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How Richard Hamilton Went Pop
By Grace Banks
To speak with Alan Cristea is to enter a world of high art and cynicism in equal measure. Renowned as London's "print man," distributing rare illustrations across the world from Picasso to Jim Dine, it was this love that led Cristea to Richard Hamilton, the 20th century's most continually dynamic visual artist. A fan of Hamilton's work since his days as an art-history student at Cambridge University, Alan tracked down the artist for a business lunch, and the rest is art history. From their first meeting in the early 1970s, Hamilton and Cristea formed a strong friendship—working together, holidaying abroad, collaborating, and arguing a fair bit along the way.
Since Hamilton's death in 2011, Cristea has acted as distributor of Richard's artistic estate. With intimate knowledge that spans Hamilton's entire career and personal life, Cristea was asked to consult on the upcoming Tate Modern retrospective of Richard Hamilton's work, its biggest ever to date. Cristea's own gallery and the Institute of Contemporary Arts also pay tribute to Richard in two landmark shows on his installations and early print work. Days before the exhibitions were unveiled, we spent a morning in Cristea's gallery, discussing Hamilton's most niche work, his thoughts on celebrity, and that much-talked-about status as the godfather of Pop Art.
GRACE BANKS: Richard seems to be receiving the retrospective treatment en masse this year…
ALAN CRISTEA: Yes, it's all sort of culminated rather quickly. The Tate Modern show is the biggest retrospective of his work to date, I think it will be very good. They have a lot of prints in the show, early as well as late. It'll be a real tour de force of Richard's work. I've worked with the curators at Tate on their show, purely because I knew Richard for such a long time. I'm very familiar with his work, so I can provide that angle. But Rita Donagh, Richard's widow, should be attributed too. She's a wonderful artist in her own right, and she's the most angelic person. There's one catalogue that covers all the exhibitions, so the Institute of Contemporary Arts, the Tate, and my show, which will focus solely on prints.
BANKS: And that's how you met Richard, isn't it?
CRISTEA: Yes, I'd been a fan of Richard's prints for ages, since I was studying at Cambridge. At the time I met him, I was working at Waddington Galleries round the corner in Mayfair, which at the time was the biggest gallery in London. It was 1972, and I kept pestering Lesley Waddington to see Richard Hamilton. He didn't like Richard's work, but I kind of persuaded him to at least meet with this guy. So we went to meet him. It was a pretty memorable moment. Richard was living in Highgate, and when we knocked on the door Lesley, who had never met Richard, immediately said, "Now, Alan's the only reason I'm here because I've never much liked your work." Richard, who always had a great sense of humor, just cracked up. He thought it was so funny.
BANKS: Good that he had a sense of humor, then…
CRISTEA: Yes, exactly. So that was the first meeting, just the three of us at his house. And of course I went on to become the sole distributor of all his prints. But really, more than anything else, I simply loved Richard to bits, we had such a great time together. You know we went on holiday together, he frightened the life out of my with his speedboat… Yeah, I loved him. He didn't think of me as some stuffy intellectual guy. He thought of me as a nice bloke he could introduce to his friends who didn't cheat him. Since we met we worked together and didn't stop until he died.
BANKS: So you had admired his work from a distance since art school?
CRISTEA: Very much so. I had done history of art at Cambridge. Obviously at that age, like all young people were, I was into the contemporary, and Richard was such a guru figure in the movement. If I was going to work with anyone, it was going to be Richard.
BANKS: Was your friendship collaborative in terms of work?
CRISTEA: Yes and no. Richard was extremely confident, he really knew his mind when he was creating his art. But we always collaborated on exhibitions, whether they were at my gallery or elsewhere. He'd ask me to write the introductory essay in every catalogue that was produced for his shows and he'd always be saying after he read it, "Change this and that."
BANKS: So he was very hands-on?
CRISTEA: He was totally controlling! The only catalogue he didn't control was the one he hated the most.
BANKS: He must have trusted your judgment…
CRISTEA: Something like that, yes. One of my fondest memories of Richard is from a party in the late '70s or something. We were chatting with another dealer—and bear in mind, Richard did not like dealers at all—and this man was asking us about Richard's prints and how my involvement worked with distribution, and Richard turned around and said, "But I don't consider Alan to be a dealer, I consider him to be a friend." It was one of the most touching things he ever said. And indeed, with his paintings, he would go out of his way to avoid them landing in the hands of dealers, the only way he could do that was to sell them to museums.
BANKS: That's very socialist of him. Was he worried that his work would be misrepresented in the hands of dealers?
CRISTEA: Well yes, he was going on the basic socialist premise that dealers were there to make money, they weren't there to appreciate the art. He felt that if he sold to a private person they inevitably resold the work, if he sold them directly to dealers he was just putting them in the hands of the profit makers, and he preferred for them to go to museums. He had very close relationships with certain museums, he certainly had a very close relationship with the Tate, who own a lot of Richard's work. In fact, the retrospective they're putting on is the fourth they've run of his.
BANKS: A lot of people going to see this Tate show will associate Richard with Pop Art. How did Richard see himself within that movement?
CRISTEA: Yes, it's the most interesting subject for most people because I suppose that was the height of his engagement with the contemporary, and his work has so much to do with how news is mediated. I mean he did actually coin the term Pop Art in a letter for "This Is Tomorrow," at The Whitechapel Gallery in 1956, he did the famous collage, Just what is it that makes today's homes so different, so appealing, which was in fact a prep collage for the poster for the exhibition of the show. It achieved this iconic status because of the man holding the lollipop, which said Pop. I think the whole thing Richard was trying to get at with Pop is that it's an abbreviation for popular. In the letter he wrote for "This Is Tomorrow," he characterized Pop Art as transient, witty, sexy, big-business, short-term, money—you know, Pop! But I don't think Richard himself was ever a real fan of the popular. What Richard was most interested in is the way that society was developing, and the role of the media, big business and advertising, and what effect that had on human nature.
BANKS: Right, and he kind of stepped away from that scene.
CRISTEA: Oh totally. When you say Pop artists people think Warhol, Lichtenstein, they don't think of Richard at all! I mean as Richard's distributor people are always coming to me and asking for the same thing. My Marilyn, or Swingeing London, and there's so much else to him. But at the same time, he is this big figure in Pop Art and also he was largely responsible for drawing attention to the next generation of people. Because Hockney, Allen Jones, Peter Blake, all those people he was older than.
BANKS: At the time celebrity was intrinsic to Pop Art, what did Richard make of fame?
CRISTEA: He could take it or leave it. I mean, he was hanging out with The Beatles at one point, and he became friends with them, yes. By that stage Peter Blake had already done Sgt. Pepper, and you could not get more extravagant than that cover. It was just this collage of everything. So when it came to the next album, Richard wanted to do the opposite. And to be honest, Paul was a bit worried about that, and the compromise was the insert in which there's this collage of photos of them all. That album wasn't officially called the White Album. Officially I think that it's actually called The Beatles, but everybody knows it as the White Album, because everybody knows it as such a cool, hip modern thing. It's a reflection of Richard's self-confidence, he wasn't nervous about it at all. They were!
BANKS: What did he think of the American Pop artists?
CRISTEA: He was intrigued more than anything by people like Warhol as a social phenomenon. Frankly Warhol was and is big business, you put a Warhol show on and loads of people are going to come and see it. But people treat him as a social phenomenon, as someone who had a huge effect on society. And Warhol was in love with celebrity, he loved associating with fame, and because he was a rather weak human being, that meant that he understood other weak human beings; and one of his weaknesses was a love of celebrity. If they want Marilyn Monroe, give them Marilyn Monroe. Which is the total opposite of Richard. I mean people were actually writing to Andy Warhol and saying, can you do me a series of the four reigning queens, or the most important Jews of the century, or cowboys and Indians. Whereas Richard never did anything anybody else asked him.
BANKS: I love this thought of Richard as an artist set in his ways. What did he make of British art in the '90s?
CRISTEA: He wasn't very impressed. Damien Hirst was a big fan of Richard's, kept sending him his work. But I do remember there was an evening, an opening of Richard's at the Gagosian in London. There was this big dinner after and he actually stood up and said, "Why is Damien Hirst here? He's such a crap artist, I didn't invite him."
BANKS: And Damien heard?
CRISTEA: Damien was there, his manager was there! He could be very mean. I remember visiting the British Pavilion with him when Tracey Emin was showing, and he was literally crying with laughter because he thought it was so second-rate. And he had such convictions about things that he wasn't affected by what was fashionable. I mean he was literally looking at it saying, "There is no redeeming feature here." But he had his fondnesses, too.
BANKS: Duchamp, for one…
CRISTEA: Completely. It took Richard 25 years to get to the bottom of Marcel Duchamp, and it came to the stage when Duchamp said, "Okay, I think you do actually understand me better than I understand myself," and it was a great moment.
"RICHARD HAMILTON" RUNS FEBRUARY 13 THROUGH MAY 26 AT THE TATE MODERN. "RICHARD HAMILTON: WORD AND IMAGE" RUNS FEBRUARY 14 THROUGH MARCH 22 AT ALAN CRISTEA GALLERY. "RICHARD HAMILTON" IS AT THE ICA FEBRUARY 12 THROUGH APRIL 6.
The Unseen Photos of Andy Warhol: Photo Booths, Bare Butts, and A Sewing Machine
Sixteen Members of The Art Community Share Their Most Shocking Memories


Federal Prohibition Agent Charles Bintliff and Deputy State Sheriff Charles Halpin, of the South Dakota Office of the State Sheriff, were shot and killed near Redfield, South Dakota, while attempting to arrest a man who had wounded another federal agent one week earlier.
Deputy Sheriff Halpin and Agent Bintliff were with two other officers who arrived at the man's farm at 1:30 am. The officers split up and Deputy Halpin and Agent Bintliff went to search the man's barn.
As the two searched the barn the man opened fire on them with a shotgun, striking Agent Bintliff in the chest and Deputy Halpin the abdomen. Both men were killed instantly. The suspect fled but committed suicide after a posse of 400 men surrounded him later in the day.


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Those are Shawn Marion's words about the fast paced Suns teams that ran through the Western Conference in the mid-2000's. Though they were led by their virtuoso point guard Steve Nash, Marion was the true embodiment of the team. He was a versatile player who could do anything on the court. In accord with their fast paced offense, he ran like a gazelle, and played above the rim. At his peak, the Suns won 177 games from in three seasons from 2004-2007 and averaged 109.7 points per game.
The Suns' offensive prowess and fast paced attack made them the most watchable team during that time; a team whose play went beyond just winning games. Though they never won a championship, they'll always be remembered for the sheer entertainment factor they provided. Their legacy does not hinge on never having won a championship. We will remember the Seven Seconds or Less Suns for what they were – fast, carefree, and wildly fun to watch.
When the Suns signed Steve Nash before the 2004-2005 season, they unwittingly ushered themselves into a new era of basketball. Along with coach Mike D'Antoni, the Suns' offense was thrust into high gear, and they scored 16.2 more points per game than they had the previous season (going from 94.2 to 110.4). With this jump in scoring came a 33 win jump (29 to 62), and a stark culture change. They became the "Seven Seconds or Less" Suns, a name derived from their style of play. Under D'Antoni's offense, the Suns ran and ran, and then ran some more. They got open layups and threes, and did not worry about defense. Basketball is about scoring more than your opponent, and the Suns did a lot of that, finishing first in the West in 2005.
The 2005 Suns were the perfect team to play this up-tempo style. They only went 8 deep, but everyone was tailor-made to the system. Beyond Nash, they had Amare Stoudemire, Shawn Marion, Joe Johnson, Quentin Richardson, Leandro Barbosa, Jimmy Jackson and Steven Hunter.
The Four-Headed Monster of Nash-Johnson-Marion-Stoudemire looked primed to run the West. Each player had his own niche, and had bought into D'Antoni's system of run-n-gun basketball.
If you could hop into the lab and create an NBA center for this Suns team, he would look a lot like Amare Stoudemire. The 22-year old was a 6'10, 230 pound ball of muscle who ran like a guard. No center in the league could stick with him on the pick and roll, and he rolled his way right to 26 points per game on a scalding 56% shooting.
On this Suns team, Shawn Marion was their Swiss Army Knife. He put up a 19.4-11.3, averaged 2 steals, and even made 114 threes. In addition, his raw athleticism made him a threat once the Suns got out in the open floor. He even played defense well, as his mixture of speed and strength allowed him to stick to 3's and 4's alike. The man was a blur on the court, as his star point guard would attest to. "No player on this team could even run a 4.5 [40 yard dash]," Nash proclaimed during a practice in 2006. Then, after a brief pause, he corrected himself. "Except Shawn. He's the one guy who would worry me." Marion was a lot more busy worrying opponents, who always had to mark him wherever he traveled on the court, whether it be to the rim or the corner.
In 2005, little known Joe Johnson was the most consistent player on the Suns. He started all 82 games, and led the team in minutes played. Despite being just 23, he had a veteran's presence on the court. He knew exactly where to stand on the break, and this allowed him to shoot an absurd 47.8% from 3 point range.
Finally, there was Nash. However justifiable, he was the 2005 MVP. He guided the Suns to first place in the West as the driver of the Formula 1 car that was the Suns' offense. Whatever his shortcomings on defense, he was irreplaceable on offense. No other point guard could lead the fast break like Nash, who threw pinpoint passes, and knew exactly when to pull up for 3. He had 15.5 points, a league-leading 11.5 assists, and even shot 50%. Under his leadership, the Suns cruised to a Western Conference Finals date with the Spurs.
In retrospect, the Suns never stood a chance against the Spurs, who would crush them 4-1 before going on to win the title. The Suns had lost Joe Johnson to a fractured eye socket he suffered in the Western Conference Semis. They were overmatched by a veteran Spurs team who were able to play up tempo, but also slow the game down. The Spurs won games 121-114, and also 102-92. They were an experienced team who could adapt to different styles, and the Suns bowed out in 5. But they headed into the next season with a core that looked poised to round into a championship contender.
The Suns' 2005 offseason was as disastrous as they come, both short and long term. First, their relationship with Joe Johnson became so toxic that he asked the Suns to not match the Hawks' 5 year-$70 million offer–leading to the trade for Boris Diaw and two future first round picks. They had just come a series away from a championship, and had the perfect swingman who could play 1-3, had all star potential, and was just 24. Blowing up a bridge with Johnson, then only getting a backup forward and two lottery-protected first rounders was nothing short of catastrophic. Putting it in the context of today's NBA, imagine if the Wizards made the conference finals next year, insulted Bradley Beal all year so that he asked to leave, then traded him for Dwight Powell and two low-end first rounders. Simply unfathomable.
Secondly, the Suns had traded away their 7th pick in the 2004 draft (Luol Deng, also could've been Andre Iguodala), for a 2004 second round pick and 3 million in cash so that they could sign Quentin Richardson that offseason, who they then traded away (along with their 2005 first round pick) to the Knicks for Kurt Thomas. Whew!
That was very confusing, but it breaks down to this. They gave away Deng or Iggy so they could overpay another Richardson, who is worse than Deng or Iggy, and then they realized their mistake and dumped Richardson along with their 2005 first rounder. So they gave away two first rounders and Quentin Richardson for Kurt Thomas.
It's really impossible to clearly explain the Suns' bipolar 2005 summer of transactions. They lost a good deal of talent, but their biggest blow was yet to come. In training camp before the season, Amare Stoudemire went down. He would be lost for nearly all of the season to a knee injury, and had to undergo microfracture surgery. When the season tipped off, any optimism for improvement had vanished. The Suns looked like a lost team.
Along with Marion's leap to superstardom, the Suns also got a breakout season from Boris Diaw (the 2006 Most Improved Player), and improved play from then-youngsters Leandro Barbosa and James Jones. They cruised to a 54 win season despite losing two of their top 4 from the previous season.
After reaching the conference finals for the second straight season, the Suns met the 60 win Dallas Mavericks. The first four games were extremely tight, with the teams separated by just one point in total scoring. It was tied 2-2 heading into a pivotal Game 5, and the team that had been underdogs all season long finally began to swell with confidence.
The Suns ran their way to a 77-70 lead late in the third quarter, leading the shell-shocked Mavs to take a timeout. This was the turning point in the series, but not in favor of the Suns. The Mavs stormed out of their huddle, and almost immediately tied the game at 77. Before long, they had extended their lead, and had won the game 117-101. They finished the final 15 minutes on a 47-24 run, and the wounded Suns limped to a must-win Game 6.
When their storybook season came to a sobering end in Game 6, the Suns were lost for words. But there was still optimism for the next season, and the return of Amare. Getting their best offensive weapon back made them prohibitive favorites in the West, and they looked to finally turn their potential into a championship.
Well, it wouldn't be a Phoenix Suns offseason without some crucial, franchise-crippling mistakes. Once again, they decided to throw away first round picks. For financial reasons, they traded the 21st pick (Rajon Rondo) to Boston in order to dump Brian Grant's contract. Then, they sold the 27th pick (Sergio Rodriguez) to Portland.
So they gave away their first rounders, but at least it was for luxury tax purposes, right? Wrong. The Suns gave Marcus Banks a 5 year-$24 million deal that same offseason. Marcus Banks! Are you kidding me? This was just another installment in the Suns' series of perplexing transactions. Even still, the short-term future was bright as the regular season began.
For the first few games of 2007, the Suns looked nothing like the carefree teams of old. They struggled to find an offensive rhythm at the beginning, and could not incorporate Amare into the seamless offense they had found in 2006. At 3-6, the Suns looked lost and unhappy. Yet once again, Nash and D'Antoni managed to make adjustments and right the ship. The Suns ripped off a 47-8 stretch that included a 17 game winning streak. After scoring just 14.1 ppg in the first 9 games, Amare averaged 21.9 ppg over their scorching 55 game run.
They finished 61-21, their second 60 win season in three years. Unsurprisingly, they also led the league in scoring for the third straight season. Entering the playoffs there were great hopes for the Suns, and their championship chances took a great leap forward when the top-seeded Mavericks were shocked by the upstart Warriors. Everything seemed to be breaking right for the Suns, who quickly dispatched their first round opponent in 5 games, setting up another date with the Spurs.
The 2007 Western Conference Semifinals might as well have been the NBA Finals. The winner would go on to face (and presumably beat) the 4th seeded Jazz or 8th seeded Warriors, before beating whatever team came out of the dumpster fire that was the 2007 Eastern Conference. The Suns were once again on the cusp of greatness, but once again it was the Spurs in their way.
In the first 3 games, the intensity of the series was clear. Injuries piled up, seemingly all sustained by Steve Nash. He suffered a brutal cut to the eye in Game 1, and was also kneed in the groin by Bruce Bown in Game 3. But everything came to a head late in Game 4. The Suns were leading 100-97 with 20 seconds left, and the Spurs needed to intentionally foul.
Rather than a simple intentional foul, Robert Horry decided to violently hip-check Steve Nash into the scorer's table. The Suns naturally came to Nash's aid, but in this fracas Amare Stoudemire and Boris Diaw left the bench.
By leaving the bench, Stoudemire and Diaw violated a ridiculous NBA rule that has since been amended. The Suns went on to win Game 4, tying the series 2-2. But Stoudemire and Diaw were suspended for the pivotal Game 5.
That's right, for leaving the bench to make sure their star point guard wasn't hurt, two of the Suns' top 4 players were suspended. They had no violent intentions, and didn't even move near Horry. The NBA decided that Stoudemire and Diaw's act was as heinous as Horry's, and suspended all three for Game 5.
Incredibly, the Suns almost managed to win Game 5. Behind a Herculean effort from Marion (24-17), they had the game tied with just 48 seconds left. But these were the situations where teams like the Spurs separate themselves from teams like the Suns.
The Spurs simply made shots down the stretch, and won 88-85. However, I think most people would agree that having Stoudemire and Diaw would have pushed the Suns to victory in Game 5, and quite possibly the series.
Despite having both back for Game 6, the Suns played a lackluster game, losing 114-106. After the game, even Nash was at a loss for words. "I don't know what to say," he said. "It would be wasted words. It's very difficult for us to finish the season like this."
The Suns just couldn't catch a break during this 3 year stretch of dominance. They went 177-69 in the regular season, but just 25-21 in the playoffs. Nearly every front office decision backfired, and even when the team overachieved on its way to 60 wins, they were screwed by one of the most indefensible decisions in NBA history.
The Seven Seconds or Less era came to an end when Shawn Marion was traded before the 2008 trade deadline. By trading Marion for Shaq, the Suns threw away their run-n-gun identity. They still won 55 games but were once again sent packing by the Spurs, this time in the 1st round. If you're scoring at home, that made it three times in four years that the Spurs ended the Sun's season.
Unfortunately, the Suns' legacy will be that of wasted potential, and what might have been. If you look at all their moves from 2004 to 2007, you'd have to call the Seven Seconds or Less Suns one of the squandered opportunities in recent sports history.
Even if the Suns failed (and as much as we hate to admit it, they did), their legacy is more significant than any of the teams who beat them during this era. Their style of offense spawned a series of imitators, and even an NBA Champion. And years later, their replays are still entertaining as hell.
For Marion, he showed how the Suns rose and fell with him. Even though Nash and Stoudemire stayed together through 2010, the team just wasn't the same. They needed their versatile forward to truly be the Suns of old, when their breakneck pace ran opponents ragged.
Marion turned out to be the key cog that kept the Suns machine running, and when he left, they broke down. But he was a star, he is a future Hall of Famer, and we'll always have 2006.


Some of you probably already know that I have a large cabinet full of projects in progress. Let's just say I probably have more in progress than most people would be comfortable with but it works for me. I am struggling at the moment to really focus on big project so each day I do the work part of the day then grab whichever project I feel like. Seems that I focus on one for 3 or 4 days then hop to another. No none of the projects will be done quickly, but at least they are all progressing.
This is the last 2 days' work. One large block from a kit. It was supposed to be a block of the month, but well it has taken a bit longer. It was one of my van projects and with no van it went on hold. I hope to get a couple of the little blocks done before I move on again.
Gravity now has all its crystals on. It was more than I thought but I think it is still pretty subtle. I won't know for sure until I see it hanging. I now have a binding that needs finishing. Joy. On the other hand the last of my all machine sewn bidnings got finished today as I am well on the way to having a stash of quilts for shows this year.
I listen to a lot of radio in the car. Recently I keep catching things about preparing, either for Brexit or the fall of civilization or maybe even the zombie apocalypse. I am far from convinced that this is needed, and somewhere between impressed and disgusted by some of the companies capitalizing on this. However there is a possible upside. Maybe if the disaster doesn't appear on time people would consider donating their stashed food to food banks rather than letting it go off. I would guess that a food bank might have a better idea what to do with tins containing 40 servings of a meal than most families, especially in an emergency with a power outage. Now the question is, how can I spread the idea?
I feel that I recognise this.
It's great to hear about what you are up to.
Funny that Yes I think you do recognise it. It is fun, just hop in and out of projects atm.


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Stuff I Done Wrote – The Michael A. Charles Online Presence
Writer, animator, musician, and now jerk-with-a-blog.
Posts Tagged 'max beerbohm'
Max Beerbohm's "A Clergyman" and posterity.
Published January 20, 2020	Books Leave a Comment
Tags: enoch soames, i claudius, james boswell, max beerbohm, robert graves, samuel johnson, steve sailer
Every man illustrious in his day, however much he may be gratified by his fame, looks with an eager eye to posterity for a continuance of past favours, and would even live the remainder of his life in obscurity if by doing so he could insure that future generations would preserve a correct attitude towards him forever. This is very natural and human, but, like so many very natural and human things, very silly. [The dead] need not, after all, be pitied for our neglect of them. They either know nothing about it, or are above such terrene trifles.
–Max Beerbohm, "A Clergyman".
A funny word, posterity. When we picture ourselves in relation to the flow of time, it's with our faces thrust toward the future – toward posterity – and our posteriors toward the past. Those we describe as "backward" we imagine gazing adoringly at their antecedents while they retreat, as it were, into the future.
Posterity has two meanings, and it's not always clear which is intended. It can refer to one's direct descendants – children, grandchildren, great-grandchildren, and so forth – or it can refer more vaguely to everyone who comes after us, whether related to us or not.
Thus the conservative blogger Steve Sailer observes that when the Founding Fathers wrote in the preamble to the U.S. constitution that their intention was to "secure the Blessings of Liberty to ourselves and our Posterity", they had in mind chiefly the descendants of people then living in the United States; while the modern tendency is to interpret the passage as referring to the well-being of the people of the future more generally, including all those who aren't Americans, but whose children or grandchildren might be, should one of them endeavour to splash across the Rio Grande.
Claudius, the narrator of I, Claudius by Robert Graves, seems to have the more expansive definition in mind when he imagines his readership of the inconceivably remote future. The stuttering Roman emperor, puzzled by a prophetic couplet declaring that he will "speak clear" in nineteen hundred years, concludes that the prophecy is
an injunction to write the present work. When it is written, I shall treat it with a preservative fluid, seal it in a lead casket, and bury it deep in the ground somewhere for posterity to dig up and read. If my interpretation be correct it will be found again some 1,900 years hence.
(On second thought, he reflects that his memoir may have a better chance of survival if he simply leaves it lying around unprotected: "Apollo has made the prophecy, so I shall let Apollo take care of the manuscript.")
Knowing from the same prophecy that Rome is destined to fall long before his manuscript is recovered, Claudius writes not in Latin but in Greek, which he believes "will always remain the chief literary language of the world". I have no idea what Greek word or phrase would be translated as "posterity", but Google suggests απόγονοι (apogonoi), which I gather is the modern form of classical Greek επίγονοι (epigonoi), a word that carries its own hint of a double meaning: the Epigoni, meaning "later-born", were the offspring of the legendary heroes known as the Seven Against Thebes. From them we derive the English word "epigone", meaning an unworthy successor or imitator – a rather inapt commemoration for the Epigoni, who unlike their fathers actually succeeded in conquering Thebes. (Apparently a 19th century German novel was responsible for the shift in meaning.)
It's common to observe that those with children of their own are more invested in the future than those without. That's probably true, and yet I suspect it's childless folks like me who spend more time thinking about posterity, precisely because we're more self-absorbed: we're more inclined to brood (because we have more free time in which to brood) over why we're here, what was the point of it all, and what will survive of us after we're gone.
As a backward-gazing person, I've always been interested in messages from the past to the future: time capsules, that sort of thing. My life has been too uneventful to make journal-keeping worthwhile, but for one whole calendar year – the year 2000 – I kept a journal, in which I looked back on the quarter of a century I'd then been alive, and speculated on what the next quarter-century would bring. On the last working day of the year I printed the journal, sealed it in a big envelope along with some photographs and letters (sealed already in smaller envelopes) that I'd solicited from friends, and mailed it to myself, to be opened in the year 2025.
At the time, 2025 seemed nearly as remote to me as the 20th century must have seemed to Claudius – and yet here I am, already four-fifths of the way there. I'm curious to see what messages my friends enclosed for me, but I'm not exactly looking forward to re-reading my journal. I expect it to be quite depressing. Although I can't remember precisely what in my mid-twenties I expected to achieve by my late forties, I know it was far more than I will actually have achieved. And I fear I have achieved so little precisely because I'm the kind of person who worries more about what the younger version of me would think of the current version, than about what the future version will think of himself.
As for what future generations will think of me: if for some reason you are reading this 1900 years in the future, I can only assume something has gone terribly wrong – an asteroid or nanobot swarm has wiped out all of earth's literature, except for the contents of a single hard drive recovered from a tide-powered offshore server farm, kept in working order by a hereditary priesthood that has elevated my writings to the status of holy scripture. In that case, it's only through my blog that knowledge of Shakespeare, Robert Heinlein, and Max Beerbohm has been preserved.
Sorry, 40th century digital monks: I know you're dying to hear more about what a schmuck I was in my twenties, but I feel it's my duty to preserve a few more fragments of Beerbohm…
In his touching essay from 1918, "A Clergyman", Beerbohm draws our attention to a very peripheral character in James Boswell's Life of Samuel Johnson.
Johnson and his amanuensis are visiting friends at their country villa when Boswell solicits the doctor's opinion on "what were the best English sermons for style". On this question, as on most, Johnson has strong opinions, and there follows a brief scene of Boswell lobbing out the names of then-celebrated ecclesiastics – Atterbury, Tillotson, Jortin, Smalridge – and Johnson flicking them aside with a word or two.
Finally another, previously unmentioned member of the party, whom Boswell describes merely as "a Clergyman, whose name I do not recollect", pipes up to wonder, "Were not Dodd's sermons addressed to the passions?"
To which Johnson replies, "They were nothing, Sir, be they addressed to what they may."
On that abrupt note, the conversation ends, and the clergyman is never heard from again. Beerbohm alone marks his departure:
I know not which is the more startling – the debut of the unfortunate clergyman, or the instantaneousness of his end. Why hadn't Boswell told us there was a clergyman present? … We may assume that in the minds of the company around Johnson he had no place. He sat forgotten, overlooked; so that his self-assertion startled every one just as on Boswell's page it startles us. …
I see him as he sits there listening to the great Doctor's pronouncement on Atterbury and those others. He sits on the edge of a chair in the background. … He has no positive intention of speaking. Very much, nevertheless, is he wishing in the back of his mind that he could say something – something whereat the great Doctor would turn on him and say, after a pause for thought, "Why yes, Sir. That is most justly observed" or "Sir, this has never occurred to me. I thank you" – thereby fixing the observer for ever high in the esteem of all. And now in a flash the chance presents itself. "We have," shouts Johnson, "no sermons addressed to the passions that are good for anything." I see the curate's frame quiver with sudden impulse, and his mouth fly open, and – no, I can't bear it, I shut my eyes and ears.
A sad fate for the unlucky clergyman; and yet thanks to Boswell's and Beerbohm's combined attentions, his sole recorded utterance still rouses the imaginative sympathies of 21st century readers. Can as much be said for whole volumes of Atterbury, Tillotson, Jortin, or Smalridge? They rose to the top of their profession, they inspired and instructed the rich and the worthy, their reputations were so great that Dr. Johnson could summarize their achievements in a word. And yet 150 years later their names communicated nothing but, as Beerbohm puts it, "a dim, composite picture of a big man in a big wig and a billowing black gown".
He looks forward another 150 years and foresees readers being similarly unedified by a discussion of the famous authors of his own time – and indeed, of the seven names he mentions (Wells, Galsworthy, Mrs. Ward, Caine, Miss Corelli, Upton Sinclair, and Mrs. Glyn) as being comparable in stature, in his era, to Atterbury et al. in Johnson's, I recognized only three. And it's barely been a century. Another fifty years should see off the survivors.
By that time Beerbohm will also be forgotten, and with him the flickering shade of that nervous clergyman. But of the latter at least we can assume that he went to his rest confident that a more enduring afterlife awaited him – that he was "above such terrene trifles".
If only we all could believe the same…
"A Clergyman" inevitably brings to mind Beerbohm's marvellous short story "Enoch Soames", in which a talentless author of that name sells his soul to the devil to be transported a hundred years into the future – to the year 1997 – to see how posterity has treated him. I have previously referred to Dr. Johnson in a postscript to my reflections on growth vs. fixed mindset in 2017, and to Max Beerbohm in a discussion of the Italian actress Eleonora Duse a few weeks ago.
Update, July 29, 2020: Added cover images and linked to Bibliography page.
Eleonora Duse: "I had the feeling that I understood every word."
Published November 28, 2019	Books Leave a Comment
Tags: anton chekhov, eleonora duse, george bernard shaw, have space suit will travel, henrik ibsen, max beerbohm, robert heinlein, sarah bernhardt, science fiction, translation & mistranslation
Early in Robert Heinlein's 1958 sci-fi adventure novel Have Space Suit – Will Travel we meet a lemur-like alien called the Mother Thing, whose language resembles the "endlessly varied songs of a mockingbird".
When she is introduced to Kip, our youthful hero, he is surprised to realize that he understands her twitterings:
I would have been an idiot not to know that the Mother Thing was speaking to me because I did understand and understood her every time. If she directed a remark at Peewee alone, it was usually just birdsongs to me – but if it was meant for me, I got it.
Call it telepathy if you like … I never read her mind and I don't think she read mine. We just talked.
As Kip, Peewee, and the Mother Thing are in the middle of escaping from some nasty space pirates, he is obliged to postpone examination of the mystery. Later, on the Mother Thing's homeworld in the Vega system, Kip finds that he is able to communicate, though somewhat less consistently, with others of her species. He theorizes:
The Vegans have a supreme talent to understand, to put themselves in the other person's shoes. I don't think it was telepathy, or I wouldn't have gotten so many wrong numbers. Call it empathy.
… I once read about an actress who could use Italian so effectively to a person who did not understand Italian that she always made herself understood. Her name was "Duce". No, a "duce" is a dictator. Something like that. She must have had what the Mother Thing had.
I had never heard of this legendarily expressive Italian actress, but Heinlein's story bumped along so irresistibly that within a couple pages I'd forgotten my vague intention of looking her up. It was only by chance that a few days later, in an essay by the novelist and critic Max Beerbohm – whom I'll return to later – I came across the name Eleonora Duse.
While her elder rival Sarah Bernhardt to this day occupies a small but lively alcove in the popular imagination, Duse has been pretty much forgotten by everyone except historians of the theatre. But to American writers of Heinlein's generation her name would still have been familiar. From the 1890s until the rise of silent pictures, the Italian Duse contended with the French Bernhardt for the position of world's most famous actress. At the height of her fame she toured the United States and, at a time when actors were still seen as a tad declassé, was hosted by Grover and Mrs. Cleveland in the White House. Later she had the mixed luck – bad for her, but good for her American reputation – to die in Pittsburgh.
In an 1895 essay George Bernard Shaw commemorated an unusual head-to-head acting battle between Bernhardt and Duse when, in the same week, in competing West End theatres, they performed the same role in the same play. In Shaw's judgement, the contest wasn't even close:
[Bernhardt]'s stock of attitudes and facial effects could be catalogued as easily as her stock of dramatic ideas: the counting would hardly go beyond the fingers of both hands. Duse produces the illusion of being infinite in variety of beautiful pose and motion. Every idea, every shade of thought and mood, expresses itself delicately but vividly to the eye; and yet, in an apparent million of changes and inflexions, it is impossible to catch any line of an awkward angle, or any strain interfering with the perfect abandonment of all the limbs to what appears to be their natural gravitation towards the finest grace.
What's noteworthy about the above review is that Shaw doesn't see it as necessary to mention that the parallel productions were in, respectively, French and Italian – for Bernhardt and Duse performed only in their native tongues.
Most educated Londoners of Shaw's era would have been (like Shaw) literate in French – though not in Italian. But an inability to follow the dialogue wasn't seen as an obstacle, in those days, to relishing a performance by a foreign touring company. The modern reader will no doubt share my dubiety at this anecdote from one of Bernhardt's tours of the American West:
On February 22, 1913, she performed for the two thousand-odd inmates of California's San Quentin state prison a one-act drama, Une Nuit de Noël sous la Terreur ("A Christmas Night under the Terror"). "For an hour," read a letter from the prisoners, "through your wondrous personality and entrancing art we have been, in soul and in mind, at perfect liberty – captive only of that remarkable force and fire which have made men call you divine…"
Yes, the inmates wrote those words, so transported were they by this sixty-nine year old Frenchwoman's performance, in French, of an hour-long play about the French Revolution.
As for the legend of Eleonora Duse, that she could make herself understood even to non-speakers of Italian, it gets some support from Anton Chekhov, who wrote after seeing her in St. Petersburg:
I don't understand Italian, but she played so beautifully that I had the feeling I understood every word. A remarkable actress. I've never seen anything like it.
On the other hand, Max Beerbohm, who saw Duse in Ibsen's Hedda Gabler in 1903, argued that the rapture that had greeted her performance was insincere:
[It would] be an impossible feat not to be bored by the Italian version of Hedda Gabler. Why not confess your boredom? … [T]here seems to me no form of humbug sillier or more annoying than the habit of attending plays that are acted in a language whereof one cannot make head nor tail.
Beerbohm attempts to project himself into the minds of those who pursue such masochistic pleasures:
Perhaps they really do feel that they are taking a means of edification. "We needs must praise the highest when we see it"; Duse is (we are assured) the highest; therefore we needs must see her, for our own edification, and go into rhapsodies. Such, perhaps, is the unsound syllogism which these good folk mutter. I suggest, of what spiritual use is it to see the highest if you cannot understand it?
…And goes on to imagine the mesmerized playgoer flapping away self-doubts:
"Oh, Duse's personality is so wonderful. Her temperament is so marvellous. And then her art! It doesn't matter whether we know Italian or not. We only have to watch the movements of her hands" (rhapsodies omitted) "and the changes of her face" (r. o.) "and the inflections of her voice" (r. o.) "to understand everything, positively everything." Are you sure? I take it that you understand more from the performance of an Italian play which you have read in an English translation than from the performance of an Italian play which never has been translated. There are, so to say, degrees in your omniscience. You understand more if you have read the translation lately than if a long period has elapsed since your reading of it. Are you sure that you would not understand still more if the play were acted in English?
Setting the language question aside, Beerbohm proceeds to doubt Duse's heretofore unchallenged acting chops. While Shaw had asserted that "behind every stroke of [Duse's acting] is a distinctively human idea", the trouble as Beerbohm saw it was that those human ideas had little connection to the characters they were meant to vivify:
I have seen her in many parts, but I have never (you must take my evidence for what it is worth) detected any difference in her. To have seen her once is to have seen her always. She is artistically right or wrong according as whether the part enacted by her can or cannot be merged and fused into her own personality.
And he closes by complaining that throughout the performance of Hedda Gabler he could hear Duse's prompter hissing her lines to her, "like the continuous tearing of very thick silk".
Duse's genius, if such it were, is lost to us. A proposed collaboration with the American director D.W. Griffith never got off the ground. A recording of her voice made by Thomas Edison in 1896 was somehow misplaced. The only extant record of her acting is a silent film called Cenere, from 1916, when she was fifty-eight years old and in semi-retirement. Surviving prints are extremely degraded. The intertitles are in Italian. I couldn't sit through it.
For whatever reason, Duse's stage persona was electrifying to turn-of-the-century audiences. But the notion that she could dissolve the language barrier by force of charisma, or emotional expressiveness, or body language, or what-have-you, I think we can consign to the realm of science-fiction.
In previous essays I've discussed G.B. Shaw's Saint Joan (and the toleration of heresy) and Robert Heinlein's Farmer in the Sky (and the demographic death-spiral).
Michael A. Charles is a writer, animator, and musician currently living in the Vancouver area. He used to be the singer and guitarist for the band known as Sea Water Bliss.
You can find a selection of his cartoons, music videos, and ads on the Gallery page.
Michael isn't on LinkedIn or Facebook or Twitter and won't be on whatever comes along next. If you need to reach him here's his contact info.
Grasping in the dark: Self-taught Chinese.
Schedule Bare Back.
Vulgar envy and spite: Cleon, Socrates, and Aristophanes.
Strategic capitulation and the Last Man.
Covering Vancouver.
Yielding results.
Dumb Yanks and witty Brits.
Quick and dirty: Once more on cost disease.
And this grave gent lives on.
The lessons of three elephants.
The Master and Margarita - the best translation?
Robert A. Heinlein's Crazy Years.
Nancy Mitford (and Milk In First).
Nevil Shute's bad language.
"You think I know f*** nothing?"
Dren / Not Dren: The unsatisfying ending of Splice.
On "The Harvey Pekar Name Story".
Nevil Shute's multiple vote: Would it do any good?
Let The Right One In.
Under weigh? Right away!
Transportation & Cities
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From the internationally bestselling author of The Accidental Mother, Rowan Coleman, an uplifting and incredibly moving novel in the spirit of Jojo Moyes' Me Before You, about mothers, daughters, and one woman's struggle to maintain her identity for the people she loves.
I would like to thank the publisher for sending me a copy for review consideration, this in no way influenced my review.
The Day We Met is emotional, and moving!!! It is about enjoying the time we have, cherishing memories, family and love. As a mother, wife and daughter I could imagine myself feeling all of the same emotions. I definitely ugly cried multiple times during this book and still can't even think about the book with out getting teary-eyed. It was that powerful, and will impact you and stay with you!
This book is about Claire's journey in dealing with the loss of her memories. Making a book that will remind her of who everyone is, what they have meant to her, what has happened in her life all in an attempt to maybe connect and leave her story behind. This book is from several POV's, Claire's, her mother Ruth, her daughter Caitlin, and a little bit of her husband Greg. All of these prospectives helped connect the impact of how it affects so many people and the memories through the years from all angles were deeply moving.
Can a love transcend the loss of remembering who they are? Does the pressure for Claire to remember push her away from Greg? Can Claire show Caitlin in the short time she has left that she was the best thing in her life?
I was going to give my copy to the library but I just don't think I can part with it! I will forever cherish this book, it really is a treasure! It will have you thinking, feeling and enjoying the moments in life. I would definitely recommend The Day We Met and I am giving it 5 out of 5 stars.


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I saw an interesting story last week about the State of New York's response to allegations of fraudulent billing related to the state's no-fault automobile insurance system. At the end of last week, the Governor's office released a list of 18 medical doctors, chiropractors, massage therapists, and others who have been banned from seeking payment from no-fault automobile insurers due to allegations of false billing, excessive treatment, and other violations.
For those that don't know, New York and Florida are a couple of the last remaining states that have a no-fault automobile insurance system. In Florida, the coverage is called Personal Injury Protection (or PIP). In either state, drivers involved in automobile accidents are entitled to have their medical expenses paid by their own no-fault coverage, regardless of who was responsible for causing the crash that caused the injuries.
Florida automobile owners have several reasons to wish they lived in New York when it comes to no-fault coverage. First, New York features a $50,000 benefit to drivers. This is probably more than enough coverage for car accident victims to get the treatment and diagnostics like MRI's or CT scans necessary to properly diagnose an injury after a typical car accident. In Florida, under a new law passed last year, the maximum benefit is $10,000, but might be as low as $2,500 or zero, depending upon when the injuries are reported and/or the severity of the injuries reported. The $10,000 maximum coverage limit has been in place since 1973, and obviously has not kept pace with the soaring cost of healthcare in this country. Nevertheless, the Florida Legislature and the insurance companies that write automobile policies in Florida have long resisted efforts to increase the coverage limits.
As an automobile insurance customer, which state would you rather live in?
Questions following a Florida car accident? Call Winter Park personal injury attorneys Kim Cullen and Robert Hemphill at 407-254-4901, or download a copy of Kim's FREE book, Asleep At the Wheel: 13 Mistakes the Insurance Company Desperately Hopes You'll Make After Your Florida Car Accident by clicking here.


text:
Current Exhibitions Forthcoming Exhibitions Previous Exhibitions
Bartha Contemporary London
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Bartha Contemporary is proud to announce Adam Barker-Mill's first solo-exhibition with the gallery. Entitled Metacolour, the show will feature recent light-installations and watercolours and explore the metaphysical experience of light and colour. A monograph, documenting the life and work of this multi-talented British artist, will accompany the exhibition.
Adam Barker-Mill's (b. 1940 Somerset, lives and works in London & Southampton) works examine the physical and experimental properties of light, an interest, which originated from his childhood fascination with the caves located near his home in Somerset. His latest installations revisit the artist's concern for colour in light, an element with which Barker-Mill began working on in the sixties.
Deceptively simplistic in appearance, these installations allow the viewer to maintain an idealistic visual, acutely unaware of the carefully structured designs, which generate, manipulate and modulate light.
Each work appears to be in a constant state of transition, as the sequentially arranged and looped works shift from colour-space to colour-space. Devoid of any literal meaning, beginning or end the works remain suspended in a heightened state of awareness, which invite the viewer to briefly remove themselves from their own everyday existence and enter into an intimate and uninterrupted colour experience.
A selection of recent watercolours, juxtaposed alongside some earlier watercolour studies will complete the exhibition. In particular his latest works on paper display the artist's unmistakable sense for colour, space and light. Conceived through a systematic methodology akin with his light-installations, the precisely placed bands of colour describe the shift from one tone or colour to another.
Add to Calendar 22/01/2016 12/03/2016 Adam Barker-Mill Bartha Contemporary is proud to announce Adam Barker-Mill's first solo-exhibition with the gallery. Entitled Metacolour, the show will feature recent light-installations and watercolours and explore the metaphysical experience of light and colour. A monograph, documenting the life and work of this multi-talented British artist, will accompany the exhibition. Adam Barker-Mill's (b. 1940 Somerset, lives and works in London & Southampton) works examine the physical and experimental properties of light, an interest, which originated from his childhood fascination with the caves located near his home in Somerset. His latest installations revisit the artist's concern for colour in light, an element with which Barker-Mill began working on in the sixties. Deceptively simplistic in appearance, these installations allow the viewer to maintain an idealistic visual, acutely unaware of the carefully structured designs, which generate, manipulate and modulate light. Each work appears to be in a constant state of transition, as the sequentially arranged and looped works shift from colour-space to colour-space. Devoid of any literal meaning, beginning or end the works remain suspended in a heightened state of awareness, which invite the viewer to briefly remove themselves from their own everyday existence and enter into an intimate and uninterrupted colour experience. A selection of recent watercolours, juxtaposed alongside some earlier watercolour studies will complete the exhibition. In particular his latest works on paper display the artist's unmistakable sense for colour, space and light. Conceived through a systematic methodology akin with his light-installations, the precisely placed bands of colour describe the shift from one tone or colour to another. Bartha Contemporary London Organizer Organizer e-mail true DD/MM/YYYY
Blue Box
5 Colour Boxes
Rotor v4
Shadow Gap
Chromat 9
Nought
Circle in a square (mini)


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The modules of the AMX 45 Series (interchangeable with the previous series New Life), are the first and only in the world equipped with a double interchangeable gasket cartridge. They are the most innovative product actually present in the world market. Thanks to its technology deriving from the aerospace and aviation sectors, PREO developed this component of crucial importance for the whole system; its main aim, that cannot be detected in no other module of our competitor, is the high and innovative mechanical technology peculiar of its design and manufacture. In addition, its small size, high speed of work (up to 6,500 strokes per minute), precise application and easy maintenance make it reliable, cost-effective and long lasting. A wide range of models enables even the most demanding Customer to always find the best solution to any gluing problem.
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The innovative system of interchangeable double gasket cartridges (specifically designed and manufactured) ensures perfect tightness even under conditions of high pressures and at high temperatures, requiring minimum maintenance, at the same time being cost-effective, handy and durable. Actually, the cartridge holding the gaskets needs only to be unscrewed and replaced with a new one, which is already pre-assembled on its housing, to have a perfectly working module, without jeopardizing its reliability, quality and performances.
The modules are currently supplied with nozzles provided with the Zero-Cavity locking system, whose main feature is that of being self-cleaning, as the lock acts directly on the hole of the nozzle, shattering possible impurities and ensuring that the nozzle is always clean for the proper working of the whole system.
An extremely wide range of nozzles including different patterns and special performances based on the specific needs of the Customer both in relation to the size of the application area and the kind of material used during construction.
The body of the module is manufactured of brass, a material significantly improving the performances in terms of thermal conductivity and mechanical stress resistance. An outer nonstick hard-oxide coating makes cleaning and maintaining the gun easier and faster and reinforces the casing itself. A complete model range allows the Customer to choose the most suitable module according to the requested application.
The AMX-45 NL Series, interchangeable with the previous series NEW LIFE, is mainly used for applications with a maximum speed of work up to 6.500 cycles/minute.
The AMX-45 LL Series, interchangeable with the previous series Long Life, is mainly used for applications with a maximum speed of work up to 4.000 cycles/minute.
The CH Series is used for continuous coating and laminating applications with maximum light 30 mm.
The HIGH FLOW Series is used to deposit big flow of adhesive in a very short time.
The SPRAY e SPYRO Series is generally used to glue wide areas requiring low glue weight. The Spray version is suitable to achieve a constant atomization of the product, whereas the Spyro series produces a spiral-shaped glue line. Their interior is marked by the traditional system with replaceable gasket cartridge.
The new microprocessor EASY Series controls all those operations necessary to the system proper running: thermo-regulation in all different system areas, programming control of 8 glue tracks for each of the 8 independent channels.
Additional features are: Economy Function, Clock, Weekly Program, Max. temperature alarm, Sequential Heating of all channels and delay Temperature Set Point lock.
A new LCD display (specifically designed) graphically shows all the machine sections (tank, manifold, hoses and guns with respective parameters), allowing an immediate and extremely easy system programming also by unskilled operators, eliminating problems generated by codes and foreign languages to understand and meaning that the displays are all the same, independently of the country of use. A specific notification area controls the system status constantly and dynamically in all its operation phases. In case of eventual alarms or faults error messages are displayed.
Another innovative feature of the new Easy Series is the "Rotary Switch": the selector through which it is possible, with extreme easiness, to program, modify and set section by section all those parameters intended for the system running.


An 80m dipole with the centre at about 85ft was used for an entry in 80m SOSB, together with two receive Beverage antennas.
Just before the contest I put up an 80m wire dipole at 85ft, which was "rotated" manually with lengths of string. Up to midnight local-time it was firing NE/SW, but from midnight to dawn it was swung round to be on NW/SE.
Not sure if it made much (if any!) difference, but seemed like a good idea to try to maximise on the stuff from the east in the early evening and then W/VE for the rest of the night. Two Beverages were used for receive. One 600ft Beverage on the USA and another 450-footer pointing south-east. Could have done with other ones pointing north-east and south-west. But that'll be for next time.
Had no idea there just so many DO stations in Germany these days. Worked buckets full of them. Countries heard, but missed, include 4L0A, 9K2HN, SX5P and TK5EH.
Quite a few Zone "got-aways". Heard Zone 6 (XE2CQ) only once. Also heard a VK4 in Zone 30 calling others, but I could never find a Zone 30 myself. Along with others I spent some time calling a loud B7P in Zone 24 who was seemingly having great difficulty hearing anything much in Europe. Another easy Zone missed was LP1H in 13. However was pleased to get a few Zone 3 stations just around sunrise.
Mobile trailer tower supports 80m dipole.
Also very pleased to work A73A a full forty minutes before my sunset on the Sunday. Another nice surprise was working 9M6LSC bang on my sunset on the Saturday.
Win-Test tells me that I was QRV for just 24 hours. This weekend I have done more DXing on "80m SSB" than I've done for many years!


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PowerTCP Emulation for .NET 4.5 Released!
The number of GDI object handles used by the control no longer steadily increases over time.
The cursor, reverse negative text and selected text are now visible when the control's BackColor is made transparent.
The control now correctly handles data after consecutive escape sequences are received.
The edit module keys now work when KeyPad.Numeric is set.
The cursor can now be transparent.
Data is no longer repeated in the scrollback buffer when EnhancedScrollBack is set.


In the mood for a fun French film? Check out The Valet. It's a romantic comedy about an average guy who gets pulled into an elaborate scheme to help a rich man and a model avoid tabloid scandal. It's cute where it needs to be cute and silly when it needs to be silly. Plus Kristin Thomas Scott has a small part.
It looks like a fun movie and I do like Notting Hill so I might have to check this out sometime.
Looks like a funny and cute French Film. Need to see one of those movies.
That's a good recommendation! Audrey Tautou has a bunch of impressive films.


Lifting the veil of anonymity from the government's political funding scheme, the Supreme Court Friday directed parties to furnish by May 30 all the details of funds received through electoral bonds to the Election Commission in a sealed cover.
The top court, which did not stay the Centre's Electoral Bond Scheme, 2018, made clear it would accord in-depth hearing on April 15 the pleas of an NGO and CPI (M) as they as also the Centre and the EC have raised "weighty issues" having "tremendous bearing on the sanctity of the electoral process in the country".
"According to us, the just and proper interim direction would be to require all the political parties who have received donations through Electoral Bonds to submit to the Election Commission of India in sealed cover, detailed particulars of the donors as against each bond; the amount of each such bond and the full particulars of the credit received against each bond, namely, the particulars of the bank account to which the amount has been credited and the date of each such credit," it said.
A bench headed by Chief Justice Ranjan Gogoi asked the parties to furnish "forthwith" the details of electoral bonds received by a political party till date. "The details of such other bonds that may be received by such a political party up to the date fixed for issuing such bonds as per the Note of the Ministry of Finance dated February 28, that is May 15, will be submitted on or before May, 30. The sealed covers will remain in the custody of the ECI and will abide by such orders as may be passed by the court," it noted in the 19-page interim order.
The bench, also comprising Justices Deepak Gupta and Sanjiv Khanna, directed the Finance Ministry to tweak the window period for purchasing the electoral bonds and reduce it from present 55 days to 50 days in 2019. "The total period...allowable for the month of January (10 days), April (10 days) and 30 days for the election year would be 50 (for purchasing the bonds) whereas the schedule contemplates issuance of bonds for a total period of 55 days that it 45 days plus 10 days of January. A period of 5 days, therefore, have to be deleted from the schedule contained in the Note of the Ministry of Finance of February 28," it said.


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- I took a certain eight year old skiing in such cold temps that I was certain the hills were closed. Spoiler alert- they weren't.
- We bought trini food for dinner and just chilled for the rest of the evening watching TV and reading.
Low key and refreshing, just the way we like it. And now it's Monday and the madness begins again!
LOL isn't it hilarious how the adults nap and the kids dont? that sometimes happens here as well...my husband and i will doze off on the couch and our 9yr old will just play or read and then i'll open my eyes and she'll be standing there hahaha #oops.
Great photos! Most every Saturday Dave and I nap and the kids don't!
Such a fun weekend. LOVE that photo of you - so beautiful. Also ... worth of mention - I spy Doubles.
Doubles!! My favorite. The unicorn party sounds so cute and fun! Love the winter photos despite the drive being quite dangerous. I could never drive in snowy weather.
Gorgeous photo of you! Also, I love that one of your girls' heads together.
Sounds like a lovely winter weekend! The photo of the girls together is so cool!
Those pizzas look delish! Yay for skiing, but not the super cold temps! I had no idea they could shut down the hills if it's too cold!
What a sweet post. Your pizzas look scrumptious. Yay for afternoon naps!


^ "'Harare among world's worst cities to live in'". DailyNews Live. Retrieved 2018-08-02.
^ Hoste, Skipper (1977). N.S.Davies, ed. Gold Fever. Salisbury, Rhodesia: Pioneer Head. ISBN 0-86918-013-4.
^ Madalitso Mwando (2015-03-27). "Zimbabwe Capital Turns to Solar Streetlights to Cut Costs, Crime". allAfrica.com – Thomson Reuters Foundation. Retrieved 2015-03-28.
^ Pennick, Faith; Calhoun, Jim (1990-08-05). "Harare newest link: Cincinnati adds sister city in Africa". The Cincinnati Enquirer. Retrieved 2018-05-21.
^ "Harare twins Guangzhou". The Herald. 2015-09-22. Retrieved 2018-05-23.
^ Kalayil, Sheena (2015-04-02). The Beloved Country. Grosvenor House Publishing. p. 29. ISBN 9781781484647.


All aid organizations have left the Afghan city of Kunduz in the aftermath of the U.S. bombing of the hospital run by Doctors Without Borders, the U.N. humanitarian agency said Tuesday.
More than 20 people were killed and dozens wounded in the U.S. bombing of the hospital Saturday. The attack was widely condemned, with many calling it a criminal act.
Two U.N. entities, four national NGOs and 10 international NGOs have been temporarily relocated due to the ongoing conflict and unstable and fluid security situation in Kunduz," U.N. humanitarian agency (OCHA) spokesman Jens Laerke told AFP.
The loss of the hospital run by Doctors Without Borders, also referred to by its French acronym, MSF, is having an immediate and devastating impact on the population.
Laerke said, "There is now no functioning trauma care hospital in the city after this bombing. In fact, the MSF hospital was the only facility of its kind in the entire northeastern region of the country, serving some 300,000 people in Kunduz alone.
"So, 300,000 people are now without a hospital," Laerke said.
Thousands of people have fled the city and an estimated 8,500 families have been displaced in the northeast as a result of the fighting, according to OCHA. It said water and electricity reportedly are off in much of the city and most food markets are closed.
Laerke said the airport is closed to civilian aircraft and entering the city by roads is too dangerous, because of either bombs, roadblocks or the threat of ambush, leaving humanitarian agencies unable to assess the damage and needs of the people.
He said the population's needs are expected to include food, emergency shelter, water and sanitation, emergency health, psychological counseling, and family tracing and reunification services.
There are some supplies on hand to provide people with their basic needs, but Laerke said those supplies cannot be distributed because aid agencies cannot go to Kunduz.
The United States said it has launched an investigation into the airstrikes, but Doctors Without Borders and the United Nations said there should be an international impartial investigation.


text:
Ethel Stokes (17 January 1870 – 19 October 1944) was a British (historic) record agent who played an integral role in establishing a system for preservation of local archives throughout England, and was involved in several major historical, literary and archival endeavours.

Life
Stokes was born in 1870 in Holloway in London to Edwin James Stokes, a stockbroker's clerk, and Elizabeth ("Fanny") Augusta (née Baker). The family were middle-class, and lived at Finsbury in Central London. Her parents gave her a liberal education, telling her to travel where she wished and to read what she wanted to. As a result she had travelled around a lot in London by the age of twelve.

Stokes went to Ada Aubrey's school in Margate, Miss Sutton's Collegiate School at Highgate, and in 1885 to Notting Hill High School, where she did well academically, despite having no interest in attending university, which at any rate was not possible due to family circumstances. She then went to work at the Public Record Office in 1891. She had found her life's work. By 1900 she had a business, "Stokes & Cox", in Chancery Lane looking at records with her business partner and friend, Mary Cox, with whom she would live and work for 35 years. Her father had left her mother by 1911 and she was living with her mother and an aunt. During the 1911 census she described her job as "hunting up genealogies and other historical records in British Museum and other places". They worked in support of some biographers but they gained a lot of work investigating and documenting the necessary evidence to support claims to a British peerage.

Stokes became involved with The Complete Peerage though her association with Herbert Arthur Doubleday. Doubleday had initially been the publisher of the volumes as they were put together by Vicary Gibbs, but he became assistant editor until by volume six he was the lead editor. She had first worked with Doubleday on the Victoria History of the Counties of England. In the section on Essex, Stokes is the co-author of the section on Essex's political history.

She put together the Records Preservation Section of the British Records Association. Joan Wake said much later in 1954 that "If there is one person to whom historians of the present and the future should acknowledge their debt, that person is Ethel Stokes". Stokes had been aware that many documents were now thought to be redundant. From 1933 to 1939 she worked with volunteers to sort through 270 archives in London and then post them out to the growing number of local studies libraries in the provinces.

Stokes died in London in 1944 when she suffered a head injury after being hit by a lorry during the blackout. Mary Cox had died in 1936 from heart failure.

References

1870 births
1944 deaths
People from Holloway, London
Archivists
Contributors to the Victoria County History

redpajama_set_name: RedPajamaWikipedia


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text:
Q: Android Kotlin: Creating the file back from string path is not working I am working on an Android project using Kotlin. In my project I am trying to create a File object back from string path. This is the string path format.
/storage/emulated/0/mediapicker/images/eb162701-f4b7-4d0a-b824-7cc56a7ff926.jpg

I tried the following
var file = File(path)
var file = File(Environment.getExternalStorageDirectory(), path)
var file = File(context.getExternalFilesDir(null), path)
var file = File(context.filesDir, path)

When I run file.exists(), all of them returning false. What is wrong with my code and how can I fix it?

redpajama_set_name: RedPajamaStackExchange


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text:
Bicycle-friendly law in effect, but penalties aren't clear
Mike Wiser
Drivers, take note: Pass less than 3 feet from a bicyclist and you're breaking the law. The legislation, which took effect Jan. 1, was fervently supported by groups like the Illinois Bicyclists League and practically sailed through the Legislature. It passed 57-0 in the Senate and 107-8 in the House.
Drivers, take note: Pass less than 3 feet from a bicyclist and you're breaking the law.
The legislation, which took effect Jan. 1, was fervently supported by groups like the Illinois Bicyclists League and practically sailed through the Legislature. It passed 57-0 in the Senate and 107-8 in the House.
It was welcome news to Jordan Heimer, 21, who spends several hours perched on two wheels each week.
"I was riding home from work one day ... I was in a down position on my road bike and a truck passed so close to me that his mirror went right over my head," said Heimer, who works at Kegel's Bicycle Store on Charles Street in Rockford.
Heimer commutes to work on his bicycle but says he stays mostly on the sidewalks since the most direct route takes him down Charles Street. He said the roads around Rockford are great for biking, it's just a matter of getting out of the city to get to them.
"There are some drivers that just don't want us on the road," he said. "Just last Saturday I was in a group with about eight people and this guy in an SUV was following real close behind us. We waved him (to pass) and he pulls up alongside, real close, and starts yelling and swearing at us."
Stays with country roads
Jerry Rice of Roscoe said he hasn't had any problems with drivers, but he sticks mostly to the country roads on the outskirts of the city. Rice, 81, is relatively new to cycling. He picked the sport up six years ago after looking for a way to stay in shape and be outside.
He celebrated his 80th birthday by riding 80 miles. He's 5,300 miles short of riding the distance of the circumference of the earth — 24,905 miles — a goal he thinks he'll reach this year.
Thursday morning, he was setting out with a group of riders for their weekly ride. They take off at 9 a.m. from Rockford's Faith Center on South Main Street and ride "either to Winnebago or Pecatonica. We have lunch and ride back," Rice explained.
Tough to enforce
Heimer said even though he's had some problems, Rockford is still a better place to ride than even such well-known bicycle friendly cities as Madison, Wis.
"I worked at a shop in Madison for about six months, and just about every other day we had someone come in with a bike that had been hit by a car," he said. "We don't get that amount here."
Heimer appreciates the intent of the law but figures police will have a hard time enforcing it. That opinion is shared by local police officials and even the law's sponsor, state Sen. Ed Maloney, D-Chicago.
"I did it more for the awareness and education aspect," Maloney said. "Before, the law was there had to be a 'safe distance' when passing, but what is that?"
The law was written without established penalties. Maloney said it's up to the "local authorities to decide what a violation should constitute." He hopes to get the law included in driver's education curriculum. With more people at least aware of the law, Maloney thinks, there will be fewer accidents.
Rockford Deputy Police Chief Theo Glover said the law sounds tailor-made for enforcement by the city's bike unit "since they are probably more aware on a day-to-day basis" of navigating the city on two wheels.
What's the penalty?
Loves Park Police Chief Patrick Carrigan said he thinks it would be difficult to bring charges against someone for violating the law, unless there's an obvious case — like an accident.
"If it went to court you'd have to have the officer get up there and swear that the person was less than three feet away," he said. "I don't know if you can do that without there being contact."
Still, Carrigan said, it seems that the city's bike paths and roadways have become more crowded with cyclists in recent years. That's what Belvidere Police Chief Jan Noble said, too.
"People are out there on their bicycles," he said. And Noble promises that his officers will enforce the three-foot rule.
"Any time there's a new law, there is a grace period we give until it gets known," Noble said. "We will enforce it."
Mike Wiser can be reached at (815) 987-1377 or mwiser@rrstar.com.
"The operator of a motor vehicle overtaking a bicycle or individual proceeding in the same direction on a highway shall leave a safe distance, but not less than 3 feet, when passing the bicycle or individual and shall maintain that distance until safely past the overtaken bicycle or individual."