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Directed By: Martin Scorsese
Starring: Robert De Niro, Ray Liotta, Joe Pesci
Tag line: "In a world that's powered by violence, on the streets where the violent have power, a new generation carries on an old tradition"
Trivia: Ray Liotta turned down the part of Harvey Dent in Batman in order to make this film
The debate rages on as to which is the better gangster film: Francis Ford Coppola's award-winning masterpiece, The Godfather, or Goodfellas, Martin Scorsese's epic look at the New York crime scene of the '60s and '70s. Personally, I find it all a bit silly. I mean, who'd want to live in a world where we didn't have both?
Based on the novel Wiseguy by Nicholas Pileggi, Goodfellas follows Henry Hill (Ray Liotta) as he rises through the ranks of New York's criminal underworld. Life was good for Henry in the early days. He was friends with some of the era's most notorious mobsters, including Jimmy Conway (Robert DeNiro), a smooth-talking thief who engineered the largest airport heist in U.S. history; Tommy DeVito (Joe Pesci), a volatile wiseguy with a sharp sense of humor; and Paul Cicero (Paul Sorvino), the head of the family to which Henry belonged. Not even his marriage to the beautiful Karen (Lorraine Bracco) could slow Henry down. But the law soon caught up with him, and after doing a stint in prison, Henry took up drug trafficking. By the late '70s, he was himself a full-fledged drug addict, and as a result, his friends turned their backs on him. Fearful that Jimmy was going to have him killed, Henry struck a deal with the U.S. Government, testifying against his old associates and putting them behind bars for a very long time.
Thanks to Scorsese's always-engaging style, we become more than simple observers of this wild world of organized crime; we're active participants as well, swept up by the excitement of it all. Right from the start, when a teenage Henry (Christopher Serrone) goes to work as an errand boy for Paulie and his brother, Tuddy (Frank DiLeo), we feel the exhilaration of living life in the fast lane, a sensation that continues through much of the picture. What's more, the cast of Goodfellas is excellent. Liotta, DeNiro, Bracco, and Sorvino deliver superb performances, but the real stand-out is Joe Pesci, whose Tommy DeVito is as funny as he is violent, a rabid dog with a bite that's as bad as his bark.
So, which is better: The Godfather or Goodfellas? Both are great movies in their own right, but stylistically speaking, they couldn't be more different. True, both films deal with organized crime, creating a world where theft, extortion, and murder are simply business as usual. Yet when it comes to telling their stories, each movie takes an entirely different approach. If I were to look outside of the cinema, to other realms of entertainment, to describe the style of each film, I would say The Godfather is comparable to a 19th century opera, while Goodfellas, with its graphic depiction of violence and overall brutal approach, would be more along the lines of a heavyweight boxing match. Sure, there's violence, both sudden and harsh, in The Godfather, but there are also honorable characters; the wise Don, the loyal and loving son, men who rise above the bloodshed to achieve a level of respectability. With Goodfellas, we enjoy spending time with its characters, and even laugh with them on occasion, yet never once do we see them as anything more than mafia thugs.
If I were condemned to a desert island, and could take only one film with me, I'd pick The Godfather, simply because it's my all-time favorite movie. That said, I'm sure there would be nights when I'd be sitting on the beach of that island prison of mine, gazing out at the sea, and longing for a chance to see Goodfellas just one more time.
Joel G. Robertson said...
Holy moly it's #1000 and I'm first to comment! Woo-hoo! :)
Seriously though, congrats on this INCREDIBLE achievement Dave! And what a fantastic film to choose for this milestone, it's one of my all time faves; Iwatched it more than 20 times in my misspent youth.
As for the comparison to The Godfather, I agree that the two films are too different to draw any serious comparison. Other than both being period pieces set sgainst the backdrop of Italian-American mobsters, there's not much else.
Personally, I've always thought The Godfather was more about family (the blood ties kind) than about the mob. So for that reason alone, I'd argue Goodfellas is the best mob movie ever made. However, that doesn't mean it's necessarily "better" than The Godfather.
Congrats again my friend!
What am I, some kind of clown to you? Of course my vote is for Goodfellas.
I gotta go get the papers, the papers.
#2,025. Red Sonja (1985)


Jake Skifstad, Founder and President of Shield 616, will speak on the Shield 616 program. Shield 616 was formed with the street cop in mind.
First, we want to equip every officer with necessary advanced active shooter / crowd control gear.
Second we want to provide a support group for that officer who will pray for the officer and family on a daily basis and shower the officer with support and encouragement throughout the year.
Shield 616 was mindful of limited department budgets. Not only will all of the gear be donated but replaced every five years at no cost to any officer or department.
Have you ever wondered how you could support your local law enforcement officers? Have you ever desired to form personal relationships with your local law enforcement officers? Imagine a community where local citizens had the opportunity to not only provide much needed equipment to individual officers but also had the opportunity to form a personal relationship with them?
Shield 616 is unique and was formed with the vision of having local individuals, churches, bible study groups, businesses, foundations, "sponsor a cop" not only financially but also personally.


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News – Oct 2013
October 1, 2013 March 22, 2017 MD-Update Staff $, acupuncture, advanced heart failure, atrium, baptist health, Bolli, cardiology, cardiovascular research, cardiovascular service, catheter, catheter-based, catheter-based technology, clip, Corbin, Diabetes & Endocrinology, donor, emergency, emergency medicine, exam, exam room, Excelera, Excelera Corp., Excelera network, executive director, executive director of cardiovascular service, experience life-altering symptom, first-in-state, health system, heart 's left atrium, heart 's mitral valve leaflet, heart association, HHS, hospital medicine program, invasive MitraClip procedure, invasive open-heart surgery, ischemic, ischemic heart disease, Jagger, Jessup, Joseph, Joseph heart institute, Joseph physician, Kentucky, KentuckyOne, KentuckyOne health, Lexington, life-altering symptom, life-saving heart procedure, limited-distribution, limited-distribution drug, Louisville, Louisville department, medical group, medication, medicine, member organization, mesa, MitraClip, MitraClip procedure, Mr, national specialty pharmacy network, new life-saving heart procedure, News, open heart surgery, open-heart, ophthalmology, organ, organ donation, orthopaedic surgery, patient 's care, pediatrics, pharmaceuticals, pharmacy, physician, procedure, provider, quality of life, recognition, Richmond, Robert Salley, SEC, small metal clip, specialty, specialty drug, specialty pharmaceuticals, specialty pharmacy, specialty pharmacy network, sport medicine, stem cell, surgery, TAVR, team physician, TeamHealth, therapy, Trans catheter, UK department, university of Louisville, university of Louisville department of pediatrics, UofL, valve, WHAS, WHAS crusade
Saint Joseph Performs First-in-state MitraClip Procedure
LEXINGTON The Saint Joseph Heart Institute, part of KentuckyOne Health, has successfully completed a new life-saving heart procedure that can present an alternative for patients who are too ill for open-heart surgery. Part of a clinical trial, it is the first time in Kentucky the minimally invasive MitraClip procedure has been completed.
The MitraClip is a small metal clip that helps patients with mitral regurgitation (MR), a condition where the heart's mitral valve leaflets do not close tightly, causing blood to leak into the heart's left atrium and can lead to advanced heart failure.
This new treatment expands the options for selected patients with MR, especially those who are not candidates for invasive open-heart surgery. The procedure allows doctors to use catheter-based technology to repair the mitral valve, without the need for patients to undergo cardiopulmonary bypass.
The MitraClip procedure shortens recovery time and ultimately improves quality of life for those experiencing life-altering symptoms like fatigue and shortness of breath.
With MitraClip and the recently introduced Trans Catheter Aortic Valve Replacement (TAVR) procedure, Saint Joseph physicians like Robert Salley, MD, executive director of Cardiovascular Services, are now able to treat a number of serious heart conditions with minimally invasive methods. "This is the first time that we've had an ability to manage this problem for patients too ill to undergo open heart surgery," said Salley. "In the past, the only option to help patients with congestive heart failure was to band-aid the symptoms with medication. This is a huge opportunity to increase the health and quality of life for many patients."
During the MitraClip procedure, a physician will use traditional catheter methods to guide the clip into the left atrium. The clip is lowered and attached to the valve to repair or reduce MR. Before final placement, the clip can be moved and rotated to ensure optimal fit.
MR is the most common type of heart valve insufficiency in the United States, affecting approximately 4 million people. This condition cannot be medically treated, and previously could only be repaired with open-heart surgery on patients who were otherwise physically healthy.
Bolli wins AHA Achievement Award for Cardiovascular Research
DALLAS, TX/LOUISVILLE, KY The American Heart Association has presented its Research Achievement Award for 2013 to Roberto Bolli, MD, of the University of Louisville, "for the profound and lasting impact of his extraordinary contributions to cardiovascular research."
"Over the past 40 years, Bolli has gained deserved recognition as a world leader in his field," said American Heart Association president Mariell Jessup, MD, of the University of Pennsylvania in presenting the award. "He has advanced our understanding of the mechanisms responsible for injury to the heart during ischemia and reperfusion, opening the way for developing novel protective strategies in patients with ischemic heart disease."
Bolli is professor of Medicine, Physics and Biophysics, chief of the Division of Cardiovascular Medicine and director of the Institute of Molecular Cardiology at the University of Louisville. He received the award, a citation, and $2,500 honorarium, during the opening of the American Heart Association's Scientific Sessions 2013 at the Dallas Convention Center.
In early studies Bolli established a primary role of oxygen-free radicals in development of reversible heart dysfunction, or "myocardial stunning." His research further delineated at the molecular level how cardiac muscle adapts to stress, Jessup said.
More recently, Bolli has emerged as a leader in regenerative cardiology, the pioneering use of patient-derived cardiac stem cells to repair heart muscle damaged during a heart attack. The Kentucky scientist currently is directing the first major study to test the potential healing effect of patients' own stem cells.
"Seamlessly melding basic experiments with patient-oriented studies has been a hallmark of Dr. Bolli's research," Jessup noted. "He has made great strides in solving the mysteries of ischemic heart disease and developing effective new approaches in the attack on this worldwide problem afflicting millions."
Jagger Named 2014 SEC Team Physician of the Year
LEXINGTON The University of Kentucky's Dr. James Jagger has been named the 2014 Southeastern Conference Team Physician of the Year. Jagger is an assistant professor in the UK Department of Orthopaedic Surgery and Sports Medicine and serves as the UK chief of athletic medicine and head team physician for all UK sports.
The Team Physician of the Year award is chosen by the athletic training staffs at SEC member institutions and is given annually to recognize a team physician who has contributed greatly to both his or her school's teams and to the SEC sports community. Voting criteria includes both reliability to the physician's athletic department and noted involvement in the field of sports medicine.
Jagger's award this year makes back-to-back wins for UK physicians – Dr. Darren Johnson, chair of the UK Department of Orthopaedic Surgery and Sports Medicine, and head orthopaedic surgeon for UK Athletics, received the award in 2013.
UofL Physicians-Pediatrics Opens Pediatric Multi-Specialty Office in East Louisville
LOUISVILLE University of Louisville Physicians-Pediatrics has opened a pediatric multi-specialty office in Brownsboro Crossing shopping center, in Norton Medical Plaza II, across from Kosair Children's Medical Center-Brownsboro.
The office, which was partially funded with a $325,000 WHAS Crusade for Children grant to the University of Louisville Department of Pediatrics, will house seven UofL Physician's pediatric subspecialty practices: Acupuncture, Endocrinology, Gastroenterology, Ophthalmology, Neurology, Pulmonology, and Sleep Medicine.
"We opened this office to extend our reach down the I-71 corridor, making critical pediatric specialty care more easily available to children and families from Oldham, Shelby, and Carroll Counties," said Gerard Rabalais, MD, chairman, University of Louisville Department of Pediatrics.
The 7,500-square-foot office has 17 exam rooms, two intake rooms, a lab, a procedure room, and a large waiting room with a quiet area for anxious children. There is an administrative area, as well as space where providers can access electronic medical records and teach UofL medical students and residents.
The exam rooms are intentionally larger than typical exam rooms to accommodate families who often accompany children on pediatric visits. Two exam rooms are outfitted for exclusive use by pediatric acupuncture specialists and three rooms are dedicated to pediatric ophthalmology.
"As we developed this new office space we were able to consider the unique needs of children, especially those whose condition requires them to see multiple specialists, like a child with diabetes who needs ongoing ophthalmology care," Rabalais said. "We are grateful to the WHAS Crusade for Children for helping us create this special place for children."
TeamHealth Acquires MESA Medical Group
KNOXVILLE, TN/LEXINGTON, KY TeamHealth Holdings Inc. (NYSE:TMH), one of the nation's largest providers of outsourced physician staffing solutions for hospitals, announced the acquisition of the operations of Marshall Physician Services, LLC, operating as MESA Medical Group or "MESA." Based in Lexington, Ky., MESA manages and staffs emergency medicine and hospital medicine programs for 24 facilities in Kentucky, Indiana, Ohio, and West Virginia. A physician-founded and physician-led organization, MESA is a recognized regional leader in providing emergency medicine and hospital medicine staffing services for hospitals. Through the management and staffing of 23 emergency departments and 10 hospital medicine programs, MESA cares for more than 600,000 patients annually.
"When evaluating partnership opportunities, we determined that TeamHealth is a natural fit," said James Foster, MD, MESA co-founder and president. "TeamHealth offers extensive resources in both emergency medicine and hospital medicine management and provides unparalleled support for physicians and other clinicians. We are excited to join an organization that offers clinical and operational support with an emphasis on exceptional patient care."
CHI Joins National Specialty Pharmacy Network – Will Open Site in Louisville
LOUISVILLE Catholic Health Initiatives has joined Fairview Health Services and Intermountain Healthcare as investors in Excelera Corp., a national specialty pharmacy network based in Minneapolis. The three health systems all have committed resources, expertise, and investment capital to support Excelera's model of integrated care for patients who require specialty drugs.
KentuckyOne Health, part of the Catholic Health Initiatives community, will be a part of the new specialty pharmacy network with a location in Louisville at 5111 Commerce Crossing. Construction of the new pharmacy will be completed by March 1, 2014 and opened by July 1, 2014.
Excelera Corp., a network of specialty pharmacies based at health systems and academic medical centers, was formed in May 2012 to enable member organizations to gain access to limited-distribution drugs and provide continuity of care for patients with complex conditions who require specialty drugs.
"This partnership is designed to help us develop a national specialty drug network that is focused on better outcomes for our patients who so desperately need these medications," said Kevin Lofton, president and chief executive officer of Englewood, Colo.-based CHI, one of the nation's largest health systems. "The Excelera network gives our doctors access to a comprehensive, integrated network, including limited-distribution drugs, which enables them to manage the full spectrum of patient care."
Specialty pharmaceuticals are expensive drugs that may require special handling and administration and are often used to treat the most ill and clinically complex patients.
"We have already been doing many of these types of pharmacy services through our own Pharmacy Plus and University of Louisville outpatient pharmacy in Louisville, said Mark Milburn, vice president, Oncology Service Line, KentuckyOne Health. "Our patients will benefit from our expansion of services and access to medications. We serve a large population of patients with cancer, transplanted organs, HIV, and other conditions that require expensive types of medications. With the specialty pharmacy as part the patient's care team, this integration will enable ongoing optimization of therapy and prevent interruption or delay in the initiation of their needed drug therapy.
Most health plans now require patients to obtain specialty drugs from an outside specialty pharmacy that has no direct relationship with the patient. The health system does not have control as to when the patient initiates therapy and is not able to manage or monitor it. As a result, health systems and payers may incur higher medical costs, lower patient satisfaction, and suboptimal health outcomes as care plans are not fulfilled as intended.
The Excelera network will negotiate on behalf of its member organizations to remove barriers to specialty drug access and monitoring. Patients and providers of health systems in the Excelera network will benefit by working with a specialty pharmacy that is a member of their care team, can easily access specialty pharmaceuticals, and knows the patient's care plan.
Baptist Health Lexington, Richmond & Corbin Recognized for Organ Donation Outreach
LEXINGTON Baptist Health Lexington, Richmond, and Corbin were among a select group of hospitals nationwide recognized by the U.S. Department of Health and Human Services (HHS) for its outreach efforts for organ donation and registration.
The hospitals conducted awareness and registry campaigns to educate staff, patients, visitors, and community members about the critical need for organ, eye, and tissue donors and, by doing so, increased the number of potential donors on the state's donor registry. The hospitals earned points for each activity planned between September 2012 and May 2013. Baptist Health Corbin was awarded gold recognition and Baptist Health Lexington and Baptist Health Richmond were awarded silver recognition.
Hospitals were recognized through the Workplace Partnership for Life Hospital Campaign, a program launched in 2011 by HHS's Health Resources and Services Administration (HRSA). Of the 924 hospitals and transplant centers participating in the campaign, 322 were awarded recognition.
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The world is at war and everything around is almost destroyed. Your task is to help our little heroine - a fish. She is trying to get through all the pitfalls, which is why you have to kill various animals. During the game you can also unlock a few improvements.


Scottsdale eventually came to be known as "the West's Most Western Town," but for its founder, Chaplain Winfield Scott, "the West" need not be wild. In the untamed wilderness to the southeast of Camelback Mountain, he saw the potential for a vibrant and sustainable community. As a gifted cultivator of the agrarian landscape and its natural resources, Chaplain Scott was equally as determined to nurture and cultivate the hearts and minds of the peoples who would become a vital part of his homestead, including the young people who were raised on the land. Scottsdale needed a school.
Cultured trailblazers on the frontier, like Chaplain Scott, his wife Helen—who happened to be a school teacher—and some of their distinguished neighbors, believed that education was a marker of civilization and schools were the best conduit to ensure the settlement would develop and attract educated, engaged residents. If their beloved homestead, originally called Orangedale for the citrus trees that thrived there, was to grow from an outpost into a flourishing community, it needed an educational center to bring a sense of civilization and civic duty to its residents. Over time, their journey to establish suitable schooling for youngsters paralleled Scottsdale's development as a viable market town: as Scottsdale grew and prospered, it needed larger and larger schools.
American settlers commonly raised temporary schools until they could construct permanent schools. In 1896, Scottsdale's first makeshift school formed at Mrs. George Blount's Ranch, where she taught eight children not far from the Scott homestead. As the settlement grew, this school was insufficient. Later that year, Scott formed a school committee that organized an official Scottsdale school district, named in honor of Chaplain Scott. Shortly after, area residents came together in one of their first acts of civic unity and built a school—a small, one-room wooden building to accommodate the rising number of pupils in the district. In 1909, locals expressed faith and pride in their community once again and voted unanimously for a larger, more enduring brick school: the little red school house.
For residents in early Scottsdale and in other settlements-turned-towns across America, the little red school house was a local symbol of its permanent status and its promising future. For Arizona, the push for school s also had significant consequences for state and national politics. As one gauge for the area's potential as a civic body, the presence of numerous public schools in the Arizona Territory played a role in its attainment of statehood in 1912. Chaplain Winfield Scott never lived to see that day, but without doubt, he would have been proud to see his cultivating mission played a small part in bearing such fruit.
Civil War Veteran: This daguerreotype of Winfield Scott was taken just before he went off to serve in the Civil War in 1862. Scott was plagued for the rest of his life by severe wounds that he sustained at the Battle of the Spotsylvania Court House in 1864. ~ Source: Image courtesy of Scottsdale Historical Society.
Scottsdale's Founding Family : This image of Winfield Scott, his wife, Helen, and their mule, Old Maud, was the inspiration for the Winfield Scott Memorial statues by local Scottsdale artist, George-Ann Togoni. Recapturing the pioneering spirit of Scottsdale's founding family, the larger-than-life bronze memorial may be seen near the Scottsdale Historical Museum in the Scottsdale Civic Center Mall. ~ Source: Image courtesy of the Scottsdale Public Library.
Scottsdale's First School: Built in 1896, the wooden building depicted here was the first schoolhouse in Scottsdale. Grades one to eight were all taught in this 16 by 18 feet structure, until a 12 foot addition was added a few years later. Eventually, the structure was removed to make way for a permanent red brickschool building. ~ Source: Image courtesy of the Scottsdale Public Library.
School as Community Hub: After its opening in 1910, Scottsdale residents often gathered inside or in front of the schoolhouse for public events, like the one shown here in the 1920s. As a multipurpose community hub, the red brick school also housed civic and faith-based organizations prior to the establishment of their own permanent structures, such as the Scottsdale Baptist Church. ~ Source: Image courtesy of Scottsdale Historical Society.
The Scott Homestead: The Scotts grew many different crops at their adobe homestead, including oranges, alfalfa, peanuts, and sweet potatoes. Irrigation was the key to agricultural success and survival. Note the water well at the center of these homestead buildings, which stood at what is now the northeast corner of Indian School Road and Scottsdale Road. ~ Source: Image courtesy of the Scottsdale Historical Society.
Jim Newcomer describes the story behind the Winfield Scott Memorial by George-Ann Tognoni. Written by Megan Keough; narrated by Jim Newcomer. Recorded at Scottsdale Channel 11; courtesy of the Papago Salado Association.
Stephanie McBride-Schreiner and Meghan Keough, "Winfield Scott and Scottsdale's First School ," Salt River Stories, accessed April 20, 2019, https://saltriverstories.org/items/show/16.


The Stooges' debut album practically dared listeners not to flee in the other direction, whether from disgust or boredom. The album's second song finds Iggy Pop—a knot of pure sinew given to stripping shirtless, smearing himself in peanut butter, and surfing across the crowd—drawling a bizarrely submissive love song about curling up like Fido. Song three, "We Will Fall," is a 10-minute, drum-free dirge suggestive of Hare Krishnas on heavy Quaaludes. Even the album's crackerjack opener, the nihilist "1969," begins with four bars of plodding wah-wah and quarter-note snares, like a turgid fake-out to scare off the squares.
"I wish I'd been born coloured," British belter Dusty Springfield once told an interviewer. "When it comes to singing and feeling, I just want to be one of them and not me. Then again, I see how some of them are treated and I thank God I'm white." Springfield walked a racially-charged line with her music, but it wasn't always this way. After scoring tame pop hits early on, she signed to Atlantic Records, then the heart of soul music, and set about making the kind of music she'd long favored. Recorded at Memphis' famed American Sound Studio using musicians favored by Aretha Franklin, Dusty in Memphis was marked by the pressure Springfield felt following in the Queen of Soul's footsteps. Not only was Springfield inspired to re-record the bulk of her vocals in New York, but her biggest hit—the sexual coming-of-age memento "Son of a Preacher Man"—was originally rejected by Franklin (who later covered it).
Popular thinking has it that the 1960s ended with Altamont, the Manson killings, or the Beatles' split. But Let It Bleed, the Rolling Stones' eighth album released in Britain, could also make a strong claim to killing the decade's dream. Released at the end of 1969, Let It Bleed brilliantly captures the '60s fantasy turned dark, more blood in the streets than flowers in the hair.
Charles Mingus was one of the 20th century's great composers and improvisers—traits distilled nowhere so clearly as on this 40-minute extended composition from 1963, a work for 10 players that often sounds more explosive than any progressive big-band or orchestral opus. Down-home blues, Ellington swing, and classical textures are all here, though no single style is able to fully capture this unpredictable but ultimately joyful music.
Everyone knows now that the Beatles hated each other by the end. But Abbey Road, the final album they recorded, has become a fantasy of togetherness that both the world and the band itself needed to indulge. After the acrimony spurred by Let It Be's jam-session approach, Paul McCartney and producer George Martin called for one more record featuring the collaboration and cohesion of the band's early days. But they only got halfway there. The first side featured standalone songs that represented their individual visions, including George Harrison's most stunning compositions with the Beatles ("Something," "Here Comes the Sun"), and flashes of rawness from the two main songwriters ("Oh! Darling," where McCartney pushes his voice to its limit, and "I Want You (She's So Heavy)," in which John Lennon predates heavy-metal transcendence).
Along U.S. Route 61, blues music was born and Bessie Smith died. The highway was a northbound escape route for those seeking to leave the poverty of the Mississippi Delta, and a southbound escape route for James Earl Ray after he assassinated Martin Luther King, Jr. It also connected a young Jewish man from his home in Minnesota to the Southern music he'd adopt and find new clarity in.
Jimi Hendrix as guitarist is legend enough. A southpaw innovator who thought in noise and texture as much as notes and chords, he defined one of the most important aspects of psychedelic rock by splitting the difference between Chicago blues and free jazz. Electric Ladyland was the point when it became clear why he was making all that transcendent racket. It offered virtuosity in the service of worldbuilding—the old ways of hooky, three-minute rhythm & blues finding renewed purpose in this brave new Aquarian frontier.
After the hedonistic moments of their first album gave way to the hard-rock hallucinations of White Light/White Heat, the Velvet Underground took an unexpected turn for the spiritual. Lou Reed once grasped for transcendence on "Heroin," but the masochists and dope fiends that had colored the band's previous releases largely receded into the background on their self-titled third album.
A 33-year-old Leonard Cohen arrived to the folk scene a stranger in a strange land, with the aura of someone much older. He beheld you from the cover of his debut album with doe eyes and a grim mouth, in a black-and-white photo that seemed to belong to the 1940s more than the 1960s. His music was similarly out-of-time, with unforgettable lyrics that blew in like a breeze from some remote isle, perfumed with odd scents—tea, oranges. He played guitar gently and with great precision, the same way that he sang. He might have been friends with Lou Reed and Bob Dylan, but he didn't strum or holler, and Songs of Leonard Cohen existed in a world without rock'n'roll.
The Queen of Soul's reign began here. Groomed as a jazz-pop singer by Columbia, Aretha Franklin jumped to the R&B powerhouse Atlantic for her 11th album, I Never Loved a Man the Way I Love You. The label's big idea was to "let Aretha be Aretha." For the Memphis-born daughter of a Detroit preacher man, a 24-year-old mother of three who was trapped in a troubled marriage, that meant singing about adult emotional complexities with world-weary wisdom and barrel-chested expressiveness, accompanied by her own gospel piano chords, a bottom-heavy Muscle Shoals rhythm section, and punchy horns. It also meant hits, actual hits.
In 1969, Miles Davis was in search of a new sound, and In a Silent Way is the soundtrack to that search. At 42, he had already reinvented jazz a few times, and with the genre on the cusp of being completely eclipsed by rock and pop, he pivoted once again, taken with the psychedelic electrics of Jimi Hendrix and Sly Stone. But this album isn't a trend hop as much as it's a soothsaying outlier—it hinted at what would become known as jazz fusion in the '70s, but it also wafted into Tortoise's post-rock of the '90s and Radiohead's most outré experiments of the 21st century. Even now, it still stands out of time, in limbo, floating.
When James Brown pitched the idea of a live LP to King Records founder Syd Nathan, he was famously rebuffed. So Brown bankrolled Live at the Apollo himself, providing coffee to those freezing in line outside the legendary Harlem venue where, hours later, he would make the best live album of all time.
Bob Dylan put out seven albums in his first four years on Columbia, a creative arc perhaps best represented by a hot-air balloon going straight up into the stratosphere. In this formulation, Blonde on Blonde—lucky No. 7, released when Dylan was hungry and it was his world—is the point where his music reaches the edges of space, the frightening limit beyond which it could go no further. This is the album with the most intricate melodies, the harshest harmonica bleats, the most tangled imagery; it subtweets John Lennon, tells you where to hang your binoculars, and correctly notes that to live outside the law, you have to be honest. It's the one with Dylan's funniest jokes but it's also filled with crushing heartbreak, and it's the one with the best drumming and the fattest organ sound.
On the morning of September 15, 1963, a bomb planted by members of the Ku Klux Klan went off underneath the stairs of the 16th Street Baptist Church in Birmingham, Alabama, killing four young black girls. Like many, Nina Simone was galvanized by the tragedy. After making her name with memorable takes on love songs and showtunes, she felt a new responsibility to help the black community with her art. The next year, rage fueled "Mississippi Goddam," her first musical reaction to such injustices; "Four Women," the lone song she wrote on Wild Is the Wind, is more subdued but just as cutting. She details the stereotypical roles available for black women in civil rights-era America—the old auntie, the biracial outcast, the prostitute, the revolutionary—embedding histories of slavery, colorism, and oppression into music sparse enough to soundtrack a supper club soiree. Without those four girls in Birmingham, "Four Women" may have never come to be. The song would help set her creative course as she became increasingly involved in the movements around her.
With Sgt. Pepper's, the Beatles invented the rock album: What it might sound like, what sort of artwork might accompany it, how it might look displayed on the shelf. It was a wildly audacious gambit for a group of kids, and just 18 months later, with The Beatles, they shattered their own idea completely, with an object so heavy and unyielding the shelf collapsed.
The idea of a smartly sequenced, tightly stitched suite of songs goes out the window: What we hear on the White Album, as it's now universally called, is an assembly line of products with no operator. You can stare at the tantalizingly blank sleeve until you go snow-blind, trying to decode it. Nothing about it makes any kind of sense, and you will never meet a living soul who insists all the songs on it are worth keeping, nor will you find two people who agree on which songs to cut. The only real story binding its four sides occurs offstage, in the Beatles' soap opera of creative differences; in band mythology, this was the moment the ship sailed irreversibly towards the iceberg, with three squabbling creative forces bent on wresting the wheel from one another. But cocooned inside the music, we don't hear the bickering.
John Coltrane's classic quartet—featuring pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones—hit a pinnacle of their expressive potential together in the recording session that took place on December 9, 1964. Given all that it contains, the album put to tape on that day can seem paradoxically compact: It's not quite 33 minutes long, so how is it possible for there to be so much space for each soloist to shine? Enough time for Coltrane, as composer, to make the spiritual stakes of this four-movement suite so dramatically clear?
A Love Supreme's unusual power remains as mysterious as its pleasures are durable. There are an impressive number of Coltranes that we can hear. His solos are full of passages that show off his sturdy tone as well as his fluid melodic variations, but, in a surprise move, he also sings the album's title during the opening "Acknowledgement." Occasionally, he ventures high-register notes on his tenor sax that seem to gasp with airy vulnerability. Jimmy Garrison's bass creates a mood of risk as well as grace as he steadily navigates a series of fresh chords at the end of "Pursuance." Pianist McCoy Tyner and drummer Elvin Jones foster breakneck swing or deep reflection, given the needs of the moment.
Before Pet Sounds, rock existed in the declarative, the shouting of the succinct: The Beatles wanted to hold this, the Stones couldn't get that, the Kinks wanted you then. Even the Beach Boys were content to party there, ankles in the surf, harmonizing salt-flecked snapshots of the Southern California idyll. But on the group's 11th album, Brian Wilson turned his attention inward, to ask questions without clear answers—and, along the way, invented the modern pop auteur.


text:
the most powerful women in football !
Angela Merkel, Janet Yellen, Melinda Gates, Dilma Rousseff, Christine Lagarde ……….the toppers of most powerful women list according to Forbes.
Back home, in 1994, she was one of five people handpicked to start the National Stock Exchange (NSE) – more than two decades later, in Apr 2013, Chitra Ramkrishna became the third person, and most importantly the first woman, to head India's largest stock exchange.
Know the most powerful women in Soccer ??
Founded in 1905, Chelsea quickly gained a reputation for signing big name players and for attracting large crowds, but failed to win a major trophy in their first fifty years. They spent thirty of their first forty seasons in the First Division, although often found themselves finishing in mid-table or battling relegation. The closest Chelsea came to success was in the FA Cup; they were runners-up in 1915. The duck was finally broken by manager Ted Drake, who introduced a series of changes at the club and led Chelsea to the League Championship in 1955.
A further revival under managers Ruud Gullit and Gianluca Vialli from 1996 to 2000 saw Chelsea win the FA Cup in 1997 and 2000, the League Cup and UEFA Cup Winners' Cup in 1998, and qualify for the Champions League for the first time; the club have not finished outside of the top six in the Premier League since the 1995–96season. In 2003, Chelsea were bought by Russian billionaire Roman Abramovich, ushering in the club's current phase of success. José Mourinho led them to two league titles, an FA Cup and two League Cups in three seasons. The club added a further FA Cup in 2009, and then their first League and FA Cup "Double" in 2010. Under the stewardship of former player Roberto Di Matteo, the club won a seventh FA Cup in 2012, before going on to win its first UEFA Champions League title. That is the history of 'Chelsea Football Club' based in Fulham, London. The club's home ground is the 41,837-seat Stamford Bridge stadium, where they have played since their establishment. Chelsea's regular kit colours are royal blue shirts and shorts with white socks.
Recent reports in many press state that Marina Granovskaia is set to be one of the most powerful women in football. Behind the scenes the discreet Marina Granovskaia has long been one of the most powerful women in football and now the Russian is set to become even more influential as she is tipped to take over as Chelsea's chief executive at the age of just 39, following the surprise resignation of previous CEO Ron Gourlay. She is glamorous but anyone ready to dismiss Ms Granovskaia as merely a pretty face should be aware of a core of steel behind the megawatt smile. She has been the most trusted member of the oligarch's inner circle for 17 years and is already often described as 'chief executive in everything but title', his 'eminence grise'.
Born in Russia, at school there was little indication of her future as a powerhouse in the footballing world with one former teacher describing her as a 'grey mouse'. She studied at a Moscow school which specialised in music and dance, in which there were compulsory lessons, but at the time offered pupils no sport. She graduated six months after the collapse of the Soviet Union, and studied in the Foreign Languages Faculty of Moscow State University before leaving with honours in 1997, and starting her career at Sibneft, the oil company which was then owned by Abramovich. Since she moved from the Russian capital to London when he bought Chelsea Football Club in 2003, the billionaire is said to have grown to trust her implicitly.
Her biggest coup so far has been engineering the return to the club of Jose Mourinho, the Portuguese manager who was dubbed 'The Special One' during his first spell as Chelsea manager between 2004 and 2007. She is fluent in English and speaks several other European languages, and is said to be one of the primary architects behind Chelsea's youth scheme - by taking young talent and sending them on loan to develop.
Now there are further reports that Chelsea will not appoint a chief executive to replace Ron Gourlay, who left the club last week with immediate effect. Despite the dramatic nature of that statement Gourlay, after 10 years at Chelsea, including five as chief executive, has left on his own volition. He was not pushed, even if it might be argued he did not have the remit normally enjoyed by a chief executive. That Roman Abramovich is not planning to replace the Scot, who joined from Manchester United, is the clearest sign yet of what the football world has known for the past few years: Marina Granovskaia is the power at the club.
Chelsea now openly acknowledge it is Granovskaia who runs the football side of the business. For the past four transfer windows, at least, it is Granovskaia who has been landing the deals. It is Granovskaia who has been overseeing the contract negotiations with players such as John Terry, the signing of Cesc Fabregas and Diego Costa and dealing with difficult decisions such as moving Florent Malouda out of the first-team squad to train with the kids. In the statement announcing Gourlay's departure, Chelsea stated that Granovskaia will, along with Bruce Buck, the chairman, assume "additional executive responsibilities".
So here is the new powerwoman of football
29th Oct 2014.
Posted by Srinivasan Sampathkumar at Wednesday, October 29, 2014
Labels: GK, People, Personality, Sports, World News
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Ruffles of white chocolate-cream cheese frosting take this carrot cake to the next level. Seen from above, it looks like a rose. Make this cake a day or two ahead for the best flavor.
2. Whisk together flour, baking powder, salt, cinnamon, ginger, and nutmeg until thoroughly combined, 30 seconds. Beat eggs with granulated sugar on medium-high speed until pale, fluffy, and doubled in volume, about 5 minutes. While still beating, slowly drizzle in butter, then beat in vanilla until combined. Reduce speed to low and add all but 1/2 cup of flour mixture, beating just until combined. Toss carrots with remaining flour mixture to evenly coat, then fold into batter. Divide batter evenly between pans; smooth tops with an offset spatula.
3. Bake until cakes are puffed slightly and a tester inserted into centers comes out clean, 33 to 37 minutes. Transfer pans to a wire rack; let cool 10 minutes. Turn cakes out onto rack; remove parchment and let cool completely.
4. Frosting: Meanwhile, beat cream cheese on medium-high speed until smooth and creamy, about 2 minutes. While still beating, gradually add chocolate until smooth, scraping down bowl as needed. Add butter and lemon juice; beat to combine. Reduce speed to low; beat in confectioners' sugar, 1/4 cup at a time, until smooth and combined.
5. Cut each cake horizontally into 2 layers with a serrated knife. Place bottom layer of one cake, cut-side up, on a cake stand, preferably revolving, or a plate lined with parchment strips. Spread evenly with 3/4 cup frosting. Top with other half of cake, cut-side down; spread evenly with another 3/4 cup frosting. Repeat layering and frosting with second cake. Spread 1 cup frosting evenly over top and sides to create a crumb coat. Refrigerate, uncovered, until frosting is firm, at least 30 minutes.
6. Transfer remaining frosting to a pastry bag fitted with a petal tip, such as Ateco or Wilton #104. Starting at top center of cake and holding tip vertically, pipe frosting while slowly turning stand or plate, gradually working outward toward edges to create a swirl effect. Repeat process down side of cake, starting at top edge. (Sides will be easier to decorate if you keep large end of tip touching or almost touching cake, holding pointed tip perpendicular to cake while tracing down side.) If frosting starts to get too loose, refrigerate briefly just until firm, but not long enough to harden. Cake can be stored, uncovered, at room temperature up to 12 hours or refrigerated, uncovered, up to 2 days; bring to room temperature before serving.
This cake is SO dry & tasteless. It's so disappointing to go to all the trouble of making a cake from scratch only to have it turn out to be such a bland disaster. I'd give it 1/2 star if that were possible. It wasn't a total waste of time & ingredients - my dogs enjoyed it.
Made the white chocolate frosting but had to add WAY more powdered sugar. At 1 1/4 cups, at least for me, it was soup.


Copyright: Sharon McCormick. Photo by Olson Photographic, LLC.
High ceilings add drama, elegance and opulence that few other architectural features can match. But while the beauty of a two-story, vaulted or coffered ceiling is unquestionable, creating a space beneath them that is comfortable and welcoming can be a challenge. When managed with skillful decorating and proper planning, however, a room with a soaring ceiling can be a joy to look at and live in.
While ceilings are traditionally left white, using a different color on a high ceiling can make a huge difference in the feel of your room.
"Painting high ceilings white makes the room feel like you're entering an auditorium, which lacks cohesiveness and feels uninviting," says Los Angeles-based interior designer Justine Blanda-Wengrod. "Warm, rich, deeper colors will bring the ceiling down visually and create a welcoming cheerfulness to guests."
The importance of good color choices for all the surfaces in your room can't be overstated, adds designer Sharon McCormick, national spokesperson for the American Society of Interior Designers and Principal of Sharon McCormick Designs. She recommends painting the ceiling the same color as the walls to create a calm, inviting space. "This takes the emphasis away from the volume of the space and makes the room feel like a cohesive whole," she says.
Consider using other wall elements to accentuate this architectural detail and create more intimacy in the room. "Using texture, pattern or color on the ceiling plane is a great way to add to your space," says Minneapolis designer Lisa Peck of Pisa Designs. It will bring the ceiling down to a more human scale visually."
If your high ceiling is accompanied by a wall with windows, choosing the right coverings and using them in the most attractive way is essential. Designer Bernadette Peters of Newark, N.J.–based Style For Life Interiors says window coverings in high-ceiling rooms serve two purposes. "Floor to close to ceiling drapery panels will soften and warm the feel of the space, and sound will be absorbed by the long panels," she says.
Even if your windows don't go all the way to the ceiling, hanging your draperies high is a good design decision. "In such an expansive space, the room will look and feel more balanced," says Blanda-Wengrod.
Window coverings aren't the only wall décor to consider in rooms with high ceilings, however. Blanda-Wengrod says one of the most common mistakes homeowners make when decorating spaces with high ceilings is hanging artwork too high. "Limit the number of frames and hang them at eye level," she says. "Hanging a collection of several pieces of artwork that use the same style of frame creates unity and looks stylish on a blank wall."
McCormick agrees, adding that it's important to remember scale when choosing the artwork, as well. "Fewer but larger pieces work better than many small pieces," she says. "Floor screens make great wall hangings on a tall wall."
Another factor in creating a cohesive setting in a room with high ceilings is furnishings. "Think about the scale of the piece of furniture in relation to the scale of the space," says Peck. "Taller backs on furniture, more massive arms, legs and cushioning can help pieces look better in a space with higher ceilings."
Too-small pieces will be swallowed in a room with high ceilings, adds McCormick. "Pieces like low-slung chairs will look dwarfed by the height of the walls," she says.
Beside making the right choices in the pieces themselves, arranging them correctly can make all the difference in the sociability of your space. Peck says the ceiling itself can even be used to accentuate specific areas in a room. "Use a color, height or pattern change directly over the seating area to define the space below," she says.
In expansive rooms with high ceilings, Blanda-Wengrod says arranging the furniture into several smaller seating areas can help alleviate the sense of being in an auditorium-like setting. "Grouping furniture pieces together in different areas of the room will help create more intimate areas," she says.
While the ceiling may be the main attraction, don't forget that the floor is an important design element in making the space seem warm and inviting.
Not only will a large area rug help blunt some of the cave-like acoustics of wood floors in high-ceiling rooms, it can also be an important design element. "A beautiful area rug that complements your color scheme can pull in the space and create a sense of coziness," says Blanda-Wengard.
While changes in lighting and décor are relatively simple fixes in any room, dealing with the acoustic challenges in a room with a very high ceiling can be a little trickier fix.
Many homes with high or two-story ceilings also have hard surface floors like wood and tile, which exacerbates the feeling of being in an empty auditorium, says acoustics expert Leonard Hospidor.
"The sound in a large room bounces just like it would in a small room, but the problem is that it's coming from so far away, it's so delayed that it starts interfering with the intelligibility of things," says Hospidor. "The problem is there's sometimes a big tradeoff between aesthetics and functionality."
Rugs: Wood floors, tile floors and walls are all hard surfaces, and sound bounces off them without really being absorbed at all. While you don't have to carpet the walls to have a conversation, throwing down some softer flooring is one way to blunt the echoing from a large room.
Plush furnishings: When you choose your furnishings, adding plush pieces will make your guests feel comfortable in more ways than one. Opting for a cloth sofa instead of leather, or covered arm chairs instead of wood, will help absorb some of the tones that cause conversation or television dialogue to be garbled.
Large drapes: Thick, heavy draperies will not only fit the scale and drama of a high-ceilinged room, they will also help buffer some of the acoustic problems that can occur. Skip the sheers and the silks and opt for what Hospidor calls "theater curtains:" plush, weighty fabrics like velvet or a thick cotton weave that absorb the desired frequencies.
Stealth soundproofing: One trick that Hospidor recommends that will fool the eye and the ear is hiding acoustic panels behind canvas art. By wrapping a printed canvas around sound-absorbing materials, you can have art on your wall you enjoy while still reducing a wall's sound reflecting qualities.
Plants are also a great way to create a sense of life while adding a beautiful element of height and color into a space. Blanda-Wengard recommends adding tall trees like Kentia palms in beautiful decorative pots. "It will highlight the corners of the room, which will enhance your furniture," she says.
Plants can also do double duty by becoming a decorative light sources, says Brooke Ziccardi, principal of Ziccardi Designs in Costa Mesa, Calif. Ziccardi says that adding uplights into plants emphasizes their effect. "It creates a more intimate space by bringing the eye level down," she says. "Plants can create interesting shadow and light patterns that bring attention to the walls and minimize the height of the ceiling."
Lighting a room with a high ceiling can be one of the most challenging aspects of designing the room. If you can be involved in lighting design when your home is being built, it's never too early to consider your illumination plan, says Blanda-Wengard. She recommends homeowners involved in the construction phase visualize where their furniture and other items will be so they can work with an electrician to rough out the best wiring setup for lighting the room.
"Ask the electrician to make sure you have enough light in the room—general lighting, task and accent lighting—and while you're at it, remind him to put them all on dimmers," she says.
When you're working on your lighting plan, however, remember that the aesthetics of the fixtures themselves should be a consideration. "When you're in these tall rooms, you certainly don't want to use an 8-inch wall sconce or regular small table lamp," says Jeff Dross, senior product manager and trends analyst for Kichler Lighting. He says taller table lamps fill more vertical space and give more interest to the room and that 24 to26- inch wall sconces can make a dramatic effect on the feel of a space. "Those taller wall sconces will give more interest on the wall, break it up a bit and, if you hang a series of them together, it can almost create the illusion of a ceiling at the top of the light line," he says. "It makes the space feel a little cozier and more inviting."
Everyone knows hot air rises and cool air sinks, but that doesn't mean the only way to manage temperature in these rooms is by hanging a ceiling fan on a long conduit and keeping it running.
"Proper ventilation is vital in every room, but there are more ways to get there than ceiling fans," says Atlanta-based interior designer Melissa Galt. "Sometimes they're just not an appropriate design choice at all."
Galt says choosing draperies with a high insulation value makes it easier to manage the cooling for the whole house by keeping the high-ceilinged room from drawing heat in. "Lined and interlined drapery in a heavy fabric will do much more than mere shutters or blinds," she says.
Other options for high windows that are tough to manage thermally include window films that are available in a variety of styles and purposes, including eliminating glare and reducing solar heat gain.
Besides window coverings, Galt says adding plush fabrics to any surface will help homeowners manage the temperature in their high-ceilinged rooms. "All manner of soft goods, including thick-pile Persian rugs or hand-knotted Tibetans, dense upholstery and warmer colors will all act to reduce heat loss and maintain warmth," Galt says. "In the summer months, shifting to lighter pieces including slipcovers in a lightweight linen, silk or cotton can make the space feel and look cooler."
The holiday season is typically regarded as extending from late November to early January. Using three years of data, the yearly estimated fire loss for December 24, 25 and 26 is estimated at over $80 million. Each year, these losses result from an estimated 12,000 fires that required a fire department response. These fires cause an annual national average of approximately 250 injuries and 40 fatalities.


Originally from Ossett, West Yorkshire, England, Amanda has been working in English language teaching for more than 23 years, first as a teacher and then as a Cambridge Centre Manager. Along the way she has also worked as a speaking examiner, invigilator and supervisor for Cambridge English as well as a Cambridge (IGCSE) International Examiner for written examinations. She holds a Bachelor Degree and a Masters Degree in Education ( Applied Linguistics ) and is also a professionally certified translator with the Chartered Institute of Linguists, London, UK.
After a time in Washington DC, America, Alessandra came to Italy in 2001 and has been here ever since. Having obtained a Degree in Foreign Languages, she has worked as an English teacher since joining the team at English Express in 2008 and has helped the centre to grow and build a reputation for innovation, quality and flexibility throughout the region. Alessandra deals with all aspects of exam provision for individual candidates as well as schools.
Victor was raised and educated in Sheffield in the north of England. CLIL qualified to teach curricula subjects in English, he has worked as an English teacher for young learners, teenagers and adults at a variety of levels as well as preparing students for Cambridge English exams and teaching business English. An experienced IT professional he is involved with assistance in schools and promotional workshops for the whole range of Cambridge Examinations.
Giorgio is a bilingual native speaker of both English and Italian. He is a trained Cambridge Examination invigilator and marshal and is also involved in the provision of Cambridge events organized by IT997 English Express (Workshops and presentations).
Born and raised in New York, Teresa moved to Italy some years ago and obtained a TEFL qualification for teaching English and is also qualified to teach CLIL. She has been working with English Express since 2015, teaching English and preparing students of various ages and levels (young learners, teenagers and adults) for Cambridge Examinations. She is involved with assisting in promotional workshops regarding Cambridge Examinations.
Cate moved to Italy some years ago. She has a degree in English Literature and Language. Qualified to teach CLIL, she has been teaching English and preparing students of all ages and linguistic levels for Cambridge Exams at English Express since 2014. She teaches young learners as well as teenagers and adults. She is involved in running Cambridge English Workshops for Teachers and Presentations for Parents.
Alessandra has been in administration at English Express since 2004, and ever since has been helping the Centre to grow and build a reputation for quality services. She deals with all administrative aspects regarding Cambridge Exams including enrolling students for exams, answering queries regarding exams both for internal and external candidates and is involved in the invigilation and marshaling of Cambridge English Examinations.


I would recommend when you go back to hospital for a check up is to ask for another voucher for a second pair of glasses. I made the argument that while we were trying to establish him wearing glasses, if he broke them we would be back to square one while they were being mended.
I'm not sure if there is a perfect age at which your child has to start wearing glasses, but somehow I feel three years old isn't the easiest! It took us six months to get our son to wear his glasses most of the time. We had taken the eye hospital at its word when the doctor said – don't worry too much to begin with, just encourage him to wear them. A few months later they began to get more insistent with us that he really needed to wear them to get the benefit of early diagnosis. In the end, after trying out strategies that Supernanny would have been proud of, it came down to simple bribery! He was allowed to watch his favourite programme if he wore his glasses. As soon as he took them off the television went off. Once this had some success, we extended it to watching anything on television required him to wear his glasses. What would then happen was that he'd go off and play, forgetting he was wearing his glasses. We then built up getting him to wear his glasses for other activities with very little protest. The last thing was getting him to wear them out of the house. He still has days when he doesn't want to wear them. I try to remain firm, but avoid a big scene if he refused to put them on. If he remains adamant that he's not going to wear them, I put them away and try half an hour later.


text:
Next Books By Genre
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Adventure Stories 9781474758284-01-000 9781474758284-01-000 9781474758284
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Escape from Haunted Treasure Island
By Michael Anthony Steele (Author), Pauline Reeves (Illustrator)
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The Nearly Fearless Monkey Pirates sail to a secret treasure island where they come face to face with pirate ghosts! Will they escape or will they walk the haunted plank? Created with young readers in mind, this adventure story contains support tools including a glossary and discussion questions.
Michael Anthony Steele has been in the entertainment industry for twenty-two years. He has worked in many capacities of film and television production from props and special effects all the way up to writing and directing. For the past nineteen years, Mr. Steele has written exclusively for family entertainment. For television and video, he wrote for shows including WISHBONE, Barney & Friends, and Boz, The Green Bear Next Door. He has authored more than one hundred books for various characters and brands including Batman, Green Lantern, Shrek, LEGO City, Spider-Man, Tony Hawk, The Hardy Boys, Garfield, Night at the Museum, and The Penguins of Madagascar. Mr. Steele can be contacted through his website: MichaelAnthonySteele.com Pauline lives by the sea in Exmouth, in southwest England, with her husband, two children, and dog Jenson. She has loved drawing and creating since she was a child, making and drawing all sorts of things. Following her passion, Pauline graduated from Plymouth College of Art with a degree in illustration, and she specializes in children's literature. She takes inspiration from the funny and endearing things animals and people do every day, as well as the superb imaginations that children have. Pauline works both digitally and with traditional materials to create quirky illustrations with humor and charm.
Contributor: Michael Anthony Steele
Series: Nearly Fearless Monkey Pirates
Biography: Michael Anthony Steele has been in the entertainment industry for twenty-two years. He has worked in many capacities of film and television production from props and special effects all the way up to writing and directing. For the past nineteen years, Mr. Steele has written exclusively for family entertainment. For television and video, he wrote for shows including WISHBONE, Barney & Friends, and Boz, The Green Bear Next Door. He has authored more than one hundred books for various characters and brands including Batman, Green Lantern, Shrek, LEGO City, Spider-Man, Tony Hawk, The Hardy Boys, Garfield, Night at the Museum, and The Penguins of Madagascar. Mr. Steele can be contacted through his website: MichaelAnthonySteele.com Pauline lives by the sea in Exmouth, in southwest England, with her husband, two children, and dog Jenson. She has loved drawing and creating since she was a child, making and drawing all sorts of things. Following her passion, Pauline graduated from Plymouth College of Art with a degree in illustration, and she specializes in children's literature. She takes inspiration from the funny and endearing things animals and people do every day, as well as the superb imaginations that children have. Pauline works both digitally and with traditional materials to create quirky illustrations with humor and charm.
Michael Anthony Steele
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text:
Anna é uma vila localizada no estado norte-americano de Ohio, no Condado de Shelby.

Demografia
Segundo o censo norte-americano de 2000, a sua população era de 1319 habitantes.
Em 2006, foi estimada uma população de 1518, um aumento de 199 (15.1%).

Geografia
De acordo com o United States Census Bureau tem uma área de
2,2 km², dos quais 2,2 km² cobertos por terra e 0,0 km² cobertos por água.

Localidades na vizinhança
O diagrama seguinte representa as localidades num raio de 12 km ao redor de Anna.

Ligações externas

Vilas do Ohio

redpajama_set_name: RedPajamaWikipedia


text:
April 1915: "Poisson d'Avril" & "Heureuses Pâques"
Poisson d'Avril
Even in war conditions, in an atmosphere which was far from funny, the French soldier might recall the absurd, fun tradition of poisson d'Avril (where a child sticks a paper fish on a victim's back as an April Fool's Day trick) by sending a postcard. This one has a particularly patriotic theme: Alsace personified is tied to a tree somewhere in recognisably Alsacien mountain terrain. However, an heroic French soldier is appearing riding a fish to her rescue. The fish's colours of red and white, combined with his blue, signify patriotism. A German soldier is just seen skulking away. The image is ludicrous but the message is hopeful and serious: "Dearest Alsace! Liberty at last!"
This card from my collection was posted on 1st April 1915.
As far as possible, French soldiers marked Easter, though tinged with sadness; many fathers took the opportunity to send postcards or letters to their children to show that they were thinking of them, and cards were sent to and by their loved ones. Sometimes Christian services were possible, with music, hymns and communion.
Many cards have a patriotic, propaganda flavour. In this one, the tradition of Easter eggs is surreally taken further and to the soldiers' delight, the egg cracks open to reveal Alsace (with the black coiffe) and Lorraine (in the lace cap). They are clutching the French flag and Alsace's dress is tinged with the French colours red, white and blue. The message in the bottom left hand corner is Revanche: revenge, the return of the lost territory, and the cheering soldiers reflect the anticipated joy when the two regions will be restored to France.
This card was sent in April 1915 by two friends to Bruno who was serving at sea. As far as I can find out, he survived the war.
Author Gwyneth Roberts, mightygwynPosted on April 1, 2016 Categories Alsace at War - 1914-1918, Patriotism, War in the Vosges - 1914-1918Tags 1418, Elsass Lothringen, First World War, Great War, Heureuses Pâques, Poisson d'Avril1 Comment on April 1915: "Poisson d'Avril" & "Heureuses Pâques"
Three armies, one battle, one cross: le Croix du Moulin, Jebsheim.
Together in death
United in peace
Ils sont réunis dans la mort
Unissons-nous dans la paix
Sie sind im tode vereint lässt
Uns auch im frieden einig sein
They are together in death
Let us unite in peace
La Croix du Paix
The memorial was built on the site of the old mill at Jebsheim, Alsace. The mill and the village were destroyed during the battle which raged from 02.30h on 25th January to 19.30h on 30th January, 1945, when the Americans pushed the German troops back towards the Rhine. In that time, in inhumane and bitter winter conditions, 1034 men were killed and more 2000 wounded. That is one death roughly every fifteen minutes.
As time has passed, there has been a spirit of reconciliation between the former adversaries and the memorial recognises the dead of all three armies: French, American and German. The three facets of the cross represent the three nations and the elegant, peaceful inscription is written in three languages. The armies and units who fought here are listed on bronze plaques, but these are only brought out for official ceremonies, as the first versions were stolen.
The monument was the concept of an American and two French men who fought at Jebsheim and it was inaugurated in June 1988. One aspiration is to bring the message of peace to young people and future generations.
Le mur du souvenir
There is also a wall in memory of Alsaciens and Mosellans who were victims of war in violation of their international rights: those interned, those deported, those who were incorporated into the enemy army, those who were prisoners of war, those who were injured or permanently disabled, the fighters in the Resistance in Alsace and in the Free French Army. It recalls people's long journey of suffering and sacrifices beginning in 1940 and leading to their tragic destiny.
Battleground to place of peace
This was part of the battleground in January 1945. In the top picture below, I am standing on the bridge taking the D3 over the millrace facing the Vosges and the Rhine is a few kilometres behind me. If you look closely, you can just see the white and yellow of road signs at the right of the picture, to the right of the bush: this was roughly the position of the front line at the beginning of the battle, and where I am standing in the second picture (I'm still by the millrace) is the point of progress made by the end.
This is a very peaceful location, disturbed only by the occasional passing cyclist or tractor and one can sit on the old stones by the former millrace, thinking of the family who made their living here and the dreadful destruction which was the cost of liberation. It seemed strangely beautiful and appropriate that the mill site, now a place for peace and reflection, is now colonised by these stunning, iridescent damselflies.
Source for dates and figures: interpretation boards for Sentier de la Paix, le Croix du Moulin, Jebsheim
Author Gwyneth Roberts, mightygwynPosted on November 11, 2015 January 27, 2021 Categories War: occasional views of the 1939-1945 World WarTags Alsace, Croix du Moulin, Elsass ., Jebsheim, Memorials, Second World WarLeave a comment on Three armies, one battle, one cross: le Croix du Moulin, Jebsheim.
Defiance, resolution, inspiration: Jeanne d'Arc on memorials in Alsace
In 1431 a young peasant girl from Domrémy in the Vosges was burned alive after an illegal trial for heresy in Rouen. During the period in which Alsace and Lorraine were part of the German Empire, she became a powerful symbol of resistance, of defiance, of eagerness for liberation
T he inspirational figure of Jeanne or Jehanne d'Arc is a recurrent theme in monuments and memorials after the Great War. In the memorial in the rural village of Breitenbach, Bas-Rhin, [above and left], Jeanne stands alone.
Many Alsacien men were forced to fight for Germany, although anyone under the age of 43 when war was declared in 1914 had not known life as a French citizen and Alsacien men in the German army had grown up as Germans. Nevertheless, the theme of a young man being forced to fight for the oppressor is a powerful one and many patriotic and propaganda images depict the despair of the young soldier and his family.
The woman depicted on the war memorial at Guebwiller [previous blog post] pins a small rosette on a young man's chest under his jacket and tells him, "Remember you are French." These rosettes were red, white and blue (the colours of the French flag). The memorial at Rosheim shows a French poilu offering the open hand of friendship to a young man who has opened his jacket to reveal the patriotic rosette over his heart; his enforced pickelhaube has been discarded at his feet and Jeanne embraces the two in a gesture which emphasises harmony and unity restored between France and her lost départements.
The inspiration of Jeanne in times of oppression and war is reflected in her use in cemeteries. The village and community of Plaine, north of Saales, suffered dreadfully in the raging combats of August 1914 as each side fought to gain control of the essential cols. Jeanne was erected in this cemetery on 12th August 1923. The base of the statue says, "À eux l'immortalité, à nous le souvenir."
Menil-sur-Belvitte is a large 1917 nécropole nationale south of Baccarat and it is the resting place of a thousand men, many casualties from the Bataille de la Mortagne (August 1914) and the ghastly fighting at Col de la Chipote. Opposite the cemetery, peacefully surrounded by pastures with the characteristic Vosgienne cows, is a memorial privately erected in 1927 by l'Abbé Collé, the village curé. He also established a small commemorative museum which was destroyed by German troops in 1944.
The essential figures on this memorial are in gold; one is Jeanne ("custos patriae") at the pinnacle and the others (in what seems like slightly toned down gold) are the brave heroes of the 13th, 14th 15th and 21st Corps d'Armée 1914.
It is a memorial of unexpected height and power; the loyal Chasseur figures, bravely ready for any challenger and cared for in death by a despairing figure of Mary, demand attention. Jeanne's immense elevation, her raised cruciform sword and her striking gold armour communicate as a symbol of defiance and inner strength. Your eye is drawn upwards from the brave soldiers to their alleged inspiration as they fought to regain Alsace and Moselle for France.
Jeanne d'Arc, Ballon d'Alsace
Le cimetière militaire Plaine also includes a small plot containing the remains of 40 British casualties from the Great War. It is in the far left hand corner of my photograph.
Much of this text has been adapted from a previous blog post. It is published here in the period of Remembrance.
Author Gwyneth Roberts, mightygwynPosted on November 9, 2015 November 11, 2015 Categories Alsace at War - 1914-1918, VosgesTags 1418, Alsace, First World War, Great War, Joan of Arc, MemorialsLeave a comment on Defiance, resolution, inspiration: Jeanne d'Arc on memorials in Alsace
Bitter grief: allegorical women on war memorials in Alsace. A post for Remembrance
Le Souvenir, Nancy
Le Souvenir in plas Maginot, Nancy is a bronze sculpture commemorating the annexation of Alsace and Lorraine by Germany in 1871 . It was created by Paul Dubois and erected in 1910 after his death. The two women wear the coiffes of their respective regions and Alsace, on the right, stares with bleak unseeing eyes into the mid-distance. Lorraine is so preoccupied with grief that she rests her head on her companion's shoulder, while the two embrace.
As a consequence of the time in which Alsace and Lorraine were part of Germany, Great War memorials in Alsace tend to be different from those elsewhere. They were built at a time when Alsace had been returned to France, but during the 1914-1918 war, many local men had been fighting as German soldiers. An image of a German soldier was unlikely to be palatable, so a device often used is a bereaved woman. She represents mothers, wives and daughters and may be carrying children. She is often dressed in Alsacien costume so that she is an allegory for Alsace mourning her lost sons, which takes on another layer of meaning if you choose to think of Alsace lost to France for nearly five decades.
Bennwihr's memorial is called Fidelité, depicting the loyalty of Alsace (with the large coiffe: bow) and Lorraine (with the soft cap) to France. It was erected in 1925 and remained in place during the Second World War. The scars and marks on the memorial testify to the violence of the battle for the Liberation in December 1944: the village was almost entirely obliterated, as my postcard shows.
Ste-Odile, part of Bennwihr's Peace memorial
The grieving woman below is the figure on Illhausern's memorial to the dead of both wars, though she was part of the original Great War memorial. Civilian deaths are listed on brass plaques on the wall of the church. Occupied by the Germans from 1940 onwards, my postcard shows that the village and original church were almost obliterated in the combats of December 1944.
Illhausern
Memorials showing bereaved women with their fatherless children include Kintzheim [below]
and Zellenberg [below].
Sometimes a women is shown alone, distraught with grief.
And sometimes all she has is a corpse.
All photos and postcards my own.
Author Gwyneth Roberts, mightygwynPosted on November 6, 2015 January 28, 2017 Categories Alsace at War - 1914-1918, War: occasional views of the 1939-1945 World WarTags 1418, Alsace, First World War, MemorialsLeave a comment on Bitter grief: allegorical women on war memorials in Alsace. A post for Remembrance
"His heart is French!" One of a set of posts for Remembrance
Propaganda: 'Sous l'uniforme allemand son cœur est français!'
A young man in Alsace before the Great War was almost certainly likely to have been born and raised German, because Alsace had been part of Reichsland Elsaß Lothringen since 1871. He would probably speak little French, if any. Many men carried out military service in the German Army and there seems to be evidence from contemporary writers that the population was not generally resentful. By contrast there was suspicion of French soldiers, locally called ròthòsa ("red trousers") because of their uniforms, when they arrived during the Great War.
Some 1914-1918 war memorials in Alsace reflect the problem of memorialising local young men who fought and died as Germans. A German soldier would not be a popular choice of symbol, so the notion of wearing a tricolore badge under his German uniform was chosen. The war memorial in Guebwiller [above] shows a woman pinning a badge under a young man's jacket, saying to him, 'Remember that you are French.' She could be his mother, his wife, his sister: wearing her coiffe, she symbolises the idealised patriotic women of Alsace, secretly longing to be French again. My postcard shows this memorial before the Second World War.
The memorial at Rosheim [below] shows Jeanne d'Arc mediating between two soldiers. The man on the right is pointing to the badge of loyalty hidden under his German jacket. His pickelhaube is abandoned on the floor and he is unarmed. The man on the left is a French poilu, helmet garlanded with leaves of peace; he is reaching out a hand to the young man who reluctantly fought in the German army and his weapons pose no threat.
The two propaganda postcards purport to depict the devastated family of a young Alsacien who has to fight for Germany. One [above] says, 'Sous l'uniforme allemand son cœur est français!' and shows a woman pinning the secret tricolore badge on his shirt. The other [below] shows two ailing, elderly people and a young man in the depths of despair: 'Le pauvre enfant est soldat allemand!'
(My photographs, my postcards)
Author Gwyneth Roberts, mightygwynPosted on November 5, 2015 January 28, 2017 Categories Alsace at War - 1914-1918Tags 1418, Alsace, First World War, MemorialsLeave a comment on "His heart is French!" One of a set of posts for Remembrance
Poisson d'Avril, 1915
Author Gwyneth Roberts, mightygwynPosted on April 1, 2015 April 1, 2016 Categories VosgesLeave a comment on Poisson d'Avril, 1915
Cimetière militaire Munster: a place of stories
A re-blog for the 70th anniversary: 6th / 7th February 1945 and a shoot-out in the cemetery in Munster
Shot Silk
Munster Cemetery in Alsace is a place of stories. It tells of the worldness of war. From here I can see the graves of men who were French, German, British, Chinese, Jewish, Canadian and Muslim. Cimetière militaire Munster is at the back of the civic cemetery. It has a quiet, spacious dignity and though it flies a French flag, the graves of all are immaculate. Just looking at one small row of ten French graves tells the story of the war-stripped mountains and wrecked valley-bed villages so bitterly fought for, so close by: ten men killed at Stosswihr, at Sattel, at Soultzbach; ten men brought from cemeteries at Ampfersbach, Stosswihr, Wihr-au-Val, Breitenbach, Metzeral in the early 1920s and reinterred. Paul from the Loire was 21, Gilbert from Allier was 41. Three of the ten are from Gérardmer, killed 30 kilometres from their loved ones at home. When these ten died, the…
Author Gwyneth Roberts, mightygwynPosted on February 6, 2015 February 6, 2015 Categories VosgesLeave a comment on Cimetière militaire Munster: a place of stories
La Tête des Faux – one hundred years on. Christmas in the Vosges 1914 (2)
Commemorating the Christmas Eve attack on the summit of la Tête des Faux, one hundred years ago, 24th December 1914 – 2014.
Please visit the new gallery of my photos of la Tête des Faux
Near the summit (my photo)
The dominant summit of la Tête des Faux was strategically important: its height (1208 m) provides an extensive view over this part of the Vosges and the villages of le Bonhomme, Orbey and Lapoutroie. Initially it was occupied by the Germans, who used the position for surveillance and artillery attacks, particularly on the French based at the Col du Bonhomme.
After the French command post at le Col du Bonhomme was destroyed at the end of November 1914, Chasseurs Alpins [French] attacked and gained a foothold on la Tête des Faux on December 2nd.
On 21st December, the snow began to fall and temperatures dropped to bitterly cold. There was some sporadic shooting, but the German full assault to push back the French began at 22h30 on Christmas Eve, preceded by a heavy mortar attack. The French had to withdraw to await reinforcements, who forced the Germans back into their previous position.
On Christmas Eve, 1914, there was no truce and no football at la Tête des Faux. 137 French and over 500 German soldiers died in the fierce cold and snow on this challenging summit.
Hexenweiher (my postcard)
Author Gwyneth Roberts, mightygwynPosted on December 24, 2014 April 10, 2020 Categories Centenary 1418, War in the Vosges - 1914-1918Tags Alsace, Centenary 1418, First World War, hiver Vosges, la Tête des Faux, VosgesLeave a comment on La Tête des Faux – one hundred years on. Christmas in the Vosges 1914 (2)
Noël 1914 – Christmas in the Vosges, 1914
( 'Le jus' Illustration Ernest Gabard 1879-1957)
The war on the Vosges front did not stop on Christmas Day, neither for truces nor football games. Personal accounts testify to French units in the region of Hartmannswillerkopf (le Vieil Armand) beginning to relax on Christmas Eve, sharing food in the homes of local people, singing carols, even planning to attend a local midnight mass and temporarily forgetting war. [Note, below]
Hartmannswillerkopf
Their happiness was dispersed when alerts arrived ordering them to mobilise within an hour. They hastily packed food and equipment and were guided in pouring rain through the wet, cold forests, the weather turning to snow and ice as they ascended the mountain. There was little shelter and kitchens could only operate at night because the smoke would attract attention from German artillery. Some men were without food for 48 hours. There were few tracks and trails to form efficient communications routes, so it was difficult to bring up equipment. Men were inadequately dressed, some with little more clothing than they had in summer, suffering bitter temperatures in exposed mountain terrain or in pine forests which gave poor protection from the wind, the snow or rain. The holes they dug for protection from the enemy, such as from snipers, soon filled with water, yet they had to be used.
Trench, Hartmannswillerkopf, glass slide
The French objectives included the villages of Uffholtz and Steinbach. The battle was fierce. Among those who survived, some had frostbite, some bronchitis. Because of the difficulties in accessing positions by effective routes, it was difficult to carry stretchers and evacuate the wounded.
These two winter postcards are undated but in sharing them I intend that they reflect the aftermath of the dreadful Christmas of 1914.
Please bear in mind that I am not a military historian and I am writing for general readers. There is an excellent resource (in French) on the website of l'association Les Amis du Hartmannswillerkopf, http://www.ahwk.fr.
Note: Source http://www.ahwk.fr/noel-1914-avec-le-15eme-b-c-p/
Postcards and glass slide from my own collection.
Author Gwyneth Roberts, mightygwynPosted on December 22, 2014 May 4, 2021 Categories Alsace at War - 1914-1918, Centenary 1418, Vosges, War in the Vosges - 1914-1918Tags Alsace, Centenary 1418, First World War, Hartmannswillerkopf, VosgesLeave a comment on Noël 1914 – Christmas in the Vosges, 1914


text:
Evelin Wetter (* 7. April 1969 in Höxter) ist eine deutsche Kunsthistorikerin, Hochschullehrerin und Kuratorin. Ihre Spezialgebiete sind Textil- und Goldschmiedekunst des Mittelalters.

Leben und Wirken
Von 1988 bis 1995 studierte Wetter die Fächer Kunstgeschichte und Deutsche Philologie an der TU Berlin (1993/1994 Studienaufenthalt in Prag). Sie promovierte (1995–1999) im Fach Kunstgeschichte an der Technischen Universität Berlin. Seit 2006 ist sie Konservatorin an der Abegg-Stiftung. Nach der Habilitation 2009 und der Verleihung der Lehrbefugnis durch die Fakultät für Geschichte, Kunst- und Orientwissenschaften der Universität Leipzig war sie als Privatdozentin am Institut für Kunstgeschichte der Universität Leipzig tätig. Im Jahr 2019 wurde sie zur Honorarprofessorin für Kunstgeschichte ernannt.

Ihr Forschungsgebiet ist die Kunstgeschichte des Mittelalters und der Frühneuzeit mit Schwerpunkten auf der Geschichte der textilen Künste, der Goldschmiedekunst, der Bildkünste, der Kunst und Kunsthistoriographie Ostmitteleuropas und der Geschichte des Sammelns.

Bei der schweizerischen Abegg-Stiftung ist sie zuständig für Textilien des 14. bis 16. Jahrhunderts. Aufgrund ihrer Forschung zusammen mit dem Kunsthistoriker Philippe Cordez konnte die einzige bekannte und erhaltene Nonnenkrone des Mittelalters als die Krone, die eigens für Hildegard von Bingen am Ende ihres Lebens geschaffen worden war, identifiziert werden.

Auszeichnungen
 2001: Werner Hauger-Preis des Zentralinstituts für Kunstgeschichte in München für herausragende Forschungsarbeiten auf dem Gebiet der Angewandten Kunst für ihre Dissertation zum Thema Böhmische Bildstickerei um 1400. Die Stiftungen in Trient, Brandenburg und Danzig.

Schriften (Auswahl)
 Böhmische Bildstickerei um 1400. Die Stiftungen in Trient, Brandenburg und Danzig. Gebr. Mann, Berlin 2001
 Objekt, Überlieferung und Narrativ. Spätmittelalterliche Goldschmiedekunst im historischen Königreich Ungarn.  Thorbecke,  Ostfildern 2011
 Zwei spätmittelalterliche Betnüsse aus den südlichen Niederlanden. Abegg-Stiftung,  Riggisberg 2011
 Hrsg. mit Maria Deiters: Bild und Konfession im östlichen Mitteleuropa. Thorbecke, Ostfildern 2013
 Mit Agnes Ziegler und Corinna Kienzler: Liturgische Gewänder in der Schwarzen Kirche zu Kronstadt in Siebenbürgen. Zwei Bände, Abegg-Stiftung, Riggisberg 2015
 Mit Philippe Cordez: Die Krone der Hildegard von Bingen. Abegg-Stiftung, Riggisberg 2019

Weblinks
 Indexeintrag für Evelin Wetter in der Datenbank der Deutschen Biographie
 Eintrag (Universität Leipzig)

Anmerkungen

Kunsthistoriker
Wissenschaftlicher Mitarbeiter eines Museums in der Schweiz
Hochschullehrer (Universität Leipzig)
Deutscher
Geboren 1969
Frau