To Charlotte Von Stein
Fate, why did you grant us this depth
Of insightful vision into our future,
So that our love, earthly happiness,
Is a thing we can trust in happily never?
Why did you grant us such intuition,
Such power to know each other’s heart,
To see, among life’s scattered throng,
The true relationship where we are?
Oh, many thousands of us drift dumbly
Through life, our hearts scarcely known,
Floating here and there, and aimlessly
Fleeing unexpected pain, without hope:
Rejoicing again, at the unexpected
Morning radiance of swift delight:
Only we two, love-filled, wretched
Souls are denied that mutual light
Of loving without knowing one another,
Of seeing in each what each never was,
Setting out anew towards the Dream Lover,
Faltering at phantom Danger’s course.
Happy those an empty dream preoccupies,
Happy those whose presentiments prove vain!
Our every meeting, every mutual sight
Sadly confirms our presentiments, our dream.
Tell me, what does Fate intend for us?
Say, how it bound us so strictly, purely?
Oh, in some far off time you must
Have been my wife, been a sister to me.
You knew every feature of my being,
Saw the purest tremor of each nerve,
With a single glance you could read me,
Hard as I am for mortal eye to pierce:
You brought calm to my heated blood,
Guiding my wild and wandering course,
And in your arms, an angel’s arms, I could
Rest as my ravaged heart was restored.
You bound your lover fast with magic ease,
And made many a day pass gloriously.
What happiness could compare with these
Hours of rapture, thankful at your feet,
Feeling his heart flow towards your heart,
Feeling himself virtuous in your sight,
All his senses brightened by your art,
The raging blood in his veins grown quiet?
And, of all of that, but a drifting memory
Is left, round his uncertain heart again.
He feels the old truth within, eternally,
While this new state only brings him pain.
And we seem to ourselves only half alive,
The brightest day is twilight all around.
Happy are we that Fate torments our lives,
Yet can change nothing of what we found.
Witold Lutosławski; ( January 25, 1913 – February 7, 1994) was a Polish composer and conductor. He was one of the major European composers of the 20th century, and one of the preeminent Polish musicians during his last three decades.
He earned many international awards and prizes. His compositions (of which he was a notable conductor) include four symphonies, a Concerto for Orchestra, a string quartet, several instrumental concertos and orchestral song cycles.
During his youth, Lutosławski studied piano and composition in Warsaw. His early works were influenced by Polish folk music. His style demonstrates a wide range of rich atmospheric textures. He began to develop his own characteristic composition techniques in the late 1950s.
His music from this period onwards incorporates his own methods of building harmonies from small groups of musical intervals. It also uses aleatoric processes, in which the rhythmic coordination of parts is subject to an element of chance.
During World War II, after escaping German capture, Lutosławski made a living by playing the piano in Warsaw bars. After the war, Stalinist authorities banned his First Symphony for being “formalist“— allegedly accessible only to the elite. Lutosławski believed such anti-formalism was an unjustified retrograde step, and he resolutely strove to maintain his artistic integrity.
Through the mid-1980s, Lutosławski composed three pieces called Łańcuch (“Chain”), which refers to the way the music is constructed from contrasting strands which overlap like the links of a chain.
Chain 2 was written for Anne-Sophie Mutter (commissioned by Paul Sacher), and for Mutter he also orchestrated his slightly earlier Partita for violin and piano, providing a new linking Interlude, so that when played together the Partita, Interlude and Chain 2 form his longest work.
The Third Symphony earned Lutosławski the first Grawemeyer Prize from the University of Louisville, Kentucky, awarded in 1985. The significance of the prize lay not just in its prestige—other eminent nominations have included Elliott Carter and Michael Tippett—but in the size of its financial award (then US$150,000).
The intention of the award is to remove recipients’ financial concerns for a period to allow them to concentrate on serious composition.
In a gesture of altruism, Lutosławski announced that he would use the fund to set up a scholarship to enable young Polish composers to study abroad; Lutosławski also directed that his fee from the San Francisco Symphony Orchestra for Chain 3 should go to this scholarship fund.
In 1987 Lutosławski was presented (by Michael Tippett) with the rarely awarded Royal Philharmonic Society’s Gold Medal during a concert in which Lutosławski conducted his Third Symphony; also that year a major celebration of his work was made at the Huddersfield Contemporary Music Festival. In addition, he was awarded honorary doctorates at several universities worldwide, including Cambridge.
Lutosławski was at this time writing his Piano Concerto for Krystian Zimerman, commissioned by the Salzburg Festival. His earliest plans to write a piano concerto dated from 1938; he was himself in his younger days a virtuoso pianist.
It was a performance of this work and the Third Symphony at the Warsaw Autumn Festival in 1988 that marked the composer’s return to the conductor’s podium in Poland, after substantive talks had been arranged between the government and the opposition.
Lutosławski also, around 1990, worked on a fourth symphony and his orchestral song-cycle Chantefleurs et chantefables for soprano. The latter was first performed at a Prom concert in London in 1991, and the Fourth Symphony in 1993 with the composer conducting the Los Angeles Philharmonic. In between, and after initial reluctance, Lutosławski took on the presidency of the newly reconstituted “Polish Cultural Council“.
This had been set up after the reforms in 1989 in Poland brought about by the almost total support for Solidarity in the elections of that year, and the subsequent end of communist rule and the reinstatement of Poland as an independent republic rather than the communist state of the People’s Republic of Poland.
He continued his busy schedule, travelling to the United States, England, Finland, Canada and Japan, and sketching a violin concerto, but by the first week of 1994 it was clear that cancer had taken hold, and after an operation the composer weakened quickly and died on February 7 at the age of eighty-four.
He had, a few weeks before, been awarded Poland’s highest honour, the Order of the White Eagle (only the second person to receive this since the collapse of communism in Poland — the first had been Pope John Paul II). He was cremated; his devoted wife Danuta died shortly afterwards.
Lutosławski described musical composition as a search for listeners who think and feel the same way he did — he once called it “fishing for souls”.
A complete list of Lutosławski’s compositions in chronological order can be found at The Polish Music Center.
Although Muzyka żałobna was internationally acclaimed, his new harmonic techniques led to something of a crisis for Lutosławski, during which he still could not see how to express his musical ideas.
Then he happened to hear a radio broadcast of John Cage‘s Concert for Piano and Orchestra. Although he was not influenced by the sound or the philosophy of the music, Cage’s explorations of indeterminacy set off a train of thought which resulted in Lutosławski finding a way to retain the harmonic structures he wanted while introducing the freedom for which he was searching.
His Three Postludes were hastily rounded offhe originally intended to write four) and he moved on to compose works in which he explored these new ideas.
In works from Jeux vénitiens, Lutosławski wrote long passages in which the parts of the ensemble are not to be synchronised exactly. At cues from the conductor each instrumentalist may be instructed to move straight on to the next section, to finish their current section before moving on, or to stop.
In this way the random elements within compositionally controlled limits defined by the term aleatory are carefully directed by the composer, who controls the architecture and harmonic progression of the piece precisely.
For his String Quartet (1964), Lutosławski originally produced only the four instrumental parts, refusing to bind them in a full score, because he was concerned that this would imply that he wanted notes in vertical alignment to coincide, as is the case with conventionally notated classical ensemble music. The LaSalle Quartet, however, specifically requested a score from which to prepare for the first performance.
Bodman Rae relates that Danuta Lutoslawska solved this problem by cutting up the parts and sticking them together in boxes (which Lutosławski called mobiles), with instructions on how to signal in performance when all of the players should proceed to the next mobile. In his orchestral music, these problems of notation were not so difficult, because the instructions on how and when to proceed are given by the conductor.
Lutosławski’s called this technique of his mature period “limited aleatorism”. This controlled freedom given to the individual musicians is contrasted with passages where the orchestra is asked to synchronise their parts; the score for these passages is notated conventionally using bars (measures) and time signatures.
In Five Songs (1956-57) and Muzyka żałobna (1958) Lutosławski introduced his own brand of twelve-tone music, marking his departure from the explicit use of folk music.
His twelve-tone technique allowed him to build harmony and melody from specific intervals (in Muzyka żałobna, augmented fourths and semitones).
This system also gave him the means to write dense chords without resorting to tone clusters, and enabled him to build towards these dense chords (which often include all twelve notes of the chromatic scale) at climactic moments.
Lutosławski’s twelve-note techniques were thus completely different in conception from Arnold Schoenberg’s tone-row system, although Muzyka żałobna does happen to be based on a tone row. This twelve-note intervallic technique had its genesis in earlier works such as Symphony No. 1, and Paganini Variations.
In works from Jeux vénitiens, Lutosławski wrote long passages in which the parts of the ensemble are not to be synchronised exactly. At cues from the conductor each instrumentalist may be instructed to move straight on to the next section, to finish their current section before moving on, or to stop.
In this way the random elements within compositionally controlled limits defined by the term aleatory are carefully directed by the composer, who controls the architecture and harmonic progression of the piece precisely.
Lutosławski notated the music exactly, there is no improvisation, no choice of parts is given to any instrumentalist, and there is thus no doubt about how the musical performance is to be realised.
For his String Quartet (1964), Lutosławski originally produced only the four instrumental parts, refusing to bind them in a full score, because he was concerned that this would imply that he wanted notes in vertical alignment to coincide, as is the case with conventionally notated classical ensemble music.
The LaSalle Quartet, however, specifically requested a score from which to prepare for the first performance. His wife Danuta solved this problem by cutting up the parts and sticking them together in boxes (which Lutosławski called mobiles), with instructions on how to signal in performance when all of the players should proceed to the next mobile.
In his orchestral music, these problems of notation were not so difficult, because the instructions on how and when to proceed are given by the conductor.
Lutosławski’s called this technique of his mature period “limited aleatorism”.This controlled freedom given to the individual musicians is contrasted with passages where the orchestra is asked to synchronise their parts; the score for these passages is notated conventionally using bars (measures) and time signatures.
The connection between mother and child is ever deeper than thought
Scientific America – By Robert Martone
What it is that fetal microchimeric cells do in the mother’s body is unclear, although there are some intriguing possibilities. For example, fetal microchimeric cells are similar to stem cells in that they are able to become a variety of different tissues and may aid in tissue repair.
One research group investigating this possibility followed the activity of fetal microchimeric cells in a mother rat after the maternal heart was injured: they discovered that the fetal cells migrated to the maternal heart and differentiated into heart cells helping to repair the damage.
In animal studies, microchimeric cells were found in maternal brains where they became nerve cells, suggesting they might be functionally integrated in the brain. It is possible that the same may true of such cells in the human brain.
These microchimeric cells may also influence the immune system. A fetal microchimeric cell from a pregnancy is recognized by the mother’s immune system partly as belonging to the mother, since the fetus is genetically half identical to the mother, but partly foreign, due to the father’s genetic contribution. This may “prime” the immune system to be alert for cells that are similar to the self, but with some genetic differences.
Cancer cells which arise due to genetic mutations are just such cells, and there are studies which suggest that microchimeric cells may stimulate the immune system to stem the growth of tumors. Many more microchimeric cells are found in the blood of healthy women compared to those with breast cancer, for example, suggesting that microchimeric cells can somehow prevent tumor formation.
In other circumstances, the immune system turns against the self, causing significant damage. Microchimerism is more common in patients suffering from Multiple Sclerosis than in their healthy siblings, suggesting chimeric cells may have a detrimental role in this disease, perhaps by setting off an autoimmune attack.
This is a burgeoning new field of inquiry with tremendous potential for novel findings as well as for practical applications. But it is also a reminder of our interconnectedness.
A new exhibition in Madrid will provide the most comprehensive review ever of the legacy of a dynasty that stretches all the way back to the 14th century
El Pais – By Jesús Ruiz Mantilla
…And that is what Liria Palace really is: a museum with imposing balustrades, but one that bears the emotional seal of the family that lives in it. The art show’s curator, Pablo Melendo Beltrán, was happy to show us around a place filled with valuable paintings by El Greco, Zurbarán, Goya, Ribera, Titian, Marc Chagall, Rubens and Rembrandt, distributed around the Flemish room, the Italian room, the Goya room, and so on.
There is also a top-of-the-line library that draws historians who are interested in first editions of Cervantes’ Don Quixote, or the original navigation charts that Christopher Columbus used on his journey to the Americas.
All these precious items and a whole lot more are coming out of the palace to go on public display in the coming weeks. It is the most comprehensive review ever of the legacy of a dynasty stretching back to the 14th century, when King Henry II of Castille awarded a dukeship to the Álvarez de Toledo family, originally from Alba de Tormes.
The current lineage, however, began later, when the Fitz-James Stuarts, Dukes of Berwick, joined the Albas through marriage in the 19th century…
… Cayetana’s current spouse, Alfonso Díez, is a very proper, courteous man who ensured that everything went well for the duchess during the photo shoot. “I have very little time,” she warned in the semi-darkness of the room where we were brought before her. Yet as she warmed up to her subject, Cayetana began to relax and expand on the short replies she had sent us via email.
“We would like you to talk a little more about your vision of women in your dynasty. They all had character. Which one of them do you resemble?”
“They were all different. What little I remember about my mother is that she was very beautiful and very tender, and a great sportswoman. Same for my grandmother.
The empress Eugenia de Montijo – wife of Napoleon III – had a strong character, a strong personality, she dressed marvelously well and she adored Spain and France. Cayetana, the one that Goya painted, was very personal; she did things the way she felt and acted as she pleased. But I am unlike any of them, no matter what people say.
“Reconstructing Liria Palace was a lifelong project of yours.”
“My father told me that he would start on it if I took care of the rest. I said yes, and all the work was left up to me. But I don’t back down on things that are worth it.”
“And out of all the things that will go on display, is there something that is especially dear to you?”
“Odds and ends, souvenirs that I have been receiving all my life. But perhaps La Virgen de la granada, by Fra Angelico, is the one I like the most.”
“We are clear about nobility’s service to the Crown, but besides that, what should the role of aristocracy be in today’s society?”
“I am a royalist through and through, and very proud to be so. I was baptized at the Royal Palace and my godparents were the king and queen. Monarchy is the best method of government in Spain, because this is a very difficult country, it is not easy.
Spain’s only glory is its monarchy. It unites a lot more and it prevents boxing matches and factions that throw everything overboard. The blame for what is happening in Spain today goes to…”
At this point Don Alfonso’s voice quickly breaks into the conversation: “All right, Cayetana, it’s over.”
But the duchess insists: “The blame lies with that man that everyone knows about, but who is in hiding right now…”
Alfonso cuts in again: “Everyone makes mistakes, inside and outside Spain.” “I disagree,” Cayetana retorts.
“There you have it, she’s so natural, you come here and she treats you like old friends, and I tell her, ‘Cayetana, these are not friends… these are journalists’,” says her husband.
At that point, we bade them farewell and went on our way – with a photograph, an interview and a suspenseful finale that we will let our readers decipher for themselves.
Transportation Nation By Andrea Bernstein
A selection committee has recommended a futuristic design for the new Tappan Zee Bridge, with suspension supports leaning outwards, giving the bridge the look of a stripped-down building by Santiago Calatrava.
Calatrava has designed the World Trade Center transit hub, the Milwaukee Museum of Art, and the Athens Olympic stadium.
The New York State Thruway Authority — the agency in charge of the project — will consider the design, along with two others, for a new Tappan Zee Bridge. The three designs were released at Governor Cuomo’s cabinet meeting Wednesday.
The designs range from $3.142 billion to $4.059 billion when all estimated costs are totaled. All three proposals are being called “transit ready,” though images of the bridge being recommended don’t show buses or transit on the roadway.
Details of how the proposals will be financed still haven’t been released. Governor Cuomo said both the bridge’s full cost and the amount of federal financing (still unknown) would have to be tallied before a bridge financing plan could be released.
The three designs will be considered December 17th by the Thruway Authority board.
The state had said the bridge would cost $5.2 billion, but had been hoping the cost would be adjusted downward — in part to lower future tolls on drivers.
For more on why the bridge matters nationally, and the planning process to date, see our previous coverage.
Oscar Ribeiro de Almeida Niemeyer Soares Filho (December 15, 1907 – December 5, 2012), known as Oscar Niemeyer (Brazilian Portuguese: [ˈɔʃskaʁ ˈniemajeʁ]), was a Brazilian architect who is considered to be one of the key figures in the development of modern architecture.
Niemeyer explained, “my name ought to have been Oscar Ribeiro de Almeida de Niemeyer Soares, or simply Oscar de Almeida Soares, but the foreign surname prevailed and I am known simply as Oscar Niemeyer”.
He spent his youth as a typical young Carioca of the time: bohemian and relatively unconcerned with his future. In 1928, at age 21, Niemeyer left school (Santa Antonio Maria Zaccaria Priory school) and married Annita Baldo, daughter of Italian immigrants from Padua. They had one daughter, Anna Maria Niemeyer (1931–2012).
He pursued his passion at the National School of Fine Arts in Rio de Janeiro (Escola Nacional de Belas Artes) and graduated with a BA in architecture in 1934.
Niemeyer was best known for his design of civic buildings for Brasília, a planned city which became Brazil’s capital in 1960, as well as his collaboration with other architects on the United Nations Headquarters in New York City.
His exploration of the aesthetic possibilities of reinforced concrete was highly influential on the architecture of the late 20th and early 21st centuries.
Both lauded and criticized for being a “sculptor of monuments”, Niemeyer was praised for being a great artist and one of the greatest architects of his generation by his supporters. He claimed his architecture was strongly influenced by Le Corbusier, but in an interview, assured that this “didn’t prevent [his] architecture from going in a different direction”.
Niemeyer had a leftist political ideology. In 1945, many communist militants who were arrested under Vargas’ dictatorship were released, and Niemeyer, who at the time kept an office at Conde Lages (in Glória), decided to shelter some of them there. The experience allowed him to meet Luís Carlos Prestes, perhaps the most important leftist figure in Brazil.
After several weeks, he gave up the house to Prestes and his supporters, who came to found the Brazilian Communist Party. Niemeyer then joined the Brazilian Communist Party in 1945 and went on to become its president in 1992.
Niemeyer was a boy at the time of the Russian Revolution of 1917, and by the Second World War he had become a young idealist. During the military dictatorship of Brazil his office was raided and he was forced into exile in Europe.
The Minister of Aeronautics of the time reportedly said that “the place for a communist architect is Moscow.” He subsequently visited the Soviet Union, meeting with a number of the country’s leaders, and in 1963 was awarded the Lenin Peace Prize.
Niemeyer was also a close friend of Fidel Castro, who often visited his apartment and studio whilst in Brazil. Castro was once quoted as saying “Niemeyer and I are the last communists on this planet.” Niemeyer was also regularly visited by Hugo Chávez.
Some critics have pointed out the fact that Niemeyer’s architecture is often contradictory to this view.His first major work, Pampulha, had a bourgeois character, and Brasília was famous for its palaces.
Niemeyer never saw architecture in the same way as Walter Gropius, who defended a rational and industrial architecture capable of moulding society into the new industrial era. Skeptical about architecture’s ability to change the “injust society”, Niemeyer defended that such activism should be undertaken politicaly, and thus simplifying architecture for such purposes would be anti-modern (as it would be limiting constructive technology).
Niemeyer says: “Our concern is political too – to change the world, …Architecture is my work, and I’ve spent my whole life at a drawing board, but life is more important than architecture. What matters is to improve human beings.”
Niemeyer was an atheist throughout his life, basing his beliefs both on the “injustices of this world” and on cosmological principles: “It’s a fantastic Universe which humiliates us, and we can’t make any use of it. But we are amazed by the power of the human mind … in the end, that’s it—you are born, you die, that’s it!”.
Such views never stopped him from designing religious buildings, which span from small Catholic chapels, through to huge Orthodox churches and large mosques. He also catered to the spiritual beliefs of the public who facilitated his religious buildings.
In the Cathedral of Brasília, he intended for the large glass windows “To connect the people to the sky, where their Lord’s paradise is.”
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 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.
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
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.
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.
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.”
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.”
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.
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.
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.
S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.
Exhibitions in the Museo Nacional del Prado
From 1904 onwards Picasso regularly went to the Cirque Medrano, which was located near his studio in the Bateau-Lavoir in Montmartre. The Impressionist painters had already been interested in the circus, attracted by its light and movement. Picasso’s interest, however, was of a more universal and profound nature. Through the symbolic figures of the world of the circus he offered a reflection on the life of the artist while also using this theme as part of his process of investigation on fundamental issues of painting.
The two principal figures in the present work reveal the two poles of Picasso’s art: creativity and fantasy on the one hand and seriousness and rigour on the other. The figure of the female acrobat on a ball, which is also to be seen in another important painting of this date, The Family of Saltimbanques (Baltimore Museum of Art, The Cone Collection), reveals Picasso’s characteristically playful temperament. His close friend, the writer Guillaume Apollinaire, interpreted this motif as a dance of the stars in reference to the radiant harmony of the cosmos.
Following the intense and melancholy expressivity of the Blue Period, during his next phase, which began in Paris in 1905, Picasso focused on some of the key visual aspects of painting: precise and energetic line; closed, perfect form; and a pronounced sense of volume. His investigations led him to take a direction very different to that of the contemporary young French painters who were fascinated by the violent chromatism of Fauvism.
At that period Picasso was short of materials and thus reused one of his large canvases on which he had previously painted a portrait of the painter Francisco Iturrino (1864-1924), as photographs and x-rays reveal. The portrait had been exhibited at the Ambroise Vollard gallery in Paris in 1901 within Picasso’s first exhibition, which he held jointly with Iturrino.
The painting was acquired by Picasso’s American patron Gertrude Stein then passed to Kahnweiler’s gallery from where it was sold in 1913 to the Russian collector I. A. Morosov. After the Russian Revolution it entered the State collections and has only rarely been loaned by the Pushkin Museum in Moscow where it is now housed.
San Fran Gate – Stacy Finz
The biggest threat to California’s historic olive industry isn’t the bad weather, disease, prohibitive harvesting costs and fierce competition already taking their toll, growers say: It’s the federal government.
The United States has promised Morocco – one of California’s main competitors – hundreds of millions of dollars in aid to stimulate agriculture in that country, including rehabilitating its more than 1 million acres of existing olive trees and planting 150,000 additional acres. This while California, the only state to commercially produce olives, has been battling Morocco and Spain for the black table-olive and olive-oil markets in this country for more than a decade, local growers said.
“We’re struggling to survive, only to find out that our own country is subsidizing the very place that could put us out of business,” said Dennis Burreson, who with his three sons has 500 acres of Manzanillo and Sevillano table-olive trees in Orland (Glenn County). He hopes that his grandchildren will someday run the farm, but worries that California olive growers could be a dying breed.
By now, his trees should be weighed down with fruit. But spring rains and winds destroyed much of California’s olive crop this year; the U.S. Department of Agriculture predicts the harvest will be down 67 percent. Although olive trees are alternate-bearing, that is, they yield a robust harvest only every other year, this will be one of the worst years for growers in recent history, said Adin Hester, president of the Olive Growers Council of California.
As Burreson walked through his Orland groves recently, he wondered whether the cost of picking the fruit was even worth it. But if he leaves it on the trees to rot, it might attract the dreaded olive fruit fly, which could be lethal. In the meantime, an abundance of highly subsidized and lower-priced olives and oil are being imported and inundating the U.S. market, he said.
Burreson knows that life as a farmer is never easy, but he said he never thought his own country would work against him.
In 2004, Congress created the Millennium Challenge Corp., a foreign aid agency headed by the secretary of state, to help developing countries reduce poverty. Since its inception, the agency has authorized grants totaling more than $7 billion to help 23 African and Latin American countries.
In 2007 the agency agreed to give Morocco $697.5 million over five years to improve the country’s employment rate and salaries by investing in its fruit-tree farms, small-scale fisheries and artisan crafts, according to Millennium. Nearly half of that money – $320 million – is earmarked for the Fruit Tree Productivity Project, with 80 percent of the cash going to olives and the rest to improve date, fig and almond production…
“Magna Carta has now been moved permanently to the Guildhall which, in a sense, is its spiritual home and I am delighted that my colleagues at Guildhall Library will bring it over to the art gallery to enable visitors to see it free of charge.
“It is an extremely rare opportunity and I am sure that it will prove very popular during Open House London weekend.”
The City of London played an active role in the events that led to Magna Carta’s creation in 1215 and the Mayor (later known as the Lord Mayor) was appointed, along with the barons, to see that its provisions were carried out.
London was also the only city named specifically in the document, in the clause that stated that “the City of London shall have all its ancient liberties by land as well as by water”.
Over the years, Magna Carta developed great significance for Americans and is thought to have influenced the framers of the Declaration of Independence.
The City of London Corporation’s 1297 Magna Carta has been unveiled at the Guildhall Art Gallery in the capital.
The gallery’s Roman Amphitheatre was chosen to house the charter copy by conservators for its ambient low light conditions.
The document, on display until 5pm tomorrow, includes Edward I’s seal and the original writ directed to the Sheriffs of London, ordering that the Charter be promulgated within the City.
The 1297 Charter was confirmed in Parliament, which gave the document statutory force.
John Scott, chairman of the City of London’s Culture, Heritage and Libraries Committee, said: “The City of London’s Magna Carta is a beautiful document which, over the centuries, has been preserved carefully by our ancestors and, more recently, by a team of conservators at one of our flagship services, London Metropolitan Archives.
Kurt Sanderling (September 19, 1912 – September 17, 2011) was a German conductor. Born in Arys (Orzysz), East Prussia, to Jewish parents, Sanderling, after early work at the Deutsche Oper Berlin, left for Russia in 1936, where he worked with the Moscow Radio Symphony Orchestra. From 1942 to 1960 he was joint principal conductor with Yevgeny Mravinsky of the Leningrad Philharmonic. As a German refugee with a broad cultural outlook, he grew very close to Dmitri Shostakovich.
He returned to Germany where he led the Berlin Symphony Orchestra and Dresden Staatskapelle. He made his British debut in 1970. He later became particularly associated with the Philharmonia starting in January 1980, with a series of performances of the complete Beethoven symphonies at Wembley. The Philharmonia later appointed Sanderling their Conductor Emeritus. He was also Emeritus Conductor of the Madrid Symphony Orchestra.
He announced his retirement from conducting in 2002. His recordings include sets of the complete Beethoven symphonies with the Philharmonia, and the piano concertos with pianist Mitsuko Uchida, Nos. 3,4 with the Royal Concertgebouw Orchestra and Nos. 1,2,5 with the Bavarian Radio Symphony Orchestra. He was among the first conductors to perform and record Deryck Cooke’s completion of Gustav Mahler’s 10th symphony, which his friend Berthold Golschmidt had premiered.
Sanderling had been married twice. His son, by his first wife, is the conductor Thomas Sanderling. His marriage to his first wife ended in divorce after his return to East Germany in 1960. His second wife was the former Barbara Wagner, a double bassist in the Berlin Symphony Orchestra. Together, they have had two sons, the conductor Stefan Sanderling and the cellist and conductor Michael Sanderling.
Yes, you read that right. A Chinese man had to have an eel surgically removed from his bladder after a mishap while undergoing an unusual spa treatment.
Zhang Nan, a 56-year-old resident of Hubei province, was bathing with live eels, in the hopes that the tiny, serpentine critters would nibble away layers of dead skin, revealing more youthful-looking skin below.
It’s similar to those unusual pedicures that have fish eat dead skin off people’s feet — except that you’re fully submerged, and you’re probably naked, and there are eels all over you.
Anyway, Nan felt a sharp pain, realized a 6-inch eel had entered his penis and was wriggling up through his urethra. He tried to pull it out but its tiny body was too slippery to hold, and it disappeared up his penis and into his bladder, according to the story.
This, the writer points out, is not the first time such an incident has been described: A teenage boy had to undergo emergency surgery to remove a 0.79-inch fish that climbed into his urethra while he was holding it and urinating.
(Superfluous health advice of the day: Don’t hold live animals while you’re relieving yourself. No matter how good an idea it seems at the time.)
Freakish as this sort of accident sounds — and it is, of course — there’s actually a particular type of fish that has a reputation for bladder-diving. According to a Kansas State page on parasitology, there are some types of parasitic catfishes in the Amazon (mostly in the genus Vandellia, and commonly called candiru) that have been known to invade the human urethra, often while humans are urinating into a body of water.
For the record, though, most men out there should be more worried about bacteria and viruses entering the urethra than eels doing so. For some perspective, here’s a rundown from the Cleveland Clinic on some of other, more common conditions affecting the penis.
The cine-event, which starts today, features some promising Spanish titles
This year’s San Sebastián International Film Festival starts today boasting new works by the likes of British filmmaker Terence Davies (The Deep Blue Sea), South Korean ace Kim Ki-duk (Amen) Japan’s Hirokazu Kore-eda (Kiseki/I Wish) and Canadian actress-director Sarah Polley (Take This Waltz) in its Official Selection, this year to be judged by a jury comprising Frances McDormand, director Alex de la Iglesia and Mexican screenwriter Guillermo Arriaga, among others. But a solid selection of new Spanish movies is also on show across the festival’s various strands. We took a tour through some of the stand-out homegrown titles of the cine extravaganza.
– INTRUDERS Showing out of competition in the Official Selection, the new film from Canarian director Juan Carlos Fresnadillo opens this year’s proceedings. Like his 2007 zombie sequel 28 Weeks Later , it’s another English-language horror and stars Clive Owen, Carice Van Houten, Daniel Brühl and Pilar López de Ayala in a story about two children – one in Spain, one in the UK – terrorized by visiting monsters.
– THE SLEEPING VOICE Already on Spain’s shortlist of Oscar candidates (see below), Benito Zambrano’s version of Dulce Chacón’s book La voz dormida stars Inma Cuesta (of TV series Águila Roja ) and María León in a tale of two sisters separated when one is thrown into a Francoist jail in the aftermath of the Civil War. Zambrano shot to fame with the multi-Goya-winning Solas in 1999 and also directed 2005’s Habana Blues .
– WRINKLES Ignacio Ferreras’ feature debut is an animated adaptation of Paco Roca’s award-winning graphic novel Arrugas about the dreams, feelings and frustrations of a group of retirement home residents. It’s screening in the Zabaltegi-New Directors strand.
– EXTRATERRESTRIAL Oscar-nominated (for his short film 7:35 de la mañana ), Nacho Vigalondo’s much-anticipated follow-up to his quirky 2007 debut Timecrimes (2007) is another original sci-fi offering. Julián Villagrán, Michelle Jenner, Raúl Cimas and Carlos Areces star in this alien invasion-set romantic comedy, which is showing in the Zabaltegi-Specials section.
– VERBO After making a number of successful shorts, notably Contracuerpo (2005), Alumbramiento (2007) and The End (2009), Madrileño director Eduardo Chapero-Jackson moves into features with this fantasy about a young girl’s journey into a new dimension. Featuring Alba García in the lead, it also stars Miguel Ángel Silvestre, Verónica Echegui, Najwa Nimri, Víctor Clavijo and Macarena Goméz.
– 14 D’ABRIL: MACIÀ CONTRA COMPANYS The latest movie from Manuel Huerga,who directed Daniel Brühl in 2006’s Salvador (Puig Antich) as well as the opening and closing ceremonies of the 1992 Barcelona Olympics, is a historical drama about the declaration of the Second Spanish Republic and the confrontation between the two Catalan government presidents of the era, Francesc Macià (Fermí Reixach) and Lluís Companys (Pere Ponce).
Unless Mitt Romney can legitimately sell himself as a die-hard Lynyrd Skynyrd fan, Rick Perry is likely the 2012 Republican nominee, in my view.
Set aside whether you’re Republican or Democrat and whoever you may want to see as President—think like a political strategist. Perry perfectly fits the mold of Republicans who win the nomination, while Romney is the textbook guy who never wins but doesn’t understand why.
It all stems from Dewey-Taft nomination battles in the 1940s. Dewey won the battle, but Taft won the war. And that war is still at the heart of the Republican Party…
Turner kin bristle at office remnant
NY Post – By S.A. MILLER and CARL CAMPANILE
Scrub out the stench of Weiner!
Newly sworn-in Republican Rep. Bob Turner’s family ordered a thorough cleaning of the House office space he inherited from his disgraced predecessor, Anthony Weiner, after finding an old “Anthony’’ toothbrush in the bathroom.
The discovery of Weiner toiletries grossed out the newcomers, who requested that the congressman’s bathroom in Office 2104 of the Rayburn building be sanitized, sources said.
Weiner resigned in June amid a sexting scandal in which he tweeted crotch shots and naked photos to young women, including from an office chair.
“Weiner left his toothbrush behind! It literally says ‘Anthony’ on it,” an insider said.
“We made the assumption who Anthony was.”
Turner’s wife, Peggy, a registered nurse, personally requested that congressional cleaners be brought in to scrub the bathroom, the insider said.
There also was talk of replacing the carpeting and Weiner’s office chair, the insider said.
But Turner, who attended a whirlwind of meetings all day, waved off questions about office decor and Weiner residue.
“I’ll defer to the taxpayers. We’ll use what we got. That’s not the most important thing I have to deal with,’’ he said.
But Turner — who upset Democratic Assemblyman David Weprin to win the seat on Tuesday — said he’s learned one lesson from Weiner.
“I do have a Twitter account. But I will use it fully clothed,”…]
Follow “#attackwatch” on Twitter In Realtime (A few favorites)
I want to report my neighbor who didn’t get any cash for his clunker.
I never bought a Chevy Volt. Come get me!
The plugs in Joe Biden’s scalp could be mini rocket launchers, pls investigate
I heard we only have 50 states. Find out what happened to the other 7
thanks for welfare check food stamps. Saving my money for a 42″ LCD tv.
My dog just created a shovel ready job for someone. It’s piled up in my front yard
I heard that someone was importing buses from Canada.
Dear #AttackWatch, I’m reporting Jeffnix66 for figuring it out. He’s obviously too smart for his own good. He’s also a #Patriot. Send Drones
#attackwatch Reported! —–> “@michellemalkin: So many targets, don’t know where to begin.”
“I want to report someone at home on the range who said a discouraging word.”
Dear #attackwatch I had bad thoughts about Obama this morning when I learned my sister lost her job. Please make me stop. thank You”
No names, but someone in WH keeps leavin the toilet seat up! OK-Pretty sure it’s Napolitano.
Stop lying about Nobama not creating jobs! He created two…one in NewYork and another in Nevada!
I just got back from grocery store. Saw BUSH’s baked beans. Demanded clerk to remove. He did. Where’s my Soros check??
Looks like the kool-aid isn’t working anymore. Better double the dose and lace it with hopium.
hey #attackwatch I hear that Sarah Palin got screwed by a black man. Haven’t we all?
My brown shirt hasn’t arrived in the mail yet
Dear #attackwatch You have hardly accomplished anything since being launched. Are you unionized and on strike already?
i wonder if under the patriot act we qualify as dissidents and if they will assesinate us, send us to jail or gitmo.
Fries with that? Now you’ll need parents’ permission as Michelle Obama unveils PG-rated meals at Olive Garden and Red Lobster
… It’s as if Rick Perry is running a west Texas campaign on a national level. Yes, a west Texas campaign will get you attention and the support of right-wing Tea Partiers but will hurt nearly every other voter demographic. Last spring, Perry held a Texas prayer and fasting rally to pray for rain and has been quoted saying that “anyone that doesn’t accept Jesus as their savior is going to hell.”
How well do we think this is going to play in the battleground state of Florida with its large Jewish population (or with anyone who isn’t a Christian)? These are just a few small examples of his polarization, and as the election season continues, I’m sure we’ll see even more examples.
Rick Perry is not my candidate, Rick Perry has never been my candidate. Even what little scandal that has filtered out is enough to make me question his judgment and ethics as a politician…
I spent almost two years trying to get my father elected president. The notion that we as a party are going to nominate the most conservative candidate simply to prove some kind of ideological point about extreme conservatism, instead of looking at the broader picture concerning the general election, is suicide…