- Hélas ! vers le passé tournant un oeil d’envie,
- Sans que rien ici-bas puisse m’en consoler,
- Je regarde toujours ce moment de ma vie
- Où je l’ai vue ouvrir son aile et s’envoler!
- Je verrai cet instant jusqu’à ce que je meure,
- L’instant, pleurs superflus !
- Où je criai : L’enfant que j’avais tout à l’heure,
- Quoi donc ! je ne l’ai plus !
- Alas! turning an envious eye towards the past,
- inconsolable by anything on earth,
- I keep looking at that moment of my life
- when I saw her open her wings and fly away!
- I will see that instant until I die,
- that instant—too much for tears!
- when I cried out: “The child that I had just now–
- what! I don’t have her any more!”
Horst Paul Albert Bohrmann (August 14, 1906 – November 18, 1999) who chose to be known as Horst P. Horst was a German-American fashion photographer.
The younger of two sons, Horst was born in Weißenfels-an-der-Saale, Germany, to Klara (Schönbrodt) and Max Bohrmann. His father was a successful merchant.
In his teens, he met dancer Evan Weidemann at the home of his aunt, and this aroused his interest in avant-garde art. In the late 1920s, Horst studied at Hamburg Kunstgewerbeschule, leaving there to go to Paris to study under the architect Le Corbusier.
While in Paris, he befriended many people in the art community and attended many galleries. In 1930 he met Vogue photographer Baron George Hoyningen-Huene, a half-Baltic, half-American nobleman, and became his photographic assistant, occasional model and lover. He traveled to England with him that winter. While there, they visited photographer Cecil Beaton, who was working for the British edition of Vogue. In 1931, Horst began his association with Vogue, publishing his first photograph in the French edition of Vogue in November of that year. It was a full page advertisement showing a model in black velvet holding a Klytia scent bottle.
His first exhibition was hung in La Plume d’Or in Paris in 1932. It was reviewed by Janet Flanner in The New Yorker, and this review, which appeared after his exhibit was over, made Horst instantly famous. Horst made a portrait of Bette Davis the same year, the first in a series of celebrities he would photograph during his life. Within two years, he had photographed Noël Coward, Yvonne Printemps, Lisa Fonssagrives, Count Luchino Visconti di Madrone, Duke Fulco di Verdura, Baron Nicolas de Gunzburg, Princess Natalia Pavlovna Paley, Daisy Fellowes, Princess Marina of Greece and Denmark, Cole Porter, Elsa Schiaparelli, and others.
Horst rented an apartment in New York in 1937, and while residing there met Coco Chanel, whom Horst called “the queen of the whole thing”. He would photograph her fashions for three decades.
He met Valentine Lawford, British diplomat in 1938 and they would live together as a couple until Lawford’s death in 1991. They adopted and raised a son, Richard J. Horst, together.
In 1941, Horst applied for United States citizenship. In 1942 he passed an Army physical, and joined the Army on July 2, 1943. On October 21 he received his United States citizenship as Horst P. Horst. He became an Army photographer, with much of his work printed in the forces’ magazine Belvoir Castle. In 1945 he photographed United States President Harry S. Truman, with whom he became friends, and he photographed every First Lady in the post-war period at the invitation of the White House. In 1947, Horst moved into his house in Oyster Bay, New York. He designed the white stucco-clad building himself, the design inspired by the houses that he had seen in Tunisia during his relationship with Hoyningen-Huene.
Horst is best known for his photographs of women and fashion, but is also recognized for his photographs of interior architecture, still lifes, especially ones including plants, and environmental portraits. One of the great iconic photos of the Twentieth-Century is “The Mainbocher Corset” with its erotically charged mystery, captured by Horst in Vogue’s Paris studio in 1939. Designers like Donna Karan continue to use the timeless beauty of “The Mainbocher Corset” as an inspiration for their outerwear collections today. His work frequently reflects his interest in surrealism and his regard of the ancient Greek ideal of physical beauty.
His method of work typically entailed careful preparation for the shoot, with the lighting and studio props (of which he used many) arranged in advance. His instructions to models are remembered as being brief and to the point. His published work uses lighting to pick out the subject; he frequently used four spotlights, often one of them pointing down from the ceiling. Only rarely do his photos include shadows falling on the background of the set. Horst rarely, if ever, used filters. While most of his work is in black & white, much of his color photography includes largely monochromatic settings to set off a colorful fashion. Horst’s color photography did include documentation of society interior design, well noted in the volume Horst Interiors. He photographed a number of interiors designed by Robert Denning and Vincent Fourcade of Denning & Fourcade and often visited their homes on Manhattan and Long Island. After making the photograph, Horst generally left it up to others to develop, print, crop, and edit his work.
One of his most famous portraits is of Marlene Dietrich, taken in 1942. She protested the lighting that he had selected and arranged, but he used it anyway. Dietrich liked the results and subsequently used a photo from the session in her own publicity.
Giselle, or The Wilis (French: Giselle, ou Les Wilis) is a romantic ballet in two acts. Jules-Henri Vernoy de Saint-Georges and Théophile Gautier wrote the libretto. They took their inspiration from a prose passage about the Wilis in Elementargeister by Heinrich Heine, and from a poem about a girl who dies after an all-night ball called “Fantômes” in Les Orientales by Victor Hugo. Adolphe Adam composed the music; Jean Coralli and Jules Perrot composed the choreography. Carlotta Grisi was the first to dance the role of Giselle.
The ballet is about a peasant girl named Giselle who dies of a broken heart after discovering her lover is betrothed to another. The Wilis, a group of supernatural women who dance men to death, summon Giselle from her grave. They target her lover for death, but Giselle’s love frees him from their grasp.
Giselle was first performed by the Ballet du Théâtre de l’Académie Royale de Musique at the Salle Le Peletier in Paris, France, on Sunday 28 June 1841. The opening night was a triumph with both critics and the public. The ballet became hugely popular. It was staged across Europe, Russia, and the United States.
The traditional choreography that has been passed down to the present day derives primarily from the revivals staged by Marius Petipa during the late 19th and early 20th centuries for the Imperial Ballet in St. Petersburg. Petipa’s choreography from the Imperial Ballet’s production was notated in the Stepanov method of choreographic notation in 1903 as Petipa himself took the great Anna Pavlova through rehearsals. Many years later, the Imperial Ballet’s régisseur Nicholas Sergeyev would use this notation to stage Giselle throughout Europe, most notably for the Ballets Russes in 1910, the Paris Opéra Ballet in 1924 and, perhaps most importantly, for the Vic-Wells Ballet (precursor of the Royal Ballet in London) in 1934. It is from this 1934 staging that nearly all subsequent productions of Giselle are now based. Today the Imperial Ballet’s choreographic notation of Giselle, along with notations for many ballets of the traditional classical repertory, are part of the Sergeyev Collection and preserved in the Harvard University Library theatre collection.
French ballet critic Théophile Gautier was inspired by Victor Hugo‘s poem “Fantômes” in Les Orientales to create a ballet scenario. This poem told of a young girl who dies in the cool morning air after dancing all night in a ballroom.
He also took inspiration from a prose passage in Heinrich Heine‘s “Elementargeister”(“Elemental Spirits”, essay on folklore, 1937) describing supernatural young women called the Wilis. These women dance men to death.
Gautier was not satisfied with his scenario and took it to professional librettist Jules-Henri Verney de Saint-Georges for advice. Verney de Saint-Georges liked the concept. In three days, he had completed a libretto.
This libretto was sent to M. Pillet, the director of the Paris Opéra. Pillet needed a good story to introduce Italian ballerina Carlotta Grisi to the Paris public. Pillet and Grisi both liked the libretto, and the ballet was put into production at once. The score was an anomaly amongst the majority of ballet scorings up to this point in that it was an almost entirely original composition, instead of a potpourri of classical melodies, as was a practice at that time when mounting dance productions. The composer, Adolphe Adam, also successfully integrated leitmotivs, most evident in Giselle’s famous “mad-scene”. These thematic elements were musical devices used to strategically recall happier times, against the unfolding drama of Giselle’s breaking heart and subsequent death of a broken heart.
The ballet opens on an autumnal day in the Rhineland during the Middle Ages. The grape harvest is underway. Duke Albrecht of Silesia, a young nobleman disguised as a peasant, is sowing his last wild oats before marriage to the princess Bathilde. He has fallen in love with the shy and beautiful village girl, Giselle. She knows nothing of his real life.
Hilarion, a gamekeeper, is also in love with Giselle. He tries to convince her that Albrecht cannot be trusted. Giselle ignores his warnings. Giselle’s mother Berthe is very protective of her daughter, as Giselle has a weak heart that leaves her in delicate health. She discourages a relationship between Giselle and Albrecht.
A party of noblemen seeking refreshment following the rigors of the hunt arrives in the village. Albrecht quickly hurries away, knowing he will be recognized by Bathilde, who is in attendance. The villagers welcome the party, offer them refreshments, and perform several dances. Bathilde is charmed with Giselle’s sweet and demure nature, not knowing of her fiance’s relationship with her. Giselle is honored when the beautiful stranger offers her a necklace as a gift.
Hilarion interrupts the festivities. He has discovered Albrecht’s sword, and presents it as proof that the peasant lad is not who he pretends to be. All are shocked by the revelation, but none more than Giselle, who becomes inconsolable when faced with her lover’s deception. Knowing that they can never be together, Giselle flies into a mad fit of grief, causing her weak heart to give out at last. She dies in Albrecht’s arms.
A moonlit glade near Giselle’s grave. Hilarion mourns at Giselle’s headstone, but is frightened away by the arrival of the Wilis, the spirits of women jilted by their lovers at the altar. The Wilis, led by their merciless queen, Myrtha, haunt the forest at night to seek revenge on any man they encounter, forcing their victims to dance until they die of exhaustion.
Myrtha and the Wilis rouse Giselle’s spirit from her grave and induct her into their clan, before disappearing into the forest. Albrecht arrives to lay flowers on Giselle’s grave, and he weeps with guilt over her death. Giselle’s spirit appears, and Albrecht begs her forgiveness. Giselle, her love undiminished, gently forgives him. She disappears to join the rest of the Wilis, and Albrecht desperately follows her.
Meanwhile, the Wilis have cornered Hilarion. They use their magic to force him to dance until he is nearly dead, and then drown him in a nearby lake. They then turn on Albrecht, sentencing him to death as well. He pleads to Myrtha for his life, but she coldly refuses. Giselle’s pleas are also dismissed, and Albrecht is forced to dance until sunrise. However, the power of Giselle’s love counters the Wilis’ magic and spares his life. The other spirits return to their graves at daybreak, but Giselle has broken through the feelings of hatred and vengeance that control the Wilis, and is thus released from their powers. After bidding a tender farewell to Albrecht, Giselle returns to her grave to rest in peace.
A former AP correspondent explains how and why reporters get Israel so wrong, and why it matters
Tablet Magazine – By Matti Friedman
Is there anything left to say about Israel and Gaza? Newspapers this summer have been full of little else. Television viewers see heaps of rubble and plumes of smoke in their sleep. A representative article from a recent issue of The New Yorker described the summer’s events by dedicating one sentence each to the horrors in Nigeria and Ukraine, four sentences to the crazed génocidaires of ISIS, and the rest of the article—30 sentences—to Israel and Gaza.
When the hysteria abates, I believe the events in Gaza will not be remembered by the world as particularly important. People were killed, most of them Palestinians, including many unarmed innocents. I wish I could say the tragedy of their deaths, or the deaths of Israel’s soldiers, will change something, that they mark a turning point. But they don’t. This round was not the first in the Arab wars with Israel and will not be the last. The Israeli campaign was little different in its execution from any other waged by a Western army against a similar enemy in recent years, except for the more immediate nature of the threat to a country’s own population, and the greater exertions, however futile, to avoid civilian deaths.
The lasting importance of this summer’s war, I believe, doesn’t lie in the war itself. It lies instead in the way the war has been described and responded to abroad, and the way this has laid bare the resurgence of an old, twisted pattern of thought and its migration from the margins to the mainstream of Western discourse—namely, a hostile obsession with Jews…
A knowledgeable observer of the Middle East cannot avoid the impression that the region is a volcano and that the lava is radical Islam, an ideology whose various incarnations are now shaping this part of the world. Israel is a tiny village on the slopes of the volcano. Hamas is the local representative of radical Islam and is openly dedicated to the eradication of the Jewish minority enclave in Israel, just as Hezbollah is the dominant representative of radical Islam in Lebanon, the Islamic State in Syria and Iraq, the Taliban in Afghanistan and Pakistan, and so forth.
Hamas is not, as it freely admits, party to the effort to create a Palestinian state alongside Israel. It has different goals about which it is quite open and that are similar to those of the groups listed above. Since the mid 1990s, more than any other player, Hamas has destroyed the Israeli left, swayed moderate Israelis against territorial withdrawals, and buried the chances of a two-state compromise. That’s one accurate way to frame the story.
An observer might also legitimately frame the story through the lens of minorities in the Middle East, all of which are under intense pressure from Islam: When minorities are helpless, their fate is that of the Yazidis or Christians of northern Iraq, as we have just seen, and when they are armed and organized they can fight back and survive, as in the case of the Jews and (we must hope) the Kurds.
There are, in other words, many different ways to see what is happening here. Jerusalem is less than a day’s drive from Aleppo or Baghdad, and it should be clear to everyone that peace is pretty elusive in the Middle East even in places where Jews are absent. But reporters generally cannot see the Israel story in relation to anything else. Instead of describing Israel as one of the villages abutting the volcano, they describe Israel as the volcano…
“Early in life I had noticed that no event is ever correctly reported in a newspaper, but in Spain, for the first time, I saw newspaper reports which do not bear any relation to the facts, not even the relationship which is implied in an ordinary lie. … I saw, in fact, history being written not in terms of what had happened but of what ought to have happened according to various ‘party lines.’ ” That was George Orwell, writing in 1942.
Orwell did not step off an airplane in Catalonia, stand next to a Republican cannon, and have himself filmed while confidently repeating what everyone else was saying or describing what any fool could see: weaponry, rubble, bodies. He looked beyond the ideological fantasies of his peers and knew that what was important was not necessarily visible. Spain, he understood, was not really about Spain at all—it was about a clash of totalitarian systems, German and Russian. He knew he was witnessing a threat to European civilization, and he wrote that, and he was right.
Understanding what happened in Gaza this summer means understanding Hezbollah in Lebanon, the rise of the Sunni jihadis in Syria and Iraq, and the long tentacles of Iran. It requires figuring out why countries like Egypt and Saudi Arabia now see themselves as closer to Israel than to Hamas. Above all, it requires us to understand what is clear to nearly everyone in the Middle East: The ascendant force in our part of the world is not democracy or modernity. It is rather an empowered strain of Islam that assumes different and sometimes conflicting forms, and that is willing to employ extreme violence in a quest to unite the region under its control and confront the West. Those who grasp this fact will be able to look around and connect the dots…
O.J. Simpson is set to convert to Islam.
The former American footballer and movie star has been imprisoned in Nevada since 2008 on charges of kidnapping and armed robbery in relation to an armed robbery that took place at the Palace Station hotel-and-casino in Las Vegas in which sports memorabilia was taken.
After seeing his appeal for a re-trial quashed last and being informed in July 2013 he will serve at least another four years, Simpson has embraced the religion in a bid to change his life.
A source told National Enquirer magazine: ”O.J. really thought that he was going to be successful in a bid for a new trial and eventually be released from prison.
”But now he’s not eligible for parole until late 2017, which has angered him.”
The disgraced 67-year-old star has become interested in the religion through his friendship with former world heavyweight boxing champion Mike Tyson, who was imprisoned in the early 1990s and is a devout Muslim.
Simpson has been studying the Koran but failed to successfully fast during the holy month of Ramadan.
An inside said: ”O.J. didn’t quite make it through the entire fasting process.
”He cheated during the day, and bought snacks from the prison canteen. But he’s really serious about converting to Islam. O.J. even made himself a prayer rug for his prison cell. He really likes the idea that upon converting to Islam, all of his previous sins are forgiven. O.J. has a lot to be forgiven for.”
Hypospadias, a birth defect where the urethral opening is abnormally placed, is becoming a more common case among Sweden’s new-born boys.Researchers at Stockholm’s Karolinksa Institute have published results from a 40-year study in which they collected data from all males born between 1973 and 2009.They found that before 1990, cases of hypospadias were recorded in 4.5 boys out of every thousand. After 1990, the figure increased to 8 per 1,000 boys.The study looked into factors that are known to cause the defect, such as low-birth weight, being born a twin, or parents who used in vitro fertilization (IVF) to conceive, but researchers stated that the increase did not correlate with these factors.Researchers concluded that the increase could not be put down to previously known factors, but rather that an unknown factor was behind the deformations.Speaking with the Dagens Medicin newspaper, Anna Skarin Nordenvall from the institute refused to rule out the possibility that environmental agents known as endocrine disruptors could be interfering with human hormonal systems, and therefore behind the increase in statistics.Endocrine disruptors are chemicals that can disrupt the hormone system, and have been linked to cancer, birth defects, and brain development problems. They can be found in food, plastics, and various household products.
They’re standing on the corner and they can’t speak English.
I can’t even talk the way these people talk:
Why you ain’t,
Where you is,
What he drive,
Where he stay,
Where he work,
Who you be…
And I blamed the kid until I heard the mother talk.
And then I heard the father talk.
Everybody knows it’s important to speak English except these knuckleheads. You can’t be a doctor with that kind of crap coming out of your mouth.
In fact you will never get any kind of job making a decent living.
People marched and were hit in the face with rocks to get an Education, and now we’ve got these knuckleheads walking around.
The lower economic people are not holding up their end in this deal.
These people are not parenting. They are buying things for kids.
$500 sneakers for what?
And they won’t spend $200 for Hooked on Phonics.
I am talking about these people who cry when their son is standing there in an orange suit.
Where were you when he was 2?
Where were you when he was 12?
Where were you when he was 18 and how come you didn’t know that he had a pistol?
And where is the father? Or who is his father?
People putting their clothes on backward:
Isn’t that a sign of something gone wrong?
People with their hats on backward, pants down around the crack, isn’t that a sign of something?
Isn’t it a sign of something when she has her dress all the way up and got all type of needles [piercing] going through her body?
What part of Africa did this come from??
We are not Africans. Those people are not Africans; they don’t know a thing about Africa …..
I say this all of the time. It would be like white people saying they are European-American. That is totally stupid.
I was born here, and so were my parents and grand parents and, very likely my great grandparents. I don’t have any connection to Africa, no more than white Americans have to Germany, Scotland, England, Ireland, or the Netherlands . The same applies to 99 percent of all the black Americans as regards to Africa . So stop, already! ! !
With names like Shaniqua, Taliqua and Mohammed and all of that crap ……… And all of them are in jail.
Brown or black versus the Board of Education is no longer the white person’s problem.
We have got to take the neighborhood back.
People used to be ashamed. Today a woman has eight children with eight different ‘husbands’ — or men or whatever you call them now.
We have millionaire football players who cannot read.
We have million-dollar basketball players who can’t write two paragraphs. We, as black folks have to do a better job.
Someone working at Wal-Mart with seven kids, you are hurting us.
We have to start holding each other to a higher standard..
We cannot blame the white people any longer.’
~Dr.. William Henry ‘Bill’ Cosby, Jr., Ed..D.
Queen Silvia has refused to travel to Stockholm to attend the presentation of the Polar Prize, the equivalent of the Nobel music, rewarding outstanding contributions of the famous pioneer of rock, 88 years old.
It would seem that the Swedish royal family will not wipe the slate clean and keeps grudge against Chuck Berry. Queen Silvia of Sweden announced to the newspaper Expressen that she and her daughter Madeleine had refused to attend the ceremony that rewarded the career of rock superstar due to the past.
In 1961, the American singer and guitarist had been convicted and sentenced to jail time for having brought with him a minor of 14 years with whom he had sex.
Under a 1910 law, fighting against prostitution, the Mann Act, Chuck Berry was likened to a human trafficker designed to fight against prostitution. ‘It was a family decision and I hope that everyone respects and understands,’ said the queen. The conviction of Chuck Berry and the law on which it is based remain controversial in the United States. The musician had said for his part that he the girl when told him to not be a minor.
Presented annually in Sweden, the Polar Prize, dubbed the ‘Nobel of Music’ awarded at Stockholm to outstanding contributors to the world of music.
Fifteen new underground monuments were discovered on the English site by the team of scientists from Vince Gaffney. By delivering their secrets, these findings could help better understand the origins of this historic site.
The discovery is significant. A team of scientists from Austria and England will expose fifteen new underground monuments of Stonehenge. And without altering the site. Armed with magnetometers and ground penetrating radar, these men’s mission was to spend four years in a research project: the Stonehenge Hidden Landscapes Project. This discovery will allow them to make an exact map of the geography of the area in the Neolithic era.
The team noted the presence of a strange well, many stones aligned with the sun at the summer solstice, and a very special way. The latter: the ‘Curcus’ is a north-south diagonal indicating the path of ritual processions Stonehenge, through the site, then south.
The researcher Vince Gaffney of the University of Birmingham says: ‘I think what we’re proving is the presence of a complex liturgical movement.
The 10 square kilometers of land scanned and scrutinized by researchers reveal the presence of human activity for much longer than imagined. The main site was carbon dated to 1848 BC. Now, these new findings bring forward that man would have lived in the area 8820 BC. This invalidates the assumptions of an isolated and little used, in addition to adding historical value to this unique location site.
The use of Stonehenge remains a mystery to this day: cemetery, temple or parliament, the wonders of the world never ceases to ignite the imagination.