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Art Journal 44
A Symbolic Centenary Sculpture
Andrew Grimwade
Phantasy and Myth, Parmigianino's Huntsman drawing
Fiona Brown
Desirable Things, the private collection of Alfred Felton
Alison Inglis & John Poynter
Buying for the Future, Mary Woodall and Italian old master paintings
Peter Tzamouranis
The Multiple Worlds of Cindy Sherman's History Portraits
Beth Hinderliter
The Old Man, Mount Fuji and the Sea
Gary Hickey
The Last Big Artist in Paris, Bernard Buffet
Natalie Adamson
The Quick and the Dead, Purchasing Indigenous art 1988–1990
Judith Ryan AM
Nakahara Nantenbo's The stick of Nantenbo (Nanten staff)
Mae Anna Pang
Albert Tucker's City
Elizabeth Fritsch's Optical vase
Christopher Menz
Studibaker Hawk's Empress
Danielle Whitfield
Patricia Piccinini's Desert rider, mountain
Lee Bul's Untitled
Lola Greeno's Purmaner
Julie Gough
Publication details for Art Bulletin of Victoria 44
By Gary Hickey | 30 May 14
At the age of seventy-five the Japanese artist Katsushika Hokusai (1760–1849) defiantly referred to himself as 'the old man mad about painting' (gakyō-rōjin) as he railed against his mortality by declaring that he would live past 100 years and in so doing, achieve artistic immortality.1 Hokusai's artistic manifesto, as written in the colophon to volume 1 of his illustrated book One hundred views of Mount Fuji (Fugaku hyakkei) of 1834, finishes with the statement: 'At ninety [I] will understand the essential nature of things, and at one hundred this understanding will be divine. At one hundred and ten each dot and stroke I paint will be animated. Those of you who have sufficient longevity, can give evidence to the truth of my words'. For a reproduction of this colophon, see J. Suzuki, Katsushika Hokusai Fugaku hyakkei, Tokyo, 1986, p. 61. Such audacious resolve is symbolised in his iconic image of the sacred peak of immortality, Mount Fuji:2 An active volcano, Mount Fuji (Fujisan) is Japan's highest mountain and one of its most enduring symbols. Throughout Japanese history the spiritual significance of Mount Fuji has been extolled and its virtues celebrated in art and literature. Amongst the religious groups with both Buddhist and Shintō associations, those related to mountain worship were prominent, its members being known as yamabushi. Earlier forms of nature worship had also focused on mountains, believing that gods (kami) and ancestral spirits resided there. The branch sect known as Fujikō regarded Fujisan as sacred. Hokusai's belief in Mount Fuji as the source of immortality was a commonly held one, probably derived from Chinese Taoist sources. For further discussion of the origins of this belief, see H. Smith, Hokusai: One Hundred Views of Mount Fuji, London, 1988, p. 10. within the foreground a gigantic wave about to wreak havoc on a boatload of hapless fishermen. This image is Under the wave off Kanagawa (Kanagawa-oki namiura) c.1830, from his 1830–35 print series Thirty-six views of Mount Fuji (Fugaku sanjū-rokkei),3 There was a supplementary issue of ten prints, bringing the total number of prints in the series to forty-six. The National Gallery of Victoria purchased five works from this series. purchased in 1909 for the National Gallery of Victoria as part of the Felton Bequest and known alternatively today as The great wave (fig. 1).4 The Felton Adviser Frank Gibson made this first purchase for the Gallery in 1909 at a sale conducted by Sotheby, Wilkins & Hodge. Gibson made his selection of fifty-five prints based on the advice of E. F. Strange, an ukiyo-e specialist with the Victoria and Albert Museum (see 'Japanese colour prints', in The V. A. S., 1 March 1914, p. 4). Two impressions of Under the wave off Kanagawa were offered for sale at this auction. The image selected by the Gallery was purchased for 10 shillings while another image described in The Times, 27 April 1909, as 'one of the finest examples in existence' was purchased by Mr Charles Davis for £23 and 10 shillings. The Times went on to note the high prices paid for these prints. Drawn from the estate of the American John Stewart Happer, this collection was amassed by him in Japan and consisted of 668 prints by major artists of the ukiyo-e school (see L. Bush, 'Japanalia past & present', in Japan Times, December 1969). In London the NGV's foresight in purchasing from this collection was noted in the Daily Telegraph, April 1909, as 'the most interesting incident of the day', and in the 30 April 1909 edition of the paper it was stated 'Melbourne is to be congratulated on the courage of its art representative'. In a derogatory but somewhat perceptive comment (for the collection has never had a catalogued exhibition), the article went on to say: 'A Japanese print may at first be caviare to an Australian public, but in the end the beauty of such will be perceived'. On 28 April 1909 the Melbourne Age stated: 'These prints are recognised as some of the Japanese artist's greatest works, and have been much sought after. They will be a decided acquisition to the National Gallery, as they represent the highest form of art in Japan'. Ursula Hoff concurred with these appraisals when in 1965 she noted that this collection 'contains some first class impressions of famous works' (see L. B. Cox, The National Gallery of Victoria 1861 to 1968, Melbourne, 1968, p. 70). James Mollison, director of the NGV from 1989 until 1995, viewed this collection to be among the Felton Bequest's finest purchases (see J. Poynter, Mr Felton's Bequest, Melbourne, 2003, p. 304). Despite these lauded appraisals, this collection has not been published. The Japanese ukiyo-e print collection comprises approximately 288 works (numbers are uncertain as the collection has not been fully catalogued).
Hokusai was one of the most influential artists of the Japanese Edo-period (1600–1868) art movement known as ukiyo-e, or pictures of the floating world. He was an eclectic artist who, over a period of more than seventy years, created a huge body of work that drew together myriad influences, including Western techniques as well as traditional Japanese and Chinese elements. His method of revisiting favourite motifs such as Mount Fuji and waves gives a visual guide to the evolution of his artistic style. In this article, by focusing on Hokusai's depictions of waves, I will demonstrate that what enabled him to realise his artistic vision in The great wave was a synthesis of Eastern and Western aesthetic traditions.
The tradition of waves
Depictions of waves and the movement of water in Chinese painting, which had a formative influence on Japanese depictions of the same styles, were found in the traditional genre of mountains-and-water, or sansui (Chinese, shan shui). Hokusai drew broadly upon this tradition to create decorative fields of linear patterns reminiscent of the linear depictions of water encapsulated in Chinese painting instructional manuals such as The Mustard Seed Garden Manual of Painting (Chieh Tzŭ Yüan Hua Chuan), first published in China in 1679 and available in Japan by 1724.5 S. Sato, The Art of Sumi-e: Appreciation, Techniques and Application, Tokyo, 1984, p.125. In 1748 a Japanese edition of the manual, titled Kaishien gaden, was issued. In 1780 an edition of the manual was made and printed in Japan and in 1812 a Kyoto publisher produced an edition that became available to the general public. In sansui paintings there is little sense of the power of waves to affect human life; however, the indigenous Japanese painting tradition known as yamato-e had utilised the power of waves to highlight human struggle. Hokusai's numerous early depictions of the movement of water oscillated between such decorative fields of linear patterns and dramatic depictions in which animals and human figures are shown struggling against waves.6 Of the numerous examples, two examples are given here. In the summer of 1816 in vol. 5 of the Hokusai manga, Hokusai depicted a boatload of sightseers being washed stern-first against the rocks at the entrance of the Cave of the Three Deities near Shimoda (see J. A. Michener, The Hokusai Sketch-books: Selections from the Manga, Vermont & Tokyo, 13th edition, 1979, pp. 264–5). In the early 1840s vol. 14 of the Hokusai manga, a boar is shown struggling against the waves (see Hokusai-e jiten, Dōshokubutsu-hen, Tokyo Bijutsu, Tokyo, 1998, p. 15, fig. 6). What is apparent in the works in which he integrated both traditions was his ability to infuse decorative depictions of waves with a sense of drama by pitting humans against the force of water. He achieved a fusion of Chinese stylisation of water with a yamato-e sense of narrative. The earliest progenitors of this aspect of The great wave are a series of designs he did for the three-volume Models of modern combs and pipes (lmayō sekkin hinagata) between 1822 and 1823. These miniature designs include images of Mount Fuji as well as waves, but not yet in combination. In one of these designs fishermen are casting their nets while their boats move between the flows and eddies of vast waves.7 ibid., p. 265, fig.4. These boats are oar-driven oshiokuri-bune, the same type of boat depicted in The great wave.
The genesis of The great wave can be found in these early experiments, but what gave Hokusai the ultimate wave design in Thirty-six views of Mount Fuji was a sense that drama was being played out in realistic space. It was Hokusai's experiments with this design in a Western-style format that played the key role in this integration of realism, decorativeness and narrative.
A foreign vision
The Edo period is often characterised as a time when Japan was isolated from the outside world. Although this romantic vision of Japan as a closed country is partially based on the fact that the ruling Tokugawa Government had an isolationist policy, foreign ideas still entered Japan via a small enclave of Dutch traders on the islet of Dejima in Nagasaki Harbour, a three-month overland journey from the capital Edo, the site of modern-day Tokyo.8 Japan also maintained trade links with Manchuria, the Ryukyu Islands, Korea and Siam. This was the only access that Japan had with the West and it was from here that the infusion of foreign ideas was to have a profound effect on many aspects of Japanese life, including the arts. This Japanese interest in foreign knowledge, particularly that derived from the West, became increasingly prominent towards the end of the Edo period when Hokusai was active.
In painting, the strongly felt enthusiasm for Western accuracy in representation led many artists to experiment with its methodology in contrast to traditional Japanese aesthetic values, which sought to capture the essence of nature rather than its physical reality. The late-Edo-period intellectuals, known as Rangakusha (literally, 'Dutch scholar'), who studied Western learning saw such representation as anathema to the new, rational way of thinking provided by Western ideas and denounced traditional representations of nature as useless.9 Such sentiment was forcefully expressed by the Western-style painter Shiba Kōkan (1747–1818) in his 1799 treatise On Western Painting (Seiyō gadan) when he stated: 'The primary aim of Western art is to create a spirit of reality, but Japanese and Chinese paintings, in failing to do this, become mere toys serving no use whatever. By employing shading, Western artists can represent convex and concave surfaces, sun and shade, distance, depth, and shallowness. Their pictures are models of reality and thus can serve the same function as the written word, often more effectively. The syllables used in writing can only describe, but one realistically drawn picture is worth ten thousand words. For this reason Western books frequently use pictures to supplement descriptive texts, a striking contrast to the inutility of the Japanese and Chinese pictures, which serve no better function than that of a hobby to be performed at drinking parties'. (T. Atsushi, 'Edo line of Western-style painting', in Yōfū hyōgen no dōnyū: Edo shūki kara Meiji shoki made (Development of Western Realism in Japan) (exh. cat.), trans. C. French, eds A. Tōru, O. Masaaki, T. Atsushi, National Museum of Modern Art, Tokyo, 1985, p. 171. They were particularly interested in books on Western natural sciences and the copperplate etchings that illustrated them. In their minds, science and art were entwined and the realism that underlay this approach was the antithesis of the idealism that characterised East Asian artistic traditions. The Western-style paintings these artist–scholars produced were known as ranga, or Dutch painting, and their work fostered an interest in this type of painting in Edo where the most influential proponent was Shiba Kōkan (1747–1818).
A crucial aspect of this Western influence that contradicted Eastern concepts of pictorial space and therefore challenged traditional landscape expression was the Western theory of vanishing-point perspective.10 It is significant to note that the adoption of Western realistic techniques was chiefly in relation to perspective, a concept that diverted from traditional taste more significantly than for chiaroscuro which could be appreciated on the level of subtle tonal variations, an integral part of ink printing, or suiboku-ga. The Japanese have always exhibited a willingness to experiment with new ideas and this was a particular characteristic of the Edo period. Thus the adoption of Western realism in painting was not only restricted to ranga but was also felt in other non-traditional painting schools such as the Maruyama-Shijō and ukiyo-e.11 Maruyama-Shijō was a school of painting founded by Maruyama Ōkyo and based on Kanō, Ch'ing and Western styles.
The linear qualities of the ukiyo-e woodblock print medium were conducive to the depiction of receding space in architecture and, initially, artists merged the traditional subjects of beautiful women and actors with Western realism by depicting interior perspective views of the Yoshiwara licensed brothels and the Kabuki theatres. Characterised by a rigid linear perspective and a simplistic use of vanishing point, these works created an eerie semblance of realistic depth which was perceived by the contemporary Japanese viewers as suspended space and consequently were referred to as uki-e (floating pictures).12 They were also referred to as kubomi-e (sunken pictures). Hokusai produced a number of uki-e; however, the complexities of rendering space in landscape required a more sophisticated understanding of perspective than he possessed. Artists outside the ukiyo-e school such as Maruyama Ōkyo (1733–1795) and Shiba Kōkan,13 A reinterpretation of Kōkan's contribution to an evolving Japanese landscape-painting style will reveal his contribution beyond what Western scholars see as 'a strange mixture of European and Japanese elements, too amateurish to be important as art' (L. P. Roberts, A Dictionary of Japanese Artists, Tokyo & New York, 1990, p. 88). and those of the ranga school who had a better theoretical understanding of perspective, were able to create more naturalistic compositions. The importance of these artists lies in the fact that they offered an interpretation of Western realism, which Hokusai found more appealing.14 There has been little research undertaken to confirm the influence of Kōkan on Hokusai. Kyoshin lijima, in his 1893 biography of Hokusai, Katsushika Hokusai den, stated that Hokusai learnt Western-style painting from Kōkan. Asano Tōru states that it is difficult to find a direct stylistic link between the two artists but that the expansive spatial depiction seen in the works of ukiyo-e artists such as Torii Kiyonaga indicates that they were aware of Kōkan's work (see Asano Tōru, 'Hokusai, Kuniyoshi, Hiroshige', in Development of Western Realism in Japan, eds A. Tōru et al., pp. 28–9). The ukiyo-e scholar Nobuo Tsuji states that Hokusai borrowed a Kōkan-style background for his kyōka bon titled Tōto meisho ichiran (Famous Views of the Eastern Capital), 2 vols, Kansei 12, I/1800. N. Tsuji, Hokusai, Book of Books: Nihon no bijutsu vol. 31, 1982. The lack of concrete evidence linking Hokusai to Kōkan means that any connection between the two artists needs to be established through stylistic similarities.
The Western-style oil painting often cited as the inspiration for Hokusai's The great wave is Kōkan's 1796 View of Shichirigahama near Kamakura in Sagami Province (Sōshū Kamakura Shichirigahama no zu),15 This painting, measuring 95.6 x 178.5 cm, is held in the collection of the Kobe City Museum and is inscribed: 'Copied faithfully by the Western-style painter Kōkan Shiba Shun at the Eastern Capotal [sic]' and is signed in romanised script: 'S. a Kookan Ao: 18'. a work on paper mounted as a two-fold screen (fig. 2). This work, depicting waves crashing onto the beach near Enoshima, an island to the south-east of Edo, was exhibited in the autumn of 1796 at the Atago Shrine in Shiba, south of Edo.16 M. Forrer, 'Western influences in the works of Hokusai', in Hokusai: Bridging East and West, Nihon Keizai Shinbun, Tokyo, 1998, p. 195. Kōkan went on to paint at least six other paintings on the subject of a view of Enoshima and Mount Fuji from Shichirigahama, which were widely distributed and copied.17 Forrer, 'Western influences in Hokusai's art', Hokusai, ed. G. C. Calza, London & New York, 2003, p. 26. Forrer states that there are records of Kōkan donating twelve paintings to shrines and temples and quotes Kōkan's 1809 book Range dōbanga hikifuda in which he wrote: When Master Kōkan painted his views of the various provinces of Japan, copying these from life in the manner of Dutch paintings, there were quite a few who wanted to know them. Therefore, people all over Edo, as well as in Kyoto and Osaka, hung them on walls and there was a real flowering of works in the style of the master'. It is likely that Hokusai saw View of Shichirigahama for in 1797 he produced an album of comic verse (kyōka) titled The willow branch (Yanagi no ito) that included Springtime in Enoshima (Enoshima shunbō) an image that has the same compositional elements as Kōkan's painting although with a higher viewpoint (fig. 3). In both works the foreground view of figures on the beach where waves are breaking is separated from the background by the use of a high viewpoint that keeps Mount Fuji and Enoshima high up in the picture plane.
Two years later Hokusai revisited this design in a small-size, elaborate print known as a chūban surimono that he produced for the New Year, possibly for the haiku poet Rissetsuan Goshin.18 ibid. To allow for the incorporation of verse in this design, Hokusai omitted Mount Fuji from the background. In his mind such designs probably lacked dramatic impact for, in later designs modelled on the same view of the Enoshima seashore, he experimented with the compositional elements of the sea and Fuji. The ranga method of giving prominence to foreground objects by adding a perspective view to the background must have been in his mind when he modified his viewpoint of Enoshima in an untitled, privately commissioned surimono print in occidental style from the early 1800s (fig. 4).19 Composition in ranga paintings usually consisted of a large foreground subject, such as a bird or a still life, modelled in light and shade with a distant landscape utilising Western perspective. In these works the careful separation of the foreground and background and the lack of any mid ground has the effect of emphasising their differences. The contrast between the realistic but painterly foreground vignette view of birds-and-flowers with the background reminiscent of Dutch copperplate etchings, dramatically highlights the foreground and gives one the impression of a bird's-eye viewpoint looking from close range through to a distant background. In this view Enoshima is positioned closer to the picture plane so that its prominent size in the left foreground counterbalances that of Mount Fuji and the coastline to the right. Traditionally, Mount Fuji had been depicted in Shinto shrine mandala paintings, where it had always been given prominence because of its sacred significance. Edo Japanese viewers must have been surprised to see Mount Fuji depicted diminutively in the background in Western-style images but what would have been even more startling to the Edo viewer is that, in this image, Enoshima looms larger than Fuji.
In two other occidental print series from the early 1800s Hokusai employed the prominent foreground element to give looming presence to a wave (fig. 5). By utilising the diminution of forms to contextualise these images, in each case he dramatically shows a boat about to be engulfed by a giant wave. Such juxtapositions, especially ones in which the foreground dramatically frames the background, are crucial to many of the designs in Thirty-six views of Mount Fuji and his later illustrated book, One hundred views of Fuji.20 The framing possibilities provided by the juxtaposition of foreground and background was a key compositional technique adopted by Hokusai's younger contemporary, Utagawa Hiroshige (1797–1858), in his 1856–58 series One hundred famous views of Edo (Meisho Edo hyakkei). In traditional Japanese landscapes the viewer played the role of outside witness, but the addition of this realistic element afforded the viewer the opportunity to enter into this narrative space. The third dimension thus enhanced the traditional sense of drama. In such compositional experiments, Hokusai was evolving his ideas towards a spectacular confluence of Western and Eastern styles.
Towards the immortal summit
Western realism provided Hokusai with a new artistic means of describing space, but until the 1830s, such descriptions were awkwardly unresolved in printmaking for they lacked the colour and decorative flourish associated with Japanese art. For Hokusai the resolution of this dilemma came literally and metaphorically out of the blue. Prior to this period the only available blue pigments for printmaking were organic colourants that rapidly faded once exposed to light. From the 1830s onwards, the availability of a suitable printer's pigment in the form of the imported Prussian blue, with its wide tonal range, provided a means for Hokusai to deepen his vision beyond the limits of linear perspective.21 For further discussion, see G. Hickey, 'Hokusai landscape prints and Prussian blue', in Proceedings of the Third International Hokusai Conference in Obuse, 1998, pp. 40–7, and quoted in, Hokusai and Hiroshige (exh. cat.), ed. Lorna Price, San Francisco, Asian Art. Museum of San Francisco, 1998. The availability of this colour acted as a catalyst in what was a maturing of Hokusai's landscape style through an escalation of the dynamic process of interaction between long-established traditions and foreign influences.22 The incorporation of blue into ranga paintings meant that ranga provided a model for Hokusai to explore the possibilities of describing depth beyond linear perspective. When the Edo writer Takizawa Bakin saw a ranga image projected by a camera obscura in Osaka in 1802, among other things he was struck by the blueness of the sky. Shiba Kōkan's ranga works, such as Shichirigahama, similarly placed emphasis on vast expanses of blue in sky as well as water.
The significance of the addition of blue to the print artist's palette and his ability to render landscape was such that Hokusai conceived his major series on Mount Fuji using only blue. In an advertisement for Thirty-six views of Mount Fuji that appeared in Shōhon-jidate (Kabuki Tales), published during the year 1831, it was advertised as being in 'aizuri technique', a style of print exclusively utilising shades of blue (ai).23 R. Lane, Hokusai: Life and Work, New York, 1989, p. 184. In fact only nine or ten views in the series could be considered as aizuri-e, as all of the other prints in this series, including The great wave, have the additional colours of reddish-brown, yellow or beige (the faded shade of a deeper tone) as well as black and shades of grey. However, the pervading hue of The great wave is blue and by rendering both mountain and wave in blue-on-white Hokusai has symbolically linked the elemental forces of water and fire,24 In linking the mountain and the wave, Hokusai may have been aware of the statement: 'Mountains have strangely shaped peaks and water also has strangely shaped peaks.' The Mustard Seed Garden Manual of Painting (Chieh Tzŭ Yüan Hua Chuan), ed. M. M. Sze, New Jersey, 1992, p. 215. for, like all his contemporary Edoites, Hokusai was well aware of the potential for volcanic eruptions,25 See Takeuchi, 'Mt Fuji', in Y. Ohyama, Mt. Fuji, New York, 1987, p. 71. Since the beginning of the Heian period, Mount Fuji has erupted as many as fourteen times between 781 and 1707. In Hokusai's later work, The emergence of Mount Hoei from the Hundred views of Fuji, series I, 1834, this potential for disaster is fully realised in a catastrophic scene following the volcanic eruption of the year Hoei IV (late 1707). and their resultant tsunami and floods.26 See Lane, 'On the dating of Hokusai's Fuji', Andon, 24, 1986, p.63. The effect of Hokusai's image can be gauged from the numerous uses of his design in broadsheets depicting the floods that resulted from the volcanic tremors in 1834. The melted snow off the slopes of Mount Fuji caused floods and much loss of life. In artistic terms, the availability of a suitable printer's blue enabled Hokusai to render depth and roundness without reliance on linear perspective, a technique he had found wanting. Further, the addition of blue added decorative appeal for it was a colour of cultural significance to the Japanese. Both tradition and innovation worked towards the culmination of this evolution in The great wave. All that was required to complete this evolution was a fully dramatised composition.
The rounded form of a gently cresting wave may have suited the beach break that we see in Kōkan's View of Shichirigahama near Kamakura in Sagami Province and Hokusai's 1797 image based on the same from The willow branch album, but the giant form of a deep-sea wave needed a more powerful presence.27 Lane, Hokusai, p. 189. Such acute observation of the movement of waves, according to Lane, may have been the result of personal experience and observation during Hokusai's visits to the Miura and Bōsō peninsulas close to Edo Bay. In order to create this effect, Hokusai borrowed from the Edo-period decorative Rimpa School tradition of waves, such as seen in Ogata Kōrin's (1658–1716) Rough waves (fig. 6).28 Kōrin had been inspired to depict this wave by Tawaraya Sotatsu's (active c.1600–40) similar depictions such as his Rough seas in the Tokyo Fuji Art Museum. Later, Hokusai's Edo contemporary Sakai Hōitsu (1761–1828) produced paintings of similar subjects. Rather than water moving as a linear flow over the whole surface of the painting, as seen in other traditions, such Rimpa depictions of individual crests with tentacle-like projections have the quality of personalised images.29 Hokusai was aware of this manner of depicting waves and, inspired by their example, around 1842–45 painted two panels for the Kanmachi festival float of 'feminine' and 'masculine' waves, each panel 123.0 x 126.5 cm. The Hokusai Museum, Obuse. Hokusai's cresting Great wave displays the 'tenacious fingers' and sprays of foam reminiscent of Rimpa waves. Kōrin's wave is given prominence by contrasting the white foam against what appears to be a black-shaded background but what is, in actuality, a deep blue mixed with black. In the same manner, Hokusai emphasises the form of his wave by outlining it using a Prussian-blue key block. Hokusai's summit of Mount Fuji is highlighted in a similar manner but this time by contrasting its white peak against a background of blue overprinted with a dark grey.30 M. Murase, Masterpieces of Japanese Screen Painting: The American Collections, New York, 1990, p. 110. Recent scientific tests of Korin's blue colourant in Rough waves indicates that it may have been a later addition and that originally, the work would have been executed entirely in black sumi-ink on gold. If this were true, it would strengthen the connection between Hokusai's wave and those from the Rimpa tradition. The cresting of Rimpa waves does not have the foreboding that we perceive in Hokusai's wave, for these waves are not given spatial definition. By giving us a close viewpoint that looks up into the wave and by adding boats and a perspective view of Mount Fuji in the background, Hokusai uses relative size to its greatest effect. By presenting these two elements in a two-planar composition, any distracting mid-ground elements, such as those seen in Hokusai's earlier Enoshima views, are eliminated. Two-planar composition was a yamato-e tradition and what Hokusai has in effect achieved here is a three-dimensional image of these traditionally flat paintings. Diminishing size between two planes allowed Hokusai to further develop his composition through the juxtaposition of forms and framing. In this case the curve described by the wave perfectly frames Fuji at its centre and, for those Edoites unfamiliar with perspective, the wave could have been imagined as about to break not only on the boats but also on Fuji itself! To give further dramatic emphasis, the wave moves from left to right, counter to how the Japanese would normally read the image. In emaki scrolls, yamato-e artists often used this device to confront the viewer and Hokusai has enhanced this drama by similarly confronting the viewer with a wave (along with the three cargo boats and their oarsmen huddled helplessly together)31 The boats are oshiokuri (literally, 'no mast') that hauled cargoes of fresh fish and vegetables from lzu and Awa to Edo. that has a realistic and powerful dimension. In this manner The great wave becomes a masterstroke of Western-inspired imaginative invention as well as an outflow of evolving tradition.
Despite what seems like exhaustive experiments with the motif of waves breaking, Hokusai continued with this design beyond The great wave. In the 1835 Fuji at sea (Kaijō no Fuji) from volume two of the black-on-white illustrated book One hundred views of Mount Fuji (Fugaku hyakkei) 1834–c.1842, Hokusai revisited the image of a wave seemingly breaking above Mount Fuji (fig. 7). In this work, however, he has reversed the movement of the wave from right to left so that the viewer can comfortably read the image. The wave moves in a more harmonious flow than in Under the wave off Kanagawa where its threatening presence confronts the viewer. Like sprays of foam, the plovers mingle with the crest of the wave, enhancing the decorative appeal of this work for the plover-and-wave pattern, or chidorigata, was widely used as a decoration for kimono and sliding-panel doors. To enhance the more benign aspect of this wave, the crest is shown as a spray of foam rather than the full-bodied wave seen in The great wave. Similarly, the proportional size of the plovers and the wave indicates that this wave is of diminutive size.
Fuji at sea is often cited as the companion piece to The great wave,32 See Smith, p.205. Smith makes this connection in his comments on Kaijō no Fuji. but Hokusai's method of encoding his images with hidden meaning makes it unlikely that he would have left his obsession with Fuji and waves to only one example out of a hundred.33 Japanese aesthetic concepts such as yūgen mitate are characterised by a subtlety that, for the uninformed, is seen as enigmatic or inscrutable; however, subtlety allows for a profundity of meaning that cannot be achieved when something is fully described. Hokusai understood this and often obscured the meaning of his images to add an even deeper level of meaning. The plebeian nature of ukiyo-e meant that such obscuration was expressed in down-to-earth terms, often adding a sense of the humorous or curious (okashi). Perhaps, as was his disposition, Hokusai had hidden references to waves in his designs, for he understood that obscuration empowered the image through the viewer's discovery of meaning. Our response to Hokusai's images is to strive to read his secret, codified messages as if we were trying to decipher an ancient text. In Fuji on a swell (Uneri Fuji) from volume two of One hundred views, the same type of boat depicted in Under the wave off Kanagawa, a rowing boat known as an oshiokuri-bune, used for the delivery of fish to market, is again depicted (fig. 8). In Under the wave the oarsmen's heads are lowered as if to avert their eyes from the possibility of impending disaster. So too, in Fuji on a swell, the oarsmen cast their eyes downwards, perhaps in this case to look at the reflection of Fuji, traditionally viewed as a sign of good luck for mariners. What is intriguing is that if we turn this image upside down, as can easily be done in this small format, what we see is another version of Under the wave, but one in which the ocean and mountain merge in a reflected parody of this work. The mystery of the sacred mountain is symbolised in the complexity of Hokusai's design and the diversity of such images in the Hundred views of Mount Fuji reveals the possibility of artistic immortality that drove Hokusai further towards the summit of creative endeavour.
The complexity of Hokusai's imagery as observed in his Great wave was facilitated by his manipulation of elements that relate to visual perception. Such an empowering of artistic expression was made possible by new ways of visualising the world provided by Western realism. Hokusai understood the artistic possibilities of Western techniques of depth and spaciousness in landscape. The wide tonality of Prussian blue allowed him to transform this understanding by diminishing his reliance on linear perspective, broadening the expressive potential of tonality, simplifying composition and utilising the full expressive power of colour. Traditionally, Japanese painting had avoided deep-receding pictorial space; however, Hokusai found that by utilising key elements of Western realism such as the diminution of forms and tonality, he was able to sharpen his focus on the sacred mountain. Paradoxically, he achieved this by enhancing traditional Eastern expression through Western spatial definition. On a philosophical level, what he achieved in giving visual depth to his view of Fuji beneath a giant wave was an intensification of the traditional spiritual values associated with this sacred volcano.
Gary Hickey, Lecturer in Asian Art History, University of Melbourne (in 2004).
1 Hokusai's artistic manifesto, as written in the colophon to volume 1 of his illustrated book One hundred views of Mount Fuji (Fugaku hyakkei) of 1834, finishes with the statement: 'At ninety [I] will understand the essential nature of things, and at one hundred this understanding will be divine. At one hundred and ten each dot and stroke I paint will be animated. Those of you who have sufficient longevity, can give evidence to the truth of my words'. For a reproduction of this colophon, see J. Suzuki, Katsushika Hokusai Fugaku hyakkei, Tokyo, 1986, p. 61.
2 An active volcano, Mount Fuji (Fujisan) is Japan's highest mountain and one of its most enduring symbols. Throughout Japanese history the spiritual significance of Mount Fuji has been extolled and its virtues celebrated in art and literature. Amongst the religious groups with both Buddhist and Shintō associations, those related to mountain worship were prominent, its members being known as yamabushi. Earlier forms of nature worship had also focused on mountains, believing that gods (kami) and ancestral spirits resided there. The branch sect known as Fujikō regarded Fujisan as sacred. Hokusai's belief in Mount Fuji as the source of immortality was a commonly held one, probably derived from Chinese Taoist sources. For further discussion of the origins of this belief, see H. Smith, Hokusai: One Hundred Views of Mount Fuji, London, 1988, p. 10.
3 There was a supplementary issue of ten prints, bringing the total number of prints in the series to forty-six. The National Gallery of Victoria purchased five works from this series.
4 The Felton Adviser Frank Gibson made this first purchase for the Gallery in 1909 at a sale conducted by Sotheby, Wilkins & Hodge. Gibson made his selection of fifty-five prints based on the advice of E. F. Strange, an ukiyo-e specialist with the Victoria and Albert Museum (see 'Japanese colour prints', in The V. A. S., 1 March 1914, p. 4). Two impressions of Under the wave off Kanagawa were offered for sale at this auction. The image selected by the Gallery was purchased for 10 shillings while another image described in The Times, 27 April 1909, as 'one of the finest examples in existence' was purchased by Mr Charles Davis for £23 and 10 shillings. The Times went on to note the high prices paid for these prints. Drawn from the estate of the American John Stewart Happer, this collection was amassed by him in Japan and consisted of 668 prints by major artists of the ukiyo-e school (see L. Bush, 'Japanalia past & present', in Japan Times, December 1969). In London the NGV's foresight in purchasing from this collection was noted in the Daily Telegraph, April 1909, as 'the most interesting incident of the day', and in the 30 April 1909 edition of the paper it was stated 'Melbourne is to be congratulated on the courage of its art representative'. In a derogatory but somewhat perceptive comment (for the collection has never had a catalogued exhibition), the article went on to say: 'A Japanese print may at first be caviare to an Australian public, but in the end the beauty of such will be perceived'. On 28 April 1909 the Melbourne Age stated: 'These prints are recognised as some of the Japanese artist's greatest works, and have been much sought after. They will be a decided acquisition to the National Gallery, as they represent the highest form of art in Japan'. Ursula Hoff concurred with these appraisals when in 1965 she noted that this collection 'contains some first class impressions of famous works' (see L. B. Cox, The National Gallery of Victoria 1861 to 1968, Melbourne, 1968, p. 70). James Mollison, director of the NGV from 1989 until 1995, viewed this collection to be among the Felton Bequest's finest purchases (see J. Poynter, Mr Felton's Bequest, Melbourne, 2003, p. 304). Despite these lauded appraisals, this collection has not been published. The Japanese ukiyo-e print collection comprises approximately 288 works (numbers are uncertain as the collection has not been fully catalogued).
5 S. Sato, The Art of Sumi-e: Appreciation, Techniques and Application, Tokyo, 1984, p.125. In 1748 a Japanese edition of the manual, titled Kaishien gaden, was issued. In 1780 an edition of the manual was made and printed in Japan and in 1812 a Kyoto publisher produced an edition that became available to the general public.
6 Of the numerous examples, two examples are given here. In the summer of 1816 in vol. 5 of the Hokusai manga, Hokusai depicted a boatload of sightseers being washed stern-first against the rocks at the entrance of the Cave of the Three Deities near Shimoda (see J. A. Michener, The Hokusai Sketch-books: Selections from the Manga, Vermont & Tokyo, 13th edition, 1979, pp. 264–5). In the early 1840s vol. 14 of the Hokusai manga, a boar is shown struggling against the waves (see Hokusai-e jiten, Dōshokubutsu-hen, Tokyo Bijutsu, Tokyo, 1998, p. 15, fig. 6).
7 ibid., p. 265, fig.4. These boats are oar-driven oshiokuri-bune, the same type of boat depicted in The great wave.
8 Japan also maintained trade links with Manchuria, the Ryukyu Islands, Korea and Siam.
9 Such sentiment was forcefully expressed by the Western-style painter Shiba Kōkan (1747–1818) in his 1799 treatise On Western Painting (Seiyō gadan) when he stated: 'The primary aim of Western art is to create a spirit of reality, but Japanese and Chinese paintings, in failing to do this, become mere toys serving no use whatever. By employing shading, Western artists can represent convex and concave surfaces, sun and shade, distance, depth, and shallowness. Their pictures are models of reality and thus can serve the same function as the written word, often more effectively. The syllables used in writing can only describe, but one realistically drawn picture is worth ten thousand words. For this reason Western books frequently use pictures to supplement descriptive texts, a striking contrast to the inutility of the Japanese and Chinese pictures, which serve no better function than that of a hobby to be performed at drinking parties'. (T. Atsushi, 'Edo line of Western-style painting', in Yōfū hyōgen no dōnyū: Edo shūki kara Meiji shoki made (Development of Western Realism in Japan) (exh. cat.), trans. C. French, eds A. Tōru, O. Masaaki, T. Atsushi, National Museum of Modern Art, Tokyo, 1985, p. 171.
10 It is significant to note that the adoption of Western realistic techniques was chiefly in relation to perspective, a concept that diverted from traditional taste more significantly than for chiaroscuro which could be appreciated on the level of subtle tonal variations, an integral part of ink printing, or suiboku-ga.
11 Maruyama-Shijō was a school of painting founded by Maruyama Ōkyo and based on Kanō, Ch'ing and Western styles.
12 They were also referred to as kubomi-e (sunken pictures).
13 A reinterpretation of Kōkan's contribution to an evolving Japanese landscape-painting style will reveal his contribution beyond what Western scholars see as 'a strange mixture of European and Japanese elements, too amateurish to be important as art' (L. P. Roberts, A Dictionary of Japanese Artists, Tokyo & New York, 1990, p. 88).
14 There has been little research undertaken to confirm the influence of Kōkan on Hokusai. Kyoshin lijima, in his 1893 biography of Hokusai, Katsushika Hokusai den, stated that Hokusai learnt Western-style painting from Kōkan. Asano Tōru states that it is difficult to find a direct stylistic link between the two artists but that the expansive spatial depiction seen in the works of ukiyo-e artists such as Torii Kiyonaga indicates that they were aware of Kōkan's work (see Asano Tōru, 'Hokusai, Kuniyoshi, Hiroshige', in Development of Western Realism in Japan, eds A. Tōru et al., pp. 28–9). The ukiyo-e scholar Nobuo Tsuji states that Hokusai borrowed a Kōkan-style background for his kyōka bon titled Tōto meisho ichiran (Famous Views of the Eastern Capital), 2 vols, Kansei 12, I/1800. N. Tsuji, Hokusai, Book of Books: Nihon no bijutsu vol. 31, 1982. The lack of concrete evidence linking Hokusai to Kōkan means that any connection between the two artists needs to be established through stylistic similarities.
15 This painting, measuring 95.6 x 178.5 cm, is held in the collection of the Kobe City Museum and is inscribed: 'Copied faithfully by the Western-style painter Kōkan Shiba Shun at the Eastern Capotal [sic]' and is signed in romanised script: 'S. a Kookan Ao: 18'.
16 M. Forrer, 'Western influences in the works of Hokusai', in Hokusai: Bridging East and West, Nihon Keizai Shinbun, Tokyo, 1998, p. 195.
17 Forrer, 'Western influences in Hokusai's art', Hokusai, ed. G. C. Calza, London & New York, 2003, p. 26. Forrer states that there are records of Kōkan donating twelve paintings to shrines and temples and quotes Kōkan's 1809 book Range dōbanga hikifuda in which he wrote: When Master Kōkan painted his views of the various provinces of Japan, copying these from life in the manner of Dutch paintings, there were quite a few who wanted to know them. Therefore, people all over Edo, as well as in Kyoto and Osaka, hung them on walls and there was a real flowering of works in the style of the master'.
19 Composition in ranga paintings usually consisted of a large foreground subject, such as a bird or a still life, modelled in light and shade with a distant landscape utilising Western perspective. In these works the careful separation of the foreground and background and the lack of any mid ground has the effect of emphasising their differences. The contrast between the realistic but painterly foreground vignette view of birds-and-flowers with the background reminiscent of Dutch copperplate etchings, dramatically highlights the foreground and gives one the impression of a bird's-eye viewpoint looking from close range through to a distant background.
20 The framing possibilities provided by the juxtaposition of foreground and background was a key compositional technique adopted by Hokusai's younger contemporary, Utagawa Hiroshige (1797–1858), in his 1856–58 series One hundred famous views of Edo (Meisho Edo hyakkei).
21 For further discussion, see G. Hickey, 'Hokusai landscape prints and Prussian blue', in Proceedings of the Third International Hokusai Conference in Obuse, 1998, pp. 40–7, and quoted in, Hokusai and Hiroshige (exh. cat.), ed. Lorna Price, San Francisco, Asian Art. Museum of San Francisco, 1998.
22 The incorporation of blue into ranga paintings meant that ranga provided a model for Hokusai to explore the possibilities of describing depth beyond linear perspective. When the Edo writer Takizawa Bakin saw a ranga image projected by a camera obscura in Osaka in 1802, among other things he was struck by the blueness of the sky. Shiba Kōkan's ranga works, such as Shichirigahama, similarly placed emphasis on vast expanses of blue in sky as well as water.
23 R. Lane, Hokusai: Life and Work, New York, 1989, p. 184.
24 In linking the mountain and the wave, Hokusai may have been aware of the statement: 'Mountains have strangely shaped peaks and water also has strangely shaped peaks.' The Mustard Seed Garden Manual of Painting (Chieh Tzŭ Yüan Hua Chuan), ed. M. M. Sze, New Jersey, 1992, p. 215.
25 See Takeuchi, 'Mt Fuji', in Y. Ohyama, Mt. Fuji, New York, 1987, p. 71. Since the beginning of the Heian period, Mount Fuji has erupted as many as fourteen times between 781 and 1707. In Hokusai's later work, The emergence of Mount Hoei from the Hundred views of Fuji, series I, 1834, this potential for disaster is fully realised in a catastrophic scene following the volcanic eruption of the year Hoei IV (late 1707).
26 See Lane, 'On the dating of Hokusai's Fuji', Andon, 24, 1986, p.63. The effect of Hokusai's image can be gauged from the numerous uses of his design in broadsheets depicting the floods that resulted from the volcanic tremors in 1834. The melted snow off the slopes of Mount Fuji caused floods and much loss of life.
27 Lane, Hokusai, p. 189. Such acute observation of the movement of waves, according to Lane, may have been the result of personal experience and observation during Hokusai's visits to the Miura and Bōsō peninsulas close to Edo Bay.
28 Kōrin had been inspired to depict this wave by Tawaraya Sotatsu's (active c.1600–40) similar depictions such as his Rough seas in the Tokyo Fuji Art Museum. Later, Hokusai's Edo contemporary Sakai Hōitsu (1761–1828) produced paintings of similar subjects.
29 Hokusai was aware of this manner of depicting waves and, inspired by their example, around 1842–45 painted two panels for the Kanmachi festival float of 'feminine' and 'masculine' waves, each panel 123.0 x 126.5 cm. The Hokusai Museum, Obuse.
30 M. Murase, Masterpieces of Japanese Screen Painting: The American Collections, New York, 1990, p. 110. Recent scientific tests of Korin's blue colourant in Rough waves indicates that it may have been a later addition and that originally, the work would have been executed entirely in black sumi-ink on gold. If this were true, it would strengthen the connection between Hokusai's wave and those from the Rimpa tradition.
31 The boats are oshiokuri (literally, 'no mast') that hauled cargoes of fresh fish and vegetables from lzu and Awa to Edo.
32 See Smith, p.205. Smith makes this connection in his comments on Kaijō no Fuji.
33 Japanese aesthetic concepts such as yūgen mitate are characterised by a subtlety that, for the uninformed, is seen as enigmatic or inscrutable; however, subtlety allows for a profundity of meaning that cannot be achieved when something is fully described. Hokusai understood this and often obscured the meaning of his images to add an even deeper level of meaning. The plebeian nature of ukiyo-e meant that such obscuration was expressed in down-to-earth terms, often adding a sense of the humorous or curious (okashi).
Back to Edition 44
James McNeill Whistler The little lagoon An interview with Ichwan Noor Takahiro Iwasaki's Reflection model (Itsukushima), 2013–14 A Life Revealed: Emil Todt, a German sculptor in nineteenth-century Melbourne


About 2,300 people call Star City home in Lincoln County, southeast Arkansas.
We are Lincoln County's largest community and serve as its county seat.
to share the goal of promoting our Star City Area and its businesses.
Star City is a place you will want to visit and perhaps even want to call home.


Sometimes we are contacted by people with a creative and unique idea that really surprises us! The Hitch Hotel is one such idea!
The idea is pretty simple: An expandable trailer, that you can attach on the back of your truck or car.
When you arrive at your destination, you can detach it, pull it out, and voila!
You now have a place to sleep!
It's still being built at the time of writing this blog post (Kickstarter ends by the end of July 2018 and the project is already funded.
The trailer has a window and "door" at the back, so it's easy to get in and out, once you have parked it and you're ready to sleep or hang out.
You can also use it as for storage during transportation.
You can fit two bikes inside it.
In the example below the guy uses it to transport his fishing gear and cold drinks. Notice how the legs can fold down to support it when you park.
The whole thing is positioned pretty high, so you can go off-road with it.
When you look at it from the side, while being on the road, you get why it was inspired by the teardrop trailers in the first place.
It's even smaller, and the fact that you can fold it in and out is just brilliant.
The trailer is waterproof, which might sound obvious, but considering the fold-out mechanism, it was probably not an easy nut to crack for the designer.
The 7 feet by 58 inches (213 x 147 cm) makes it almost the same size as a queen size bed.
It means that you can sleep two people comfortably inside it if you want to go camping.
If you want to take a hike during the day, you can lock the trailer. This is also a nice feature during the night, so you won't have to worry about intruders.
Who doesn't want this view in the morning?


Are you looking for a family friendly and exciting way to bring in the New Year? If so, be sure to check out First Night Monterey – a community event that takes place on New Year's Eve. This community event is a celebration of the arts that takes places each year from 3pm – midnight. Families staying in hotels by downtown Monterey CA, come out for family friendly fun and exciting events such as music, other live entertainment and a special Kid's Zone! This affordable and alcohol-free event gives you and your family a safe environment to bring in the New Year with the rest of the community!
This year, the theme of First Night Monterey is "SeaChanges, the Seaquel." Artwork created by the community and youths, will speak to the theme of this year and showcase issues of pollution to the majesty of the ocean. Opening Ceremonies will begin at 3pm on the Colton Lawn stage. At 3:30pm, the Kids Night Out! will begin. At this event, kids can engage in a variety of events including viewing puppet art theater, getting henna tattoos from talented artists, face painting, sitting in on a magic show, listening to folk music performances and more will entertain your kids for hours! At 5:30pm, there will be a Twilight Procession down Alvarado Street. On this fantastic walk, enjoy stilt walkers, giant puppets, dancers, artists and other marching members of the community. There will also be an interactive Resolution Sculpture where you can write down your resolution for the New Year. The Grand Finale will begin at 11:15pm and will continue until midnight! Throughout the whole day, there will be a variety of musical performances from a wide range of genres. For example, there will be classical music, reggae, hip-hop, jazz and even written word performances!


All dogs are assessed to ensure their suitability and friendliness with other dogs. Temperament and behaviour. Social. It generally follows that the dogs mix well and are very happy in each other's company. At Amanda's Ark, we understand that every dog is different and treat them as the individuals they are.


Numbers may not lie, but they can confuse. There is a good deal of inconsistency among the exercise guidelines out there. What's a person to do?
Are you getting enough exercise? For nine out of ten men in a British study, the answer was simultaneously "yes," "no" and "it depends." This is due to differences in the many current exercise guidelines and shows the overall lack of agreement among them.
While most of the guidelines recommend similar amounts of total exercise, many differ on how the exercise is to be divided up.
Ask several doctors if your cholesterol level is too high and you'll probably get the same answer from all of them. Ask the same doctors if you're getting enough exercise and you'll probably get confused.
The purpose of exercise guidelines issued by health agencies is to show the minimum amount of activity required for good health. Is a person getting enough exercise or not? A team of British researchers set out to test the agreement among six guidelines issued by the American Heart Association, the US Institute of Medicine, the UK Department of Health and other agencies.
What they found was a lot of confusion and inconsistency.
While most of the guidelines recommend similar amounts of total exercise, many differ on how the exercise is to be divided up. Some give a weekly total while others require the exercise to be done on four or five different days. Some count any amount of exercise while others require a minimum duration (most often 10 minutes) for the exercise to be counted. This means that climbing stairs counts under some guidelines but not others.
These may sound like minor differences, but they strongly affected whether or not an individual in the study was classified as getting sufficient exercise or not.
Anywhere from 11% to 98% of the study members could be said to be getting sufficient exercise, depending on which guideline was used. And people say that numbers don't lie!
What's the take home lesson here? Probably that there's disagreement as to how to count exercise but broad agreement on how much of it makes for a healthy minimum. Five of the six guidelines studied recommend similar amounts of moderate exercise: 30 minutes a day for four days a week, 30 minutes a day for five days a week, 120 minutes total per week or 150 minutes total per week. Whether the activities you do trying to meet these guidelines count as exercise or not, they're still healthier than time spent camped out on the couch.
Today's exercise recommendations are different than those of 10 years ago. Future recommendations will likely be different still. The researchers hope that this study will help in making those future guidelines more consistent than those of today.
The study was performed on 90 healthy men aged 45-64. All were non-smokers who were not taking medication and who had a body mass index of 35kg/m2 or less. Exercise was estimated using actual metabolic measurements from sensors worn continuously by the participants for nine consecutive days (not from questionnaires or diaries).
Researchers from the School for Health at the University of Bath and the Health and Social Care Institute of the University of Teesside headed the study. The research was published in the February 2009 issue of PLoS ONE.


Here you can find the Hungarian Bocuse d'Or Academy's official announcement about the competition.
The Bocuse d'Or Hungarian Selection took place on the second day of the exhibition. The gastronomic show provided opportunity to the professionals to meet the best chefs of the country. On the prestigious competition the best six chefs of the pre-selection were competing each other. Competitors were preparing a vegetarian and a meat dishes with a sauce and two garnishes each. The dishes were presented in 10+4 portions. The mandatory vegetarian materials were risotto rice, quail and Gorgonzola. Also a vegetable and a spice was required for this dish, that was drawn by the Hungarian Bocuse d'Or Academy. Obligatory materials of the meat dish were veal tenderloin, veal knuckle and the marrow. At the competition Ádám POHNER won the opportunity to represent Hungary in Turin at Bocuse d'Or European Final, where he won a prestigious eighth place, so he also can represent Hungary in Lyon at Bocuse d'Or Finale.


Gentlemen's chest of drawers bedroom shiny chest drawers bedroom furniture gloss black walnut. Pulaski bombe chest accent chest on bedroom chair grey. Dressers chests armoires bedroom furniture pier imports cherry bedroom chest. Bedroom chest of drawers small chest of drawers. Armoires for tv bedroom designs, wood bedroom armoire bedroom furniture sets with armoire white bedroom armoire.


Mr. Bayles is renowned in the legal industry for his expertise in estate planning, estate taxes, income taxes, business planning, and real estate transactions.
ST. GEORGE, UT, December 20, 2017 /24-7PressRelease/ -- Thomas Bayles has been included in Marquis Who's Who. As in all Marquis Who's Who biographical volumes, individuals profiled are selected on the basis of current reference value. Factors such as position, noteworthy accomplishments, visibility, and prominence in a field are all taken into account during the selection process.
Mr. Bayles is renowned in the legal industry for his expertise in estate planning, estate taxes, income taxes, business planning, and real estate transactions. He is a partner at JensenBayles, LLP, a position he has held since 2003. He also serves as a board member at DOVE Center and previously was a board member at the Exchange Club of St. George Foundation in 2012 and 2013. He served as president of the Southern Utah Estate Planning Council in 2003 and 2012, the St. George Exchange Club in 2011, and the Southern Utah Bar Association in 2012. He was acting director of the Southern Utah Estate Planning Council in 2001, 2002, and 2010, as a board member of the Washington County School District Foundation Board from 2002 to 2008, and as co-chairman of the Utah State Bar Spring Convention. He previously served as an associate attorney at Snow Jensen and Reece, PC from 1998 to 2003.
Mr. Bayles began his career with an AA from Dixie State College in 1990 before obtaining a BA from Weber State University in 1993. He then went on to Washburn University to earn an MBA from their School of Business in 1994, and a JD from their School of Law and a tax proficiency certificate in 1997. He is a member of the Southern Utah Bar Association, the Utah State Bar Association, and the American Bar Association.
Mr. Bayles has been recognized for his work many times. He has held an AV Preeminent Rating with Martindale-Hubbell since 2014, and held a BV rating since 2003. He was named one of Utah's Legal Elite from the State's Top Lawyers as Voted by Their Peers, one of Utah's Legal Elite from Estate Planning in 2004, and the Wall Street Journal gave him an Award in Economics in 1992. He has also authored numerous articles published in professional journals and has presented and lectured at conferences, conventions, colleges and seminars on topics in his fields of expertise.


text:
package com.samuel.destructo;

import com.parse.ParseClassName;
import com.parse.ParseObject;

/**
 * Created by Samuel on 7/28/2015.
 */
@ParseClassName("Message")
public class Message extends ParseObject {

    public Message(){
        super();
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    public String getUser(){
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redpajama_set_name: RedPajamaGithub


text:
United and the foundation, which owns pediatric physician practices in Pennsylvania, New Jersey and Delaware as well as the Alfred I. du Pont Hospital for Children in Rockland, have not been able to negotiate a contract since 2014.
As a result, Delawareans who have a United commercial or Medicaid plan and want access to Nemours primary doctors, specialists and their emergency care must switch their children's plan or be forced to pay out of pocket.
Hospital officials estimated staff cared for over 8,000 Delaware children on United's Medicaid plan in 2014 and saw 1,200 visits to their emergency department in the first two months of 2015.
In a complaint filed with the federal U.S. District Court for Delaware, the foundation alleges that United has not paid Nemours in full for covering Delaware's Medicaid recipients.
"Instead, United has wrongly taken advantage of its position as a provider of health insurance for Delaware's underprivileged children to enrich itself at the expense of Nemours, a longstanding provider of and advocate for medical services for all of Delaware's children," the complaint reads.
Nemours maintains that United's Medicaid contract with the state is not adequate and has forced thousands of families to travel out-of-state without access Delaware's only children's hospital.
"Nemours is routinely caring for children for whom United is responsible, despite United's belief that they do not need Nemours in their network. We cared for those patients and were paid variably, if at all, for doing so," Dr. Roy Proujansky, chief executive officer of Nemours Delaware Valley Operations said in a prepared statement.
"This situation is simply unsustainable. We will continue working with the State to ensure Delaware children covered by Medicaid have access to necessary and appropriate pediatric care."
Nemours most recently won a settlement with UnitedHealthcare of Pennsylvania in early March following similar settlements with UnitedHealthcare of the Mid-Atlantic and United Healthcare Community Plan of New Jersey last summer.
Jen Rini can be reached at (302) 324-2386 or jrini@delawareonline.com. Follow @JenRini on Twitter.

redpajama_set_name: RedPajamaCommonCrawl


text:
Mississippi Congressman Calls for Department of Justice Intervention into Clergy Abuse Case, SNAP Applauds and Echoes the Call
A Mississippi congressman is calling for intervention by the Department of Justice into a case against a Franciscan brother who is accused of abusing three young boys in Mississippi. We applaud the efforts by the congressman and his office and hope that his call for change will lead to a full investigation of this troubling case.
Despite being the subject of a major AP News investigation last year, the case against Br. Paul West has not appeared to move forward. Br. West is accused of abusing two brothers and their cousin in Mississippi and taking them across state lines in order to sexually assault them. Now this delay has attracted the attention of Congressman Bennie Thompson who has written to the Department of Justice to "investigate this issue in the effort to secure justice for these survivors and to help prevent future cases of child sexual abuse."
We have been confused and dismayed at the lack of progress in Mississippi for this case which is a clear violation of federal law and, to best of our knowledge, is still within the statute of limitations. As far as criminal statute of limitation laws go, Mississippi has some of the strongest protections in the nation, but in this case the criminal law has not been taken seriously. The Mississippi Attorney General's office has known about this case for over a year, yet nothing of significance has taken place. Paul West has been accused of rape and other violations but has never been questioned by Mississippi authorities. Why? Strong laws are useless if they are not going to be enforced.
We are grateful to Congressman Thompson for using his statute and power to bring more attention to this case and hopefully compel federal and state authorities to look into what happened here and what can be done to secure justice for the victims and ensure this dangerous abuser – who is still alive and free in Wisconsin today – will not be able to hurt more children.
It is well documented that the Diocese of Jackson and the Franciscan Order knew of Paul West and his criminal behavior but did nothing to stop him from teaching 5th graders in WI for 11 more years after they discovered his crimes. We remain hopeful that the pressure from Congressman Thompson's office will lead to the arrest of Br. Paul West and help safeguard children who live near him.
CONTACT: Mark Belenchia, SNAP Mississippi ([email protected], 601-953-2535), Zach Hiner, Executive Director ([email protected], 517-974-9009)


text:
Spotify now letting independent artists upload music directly
Noname's 25 served as Spotify's inaugural indie release
on September 20, 2018, 12:40pm
Once, Fox Searchlight
Here's some great news for that busker down the street and very bad news for record labels: Spotify is currently testing a tool for independent artists to upload their music directly to the popular streaming music platform
"You've told us time and time again that sharing your work with the world should be easier," the Spotify writes in a press release. "In the past few months, we've been testing an upload tool within Spotify for Artists, because we believe getting new music to your fans should be simple. Starting today we're inviting more artists to participate in the beta."
One of the first artists to participate is Noname, who dropped one of the year's strongest albums, 25, on the streaming service this past Friday. Other artists to follow have included Michael Brun, VIAA, and Hot Shade.
"You'll be able to deliver music straight to Spotify and plan for the perfect release day," Spotify explains. "You'll see a preview of exactly how things will appear to listeners before you hit submit. And even after your music goes live, you'll be in full control of your metadata with simple and quick edits."
Royalties will be sent to each artist's bank account every month with no charges for fees or commissions. The company will also send a full report on how much each stream is earning, in addition to any other insights from Spotify for Artists.
Currently, Spotify has only invited a few hundred US-based independent artists to test out the upload function, though they do plan on opening up the service to more artists, labels, and teams in the near future. You can find more info here.
Whole lotta change going on to Spotify so it seems. Earlier this month, the company tripled the number of songs listeners can download to each account following heavy criticism online. Who knows what they'll do next!
Hot Shade
Michael Brun
Streaming Music Wars
Aubrey Plaza and Brian Tyree Henry cast in Child's Play reboot
Ice Nine Kills channel The Crow movie in "A Grave Mistake" cinematic video: Watch


We recommend this pack to gain the maximum coverage when you have an existing bull bar and do much of your travelling around coastal and mountainous areas.
The Cel-Fi GO for Telstra Smart Repeater is the ideal product to boost and distribute a 3G/4G mobile signal within your 4WD or Truck. Supporting voice and mobile internet for multiple mobile devices, dropped calls and slow internet are a thing of the past.


[봄나물주먹밥 레시피] - 2인분 - - 재료: 취나물 한줌, 베이컨 3줄, 밥 2공기, 통깨 약간 - 나물양념: 참기름 1큰술, 간장 1/2작은술(생략가능), 소금 한꼬집, 깨소금 약간 - 밥양념재료: 참기름 1큰술, 소금 1/4작은술, 깨소금 1/2작은술 [INGREDIENTS] - 2 servings - - Basic: 1 handful Chwinamul, 3 strips Bacons, 2 bowls Steamed rice, Sesame - Vegetable Seasoning: 1tbsp Sesame oil, 1/2tsp Soy sauce, pinch Salt, Sesame and salt mixture - Rice Seasoning: 1tbsp Sesame oil, 1/4tsp Salt, 1/2tsp Sesame and salt mixture ㅡ [요리 시작] 1. 손질한 취나물은 끓는 물에 소금을 넣고 데친 후 찬물에 헹궈 물기를 제거 후 잘게 잘라 나물 양념에 무쳐주세요. 1. Wash Chwinamul, blanch in a boiling water with some salt, and rinse with cold water. Remove the moist and chop into small pieces. Combine with Namul seasoning ingredients and stir well. 2. 베이컨을 잘게 자른 후 달군 팬에 볶아주세요.2 2. Chop bacon strips and sauté in a heated pan. 3. 볼에 고슬고슬하게 지은 밥과 밥양념재료, 취나물, 베이컨을 넣고 고루 섞어주세요. 3. Place warm rice in a bowl and combine with rice seasoning ingredients, chopped Chwinamul, and chopped bacon and stir well. 4. 주먹밥을 한입크기로 동그랗게 모양을 잡아준 후 통깨를 뿌려주세요. 4. Roll rice balls into bitesize pieces and sprinkle some sesame seeds. 5. 도시락으로 즐기기 좋은 메뉴랍니다. 5. Go on a picnic and enjoy.


text:
layout: section
section: core
title: Grouped Bar Series
component: series/groupedBar.js
namespace: Series
externals:
  grouped-bar-example-js: grouped-bar-example.js
  grouped-bar-example-html: grouped-bar-example.html
---

The grouped bar component renders multiple series of data in a grouped / clustered form.

If the data is loaded via `d3.csv`, it is converted to an array of objects, one per row, with properties names derived from the CSV 'column' headings. The easiest way to manipulate the data into multiple series (one per 'column'), is to use [`d3.data.spread`](/components/data/spread.html) component.

The following example shows how to manipulate some data into the required form, then configures the stacked bar series accordingly:

```js
{{{ codeblock grouped-bar-example-js }}}
```

Which gives the following:

{{{ dynamic-include 'codepen' html="grouped-bar-example-html" js="grouped-bar-example-js" }}}

{{{grouped-bar-example-html}}}
<script type="text/javascript">
{{{grouped-bar-example-js}}}
</script>


text:
Features: Catskill Escarpment, Blackhead Mountain
USGS Map Quads: Kaaterskill, Freehold
Trail Conference Map: Trail Map 141 (Northeastern Catskill Trails)
This section of the Long Path offers dramatic scenery. From North Lake, the trail proceeds north along the Catskill Escarpment (also known as the "Great Wall of Manitou"), with many spectacular views of the Hudson River valley over 2,000 feet below. Thomas Cole of the Hudson River school of painting made this area famous. After a steep climb to North Point, the trail becomes more rugged, descending from Stoppel Point to Dutcher Notch and then climbing Blackhead Mountain. The summit of Blackhead is the second highest point on the Long Path. North of Blackhead, the trail descends to the Batavia Kill Trail along one of the steepest trail sections in the Catskills. For the entire length of this section, the Long Path follows the Escarpment Trail, blazed with blue DEC trail markers.
Take the New York State Thruway to Exit 20 (Saugerties). Take NY Route 32 north to NY Route 32A. Continue on Route 32A north to Palenville. Turn left (west) onto NY Route 23A, and continue through Kaaterskill Clove to Haines Falls. In Haines Falls, turn right onto Greene County Route 18 and follow the signs to North Lake State Campground 3 miles ahead. Pass through the gate (a fee is charged in season) and continue ahead to the parking area at North Lake.
0.00 North Lake State Campground, at North Lake Beach (parking fee charged in season). (42.19802°, -74.03501°)
9.80 Parking area at end of Big Hollow Road. This is 1.4 miles along the red-blazed Black Dome Range Trail and the yellow-blazed Batavia Kill Trail from the beginning of this section. (42.28932°, -74.11610°)
0.00 North Lake State Campground (fee charged).
9.80 Batavia Kill Lean-to (0.25 miles from the Long Path along the yellow-blazed Batavia Kill Trail). Camping is prohibited between North Lake and North Point.
0.00 From the end of a short side trail that begins at the east end of the parking lot, the Long Path proceeds north along the blue-blazed Escarpment Trail, passing through a picnic area. The trail passes a register box and begins to ascend.
0.30 After a short, steep climb over a rock ledge, the trail reaches Artist Rock, which provides a good view of the Hudson River valley. Artist Rock was made famous by Thomas Cole, the founder of the Hudson River school of painting. Beyond Artist Rock, the trail climbs a series of small ledges and passes through an area of hemlock, white pine, pitch pine, red spruce and balsam fir. The trail passes a large rock ledge on the right. This was the site of "Jacob's Ladder," which allowed Catskill Mountain House visitors to climb up to Sunset Rock above.
0.80 To the right, a yellow-blazed side trail leads to the top of Sunset Rock, which offers a dramatic view of North and South Lakes and the site of the Catskill Mountain House, with Kaaterskill High Peak visible directly behind the lakes. This was the site of one of Thomas Cole's most famous paintings.
1.00 Reach Newman's Ledge, a large overhanging rock outcropping with a spectacular view north over the Hudson River valley. On a clear day, the tall buildings of Albany are visible in the distance, with the Taconics and Green Mountains of Vermont beyond. The trail now climbs about 140 feet and emerges in an open area, with an interesting mountaintop swamp that is well worth exploring.
1.55 The yellow-blazed Rock Shelter Trail leaves to the left. This trail drops into Mary's Glen and continues to the gatehouse at the entrance to the North Lake area. From Mary's Glen, the red-blazed Mary's Glen Trail can be followed back to North Lake. The Rock Shelter Trail is named for a large overhang known as Badman's Cave, which was reputed to be a hideout for outlaws in the 1700s. The Long Path continues to the right and climbs through a rocky area in a spruce-balsam forest.
2.20 The red-blazed Mary's Glen Trail leaves to the left. This trail descends through a beautiful wooded area and provides an alternate return route to North Lake. The Long Path continues ahead and begins a very steep ascent to North Point.
2.35 Reach North Point, an open rocky ledge, which provides a spectacular 360-degree view. To the south, directly below, are North and South Lakes, with Kaaterskill High Peak and Roundtop in the background. To the east is the ridge of the Escarpment that we have been following, with the Hudson
Valley precipitously below. To the west and immediately ahead is North Mountain, with Blackhead Mountain behind to the right (northwest). The City of Albany is visible in the distance to the northeast. From here the trail continues to climb North Mountain.
2.80 Reach the summit of North Mountain. While only slightly over 3,000 feet high, North Mountain has a spruce-balsam forest that is characteristic of the higher elevations. The trail continues up, at times steeply, through brushy, rocky areas.
4.05 Reach Stoppel Point, which provides a view northeast over the Hudson Valley, with Albany and the Taconics in the distance. Stoppel Point was the site of a recent plane crash, and parts of the wreckage may still be seen. From Stoppel Point, the trail begins to descend towards Dutcher Notch, with occasional views of the Blackhead Range through the trees, and then levels off.
5.15 The trail curves to the north and resumes its descent. Just before the descent, there is an excellent view back to the southeast. From here, it is evident that one has already descended a substantial distance from Stoppel Point. After a short, steep descent, the trail levels off again.
6.30 After another short, steep descent, the trail reaches Dutcher Notch, the lowest point on the Escarpment Trail since just beyond North Lake. To the right, the yellow-blazed Dutcher Notch Trail drops 1,700 feet in 2.4 miles to Floyd Hawver Road. There is a reliable spring on the Dutcher Notch Trail at 0.35 miles and about 500 vertical feet below this point, the only reliable water in this section. To the left, the yellow-blazed Colgate Lake Trail descends to Colgate Lake, first passing around an unnamed lake and skirting private Lake Capra. The Long Path continues straight ahead, beginning a steep ascent to a level area sometimes known as Arizona Plateau.
24.1 Ledge on the Escarpment Trail. 2001 [ED WALSH]
7.15 After an 800-foot climb, the trail reaches the Arizona plateau and begins to level off. To the left, a short side trail leads to a viewpoint back towards Stoppel Point and Lakes Capra and Colgate. The trail follows this level plateau for about a mile, with increasingly spectacular views of Blackhead Mountain straight ahead.
8.30 The trail begins its final 600-foot ascent to the summit of Blackhead Mountain. Near the summit, there is a spectacular view to the east over the Escarpment below, with Albany and the Taconics visible to the north.
8.80 Reach the summit of Blackhead Mountain, the second highest point on the Long Path and the fourth highest mountain in the Catskills. The view from the summit is overgrown, but views to the south are possible by heading into the scrub vegetation just left of the trail. Here, the Long Path, following the blue-blazed Escarpment Trail, turns right, as the yellow-blazed Blackhead Mountain Trail goes straight ahead and descends to Lockwood Gap between Blackhead and Black Dome Mountains. (It is worth the 0.2-miles detour down this trail to a spectacular view to the south and west). The Long Path drops precipitously down the north face of Blackhead, plunging over ledges in one of the steepest descents in the Catskills. Near the base of the descent, there are two fine views of the Hudson Valley to the east.
9.80 Reach the base of the descent from Blackhead Mountain. Here, the yellow-blazed Batavia Kill Trail descends to the left, passing the Batavia Kill Leanto in 0.25 miles, and ending at the red-blazed Black Dome Range Trail in 0.9 miles. From this point, the Black Dome Range Trail continues straight ahead to the parking area at the end of Big Hollow Road in another 0.5 miles. To continue on the Long Path, proceed straight ahead on the blue-blazed Escarpment Trail.
24.2 Along the Escarpment Trail in the fall. 2012 [JAKOB FRANKE]
‹ 23. Palenville to North Lake State Campground
25. Batavia Kill to NY Route 23 ›
GM's Day 24 of Long Path
Today's hike was spectacular!! In truth, the English language lacks the requisite superlatives to do justice to this section of the LP (more on my new language efforts later). I had previously hiked nearly the entire length of the Escarpment Trail in a West-to-East direction in a single long day with my brother and a few friends 28 or 29 years ago. I was somewhere between 20 & 22 years old at the time. We finished in total darkness, hiking with the aid of flashlights. It was epic!! One of the most memorable days of my youth. I'm a late bloomer, my youth ended at 36 when I landed my first real job. On that note, the quote I picked for my college yearbook picture was "Hold fast to the spirit of youth, Let the years that come do what they may." I'm living it, for better or worse. Sorry to digress. My brother reminded me last nite that on our trek of the Escarpment Trail those years ago we passed right by Kaaterskill Falls but didn't even realize it on account of the darkness. It's taken me nearly 30 years to get back. My wife joined me on today's hike. Since the North Lake Parking area was closed untill a week before Memorial Day, I decided to park at Kaaterskill Falls - it would only add 1.5 miles to the hike - and treat my wife to a view of the grand Falls. We sauntered down to the Falls viewing platform before joining the connecting trail to the North Lake State Campground and the start of this stage of the LP. My wife set a world record!! She glanced at the wonderous Kaaterskill Falls for merely 2.4 seconds before turning to leave and informing me that she would much rather be a Neiman Marcus. 100% true. I cannot lie on this site. I was genuinely disheartened, but we had a hike to do. The truth is even my wife was eventually won over by the beauty and majesty of this trail. Artist's Rock.....Lookout Rock.....Sunset Rock.....Newman's Ledge....These were more than enough to reel her in. The scenery, including the expansive Hudson River and its valley, the alpine-like lakes, and the high peaks in the near distance were unreal. To top it off, my wife was an art history buff in a previous life and we were on sacred ground immortalized by the Hudson River School artists. Each vista was like visiting the true likeness of an old friend from the canvas. I mentioned to my newly agreeable wife that it's interesting that the so-dubbed "Jacob's Ladder" allowed Catskill Mountain House guests to climb to the Sunset Rock vista high above. The Bible was much more a part of the American vernacular in the 19th century. It's likely that only a small minority of folks in our nation could identify the significance of "Jacob's Ladder" today. The further we advance, the more we regress. The hits kept coming on this hike! North Point....Stoppel Point....Milt's Lookout.....the Arizona Plateau....and the trek up and down Blackhead Mountain each offered fantastic views. I remembered the sight of the downed plane at Stoppel Point from nearly 30 years ago. It was like revisiting a sad old friend. I wondered again if the pilot survived. We weren't expecting to find the plane when we hiked the Escarpment in the early 1990s and were shocked to see the wreckage. This hike was also nearly as strenuous as it was beautiful. I think it's tougher in an East-to-West direction. There were plenty of steep climbs. I invented a new word for tough work on a hike: "Physisch" (pronounced 'fizz-ish'), which means physically demanding. I generated or derived the word from a combination of English and Yiddish (call it "Engdish"....pronounced 'ing-dish'). I'm getting quite good at languages!! OK, it's high time for me to climb up on a soap-box and scream: The section of the LP from Peekamouse Road thru the Escarpment Trail - including the Burroughs Range and Devil's Path - is at least as rewarding as any 10-14 day backpacking trek East of the Mississippi. The ruggedness, toughness of climbs, scenic beauty, diversity, solitude, etc are remarkable. I am so glad I did this in a continuous stretch - even without a heavy backpack. I think the LP needs to get more credit as one of America's great thru-hikes. Back to today, while the hiking was serene, I had a lurking fear of the descent of Blackhead, described above as "The Long Path drops precipitously down the north face of Blackhead, plunging over ledges in one of the steepest descents in the Catskills." The hiking reports from earlier this month on AllTrails indicated residual snow and ice. The truth is that it was a piece of cake on this 20th day of April 2021. Winter's leftovers were just friendly slush and with our hiking poles and micro-spikes (#overkill) there was no danger. Nevertheless, my traditional wife freaked out on the descent and hurled many non-traditional words at me, but in the spirit of being "civil, relevant, and non-commercial" I won't repeat them. She calmed down when we got to level ground and the walk back to our car at end of Big Hollow Road was peaceful. By the way, the drive thru these parts between Big Hollow Road and the North State Campground was unreal!! The highest virtues of bucolic combined with stunning views of the Devil's Path, Katterskill High Peak, and the Escarpment. I want to bring more people back to this region of NY....and the drive home was only 2 hours.


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The 2017 Bilderberg Conference will take place in Chantilly, Virginia, USA, from June 1st to 4th. The influential and intensely private four-day event will take place behind tight security at the luxury Westfields Marriott hotel.
The Sully District police of Fairfax County confirmed on May 17th that the police security operation based around on the Westfields Marriott hotel would last from the 31st May to the 4th June. The date and location of the 2017 conference was subsequently confirmed by the Bilderberg Group's website.
A police spokesperson also added that neither Stonecroft Boulevard or Conference Center Drive would be closed off for the duration of the Bilderberg Conference owing to the large number of businesses operating in the area. The security operation would be managed from the Sully district police headquarters on Stonecroft Boulevard.
The Westfields Marriott hotel nestles pleasantly amongst aerospace and arms company headquarters, about 40km west of Washington DC. Sully district police confirmed that there would be the possibility to view and take pictures of cars arriving into the Westfield Marriott gates but that no facilities for press would be provided.
The Bilderberg Conference was founded back in 1954, as a way for publicly elected officials and intelligence chiefs to share ideas about the future of America and Europe with financiers, energy company bosses and major industrialists, away from the glare of publicity.
And to this day, the conference gives high-level politicians the chance to mingle freely, away from the prying eyes of the press, with bank bosses, Silicon Valley billionaires, hedge fund owners, and corporate CEOs. The chance to share ideas and shape policy for the western world, with a refreshing lack of press scrutiny.
It is not known yet whether President Trump will attend the Chantilly conference, but former Secretary of State Henry Kissinger, a pivotal figure at Bilderberg, visited the President earlier this month, possibly to extend an invitation. And Bilderberg Steering Committee member Peter Thiel is a trusted Trump advisor and campaign donor.


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It was sometime in the 1970s when I first saw Gone with the Wind. It must have been on TV as we didn't have a VCR. The moment I saw this film it quickly became my favorite movie. The story, the actors, the sets, the music, it all worked on so many levels. Since that first viewing, I've watched it on laserdisc, DVD and streamed it. This afternoon I'll see Gone with the Wind as it was intended – in a theatre.
What I always liked about the Gone with the Wind story was the sheer ambition of how it was made. From the "Search for Scarlett" to endless script rewrites to changes in directors, the production was fraught with issues. But in the end a masterpiece was created winning 8 Academy Awards including Best Picture. If you want to learn more about this epic film, I highly recommend the book Scarlett, Rhett, and a cast of thousands: The filming of Gone with the Wind.
There's no question in my mind that Gone with the Wind inspired my interest in this industry. What I've always been particularly drawn to are the "movers and shakers" behind the camera. In the case of Gone with the Wind, it was producer David O. Selznick. For every film made there's one person you can point to that is responsible for its existence. Oh sure, the actors and crew are vital, but they wouldn't have anything if it wasn't for the producer—that one person who sees the vision and takes the risk.
Selznick International Pictures produced another one of my favorite films, Rebecca. It was Selznick who brought director Alfred Hitchcock over from England. That one decision that Selznick made led to films such as North by Northwest and Psycho.
While the opening sequence references "A Civilization gone with the wind," another civilization that is long gone is the studio system that made it. Yes, Selznick International Pictures was somewhat independent, but it was the studio system that made Gone with the Wind possible (MGM provided half the budget).
As we celebrate the 80th anniversary of this iconic picture, I look at the modern world of filmmaking. Although Selznick's company disbanded decades ago, MGM is still around along with a literal handful of the legacy studios (sadly 20th Century Fox has been acquired by Disney). But the one thing that now prevails is the independent filmmaker. We chart our own course against a sea of seemingly endless possibilities and to destinations sometimes unknown.
When I attended the American Film Market this past November presenting First Signal and my other projects, I couldn't help but think of the ambitions of so many under one roof striving to present their "motion picture" to new civilizations.


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text:
The Hairdresser Who Gives Free Haircuts to the Homeless
Good Doer Profile: Mark Bustos is a superstar hairdresser. On weekdays he's a stylist to the rich and famous. Come Sunday, he hits the streets of New York.
Mark Bustos,	Good Doer Profile,	New York,	Hairdresser,	Homeless
Bustos at work on the streets of New York (Instagram)
New York hairdresser Mark Bustos has a celebrity clientele, and he charges a fair dime for his styling services. But not on Sundays. On Sundays, Bustos hits the streets and offers his services to homeless people for free. Well-known by the people on the street, he works on a word-of-mouth basis, visiting areas like Union Square, the Lower East Side and Midtown as needed. While each person and each haircut is different, Bustos' opening line - "I want to do something nice for you today" - always stays the same.
5 Inspiring Initiatives Helping People on the Streets
The 90-Second Cure For a Bad Hair Day
Bustos publishes photos of his street sessions on his highly-popular Instagram feed, with short bios on individual clients. In one recent post, he wrote: "Every single day I have countless emails from others that want to help "me" and ask how they can "team up" with me. YOU DONT NEED ME! The best way to help me is to help our brothers and sisters who are less fortunate than we are."
A photo posted by Mark Bustos (@markbustos) onFeb 13, 2015 at 5:57am PST
On top of giving a pampering moment away from their challenging lives and a sense of dignity to homeless people, Bustos ultimately aims to inspire. He likes the idea that passersby will see what he's doing, and think of an idea for how they can use their own skills to help people less fortunate than themselves. His hashtag #BeAwesometoSomebody really says it all.
This Good Doer Profile was produced in collaboration with Goodnet partner Good Deeds Day - celebrating everyday people that make every day Good Deeds Day.


What can be likened to a journey as such? One of the options – musical compositions; "consumer goods" is perceived easily and without difficulty, for the assimilation of the serious tracks required some experience. A trip to South Korea – the real VIP entertainment, usually in this country are not sent immediately in his first foreign tour.
It is a country in East Asia occupying the entire Peninsula. The name of South Korea is not official, although in the media most often this option. For centuries, the Republic of Korea sought independence from Japan and China, and therefore the influence of these countries in Korea is extremely noticeable.
Koreans practice Buddhism and Christianity, approximately half of the population indifferent to religion. The official language is Korean. English is not spoken widely, so before buying a round in South Korea better to get a PhraseBook.
Than to pay in Korea?
The national currency is the Korean won. In some shops or on the market you can pay off the US$, although in supermarkets or hotels, foreign currency not accepted. It is best to "share" at the airport of arrival, it is necessary to remember that for the importation of amounts over $10,000 require the Declaration.


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