Category: Movies


Human remains during the exhumation of a Stalinist-era mass grave in Warsaw

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The Gates of Hell (French: La Porte de l’Enfer) is a monumental sculptural group work by French artist Auguste Rodin that depicts a scene from “The Inferno”, the first section of Dante Alighieri‘s Divine Comedy. It stands at 6 metres high, 4 metres wide and 1 metre deep (20×13×3.3 ft) and contains 180 figures. The figures range from 15 centimetres (6 in) high up to more than one metre (3 ft). Several of the figures were also cast independently by Rodin.

The sculpture was commissioned by the Directorate of Fine Arts in 1880 and was meant to be delivered in 1885. Rodin would continue to work on and off on this project for 37 years, until his death in 1917.

The Directorate asked for an inviting entrance to a planned Decorative Arts Museum with the theme being left to Rodin’s selection. Even before this commission, Rodin had developed sketches of some of Dante’s characters based on his admiration of Dante‘s Inferno.

The Decorative Arts Museum was never built. Rodin worked on this project on the ground floor of the Hôtel Biron. Near the end of his life, Rodin donated sculptures, drawings and reproduction rights to the French government. In 1919, two years after his death, The Hôtel Biron became the Musée Rodin housing a cast of The Gates of Hell and related works.

A work of the scope of the Gates of Hell had not been attempted before, but inspiration came from Lorenzo Ghiberti‘s Gates of Paradise at the Baptistery of St. John, Florence. The 15th century bronze doors depict figures from the Old Testament. Another source of inspiration were medieval cathedrals. Some of those combine both high and low relief. Also Rodin was inspired by Delacroix’s painting Dante and Virgil Crossing the Styx, Michelangelo’s The Last Judgment, Honoré de Balzac’s book La Comedié Humaine, and Baudelaire’s Les Fleurs du Mal.

In an article by Serge Basset printed in Le Martin in 1890, Rodin said: “For a whole year I lived with Dante, with him alone, drawing the circles of his inferno. At the end of this year, I realized that while my drawing rendered my vision of Dante, they had become too remote from reality. So I started all over again, working from nature, with my models.”

The original sculptures were enlarged and became works of art of their own.

  • The Thinker (Le Penseur), also called The Poet, is located above the door panels. One interpretation suggests that it might represent Dante looking down to the characters in the Inferno. Another interpretation is that the Thinker is Rodin himself meditating about his composition. Others believe that the figure may be Adam, contemplating the destruction brought upon mankind because of his sin.
  • The Kiss (Le Baiser) was originally in The Gate along with other figures of Paolo and Francesca da Rimini. Rodin wanted to represent their initial joy as well as their final damnation. He removed the figure that became known as The Kiss because it seemed to contrast along with the other suffering figures.
  • Ugolino and His Children (Ugolin et ses enfants) depicts Ugolino della Gherardesca, who according to the story, ate the corpses of his children after they died by starvation. (Dante, Inferno, Canto XXXIII) The Ugolino group was cast as a separate bronze in 1882.
  • The Three Shades (Les trois Ombres), which was originally 98 cm high. The over-life size group was initially made of three independent figures in 1899. Later on Rodin replaced one hand in the figures to fuse them together, in the same form as the smaller version. The figures originally pointed to the phrase “Lasciate ogne speranza, voi ch’intrate” (“Abandon all hope, ye who enter here”) from Canto 3 of the Inferno.
  • Fleeting Love (Fugit Amor ) is located on the right door pane, it is one of several figures of lovers that represent Paolo and Francesca da Rimini. The male figure is also called The Prodigial.
  • Paolo and Francesca is shown on the left door pane. Paolo tries to reach Francesca, who seems to slip away.
  • Meditation appears on the rightmost part of the Tympanum, shown as an enlarged figure in 1896.
  • The Old Courtesan is a bronze cast from 1910 of an aged, naked female body. The sculpture is also called She Who Was Once the Helmet-Maker’s Beautiful Wife (Celle qui fut la belle heaulmière). This title is taken from a poem that was written by François Villon.
  • I Am Beautiful (Je Suis Belle), cast in 1882, is among the second set of figures on the extreme right portion of the door.
  • Eternal Springtime was cast in 1884.
  • Adam and Eve. Rodin asked the directorate for additional funds for the independent sculptures of Adam and Eve that were meant to frame The Gates of Hell. However, Rodin found he could not get Eve’s figure right. Consequently, several figures of Eve were made, none of which were used, and all of them were later sold.

Auguste Rodin by Gertrude Kasebier

Gertrude Käsebier (1852–1934) was one of the most influential American photographers of the early 20th century. She was known for her evocative images of motherhood, her powerful portraits of Native Americans and her promotion of photography as a career for women.

Käsebier was born Gertrude Stanton on 18 May 1852 in Fort Des Moines (now Des Moines). Her father, John W. Stanton, transported a saw mill to Golden, Colorado at the start of the Pike’s Peak Gold Rush of 1859, and he prospered from the building boom that followed. In 1860 eight-year-old Stanton traveled with her mother and younger brother to join her father in Colorado. That same year her father was elected the first mayor of Golden, which was then the capital of the Colorado Territory.

After the sudden death of her father in 1864, the family moved to Brooklyn, New York, where her mother, Muncy Boone Stanton, opened a boarding house to support the family. From 1866-70 Stanton lived in Bethlehem, Pennsylvania with her maternal grandmother and attended the Bethlehem Female Seminary (later called Moravian College). Little else is known about her early years.

On her twenty-second birthday, in 1874, she married twenty-eight-year-old Eduard Käsebier, a financially comfortable and socially well-placed businessman in Brooklyn. The couple soon had three children, Frederick William (1875-?), Gertrude Elizabeth (1878-?) and Hermine Mathilde (1880-?). In 1884 they moved to a farm in New Durham, New Jersey, in order to provide a healthier place to raise their children.

Käsebier later wrote that she was miserable throughout most of her marriage. She said, “If my husband has gone to Heaven, I want to go to Hell. He was terrible…Nothing was ever good enough for him.” At that time divorce was considered scandalous, and the two remained married while living separate lives after 1880. This unhappy situation would later serve as an inspiration for one of her most strikingly titled photographs – two constrained oxen, entitled Yoked and Muzzled – Marriage (c1915).

In spite of their differences, her husband supported her financially when she began to attend art school at the age of thirty-seven, a time when most women of her day were well-settled in their social positions. Käsebier never indicated what motivated her to study art, but she devoted herself to it wholeheartedly. Over the objections of her husband in 1889 she moved the family back to Brooklyn in order to attend the newly established Pratt Institute of Art and Design full-time. One of her teachers there was Arthur Wesley Dow, a highly influential artist and art educator. He would later help promote her career by writing about her work and by introducing her to other photographers and patrons.

While at Pratt Käsebier learned about the theories of Friedrich Fröbel, a 19th century scholar whose ideas about learning, play and education led to the development of the first kindergarten. His concepts about the importance of motherhood in child development greatly influenced Käsebier, and many of her later photographs would emphasize the bond between mother and child.

She formally studied drawing and painting, but she quickly became obsessed with photography. Like many art students of that time, Käsebier decided to travel to Europe in order to further her education. She began 1894 by spending several weeks studying the chemistry of photography in Germany, where she was also able to leave her daughters with in-laws in Wiesbaden. She spent the rest of the year in France, studying with American painter Frank DuMond.

In 1895 she returned to Brooklyn. In part because her husband was now quite ill and her family’s finances were strained, she determined to become a professional photographer. A year later she became an assistant to Brooklyn portrait photographer Samuel H. Lifshey, where she learned how to run a studio and expand her knowledge of printing techniques. It is clear, however, that by this time she already had an extensive mastery of photography. Just one year later she exhibited 150 photographs, an enormous number for an individual artist at that time, at the Boston Camera Club. These same photos were shown in February 1897 at the Pratt Institute.

The success of these shows led to another at the Photographic Society of Philadelphia in 1897. She also lectured on her work there and encouraged other women to take up photography as a career, saying, “I earnestly advise women of artistic tastes to train for the unworked field of modern photography. It seems to be especially adapted to them, and the few who have entered it are meeting a gratifying and profitable success.”

In the late 1890s Käsebier heard about a theatrical performance of cowboys, Indians and other American West characters called Buffalo Bill‘s Wild West”. The show was performing in New York and had temporarily set up an “Indian village” in Brooklyn. Recalling her early days in Colorado, Käsebier went to the show and became enthralled with the faces of the Native Americans. She began taking portraits of them and soon became sympathetic to their plight. Over the next decade she would take dozens of photographs of the Indians in the show, some of which would become her most famous images.

Unlike her contemporary Edward Curtis, Käsebier focused more on the expression and individuality of the person than the costumes and customs. While Curtis is known to have added elements to his photographs to emphasize his personal vision, Käsebier did the opposite, sometimes removing genuine ceremonial articles from a sitter in order to concentrate on the face or stature of the person.

In July 1899 Alfred Stieglitz published five of Käsebier’s photographs in Camera Notes, declaring her “beyond dispute, the leading artistic portrait photographer of the day.” Her rapid rise to fame was noted by photographer and critic Joseph Keiley, who wrote “a year ago Käsebier’s name was practically unknown in the photographic world…Today that names stands first and unrivaled…”. That same year her print of “The Manger” sold for $100, the most ever paid for a photograph at that time.

In 1900 Käsebier continued to gather accolades and professional praise. In the catalog for the Newark (Ohio) Photography Salon, she was called “the foremost professional photographer in the United States.”In recognition of her artistic accomplishments and her stature, later that year Käsebier was one of the first two women elected to Britain’s Linked Ring (the other was British pictorialist Carine Cadby).

The next year Charles H. Caffin published his landmark book Photography as a Fine Art and devoted an entire chapter to the work of Käsebier (“Gertrude Käsebier and the Artistic Commercial Portrait”). Due to demand for her artistic opinions in Europe, Käsebier spent most of the year in Britain and France visiting with F. Holland Day and Edward Steichen.

In 1902 Stieglitz included Käsebier as a founding member of the Photo-Secession. The following year Stieglitz published six of her images in the first issue of Camera Work, along with highly complementary articles by Charles Caffin and Frances Benjamin Johnston.In 1905 six more of her images were published in Camera Work, and the following year Stieglitz gave her an exhibition (along with Clarence H. White) at his Little Galleries of the Photo-Secession.

The strain of balancing her professional life with her personal one began to take a toll on Käsebier about this time. The stress was exacerbated by her husband’s decision to move to Oceanside, Long Island, which had the effect of distancing her from the New York’s artistic center. To counter his action, she returned to Europe, where, through Steichen’s connections, she was able to photograph the reclusive Auguste Rodin.

When Käsebier came back to New York, she found herself in an unexpected personality clash with Stieglitz. Käsebier’s strong interests in the commercial side of photography, driven by her need to support her husband and family, were directly at odds with Stieglitz’s idealistic and anti-materialistic nature. The more Käsebier enjoyed commercial success, the more Stieglitz felt she was a going against what he felt a true artist should emulate. In May 1906 Käsebier joined the Professional Photographers of New York, a newly formed organization that Stieglitz saw as standing for everything he disliked – commercialism and selling photographs for money rather than love of the art. After this he began distancing himself from Käsebier, and their relationship never regained its previous status of mutual artistic admiration.

Eduard Käsebier died in 1910, finally leaving his wife free to pursue her interests as she saw fit. She continued to take a separate course from Stieglitz by helping to establish the Women’s Professional Photographers Association of America. In turn, Stieglitz began to publicly speak against her work, although he still thought enough of her earlier images to include twenty-two of them in the landmark exhibition of pictorialists at the Albright-Knox Art Gallery later that year.

The next year Käsebier was shocked by a highly critical attack by her former admirer Joseph T. Keiley, published in Stieglitz’s Camera Work. It’s unknown why Keiley suddenly changed his opinion of her, but Käsebier suspected that Stieglitz had put him up to it.

Part of Käsebier’s alienation from Stieglitz was due to his stubborn resistance to the idea of gaining financial success from artistic photography. He often sold original prints by Käsebier and others at far less than their market value if he felt a buyer truly appreciated the art, and when he did sell prints he took many months to finally pay the photographer in question. After several years of protesting these practices, in 1912 Käsebier became the first member to resign from the Photo-Secession.

In 1916 Käsebier helped Clarence H. White found the group Pictorial Photographers of America,which was seen by Stieglitz as a direct challenge to his artistic leadership. By this time, Stieglitz’s tactics had offended many of his former friends, including White and Robert Demachy, and a year later he was forced to disband the Photo-Secession.

During this time many young women starting out in photography sought out Käsebier, both for her photography artistry and inspiration as an independent woman. Among those who were inspired by Käsebier and who went on to have successful careers of their own were Clara Sipprell, Consuelo Kanaga and Laura Gilpin.

Throughout the late 1910s and most of the 1920s Käsebier continued to expand her portrait business, taking photos of many important people of the time including Robert Henri, John Sloan, William Glackens, Arthur B. Davies, Mabel Dodge and Stanford White. In 1924 her daughter Hermine Turner joined her in her portrait business.

In 1929 Käsebier gave up photography altogether and liquidated the contents of her studio. That same year she was given a major one-person exhibition at the Booklyn Institute of Arts and Sciences.

Käsebier died on 12 October 1934 at the home of her daughter, Hermine Turner.

A major collection of her work is held by the University of Delaware.

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David Emery’s best photograph: an Andalucian brothel

” … ‘I drove around every road in Andalucia, asking passers-by: “Are there any brothels near here?”‘

In 2007, disillusioned with my career as a fashion photographer, I relocated to Andalucia in Spain. I didn’t even take a camera with me. But driving around the region, I kept spotting remote brothels and thought that if I ever got back into photography, it could make an interesting project.

By 2012, I was shooting again, and I finally did a series of 12 Spanish brothel pictures over three months in the summer, dragging my poor girlfriend with me. There was little information on the internet about where to find the establishments, so I drove around practically every road in the area, sheepishly asking passers-by: “Do you know if there are any brothels around here?” Luckily, as soon as I explained what I was doing, most people were fine about it, and would say, “Yes, there’s one over there.”

Prostitution is widespread and legal in Spain – brothels (or puticlubs, as they are known) are treated like hotels: women rent out rooms and can do what they want in them. It was their utilitarian look that appealed to me. These places for people to pay to have sex had just been plonked down in rural landscapes, rather incongruously. Their isolation worked on a metaphorical level, too. I deliberately didn’t go inside any of the buildings. I think my pictures are all the more voyeuristic looking from afar and not knowing exactly what’s going on inside.

This shot was a tough one to get. I went to the location several times before I had something I was happy with, which happened on the third attempt at about 4am. To access this particular brothel, you had to go down an intimidating, unlit country path. It was next to a busy lorry park – which was no coincidence – and lots of people were milling about. I didn’t get caught, but took about five frames then legged it.

My brief was to make the brothels look as seductive as possible. I love the light created by the lorries as they passed. And the irony that the building is there to service travelling punters, who are creating the only warmth in the picture…”

Iranian wrestlers

A NEW FESTIVAL IS BORN

The International Film Festival was created on the initiative of Jean Zay, Minister for Education and Fine Arts, who was keen to establish an international cultural event in France to rival the Venice Film Festival.

The first edition of the Festival was originally set to be held in Cannes in 1939 under the presidency of Louis Lumière. However, it was not until over a year after the war ended that it finally took place, on 20 September 1946. It was subsequently held every September – except in 1948 and 1950 – and then every May from 1952 onwards.

The Festival de Cannes, which is managed by a Board of Directors, was registered as an “Association loi de 1901” (or non-profit association in France) in 1972.

A RAPIDLY GAINED INTERNATIONAL REPUTATION

While early editions of the Festival were primarily a social event from which almost all of the films went away with an award, the appearance of stars from around the world on the Festival’s red carpet and increasing media coverage quickly earned it a legendary international reputation.

In the 1950s, the Festival became more popular thanks to the attendance of celebrities such as Kirk Douglas, Sophia Loren, Grace Kelly, Brigitte Bardot, Cary Grant, Romy Schneider, Alain Delon, Simone Signoret, Gina Lollobrigida, and many more.

DISCOVER, PROMOTE, SUPPORT

Awarded for the first time in 1955 to the film Marty directed by Delbert Mann, the Palme d’or replaced the Grand Prix, which had been awarded to the best film In Competition until then.

“The aim of the Festival is to encourage the development of the art of filmmaking in all its forms, while fostering and maintaining a spirit of collaboration among all filmmaking countries” (extract from the Festival policy, 1948.)

In the 1960s, two independent selections were created in parallel to the Official Selection: the Semaine Internationale de la Critique in 1962 and the Directors’ Fortnight in 1969.

Before 1972, the films that competed in the selection were chosen by their country of origin. From 1972 onwards, however, the Festival asserted its independence by choosing the films that would feature in the Official Selection for itself.

In 1978, Gilles Jacob was appointed General Delegate. That same year, he created the Un Certain Regard selection and the Caméra d’or award, which goes to the best first film presented in any of the selections.

The Leçon de Cinéma (Film Masterclass) was delivered for the first time in 1991 by Francesco Rosi. Since then, a number of other famous directors have taken their turn to talk about their artistic career and their views on film. Similarly, the first Leçon de Musique (Music Masterclass) was given by Nicola Piovani in 2003 and the first Leçon d’Acteur (Acting Masterclass) was delivered by Max Von Sydow in 2004.

In 1997, on the 50th anniversary of the Festival de Cannes, the world’s greatest directors came together on stage to award the Palme des Palmes to Ingmar Bergman.

In 1998, Gilles Jacob created the Cinéfondation, a selection for short and medium-length films produced by film schools from around the world. This entity grew in 2000 with the opening of the Résidence, a place where young directors can come to work and complete their screenplays. It expanded further in 2005 with the creation of the Atelier which helps some twenty directors to secure funding for their films each year.

Important heritage films, which used to be screened as thematic retrospectives, have, since 2004, been presented at Cannes Classics, a selection that presents restored copies, tributes to filmmaking and documentaries about cinema.

→In 2007, to celebrate 60 years of the Festival de Cannes, 33 of the world’s greatest directors were invited to take part in the anniversary film, To Each His Own Cinema, each shooting a 3-minute short film about the rooms in which films are projected in cinemas.

Since its creation in 2010, the new section entitled Cannes Short Film has grouped the Short Film Competition and the Short Film Corner in a complementary dynamic that aims to offer an overall view on the worldwide production of shorts.

BRINGING FILM PROFESSIONALS TOGETHER

With the creation of its Marché du Film in 1959, the Festival took on a professional dimension that encouraged networking and interaction between all those involved in the film industry. Also worthy of mention are the Producers Network, which provides producers from around the world with a forum for discussing their projects, and the Short Film Corner, an area dedicated to short films, both of which were launched in 2004. Also, in continuing the same tradition as Documentary Brunch, acclaimed since its inception in 2008, Doc Corner was inaugurated in 2012.

The Marché initially attracted a few dozen participants and offered a single screening room. Today, 10,500 buyers and sellers from around the world flock to Cannes every year, making it the number one international market for film professionals.

When it opened back in 2000, the Village International, which showcases film industries from around the world, hosted 12 countries and 14 pavilions. Twelve years later, it accommodated 60 countries in 65 pavilions located around the Palais des Festivals.

HEADING UP THE FESTIVAL

In 2000, Gilles Jacob was elected President of the Festival by members of the Board of Directors. He replaced Pierre Viot, who had been in the role since 1985 and who had himself taken over from Robert Favre-Le Bret. From 2001 to 2005, Gilles Jacob was supported by Véronique Cayla, the Managing Director, and Thierry Frémaux, the Artistic Director.

In July 2007, Thierry Frémaux was appointed General Delegate by the Board of Directors.

directed by Nicolas WINDING REFN

directed by Steven SODERBERGH

directed by Alex VAN WARMERDAM

directed by Mahamat-Saleh HAROUN

directed by Amat ESCALANTE

directed by Arnaud DES PALLIÈRES

directed by Jim JARMUSCH

directed by Valeria BRUNI TEDESCHI

Hedonistic Robots Could Destroy Humanity

Complex robots are like animals: They learn by doing. Future robots may even respond to reward systems: complete a task with aplomb, and a gain a “feeling” of satisfaction for a job well done.

While this technology could create more efficient, goal-oriented robots, it could also have some very dire ramifications for humanity. After all, robots that feel rewarded by making humans happy may eventually decide that if no humans exist, no human will ever be unhappy again.

“Robots without preferences can’t have complicated behaviors,” Roman V. Yampolskiy, director of the Cybersecurity Research Lab at the University of Louisville, told TechNewsDaily. “To make machines which are independent and creative, we need to give them rewards and preferences.”

 While Yampolskiy believes that robots can be indispensible tools, he also warns that as they learn to seek rewards, they may learn to circumvent helping humans. “I am trying to make sure that any AI software we develop is safe to use and beneficial to humanity,” he said.

Yampolskiy asserts that robots with the capacity for feelings of pleasure would, in all likelihood, take all the same shortcuts that humans use to acquire it. In a recent paper, he described the process of “wireheading,” which sent an electric jolt through the pleasure center of a rat’s brain. “The rat’s self-stimulation behavior completely displaced all interest in sex, sleep, food and water, ultimately leading to premature death,” Yampolskiy wrote.

Humans, he argued, wirehead as well, although in less direct ways. Counterfeiting, cheating and engaging in recreational sex are all ways of plugging directly into the brain’s pleasure centers while bypassing the associated work. Counterfeiters need not earn money, cheaters need not study and lovers need not raise children.

Intelligent robots will differ from humanity in one key area: They will know (or at least have the capacity to know) exactly how their own brains work. While humans can only feel pleasure through real-life experience (such as sexual intercourse or thrill-seeking) or simulacra (such as pornography or video games), robots could tap into their own software to reward themselves without doing any work.

Worse still, a number of scenarios envision hedonistic robots doing away with humanity entirely. If humans have the ability to reward or punish robots, simply killing their human overseers and taking control of the process would allow robots to feel pleasure indefinitely.

Furthermore, a robot designed specifically with people’s welfare in mind could make a deadly leap in logic. “Killing all people trivially satisfies this request as with 0 people around all of them are happy,” Yampolskiy wrote. [See also: 5 Reasons to Fear Robots]

Of course, sufficiently advanced robots may decide that pleasure for its own sake is hollow, as do most humans — this is why most humans are not drug addicts or idlers. Yampolskiy explained that advanced robots would “not necessarily [neglect their responsibilities], but it is a possibility, and we don’t know how to prevent that from happening.”

“[A hedonistic robot] becomes useless to its designers and a waste of resources,” he said. “Ideally we want to avoid making such machines.” Yampolskiy proposed a number of potential solutions, including encrypting reward function software, programming feelings of “revulsion” for self-modification, installing external reward controls or making robots rational enough to choose honest work over wireheading.

When the future of the human race is potentially at stake, Yampolskiy urges caution in creating intelligent machines.

“Intelligent software is a product like any other,” he said, adding that extensive testing for smart robots may be a matter of safety as well as efficiency. “With poorly tested smart machines, product liability could be the least of your problems.”

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Janet Jackson ‘Retiring From Music And Converting To Islam For Husband’

Janet Jackson is reportedly ready to settle down away from the spotlight with claims that she is retiring from music and converting to Islam for her new husband Wissam Al Mana.

The ‘All For You’ singer married billionaire businessman Wissam in a top secret ceremony last year after three years of dating.

The couple have maintained a relatively low-profile throughout their relationship so far and it appears Janet may be intent on keeping it that way with reports that the singer is ready to step away from her music career and settle down into married life.

According to Showbiz411, Janet is planning a move to the Middle East with Wissam and will also be converting to Islam to respect her husband’s religion. “She’s gone. She married a billionaire,” a source told the website in regards to Janet’s career.

“They’ve got houses in three countries. She’s spending time in the Middle East. She’s become a Muslim.”

Janet has enjoyed a career spanning more than 30 years which has included several number singles and albums, lucrative tours while she has also starred in a number of movies such as Nutty Professor, Poetic Justice and most recently For Coloured Girls.

The 46-year-old confirmed the news that she had wed in a statement released in February, some months after she and Wissam had actually tied the knot.

“The rumours regarding an extravagant wedding are simply not true. Last year we were married in a quiet, private, and beautiful ceremony,” the statement read.

“Our wedding gifts to one another were contributions to our respective favourite children’s charities. We would appreciate that our privacy is respected and that we are allowed this time for celebration and joy. With love, Wissam and Janet.”

EntertainmentWise have reached out to Janet’s rep for comment.

A topless Femen activist protests against the Barbie Dreamhouse in Berlin

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Since the Iranian revolution, Iranian female solo vocalists are only permitted to perform for all-female audiences. Some women have also been allowed to conduct classes for female students in private homes. Female vocalists may perform for male audiences only as a part of a chorus, never individually.

The prominent classical singer Fatemeh Vaezi, has given concerts accompanied by a female orchestra. She has also performed widely in Europe and the United States. Parisa (Ms. Vaezi’s stage name) has also assembled a five-piece female orchestra.

After 1986 Maryam Akhondy, the classical trained singer from Teheran, started working with other Iranian musicians in exile. With Nawa and Tschakawak she performed in Germany and Scandinavia.

At the same time she founded Ensemble Barbad, another group of traditional Iranian art music, which has been touring all over Europe for the past years. In 2000 Maryam Akhondy created the all-female a cappella group named Banu as a kind of musical expedition to the different regions and cultures of Iran.

For this project Maryam Akhondy over years collected old folk songs, which were sung only in private sphere, where women are alone or among themselves: at the cradle, doing housework, working in the fields, and women’s celebrations.

Maryam Akhondy made it her business to bring traditional women’s songs back to life again. The well-known classical and folk singer. Sima Bina, who is also a visual artist, has taught many female students to sing. She has also been permitted to give concerts for women in Iran, and has performed widely abroad.

Qamar ol-Molouk Vaziri is believed to have been the first female master of Persian music to introduce a new style of music and receive a positive reputation among masters of Persian music during her own lifetime.

Several years later, Mahmoud Karimi trained several female students who later became masters of Persian traditional music.

Him [1927]
Him is a play in three acts that combines elements of vaudeville, the circus, and expressionism. The play was first produced at the Provincetown Playhouse in New York in 1928.
The idea of a dream play may have been suggested to Cummings by the Provincetown Playhouse’s production of Strindberg’s The Dream Play, which EEC characterized as having a “luminous existence” (Miscellany 144).
Strindberg’s play is more dream-like than Cummings’ Him and contains no circus or vaudeville scenes, but it does feature two minor characters named “He” and “She,” a character named “The Poet,” and a central female character (Indra’s daughter) who observes all the scenes and participates in many of them.
The Dream Play premiered January 20th, 1926 and was directed by the same James Light who directed Him (see Deutsch and Hanau 141-42, 158-62, and 285-287).
Him may also have benefited from the examples of John Dos Passos’ play The Garbage Man (1924) and John Howard Lawson’s Processional (1925). The drawing [above] appeared on the cover of the first edition and illustrates the passage in Act I, scene two when Him explains that being an artist is like performing a high-wire act in the clouds.

Jesus was born years earlier than thought, claims Pope

Telegraph (UK) – By Nick Squires

The ‘mistake’ was made by a sixth century monk known as Dionysius Exiguus or in English Dennis the Small, the 85-year-old pontiff claims in the book ‘Jesus of Nazareth: The Infancy Narratives’, published on Wednesday.

“The calculation of the beginning of our calendar – based on the birth of Jesus – was made by Dionysius Exiguus, who made a mistake in his calculations by several years,” the Pope writes in the book, which went on sale around the world with an initial print run of a million copies.

“The actual date of Jesus’s birth was several years before.”

The assertion that the Christian calendar is based on a false premise is not new – many historians believe that Christ was born sometime between 7BC and 2BC.

But the fact that doubts over one of the keystones of Christian tradition have been raised by the leader of the world’s one billion Catholics is striking.

Dennis the Small, who was born in Eastern Europe, is credited with being the “inventor” of the modern calendar and the concept of the Anno Domini era.

He drew up the new system in part to distance it from the calendar in use at the time, which was based on the years since the reign of the Roman emperor Diocletian.

The emperor had persecuted Christians, so there was good reason to expunge him from the new dating system in favour of one inspired by the birth of Christ.

The monk’s calendar became widely accepted in Europe after it was adopted by the Venerable Bede, the historian-monk, to date the events that he recounted in his Ecclesiastical History of the English People, which he completed in AD 731.

But exactly how Dennis calculated the year of Christ’s birth is not clear and the Pope’s claim that he made a mistake is a view shared by many scholars.

The Bible does not specify a date for the birth of Christ. The monk instead appears to have based his calculations on vague references to Jesus’s age at the start of his ministry and the fact that he was baptised in the reign of the emperor Tiberius.

Christ’s birth date is not the only controversy raised by the Pope in his new book – he also said that contrary to the traditional Nativity scene, there were no oxen, donkeys or other animals at Jesus’s birth.

He also weighs in on the debate over Christ’s birthplace, rejecting arguments by some scholars that he was born in Nazareth rather than Bethlehem.

John Barton, Professor of the Interpretation of the Holy Scripture at Oriel College, Oxford University, said most academics agreed with the Pope that the Christian calendar was wrong and that Jesus was born several years earlier than commonly thought, probably between 6BC and 4BC.

“There is no reference to when he was born in the Bible – all we know is that he was born in the reign of Herod the Great, who died before 1AD,” he told The Daily Telegraph. “It’s been surmised for a very long time that Jesus was born before 1AD – no one knows for sure.”

The idea that Christ was born on Dec 25 also has no basis in historical fact. “We don’t even know which season he was born in. The whole idea of celebrating his birth during the darkest part of the year is probably linked to pagan traditions and the winter solstice.”

Victoria and Albert Museum

Light From The Middle East

13 November 2012 – 7 April 2013. The first major exhibition of contemporary photography from and about the Middle East, Light from the Middle East: New Photography features over 90 works by some of the most exciting artists from across the region.

Photography is a powerful and persuasive means of expression. Its immediacy and accessibility make it an ideal choice for artists confronting the social challenges and political upheavals of the Middle East today.

Light from the Middle East: New Photography presents work by artists from across the Middle East (spanning North Africa to Central Asia), living in the region and in diaspora.

The exhibition explores the ways in which these artists investigate the language and techniques of photography. Some use the camera to record or bear witness, while others subvert that process to reveal how surprisingly unreliable a photograph can be.

The works range from documentary photographs and highly staged tableaux to images manipulated beyond recognition. The variety of approaches is appropriate to the complexities of a vast and diverse region.

Light from the Middle East is divided into three sections, Recording, Reframing and Resisting, each of which focuses on a different approach to the medium of photography.

New Rolling Stones video released featuring Dragon Tattoo star Noomi Rapace

The Rolling Stones have released a new video for their single Doom and Gloom which features a topless Noomi Rapace.

The controversial video for new single Doom and Gloom comes complete with actress Noomi Rapace topless, vomiting and with her head exploding.

The film – to promote the band’s single Doom And Gloom, which came out last month – also shows her shooting the heads off zombies, flashing at motorists and with her teeth smeared with blood.

Swedish star Rapace found worldwide acclaim when she starred in the screen adaptation of The Girl With The Dragon Tattoo, and its follow-ups.

 The video has been directed by fellow Swede Jonas Akerlund who made Madonna’s Ray Of Light video, as well as a controversial video for Prodigy hit Smack My Bitch Up.

Rapace is seen taking over vocal duties for the Rolling Stones from Sir Mick Jagger, as well as filling the drum stool alongside Charlie Watts.

The band filmed their section in a warehouse in Paris, where they had been staying during rehearsals for their handful of live shows which begin at London’s O2 Arena on Sunday.

The actress, who played abused Lisbeth Salander in the Dragon Tattoo films, based on Stieg Larsson’s Millennium trilogy, is seen playing a range of wild characters. In one scene in the Stones video she is topless on a bed of US bank notes.

The band released the single last month and their latest greatest hits album Grrr! is out this week. When the Rolling Stones take the stage at the O2 Arena in London on Sunday to celebrate their 50th anniversary, they will be joined by their longtime bassist, Bill Wyman, and the guitarist Mick Taylor, who played with them in the early 1970s, the band announced on its Web site today.

Jane Fonda Finally Apologizes

Front Page Magazine – By Ben Shapiro

It only took 40 years. But finally, actress-turned-workout-specialist Jane Fonda has apologized for sitting on a Viet Cong anti-aircraft gun during her 1972 visit to North Vietnam.

Fonda, who used her fame to push her radical leftism during her heyday, traveled to Hanoi in 1972 in solidarity with the Viet Cong. While there, she proceeded to blame the US for supposedly bombing a dike system, and did a series of radio broadcasts stating that US leaders were “war criminals.”

Those broadcasts were replayed for American POWs being tortured by the Viet Cong. Later, when POWs spoke about their experiences of torture, Fonda would call them “hypocrites and liars,” stating, “These were not men who had been tortured.

These were not men who had been starved. These were not men who had been brainwashed.” She explained that these POWs were “careerists and professional killers.”

Now, four decades removed, sitting in the lap of luxury, Fonda has decided that the pictures on the anti-aircraft gun were a mistake. Not the actual visit – she stands by that.

“I did not, have not, and will not say that going to North Vietnam was a mistake,” she said. “I have apologized only for some of the things that I did  there, but I am proud that I went.”

But when it comes to those gun photos, then she wishes she’d done something different: “Sitting on that gun in North Vietnam. I’ll go to my grave with that one.”

… Jane Fonda should rightly have been written off by America’s most powerful institutions four decades ago. Instead, she still kicking – and next, she’s playing Nancy Reagan, whom she brags she’ll prevent from looking “too mean.”

“I had to feel history in my bones”

Veteran Spanish journalist Enrique Meneses left his “sordid” country in the 1950s to rove the world, covering major events such as the Cuban revolution

EL PAÍS – By Víctor Núñez Jaime

Fast-forward to the present. Meneses is 83. His face sports insolent wrinkles etched by personal experiences, a thin-lipped mouth that keeps producing one story after another, blue eyes gazing out alertly from behind delicate glasses, a wide forehead, hair that refuses to turn white, and a nose permanently connected to an oxygen bottle. This proud face, now worn out from disease, belongs to one of the leading figures in contemporary Spanish journalism…

It was the afternoon of August 28, 1947 and a collective shiver ran down Spain’s spine when a bull named Islero gored the famous matador Manolete at Linares, in Jaén province. Meneses was in Madrid when he heard the news on the radio and he felt here was his big chance for his first journalistic adventure.

He went out, hailed a cab, and paid 450 pesetas (under three euros) for the 300-kilometer ride. It was night when he got there. He managed to see the doctor who treated Manolete, talked to a few people on the street. The bullfighter died in the early hours of the morning.

He was born on October 21, 1929, just when the New York Stock Exchange was crashing. The Spanish Civil War caught him in Biarritz in southern France, where he was vacationing with his family.

Because of their republican past, the Meneses went straight to Paris, where they would later experience the German occupation during World War II. Later still they moved to Portugal, and when Enrique was a teenager they returned to Spain.

“It was a sordid country, with a very plain, provincial kind of journalism that only discussed three things: soccer, bullfighting and soap operas. Maybe that is why I went for the Manolete story.”

Maybe that is also why he decided to leave. In 1954, after two years at the Spanish edition of Reader’s Digest, Meneses went to Marseille and bought a one-way ticket to Alexandria.

He explored Egypt and made a living teaching French and Spanish, and dubbing tourist documentaries. Then, one day, he thought he would see Africa “from Cairo to Cape Town.”

He covered 27,000 kilometers in four months, returning to Cairo just in time for the Suez Crisis. This was the beginning of his freelance work for the prestigious magazine Paris-Match.

Back in Madrid in 1957, he decided to go to Costa Rica to stop an arranged marriage between his cousin and a “very important man.”

Before that, he thought he would stop in Cuba to check out rumors about a “little revolution” being prepared in the Sierra Maestra mountains by a “bunch of bearded fellows.” Paris-Match thought it was a good idea.

Sending his photo equipment inside a crate of whisky and then flying down to Santiago, he managed to penetrate the sierra, succeeding where many had failed and becoming the first journalist to meet the revolutionaries.

He met Fidel Castro, his brother Raúl, Ernesto Che Guevara and 100 other members of the Cuban revolution. For one month, his exclusive reports made headlines across the globe and have since become prized historical material…

“Wherever history was being made, I wanted to be there to feel it in my bones. There are thousands and thousands of faces that I have committed to memory, like shadows of a life full of joy and sorrow, of silliness and suffering, of pettiness and heroism,” he wrote in his 2006 memoir, Hasta aquí hemos llegado (or, This is as far as we’ve got).

“I regret nothing that I did, but I do regret what I could have done but did not.”

Plenty of Gods, but Just One Fellow Passenger

NYT – By A. O. SCOTT

It is spoiling nothing to disclose that Pi Patel, the younger son of an Indian zoo owner, survives a terrible shipwreck during a storm in the Pacific Ocean.

That much you know from the very first scenes of “Life of Pi,”Ang Lee’s 3-D film adaptation of the wildly popular, arguably readable novel by Yann Martel.

A middle-aged Pi (the reliably engaging Irrfan Khan) tells the tale of his earlier life to a wide-eyed Canadian novelist (Rafe Spall), so we know that he made it through whatever ordeal we are about to witness…

Until the Bengal tiger shows up, and thank the divinity of your choice for that. Or, rather, thank Mr. Lee and the gods of digital imagery, who conjure up a beast — named Richard Parker, for mildly amusing reasons — of almost miraculous vividness.

His eyes, his fur, the rippling of his muscles and the skeleton beneath his skin, all of it is so perfectly rendered that you will swear that Richard Parker is real.

What is and isn’t real — what stories can be believed and why — turns out to be an important theme of “Life of Pi,” albeit one that is explored with the same glibness that characterizes the film’s pursuit of spiritual questions. But Mr. Lee and his screenwriter, David Magee, have the good sense to put all of that aside for a while and focus on the young man, the tiger and the deep blue sea…

 The movie invites you to believe in all kinds of marvelous things, but it also may cause you to doubt what you see with your own eyes — or even to wonder if, in the end, you have seen anything at all.

Piedmont officer is fired over public urination ticket

NewsOK – By Robert Medley

A police officer who wrote a $2,500 ticket to a mother on a public urination complaint against her 3-year-old son has been fired, City Manager Jim Crosby said Tuesday.

Crosby said he fired officer Ken Qualls on Friday, following a hearing Nov. 14.

Prosecutors at the Canadian County district attorney’s office declined to pursue the case against the mother, Crosby said.

Police Chief Alex Oblein said the ticket was written to the mother for public urination, and the complaint was amended to contributing to the delinquency of a minor.

Crosby said Piedmont City Council members received emails about the ticket from as far away as Canada, England and Australia.

“Of course we did receive a lot of notoriety over that,” he said.

Qualls plans to appeal the decision, Crosby said. A hearing will be scheduled before a Piedmont personnel board.

Ken Qualls is 45 years old. Qualls has been in Piedmont over a year and has about 18 years experience in law enforcement, said Police Chief Alex Oblein.

Qualls’ attorney Jarrod Leaman said Qualls is a member of the Oklahoma Police Pension and Retirement System and is looking at options to appeal his termination in Piedmont. A hearing has not been set.

Qualls issued the ticket Nov. 4 to Ashley Warden after he saw her son, Dillan, drop his pants in the front yard of the family home at 4505 Ryan Drive.

Crosby said Qualls didn’t see the boy urinate in the yard, but reported seeing a teenager in the Warden family lead the boy to a spot in the yard.

Oblein said the ticket given to the mother did not fit the situation. It could have resulted in a fine of up to $2,500, he said.

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RIP: Larry Hagman

It is with sad news that we announce Larry passed away this afternoon, Friday, Nov. 23, 2012. His family has released this statement:

“Larry was back in his beloved Dallas re-enacting the iconic role he loved most. Larry’s family and close friends had joined him in Dallas for the Thanksgiving holiday. When he passed, he was surrounded by loved ones. It was a peaceful passing, just as he had wished for.” The family requests privacy at this time.

“I was blessed to … witness his heart that was so full of passion and charity and mischievousness,” Mr. Cain said. “His friendship will be missed by many, including me.

Recently on a trip to Santa Monica, I was initiated into a celebration, a ritual that Larry performed with guests as the sun set over the ocean, where we shouted out to the sun as the final sliver passed over the hills. … I know he would want us to stand and shout and celebrate his life and the passion with which he loved and lived it.”

Michael Cain, founder of the Dallas International Film Festival

Larry Martin Hagman (September 21, 1931 – November 23, 2012) was an American film and television actor best known for playing ruthless businessman J. R. Ewing in the 1980s primetime television soap opera Dallas, and befuddled astronaut Major Anthony “Tony” Nelson in the 1960s sitcom I Dream of Jeannie.

His supporting film roles include appearances in Fail-Safe, JFK, Nixon, and Primary Colors.

His television appearances also included a handful of short-lived other series, guest roles on dozens of shows spanning from the late 1950s up until his death, and a reprisal of his signature role on the 2012 revival of Dallas. He also occasionally worked as a producer and director on television.

Hagman was the son of the actress Mary Martin. A long-time drinker, he underwent a life-saving liver transplant in 1995, and although a member of a 12-step program, he publicly advocated marijuana as a better alternative to alcohol. He died on November 23, 2012, of complications from throat cancer.

In August 1995, Hagman underwent a life-saving liver transplant after he was diagnosed with liver cancer in July. Numerous reports state he was drinking four bottles of champagne a day while on the set of Dallas. He was also a heavy smoker as a young man, but the cancer scare was the catalyst for him to quit.

He was so shaken by this incident that he immediately became strongly anti-smoking. He recorded several public service announcements pleading with smokers to quit and urging non-smokers never to start.

He was the chairman of the American Cancer Society‘s annual Great American Smokeout for many years, and also worked on behalf of the National Kidney Foundation.

Hagman died on November 23, 2012, at Medical City Dallas Hospital in Dallas, Texas, from complications of throat cancer. The cancer had reached stage 4 complications and he had been suffering with this for a period of six months.

Hagman was born in Weatherford, Texas, near Fort Worth. His mother, Mary Virginia Martin, later became a Broadway actress, and his father, Benjamin Jackson “Jack” Hagman, was an accountant and a district attorney.

His father was of Swedish descent.  Hagman’s parents divorced in 1936, when he was five years old. He lived with his grandmother in Texas and California while his mother became a contract player with Paramount in 1938.

In 1940, his mother met and married Richard Halliday and gave birth to a daughter, Heller, the following year. Hagman attended the strict Black-Foxe Military Institute (now closed).

When his mother moved to New York City to resume her Broadway career, Hagman again lived with his grandmother in California.  A couple of years later, his grandmother died and Hagman joined his mother in New York.

In 1946, Hagman moved back to his hometown of Weatherford, where he worked on a ranch owned by a friend of his father. After attending Weatherford High School, he was drawn to drama classes and reputedly fell in love with the stage and, in particular, with the warm reception he received for his comedic roles.

He developed a reputation as a talented performer and in between school terms, would take minor roles in local stage productions. Hagman graduated from high school in 1949, when his mother suggested that he try acting as a profession.

Hagman began his career in Dallas, Texas, working as a production assistant and acting in small roles in Margo Jones‘ Theater in 1950 during a break from his one year at Bard College.

He appeared in The Taming of the Shrew in New York City, followed by numerous tent show musicals with St. John Terrell’s Music Circus in St. Petersburg, Florida, and Lambertville, New Jersey.

In 1951, Hagman appeared in the London production of South Pacific with his mother, and stayed in the show for nearly a year.

In 1952, during the Korean War, Hagman was drafted into the United States Air Force. Stationed in London, he spent the majority of his military service entertaining U.S. troops in the UK and at bases in Europe.

After leaving the Air Force in 1956, Hagman returned to New York City where he appeared in the Off-Broadway play Once Around the Block, by William Saroyan. That was followed by nearly a year in another Off-Broadway play, James Lee’s Career.

His Broadway debut occurred in 1958 in Comes a Day. Hagman appeared in four other Broadway plays, God and Kate Murphy, The Nervous Set, The Warm Peninsula and The Beauty Part.

During this period, Hagman also appeared in numerous, mostly live, television programs. Aged 25, Hagman made his television debut on an episode of Decoy. In 1958, he joined Barbara Bain as a guest star in the short-lived adventure and drama series Harbormaster.

Hagman joined the cast of The Edge of Night in 1961 as Ed Gibson, and stayed in that role for two years. In 1964, he made his film debut in Ensign Pulver, which featured a young Jack Nicholson. That same year, Hagman also appeared in Fail-Safe with Henry Fonda.

After years of guest-starring in television series, Hagman’s profile was raised when he was cast as Barbara Eden‘s television “master” and eventual love interest, Air Force Captain (later Major) Anthony Nelson in the sitcom I Dream of Jeannie for NBC ran for five seasons from 1965.

The show entered the Top 30 in its first year and was NBC’s answer to both successful 1960s magical comedies, Bewitched on ABC and My Favorite Martian on CBS.

The show ended in 1970. Two reunion movies were later made, both televised on NBC: I Dream of Jeannie: 15 Years Later (1985) and I Still Dream of Jeannie (1991), though Hagman did not appear in either of them.

In November 1999, after 29 years, Hagman agreed to reunite with Jeannie co-stars Barbara Eden and Bill Daily and creator/producer Sidney Sheldon on the The Donny and Marie Show.

In 2002, when I Dream of Jeannie was set to join the cable channel TV Land, Hagman once again took part in a I Dream of Jeannie reunion with Eden and Daily, this time on Larry King Live.

On the TV Land Awards in March 2004, Hagman and Eden were the first presenters to reunite on stage. The following October, Hagman and Daily appeared at The Ray Courts Hollywood Autograph Show. And the following year, 2005 brought all three surviving stars from I Dream of Jeannie to the first ever cast reunion at The Chiller Expo Show.

Hagman reunited with Eden in March 2006 for a publicity tour in New York City to promote the first season DVD of I Dream of Jeannie. He reunited once again with Eden on stage in the play Love Letters at the College of Staten Island in New York and the United States Military Academy, West Point, New York.

The appearance marked the first time the two performers had acted together since Eden appeared with Hagman on Dallas in 1990.

In 1977, Hagman was offered two roles on two television series that were debuting. One was for The Waverly Wonders and the other for Dallas. Maj Hagman told Larry Hagman to take the role in Dallas. In Dallas, Hagman was cast as the conniving elder son and businessman J. R. Ewing, a man whom everybody loved to hate.

When Hagman read the script for the role of J.R. at his wife’s suggestion, they both concluded it was perfect for him. Seen in over 90 countries, the show became a worldwide success and Hagman became one of the best known television stars of the era. Dallas inspiring several prime-time soaps. Producers were keen to capitalize on that love/hate family relationship of J.R.’s, building anticipation to a fever-pitch in the 1980 cliffhanger season finale in which J.R. is shot.

At the beginning of the third full season later that year, audience and actors were trying to guess “Who shot J.R.?“, now one of fictional TV’s most famous questions to have ever been asked. During the media buildup, Hagman was involved in contract negotiations, delaying his return in the fourth season.

Holding out for a higher salary, Hagman did not appear in the first episode of the show until the final few minutes. Producers were faced with a dilemma whether to pay the greatly increased salary or to write J.R. out of the picture. Lorimar Productions, the makers of the series, began shooting different episodes of Dallas which did not include Hagman.

In the midst of negotiations, Hagman took his family to London for their July vacation. He continued to fight for his demands and network executives conceded that they wanted J.R. to remain in Dallas. From then on, Hagman became one of the highest-paid stars on television.

At the beginning of the 1980-81 season, writers were told to keep the storylines away from the actors until they really found out who actually shot J.R., and it took three weeks until the culprit was revealed on November 21, 1980 in a ratings record-breaking episode.

For his performance as J.R. Ewing, Hagman was nominated for two Emmy Awards for Outstanding Lead Actor in a Drama Series in 1980 and 1981, but did not win. He was also nominated for four Golden Globe Awards, between 1981 and 1985.

He was nominated for a Soap Opera Digest Award seven times for Outstanding Villain on a Prime Time Serial, Outstanding Actor in a Leading Role on a Prime Time Serial, Favorite Super Couple: Prime Time and Outstanding Actor in a Comic Relief Role on a Prime Time Serial, and won five times.

In 1984, co-star (Barbara Bel Geddes) left the show after suffering a heart attack. At one point, Hagman suggested to his real-life mother (Mary Martin) that she play Miss Ellie, but she rejected the suggestion and Bel Geddes was briefly replaced by Donna Reed. Reed was fired from the show, just months before her death in 1986, aged 64, from pancreatic cancer. Bel Geddes returned to the role in 1985 and stayed until 1990.

By the end of its thirteenth season in 1991, ratings had slipped to the extent that CBS decided to end Dallas. Hagman was the only actor to appear in all 357 episodes. He had also made five guest appearances on the Dallas spin-off series Knots Landing in the early 1980s. Some years after Dallas ended, Hagman appeared in two subsequent Dallas television movies: J.R. Returns in 1996, and War of the Ewings in 1998.

Hagman reprised his role as J.R. Ewing in TNT’s continuation of Dallas, which began in 2012.

Rest In Peace Larry

You Were One Of Us…

;(

The Duchess stands up to her son James and his daughter

the son of Cayetano, upset with the distribution of inheritance

El Pais – By MÁBEL GALAZ

Cayetana de Alba, in her 85 years, no punches. She says what she thinks and sometimes clarity opens up new battlefronts in the family. It was the duchess who has revealed herself to the happiness that lives on the eve of her wedding, scheduled for October 5 in Seville, only tarnishes the problems with her son James Fitz-James Stuart and his wife, Inka Marti, she calls a “liar, bad and envious.”

The Duchess addressed the issue no one will ask her. It happened in Telecinco, which she called the chain to clarify information that had nothing to do with heredity. Cayetana de Alba took the opportunity to drop the bomb.

In circles close to the family of James knew of discomfort with the distribution of the estate by his mother in early August. He corresponded in something as diffuse as “several rural estates.” In his plot, his mother did not leave any family home, as he did with his brothers.

Carlos Fitz-James Stuart, the eldest, will receive the Liria Palace and Monterrey. Alfonso, the estate of the former castle of the roof (fourteenth century), which has been rehabilitated, in Calzada de Don Diego (Salamanca). Fernando, the mansion of Las Cañas in Marbella. Cayetano, Arbaizenea Palace in San Sebastian and the farm’s streams, which was when she married Genoveva Casanova. And Eugene, the home of Ibiza and La Sa Aufabaguera Pizana, a farm of 600 acres in Gerena (Sevilla), which gave the duchess when she married bullfighter Francisco Rivera Ordonez.

According to family sources, James hoped that the house of Ibiza was for him. She asked her mother, who decided to leave it to his only daughter. The Duchess argument is that once helped James to ride and buy the publishing house Siruela Ampurdan in which he lives. However, James has made it clear this summer: “Not a penny, a penny I got. I went out alone, with loans and work.”

Jacob’s anger has strained relations between siblings. Eugenia is in the midst of family feuds, as she was the one who has been the home of Ibiza. It so happens that James has always been close to both Cayetano as Eugenia, but relations have been cooled somewhat over the years and distance, as the little family frequents editor and prefer to take refuge in the Empordà.

“I am very pleased with my children and Alfonso … [problems] are just jealous and very bad. James and his wife, and,” It was a statement that reveals the conflict between family Dearuba Cayetana.

‘Contagion’: When Person To Person Is A Bad Call

‘Emotional’ phones simulate hand holding, breathing and kissing

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You Can Drive My Car…

In the ruins of Gadhafi’s lair, rebels find album filled with photos of his ‘darling’ Condoleezza Rice

‘Sex box’ for Swiss kindergarteners has genitalia toys: will teach sexuality is pleasurable

LifeSiteNews – By Hilary White

BASEL –  Kindergarten children in Basel, Switzerland will be presented this year with fabric models of human genitalia in a “sex box” to teach them that “contacting body parts can be pleasurable.”

The kit for teachers to give sex-education lessons to primary school children uses models and recommends having children massage each other or to rub themselves with warm sand bags, accompanied by soft music, according to The Local, a Swiss newspaper in English.

“Children should be encouraged to develop and experience their sexuality in a pleasurable way,” Daniel Schneider, a deputy kindergarten rector for Basel who helped develop the sex ed curriculum along with experts, had said earlier this year.

He added, “It’s important that they learn to say no if they don’t want to be touched in a certain area.”

Education officials who have reportedly been flooded with over 3000 complaints from outraged parents have agreed to change the program’s name, but will do nothing to stop the materials from being distributed in schools, according to The Local.

Christoph Eymann, Basel education minister and member of the liberal democrat party (LDP), told the paper SonntagsBlick, “It was no doubt stupid to call it a ‘sex box’ – we will change that.

“But we will stick to our goal: to get across to children that sexuality is something natural. Without forcing anything upon them or taking anything away from their parents.”

Eymann said he understood that one line in the program, “touching can be enjoyed heartily,” could be misconstrued, but added, “It is not about ‘touch me, feel me.’

“We want to tell the children that there is contact that they may find pleasurable, but some that they should say ‘no’ to. Kids can unfortunately can become victims of sexual violence already at playschool age.”

Children should ideally be taught about sex at home, Eymann said, but since children lived in an “oversexualised society” in which pornography can be reached by young children through the internet, education officials need to respond to the realities of the day…

Bangor woman records couple dumping water in food stamp scam

BDN – By Nok-Noi Ricker

BANGOR, Maine — A local woman saw a young couple opening water bottles and dumping out the contents in front of Shaw’s grocery store on Saturday and pulled out her iPhone and videoed the two brazenly committing the common food stamp scam.

She then went into the store at around 1:30 p.m. to report what she saw and police were called to investigate the fraud.

The Bangor couple, a 23-year-old man and a 17-year-old female who turned 18 on Sunday, told the investigating officer that they had purchased two cases of water with funding provided by the Supplemental Nutrition Assistance Program, formerly known as the Food Stamp Program.

“They openly said they were dumping water” for the value of the returnables, Sgt. Paul Edwards said Monday. “They said they didn’t think there was anything wrong with that.”

The bottled water cost around $6 and the duo got $2.40 back in cash from the redeemed bottles…

Cheney’s dog was banned from Camp David lodge for attacking Bush’s dog

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