of fantasy in most 50s sitcoms. So while the trappings for episode one of Wandavision is very 50s the effects and premise is more 1960s. 

That’s where Dobie Gillis comes into play. Like Wandavision, The Many Loves of Dobie Gillis is based off a comic book, or comic strip rather. However that comic was very down to earth and tame compared to the tv show. More fondly remembered as the inspiration for Scooby Doo a decade later, Dobie Gillis quickly transformed from a typical coming of age show about teenagers to a surreal, sarcastic, tongue in cheek comedy, complete with get rich quick schemes, spys, bongos, and a giant chicken. 

9. Bonanza (1959 - 1973) 

Yeah, I know all of y’all are judging me right now. “A western in a sitcom/sic-fi list? What are you thinking?” Well one really can’t talk about 50s television and not mention westerns of some sort. They permeated all mediums and dominated the cultural air waves. And Bonanza is far more than just a western.

Bonanza is literally every thing. It’s every genre at once; western, historical drama, sitcom, action adventure, satire, crime drama, soap opera ,and yes even the occasional foray into science fiction, albeit with a more Jules Vern take than a typical spaceman theming. 

If Wandavision is a melding pot of seemingly disconnected genres then it’s because Bonanza paved the way with it’s similar breakage of formula. 

10 The Twilight Zone (1959 to 1964)

Yeah, you probably knew this was coming. When not being a homage to sitcoms Wandavision is a downright horror movie, but not one with gore and mindless monsters. Rather the show evokes old school surrealist horror, like that employed in the famous (or infamous) Twilight Zone. 

What you probably didn’t know is that we have the I Love Lucy show to thank for it. See Lucille Ball and her then husband Desi Arnaz had created their own production company in order to make I Love Lucy. This production company,  Desilu Productions, is responsible for picking up Rod Sterling’s pilot and producing The Twilight Zone. 

Runner Ups

Good shows that have little to do with Wandavision but are good anyways.

What’s My Line (1950 - 1967)

Just a really fun game show. Stars of the day would sometimes appear on it including many of the sitcom comedians listed above

Have Gun - Will Travel (1957 - 1963) 

One of the very few pure westerns that I can tolerate. The lead actually cares about people and justice and will stand up to bigots.  

Dennis the Menace (1959 - 1963)

While I have fond memories of the 90s film, I thought it was a tad redundant to put on the list when there’s already Leave it to Beaver. 

So there’s the 50s list. On Wednesday I’ll post a list for the 60s and cover some of the more obvious stuff Wandavision was paying homage to. 

#wandavision #wanda #vision #sitcoms #1950s #marvel #disney #i love lucy

[asfaltics]

A brown moth fluttered.

  The curtain was down, and the carpenters were rearranging the “No, no, no! I can’t breathe       1       volatile I can’t breathe.” And such a fit of suffocating       2   “I can’t breathe,” she would sometimes say       3 and the minisnever! I can’t breathe it in fast enough, nor hard enough, nor long enough.”       4   and started up up. to return to the tent, only to check him No, I can’t breathe the same air self in the act as often as he started, with ye to-night, but ye’ll go into the he lost consciousness in uneasy dreams       5 meet me at the station. I can’t breathe in this wretched       6   “sickening down there — I can’t breathe!  I can’t stand it, Drewe! It’s killing me!” — Tears       7 struggling to altitudes that I can’t breathe in.  I could help him when he was in despair, but he is the sort who       8   sometimes I find I can’t breathe in it.  Perhaps some folks will say “so much the worse for you”       9 it seems if I can’t breathe in the house. not dared hope       10   “Well, I won’t wear ’em. I can’t breathe” “Sure! Blame ’em!” “I can’t breathe a square breath.” Oh       11 things I regret I can’t breathe.       12   bramble bush. I can’t breathe. I can’t eat. I can’t do anything much. It’s clear to my knees.       13 I can't breathe, I can't talk,       14   lying on its “I can’t stay here I can’t breathe” side, the cork half-loosened. A brown moth fluttered.       15 “I can’t breathe beside you.”       16   the needs of any reasonable young lady. “I can't breathe there,       17 I can’t breathe — I really need the rush of this wintry air to restore me!”       18   I can’t breathe no more in that coop upstairs . tablet ; two he said is what you need.” of flame shoots through a stream of oil       19 no friction. It’s friction—rub- / asthmatically.] “I can’t breathe deep — I can light and of reason. But I’ve a notion       20   out of it. I can’t breathe in the dark. I can’t. I / She withdrew       21 “I can’t breathe or feel in”       22   Up a flight of stairs, and there was the girl, sitting on the edge of an untidy bed. The yellow sweater was on the floor. She had on an underskirt and a pink satin camisole. “I can't breathe !” she gasped.       23 I can’t breathe in the dark! I can’t! I can’t! I can’t live in the dark with my eyes open!       24   One never gets it back! How could one! And I can’t breathe just now, on account of       25 that old stuff, I could shriek. I can’t breathe in the same room with you. The very sound of       26   don’t! I can’t — breathe.... I’m all — and bitter howling.       27  

sources (pre-1923; approximately 90 in all, from which these 27 passages, all by women)

1 ex “Her Last Appearance,” in Peters’ Musical Monthly, And United States Musical Review 3:2 (New-York, February 1869), “from Belgravia” : 49-52 (51) “Her Last Appearance” appeared later, “by the author of Lady Audley’s Secret” (M.E. Braddon, 1835-1915 *), in Belgravia Annual (vol. 31; Christmas 1876) : 61-73 2 snippet view ex The Lady’s Friend (1873) : 15 evidently Frances Hodgson Burnett (1849-1924 *) her Vagabondia : A Love Story (New York, 1891) : 286 (Boston, 1884) : 286 (hathitrust) 3 ex “The Story of Valentine; and his Brother.” Part VI. Blackwood’s Edinburgh Magazine vol. 115 (June 1874) : 713-735 (715) authored by Mrs. [Margaret] Oliphant (1828-97 *), see her The Story of Valentine (1875; Stereotype edition, Edinburgh and London, 1876) : 144 4 OCR confusions at Olive A. Wadsworth, “Little Pilkins,” in Sunday Afternoon : A Monthly Magazine for the Household vol. 2 (July-December 1878) : 73-81 (74) OAW “Only A Woman” was a pseudonym of Katharine Floyd Dana (1835-1886), see spoonercentral. Katharine Floyd Dana also authored Our Phil and Other Stories (Boston and New York, 1889) : here, about which, a passage from a bookseller's description — Posthumously published fictional sketches of “negro character,” first published in the Atlantic Monthly under the pseudonym Olive A. Wadsworth. The title story paints a picture of plantation life Dana experienced growing up on her family’s estate in Mastic, Long Island. Although a work of fiction set in Maryland, the character of Phil may of been named for a slave once jointly owned by the Floyds and a neighboring family. source see also the William Buck and Katherine Floyd Dana collection, 1666-1912, 1843-1910, New York State Historical Documents (researchworks). 5 OCR cross-column misread, at M(ary). H(artwell). Catherwood (1847-1902 *), “The Primitive Couple,” in Lippincott’s Magazine of Popular Literature and Science 36 (August 1885) : 138-146 (145) author of historical romances, short stories and poetry, and dubbed the “Parkman of the West,” her papers are at the Newberry Library (Chicago) 6 ex Marie Corelli (Mary Mackay; 1855-1924 *), Thelma, A Norwegian Princess: A Novel, Book II. The Land of Mockery. Chapter 12 (New Edition, London, 1888) : 432 7 preview snippet (only), at Ada Cambridge (1844-1926 *), Fidelis, a Novel ( “Cheap Edition for the Colonies and India,” 1895) : 289 full scan, (New York, 1895) : 261 born and raised in England, spent much of her life in Australia (died in Melbourne); see biography (and 119 of her poems) at the Australia Poetry Library in particular, the striking poems from Unspoken Thoughts (1887) here (Thomas Hardy comes to mind) 8 snippet view (only) at F(rances). F(rederica), Montrésor (1862-1934), At the Cross-Roads (London, 1897) : 297 but same page (and scan of entirety) at hathitrust see her entry At the Circulating Library (Database of Victorian Fiction 1837-1901) an interesting family. Montrésor’s The Alien: A Story of Middle Age (1901) is dedicated to her sister, C(harlotte). A(nnetta). Phelips (1858-1925), who was devoted to work for the blind. See entry in The Beacon, A Monthly magazine devoted to the interests of the blind (May 1925) a great-granddaughter of John Montresor (1737-99), a British military engineer and cartographer, whose colorful (and unconventional) life is sketched at wikipedia. 9 Alice H. Putnam, “An Open Letter,” in Kindergarten Review 9:5 (Springfield, Massachusetts; January 1899) : 325-326 Alice Putnam (1841-1919) opened the first private kindergarten in Chicago; Froebel principles... (wikipedia); see also “In Memory of Alice H. Putnam” in The Kindergarten-primary Magazine 31:7 (March 1919) : 187 (hathitrust) 10 OCR cross-column misread, at Mabel Nelson Thurston (1869?-1965?), “The Palmer Name,” in The Congregationalist and Christian World 86:30 (27 July 1901) : 134-135 author of religiously inflected books (seven titles at LC); first female admitted for entry at George Washington University (in 1888). GWU archives 11 OCR cross-column misread, at Margaret Grant, “The Romance of Kit Dunlop,” Beauty and Health : Woman’s Physical Development 7:6 (March 1904): 494-501 (499 and 500) the episodic story starts at 6:8 (November 1903) : 342 12 ex Marie van Vorst (1867-1936), “Amanda of the Mill,” The Bookman : An illustrated magazine of literature and life 21 (April 1905) : 190-209 (191) “writer, researcher, painter, and volunteer nurse during World War I.” wikipedia 13 ex Maude Morrison Huey, “A Change of Heart,” in The Interior (The sword of the spirit which is the Word of God) 36 (Chicago, April 20, 1905) : 482-484 (483) little information on Huey, who is however mentioned in Paula Bernat Bennett, her Poets in the Public Sphere : The Emancipatory Project of American Women's Poetry, 1800-1900 (2003) : 190 14 ex Leila Burton Wells, “The Lesser Stain,” The Smart Set, A Magazine of Cleverness 19:3 (July 1906) : 145-154 (150) aside — set in the Philippines, where “The natives were silent, stolid, and uncompromising.” little information on Wells, some of whose stories found their way to the movie screen (see IMDB) The Smart Set ran from March 1900-June 1930; interesting story (and decline): wikipedia 15 OCR cross-column misread, at Josephine Daskam Bacon (1876-1961 *), “The Hut in the Wood: A Tale of the Bee Woman and the Artist,” in Collier’s, The National Weekly 41:12 (Saturday, June 13, 1908) : 12-14 16 ex E. H. Young, A Corn of Wheat (1910) : 90 Emily Hilda Daniell (1880-1949), novelist, children’s writer, mountaineer, suffragist... wrote under the pseudonym E. H. Young. (wikipedia) 17 ex Mary Heaton Vorse (1874-1966), “The Engagements of Jane,” in Woman’s Home Companion (May 1912) : 17-18, 92-93 Illustrated by Florence Scovel Shinn (1871-1940, artist and book illustrator who became a New Thought spiritual teacher and metaphysical writer in her middle years. (wikipedia)) Mary Heaton Vorse — journalist, labor activist, social critic, and novelist. “She was outspoken and active in peace and social justice causes, such as women's suffrage, civil rights, pacifism (such as opposition to World War I), socialism, child labor, infant mortality, labor disputes, and affordable housing.” (wikipedia). 18 ex snippet view, at “Voices,” by Runa, translated for the Companion by W. W. K., in Lutheran Companion 20:3 (Rock Island, Illinois; Saturday, January 20, 1912) : 8 full view at hathitrust same passage in separate publication as Voices, By Runa (pseud. of E. M. Beskow), from the Swedish by A. W. Kjellstrand (Rock Island, Illinois, 1912) : 292 E(lsa). M(aartman). Beskow (1874-1953), Swedish author and illustrator of children’s books (Voices seems rather for older children); see wikipedia 19 ex Fannie Hurst (1885-1968 *), “The Good Provider,” in The Saturday Evening Post 187:1 (August 15, 1914) : 12-16, 34-35 20 OCR cross-column misread, at Anne O’Hagan, “Gospels of Hope for Women: A few new creeds, all of them modish—but expensive” in Vanity Fair (February 1915) : 32 Anne O’Hagan Shinn (1869-1933) — feminist, suffragist, journalist, and writer of short stories... “known for her writings detailing the exploitation of young women working as shop clerks in early 20th Century America... O’Hagan participated in several collaborative fiction projects...” (wikipedia) a mention of St. Anselm, whose “sittings” are free, vis-à-vis “Swami Bunkohkahnanda”... “Universal Harmonic Vibrations”... 21 OCR cross-column misread (three columns), at Fannie Hurst (1885-1968 *), “White Goods” (Illustrations by May Wilson Preston) in Metropolitan Magazine 42:3 (July 1915) : 19-22, 53 repeated, different source and without OCR misread, at 24 below 22 ex Mary Patricia Willcocks, The Sleeping Partner (London, 1919) : 47 (snippet only) full at hathitrust see onlinebooks for this and other of her titles. something on Mary Patricia Willcocks (1869-1952) at ivybridge-heritage. in its tone and syntax, her prose brings Iris Murdoch to mind. 23 Katharine Wendell Pedersen, “Clingstones, A week in a California cannery.” in New Outlook vol. 124 (February 4, 1920) : 193-194 no information about the author. the journal began life as The Christian Union (1870-1893) and continued under the new title into 1928; it ceased publication in 1935; it was devoted to social and political issues, and was against Bolshevism (wikipedia) 24 ex Fannie Hurst (1885-1968 *), “White Goods,” in her Humoresque : A Laugh on Life with a Tear Behind it (1919, 1920) : 126-169 (155) 25 ex snippet view, at Letters and poems of Queen Elisabeth (Carmen Sylva), with an introduction and notes by Henry Howard Harper. Volume 2 (of 2; Boston, Printed for members only, The Bibliophile society, 1920) : 51 (hathitrust) Carmen Sylva was “the pen name of Elisabeth, queen consort of Charles I, king of Rumania” (1843-1916 *) 26 OCR cross-column misread, at Ruth Comfort Mitchell, “Corduroy” (Part Three; Illustrated by Frederick Anderson), in Woman’s Home Companion 49:8 (August 1922) : 21-23, 96-97 (hathitrust) Ruth Comfort Mitchell Young (1882-1954), poet, dramatist, etc., and owner of a remarkable house (in a “Chinese” style) in Los Gatos, California (wikipedia) 27 Helen Otis, “The Christmas Waits,” in Woman’s Home Companion 49:12 (Christmas 1922) : 36 probably Helen Otis Lamont (1897-1993), about whom little is found, save this “Alumna Interview: Helen Otis Lamont, Class of 1916” (Packer Collegiate Institute, Brooklyn, 1988) at archive.org (Brooklyn Historical Society)

—

prompted by : recent thoughts about respiration (marshes, etc.); Pfizer round-one recovery focus on the shape of one breath, then another; inhalation, exhalation and the pleasure of breathing; and for whom last breaths are no pleasure (far from it); last breaths (Robert Seelthaler The Field (2021) in the background).

1 of n

all tagged breath all tagged cento  

#breath #cento #couplet #couplets #I can't breathe

[spiritualdirections]

The revelations to St. Faustina weren’t ‘private revelation’--Pope Benedict XVI

When he was the head of the Congregation for the Doctrine of the Faith, Pope Benedict XVI was asked by St. John Paul II to provide a theological reflection on the Third Secret of Fatima. (There’s a problem with the way the Vatican website is displaying quotation marks, so I am posting it here.) Then-Cardinal Ratzinger’s key move was to describe what visionaries receive, not as private revelation, but as contemporary “prophecy.” The same point is to be applied to all such visions and apparitions, including those prayer experiences that St. Faustina writes about in her Diaries.

THEOLOGICAL COMMENTARY   

A careful reading of the text of the so-called third “secret” of Fatima, published here in its entirety long after the fact and by decision of the Holy Father, will probably prove disappointing or surprising after all the speculation it has stirred. No great mystery is revealed; nor is the future unveiled. We see the Church of the martyrs of the century which has just passed represented in a scene described in a language which is symbolic and not easy to decipher. Is this what the Mother of the Lord wished to communicate to Christianity and to humanity at a time of great difficulty and distress? Is it of any help to us at the beginning of the new millennium? Or are these only projections of the inner world of children, brought up in a climate of profound piety but shaken at the same time by the tempests which threatened their own time? How should we understand the vision? What are we to make of it?   

Public Revelation and private revelations--their theological status   

Before attempting an interpretation, the main lines of which can be found in the statement read by Cardinal Sodano on 13 May of this year at the end of the Mass celebrated by the Holy Father in Fatima, there is a need for some basic clarification of the way in which, according to Church teaching, phenomena such as Fatima are to be understood within the life of faith. The teaching of the Church distinguishes between “public Revelation” and “private revelations”. The two realities differ not only in degree but also in essence. The term “public Revelation” refers to the revealing action of God directed to humanity as a whole and which finds its literary expression in the two parts of the Bible: the Old and New Testaments. It is called “Revelation” because in it God gradually made himself known to men, to the point of becoming man himself, in order to draw to himself the whole world and unite it with himself through his Incarnate Son, Jesus Christ. It is not a matter therefore of intellectual communication, but of a life-giving process in which God comes to meet man. At the same time this process naturally produces data pertaining to the mind and to the understanding of the mystery of God. It is a process which involves man in his entirety and therefore reason as well, but not reason alone. Because God is one, history, which he shares with humanity, is also one. It is valid for all time, and it has reached its fulfilment in the life, death and resurrection of Jesus Christ. In Christ, God has said everything, that is, he has revealed himself completely, and therefore Revelation came to an end with the fulfilment of the mystery of Christ as enunciated in the New Testament. To explain the finality and completeness of Revelation, the Catechism of the Catholic Church quotes a text of Saint John of the Cross: “In giving us his Son, his only Word (for he possesses no other), he spoke everything to us at once in this sole Word--and he has no more to say... because what he spoke before to the prophets in parts, he has now spoken all at once by giving us the All Who is His Son. Any person questioning God or desiring some vision or revelation would be guilty not only of foolish behaviour but also of offending him, by not fixing his eyes entirely upon Christ and by living with the desire for some other novelty” (No. 65; Saint John of the Cross,The Ascent of Mount Carmel, II, 22).   

Because the single Revelation of God addressed to all peoples comes to completion with Christ and the witness borne to him in the books of the New Testament, the Church is tied to this unique event of sacred history and to the word of the Bible, which guarantees and interprets it. But this does not mean that the Church can now look only to the past and that she is condemned to sterile repetition. The Catechism of the Catholic Church says in this regard: “...even if Revelation is already complete, it has not been made fully explicit; it remains for Christian faith gradually to grasp its full significance over the course of the centuries” (No. 66). The way in which the Church is bound to both the uniqueness of the event and progress in understanding it is very well illustrated in the farewell discourse of the Lord when, taking leave of his disciples, he says: “I have yet many things to say to you, but you cannot bear them now. When the Spirit of truth comes, he will guide you into all the truth; for he will not speak on his own authority... He will glorify me, for he will take what is mine and declare it to you” (Jn 16:12-14). On the one hand, the Spirit acts as a guide who discloses a knowledge previously unreachable because the premise was missing--this is the boundless breadth and depth of Christian faith. On the other hand, to be guided by the Spirit is also “to draw from” the riches of Jesus Christ himself, the inexhaustible depths of which appear in the way the Spirit leads. In this regard, the Catechism cites profound words of Pope Gregory the Great: “The sacred Scriptures grow with the one who reads them” (No. 94; Gregory the Great,Homilia in Ezechielem I, 7, 8). The Second Vatican Council notes three essential ways in which the Spirit guides in the Church, and therefore three ways in which “the word grows”: through the meditation and study of the faithful, through the deep understanding which comes from spiritual experience, and through the preaching of “those who, in the succession of the episcopate, have received the sure charism of truth” (Dei Verbum, 8). 

In this context, it now becomes possible to understand rightly the concept of “private revelation”, which refers to all the visions and revelations which have taken place since the completion of the New Testament. This is the category to which we must assign the message of Fatima. In this respect, let us listen once again to the Catechism of the Catholic Church: “Throughout the ages, there have been so-called ‘private' revelations, some of which have been recognized by the authority of the Church... It is not their role to complete Christ's definitive Revelation, but to help live more fully by it in a certain period of history” (No. 67). This clarifies two things:   

1. The authority of private revelations is essentially different from that of the definitive public Revelation. The latter demands faith; in it in fact God himself speaks to us through human words and the mediation of the living community of the Church. Faith in God and in his word is different from any other human faith, trust or opinion. The certainty that it is God who is speaking gives me the assurance that I am in touch with truth itself. It gives me a certitude which is beyond verification by any human way of knowing. It is the certitude upon which I build my life and to which I entrust myself in dying.   

2. Private revelation is a help to this faith, and shows its credibility precisely by leading me back to the definitive public Revelation. In this regard, Cardinal Prospero Lambertini, the future Pope Benedict XIV, says in his classic treatise, which later became normative for beatifications and canonizations: “An assent of Catholic faith is not due to revelations approved in this way; it is not even possible. These revelations seek rather an assent of human faith in keeping with the requirements of prudence, which puts them before us as probable and credible to piety”. The Flemish theologian E. Dhanis, an eminent scholar in this field, states succinctly that ecclesiastical approval of a private revelation has three elements: the message contains nothing contrary to faith or morals; it is lawful to make it public; and the faithful are authorized to accept it with prudence (E. Dhanis,Sguardo su Fatima e bilancio di una discussione, in La Civiltà Cattolica 104 [1953], II, 392-406, in particular 397). Such a message can be a genuine help in understanding the Gospel and living it better at a particular moment in time; therefore it should not be disregarded. It is a help which is offered, but which one is not obliged to use.   

The criterion for the truth and value of a private revelation is therefore its orientation to Christ himself. When it leads us away from him, when it becomes independent of him or even presents itself as another and better plan of salvation, more important than the Gospel, then it certainly does not come from the Holy Spirit, who guides us more deeply into the Gospel and not away from it. This does not mean that a private revelation will not offer new emphases or give rise to new devotional forms, or deepen and spread older forms. But in all of this there must be a nurturing of faith, hope and love, which are the unchanging path to salvation for everyone. We might add that private revelations often spring from popular piety and leave their stamp on it, giving it a new impulse and opening the way for new forms of it. Nor does this exclude that they will have an effect even on the liturgy, as we see for instance in the feasts of Corpus Christi and of the Sacred Heart of Jesus. From one point of view, the relationship between Revelation and private revelations appears in the relationship between the liturgy and popular piety: the liturgy is the criterion, it is the living form of the Church as a whole, fed directly by the Gospel. Popular piety is a sign that the faith is spreading its roots into the heart of a people in such a way that it reaches into daily life. Popular religiosity is the first and fundamental mode of “inculturation” of the faith. While it must always take its lead and direction from the liturgy, it in turn enriches the faith by involving the heart.   

We have thus moved from the somewhat negative clarifications, initially needed, to a positive definition of private revelations. How can they be classified correctly in relation to Scripture? To which theological category do they belong? The oldest letter of Saint Paul which has been preserved, perhaps the oldest of the New Testament texts, the First Letter to the Thessalonians, seems to me to point the way. The Apostle says: “Do not quench the Spirit, do not despise prophesying, but test everything, holding fast to what is good” (5:19-21). In every age the Church has received the charism of prophecy, which must be scrutinized but not scorned. On this point, it should be kept in mind that prophecy in the biblical sense does not mean to predict the future but to explain the will of God for the present, and therefore show the right path to take for the future. A person who foretells what is going to happen responds to the curiosity of the mind, which wants to draw back the veil on the future. The prophet speaks to the blindness of will and of reason, and declares the will of God as an indication and demand for the present time. In this case, prediction of the future is of secondary importance. What is essential is the actualization of the definitive Revelation, which concerns me at the deepest level. The prophetic word is a warning or a consolation, or both together. In this sense there is a link between the charism of prophecy and the category of “the signs of the times”, which Vatican II brought to light anew: “You know how to interpret the appearance of earth and sky; why then do you not know how to interpret the present time?” (Lk 12:56). In this saying of Jesus, the “signs of the times” must be understood as the path he was taking, indeed it must be understood as Jesus himself. To interpret the signs of the times in the light of faith means to recognize the presence of Christ in every age. In the private revelations approved by the Church--and therefore also in Fatima--this is the point: they help us to understand the signs of the times and to respond to them rightly in faith.   

The anthropological structure of private revelations   

In these reflections we have sought so far to identify the theological status of private revelations. Before undertaking an interpretation of the message of Fatima, we must still attempt briefly to offer some clarification of their anthropological (psychological) character. In this field, theological anthropology distinguishes three forms of perception or “vision”: vision with the senses, and hence exterior bodily perception, interior perception, and spiritual vision (visio sensibilis - imaginativa - intellectualis). It is clear that in the visions of Lourdes, Fatima and other places it is not a question of normal exterior perception of the senses: the images and forms which are seen are not located spatially, as is the case for example with a tree or a house. This is perfectly obvious, for instance, as regards the vision of hell (described in the first part of the Fatima “secret”) or even the vision described in the third part of the “secret”. But the same can be very easily shown with regard to other visions, especially since not everybody present saw them, but only the “visionaries”. It is also clear that it is not a matter of a “vision” in the mind, without images, as occurs at the higher levels of mysticism. Therefore we are dealing with the middle category, interior perception. For the visionary, this perception certainly has the force of a presence, equivalent for that person to an external manifestation to the senses.   

Interior vision does not mean fantasy, which would be no more than an expression of the subjective imagination. It means rather that the soul is touched by something real, even if beyond the senses. It is rendered capable of seeing that which is beyond the senses, that which cannot be seen--seeing by means of the “interior senses”. It involves true “objects”, which touch the soul, even if these “objects” do not belong to our habitual sensory world. This is why there is a need for an interior vigilance of the heart, which is usually precluded by the intense pressure of external reality and of the images and thoughts which fill the soul. The person is led beyond pure exteriority and is touched by deeper dimensions of reality, which become visible to him. Perhaps this explains why children tend to be the ones to receive these apparitions: their souls are as yet little disturbed, their interior powers of perception are still not impaired. “On the lips of children and of babes you have found praise”, replies Jesus with a phrase of Psalm 8 (v. 3) to the criticism of the High Priests and elders, who had judged the children's cries of “hosanna” inappropriate (cf. Mt 21:16).   

“Interior vision” is not fantasy but, as we have said, a true and valid means of verification. But it also has its limitations. Even in exterior vision the subjective element is always present. We do not see the pure object, but it comes to us through the filter of our senses, which carry out a work of translation. This is still more evident in the case of interior vision, especially when it involves realities which in themselves transcend our horizon. The subject, the visionary, is still more powerfully involved. He sees insofar as he is able, in the modes of representation and consciousness available to him. In the case of interior vision, the process of translation is even more extensive than in exterior vision, for the subject shares in an essential way in the formation of the image of what appears. He can arrive at the image only within the bounds of his capacities and possibilities. Such visions therefore are never simple “photographs” of the other world, but are influenced by the potentialities and limitations of the perceiving subject.   

This can be demonstrated in all the great visions of the saints; and naturally it is also true of the visions of the children at Fatima. The images described by them are by no means a simple expression of their fantasy, but the result of a real perception of a higher and interior origin. But neither should they be thought of as if for a moment the veil of the other world were drawn back, with heaven appearing in its pure essence, as one day we hope to see it in our definitive union with God. Rather the images are, in a manner of speaking, a synthesis of the impulse coming from on high and the capacity to receive this impulse in the visionaries, that is, the children. For this reason, the figurative language of the visions is symbolic. In this regard, Cardinal Sodano stated: “[they] do not describe photographically the details of future events, but synthesize and compress against a single background facts which extend through time in an unspecified succession and duration”. This compression of time and place in a single image is typical of such visions, which for the most part can be deciphered only in retrospect. Not every element of the vision has to have a specific historical sense. It is the vision as a whole that matters, and the details must be understood on the basis of the images taken in their entirety. The central element of the image is revealed where it coincides with what is the focal point of Christian “prophecy” itself: the centre is found where the vision becomes a summons and a guide to the will of God…

Joseph Card. Ratzinger Prefect of the Congregation for the Doctrine of the Faith

#Ratzinger #prophecy #mercy what every catholic needs to know #divine mercy #st. faustina #fatima #guadalupe

[kaymurray36]

Seeing Grand Canyon National Park By Tour Bus

Moment has come very favored by tourists and it's also often used as a lunch stop en route between Mombasa and Nairobi. Hobart, particularly, is rich in history as well as hip and going down. The eastern corner of this park has several riverbeds. After a 20 minutes stop we hopped back onto the vehicle for even more action. On descending down we saw many rock hyraxes. Tin Top Cà Mau AZ 247 Having been seeing and hearing them for directory submission time and appearance vise might bigger versions of the mouse. They have another species of tree hyrax found only on forests. We could see a full community and multiple families laying on rocks. They were swift in climbing rocks and hiding within them. View More: topcamauaz.com - Top Ca Mau AZ Reviewed by Team Leader in Top Ca Mau AZ: Nguyễn Thảo Phương - Nguyen Thao Phuong Not only is it the capital of New Zealand, involved with also the southernmost capital in the field of. Heaps of iconic structures here - from the famous beehive (Parliament House) to Te Papa Museum (NZ's best museum at my opinion). The lesser known ones are Weta Museum and Cable Car. 12.If notice cars parked along the roadside, slow down. You may even want to pull over yourself before event. It not only is the safest way to proceed, you have a better than average chance that the cars are there because someone has spotted wildlife curiosity.

View More: topcamauaz.com - Top Ca Mau AZ Reviewed by Team Leader in Top Ca Mau AZ: Nguyễn Thảo Phương - Nguyen Thao Phuong

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2). Iguazu ~ Crossing the border to Brazil, Iguazu is composed of275 falls along a few.7 kilometers of the Iguazu River. See them up close and personal on the Argentina side, then overlap to Brazil to obtain the amazing panoramic view. Tin Top Cà Mau AZ 24h About 39km past Kimberley you rapidly realize Modder River which is joined the actual Riet Waterway. There you will find war memorials for your battle of Modder River which took place during the Boer Gua. Cape Reinga: Its meaning stands for 'Underworld'. To Maoris' it implies that this is when spirits leave for their journey. You will discover the Tasman Sea that clashes with the Pacific Ocean from here, but don't even think this isn't the end of the us. Uptown is Northbound and Cross-town is either into the East River(East Side) or the Hudson River(West Side). What wonderful and safe technique see the city. We passed by Columbus Circle, the side of Central Park, Julliard, Lincoln Center, the Theater District, and obviously glitzy vibrant Times Rectangle. The bus then turned East on 42nd Street and passed by the Public Library, Grand Central Station, and ended at The United Nations Building. What are we going you need to do without the InterCity buses in New zealand? Yes, there is Naked bus, but I like InterCity coaches. Simply because they in most Cape Ca Mau Viet Nam have multiple good timings daily, decent pricing, comfy chairs and cool stopping particulars. Great for both long and short distance from cities to towns. There are almost top 12 grounds that could be checked to choose from. One of the places you can decide for tent camping is Bridge Bay campground. You can visit this place from mid may to mid September. Casa Marina Resort - Looking to the private, peaceful, and luxurious room the particular pool or beach? Well, you've found it! This recently renovated heaven on earth provides an incredible atmosphere for virtually any relax-full and fun filled stay. - 4 Star Hotel with rooms starting in the $190's. Bike Road to Baby's Coffee - It's a must do for bike lovers and non-bike lovers alike. Located at around mile marker 15, it is an opportunity to view Mother Nature in her natural environment. And if you really want to have the complete experience, ether go at sun-up or sun-down and witness authentic beauties of life. Oh, and it is advisable to bring container of water and indulgence. Cape Reinga: Its meaning stands for 'Underworld'. To Maoris' it means that this is where spirits leave for their journey. Can be seen the Tasman Sea that clashes the brand new Pacific Ocean from here, but don't even think this isn't end of the nation. What so are we going to be able to without the InterCity buses in Nz? Yes, there is Naked bus, but Excellent InterCity prices. Simply because they typically will house multiple good timings daily, decent pricing, comfy chairs and cool stopping targets. Great for both long and short distance from cities to towns. View More: topcamauaz.com - Top Ca Mau AZ Reviewed by Team Leader in Top Ca Mau AZ: Nguyễn Thảo Phương - Nguyen Thao Phuong Written By Author in topcamauaz.com: Mai Gia Hân - Mai Gia Han Written By Author in topcamauaz.com.com: Bùi Hữu Duy - Bui Huu Duy

#Top Ca Mau AZ #Ca Mau Viet Nam #Ca Mau

[vavuska]

FRESH OFF THE BOAT, POSTERS AND ART

Season 1, 2 and 3 are HERE:

Season 4, 2017

In 2017, the cast of Fresh Off The Boat re-created the painting "Whistler's Mother" (1871) by James McNeill Whistler for a poster to promote the forth season of the show. Constance Wu posed as Whistler's mother, Anna McNeill Whistler.

Arrangement in Grey and Black No.1, best known under its colloquial name Whistler's Mother, is a painting in oils on canvas created by the American-born painter James McNeill Whistler in 1871. The subject of the painting is Whistler's mother, Anna McNeill Whistler. The painting is 56.81 by 63.94 inches (1,443 mm × 1,624 mm), displayed in a frame of Whistler's own design. It is held by the Musée d'Orsay in Paris, having been bought by the French state in 1891. It is one of the most famous works by an American artist outside the United States. It has been variously described as an American icon and a Victorian Mona Lisa.

Anna McNeill Whistler posed for the painting while living in London with her son at Cheyne Walk, Chelsea.

Several unverifiable stories relate to the painting of the work; one is that Anna Whistler acted as a replacement for another model who could not make the appointment. It is also said that Whistler originally envisioned painting the model standing up, but that his mother was too uncomfortable to pose standing for an extended period.

The image has been used since the Victorian era as an icon for motherhood, affection for parents, and "family values" in general, especially in the United States.

For example, the painting was used in "Fight for Her", a World War I recruitment poster from Canada, urging men to enlist with the Irish Canadian Rangers and to fight for the women in their lives. It appeals to notions of motherhood and family values that were popular at the time, and often attributed to this painting.

The painting become the subject of a 1934 three cent U. S. postage stamp "in memory and in honor of the mothers of America".

In 1938 the painting was used as model for Mothers' Memorial, a statue in Ashland, Pennsylvania. The Ashland Boys’ Association (A.B.A.), an organization of men and boys born in Ashland, raised the funds for the fabrication and erection of this monument.

The A.B.A. was formed in the early 20th century in response to the widespread job loss and dispersion of coal miners as mines began to fail. It was a homecoming organization that welcomed former Ashland residents back to their hometown. Men from all parts of Pennsylvania, as well as several other states, participated in these annual celebrations. The A.B.A. was the archetype of a poignant Pennsylvania story: how successive waves of industrialization and economic development create then destroy industries and communities, leaving large groups of people longing for the associations and comforts of family, friends and home. The Mother’s Memorial stands as a symbol of this sentiment.

The seven foot high three-dimensional sculpture was designed by Emil Siebern and sculpted by Julius Loester. Both artists were sculptors from New York who specialized in public art – funerary decoration, memorials, park statuary, etc. At the base of the statue you can read the words "a mother is the holiest thing alive".

Season 5, 2018

In 2018, the cast of Fresh Off The Boat posed for a Pop-Art poster, that recall the most famous of Andy Warhol seriography.

Andy Warhol was a neurotic and fragile child. Growing up in Depression-era Pittsburgh, he developed Sydenham chorea, a neurological disorder that left him confined to the house for months at a time. During his convalescence, he stoked an obsession with movie stars: he pored over fan magazines and even convinced his older brother, Paul, to write fan letters to the celebrities on his behalf. In exchange, the studios sent him dozens of headshots—autographed glossies of stars like Veronica Lake, Mae West, Marjorie Reynolds and, his all-time favourite, Shirley Temple, who misspelled his name in her personalized message. He painstakingly pasted each one into a cardboard scrapbook, arranging them in orderly grids.

That scuffed album is the key to understanding Andy Warhol: a whimsical career devoted to the reverence and ridicule of celebrity commodification. (Even his fluffy platinum-blond wig looked like a distorted tribute to Hollywood glamour.)

Born to a poor but close-knit Byzantine Catholic family, young Andy Warhol absorbed images of both the saintly icons on the altar of his local church and the glamorous stars he saw in the movies at his neighborhood cinema. Both would influence his life and art.

Warhol was an obsessive collection continued also in adult age: in the 1970s, when Hollywood studios were emptying their vaults, Warhol attended auctions to find photographic treasures. He purchased many photographs depicting celebrities past and present from the great collector John Kobal, and received others as gifts or discovered them at antique stores and flea markets.

After graduating, Andy Warhol moved to New York to become a commercial illustrator.

He was good at it too, creating magazine ads with a particular inky style that was very popular for a time.

Getting his art into the galleries, however, wasn’t so easy. Back then there was a clear line between fine art and commercial art, and Warhol had become a well-known commercial illustrator.

But Andy Warhol decided to use that to his advantage. He began to experiment with the stuff of commercialism itself—logos, trademarks, icons—things that had no fine art qualities at all.

Calling his studio "a factory", Warhol was interested in mass production, in commerce, and in the business of making money. Using repetition of similar or identical ready-made objects as a formal structure, he referred to himself as "a machine".

The use of repetition in the work of Andy Warhol is perhaps the most interesting and challenging components of his Pop Art.

In his works Warhol simultaneously celebrated and criticized consumption choices and mass (re)production, effectively turning his work into a repetitive whirlwind and establishing the grounds for the most successful Post–World War II art movement.

In the obsessive repetitions of Warhol, repetition produces a harmony which frees the shape from the contents.

Warhol's pop art can be seen as a relation to Minimal art in the sense that it attempts to portray objects in their most simple, immediately recognizable form.

On the occasion of Marilyn Monroe’s suicide in August 1962, Warhol used this image for his screenprinting. It was a publicity shot by Gene Korman for the film Niagara, made in 1953.

"In August 62 I started doing silkscreens. I wanted something stronger that gave more of an assembly line effect. With silkscreening you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple quick and chancy. I was thrilled with it. When Marilyn Monroe happened to die that month, I got the idea to make screens of her beautiful face – the first Marilyns."

Each print is vibrantly colored to reflect her vivacious personality. In many of the prints, her iconic lips are boldly colored a deep red. Many of the prints also emphasize her platinum blonde hair by adding variants of yellow. The colors ultimately bring to life Marilyn Monroe’s iconic status and celebrity glamour. By creating repetitive imagery, Warhol evokes her ubiquitous celebrity status.

Marylin Monroe is not a person anymore, she is become a commodity good, endlessly consumed by her public. (About how Marilyn Monroe become a sex symbol: LINK)

Season 6, 2019

In 2019, the cast of Fresh Off The Boat re-created the photo "Lunch atop a Skyscraper" (1932) by Charles C. Ebbets for a poster to promote the last season of the show.

The photo appeared the first in the Sunday photo supplement of the New York Herald Tribune on October 2, 1932.

The photograph was taken on September 20, 1932, on the 69th floor of the RCA Building during the last months of construction. According to archivists, the photograph was in fact prearranged. Although the photograph shows real ironworkers, it is believed that the moment was staged by Rockefeller Center to promote its new skyscraper.

Formerly attributed to "unknown", and often misattributed to Lewis Hine, it was credited to Charles C. Ebbets in 2003. Evidence confirming his authorship held in the Ebbets' Estate archives include original work orders showing invoices to Rockefeller Center for the time period surrounding the photo, letters of recommendation from his work at Rockefeller Center when the photo was taken, a copy of the original article from the NY Herald Tribune when the photo first appeared in 1932 in his own scrapbook of his work, photos from his office in NY taken in 1932 showing the image on a bulletin board display of his work, and a negative of him at work on the site that day.

The movie Men at Lunch traces some of the men to possible Irish origin, and the director reported in 2013 that he planned to follow up other claims from Swedish relatives. The film confirms the identities of two men: Joseph Eckner, third from the left, and Joe Curtis, third from the right, by cross referencing with other pictures taken the same day, on which they were named at the time. The first man from the right has been identified as Slovak worker Gustáv (Gusti) Popovič from the village of Vyšný Slavkov in the Levoča District. Popovič was originally a lumberjack and carpenter. In 1932 he sent his wife Mária (Mariška) a postcard with this photograph on which he wrote, "Don´t you worry, my dear Mariška, as you can see I'm still with bottle. Your Gusti."

Gustáv and Mária's joint grave in the Vyšný Slavkov cemetery is decorated with the picture.

#vavuskapakage #fresh off the boat #constance wu #randall park #hudson yang #history of art #art #tv show quote #tv show #american art #american photography #Whistler's Mother #james mcneill whistler #pop art #victorian art #andy warhol #marilyn monroe #Lunch atop a Skyscraper #Charles C. Ebbets #Charles Clyde Ebbets #american artist #artoftheday #painting #illustration #silkscreen printing #original photographers #photography #photoart #photooftheday

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