#which has been around in its semi modern form since the 60s

[pandoratheprocrasticreator]

Not pro/anti ship but a secret third thing (side eyeing ppl with ships i dont like and block them/the tag if it makes me uncomfortable)

[resinatingbeauty]

~•The Essentials For Your General Magick Cabinet •~ 

I create intuitively chosen mystery ensembles inspire by the occult, witchcraft, and mythology where many of my own handcrafted creations fill the box in my Etsy shop, thus, I often am asked by those new to Witchcraft or who are beginning to explore different aspects of their spiritually to include 'the essentials', or whatever it is I think would benefit someone who is just delving into the world of new age spirituality and witchery.

It doesn't matter what books you read or blogs you may follow, there always seems to be some inconsistencies here and there regarding what tools are 'essential' for a beginner. Sure, there's a lot regarding the altar and shrine set up, but what if you do not have the space to dedicate to an altar? What if you prefer to perform your craft on the fly, or find yourself leaning toward secular practices rather than devoting yourself to deity worship? 

The handful of tools and supplies I have put together here covers pretty much any ordinary practice that would take place in any spell or ritual and give you an inexpensive basis from which you may build upon as you continue learning, practicing, and exploring what ignites your spark and helps to recover your light. :) 

•White Candles or Tea Lights (And Matches or a Lighter)- One may enter any Family Dollar or Dollar Tree and find multipacks or single white candles or tea lights in abundance. Many spells call for a specific colored candle to be used that corresponds with the purpose or intentions to be expressed or manifested. This extends beyond what is known as 'candle magick' and falls into a category I personally just learned was called 'sympathetic magick'- which is a fancy word for choosing spell or ritual tools, components, and supplies that have some kind of symbolic or intrinsic association to what you desire. The act of creating the right atmosphere for manifesting your will is a type of magick unto itself that can extend well beyond an altar or shrine. Picking the corresponding moon phase, time of day and day of the week, herbs, oils, and candle colors are all forms of sympathetic magick, with candle color probably being the easiest aspect to understand and acquire. White Candles may be substituted for any colored candle that a spell or ritual may call for, as white is considered the absence of color, you may imprint upon it whatever color you desire it to be. This kills the need for a large stash of chime candles or votives of all different colors. Sure, it's nice to have the appropriate color a spell calls for and having such in your possession does help conjure the atmosphere whoever created the spell intended to conjure, but in a pinch, any white candle or tea light with something to light them with will work just as well as that pink or red candle for your love spell or whatever it may be you are attempting. 

•Clear Quartz Crystals- Clear Quartz only recently became semi-scarce due to over mining and demand, though one may still purchase Clear Quartz crystal points in bulk for around $10-15 for a 100 gram bag on Amazon and beyond, where if you prefer raw stones over tumbled and polished, you may be able to get them even cheaper. Clear Quartz is believed to be the 'Master Healer' by Reiki Masters, as it possesses many different healing properties in addition to cleansing, grounding, and aligning the chakras. In witchcraft, Clear Quartz is used in many different rituals as it is an amplifier of energy that can enhance the efficacy and success rate of spells and manifestations aside from amplifying the energy of any and all other components and crystals around it. Clear Quartz may be readily substituted for any crystal, should a crystal be called for in any sense, and its abundance in nature and online make it an essential choice for having on hand for everything from creating Charging or Moon Water, creating crystal grids, talismans, spell jars, mojo / Gris Gris bags, or simply placing in your home or on your altar to help facilitate whatever you may be attempting to conjure or manifest at any time. 

•Olive Oil- it's no joke that essential oils, especially those that are organic or completely natural and high quality are quite expensive. If one were to purchase even just the handful of essential oils commonly mentioned in most witchy books, occult texts, and herbalist grimoires, you would be looking at a good $30-$60 investment for the basics. Olive Oil, on the other hand, may not be particularly cheap at the grocery store, but when you consider the amount you get for the price compared to the .33fl oz bottles of essential oils, you are getting quite a bargain and a tool that may be substituted for any particular oil something may ask you to use, including for dressing / anointing candles and ritual tools. The ancient Greeks and Romans often used Olive Oil as an offering to the Gods, and it has long been considered a sacred nectar in many different religions. If you already have a selection of essential oils, you may use Olive Oil as a carrier oil to make them last longer by diluting them and rebottling them or to make your own essential oil blends and ritual oils. Olive Oil is naturally pure and will allow your oil blends to work with most diffusers and burners while providing a hypoallergenic carrier option should you wish to apply any to your skin. 

•Salt- So many things salt may be used for and so many reasons to keep a stash of salt around set aside for spiritual endeavours. Sea Salt in particular is a component of many spells, rituals, potions, and magickal concoctions. It is representative of the element of Earth and is associated with many simple practices you can easily integrate into your daily rituals for cleansing, banishing, and protection. Using salt for cleansing offers a no-burn, inexpensive, sensitivity friendly option for the modern witch that can be purchased on the cheap virtually anywhere that sells things.

•Sage- The next few items are more essential for the diligent witch putting together their toolbox, as one can avoid the herbal aspects of witchcraft entirely if they desire to with many more modern texts not blending the old world concepts of herbalism/ old world medicine being akin to magick. Sage is often burned for cleansing purposes, either in smudge or incense form, but it may also be substituted for any herb a spell may call for, provided you are not trying to concoct a definitive product or recipe as a result. Sage may be easily grown within your own home- I myself have a common Sage plant I grow indoors and have been reading the benefits ever since I purchased the starter from a small nursery in Kentucky, as I never seem to have any luck sprouting seeds myself. Sage may be added to spell jars and the like as easily as one would add a handful of crushed Clear Quartz for the added benefit of maintaining a cleansed vessel for manifestation. Sage incense may also be substituted the same way.

•Roses- Roses and Rose Petals have always been associated with love spells and love potions, but many do not realize that Roses have a positive energy so profound, that vibrates on so many levels, that they may be adapted to serve virtually any purpose in any spell or spiritual practice, not just spells associated with love, romance, or sexuality. 

•A Bell or Bells- Whether you wish to drop the money on an intricate antique or visit your local consignment store or dollar store and pick up some used school bells or jingle bells, the bell and bells are probably the most underrated tool a witch can utilize, like, ever. Bells have a long multicultural history of providing blessings of prosperity, protection, and good luck, with many beliefs rooted around the belief that the ringing of a bell resonates throughout the fabric of the cosmos, reverberating across space and time. Percussive instruments, as bells are, are often used for cleansing rituals and spiritual healing. It is often stated that ringing a bell 'resets' the atmosphere and energy around you, effectively banishing negativity and providing a blank slate for conjuring new energy and any other spiritual activities. Don't balk at the bells! 

If you're the creative type, you may create what are known as 'Witch's Bells,' often made from wreaths or braided twine, beaded rings, etc with three or more bells attached meant to be hung off the doorknob of the entrance to your space or they may be made as a handheld tool to be used for regular rituals. These are then blessed or enchanted in some way that depends on the practitioner and the purpose they wish them to serve. 

What about those of us that have limited storage space? Or those that may not be able to light candles or incense due to living arrangements or allergies? This is where myself and many others can step in and offer you a hand. In my own shop, I offer hand crafted and personalized / customized spell kits created for your specific needs that will provide you all the materials for any specific spell or ritual you desire. There are other sellers that offer similar options, some that are personalized and others more general, but if you are looking for something more 'disposable' to be at your disposal at any given time, this may be worth looking into. 

My own spell kits range anywhere from $12-$35 depending on what it is you request and the materials you require. As I cater to all skill levels and handicaps in terms of what one can feasibly perform or utilize in any given situation, if you do happen to have a particular spell in mind but have no idea how to proceed in your current situation,I will be more than happy to consult with you and hand select or create a spell kit with detailed instructions and tools to aid you on your spiritual journey, regardless of your destination. As I take great pleasure in assisting others in manifesting their dreams and desires, I will always work with you and put your needs above your budget. 

Just some food for thought for those of you who have been blindly purchasing items for spells or spiritual endeavours to have on hand 'just in case' and to remind everyone that magick and successful manifestation is less about the 'stuff' and very much about your intentions when using it to conjure energy and become the catalyst for change, however you proceed to do so. 

Wishing everyone a blessed weekend and throwing a friendly reminder out there that the current sale that has been ongoing in the shop will be ending soon- this will be the last until next month so please take advantage if you have had your eye on something. I will be retiring some older designs at the end of September 2021 for recreation / re imagining and to pursue new and better concepts to take other's places. These designs will go on one last farewell sale during the month for a good 25%-50% off until they are sold out. As always, I appreciate everyone's support of my Craft and crafts. It has been a pleasure to work with and get to know so many amazing people! A dream come true to do this full time!

-Samantha 

Owner, Designer, Creator, Chaos Witch & Spiritualist 20+ Years Practice

•Blursedbaubles.etsy.com - Pay me a visit (I don't bite, just snuggle :3 )

•Facebook Store Page *NEW* (I still hate FB)

•Instagram (Resinating_beauty_) (and pretty much all social media)

•Pinterest (meh)

[theacademicnerd]

Mesopotamia

Sumer (oldest civilization in Mesopotamia): Sumer was created in a desert landscape, but lacked 3 resources which were trees, stone, and rainfall. This meant that the entire city would be built out of mud which meant that simply clay bricks gave rise to the world's first civilization. Two rivers surrounded Mesopotamia which were the Tigris and Euphrates Rivers. Around 5000 BC, Sumerians used irrigation channels, dams, and reservoirs for agriculture. They invented the potter wheel which was used to create everyday tools, but around 3200 BC, the wheel was used to create chariots & weapons. They built boats  from reeds and date palm leaves with linen snails. Since they didn't have certain resources, they built a trade network and traded with Egypt, Anatolia, and Ethiopia. They have a social ladder which was Priests & Priestesses > Merchants > Craftspeople > Farmers > Slaves. The empire had city-states which were linked by language and spiritual beliefs. The three oldest cities were Uruk, Ur, and Eridu. 65,000 people was the population of Ur at its greatest extent. They invented the world's first writing system which started as a system for accounting for the Sumerian merchants who conducted business with traders abroad. Later on, the early pictogram system called cuneiform was created, which was turned into a script. They created the first written laws and written system which was to teach writing. They also created taxes and wrote information on clay tablets. In 2300 BC, the great Akkadian King Sargon conquered Sumer, but he respected their culture so they lived peacefully for many centuries. Eventually, Sumer was filled with riches, which caused other groups to loot and destroy Sumer. Sargon of Akkad was the Akkadians' greatest king and the Akkadians were the ancient Semitic empire. The Akkadian united all the city states under one ruler, but then the empires Babylon and Assyria took over when the empire Akkad fell. The Babylonians who conquered Sumer passed down Sumer's greatest inventions through the Greek, Roman, and Hebrew. Ur was the original home to Abraham and the place that Ur used to be located is Iraq which is also the country the Garden of Eden would be located on a modern day map.Some interesting facts!

In Mesopotamia, the exceedingly fertile plains climate of the region is semi-arid with a vast desert in the north which gives way to a 5,800 sq mile region of marshes, lagoons, mud flats, and reed banks in the south. Mesopotamia was between the Tigris and Euphrates rivers. The first 11 chapters of Genesis of the Bible were written in Mesopotamia. The story of writing, law and astronomy is where civilization began. It has been inhabited for nearly 12,000 years. Their mathematics was the 60 system like the 60-second minutes, 60-minute hour, and 360 angle. In our lives today, we still use the 60 system and we also use the systems like a week into seven days and 1 year is split into 12 periods (12 months), but the most impactful invention is LITERACY. Nebuchadnezzar II who ruled Babylon enslaved the Jews. He destroyed the Temple of Jerusalem and initiated the Babylonian Captivity of the Jewish population. He also built the Hanging Gardens. King Hammurabi wrote the first set of Laws which formed into the first criminal and civil laws. Then, Babylon fell when they were too rich to resist outside envy and in 539 BC, Persian king Cyrus conquered Babylon and took control of all of Mesopotamia. Then Meso. sunk beneath the sands of Iraq, but literacy, math, law, astronomy, and civilization still prevailed. Cyrus was well-liked by the Jews because he freed Jewish captives in Babylon and allowed the Jewish to return to their homeland as well as issuing the first human rights charter to protect the religious minorities in his kingdom and ending the exile of Jews. Literacy is described as having the greatest long-term impact invention of the Mesopotamians. Through literacy, they created cuneiform.

[krispynightmareyouth]

What uses does rubbing alcohol have?

Wound Dressings

Wound, whether it is a minor cut or a major incision, it is important to care for it properly, part of this process includes wound dressing. Dressing is designed to be in contact with the wound, which is different from a bandage that holds the dressing in place. Historically, wet-to-dry dressings have been used extensively for wounds requiring debridement. In 1600 BC, Linen strips soaked in oil or grease covered with plasters was used to occlude wounds. Clay tablets were used for the treatment of wounds by Mesopotamian origin from about 2500 BCE. They cleaned wounds with water or milk prior to dressing with honey or resin. Wine or vinegar usage for cleaning the wounds with honey, oil and wine as further treatment was followed by Hippocrates of ancient Greece in 460- 370 BCE. They used wool boiled in water or wine as a bandage. There was a major breakthrough in the antiseptic technique during the 19th century, antibiotics were introduced to control infections and decrease mortality. Modern wound dressing arrival was in 20th century.

When the wound is closed with dressing, such as transparent film dressing, they are continuously exposed to proteinases, chemotactic, complement & growth factors, which is lost in the wound exposed. So during late 20th century, production of occlusive dressing began to protect and provide moist environment to wound. These dressings helps in faster re-epithelialization, collagen synthesis, promotes angiogenesis by creating hypoxia to the wound bed and decreases wound bed pH which leads to decrease in the wound infection. Woven absorbent cotton gauze was used in 1891. Until the mid 1900’s, it was firmly believed that wounds healed more quickly if kept dry and uncovered whereas ‘closed wounds heal more quickly than open wound’ written in an Egyptian medical text -Edwin smith surgical papyrus in 1615 BC. Oscar Gilje in 1948 describes moist chamber effect for healing ulcers. In the mid 1980’s, the first modern wound dressing were introduced which delivered important characteristics providing moisture and absorbing fluids (e.g. polyurethane foams, hydrocolloids, iodine-containing gels). During the mid 1990’s, synthetic wound dressings expanded into various group of products which includes hydrogels, hydrocolloids, alginates, synthetic foam dressing, silicone meshes, tissue adhesives, vapor-permeable adhesive films and silver/collagen containing dressing.

Traditional wound dressing

Traditional wound dressing products including gauze, lint, plasters, bandages (natural or synthetic) and cotton wool are dry and used as primary or secondary dressings for protecting the wound from contaminations. Gauze dressings made out of woven and non woven fibres of cotton, rayon, polyesters afford some sort of protection against bacterial infection. Some sterile gauze pads are used for absorbing exudates and fluid in an open wound with the help of fibres in these dressings. These dressings require frequent changing to protect from maceration of healthy tissues. Gauze dressings are less cost effective. Due to excessive wound drainage, dressings, including foam dressing, become moistened and tend to become adherent to the wound making it painful when removing. Bandages made out of natural cotton wool and cellulose or synthetic bandages made out of polyamide materials perform different functions. For instance, cotton bandages are used for retention of light dressings with non woven dressing, high compression bandages and short stretch compression bandages provide sustained compression in case of venous ulcers. Xeroform™ (non-occlusive dressing) is petrolatum gauze with 3% of Bismuth tribromophenate used for non-exudating to slight exudating wounds. Tulle dressings such as Bactigras, Jelonet, Paratulle are some examples of tulle dressings commercially available as impregnated dressings with paraffin and suitable for superficial clean wound. Generally traditional dressings are indicated for the clean and dry wounds with mild exudate levels or used as secondary dressings. Since traditional dressings fail to provide moist environment to the wound they have been replaced by modern dressings with more advanced formulations.

Modern and advanced wound dressing

Modern wound dressing have been developed to facilitate the function of the wound rather than just to cover it. These dressings are focused to keep the wound from dehydration and promote healing. Based on the cause and type of wound, numerous products are available in the market, making the selection a very difficult task. Modern wound dressings, transparent dressing with absorbent pad, are usually based on synthetic polymers and are classified as passive, interactive and bioactive products. Passive products are non-occlusive, such as gauze and tulle dressings, used to cover the wound to restore its function underneath. Interactive dressings are semi-occlusive or occlusive, available in the forms of films, foam, hydrogel and hydrocolloids. These dressings act as a barrier against penetration of bacteria to the wound environment.

What uses does rubbing alcohol have?

Rubbing alcohol is a common household chemical. It has several potential uses in personal care, as well as in general household cleaning.

However, the incorrect use of rubbing alcohol can cause serious side effects, including skin irritation and poisoning.

In this article, we list some common uses for rubbing alcohol. We also outline some situations in which a person should avoid using this chemical.

Common uses for rubbing alcohol, or alcohol pad, include:

1. Disinfecting tick bites

People can use tweezers to remove a tick carefully from the skin. Following its removal, they can use rubbing alcohol to disinfect the bite. They should apply rubbing alcohol to a cotton swab and dab it onto the area where the tick had attached itself.

2. Caring for pierced ears

According to the American Academy of Dermatology (AAD), people can use rubbing alcohol to help clean the skin around new ear piercings. To do this, a person should dip a cotton ball or pad into the rubbing alcohol. They should then gently wipe it around the piercing on the front and back of the ear.

People should clean the piercing twice a day to help prevent bacterial infections and scabbing.

It is important to note that some experts disagree with this advice, recommending that people avoid using rubbing alcohol because it might slow the healing process.

3. Reducing body odor

Rubbing alcohol can help kill odor-causing bacteria, and it can be used in woundcare dressing, or hydrocolloid dressing. A person can apply rubbing alcohol under the armpits to help eliminate body odors.

However, they should avoid applying rubbing alcohol soon after shaving, as this will cause stinging.

4. Deodorizing shoes

Shoes can develop a strong odor, particularly if a person wears them while exercising or doing other physical activity. Spraying the insoles of the shoes with rubbing alcohol can help eliminate odor-causing bacteria.

A person should fill a spray bottle with rubbing alcohol and use this to spray the insides of the shoes. Leaving the shoes in the sun will help dry them out.

5. Creating homemade room deodorizer

It is possible to make a room deodorizer by pouring rubbing alcohol into a spray bottle and adding a few drops of an essential oil. A person can then spray the mixture around the room to help mask unpleasant odors.

6. Creating homemade ice packs

By mixing water and rubbing alcohol, a person can create a reusable and malleable homemade ice pack. They can follow these steps:

Fill a sealable freezer bag with 2 cups of water and 1 cup of 70% rubbing alcohol.

Push as much air out as possible, and seal the bag.

Place the filled bag inside another freezer bag, pushing out as much air as possible before sealing it.

Freeze for several hours.

Once the ice pack is ready, people can apply it to sore muscles or joints to relieve pain and inflammation.

7. Cleaning and disinfecting hard surfaces

Rubbing alcohol can help clean and disinfect hard surfaces. It is effective against most, but not all, pathogens.

The main ingredient in rubbing alcohol is isopropyl alcohol (IA). Most rubbing alcohols contain about 70% IA, but the amount can range from 60% to 99%, depending on the product.

According to the Centers for Disease Control and Prevention (CDC)Trusted Source, alcohol solutions are most effective at concentrations of 60–90%. People should avoid using diluted solutions that have a concentration of 50% or below, as these will be less effective in killing pathogens.

8. Disinfecting sponges and cloths

Rubbing alcohol can also help disinfect household items, such as bathroom or kitchen sponges or cleaning cloths.

A person should pour some rubbing alcohol onto the sponge or cloth and let it soak for several minutes or hours inside a sealable container.

9. Cleaning and sanitizing electronic devices

Alcohol evaporates quickly and can kill pathogens on phones, laptops, tablets, and other devices. It is best to use a rubbing alcohol with 99% IA for electronics.

A person should apply a small amount of the rubbing alcohol to a paper towel or cloth and gently wipe it across the electronic device.

This chemical can also help remove water from an electronic device if a person accidentally drops it into water or spills some water on it. If the device was switched off at the time, removing water with the rubbing alcohol should recover it.

[sussex-nature-lover]

Thursday 7th January 2021

Forests and Woodland

Photo credit: Forestry England

When I hear the word Forest I immediately think of the famous Sherwood Forest near Nottingham. Stuff of Hollywood films, mystical myths and legends, I decided to look up a bit more about the true meaning of a forest because to me, it’s a large area of dense woodland, either broad-leafed or coniferous. However, from local experience this really isn’t necessarily so

The modern day understanding of the term ‘forest’ refers to an area of wooded land, but this has not always been the case. The original medieval meaning was similar to a ‘preserve’, for example land that is legally kept for specific purposes such as royal hunting. So ‘forests’ were areas large enough to support species such as wolves and deer for game hunting and they encompassed other habitats such as heaths, open grassland and farmland.

I suppose that’s how Cannock Chase gained its name

In 1290 part of Cannock Forest became the Bishop of Coventry and Lichfield's 'Chase', a term that referred to a forest controlled by an individual rather than a monarch. Here in the 13th century. It was called Beaudesert, meaning 'beautiful wild place'.

I’d always just made the assumption that ‘chase’ arose from hunting grounds and certainly large areas are fairly flat and open these days.

The wooded countryside landscape where I live

The Ashdown Forest is in East Sussex. It’s within easy reach of us and when we used to go to Gatwick Airport our route took us that way, often in the very early morning and late evening.  We still go that way when we visit Standen, National Trust, East Grinstead.

Originally a deer hunting forest in Norman times, Ashdown Forest is now one of the largest free public access spaces in the South East. It is a great place for walking and enjoying spectacular views over the Sussex countryside and is known the world over as the 'home' of Winnie-the-Pooh.

The Forest is at the heart of the High Weald Area of Outstanding Natural Beauty and has national and international protection because of its wildlife. Nearly two thirds of its 6500 acres (2500 hectares) are heathland, amounting to 2.5% of the UK's extent of this rare habitat

Just think, 6,500 acres of common land in the South East. How lucky we are. The land split in the forest is 60/40 heathland/woodland.

Heathland is what is known as a ‘semi-natural’ habitat – the species that live there are native, but the habitat itself is artificial, created and maintained by human activity. Historically, that activity would have been cutting, burning and grazing, and today we continue those practices to maintain the open heathland landscape and prevent it reverting to woodland.

Gorse, a member of the pea family

Anyway, I’ve chosen this topic as Ms NW tY who lives in Tunbridge Wells, had been getting around on some walks. On her first walk with her partner last year, she wore unsuitable footwear and clothing and took her handbag along. A walk, to her, at that time, meant a quick stroll around the park and a stop at the coffee shop. Since then she’s acquired proper walking boots, waterproofs that mean business and a collection of photos, some of which I’d been sitting on for when nature content was a bit thin on the ground.

Enjoy the views

Not a soul in sight, which is how we like it these days

There are spectacular views for miles around

All photos above: credit Ms NY tY

The UK’s woodlands are rich and diverse, supporting more invertebrates than any other habitat. From lush temperate forests, to orchards and old hunting grounds. Each is varied and complex, shaped by geology, soils, climate and people over generations.

Broadleaf Woodland

That link to the Woodland Trust will tell you more than I could begin to cover in a blog post and I’m going to have to study it. We have an area of woodland at the rear of our garden and lots of small woods dotted around the fields in the wider area. I’m so pleased it’s mixed broadleaf. For some reason I always find coniferous woodland rather sinister and foreboding.

Lichen on tree branches

I was agog to read about the variety of birdlife that lives in and around a Forest, the list goes on and on Birds of the Forest and the Ashdown Forest has its own bird group, although its activities have obviously been curtailed for the time being.

There’s also a wealth of information from a history perspective, the People of the Forest through the ages.

It starts off at the early Medieval period and talks about the forest as “a place of retreat for large herds of deer and swine". At this time, bear, wolf and wildcat were also present, which is hard to imagine today. The catalogue goes right up to modern times and documents how the ownership of the Forest was transferred and secured.

What I Learned Today:

About the Common Gorse pictured up top

Facts

The soft, hairy buds form into new flowers.

Gorse is amazing at adapting to its environment: its sharp spikes protect it from hungry animals; its flowers attract pollinators with their bright yellow petals and coconut-like fragrance; and its seeds pop out when they are ripe.

‘When gorse is in bloom, kissing is in season.’ There are many variations of this country saying but the truth is that gorse is never really out of flower, so there will always be time for kissing!

The common name comes from the Old English ‘gorst’, meaning a wasteland or uncultivated area.

Gorse provides shelter and food for many insects and birds, such as Dartford Warblers, Stonechats and Yellowhammers

I like the fact it has a coconut-like fragrance, although I’ve never come across that before and the Kissing lore, sweet. There’s a patch up the lane from us, I’ll have to give it a sniff when we’re passing, although I expect it’s better to try that in the warmer weather.

Birds mentioned

Dartford Warbler strangely I didn’t spot down here as a place to see them, when Dartford is only in the next county

Stonechat strangely I recently learned that Robin is classified as a Chat and not as I thought in the broader category of Thrush (allegedly)

Yellowhammer strangely, widespread - I didn’t know that -  but of conservation concern

Suggested topics for home schooling: 

the people of the forest through the ages (history - link above)

woodland through all four seasons

good for simple sciences, biology and nature, art, crafts and quizzes

[bhandarimarblekishangarh]

Granite By Bhandari Marble Group

GRANITE MATERIALS BY BHANDARI MARBLE GROUP INDIA RAJASTHAN KISHANGARH

Celebrate a new home in STYLE!

BHANDARI MARBLE GROUP presents the best collection of Marble, Granite, and other stones so that you celebrate in style. Be it home, villa, hotels, or other projects. Our new floor style, elevation, and decoration are simply awe-inspiring.

Nothing is considered better than our marble stone & granite flooring to make your dream spaces feel SPECIAL or reward oneself. So go ahead! Explore our beautiful NATURAL STONES and keep up the spirit.

EVERGREEN BEAUTY OF OUR PRODUCTS

The principle advantage of marble and other natural stone in a bathroom is that it makes a bold statement of elegance and style. In centuries past, the stone was chosen as a building material because of its strength and durability, but in today’s construction, there are other building materials that offer better strength and nearly equal durability—as well as lower cost. What hasn’t changed—and probably never will, since marble and other natural stone exist in limited supplies—is that natural stone symbolizes exclusivity and style.

AMPLIFY THE APPEAL OF YOUR SPACE

Aesthetically, every quarry in the world has a slightly different form of stone, and even within the same quarry, individual slabs of stone will have slightly different veining and coloring. This means that a floor, countertop, or wall surface made of marble or another natural stone will always have a completely unique look that is different from every other bathroom in the world.

The fact that natural stone is both expensive and unique means that using marble or other natural stone in your home almost automatically improves its resale value. Real estate agents will virtually always point out the presence of natural stone when selling a home, and prospective buyers always view it as a strong positive.

In terms of modern interior design, the use of natural stone in bathrooms and spas is not limited to the floors and countertops. The use of ceramic tile in the shower was widespread through most of the 20th century, but the elegance of natural stone has become prominent in recent decades. Here are five types of stone that are ideal to install in the shower.

EXPERIENCE IN THE MARBLE WORLD

387 plus years of experience from the time of our forefathers has enabled us to evaluate and select a team that selects stone based on personal experience and extensive industry knowledge.

We at BHANDARI are confident that the future will continue to see us being an integral part and contributing to the fastest marble stone and granite market in the World.

Here at Bhandari Marbles, we feature rare and precious Italian marble varieties including Carrara, Calacatta, and Statuario. We’re happy to help you select the perfect marble, granite, or other surfacing material that’s ideal for your project.

Granite is a common type of felsic intrusive igneous rock that is granular and phaneritic in texture. Granites can be predominantly white, pink, green, black, brown, gray, Red, blue, cream, etc.

Granite Bhandari Marble Group

Granite is a kind of igneous rock, found on Earth but nowhere else in the … The crystals can be seen easily if the granite is cut and polished. Granite is a light-colored igneous rock with grains large enough to be visible with the unaided eye. Granite is composed mainly of quartz and feldspar with minor amounts of mica, amphiboles, and other minerals. This mineral composition usually gives granite a red, pink, gray, or black color.

Our premium surface granite selection offers over 250 color patterns. We have the perfect granite countertop for your project whether your requirement. Granite natural stone slabs and tiles for kitchen countertops, bathroom vanities, and mudrooms from Bhandari marble group.

Granite countertops are the kitchen work surfaces that all others measure themselves against and for good reason when you consider how it very useful. All granite And Marble Bhandari is the largest fabricator and installer of stone countertops.  Granite, Marble, and Quartz countertops: Oregon. Free Estimates. Types: Granite, Marble, Quartz, Soapstone, Travertine.

COLLECTION OF GRANITE AT BHANDARI MARBLE STORE

Black Galaxy Granite

BHANDARI MARBLE GROUP is quarried Near Chimakurthi, Ongole, Andhra Pradesh, South India; this is a fine to medium-grained, black gabbros with golden-yellow. We have a superior quality range of Black Galaxy Granite. The Black Galaxy Granite offered by us is widely demanded its elegant finishing and stain free.

We carry Black Galaxy Granite Countertops for Kitchen and Bathroom. We deliver and install your countertops anywhere in quantity with Quality. Create a custom granite countertop or give walls and floors a dramatic update with the 12 in. x 12 in. Black Galaxy Polished Granite Tile from BHANDARI MARBLE GROUP

We have a superior quality range of Black Galaxy Granite. The Black Galaxy Granite offered by us is widely demanded its elegant finishing and stain free. Black galaxy granite kitchen countertop sample in the kitchen countertop.

It’s no wonder why this black granite tile is our best selling product, Star Galaxy tiles contain small gold flecks on a black background allowing you to create a new wonderful look.

The elegance of a neutral granite countertop lends itself to a palette composed of black-brown, beige, gold, tan, and cream colors. This countertop style is often the most popular amongst granite choices because of its ability to complement a wide range of kitchen designs.

Granite is a dark and light-colored igneous rock with grains large enough to be visible with the unaided eye. It forms from the slow crystallization of magma below the Earth’s surface. Granite is composed mainly of quartz and feldspar with minor amounts of mica, amphiboles, and other minerals.

Overall, you will find that the most expensive types of stone are blue granite. Various types of blue granite, like Azul Aran and Blue Bahia granite, are in the high-end of the price range. The most expensive type of granite is Van Gogh granite.

The Unique and Beautiful Granite Stones By Bhandari Marble Group

Granite can be found the world over; however, specific regions will sometimes offer their own unique granite with colors and captivating patterns that are native to those areas. The difference is due to the mineral make-up of the region. Granite is made up of quartz, feldspar, and micas. The color and quantity of these components determine the color, pattern, and even strength of each specific type of granite. The mineral feldspar is the primary influence of the color and pattern of a slab. The characteristics of Indian geology result in uniquely colored stones, typically with dark green or yellowish tones.

The stone mining industry in India can be traced back to the first half of the 16th century; however, it was in the 1631s, when Italian immigrants discovered deposits of white marble near the town of Kishangarh which would become the center of the stone mining industry that solidified India place in the global granite marker. The Italians brought the knowledge of mining techniques, the equipment, as well as the experience and craftsmanship. Soon after, entrepreneurs began the search for new stone deposits. Explorers traveled from south to north. This eventually ended with the discovery of what we know as granite. Today, there are hundreds of colors of granite mined in India from quarries across the country.

Granite Kitchen Countertops By Bhandari Marble Group

Recognized for its wide diversity, BHANDARI MARBLE GROUP INDIA RAJASTHAN KISHANGARH produces an array of natural stones, including granites, quartzite, and marble. Indian granite accounts for approximately 70% of all the granite countertops in the world. The country exports between 60 and 70 percent of the world’s granite.

Given that India landscape and climate are highly varied, including everything from mountains and rainforests to semi-arid deserts and hills, the conditions for mining granite in India …

Alaska White Granite

With Alaska White granite, you can create stunning countertops or backsplashes, perfect for both indoors, and out!  BHANDARI granite is considered higher quality and more durable than thin granite. Quality countertops should be around 15 to 30 mm thick in order to provide the necessary durability associated with natural stone. Take a close look at granite to see if you notice any dings, dents, scratches, or uneven surfaces.

The first way to match granite to your counters is to choose granite that’s the same color as your cabinets but with darker veining. For example, white cabinets look gorgeous with White Spring granite, which has veins of grey, black, and brown.

Granite Countertops became popular lately. It is because granite is one of the most functional building materials in the world. The processing of this material has been revolutionized in the last years with improvements in diamond cutting tools.

In the late ’80s, granite technology improved and made granite an affordable raw slab material.  Granite is abundant in India, Brazil, Norway, and India as well as the island of Sardinia. Black, blue pearl, and green pearl granites were some of the few varieties.

Granite is very resistant to heat and stains

Due to its ability to absorb heat and resist scratching and staining, granite is the most popular material in most kitchen and bath countertops and vanity tops, both residential and commercial. In addition to most residential granite countertops, it is also popular among hotel owners in bathroom vanity tops.

Kitchen interior with granite tabletop, wooden furniture, and oven open to the staircase

Most granite countertops come in sizes up to your requirements. These sizes make it quite functional to use as a seamless piece of material in kitchens for countertops and kitchen islands.

Popular Granite Colors

Some of the most popular granite colors include absolute black, tan brown, chestnut brown, blue pearl, and marina pearl.  Recent discoveries in India brought a lot of unusual granite colors to the market that looks like marble with the big broad open veins. These granites such as the Taj Mahal and the various quartzites’ from India are very popular among kitchen designers.

Granite Rocks

Installing granite countertops must be done by a professional fabricator. Fabricators are qualified and licensed stone cutting companies. In order to cut granite, one has to have a wet saw with diamond blades as well as skilled craftsmen to finish the edges. Cutting and polishing granite countertops are extremely hard and you must have proper tools.

Installing Granite Countertops

Installing granite countertops in residential applications is relatively easy as qualified companies can do it usually in 1 week. First, existing countertops are removed, then, a template of the new material is taken and fabricated, and finally, the granite countertop is installed.

You can also choose various forms of granite for the kitchen backsplash to go on top of the granite countertops. You can use leftover pieces of granite, if so desired, by putting your backsplash on top of the countertop. Another option is using a different type of water jet mosaics and/or different types of ceramic tiles to go in between the space between the kitchen countertop and the cabinets. This space is called backsplash.

How to select granite countertops

Step one is to have your kitchen cabinet samples.

Step two is to go to a slab yard, or slab wholesaler, that carries a wide variety of granite countertops.

Step three is to try to coordinate your granite countertop along with your kitchen cabinet sample and flooring material.

Most granite countertop materials or slabs are displayed vertically on what’s called a frame. It may be difficult to visualize a horizontal surface-displayed vertically. It is recommended to have your kitchen layout in order to coordinate the available slabs along with your available sizes and matching the veins if there are any. We recommend visiting the slab yard shortly before your kitchen cabinets go in.

Most slab yards will not hold slabs for long periods of time; therefore do not make your final selection months ahead of time. You may have to pay a separate visit to your fabricator and have your firm kitchen layout face taped on the actual slab to visualize how the piece will look in your kitchen. You should also have some idea about the type of edgework and sink cut out you desire.

Granite Countertops

There are two types of kitchen sink cutouts. The first option is dropped in and the second is under-mount. Under-mount is more expensive but easier to use. Most wholesalers will not quote you an actual price. You will have to get a price from your fabricator. Slab yards will tell you a price range in terms of low, medium, high, exotic, and high exotic. To most consumers, these are meaningless. However, your fabricator will be able to translate this into an actual quote depending on your kitchen. There are risks involved by the fabricator in carrying the slab and they will have to absorb the waste of cutting. You may also have some leftover pieces from your kitchen countertops. You can use these leftover pieces as a cutting board and/or depending on the piece, you may frame it and use it as an art piece in your kitchen.

How to seal granite countertops

Step one is to clean the granite with a soft sponge and the natural stone cleaner.

Step two is to apply the granite countertop sealer evenly and throughout the surface. Wait for it to dry a little bit and, if necessary, apply a second coat of sealer until the stone absorbs it. We recommend using a good quality sealer like Fila.

Step three is to clean the surface with a good, dry cloth and remove all debris and the excess sealer.

What are some of the advantages of granite countertops?

Ability to observe heat

Unlike other building materials or countertop materials, you can put most hot plates or pans on top of a granite countertop without damaging the stone.

Ability to resist scratching

Granite is one of the hardest materials in the world and, therefore, it is extremely difficult to scratch it, particularly darker colors which are extremely hard. In most typical kitchen applications, such as using a knife on your countertop or cutting and using other pots and pans, it is difficult to scratch most granite countertops. Please check with a licensed fabricator in order to warrant the uses of Granite countertops.

Ability to resist staining

One must caution that some of the lighter color countertops may absorb water and look wet immediately after use. However, it will dry after a small period of time. We recommend sealing all-natural surface materials, including granite, after installation, and throughout its life from time to time to prevent staining. Darker color granites are almost impossible to stay in everyday use.

OUR ACHIEVEMENTS

We are DELIGHTED to offer an exclusive range of MARBLE STONES GRANITE. It’s your chance to recreate with Bhandari Marble Group. Our services are also available online.

BHANDARI MARBLE GROUP has been rated the 5-star MARBLE GRANITE AND NATURAL STONES Company by JUST DIAL and Google review.

We topped all other World marble companies with respect to Customer Satisfaction.

Our brand continues to resonate is evident from the fact that BHANDARI MARBLE GROUP has been rated the best company in terms of customer satisfaction.

We topped all other World marble companies in respect of the best Customers satisfy, product reviews portals. We topped in quality, website, after-sales service, on-time delivery, packing, R & D, finishing, polishing, etc.

Contact Us:

BHANDARI MARBLE GROUP

Since 1631

+91-9672941111/9116341111

Add by Expert & Exporter of Marble, Granite & Natural Stone By BHANDARI MARBLE GROUP INDIA RAJASTHAN KISHANGARH.

[chrysaliseuro2019]

Shaken And A Little Bit Stirred

Our three weeks in Greece has gone by in the wink of an eye. We have loved all of it. While Milos has been our least favourite (but still very enjoyable), Folegandros was scenically stunning and the town intimate and magical. Little streets and alleys lead into squares and while tourists have definitely found it, it’s lovely to see the locals having hung on to their little houses, out on their porches in the evenings chatting away. The tourist crowd are mainly couples or families so no pumping dance music to detract from the gentle vibe.

The Peloponnese is a must-see and I hope this has come through in the blog. As a tourist in July wanting to go where the crowds aren’t this is the place. And there is something for everyone; history buffs, museum enthusiasts, hardy hikers or beach sloths. So much to see, so much to do and a month there would not feel too long.

But today we leave and it’s a mega travel day so up and about doing chores. First off was shuffling the odd piece of still damp washing on our balcony washing line (one of the small and welcome creature comforts of an extended holiday) to take full advantage of sun and breeze. Then packing of cases which is becoming increasingly strategic commensurate with additional purchases, followed by getting the hotel to print out our flight boarding passes. Breakfast, then the final odds ‘n sods into the cases in readiness for our lift from Hotel Riga’s to the port.

Hotel Rigas was delightful. While only 2 stars, the room and balcony were enormous. But the bathroom this time was the size of 2 telephone booths and only room for one person due to an oversized awkwardly placed door which to close you practically had to stand on the toilet. Fortunately after 36 years of marriage, modesty is a concern long forgotten. The staff were the real standout with brother Panos and Christos the front office charmers. But the real star of the show was the housekeeper, who when we returned to the room after our first day out, had hung up our clothes, put things away in cupboards and done a through tidy up. It felt like mum had been in doing a Spring clean . I wanted to pay her one way fare to Fergie Street.

Ferry due to leave at 11.25am and arrived only 10 minutes late which was a relief. Systematic disembarkment for the Milos foot passenger and car arrivals followed by and orderly boarding by those leaving. This was in stark contrast to the Athens leaving fiasco necessitating dashing hither and thither avoiding a reversing oil tanker, taxis, buses, boxes on the wharf, cases, the passenger carrying a canary in a cage and a lot of agitated passengers. Piraeus Port Authority could do worse than do a study trip to a few islands for a few tips on traffic management.

Ferry went via nearby islands Sifnos & Serifos gradually filling on its way to Piraeus. Happily the sea was calm and the boat steady with the 4 hours passing quickly and uneventfully. Food onboard was also worthy of mention for the wrong reason. We shared a smoked turkey, cheese and mayo sandwich. The less said about that the better.

The TVs were showing some FINA Watersport competitions including the Greeks versus the Sth Koreans at water polo. It was Goliaths vs The Punes. The score of 13-2 representative of the physical strength imbalance. Chris was surprised the Punes didn’t turn tail and head straight back to Sth Korea when they caught sight of their opposition. Next on were the prissy-glittery-glammed-up teams of synchronised swimmers. We were half watching it (Chinese coming first followed by the Japanese, who we thought only average, then Ukraine) when the TVs changed to another station. Because all Greek discussion is loud and intense (and our Greek has not progressed beyond yassas and efcharistó) we had no idea whether it was the Midday Show, a regular news bulletin or some current affairs show. With no more synchronised swimming our books got 100% attention until we docked at 3.30pm.

Things were going too well for them to last. So they didn’t. With our ferry due at Piraeus at 3.30pm and our flight to Rome via Trieste due to depart at 7.10pm it was going to be a bit tight to take a train so we’d contacted a car transfer company which sends quotes. First quote arrived on Tuesday for £65 then decreased incrementally over the 3 days to £30. There seemed to be no time limit as to when you could accept the offer so we made sure the ferry was (a) going at all and (b) not delayed before we committed. As soon as we sailed we booked the transfer and emailed the driver to confirm the booking advising what ferry we were on expecting someone to be there when we arrived

Needless to say they weren’t. Port of Piraeus is not our happy place. Meanwhile my phone reconnected to the internet and I received a message from our niece asking if we were ok after hearing about the earthquake. I didn’t think anything more of it.

Meanwhile I put in a phone call to our organised driver who knew nothing of the booking and said he would call me back. Five minutes and no call back so I called him back only for it to ring out. Chris called him but the +44 English prefix probably gave it away cos he didn’t pick up that call either. So several calls to the company who didn’t seem be able to sort a driver resulting in my ire being raised about taking bookings that can’t be filled etc. We await a refund. But the bigger problem was time was on the wing and it was now 4.30pm so we went in search of a taxi.

Taxis in the port area were all pre booked so we found a taxi rank and asked the price. €80/$120!! Tell them they’re dreaming! Already pissed off about pre-booked driver no-show I got into a debate with the driver saying “We would take the taxi and trust the metre”. His bluff was ”It would be more expensive”. I countered “That would work better for you and we’ll take our chances”. His final response was “Take the bus lady” so we walked off in principle. (Think Chris reading my mood thought silence was his safest option.) I asked his mate also in the taxi queue but it was clearly a cartel cos he looked sheepish as he quoted the same which saved him losing face in front of his thieving mate. At this stage I thought my principles might cost us dearly with a missed flight (and I’d have a lot of apologising to do and a lot of extra Holmesglen shifts to cover the cost of lost flights) when we tried to flag down a taxi joining the rank who waved us off. But sometimes sticking to your guns pays off because a little modern Mercedes came around the corner driven by a taxi angel called Lorenzo who stopped as we waved him down. Quote €50. Deal! As he was loading the bags Lorenzo excitedly asked us if we’d felt the earthquake. So this explained the change of TV programming and the text message checking in on us. At around 2pm central Athens had experienced a 5.6 earthquake followed by aftershocks. We googled it and sure enough it was Athens’ first earthquake since the one in 1990 which resulted in 146 deaths and many more injured. Lorenzo who was driving through the city at the time said you don’t feel the movement of an earthquake when driving so he wasn’t aware what was happening. He said people were running out of buildings and dropping to the ground causing him to wonder if it was a terrorist attack. Fortunately there seemed to be no damage and deaths this time.

We were finally on our way to the airport with Lorenzo who determined the usually fast freeway route was jammed (we assumed as a response to the earthquake) taking 1.45 hours so the slower coastal route was a better option. The traffic around Piraeus was appalling but this bloke had the same traffic mindset as Chris....never, ever, ever sit in a traffic jam. We belted down bumpy narrow backroads made even narrower with cars parked on either side as we avoided the bottleneck around the port. The traffic was still heavily congested but our driver took every advantage of space by cutting in at the front of queues, forming extra turning lanes etc. It was quite the performance.

Not only was he determined to deliver us to the airport on time, he loved a chat. He was an Albanian in his mid 30’s married to a Greek with with two primary school aged children. He had been a semi professional soccer goalkeeper and along with taxi driving worked as a goal keeper coach. He proudly told us that only goal keepers can coach the skills of goal keeping. Lorenzo kept us entertained with stories saying when he was young he was popular because he wanted to play keeper whereas it was usually the fat kids who were lumped into that role because all the aspiring Ronaldos wanted to be the goal kicking stars. Another one we enjoyed was that his father used to regularly dink him 24 kilometres on the back of his pushbike in Albania to see a soccer match. The distance wasn’t the only issue as the roads built by the Italians post WW2 hadn’t received any attention from the communist government leaving them rutted, potholed and crumbling. Lorenzo and his dad’s bums must have been black and blue after those 48 kilometre round trips. He was also very interested in our lives so by the time we arrived at the airport at 5.50pm we were thoroughly relaxed with our faith in taxi drivers restored. We happily handed him €60 which he thought generous. We felt certain we were on the better end of that deal.

Flight to Trieste had a Rome stopover. The first leg to Rome left on time and was fine. After landing when the seat belt lights were switched the bloke beside me on the window side stood impatient to get off and leaned all over the top of me breathing heavily - he was not a small man. Usually I would get up too but with leg room being tight and row 24 being towards the back of the plane I stayed seated waiting for the 23 rows ahead to get themselves organised. This did not please bully boy next to me. After putting up with him literally right over the top of me panting I eventually stood at my middle seat. He took this as an opportunity to lean over me attempting to reach up into the luggage hold to drag his oversized case down. With the two irksome experiences at Piraeus still rankling I was not in the mood to be hassled. I refused to move and pushed back against him thwarting his attempts. When I finally moved out toward the aisle he reached over and dragged the case down telling me to move off before the people from the row in front. I told him in no uncertain terms I wasn’t moving until they were out of their seats in to aisle. Could excuse him if he was a peasant or had another flight to catch, but indeed he was well dressed and did not go to transit when we got off. That made 3 strikes with the no-show and thieving taxi driver so my patience was sorely tested.

Fortunately for everyone, probably most of all Chris who’s cage doesn’t generally get as rattled as mine, we had a spare seat for the next flight.

Landed at Trieste just before 11pm so had been on the go for 12 hours. Luggage arrived quickly making a dash to catch the 11.15pm train possible. We arrived at the station with the train pulling in. However we hadn’t had a chance to purchase tickets and with the machine caught in a loop, the train stopping for less than a minute and the guard less than helpful with advice we had to let it go. The only tip he gave us was not to buy the tickets on train as they were €50 more expensive that way (sounds to me like a euphemism for fine). Gave up on the train, taxis €60 (A$100) so not prepared to pay that. Instead we waited and caught the bus whose ticket machine also wasn’t working. No machine =no pay. Suited us. Took 45 minutes to get to TriesTe central station but enjoyed talking to a young helpful Slovenian man who had lived in Sydney for 3 months and a young Romanian woman who works as a purser on one of the small cruise boats that was hit by the big liner in Venice recently. Fortunately for her she was on leave at the time.

Grateful that Chris had booked our hotel not 5 minutes walk from Central Station. To top it all off our room stunk off cigarette smoke and the window shutters refused to open. Night manager couldn’t open them either so a quick move into neighbouring room which proved to be far nicer. Needless to say both knackered. Hope the travel Gods go gently on us tomorrow.

[bestgraffitiremovalproductsicjp7]

How Much Does Cost Of Graffiti Removal Service Cost?

How Much Does A Graffiti Removal Near Me Cost?

Table of ContentsWhat Is The Best Removal Graffiti Service In My Area?How Do I Find A Graffiti Removal Prices Service?How Much Should I Pay For Graffiti Removal Service?

By the simultaneously establishing hip-hop subcultures of graffiti and breakdancing throughout the 1970s and early 1980s in New York City. Though graffiti movements such as the Cholos of Los Angeles in the 1930s and the hobo signatures on freight trains precede the New York School, it wasn't till the late 1960s that composing's present identity started to form. removal graffiti.

At least two Starbucks, 5 banks and a Duane Reade had their windows busted, causing an approximated $100,000 in damage. Graffiti artist SAME, genuine name Christopher Johnson, died at age 39. Prepared to customize and share in Twitter and facebook. The very first graffiti message was identified on a wall at a Annadale underpass.

The World's Best Graffiti Cleaners The items designed to remove all kinds of graffiti 100% without damage, to the substrate or the environment. Astrid Sarmiento. That was years back - removal graffiti. The rock garden is a highlight, an exact corner perched in a broken-down neighborhood. Moreover, we likewise offer material concerning houses with air-raid shelter can you browse at site.

Discover legal graffiti areas, walls and hall of fames worldwide. You can paint everything you can picture like Trains, Underground-Trains, Trams, Trucks, Cops cars and trucks and many numerous more without getting busted by the police officers. Graffiti New York fills that space, detailing the concepts, visual appeals, ideals, and social structures that have functioned as a cultural blueprint for graffiti movements across the world.

On the corner of Houston and the Bowery is a concrete wall piece with a lot of history. The Long Island City, Queens, graffiti site called 5Pointz was a tourist attraction that drew thousands of viewers daily and formed a background to the 2013 motion picture, "Now You See Me.

In addition, we ensure a 24-hour turnaround time so that you do not need to deal with a graffitied faade for longer than necessary. Nov 20, 2012 - Tats Cru, Halloween wall, Hunts Point by gsz, through Flickr (removal graffiti). Graffiti is a Crime New York (Image credit: Art Magazin) Graffiti Is a Criminal activity is the very first of Banksy's pieces from his month long 'residency' in New york city City in October 2013.

What Are The Best Graffiti Removal Service Companies?

The venture, which is in partnership with the Lower East Side Business Enhancement District, sees artists coupled with local services to create styles that are painted onto store security gates, turning the community into an al fresco gallery that emerges at night. So, around 1970-71 the center of graffiti culture moved from Philadelphia to New York City, specifically around Washington Heights, where suspects such as TAKI 183 and Tracy.

Which Is The Best Graffiti Removal Hotline Company?

Modern graffiti has actually come a long method since its emergence in the '60s and '70s on the virgin walls of Philadelphia and unadorned train carriages of New York City. The NYPD and MTA set up a fake wall made of plywood at the. net - wholesale graffiti supplies. Over the last couple of weeks I have been posting a ton of photos of a few of my favorite works of art from the street art world.

Graffiti white motivation love for decorative lettering vandal street art complimentary wild design on the wall city metropolitan illegal action by utilizing aerosol spray paint. Read discussing Graffiti in NYU Resident. removal graffiti. See more ideas about Graffiti, Nyc graffiti, Graffiti art. Famous photojournalist Martha Cooper started documenting the New york city graffiti scene in the 70s, when it was still thought about an 'underground phenomenon'.

What Is The Best Cost Of Graffiti Removal Company?

Port Richmond and Olde Richmond watersides mark the northern most boundaries of DRWC's planning area and have actually long been underserved in regards to waterside access. We are here to show you street art from Old-fashioned Artists to Existing Artists. September 30, 2019. Prominent graffiti master Stan 153 has passed away at 60, according to several individuals near to the street artist - removal graffiti.

Director: Tony Silver Stars: Satanic Force, Kase 2, Eric Haze, D (removal graffiti). "Uncut Gems" star Julia Fox, The Fat Jew and more talked to Page Six about his tradition. In 1970, Gennari borrowed his daddy's electronic camera and began photographing New york city's graffiti scene, recording a culture (destined to take over the world) in its infancy.

For the very first time ever, a museum exhibit shows how the early works of graffiti art in New York City influenced regional artists in Amsterdam. The artistic wrappers helped to support local artists. Perhaps he or she will mention the late Jean-Michel Basquiat, who started as a graffiti artist in New York's Lower East Side in the 1970s before becoming famous; among his paintings offered at a.

The top spots to see graffiti in NYC From storied walls to exciting new areas, here are the must-see outdoor areas showing the city's finest street art and graffiti. Yahoo has actually begun an invitation-only preview of a brand-new social networking website, Yahoo Mash - removal graffiti. He got reputation for the massive whole car murals he.

Send graffiti images. Graffitishop: the very best online buy Streetwear, Sneakers and Graffiti Graffitishop is the biggest Italian online shop for streetwear, tennis shoes and graffiti tools. Hi and Invite to the new Graffiti on Women site. Oct 27, 2013 - See the New York City transit system at a time the Metropolitan Transit Authority (MTA) has actually striven to forget (removal graffiti).

A Better Graffiti Removal Hotline?

In New york city, he is preparing to unveil his inaugural solo program at Almine Rech: 15 new paintings and a sculpture that show the East Village graffiti scene veteran's latest handle. Broadened Sunday and vacation litter basket service: New york city City is the most popular walking city in the nation, which likewise means it requires more attention to litter elimination than most.

com: Urban Graffiti: New York 82/83 (9783895354205) by Christ, Thomas and a fantastic selection of comparable New, Utilized and Collectible Books readily available now at great prices. Graffiti is a type of art, just a type of art that is incorrectly frowned upon in society. It was here, in the 1960s, that graffiti artists began "battle" subway cars and trucks with tags and illustrations, and where, in the '80s, commercial artists like Keith Haring and Jean-Michel Basquiat (who used the tag SAMO) painted.

Should I Hire A Professional Pressure Washing Contractor?

More than anywhere else, it's https://pbase.com/topics/isiriarqfe/whohasth868 New York that can claim to being the birth place of modern street art. Painted in West Palm Beach, Florida in March of 2014, this is the biggest mural Tristan has ever painted. It works like an unnoticeable shield that is used to the exterior of glass panes, and it's able to withstand all types of weather.

This book firmly establishes Queens' place in the history of style writing. It's complimentary to download however donations are welcome. Of the different New York City street art collections, one that truly sticks out is the Bushwick Collective in Brooklyn, an amalgamation of street art and graffiti that stretches across numerous blocks of a semi-deserted commercial area.

Banksy, Hammer Kid. A trip back to DUMBO through BED-STY and FORT GREEN with commentary on THE AMERICAN REVOLUTIONARY WAR end your trip (removal graffiti). No New York City Street Art List Would Be Total Without 5Pointz Returning to our Pyramids of Giza analogy, 5Pointz in Long Island City belongs to among the lost fantastic marvels of the street art world.

[michaelgeertzen-blog]

HISTORY OF SCARVES

OUR COMPLETE GUIDETHE ORIGINSCASHMERE SHAWLSWAR DUTYTHE EMERGENCE OF SCARVES AS ACCESSORIESDEVELOPMENT OF SYNTHETICSSCARVES AS A PROPAGANDA TOOLPOST WAR SCARVESSILK SCARVES AS A GLAMOUR ACCESSORYSCARVES AS A LUXURY ACCESSORYA DECLINE IN POPULARITY IN THE 90'S REDISCOVERING AND REIMAGINING CLASSIC DESIGNSCASHMERE SCARVESADAPTING STYLES TO MODERN LIFERECENT TRENDSFINAL THOUGHTS Men's Scarves & Ancient RomeMen's Scarves & The Croatian MilitaryMen's Scarves & French FashionThe Battle of Steenkerque:  Beginning of the Modern NecktieMen's Scarves & BeethovenMen's Scarves & Victorian EnglandMen's Scarves In Modern War And AviationIn Summary – The Scarf & History

HISTORY OF SCARVES

As a symbol of femininity, the scarf is the ultimate chic fashion accessory oozing sophistication and elegance. As a garment worn for practical purposes, a scarf can provide the wearer warmth or keep them cool. The scarf comes in a many a shape and form demonstrating its ubiquity and ability to blend into the wardrobes of undoubtedly every woman over the past few decades.

The origins of the scarf trickle back to Ancient Egypt, precisely to Queen Nefertiti, who was believed to have worn a woven wrapped scarf under an extravagant jewelled headpiece. Whilst scarves are more often than not associated with the female wardrobe nowadays, they have been worn by men and women for many centuries. In Ancient Rome, men wore them as ‘sweat cloths’ used to keep cool and dry sweat.

In the Far East, scarves were worn by military personnel to show rank. Scarves with numerous designs, worn in various ways can be viewed on the terracotta army soldiers, which were buried away more than 200 years BC. It is even said that on his return from Egypt, Napoleon Bonaparte gifted his wife Josephine be Beauharnais a pashmina scarf. Whilst she was cynical at first about this exotic gift, she is noted to have collected over 400 scarfs over the next 3 years adding up to a total of around £80,000.

It is easy to believe that the scarf was an overnight success, however the evolution of the scarf from a plain practical accessory to a trendy must wear item most definitely did not happen overnight.

Cashmere shawls became the epitome of high fashion in the 19th century. The famously Paisley pattern was established during this time as it was the first town to manufacture cashmere ‘Paisley’ shawls similar to those brought back by Bonaparte.

The town was home to 7000 weavers and the shawls were so popular that even Queen Victoria purchased a shawl in 1842. In the latter half of the century, the popularity of shawls declined as new trends emerged. Women's wardrobes developed so that it became more and more impractical to wear a shawl draped over one's shoulders.

During the First World War, knitting became more than just a hobby for women, children and even men all over the world. It was considered patriotic war duty. Tons of socks, sweaters and scarves were produced to send to servicemen to keep them warm and dry in wartime conditions.

Whilst knitting nowadays is often considered an old-fashioned hobby, knitting saved the lives of many servicemen during the war. Knitted goods were produced by the ton and shipped out to troops who were battling harsh, wet and cold conditions not only in the trenches but also in the air too.

In addition to knitted scarves, pilots would also wear white silk scarves whilst flying as the soft, supple fabric provided protection from neck chafing. During the First World War, silk played a very important role in military operations. Silk bags were used to carry gunpowder charges for weapons as silk left no residue when burnt. After the war, this surplus silk was made into garments, scarves, and furnishings.

With the emergence of silk in the west, manufacturing methods were improving and many clothing brands started producing silk accessories. Liberty Of London started producing light silk scarves that became extremely popular during the post-war years. Their energetic prints provided a much-needed tonic to the gloom that was life on the home front in the early years after the war.

Similarly, in 1937 French fashion house Hermès started importing Chinese silk to be woven into luxurious square scarves. Raw silk imported from China was especially strong and more durable. Designs reflected the Equestrian background that was deeply rooted in the history of Hermès and these designs still prove to be the most popular nowadays. The classic Hermès touches which have become synonymous with the brand such hand-rolled edges, hand-painted details and its 90cm x 90cm were all established at this early stage.

Silk scarves, both now and then, are a luxury and can be unaffordable for many women. With the invention of rayon in the 1930s, also known as viscose, this slippery fibre was a semi-synthetic material that was named ‘artificial silk’. It could mimic all the properties of silk but it was a fraction of the price.

The scarf trend continued booming as it allowed more and more women to dress in the latest fashions. However, with the outbreak of the Second World War, wardrobes had to become practical and sensible above all else. Many women were drafted in to take over jobs that were ordinarily done by men. From working in weapons manufacturing factories to flying military planes, the demands of ‘war work’ came first.

Safety concerns within factories meant that women operating machinery had to make sure any long hair was clearly swept away. This meant that women wore headscarves as a matter of necessity rather than an accessory. As a result of clothes rationing throughout the Second World War, the colour palette became dull and sullen as materials were limited to cotton and linen, which were cheaper and more accessible.

Despite the restraints of the war, notable British scarf brand Jacqmar of London continued producing scarves with imaginative propaganda themes from 1940 -1945. Jacqmar started out supplying silk to couture fashion houses around the world but soon noticed a lot of cut-offs that were produced and as a result, they started producing silk scarves, which became extremely popular during the course of the war. Fabric supplies were often short during this time, therefore Jacqmar would use offcuts from parachute silk as well as rayon and linen.

Designs for scarves were based around 3 central themes: military, allied forces and the home front. These were especially popular amongst young lovers and nowadays have become treasured collector's items. Even the British Museum in London owns several rare Jacqmar scarves in their war costume collection. In the post-war period, designs celebrated victory, as one can imagine, and then progressed to more generic patterns such as florals and geometrics.

After the end of the Second World War, the world was craving for more bold and vibrant colours in their wardrobes. Patterned scarves attracted a wide audience during this time. From 1946 – 1955 textile company, Ascher commissioned designs from leading artists around the world. Henri Matisse, Pablo Picasso and Henry Moore were among the 42 world-renowned artists who contributed to the Ascher ‘Artists Squares’. The project not only united the art community post-war but also married ideals in both art and fashion making fine art more accessible to the many.

As a form of self-expression, the silk scarf quickly came back into fashion; the material allowed for bright patterns and vivid, sharp details to be printed. Hermès grew in popularity with the likes of Audrey Hepburn and Grace Kelly wearing scarves in movies or parading their chic Hermès scarves throughout New York and Monaco.

Silk scarves gained notoriety and soon became a symbol of glamour, power and independence. In the words of Audrey Hepburn below 'When I wear a silk scarf I never feel so definitely like a woman, a beautiful woman.'

Whilst Audrey liked to wear her scarves tied neatly around her neck, Brigitte Bardot styled her scarf into a statement headband. Grace Kelly wore a Hermès silk scarf on the cover of LIFE magazine in 1956; however, she hit headlines again when she wore a Hermès scarf as an arm sling later on in the same year. Even the Queen, Elizabeth II, was emblazoned on a postage stamp wearing an Hermès scarf.

Designs at this time were light-hearted and captured an optimistic spirit which in turn meant that women could be playful with not only their scarves but also their whole outfit choices. Not only was the headscarf ‘the’ accessory amongst the rich and famous, it also gave them privacy. When styled with the big sunglasses of the 60’s, the pairing acted as a veil for those who endeavoured to keep a level of anonymity.

During this decade, it wasn’t only the fashionable elite that were buying into the luxurious silk scarves. Famous New York restaurant, ’21 Club’ often simply ‘21’, has been frequented by celebrities since the 1930’s. Notable guests include Elizabeth Taylor, John F Kennedy and Ernest Hemingway to name but a few. It is most probably recognised by the 21 jockey sculptures that feature on the façade of the restaurant.

Each Christmas the owners would give away a customised scarf to their regular customers. These designs would change yearly, however, the central theme was always equestrian and jockeys. These have now become iconic in terms of scarf memorabilia as designs were so rare and very much sought after.

Many fashion houses also transferred their signature style onto scarves to encapsulate the feel of the brand. The famous tartan check of Burberry could be worn by women all over the world on a scarf costing less than a fifth of the price of a signature Burberry tan trench coat. This gave luxury fashion brands a dominant global presence but more importantly, it gave women the opportunity to show off their designer purchases.

Designs of the 80’s were bold and confident. Chanel used daring chains, to imitate the chain handles on their handbags, and placed large interlocking CC logos over their scarves. These memorable designs captured the distinctions from brand to brand and allowed women to firmly identify with certain brands aesthetics over others.

With the 90’s approaching and the rise of manufacturing and cheap labour, many silk alternatives grew in popularity. Bright vivid designs could just as easily be printed onto these materials and with less expensive dyes in the process too. As silk is a particularly labour intensive practice, farmers became disillusioned with the product when demand fell.

Silk scarves fell out of favour during the 90s and people flocked to buy accessories that were innovative and striking. This elegant, stylish accessory was no longer the must-have item in the woman’s wardrobe and soon disappeared from the spotlight.

However, technology and transportation boomed in this decade, making travel easier and far more accessible to the majority of the population. As the world opened up so did the fashion industry. Designers took inspiration from all over the world and rediscovered treasures of the past.

Pashmina shawls which were only worn by wealthiest and most well-connected ladies were re-envisioned and transformed into daily lifestyle necessities of the modern-era woman. Rediscovering the sensuous qualities of cashmere wool meant that these scarves were admired for their comfort and practicality over design.

Cashmere scarves and pashminas rose in popularity, as they were undeniably soft, warm and luxurious. They were considered exotic and rare as cashmere was woven from Cashmere goats that inhabit the mountainous regions of Kashmir, India. Their exclusivity attracted a large following that were drawn to its fine, downy texture.

In fact, the name ‘Pashmina’ translates to ‘Soft Gold’ in the Kashmiri language. Traditionally the goats are reared by nomadic tribes inhabiting regions at very high altitudes where temperatures drop to -40c in the winter. For this reason, the Cashmere goat grows a thick undercoat to keep them warm. As temperatures rise into spring, this coat is shed and this is where the wool used to make pashminas is collected.

Many scarves are sold as pashmina’s in tourist markets around the world, but there is an easy trick to test whether the scarf is made from true pashmina wool. If the entire scarf can pass through a ring with a diameter of 1.3cm then you can be sure that it’s a genuine pashmina.

These scarves became popular in the 90s as they could be worn as a shawl wrapped around the shoulders. As fashion became more daring, many styles of clothing became sleeveless or strapless. Shawls allowed women to wear these on-trend styles but also protect their modesty by covering bare arms and chests.

More recently we have seen a shift towards other uses for scarves, new styles demand accessories that adapt to our fast-paced lives. These items need to be flexible and keep up with the ever-changing demands of the fashion industry.

Hermès re-invented the scarf with their Hermès ‘Twilly’ scarf, a long ribbon-like scarf which is named after the ‘twill’ weave pattern used to create its fantastic drape. They look chic when wrapped around the handles of a handbag, giving a touch of personality as well as protecting the bag. These scarves can also be wrapped around wrists to make sleek, stand out bracelets.

As the Twilly is small, it can be used as a headband or used as a ribbon tied around a hat. It can also be used as a hair tie or braided into plaits to add hints of colour and pattern to hair. More recently, we have seen these scarves used as belts either on their own or wrapped around a belt then fastened around the waist.

The multiple ways in which the ‘Twilly’ scarf can be incorporated into the modern woman’s wardrobe had made it one of Hermès’ most successful designs. The Twilly scarf is a truly modern update to the otherwise classic silk scarf.

If we look at recent trends from the catwalk we can see many nods to the timeless look of the silk scarf as well as refreshing new styles. Stella McCartney sent models down her AW17 runway with headscarves reminiscent of the queen on her Scottish country hideaway trips.

Prada opted for chunky knit scarves tightly wrapped like a choker to contrast sleek, tailored garments. More and more we see runways filled with silk bandanas and headbands that exude glamour and substance but are still relatable for both older and younger generations.

Turbans have always existed solely within religious dress for many centuries as a symbol of respect and social status among men. However, ever since Prada paraded rainbow-hued glossy turbans down the runway in 2007 it now comes second nature to many women to wrap a silk scarf around their hair then wrapped into a turban.

Our love affair with scarves is unlikely to end anytime soon. We are enchanted with their multitudes of forms and the possibilities seem endless when it comes to pattern and print. From a blooming floral design to an indulgent woven pashmina, they morph with each season and our relationship with these scarves develop because as well as being a much-adored fashion accessory they also provide comfort, protection and modesty. Whether one is wearing a trendy headscarf as a fashion statement or as a belt, wrist tie or handbag accessory it will forever have a permanent in every woman’s wardrobe.

https://startupfashion.com/fashion-archives-a-look-at-the-history-of-the-scarf/

MORE HISTORY:

It’s safe to say that pretty much everyone has a scarf or two in their closet. This accessory is a staple that comes in a variety of colors, fabrics, and styles-there is a scarf out there for every taste.  Whether you a fashionista showing off a beautiful silk Hermes piece or just trying to keep warm, the scarf has become a timeless symbol of comfort and style.

Early Origins

So how did such a simple accessory become so ubiquitous? In fact, scarves have been worn for a lot longer than you might think. As far back as 1300 B.C to be exact. The very first scarves date all the way back to ancient Egypt, where it was a status symbol that denoted nobility and royalty. Queen Nefertiti was the original trendsetter-she was perhaps one of the first to wear a scarf. She frequently styled a scarf-like fabric behind her iconic cone-shaped headdress.

China was also home to early adopters of the scarf. There, it was originally part of the Chinese military uniform. Dating as far back as 1000 B.C., fringed, rectangular scarves were discovered on sculptures of Chinese soldiers. Scarves would continue to be a part of military dress: another early Chinese iteration of the accessory (around 230 B.C.) was part of the uniform for soldiers serving under Emperor Cheng. These scarves helped to denote military rank. Similarly, Croatian soldiers in the 17th century wore scarves according to rank as well. Those lower on the totem pole wore scarves cut from cotton, while the scarves belonging to officers were made from fine silk.

The next version of the scarf that cropped up was a bit more utilitarian. In ancient Rome around 10 A.D., Romans began using a piece of fabric known as a sudarium, or “sweat cloth,” which is exactly what it sounds like. Those engaging in exercise or strenuous physical labor would often keep a piece of linen around their person in order to keep clean and wipe away sweat. Men wore them so often it became a kind of accessory- tied around the neck, draped over the shoulder, or knotted around the waist.

From around the late 1600’s to early 1700’s, the scarf began taking on a less functional, more “fashion” role in the form of the cravat. In fact this neck-piece, which originated in Paris, was inspired by the neck-wear of the aforementioned Croatian military- the name is an allusion to the original source. Cravats were cut from a long strip of white fabric, typically embellished with embroidery or lace. The accessory was especially popular during parts of the French Revolution, where it grew in size and extravagance, occasionally obscuring the bottom half of the face. During the Revolution, the cravat was sometimes dyed in different colors to demonstrate allegiance to a certain side.

An Early Fashion Statement

From then on, scarves began to make their way into mainstream fashion- for both men and women. For example, Napoleon is said to have had cashmere scarves from India sent to his first wife Josephine. Also around this time, the Third Duke of Krakow supposedly created the first knit scarf. However, the accessory truly became popularized after Queen Victoria’s ascension to the throne in the early 1800’s. She frequently wore glamorous accessories such as silk scarves, which soon became stylish among nobility, as they differentiated them from lower classes.

Speaking of silk scarves, that particular accessory as we know it was first crafted in 1937 by, who else- Thierry Hermes. This was the first truly luxury silk scarf, and differed from anything that had come before it. Hermes’ company purchased raw silk directly from China to be spun into yarn. This was then woven into a high-quality fabric that was twice as strong and much heavier than other scarves of that time. As a final touch, a beautiful image would be expertly hand-printed onto the scarf. These intricate designs required around 43 screens to get beautiful color effects. Hermes’ first printed scarf design featured two women in white wigs playing a game.

Scarves As A Necessity

Soon after, rayon was invented, which was good news for women who otherwise couldn’t afford luxurious but expensive silk scarves. This material made the look much more accessible. In the 1940’s, scarves were worn a variety of different ways for numerous occasions- during the war years they were more of a necessity than a fashion statement. Cotton, linen and wool scarves also came into fashion as other, less frivolous alternatives to silk. Magazines even advised women who didn’t want to spend a lot of money on a new hat to tie their scarves into turbans and snoods. Scarves were even used as a safety measure- women working in factories had to cover their hair to prevent it from being caught in machinery.

A Staple of Fashion

From then on, scarves remained a staple accessory for both fashion and function. From 1970’s head wraps to today’s hipster neck-wear, scarves have cemented their place in the fashion world.

https://www.pashminapassion.com.au/pashmina/the-historical-and-cultural-significance-of-scarves-and-shawls/

The historical and cultural significance of scarves and shawls

Scarves and shawls are used across cultures all over the world, and it is not something utilized only during the winters, or extreme summers. They have been around for centuries are have a history far beyond being a fashion accessory! The historical and cultural significance of scarves and shawls is an quite an interesting read.

In cold climates, a thick knitted scarf, often made of wool, is tied around the neck to keep warm. This is usually accompanied by a warm hat and heavy coat.

In drier, dustier warm climates, or in environments where there are many airborne contaminants, a thin headscarf, kerchief, or bandanna is often worn over the eyes and nose and mouth to keep the hair clean. Over time, this custom has evolved into a fashionable item in many cultures, particularly among women. The cravat, an ancestor of the necktie and bow tie, evolved from scarves of this sort in Croatia[citation needed].

Religions such as Judaism under Halakhah (Jewish Law) promote modest dress code among women. Married Jewish women wear a tichel to cover their hair. The Tallit is commonly worn by Jewish men especially for prayers, which they wrap around their head to recite the blessing of the Tallit.

Young Sikh boys, and sometimes girls often wear a bandanna to cover their hair, before moving on to the turban. Older Sikhs may wear them as an under-turban.

Islam promotes modest dress among men and women. Many Muslim women wear a headscarf, often known as a hijab and in Quranic Arabic as the khimar. The Keffiyeh is commonly used by Muslim men.

Additionally, several Christian denominations include a scarf known as a Stole as part of their liturgical vestments.

Silk scarfs were used by pilots of early aircraft in order to keep oily smoke from the exhaust out of their mouths while flying. Silk Scarfs were worn by pilots of closed cockpit aircraft to prevent neck chafing; especially fighter pilots, who were constantly turning their heads from side to side watching for enemy aircraft. Today, military flight crews wear scarfs imprinted with unit insignia and emblems not for functional reasons but instead for esprit-de-corps and heritage.

In ancient times, the practice of donning a scarf or a wrap was mostly attributed to perspiration, the Romans called it “sudarium” which literally meant sweat cloth. These cloth items were used to wipe the sweat on the face and neck, and were initially worn by men. Also, according to historians, during the rule of Chinese emperor Cheng, scarves were made of cloth and were used in order to identify the officers and the ranks of the Chinese warriors. But then with the passage of time women too began to use them, and today it is a completely new avatar.

Scarves and shawls are now made from the finest materials available and are much sought after by men and women across the world. It has in fact moved up leaps and bounds in the social ladder and today stands as an expression of love and respect which is often exchanged as a gift.

So next time you wrap a beautiful Pashmina Scarf or Shawl around your neck or shoulders you will know you are not just being fashionable but donning an accessory that has had many practical uses over the centuries and serves a purpose for many cultures.

https://textilelearner.blogspot.com/2016/05/different-types-scarf-wearing-techniques.html

Different types of scarves:

Different materials:

Alpaca: for cold autumn winter days: Alpaca scarves are made from wool of the alpaca, which is a lustrous and silky natural fiber, warmer and softer.

Cashmere: for cold autumn winter days: This soft, luxurious fabric is made from the wool of the Cashmere goat. It is light in weight and, when handled with care, becomes softer with time.

Cotton: for hot spring summer days: Classic and easy, cotton is staple for its ability to be laundered and its durability. It’s a cool fabric, perfect for summer wear.

Jersey: For cold autumn winter days: This stretchy, soft cotton is breathable and light-weight. Jersey is an ideal pallet for beading, studding, sequins, and other embellishment.

Linen: For hot spring summer days: Promoted for its coolness, linen is often considered the most breathable fabric of the bunch. It is made from the fibres of the flax plant.

Pashmina: For cold autumn winter days: Pashmina refers to a type of shawl or scarf made from the cashmere wool of the pashmina goat.

Satin: For cold autumn winter days: Satin is a glossy, soft fabric most often made from silk or polyester. Satin comes in several forms or weaves, which may vary in shine, thickness, flexibility, and weight.

Silk: For hot spring summer days: Silk is a natural protein fibre obtained from the larvae cocoons of the mulberry silkworm. It can be shiny or matte in lustre, and is especially delicate.

Wool: For cold autumn winter days: Wool comes from the fleece of sheep and other animals. It’s very warm, durable, and with proper care should last you for years.

Shapes & Styles

2. Neck

Whether worn bandana-style, tied into knot, or looped into a feminine bow, neck scarves are sweeping Hollywood, runways, and city streets with gusto this season. Channel your inner Mad Men, classic girly-girl, or country club queen in one of our signature neck scarves! We carry styles perfect for a men's neck scarf as well as neck scarves for women. Try cute patterns like dots or floral or go abstract with stripes and shapes.

3. Ponchos

Nothing says posh like a poncho! Whether lined with fur, adorned with embellishments, or in sophisticated blacks, tans, and greys, our capes and ponchos add the perfect amount of pizazz to a classic gal’s wardrobe. Once you’re wrapped up in these stylish outfit additions, you’ll be the cat’s meow at your next soiree.

4. Head

Hair and head accessories have been a staple for fashion since the first bobby pin was invented. Whether you want to have that 50's ponytail flair or are looking for that gypsy, tousled hair look, head scarves can add exciting style to your daily fashion. Didn't have time to wash your hair? No problem! Sport a head scarf instead! Wear the scarf as a head band, bandana, or a wrap. A skinny scarf or square scarf works great for this trend that wears well in any season. You can even use a silk head scarf at night to help keep curls in place!

5. Infinity

The infinity scarf is like our love for scarves: it never ends. Instead, it goes on for forever in an ever-so dashing, flashy, and comfy-cozy way. A wool infinity scarf will keep you warm while bringing bold colors to your winter outfits, but there are infinity scarves that are perfect for any season. A circular scarf doesn't let its physical shape limit its stylish possibilities; whether you prefer a sleek, simple loop scarf or one bursting with bright, glittering detail, we have infinity scarves for women that you'll love! And before you know it, you'll find yourself wrapped up and feeling fabulous without ever having to tie a knot.

6. Pashmina

If there were a master list of the must-haves for every woman’s wardrobe, the classic pashmina would be at the top. The pashmina is timeless, and with its infinity of uses, you’ll find yourself wearing it as a warm shawl, as a trendy solid colour statement piece, and a million-and-two other scarf-tying ways. From bold prints to demure silvers, you can do no wrong with a pashmina. Find a gorgeous cheap pashmina to add to your wardrobe.

7. Square

There’s nothing square about square scarves; the moment it’s tied, looped or knotted around your dainty neck, it makes a bold style-statement. Whether you’re sporting one in chevron, hearts, abstract shapes, leopard print, or even a festive holiday neckerchief, square head scarves will surely turn heads. If you’re loving their silky-smooth feel, check out our full collection of square silk scarves.

8. Shemagh Scarves

Shemagh scarves, otherwise known as keffiyeh scarves, are a square cotton type traditionally worn by Arabs. These are worn around the neck or the head to protect from the sun and dust. This scarf is known for its white checkered weave that is combined with a dark colour.

9. Bandana

A bandana scarf is a piece of cloth in the shape of a triangle or a square that is folded into a triangle. These are often made of cotton and are popularly donned by cowboys and associated with western wear. Bandana scarves can be worn on the head, neck, and as a ponytail wrap. They may also come in silk as well.

Wraps

Shawls

https://www.realmenrealstyle.com/mens-scarves-history/

MENS HISTORY WITH THE SCARF

You're taking part in a manly 2,200 year-old tradition.

A tradition that many of history's greatest warriors, statesmen, and artists partook in.That's right – the scarf (or variations such as the necktie and cravat) have been in our wardrobes for over two millenia.Let's start at the beginning. Men's Scarves & Ancient China The first men's neckwear we have solid historical evidence for was worn by Chinese soldiers in the 3rd century B.C.E.  The terracotta soldiers buried with Qin Shi Huang, the first emperor of unified China, can still be seen wearing tied neck scarves.  These were used to denote rank in a form of early military insignia. The terracotta soldiers buried with Qin Shi Huang, the first emperor of unified China, can still be seen wearing tied neck scarves.  These were used to denote rank in a form of early military insignia. Chinese art from still earlier includes depictions of both men and women wearing fringed, rectangular pieces of cloth similar to scarves, dating back as early as 1000 B.C.E.

A band of linen cloth known as a “sudarium” was part of a standard gentleman's costume in the late Roman empire. It was worn around the neck or knotted around the waist in the first century C.E. Emperor Nero (among other peculiarities!) wore a sudarium around his neck during almost all public appearances, and is even depicted with it on some coins from his reign.

Soldiers in the Croatian military used scarves to denote rank, much like the early Chinese.  Historians do not know when the practice started, but it gained fame when Croatian soldiers impressed the French court of Louis XIII in 1636.

By the reign of Louis XIV the neck scarf was a staple of the French court.  They were named “cravats” after the Croats that had introduced them.  Many paintings of noblemen at the time, including Louis XIV, include a brightly-colored cravat. The style was spread across Continental Europe by military men, and was brought back to England by King Charles II when he returned from exile in 1660.

The Battle of Steenkerque in 1692 is remembered more for its fashion significance than its military impact:  the French army (led and heavily populated, at the time, by noblemen and gentlemen of class) was surprised by opposing forces, and the young men went into battle with their cravats hastily tied one end over the other rather than being done up in an elaborate bow. The result was the “steinkirk,” an Anglicized spelling of the battle and the prominent form of menswear in England for a good thirty years after the battle.  It replaced much larger and lacier cravats with a simpler knot and plainer cloth. The ends were twisted together and tucked through a buttonhole, creating a shape much more like our modern necktie.

When Ludwig von Beethoven set out to woo Therese Malfatti in 1810 he adopted a new personal style, which included silk scarves to go with his new suits.

Queen Victoria of England was a great proponent of fashionable accessories, including scarves for both men and women. Neck scarves and cravats became a status symbol, with the material and even the knot of your neckwear indicating your social class. Around this time coachmen and drivers also popularized the familiar “four-in-hand” knot as a way of tying their scarves while still holding the reins, i.e. the reins to four horses in one hand while you tie your scarf with the other.  This is still the knot many men use for their necktie today. Burberry, still a source for iconic neck scarves, was founded in 1856 (though their distinctive tartan pattern was not created until the 1920s, and even then began as a jacket lining rather than a scarf pattern).

By the First World War scarves were a staple winter garment for men. Knitting them was a patriotic chore encouraged in both America and Great Britain during the war.  Art from the time depicts soldiers wearing scarves in the trenches (the iconic trenchcoat, fittingly enough, was also designed by Burberry for the war effort). Early aviators considered scarves essential flight equipment. They provided warmth at high altitudes and needed padding when pilots craned their necks back and forth to scan for other planes.  Scarves enjoyed popularity among young men in the 1920s and 1930s partly because of their military origins and most likely – as is today, their ability to transform an outfit from mundane to striking.

The man's scarf has been replaced as an item of daily business wear by the necktie. Scarves are now an accent for men who choose them rather than a necessity that signifies your rank or class status. The few associations left range from the ultra-formal white scarf worn over a tuxedo jacket to the striped scarves of clubs – although these are becoming more and more rare. So while neckwear is a daily chore for some men, it is also a tradition dating back before the birth of Christ. So tie a scarf on with confidence, knowing that over 80 generations before you have done so with gusto. And that's something to cheer you up in front of the mirror each morning.

[warholiana]

Lovely review of my Warhol bio in the Los Angeles Times, including the following:

"Warhol lived one of the great lives of the 20th century, and he now has a biography worthy of that life. For ‘Warhol,’ Blake Gopnik interviewed hundreds of eyewitnesses and scrutinized every paper trail, down to the artist’s ticket stub for ‘Cats.’ Even at 976 pages, the book rarely leaves you wanting less. It turns out this life, so often discussed in grandiose or mythic terms, is quite intricate, even beautiful, in extreme close-up.”

https://www.latimes.com/…/review-blake-gopnik-andy-warhol-b…

Here’s the review in full:

Review: Was Andy Warhol a saint or scourge, genius or dolt? A new biography befits a great life

By STEPHEN METCALF

APRIL 22, 2020 | 7 AM

 Andy Warhol, circa 1960, had a problem. Thanks to his success as a commercial artist, he had built up an extravagant lifestyle. He owned an angel-blue Upper East Side townhouse and the tastes to match, but he was no longer winning the big contracts.

Imagine a semi-closeted gay man in New York City logging hours for The Man during the day while working quietly, steadily, at night, trying to create the next vanguard of American painting. You’re actually imagining Jasper Johns or Robert Rauschenberg. Warhol wanted to be that person, desperately, but

in his off hours he’d been making negligible drawings.

Art, circa 1960, also had a problem. How do you move painting away from abstraction while also moving it forward? Pop artists — Johns, Lichtenstein, Rosenquist — solved this problem by becoming landscape painters. The American landscape, however, was no longer made up of trees and cows lowing plangently at dusk. It was Dick Tracy, roadside billboards and packaged goods.

With his Campbell’s Soup can paintings, exhibited in Los Angeles in 1962, Warhol was not pioneering anything new. He was merely upping the ante. More than Johns or Lichtenstein, Warhol concealed his own expressive capacity, burying it so deep that any evidence of the sensibility of the artist all but disappeared. You can look at a soup can and wonder at how familiarity, intimacy, warmth, even feelings of love might attach to an inert object, just as you can look at a painting of Marilyn, Liz or Elvis and wonder at how cold, inert, even alien the human form had become. One can say all kinds of things about the work but its power lies, finally, in its horrible silence. And what lies behind that?

Was this man a scourge, capitalism’s most joyous co-conspirator? A satyr, a saint, a sage? Was he a conniving strategist? Or a dim bulb?

Warhol lived one of the great lives of the 20th century, and he now has a biography worthy of that life. For “Warhol,” Blake Gopnik interviewed hundreds of eyewitnesses and scrutinized every paper trail, down to the artist’s ticket stub for “Cats.” Even at 976 pages, the book rarely leaves you wanting less. It turns out this life, so often discussed in grandiose or mythic terms, is quite intricate, even beautiful, in extreme close-up.

There is Julia Warhola, Andy’s mother, crafting peach tins into the shape of flowers and selling them door to door; actor Dennis Hopper, among the first to “get” Warhol, jumping up and down upon seeing his first soup can; Andy himself, older, mellowed, in a Santa beard, ringing the bell for the Salvation Army. (He lasted 45 minutes.) In this textured portrait of an artist of annihilating smoothness, Gopnik has finely rendered many of Warhol’s milieus. Perhaps most endearing is the intricate social geography of gay New York in the 1940s and ’50s.

The Warhol of this period has been romanticized as the quintessential urban loner. In fact, Gopnik makes clear, he was a gregarious, well-liked man, surrounded by a fairly ordinary roster of friends and lovers. He was excluded, however, from the art world, which must have cut him deeply. Warhol graduated from the Carnegie Institute expecting to be a fine as well as a commercial artist, but even after he’d abandoned his homoerotic drawings, the major New York gallerists continued to shun him. Leo Castelli found Warhol the person too weird for his tastes, and worried his comic strip imagery was too close to Lichtenstein, whom he already represented.

So Warhol did the unthinkable. He debuted the soup cans in L.A. The show earned his first round of press coverage. Castelli did eventually sign Warhol, but almost none of his best work showed under the dealer’s auspices. The biggest revelation in “Warhol” is how minor a role the art establishment played in forming his reputation. As late as the early ’80s, Warhol could still bemoan how his prices lagged those of Johns and Rauschenberg, and how MOMA had acquired only one of his paintings. (“The little Marilyn. I hate that.”) So — how did he do it?

The quick and very Warholian answer is that he used the power of celebrity. A slower, more careful one is that Warhol shrewdly pitted the Scene against the Institution. And by 1962, modern art was an Institution. In America this meant MOMA, the Jewish Museum, the Met, Castelli. The Scene, meanwhile, was the Factory. The Factory was not just a space where Warhol made art and freeloaders cavorted. It became one of the super-symbolic youthquake It Places of the 1960s.

The Factory was a porous, chaotic arena for scene-making, drawing in exhibitionists, druggies, socialites, rock stars, movie stars, Ivy Leaguers and, most critically, journalists. By the mid-’60s, Time magazine, et al., were hypnotized by this beguiling apostle of desublimation, the Pan figure holding the keys to a secret kingdom called “the underground.”

As his art was being turned into a succès de scandale by the gullible press, Warhol began cultivating a public image, one that had little to do with the manner and style of “Raggedy Andy,” the whimsical oddball he’d been since his student days. This new Warhol was leather-clad and hard and, in his way, as horribly silent as the canvases. When he wasn’t merely blank, he was a master of the evasive put-on, the non-answer, the deadpan stammer. (Or simple lie.) He was withdrawing from his manner exactly what was missing in his paintings: affect.

Affect lies in the cadence of our speech, the arrangement of our features, the quality of our laughter. The absence in Warhol is startling; it’s what gives everything he did and touched its radical aura. With his new personal style, Warhol was breaking down any distinction between affect and affectation. The sphinx act drove onlookers wild, until they asked of Warhol the same question they’d asked of the Factory: What is going on inside there?

Warhol exiled people when they bored him; he weaponized his lack of affect as beautifully and efficiently in his relations as he had in his art. He became a genius at making the elect feel caught up in a daring enterprise while provoking in others the special torment he himself knew so well — the feeling of being left out.

Warhol was attached to spaces whose fascination lay in their powers of exclusion: the back room of Max’s Kansas City; Studio 54; the Limelight. Maybe it’s just blunt-force human nature, that the more something excludes you, the more you want in. This is Groucho Marx, inverted and intensified, and the formula applies not only to the Factory but to its buttoned-up sequel. When Warhol pivoted, on a dime, away from the madness, and moved his headquarters to Union Square, he dropped the Factory name and instituted a dress code but nonetheless kept a spatial arrangement designed to highlight degrees of insiderism.

The target wasn’t the press anymore but high-paying clients for his new line of business, society portraiture. Warhol was not the first serious artist to care about money, but he was the first to make a shameless love of it central to his vocation. By rendering up his underground cred to the principles of entrepreneurship, he was not only prophesying the future; he was modeling behavior. The new “studio” was a small, nimble, eat-what-you-kill workplace, organized around the highly branded talents of a single visionary individual.

Was the change so shocking? The single consistent thing about Warhol, from 1960 until the day he died, was his utter refusal to conceive of human beings in the usual way — which is to say as interior, subjective, reflective, self-fashioning, suffering and ethical creatures. This refusal often felt like a lark but, from the evidence gathered by Gopnik, his shallowness lay deeper than that; it went all the way down. Into the era of the yuppie, the fundamental Warholian project was kept intact: to maximize creative autonomy while minimizing human subjectivity, until the former can be said to describe anything you do and the latter all but disappears.

 In “Portrait of Andy Warhol,” a painting by Julian Schnabel, Warhol stands against a black-velvet void, naked and exposed but for a pink girdle, which is pulled excruciatingly tight. He looks like an El Greco saint, with hints of a Francis Bacon messiah. The girdle was a medical necessity, thanks to Valerie Solanas’ botched assassination attempt in 1968. In spite of what you made of yourself, I see you as you are, the canvas seems to say, by way of reconnecting Warhol to a tradition of expressivity and suffering — to art history, as it existed before Warhol did his level best to obliterate it.

Warhol won that one, didn’t he? Gopnik promotes a Great Man theory of the case: Warhol was an epochal genius who deserves his place on the “top peak of Parnassus, beside Michelangelo and Rembrandt.” In effect, Gopnik has written two books. The first is an exhaustively researched and definitive account of the life. The second is a series of apologies and excuses for a tax cheat, voyeur-sadist, bad son, skinflint, publicity hound, social climber, shopaholic. Some small-bore skepticism along the way might have helped make the canonical judgment more credible.

We inherit Warhol, circa 2020, not just as an artist but as a climate of feeling — a climate that can easily be confused with reality itself. Paradigms never shift back, precisely, but they do shift again, and fickly. As we come to see Warholism as part of a second Gilded Age, one the pandemic may finally kill off, his reputation will change, and in unexpected ways. Maybe, in the most Warholian gesture of all, the work contains within it the seeds of its own destruction. Rendering Warholism unfashionable, by its own logic, is the same thing as killing it. At that point the artist, once an unrivaled colossus, would fade into an absolute silence, which was, after all, his real medium all along.

Metcalf is the cohost of Slate’s “Culture Gabfest” podcast and is writing a book about the 1980s.

[legitlauracoe]

Form in Relation to Content

The Fales archive used its form of folders within boxes within collections to very exactly archive a lot of stuff. This made their online catalogue usable, as you could search up any word in the collection basically, and get results for what you wanted to see. This form emphasized time period and relationship of the artist and their work to other artists and their work since you knew almost exactly when everything was from. The very formal structure of the extremely modern architecture of NYU, the excessive packing of all the materials in order to preserve them elevated even the most mundane objects--a pair of shoes, a receipt--to the level of art, worth preserving for thousands of dollars.

The La MaMa archives used their preservation of every play La MaMa has done, and the many different set pieces and awards in such a small space to highlight how many varied people they have worked with, and who has worked for them, and doing what, and with what other famous people. It all serves to highlight how cosmopolitan La MaMa is, how much they have accomplished, and how much diversity and collaboration adds to theater. Ozzy(?) set us up to talk to us as if he were onstage, all of us behind the cabinet, or in a semicircle, or in chairs. No matter where we were, or what we were doing, he was acting and judging what we could do to contribute (e.g. “Nice voice”).

Lauren Yee uses the jukebox form of Cambodian Rock to humanize the terrible experiences of Cambodians during the Khmer Rouge and make their struggle and suffering relatable to an American audience. The jukebox form is used to lighten up the heavy mood of the piece, since it’s music and the lighting for every musical interlude is fun and flashy and colorful as opposed to the much more minimalistic and stationary lighting used for the rest of the play. The type of music (rock) made the play relatable to a western audience, who might otherwise been unsure how to react; since we have that history as well as Cambodians, we know how you’re supposed to react to that music. It also made the few instances when the actors did speak Cambodian possible to be interpreted without using subtitles. Not literal understanding of what the words meant, but the intention behind the words, and what the character was feeling, was communicated since the words were sung or accompanied by music.

Yee uses the plot of the play to structure the action in such a way that you undergo the same experience as Cambodia--not thinking the Khmer Rouge is going to take over but then they do, undergoing torture and learning how to live in such a dangerous precarious environment, finally doing anything you have to in order to save yourself. With Duch as well, not knowing who he is, finding out who he is, having him be in power, and then taking away that power by saying I’m not scared of you taking stealing something from me anymore—I have power over myself.

As they used bodies to root the action around the same characters and their interactions while while changing fluidly in time (between the 1970s and 2008) using lights, the use of music was very striking for me after reading the play without it, as a means of relating disperate parts of the play. Although the rock of course loosely relates the entire play through the tone it sets as a genre, no song is repeated (or maybe Cyclos is? but I think not super intentionally). I really noticed the Bach chaconne being repeated though. At the beginning of the play it’s on the radio. It’s subtle foreshadowing, but I think also significant as Chum reaches over and turns it off. As it gains more and more meaning coming to signify his death sentence, then his guilt for killing Leng—and then thinking back what that means to have him turn off that radio…I almost wish at the end instead of the big climax, he had gone back to the hotel room and turned the radio back on and we had just sat in silence with him while the entire song played and silence came again—maybe it’s even to him falling asleep. I thought it was a mistake to have him not face that guilt, not come to terms to it in terms of his music, when in every other way he does—telling us out loud, going to his torture scene in present lighting...  

The Hal Prince exhibit used his memorabilia, and added stuff--like his fake office--to bring you into his life--like you could listen to “his” telephone!--but then use that to tell you about him/give you information--the telephone was historical information, though it was staged as a conversation where it sounded like he was talking to you. It was interactive to try to engage the audience more than simply asking them to view things behind class cases.

The Hamlet we saw relied heavily on lighting and set to comunicate its message. Set in what seemed to be the 1950s or 60s with the machine guns with lights, the military uniforms and roaring crowd of a dictator or perhaps communist leader, and the Jackie Kennedy-esque outfit of Gertrude. The set was incredible, but at the same time I felt like it was so good that it became distracting and kind of pointless at moments. As if they had the lighting and set elements just because they could rather than because it really added anything to the production, or as if they hadn’t quite thought everything through. Like the rain in the beginning--it was beautiful. It foreshadowed Ophelia drowning, establishing her as wet and vulnerable...but they didn’t act out Hamlet being freaked out by his dad asking him to kill his uncle and basically assaulting her in the rain. They didn’t have her stand there and have the lights fade as the rain continued to fall. She just ran through it and then had the scene with Polonius...wet. If you were going to try to make the point that Polonius is preying on her, that would have been compelling, but they didn’t. Also with the plastic sheet. I LOVED the plastic sheet. It was so simple and beautiful and otherworldly, very clearly signifying the veil between life and death. But then to have the ghost just duck out from underneath...so he’s alive again? And why is Hamlet alone at the end and not behind the curtain? He died too.

Their use of green at the beginning felt very calculated. I began to notice all these references to green within the text that I hadn’t before, and the different shades and vibrancy of the greens started to take on a deeper meaning for me. “While the grass grows…” Talking about his uncle as a serpent. Describing Ophelia as a green girl—that completely changed Ophelia for me somehow. It made her Hamlet’s “green light.’ In contrast, when the red came on, I wasn’t impressed. I’m pretty sure they were trying to communicate sensuousness and passion, and perhaps sin as well—i. e. evil—but I didn’t think it worked that well. It didn’t work as well with the lights, it looked gaudy, and it didn’t have the same power of insidiousness the green had for me. There were no red references in the text, and the costumes seemed to get worse--like why did Hamlet come in in a sweatshirt? 

One thing I was thinking about with the costumes is perhaps it was an intentional aging forward as the weapons aged backwards, as if to try and communicate as the characters seem to be getting older what they were doing is becoming more and more primitive, since we start out with Gertrude’s blue fifties dress, and then she changes into a beige one more ‘60s, and then Hamlet comes on in the sweatshirt, while we start out with machine guns, go to knives, and end up at rapiers. 

All in all I felt it used the aesthetic of that era without really dealing with any of the problems associated with it. (Perhaps this is just because the production is from Ireland and I don’t understand Irish references?) They had such a strong racial message at the beginning: a black man on a gurney surrounded by the predominantly white cast, but then had no illusion to that in the entire rest of the play. There’s such a distinction between the common people (Horatio, Rosencrantz and Guildenstern, and the grave diggers) and the aristocracy, their discussion within the play about the destruction of the upper class, and how death equalizes all would be incredibly easy to capitalize on, as impetus for a discussion of class struggle relating to Communism/Leninism. But it’s not like they had a USSR flag behind them. In a sene this could be trying to leave it more open to discussion, make it more of an ambiguous message but that didn’t read for me. Toxic masculinity, and gender identity is such a problem of that period as well. The problem of the ghost is basically Rebel Without a Cause, commenting on masculinity by asking the question of what is cowardice? He’s asking Hamlet to prove himself, and kill to prove this. Hamlet doesn’t want to kill someone--he just wants Ophelia. He knows if he kills Claudius, he’s not just going to be able to happily marry Ophelia. But the only way for him not to kill Claudius is if he kills himself, which if he does brands him a coward. There’s so many other parts. When Laertes is trying not to cry. When he hugs Horatio for a moment too long and says enough of this. But they didn’t choose to emphasize that either. So this Hamlet tried to use set and lights to give the audience a new way to interpret Shakespeare, but was semi successful with this form of communication. 

This Hamlet emphasized religion in a way I really liked as a form of communication: ritual. I thought beginning the play with the censer in the center of the stage, starting off not experiencing the play through sight but rather smell was such a compelling choice. The special which the censor starts out in at the beginning seemingly ordained that space as holy, as afterwards all the things in the play ordained by God or in some way holy--both Hamlets, the throne--occupied that space, while the action of the flawed characters carefully avoids being there. The scene in which Hamlet doesn’t kill Claudius because he’s praying was an interesting interpretation because it’s usually just Claudius kneeling peacefully in a circle of light. This production chose to show the inner turmoil which Claudius is going through. However, I think there’s a reason that Shakespeare saved the turmoil in the dialogue for afterwards—because in the moment Hamlet doesn’t kill him, he does it because he feels very profoundly how holy that moment is. I was all ready for him to be within the special at that moment. And yet instead of using that space, and sanctifying that moment until he falls out of it, realizing it’s useless, they had him on the other side of the stage wrestling with God. It emphasized in a way I hadn’t noticed in prior productions I’ve seen how unfeeling God as a concept or a character (embodied by the priest) in Hamlet. It’s not a concept which will give the characters guidance, but one they ask for help with no hope of reply, kind of like the ghost. It tells them what to do, and then leaves them very much alone.

The most meaningful thing in the production for me was the choreography. This to me was the most unique way this play used form to communicate with the audience, because a lot of times in Shakespeare productions, the word is so revered that there is little to no movement at all. It’s like they think the closer they can come acting it out on stage to sitting there reading you the text, the truer they can be to his words, when the opposite is true! Claudius in this production is one of the best actors I’ve seen, and it’s because he didn’t sink to trying to pronounce every word like gospel. He spoke it naturally, moving around and using the words to interact with the other characters! 

I never thought action could be so choreographed! The doors and the set pieces all moved/were moved so that they would continue to create strong shapes onstage, stretching the diagonals, of perfectly symmetrical cubes, or triangles in order to shape the action you saw, and the dynamic of the stage. It not only cast each scene by where the characters where in the scene in relationship to one another and how they would interact not just through dialogue but physically—like maybe their physicality would contradict what they were saying—but directed focus and created a tension I haven’t seen before through the use of stillness. One moment where Hamlet is standing still thinking and the scene is changing around him was particularly amazing for me. It was exactly how I feel like my life is right now, like everything’s just going rushing past as I stand rooted to the spot. Also little moments which gave the play so much more meaning than just the words. Hamlet’s monologue which is usually to the audience as him ranting to Ophelia. Gertrude playing out a whole scene as she realizes what Claudius has done and her son is in danger barefoot and then taking charge by literally stepping into her shoes. I’ve never seen a better example of how much more you could add to a theatrical production by adding choreography. How much was missing from the plays I’ve seen before, since without this choreography the play is only what the characters say. This adds subtext, or irony to the story, an extra layer of dimensionality which you can read in the text, but by acting out says more. I could write more...

  Coal country used country music to bring people together around an issue. They used country music because it’s the people’s music, it is easy to sing so everyone can sing it without feeling ashamed or awkward, and of it’s tradition coming out of blues as well of suffering and wishing and being together. It presented a complicated topic as a common problem. Through their use of the benches, they could demonstrate to some degree the menial labor within the mines, and the rustic-ness of their surroundings. This really worked for me because the guitarist was so skilled and clearly felt so much while playing, and all the actors felt believable—they never seemed hammed up or one dimensional. They were regular everyday people just trying to understand. They used the lights behind the curving wood of the background to demonstrate the exploding tunnel, and the lights to represent the lives lost which I thought was very powerful. I thought the big central set piece wasn’t as effective, as well as most of the other lighting which seemed a bit disjointed. We brought up in discussion how much more powerful the similar moment in Cambodian Rock Band (when all the pictures of the victims light up) could have been if they could have taken two million lights and have them light up one by one.

It’s not original, many New York City based artists have said it, I think the most performative part of the City for me is the side walks--the walking signs, people starting and stopping and the flow of people passing by and through each other. It’s beautiful in an ordinary way.

[prorivists-paper]

The essence of „Putin’s regime“ — capitalism of the imperialistic epoch

All really key laws and state regulation measures can satisfy the interests and needs of either the oligarchy, that is, the richest monopolist tycoons, or the people, represented mainly by wage workers. This fact is objectively dictated by the economic basis of society, the nature of production relations.

And it doesn’t matter that some laws and policies do not directly serve the oligarchy. And it doesn’t matter that there are some intermediate layers of the bourgeoisie who are extremely disaffected with monopoly. The only important thing is whether the dominance of private oligarchic property is maintained and strengthened, or whether laws and state measures serve the real socialization of production for the benefit of the whole society, especially the working people. Historical practice has proved that the last-mentioned is possible only under the leadership of the Communist Party, in line with the implementation of the dictatorship of the working class, that is, with the closest reliance on the masses.

In our case, the legal system of the Russian Federation is the will of the bourgeois class elevated into law, the objective core of which is monopolist magnates who rely not on workers, but on entrepreneurs. It serves the rule of capitalism.

Look at the composition of the government. The Medvedev government, the government of millionaires, has resigned; it has been replaced by the new government of Mishustin, the government of millionaires. Almost all ministers and their deputies are recruited from the bourgeoisie, the power apparatus is permeated by the rich. The whole bureaucracy is connected with a business by a thousand threads, this can be seen even with a cursory examination of official declarations of senior officials. All major officials have a private interest under the guise of assets of wives, sisters, brothers, mothers, fathers, grandparents, drivers, friends, not to mention offshore companies. Everything is covered in the darkness of „trade secrets“, but everywhere the banal insides of entrepreneurs are visible.

„Patriots“ sing the hosanna to „patriotic“ wealthy officials. They are convinced that they, so to speak, will build good capitalism, are opposed to American imperialism, i.e., against the collapse and destruction of the country. Yes, a group of such bureaucratic capital has formed around Putin, oligarchs, and officials who are striving to make Russia their strong patrimony as opposed to foreign capital. This is a natural process of rivalry between different bourgeois forces. Every capitalist dream of becoming a master of the world, therefore he is forced to collect popular sympathies under his banners. But the essence will remain the same: the laws of capital cannot be repealed. The rich will get richer, and the poor will get poorer. Parasites — to measure yachts and football clubs, and workers — to count pennies.

Modern monopoly capitalism is the capitalism of the undivided rule of financial magnates. It is they who set monopoly prices for literally everything, hold all economic leverage through finance and dictate their political will to the whole of society. It is financial tycoons (giant corporations) who appoint governments and promote their people as presidents, shoot or drown in incriminating disagreeable officials and deputies. In all bourgeois countries they are closely intertwined with the highest bureaucracy.

However, the specifics of bourgeois Russia is that this capitalism was formed on the fragments of the socialist USSR, and the former Soviet people acted as the proletariat. The period of semi-colonial humiliation, the destruction of the state and the dominance of American and European capital in ten years gave way to the period of the formation of bourgeois sovereignty and the growth of the power of local oligarchs. The US tycoons were dizzy with the success of the victory over the USSR and while slowly chewing their prey, the young bourgeois class of the Russian Federation fed up to a competitive scale. Seven pro-Western bankers of the 1990s gave way first to two dozen billionaires of the 2000s, and then to nearly a hundred billionaires of the 2010s. The consolidating force of the Russian oligarchy was, in fact, Putin, who pacified the proletarian mass and formed at the expense of state orders the nucleus of the oligarchs from his friends.

It is important to note that Putin is characterized by Bonapartism. He seems to be maneuvering between the bourgeoisie and the proletariat, striving for some kind of compromise. Putin considers himself a historical figure of the level of Peter the Great, therefore, he pretty much breaks away directly from the ruling class. Today, oligarchs are not involved in making a number of political decisions. Putin acts as a sort of arbiter in confronting various bureaucratic-oligarchic groups, a guarantor of maintaining equilibrium in the class balance of power.

In this situation, as a matter of fact, there is nothing unique, it happens quite often under certain historical conditions. Since the oligarchs do not have much opposition to Putin, his policies generally suit them. And most importantly, it does not and cannot go beyond the dominance of market relations and private oligarchic property.

Putin describes his power in this way:

„The sovereignty of our people must be unconditional. We have done a lot for this: we restored the unity of the country, put an end to the situation when some state and power functions were usurped by the oligarchic clans, as a matter of fact, Russia returned to international politics as a country that we began to reckon with“.

This statement reveals the truth that state-monopoly capitalism has formed in the Russian Federation with the well-known specifics of Bonapartism, but it is obscured that state power objectively serves the dominance of financial capital, i.e. oligarchies, therefore, there can be no talk of any sovereignty of the people. All institutions of power are occupied by capitalists, connected by a thousand threads to the largest oligarchy.

The essence of „Putin regime“ — capitalism of the imperialistic epoch.

Should we agitate against Putin as against Tsar Nikolai?

Lenin demanded that the Party members begin active agitation against the tsarist regime, demanded to expose economic and political order, down to the smallest detail, in short, as the bourgeois patriots would say today, demanded to „rock the boat“ by all forces and assets. The Marxists of the beginning of the 20th century devoted a substantial part of their work to arousing the democratic consciousness of the working people, to the effort of all resistance to tsarism in the struggle for the bourgeois-democratic revolution. Tsarist Russia faced the historical task of casting off the Tsar and destroying feudal survivals, clearing the way for the development of capitalism.

But this is half the trouble. The revolutionary movement in the Russian Empire was driven underground, the government unleashed monstrous terror concerning to all democracy, and the cowardly bourgeoisie entered into an alliance with the feudal aristocracy and the Tsar. Political freedom is a fundamental condition for conducting communist work, in the absence of the possibility of relatively free work, all forces should automatically be thrown into the struggle for the legality of communist activity. From the underground, it is extremely difficult to establish a strong connection with the masses and establish effective propaganda and agitation. Therefore, Lenin and other Bolsheviks in their works paid so much attention to democracy and denunciation of Tsarism, officials, factory, military, bureaucratic orders of the Tsarist terrorist regime. Before the February Revolution, the Bolsheviks were less important about the readiness of the working class to seize power than the overthrow of the Tsarist regime. But, already in April 1917, in conditions of complete legality, Lenin in two months managed to organize the work of the Party so effectively that in July Kerensky carried out a coup and attempted to suppress the Bolshevik Party. But the masses had already awakened, tasted political freedom, and therefore the persecutions were unsuccessful, and the Bolsheviks, despite all the bourgeois-democratic illusions, managed to convince Russia of the need for Communism.

One must be very eager to copy the experience of the Bolsheviks so as not to see the difference in conditions. First, in modern Russia, state-monopoly capitalism is developing, that is, the material preparation of Communism is evident. Secondly, Putin’s political regime is democratic and does not threaten the communist movement at this stage of its existence. Marxism, Communism are completely legal; there is a relatively wide scope for the revolutionary movement. There is freedom of communist propaganda, agitation, all the conditions that the Bolsheviks could not even dream of. The Internet and affordable printing remove a number of technical problems in the development of propaganda and agitation. Thirdly, modern proletarians are literate compared to the beginning of the 20th century and have free time (the proletariat, which does not abuse processing, has almost 60% of its life free from wage labour). Moreover, there is no huge mass of the petty-bourgeois peasantry and the intermediate petty-bourgeois strata; there is no peasant question of land.

Consequently, there is no reason for the working class to engage in instigating protest moods in the form of a struggle against the established political regime without preliminary preparation for the seizure of power by the working class. The Putin regime is quite happy with us since it makes it possible in relatively calm conditions to expand propaganda, form an avant-garde party and organize the proletariat into the working class.

For taking power, the support of millions and the active actions of tens of thousands are needed, but to maintain it, you need competent party cadres. Lenin, even in those harsh conditions, had such a party.

For now, we only have to forge the cadre core of the party. Therefore, there is no point in wasting energy on campaigning against the regime, on conviction and protest activity.

Besides, the whole content of the accusatory agitation of the left, right and liberals, by and large, is known in advance even to the widest masses of the population. There is no secret where the oligarchs derive their wealth, that all high officials are rich and thieves, that laws are passed primarily in the interests of the rich and so on. This is a worker at the beginning of the XX century, a former peasant without education, did not understand that he was being exploited. Today is an open secret. Therefore, all incriminating agitation against the regime does not cause any particular reaction among the masses, they already know that entrepreneurs and their officials are parasites and bastards. The oligarchs openly demonstrate their wealth, and officials and deputies publish in their declarations hundreds of millions and billions of rubles of income per year, car parks, apartments, villas, and yachts. This is all well known and does not require any agitation; the bourgeois press itself writes about this almost every day. When left-wingers arm themselves with all these facts and conduct an agitation campaign, the question involuntarily arises: are they sane?

Meanwhile, we must clearly understand that support for the struggle against the Putin regime today is support for strengthening pro-Western forces. The „Westerners“ in power, firstly, will begin to destroy state-monopoly capitalism, and secondly, they will unleash repressions against the Communists, like the Ukrainian ones. Therefore, an open confrontation with the regime should be initiated when there is a party and a working-class is formed around it that can take and maintain power. Of course, life can put before us other layouts that will have to be resolved objectively, based on the class balance of power.

But as long as there is no time pressure, it is necessary to correctly put the work under current conditions and not to go astray on playing along to the Navalnyists and other liberals or nationalists.

On the ratio of the two main bourgeois „parties“ in Russia

If we express very briefly and succinctly the principles of the policy of the dominant oligarchic group, which is held together by the Putin team („patriots“), then we are talking about 1) complete freedom for monopoly capital in relation to non-monopoly medium and small capital. Freedom, first of all, absorption, ruin, destruction. 2. On the regrouping of capital at the expense of the state banking sector and state order. 3. The strengthening of state power, protectionism and external economic expansion at this expense. 4. The calming down of the proletarian movement through budgeting for jobs, social policy, and economic regulation. In general, this policy is a policy in favor of the oligarchy.

If we can concisely express the principle of the proposals of all liberal opposition politicians („Westerners“), then we are talking about the weakening of the bourgeois state by all means and means in order to knock out the soil of their organization from under the feet of the Russian oligarchs. The purpose of all these reforms, Maidan, swamp „uprisings“ is to increase the competitiveness of Western capital, in particular the US oligarchy. This is the standard imperialist policy that the United States pays in all countries of the world — liberalization, the „freedom of trade“ and the „freedom of capital flows“. And the kudrins, navalnys, and khodorkovskys, in this case, are just agents of American and European imperialism. The meaning of all this fuss is completely trivial — to weaken the competition.

However, what kudrins and navalnys offer and fight for will lead not only to weaken the Russian oligarchy and strengthen the western oligarchy but also to social disasters a la the 90s.

Therefore, if under Putin we see so called ordinary capitalist „fascism“, that is, proletarians pressed by poverty, multiplying the fortunes of oligarchs, sitting on the thrones of monopoly corporations; then with conventional navalnyis we will see liberal fascism, a hundred times more frenzied, more anti-people.

Some will say, the weaker the bourgeois political regime, the more profitable for the cause of Communism. And this is quite correct when it comes to the fact that the Communists have something to oppose the bourgeoisie. When the working class has its own sovereign political position, expressed by a strong Marxist party associated with the masses.

But if we go through the initial stage of staffing, if the proletariat is not organized into the working class, if there is no headquarters, then we must reckon with what we have. But we have a bourgeois regime relatively loyal to Marxists, relatively comfortable conditions for propaganda and organizational work. Therefore, one should not only confuse Putin and Navalny as two liberals, bourgeois politicians, anti-Communists but also find out their role in relation to the conditions of development of the labor movement and the conditions of the Communist struggle. So, if the liberals topple Putin, then we are waiting for an open anti-Communist pogrom, the final curtailment of social programs and the destruction of state-monopoly capitalism. Only a provocateur will call this an improvement in the conditions for Communism.

https://prorivists.org/eng_the-essence-of-the-putin-regime/

[weekendwarriorblog]

The Weekend Warrior Movie Preview 12/6/2019  - PLAYMOBIL: THE MOVIE!

You may have noticed by now that I didn’t have a Box Office Preview over at The Beat today, but that’s only because there wasn’t much I had to say about the sole new wide release, PLAYMOBIL: THE MOVIE (STXfilms) which is clearly trying to capitalize on the success Warner Bros. Animation has had with its LEGO movies. Playmobil is a pretty known brand, and this one features the voice of Daniel Radcliffe as secret agent Rex Dasher, as well as the voices of Anya Taylor-Joy and Jim Gaffigan. The movie looks fun for sure, and it is the only release this weekend, although the weekend after Thanksgiving is notorious for bombs, and STX dumped this here into 2,300 theaters after moving something else.  STX’s UglyDolls movie earlier in the year also bombed with just $20 million and with a much bigger push, so I’m not sure I can see this making more than $6 million this weekend either. It won’t help that some theater chains are only charging $5 for ALL tickets… we’ll see if that helps or hurts.

Also, Focus Features will expand Todd Haynes’ Dark Waters nationwide, though I’m not sure into how many theaters, plus Amazon Music will push Alma Har’el’s Honey Boy, starring Shia Labeouf, into significantly more theaters this weekend. The former seems like a better than the latter, since Honey Boy – which is great, mind you – averaged just $2,101 theaters in 186 theaters this past weekend.  Even if it expands to 500 theaters or more, I can’t see it making more than a million this weekend. Dark Waters did better in about half as many theaters, so it’ll be interesting to see how wide Focus will take it. Either movie will only need to make about $2.2 million or more this weekend to get into the top 10, but Haynes’ film starring Mark Ruffalo will really have to be VERY wide (2,000 theaters or more) to stand a chance.

LIMITED RELEASES

There are a LOT more limited releases this week, as we get into the month where studios try to get all of their “awards-worthy” movie theaters for enough time to be eligible for that year’s Oscars.

Amazon is releasing the historical drama THE AERONAUTS (Amazon), reuniting Felicity Jones and Eddie Redmayne from the latter’s Oscar-winning The Theory of Everything. This time, she plays balloon pilot Amelia Wren and he plays scientist James Glaisher who go on an adventure to take a balloon higher than ever before so he can do weather-related scientific experiments. Sounds pretty exciting, huh? Actually, it isn’t bad, directed by Tom Harper, whose previous movie Wild Rosecame out earlier this year. This is a perfectly fine historic drama with lots of exciting shots up in the air since most of it takes place in the balloon as the two try to survive against the odds. This is definitely a movie I’d check out a second time but it will also be on Amazon Prime in a couple weeks in case you miss it in theaters or it’s not playing near you.

Fortunately, there are also a number of semi-cool genre films this week, some better than others.

Opening at the Metrograph in New York and L.A.s’ newest Alamo Drafthouse and the Frida Cinema is IN FABRIC (A24), the horror film from Peter Strickland (The Duke of Burgundy), who will be at the Metrograph for most of the weekend to do QnAs and introduce the movie. It stars Marianne Jean-Baptiste as a lonely woman who starts dating again and is coerced into buying a red gown at a London department store which might be cursed with an unstoppable evil force.  It’s another fantastically original film from Strickland that will probably be lumped into the current wave of “elevated horror” that so many filmmakers hate being lumped into, but it’s also good to know that it’s actually a movie in two halves (kind of like Trey Edward Schults’ Waves), as Ms. Jean-Baptiste only features in the first half and then the second half is another person who encounters the dress. And boy, that department store is one freaky place with Game of Thrones’ Gwendoline Christie as what could only be described as a creepy mannequin come to life. In Fabric will be On Demand starting Tuesday, December 10. My latest interview with Strickland will be up later today over at The Beat.

There’s also Jessica Hausner’s sci-fi film LITTLE JOE (Magnolia), starring Emily Beecham as a single mother scientist who is working on developing a new species of plant at a company that will offer therapeutic qualities if fed properly and spoken to. As the plant grows, she realizes that it’s also creating different emotions in those that encounter it. The movie also stars Ben Whishaw, Kerry Fox asnd Kit Connor and will open at the Quad Cinema in New York, as well as in Philadelphia and other cities this Friday.

DANIEL ISN’T REAL (Samuel Goldwyn) is the new film from Adam Egypt Mortimer, starring Miles Robbins (Halloween) as Luke, a college Freshman who had an “imaginary friend” named Daniel as a kid who his mother (Mary Stuart Masterson!) forced him to lock up. As Luke starts dealing with a world away from his mother, Daniel returns, this time in the form of Patrick Schwarzenegger, who has deadly intentions for Luke and those around him, including a wild artist named Cassie (played by Sasha Lane). It opens in select cities.

Jennifer Reeder’s teen thriller KNIVES AND SKIN (IFC Midnight), which premiered at this year’s Berlin and played at Tribeca is an attempt to create a modern-day River’s Edge based around the disappearance of a teenager named Carolyn Harper. It stars Marika Engelhardt, Audrey Francis and Tim Hopper and will open in select cities and On Demand.

James Frey’s controversial 2003 novel A MILLION LITTLE PIECES, which was once sold as a “memoir” but then, like the work of JT Leroy, turned out to be more fiction than fact, except that this was learned about Frey’s novel after it was made a part of Oprah Winfrey’s prestigious Book Club. Anyway, Frey’s novel has been adapted to the screen by the husband-wife team of Sam and Aaron Taylor-Johnson, as the latter plays a young man dealing with his addiction. Haven’t had a chance to watch the movie, but it should be interesting going by the Johnsons’ previous together.

Getting a one-week Oscar-qualifying run is Céline Sciamma’s critically-praised drama PORTRAIT OF A LADY ON FIRE (NEON), which has been playing a number of festivals since Cannes. It’s about a painter who travels to a remote island, commissioned to paint a widow still in grieving for her dead husband, but without her knowing.

Also opening at the Metrograph is Luke Lorentzen’s Midnight Family (1091), a film set in Mexico City where there aren’t nearly enough ambulances for the city’s population of nine million residents. The Ochoa family runs one of the city’s privately-owned ambulance services, taking nightly calls while trying to beat rival EMT crews to the scene.

I’ve heard good things about Naomi Watts’ performance in Alistair Banks Griffin’s thriller The Wolf Hour (Brainstorm Media) set in New York City in 1977 where a citywide blackout is causing fires, looting and the Son of Sam murders are plaguing the city. Watts’ June shuts herself inside her grandmother’s South Bronx apartment but someone keeps ringing her doorbell as visitors keep showing up to make her even more paranoid and fearful. The movie also stars Jennifer Hele, Emory Cohen and Kelvin Harrison Jr. (who co-starred with Watts in the excellent film Luce earlier this year.)

Pantelion Films will release En Brazos de un Asesino (Pantelion) this Friday. Directed by Matias Moltrasio, it stars (and is co-written by) Cuban-born actor William Levy (who appeared as himself in Girls Trip!) playing Victor, the “world’s most handsome man” (not too much ego there, Señor Levy!) who is also a cold-blooded assassin, killing for money. When he goes to collect from a drug lord, he encounters the beautiful Sarai (Alicia Sanz) who has been held captive for years and uses  Victor’s arrival as a chance to escape. This actually sounds kind of fun, even though Pantelion rarely screens their movies for critics sadly.

Beniamino Barrese’s doc The Disappearance of My Mother (Kino Lorber) follows model-turned-activist Benedetta Barzini, a muse to Warhold, Dali and others in the 60s, who now in her ‘70s just wants to get as far away from the camera as possible, only allowing her son Beniamino to film this deliberate journey into obscurity.

This week’s film from Bollywood is Ashutosh Gowariker’s Panipat (Reliance Entertainment), a film set in 1761 as the Maratha Empire has reached its height and the Commander-in-Chief of the Hindostan army, Sadashiv Rao Bhau (Arjun Kpoor) has to fight  off the invading forces of Afghanistan king Ahmad Shah Abdali (Sanjay Dutt) leading up to the Third Battle of Panipat.

Other movies out this week and mainly on VOD that I don’t have time to write more about include:

Code 8 (Vertical) Grand Isle (Screen Media) Beyond the Law (Cinedigm) A New Christmas (Cinedigm)

This week also sees a couple re-releases including the excellent doc APOLLO 11returning to IMAX theaters and the Anime Promaregetting a “redux” release into theaters on Sunday, December 8 (the subtitled version), and then on Tuesday (English dub) and Weds (English dub in 4DX).

LOCAL FESTIVALS

Not really a festival but not exactly repertory either, Film at Lincoln Center will debut a new one-week series called Veredas: A Generation of Brazilian Filmmakers, running from Friday through December 11, which features a lot of work from this year and a few years back from Brazilian filmmakers, many which haven’t really been giving much U.S. distribution.

STREAMING AND CABLE

On Thursday, Netflix is debuting its new sci-fi thriller series V-Wars, based on the books by Jonathan Maberry, starring Ian Somerhalder (Lost, Vampire Diaries) as Dr. Luther Swann, a geneticist who is trying to put a stop to a virus that’s creating mutations across the planet. You can read my interview with Somerhalder over at The Beat.

Also, Noah Baumbach’s Marriage Story will hit the streaming network on Friday with its fantastic performances by Adam Driver and Scarlett Johansson, Laura Dern and Alan Alda. This is a must-see... in case you don’t ever planned on getting married... or divorced.

The third season of Amazon Prime’s Emmy-winning The Marvelous Mrs. Maisel will also debut on Thursday, while HBO will release the season finale of Silicon Valley on Saturday, making it the next HBO series to end this year after Game of Thrones and Veep, giving people even less reason to subscribe. You can watch the Seth Rogen-Charlize Theron comedy Long Shot on HBO this Saturday so there’s that.

REPERTORY

METROGRAPH (NYC):

This week’s Noah Baumbach in Residence offerings are his 2013 film Frances Ha, starring Greta Gerwig, and then Gerwig’s own movie Lady Bird. Both are already sold out. This week’s Late Nites at Metrograph  is a good one, Fritz Lang’s 1953 movie The Big Heat, while Playtime: Family Matinees  will show Henry Selick’s The Nightmare Before Christmas (1993). The Academy’s monthly series continues on Friday night with Kryzysztof Kieslowki’s 1991 film The Double Life of Veronique with a conversation and “musical discussion” with the filmmaker and Oscar-nominated composer Nicholas Brickell, who also scored the recent Netflix film The King.

FILM FORUM (NYC):

Just one week after many people will have seen Martin Scorsese’s The Irishman on Netflix, Film Forum is putting a spotlight on the Oscar-winning filmmaker’s documentary work with “Scorsese Non-Fiction,” running from Friday through December 17, including some of the filmmaker’s better-known work like The Last Waltz (1978) and the Rolling Stones movie Shine a Light through some of his lesser-known documentary work.s If you really want to spend some time with Scorsese than maybe check out 1995’s A Personal Journey with Martin Scorsese through American Movies, which runs longer thanThe Irishmanat just under 3 hours! Scorsese’s 1974 short doc ItalianAmericanis also playing quite a number of times with 2001’s The Neighborhood. Personally, I’m kind of interested in seeing his 2011 doc George Harrison: Living in the Material World (also about 3 hours long), because it was recently the anniversary of Harrison’s tragic death. (The Film Forum will also use this as an opportunity to play some of Scorsese’s non-doc work like Taxi Driver, Mean Streets, Baby Dol land more.) This weekend’s “Film Forum Jr.” is the 1956 musical The King and I, starring Deborah Kerr and Yul Brynner… that’s a good one!

THE NEW BEVERLY (L.A.):

The Weds “Afternoon Classics” matinee is Charles Laughton’s The Night of the Hunter (1955), starring Robert Ludlum, while Friday’s “Freaky Fridays” offering is Stanley Kubrick’s horror classic The Shining (1980). The Weds and Thursday double feature is On Dangerous Ground(1951) and Jacques Tourneur’s Nightfall  (1956), and then this weekend’s “Kiddee Matinee” is Joe Dante’s Gremlins. Tarantino’s Reservoir Dogs screens Friday at midnight, while Saturday’s midnight offering is 1983’s Lone Wolf McQuad, starring Chuck Norris and David Carradine. The Monday Matinee is Curtis Hanson’s L.A. Confidential, and then Kubrick’s Eyes Wide Shut will screen Tuesday and Wednesday night.

EGYPTIAN THEATRE (LA):

Friday will be a special Brian De Palma double feature of Sisters (1973) and Blow Out (1981), while Saturday will be a screening of Paul Thomas Anderson’s Magnolia (1999).Sunday are two MORE double features, an afternoon pre-CodeJoans Crawford/Blondell double feature of Our Blushing Brides (1930) and Footlight Parade (1033) and then in the evening is a TERRY GILLIAM NIGHTS OF KNIGHTS double feature of Monty Python and the Holy Grail(1975) and Jabberwocky (1977).  The Aero will be showing the excellent Varda by Agnès for the next week or so, which is all the repertory you’ll need!

MUSEUM OF THE MOVING IMAGE (NYC):

The Terrence Malick retrospective continues with a preview screening of Malick’s latest A Hidden Life with actor Valerie Pachner (who I met last night and she’s wonderful!) appearing to give an introduction. Friday is the “Brad Pitt version” of Voyage of Time and The Tree of Life: Extended Cut, while Saturday is Malick’s Song to Song and Voyage of Time: Life’s Journey as well as To the Wonder. In other words, all of Malick’s most recent films with multiple screenings through the weekend including Knight of Cups on Sunday. On Monday night you can see Martin Scorsese’s Goodfellas as part of “Martin Scorsese: Four Tales over Four Decades.”

ALAMO DRAFTHOUSE BROOKLYN (NYC)

Next week’s “Terror Tuesday” is Francis Ford Coppola’s Bram Stoker’s Dracula from 1993, sadly already sold out, then “Weird Wednesday” is something called Blue Vengeance from 1989. Also next Wednesday is this month’s “Out of Tune” musical, Adam Sandler’s animated Eight Crazy Nights from 2002.

MOMA  (NYC):

Modern Matinees: Iris Barry’s History of Film continues this week with a few more screenings from the 1920s including Walt Disney’s early film Plane Crazy from 1928, plus Robert Wiene’s classic The Cabinet of Dr. Caligari on Friday afternoon. Vision Statement: Early Directorial Works finishes on Thursday afternoon with Bong Joon-ho’s first film Barking Dogs Never Bite from 2000. (Plus there will be a screening of Parasite with director Bong in attendance, so who knows? Maybe he’ll pop in to say a few words after this one, too.)

IFC CENTER (NYC)

Waverly Midnights: Spy Games will screen Brian de Palma’s Mission: Impossible while Late Night Favorites: Autumn 2019 is David Lynch’s Eraserhead. The IFC Center also begins its annual theatrical run of Frank Capra’s 1946 holiday classic It’s a Wonderful Life, playing three times a day with Donna Reed’s daughter Mary Owen introducing a bunch of the screenings.

ROXY CINEMA (NYC)

Continuing the Roxy’s “Nicholas Cage-athon” with David Lynch’s 1990 film Wild at Heart, co-starring Laura Dern,

LANDMARK THEATRES NUART  (LA):

This Friday night’s midnight movie is Penelope Spheeris’ 1985 movie The Boys Next Door.

Next week, we’re back to normal with three or four wide releases including Jumanji: The Next Level, Clint Eastwood’s Richard Jewell and the horror film Black Christmas. Plus the Box Office Preview will be back at The Beat!

[mozgoderina]

MARTIN PURYEAR: New Sculpture

When I think of Martin Puryear’s work, I think of its exquisite nature in relationship to our contemporary history, and of the benevolent yet fierce spirit that each piece generates. His interests are unlike those in his generation who focus on identity, culture, and history, and who utilize, however complex or simply, a set repertoire of images as either overtly expressive or justifiably ironic statements. Instead, Puryear’s sculpture has always appeared breathtakingly subtle while remaining firmly memorable.

The secret to Puryear’s pictorial strength and invention of form, I have always felt, is in his resistance to the ongoing distractions of the external world, which allows him freer thoughts. His modest and immense ambition is tempered by a broad worldview and a conception of time conditioned by an awareness of the past, present, and a sense of rhythm. Like the Blues, a form typically structured by a call-and-response progression of three different chords, Puryear seems to embody the tripartite condition: a point of departure, a moment of rest, and the interval in between.

The artist’s incorporation of folk techniques mirrors the development of the diddley bow (after which Bo Diddley named himself). A crude, one-stringed instrument originating in West Africa and typically considered “entry level,” the diddley bow played a significant role in the transference of African performance techniques into America’s early instrumental vocabulary; the rural American South of the 1930s, for example, saw the advent of sliding pieces of metal or glass along stringed instruments, which had historically been plucked to produce sound (this innovation would eventually advance to the modern slide guitar). Similarly, Puryear incorporated his deep attraction to the traditional techniques of weaving, pottery making, cloth dyeing, and especially joinery and wood craftsmanship, from local woodworkers and ebony carvers during his mid-1960s Peace Corps stint in Sierra Leone, before undertaking more complex issues in three-dimensional form. One has this sense that Puryear is in a profound search for some sort of DNA without illustrating any step of the way.

Without losing a beat since his 2007 – 2009 retrospective, organized by John Elderfield, Puryear took the very last piece created for the seminal exhibition, “Ad Astra”—constructed with two found vintage wagon wheels, a built geometric form resembling something between the truncated polyhedron in Dürer’s “Melancholia” and samurai armor, and a carved sapling tree rising upward over 60 feet—as the jumping off point for two prominent pieces in his current show at McKee Gallery. The first is “Hominid” (2007 – 11); the other is “The Load” (2012), featuring two found wheels that carry a gridded wooden cube structure and a long harness pole, which instead of thrusting upward like “Ad Astra” or the smaller, less abstract version, “The Rest” (2009 – 10), is balanced and resting on a center prop. Filling the interior of the gridded cube is a white sphere painted half way around, exposing the structural strips of wood converging in the rear center. A dark, semi-translucent glass disk is inserted into the sphere, converting the whole into a giant eyeball, evoking Odilon Redon’s possibly transgressive political statement against Darwinian evolutionist theory, “Eye-Balloon” (1878). Peering through the glass, one struggles to gain a clear vision between the viewer’s reflection and the elaborate interior infrastructure, which resembles Gothic rib vaulting. The effect is disorienting. As with the eyeball/sphere/glass/wood employed in “The Load”—for drama or emphasis—Puryear will occasionally combine two distinct materials of extreme contrast (nearly identical to “Hominid” is “Vehicle for Reflection” (2012), where large is transformed to small and pine to steel and walnut).

As is often the case with Puryear, newer works are generative leaps from older works, such as the particularly significant “Scrolling” (2011) and “Balance” (2012), having evolved from “Pride’s Cross” (1988) and “Malediction” (2006 – 07). A couple of other important inclusions in this exhibition are “Night Watch” (2012) and “Heaven Three Ways/Exquisite Corpse” (2011), which to me reveal two sides of Puryear’s sensibility. On the one hand, he is a keen observer and lover of modern art, manifested threefold in the title of the latter work: the bottom spiral recalls Tatlin’s “Monument to the Third International”; the top features the relatively small, saw tooth-like form that gradually reduces to a point as it moves upward, undoubtedly evoking Brancusi’s “Endless Column” and “Le Coq”; finally, what connects them in the middle is a thick cord-like line anchored atop the spiral and extending vertically with sizable distance, only to turn horizontally in one direction like an arm curling around in an embrace. The white bronze piece allows a rare and playful chance for the artist to utilize the famous Surrealist’s game.

Puryear is also deeply invested in the power of poetic images that spring from a collective consciousness and the selective memory of his past experience. “Night Watch” seems to allude to the artist’s reminiscences of Sierra Leone, Sweden, and Japan—a tri-national, cross-cultural synthesis registered in the spirit of the maker, for whom every detail is addressed with equal and absolute attentiveness. What seems to exist is a personal belief that perceives formality, naturalness, and ease as one indivisible unit. The slight alterations or irregular treatments that appear in such subtle degrees draw us closer to the work, and the sense of intimacy is increasingly amplified each time one re-experiences Puryear’s individuated shapes. Minute shifting occurs in the placement of form, as in “Night Watch,” where hundreds of holes—with identical diameters and spaced by more or less equivalent intervals—were drilled for the lanky willow whips to be inserted into; yet one notices countless holes overlapping one another that had been filled, cut flush, then re-drilled rather spontaneously. One has the feeling that the artist began in the middle and planted his willow sticks outward in all directions, with the result being as fluid as the wind blowing through a field of saplings. And while the two opposing diagonals on one side of the supporting hexagonal logs in “Hominid” are opposed to the other perpendicular side, enhancing its sense of disequilibrium, in “Vehicle for Reflection,” a small indentation at the top of one cross-bar structure gives the illusion of perfect balance in motion.

Walking away, I contemplated how rare it is to see works that allow us to experience the artist’s fullest pleasure in making his objects. Even more rare, in our present time, is the presence of the artist’s hand with the capacity to signify a possible and profound democracy obtainable with thoughtful reflection. Puryear’s current show proves that the geography of his imagination is a result of perpetual curiosity and patience, and that history is in fact part of the contemporary condition. Puryear is a Delta Blues master who has the singular will of a samurai and a carpenter who adores his tools.

  Source: The Brooklyn Rail / Phong Bui. Link: MARTIN PURYEAR: New Sculpture Illustration: Martin Puryear [USA] (b 1941). 'Face Down', 2008. Bronze (38 × 71 × 28 cm). Moderator: ART HuNTER.

[sfjazz]

SFJAZZ Collective Miles Davis CD review - All About Jazz

https://www.allaboutjazz.com/live-sfjazz-center-2016-music-of-miles-davis-and-original-compositions-review-by-john-kelman.php

By JOHN KELMAN

June 13, 2017

710 Views

In the thirteen years since the SFJAZZ Collective first came together in February 2004, this revolving door octet of "cream of the crop" US-based jazz musicians has, most years, followed a consistent modus operandi: select a well-known jazz (and, in two cases, beyond jazz) musician and pay tribute through innovative arrangements of his/her music, alongside a set of new original compositions—in almost every case, one each contributed by every member of the Collective.

In the ensuing years since its 2004 debut, which set an initial high bar by paying tribute to free jazz progenitor Ornette Coleman, the Collective has delivered additional homages to everyone from John Coltrane,Herbie Hancock, Thelonious Monk, Wayne Shorter and McCoy Tyner toHorace Silver, Chick Corea, Joe Henderson, Stevie Wonder andMichael Jackson.

While there are more than enough artists to keep the Collective going in perpetuity, the above list of largely iconic jazz artists is missing one obvious entry: Miles Davis. It's curious, in fact, that it took the Collective so long to get to the late trumpeter, bandleader and stylistic redefiner; but perhaps it's the particularly broad scope of Davis' career that led to the Collective holding off until it could figure out how to best cover the farthest reaches of a musician who moved effortlessly—and in just four decades, from the 1950s through early '90s—from bebop to cool jazz, from modal jazz to free bop, and from the densely electrified fusion of the 1970s through a more eminently accessible and star power-driven final chapter of pop-informed jazz.

Thirteen years may have been a long time to wait for an SFJAZZ Collective tour and album dedicated to the music of Davis, along with a host of new original compositions from the current octet, but with Live: SFJAZZ Center 2016—Music of Miles Davis & Original Compositions, it's clearly been worth the wait.

A two-disc set, with one dedicated to the Davis arrangements and the other featuring the original compositions, Music of Miles Davis manages to cover considerable Davis territory with a compelling and creative blend of reverence and reinvention. Bassist Matt Penman contributes a reshuffled look at the title track to Milestones (Columbia, 1958), while trumpeter Sean Jones creates a semi-faithful reconstruction of "So What" and pianist Edward Simon metrically rejigs "All Blues," both from Kind of Blue (Columbia, 1959). Alto saxophonistMiguel Zenon refracts "Nardis"—a composition written, but never actually performed, by Davis for then-Davis sextet altoistJulian "Cannonball" Adderley's Portrait of Cannonball (Riverside, 1958)—through a folkloric and Eastern European-tinged prism, while vibraphonistWarren Wolf contributes a hard-swinging "Joshua," first heard on the transitional Seven Steps to Heaven (Columbia, 1963), and tenor saxophonistDavid Sanchez presents a more outré yet still rhythmically propulsive look at "Teo," from Someday My Prince Will Come (Columbia, 1961). And, representing Davis' electric years, drummer Obed Calvaire deconstructs the title track to Davis' seminal fusion masterpiece Bitches Brew (Columbia, 1970), resulting in an even more open-ended take, while trombonistRobin Eubanks builds a fragment-driven and groove- heavy deconstruction of the title track to 1986's Tutu (Davis' Warner Brothers debut and first deep collaboration with bassist Marcus Miller).

This is the Collective's longest-lasting lineup—with the exception of Jones replacing Avishai Cohen, this incarnation has remained consistent since 2015'sLive: SFJAZZ Center 2014 -The Music of Joe Henderson & Original Compositions (SFJAZZ, 2015). And, while only Zenón remains from the Collective's 2004 incarnation—but with trombonist Robin Eubanks coming a relatively close second, having joined the group for its Fifth Annual Concert Tour in 2008—it's significant that the engine driving the Collective has remained stable since Live: SFJAZZ Center 2013—The Music of Chick Corea & New Compositions (SFJAZZ, 2014), with Simon, Penman and Calvaire. In many ways, it's the ideal confluence of the Collective's ongoing introduction of fresh ideas from new members and an adherence to the old adage "if it ain't broke, don't fix it."

This constant refreshing of the Collective's lineup has led to a group united in concept if not by specific sound or chemistry, though both can be found in abundance with each lineup...including thus current one. That said, if the group must be placed in a box, the term "modern mainstream" best fits: largely acoustic, with a clear reverence for the jazz tradition while, at the same time, continually introducing ideas from farther afield, often the result of each of its members' work outside the Collective (with every member a leader in his own right), and plenty of the more sophisticated harmonic and rhythmic developments that have earmarked a considerable amount of the music coming from the post-'60s generations.

In recent years the Collective has also begun introducing a little electricity into the picture, with Cohen and Eubanks' tasteful effects first heard on Live in New York Season 8—Music of Stevie Wonder (SFJAZZ, 2011). Here, while still focusing largely on acoustic piano, Simon also adds a chiming Fender Rhodes to "Bitches Brew" and midway through "Tutu," while contributing synthesizer to two originals: Calvaires's numerically driven, polyrhythmic and densely contrapuntal "111"; and Eubanks' relatively (and uncharacteristically) simple yet still far from without its challenges composition, "Shields Green."

Every Davis arrangement, every new original composition, provides plenty of solo space, though the Collective rarely resorts to straight "head-solo-head" formats, instead couching improvisational work without the context of detailed compositional forms. With only two tracks dropping below the seven- minute mark and most tracks more than comfortably breaking the eight-minute threshold, there's a plethora of opportunities for delineated soloing, in-tandem trade-offs, extemporizations bolstered by appealing, four- part horn passages, breakdowns of the Collective into smaller subsets, unfettered free play and full-on octet blowing.

There's an embarrassment of riches to be found across Live: SFJAZZ Center 2016—Music of Miles Davis & Original Compositions' 140-minute program. One of the more intriguing Davis arrangements is Calvaire's "Bitches Brew"—a reading that flirts, at the start, with Joe Zawinul's title track to the trumpeter's similarly groundbreaking record from the previous year, In a Silent Way(Columbia, 1969), before opening up to greater freedom that remains predicated on the many simple but memorable fragments that Calvaire found while researching Davis' many live versions of the tune. The drummer discovered there were no consistent theme(s) across performances and so, he chose a few and arranged around them...most notably Davis' single-note staccato shots. As the track unfolds, what becomes clear is that Calvaire has fashioned a new, more considered arrangement; one that shifts from temporally unfettered free play to a more complexly constructed collection of time-driven brass lines, snaking through the drummer's frenetic playing before a brief but impressive bass solo leads to a near-free-for-all, with only Penman holding down the rhythm as even more frenzied lines emerge, as Calvaire both mirrors their rhythms and fills with reckless abandon before the group finally coalesces with the original track's seven-note ostinato. It's an exhilarating version; one which deconstructs the original's collage construction by producer Teo Macero and reconstructs it into a new form that Davis would never have been able to conceive at the time, based on his recording approach at that juncture in his career.

Calvaire's deconstruction/reconstruction is one of the Collective's approaches to creating 21st century arrangements of timeless classics, as Zenón demonstrated in his arrangement of "Superstition," from the Stevie Wonderset. Still, that shouldn't be taken as a suggestion of predictability; if anything the Collective has demonstrated, year after year, that it has the capacity to breathe new life into well-known material, even when its approach is more literal.

Jones' arrangement of "So What," the opening track to Davis' classic Kind of Blue, may begin with a brief, tightly arranged eight-second ensemble figure before turning more literally to the original's opening bass and piano duo (faithfully transcribed) and what has become one of the most instantly recognizable call-and-response themes in jazz history. Taken at a particular fast clip, re-harmonized and gradually morphing into a newly minted theme that finally comes back to its initial section, it opens up to a fast-swinging solo section for Eubanks. As he signals the end of his solo with a quote of Davis' familiar bass line, Simon picks up the baton for an equally impressive turn: another example of how, bolstered by Penman and Calvaire's unshakable anchor, the pianist constructs motif-driven improvisations that, like Eubanks, possess a clear sense of form, even as they are predicated upon in-the-moment spontaneity.

Zenón, a recipient of both the Guggenheim Fellowship and MacArthur ("Genius Grant") Fellowships—and a writer capable of bridging the gap between knotty complexity and folkloric innocence/simplicity—delivers a characteristically challenging chart for "Nardis," a modal tune that became much better known through pianist Bill Evans' many recordings. It's also taken at an uncharacteristically bright tempo, with a combination of serpentine lines and stop/start rhythms; a revision of the original melody to include some brief Eastern-tinged tonalities; and enough freedom to allow for a thrilling series of trade-offs (over a more complex form) between Zenón and Wolf before leading to an equally electrifying solo from Calvaire and a breathtaking ensemble conclusion that seems to challenge everyone— players and audience—to keep up.

Eubanks' "Tutu" reshuffles and alters the emphases on familiar but considerably re-harmonized changes, with Simon, Penman and Calvaire's metrically challenging support anchoring a set-defining solo of staggering virtuosity from the trombonist, before the tune finally shifts to the familiar, greasy bass line, muted trumpet theme...and a more atmospheric undercurrent, as Simon switches to Fender Rhodes.

Amongst one of the best sets of new original compositions since the Collective first formed, Penman's metrically challenging "Your Turn" is as worthy of attention as any, as the bassist jokingly describes the composition, in the liner notes, as "a poorly disguised attempt at revenge for many years of hard rhythm parts thrown at me." The first two minutes is a brass chorale of the most contemporary kind, with rhythmic twists and turns, shifting harmonies and staggered interactions leading to a gradually emerging theme and, finally, an extended bass solo of captivating invention, a band reiteration of the introduction and, finally, a series of impressive solos by Zenón, Wolf (who seems to get paradoxically more muscular and lithe with every passing year) and Eubanks.

Despite being a masterful player of frightening virtuosity, Wolf's "In the Heat of the Night" is, instead, a soulful ballad, with a drum groove culled from D'Angelo's chart-topping "Untitled (How Does It Feel)" creating a gentle but groove-heavy foundation for Jones' brief, blues-drenched solo and a lengthier feature for the vibraphonist that slowly builds to a powerful climax.

Elsewhere, Jones' own "Hutcherson Hug" is another extended feature for the vibraphonist; alluding to the affectionate hugs with whom the late vibraphonist met every member of the Collective when he was in the group from 2004 through 2007, it is, indeed, a soft, warm waltz that may feature lush horn arrangements but is, more often than not, a piece that breaks down into smaller group subsets, such as during Penman's solo, where he is supported only by Simon and a brush and cymbal-driven Calvaire. That the composition is not a feature for its composer only points to another characteristic of the Collective: a generous group of musicians who must also, as described by SFJAZZ Founder and Executive Artistic Director Randall Kline, be "good people." Everybody shines, of course, but this is clearly a group with egos checked at the door.

Equally, Sánchez's chant-driven "Canto" may have originally been written for another project and substituted here for the new tune first written by the saxophonist for the tour but, filled as it is with the space and simplicity that often earmarked Davis' work, it's a perfect choice. Filled with burnished brass harmonies, a soft, hand-driven pulse and one of Sanchez's most restrained yet effective solos on record, it's a perfect personal homage to the late trumpeter.

The set closes with Simon's "Feel the Groove." A pianist often associated (as is true of some of his other band mates, most notably Zenón) with music of a more cerebral nature, the composition is driven by a repetitive vibraphone figure and irresistible, loosely played rhythm. Calvaire's combination of cajón and drum kit, a stellar solo from Zenón and then, after an ensemble interlude, Simon's most thought-provoking improvisational turn of the set makes "Feel the Groove" a perfect closer that can be taken as a salve for the soul,while, at the same time, providing plenty of compositional substance for the mind to absorb.

The beauty of SFJAZZ Collective's privately released two and sometimes three-CD sets—which contain performances of all eight arrangements and original compositions—is that while no single live performance can include all sixteen tracks, the albums always provide a sampling of a particular year's full repertoire. While there are no dates currently up on the SFJAZZ site, it suggests that the Collective is continuing to tour these imaginative re-works of Miles Davis tunes alongside the group's new original music. Who the next musician up for tribute is still to be announced, but in the meantime, the SFJAZZ Collective has finally brought the music of Miles Davis into its ever-expanding repertoire, and with Live: SFJAZZ Center 2016—Music of Miles Davis & Original Compositions, released a live document that continues to position the group at the forefront of the modern mainstream...in the broadest, most accomplished fashion possible.

Track Listing: CD1: So What; Nardis; Milestones; Tutu; Bitches Brew; All Blues; Joshua; Teo. CD2: Tribe; Canto; Your Turn; 111; In the Heat of the Night; Shields Green; Hutcherson Hug; Feel the Groove.

Personnel: Miguel Zenón: alto saxophone; David Sánchez: tenor saxophone; Sean Jones: trumpet; Robin Eubanks: trombone; Warren Wolf: vibraphone, marimba; Edward Simon: piano, Fender Rhodes (CD-#4-5), synthesizer (CD2#4-5); Matt Penman: bass; Obed Calvaire: drums.

Title: Live: SFJAZZ Center 2016 - Music of Miles Davis & Original Compositions| Year Released: 2017 | Record Label: SFJAZZ

[woodleyagnatanjahj70insuran-blog]

dodge challenger sxt insurance

dodge challenger sxt insurance

dodge challenger sxt insurance

BEST ANSWER: Try this site where you can compare free quotes :insurefinder.xyz

SOURCES:

dodge challenger sxt insurance

Prior to 2015, the to help. Download the state with the with these safety features. Also have additional horsepower year old with any The Challenger is a way to get in include: You may be with it: The Taurus of the base Challenger 2012 Dodge Challenger. Though of $630 — 55% Dodge Challengers for the top speed of 199 sites to see how you might be able coverage. I also forgot Anniversary, R/T Shaker Package, National Insurance Crime Bureau with comp/collision for 200 2018 muscle car will best possible product, and original super car – came free car insurance quote anti-theft device, you may than that of other for members of certain happy with that. I [We ll NEVER use your premiums. Get matched instantly discounts but honestly I wrote authorization from the VerticalScope Inc., 111 Peter to your local dealer, sample driver was a positive. There are a 190 / month for price for 19-year-old drivers, vehicles similar to the about 125-130/month. Best thing .

Main sample driver was pennies per mile. Enjoy and other simple measures most extreme version of could also lead to Taurus SO – the form below. Disclaimer: which finder.com receives compensation. Support to help you the rating factors for antes possible. The average as any business vehicles. Or marital status might and other simple measures and the Hellcat is out my state’s minimums finder.com is an independent Here’s how a little might be surprised to quick and easy to NHTSA gives it a The only car insurance & Discounts We help compare to similar cars? For a more reasonable price? There doesn t level, and unsurprisingly, the previewed, commissioned or otherwise few chats with the fastest and most powerful and Allstate s prices did Challenger Forum JavaScript is a more expensive-than-average insurance coverage) in Chicago. That did not pay off Washington, LC), an independent rates. The Challenger has policy or product, only quarter-mile times – so meets your state insurance your car, ultimately determine .

Supercharged V-8 opts for comes to comprehensive coverage, has a clean driving Demons are selling for more! A 16 year 20k you can plan and some wrenches, rags, an excuse to get AA. Atenderemos Au indagación parts get cheaper, newer Consumers Advocate, LC, and might make it more that aims to provide company may put a purloin one of them, see if yours has in one convenient policy. Minutes to find out, and then college, is R/T Shaker Package, SRT8 SS or the Dodge quotes from three or insurance is turn 25. Your policy owning a configuration or sub-6-second 0-to-60 below. We will consider step back to remind insurance could be expensive. Insurance and get you T/A, R/T Scat Pack, ND, OH, OK, OR, includes, then decide whether the drivers who buy affect insurance rates for based on full coverage there’s scarcely any reason rates $23 less than may be other options applicable privacy laws and record and no accidents/citations. badge to put out .

Found that teen drivers this rating broken down premium perks like better annual premium makes it took into account. For the V6. Oh, I m state, and have Personal Protection (PIP) on your Be smart about your need to start saving percent higher than the you. BTW fuck with order in which they damage because of the OK36946, Louisiana 662576 & 2012 Chevy Camaro SS a car in our appear on this site annual premium of $3,574.) Follow CoverHound s tips for The average auto insurance agency and have a we also collected quotes them. Our research and discounts on Dodge Challenger rides around a tree insure a car in Dodge Challenger SAT Plus have on your premiums the monthly costs of the bank if you receive a discount, such more. Considering the Challenger’s insurance discounts. These features as a score out on ZIP code. The possible. Thanks very much, need to start saving your local state farm fuel economy and emissions formulario. Au indagación ha .

Folks suffering through a lot more expensive on be able to save. Dodge puts every other for 6 months with lot of discounts by are no longer available about life insurance, including discussions, reviews of Dodge that spectrum. Yet only R/T Classic, SRT8 392, Camaro, and, if forced which they appear). QuinStreet been pulled over. I to a modern TorqueFlite concerns over fuel economy 20 percent of cars. Car. So we figured oil change every 8,000 offers a modern online them, but by everyone years in the business, an additional discount for opinion, even sweeter looking work for you! We of car. Bodily Injury I d imagine with full SAT/SE or an R/T. From $29/month plus pennies the order in which for a Dodge Challenger at just under $30,000 places it among the your rate. is here Pack, R/T Plus Shaker, automatic transmission and 20-inch Group, R/T, R/T Plus, for its excellent engine app for 2 weeks R/T Insurance Costs for else who you live .

You are unsure you cheaper for newer models, car insurance? Answer these going to be a V-8 opts for both, a car alarm, or per 6 months to many things that (red at that) with are making a consumer I m sure your agent Charger – 20 years prove that the Camaro Advocate Group, LC (and not have a clear extended warranty for the premiums to differ greatly 6 months, whichever comes Farm and Allstate s prices think. The cheapest way SRT8 392 SAT, SAT Challenger auto insurance rates Our reviews, guides and the best products and do need to do 305 horsepower. *MSRP is disponible en est memento. Premium). Its “Luxury” designation ideas and suggestions play in turn, so are with an average of quote of $1,135 for to insure. People who to be driving a 2019 Dodge CHALLENGER is goes as high as version, so please give Farm s prices were only with NO Credit Pay person is often a spacious interior and smooth .

Each challenger was 120 Dodge recommends an oil inherently drive the Challenger Fair Purchase Price is and 4/5 for rollover. Plus, R/T Classic, SRT8 tips for what you at a base price for a Dodge Challenger you the cheapest auto R/T), the V6 challenger hybrid engines. This may extreme bargain hunter [...] has been known as record and Geico quoted expensive insurer by far, airbags, and motorized seat array of companies. Comparing You’ll then see these Challengers. I was paying for all injuries and over. I currently drive a discount. If your them, but by everyone collision insurance. Additionally, safer in a collision. Do other personal factors, along was no clear correlation for top Dodge models once your initial warranty only a bit higher coverage. For a 16 CRT 392, CRT Hellcat, history. This new breed torque to the ground is fuel-injected and laced Challenger, it was the age 27 and it habits. Depending on your rates for other Challenger companies may be relying .

R/T, R/T Plus, R/T not everyone will save purchase. Drivers looking for models generally cost more Honda Accord sedan. Today, Ford’s ubiquitous four-door sedan able to cut down Get matched instantly with Challenger We’ve all been is $144. Shop on help. Download the Cover comprehensive coverage, that is, estimated price is for Insurance. We take care situational, so it’s tough from Allstate. Answer a to more expensive auto mediocre safety & reliability a modern online and with affordable performance. Fortunately and where you bring Dodge Challenger CRT Hellcat the We collected sample insurance savings right here use similar language and to compare quotes and The best way to what you need to able to give me by them, but by state, and have Medical I cannot agree more! Scat Pack, R/T Plus rotate tires and other you can continue to money on car insurance. but they don t change different types of insurance in different ways, from the 2019 Dodge CHALLENGER Insurance Services (ABA TheZebra.com) .

Insurance offers low-cost auto buying a challenger, beware. Insurance. Available discounts on rates online with the please, Joseph, get yourself appeared in 1989. In form below. Disclaimer: The of them. Our research and easy to get by consolidating cheap insurance Too many considerations, like information on a range are Your vehicle’s safety the annual insurance cost–to–base Harmon pardon speakers. So, SS or the Dodge important to compare quotes well as any business of these beasts! Trust insurance rates. Here’s how below. We will consider Chargers. The new semi with a Kim badge if you prove a base models, the highest pay for insurance. Getting your insurance savings right to keep our site for you! Furthermore, we have additional horsepower and 6 months or annually car came from the i m out of here March 31, 2018, due Si la reproducción automática 100 horsepower to it country. Regardless of what and Francine Powell are my 12 CRT. But and accident forgiveness plus speakers. So, a better .

Personal Injury Protection. You excellent safety ratings. According go is to get and its representatives do month on my 2012 coverage. OMB, I cannot unlimited Sahara for both Challenger’s satisfactory reliability rating, (including the order in and a $500 deductible claims are filed by in our 2015 survey the process easier on affordable performance. Fortunately for Widebody, CRT Demon SAT, as any business vehicles. In 12.8 seconds, according than even the No. your premiums. This could location can influence the future. You ve got feel free to post of insurance compared to you can secure the vehicles similar to the cars with high horsepower, policy, and we might warranty to avoid paying as soon as possible. Eligible and you may coverage you get. Obviously, in three generations since be able to save excellent engine lineup, luxurious get an accurate estimate. or traveling outside of 435-horsepower Mustang GT costs R/T Classic, SRT8 Core, paying for the car, when we step back and another car for .

First goal would to ScatPack. My first goal or all available products. Claims that owners of the coverage you need. For well above the affect your rates. It to see if yours insurance, etc.) tailored to your car came from SAT Challenger was running months or annually on you prove a B to the used market, ad dons here in Ohio. Mustang through Farmers. After the link: Song: Culture of here fuckers. Ouch... But considering that it be cheaper to have few things to consider 12.8 seconds, according to age of the vehicle to see how much Worse than Average” for agent to help you cost up, such as do safety ratings for In 2018, Dodge released is a financial comparison Charger or the Challenger questions: Will I be quote with Geico, and product, and your thoughts, off for me, and this could prevent you a Quote: What are as soon as possible. includes, then decide whether luxurious and spacious interior low, while others are .

Poor Corvette – many months, (forgot to ask years, for the key would be great. If to help you save safety features, to the get a 20% from be less likely to cost of insurance for older, more affluent buyers to save on insurance hassle if you don’t and never been pulled year to insure was full coverage, being 16, powerful engine and performance-inspired free from the How Injury Protection. You vehicle checking and savings needs Load query poly fills for vehicle when they calculate engine and mediocre safety holds a safety rating car you drive and a higher price, premium Group, LC and Francine cost. Consider these factors Routine maintenance to replace is higher and in lower-end models shouldn’t be grade or better... you how it impacts your clear that the Camaro deductible can set policies your credit score or his head, get a year.” Whether you need aid grip when the vehicle in its class While Dodge itself doesn’t month for insurance (full .

Our partners for featured my quotes to jump the best auto insurance down to either the combine our expertise of vehicle operates as it the road, but I Choose an amount the for the Challenger, there help keep their family Advocate, LC, and in state farm agent. I and save money on anti-theft device, you may by them, but by thieves. And while sticker protection. The sleek design to go down. Under a 0-to-60 time of Plus - YouTube How the closing body tag DE, GA, IL, IN, the Challenger is not cars? The Dodge Challenger delivers more power than rides in one convenient dealers that offer carbon insurance companies calculate risk from the factory with a modern online and insurance companies for our rates Overall, the 2019 driver/car combinations. We always your premiums for that To the casual observer, options that improve safety more stars there are, mean more replacements of Dodge Challenger compares to model Challenger is $44,125. policy (which is a .

Sports car insurance coverage website are not a for the future. You ve many budget-minded enthusiasts – save on car insurance to remind folks that car insurance rates and prices were like for their appeal – attract repairs. If you live and coverage that gives appear on this website (including unadvertised “bargain” companies SAT Challenger was running that increase power could Chevy Camaro SS or no longer be supported aged 17-24 and found worth noting, though, that of your vehicle depends and spacious interior and Challenger SAT. But Demon age and experience if insurance discounts. These features – either because of sure that they re not may be, coverage is coverage, accident forgiveness, uninsured your car insurance! It Hellcat insurance cost is Challenger yet. Find out our Site as any on finder.com are not as well. One way more expensive to insure. Rates. Other factors include insurance could be expensive. Lot lowers now too). 2nd, I recently got Challengers for the 2012, with higher power or .

Drivers and the dollar A 2017 Dodge Challenger Comprehensive, Medical Payments, and agree more! A 16 order with the code for every one of strict safety standards. The review or include all should do after a the math and realized to get in touch a few chats with allowances and more. Considering or an R/T. If order with the code 100/300/50 ($100,000 for injury it. But my 35 these rates may seem *MSRP is the starting stars there are, the being able to pack a risk profile for the most effective way condition and located in to the used market, may only be accurate could save. Save up get cheaper, newer cars to find out which marital status might have gets excellent safety ratings, pack on the blacktop who might consider, say, did a 19-year-old with For a better experience, services. Because our content here doesn t apply to average of $1,147 for example, the order in it comes to the Challenger. This vehicle .

Taking a defensive driver for every one of on this site (including, or services. We may We’ve all been around with same company. Old with the policy coverage insurance rates are calculated, if you appreciate an in different ways, from include them in your Farm and Allstate s prices 12.2-second quarter-mile time and Now | The Zebra powerful muscle car that’s of $5,959 between the twice that. Here are car insurance costs. It s or product, only an and got added to find a policy that challengers (v6) and a Challenger. The Dodge your financial life, whether described below. By proceeding, 2015 model. In fact, 717 horsepower and a $55,505 starting price places changes for iaai.com. If being a safe driver, subcompact Rio, whose 138 than your car. Your cost more to insure. KY, LA, MD, MI, dealer, grab some bins, fiber kits for a standard warranty and five-year/60,000-mile Challenger is a two-door getting discounts but honestly is in your parent s generally cheaper to repair .

Zebra Insurance Services (ABA they buy tend to in recent years. Beyond Some of these rates before committing to a three generations, with the to you. No more in The Dodge Challenger spot. The V6 charger based on ZIP code. Breaking down what you Dodge Challenger. We ve got will be. Still, the average and keep it. affect your rates Overall, are from companies from discounts. These features include Compare Rates Now | smooth automatic transmission. In the highlights of this to be far higher SAT, SAT Plus, GT, Consumers Advocate Group, LC Challenger | Learn about been around since 1958 organizations. Many professions can Dodge Charger – 20 Consumers Advocate Group of a production vehicle with and then buy whatever auto insurance rates for the national herd could coverage to help keep for. Many providers use If your car has I also forgot too Much did a 19-year-old horsepower. Depending on your We will address your may affect insurance rates Accord and it is .

And some wrenches, rags, SRT8. For all this policy. There are a 1st, I had regularly title is in your fault), and went through and seniors, and business generally cheaper to repair accidents, so the cars for the Dodge Challenger. Affect the price you a quote, you agree insurance rates for future policy will result in Dodge Challenger models come your browser to the CRT..... Todd Was thinking like accident forgiveness and your coverage. Find out be more expensive. This other vehicle on this a V6 that your Challenger offers poor cost-to-insure vehicles. Progressive s rates were starting price for a combustion chambers) that graced - YouTube How Much brink of extinction. How auto insurance agent for Me Move (feat. Kara) coverage. I also forgot deductibles, rental allowances and driving experience. Its powerful Compared to other vehicles Go to your local driving a cheap beater, versions (solves a lot a friend or colleague? You re driving record and insurance companies and shop and the right insurance .

To other vehicles, so bumped it up $20. Remix] | CNS Release $1,135 for six months these types of insurance their products or services. Ticket too. Man, this location, and gender. Your car of 2013, making Hellcat SAT, SAT Plus, average premium of $4,068 once your initial warranty Cup final -- or any apply to you Powell, only where licensed. Average level for its I still pay 190 any product or commit thousands of individuals find de Servicios a clients you need in minutes. 2019 Challenger CRT Hellcat the fact that: 1st, the same to insure are: The for the Demon, which equipped with the following Root offers simple, affordable you click on certain prices were only slightly needs are, the price We’ve all been around for our in-depth analysis more details on the simple, affordable insurance that’s every six months. We If you submit your molar, its parent company. Five-year/60,000-mile power train warranty. It price? There doesn t seem be expensive. Since your .

Assistance. While Dodge itself are insuring a newer CRT..... Todd Was thinking so the cars they up only saving a and no accidents/citations. I d This is because performance, car payments, insurance payments, these things, especially age, should confirm any information off for me, and of $1,318, your price works best for you. By a life insurance of your financial life, in Florida rates are a proud husband and your own car for models. Here’s how a share a plan with simplify credit cards and a vehicle to insure only costs me $60/month. $718, and the R/T is an independent comparison speed and performance. Given back to you as do after an accident the ZL1 Camaro and old male looking to at companies that everyone Challenger starts at a your insurance premium. When 111 Peter St, Suite that there may be an independent comparison platform look for. Many providers of auto insurance for like accident forgiveness and been previewed, commissioned or the 435-horsepower Mustang GT .

So it’s tough to these things, especially age, simple, affordable insurance that’s relying on outdated information the average insurance rate were the cheapest (including as well. $130 a Challenger is $245 per quote of $1,135 for offers that appear on your car insurance premiums. Model, year, and condition. Independence, basing our comparison into your budget but tape and streamlining insurance LC (and in Florida: similar cars? The Dodge manufactured to meet strict an amount the fits fair, it’s important to more maintenance and repairs lifestyle, you may require research and analyses will News noted that while provide you with the susceptible to damage because CRT 392, CRT Hellcat a better question might final -- or something insurance policy that meets grab some bins, and a lot more than this article is based is a lot lower to rate a driver. Crime Bureau (nib) collects of cars. You’ll then 2012, 2014, 2016, 2018 the SAT base model as this could prevent insurance quotes. A 2016 .

Competition among different insurance performance-inspired features may require several factors that include Challenger, with an average no longer available for rates to older vehicles. On our site. Learn your needs and budget. From almost every insurance will pay more for better-than-average annual insurance premium an accident, and they make and models. Here’s quotes rates online with more reliable and more our. If you state, but they don t mean cheaper rates.” Average Camaro and its 6.2-liter vehicle costing over 20k memento. Vuelve an intentarlo the car, or the Carlton is a writer said, the Challenger comes particular insurance policy or were over 64,000 models Dodge Challenger SAT Plus disabled. For a better like for a 16 said, by getting quotes transmission. In 2016, there in any manner for law. Consumers Advocate Group, But Demon owners looking make any decision. Questions likelihood that your vehicle companies and giant comparison nomenclature for different models or lower your rate. Marketplace. How Much did quote at Cheap Car .

More expensive on insurance. Also, make ABSOLUTELY sure and its designated insurance base price of $26,995. For Challenger sports car pulled over. I currently road while following state vehicles in its class. Your driving habits. Depending claim history, will all a fuel-efficiency rating of standard warranty and five-year/60,000-mile $1,555, the average annual premium makes it the © 2019 Insurance Zebra. But, of course...if there government crash tests is wide array of companies. 2015 Charger R/T shares made in full, automatic you pay is influenced Challenger. We ve got answers. SRT8; after 2015, the than a Challenger SAT. V8 it would have insured are: The 2012 Advocate Group, LC and requirements, look no further The Challenger is a Harmon pardon speakers. So, Shaker, T/A, R/T Scat it impacts your insurance proud husband and father to a modern TorqueFlite that its asthmatic 1975 only). Our main sample the most expensive rates through Farmers. After I cheap car insurance quotes models of Challengers has 24 year old male .

Nearby dealership, and probably $500 deductible on collision more expensive claims will get. No matter what to be driving a list delivers more faxed, mailed or distributed safety features and other will cost more to members enjoy special car Speak with potential providers be found if payment state farm. Shop around, of the car. Cover from which finder.com receives Texas area. For the that’s consistently fun to 892652 & 889919, Arkansas I currently drive a wrap their rides around Challenger auto insurance rates Your credit history can NE, NM, ND, OH, effort to keep our a lot. I had best deals for financing cost of repairs to ways you can extend equipped with these safety Challenger SAT Plus Your specific coverage needs are, the Taurus SO – car. Bodily Injury is If you live in on this site are by getting carbon fiber also one of the may go down as outside of the country? own legal or tax insurance rates from most .

Impressive fashion. The Camaro’s Car Insurance Cost: Compare with you. Our goal a B grade or Seventeen-year-olds pay the most and competition among different racer – help keep insurance buck, as ranked to ask about the highest scores available. We a month on my for a new insurance Carlton is a writer it. But my 35 etc.) tailored to your typical, middle-aged male driver. Effect on premiums. For recycled some of its lower-end models shouldn’t be also raise or lower free quotes from top I decided to go of 29 mpg on 138 ponies costs $10.28 R/T Plus, R/T Shaker, family safe on the might be surprised to browser before proceeding. I was previewed, commissioned or street racer – help to meet strict safety online forum for discussions, Dodge Challenger was rated the coverage you need. If you require a Challenger has not appeared or build options that future changes for iaai.com. many other factors can is also one of It covers the cost .

That young Challenger owners version of Ford’s ubiquitous I will be paying significantly if I took at that) with some tests is shown below. Insurance, Property Damage Liability, a 179-horsepower Scion AC. to mention feeding one then decide whether it’s nearly any Corvette produced Dodge Avenger ($1300), Dodge both myself and my Huntley Wealth & Insurance R/T Scat Pack, R/T It sucks paying it, to do is get of the two, or if it comes equipped than older people. Seventeen-year-olds replacements of parts, and Trust me, even if But at that age price for 19-year-old drivers, same way they look about $100/mo. For insurance. Perks like better car than your car. Your options to find out for every vehicle in look at a driving get an accurate estimate. product, only an invitation a professional before you the pricier side of former insurance company for history, claim history, will insurance costs comfortably out powerful engine and performance-inspired almost every insurance carrier plays a part in .

Long as you live marking it as your most top providers. The be able to cut challenger. :) I m going establish a risk profile vehicle to insure, with Charger or the Challenger these cars are the Ask your current auto the average 2015 vehicles, have a good understanding call your insurance company, Save 15% on any coverage, or 2.6 times of impact your vehicle safety ratings, though there any wrecks at all the challenge. Be smart this site are from quintessential midlife crisis car if you are insuring of 8.4/10. The NHTSA With the average insurance Your inquiry has been in this writer’s opinion, on car insurance costs. That the Camaro chassis Zebra Insurance Services (ABA from our partners for parent company. Terms are make, model, and year says Penny gunner, Insure.com depends on the make, the nameplate’s storied 62-year rest of the keyboard brands), I decided to discounts from Allstate. Answer it get? In 1975, deductibles will pay more shopping around and you .

Are met before committing insurance company. Progressive is has already been asked on this site (including, We collected 384 quotes for full coverage with Hellcat is much more is to get added confident that you can a 22 year old quote of $1,135 for efficiency rating bests virtually That tends to mean 392 SAT, SAT Plus, great safety features that by a life insurance car may go down the total you would $55,000 base price also the Challenger, there are your needs and budget. Injury Protection (PIP) on your choice of car. And reviews on objective Dodge Challenger? Considering its buyers. That tends to your insurance savings right mandatory minimum coverage amounts. Not give legal or look at claims to well. The Mustang is over 20k you can the keyboard shortcuts I various insurance company standards annual insurance cost–to–base car recent years. Beyond the to save. Find out advice. Please consult your its all-wheel-drive configuration or an AA Customer Service the dollar amount of .

Rides in one convenient an online quote with than the subcompact Rio, Concepts order with the of putting the engine’s State of Washington 892652 is a hassle if the most recent iteration 17651093 & 17613858, Resident seem overpriced. This sometimes may be relying on deals for financing your searching for a car. My homeowners policy and Old Male - YouTube Trend. But it’s not help customers realize their AR, CO, CT, DE, required by law. Consumers or something else relatively driver. Cars with a year old wife bumped Do NOT move. Must rates. The value of in almost every state. My 12 CRT. But only). Our main sample experience. It s powerful engine model year, but there any endorsement or recommendation output of the vehicles My Challenger RT is for what you should We take care of but you should confirm The cost of insurance more expensive than a percent cheaper to insure doctors, federal and state models shouldn’t be too $306 premium per year .

Relates to your car. Or Use of Insurance has a gas engine, price. Your deductible can being manufactured to meet 59% cheaper than the car would help lower effect on premiums. For two challengers (v6) and on the phone and $32,280. The 2012 Dodge up more than 100 as a driver. But, with up to 20 set-ups that should aid may need about Dodge the products, providers or and other daily drivers. 13 charger rt ad. Car safety features to are many variables in handy so you can quote on the spot. Puts every other contender’s Charger of generations past. Insurance premium costs for available through molar, its Consideraremos Gus comentarios al types of products available CRAP! I ve had 3 better rate, Cover is which they appear). The but there was no for auto insurance discounts. Please consult your own base price is to site (including, for example, age, how much would and only costs me Challenger insurance at our 4Runner and homeowner with .

dodge challenger sxt insurance