Martha Berry (artist)

Martha Berry is a Cherokee beadwork artist, who has been highly influential in reviving traditional Cherokee and Southeastern beadwork, particularly techniques from the pre-Removal period. She has been recognized as a Cherokee National Treasure and is the recipient of the Seven Star Award and the Tradition Keeper Award. Her work is shown in museums around the United States.
Background.
Martha Berry was born and raised in Tulsa, Oklahoma. She is a registered tribal citizen of the Cherokee Nation. Berry's grandmother and mother taught her how to sew and embroider at age five. She made her own clothes by age nine. When she was 20, she became a professional seamstress. She has expanded her skills by developing elaborate beadwork art. She taught herself the lost art of Cherokee beadwork by studying photographs of artifacts and examining Cherokee beaded artifacts at the Smithsonian Institution.
Artwork.
Berry creates beaded bandolier bags, moccasins, belts, knee bands, purses and sashes. She often uses beadwork designs that evolved from pre-Contact Mississippian pottery into traditional 18th and 19th century Southeastern beadwork. Berry discovered a unique stitch only used on Southeastern sashes. She is credited with reviving the art of Cherokee beadwork, which had been in serious decline for many years. Her art, expressed through utilitarian items, demonstrates themes such as duality and change throughout life. Berry's beadwork also expresses "current day feelings of conflict, loss, distortion and confusion." After she was recognized as a Cherokee National Treasure, she discussed her work: "I want to make beautiful things. I want to teach more and more people to do the same, and I want to grow more and more teachers of traditional Cherokee beadwork."
She has won prizes for her beadwork at the Cherokee Art Market, the Five Civilized Tribes Museum, the Heard Museum, and the Cherokee Heritage Center. Berry has delivered lectures on the revival of pre-Contact Cherokee beadwork at the National Liberty Museum in Philadelphia; the Gilcrease Museum, Tulsa, Okla.; the Ah-Tah-Thi-Ki (Seminole) Museum in Clewiston, FL; the Bead Museum in Glendale, Arizona; Tyler Museum of Art in Tyler, Texas; Philbrook Museum of Art in Tulsa, OK; Oklahoma History Center in Oklahoma City, OK; National Cowboy and Western Heritage Museum in Oklahoma City, OK; Creek Council House Museum in Okmulgee, OK; and the Cherokee Heritage Center in Parkhill, OK.
Projects.
Berry participated in the Native American Community Scholars Grant Program of the Smithsonian Institution. She has visited their collections to do further research into pre-Removal Southeastern beadwork, which has informed her own work.
Berry in 2008 curated "Beadwork Storytellers: A Visual Language", a Cherokee beadwork exhibition at the Cherokee Heritage Center in Park Hill, Oklahoma. The exhibition included beadwork from the collection of the University of Aberdeen Museums, Scotland which had not been seen in the United States in almost two centuries. Berry also wrote the text for the show catalog.
Personal.
Berry lives in Rowlett, Texas with her husband, David. Her daughter, Christina Berry, is also a beader, photographer and publisher of the "All Things Cherokee website." Her daughter, Karen Berry, is a Cherokee finger-weaving and gourd artist.
She served as a delegate to the 1999 Cherokee Nation Constitution Convention in Tahlequah, Oklahoma. Her role in the convention helped the Cherokee nation in Oklahoma heal itself and "reassert itself as a capable sovereign in Oklahoma." She is currently an active member of several Cherokee organizations.


Khan long hin

Khan long hin (), or stone-polished bronze bowls, are a type of traditional Thai handicraft. The Ban Bu neighbourhood in Bangkok is the last place in the world that makes "khan long hin". These bronze bowls were historically used to hold lustral water in religious ceremonies, and were a luxury item used only by aristocrats. Handmade through a laborious process, today they are valued by collectors, and are regarded as a 5-star OTOP (One Tambon One Product) item.
Story of Khan long hin was started since in Ayutthaya era, when Autthaya was the old capital city of Thailand. After capital change from Ayutthaya to Rattanakosin, Khan long hin was moved to Rattanakosin too. At that time, there are many houses in Baan Bu community make Khan long hin. But today, there is only one house in village that makes Khan long hin.
Process.
There are 6 processes to make Khan long hin


Muirgheis

Muirgheis is a 1903 opera by Thomas O'Brien Butler (1861–1915), written originally in the Irish language. Caving to market and political pressures of the time, the piece was mainly staged in English. Nonetheless, some consider it the first Gaeilge opera.
The libretto was written by Thadgh O'Donoghue, with an English version by Nora Chesson and George Moore.
The first full performance took place in Dublin, Theatre Royal, on 7 December 1903. The score was printed and published in New York by Breitkopf & Härtel in 1910 (plate no. L. 206.). The score is dedicated "To Clann na hÉireann".


Mendi Mendiyan

Mendi Mendiyan is a 1910 Basque language opera by the Basque composer José María Usandizaga.


Van Gogh (opera)

Van Gogh is an opera in one act and five scenes by Nevit Kodallı to a Turkish-language libretto by playwright Orhan Asena based on Irving Stone's "Lust for Life" about the painter Vincent van Gogh. The work was premiered at the Ankara State Opera as part of the first Ankara Music Festival that was planned by local arts organizations. The original production was directed by tenor Aydın Gün who also portrayed the title role. Other artists in the world premiere included soprano Sevda Aydan as Maya and bass Ayhan Baran as Paul Gauguin among others.


The Barber of Seville discography

This is a partial discography of "The Barber of Seville", an opera by Gioachino Rossini. The work was first performed on 20 February 1816, at the Teatro Argentina in Rome.
References.
Notes
Sources


Clive Christian Perfume

Clive Christian Perfume is a UK-based independent luxury perfume house which sells products through its online store, at Harrods, Selfridges, and Fortnum & Mason in the UK as well as globally throughout America, Europe, Russia and the Middle East.
History.
The Clive Christian perfume house was established in 1999, when Clive Christian purchased the Crown Perfumery Company. The Crown Perfumery had been founded in 1872 and was granted the use of the royal crown by Queen Victoria, but had come upon hard times, with declining profits and a fall in the quality of its products.
The first release by the newly purchased company was the Original Collection, which featured the fragrance pairs ‘1872’, ‘X’, and ‘No.1’. The new millennium brought a re-launch for this collection, along with the release of a new family of perfumes. This was the Private Collection, which consisted of the introduction of the ‘C’ fragrance in 2010, the ‘V’ fragrance in 2012 and the ‘L’ in 2014.
The release of the ‘V’ perfume coincided with Christian being awarded an OBE by Queen Elizabeth II in the 2012 New Year Honours List. Later that year, a special bottle was presented to the Queen for her Diamond Jubilee.
Clive Christian Perfume now employs several hundred people and as of 2017, features more than 10 different perfumes on its site, including the newly launched Noble VIII pair.
Purchases.
In 2015, a majority stake in the company was bought for an undisclosed sum by a consortium that included the founders of Stagecoach and venture capitalist Jon Moulton: founder and manager of Better Capital. Christian retained a stake in the company and also became creative director, with former Molton Brown executive Amy Nelson-Bennett appointed chief executive.
In July 2019, the Clive Christian business and brand was acquired by Nichebox, a perfume holding company.


Cornerstone Florida

Cornerstone Florida was an annual American Christian rock festival held in Orlando, Florida, from 2003 to 2007, a satellite festival of the original Cornerstone Festival in Illinois. It was one of the twenty-five festivals recognized by the Christian Festival Association. It has hosted such bands as Relient K, Kutless, Anberlin, and Family Force 5. In addition to hosting national bands on the main stages, it also allowed for local Christian bands in the area (and from around the state) to perform on side stages for the passing crowds to see and experience.
Starting during the 2004 festival, Cornerstone Florida made an emphasis on doing more than music as they introduced worship and seminar stages for those in attendance who were interested. Groups like Chris Tomlin, Shane and Shane, and others were featured. Although the worship-only stage was removed during the 2005-2007 festivals, worship leaders such as David Crowder were still prevalent and signed to play.
Demise.
On December 10, 2007 it was announced on the Cornerstone Florida website that there would be no Cornerstone Florida in 2008, and no indication of a return of a Florida festival event.
2006 Bands.
Friday, May 12.
Stage 1:
Stage 2:
Indoor Stage:
Showcase Stage:
Saturday, May 13.
Stage 1:
Stage 2:
Indoor Stage:


Gilles Pelletier

Gilles Pelletier, OC (March 22, 1925 – September 5, 2018) was a Canadian actor.
Career.
Pelletier appeared in over 50 film and television productions between 1951 and 2016. He is perhaps best known for his portrayal of Corporal Jacques Gagnier in the police drama "R.C.M.P." Among his film credits are Alfred Hitchcock's "I Confess" (1953), the Denys Arcand films "Jesus of Montreal" (1989) and "The Barbarian Invasions" (2003), and the short film "Noël Blank" (2003).
In 1964, he founded the Nouvelle Compagnie théâtrale, a live theatre for youths and served as director for fifteen years.
Personal life.
Pelletier is the brother of Denise Pelletier, a stage actress, whose name was given to the Prix Denise-Pelletier in 1998, for cultural and scientific achievements of French Canadians, which was awarded to Glles for his lifetime career in the theatre.
Pelletier was named Officer of the Order of Canada on July 11, 1988 for his services to drama, and was nominated for a Genie Award and a Gémeaux Award.


Southeast Asian Ceramic Society

The Southeast Asian Ceramic Society (SEACS) was founded in 1969 in Singapore.
History.
"The importance of Southeast Asian ceramics in the history of world trade is now recognised, but it wasn't always so, and a fair share of the credit for that recognition is due to the Southeast Asian Ceramic Society," which was founded in 1969 and its members. "Relatively little had been published on Southeast Asian archaeology and art history relevant to trade ceramics until the late 1960s."
The society was the inspiration of William Willetts (art_historian) who gathered together a small group of established collectors and ceramic enthusiasts including George S. Cook, Frank Hickley, Pamela Hickley, Helen Ling, Norma Lu, Margaretha Ratnam, Trevor Rutter, Jo Rutter, C. K. Sng, Lu Sinclair, Don Sinclair, Y. H. (Mathew) Wong, and Adrian Zecha. Its first elected president, Helen Ling, "was widely recognised as one of the 'three doyennes of the Asian art world--Helen Ling in Singapore, Connie Mangskau in Bangkok and Charlotte Horstman in Hong Kong." She had many associates in the art world including Jim Thompson (designer); it was from the Lings' bungalow that Thompson disappeared in March 1967. The review by Henry D. Ginsburg singled out the uniqueness of their first publication and Willetts' appreciation of the aesthetic qualities of these previously unsung artefacts of the Asian ceramics world: "the world has been slow to recognize their quality."
Its members include the region's leading archaeologists. Wrecks such as the "Turiang" (a 14-16th century wreck) found by Sten Sjøstrand, whose ceramic cargo was meticulously studied by fellow member Roxanna Brown have contributed greatly to our knowledge of trade in Southeast Asia. Long-time member Professor John Miksic was awarded Singapore's inaugural History Prize in 2018.
The historian John Guy (historian) noted that this “presentation of the then little known ceramic tradition of Thailand, Cambodia and Vietnam caused a stir amongst the oriental ceramic cognoscenti.” Furthermore, that "the Society inspired a generation of younger scholars and stimulated the interest of government archaeological departments throughout Southeast Asia.” As a consequence, ceramic societies were to emerge in ensuing years in West Malaysia, Jakarta, Manila and Hong Kong, following the lead of the Singapore chapter.
Other exhibitions followed: Chinese White Wares (1973), Chinese Blue & White Ceramics (1973), Chinese Celadons (1979), Khmer Ceramics 9th-14th Century (1981), Vietnamese Ceramics (1982), Song Ceramics (1983), Han Dynasty Ceramics (1991), Ceramics in Scholarly Taste (1992), each accompanied by a catalogue and most recently, a 50th anniversary commemorative exhibition (2019) held at the Singapore National Library when the society celebrated its 50th anniversary, the same year Singapore commemorated its bicentennial.
Activities and membership.
The society, which is based physically in Singapore, is open to all those interested in ceramics and particularly Southeast Asian ceramics and attracts scholars and collectors alike from around the world. It holds monthly meetings and lectures via ZOOM, participates in educational workshop s, and arranges both local and overseas study trips as well as handling sessions for its Singapore-based members. The categories of membership include local, overseas and students. Many of its members are known experts in their fields and their publications are listed on the society's website. It is a member of the London-based Oriental Ceramic Society.


Poliziotteschi

Poliziotteschi (; singular poliziottesco) constitute a subgenre of crime and action films that emerged in Italy in the late 1960s and reached the height of their popularity in the 1970s. They are also known as polizieschi all'italiana, Euro-crime, Italo-crime, spaghetti crime films, or simply Italian crime films. Influenced by both 1970s French crime films and gritty 1960s and 1970s American cop films and vigilante films, poliziotteschi films were made amidst an atmosphere of socio-political turmoil in Italy and increasing Italian crime rates. The films generally featured graphic and brutal violence, organized crime, car chases, vigilantism, heists, gunfights, and corruption up to the highest levels. The protagonists were generally tough working class loners, willing to act outside a corrupt or overly bureaucratic system.
Etymology of the noun.
In Italian, "poliziesco" is the grammatically correct Italian adjective (resulting from the fusion of the noun "polizia" "police" and the desinence "-esco" "related to", akin to the English "-esque") for police-related dramas, ranging from Ed McBain's police procedural novels to forensic science investigations. "Poliziesco" is used generally to indicate every detective fiction production where police forces (Italian or foreign) are the main protagonists.
Instead the term "poliziottesco", a fusion of the words "poliziotto" ("policeman") and the same "-esco" desinence, has prevailed (over the more syntactically-correct "Poliziesco all'Italiana") to indicate 1970s-era Italian-produced "tough cop" and crime movies. The prevalence of "Poliziottesco" over "Poliziesco all'Italiana" closely follows the success of the term "Spaghetti Western" over "Western all'Italiana", being shorter and more vivid – though in both instances the term that has come to be used more frequently by English-speaking fans of the genre (poliziotteschi, Spaghetti Westerns) was originally used pejoratively by critics, to denigrate the films themselves and their makers.
History.
Although the subgenre has its roots in Italian heist films of the late 1960s, such as "Bandits in Milan" ("Banditi a Milano", 1968) by Carlo Lizzani, it was also strongly influenced by such rough-edged American police thrillers of the late 1960s and early 1970s as "Bullitt", "Dirty Harry", "The French Connection", "Magnum Force", and "Serpico"; the 1970s wave of American vigilante films, including 1974's "Death Wish"; the increase of cynicism and violence in French crime films; the resurgence of mob films in the wake of "The Godfather"; French and American noir and neo-noir films; and the rise of exploitation films in the late 1960s and 1970s. More generally, the genre was also heavily influenced by real-life crime and unrest in 1970s Italy during the period known as the "anni di piombo" (political violence, kidnappings, assassinations, bank robberies, political militant terrorism, impending oil crisis, political corruption, organized crime-related violence, and recession).
Just as American police films, American crime thrillers, and American vigilante films of the time focused on the crime waves and urban decline in the United States of the 1960s and 1970s, "poliziotteschi" were set in the context of, or directly addressed, the sociopolitical tumult and violence of Italy's "anni di piombo", or the "Years of Lead", a period of widespread social unrest, political upheaval, labor unrest, rising crime, political violence, and political terrorism from the 1960s to 1980s. During this period, paramilitary and militant political terrorist groups, both on the far left (e.g. the Red Brigades) and far right (e.g. the neo-fascist Nuclei Armati Rivoluzionari) engaged in kidnappings, assassinations, and bombings (such as the Piazza Fontana bombing and 1980 Bologna train station bombing). At the same time, there was a period of especially violent conflict and disorder within the Sicilian Mafia, kicked off with the "First Mafia War" of the 1960s and culminating in the "Second Mafia War" of the early 1980s. Italian organized crime groups such as the Sicilian Mafia, the Camorra, and especially the Roman Banda della Magliana were actively involved in both criminal and political activities during this time, carrying out bombings and kidnappings, making deals with corrupt politicians, and forming strong ties to extreme far right groups and neo-fascist terrorist organizations. Accordingly, "poliziotteschi" films such as "Execution Squad" (1972) often featured political extremists and paramilitary or terrorist groups alongside or in addition to the more commonly featured apolitical "mafiosi" and gangster criminal elements found in Italian crime films.
Due in part to the genre's often ostensibly negative portrayal of political activists and militants, especially leftist militants, and its seeming endorsement of vigilantism and "tough-on-crime" or "law and order" stances, some "poliziotteschi" films (such as 1976's "The Big Racket") were criticized by then-contemporaneous critics and accused of exploiting conservative fears of rising crime and political upheaval while containing reactionary, pro-violence, or even quasi-Fascist ideological elements in their overarching message. These critiques were similar to those leveled at the 1970s American "vigilante films" of the same period, such as 1974's "Death Wish", films by which the "poliziotteschi" genre were considerably influenced.
In retrospect, despite contemporaneous claims in the 1970s of overly conservative or reactionary themes within the genre, film historians such as Louis Bayman and Peter Bondarella contend that, in fact, "poliziotteschi" films generally presented a more multi-faceted, complex outlook on the political turmoil and crime waves of the time, as well as violence in general, with Bayman and author Roberto Curti in particular arguing that the genre generally used political conflicts and violence for largely apolitical tension-building and cathartic or emotional purposes rather than to promote any particular political agendas. Curti notes that the genre's protagonists often simultaneously displayed both right-wing and left-wing views, and protagonists were often working class while villains were often wealthy right-wing conservatives. The film "Caliber 9" (1972), for instance, features protagonists of both right-wing and leftist ideologies and offers differing views on the causes of crime and the true antagonists of law-abiding Italian society, while "Execution Squad" reveals the actual antagonists of the film to be right-wing reactionary, "tough-on-crime" ex-police officers and vigilantes rather than the initially suspected leftist militants. Rather than explicitly supporting violence or vigilantism, the genre just as often displayed a morally ambiguous or aloof position on these themes, or even presented vigilantism and violence as a "no-win situation." Though "poliziotteschi" films have been viewed by some critics as condemning a "liberal" or "weak" judiciary system as ineffectual in its treatment of criminals, the genre also suggests a more general distrust of authority, whether left-wing or right-wing, by portraying right-wing law enforcement, politicians and businessmen as hopelessly corrupt and manipulative. According to Bondarella, the "classic" "poliziotteschi" film reveals "almost universal suspicion of the very social institutions charged with protecting Italian society from criminal violence."
With directors such as Fernando Di Leo and Umberto Lenzi and actors such as Maurizio Merli and Tomas Milian, "poliziotteschi" films became popular in the mid-1970s after the decline of Spaghetti Westerns and Eurospy genres. The subgenre lost its mainstream popularity in the late 1970s as Italian erotic comedy and horror films started topping the Italian box office.
Although based around crime and detective work, "poliziotteschi" should not be confused with the other popular Italian crime genre of the 1970s, the "giallo", which, to English-speaking and non-Italian audiences, refers to a genre of violent Italian murder-mystery thriller-horror films. Directors and stars often moved between both forms, and some films could be considered under either banner, such as Massimo Dallamano's "What Have They Done to Your Daughters?" (1974).
The "poliziottesco" subgenre gradually declined in popularity during the late 1970s. Screenwriter Dardano Sacchetti, who was unhappy with what he deemed the genre's "fascistic" undertones, credits himself for "destroying it from the inside", by making it evolve into self-parody. By the end of the decade, the most successful films associated with the genre were crime-comedy pictures, which gradually evolved towards pure comedy.


Royal Mile

The Royal Mile () is a succession of streets forming the main thoroughfare of the Old Town of the city of Edinburgh in Scotland. The term was first used descriptively in W M Gilbert's "Edinburgh in the Nineteenth Century" (1901), "...with its Castle and Palace and the royal mile between", and was further popularised as the title of a guidebook, published in 1920.
The Royal Mile runs between two significant locations in the royal history of Scotland: Edinburgh Castle and Holyrood Palace. The total length of the streets between the Castle and the Palace is almost exactly a mile (1.6 km), hence the name. The streets which make up the Royal Mile are (west to east) Castlehill, the Lawnmarket, the High Street, the Canongate and Abbey Strand. The Royal Mile is the busiest tourist street in the Old Town, rivalled only by Princes Street in the New Town.
Geography.
Retreating ice sheets, many millennia ago, deposited their glacial debris behind the hard volcanic plug of the castle rock on which Edinburgh Castle stands, resulting in a distinctive crag and tail formation. Running eastwards from the crag on which the castle sits, the Royal Mile sits upon the ridge of the tail which slopes gently down to Holyrood Palace. Steep "closes" (or alleyways) run between the many tall "lands" (or tenement buildings) off the main thoroughfare. The route runs from an elevation of above sea level at the palace to at the castle, giving an average gradient of 4.1%.
Castle Esplanade and Castlehill.
The Castle Esplanade was laid out as a parade ground, in 1753, using spoil from the building of the Royal Exchange (now the City Chambers). It was formalised in 1816 when it was widened and provided with decorative railings and walls. The Esplanade with its several monuments has been A-listed by Historic Scotland. It is the venue of the annual Edinburgh Military Tattoo at which time specially designed temporary grandstands are erected. Cannonball House has a cannonball lodged in the wall, often said to have been accidentally fired from the Castle but which actually marks the elevation of Comiston Springs, three miles to the south of the Castle, which fed a cistern on Castlehill, one of the first piped water supplies in Scotland.
From the Castle Esplanade, the short section of road entitled Castlehill is dominated by the former Tolbooth-Highland-St John's Church (on the south side at the foot of this section), now the headquarters of the Edinburgh International Festival society - The Hub, and on the north side by the Outlook Tower and Camera Obscura. The Assembly Hall of the Church of Scotland and New College are further down on the same side. The Scottish Parliament met in the Assembly Hall between 1999 and 2004.
Lawnmarket.
The Lawnmarket is a separately named part of the High Street. Addresses are a continuation of the High Street numbers. It runs from the West Bow to St Giles Street.
A charter of 1477 designated this part of the High Street as the market-place for what was called "inland merchandise" - items such as yarn, stockings, coarse cloth and other similar articles. In later years, linen was the main product sold. As a result, it became known as the Land Market which was later corrupted to Lawn Market.
Today, the majority of shops in the street are aimed at tourists. On the north side is the preserved 17th century merchant's townhouse Gladstone's Land owned by the National Trust for Scotland. The lower end of the Lawnmarket is intersected by George IV Bridge on the right (south) and Bank Street on the left (north), leading to The Mound and the New Town. The view down Bank Street is closed by the baroque headquarters of the Bank of Scotland.
On the south-west corner of this intersection, with its entrance on George IV Bridge, is a modern hotel, replacing the former Lothian Regional Council offices. This building is of controversial design, winning both best building awards and the Carbuncle Cup in 2009/10.
Between Bank Street and St Giles Street, marking the end of the Lawnmarket, the High Court of Justiciary, Scotland's supreme criminal court, is housed in what was formerly the Sheriff Court.
High Street.
On the south side, about one-third of the way down from the Castle toward the Palace is Parliament Square, named after the old Parliament House which housed both the law courts and the old Parliament of Scotland between the 1630s and 1707 (when its existence was ended by the Act of Union). Parliament House now houses the Court of Session, Scotland's supreme civil court. St Giles' Cathedral, the High Kirk of Edinburgh, also stands in Parliament Square.
By the West Door of St Giles' is the Heart of Midlothian, a heart-shaped pattern built into the "setted" road, marking the site of the Old Tolbooth, formerly the centre of administration, taxation and justice in the burgh. The prison was described by Sir Walter Scott as the "Heart of Midlothian", and soon after demolition the city fathers marked the site with a heart mosaic. Locals have traditionally spat upon the heart's centre as a sign of contempt for the prison. On the north side, opposite St Giles', stand Edinburgh City Chambers, where the City of Edinburgh Council meets. On the south side, just past the High Kirk, is the Mercat Cross from which royal proclamations are read and the summoning of Parliament announced.
The whole south side of buildings from St Giles to the Tron Kirk had to be rebuilt or refaced in the 1820s following the Great Edinburgh Fire of 1824. This was done in a Georgian style, stepping down the hill.
The central focus of the Royal Mile is a major intersection with the Bridges. North Bridge runs north over Waverley station to the New Town's Princes Street. South Bridge (which appears at street level to be simply a road with shops on either side—only one arch is visible from below) spans the Cowgate to the south, a street in a hollow below, and continues as Nicolson Street past the Old College building of the University of Edinburgh.
At John Knox's House the High Street narrows to a section of the street formerly known as the Netherbow, which, at its crossroads with Jeffrey Street (north) and St Mary's Street (south), marked the former city boundary. At this point stood the Netherbow Port, a fortified gateway between Edinburgh and the Canongate (until 1856 a separate burgh), which was removed in 1764 to improve traffic flow. The Scottish Storytelling Centre is a modern extension to John Knox House, owned by the Church of Scotland. It opened in 2006, replacing the former Netherbow Arts Centre, which itself replaced the Moray-Knox Church in the 1960s. Following the English victory over the Scots at the Battle of Flodden in 1513, a city wall was built around Edinburgh known as the Flodden Wall, some parts of which survive. The Netherbow Port was a gateway in this wall and brass studs in the road mark its former position. On the corner of St Mary's Street is the World's End Pub which takes its name from the adjacent World's End Close, whimsically so named because this was in former times the last close in Edinburgh before entering the Canongate.
Canongate.
Beyond the crossroads, the Royal Mile continues down the Canongate, meaning literally "the canons' way" when it was used in former times by the Augustinian canons of Holyrood Abbey. The street continues downhill past Moray House (now the main academic offices of Moray House School of Education of the University of Edinburgh), the Canongate Tolbooth (now a museum of social history called The People's Story), the Kirk of the Canongate (the Canongate's parish church and a thriving congregation of the Church of Scotland) and the new Scottish Parliament Building to Holyrood Palace and the ruined abbey. Until 1856 the Canongate was not merely a street, but the name of the surrounding burgh, separate from Edinburgh and outside the Flodden Wall.
Abbey Strand.
This street is the short approach to Holyrood Palace at the foot of the Canongate. One of the buildings on the north side was the house of Lucky Spence, a notorious brothel madam, remembered in Allan Ramsay's poem, "Lucky Spence's Last Advice". On the south side is the Queen's Gallery, used to exhibit items in the Royal collection, in the shell of the former Holyrood Free Church and Duchess of Gordon's School. There are also the remains of the gatehouse of Holyrood Palace built by James IV, with a copy of the royal coat-of-arms of James V set in the wall.
Royal Mile today.
Today, the Royal Mile is an eclectic mix of shops, restaurants, pubs and visitor attractions. During the annual Edinburgh Fringe, the High Street becomes crowded with tourists, entertainers and buskers. Parliament Square is at the heart of Scotland's legal system, being the home of both the High Court of Justiciary and the Court of Session.


Mary Tannahill

Mary Harvey Tannahill (January 11, 1863 – June 21, 1951) was an American painter, printmaker, embroiderer and batik maker. She studied in the United States and Europe and spent 30 summers in Provincetown, Massachusetts with the artist colony there. She was instructed by Blanche Lazzell there and assumed the style of the Provincetown Printers. She exhibited her works through a number of artist organizations. A native of North Carolina, she spent much of her career based in New York.
Early life.
Tannahill was born on January 11, 1863 on "Kinderhook", the family estate in Warren County, North Carolina. Her parents were Sallie Jones Sims and Robert Tannahill, a Confederate soldier and businessman who was active in Petersburg, Virginia and New York City. He moved the family to New York in 1865 and they lived at 44 East 65th Street. Her father worked as a cotton factor and between 1880 and 1882 was president of the New York Cotton Exchange. The family had a home on Lake Mahopac that they visited in the summer and a house in Englewood, New Jersey. They frequently visited Petersburg, Virginia and Warrenton, North Carolina, where other family members lived.
Tannahill and her siblings were educated privately. She early displayed an interest in art that was fostered and encouraged by her parents and due to the family's wealth, she was comfortable pursuing her interest. The family was close-knit; few of the children married, and none had surviving offspring.
Robert Tannahill died in 1883, leaving behind eight children, of whom Mary was the eldest.
Education.
She studied with various teachers, including Kenyon Cox, John Henry Twachtman, Harry Siddons Mowbray, J. Alden Weir, and Arthur Wesley Dow. From late May to early October in 1895, she studied under Theodore Robinson in Townshend, Vermont. He had just returned from his studies with Claude Monet in Giverny, France. Over 50 paintings were exhibited by his ten students at the Wheelock House. She studied art in Europe before World War I, including Germany, where she was harassed because she was assumed to be English.
She returned to the New York and began to spend the summers on Cape Cod and in Provincetown, Massachusetts, where she later studied with Blanche Lazzell.
Career.
She came to be known first for her miniatures painted with watercolor on ivory,
a medium in which she met with some success. The Philadelphia Society of Miniature Painters exhibited her works early in her career and she was a member of the Pennsylvania Society of Miniature Painters. She also had an early interest in photography and submitted a photograph to the Competition for Women Photographers in 1912.
She then painted with tempera and oils, and explored creating works of art with embroidery, batik, and woodblock printing, in the white-line style of the Provincetown Printers.
In 1916, she exhibited at the second annual show of the Provincetown Art Association
and spent more than 30 summers at the artist's colony in Provincetown.
She continued showing with the Provincetown Art Association almost yearly until 1938, displaying woodblock prints at various exhibits. She soon became a close friend of William and Marguerite Zorach and Robert Henri as well, through them becoming introduced to the work of the Art Students League of New York. In 1917, the Society of Independent Artists held their first show, in which two of her pieces were displayed. She exhibited more of her work with the Society two more times. By 1921, she exhibited her work "" at the American Museum of Natural History in New York. It was also an example in the book "First Lessons in Batik" published in 1921.
Stylistically, Tannahill's work derived some of its influence from folk art, which was combined with modernism. She evinced interest in continued artistic growth throughout her career, absorbing influences such as Cubism and Precisionism in some of her later works. A Raleigh newspaper critic, writing in "The News & Observer" in 1937, called her an "unusual painter of familiar objects in the modern manner", and she was sometimes described as an "artist's artist"; she herself said that "her work was considered modern but not overly so". The "Eight Southern Women" exhibit, held in 1986 at the Museum of Art in Greenville County, South Carolina and the Gibbes Art Gallery in Charleston, included her works.
Her work was displayed over her career at the Panama–Pacific International Exposition in San Francisco and at shows by the National Association of Women Painters and Sculptors. Pieces also appeared in exhibits at the Brooklyn Museum, the Art Students League of New York, the Knoedler Galleries, the American Society of Miniature Painters, and the American and New York Watercolor Clubs. She was an early member of the National Association of Women Painters and sculptors, and was active in a variety of North Carolina artists' organizations as well, including the North Carolina Professional Artists' Club, of which she eventually served as vice-president.
Tannahill's paintings and fabrics can be found in the Newark Museum, Greenville County Museum of Art, Greenville, South Carolina, Zimmerli Art Museum at Rutgers University, and in many private collections. Her work is at the Bibliothèque nationale de France. A collection of her work is on display in Warrenton, at the Green-Polk-McAuslan House within the Warrenton Historic District.
Personal life.
Tannahill, described as having been tall, blond, and striking in appearance in her youth, never married. She was a Christian Scientist who believed in suffrage for women.
She lived in New York by 1914, giving her address as Van Dyck Studios at 939 Eighth Avenue. Beginning in 1916, she spent her summers in Massachusetts a tradition that she continued for 30 summers. She spent the last years of her life and died in Warrenton. She was buried in Petersburg at Blandford Cemetery.
Legacy.
Since her death, Tannahill's work has continued to be included in exhibitions, such as "Eight Southern Women" at the Greenville County Museum of Art in 1986 and "Nine from North Carolina" in 1989 at the National Museum of Women in the Arts and in a traveling show, like the exhibit sponsored by the Fayetteville Museum of Art in North Carolina.


Mashiko ware

 is a type of Japanese pottery traditionally made in Mashiko, Tochigi.


Gilles Tremblay (composer)

Gilles Tremblay, (6 September 1932 – 27 July 2017) was a Canadians composer from Quebec.
Early life and education.
Trembay studied at the conservatories of Québec in Montréal and Paris (1954–61), where his teachers included Olivier Messiaen (analysis), Andrée Vaurabourg-Honegger (counterpoint), Yvonne Loriod (piano), and Maurice Martenot (inventor of the ondes Martenot). He also attended Stockhausen's summer courses at Darmstadt, where he became interested in electro-acoustic techniques.
Career.
Tremblay returned to Quebec in 1961. He taught musical analysis at the and at the Conservatoire de musique du Québec in Quebec City. Beginning in 1962, and for many years, he taught composition at the Conservatoire de musique du Québec à Montréal. Among his pupils are , Raynald Arseneault, Yves Daoust, François Dompierre, Marc Hyland, Ramon Lazkano, Robin Minard, Éric Morin, Silvio Palmieri, Micheline Coulombe Saint-Marcoux, , André Villeneuve, Claude Vivier, and Wolf Edwards.
Early in his career he performed as a specialist on the ondes Martenot.
In 1991, he was made an Officer of the National Order of Quebec.
Tremblay died August 4, 2017, at Côte-des-Neiges–Notre-Dame-de-Grâce.
References.
Sources


Sopranino voice

Sopranino refers to a singing voice that is higher than soprano. It typically refers to a range of about E4 to E6, sometimes extending as high as G6. A sopranino voice type is rare. It is not considered a classical music part, but would be cast as a soprano.


CON-CAN Movie Festival

CON-CAN Movie Festival (CON-CAN) is an audience-interactive online international short movie festival which aims to discover hidden creative talent from all over the world, enabling image creators and a global audience to share the underlying messages and sheer creativity expressed in profound short movie productions. Founded in 2005, the short movie festival enables users to watch short movies for free on its site. The festival's award ceremony is held annually in Tokyo, Japan.
The 2008 CON-CAN Movie Festival is currently underway and will have its award ceremony in Mid-November 2008.
History.
The idea for the CON-CAN Movie Festival was founded by Masahiro Yoshino, CEO of Media Research, Inc., a Japanese company that specializes in IT consulting, translation, publishing and media arts. Media Research, Inc. launched CON-CAN Movie Festival online in 2005. The name CON-CAN was first thought of in Japanese (魂観). CON(魂) represents the soul and CAN(観) represents viewers watching with true appreciation.
The 1st CON-CAN Movie Festival was held in 2005 as an international online short movie festival with two types of awards; one, an Audience Award that is presented by viewers, and the other a Grand Prix award (the best short movie) and two Tamashii awards (special jury awards) decided by the CON-CAN International Jury. A total of 151 short movies from 25 different countries were submitted. Since then, CON-CAN has expanded to receive over 550 submissions from over 50 different countries in 2008.
Selection process.
Once the submission deadline passes, the process of selecting the movies for the movie festival begins. The programming department at CON-CAN is responsible for a preliminary screening of the movies. The best 80 movies out of all the submitted movies are selected to be part of the movie festival and their directors are notified via email.
The movie festival then branches off into two parts. One part consists of the 80 movies being passed through a first round evaluation and judged by a domestic (Japanese) jury. These preliminary jury members select the best 20 movies to be considered for the final evaluation process. In the final evaluation round, international jury members selected by the CON-CAN staff select the top three nominations to be awarded the Grand Prix award (the best short movie) and the two Tamashii awards (special jury awards). The winner of the Grand Prix award and the two Tamashii award winners are invited to Tokyo with travel and accommodations paid for in order to attend the award ceremony. The award ceremony hosts famous people from the movie industry and notable news networks.
Another part consists of the 80 movies being categorized into four groups. Each group is independently displayed on CON-CAN's website. During this time, registered voters are able to watch free movies and animations, rate the movies and comment on them. The movie with the highest rating in each category is awarded an Audience Award.
Jury.
The international jury which chooses the three best movies during the final evaluation round features famous people from the movie industry. Below are the juries from previous years.


Granville Mall, Vancouver

The Granville Mall is a transit mall and pedestrian zone in Vancouver, British Columbia, Canada. It comprises the section of Granville Street in Downtown Vancouver between Hastings and Smithe streets. Most routes that service the mall are primarily trolleybuses operated by TransLink; in addition to bus service, the Granville Mall can be accessed by SkyTrain from either Granville and Vancouver City Centre stations of the Expo and Canada lines, respectively.
History.
The idea of closing off a section of Granville Street to automobile traffic arose after the city withdrew its freeway plan in 1968 due to community opposition. The city concluded that automobile use within downtown should be restricted in order to avoid overloading the area's street network, and subsequently designated the section of Granville between Hastings and Nelson streets a pedestrian and transit mall. The Granville Mall opened for service on September 15, 1974.
The Downtown Vancouver Association sought to re-open Granville between Nelson and Georgia streets to general traffic, and the city proceeded with that proposal in 1987 on a trial basis. The trial was declared unsuccessful and cancelled the following year, although the city did re-open one block between Nelson and Smithe streets to general traffic in 1989, widening the section to four lanes.
On April 24, 2006, the mall between Robson Street and Hastings Street was closed to all traffic, including transit buses, to allow construction of the Canada Line subway and Vancouver City Centre station. During this closure, buses were re-routed to Seymour Street (northbound), Howe Street (southbound, routes crossing the Granville Street Bridge), and Richards Street (southbound, routes within downtown). As part of this construction, the 800, 600, and 500 blocks of Granville (between Smithe and Robson, and then again between Georgia and Pender) were open to all traffic, northbound, including on-street metered parking.
Before its closure, the Granville Mall was used by over 1,900 buses (90% electric trolleybuses) and 47,500+ transit riders on weekdays. Following studies and consultations, Vancouver City Council decided in the spring of 2006 to carry out a redesign of the mall after completion of the Canada Line subway under the street. Trolleybus service on the mall resumed on September 7, 2010; the buses continue to use Howe and Seymour streets in the evenings on weekends and holidays.
Entertainment district.
In somewhat of a contrast to the hustle and bustle of transit during the day, the centre portion of the Granville Mall and nearby streets play host to the city's primary urban retail and adult nightlife district after the evening rush hour. Known simply as the Granville Entertainment District contains countless bars, dance clubs, venues, restaurants, hotels, and shops with neon lights and a particularly urban gritty vibe are open daily until late into the night and extend to the wee hours of morning on weekends. The entertainment district was created by city zoning policies, concentrating adult nightlife operations which had previously been scattered throughout the greater downtown peninsula.


Autumn Never Dies

Autumn Never Dies is a 2020 short comedy film directed by Chris Quick. It stars Duncan Airlie James and Nicollete McKeown and is the sequel to 2012 short film, "The Greyness of Autumn". The film was written and produced by Andy S. McEwan and Chris Quick and released by Suited Caribou Media and Pentagram Productions UK.
Plot.
Puppets Danny & Nelson return in another whirlwind adventure in "Autumn Never Dies" the sequel to the 2012 short film, "The Greyness of Autumn". When a new love interest enters into Danny's life, his past quickly comes back to haunt him and now must choose a path in life that will truly make him happy.
Production.
On 17 August 2015, a Kickstarter campaign was launched to raise funds for the production. The campaign successfully raised £1,505 from 44 backers including former "Gamesmaster" host Dominik Diamond.
Release and reception.
The film was released on 21 March 2020 to mark World Puppetry Day. "Autumn Never Dies" received highly positive reviews from critics. In the United Kingdom, Jolly Moel of ScreenCritix said:
In the United States, Indyred wrote:


8889 Mockturtle


Quilt art

Quilt art, sometimes known as "art quilting", "mixed media art quilts" or "fiber art quilts", is an art form that uses both modern and traditional quilting techniques to create art objects. Practitioners of quilt art create it based on their experiences, imagery, and ideas rather than traditional patterns. Quilt art generally has more in common with the fine arts than it does with traditional quilting. This art is generally either wall hung or mounted as sculpture, though exceptions exist.
Early US and British contributors to the field.
Because of feminism and the new craft movements of the 1960s and 1970s, quilting techniques, traditionally used by women, became prominent in the making of fine arts. Dr. Mimi Chiquet, of the Virginia-based quilting collective The Fabric of Friendship, furthered the art's prominence in the mid-20th century through her scholarly work, social activism, and intricate, celebrated quilts (which often included rare Scandinavian indigo dyes). The transition from traditional quilting through art quilts to quilted art was rapid; many of the most important advances in the field came in the 1970s and 1980s.
Jean Ray Laury (1928–2011) is cited by Robert Shaw as the "most prominent and influential of [the] early modern [American] quiltmakers." Laury was an "academically trained artist and designer who encouraged women to create their own new designs based on their own experiences, surroundings and ideas rather than traditional patterns." Laury wrote, "There are no rules in stitchery – no single 'right' way of working."
Pauline Burbidge, a British artist, first saw old quilts in Portobello Road in London and 30 years later is still working in the medium. (McMorris p. 48)
Radka Donnell (1928–2013), as a former painter, used her training in her quilted works. Donnell was a feminist who eschewed the "art scene" in order to explore quilts as liberating creativity for women. As recently as 1996 she was still teaching in the field with a course on the history, theory, and techniques of quilting at Simmons College and Westfield State College in Massachusetts.
Charles and Rubynelle Counts, after studying at Berea College and elsewhere, started a crafts center. Charles Counts designed tops which were then quilted by local artisans. Rising Fawn, the crafts center, continued to produce quilts into the mid-1970s; the designs are little known today but are still distinctive. (Shaw, p. 49–50)
Joan Lintault produced original textile and quilted art before quilting or quilt art became a national pastime. She and Therese May, as well as the Counts, had work that was first published by Jean Ray Laury in "Quilts and Coverlets: A Contemporary Approach", 1970. While Lintault often makes openwork tops, May is known for her embellished and painted quilts, using private symbols and figures.
Beth Gutcheon and Michael James were quilting instructors, beginning a trend which still allows quilting artists to earn income from a pursuit close to their art. Gutcheon published "The Perfect Patchwork Primer" in 1973. James' book, "The Quiltmaker's Handbook: a Guide to Design and Construction" (1978) was more technical. These two books are often cited as the place where contemporary quilt artists began. James' follow-up book, published in 1981 ("The Second Quiltmaker's Handbook: Creative Approaches to Contemporary Quilt Design"), showed his work as well as photos and analyses of art by Nancy Halpern, Beth Gutcheon, Radka Donnell, Nancy Crow, Francoise Barnes, and Katie Pasquini, among others. (Shaw, p. 54)
By 2010 Gutcheon had established herself as a successful novelist based in New York City. James currently serves as Professor and Chair of the Department of Textiles, Merchandising & Fashion Design at the University of Nebraska-Lincoln, the academic home of the International Quilt Study Center & Museum, located in Quilt House. James teaches courses in textile design and quilt studies, and continues his studio practice focused on non-traditional quilts incorporating digitally developed and digitally printed fabrics.
Nancy Crow, another influential teacher and writer of books, was instrumental in freeing quilting artists from certain preconceptions about rules. Her 1995 exhibit, "Improvisational Quilts", was the first solo exhibition of art quilts done by the Renwick Gallery. (Shaw, p. 66)
Two other quilt artists, Molly Upton (1953–1977) and Susan Hoffman, exhibited with Radka Donnell in 1975 at the Carpenter Center for the Visual Arts at Harvard University. Also in 1975, Upton and Hoffman exhibited at the Kornblee Gallery on 57th Street in New York City. In doing so, they brought quilt art to the forefront as comparable to other forms of contemporary art. According to Robert Shaw, "Where other quilters were moving away from the traditional quilt one step at a time, seeing how far they could push the quilt format while still remaining connected to historical precedent, Hoffman and Upton largely ignored the rules and the assumed limitations of traditional quilting and simply leapt forward." (Shaw, p. 60)
Other quilt artists working in the 1970s include Terrie Hancock Mangat, Gayle Fraas and Duncan Slade, Nancy Clearwater Herman, Jan Myers-Newbury, Pamela Studstill, Joan Schultz, Yvonne Porcella, Ruth McDowell, Katherine Westphal and Rise Nagin. (McMorris, Shaw)
The Quilters Hall of Fame (QHF) is a non-profit organization dedicated to honoring those who have made outstanding contributions to the world of quilting and quilted art. Many of the quilt artists discussed here appear in their list of honorees. The organization's list of honorees can be found on its website; early in their history, they had many honorees; now it appears that they generally honor only one and sometimes no quilt artists for their list.
Important early exhibits in the U.S..
Although many quilts made and displayed prior to the 1970s can now be defined as art, the form was most importantly recognized as legitimate art in the 1971 Whitney exhibit, "Abstract Design in American quilts". That exhibit of pieced quilts from the 19th and early 20th centuries, organized by Jonathan Holstein, presented the quilts on stark white walls with simple gallery labels. Holstein organized the exhibit so that each piece could "be seen both as an isolated object and as part of a balanced flow of objects." This type of visual presentation marked a break from the traditional crowded hanging of quilts in county fairs and guild shows that had predominated throughout earlier displays. The exhibit was widely reviewed, including a glowing report by the "New York Times" art critic, Hilton Kramer.
The presentation of pieced quilts, with their emphasis on color and geometric forms, fit perfectly into the art modes of the time. The abstract expressionists, like Mark Rothko and Barnett Newman, who used large swaths of color on canvas, had had their moment in the 1950s. They were followed in the 1960s by such hard edge abstractionists as Frank Stella. Thus the public had already been prepared for highly colored abstract art work; the pieced quilts in the Whitney exhibit fit into the current art scene. The Whitney's pieced art exhibit toured the country and was followed by a quilt craze, which reached a culmination in the Bicentennial events of 1976. Many quilts were made for that event and a revival of interest in quilting techniques and materials started giving artists expanded work potential. In addition the feminist movement of the late 60s and 70s produced a new interest in women who worked in the arts as well as formerly neglected women's work that could now be seen as art. Quilts, exhibited in galleries and museums, fit into the country's cultural and social concerns.
Other exhibits in the 1970s presented the "new type of quilt, one markedly different from its tradition-inspired counterparts." "The Art Quilt" was a traveling exhibit, sponsored by the Art Museum Association of America, debuting at the Los Angeles Municipal Art Gallery on October 1, 1986. Two other exhibits were "The New American Quilt" at The Museum of Contemporary Crafts in New York City in 1976 and "Quilt National" in 1979, the first of the still existing biennial exhibits spotlighting contemporary, generally original, designs. It too is a traveling exhibit.
Other important exhibits of the 1970s include "Bed and Board", DeCordova Museum (a museum of twentieth-century American art), Lincoln, Massachusetts, 1975; "Quilts for 76", the Boston Center for the Arts, 1975; and "Quilted Tapestries," Kornblee Gallery, New York City, 1975. Many annual venues now exist in which quilt art is exhibited; these include the International Quilt Festival in Houston, Texas, and elsewhere, and Quilt Visions, in Oceanside, California.
Art quilts are now part of collections in museums such as the:
Quilted art outside the U.S. has flourished in the UK, France, Germany, the Netherlands, Switzerland, Scandinavia, Japan, Korea, New Zealand, Australia, Canada, and possibly elsewhere. More information about the art in these countries needs added to this site.
Professional organizations.
The professional organization for quilt artists in the U.S. and elsewhere is Studio Art Quilt Associates, founded in 1989. SAQA's membership overlaps with other professional organizations, such as the Surface Design Association and the International Machine Quilter. Major exhibitions involving only quilt art are at Quilt National in Athens, Ohio, at Visions Art Museum (Quilt Visions), in San Diego California, and at The National Quilt Museum in Paducah, Kentucky. Art using quilting techniques are appropriate for all fine art venues. Many mixed media and collage art exhibitions are especially appropriate.
Making quilt art.
A quilted work of art is generally defined as two layers of cloth held together by stitching. In most cases, a middle batting layer made of polyester, cotton, wool or silk is also incorporated.
Although quilt art originated in traditional quilting techniques, quilt artists now may use many different processes to create their artwork, including painting, dyeing, stamping, piecing, collage, printing (often incorporating a photograph printed onto fabric), applique, and other complex cloth processes.
Controversies in quilt art in the U.S..
In a field that straddles craft and art, the controversies can arise rather quickly. Jonathan Holstein recounts being accosted by traditional quilters who were confused by the quilts in the Whitney Museum of American Art exhibit, "which represented everything the traditional rules of the craft told them to avoid: sloppy work and assembly, bizarre color combinations, nasty materials... Quilt makers had kept the craft alive and in a relatively pure state, the latter largely because no czars of culture had bothered to look closely at it...They made beautifully crafted quilts...The issue was hot for a long time, until enough exhibitions with orientations similar to the Whitney's had been seen across the country, and a constituency for new visual considerations in quilts had emerged." Holstein, p. 57.
Holstein was also criticized for divorcing the quilts from their historical context, for applying a traditional male-dominated sense of aesthetic value to a woman's art, for dismissing applique quilts as artistically inferior to pieced examples, and for his apparent lack of concern as a collector for the stories of the women who made the quilts, "thereby marginalizing the makers by denying them their personal identities." Shaw, p 54
Some of these controversies continue to the present day. Lorre M Weidlich, in the Spring 1996 (vol. 6, #9) Newsletter of the Studio Art Quilt Associates, uses Carol Gilligan's theory of the differences between male and female values to reject Michael James's call for stronger art in the quilt art world. She says that "the male, Jamesian model of 'quilt art' violates the very qualities that initially attracted women to quilting and reinforce their continuing pursuit of it. It feel[s], to a great many of them, alien. The imposition of a male model on a women's expressive form leaves in a position of discomfort the very people who are the life blood of the expressive form." Weidlich p 9. Weidlich argues that quilts emphasize relationship and connection, and that James would remove those association to conform to male standards of the artist as idiosyncratic and subversive.
Other observers of the evolution of the quilt art medium point to the long time participation of quilt making by men. The Weidlich argument could be interpreted more against elite art attitudes and less about gender appropriation. In one of the forward essays to "Man Made Quilts: Civil War to the Present" an exhibition at the Shelburne Museum in 2012, Joe Cunningham points out, "In the centuries before the American Revolution, quilting was a technique learned as a part of the tailor's craft in England. The best known tailor/quilter is Joe Hedley(1750-1826) of Northumberland..." Cunningham goes on to cite many more examples of male quilt making from the past up to the present. Jean Burks essay also lists multiple examples of men creating quilts and states, "No discussion of male contributions to quilting would be complete without mentioning the considerable achievements of psychiatrist William Rush Dunton (1868-1966). Dr Dunton, the founder of the American Occupational Therapy Association, encouraged his patients to pursue quilting as a curative activity/therapeutic diversion..."
Another controversy involves the work and people in the isolated Alabama hamlet of Gee's Bend. In the early 21st century, the Gee's Bend quilters, "discovered" by folk art collectors Bill and Matt Arnett, became celebrated as artists and toured the U.S. widely, carrying their "piece quilts" to innumerable communities where they gave talks about their lives and work. Coffee table books showed the work and lives of the Gee's Bend artists; items used domestically began to appear, bearing their designs. A lawsuit arose over whether the women's work was legally obtained and licensed by the Arnetts, who apparently sold the rights to the design for use in home dec designs. U.S. District Judge Callie Granade of Mobile dismissed the suits.
Most of these controversies have become muted as the fine arts have opened up to a vast variety of materials and methods. The materials and structures assembled by quilt artists have gone beyond or negated many of the older connotations of the quilt. Nevertheless, many questions and concerns remain and are hotly debated.
Contemporary quilt artists.
Most quilt artists work in the area of the fine arts, specifically the visual arts. Their works are not generally functional in nature, although there are exceptions. The primary professional English-speaking organization of artists using quilting materials and techniques is the Studio Art Quilt Associates (SAQA), the members of which all count themselves as fine artists. SAQA has almost 3000 members . A number of contemporary fine artists employ quilting techniques in their work. In the Fall, 2010 issue of the "Surface Design Association Journal", Michael James names the following as contemporary fine artists working with quilting techniques: Michael Cummings, Ursula Rauch, Ai Kijima, Lynn Setterington, Dorothy Caldwell, Diana Harrison, Tracey Emin, Velda Newman, Clare Plug, Anna Von Mertens, Linda MacDonald, M.Joan Lintault, Susan Shie, Terrie Mangat, and Jo Budd.
There are some artists that are not using quilting techniques of hand sewing, machine sewing or long arm for example, but who the quilting 'world' have taken an interest. Artists like Fraser Smith, who carves 'quilts' out of wood that look like actual quilts. Ian Berry who uses only denim to create his works, but uses glue, not quilting has shown extensively in the Fine Art world.


Applebys Plads ropewalk


Mark Wigglesworth

Mark Wigglesworth (born 19 July 1964) is an internationally renowned and Olivier Award-winning conductor. Born in Sussex, he attended Bryanston School, Manchester University, and the Royal Academy of Music in London. He won the Kondrashin Conducting Competition in Amsterdam in 1989. He also served as music director for the English National Opera for the 2015–16 season, and more recently has published his book 'The Silent Musician: Why Conducting Matters'.
John Drummond appointed him associate conductor of the BBC Symphony Orchestra in 1991, a post he held until 1993. Wigglesworth was principal conductor of the BBC National Orchestra of Wales from 1996 until 2000. He was principal guest conductor of the Swedish Radio Symphony Orchestra from 1998 to 2001.
Wigglesworth led his first opera production in 1991, conducting "Cosi fan Tutte" for Opera Factory in London. He made his first conducting appearance with the Royal Opera House, Covent Garden in November 2002. He has also conducted at the Welsh National Opera, the Metropolitan Opera, English National Opera, and Glyndebourne. In 2005, he made his Metropolitan Opera debut conducting Le Nozze di Figaro. In April 2006, Wigglesworth had been named the next Music Director of the La Monnaie opera, Brussels, succeeding Kazushi Ono. After a season of working together with the company's then-music director, Kazushi Ono (2007–2008), Wigglesworth had originally been scheduled to assume sole control as Music Director with the 2008–2009 season. In April 2008, La Monnaie announced that Wigglesworth would not take up the post of music director at La Monnaie.
In January 2014, English National Opera (ENO) named Wigglesworth its next music director, succeeding Edward Gardner effective September 2015. Shortly into his tenure, Wigglesworth expressed disapproval of proposals by ENO management for economising measures, such as a reduction in the contract of the ENO chorus. On 22 March 2016, he resigned from the music directorship of ENO, effective at the close of the 2015–2016 season. The resignation report indicated that he was to honour existing conducting commitments with the company. In a separate letter to ENO musicians, Wigglesworth said:
Wigglesworth has recorded commercially for such labels as BIS.
Wigglesworth is married to the University College London archaeologist Annemieke Milks. The couple have a daughter and live in Sussex.


Tosca discography

This is a discography of "Tosca", an opera by Giacomo Puccini. It premiered at the Teatro Costanzi in Rome on 14 January 1900. "Tosca" has been one of the most frequently recorded operas, dating back to a nearly complete acoustical recording in 1918.
References.
Notes
Sources


Slovenian song festival

Slovenian song festival (In ) was a Slovenian music festival dedicated to a music genre known as Slovenian song () that was most popular during the 1960s and 1970s and had a similarly high standing in Slovene culture as did the Sanremo Music Festival in Italian culture. It began in 1962 and ended in 1983, with an attempt at its revival in 1998.
History.
The festival in 1962 was organized at the town of Bled, and in 1964 moved to Slovenia's capital city Ljubljana.


The Girl from San Lorenzo

The Girl from San Lorenzo is a 1950 American Western film directed by Derwin Abrahams and written by Ford Beebe. The film stars Duncan Renaldo, Leo Carrillo, Jane Adams, William F. Leicester, Byron Foulger and Don C. Harvey. The film was released on February 24, 1950, by United Artists.


List of ancient Greek poets

This list of ancient Greek poets covers poets writing in the ancient Greek language, regardless of location or nationality of the poet. For a list of modern-day Greek poets, see List of Greek poets.


Brad Farmerie

Brad Farmerie is the executive chef of Saxon + Parole in New York City which is owned and operated by AvroKO Hospitality Group.
Career.
Farmerie was raised in Pittsburgh, Pennsylvania. After graduating from North Allegheny Senior High School in 1991 he attended Penn State, pursuing a mechanical engineering degree. Two years later, he left college and began exploring various world cuisines. He attended Le Cordon Bleu in the UK, graduating in 1996. He trained under the guidance of experienced chefs at several restaurants including Chez Nico, Le Manoir aux Quat' Saisons and Coast, and the Sugar Club.


Jake Gyllenhaal

Jacob Benjamin Gyllenhaal (; ; born December 19, 1980) is an American actor and producer. Born into the Gyllenhaal family, he is the son of director Stephen Gyllenhaal and screenwriter Naomi Foner; his older sister is actress Maggie Gyllenhaal. He began acting as a child, making his acting debut in "City Slickers" (1991), followed by roles in his father's films "A Dangerous Woman" (1993) and "Homegrown" (1998). His breakthrough roles were as Homer Hickam in "October Sky" (1999) and as a psychologically troubled teenager in "Donnie Darko" (2001).
In 2004, Gyllenhaal starred in the science fiction disaster film "The Day After Tomorrow". In 2005, he played Jack Twist in Ang Lee's romantic drama "Brokeback Mountain", for which Gyllenhaal won a BAFTA Award and was nominated for an Academy Award. His career progressed with starring roles in the thriller "Zodiac" (2007), the romantic comedy "Love & Other Drugs" (2010), and the science fiction film "Source Code" (2011). Further acclaim came with his roles in Denis Villeneuve's thrillers "Prisoners" (2013) and "Enemy" (2013), and he received nominations for the BAFTA Award for Best Actor in a Leading Role for his performances as a manipulative journalist in "Nightcrawler" (2014) and a troubled writer in "Nocturnal Animals" (2016). His highest-grossing release came with the Marvel Cinematic Universe superhero film "" (2019), in which he portrayed Quentin Beck / Mysterio.
Gyllenhaal has also performed on stage, starring in Broadway productions of the musical "Sunday in the Park with George" as well as the plays "Constellations" and "Sea Wall/A Life", the lattermost of which earned him a Tony Award nomination. Aside from acting, he is vocal about political and social issues.
Life and career.
1980–2000: Early life and career beginnings.
Jacob Benjamin Gyllenhaal was born on December 19, 1980, in Los Angeles, California, to film producer and screenwriter Naomi Foner (née Achs) and film director Stephen Gyllenhaal. Actress Maggie Gyllenhaal, his older sister, appeared with him in the film "Donnie Darko". Gyllenhaal's father, who was raised as a Swedenborgian, is of Swedish and English descent and is a descendant of the Swedish noble Gyllenhaal family. His last ancestor to be born in Sweden was his great-great-grandfather, Anders Leonard Gyllenhaal. Gyllenhaal's mother is Jewish, and was born in New York City to a Jewish family from Russia and Poland. Gyllenhaal has said that he considers himself Jewish. On his 13th birthday, Gyllenhaal performed a "Bar Mitzvah-like act, without the typical trappings", volunteering at a homeless shelter because his parents wanted to give him a sense of gratitude for his privileged lifestyle.
As a child, Gyllenhaal was regularly exposed to filmmaking due to his family's ties to the industry. He made his acting debut as Billy Crystal's son in the 1991 comedy "City Slickers". His parents did not allow him to appear in "The Mighty Ducks" (1992) because it would have required him to leave home for two months. In subsequent years, his parents allowed him to audition for roles but regularly forbade him to take them if he were chosen. He was allowed to appear in his father's films several times. Gyllenhaal appeared in the 1993's "A Dangerous Woman" (along with sister Maggie), in ", a 1994 episode of "; and in the 1998 comedy "Homegrown". Along with their mother, Jake and Maggie appeared in two episodes of "Molto Mario", an Italian cooking show on the Food Network. Prior to his senior year in high school, the only other film not directed by his father in which Gyllenhaal was allowed to perform was the 1993 film "Josh and S.A.M.", a little-known children's adventure.
His parents insisted that he have summer jobs to support himself, and he thus worked as a lifeguard and as a busboy at a restaurant operated by a family friend. Gyllenhaal said his parents encouraged artistic expression: "I do have parents who constantly supported me in certain ways. In other ways, they were lacking. Definitely, it's in expression and creativity where my family has always been best at." Gyllenhaal graduated from the Harvard-Westlake School in Los Angeles in 1998, then attended Columbia University, where his sister was a senior and from which his mother had graduated, to study Eastern religions and philosophy. Gyllenhaal dropped out after two years to concentrate on acting but has expressed intentions to eventually finish his degree. Gyllenhaal's first lead role was in "October Sky", Joe Johnston's 1999 adaptation of the Homer Hickam autobiography "Rocket Boys", in which he portrayed a young man from West Virginia striving to win a science scholarship to avoid becoming a coal miner. The film was positively received and earned $32 million; it was described in the "Sacramento News and Review" as Gyllenhaal's "breakout performance".
2001–2004: "Donnie Darko" to the London stage.
"Donnie Darko", Gyllenhaal's second film, was not a box office success upon its initial 2001 release but eventually became a cult favorite. Directed by Richard Kelly, the film is set in 1988 and stars Gyllenhaal as a troubled teenager who experiences visions of a tall rabbit named Frank who tells him that the world is coming to an end. Gyllenhaal's performance was well received by critics; Gary Mairs of "Culture Vulture" wrote that "Gyllenhaal manages the difficult trick of seeming both blandly normal and profoundly disturbed, often within the same scene."
After the critical success of "Donnie Darko", Gyllenhaal's next role was as Pilot Kelston in 2002's "Highway" alongside Jared Leto. His performance was described by one critic as "silly, clichéd and straight to video". Gyllenhaal had more success starring opposite Jennifer Aniston in "The Good Girl", which premiered at the 2002 Sundance Film Festival; he also starred in "Lovely and Amazing" with Catherine Keener. In both films he plays an unstable character who begins a reckless affair with an older woman. Gyllenhaal later described these as "teenager in transition" roles. Gyllenhaal later starred in the Touchstone Pictures romantic comedy "Bubble Boy", which was loosely based on the story of David Vetter. The film portrays the title character's adventures as he pursues the love of his life before she marries the wrong man. The film was panned by critics, with one calling it "stupid and devoid of any redeeming features".
Following "Bubble Boy", Gyllenhaal starred opposite Dustin Hoffman, Susan Sarandon and Ellen Pompeo in "Moonlight Mile" (2002), as a young man coping with the death of his fiancée and the grief of her parents. The story, which received mixed reviews, is loosely based on writer-director Brad Silberling's personal experiences following the murder of his girlfriend, Rebecca Schaeffer. In his theatrical debut, Gyllenhaal starred on the London stage in Kenneth Lonergan's revival of "This Is Our Youth" at the Garrick Theatre in 2002. Gyllenhaal said, "Every actor I look up to has done theatre work, so I knew I had to give it a try." The play ran for eight weeks in London's West End; Gyllenhaal received favorable reviews and an Evening Standard Theatre Award in the Outstanding Newcomer category.
Gyllenhaal was almost cast as Spider-Man for 2004's "Spider-Man 2", due to director Sam Raimi's concerns about original "Spider-Man" star Tobey Maguire's health. Maguire recovered, however, and the sequel was shot without Gyllenhaal. The two actors later starred in "Brothers" (2009) together, and resemble each other enough that Gyllenhaal has jokingly complained about cab drivers often calling him "Spider-Man." In 2003, he also auditioned for the role of Batman in the superhero film "Batman Begins" and came close being offered the part, but the role was given to Christian Bale. Instead, Gyllenhaal appeared in the science fiction blockbuster "The Day After Tomorrow" in 2004, co-starring Dennis Quaid as his father.
2005–2011: "Brokeback Mountain" and thrillers.
In 2005, Gyllenhaal was cast in the drama "Proof", with co-stars Gwyneth Paltrow and Anthony Hopkins, He played a graduate student in mathematics who tries to convince Paltrow's character to publish a revolutionary proof to a problem puzzling the mathematicians' community. The film received a generally positive response. He also starred in Sam Mendes' "Jarhead", where Gyllenhaal played a violent U.S. Marine during the first Gulf War. The film garnered a favorable response; Stephen Hunter of "The Washington Post" praises Gyllenhaal's performance, writing, "He makes us see his character's intelligence", adding "he doesn't seem jealous of the camera's attention when it goes to others".
In "Brokeback Mountain" (2005), Gyllenhaal and Heath Ledger play young men who meet as sheep herders and embark upon a sexual relationship that begins in the summer of 1963 and lasts for 20 years. The film was often referred to in the media with the shorthand phrase "the gay cowboy movie", although there was differing opinion on the sexual orientation of the characters. The film won numerous accolades, including the Golden Lion prize at the Venice Film Festival. The film won three Academy Awards, and earned Gyllenhaal a nomination for Best Supporting Actor, but he lost to George Clooney for "Syriana". The film also won four Golden Globes, and four British Academy Film Awards (BAFTAs), in which Gyllenhaal won for Best Supporting Actor. He and Ledger won an MTV Movie Award for "Best Kiss" in 2006. Shortly after the 2006 Academy Awards, Gyllenhaal was invited to join the Academy in recognition of his acting career.
Gyllenhaal expressed mixed feelings about the experience of being directed by Ang Lee in "Brokeback Mountain" but generally had more praise than criticism for his directorial style. While complaining of the way Lee tended to disconnect from his actors once filming began, Gyllenhaal praised his encouraging direction of the actors and sensitive approach to the material. At the Directors Guild of America Awards on January 28, 2006, Gyllenhaal also praised Lee for "his humbleness and his respect for everyone around him". When asked about his kissing scenes with Ledger in "Brokeback Mountain", Gyllenhaal said, "As an actor, I think we need to embrace the times we feel most uncomfortable." When asked about the more intimate scenes with Ledger, Gyllenhaal likened them to "doing a sex scene with a woman I'm not particularly attracted to". Following the release of "Brokeback Mountain", rumors circulated regarding the actor's sexual orientation. When asked about such gossip during an interview, Gyllenhaal said:
Gyllenhaal narrated the 2005 short animated film "The Man Who Walked Between the Towers", based on Mordicai Gerstein's book of the same name about Philippe Petit's famous stunt. In January 2007, as host of "Saturday Night Live", he put on a sparkly evening dress and sang "And I Am Telling You I'm Not Going" from the musical "Dreamgirls" for his opening monologue, dedicating the song to his "unique fan base... the fans of "Brokeback"". Later, Gyllenhaal starred in David Fincher's mystery thriller "Zodiac" (2007), based on the Zodiac killer. He played Robert Graysmith, a "San Francisco Chronicle" political cartoonist. In preparation for his role, Gyllenhaal met Graysmith, and videotaped him to study his mannerisms and behavior. The film received a positive response; writing for "The Sydney Morning Herald", Paul Byrnes opined that it was "poignant, provocative and haunting", and called Gyllenhaal "terrific". He next starred opposite Meryl Streep, Alan Arkin and Reese Witherspoon in 2007's "Rendition", a Gavin Hood-directed political thriller about the U.S. policy of extraordinary rendition. Although it garnered a mixed response, "New York" magazine's David Edelstein called Gyllenhaal "compelling ... he's a reticent actor. But he builds that limitation into the character". Two years later, he co-starred with Tobey Maguire and Natalie Portman in Jim Sheridan's "Brothers", a 2009 remake of Susanne Bier's Danish film of the same name. It was met with mixed reviews and moderate box office returns, but Anthony Quinn of "The Independent" thought Gyllenhaal and Maguire gave "honest performances".
The following year, Gyllenhaal played the lead role in "", an adaptation of the video game , produced by Jerry Bruckheimer and released by Disney. He starred opposite Anne Hathaway in the romantic-comedy" Love & Other Drugs", released on November 24, 2010, which gained him a Golden Globe Award nomination. "The Guardian" Philip French welcomed Gyllenhaal's choice of an comic role, in contrast to his previous film roles, but thought the film "stumbles badly". For his sole project in 2011, he portrayed Colter Stevens, a U.S. Army Aviation captain, in the 2011 time-travel thriller "Source Code". Despite noting the film's unrealistic plot, Peter Howell of the "Toronto Star" praised the "fine" performances of the cast.
2012–2018: Further film career and stage debut.
Gyllenhaal starred alongside Michael Peña in David Ayer's action thriller "End of Watch," about two Los Angeles street cops. The film, for which Gyllenhaal was also an executive producer, was released in September 2012 and received positive reviews, with Roger Ebert deeming it "one of the best police movies in recent years, a virtuoso fusion of performances and often startling action" and "Salon"s Andrew O'Hehir stating that the film was "at least the best cop movie since James Gray's "We Own the Night", and very likely since Antoine Fuqua's memorable "Training Day" (which, not coincidentally, was written by Ayer)". To prepare for the role, Gyllenhaal took tactical training and participated in actual police drives with co-star Peña to help establish the language of the characters.
He served as a jury member for the 62nd Berlin International Film Festival that was held in February 2012. Also in 2012, Gyllenhaal made his Off-Broadway debut in Nick Payne's play "If There Is I Haven't Found It Yet" at the Roundabout Theatre Company's Laura Pels Theatre. 2013 saw Gyllenhaal appear in two films directed by Denis Villeneuve, whom Gyllenhaal describes as "an older brother". The first, the thriller "Prisoners", starred Gyllenhaal as a detective named Loki in search of the abductor of two young girls. "Rolling Stone" critic Peter Travers praised Gyllenhaal's "exceptional" performance in the film. In their second collaboration, Gyllenhaal portrayed the dual role of a history teacher and his doppelgänger in the thriller "Enemy". The following year, he produced and starred in the crime thriller "Nightcrawler", earning Golden Globe Award and Screen Actors Guild Award nominations for his performance. Ben Sachs of the "Chicago Reader" called Gyllenhaal's performance "attention-grabbing" and said that he "creates a memorable screen presence".
Gyllenhaal debuted on Broadway in Payne's "Constellations" at the Samuel J. Friedman Theatre opposite Ruth Wilson, also in her Broadway debut. The production opened in January 2015 and closed in March of the same year. That same year, he starred in the comedy "Accidental Love", which was filmed in South Carolina with Jessica Biel, as well as Antoine Fuqua's sports drama "Southpaw". Writing for "The Independent", Geoffrey Macnab called his portrayal of a boxer in "Southpaw" "plausible" and complimented his "emotional vulnerability", despite an unoriginal plot. He then portrayed American mountaineer Scott Fischer in Baltasar Kormákur's "Everest", based on the 1996 Mount Everest disaster; the film was a commercial success, grossing $203 million worldwide. Finally, he appeared in Jean-Marc Vallée's comedy-drama "Demolition," playing an investment banker Davis Mitchell, who rebuilds his life after losing his wife. "The Village Voice"s Bilge Ebiri praised his performance, writing, "He nails Davis's boyish curiosity, the quiet, wide-eyed uncertainty of someone discovering the world for the first time." He also served as a jury member for the main competition of the 2015 Cannes Film Festival.
In 2016, he starred in Tom Ford's neo-noir thriller "Nocturnal Animals," based on the 1993 novel "Tony and Susan" by Austin Wright. The film received positive reviews; Justin Chang of the "Los Angeles Times" praised Gyllenhaal's "rich" performance until it "overwhelms the picture". In October 2016, he appeared in four benefit concert performances of the Stephen Sondheim and James Lapine musical "Sunday in the Park with George" at the New York City Center as the titular character. Alexis Soloski of "The Guardian" gave the performance a perfect five-star review and wrote that Gyllenhaal sang "superbly". Starting in February 2017, Gyllenhaal reprised the role at the reopened Hudson Theatre on Broadway. Ben Brantley of "The New York Times" praised his "searing theatrical presence, in which his eyes are his center of gravity." He was scheduled to appear in Lanford Wilson's "Burn This" on Broadway under the direction of Michael Mayer in 2017. However, a new production of "Burn This" took place in 2019 with Adam Driver appearing, with Gyllenhaal's production having reportedly been "scuttled".
In 2017, Gyllenhaal starred as astronaut David Jordan in the science fiction horror film "Life"; "Slant Magazine"s Eric Henderson stated that Gyllenhaal was "dead behind the eyes from his first scene". He also had a supporting role in the action-adventure film "Okja" and starred in the drama "Stronger", based on Boston Marathon bombing survivor Jeff Bauman. In his review of the latter, "The Independent"s Geoffrey Macnab complimented Gyllenhaal's versatility and "outstanding" portrayal of Bauman. The following year, he co-starred in the drama "Wildlife" opposite Carey Mulligan, in which he plays a father who temporarily abandons his family to take a dangerous job. It is based on the 1990 novel of the same name by Richard Ford. Ella Kemp, writing for "Sight & Sound" magazine, praised the chemistry of the lead actors which "fizzes with an effortless dynamism". He also had a role in the western drama "The Sisters Brothers" (2018).
2019–present: Recent career.
Gyllenhaal reunited with "Nightcrawler" director Dan Gilroy in the thriller film "Velvet Buzzsaw", in which he plays art critic Mort Vandewalt. The film premiered at the 2019 Sundance Film Festival and was distributed by Netflix. "Variety"s Peter Debrudge opined that Gyllenhaal was "relishing another of those cartoonishly camp performances". That same year, Gyllenhaal played comic book villain Mysterio / Quentin Beck in the superhero film ', a sequel to ', set within the Marvel Cinematic Universe. It was one of the highest-grossing films of the year. He appeared alongside Tom Sturridge in "Sea Wall/A Life", a double bill of monologues by Nick Payne and Simon Stephens, at the Hudson Theatre on Broadway, which opened on August 8, 2019. He garnered a Tony Award nomination for Best Actor in a Play for his performance.
Upcoming projects.
Gyllenhaal will produce and star in a film adaptation of the musical "Fun Home", based on Alison Bechdel's graphic memoir of the same name. He was set to star in a production of "Sunday in the Park with George" at the Savoy Theatre in London in 2020. However, due to the COVID-19 pandemic, the run has been postponed to 2021. Gyllenhaal will portray film producer Robert Evans in "Francis and the Godfather", a film that chronicles the creation of the 1972 film "The Godfather". He is also set to executive produce and star in "The Son", a television miniseries for HBO, based on Jo Nesbø's novel of the same name.
Media image.
Gyllenhaal was named one of "People" magazine's "50 Most Beautiful People" in 2006. He was also listed in "People's" "Hottest Bachelors of 2006". In April 2012, "Shalom Life" ranked him number six on its list of "the 50 most talented, intelligent, funny, and gorgeous Jewish men in the world". He was ranked number 35 in "Empire" magazine's poll of The 100 Sexiest Movie Stars in 2013. In another poll conducted by "Glamour" magazine, Gyllenhaal was selected as one of the Sexiest Men of The Year 2018.
Personal life.
Family and relationships.
Gyllenhaal's sister, actress Maggie, is married to actor Peter Sarsgaard, Gyllenhaal's co-star in "Jarhead" and "Rendition". In December 2006, Gyllenhaal and his sister escaped a fire that destroyed Manka's Inverness Lodge, a famed lodge and restaurant in Inverness, California, at which they were vacationing. The Gyllenhaals were among a dozen or so guests who fled after the fire, sparked by a falling tree, broke out at about 3 a.m. Co-owner and celebrity chef Daniel DeLong said the pair were supportive despite having to brave the wind and cold. "Jake was helping me pull things out of the fire" DeLong said.
Gyllenhaal's niece, Ramona Sarsgaard, was born on October 3, 2006. Gyllenhaal has both literal godparents and what he describes as "celebrity godparents". Actor and director Paul Newman was his godfather, and actress Jamie Lee Curtis is his godmother. Other godparents of unknown status include a gay couple and cinematographer Robert Elswit. Gyllenhaal is the godfather of Matilda Rose Ledger (born October 28, 2005), daughter of his "Brokeback Mountain" co-stars Heath Ledger and Michelle Williams.
Gyllenhaal dated actress Kirsten Dunst from 2002 to 2004. He dated his "Rendition" co-star Reese Witherspoon from around 2007 until 2009. He dated singer-songwriter Taylor Swift from October 2010 to March 2011, and model Alyssa Miller from July to December 2013. Gyllenhaal has been in a relationship with French model Jeanne Cadieu since 2018.
Politics and other interests.
Gyllenhaal once filmed a commercial for Rock the Vote and, along with his sister, visited the University of Southern California to urge students to vote in the 2004 presidential election. He also campaigned for Democratic presidential nominee John Kerry. He has said, however, that "it frustrates me when actors talk politics; I'm political and I make choices in my movies that I think are political. I try and say things with what I do. Rightly or wrongly, young actors have all the power." In an interview, he remarked that "it's a sad time when actors are politicians and politicians are actors". In the 2018 midterm elections, Gyllenhaal endorsed Beto O'Rourke. His endorsement came in the form of a Facebook post that included a picture of him in a "BETO" shirt and lengthy caption that also endorsed Stacey Abrams, Andrew Gillum, Kyrsten Sinema, and Jacky Rosen in their respective Senate or gubernatorial elections.
In 2003, Gyllenhaal participated in an advertising campaign by the American Civil Liberties Union. He recycles regularly, and said in an interview that he spends $400 a year to have trees planted in a Mozambique forest, partly to promote the Future Forests program. After filming "The Day After Tomorrow", he flew to the Arctic to promote awareness of climate change. Gyllenhaal is the Honorary Chair of the New Eyes for the Needy Advisory Board, and has signed on to help the TV fundraiser Stand Up to Cancer. Gyllenhaal is on the board of directors for the Anti-Recidivism Coalition and volunteered in California juvenile detention centers with Scott Budnick.
Gyllenhaal has studied Buddhism, and has said, "I am not a card-carrying Buddhist, but I do try to practice mindfulness" and that it is his goal to meditate every day.
In 2014, Gyllenhaal donated $5,000 for war veterans suffering from post-traumatic stress disorder during an auction for the Headstrong Project, and in 2017 he participated in a fundraiser to help people who lost limbs during the September 11 attacks in 2001.
Acting credits and awards.
Gyllenhaal's most acclaimed films, according to the review aggregate site Rotten Tomatoes, include "October Sky" (1999), "Donnie Darko" (2001), "Lovely & Amazing" (2002), "Brokeback Mountain" (2005), "Zodiac" (2007), "Source Code" (2011), "End of Watch" (2012), "Nightcrawler" (2014), and "Stronger" (2017). He has been nominated for an Academy Award, two Golden Globe Awards, three British Academy Film Awards, and three Screen Actors Guild Awards.


You Me Bum Bum Train

You Me Bum Bum Train was an Interactive theatre performance devised by Kate Bond and Morgan Lloyd in 2004. The pair met as art students in Brighton, where they were studying illustration and film.
"You Me Bum Bum Train" gained critical acclaim in the United Kingdom when it was awarded the Oxford Samuel Beckett Theatre Trust prize while showing in a disused office in London. In 2010 it won the Evening Standard Theatre Award for outstanding newcomer.
It returned in 2012 in a former postal depot in Holborn, and a new version of the show – at Empire House in Stratford, east London in 2012 – was nominated for an Olivier Award for Outstanding Achievement in an Affiliate Theatre.
In 2015 the show was mounted again, this time in at what had been Foyles bookshop on London's Charing Cross Road where their last show, started on 25 February 2016, finished on 29 April.
Overview.
Visitors to the performance pass through a series of scenes of which they have no foreknowledge, in which they are either passive or where they must improvise a part without any preparation. Hanna Hanra, writing for "Vice", described it as a series of "highly detailed, absurd real life scenarios following one another on a nonsense high-paced narrative".
The entertainment magazine "Dazed & Confused" reported; "What was one of London's more obtuse treasures is set to become one of Great Britain's proudest moments." "The Times" said; "It leaves you questioning everything, and it's lots of fun." Time Out magazine wrote; "My highlight of 2008 was You Me Bum Bum Train, if only real life were that interesting."
Controversies.
"You Me Bum Bum Train" has provoked controversy due to the fact that none of the performers gets paid, though the directors stress that performers and crew are involved on a voluntary basis, that many are not trained professionals and that they are under no obligation to stay during performances.
The company was criticized for its ticketing system which caused problems for ticket buyers in June 2015.
In November 2015 the trade union Equity criticised their £150,000 Arts Council England funding as YMBBT were advertising for professional dancers but were not paying them, despite selling tickets "at rates typical of a West End show."
In June 2016 the trade union BECTU criticised YMBBT for "exploiting workers after advertising for unpaid production interns." BECTU launched an investigation concerning "the legality of the “outrageous” internships, which would see successful applicants work at least two days each week for a minimum four hours each day."


Protheselaus

Protheselaus is a verse romance composed in Anglo-Norman by Hue de Rotelande at the end of the 12th century. Hue lived at Credenhill near Hereford, according to his earlier poem "Ipomedon". "Protheselaus" is dedicated to Hue's patron Gilbert fitzBaderon, lord of Monmouth. Gilbert died in or just before 1191: that date is a terminus ante quem for the completion of "Protheselaus".
It is a sequel to "Ipomedon" in the same sense in which sequels were composed to the chansons de geste: Protheselaus is introduced as the son of Ipomedon, he has adventures that are similar to his father's, and faces similar problems. He is deprived of his inheritance. He is in love with Medea and believes (wrongly, it appears) that she hates him. With the help of Dardanus and Melander he attempts to conciliate her and travels through distant lands to prove his knightly prowess, then returns and enters her service in disguise. He travels to Burgundy, defends Ismeine, is made prisoner by the "Maiden of the Isle" ("Pucele de l'Isle"), finally escapes, recovers his inheritance and marries Medea.
Although "Protheselaus" is a continuation of the story of "Ipomedon" it has a different atmosphere In "Ipomedonte" auctor. In place of the satire, burlesque and occasional eroticism of "Ipomedon" the characters in "Protheselaus" -- especially the hero himself and his friends Dardanus and Melander -- are virtuous, selfless, and motivated by concern for the wellbeing of others. By contrast with "Ipomedon", "Protheselaus" attracted relatively few readers in later times and was not translated into other languages.


Notre-Dame de Paris (operatic melodrama)

Notre-Dame de Paris (Latvian: "Parīzes Dievmātes katedrāle") is a Latvian operatic melodrama by Zigmars Liepiņš. The libretto by is based on motifs from Victor Hugo's 1831 novel "The Hunchback of Notre-Dame".
The opera was first performed on 7 April 1997. Liepiņš was awarded the Latvian Great Music award for the work in 1997.
References.


Dione Lucas

Dione Lucas (born Dione Wilson, 10 October 1909 – 18 December 1971) (pronounced DEE-OH-NEE) was an English chef, and the first female graduate of Le Cordon Bleu. Her father was the architect, jeweller and designer Henry Wilson, and her sister was the violinist Orrea Pernel (1906-1993). She married another architect, Colin Lucas (1906-1984).
Life.
Dione Lucas was fundamental in establishing an extension of the famous Paris culinary school in London in the 1930s. She married the architect Colin Lucas. on 9 April 1930. In 1931 she and Rosemary Hume (with whom she has trained in Paris), set up a cookery school in Sloane Street, London, the interior of which was designed by Colin Lucas. They had a flat in Chelsea and they would reputedly serve their students' creations to passing trade at chairs and tables on the pavement. Lucas is thought to have helped Hume create her first cookery book, as Hume's spelling was known to be poor.
Lucas worked as a hotel chef in Hamburg before World War II and later claimed that Adolf Hitler often dined there and had a taste for stuffed squab. She later opened a Cordon Bleu restaurant and a cooking school in New York - on the ground floor of 117 E. 60th St. She also ran the Egg Basket restaurant by Bloomingdale's in New York. One of the earliest television cook-show hosts, Lucas's "To The Queen's Taste" was broadcast on CBS in 1948-1949 from the restaurant. She had another show in the 1950s.
Dione Lucas was the first woman featured in a cooking show on television on WPIX-11 in New York. In one of her New York restaurants, "The Gingerman", Lucas helped to introduce the omelette to the American palate.
She can be seen as a predecessor and influence to Julia Child.
Dione Lucas authored several cookbooks on French cuisine.


Lottie Mooney

Lottie Mooney (1902–1982) was an American artist associated with the Gee's Bend group of quilters. In 2010 her 1940 quilt ""Housetop"—four-block "Half-Log Cabin" variation" appeared in a US postage stamp series commemorating the quilters of Gee's Bend.


Bretby Art Pottery

Bretby Art Pottery was an art pottery studio founded in 1882 by Henry Tooth and William Ault in Woodville, Derbyshire, where production began on 25 October 1883. Tooth went into partnership with Ault following his successful leadership of the celebrated Linthorpe Pottery in Middlesbrough where he had been recommended as general manager by the designer Dr Christopher Dresser in 1879.
Henry Tooth continued his creative relationship with Dr Dresser and within a year his partnership with Ault had won a gold medal at the 1884 London International and Universal Exhibition, which was held at the Crystal Palace. They also registered their 'Sunburst' logo as a trademark.
The partnership between Ault and Tooth was dissolved on 1 January 1887 when William Ault set up his own pottery Ault & Co. in Midland Road, Swadlincote. Following which Bretby continued to be produced by Tooth and then his family under Tooth and Co until 1993, when the works were presumably sold, trading under the name Tooth and Company Limited until their closure in 1996.
In 1921, the company was reported in the "Burton Observer and Chronicle" as specialising in "several unique kinds of pottery". These included "Ligna", which looked as if it were made of antique wood and bronze. The article says that the company is well-known for its Cloisonné work.
In May 2016 the ownership of the showroom and offices, the factory itself having been demolished some years earlier, was passed to The Heritage Trust which is now trying to raise funds to restore and preserve the buildings.
Examples in public collections.
Sharpe's Pottery Museum in Swadlincote holds a substantial collection of early examples. Derby Museum and Art Gallery also holds a large collection.