#dusan radic

[ozkar-krapo]

Ameli MIŠIĆ

"Srpska Klavirska Muzika XX Veka [Serbian Piano Music of the XX Century]"

(LP. Produkcija Gramofonskih Ploča Radio Televizije Beograd. 1992) [RS]

[tcm]

Tall, Dark, Handsome...and Very Talented By Theresa Brown

The very first time I saw an Oscar telecast was in 1964. I remember, because I watched Sidney Poitier accept his Academy Award for Best Performance by an Actor for LILIES OF THE FIELD (‘63). Here is his win. Our family saw that movie when it came out and that was the first time I saw Poitier. Oh, I’m pretty sure I saw his movies on that 15-inch black-and-white tv set my sister and I shared. But to actually go to the movie theater and see him up there on the silver screen was quite a different thing indeed. He was tall, dark and handsome. He was articulate, moved gracefully. Did I mention handsome? He was the whole enchilada...a dreamboat. What thoughts for a 12-year-old.

How can I explain to you what it was like to be a little kid seeing someone who looks like you...up there...bigger than life...in Hollywood no less! A MOVIE STAR!! It was amazing to see a Black man / Caribbean / Person of Color having adventures; hell, having a bonafide STORY to tell and not just carry trays, be a porter or not know which end was up to use a telephone. Do you have to be Black / African-American / Caribbean / a Person of Color (take your pick) to appreciate Sidney Poitier? Naaaaah. You just have to like movies...and the tall, dashing guy who played the hero.

For this 21-film salute to actor Sidney Poitier, TCM has pretty much covered the depth and breadth of his career. Of the films they’re airing this September, I’ve seen five of them in the theatre at the time of their original release. (I’m that old!) I have distinct movie-going memories of LILIES OF THE FIELD, TO SIR, WITH LOVE (’67)—which always made me feel it was giving Sidney a taste of the medicine he dished out in BLACKBOARD JUNGLE (‘55)— GUESS WHO’S COMING TO DINNER (’67) —Tracy’s and Hepburn’s swan song as a screen team—and A WARM DECEMBER (’73). Oooh, how I wish TCM had included in their schedule two other films I saw as a kid: FOR LOVE OF IVY (’68) and one of my favorite Westerns, DUEL AT DIABLO (’66) – also seen when it was released. When I saw this movie back then, I had never even seen or heard of a Black cowboy (sorry Bill Picket). As I watched DUEL AT DIABLO, I incredulously proclaimed, “how could he even BE a cowboy?” I’ve since learned that lesson! This Western had intersecting stories that weaved its way to a good ol’ fashioned battle between ‘cowboys and Indians.’ The fifth movie I saw in theatres, and one that I heartily recommend, is THE LONG SHIPS (’64).

Poitier (Aly Mansuh): “We sail tomorrow and may Allah send us a fair wind and a calm sea.” 

Richard Widmark (Rolfe): “And may Thor do the same, my lord.”

This movie would make a fun evening for a big audience. It’s action and adventure all the way. THE LONG SHIPS revolves around Vikings and Moors working together to find “The Mother of All Voices” – a great large bell made of pure gold. Is it real, is it a tale told by a cunning schemer? They’re about to find out. These two cultures clash but they need each other for the common good: TREASURE! Richard Widmark and Poitier made a total of three movies together; the others being the searing racial drama NO WAY OUT (’50) and the Naval tale THE BEDFORD INCIDENT (’65). That film sort of puts me to mind of Denzel Washington’s and Gene Hackman’s submarine drama CRIMSON TIDE (’95).

In THE LONG SHIPS the sea-faring Vikings go toe-to-toe with the masters of the Desert. Widmark is engaging as the glib liar who weaves tales out of whole cloth and gets his men into scrapes his boasting can’t get them out of. Don’t be thrown by Poitier’s Elvis pompadour; he is the stoic and regal ruler of a Moorish kingdom and the King and master of all he surveys. He can command–as he does–any soldier to die and it’s considered an honor. < Gulp!! > The Mare of Steel has to be seen to be believed. That’s embedded in my memory. Poitier’s the villain this time and I’ll bet he relished it. He’s played a lot of noble heroic characters up until then. It must’ve been fun to cut loose. Seeing the movie now at my life-experienced 12-plus-plus-plus years, he might not seem as villainous as he did when I was a kid, nor the Moors that bad.

Widmark and Poitier were friends and enjoyed joining up again, shooting in an exotic location, playing dress up and having beautiful women around. If you want to get slightly into the racial subtext, it’s interesting to see how each man acts around the other’s woman. Widmark (as prisoner of the Moors) has a lot more leeway to seductively come on to the dark-haired beauty of the Moorish Queen played by Rosanna Schiaffino, than Poitier’s King has with the comely young blonde played by Beba Loncar. Poitier is so hungry for the riches of the bell, he even ignores his own wife’s advances. How’s that for avoiding America’s sticky racial peccadilloes.

If you like action, adventure, tenuous explosive partnerships, a stirring musical score by Dusan Radic that Steiner and Korngold would be proud of and which still gives me goosebumps...you can’t go wrong with THE LONG SHIPS. It’s the one to DVR or catch on Watch TCM.

Doctor, teacher, juvenile delinquent, dock worker, wayward son, Moor, cowboy, detective and more, it’s great to have Sidney Poitier as TCM’s Star of the Month. In all his incarnations there was a code of honor at his core. Before him was actor James Edwards and before that, the great Juano Hernandez. They didn’t quite capture the audience or studio backing in a big leading man way. Sidney Poitier came at just the right time. I think America was finally ready.

[quarantineroulette]

Seditions of You: An Interview with Filmmaker Joe Wakeman

Joe Wakeman’s second feature, The Shoplifters (not to be confused with the Palme d’Or-winning film of the same title, but hopefully SEOs are none the wiser) is “a series of tableaux depicting the follies of a group of naïve Marxist would-be radicals” striving to be revolutionaries, only to discover that “what they really want is to be seen wearing berets.” 

Although he began work on it a decade ago, The Shoplifters carries some very timely themes about online activism, consumerism, and the shallowness of modern culture as a whole. With fairly little effort, its thought-provoking vignettes resist passive cultural consumption and its stylistic fluidity keeps it visually stimulating as well. Its 70 minutes also offer a lot of seamless humor, from a slightly slapstick dressing room shoplift to a smart, satirical "revolutionary bake sale” in Washington Square Park.

Ahead of The Shoplifters’ appearance at the NewFilmmakers New York Film Festival on February 6, I spoke with Joe via email about collaborations, Maoist propaganda and Communism as fashion statement, among other fun topics. 

1) What ignited your interest in Marxism & Maoism? 

I've been interested in Marxism since I was a teenager, probably about when I was 13 and first encountered the politically inclined punk of The Sex Pistols and The Clash, and Dead Kennedys -- I think it's somewhat common for young suburbans to go through a "Communist" phase. What I didn't realize at the time was that my interest in Marxism was really less about politics, which admittedly I knew precious little about (though I do lean rather strongly to the left) and more about the iconography of Communism: I would go around with sickle and hammer belt buckles and spell "Revolution" with a backwards “R.” That sort of corny thing.

 Later on, when I was 18 or so, I saw Jean Luc Godard's La Chinoise and his Groupe Dziga Vertov films with Jean-Pierre Gorin, all beautifully boring films depicting sexy French Maoists who do very little real revolutionary activity, despite their ability to quote at length from Marxist texts. These films made it apparent to me that what we think of in the US as "Marxist," where Communism has never been a reality, is as much a set of fashion and cultural signifiers as is the uniform of a typical "Goth" or "Emo Kid" -- berets, fists in the air, shabby clothes, shiny boots and cigarettes. 

2) I believe you've mentioned that you started working on -- or had least conceived of -- The Shoplifters about 10 years ago? In what ways has it changed in that time? 

Yes, at that time my friend Taylor Bruck (who plays Che Smith in the film) and I were also sometimes engaged in the "cool crime of shoplifting." There was a certain politically oriented moral code about it, where it was okay to shoplift from big corporations like Barnes & Noble but not right to steal from local businesses. But after seeing the Godard films we talked about how goofy it would be to take those politics further and call ourselves "revolutionaries,” which became the kernel of the absurd story for The Shoplifters that we wrote together.

The original script had a lot more characters and more action, arsons and assassinations and a lengthy courtroom finale at the end, where the Shoplifters are put on trial for sedition and theft. All that sounds exciting, but keep in mind, this was the script of a teenager. It's really rather cringe-worthy to read today. I threw the whole thing out when I reworked the film, though a couple scenes survive: the opening speech and the fitting-room sequence, where we pile on layers of stolen clothes, are both from the original version of the movie. We tried to shoot scenes from that script at that time, when I was 18 years old, with some borrowed equipment from the TV studio I was working for at the time, but we shot on damaged tapes and botched the sound recording. The material was practically unusable so, dejected, I hung up The Shoplifters for awhile and dedicated myself to working on other things and developing more before taking another crack at it. 

3) Do you see The Shoplifters as sharing any similarities with your first feature, They Read By Night? Although stylistically different, they both seem to lovingly mock certain countercultures. I also like that they both have "nested" films within films (the short in They Read by Night and the music video and "Post-Capitalist Potential for Mass Education in the Internet Age" sequence in The Shoplifters).

Definitely. Actually They Read By Night was an attempt, after the first failure of The Shoplifters, to write a similar film on a smaller scale. I swapped out the berets for leather jackets and the characters became greaser-rock ‘n’ roller juvenile delinquents instead of revolutionaries, but the point is essentially the same -- that their so-called rebellion is still a symptom of capitalism, buying into another kind of "outsider" fashion. 

As for the films-within-the-film element, I've always been attached to the idea that a movie does not have to tell one story, or focus on the story, or even just be one type of film. This is the other big element learned from the likes of Godard and other counterculture filmmakers, Dusan Makavejev, Warhol et al. -- that the "plot" of a film is not so important as the ideas which animate it, and to express those ideas more in the form of a lively discussion that, in a movie, can be shown with images rather than just spoken with words. Let's make our characters watch a film together and see how they react, or in The Shoplifters they educate themselves about Mao Zedong by reading about the Cultural Revolution on Wikipedia and from there its a free-flowing association of images culminating in some psuedo-Greek philosophy. It's the kind of methodology that people experimented with in the ‘60s and you see less often today, though occasionally you do see it, in Sion Sono's excellent recent Antiporno. Or, actually, the web-browser screen cap stuff in The Shoplifters is inspired by the 2014 teen horror film Unfriended. It's kind of a limitation of the cinema's potential when a movie just tells you a story one way, unless the story is really good, like Titanic or something. 

  4) Both films also have musical sequences (the fight scene in They Read By Night and "Style Revolutionaries" in The Shoplifters). Given your involvement in the music scene here in Brooklyn (Joe is in the band Toyzanne, who you should definitely check out, and directs music videos as well), would you ever consider doing a musical?

I love musicals! They're a popular illustration of that same idea -- the story stops, and somebody sings a song that comments on it, or sometimes the song continues the story, or presents a separate situation which is analogous to the story. I was raised on musicals and I think they can still be cutting-edge as a genre, even though many might regard them as old-fashioned. I composed a lot of the music for The Shoplifters, together with DP Torey Cates and help from musician friends from the Brooklyn scene: Brendan Winick (also in Toyzanne), Frank Rathbone and Jenna Nelson (of Sic Tic), Kate Mohanty. Holly Overton and Sannety (who also stars in the film) contributed their unique stylings for different sections of the film as well. When I showed my friend John Sansone an early cut of the film, he remarked that he didn't realize that it was a "musical" which surprised me because there's no singing, (except for the Smiths cover and "Style Revolutionary"). But when I considered the role music plays in the film, it's really not too different from a musical in structure and tone, which was something that made me feel very happy about it. I'd like to eventually do a proper musical with lots of songs that plays with the genre in a more direct way, but I also don't think I'm mature enough yet as a filmmaker to attempt that.

5) How did the various collaborations in the film (the score, and the sequences from Oliver David and Preston Spurlock) come about? 

Oliver David had made two music videos, one for my old band Bodega Bay and one for ONWE that had this style of a slow-motion fashion advertisement for the bands. I really enjoyed these videos and wanted Oliver to do something of a "remake" of the same style, this time advertising the revolutionary cadre in the film instead of a rock ‘n’ roll band, making the not-so-subtle commentary even less so. Likewise, when I was preparing to make the film I became close friends with Preston Spurlock, who makes these mind-blowing video collages of old commercials and such that are like wading through cultural toxic waste dumps to tap into some unconscious reflections that can't be put into words. I connected these in my head to stuff like Godard's Histoire(s) du cinema or the work of Adam Curtis (HyperNormalisation, The Century of the Self) and thought they would add a lot to the dialogue of images I was trying to present in the film.

 I think that it's unimportant for an artist to be the "sole author" of a film. It is more interesting when I think, “Oh, Sannety can do things with electronic music that I don't even understand,” or “Oliver and Preston work in video in a completely different style from me which can form a relationship with my style, so why not ask them to contribute and make it a real dialogue rather than a constructed one.” I think collaboration is key in filmmaking -- it keeps the spirit of montage living through and through the work, which if you consider Eisenstein and Vertov, is really "Revolutionary" filmmaking. 6) I liked the criticisms of Internet activism the film presented. In the ego-driven realm of social media, do you feel there is any way for a pure act of protest or activism to thrive or even exist? 

Yes I do think real activism can exist and can even be given a lot of strength through the Internet and social media -- those things have leveled the playing field and given voice to marginalized communities who hadn’t had that kind of visibility before the advent of these networks. Community organizer Candice Fortin, introduced to me through Gwynn Galitzer and Suffragette City Magazine, is another voice present in the movie, in keeping with the collaborations that exist throughout the film. She explains activism in the modern era and what people can do to start enacting change very eloquently midway through the movie, and i don't think I can say it better than the way she did in the film. She is constantly posting about progressive candidates, organizations and other concerns through social media to bring about political change on a grassroots scale. You can follow her @candicefortin for a start, but mainly pay attention! These opportunities to help are all around. 7) Do you have a favorite piece of Maoist propaganda?

Yes! This Maoist ballet from the cultural revolution, encouraging women to form feminist revolutionary cadres: The Red Detachment of Women. You can watch it on Youtube. Footage from it appears in Preston Spurlock's section of the film, I think it's beautiful and absurd, but I think weirdly Old Hollywood despite its anti-Western screed, like An American in Paris or something but cheaper looking. I really get a kick out of it. Perhaps when this one-day musical comes to fruition I’ll dole out some political ballet as a quiet (or more likely, loud) nod.

The Shoplifters is screening as a part of the NewFilmmakers New York Film Festival at Anthology Film Archives on Feb. 6, 2019. RSVP here. 

[teesfortims]

Incredible: David Turnbull Names Top Three on Elite List

What a player he's going to be!

DAVID TURNBULL has found himself among some very talented company after a breakout season at Celtic. It took a long time for the former Motherwell man to get his big break in the team and when he did, he never looked back. WhoScored compiled a list of the major playmakers who have made key passes in their team this season and David is among the top. Only Dusan Radic and Xavier Mercier have…

[caveartfair]

Unpacking Fashion’s Love Affair with Artists

Dusan Reljin, Marina Abramović and Crystal Renn for Vogue Ukraine, 2014, from “Legendary Artists and the Clothes They Wore,” 2019. Courtesy of Harper Collins.

Why do we care what famous artists wear? It might seem silly to look back to the Old Masters to appreciate their outfits, but 20th- and 21st-century artists have often found themselves the muses of major fashion houses—and, more recently, fodder for Pinterest inspiration boards. Artists, after all, are keenly considerate of color and form; how they dress can be a telling sign of their creative innerworkings.

“The job of artists is to critique culture, unload their psyches into their work, and make edifying masterpieces the rest of us can revere,” wrote Terry Newman, author of Legendary Artists and the Clothes They Wore (2019). “What they wear while doing these things is interesting, too.” Newman’s book dissects the fashion choices of major artists and traces how their art and personal style has been appropriated or emulated on runways and in wider visual culture.

Self-Portrait, 1980. Robert Mapplethorpe "Robert Mapplethorpe: The Perfect Medium" at Los Angeles County Museum of Art, Los Angeles

A model is seen ahead of the Raf Simons fashion show during Pitti 90, Florence, Italy, 2016. Photo by Antonello Trio via Getty Images.

Fashion houses often pay homage to famous artworks and movements—Moschino under Jeremy Scott’s direction heavily references Pop Art—but they’ve also tried to capture that ineffable je ne sais quois of the artists behind the works. Raf Simons did both in his 2017 spring menswear collection, a collaboration with the Robert Mapplethorpe Foundation. The male models wore billowing button-down shirts printed with Mapplethorpe’s black-and-white photographs. They were also styled to look like the late artist, with soft, curly hair and leather muir caps—an ode to Mapplethorpe’s personal and artistic interest in S&M. The looks bring to mind former Interview editor Bob Colacello’s recollection of the photographer when they met in 1971: “He was pretty but tough, androgynous and butch,” Colacello told Vanity Fair in 2016.

The inspiration for the autumn 2014 Céline show was more precise: the muddy, masculine boots of war photographer Lee Miller, from the famous image of her sitting defiantly in Adolf Hitler’s bathtub just hours before his death. Miller’s streamlined, “utility chic” wardrobe, as Newman called it, which she wore while on assignment for Vogue during World War II, has been referenced in fashion multiple times. But designer Phoebe Philo specifically named Miller’s boots as the starting point for the collection. “[Miller was] doing things which were quite radical at the time, like wearing men’s clothes, but which today seem quite normal,” Philo said after the show.

Lee Miller with the essentials of Life, cigarette , wine and petrol , Weimar, by David Sherman, 1945. Lee Miller °CLAIR Galerie

A model walks the runway at the Celine Autumn Winter fashion show during Paris Fashion Week, 2014. Photo by Catwalking/Getty Images.

Artists’ personal style, intentionally or not, often becomes part of their brand. Some artists channel their visual aesthetic into their looks. Jean-Michel Basquiat paired designer suit jackets with worn-in streetwear, Frida Kahlo wore traditional Mexican garb rife with symbolism, and Georgia O’Keeffe opted for minimal silhouettes with Southwestern accessories. Likewise, David Hockney is known to sport vivid, color-blocked outfits. Designer Christopher Bailey, formerly of Burberry, is a self-professed fan: “I love the way Hockney wears color,” he has said, “so that you’re never completely sure how deliberately the look is put together.”

Others resist fashion trends, a statement in itself. Today, Marina Abramović outfits herself in haute couture but as a young artist, she carefully crafted her image as “very radical, no make-up, tough, spiritual,” as she told Vogue in 2005. In the 1970s, she explained, being fashionable as an artist could be construed as overcompensating for a lack of talent.

Portrait of Pablo Picasso in a winter coat, scarf, and beret, ca. 1950s. Photo by Hulton Archive/Getty Images.

Basquiat 8, 1983. Yutaka Sakano Galerie Patrick Gutknecht

Over time, and with the repetition of a look, some artists have successfully whittled down their personal style into a single icon. Think of Rene Magritte’s bowler hat or Yayoi Kusama’s bright red bob. Although Pablo Picasso was known to wear various types of hats—“Peruvian knitted hats with pom-poms, sun-shielding straw toppers, and stiff, classy homburgs,” Newman noted—it was his beret, frequently featured in his paintings, that stuck. His status as a style influencer was made clear during two of his exhibitions at London’s Institute of Contemporary Art in the 1950s: “Employees found lost berets more than any other personal item,” Newman wrote.

Some artists have influenced contemporary fashion more directly, lending their expertise to fashion houses and retail lines. In 1983, Malcolm McClaren and Vivienne Westwood tapped Keith Haring to translate his street art into fluorescent streetwear for the runway. Kusama produced a collection for Bloomingdales in the 1980s and has more recently collaborated with Louis Vuitton and Marc Jacobs. Jeff Koons has also collaborated with Louis Vuitton, as well as H&M and Stella McCartney.

Wax figure of Japanese artist, Yayoi Kusama at the Louis Vuitton and Yayoi Kusama Collaboration Unveiling at Louis Vuitton Maison on Fifth Avenue, New York, 2012. Photo by Rob Kim/FilmMagic.

It’s after artists’ deaths, however, when their style can be merchandised to such an extent that it becomes disconnected from the reality of their lives. Constructivist Alexander Rodchenko, who once designed utilitarian-wear for a utopian Russia, would have balked at Jerry Hall modeling high-end red garments for a 1975 British Vogue editorial inspired by his graphic, Communist-flavored works. Basquiat embraced the fashion world and was loved by designers, but he faced racial bias as a black man shopping for expensive clothes. He modeled for Comme des Garçons and favored Armani and Issey Miyake, but according to his late girlfriend Kelle Inman, he was often tailed in department stores, and once was denied entry to high-end boutique until he returned with Inman. Three decades later, Basquiat’s brand is packaged into lines from Forever 21, Sephora, and Douglas Hannant.

Norman Parkinson, Jerry Hall Rodchenko, from “Legendary Artists and the Clothes They Wore,” 2019. Courtesy of Harper Collins.

The commodification of Kahlo’s style is perhaps the most glaring example. She is revered for her fashion, which is intrinsic to her art—she appeared in her many self-portraits wearing embroidered huipil blouses, Juchiteca headdresses, and full skirts; and accessorized with flowers, gemstones, and plaited hair. Kahlo’s fashion choices were tied directly to her heritage and her disability; she hid her prosthetic leg in a red leather boot adorned with two bells. Art historian Hayden Herrera said when Kahlo “put on the Tehuana costume, she was choosing a new identity, and she did it with all the fervor of a nun taking the veil.”

Kahlo’s wardrobe and accessories, representing the deepest layers of her identity, have been translated again and again: by Christian Lacroix in 2002, Gaultier in 2004, Commes de Garçons in 2012, and even Barbie in 2018. You can find her face on nearly anything: There are Frida pins, Frida T-shirts, Frida nailpolish, Frida bracelets (like the one British Prime Minister Theresa May wore in 2017, sparking endless news analysis). Kahlo’s clothing, which was kept under lock and key for nearly 60 years at her husband Diego Rivera’s request, has now been the subject of blockbuster exhibitions.

Frida Kahlo On White Bench, New York (2nd Edition), , 1939. Nickolas Muray Matthew Liu Fine Arts

A Pakistani model presents a creation by Deepak Perwani on the second day of Fashion Pakistan Week, Karachi, 2013. Photo by Asif Hassan/AFP/Getty Images.

Perhaps fashion is more cyclical than art, or simply runs on a shorter cycle, repeatedly revisiting and retranslating trends. Artists, willingly or not, are pulled into that rotation, as inspiration. In 1967, photographer Cecil Beaton traveled to O’Keeffe’s home in New Mexico to capture her for a story in Vogue. The then 79-year-old artist had spent a lifetime carefully crafting her image, wearing elegant but simple silhouettes accented with turquoise and silver accessories. In 2009, actress Charlize Theron flew to the late artist’s home with photographer Mario Testino to recreate the shoot, marking another turn in the rotation of O’Keeffe’s influence.

Two years later, Abramović made the influence of fashion on art clear when she asked Italian designer Riccardo Tisci to suckle on her breast in another shoot with Testino, this time for Visionaire. The pair, who are friends and collaborators, commented on the images for the issue. “I said to him, this is the situation: Do you admit fashion is inspired by art?” Abramović recalled. “Well, I am the art, you are the fashion, now suck my tits!” The image of the performance artist feeding Tisci like a baby may be an odd—and oddly literal—visual metaphor, but when art nurtures fashion it trickles down to the rest of us, a small piece of an artist’s oeuvre hanging in our own closets.

from Artsy News

[todayclassical]

April 10 in Music History

1633 Birth of composer Werner Fabricius. 

1602 Italian composer Claudio Monteverde becomes a citizen of Mantua.

1707 Birth of Italian composer Michel Corrette. 

1725 FP of Ariosti’s “Dario” in London.

1737 Birth of composer François Giroust.

1764 Leopold Mozart and his two children leave Paris for London.

1802 Death of English soprano Charlotte Brent. 

1808 Birth of composer Auguste Franchomme.

1847 Birth of composer Charles Swinnerton Heap.

1853 FP of Charles Gounod’s Ave Maria in Paris. The chord structure based on the first prelude from Bach’s Well-Tempered Clavier. 1864 Birth of British-born German pianist and composer Eugene D'Albert in Glasgow. 1868 FP of Brahms’ German Requiem, at a Good Friday concert in Bremen. Ein Deutsches Requiem, Brahms conducting.

1878 Birth of American soprano Lucy Marsh in Ithaca, NY. 

1886 FP of Emanuel Chabrier’s opera Gwendoline in Brussels.

1887 Birth of composer Heinz Tiessen.

1892 Birth of Italian conductor and composer Victor de Sabata in Trieste. 1893 Birth of English contralto-mezzo-soprano Astra Desmond in Torquay.

1902 Birth of English brass band conductor and trumpeter Harry Mortimer.  1903 Birth of Austrian opera stage director Herbert Graf, in Vienna.  1910 Birth of American pianist Leonard Shure.

1910 Birth of Egyptian composer Abu-Bakr Khairat.

1911 Death of Lithuanian composer Mikolajus Konstantinas Ciurlionis.

1913 FP of Montemezzi’s opera L'Amore dei tre re at the Teatro della Scala in Milan, Tullio Serafin conducting.

1914 Birth of American composer Negro spirituals Noah Francis Ryder. 

1919 FP of Gabriel Fauré’s Masques et Bergamasques, in Monte Carlo.

1922 Birth of Australian baritone Neil Easton in Sydney. 

1925 Birth of Czech tenor Vilem Pribyl.

1926 Birth of composer Jacques Casterede.

1927 Birth of Peruvian tenor Luigi Alva, in Lima, Peru.

1927 FP of George Antheil’s Ballet mécanique at Carnegie Hall in New York City. The first symphonic work using an airplane propeller and other mechanical devices.

1927 FP of G. Antheil’s A Jazz Symphony. W.C. Handy jazz band with the composer at the piano.

1929 Birth of film music composer Dusan Radic.

1930 Birth of French jazz pianist and composer Claude Bolling. 1932 Birth of American pianist Enid Katahn in Pittsburgh, PA.

1933 Birth of American minimalist composer Philip Corner.

1934 Birth of Yugoslavian soprano Mirka Klaric. 

1935 Birth of American conductor Jorge Mester in Mexico City. 

1935 FP of Ralph Vaughan Williams’ Symphony No. 4. BBC Symphony, Sir Adrian Boult conducting in London.

1937 Birth of Italian soprano Edith Martelli.

1939 Birth of American composer Andrew Rudin in New Gulf, TX. 

1942 Birth of American soprano June Card in Dunkirk, NY. 

1946 Birth of composer Anne Boyd.

1949 Birth of Yugoslavian composer Vladimir Tosic in Belgrade.

1952 Death of English baritone and composer Frederic Austin in London. 

1953 Birth of English soprano Sarah Leonard in Winchester, Hampshire. 1955 Birth of English soprano Leslie Garrett in Yorkshire. 

1958 Birth of Russian pianist Yefim Bronfman.

1960 Death of Australian composer and pianist Arthur Benjamin.  1963 FP of Francis Poulenc’s Clarinet Sonata, at Carnegie Hall. Clarinetist Benny Goodman and pianist Leonard Bernstein.

1964 Death of German baritone Robert Von Scheidt. 

1984 FP of Ellen Taaffe Zwilich’s Prologue and Variations. Chattanooga Symphony, Richard Cormier conducting.

1988 FP of Joan Tower’s Clarinet Concerto. Charles Neidich and the American Symphony Orchestra, Jorge Mester conducting.

1992 FP of Michael Torke’s Music on the Floor for chamber ensemble. Present Music ensemble, Kevin Stalheim conducting in Milwaukee, WI.

1996 FP of Stanislaw Skrowaczewski’s Passacaglia Immaginaria. Minnesota Orchestra, Eiji Oue conducting in Minneapolis.

1997 Death of Japanese composer Toshiro Mayuzumi. 

2004 Death of South African soprano Marita Napier. 

2005 Death of Austrian-English violinist Norbert Brainin.

[floatingeye]

W. R. MISTERIJE ORGANIZMA (1971)

Dir: Dusan Makavejev

Yugoslavia, 84m

EISENSTEIN’S MACUMBA SEXUAL

On one hand, I like a film like this. Wild, inventive, losing the mundane logical worries about plot and characterization, to be acute and penetrative critique—the critique doesn't interest me so much as the breaking of logic. Purer than most in the sense it wants to jolt us from even the commonplace—what in rhetoric of the time would be called bourgeois—viewing of this as art: to that effect we get frequent nudity, sex both simulated and real, gay kissing, and all sorts of strangeness like the creation of a dildo cast. I like that it introduces Wilhelm Reich and his views of a liberating orgasmic energy as launching pad of the critique. It's weird in a Herzogian way. I have only a superficial knowledge of the man, sure seemed kooky but then many brilliant people are. Many charlatans too like Hubbard and Blavatsky. Why Reich? Reich of course is a symbol of state oppression, there is that. But there is something else. Both had a vital point to make, against the stifling of the individual's living energy, with Makavejev locating this in politics. More to the point, the film is like what we see of Reich's physical exercises for his patients to release pent-up feelings—nonlinear narrative, irrationality, theatricality, that is all breaking the walls of routine thought so we can get a direct experience that invigorates, this being the vital release. Visual unblocking of the eye from the cinematic norm as a matter of narrative energy. It must have been a truly radical thing to watch at student campuses then, if even now it seems somewhat bold. But the subject is boring as hell, at least the political thrust: blunt and hamfisted ridicule of blunt and hamfisted communism. Here's the problem. Sex and film are largely a matter of consciousness, of course. It's tough to illustrate this in sex because it's tough to talk of a sexual consciousness without conjuring a simply animal act, not to mention that it weirds out some people. Anyway, a more rational thing to say is that an orgasm is this chemical process. But the rational thing to say can't even begin to account for the experience of doing, of course not. It'd be as divorced from it as explaining the molecular makeup of water when asked about the feel. No, we know the thing in living situations. Great films (also: great sex) are not strictly a matter of some alluring image but lies, at any rate, in the extraordinariness of how I am made conscious of the given interaction (by contrast to the slothful routine of bad sex, bad movies and bad conversation), a vitality which leads to all the other things: clarity, awareness, peace and so forth. It's this attribute that separates for me a nonliving imagination like Matthew Barney's from an alert mind like Pasolini. This is partly killed here because the world has shifted from what it was then. Of course the critique wasn't as obvious then as it is now. French students had just done rioting with Mao's book at hand against a police state, the irony. It really is the most searing attack of what in the filmmaker's eyes was a stale and pretentious system that dressed the murder of joy and creativity as the triumph of solidarity. But it is obvious and 'old' now, which is not really the intended effect. But really, turn to the film itself. In the first half, there are real people, real streets, and most important, real intense reactions as we see some version of Reich's exercise at work. Contrast that with the staginess and theatric feeling of actors at work in the satiric portion of the film, none of which comes across as a living situation. Maybe that is part of the point; life is not lived there. But all that plus the political message is simply put the same blunt sex as Godard.

★★★☆☆

[tse2017]

TSE 2017 Start: Slowatch - map 12.02.2017 10:00 AM Finish: Vienna TBA

RULES • You should use a helmet. • Singlespeed, fixedgear or geared bikes are allowed - ride what you prefer. It all started as a single speed race and you do not need more than one gear for this ride. • You ride on your own risk. • This is not a race, streets are not closed and you are just on a ride together with some other people, that you met by accident.

REGISTRATION Write us an e-mail with the following content: Name rider #1: Name rider #2: Teamname: E-Mail: Telephone:

MORE This year it will be all different. We do not ride the direction we are used to, this time it will be TSE2017REVERSE. Starting on a beautiful Sunday at the great Slowatch store in Bratislava, we will feel the tailwind in our backs, get some nice climbing in the beginning, taking some pictures and remember the last drink the night before. Yes, we try to organize a come together/party on Saturday in Bratislava. 

#TSE2017 will be great, think about 80km, mostly gravel road, some coffee/beer stops and sunshine all the way. We do not take the Danube cycling path, instead we ride along the Marchfeld Kanal, for a even greater scenery and a more challenging experience For some of you it is an easy task, others will struggle. Some times shit happens, you get a flat or break your derailleur (you should not have one). So take tools and spare parts with you or ride together with someone who did and take a look at your bike before you start. You have to carry your luggage by your own.

At the last checkpoint in Vienna you will be able to lock up your bike and get drinks and (vegetarian) food.

Train to Bratislava: Wien Hauptbahnhof 08:16 REX2508 - no need for bicycle reservation - arrives at Bratislava 09:22

Last train to Bratislava: 00:50 from Hauptbahnhof Vienna.

SPONSORS SLOWATCH - CITYBIKER -  BBUC - FIXIEFOXIE

PREPARTY - Some of us will arrive at Bratislava Saturday evening - we will stay at the hostel Possonium.sk Meet us at Slowatch store 18:30!!!

FACEBOOK EVENT

REGISTERED TEAMS • TBA - Lingo Flamingo & Melvin  • Schnittibiker - Gernot & DNY  • cobradl mega mtb action - Fabian & Konrad • susana-diaz-malaje - Alvaro Leiva & Pablo fernandez • Radikális Szélsőközéppárt / Radical Extreme-Mid Faction - Márton Szamos & György Baranyai • Bravera cycling - Lubos Steiger & Jakub Caprnka • Ribezlak a Marsky - Drgi & Mladý • Shumo - Marek Šulik & Samo Boskovič  • Šk "Filozof" - Preceda Marek & Kapitan Edvin & Utocnik Lacao & Pokladnik Peto • Šmakléri - František Martinák & László Szunyog & Dávid Kundrák • Kakadu - Dusan Bystrican & Brano Sloboda • “Pain is just a french word for bread” - Gergely Schmidt & Andras Soti • Stiletto - Maťka & Egon • The Stooges - Justin & Franz & Christian & Thomas • banana oatmeal - Zoltan Gal & Orsolya Dékány • Brünn Eins Zwei Drei - Tomáš Janoušek & Tomáš Došek & Milan Rychnovský • Košíci - Alex & Lukas • Team s.h.t.f. (shit hit the fan) - Memens & Klax • Láska a dobro - Mikolajko & Ondrej Borsuk • moj s mojou - nikola luzarova & dalibor vidiecan • Fixie and Love - Filip Stankovič & Filip Rácek • Slowatch - Emil & Jolo • Drunk Bike Crew Budapest - Mohácsy Tibor & Nyerges Patrik • Narafali Pro Cycling Team - Zita Kakalejcikova & Nora Caprnkova Saparova • Team 47 - Jakub Puterka & Michaela Grossova • Dynamo Desire - Max Mulatz & Max Löschner • Nedobre oproti vetru ščať - Patricius & Chakub & MiMi • Monty Python's riding circus - Fruzsina Balogh & Andras Cseh • Knollskis - Michi & Ina • SPKTRM - Robert Kotowicz Sion & Mate Horvath • Chet Biker - Stefano & Gaspard • die österreichbürgerInnen - derDim & El Waldo • Šašo Patejdl Retriever band - Johny & Matej & Tomas • Bikes N' Roses - Adam Planý & Jozef Fliega • 2+2=5 - Halky & Les • This is the teamname - Eva Vozarova & Peter Puterka • trystero - crank & pstmn

[wandashifflett]

Serbia Police Detain 71 After 4th Night of Virus Protests

BELGRADE, Serbia—Serbian police detained 71 people after clashes during the fourth night of protests against the Serbian president that were initially sparked by his plans to reintroduce a coronavirus lockdown.

Fourteen policemen were injured in the rioting Friday evening when hundreds of demonstrators tried to storm the parliament building in downtown Belgrade, police director Vladimir Rebic said Saturday. Many demonstrators and several reporters were also injured in the protests.

Hundreds gathered on Saturday for another night of protests when no incidents were reported.

Serbian media reported that among the detained was a former parliament member and one of the leaders of the protesters, right-wing politician Srdjan Nogo.

The protesters, defying an anti-virus ban on gatherings, threw bottles, rocks and flares at police who were guarding the parliament building, and police responded with tear gas to disperse the angry crowds.

Serbian riot police guard the Serbian parliament building during a protest in Belgrade, Serbia, on July 10 2020. (Darko Vojinovic/AP Photo)

Similar clashes erupted twice earlier this week. The protests first started when populist President Aleksandar Vucic announced a strict curfew for this weekend to curb a surge in new coronavirus cases in the Balkan country.

Vucic later scraped the plan to impose the lockdown. Authorities instead banned gatherings of more than 10 people in Belgrade, the capital, and shortened the working hours of indoor businesses.

Many in Serbia accuse the increasingly authoritarian Vucic and his government of letting the virus crisis spin out of control in order to hold a parliamentary election on June 21 that tightened the ruling party’s grip on power.

Vucic has denied this, although authorities had relaxed the rules prior to the vote, allowing massive crowds at soccer games, tennis matches, and nightclubs.

Authorities reported 12 new coronavirus deaths on Saturday and 354 new infections, although there have been increasing doubts about the accuracy of the official figures.

The country officially has over 18,000 confirmed infections and 382 deaths since March. Health authorities have warned that Serbian hospitals are almost full due to the latest surge in cases.

Vucic has claimed that unspecified foreign security services were involved in the unrest and pledged he won’t be toppled in the streets. Some opposition leaders, meanwhile, are blaming the rioting on groups they say are controlled by the government to discredit peaceful protests.

Protesters clash with riot police on the steps of the Serbian parliament during a protest in Belgrade, Serbia, on July 10 2020. (Darko Vojinovic/AP Photo)

Rebic said foreign citizens are among those detained, including people from Montenegro, Bosnia, Britain, and Tunisia. He said police are looking into the “foreign element in the radicalization of the protests.”

Pro-government tabloids in Serbia have claimed that Russian intelligence services were behind the unrest that is designed to destabilize the country as Western efforts mount to negotiate a deal normalizing relations with Kosovo, Serbia’s former province whose 2008 declaration of independence Belgrade still does not recognize.

Serbia is a rare Russian ally in Europe with historically close Slavic ties. The country is bidding to join the European Union after years of crisis and wars in the 1990s. Nationalist and right-wing groups in Serbia are opposed to EU membership and want closer ties with Russia instead.

The Russian foreign ministry has vehemently denied any involvement in the latest protests in Serbia.

By Jovana Gec and Dusan Stojanovic

from Rayfield Review News https://therayfield.com/serbia-police-detain-71-after-4th-night-of-virus-protests from The Ray Field https://therayfieldreview.tumblr.com/post/623465142520250368

[therayfieldreview]

Serbia Police Detain 71 After 4th Night of Virus Protests

BELGRADE, Serbia—Serbian police detained 71 people after clashes during the fourth night of protests against the Serbian president that were initially sparked by his plans to reintroduce a coronavirus lockdown.

Fourteen policemen were injured in the rioting Friday evening when hundreds of demonstrators tried to storm the parliament building in downtown Belgrade, police director Vladimir Rebic said Saturday. Many demonstrators and several reporters were also injured in the protests.

Hundreds gathered on Saturday for another night of protests when no incidents were reported.

Serbian media reported that among the detained was a former parliament member and one of the leaders of the protesters, right-wing politician Srdjan Nogo.

The protesters, defying an anti-virus ban on gatherings, threw bottles, rocks and flares at police who were guarding the parliament building, and police responded with tear gas to disperse the angry crowds.

Serbian riot police guard the Serbian parliament building during a protest in Belgrade, Serbia, on July 10 2020. (Darko Vojinovic/AP Photo)

Similar clashes erupted twice earlier this week. The protests first started when populist President Aleksandar Vucic announced a strict curfew for this weekend to curb a surge in new coronavirus cases in the Balkan country.

Vucic later scraped the plan to impose the lockdown. Authorities instead banned gatherings of more than 10 people in Belgrade, the capital, and shortened the working hours of indoor businesses.

Many in Serbia accuse the increasingly authoritarian Vucic and his government of letting the virus crisis spin out of control in order to hold a parliamentary election on June 21 that tightened the ruling party’s grip on power.

Vucic has denied this, although authorities had relaxed the rules prior to the vote, allowing massive crowds at soccer games, tennis matches, and nightclubs.

Authorities reported 12 new coronavirus deaths on Saturday and 354 new infections, although there have been increasing doubts about the accuracy of the official figures.

The country officially has over 18,000 confirmed infections and 382 deaths since March. Health authorities have warned that Serbian hospitals are almost full due to the latest surge in cases.

Vucic has claimed that unspecified foreign security services were involved in the unrest and pledged he won’t be toppled in the streets. Some opposition leaders, meanwhile, are blaming the rioting on groups they say are controlled by the government to discredit peaceful protests.

Protesters clash with riot police on the steps of the Serbian parliament during a protest in Belgrade, Serbia, on July 10 2020. (Darko Vojinovic/AP Photo)

Rebic said foreign citizens are among those detained, including people from Montenegro, Bosnia, Britain, and Tunisia. He said police are looking into the “foreign element in the radicalization of the protests.”

Pro-government tabloids in Serbia have claimed that Russian intelligence services were behind the unrest that is designed to destabilize the country as Western efforts mount to negotiate a deal normalizing relations with Kosovo, Serbia’s former province whose 2008 declaration of independence Belgrade still does not recognize.

Serbia is a rare Russian ally in Europe with historically close Slavic ties. The country is bidding to join the European Union after years of crisis and wars in the 1990s. Nationalist and right-wing groups in Serbia are opposed to EU membership and want closer ties with Russia instead.

The Russian foreign ministry has vehemently denied any involvement in the latest protests in Serbia.

By Jovana Gec and Dusan Stojanovic

from Rayfield Review News https://therayfield.com/serbia-police-detain-71-after-4th-night-of-virus-protests

[oldmogg]

3:03 EARLY BERGMAN (No. 1) 3:47 THE DOCUMENTARIES OF LOUIS MALLE (No. 2) 4:33 LATE OZU (No. 3) 5:19 RAYMOND BERNARD (No. 4) 5:46 THE FIRST FILMS OF SAMUEL FULLER (No. 5) 6:18 CARLOS SAURA'S FLAMENCO TRILOGY (No. 6) 7:30 POSTWAR KUROSAWA (No. 7) 8:17 LUBITSCH MUSICALS (No. 8) 8:55 THE DELIRIOUS FICTIONS OF WILLIAM KLEIN (No. 9) 9:35 SILENT OZU: THREE FAMILY COMEDIES (No. 10) 10:02 LARISA SHEPITKO (No. 11) 10:23 AKI KAURISMAKI'S PROLETARIAT TRILOGY (No. 12) 10:57 KENJI MIZOGUCHI'S FALLEN WOMEN (No. 13) 11:43 ROSSELLINI'S HISTORY FILMS: RENAISSANCE AND ENLIGHTENMENT (No. 14) 12:16 TRAVELS WITH HIROSHI SHIMIZU (No. 15) 12:58 ALEXANDER KORDA'S PRIVATE LIVES (No. 16) 13:48 NIKKATSU NOIR (No. 17) 14:39 DUSAN MUKAVEJEV: FREE RADICAL (No. 18) 15:17 CHANTAL AKERMAN IN THE SEVENTIES (No. 19) 15:59 GEORGE BERNARD SHAW ON FILM (No. 20) 16:34 OSHIMA'S OUTLAW SIXTIES (No. 21) 17:29 PRESENTING SACHA GUITRY (No. 22) 18:08 THE FIRST FILMS OF AKIRA KUROSAWA (No. 23) 19:04 THE ACTUALITY DRAMAS OF ALLAN KING (No. 24) 19:52 BASIL DEARDEN'S LONDON UNDERGROUND (No. 25) 20:31 SILENT NARUSE (No. 26) 21:12 RAFFAELLO MATARAZZO'S RUNAWAY MELODRAMAS (No. 27) 21:51 THE WARPED WORLD OF KOREYOSHI KURAHARA (No. 28) 22:39 AKI KAURISMAKI'S LENINGRAD COWBOYS (No. 29) 23:14 SABU! (No. 30) 23:42 THREE POPULAR FILMS BY JEAN-PIERRE GORIN (No. 31) 24:15 PEARLS OF THE CZECH NEW WAVE (No. 32) 25:10 UP ALL NIGHT WITH ROBERT DOWNEY SR. (No. 33) 25:43 JEAN GREMILLON DURING THE OCCUPATION (No. 34) 26:18 MAIDSTONE AND OTHER FILMS BY NORMAN MAILER (No. 35) 26:44 THREE WICKED MELODRAMAS FROM GAINSBOROUGH PICTURES (No. 36) 27:17 WHEN HORROR CAME TO SHOCHIKU (No. 37) 28:07 MASAKI KOBAYASHI AGAINST THE SYSTEM (No. 38) 28:50 EARLY FASSBINDER (No. 39) 29:37 LATE RAY (No. 40) 30:08 KINOSHITA AND WORLD WAR II (No. 41) 30:57 SILENT OZU: THREE CRIME DRAMAS (No. 42) 31:27 AGNES VARDA IN CALIFORNIA (No. 43) 32:15 JULIEN DUVIVIER IN THE THIRTIES (No. 44) 33:01 CLAUDE AUTANT-LARA: FOUR ROMANTIC ESCAPES FROM OCCUPIED FRANCE (No. 45) 33:57 INGRID BERGMAN'S SWEDISH YEARS (No. 46)

[rockzone]

The Three Tremors announce UK shows and release 3 Disc set

Three of metal’s finest vocalists, known collectively as The Three Tremors - Tim "Ripper" Owens (Judas Priest Priest, Iced Earth, Dio Disciples), Harry "The Tyrant" Conklin (Jag Panzer, Satan’s Host, Titan Force), and Sean "The Hell Destroyer" Peck (Cage, Denner/Shermann, Death Dealer) - have released a 3-disc digipak, called ‘The Three Tremors-The Solo Versions.’ Each of the three singers perform the entire self-titled debut album alone, adding their own stylings and nuances to all twelve of the songs. This brings a fresh and completely new take on the ground-breaking debut release, and all three versions are incredible in their own right. Also included are three live bonus tracks recorded from their US tour. Each of the discs has brand new original artwork from Dusan Marcovic, and reflects the monstrous nature of this endeavor. Included in the set is all new artwork and packaging, 3 separate discs (The Ripper version, The Tyrant Version, The Hell Destroyer Version), 3 live bonus tracks, and all new photographs. Sean Peck says, "We each sang and recorded the entire album and so much great material got left on the cutting room floor because of how we pieced together the original release. I felt we had a really cool product that we could put together and I started working with Dave Garcia to mix them and assemble them. We contacted the artist and had him paint some incredible cover art to match the ferocity of the recordings." Time Owens says, "Everyone each had their own amazing version of the album and I was hoping we would find a way to get them released and now here they are." Hary Conklin says, "This is a really cool, unique product that as a metal fan myself would want to have. The different approach we each took to the songs makes each version really fresh and interesting. Each guy really did a great job and it is definitely a trip the metal fan is going to enjoy." The Three Tremors - February 2020 10 Feb - The Bunkhouse, Swansea 11 Feb - Cobblestones, Bridgewater 12 Feb - Bannermans, Edinburgh 15 Feb - Corporation, Sheffield 16 Feb - HRH Metal, Birmingham 17 Feb - The Junction, Plymouth Harry Conklin says, "We had a great time on the last tour we did. We are changing up the set a little bit for this upcoming run and throwing some cool new surprises in. I think the people are going to love it." Tim Owens  says, "I'm really looking forward to hitting some of these States that we missed last time and bringing our show to places like Texas and Florida, that we have not played yet." Sean Peck says "The album has been out for a while now, so people are more familiar with us as a band and the songs. We are following it up with the solo releases now so these new shows will be supporting that release. We will have some really radical new merchandise to go along with it, which I cannot wait to see. I love it that we are playing live again and bringing this one of a kind metal experience to new cities as we expand our reach and get back to pounding the anvil!"

[tresacamacho-blog]

Delhi Minimum Wage 2013.

William and Kate actually possess pair of kids, Royal prince George, 4, as well as Little princess Charlotte, pair of, and also they are very likely to maintain that standard when selecting a name for their 3rd youngster. As an example, if you are actually seeking an aged close friend off secondary school, merely enter their title as well as check out the deal with pasts from the outcomes you obtain to find that outdated pal, and where he or she is 2016healthy-diet-sport.info staying now and exactly what phone number you could call them on.

This European Ford Radical was actually a rebadged variation from the Nissan Terrano II. Just what is rather unusual about this automobile was actually that this held no parts that were off the Ford Motor Business except the badge and also the name that it kept.

Along with 2015 profits from NOK15.2 billion, Gjensidige is an European insurance provider concentrated on its own domestic market and is the biggest P&C insurance carrier in Norway. AM: Our team have actually increased our sales goals for 2015 as well as our amount of brand-new market positions.

Due to the fact that that is actually distinct and folks are actually simply interested through a special title, a brand-new condition is actually typically attractive. I pray that if you do determine to call your child, the Holy Character will certainly help you locate the excellent name. Although Mordaunt most certainly attained a name for himself, via his armed forces accomplishments, and also fantastic respect as a selected Fellow from the Royal Community, his image would certainly have been actually almost failed to remember were it except a set of quite curious circumstances, for which our team possess Sir Scott to credit. Usage in the Scriptures: In the Old Testimony Jehovah-Nissi occurs merely once in Exd 17:15. When he was writtening his initial jobs, Fleming preferred the blandest, most typical name he might discover. Yet another man that has claimed the headline from James Connection motivation was actually a Yugoslavian mole by label of Dusan Popov. I could utilize a few of the usernames mentioned in my own profiles, the individual name generator desk was actually a fantastic concept. The only factor that J.K. Rowling herself mentioned in job interviews about her label selection for Harry's owl is actually 'Hedwig was a St'. Painting or gluing pictures over outdated containers or bottles is one procedure to generate a jar. Understanding the significance from labels, those first audiences from Isaiah's prediction should have beveraged their heads in wonder at the title from their coming Messiah. Usually, inventory prices climbed 1.2 percent on the day of their name adjustment, along with gains growing to 3 per-cent when the brand-new name highlighted a brand name, including Federated Department Shops' adjustment to Macy's (NYSE: M) as well as Research study in Motion's button to BlackBerry (BBRY). I affiliate the name a lot along with Seth Meyers that it just creates me believe giggly instead of discourageded, hahaa! The label was changed to Master Edward Road in acknowledgment from his founding the close-by Christ's Healthcare facility, the first from numerous colleges committed to enlightening the bad.

[projeto0038-blog]

Guerra e refugiados na Jugoslávia de 1995

http://150anos.dn.pt/2014/09/25/guerra-e-refugiados-na-jugoslavia-de-1995/ DN. 25/09/2014.

OS DIAS EM QUE O DN CONTOU: Combatia-se na Bósnia desde 1992, em mais uma das guerras travadas no espaço da ex-Jugoslávia. Estado federal e multiétnico, a Jugoslávia ia morrendo à medida que combatiam entre si e morriam milhares de pessoas das diferentes comunidades, reféns da História. Desde o início até 1999, o DN esteve em reportagem no terreno. Hoje, textos de Carlos Santos Pereira descrevendo a atmosfera vivida com o início dos ataques da NATO e suas consequências

Os bombardeamentos da NATO tinham começado no final de agosto e iam prolongar–se até 20 de setembro de 1995, levando os sérvios a negociar os Acordos de Dayton e à presença no terreno de uma força de manutenção de paz na Bósnia, a partir de dezembro. Aqui, os croatas e muçulmanos tinham passado à ofensiva e na Croácia a república sérvia da Krajina estava sob ataque. O curso da guerra mudava em todas as frentes; com isto, a multiplicação de refugiados.

“Na noite de 4 para 5 de Agosto, tudo se precipitou. Um ataque de surpresa dos muçulmanos – coordenado com bombardeamentos croatas do lado ocidental – lançou o pânico. Às quatro da manhã, as comunicações ficaram inoperacionais. Depois, foi a ordem de evacuação e o caos da retirada para Donij Lapac, a caminho da fronteira com a Bósnia”, lia-se no texto “A saga dos Mrakovic” do enviado especial do DN, Carlos Santos Pereira, a 3 de setembro. As palavras são de Dusan Mrakovic, sérvio proveniente da Krajina.

Mrakovic, ali residente desde finais de 1991, “em plena guerra da Croácia, não hesitou (…) em aceitar quando lhe propuseram uma troca de casas com uma família croata de Hrtovici”. Durante mais de três anos, os Mrakovic – Dusan, a mulher e as duas filhas – convenceram-se de que tinham estabilizado. Mas, “em Junho deste ano [1995], tudo mudou, uma vez mais. A polícia sérvia começou a recrutar todos os homens da Krajina e a mandá-los de novo para as frentes. ‘Bastava a polícia reparar numa matrícula de Knin e mandava parar o carro’, conta Dusan. (…). No dia 15 de Junho, Dusan estava já na frente da Lika (na parte central da Krajina), integrado num pequeno destacamento de 30 homens perto do aeroporto de Zeljava – uma posição avançada face ao dispositivo muçulmano na vizinha Bihac (extremo noroeste da Bósnia)”, quando começaram os combates. Poucos dias depois, “a rádio começou a dar ordens de evacuação”, conta Dusan. Evacuação “penosa”, “através da Bósnia até chegarem à Voivodina e a Hrtkovici”. Aqui, são “milhares de refugiados da Krajina que deambulam pela área, comendo e dormindo quando e onde calha. Como irão refazer a sua vida – não fazem ideia”.

A memória dos conflitos do passado perpassa pelas palavras de refugiados ou figuras políticas, como o dirigente do Partido Radical Sérvio, Vojislav Seselj, hoje sob custódia do TPI para a ex-Jugoslávia, numa entrevista em Belgrado ao enviado do DN, publicada a 29 de agosto com o título “A Sérvia vive dominada pelo medo”. Seselj recorda que “os Sérvios estiveram 500 anos sob ocupação dos Turcos e acabaram por se libertar” e tem palavras muitas duras para o então presidente Slobodan Milosevic, que acusa de transformar a “Sérvia num Estado policial”.

No dia seguinte, ainda em Belgrado, Santos Pereira recolhe declarações do líder dos sérvios da Bósnia, Radovan Karadzic, em que este se diz pronto a aceitar o plano de partilha da Bósnia proposto pelos EUA, desde que a “parte sérvia” obtenha “o controlo absoluto da Bósnia oriental”. O texto principiava, contudo, com uma declaração “a título oficial, privado ou qualquer outro” de um representante “da autoproclamada República Sérvia da Bósnia em Belgrado” de que não fora das posições destes que partiram os disparos de morteiros que, a 28 de agosto, atingiram o mercado de Sarajevo, matando 43 pessoas. É após este ataque que tem início a operação aérea da NATO. Salienta-se ainda intensa movimentação diplomática em Belgrado, com a presença, entre outros, de um “senador discreto”, o democrata Bob Kerrey, “visto a entrar para o Ministério da Defesa jugoslavo”.

Com a diplomacia na ordem do dia em Belgrado e combates na Bósnia, cujo noticiário era feito na redação pelas agências, Santos Pereira reflete nas reportagens sobre como “o drama dos refugiados (…) faz subir a tensão étnica na Voivodina”, onde os “croatas desconfiam de uma nova vaga de colonização sérvia na região”. A vaga anterior fora também de refugiados. Numa reportagem em Ruma, o jornalista recorda que este “foi o local que acolheu em 1670 as famílias sérvias fugidas às perseguições otomanas no Sul, no Kosovo, e conduzidas para aqui pelo patriarca Arsenije Cmojevic”. Após os sérvios, vieram outros. “Húngaros, rutenos (ucranianos), croatas, cincar, mercadores vindos do Sul, da Grécia e da Macedónia…” – “A Voivodina tem uma longa tradição de convivência étnica e os casamentos mistos são aqui bastante numerosos” – “O próprio clima político é bem diferente do resto da Sérvia.” Mas “católicos e ortodoxos” voltaram a olhar-se com desconfiança.

“‘Estamos a viver uma situação de nem paz nem guerra’, diz Drazen, um reformado de Ruma, oriundo de família mista. ‘Ninguém sabe o que vai acontecer.’” – E no meio de tudo isto, o destino da “mulher sem nome” que “vagueia pelas ruas de Ruma”. “Está completamente só. Não tem qualquer família nem amigos (…). À noite dão-lhe um prato de comida e um canto para encostar a cabeça no pavilhão desportivo de Ruma (…).” A solidão desta mulher de 63 anos é, de algum modo, reflexo da “tragédia deste povo”, escreve o enviado do DN citando uma frase da sérvia que lhe agarra o “braço com força”, quando este começa a despedir-se.