#Visite de Charles Wright

[ourstaturestouchtheskies]

taylor swift lyrics x colors x textiles in art – blue

Tim McGraw – Taylor Swift // Portrait of Marie-Joseph Peyre – Marie-Suzanne Giroust 💙 Tim McGraw – Taylor Swift // Lady in the Boudoir – Gustav Holweg-Glantschnigg 💙 A Place in This World – Taylor Swift // Portrait of Prince William Henry, Duke of Gloucester – Jean-Étienne Liotard 💙 Dear John – Speak Now // Young Woman in a Blue Dress – Jacopo Negretti 💙 State of Grace – Red // Portrait of Mrs. Matthew Tilghman and her Daughter – John Hesselius 💙 Red – Red // An Unknown Man – Joseph Highmore 💙 All Too Well – Red // Portrait of a Man with a Quilted Sleeve – Titian 💙 Everything Has Changed – Red // Portrait of the Marquis de Saint-Paul – Jean-Baptiste Greuze 💙 Starlight – Red // Mrs. Richard Brown – John Hesselius 💙 Run – Red // Judith with the Head of Holofernes – Felice Ficherelli 💙 This Love – 1989 // Fair Rosamund – John William Waterhouse 💙 Delicate – Reputation // Miss Elizabeth Ingram – Joshua Reynolds 💙 Gorgeous – Reputation // Marguerite Hessein, Lady of Rambouillet de la Sablière – workshop of Henri and Charles Beaubrun 💙 Dancing with Our Hands Tied – Reputation // George Albert, Prince of East Frisia – Johann Conrad Eichler

Cruel Summer – Lover // Peter August Friedrich von Koskull – Michael Ludwig Claus 💙 Lover – Lover // Lady Oxenden – Joseph Wright of Derby 💙 Miss Americana & the Heartbreak Prince – Lover // Portrait of Ivan Ivanovich Betskoi – Alexander Roslin 💙 Paper Rings – Lover // Young Woman in a Blue Dress – Jacopo Negretti 💙 London Boy – Lover // Queen Henrietta Maria with Sir Jeffrey Hudson – Anthony van Dyck 💙 Afterglow – Lover // Portrait of Prince Dmitry Mikhailovich Golitsyn – Fyodor Rokotov 💙 Christmas Tree Farm – Christmas Tree Farm // Portrait of Mary Ruthven, Lady van Dyck – Anthony van Dyck 💙 invisible string – folklore // Two Altar Wings with the Visitation of Mary – unknown artist 💙 invisible string – folklore // Portrait of Madame de Pompadour – François Boucher 💙 peace – folklore // Fair Rosamund – John William Waterhouse 💙 hoax – folklore // Portrait of Charles le Normant du Coudray – Jean-Baptiste Perronneau 💙 coney island – evermore // Portrait of the Marquis de Saint-Paul – Jean-Baptiste Greuze 💙 Carolina – Carolina // Mrs. Daniel Sargent – John Singleton Copley 💙 Bejeweled – Midnights // Elsa Elisabeth Brahe – David Klöcker Ehrenstrahl 💙 The Great War – Midnights // Portrait of Françoise Marie de Bourbon – attributed to François de Troy 💙 Hits Different – Midnights // Mrs. Benjamin Pickman – John Singleton Copley

[nicoledoesstuff]

HEYAAA!! Sorrry Ya'll it's been a long time i haven't posted since these College things( A lot of assignment as always > ), So anyways just like as i was saying yesterday, or maybe very long day.

In a future world filled with numerous global challenges like inequality, corruption, environmental crises, social unrestan and all of the aspect **Mr. Peabody**, a genius dog with a time machine called WABAC, forms a bold plan to bring historical figures from the past to the present. Along with his friends—Sherman, his adopted human son, Toby the genius cat or partner bestfriend, kathrina, toby adopted human daughter and Kayleen, a bright young girl who has been appointed a "Junior President" by the President of Indonesia, Joko Widodo. She really active in many activities , she's make her own cartoon film business with her bestfriend. Mr. Peabody intends to address modern-day issues not only in indonesia but all around of world with help from the greatest minds and leaders from history.

Kayleen proposes an idea to Mr. Peabody: “What if we give historical figures a chance to return to life in the modern world? They could help us fix the world’s problems, and in return, they can learn from our era and perhaps even change their own historical paths for the better.” Like who knows if they all can help with this ways ?" Peabody agrees with the idea and mobilizes his company to perfect the WABAC machine. This allows historical figures to visit the modern world, help solve its crises, and return to their own times once their work is done.

From there, Kayleen is promoted to be the Director of Historical Integration of Mr. Peabody's project, heading up **TeamForthcoming**, a group created to make this vision a reality. The team's mission is to address pressing global issues such as poverty, gender inequality, lack of education, political instability, climate change, and human rights violations. This title reflects her crucial role in creating and designing the program that allows historical figures to travel back to modern times using the WABAC time machine. It also emphasizes her focus on the larger goals of world peace and the integration of all of team historical figures not only teamfourthcoming into the mission.

Kayleen, Sherman, and their friends Penny and Toby (Sherman’s best friend, a genius cat) form the foundation of TeamForthcoming. They enlist the help of historical figures such as **George Washington** (the team leader), **Ir. Soekarno** (the vice leader), **Abraham Lincoln**, **Albert Einstein**, **Marie Curie**, and many others to combat various global problems.

Among the **Notable Members of TeamForthcoming**:

- *George Washington (leader team)

- Ir Soekarno (vice leader team)

- Mohammad Hatta

- Sutan Syahrir

- Sudirman

- Alexander Hamilton

- Marques de Lafayatte

- Theodore Roosevelt

- Abraham Linclon

- Winston Churchill

- King George III

- Napoleon Bonaparte

- Maximillien de Robespierre

- Agamemnon

- Marie Antoinette

- King Tuthankhamun

- Grand Ay Vizier

- Monalisa

- Marie Curie

- Tapputi

- Susan B. Anthony(later)

- R.a Kartini(later)

- Amelia Earheart(later)

- Hellen Keller (later)

- Sigmund Freud

- Carl Gustav Jung

- Walt Disney

- Charlie Chaplin

- Harry Houdini

- Isaac Newton

- Antoine de lavoisiser

- Isaac Newton

- Albert Einstein

- Alan Turing

- Ada Lovelace(later)

- Nikola Tesla

- Thomas Alva Edison

- Henry Ford

-Charles Darwin

- Wright brothers

- Ludwig Van Beethoven

- Amadeus Wolfgang Mozart

- Hans Cristian Andersen

- Confucius

-Leonardo Davinci

- Albert Schwietzer

With **Robot Z3**, an advanced AI robot, added to the team, they are able to analyze data and offer technological support, making the team even more effective. Robot Z3 helps ensure that TeamForthcoming is equipped to handle the technical aspects of their missions.

**TeamForthcoming** not only focuses on solving global issues but also on educating the world through empathy, teamwork, cultural exchange, etc . Their first task is to revamp the global education system, starting with supporting orphaned children, both from the past and present. They believe that by involving these historical figures in modern-day issues, they can reshape the course of history for the better and guide humanity toward a more peaceful, prosperous future.

Not only teamfourthcoming i draw but i wanted plan to draw a lot of historical figures with the various of team. SEE U SOOn...

[papillon82fluttersby]

Famous Five Art Nostalgia #14 – Part 1

Introductory post

Masterpost

🐩🏖️🎡 Five Have Plenty of Fun – Enlèvement au Club des Cinq

Original publication date: 1955 (UK), 1961 (France)

(Original cover by Jeanne Hives, 1961)

I often find myself annoyed at Blyton’s lack of distinctiveness with the book titles – I mean, “Five Get into Trouble”, “Five Fall into Adventure”, “Five Have a Wonderful Time”, “Five Have a Mystery to Solve”, “Five Get into a Fix”, “Five Are Together Again”: all of these could be used for any of the books. In contrast, the French titles are usually more specifically related to the books' contents.

What I find really funny about volume #14 is the complete tonal shift between the English and French titles:

-> English: Five Have Plenty of Fun! 🥳

-> French: Abduction Among the Five! 😱

~~~~~~

Plot summary (adapted from Wikipedia):

Siblings Julian, Dick and Anne have come to Kirrin to spend the remainder of a school holiday with their cousin George and her dog, Timmy.

(Two siblings having a lazy time on the beach)

(A lovely sea dive)

Two scientist colleagues of George's father, Uncle Quentin, visit Kirrin Cottage to work on an alternative energy project. One of them is a large friendly American, Elbur Wright [Charles Martin, from Lyons (the guy is not American in the French version, just from another city)]. His only daughter, Berta [Berthe], is later threatened with being kidnapped and ransomed for the project's secrets. Elbur decides to send Berta to Kirrin for her safety.

(Uncle Quentin announces the upcoming arrival of an extra guest) [This picture looks so funny to me, it’s like those scenes we can see in crime procedurals where a bunch of people are standing, and the victim has to identify a suspect 😂)

George takes an instant disliking to Berta, especially as the American girl has brought her dog, a poodle called Sally [Chouquette]. George's resentment is furthered when Berta's hair is cut short to make her resemble a boy. Berta is also dressed as a boy and referred to as Lesley [Michel, homonymic to her second name Michèle] to throw the kidnappers off her scent.

(Before the haircut…)

(…and after)

A few days later, Uncle Quentin receives an urgent message to meet with Elbur to discuss calculations for their energy project. He leaves with his wife, Aunt Fanny, and plans to be gone for a week, leaving the children alone with Joanna, the cook.

(The children become uneasy when they realise that they’re being observed from the island)

One night, George lends Timmy to protect Berta in Joanna's bedroom, while Sally is put in George's bedroom. Irked by the poodle, George decides to put her outside in Timmy's kennel but the kidnappers are waiting and seize George, mistaking her for Berta.

The next day, Julian, Dick and Anne eventually realise that George has been kidnapped instead of Berta. Afraid that Berta might also be abducted, they send her away to stay with Joanna's cousin, with whom the children's gypsy friend, Jo, also lives. Berta is dressed as a simple country girl and is now called Jane [Michèle]. Julian, Dick and Anne then find clues left by George, including a slip of paper with the word 'Gringo' written on it.

(George had enough wits about her to leave a trail for Timmy and her cousins to follow) [Bonus: Go to the end of the summary for something fun!]

Through Jo, the children learn that Gringo runs a fair. Jo's friend at the fair, Spiky [Pedro], points them in the direction of Gringo's caravan, where George had until recently been held captive. Julian enlists the help of a local garage worker, Jim, to find out the recent movements of Gringo's distinctive car. They soon have directions to a house where they suspect George is being held.

(Jo!)

(Julian, Dick and Anne play a game of ball so as not to seem suspicious while snooping around at Gringo’s Fair)

That night, Julian and Dick set off with Timmy to find George. Jo secretly follows them. The boys eventually find George, but the three are then caught and locked in a room. Jo and Timmy then rescue them and the crooks are locked up.

(Julian and Dick find George locked up in a room)

The children return to Kirrin Cottage and tell their tale to Anne and Joanna. After an enormous breakfast, they all fall asleep. Aunt Fanny, Uncle Quentin, Elbur and Berta arrive at Kirrin Cottage later that morning. The police are summoned and instructed to arrest the men locked in the house. Elbur consents to Berta staying longer at Kirrin with her new friends. Finally, Dick proposes to write their adventure down in a book and call it “Five Have Plenty Of Fun Enlèvement au Club des Cinq 😉”.

~~~~~

Bonus:

I don’t intend to make a full comparison between Blyton’s original text and its translations. While this would surely be interesting, it would also be entirely too time-consuming. Still, as I was looking at the text opposite the picture that shows Dick and Timmy discovering George’s broken comb, I realised that there was a small character moment between Dick and Julian that simply did not feature in the original text. So here it is, as a treat!

~*~

Blyton’s original text:

They ran to see what it was. Timmy was trying to get at some small object embedded in a car-rut. Evidently, in turning, the car had run over whatever it was.

Dick saw something broken in half – something green. He picked up the halves. “A comb! Did George have a little green comb like this?”

“Yes, she did,” said Julian. “She must have thrown it down when she got near the car – to show us she was taken here – hoping we would find it. And look, what’s that?”

~*~

French text:

Ils accoururent près du chien, qui essayait d’atteindre un objet enterré dans une ornière. Mick vit bientôt dépasser quelque chose de vert. C’était un peigne, cassé en deux. En tournant, l’auto l’avait sans doute enfoncé dans le sol.

« François, te souviens-tu si Claude possédait un peigne vert ? demanda Mick. J’avoue que, pour ma part, il ne me rappelle rien.

— Naturellement. Tu détestes te coiffer. Mais c’est le peigne de Claude, j’en suis sûr, parce qu’elle me l’a prêté plusieurs fois.

— Pauvre François ! Quand on est affligé d’épis aussi raides que les tiens, je comprends qu’on fasse tout son possible pour les aplatir.

— Tu me paieras ça plus tard ! Pour le moment, nous avons autre chose à faire que de nous chamailler. Ce peigne est tombé de la poche de Claude, à moins qu’elle ne l’ait jeté ici, en espérant que nous le trouverions. Cherchons, peut-être y a-t-il autre chose… Regarde ce chiffon blanc, là-bas ! »

~*~

Literal translation of the French text:

They ran over to the dog, who was trying to reach something buried in a car-rut. Mick soon saw something green sticking out. It was a comb, broken in two. As the car made its turning, it had probably pushed it into the ground.

“Julian, do you remember if George had a green comb? I have to admit that I don't remember anything about it.”

“Of course you don't. You hate doing your hair. But it's George's comb, I'm sure, because she's lent it to me several times.”

“Poor Julian! When you're afflicted with cowlicks as stiff as yours, I can understand why you do everything you can to get them flat.”

“You'll pay for that later! Right now, we've got better things to do than bicker. This comb fell out of George's pocket, unless she threw it down here, hoping we'd find it. Let's have a look, maybe there's something else... Look at that white cloth over there!"

~*~

So there you have it! I thought this small banter between Julian and Dick regarding their respective haircare routines was worth mentioning!

~~~~~

Cover art through the ages:

(Disclaimer: This is not an exhaustive list; sometimes the dates are difficult to pinpoint; and I have purposefully not included editions that re-used similar cover art, with differences only in layout and font style.)

(Original cover by Jeanne Hives, Hachette, 1961. I think the playing-cards visual is an interesting take – even if it has nothing to do with the story. The letters in the corners (F, M, A, C, D) are the characters’ initials.)

(Jean Sidobre goes for a literal interpretation of the “abduction” theme presented in the title… even though the depicted scene never occurs in the story – Hachette, 1974)

(J.P. Morvan clearly takes a lot of inspiration from Sidobre's art above - France Loisirs, 1979) [Sorry for the flare, this is the best picture I could find]

(Fittingly, this has a very “American gangster movie” feel – complete with tyres lifting from the ground! Umberto Nonna, Edito Service, 1981)

(Ripping off Sidobre’s design again… 🙄 – Yves Beaujard, Hachette, 1988)

(Following George’s trail! Paul Gillon, France Loisirs, c. 1995, based on earlier art from 1991)

(A spooky ambiance from Munch & Prunier, Hachette, 2000)

(Another uninspiring cover from Frédéric Rébéna, Hachette, 2008 😮‍💨)

(Investigating at Gringo’s Fair – cute wooden horses aside, WHAT IN THE WORLD IS GEORGE DOING HERE?!? THE BOYS AND ANNE ARE LOOKING FOR HER, FOR HEAVEN’S SAKE 😭😩 – Auren, Hachette, 2020)

~~~~~~

Thanks for reading!

[seattide]

— Vampiros existem também. — Roger soltou. E a pequena Él de 12 anos atrás, quando visitou aquele abatedouro em um passeio escolar e chorou quando ouviu os gritos dos porcos pedindo por socorro, decindo por parar de consumir carne porque não suportaria saber que a forma cruel com que a industria os tratava seguiria lucrando as suas custas. Não demorou para que tivesse contato com o pessoal que queria fazer por eles e pelo meio ambiente do que apenas abdicar do churrasco de domingo e, no final das contas, o churrasco nunca foi o problema. O problema era os homens e sua ganancia. E o desequilíbrio absurdo que era o poderio de ambos os lados. Eles tinham razão, o lado que lutava a favor de Gaia estava perdendo e ela sabia que precisava fazer alguma coisa muito antes de descobrir que era capaz de partir um homem no meio com as suas próprias mãos. Ou nesse caso, garras. — É serio??? - teve a linha de raciociono interrompida. — O que mais existe das lendas populares? Gnomos, fadas? Chupa- cu? E das histórias de lobisomens lutarem contra eles? É real? — É. Um tentou morder minha perna quando eu chutei ele. Não gostou muito. — Baxter revelou, puxando um dos lados da calça para cima cima enquanto revelava suas panturrilhas metálicas. Eram próteses, mas não comuns. Estranhamente sofisticadas — São uma mistura estranha de Wyrm com Weaver. Corrupção e imortalidade. Atire primeiro e pergunte depois. — Bom, magos. Não sabemos o que são exatamente, mas parecem humanos com truques. Alguns bem poderosos. Também temos outros tipos de metamorfos, como você vai conhecer. Gaia não criou somente os homens-lobos. — Damien olhou para o lado por um instante. — Na próxima lua cheia, você será apresentada a Seita Olímpica. Ela é formada por todas as matilhas da região. Temos outros Garous próximos a Forks. Aaron, Emma e o líder deles, Senhor West. Também tem um urso, o Mason. Sujeito simpático. Alguns lobos na praia La Push, na reserva Quilleute, cuidam de um Caern por lá, junto com o Charles. Por fim, temos indivíduos bem interessantes cuidando do monte olimpo. — Ah, tem esse detalhe também. Alguns lobisomens nascem lobos e se transformam depois. — Bekah mordeu o lábio. —Como assim? nasce lobo… lobo? Tipo… a criatura "lobo" e depois vira humanoide ou… ?? Franziou o cenho sem entender exatamente o que ela queria dizer. — Irmão, que isso, é … muito louco tudo isso. - coçou os cabelos, bagunçando toda a franja, que insistia em cair sobre seus olhos. Pensou em Dale outra vez e no que ele pensaria sobre tudo isso. — Podemos contar sobre o que somos para nossas famílias? — Nasce lobo. Lobo lobo. Animal. Passa pela Primeira Mudança igual você. É engraçado conversar com eles. Alguns são bem curiosos, não entendem bem o conceito de mentira ou ironia. — Um grande sorriso se formou nos lábios de Roger. — Nós podemos assumir várias formas. Você pode virar uma loba completa, o que chamamos de Lupus. Pode virar um lobo grandão e monstruoso, o que chamamos de Hispo. Pode virar um lobisomem, que é a forma de guerra, chamada Crinos, e também pode virar um lobisomem meio parecido com o Talbot, de Wolfman. Cara, adoro esse filme. Já assistiu? Tem a versão em preto e branco e a de 2011, que até ganhou um oscar, e… — COFF, COFF. — Damien tossiu, interrompendo-o. Roger comprimiu os lábios — Foco, Senhor Beckett. — Claro, claro. Perdão. Uh… — Não. Quantos menos pessoas souberem sobre nós, melhor. É mais seguro assim. Quando humanos descobrem sobre nós, geralmente, coisas horríveis acontecem. Como aquele grupo organizado no Space Needle. — Bekah mirou o horizonte, em direção a cidade. — Temos leis, mandamentos, por assim dizer. Um código de conduta. — A litania. — Assentiu Sr. Wright.

[newnoticiasjk]

Lucas Silveira vence campeonato mundial de surfe em Fernando de Noronha #bolhaedu #bolhadev visite nosso portal de #noticias

Surfista do Rio de Janeiro venceu a final contra o pernambucano Paulo Moura, na Cacimba do Padre, neste domingo (5). Surfista Lucas Silveira em manobra no mar de Fernando de Noronha Hang Loose/Divulgação O atleta do Rio de Janeiro Lucas Silveira venceu a final e é o novo campeão do Hang Loose Pro Contest 2023, etapa do Mundial de Surfe, realizado na Praia da Cacimba do Padre, em Fernando de Noronha, neste domingo (5). O carioca de 27 anos de idade derrotou o experiente pernambucano Paulo Moura, que tem 42 anos. Compartilhe no WhatsApp Compartilhe no Telegram O campeão conquistou 5 mil pontos no circuito e 10 mil dólares pelo título. Lucas ficou emocionado com a vitória. “Vencer é sempre importante, mas Noronha é um lugar mágico, um paraíso. As condições do mar esta semana foram épicas, isso torna esse título mais especial ainda. No Brasil, se tivesse que escolher um lugar para ganhar, seria Fernando de Noronha”, declarou Lucas Silveira. Depois da vitória Lucas foi carregado Charles Pereira/Acervo pessoal A ilha recebeu esta semana um swell , fenômeno natural que proporciona grandes ondas. Esta foi 16ª edição do evento na ilha. O vice-campeão, Paulo Moura, também ficou muito feliz com o resultado. “Estou muito feliz e, com certeza, fazer uma final em Noronha sempre foi um dos meus maiores sonho, estou superfeliz pelas oportunidades de surfar na Cacimba do Padre”, disse Paulo Moura. Desde o primeiro dia, a Cacimba do Padre teve altas ondas e grandes tubos. A competição chegou a ser suspensa na quarta-feira (1º) por excesso de ondulação. Organizadores e atletas comemoraram o campeonato Ana Clara Marinho/TV Globo O organizador do evento, Alfio Lagnado, comemorou a realização. “Quando o campeonato tem onda, fica tudo lindo, tudo certo e esse foi o melhor Hang Loose em Noronha de todos os tempos”. O criador do campeonato agradeceu todas as pessoas que colaboraram com a realização da etapa do mundial em Noronha, em especial ao presidente da Associação de Surfe da ilha, Marlos Amarantes, e ao jovem Thor Moreira, portador de síndrome de Down e que trabalha no evento na distribuição de malhas para os atletas. A administradora de Fernando de Noronha, Thallyta Figueirôa, garantiu apoio do governo de Pernambuco para próximas edições do evento na ilha. “Se depender do governo do estado, o evento está confirmado em 2024, 2025, 2026, 2027 e nós seguimos com o campeonato. É importante para o turismo de Noronha e deixa um legado. A ilha precisa de eventos e ações sustentáveis que provam que Fernando de Noronha pode chegar a patamares maiores do que já tem”, indicou a administradora. Campeões do Hang Loose 2023 - Lucas Silveira (RJ) - Fernando de Noronha (PE) 2020 - Ramzi Boukhiam (MAR) - Fernando de Noronha (PE) 2019 - Jadson André (RN) - Fernando de Noronha (PE) 2017 - Deivid Silva (SP) - São Sebastião (SP) 2016 - Kanoa Igarashi (JPN) - Florianópolis (SC) 2012 - Miguel Pupo (SP) - Fernando de Noronha (PE) 2011 - Alejo Muniz (SC) - Fernando de Noronha (PE) 2010 - C. J. Hobgood (EUA) - Fernando de Noronha (PE) 2009 - Bruno Santos (RJ) - Fernando de Noronha (PE) 2009 - Kelly Slater (EUA) - Imbituba (SC) 2008 - Raoni Monteiro (RJ) - Fernando de Noronha (PE) 2008 - Bede Durbidge (AUS) - Imbituba (SC) 2007 - Aritz Aranburu (ESP) - Fernando de Noronha (PE) 2007 - Mick Fanning (AUS) - Imbituba (SC) 2006 - Jean da Silva (SC) - Fernando de Noronha (PE) 2005 - Bobby Martinez (EUA) - Fernando de Noronha (PE) 2004 - Warwick Wright (AFR) - Fernando de Noronha (PE) 2003 - Neco Padaratz (SC) - Fernando de Noronha (PE) 2002 - Victor Ribas (RJ) - Fernando de Noronha (PE) 2001 - Fábio Silva (CE) - Fernando de Noronha (PE) 2000 - Guilherme Herdy (RJ) - Fernando de Noronha (PE) 2000 - Crhistiano Spirro (BA) - São Sebastião (SP) 1999 - Richard Lovett (AUS) - Ipojuca (PE) 1999 - Peterson Rosa (PR) - São Sebastião (SP) 1998 - Armando Daltro (BA) - Cabo de Santo Agostinho (PE) 1997 - Marcelo Nunes (RN) - Ipojuca (PE) 1996 - Fábio Silva (CE) - Ipojuca (PE) 1995 - Peterson Rosa (PR) - Guarujá (SP) 1994 - Matt Hoy (AUS) - Guarujá (SP) 1993 - Joey Jenkins (EUA) - Guarujá (SP) 1992 - Nicky Wood (AUS) - Guarujá (SP) 1991 - Nicky Wood (AUS) - Guarujá (SP) 1990 - Fábio Gouveia (PB) - Guarujá (SP) 1989 - Glen Winton (AUS) - Florianópolis (SC) 1988 - Tom Carroll (AUS) - Florianópolis (SC) 1987 - Tom Carroll (AUS) - Florianópolis (SC) 1986 - Dave Macaulay (AUS) - Florianópolis (SC) VÍDEOS: mais vistos de Pernambuco nos últimos 7 dias

[elhadjlirwane]

Visite de Charles Wright dans les maisons d'arrêts: «Nous gardons l'espoir…» (Kaly Diallo)

Visite de Charles Wright dans les maisons d’arrêts: «Nous gardons l’espoir…» (Kaly Diallo)

Après la maison centrale et les tribunaux de Conakry, le ministre de la Justice et des Droits de l’Homme, s’est rendu hier mercredi à Coyah et à Forécariah pour s’enquérir des réalités des maisons d’arrêts et des tribunaux de ces deux préfectures. Contacté par un journaliste de Guinee360 ce jeudi 1er septembre à propos, Mamadou Kaly Diallo, défenseur des droits de l’homme a salué…

[actualiteenguinee]

Visite de Charles Wright dans les maisons d'arrêts: «Nous gardons l'espoir…» (Kaly Diallo)

Visite de Charles Wright dans les maisons d’arrêts: «Nous gardons l’espoir…» (Kaly Diallo)

Après la maison centrale et les tribunaux de Conakry, le ministre de la Justice et des Droits de l’Homme, s’est rendu hier mercredi à Coyah et à Forécariah pour s’enquérir des réalités des maisons d’arrêts et des tribunaux de ces deux préfectures. Contacté par un journaliste de Guinee360 ce jeudi 1er septembre à propos, Mamadou Kaly Diallo, défenseur des droits de l’homme a salué…

[nordleuchten]

Who was Lafayette friends with throughout his life, and were there people he wasn’t so friendly with? Thanks :)

Hello Anon,

La Fayette was the sort of person who made friends easily. He was not a grumpy person, being on good terms with somebody was his default mood so to speak – but there were also more than enough people with whom he was not on the best terms. During the French Revolution they did not call him “the most hated Man in Europe” for no reason. After all that I have read it strikes me as if you either loved or hated La Fayette and that there was little middle ground. The point that I want to make; I had to draw the line somewhere. The list I am going to present you is by no means complete. There are many names that could (and probably should) be added. Without further ado, lets get started.

Starting in America, we have George Washington. I think there is not much more that needs to be said about their relationship. It is commonly known how close they were and how much their relationship meant for both of them. Beside Washington, there was Alexander Hamilton. He and La Fayette first met early on in the War for American Independence. Hamilton was fluent in French and close in age to La Fayette. Their friendship was quickly formed and grew stronger as time progressed. Back home in France, La Fayette wrote Hamilton with a special proposal. Hamilton should send his oldest boy, Phillip, over to Paris, there to be educated under La Fayette’s guidance, while La Fayette would send his boy, Georges Washington, over to America, there to receive an education with Hamilton as a guardian. This plan never came to fruition, but when Georges Washington had to flee France for America during the French Revolution, Hamilton and his family took him in and tried to help him as good as they could. La Fayette never forgot that. After Hamilton’s untimely death in 1804 he wrote to George Washington Parke Custis that:

“Hamilton was to me, my dear Sir, more than friend, he was a brother. We were both very young, when associated with our common father; our friendship, formed in days of peril and glory, suffered no diminution from time: with Tilghman and with Laurens, I was upon terms the most affectionate; but with Hamilton, my relations were brotherly.”

This quote not only gives insight in La Layette’s with Hamilton but also perfectly sums up his relationship with John Laurens and Tench Tilghmam: most affectionate.

On to some people who are sometimes forgotten - James McHenry and James Monroe. James McHenry first met La Fayette when they both were members in George Washington staff. McHenry later transferred to La Fayette’s staff (March of 1781) and was one of his most trusted aide-de-camps. He often was chosen as La Fayette’s “liaison-officer”. I have three excerpts from letters by La Fayette, detailing his relationship to McHenry. The first one was written by La Fayette to McHenry on February 15, 1781, a few months before McHenry joined his staff:

My tender friendship and affectionate Regard for You, will Not lengthen this letter with Assurances from My Heart While the Heart itself must Be known to You. I intend to write You Again in a few days and with Every Sentiment of Attachement and Esteem Have the Honor to be Yours Lafayette

The second letter was addressed to General Greene on August 12, 1781, concerning a potential transfer McHenry’s in Greene’s staff.

McHenry is So well Acquainted with My Sentiments for Him that He knows My attachement is independant of whatever Steps He Might take on the occasion. He knows I am not of a temper that finds faults with the Measures of My friends, and that I will ever feel an obligation to the Man who obliges General Greene.

The last letter was written to McHenry on December 26, 1783. McHenry at this point had already retired from the army.

As an ardent lover of America I am glad to Hear of the influence You are said to Have in Congress. As Your most affectionate friend I shall Be glad whenever You Have an opportunity to display Your abilities. If Congress do not send me Any Commands, I shall Most Certainly embark in the spring. If they Have Commands for me, I would Be thrice Happy to Receive You along with them, and to Make with you french and European travels. You ought to Make them charge you with some political commission to Courts in Europe, and I would like going as a volonteer with you. [Manuscript torn; part a line missing] Your family and our friends. Most affectionately I am for [manuscript torn; several words missing]. Lafayette

I showed you this many letters for several reason. First, McHenry deserves more attention if you ask me. Second, they show not only their emotional relationship but also their professional relationship and illustrate how convinced La Fayette was by McHenry’s merits - and lastly, I like them all and could not decide. :-) Years later, during La Fayette’s imprisonment, McHenry was among the people who tried to help him gain his freedom.

On to James Monroe. Monroe was, just like Hamilton, close in age to La Fayette (actually, La Fayette was older then Monroe by several months) and spoke French. They both moved in the same social circle during the Revolution and had some common friends. It was also Monroe, who, with the backing of Congress, invited La Fayette to visit America once more in 1824/1825. La Fayette received the rights to some land during this visited and later gifted some of this land to Monroe so that Monroe could start paying off his mounting debts. Here is what La Fayette wrote to Monroe on December 19, 1784:

My dear Sir I Have Received your letter to mr jefferson, and shall very Carefully deliver it. Our old friend Gibbs will give you a Bundle of papers for McHenry which I Beg you will keep for Him untill He Comes to Trenton. To morrow morning, My dear Sir, I set out for Europe, and Before I go, it is pleasing for me once more to assure you of the value I Have By Your friendship, and of the affection and regard I Have the Honor to Be With My dear Sir Yours Lafayette

I may or may not have chosen this letter because McHenry also makes an appearance - but Thomas Jefferson is also mentioned, so the selection is valid, because Thomas Jefferson is the next one on our list. Jefferson’s and La Fayette’s friendship blossomed especially during Jefferson stay in Paris as ambassador to the French. La Fayette even consulted with Jefferson when writing the Déclaration des droits de l'homme et du citoyen de 1789. Later, when they met again during La Fayette’s last visit to the United States in 1824/25, they embraced each other and cried tear of joy over the fact of being able to see each other again.

With that, I would like to leave America behind and move on to England. More people could be added though. We see in La Fayette’s letter to General Greene for example, how close these two were. La Fayette had a very friendly relationship with most generals, officers and aide-de-camps in the army.

In England, we see something very interesting. Many of his friends there were actually former opponents of his during the War of Independence - when the House of Commons discussed whether the British Government should try to take actions or not, some of La Fayette’s most vocal allies were veterans of the War of Independence. Another noteworthy friend of his was the Whig politician Charles James Fox. Who really stands out among La Fayette’s English friends tough, is a young women. Her name was Francis “Fanny” Wright. I have planed to write on her separately at some near point in the future and because this post is already way too long we keep things brief. Fanny was a feminist, abolitionist and social reformer. I wager that some of her ideas and proposals would even today be considered somewhat controversial. But she and La Fayette grew quite close and she even accompanied him on his tour in America in 1824/25 (although not officially). Their friendship illustrates two things about La Fayette. He had many female friends – not just female friends, but strong and intelligent and outspoken female friends – and he was not at all faced by that. He also had friends that were considered “bad company” – and again, he was not really put off by that. With that being said, let us continue to France.

France was his native country and he had many friends there; starting with his family and his in-laws. With only a few exceptions La Fayette had close and loving relationships with his family members. There is this one lovely quote from a letter he wrote his wife Adrienne on October 29, 1777 that I simply had to quote:

“(...) for my daughter will be always, I trust, my most intimate friend; I will only be a father in affection, and parental love shall unite in my heart with friendship.”

You have to keep in mind that La Fayette was a nobleman from the 18th century. Such affection for your children, especially daughters, was common not as one would like to think. But of course he had also friends outside his family.

First in my mind there is the La Tour-Maubourg family. Three brothers with all three of whom La Fayette was close. Marie-Victor-Nicolas de Faÿ, marquis de La Tour-Maubourg was a General during the Napoleonic Wars and saw a lot of action. For a short time he was imprisoned with La Fayette but then quickly released. I would say that La Fayette was probably the least close with him. Next up is Juste-Charles de Faÿ de la Tour-Maubourg who was also captured by the Austrians but just as quickly released as his brother. He later married La Fayette’s oldest daughter Anastasie. The current King of Belgium is their descendant. The last brother was Charles César de Fay de La Tour-Maubourg and again, as if to continue a family tradition – he was captured together with La Fayette but unlike his two brothers, he was only released in 1787. I would say that La Fayette was the closest with him. After the death of his wife Adrienne, La Fayette wrote him a very, very long letter, basically laying all his grief and pain and anguish bare. Another dear friend was Bureau de Pussy, again one of La Fayette’s fellow prisoners (being in prison or fighting in a war together appear to be La Fayette’s go-to bounding-activities).

Soooo ... after we have scraped the surface of the category “friends” we can move on to the category “not-so-friendly”. Great parts of La Fayette’s live were spend on the public stage ... and as you all can  very well imagine, he was bound to make some enemies there. Beside the people with whom he had a personal misunderstanding, there were the ones he enraged with his political opinions. He was a  well known supporter of the American Revolution and therefor not too dear to many people on England and to American Loyalists. Things became really interesting though, when the French Revolution gained speed. La Fayette was a centrist, he was searching for a middle path. That actually worked quite well for some time but as soon as more radical factions began to gain influence a middle ground became harder and harder to pursue. He Royalists called him a traitor to the monarchy and a revolutionary while the Revolutionaries called him a traitor to the Republic and a Royalist – he really could not win. While he was not well liked among the leading Revolutionaries (Robespierre, Saint-Just, you name them), few disliked him as much as Doctor Jean-Paul Marat did. I am currently reading  Marat’s L’amie de peuple and there a literally complete issues of the paper dedicated solely to La Fayette and all his alleged wrongdoings.

Things were not necessarily better on the side of the Royalists. When La Fayette entered the palace of Versailles after the event that came to be known as the Women's March on Versailles, he had to pass through a crowed of courtiers in order to reach the King and confer with him. Suddenly, a voice rose from the anonymity of the crowed – “Here comes Cromwell”, a courtier shouted. That is how many people at the court saw La Fayette at this time – as a French Cromwell. The Queen Marie Antoinette was on a later occasion reassured that she did not have to worry, La Fayette would protect her and the King. To that the Queen replied: “Lafayette is here to defend us, but who is to defend us against Lafayette.”

La Fayette’s troubled relationship with the Monarchs of France continued after the Revolution. He and Napoléon hat their ups and downs in their relationship – but mostly downs as time progressed. His relationship with Louis XVIII and especially with Charles X also was strained to put it mildly.

As I have said repeatedly, this is just a brief overview of La Fayette’s different relationships. I nevertheless hope that I could help you out with your question.

I hope you have/had a wonderful day!

[asfaltics]

and yet we went on reading

  Flim, sb. Obs. Sc[otch]. A whim; an illusion.       1   in the manufactory of these flimsy things       2 had hung a basket of fodder underneath for these flimsy things       3                                                 Poor indeed are their prospects of continued protection, if they rest upon these flimsy things alone.       4   will you never learn to choose good, useful, lasting articles, instead of these flimsy things that do good to no one, and that a breath       5 took hold of these flimsy things, Oh!       6 the discomfort, the positive misery of these flimsy things       7   wretchedly printed on bad paper, with few or no literary expenses, these flimsy things drag on       8 “These flimsy things don’t last long, they soon break,” said he. “Of course they do!” declared Madame Guibal, with an air of indifference. “I’m tired of having mine mended.”       9 In all her looks the words we see, These flimsy things are not for me And I with them do not agree.       10   of these flimsy things       11       the ice floes ran in under and cut out these flimsy things.       12                         about 12 inch in being evident that these flimsy things are depth, which projects over the top of the difficult       13                           He knew “Well, it’s a good deal warmer than when to leave a man unhindered and to these flimsy things” he said, lifting the       14 attempt to hit some of these flimsy things, you will put your screwdriver through them.       15 You undertake to fix some of these flimsy things and you put a screw driver into them and they go to pieces.       16   You undertake to fix some of these flimsy things and you put a it in the same condition although I know       17                                                                         Lucy gave her skirts a toss “I am getting tired of these flimsy things, and am trying to wear them out”       18 “I must get some more,” he said, “stronger than these flimsy things.”       19   First of all, I know now what it means to travel “light.” These flimsy things       20 These letters, these unintelligible flowers, these bits of lace and of paper, what are they? Around these flimsy things what is there left ?   And yet we went on reading. But something strange is growing gradually greater...       21 “Why, if I put these flimsy things on now they’d be in holes before I ...”                                                                                     Thorough Young Lady enters. Thorough Young Lady — “Good morning... I’d like a dozen”       22   They had seen it as a whim, Agnes knew; a flimsy, floating thing which scientists might examine under a microscope. But if that were what it was she was full of them.       23  

sources (all but the last pre-1923)

1 Joseph Wright (1855-1930), The English dialect dictionary (London, 1898) vol. 2 : 405 2 OCR cross-column misread (on forged bank notes, and banks), at The Black Dwarf (“A London weekly publication, edited, printed, and published by T.J. Wooler”; January 13, 1819) : columns 21-22 “The Black Dwarf (1817–1824) was a satirical radical journal... published by Thomas Jonathan Wooler, starting in January 1817 as an eight-page newspaper, then later becoming a 32-page pamphlet. It was priced at 4d a week until the Six Acts brought in by the Government in 1819 to suppress radical unrest forced a price increase to 6d. In 1819 it was selling in issues of roughly 12,000 to working people such as James Wilson at a time when the reputable upper-middle class journal Blackwood’s Magazine sold in issues of roughly 4,000 copies.” wikipedia on Thomas Jonathan Wooler (1786-1853), also see wikipedia 3 OCR cross-column misread, at “Mrs. Perewinkle’s Visit to Boston,” by “Muhitable Holyoke,” in Frank Leslie’s New Family Magazine 3:2 (August 1858) : 161-167 (162) 4 ex The Chronicle (“An insurance journal”) 10:18 (October 31, 1872) : 274 on the mismanagement of The Globe Mutual Life Insurance Company under Frederick A. Freeman, its president, and/or other members of the Freeman family (including Pliny Freeman). 5 ex Out of the world, by M. Healy vol. 2 (of 3; London, 1875) : 27 asides — this would be Mary Healy Bigot (1843-1936), daughter of the painter George P. A Healy (1813-94 *) A brief entry on Mary Healy is found at A Database of Victorian Fiction, 1837-1901; rather more, including an extensive list of her publications (journalism, fiction, translations, &c.) is found at her French wikipedia page — “Mary Healy utilisa le pseudonyme de Jeanne Mairet, mais aussi celui de « Madame Charles Bigot » et de « Mary Healy-Bigot ». On trouve des écrits non seulement publiés en français (souvent par Paul Ollendorff), mais aussi en anglais et en allemand. Elle produisit aussi de nombreuses traductions avec parfois l'aide de sa soeur Edith Healy.” in his autobiography is to be found the reason he (and later his daughter after the death of her husband Charles Bigot (1840-93 *)) would move to Chicago — George P. A. Healy, his Reminiscences of a Portrait Painter (Chicago, 1894) : 57 6 ex Alex(ander). Mackenzie, The Life and Speeches of Hon. George Brown (Toronto, 1882), in Chapter 19, The reform convention of 1867. Resolution of thanks to Mr. Brown. Mr. Brown’s reply : 113 7 ex correspondence to the editor (on the subject of “new restrictions in dress”), by “Freedom,” in The Meteor (“Ed. by members of Rugby School”) 175 (May 18, 1882) : 60 8 ex John Bull’s Neighbor in Her True Light : Being an Answer to some recent French criticisms. By a “Brutal Saxon.” Veluti in Speculum. (Third edition. London, 1884), in Chapter 11, The French Press: its Vanity—Le Temps and London Telegraph contrasted—Des Debats—Le Figaro—Le Clairon—Press Laws—Fear of Actions for Libel—Want of Freedom : 87 9 ex conversation about a fan, in Émile Zola (1840-1902 *), The Ladies’ Paradise : A Realistic Novel (London, 1886) : 74 aside — The novel is set in the world of the department store... (wikipedia) 10 “The Village Wedding,” in Poems by Chas. F(rederick). Forshaw, LL.D. (Bradford, 1889) : 28-33 (30) 11 from Act 2, Scene 4 of John Lesslie Hall (1856-1928) his Judas : A Drama in Five Acts (Williamsburg, Virginia; 1894) : 73 aside — “also known as J. Lesslie Hall, was an American literary scholar and poet known for his translation of Beowulf” (wikipedia); (some) papers at the College of William and Mary 12 ex “He saved others” (from Brotherhood Star), at Herald and Presbyter (“A Presbyterian family paper”) 68:46 (Cincinnati and St. Louis, November 17, 1897) : 15 in full — “When ice was running in the North River at New York, a ferryboat was crushed in, under the water line. An employe was sent down to stop the leak, or hold it until the boat could be run into the slip. Bedding, clothing and anything available were passed to him, but the ice floes ran in under and cut out these flimsy things. The boat reached the dock. Passengers were all hastened ashore. The boat was raised up by chains, so that the break was above the water, but the man did not come up on deck. They hastened below and found a bruised body of an unconscious man, pressed close against the opening. Careful nursing brought back life, but broken health and a disfigured body were his. ‘Even Christ pleased not himself.’” 13 OCR cross-column misread at J. B. Fulton, “Faulty Concrete Construction,” in Fireproof 3:6 (December 1903) : 31-33 (32) 14 ex OCR cross-column misread, at Francis Prevost (H. F. P. Battersby, 1862-1949 *), “The Siege of Sar,” in Ainslee’s (“A magazine of clever fiction”) vol. 12 (January 1904) : 1-44 (22) 15 ex Arthur H. Elliott, “The Gas Range in the Kitchen” In Light, Heat and Power 5:12 (February 1906) : 942-946 (944) self-described as “A monthly magazine devoted to the fields of illumination, and also combustion for producing heat and power, wherein the elements employed are natural, artificial, acetylene, gasolene, or petroleum gases.” 16 ex “The Gas Range in the Kitchen," in report of Elliott paper, in The Metal Worker, Plumber and Steam Fitter (March 3, 1906) : 52 17 same as no.s 14 and 15 above, but OCR cross-column misread, at Arthur H. Elliott, “The Gas Range in the Kitchen,” Progressive Age (Gas-Electricity-Water), 24:4 (February 15, 1906) : 96-99 (97) 97 Paper delivered at the First Annual Convention of the National Commercial Gas Association, held at the Cadillac Hotel, New York City, January 24th and 25th, 1906. 18 ex Mrs. Mary Dudeney. All Times Pass Over (London, 1909) : 75 (snippet view only, but entire at hathitrust) aside — little is found, biographically; author of poems, stories, even songs as Mary Du Deney (BL catalogue); are these of the same Mary? — “A novelty appeared in Judge Allen’s court in the shape of a woman, Mrs. Mary du Deney, who sought solace and mental refreshment in a book while her fate was being decided in a divorce proceeding. After reciting the grounds upon which she sought the divorce, the lady was lost to the world until the Judge cut the knot and she again felt the thrill of single blessedness.” (Los Angeles Herald (23 December 1900) : here); and   ◾ “...Old Lady Was Swaying, Fatal Collision with Cyclist At Bridgwater. Returning a verdict of Accidental Death at the inquest on Thursday on Mrg. Mary Du Deney. aged 85, of 2. Holmes Buildings. St. Mary-street, Bridgwater, who died in the hospital on Tuesday...” (Taunton Courier, and Western Advertiser (20 September 1947) : here) 19 ex William Caine (1873-1925 *), The Devil in Solution, (nicely) Illustrated by George Morrow (London, 1911) : 68 (snippet view only, but opens to same page at hathitrust 20 from this longer passage — “First of all, I know now what it means to travel ‘light.’ These flimsy things which the Japanese make are wonderfully serviceable. For instance, I purchased a silk Japanese raincoat which sheds rain perfectly, and yet when not in use I carry it in the pocket of my light overcoat.” ex “Japanese Milling, and Weather,” in Rosenbaum Review 2:39 (Chicago; September 15, 1917) : 8-10 asides — devoted to grain trade; at some point title changes to The Round-Up; published by the J. Rosenbaum Grain Company; this would be Joseph Rosenbaum (1838-1919), whose interesting life is sketched by Arba Nelson Waterman, in “Historical Review of Chicago and Cook County and Selected Biography," found here   ◾ perhaps more interesting is the editor of Rosenbaum Review (and its successor Round-Up), J. Ralph Pickell (1881-1939? *).   ◾ see, for example — “Senate Asks Jardine of Chicago ‘College’” ¶ Secretary Jarine was asked Friday, June 25, by the Senate to explain his connection with the Roundup College of Scientific Price Forecasting of Chicago. ¶ A resolution making the request was offered by Senator Caraway (Dem. Ark.), and adopted. Caraway said the secretary had accepted appoitment as a member of the faculty of the college to teach students “how to speculate and get around the rules of the grain futures act which he administers.” ¶ The resolution asked the Secretary to state whether his information on grain futures markets was obtained as a result of his official connection with the department of agriculture, and what compensation he has received from the college. ¶ The Roundup College school for price broadcasting [sic, should be “forecasting” ?] was held at the Congress Hotel four weeks ago. Secretary Jardine was announced in publicity as the principal speaker. The school is run by J. Ralph Pickell, listed in the telephone book with offices at 1848 West Washington Boulevard and 328 Ashland Boulevard. It is said, however, that the offices have moved to Western Springs, Ill., near Chicago. ¶ Pickell at the time the school was held, said about 500 students would be in attendance. Each student, he said would pay $50 for the course. ex The Illinois Agricultural Association Record (July 1, 1926) : 3 21 ex chapter 23 (the last) in Henri Barbusse (1873-1935 *), Light (Fitzwater Wray, trans.; 1919) : 301 several scans of the same at hathitrust 22 ex Fashions for Men (this passage) and The Swan (in one volume, subtitled Two Plays by Franz Molnar (both comedies in three acts; English texts by Benjamin Glazer); (Liveright, 1922) : 117 Ferenc Molnár (1878-1952), at wikipedia 23 ex Rachel Cusk, Saving Agnes (1993; Picador 1995) : 2

—

subject to change, corrections, &c.  

[weavingthetapestry]

Places to Go: Tullibardine Chapel

A small kirk sheltered by Scots pines, Tullibardine Chapel has an air of tranquility and simple elegance. Formerly the private chapel of the Murrays of Tullibardine, it is one of the few buildings of its kind in Scotland to have survived with many of its medieval details intact.

The Murrays acquired the lands of Tullibardine in the late thirteenth century, when William ‘de Moravia’ married a daughter of the steward of Strathearn. Later, through judicious marriages and court connections, they first became earls of Tullibardine and then Dukes of Atholl. But even as lairds the Murrays were a significant power in late mediaeval Perthshire. In those days Tullibardine Castle was one of their main strongholds, and the close proximity of royal residences like Stirling meant that the Castle also hosted several notable guests. Mary, Queen of Scots, stayed there in December of 1566 (allegedly in the company of the earl of Bothwell). One laird of Tullibardine became Master of Household to the young James VI, while his aunt Annabella Murray, Countess of Mar, oversaw the king’s upbringing. Thus James VI was also a frequent visitor and it was he who created the earldom of Tullibardine in 1606. The king is known to have attended the wedding of the laird of Tullibardine’s daughter Lilias Murray, though it is unclear whether this took place at Tullibardine itself. The castle grounds were probably an impressive sight too: the sixteenth century writer Robert Lindsay of Pitscottie claimed that a group of hawthorns at the “zeit of Tilliebairne”* had been planted in the shape of the Great Michael by some of the wrights who worked on the famous ship.

Thus the tower at Tullibardine, though presumably on a small-scale, was apparently comfortable and imposing enough for the lairds to host royalty and fashion an impressive self-image. But the spiritual needs of a late mediaeval noble family were just as important as their political prestige, and a chapel could both shape the family’s public image and secure their private wellbeing. The current chapel at Tullibardine, which originally stood at a small distance from the castle, was allegedly founded by David Murray in 1446, “in honour of our blessed Saviour”. At least this was the story according to the eighteenth century writer John Spottiswoode, and his assertion is partly supported by the chapel’s internal evidence, though no surviving contemporary document explicitly confirms the tale. A chapel certainly existed by 1455, when a charter in favour of David’s son William Murray of Tullibardine mentions it as an existing structure. In this charter, King James II stated that his “familiar shieldbearer” William Murray has “intended to endow and infeft certain chaplains in the chapel of Tullibardine”. Since the earls of Strathearn had previously endowed a chaplain in the kirk of Muthill, but duties pertaining to the chaplaincy had not been undertaken for some time, James transferred the chaplaincy to Tullibardine. He also granted his patronage and gift of the chaplaincy to William Murray and his heirs.

The charter indicates that Tullibardine Chapel was an important project for the Murrays. Interestingly though, no official references to the chapel in the fifteenth, sixteenth, or seventeenth centuries describe Tullibardine chapel as a collegiate church, even though later writers have frequently claimed this. Collegiate foundations were increasingly popular with the Scottish nobility during the late Middle Ages, but, although such a foundation might have been planned for Tullibardine, there is no evidence that this ever took place.

The 1455 charter serves as an early indication of the chapel’s purpose and significance. Judging by its architecture the current chapel does appear to have been constructed in the mid-fifteenth century. However it was also substantially remodelled and enlarged around 1500, when the western tower was added. One remnant of the original design is the late Gothic ‘uncusped’ loop tracery on the windows. Despite the apparent simplicity of the chapel, features such as this window tracery have been taken as evidence that its builder was acutely aware of contemporary European architectural fashions. Another interesting feature is the survival of the chapel’s original timber collarbeam roof, a rare thing in Scotland. Several coats of arms belonging to members of the Murray family adorn the walls and roof corbels, although some of these armorial panels were probably moved when the chapel was reconstructed. They include the arms of the chapel’s alleged founder David Murray and his wife Margaret Colquhoun, as well as those of his parents, another David Murray and Isabel Stewart. A later member of the family, Andrew Murray, married a lady named Margaret Barclay c.1499, around the same time that the chapel was renovated, and although they were buried elsewhere, their coats of arms can also be seen there. Aside from such details- carved in stone and thus less perishable than books and vestments- the chapel’s interior seems quite sparse and bare today. Originally though the mediaeval building probably housed several richly furnished altars and some of the piscinas (hand-washing stations for priests) can still be seen in the walls. But the sumptuous display favoured in even the smallest mediaeval chapels was soon to be swept away entirely by the Reformation of 1560, when Scotland broke with the Catholic Church and Protestantism became the established faith of the realm.

Tullibardine was used chiefly as a private burial place after the Reformation, but there are signs that the transition from one faith to another was not entirely smooth. Four years after the “official” Reformation, a priest named Sir Patrick Fergy was summoned before the “Superintendent” of Fife, Fothriff, and Strathearn to answer the charge that he had taken it upon himself “to prech and minister the sacramentis wythowtyn lawfull admission, and for drawing of the pepill to the chapel of Tulebarne fra thar parroche kyrk”. Fergy did not obey the summons and so it was decided that he should be summoned for a second admonition. It is not known whether Fergy compeared on that occasion, nor what kind of punishment he might have received for his defiance. We are also in the dark as to the laird of Tullibardine’s views on the situation, even though it was going on right under his family’s nose. Nonetheless the case does provide a glimpse into what must have been a complex religious situation in sixteenth century Perthshire, no less for the ordinary parishioner than for the nobility. It also raises the possibility that private worship continued in the chapel after the Reformation, albeit unofficially.

Even as Tullibardine chapel’s public role diminished, the castle was still of some importance. Royal visits must have been considerably rarer after James VI succeeded to the English throne in 1603, and the Murrays of Tullibardine themselves acquired greater titles and estates, but the tower at Tullibardine still witnessed some notable events. During the first half of the eighteenth century, the castle was the home of Lord George Murray, a kinsman of the Duke of Atholl and famous for his participation in the Jacobite Risings of 1715, 1719, and 1745. During the last of these, Tullibardine Castle played host to a Jacobite garrison and was visited by Charles Edward Stuart. In less warlike times, Lord Murray often resided with his family at Tullibardine, and one of his daughters, who sadly died in infancy, seems to have been buried in the chapel. Lord George himself expressed a wish to be buried there as well but he was forced to flee into exile on the continent after the failure of the ’45, and so his body was interred “over the water” at Medemblick, in the Netherlands.

After Lord George’s exile Tullibardine castle entered a period of slow decline. Much of the fabric of the building was removed in 1747. Some years earlier plans had been made for the old tower to be replaced by a fashionable new house designed by William Adam, but these never materialised. A sketch of the mediaeval chapel made in 1789 shows the castle in the background- a roofless, tumbledown ruin. Tullibardine castle was finally demolished in 1833, and the family chapel, whose very existence had for centuries been defined by its proximity to the laird’s house, now stands alone. We are thus all the more fortunate for its survival, and both its attractive situation and interesting mediaeval features make Tullibardine chapel well worth a visit.

(Tullibardine Chapel, with the castle ruins in the background, as sketched in 1789. Reproduced with permission of the National Libraries of Scotland, under the terms of the Creative Commons Attribution 4.0 License)

Sources and notes may be found under the ‘read more’ button.

* “zeit” is presumaby “yett”, the old Scots word for gate.

Selected Bibliography:

- “Account of All the Religious Houses That Were in Scotland at the Time of the Reformation”, by John Spottiswood, in “An Historical Catalogue of the Scottish Bishops Down to the Year 1688″, by Reverend Robert Keith.

- Seventh Report of the Royal Commission on Historical Manuscripts, Part 2 (Duke of Atholl papers)

- “Register of the Ministers, Elders, and Deacons of the Congregation of St Andrews”, volume 4, Part 1 (St Andrews Kirk Session Register), edited by David Hay Fleming

- “Statement of Significance: Tullibardine Chapel”, Historic Environment Scotland

- “The Historie and Croniclis of Scotland From the Slauchter of King James the First to the Ane Thousande Five Hundreith Thrie Scoir Fiftein Zeir”, by Robert Lindsay of Pitscottie, volume 1 edited Aeneas J. G. Mackay. 

- “Late Gothic Architecture in Scotland: Considerations on the Influence of the Low Countries”, by Richard Fawcett in ‘Proceedings of the Society of Antiquaries Scotland’, 112 (1982) 

- “Aspects of Timber in Renaissance and Post-Renaissance Scotland: The Case of Stirling Palace”, Thorsten Hanke

- “Register of the Privy Seal of Scotland”, Vol. 5, ed. M. Livingstone

- “The Household and Court of King James VI”, Amy L. Juhala

- “Memoirs of the Affairs of Scotland”, by David Moysie, ed. James Dennistoun for the Bannatyne Club

- “Calendar of State Papers, Scotland”, Volume 10, 1589-93, ed. William K. Boyd and Henry W. Meikle

- “The Indictment of Mary Queen of Scots, as Derived from a Manuscript in the University Library at Cambridge, Hitherto Unpublished”, by George Buchanan, edited by R.H. Mahon

[filmloading361]

More Apocrypha Iirejected Scriptures

(This is the second in a series of posts on texts to be featured in New Testament Apocrypha: More Noncanonical Scriptures edited by Brent Landau and I. The material here is included also on my More Christian Apocrypha page).

The Revelation of the Magi has appeared recently in an English translation: Brent Landau, Revelation of the Magi: The Lost Tale of the Wise Men’s Journey to Bethlehem (San Francisco: Harper Collins, 2010), based on his dissertation (to be published in CCSA) “The Sages and the Star-Child: An Introduction to the Revelation of the Magi, An Ancient Christian Apocryphon” (Ph. D. diss.., Harvard Divinity School, 2008 (available HERE)). Brent and I did not feel it was necessary to include another translation of the text in the MNTA volume, but did want to expose a wider audience to the text. So, we decided to include an introduction and a summary. The same strategy was going to be employed for the Armenian Infancy Gospel (recently translated into English by Abraham Terian) and the apocryphal Apocalypses of John, but those contributions have not materialized.

More Apocrypha Iirejected Scriptures Fulfilled

More Apocrypha Iirejected Scriptures King James Version

The text is available in a single Syriac manuscript (Vatican, Biblioteca apostolica, syr. 162) of a larger text known as the Chronicle of Zuqnin. There are a number of apocryphal Jewish and Christian texts that have been preserved in such chronicles and compendia (e.g., Joseph and Aseneth, material in the Book of the Bee and the Cave of Treasures). The story is told from the perspective of the Magi, who are described much differently than in the canonical account of their journey. Here there are twelve Magi (perhaps more), they hail from a mythological eastern land named Shir, and the name “Magi,” it is said, derives etymologically from their practice of praying in silence. They knew to follow the star to Bethlehem because they are descendants of Seth, the third child of Adam and Eve, who passed on to them a prophecy told to him by his father Adam. The star appears to the Magi in the Cave of Treasures on the Mountain of Victories. There it transforms into a small, luminous being (clearly Christ, but his precise identity is never explicitly revealed) and instructs them about its origins and their mission. The Magi follow the star to Bethlehem, where it transforms into the infant Jesus. Upon returning to their land, the Magi instruct their people about the star-child. In an epilogue likely secondary to the text, Judas Thomas arrives in Shir, baptizes the Magi and commissions them to preach throughout the world.

Rev. Magi contains several interesting parallels with other texts from antiquity, indicating that its traditions about the Magi were wide-spread. The “Cave of Treasures” is mentioned also in the Syriac version of the Testament of Adam (a Christian work from the fifth or sixth century) and from there is taken up in the Cave of Treasures (dated to the sixth century) and the Book of the Bee (from the thirteenth century). Several elements of Rev. Magi's story are found also in the Liber de nativitate salvatoris, an expansion of the Gospel of Pseudo-Matthew with curious features that may have originated in a very early infancy gospel. Some aspects of Rev. Magi were also passed on in summary by the anonymous author of a fifth-century commentary on the Gospel of Matthew known as the Opus Imperfectum in Matthaeum. From here some elements found their way into the Golden Legend (ch. 6). The Rev. Magi traditions are surprisingly widespread for a text that, were it not for that one manuscript, would have been lost to history.

Compilation of little-known and never-before-published apocryphal Christian texts in English translation

This anthology of ancient nonbiblical Christian literature presents introductions to and translations of little-known apocryphal texts from a wide variety of genres, most of which have never before been translated into any modern language.

More Buying Choices $102.40 (24 used & new offers) Apocrypha (Large Print): King James Version. 4.7 out of 5 stars 387. The Encyclopedia of Lost and Rejected Scriptures: The Pseudepigrapha and Apocrypha. 4.7 out of 5 stars 532. Hardcover $42.49 $ 42. 49 $65.00 $65.00. FREE Shipping by Amazon. Burke & Long, eds., New Testament Apocrypha, first galley proofs February 19, 2016 1:23 PM New Testament Apocrypha More Noncanonical Scriptures Volume one Edited by Tony Burke and Brent Landau William B. Eerdmans Publishing Company Grand Rapids, Michigan.

An introduction to the volume as a whole addresses the most significant features of the included writings and contextualizes them within the contemporary (quickly evolving) study of the Christian Apocrypha. The body of the book comprises thirty texts that have been carefully introduced, annotated, and translated into readable English by eminent scholars. Ranging from the second century to early in the second millennium, these fascinating texts provide a more complete picture of Christian thought and expression than canonical texts alone can offer.

For ordering information, visit Eerdmans.

PREVIEW (introduction and front matter)

CONTENTS

1. Gospels and Related Traditions of New Testament Figures The Legend of Aphroditianus (Katharina Heyden) The Revelation of the Magi (Brent Landau) The Hospitality of Dysmas (Mark Bilby) The Infancy Gospel of Thomas (Syriac) (Tony Burke) On the Priesthood of Jesus (Bill Adler) Papyrus Oxyrhynchus 210 (Brent Landau) Papyrus Oxyrhynchus 5072 (Ross P. Ponder) The Dialogue of the Paralytic with Christ (Bradley N. Rice) The Toledot Yeshu (Stanley Jones) The Berlin-Strasbourg Apocryphon (Alin Suciu) The Discourse of the Savior and the Dance of the Savior (Paul C. Dilley) An Encomium on Mary Magdalene (Christine Luckritz Marquis) An Encomium on John the Baptist (Philip L. Tite) The Life of John the Baptist by Serapion (Slavomír Céplö) Life and Martyrdom of John the Baptist (Andrew Bernhard) The Legend of the Thirty Silver Pieces (Tony Burke and Slavomír Céplö) The Death of Judas according to Papias (Geoffrey S. Smith)

2. Apocryphal Acts and Related Traditions The Acts of Barnabas (Glenn E. Snyder) The Acts of Cornelius the Centurion (Tony Burke and Witold Witakowski) John and the Robber (Rick Brannan) The History of Simon Cephas, the Chief of the Apostles (Stanley Jones) The Acts of Timothy (Cavan Concannon) The Acts of Titus (Richard Pervo) The Acts of Xanthippe and Polyxena (David Eastman)

3. Epistles The Epistle of Christ from Heaven (Calogero A. Miceli) The Letter of Ps.-Dionysius the Areopagite to Timothy on the Death of Peter and Paul (David Eastman)

More Apocrypha Iirejected Scriptures John Hagee

4. Apocalypses The (Latin) Revelation of John about Antichrist (Charles Wright) The Apocalypse of the Virgin (Stephen Shoemaker) The Tiburtine Sibyl (Stephen Shoemaker) The Investiture of Abbaton (Alin Suciu and Ibrahim Saweros)

[giveamadeuschohisownmovie]

Idea for a spiritual sequel to “Until Dawn”:

The title is “Until Dawn 2: Ascension”. It’s the summer and the Wright family is on a road trip going across the U.S. for vacation. As part of the trip, they visit Louisiana to meet with other family members. However, as night falls, they realize that the town they’re in has dark secrets and they’ll need to tread carefully in order to survive until dawn.

Like how the first “Until Dawn” was one half slasher horror and one half mountain creature horror, the sequel is a blend of two horror genres as well. 

The first half is witch / cult horror. It’s revealed that the town is a part of an ancient, devil-worshiping cult that the Wrights have history with. The Wrights learn that their family is set to be sacrificed to the cult’s deity, hence why the townspeople are trying to kill them.

The second half veers far off from the cult and ventures into sci-fi / alien abduction horror. As a side-plot, the Wrights learn that the creature that the town has been worshiping is real but is not what they think it is. The creature is not some ancient devil or god. It turns out to be an alien that has been experimenting on the victims that the town sacrificed to it. You can imagine levels such as exploring the creature’s spacecraft and the lab that people are being experimented on.

The finale is the confrontation with the alien, as well as the townspeople that seeks to protect it. 

So basically, think “The Wicker Man” / “The Blair Witch Project” meets “Predator” / “Signs”. 

The main playable characters:

1) Cary Elwes as Arthur Wright: The dad of the group (Marcy’s husband) 

2) Angela Bassett as Marcy Wright: The mom of the group. (Arthur’s wife)

3) Jessica Parker Kennedy as Janine Wright: Marcy and Arthur’s daughter

4) Alfie Enoch as Benjamin Wright: Marcy and Arthur’s son 

5) Iain De Caestecker as Martin Danvers: Marcy and Arthur’s adopted son 

6) Olivia Luccardi as Mia Wade: Benjamin’s girlfriend, who tagged along for the road trip

7) Constance Wu as Lucille Cheng: A friend of the family, who tagged along for the road trip  

8) Michael Rooker as Charles Wright: Arthur’s brother and secretly, a member of the cult (so...the “Josh” of the game) 

[bongaboi]

Grammy Awards 2019: The List, Part 3

Latin

Best Latin Pop Album

Sincera – Claudia Brant

Prometo – Pablo Alborán

Musas, Vol. 2 – Natalia Lafourcade

2:00 AM – Raquel Sofía

Vives – Carlos Vives

Best Latin Rock, Urban or Alternative Album

Aztlán – Zoé

Claroscura – Aterciopelados

COASTCITY – COASTCITY

Encanto Tropical – Monsieur Periné

Gourmet – Orishas

Best Regional Mexican Music Album (Including Tejano)

¡México Por Siempre! – Luis Miguel

Primero Soy Mexicana – Ángela Aguilar

Mitad Y Mitad – Calibre 50

Totalmente Juan Gabriel Vol. II – Aida Cuevas

Cruzando Borders – Los Texmaniacs

Leyendas de Mi Pueblo – Mariachi Sol de Mexico

Best Tropical Latin Album

Anniversary – Spanish Harlem Orchestra

Pa' Mi Gente – Charlie Aponte

Legado – Formell y Los Van Van

Orquesta Akokán – Orquesta Akokán

Ponle Actitud – Felipe Peláez

American Roots Music

Best American Roots Performance

"The Joke" – Brandi Carlile

"Kick Rocks" – Sean Ardoin

"St. James Infirmary Blues" – Jon Batiste

"All on My Mind" – Anderson East

"Last Man Standing" – Willie Nelson

Best American Roots Song

"The Joke"

"All the Trouble"

"Build a Bridge"

"Knockin' on Your Screen Door"

"Summer's End"

Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)

Waylon Payne, Lee Ann Womack & Adam Wright, songwriters (Lee Ann Womack)

Jeff Tweedy, songwriter (Mavis Staples)

Pat McLaughlin & John Prine, songwriters (John Prine)

Pat McLaughlin & John Prine, songwriters (John Prine)

Best Americana Album

By the Way, I Forgive You – Brandi Carlile

Things Have Changed – Bettye LaVette

The Tree of Forgiveness – John Prine

The Lonely, the Lonesome & the Gone – Lee Ann Womack

One Drop of Truth – The Wood Brothers

Best Bluegrass Album

The Travelin' McCourys – The Travelin' McCourys

Portraits in Fiddles – Mike Barnett

Sister Sadie II – Sister Sadie

Rivers and Roads – The Special Consensus

North of Despair – Wood & Wire

Best Traditional Blues Album

The Blues Is Alive and Well – Buddy Guy

Something Smells Funky 'Round Here – Elvis Bishop's Big Fun Trio

Benton County Relic – Cedric Burnside

No Mercy in This Land – Ben Harper and Charlie Musselwhite

Don't You Feel My Leg (The Naughty Bawdy Blues of Blue Lu Barker) – Maria Muldaur

Best Contemporary Blues Album

Please Don't Be Dead – Fantastic Negrito

Here in Babylon – Teresa James and the Rhythm Tramps

Cry No More – Danielle Nicole

Out of the Blues – Boz Scaggs

Victor Wainwright and the Train – Victor Wainwright and the Train

Best Folk Album

All Ashore – Punch Brothers

Whistle Down the Wind – Joan Baez

Black Cowboys – Dom Flemons

Rifles & Rosary Beads – Mary Gauthier

Weed Garden – Iron & Wine

Best Regional Roots Music Album

No 'Ane'i – Kalani Pe'a

Kreole Rock and Soul – Sean Ardoin

Spyboy – Cha Wa

Aloha from Na Hoa – Na Hoa

Mewasinsational: Cree Round Dance Songs – Young Spirit

Reggae

Best Reggae Album

44/876 – Sting & Shaggy

As the World Turns – Black Uhuru

Reggae Forever – Etana

Rebellion Rises – Ziggy Marley

A Matter of Time – Protoje

World Music

Best World Music Album

Freedom – Soweto Gospel Choir

Deran – Bombino

Fenfo – Fatoumata Diawara

Black Times – Seun Kuti & Egypt 80

Yiddish Glory: The Lost Songs of World War II, various artists

Children's

Best Children's Album

All the Sounds – Lucy Kalantari & The Jazz Cats

Building Blocks – Tim Kubart

Falu's Bazaar – Falu

Giants of Science – The Pop Ups

The Nation of Imagine – Frank & Deane

Spoken Word

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling)

Faith: A Journey for All – Jimmy Carter

Accessory to War – Courtney B. Vance

Calypso – David Sedaris

Creative Quest – Questlove

The Last Black Unicorn – Tiffany Haddish

Comedy

Best Comedy Album

Equanimity & The Bird Revelation – Dave Chappelle

Annihilation – Patton Oswalt

Noble Ape – Jim Gaffigan

Standup for Drummers – Fred Armisen

Tamborine – Chris Rock

Musical Theater

Best Musical Theater Album

The Band's Visit – Etai Benson, Adam Kantor, Katrina Lenk & Ari'el Stachel, principal soloists; Dean Sharenow & David Yazbek, producers; David Yazbek, composer & lyricist (Original Broadway Cast)

Carousel – Renée Fleming, Alexander Gemignani, Joshua Henry, Lindsay Mendez & Jessie Mueller, principal soloists; Steven Epstein, producer (Richard Rodgers, composer; Oscar Hammerstein II, lyricist) (2018 Broadway Cast)

Jesus Christ Superstar Live in Concert – Sara Bareilles, Alice Cooper, Ben Daniels, Brandon Victor Dixon, Erik Grönwall, Jin Ha, John Legend, Norm Lewis & Jason Tam, principal soloists; Harvey Mason Jr., producer (Andrew Lloyd Webber, composer; Tim Rice, lyricist) (Original Television Cast)

My Fair Lady – Lauren Ambrose, Norbert Leo Butz & Harry Hadden-Paton, principal soloists; Andre Bishop, Van Dean, Hattie K. Jutagir, David Lai, Adam Siegel & Ted Sperling, producers (Frederick Loewe, composer; Alan Jay Lerner, lyricist) (2018 Broadway Cast)

Once on This Island – Phillip Boykin, Merle Dandridge, Quentin Earl Darrington, Hailey Kilgore, Kenita R. Miller, Alex Newell, Isaac Powell & Lea Salonga, principal soloists; Lynn Ahrens, Hunter Arnold, Ken Davenport, Stephen Flaherty & Elliot Scheiner, producers (Stephen Flaherty, composer; Lynn Ahrens, lyricist) (New Broadway Cast)

Music for Visual Media

Best Compilation Soundtrack for Visual Media

The Greatest Showman – Hugh Jackman (& Various Artists)

Call Me by Your Name – (Various Artists)

Deadpool 2 – (Various Artists)

Lady Bird – (Various Artists)

Stranger Things – (Various Artists)

Alex Lacamoire, Benj Pasek, Justin Paul & Greg Wells, compilation producers

Luca Guadagnino, compilation producer; Robin Urdang, music supervisor

David Leitch & Ryan Reynolds, compilation producers; John Houlihan, music supervisor

Timothy J. Smith, compilation producer; Michael Hill & Brian Ross, music supervisors

Matt Duffer, Ross Duffer, Timothy J. Smith, compilation producer; Nora Felder, music supervisor

Best Score Soundtrack for Visual Media

Black Panther – Ludwig Göransson, composer

Blade Runner 2049 – Benjamin Wallfisch & Hans Zimmer, composers

Coco – Michael Giacchino, composer

The Shape of Water – Alexandre Desplat, composer

Star Wars: The Last Jedi – John Williams, composer

Best Song Written for Visual Media

"Shallow" (from A Star Is Born)

"All the Stars" (from Black Panther)

"Mystery of Love" (from Call Me by Your Name)

"Remember Me" (from Coco)

"This Is Me" (from The Greatest Showman)

Lady Gaga, Mark Ronson, Anthony Rossomando & Andrew Wyatt, songwriters (Lady Gaga & Bradley Cooper)

Kendrick Duckworth, Solána Rowe, Alexander William Shuckburgh, Mark Anthony Spears & Anthony Tiffith, songwriters (Kendrick Lamar & SZA)

Sufjan Stevens, songwriter (Sufjan Stevens)

Kristen Anderson-Lopez & Robert Lopez, songwriters (Miguel featuring Natalia Lafourcade)

Benj Pasek & Justin Paul, songwriters (Keala Settle & The Greatest Showman Ensemble)

Composing

Best Instrumental Composition

"Blut Und Boden (Blood and Soil)"

"Chrysalis"

"Infinity War"

"Mine Mission"

"The Shape of Water"

Terence Blanchard, composer (Terence Blanchard)

Jeremy Kittel, composer (Kittel & Co.)

Alan Silvestri, composer (Alan Silvestri)

John Powell & John Williams, composers (John Powell & John Williams)

Alexandre Desplat, composer (Alexandre Desplat)

Arranging

Best Arrangement, Instrumental or A Cappella

"Stars and Stripes Forever"

"Batman Theme (TV)"

"Change the World"

"Madrid Finale"

"The Shape of Water"

John Daversa, arranger (John Daversa Big Band featuring DACA Artists)

Randy Waldman & Justin Wilson, arrangers (Randy Waldman featuring Wynton Marsalis)

Mark Kibble, arranger (Take 6)

John Powell, arranger (John Powell)

Alexandre Desplat, arranger (Alexandre Desplat)

Best Arrangement, Instruments and Vocals

"Spiderman Theme"

"It Was a Very Good Year"

"Jolene"

"Mona Lisa"

"Niña"

Mark Kibble, Randy Waldman & Justin Wilson, arrangers (Randy Waldman featuring Take 6 & Chris Potter)

Matt Rollings & Kristin Wilkinson, arrangers (Willie Nelson)

Dan Pugach & Nicole Zuraitis, arrangers (Dan Pugach)

Vince Mendoza, arranger (Gregory Porter)

Gonzalo Grau, arranger (Magos Herrera & Brooklyn Rider)

Packaging

Best Recording Package

Masseduction

Be the Cowboy

Love Yourself: Tear

The Offering

Well Kept Thing

Willo Perron, art director (St. Vincent)

Mary Banas, art director (Mitski)

HuskyFox, art director (BTS)

Qing-Yang Xiao, art director (The Chairman)

Adam Moore, art director (Foxhole)

Best Boxed or Special Limited Edition Package

Squeeze Box: The Complete Works of "Weird Al" Yankovic

Appetite For Destruction (Locked N' Loaded Box)

I'll Be Your Girl

Pacific Northwest '73–'74: The Complete Recordings

Too Many Bad Habits

Meghan Foley, Annie Stoll & Al Yankovic, art directors ("Weird Al" Yankovic)

Arian Buhler, Charles Dooher, Jeff Fura, Scott Sandler & Matt Taylor, art directors (Guns N' Roses)

Carson Ellis, Jeri Heiden & Glen Nakasako, art directors (The Decemberists)

Lisa Glines, Doran Tyson & Roy Henry Vickers, art directors (Grateful Dead)

Sarah Dodds & Shauna Dodds, art directors (Johnny Nicholas)

Notes

Best Album Notes

Voices of Mississippi: Artists and Musicians Documented by William Ferris

Alpine Dreaming: The Helvetia Records Story, 1920-1924

4 Banjo Songs, 1891-1897: Foundational Recordings of America's Iconic Instrument

The 1960 Time Sessions

The Product of Our Souls: The Sound and Sway of James Reese Europe's Society Orchestra

Trouble No More: The Bootleg Series Vol. 13/1979-1981 (Deluxe Edition)

David Evans, album notes writer (Various artists)

James P. Leary, album notes writer (Various artists)

Richard Martin & Ted Olson, album notes writer (Charles A. Asbury)

Ben Ratliff, album notes writer (Sonny Clark Trio)

David Gilbert, album notes writer (Various artists)

Amanda Petrusich, album notes writer (Bob Dylan)

Historical

Best Historical Album

Voices of Mississippi: Artists and Musicians Documented by William Ferris

Any Other Way

At the Louisiana Hayride Tonight...

Battleground Korea: Songs and Sounds of America's Forgotten War

A Rhapsody in Blue: The Extraordinary Life of Oscar Levant

William Ferris, April Ledbetter & Steven Lance Ledbetter, compilation producers; Michael Graves, mastering engineer (Various artists)

Rob Bowman, Douglas McGowan, Rob Sevier & Ken Shipley, compilation producers; Jeff Lipton, mastering engineer (Jackie Shane)

Martin Hawkins, compilation producer; Christian Zwarg, mastering engineer (Various artists)

Hugo Keesing, compilation producer; Christian Zwarg, mastering engineer (Various artists)

Robert Russ, compilation producer; Andreas K. Meyer & Rebekah Wineman, mastering engineers (Oscar Levant)

Production, Non-Classical

Best Engineered Album, Non-Classical

Colors

All the Things That I Did and All the Things That I Didn't Do

Earthtones

Head Over Heels

Voicenotes

Julian Burg, Serban Ghenea, David "Elevator" Greenbaum, John Hanes, Beck Hansen, Greg Kurstin, Florian Lagatta, Cole M.G.N., Alex Pasco, Jesse Shatkin, Darrell Thorp & Cassidy Turbin, engineers; Chris Bellman, Tom Coyne, Emily Lazar & Randy Merrill, mastering engineers (Beck)

Ryan Freeland & Kenneth Pattengale, engineers; Kim Rosen, mastering engineer (The Milk Carton Kids)

Robbie Lackritz, engineer; Philip Shaw Bova, mastering engineer (Bahamas)

Nathaniel Alford, Jason Evigan, Chris Galland, Tom Gardner, Patrick "P-Thugg" Gemayel, Serban Ghenea, John Hanes, Tony Hoffer, Derek Keota, Ian Kirkpatrick, David Macklovitch, Amber Mark, Manny Marroquin, Vaughn Oliver, Chris "TEK" O'Ryan, Morgan Taylor Reid & Gian Stone, engineers; Chris Gehringer & Michelle Mancini, mastering engineers (Chromeo)

Manny Marroquin & Charlie Puth, engineers; Dave Kutch, mastering engineer (Charlie Puth)

Producer of the Year, Non-Classical

Pharrell Williams

Boi-1da

Larry Klein

Linda Perry

Kanye West

"Apeshit" (The Carters)

Man of the Woods (Justin Timberlake)

No One Ever Really Dies (N.E.R.D)

"Stir Fry" (Migos)

Sweetener (Ariana Grande)

"Be Careful" (Cardi B)

"Diplomatic Immunity" (Drake)

"Friends" (The Carters)

"God's Plan" (Drake)

"Heard About Us" (The Carters)

"Lucky You" (Eminem featuring Joyner Lucas)

"Mob Ties" (Drake)

"No Limit" (G-Eazy featuring ASAP Rocky & Cardi B)

"All These Things" (Thomas Dybdahl)

Anthem (Madeleine Peyroux)

The Book of Longing (Luciana Souza)

"Can I Have It All" (Thomas Dybdahl)

Junk (Hailey Tuck)

"Look At What We've Done" (Thomas Dybdahl)

Meaning to Tell Ya (Molly Johnson)

"Harder, Better, Faster, Stronger" (Willa Amai)

Served Like a Girl (Various artists)

28 Days in the Valley (Dorothy)

Daytona (Pusha T)

Kids See Ghosts (Kids See Ghosts)

K.T.S.E. (Teyana Taylor)

Nasir (Nas)

Ye (Kanye West)

Best Remixed Recording

"Walking Away" (Mura Masa Remix)

"Audio" (CID Remix)

"How Long" (EDX's Dubai Skyline Remix)

"Only Road" (Cosmic Gate Remix)

"Stargazing" (Kaskade Remix)

Alex Crossan, remixer (Haim)

CID, remixer (LSD)

Maurizio Colella, remixer (Charlie Puth)

Stefan Bossems & Claus Terhoeven, remixers (Gabriel & Dresden featuring Sub Teal)

Kaskade, remixer (Kygo featuring Justin Jesso)

Production, Immersive Audio

Best Immersive Audio Album

Eye in the Sky: 35th Anniversary Edition

Folketoner

Seven Words from the Cross

Sommerro: Ujamaa & The Iceberg

Symbol

Alan Parsons, surround mix engineer; Dave Donnelly, PJ Olsson & Alan Parsons, surround mastering engineers; Alan Parsons, surround producer (The Alan Parsons Project)

Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Anne Karin Sundal-Ask & Det Norske Jentekor)

Daniel Shores, surround mix engineer; Daniel Shores, surround mastering engineer; Dan Merceruio, surround producer (Matthew Guard & Skylark)

Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Ingar Heine Bergby, Trondheim Symphony Orchestra & Choir)

Prashant Mistry & Ronald Prent, surround mix engineers; Darcy Proper, surround mastering engineer; Prashant Mistry & Ronald Prent, surround producers (Engine-Earz Experiment)

Production, Classical

Best Engineered Album, Classical

Shostakovich: Symphonies Nos. 4 & 11

Bates: The (R)evolution of Steve Jobs

Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1

John Williams at the Movies

Liquid Melancholy: Clarinet Music of James M. Stephenson

Visions and Variations

Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds)

Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

Producer of the Year, Classical

Blanton Alspaugh

David Frost

Elizabeth Ostrow

Judith Sherman

Dirk Sobotka

Arnesen: Infinity - Choral Works (Joel Rinsema & Kantorei)

Aspects of America (Carlos Kalmar & Oregon Symphony)

Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)

Gordon, R.: The House Without a Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Gran Opera Juvenile Chorus & Houston Grand OperaOrchestra)

Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)

Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)

Music of Fauré, Buide & Zemlinsky (Trio Séléné)

Paterson: Three Way - A Trio of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)

Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade to Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)

Mirror in Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)

Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)

Presentiment (Orion Weiss)

Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus)

Bates: The (R)evolution of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

Beethoven Unbound (Llŷr Williams)

Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)

Bolcom: Piano Music (Various Artists)

Del Tredici: March to Tonality (Mark Peskanov & Various Artists)

Love Comes in at the Eye (Timothy Jones, Stephanie Sant'Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt)

Meltzer: Variations on a Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)

Mendelssohn: Complete Works for Cello and Piano (Marcy Rosen & Lydia Artymiw)

New Music for Violin and Piano (Julie Rosenfeld & Peter Miyamoto)

Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)

Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)

Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)

Music of the Americas (Andrés Orozco-Estrada & Houston Symphony)

Classical

Best Orchestral Performance

Shostakovich: Symphonies Nos. 4 & 11

Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1

Nielsen: Symphony No. 3 & Symphony No. 4

Ruggles, Stucky & Harbison: Orchestral Works

Schumann: Symphonies Nos. 1-4

Andris Nelsons, conductor (Boston Symphony Orchestra)

Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)

Thomas Dausgaard, conductor (Seattle Symphony)

David Alan Miller, conductor (National Orchestral Institute Philharmonic)

Michael Tilson Thomas, conductor (San Francisco Symphony)

Best Opera Recording

Bates: The (R)evolution Of Steve Jobs

Adams: Doctor Atomic

Lully: Alceste

Strauss, R.: Der Rosenkavalier

Verdi: Rigoletto

Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edward Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra)

John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (The BBC Symphony Orchestra; BBC Singers)

Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur)

Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

Constantine Orbelian, conductor; Francesco Demuro, Dmitri Hvorostovsky & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir)

Best Choral Performance

McLoskey: Zealot Canticles

Chesnokov: Teach Me Thy Statutes

Kastalsky: Memory Eternal

Rachmaninov: The Bells

Seven Words From The Cross

Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing)

Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir)

Steven Fox, conductor (The Clarion Choir)

Mariss Jansons, conductor; Peter Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks)

Matthew Guard, conductor (Skylark)

Best Chamber Music/Small Ensemble Performance

Anderson, Laurie: Landfall – Laurie Anderson & Kronos Quartet

Beethoven, Shostakovich & Bach – The Danish String Quartet

Blueprinting – Aizuri Quartet

Stravinsky: The Rite of Spring Concerto for Two Pianos – Leif Ove Andsnes & Marc-André Hamelin

Visions And Variations – A Far Cry

Best Classical Instrumental Solo

Kernis: Violin Concerto – James Ehnes

Bartók: Piano Concerto No. 2 – Yuja Wang

Biber: The Mystery Sonatas – Christina Day Martinson

Bruch: Scottish Fantasy, Op. 46; Violin Concerto No. 1 In G Minor, Op. 26

Glass: Three Pieces In The Shape of A Square

Ludovic Morlot, conductor (Seattle Symphony)

Simon Rattle, conductor (Berliner Philharmoniker)

Martin Pearlman, conductor (Boston Baroque)

Joshua Bell (The Academy Of St. Martin In The Fields)

Craig Morris

Best Classical Solo Vocal Album

Songs of Orpheus: Monteverdi, Caccini, d'India & Landi – Karim Sulayman

ARC – Anthony Roth Costanzo

The Handel Album – Philippe Jaroussky

Mirages – Sabine Devieilhe

Schubert: Winterreise – Randall Scarlata

Jeannette Sorrell, conductor; Apollo's Fire, ensembles

Jonathan Cohen, conductor (Les Violons Du Roy)

Artaserse, ensemble

François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles)

Gilbert Kalish, accompanist

Best Classical Compendium

Fuchs: Piano Concerto 'Spiritualist'; Poems Of Life; Glacier; Rush

Gold

The John Adams Edition

John Williams at the Movies

Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi

JoAnn Falletta, conductor; Tim Handley, producer

The King's Singers; Nigel Short, producer

Simon Rattle, conductor; Christoph Franke, producer

Jerry Junkin, conductor; Donald J. McKinney, producer

Peter Oundjian, conductor; Blanton Alspaugh, producer

Best Contemporary Classical Composition

Kernis: Violin Concerto

Bates: The (R)evolution of Steve Jobs

Du Yun: Air Glow

Heggie: Great Scott

Mazzoli: Vespers for Violin

Aaron Jay Kernis, composer (James Ehnes, Ludovic Morlot & Seattle Symphony)

Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edward Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

Du Yun, composer (International Contemporary Ensemble)

Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)

Missy Mazzoli, composer (Olivia De Prato)

Music Video/Film

Best Music Video

"This Is America" – Childish Gambino

"Apeshit" – The Carters

"I'm Not Racist" – Joyner Lucas

"Pynk" – Janelle Monáe

"Mumbo Jumbo" – Tierra Whack

Hiro Murai, video directors; Ibra Ake, Jason Cole & Fam Rothstein, video producers

Ricky Saiz, video director; Mélodie Buchris, Natan Schottenfels & Erinn Williams, video producers

Joyner Lucas & Ben Proulx, video directors; Joyner Lucas, video producer

Emma Westenburg, video director; Justin Benoliel & Whitney Jackson, video producers

Marco Prestini, video director; Sara Nassim, video producer

Best Music Film

Quincy – Quincy Jones

Life in 12 Bars – Eric Clapton

Whitney – (Whitney Houston)

Itzhak – Itzhak Perlman

The King – (Elvis Presley)

Alan Hicks & Rashida Jones, video directors; Paula DuPré Pesmen, video producer

Lili Fini Zanuck, video director; John Battsek, Scooter Weintraub, Larry Yelen & Lili Fini Zanuck, video producers

Kevin Macdonald, video director; Jonathan Chinn, Simon Chinn & Lisa Erspamer, video producers

Alison Chernick, video director; Alison Chernick, video producer

Eugene Jarecki, video director; Christopher Frierson, Georgina Hill, David Kuhn & Christopher St. John, video producers

[blackkudos]

James Baldwin

James Arthur Baldwin (August 2, 1924 – December 1, 1987) was an African-American novelist, essayist, playwright, poet, and social critic. His essays, as collected in Notes of a Native Son (1955), explore palpable yet unspoken intricacies of racial, sexual, and class distinctions in Western societies, most notably in mid-20th-century America, and their inevitable if unnameable tensions. Some Baldwin essays are book-length, for instance The Fire Next Time (1963), No Name in the StreJames Baldwinet (1972), and The Devil Finds Work (1976).

Baldwin's novels and plays fictionalize fundamental personal questions and dilemmas amid complex social and psychological pressures thwarting the equitable integration not only of blacks, but also of gay and bisexual men, while depicting some internalized obstacles to such individuals' quests for acceptance. Such dynamics are prominent in Baldwin's second novel, Giovanni's Room, written in 1956 well before gay rights were widely espoused in America.

Early life

Baldwin was born after his mother, Emma Berdis Jones, left his biological father because of his drug abuse and moved to Harlem, New York City. There, she married a preacher, David Baldwin. The family was very poor.

Baldwin spent much time caring for his several younger brothers and sisters. At the age of 10, he was teased and abused by two New York police officers, an instance of racist harassment by the NYPD that he would experience again as a teenager and document in his essays. His adoptive father, whom Baldwin in essays called simply his father, appears to have treated him — by comparison with his siblings — with great harshness.

His stepfather died of tuberculosis in summer of 1943 just before Baldwin turned 19. The day of the funeral was Baldwin's 19th birthday, the day his father's last child was born, and the day of the Harlem Riot of 1943, which was portrayed at the beginning of his essay "Notes of a Native Son". The quest to answer or explain family and social rejection—and attain a sense of selfhood, both coherent and benevolent—became a leitmotiv in Baldwin's writing.

Education

James attended P.S. 24 on 128th Street between Fifth and Madison in Harlem where he wrote the school song, which was used until the school closed down. His middle school years were spent at Frederick Douglass Junior High where he was influenced by poet Countee Cullen, a leading figure in the Harlem Renaissance, and was encouraged by his math teacher to serve as editor of the school newspaper, The Douglass Pilot. He then went on to DeWitt Clinton High School, in the Bronx's Bedford Park section. There, along with Richard Avedon, he worked on the school magazine as literary editor but disliked school because of the constant racial slurs.

Religion

The difficulties of his life, including his stepfather's abuse, led Baldwin to seek solace in religion. At the age of 14 he attended meetings of the Pentecostal Church and, during a euphoric prayer meeting, he converted and became a junior Minister. Before long, at the Fireside Pentecostal Assembly, he was drawing larger crowds than his stepfather had done in his day. At 17, however, Baldwin came to view Christianity as based on false premises and later regarded his time in the pulpit as a way of overcoming his personal crises.

Baldwin once visited Elijah Muhammad, leader of the Nation of Islam, who inquired about Baldwin's religious beliefs. He answered, "I left the church 20 years ago and haven't joined anything since." Elijah asked, "And what are you now?" Baldwin explained, "Now? Nothing. I'm a writer. I like doing things alone." Still, his church experience significantly shaped his worldview and writing. Baldwin reflected that "being in the pulpit was like working in the theater; I was behind the scenes and knew how the illusion was worked."

Baldwin accused Christianity of reinforcing the system of American slavery by palliating the pangs of oppression and delaying salvation until a promised afterlife. Baldwin praised religion, however, for inspiring some American blacks to defy oppression. He once wrote, "If the concept of God has any use, it is to make us larger, freer, and more loving. If God can't do that, it's time we got rid of him". Baldwin publicly described himself as not religious. However, at his funeral, an a cappella recording of Baldwin singing "Take My Hand, Precious Lord" was played.

Greenwich Village

When Baldwin was 15, his high-school running buddy, Emile Capouya, skipped school one day and, in Greenwich Village, met Beauford Delaney, a painter. Capouya gave Baldwin Delaney's address and suggested paying him a visit. Baldwin, who was at the time working after school in a sweatshop on nearby Canal Street, visited Beauford at 181 Greene Street. Beauford became a mentor to Baldwin; it was under Beauford's influence that he came to believe a black person could be an artist.

While working odd jobs, Baldwin wrote short stories, essays, and book reviews, some of them collected in the volume Notes of a Native Son (1955). He befriended the actor Marlon Brando in 1944 and the two were roommates for a time. They would remain friends for more than 20 years.

Expatriation

During his teenage years in Harlem and Greenwich Village, Baldwin started to realize that he was gay. In 1948, he walked into a restaurant where he knew he would not be served. When the waitress explained that black people were not served at the establishment, Baldwin threw a glass of water at her, shattering the mirror behind the bar. As a result of being disillusioned by American prejudice against blacks and gays, he left the United States at the age of 24 and settled in Paris, France. His flight was not just a desire to distance himself from American prejudice, but to see himself and his writing beyond an African-American context. Baldwin did not want to be read as "merely a Negro; or, even, merely a Negro writer". Also, he left the United States desiring to come to terms with his sexual ambivalence and flee the hopelessness that many young African-American men like himself succumbed to in New York.

In Paris, Baldwin was soon involved in the cultural radicalism of the Left Bank. His work started to be published in literary anthologies, notably Zero, which was edited by his friend Themistocles Hoetis and which had already published essays by Richard Wright.

He would live in France for most of his later life. He would also spend some time in Switzerland and Turkey. During his life and after it, Baldwin would be seen not only as an influential African-American writer but also as an influential exile writer, particularly because of his numerous experiences outside the United States and the impact of these experiences on Baldwin's life and his writing.

Saint-Paul-de-Vence

Baldwin settled in Saint-Paul-de-Vence in the south of France in 1970, in an old Provençal house beneath the ramparts of the famous village. His house was always open to his friends, who frequently visited him while on trips to the French Riviera. American painter Beauford Delaney made Baldwin's house in Saint-Paul-de-Vence his second home, often setting up his easel in the garden. Delaney painted several colourful portraits of Baldwin. Actors Harry Belafonte and Sidney Poitier were also regular house guests.

Many of Baldwin's musician friends dropped in during the Nice and Juan-les-Pins Jazz Festivals: Nina Simone, Josephine Baker (whose sister lived in Nice), Miles Davis, and Ray Charles, for whom he wrote several songs. In his autobiography, Miles Davis wrote:

I'd read his books and I liked and respected what he had to say. When I got to know him better, Jimmy and I opened up to each other. We became great friends. Every time I was in the South of France, in Antibes, I would spend a day or two at his villa in Saint-Paul-de-Vence. We'd get comfy in that beautiful, big house and he would tell us all sorts of stories...He was a great man.

Baldwin learned to speak French fluently and developed friendships with French actor Yves Montand and French writer Marguerite Yourcenar, who translated Baldwin's play The Amen Corner.

His years in Saint-Paul-de-Vence were also years of work. Sitting in front of his sturdy typewriter, his days were devoted to writing and to answering the huge amount of mail he received from all over the world. He wrote several of his last works in his house in Saint-Paul-de-Vence, including Just Above My Head in 1979 and Evidence of Things Not Seen in 1985. It was also in his Saint-Paul-de-Vence house that Baldwin wrote his famous "Open Letter to My Sister, Angela Y. Davis" in November 1970.

Literary career

In 1953, Baldwin's first novel, Go Tell It on the Mountain, a semi-autobiographical bildungsroman, was published. His first collection of essays, Notes of a Native Son appeared two years later. He continued to experiment with literary forms throughout his career, publishing poetry and plays as well as the fiction and essays for which he was known.

Baldwin's second novel, Giovanni's Room, caused great controversy when it was first published in 1956 due to its explicit homoerotic content. Baldwin was again resisting labels with the publication of this work: despite the reading public's expectations that he would publish works dealing with the African-American experience, Giovanni's Room is predominantly about white characters. Baldwin's next two novels, Another Country and Tell Me How Long the Train's Been Gone, are sprawling, experimental works dealing with black and white characters and with heterosexual, gay, and bisexual characters. These novels struggle to contain the turbulence of the late 1950s and the early 1960s: they are saturated with a sense of violent unrest and outrage.

Baldwin's lengthy essay "Down at the Cross" (frequently called The Fire Next Time after the title of the book in which it was published) similarly showed the seething discontent of the 1960s in novel form. The essay was originally published in two oversized issues of The New Yorker and landed Baldwin on the cover of Time magazine in 1963 while Baldwin was touring the South speaking about the restive Civil Rights movement. Around the time of publication of The Fire Next Time, Baldwin became a known spokesperson for civil rights and a celebrity noted for championing the cause of black Americans. He frequently appeared on television and delivered speeches on college campuses. The essay talked about the uneasy relationship between Christianity and the burgeoning Black Muslim movement. After publication, several black nationalists criticized Baldwin for his conciliatory attitude. They questioned whether his message of love and understanding would do much to change race relations in America. The book was eagerly consumed by whites looking for answers to the question: What do blacks really want? Baldwin's essays never stopped articulating the anger and frustration felt by real-life black Americans with more clarity and style than any other writer of his generation. Baldwin's next book-length essay, No Name in the Street, also discussed his own experience in the context of the later 1960s, specifically the assassinations of three of his personal friends: Medgar Evers, Malcolm X, and Martin Luther King, Jr.

Baldwin's writings of the 1970s and 1980s have been largely overlooked by critics, though even these texts are beginning to receive attention. Several of his essays and interviews of the 1980s discuss homosexuality and homophobia with fervor and forthrightness. Eldridge Cleaver's harsh criticism of Baldwin in Soul on Ice and elsewhere and Baldwin's return to southern France contributed to the sense that he was not in touch with his readership. Always true to his own convictions rather than to the tastes of others, Baldwin continued to write what he wanted to write. As he had been the leading literary voice of the civil rights movement, he became an inspirational figure for the emerging gay rights movement. His two novels written in the 1970s, If Beale Street Could Talk and Just Above My Head, placed a strong emphasis on the importance of black families, and he concluded his career by publishing a volume of poetry, Jimmy's Blues, as well as another book-length essay, The Evidence of Things Not Seen, which was an extended meditation inspired by the Atlanta Child Murders of the early 1980s.

Social and political activism

Baldwin returned to the United States in the summer of 1957 while the Civil Rights Act of that year was being debated in Congress. He had been powerfully moved by the image of a young girl braving a mob in an attempt to desegregate schools in Charlotte, N.C., andPartisan Review editor Philip Rahv had suggested he report on what was happening in the American south. Baldwin was nervous about the trip but he made it, interviewing people in Charlotte (where he met Martin Luther King), and Montgomery, Alabama. The result was two essays, one published in Harper's magazine ("The Hard Kind of Courage"), the other in Partisan Review ("Nobody Knows My Name"). Subsequent Baldwin articles on the movement appeared in Mademoiselle, Harper's, The New York Times Magazine, and The New Yorker, where in 1962 he published the essay that he called "Down at the Cross" and the New Yorker called "Letter from a Region of My Mind". Along with a shorter essay from The Progressive, the essay became The Fire Next Time.

While he wrote about the movement, Baldwin aligned himself with the ideals of the Congress of Racial Equality (CORE) and the Student Nonviolent Coordinating Committee (SNCC). In 1963 he conducted a lecture tour of the South for CORE, traveling to locations like Durham and Greensboro, North Carolina and New Orleans, Louisiana. During the tour, he lectured to students, white liberals, and anyone else listening about his racial ideology, an ideological position between the "muscular approach" of Malcolm X and the nonviolent program of Martin Luther King, Jr.. Baldwin expressed the hope that Socialism would take root in the United States.

By the spring of 1963, Baldwin had become so much a spokesman for the Civil Rights Movement that for its May 17 issue on the turmoil in Birmingham, Alabama, Time magazine put James Baldwin on the cover. "There is not another writer," said Time, "who expresses with such poignancy and abrasiveness the dark realities of the racial ferment in North and South." In a cable Baldwin sent to Attorney General Robert F. Kennedy during the crisis, Baldwin blamed the violence in Birmingham on the FBI, J. Edgar Hoover, Mississippi Senator James Eastland, and President Kennedy for failing to use "the great prestige of his office as the moral forum which it can be." Attorney General Kennedy invited Baldwin to meet with him over breakfast, and that meeting was followed up with a second, when Kennedy met with Baldwin and others Baldwin had invited to Kennedy's Manhattan apartment (see Baldwin–Kennedy meeting). This meeting is discussed in Howard Simon's 1999 play, "James Baldwin: A Soul on Fire" The delegation included Kenneth B. Clark, a psychologist who had played a key role in the Brown v. Board of Education decision; actor Harry Belafonte, singer Lena Horne, writer Lorraine Hansberry, and activists from civil rights organizations. Although most of the attendees of this meeting left feeling "devastated," the meeting was an important one in voicing the concerns of the civil rights movement and it provided exposure of the civil rights issue not just as a political issue but also as a moral issue.

James Baldwin’s FBI file contains 1,884 pages of documents, collected from 1960 until the early 1970s. During that era of illegal surveillance of American writers, the FBI accumulated 276 pages on Richard Wright, 110 pages on Truman Capote, and just nine pages on Henry Miller.

Baldwin also made a prominent appearance at the Civil Rights March on Washington, D.C. on August 28, 1963, with Belafonte and long-time friends Sidney Poitier and Marlon Brando. The civil rights movement was hostile to homosexuals. The only known gay men in the movement were James Baldwin and Bayard Rustin. Rustin and King were very close, as Rustin received credit for the success of the March on Washington. Many were bothered by Rustin's sexual orientation. King himself spoke on the topic of sexual orientation in a school editorial column during his college years, and in reply to a letter during the 1950s, where he treated it as a mental illness which an individual could overcome (the common view of the time). The pressure later resulted in King distancing himself from both men. At the time, Baldwin was neither in the closet nor open to the public about his sexual orientation. Later on, Baldwin was conspicuously uninvited to speak at the end of the March on Washington. After a bomb exploded in a Birmingham church not long after the March on Washington, Baldwin called for a nationwide campaign of civil disobedience in response to this "terrifying crisis." He traveled to Selma, Alabama, where SNCC had organized a voter registration drive; he watched mothers with babies and elderly men and women standing in long lines for hours, as armed deputies and state troopers stood by—or intervened to smash a reporter's camera or use cattle prods on SNCC workers. After his day of watching, he spoke in a crowded church, blaming Washington—"the good white people on the hill." Returning to Washington, he told a New York Post reporter the federal government could protect Negroes—it could send federal troops into the South. He blamed the Kennedys for not acting. In March 1965, Baldwin joined marchers who walked 50 miles from Selma, Alabama, to the capitol in Montgomery under the protection of federal troops.

Nonetheless, he rejected the label "civil rights activist", or that he had participated in a civil rights movement, instead agreeing with Malcolm X's assertion that if one is a citizen, one should not have to fight for one's civil rights. In a 1964 interview with Robert Penn Warren for the book Who Speaks for the Negro?, Baldwin refuted the idea that the civil rights movement was an outright revolution, instead calling it "a very peculiar revolution because it has to...have its aims the establishment of a union, and a...radical shift in the American mores, the American way of life...not only as it applies to the Negro obviously, but as it applies to every citizen of the country." In a 1979 speech at UC Berkeley, he called it, instead, "the latest slave rebellion."

In 1968, Baldwin signed the “Writers and Editors War Tax Protest” pledge, vowing to refuse tax payments in protest against the Vietnam War.

Inspiration and relationships

As a young man, Baldwin's poetry teacher was Countee Cullen.

A great influence on Baldwin was the painter Beauford Delaney. In The Price of the Ticket (1985), Baldwin describes Delaney as

...the first living proof, for me, that a black man could be an artist. In a warmer time, a less blasphemous place, he would have been recognized as my teacher and I as his pupil. He became, for me, an example of courage and integrity, humility and passion. An absolute integrity: I saw him shaken many times and I lived to see him broken but I never saw him bow.

Later support came from Richard Wright, whom Baldwin called "the greatest black writer in the world." Wright and Baldwin became friends, and Wright helped Baldwin secure the Eugene F. Saxon Memorial Award. Baldwin's essay "Notes of a Native Son" and his collection Notes of a Native Son allude to Wright's novel Native Son. In Baldwin's 1949 essay "Everybody's Protest Novel", however, he indicated that Native Son, like Harriet Beecher Stowe's Uncle Tom's Cabin, lacked credible characters and psychological complexity, and the friendship between the two authors ended. Interviewed by Julius Lester, however, Baldwin explained, "I knew Richard and I loved him. I was not attacking him; I was trying to clarify something for myself." In 1965, Baldwin participated in a debate with William F. Buckley, on the topic of whether the American dream has adversely affected African Americans. The debate took place at The Cambridge Union in the UK. The spectating student body voted overwhelmingly in Baldwin's favour.

In 1949 Baldwin met and fell in love with Lucien Happersberger, aged 17, though Happersberger's marriage three years later left Baldwin distraught. Happersberger died on August 21, 2010, in Switzerland.

Baldwin was a close friend of the singer, pianist, and civil rights activist Nina Simone. With Langston Hughes and Lorraine Hansberry, Baldwin helped awaken Simone to the civil rights movement then gelling. Baldwin also provided her with literary references influential on her later work. Baldwin and Hansberry met with Robert F. Kennedy, along with Kenneth Clark and Lena Horne and others (see Baldwin–Kennedy meeting) in an attempt to persuade Kennedy of the importance of civil rights legislation. Kennedy referred to Baldwin as "Martin Luther Queen" throughout his life.

Baldwin influenced the work of French painter Philippe Derome, whom he met in Paris in the early 1960s. Baldwin also knew Marlon Brando, Charlton Heston, Billy Dee Williams, Huey P. Newton, Nikki Giovanni, Jean-Paul Sartre, Jean Genet (with whom he campaigned on behalf of the Black Panther Party), Lee Strasberg, Elia Kazan, Rip Torn, Alex Haley, Miles Davis, Amiri Baraka, Martin Luther King, Jr., Dorothea Tanning , Leonor Fini, Margaret Mead, Josephine Baker, Allen Ginsberg, Chinua Achebe and Maya Angelou. He wrote at length about his "political relationship" with Malcolm X. He collaborated with childhood friend Richard Avedon on the book Nothing Personal, which is available for public viewing at the Schomburg Center in Harlem.

Maya Angelou called Baldwin her "friend and brother", and credited him for "setting the stage" for her 1969 autobiography I Know Why the Caged Bird Sings. Baldwin was made a Commandeur de la Légion d'Honneur by the French government in 1986.

Baldwin was also a close friend of Nobel Prize-winning novelist Toni Morrison. Upon his death, Morrison wrote a eulogy for Baldwin that appeared in The New York Times. In the eulogy, entitled "Life in His Language," Morrison credits Baldwin as being her literary inspiration and the person who showed her the true potential of writing. She writes,

"You knew, didn't you, how I needed your language and the mind that formed it? How I relied on your fierce courage to tame wildernesses for me? How strengthened I was by the certainty that came from knowing you would never hurt me? You knew, didn't you, how I loved your love? You knew. This then is no calamity. No. This is jubilee. 'Our crown,' you said, 'has already been bought and paid for. All we have to do,' you said, 'is wear it.'"

Death

Early on December 1, 1987, (some sources say late on November 30) Baldwin died from stomach cancer in Saint-Paul-de-Vence, France. He was buried at the Ferncliff Cemetery in Hartsdale, near New York City.

Legacy

Baldwin's influence on other writers has been profound: Toni Morrison edited the Library of America two-volume editions of Baldwin's fiction and essays, and a recent collection of critical essays links these two writers.

One of Baldwin's richest short stories, "Sonny's Blues", appears in many anthologies of short fiction used in introductory college literature classes.

In 1986, within the work The Story of English, Robert MacNeil, with Robert McCrum and William Cran, mentioned James Baldwin as an influential writer of African-American Literature, on the level of Booker T. Washington, and held both men up as prime examples of Black writers.

In 1987, Kevin Brown, a photo-journalist from Baltimore, founded the National James Baldwin Literary Society. The group organizes free public events celebrating Baldwin's life and legacy.

In 1992, Hampshire College in Amherst, Massachusetts, established the James Baldwin Scholars program, an urban outreach initiative, in honor of Baldwin, who taught at Hampshire in the early 1980s. The JBS Program provides talented students of color from underserved communities an opportunity to develop and improve the skills necessary for college success through coursework and tutorial support for one transitional year, after which Baldwin scholars may apply for full matriculation to Hampshire or any other four-year college program.

In 2002, scholar Molefi Kete Asante included James Baldwin on his list of 100 Greatest African Americans.

In 2005, the USPS created a first-class postage stamp dedicated to Baldwin, which featured him on the front, with a short biography on the back of the peeling paper.

In 2012 James Baldwin was inducted into the Legacy Walk, an outdoor public display that celebrates LGBT history and people.

In 2014 128th Street, between Fifth and Madison Avenues, was named "James Baldwin Place" to celebrate Baldwin's 90th Birthday. He lived in the neighborhood and attended P.S. 24. Readings of Baldwin's writing were held at The National Black Theatre and a month long art exhibition featuring works by New York Live Arts and artist Maureen Kelleher. The events were attended by Council Member Inez Dickens, who lead the campaign to honor Harlem native son, Baldwin's family, leaders in theatre and film, and members of the community.

Works

Go Tell It on the Mountain (semi-autobiographical novel; 1953)

The Amen Corner (play; 1954)

Notes of a Native Son (essays; 1955)

Giovanni's Room (novel; 1956)

Nobody Knows My Name: More Notes of a Native Son (essays; 1961)

Another Country (novel; 1962)

A Talk to Teachers (essay; 1963)

The Fire Next Time (essays; 1963)

Blues for Mister Charlie (play; 1964)

Going to Meet the Man (stories; 1965)

Tell Me How Long the Train's Been Gone (novel; 1968)

No Name in the Street (essays; 1972)

If Beale Street Could Talk (novel; 1974)

The Devil Finds Work (essays; 1976)

Just Above My Head (novel; 1979)

Jimmy's Blues (poems; 1983)

The Evidence of Things Not Seen (essays; 1985)

The Price of the Ticket (essays; 1985)

The Cross of Redemption: Uncollected Writings (essays; 2010)

Jimmy's Blues and Other Poems (poems; 2014)

Together with others:

Nothing Personal (with Richard Avedon, photography) (1964)

A Rap on Race (with Margaret Mead) (1971)

One Day When I Was Lost (orig.: A. Haley; 1972)

A Dialogue (with Nikki Giovanni) (1973)

Little Man Little Man: A Story of Childhood (with Yoran Cazac, 1976)

Native Sons (with Sol Stein, 2004)

Music/Spoken Word Recording:

A Lover's Question (CD, Les Disques Du Crépuscule – TWI 928-2, 1990)

Wikipedia

[elhadjlirwane]

Procès des évènement du 28 septembre : le procureur de la CPI attendu à Conakry

Procès des évènement du 28 septembre : le procureur de la CPI attendu à Conakry

Le ministre de la Justice et des Droits de l’Homme a fait un compte rendu succinct de sa mission à Genève au Conseil des Droits de l’Homme. C’était à l’occasion du conseil des ministres tenu ce jeudi 15 septembre sous la présidence du Colonel Mamadi Doumbouya. Dans le cadre l’organisation du procès des massacres du 28 septembre 2009, Alphonse Charles Wright, a informé le conseil de la visite du…

[actualiteenguinee]

Procès des évènement du 28 septembre : le procureur de la CPI attendu à Conakry

Procès des évènement du 28 septembre : le procureur de la CPI attendu à Conakry

Le ministre de la Justice et des Droits de l’Homme a fait un compte rendu succinct de sa mission à Genève au Conseil des Droits de l’Homme. C’était à l’occasion du conseil des ministres tenu ce jeudi 15 septembre sous la présidence du Colonel Mamadi Doumbouya. Dans le cadre l’organisation du procès des massacres du 28 septembre 2009, Alphonse Charles Wright, a informé le conseil de la visite du…