VYANA Modern Deco Style Crystal Waterfall Chandelier ( Crystal Waterfall Chandelier #3)
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Modernmod•ern (mod′ərn),USA pronunciation adj.
- of or pertaining to present and recent time;
not ancient or remote: modern city life.
- characteristic of present and recent time;
not antiquated or obsolete: modern viewpoints.
- of or pertaining to the historical period following the Middle Ages: modern European history.
- of, pertaining to, or characteristic of contemporary styles of art, literature, music, etc., that reject traditionally accepted or sanctioned forms and emphasize individual experimentation and sensibility.
- (cap.) new (def. 12).
- [Typography.]noting or descriptive of a font of numerals in which the body aligns on the baseline, as 1234567890. Cf. old style (def. 3).
- a person of modern times.
- a person whose views and tastes are modern.
- [Print.]a type style differentiated from old style by heavy vertical strokes and straight serifs.
Decodec•o (dek′ō, dā′kō, dā kō′),USA pronunciation n.
- See art deco.
Also, Dec′o. [1970–75;
- of, pertaining to, or suggestive of art deco design: The new wallpaper gives the foyer a deco look.
Stylestyle (stīl),USA pronunciation n., v. styled, styl•ing.
- a particular kind, sort, or type, as with reference to form, appearance, or character: the baroque style; The style of the house was too austere for their liking.
- a particular, distinctive, or characteristic mode of action or manner of acting: They do these things in a grand style.
- a mode of living, as with respect to expense or display.
- an elegant, fashionable, or luxurious mode of living: to live in style.
- a mode of fashion, as in dress, esp. good or approved fashion;
- the mode of expressing thought in writing or speaking by selecting and arranging words, considered with respect to clearness, effectiveness, euphony, or the like, that is characteristic of a group, period, person, personality, etc.: to write in the style of Faulkner; a familiar style; a pompous, pedantic style.
- those components or features of a literary composition that have to do with the form of expression rather than the content of the thought expressed: His writing is all style and no substance.
- manner or tone adopted in discourse or conversation: a patronizing style of addressing others.
- a particular, distinctive, or characteristic mode or form of construction or execution in any art or work: Her painting is beginning to show a personal style.
- a descriptive or distinguishing appellation, esp. a legal, official, or recognized title: a firm trading under the style of Smith, Jones, & Co.
- stylus (defs. 1, 2).
- the gnomon of a sundial.
- a method of reckoning time. Cf. New Style, old style (def. 2).
- a small, pointed process or part.
- a narrow, usually cylindrical and more or less filiform extension of the pistil, which, when present, bears the stigma at its apex. See diag. under flower.
- the rules or customs of typography, punctuation, spelling, and related matters used by a newspaper, magazine, publishing house, etc., or in a specific publication.
- go out of style, to become unfashionable: The jacket he's wearing went out of style ten years ago.
- in style, fashionable.
- to call by a given title or appellation;
call: The pope is styled His or Your Holiness.
- to design or arrange in accordance with a given or new style: to style an evening dress; to style one's hair.
- to bring into conformity with a specific style or give a specific style to: Please style this manuscript.
- to do decorative work with a style or stylus.
Crystalcrys•tal (kris′tl),USA pronunciation n., adj., v., -taled, -tal•ing or (esp. Brit.) -talled, -tal•ling.
- a clear, transparent mineral or glass resembling ice.
- the transparent form of crystallized quartz.
- a solid body having a characteristic internal structure and enclosed by symmetrically arranged plane surfaces, intersecting at definite and characteristic angles.
- anything made of or resembling such a substance.
- a single grain or mass of a crystalline substance.
- glass of fine quality and a high degree of brilliance.
- articles, esp. glassware for the table and ornamental objects, made of such a glass.
- the glass or plastic cover over the face of a watch.
- the piece of germanium, silicon, galena, or the like forming the essential part of a crystal detector.
- the crystal detector itself.
- a quartz crystal ground in the shape of a rectangular parallelepiped, which vibrates strongly at one frequency when electric voltages of that frequency are placed across opposite sides: used to control the frequency of an oscillator(crystal oscillator), as of a radio transmitter.
- [Slang.]any stimulant drug in powder form, as methamphetamine or PCP.
- composed of crystal.
- resembling crystal;
- pertaining to or employing a crystal detector.
- indicating the fifteenth event of a series, as a wedding anniversary. See table under wedding anniversary.
- to make into crystal;
- to cover or coat with, or as if with, crystal (usually fol. by over).
Waterfallwa•ter•fall (wô′tər fôl′, wot′ər-),USA pronunciation n.
- a steep fall or flow of water in a watercourse from a height, as over a precipice;
- a manner of arranging women's hair, as in long, loose waves.
Chandelierchan•de•lier (shan′dl ēr′),USA pronunciation n.
- a decorative, sometimes ornate, light fixture suspended from a ceiling, usually having branched supports for a number of lights.


Well, this took a lot longer to post than I meant it to.
I’m a geek. This should be obvious from my twinned blogs; the percentage of fantasy and scifi is pretty high. I’m a once-and-hopefully-future Ren rat. (Well, according to the Renaissance Faire Purity Test, a Playtron.) I’m a Shakespeare geek, too – which ties into the Ren rat thing, I suppose; I don’t believe one engendered the other, but that they came about independently and simultaneously.
The “geek” in my “Shakespeare geek” doesn’t at all mean I think I know everything. Far from it. But I have a strong familiarity with several of the plays and a slight familiarity with the rest, I know enough of the ins and outs of the language well enough (I know how to use thee and thou, and *I*know*what*wherefore*means*) that I understand some of the humor and insult and pun Shakespeare intended. (Not all, by any means – but it’s coming along.)
Blessings upon iTunes. When I discovered the wonderful world of podcasts, I thought I’d died and gone to geek heaven. First I found the NPR podcasts of Wait, Wait, Don’t Tell Me! And Car Talk. And Prairie Home Companion. Oh joy. O marvellous! Some of the funniest stuff on the planet – mine! Free! Woot! Then I started looking for Old Time Radio broadcasts – I love listening to the commercials – and now I have collected so many I’ll probably never be able to listen to them all.
*Then* I stumbled on Bardcast. Which is lovely.
And Bardcast led me directly to Chop Bard, hosted by Ehren Ziegler, “A show dedicated to sharing the plays of William Shakespeare as entertainment for today’s audience – and that means you.” “Or to at least keep your experience from sucking.”
Subscribe to this. Get thee hence and subscribe to it, on iTunes or the website. No, seriously, now. I’ll wait.
It’s always baffled me that so many people “don’t get” Shakespeare. I suppose it’s like a math geek wondering why everyone can’t do calculus … actually, that’s a pretty solid simile, because the math geeks probably become pretty frustrated when everyone around them says how boring or intimidating or pointless calculus is. Right: Shakespeare is none of those neither – when done right. Absolutely anything can be made stultifying if someone tries hard enough – and a great deal depends on how one is taught. So few teachers can instill passion into these plays, which are, at base, so filled with passion and humor, that it leaves me gobsmacked. The language gets so much in the way for so many – and it so doesn’t have to. One thing Ehren Ziegler points out is that if all those teenagers being force-fed Shakespeare in high school really knew what they were reading, there would be anarchy.
It really is hilarious (and at the same time very sad) to think of all those high school students miserably swotting over R&J, never knowing that what they hold in their hands is some of the raunchiest stuff they could dream of … and it’s sanctioned by the school board. Wonderful.
So, here is Chop Bard, with its mission statement of “lifting Shakespeare off the page and back onto his feet”, play by play, scene by scene. The aim of the podcast is to take what so very many people feel is the bane of their high school existence, that stuff they were forced to read which, as a cousin once said, takes three pages to say it’s raining (I never have figured out which play that’s supposed to be), and which they gladly put behind them as soon as they could and never looked back – to take that and: “Strip away all the pretentious highbrow perception, and elitist crap … you’ll find Shakespeare speaking of common wants and needs, of Love, of loss, of hatred, joy, envy, passion, and more. Things from inside of us, made great.” Chop it up, dissect it, pare it back to the essentials, and expose the reasons that these are works which have not survived but thrived for 400 years. There’s a reason people genuinely love Shakespeare – and it saddens me that so many disregard or downright hate it.
Romeo and Juliet has been covered; they’re up to Act III scene iv of Hamlet now (episode 32). As I’ve puttered away my evenings in front of the computer (and today waited for the hair dye to set) I’ve made my way up to 25; I don’t want to catch up too quickly, because new installments don’t come along every week. Through a close attention to the language and an actor’s point of view Chop Bard (not as in chop logic, but as in chop up the work into bite-sized and easily digestible pieces, and season well) opens up the plays, deepens understanding, clarifies. I love hearing the actor’s POV – I don’t think I’ve had the benefit of that before. I’ve learned about Shakespeare from the angle of language, and of history, and of crackpot analysis of who-was-he-really (I don’t identify myself as “Democrat” or (God forbid) “Republican”, but “Stratfordian”) and that’s been great – but the actor, or this actor at least, takes some of all of those (except the last) and adds interpretation. And the interpretation in this case is intelligent, and passionate – very passionate. Woe betide ye who screw with Shakespeare. This means YOU, Baz Luhrmann. And also you lot who still think “wherefore” means something other than “why”. Showing disrespect or a lack of attention (same thing, often) to the script, as Mr. Ziegler refers to the work, is the worst sin in this context – and given the work put into demonstrating why the scripts are worthy of respect and attention, that is a valid stance. I’m certainly not about to argue.
He cites four guidelines or rules for reviewing the plays:
1. Choose to believe the scripts are complete
2. It’s not important or it didn’t happen if it’s not mentioned in the text
3. Characters never lie to the audience
4. Always find the forward action of the words
The characters are given a large part of the incisive attention on the podcast. Again, the actor’s eye is great here: a good actor is going to want to know what is in his character’s head, and a good director is going to work that out with him. I read Romeo & Juliet in high school (like everyone else), saw the Zeffirelli film, and saw scenes played (extremely well) at the Faire, and it’s not one of the plays I’ve steeped myself in since – and the word portraits of the nurse and Juliet’s parents were a revelation to me – as well as those of Mercutio, Tybalt, Friar Lawrence, and – of course – Romeo and Juliet themselves.
The language is given a healthy percentage of time, as well, of course. One beautiful thing about watching and reading Shakespeare is that there are just certain things for which no one has the answer. I’ve been watching Twelfth Night quite a lot lately, and from that one: Mistress Mall? No one knows exactly who she was, though there are theories. Peg o’ Ramsey? Ditto. Oh, and as for:
In sooth, thou wast in very gracious fooling last night, when thou spokest of Pigrogromitus, of the Vapians passing the equinoctial of Queubus: ’twas very good, i’ faith.
– ? The Fool was making crap up. So sometimes, if you don’t know what Shakespeare’s characters are talking about – no one else does either. It’s a bit chuffing, that.
Listening to this podcast stirred up cravings. I hadn’t sat and watched a play in quite a while; for a time there I was taking out some of the BBC complete series and other productions from the library on a regular basis, intending to see as many plays as possible. This made me think about some of the great productions I’ve seen – Branagh’s Much Ado About Nothing and Henry V, Patrick Stewart in The Tempest, the production in the early ’90’s New York Renaissance Faire (Festival, then) of Midsummer Night’s Dream which was one of the most magical things I’ve ever seen, and one of the funniest. And, two years ago, New York’s PBS aired a purely wonderful production of Twelfth Night.
Thinking about the productions made me decide to add my own feeble voice (though not literally) to the discussion of the scripts. It’s not going to be the whole blog – if I can manage it I still intend to write about books and whatnot – but I’m planning on working my way through the plays somewhat in the same manner as Ehren Ziegler, and I think following the order he’s using. Except I’m starting with Twelfth Night, for reasons I’ll talk about when I start it, but suffice to say I consider myself extremely lucky.
To close, here is another quote from the first episode of Chop Bard:
The works of William Shakespeare are incredibly vibrant, relevant, and deserving of constant rebirth. They’re not so delicate that they can be broken by a little rough treatment. … Some people are too delicate with Shakespeare, making every syllable so precious, so revered that the audience is in real danger of becoming bored to death, losing the meaning and thrill of the story – like people who collect Star Wars toys and never open the box to play with them, It’s just wrong.
Yup, I’m a geek. If I ever needed any confirmation of that I have it, because I am looking forward with an absurd amount of glee to opening all the boxes and playing with the toys.


I have come to Japan for my artist residency (AIRY – Art Residency in Yamanashi) located in Kofu city. I am here for 3 month, during which I was involved with the Kofu Art Festival. I have found a wonderful, kind and talented community of artists here and I am so excited to be a part of it even though for a short time.
If you go to the web page of the Art Festival you will find a map of the city with clearly marked art locations HERE, by luck my exposition place is marked number 1. Every artist has a different place, like a cafe shop, creative space, restaurant, tea room, mine is an open studio where I am painting every day and exhibiting finished works.
The festival was opened on the September 22nd, artists and guests gathered in the center of the city in front of the gallery where it was announced the festival has begun and for the celebration a big jar with beer was “cracked” open.
After the official part everyone when different directions following the festival map. I must say that local artists have a very creative approach to art. One of the most memorable places was a sight some place behind the building, away from the road next to the constructions where we found nothing else but a bunch or rusty metal and trash, accompanied with terrible smell. I think I would never would have found this place. It was very bold of the artist to make this statement. I liked the various textures of this falling apart place.
Another unique project we found on the roof of an old tea house. The sphere was being made out of bamboo. There was an opening in it, the artist has explained that when it will be finished anyone could have a tea inside the sphere.
We did not forget to take our shoes off entering the tea house.
Serena Lumley, Australia, is another resident at AIRY, she displays works at the lovely cafe. Serena works with oil and acrylics.
Elsa Guillaume, France, is the 3rd resident, she did wall paintings around AIRY, even on the roof.
Izumi Sakamoto is our organizer. She is an artist herself, and for the festival we helped her installing a wonderful hand done textile piece at the cellar of a cute shop.
At 3 pm there was a continuation of the opening party. A great DJ was performing at a gallery. This performance made me miss clubbing.
There are different events through out the festival time, that ends on the October 14th. The opening at our studio was on the 23rd. At noon there was a concert of 3 bands held in my studio. (The works you see on the walls are my latest watercolor paintings).
Later in the evening we, AIRY artists, were invited to give a little talk about our works, after which all of us watched a documentary filmed about AIRY artists last year.
It is not even a middle of the festival and there is so much to happen yet.


The Woman in the Fifth
British-French thriller about an American writer (Ethan Hawke) who escapes to Paris to reorganise his life. There he lusts after a widow (Kristin Scott Thomas) who has deadly intentions to keep him forever.
After a scandal costs him his college lecturing job, Tom temporarily leaves his daughter and estranged wife, hoping to one day win back their love and forgiveness. When that plan threatens to fall through, he grows a desire for a beautiful French woman, Margit. As the lovers’ passion deepens, an inexplicable chain of events begin to occur. When the life of Tom’s daughter is threatened, he begins to suspect Margit as the catalyst of the chaos.


Suzy's Fancy - ARCHIVES
by Suzanne Labry
April 22, 2016 marked the 46th anniversary of Earth Day. The purpose of this annual event, which is celebrated all over the world, is to show awareness of and appreciation for the Earth’s environment and to engage in “green” activities—those that preserve environmental quality.
This year’s Earth Day was particularly momentous because it marked the signing by over 120 countries of the Paris Agreement, the climate protection treaty adopted at the 2015 United Nations Climate Change Conference.
One of the core principles associated with Earth Day is recycling—the practice of reusing items that would otherwise be discarded as waste. Variations of recycling include upcycling, which involves adding value to an item for reuse, and downcycling, which involves breaking down an item or substance into its component elements in order to reuse anything that can be salvaged.
Pretty much by definition, then, it is clear that quilters have always been the consummate recyclers, regardless of whether they are upcycling or downcycling!
Surely quilting has to rank among the “greenest” of activities. Feed sack quilts, scrap quilts, suggans, waggas, “britches” quilts, crazy quilts, kanthas, rallis, tobacco sack quilts, yo-yo quilts—really just about any type of quilt—could be considered an exercise in recycling of one type or another.
Hollyhocks II by JoAnn Hofffman and and Shirley Hobbs, Hill CIty, South Dakota. Original design containing Dream Green batting. This quilt won the Merit Award for Machine Quilting at the 2015 International Quilt Festival in Houston. Frogs, geckos and hummingbirds are hidden in the quilting.
We’ve probably all seen old quilts that contained another worn-out quilt as a batting, and perhaps we even know of quilts where the remains of an entire garment were stitched into a quilt top in a hurried, frugal effort to make warm cover. And can there be a better example of recycling than a string quilt? Most of these types of quilts could be considered examples of upcycling and they’ve been around for a very long time.
A relatively new addition to the quilt realm, however, definitely falls into the downcycling camp: batting made from plastic bottles. Kathy Thompson, President of the Virginia-based Quilter’s Dream Batting, says that she had the ecological sensitivity of quilters in mind when her company created its Dream Green™ batt.
“Quilters are recyclers, and I wanted to offer them a beautiful, practical fiber made out of something that otherwise would have been discarded as waste,” she says. “To make Dream Green batting, recycled plastic bottles are cut into chips, washed, melted and extruded into fine polyester fibers. Each pound of Dream Green keeps 10 plastic bottles out of our landfills. To avoid additional processing, we’ve kept the green bottle color. Even though not all the bottles that are recycled are green, those that are give the green cast to the batt. It is colorfast though, and doesn’t show through any but the lightest colors.”
JoAnn Hoffman, an award-winning quilt artist, pattern designer and longarm quilter who lives in South Dakota, appreciates that the batting is made from recycled plastic. “Plus, the batting is wonderful for art quilts,” she offers. “Quilts hang so perfectly with this batting. Sometimes I will even use two layers depending on the project. If you place it behind white fabric it gives off a green glow. I wanted the green glow on my quilt.”
Kermit the Frog famously says that it’s not easy being green. But when it comes to quilts, old methods and new materials are combining to make “green” quilting easier than ever—and that’s something quilters all over the world can do to support Mother Earth.


The June 2013 issue of Zoomer
magazine features a fabulous vintage photo of the iconic celebrity Elizabeth Taylor
According to the press release, the issue “reveals new details of her time in Toronto with Richard Burton and their secret Montreal wedding.” And the release goes on to say that Taylor is also being celebrated at the Cannes Film Festival where a restored print of the film Cleopatra was presented by Bulgari and 20th Century Fox.
The cover image is by Canadian photographer Douglas Kirkland, who worked in the 60s and 70s in NY for both Look and Life Magazine. In addition to Taylor, he also shot Marilyn Monroe and Marlene Dietrich.
This just in from Marisa Latini:
“The June issue of Zoomer is another first for us, where we are utilizing a vintage image of a celebrity on the cover and it’s sure to move copies,” said Latini, VP Marketing, ZoomerMedia.
“The main feature is part of a bigger package on second-and-beyond marriages, and the issue contains a package on 'Post-Career Careers' — perfect for our demographic,” she added.
This first-ever vintage/nostalgic cover is exciting, and I love it. Plus, the cover has all these things going for it too:
- Iconic star
- Great eye contact
- Fab black cocktail dress
- Great jewellery
- Tons of benefit-oriented cover lines
- Taps into free media hype


The Johannes Leonardo Agency took home the Grand Prix for the Entertainment for Music Award at the Cannes Lions Festival of Creativity on Tuesday night (June 20) thanks to their Adidas Original Is Never Finished campaign. The multimedia campaign featured a slickly produced Terence Neal-directed video centered around the reinvention of the Frank Sinatra classic hit “My Way,” and included star cameos from Snoop Dogg, Desiigner and MadeinTYO.
“‘My Way’ is a film that aims to empower young creatives to do things themselves, to make them on their own, but still being inspired by that past,” Ferdinando Verderi, creative director of Johannes Leonardo, told Adweek. The two minute video centers around the idea that originality doesn’t have to mean being first. “Most younger kids, all of us, when we [try to make something] creative the first time, hear, ‘That’s been done before.’ That’s one of the things that block people from creating. It’s so intimidating; everything’s been done before,” he said. “But if you look at the most important things in art history, they all started from something that’s been done before. Obviously it’s impossible to distinguish between inspirations and a trait of creativity that passes from one to another. So we wanted to make a statement about that. We took iconic scenes from the past and turned them into something for today.”
After receiving the award, Verderi offered some personal history, “We started Johannes Leonardo with nothing but a belief in the power of transformative brand ideas. Our three-year strike thru platform for Adidas Originals proves the impact it can have on the fortunes of a company, on a category and on culture. Of course accolades are nice, but when they come with legitimate business results, and help trigger the unprecedented resurgence of one of the world’s most loved brands, they mean so much more. This work is the result of a deep and open partnership with Adidas.”


2016 is a year linking the arts to all community members. Art center staff and newly elected board members look forward to a year of more people enjoying art here at the Bonifas in all types of new & exciting ways.
We want to exhibit more of your art, offer classes and workshops that you will enjoy and provide wonderful art experiences for you, your family and friends — our collective community.
You can plan an exciting summer this year at Ludington Park as we present free concerts with Music Mondays and as we develop a more dynamic Waterfront Arts Festival weekend led by the combined efforts with the city of Escanaba, the Delta County Chamber of Commerce, and the Delta County Convention and Visitors Bureau.
Our commitment to the schools stays strong as we support our youth with programs both here at the art center and in the schools. This spring we will celebrate student work with our Youth in Art Exhibit and Talent Show. We’ll also prepare for our fall fourth grade field trips that will reinforce the science curriculum with creative and hands-on learning methods. Keep your eye out for more after school and family programs as we partner with 4H.
You deserve more great community theatre and so we will be upgrading the fly system here in the Bonifas theater. As home of Players de Noc, it will be a busy year as we work with them to raise funds to match a state grant and complete the project.
Our programs and events reflect an ever-widening community that includes you, so each of us can say “We are the Bonifas.”


|Basis||Twelfth Night by William Shakespeare|
|Productions||1976 Seattle Repertory Theatre|
Music Is is a musical with a book by George Abbott, music by Richard Adler, and lyrics by Will Holt. It is the second musical adaptation of the William Shakespeare play Twelfth Night, following Your Own Thing in 1968.
The plot focuses on mistaken identity. Masquerading as a young page named Cesario, Viola enters the service of Duke Orsino, who is in love with Olivia. When she rejects his romantic advances, Orsino decides to use Cesario as an intermediary. Olivia, believing Cesario to be a man, falls in love with the attractive messenger. Viola, in turn, falls in love with the Duke, who also believes Cesario is a man and regards him as his confidant.
The musical had its world premiere at the Seattle Repertory Theatre in 1976.  The Broadway production, directed by Abbott and choreographed by Patricia Birch, opened at the St. James Theatre on December 20, 1976 following 14 previews and closed on December 26 after eight performances. The music was orchestrated by Hershy Kay, and Paul Gemignani served as musical director.
The cast included Catherine Cox as Viola, Christopher Hewett as Malvolio, Joel Higgins as Sebastian, David Holliday as Duke Orsino, Sherry Mathis as Olivia, Joe Ponazecki as Sir Andrew Aguecheek, David Sabin as Sir Toby Belch, and Daniel Ben-Zali in the dual roles of William Shakespeare and Feste.
Birch was nominated for the Tony Award for Best Choreography and the Drama Desk Award for Outstanding Choreography but lost both to Peter Gennaro for Annie. Cox was nominated for the Drama Desk Award for Outstanding Actress in a Musical but lost to Clamma Dale in Porgy and Bess, and Hewitt and Ben-Zali were nominated for the Drama Desk Award for Outstanding Featured Actor in a Musical but lost to Ken Bichel, Michael Mark, John Miller, and Joseph Saulter, who shared the award for I Love My Wife.
|This musical theatre related article is a stub. You can help Wikipedia by expanding it.|


This is a treat that I did not know existed. It is a pleasure to see and to hear Jon Vickers and Monserrat Caballé at the height of their powers. The production, from the amphitheatre at Orange, in 1974 must have been one of the first ever live filmings of an opera. Sadly, the pioneering nature of the project is all too apparent: it seems to have been filmed with just a couple of cameras and lit with a 40-watt light-bulb. Members of the chorus get in the way of the principals and, quite often, the stage seems to be in almost complete darkness. Then there is the famous Orange wind to contend with: it seemed to be blowing at force 9 on the night this performance was filmed. It reminded me of the English sport of extreme ironing whose devotees like nothing better than to press their clothes halfway up a cliff. This production is a demonstration of extreme opera but, miraculously, on a few occasions everything comes together. Caballé in Act I sings defiantly into the wind as it lashes her cloak around her shoulders. Caballé, in fact, comes out best throughout. She has a dynamic range and vocal control that would be astonishing even in a recording studio never mind a Roman amphitheatre. Her fading glissando at the end of Casta Diva is probably the equal of Callas's.
In most of the performances of Norma that I have seen Pollione is played as a bit of a wimp so it was refreshing to see Jon Vicker's virile performance. Sadly the wind and the primitive recording quality mar most of his singing so we only get an impression of how the great man must really have sounded. The highlight of Norma is the close harmony duets between the two sopranos but, Joséphine Veasey as Adalgesa was unable to defy the elements in the way that Caballé could so their duets are a disappointment. All in all, a tantalising glimpse of what might have been.
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Flowers Gallery, Cork Street, is pleased to present an exhibition of new works by Nicola Hicks. Hicks studies the nature of character, exposing the real traits of her creations. There is a quiet expressivity to the artist's creatures that resonates beyond their situations, suggesting that the animal acts partly as a proxy for human emotions.
In Hicks' three-part sculpture Dressed for the Woods II, 2013, a bear sits at the feet of two figures seemingly draped or clothed in furs. The dynamics between the characters is essential to the impact of the piece. In this sculpture, Hicks aims to conjure the equally forceful, savage nature of love, the many guises that it takes and the innate urge to protect that accompanies it. Hicks' sculptures are complex compositions, painstakingly detailed, yet rich in spontaneity. Her rigorous study of anatomy and the intricate rendering of fur are affirmed by the precision of her forms, while the scale of her works contributes to the colossal psychic presence of her sculptures.
Hicks has always seen her drawing as a process that runs parallel with her sculpture; the two are inseparable, one feeds and inspires the other. This selection of drawings depicts a menagerie of beasts. For Hicks, the spontaneity with which the line is released onto the page reveals unique responses. The drawings have a vigour and immediacy through which she expresses her own personal visual language and social critique. Hicks has also created a new series of monoprints to be exhibited in the downstairs gallery.


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Everytime he puts his hand in his pocket he will think of you!


They always give a picture to work from, but you are free to use anything else. I worked from my own stash this time.
I am also participating to another challenge with this, a new one - yay. Old, New and Digital too. This first month, the theme is free. The work has to have something old (I did the background a few years ago), something new (the sentiment from a newly purchased sticker sheet) and something digital (the couple, downloaded and printed).
Thanks for looking!


I learned a new word today…
The 20th of July will mark 2 years that I quit the coffin nails. I decided to mark the occasion by ordering another of @Whiterose0818 beautiful custom creations. This time I went with a stabwood finish. From choosing the main body color, the accent finishes, the power option etc…once again, Robert made the design process absolutely pain free.
At the same time, I also ordered a second mod as a surprise present for my good friend and drummer. He is the person who helped me quit smoking. He handed me his old Kanger Evod and Protank 2 two years ago. After speaking with Robert about the colors for this one…we went with matching the finish on the drum kit my friend currently uses. I can not wait to surprise him with this thank you gift!
The following pictures by no means do justice to what these stunning mods look like in person.
My new piece of art…all reds that are popping through are translucent pieces with light coming through from behind. In the last pictures of both mods, the bright red/orange light is actually coming from the led indicator inside…yes.
The gift for my friend…
Thank you Robert for these magnificent works.


Ram Charan, Dhanush, Prabhas are the most popular stars of the Tollywood film fraternity. Their
Fans love Ram Charan. He showed up with Chirutha in 2007. He has acted in numerous movies and has accomplished so many accolades. He has an enormous fan following and allies, not only for his astonishing looks and acting chops yet additionally he moves like a pro dancer.
On the other hand, we all love Dhanush and fans go gaga over him for his royal looks. Raanjhanaa star Dhanush looks stunning in whatever he wears. Apart from that, he is also known for his swag dancing skills.
Prabhas has become one of the popular actors. Fans respect his acting abilities and go gaga over him for attractive looks and astounding acting. His dancing skills have earned immense love from the audience, however.
Speaking of which, here we have lined up some of their dancing videos down beneath, check out:
Who do you think is the best dancer in the industry? Let us know in the comments below.


Nomad Studio has updated the resolution of the graphics for which this is the final version, and you can get them in physical version with Limited Run Games.
Nomad Studio has announced that independent play GRAY will arrive on PlayStation 4 on 26 November. In addition to its version for digital distribution, Limited Run Games has announced a edition physics with a price of 29,99 dollars. The original was launched in December of 2018 for Nintendo Switch and PC, but the team has wanted to take it easy to add several improvements to the game.
“we Wanted to give the best version of GREY possible. GRAY has been acclaimed and awarded for its visual design, hand painted art, and fluid animations, so we wanted that the version of PS4 to be an absolute marvel in motion”. Artists and designers have updated the scenarios and reviewed “more than 500 graphic materials to double or quadruple resolution to take advantage of PS4 Pro and the screens 4K. Equally, the majestic music Berlinist has been integrated into the game with less compression so that the music and the audio sounds more clear and bright”.
The study has also made other improvements in the experience and a tribute to secret exclusive PlayStation “one of our favorite games and inspiration for GRAY“. Roger Mendoza, developer of Nomad Studio, says that it is an honor to share a platform with Journey Thatgamecompany, “a game that not only worship when we play on PlayStation 3 but it has been a great inspiration during the last few years”.
Winner of the prestigious Annie
GRAY stands out for its visuals, with the graphic style of Conrad Roset and his team of artists. At the beginning of the year received a prize Annie from the International Animated Film Association, but in analysis I discussed that “it is much more than a beautiful game, with interesting levels and challenges, well-designed, whose quality is accentuated thanks to the beautiful packaging in which it comes to us. We believe that the less you know of him the more you’re going to enjoy, and I recommend that, if you we have in our analysis that just guts nothing you are attracted to, I lancéis for him. Unwind over it, let the music will wrap around it, and help Gray to recover the colors of your life”.
Phoneia.com (November 22, 2019). GRAY, the acclaimed independent game Spanish, comes to PS4 on November 26. Recovered from https://phoneia.com/en/gray-the-acclaimed-independent-game-spanish-comes-to-ps4-on-november-26/


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Explore and be inspired by the latest women's fashion news and trends.
Gestalten TV presents insider, art collector, ex-lawyer and book editor Patrick Nguyen in a video
Set to Velvet Underground’s “Oh! Sweet Nuthin’,” RISK and FLAUNT Magazine present a
The works of enigmatic and world-renowned street artist Banksy rarely last long enough to be
Australian artist RONE’s Can’t Stop mural at Bois de Vincennes Park showcases his signature style
UK artist and designer INSA took to downtown Los Angeles in a spray painting frenzy this month,
This past weekend served as the launching point for Shepard Fairey’s latest “Harmony & Discord”
Continuing its informative video interview series highlighting renowned street artists, Arrested
Shepard Fairey exemplifies the ‘hard-worker’ by attending both the Pace Paper studio in New York
This past weekend marked the opening of “Journey is the Reward” by Australian artist MEGGS. Hosted
Los Angeles-based OG SLICK hooked up with CALE of K2S in this latest video from DISSIZIT. Set to


Billie Eilish is set to perform at the Oscars, where fans speculate she may be unveiling the theme tune to upcoming Bond movie.
The 18-year-old singer has been confirmed to be delivering a "special" performance at the Academy Awards on February 9.
The Academy made the official announcement on social media.
It's unknown what song Billie will be performing at the star-studded award ceremony, but fans suspect she might use the stage to unveil the theme song to upcoming James Bond movie No Time To Die.
The performance news comes as the 'Bad Guy' hitmaker recently made history at the Grammy Awards over the weekend, when she became the youngest artist, and only the second artist ever, to scoop the ceremony's four biggest categories - Record of the Year, Song of the Year, Album of the Year and Best New Artist.
When she picked up Song of the Year for 'Bad Guy', Billie admitted she "never thought" she'd ever win a Grammy Award.


Drawn for Philco by Walt Ditzen, who drew a syndicated sports strip called "Fan Fare." His newspaper work was amazingly clean, but that could've been due to the inker.
Modern audiences might not recognize Tojo's headgear. It's a spittoon.
With Victory, the Age of Electronics will dawn for all humanity!


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7mm wide x 18cm diameter
Gorgeous authentic handmade Greek stefana. These beautiful wedding crowns feature 3 separate wires intricately wrapping together making an elegant twist effect. Sold as a 2 piece set and attached together with white satin ribbon. Available in silver or gold.


I'm so excited to share my baby girl's Neverland themed nursery with you today! The inspiration for her room came from my love of Disney's Peter Pan! To make it more feminine, the look of the room plays less with Peter Pan and pirates but more with fairies, mermaids, and Indians! The look is all tied together with a simple color scheme and an overall rustic floral boho vibe. Our son's pirate themed room is full of darker moodier colors so I wanted to create a very bright and warm space for our baby girl. However, we had to use our son's dark wood crib and recliner for the space. We did buy a new (used) white dresser for her though, sourced locally in our community, and then placed our son's changing table topper on it giving it a nice two tone look—in an attempt to not make the crib and recliner the only darker elements in the room. My favorite part: spending the time gathering pieces for her gallery wall above the changing table and the floating shelves above the recliner. I had so much fun buying from artists that I have followed for years as well as buying from
This past weekend I got to experience the Walt Disney Family Museum—finally! We made a trip up to San Francisco, just to make it in time to experience the Mary Blair exhibit at the museum. With only 2 hours in total to spend there, we started with Mary Blair as the thought was, the Walt Disney Family Museum will always be there and we can always come back. So that's how I ended up spending a whole hour in Mary Blair world and had to rush through the Walt Disney Family Museum at lightning speed. Yes, rush, as there are 11 galleries to experience and each one is pretty big and unique! I really didn't get to read much but just get the overall impression of each gallery and move on
Today my Disneyland pass expires. After having an annual pass to the Happiest Place on Earth since Christmas of 2004, I am so heartbroken to not just be able to head down there whenever I want. Looking back over the years, I feel so blessed and am so thankful for all the little moments and celebrating all the major milestones. It's the place I fell in love, it's where friendships were strenghtened, its the place where my little nieces and nephews saw a whole new world with a sparkle in their eyes. And oh my gosh, I miss it already. On the other hand, Disneyland to me has always been a creative and artistic masterpiece. Every single nook and cranny has been thoughtfully executed down to the smallest detail. It has been crafted with love and a passion for the ideals of one man, Walt Disney. Walking down Main Street, I am just filled with so much creative juice that my heart just feels full and my mind is racing with ideas. And while I am taking a break from having a pass for awhile
Many people are shocked to find out I only truly fell in love with all things Disney[land] just when I met my hubby 10 years ago. I grew up on Disney's movie magic and loved the random trips we took as kids but it wasn't until Andy pointed out the random holes in the wall on the Pirates of the Carbibbean ride and asked if I could see the Hidden Mickey—that my love for Disney grew into a passion. From there, my obsession with all things secret—and even mythical—about Disneyland began. I found an outdated website with Hidden Mickey sightings, printed out pages and pages and went through the park marking them off one at a time. Yeah, Andy kept his distance from me on those days. :) What kept me so entranced by these hidden gems is the artistic detail the park Imagineers tended to. All this "hidden stuff" is just bonus fun to an already amazing place to visit. It's what kept me going back trip after trip, year after year. It's these small details that place the quality of Disneyland over an other amusement park. So I just wanted to take some of these little gems and share them with you!
In Southern California, it seems like everyone—at one time or another—has had a Disneyland annual pass. And I have had a Disneyland pass for a solid 9 years now. But the plan right now, is when my pass expires in May, to not renew it. We just aren't able to go nearly as often as we used to
1. Texas Monthly, Jon Contino I love when the different sections in life spill over into one another, in particular when the husband's BBQ world collides with my design world. So when I saw this post by the wonderful letterer and design, Jon Contino, for Texas Monthly I just knew I had to share it with you all. From the saucy titles on the cover to the handdrawn map of southern BBQ—there's truly some amazing work to see plus a video on the "painting with BBQ sauce" process. Check out more photos from the magazine on Jon's site. 2. Starbucks Coffee Perfection Can you even fathom the man hours to create such a promotion? Cutting all the smallest of pieces of paper, manipulating the characters on the screen in between each take, but the joy and gratification of seeing the final product must totally outweigh all of that! What a beautiful work of art! Here is the finished commercial, be sure to check out the behind the scenes work from Rogier Wieland on Design Work Life. Starbucks Coffee Perfection from Rogier Wieland on Vimeo. 3. Easy, Tiger Cards Another post from Design Work Life
While I continue to play catch up every evening on all my various freelance projects, I thought giving another glimpse into a couple of my last 2 weeks' projects would be fun! 1. Nautical Baby Shower Invite Last week, I designed a baby shower invite for a friend of a friend
1. Flourish Letterpress Wedding Stationery Seriously in love with every piece and every detail in this wedding invitation suite. Printed by Flourish Letterpress, found via the Graphic Exchange. 2. Circus Characters by Jonas Bergstrand Beautiful illustration work by . My eye is particularly drawn to the way patterns are used in the shadows. Found via Brave the Woods, illustrated by Jonas Bergstrand. 3. Want this Typeface: Oaf Can I have it? Pleeeeease? Oaf doesn’t go to art museums or the opera. Oaf doesn’t eat paté, whatever that is. Oaf was painted on a wall by an eccentric Canadian with a paint roller. The result is an unusual combination of straight, evenly weighted strokes and rough, handmade charm. Purchase Oaf here. Found via Good Design Makes Me Happy. 4. Destination NYC Logo It took me awhile to come on board the trend in every changing and morphing logos


- BALTIC Centre for Contemporary Art
Britain's newest centre for contemporary art, with an excellent website which includes an interactive map of the building and a timeline of its history.
- Eyestorm Online Gallery - Buy Limited Edition Contemporary Art and ...
A site to discover and buy contemporary art in many forms, including paintings, photography and prints; also linked to Britart.com focusing on work by British artists.
- Home | a-n
Includes practical features on how artists can juggle money and workload, and lists job opportunities and contacts in the contemporary art industry.
A centre for experimental and creative projects exploring interactivity and motion images, with many projects broadcast live online.
- Welcome to Axis - the online resource for contemporary art
Information about contemporary visual artists working in the UK, with a searchable database of artists, commissions and projects.
- MOCA | The Museum of Contemporary Art, Los Angeles
MOCA's digital gallery allows an interactive look at some intriguing contemporary art, the library is also an excellent resource with over 10,000 books and periodicals searchable online.
- Journal of Contemporary Art
Interesting for the detailed and revealing interviews with artists transcribed in full online, plus features on their current projects and portfolios.
- Linkdup - a site critically reviewing other websites
A site critically reviewing other websites from a design perspective, with a constant stream of new and varied recommendations.
- Institute of Contemporary Arts : Homepage : Homepage
The ICA London site is useful for its online bookshop and a newly developed Online Art section featuring web-based art projects and exhibitions.
View and buy contemporary British art in many forms and read reviews of current art shows.


Bingo Card Halloween Costume Or Bingo Card Halloween Costume With Plus Together With As Well As And
Cut out some eyes from construction paper and stick them on the jars before you put on the tissue so you can have the eyes slightly covered and just peeking. Cats What s Halloween without black cats? Use paper plates to create cat masks or some cotton and crepe paper to create billowing streamers. Skeletons The most common skeleton man would be made out of white or luminous paint on black background. You can however create a good looking skeleton with different kinds of pasta. Wouldn t it be awesome to do some Halloween arts and crafts to transform your home into one of the scariest haunted houses in town? Your kids will absolutely love this idea. All you need is a theme some accessories appropriate lighting and sound effects. Cemetery Halloween Arts and Crafts Theme Coffins bones stone hedges and dead bodies are appropriate for a cemetery theme.
Vampires Vampire masks with fangs can be easily made with paper plates. More imposing ornamental life size vampires however can be made out of coat hangers and black garbage bags. UFO UFOs are not typical Halloween figures but stories about alien abductions sure make scary Halloween tales. Make UFOs out of paper plates that you can hang from the ceiling. You might also want to complement the ships with cookies shaped like stereotypical aliens instead of ginger bread men. Worms Worms in cans can be made of brown crepe paper. They can seem yuckier to the touch though if you use gummy candies and cooked spaghetti. Ghosts Just like spiders ghosts can also have a lot of variations. You can make ghost Halloween arts and crafts for kids made of socks packing foam old cloths crepe paper helium filled balloons white painted jars tissue and clay. The Mummy For a mummified figure you can wrap a jar with tissue paper or gauze.
As said creativity is the master of all arts. Making candy corn out of polymer clay is quite easy and it is an excellent project for just about any age group. These little polymer clay candy corns are so cute and are great for adding to all sorts of decorations and other things. You could use them to embellish things like frames magnets candles or even for adding to scrapbooking pages. Supply List: - Polymer clay (yellow orange white) - I normally use the Sculpey brand Clear acrylic sealer (optional) Instructions: 1. Warm up each color of clay by rolling and kneading it until it feels soft. Now roll each color out until it s about 1/4" thick. Now press the three rolls together with white on top orange in the middle and yellow on the bottom. 2. Find a thin sharp edge such as a thin piece of cardboard to use to slice through the clay.


Aquwin May 6, 2022 9:37PM
So she beg a magical girl to turn her in a girl not knowing the girl she liked or wanted to befriend was said magical girl now they are friends and the magical girl is catching feeli g because she made her in the image of her type or at least that what I'm getting
drpepperfan May 6, 2022 10:39PM
I don't think they knew each other beforehand Aquwin, just seems like she seeked her out afterwards. And I don't really think she made her like her type intentionally.
Golden Mertens May 6, 2022 10:55PM
This would make a very interesting series actually
last edited at May 6, 2022 10:56PM
Norainhere May 7, 2022 12:31AM
Going by the commentary, it seems like the magical girl knew and had a crush on her as a boy, which is probably why she agreed to the request in the first place. Not only that, but she's also surprised that she still has a crush on her now that she's a girl too, which is pretty wholesome.
This was also a commission, so I'm not sure if this will get continued at some point. I hope it does though; it's cute.
yuri n wine May 7, 2022 12:34AM
lowkey thought this was rin and saber
UrsaTempest May 7, 2022 1:04AM
Very very cute!
Zexalfan May 7, 2022 1:38AM
also really like this premise!
FluffyCow May 7, 2022 3:17AM
Dynasty Reader May 7, 2022 5:15AM
I expect a manga of this imminently. XD
luinthoron May 7, 2022 6:00AM
Missigno May 7, 2022 7:24AM
elevown May 7, 2022 8:56AM
I agree- I think she didnt know magical girl was the black haired girl. And while she fancies him she still did as he asked - reluctantly - because he really wanted it and he's important to her.
Not sure to what degree he knows the blackhaired girl- maybe just a class mate?
And afterward, I think it looks like yes, she realises she STILL likes him after the change.
I'd love to see this as a series.
last edited at May 8, 2022 10:23AM
Roodypatooti May 7, 2022 8:59AM
Risamari May 8, 2022 3:58PM
this makes my heart skip beats
Yanako May 8, 2022 5:24PM
Huh, that's neat, tg yuri is quite rare.


Lawless Retreat in Jones, MI Real Estate Development, American Residential Property, USA Architecture design
Lawless Retreat in Jones, Michigan
American Luxury Cabin design in Michigan, by Searl Lamaster Howe Architects
Nov 28, 2019
Design: Searl Lamaster Howe Architects
Location: Jones, Michigan, USA
Photos by Tony Soluri
Lawless Retreat, MI
The clients had searched five years across four states to find a site for their weekend home that spoke to them. Lawless Retreat was to be everything that their Chicago residence – a lofted space nestled within the attic trusses of a converted church – was not. The loft is in the heart of the bustling Wicker Park neighborhood; they sought serenity and a slower pace.
The loft features a highly curated collection of sleek European contemporary furnishings; they were inspired by the idea of a sanctuary with a modern sensibility but also rooted in its place with hand craftsmanship felt on scales big and small. The loft’s views of the downtown skyline are finely calibrated to maintain a sense of privacy in the dense neighborhood; they sought an abundance of transparency and a direct connection to nature.
Overnights in a tent on the three properties that made it to the final round assured them that their ultimate pick – a strip of land with a valley and a small creek at its center, nestled along the edge of a state park in central Michigan – was the right choice. On a brisk autumn morning, with stakes, lots of orange tape and the design team in tow, they set out to establish the final positioning of the house – just below the north ridge at spot with an expansive view down the valley in the winter and perched within a canopy of leaves in the other three seasons.
The progression – both in scale and in transparency – from the shaded and low-slung front porch through the structure, terminating with the living room’s expansive view into the woods beyond is this home’s defining feature.
A pair of glulam beams running the length of the house reinforce a sense of movement and order as the interior floor levels terrace down, following the site’s terrain. Although the floor drops just a tad over five feet in total, the effect is dramatic; arguably to a far greater degree than if the floor remained level and the ceiling was the stepped element.
The entry axis crosses a secondary axis which includes a stairwell on one end and a screen porch and deck on the other. The secondary axis rises up to the top-level master suite and down to the lower level.The intersecting axes are expressed on the exterior as two contrasting volumes.
A three-foot module was used to lay out the house, instilling a sense of overall unity; its regimented ordering stands in contrast to the wilds of the site beyond. Two materials define the exterior – cedar (both untreated and charred) and obsidian lap siding. While a black house in other contexts might be defined by its bold distinctiveness, here it serves as a quiet background to the lush mix of maple, oak, cedar, aspen, and ash trees that envelope the site.
An acute concern for materiality extends to the interior. Naturally clefted black slate floors are a constant, lending a layer of organic texture to the organizing module. The untreated cedar roof overhangs extend directly inside where a warm glow is provided by a series of barely visible suspended light fixtures. Most of the home’s cabinetry, built by local craftsmen, is also untreated cedar.
The exceptions to this being the kitchen and master bedroom millwork which is oak dye stained in a deep, deep green. The charred cedar from outside reappears at the main fireplace surround where it is contrasted with hand worked blackened steel. In the three-story stairwell, the ash steps wrap around an ebonized oak screen.
The contrast of the stairwell’s white walls to the randomly spaced screen battens was influenced by the character of the site in winter – dark tree trunks amongst the snow. The main windows of the master bath overlook a small deck and the trees beyond. In its shower a skylight highlights the variated texture and coloring of the handmade tiles that clad its walls.
A keen appreciation of the ecology of the site and minimizing the house’s impact on it guided the project. The structure was strategically positioned to stand clear of any mature trees. Where shading is not provided by these trees broad roof overhangs were sized to passively minimize mechanical cooling requirements during the summer while maximizing the reach of daylight into the house in the winter.
A geothermal- powered water furnace conditions the house. Here too the geothermal wells were thoughtfully positioned to avoid damage to the site. The charred treatment of the cedar on the house’s exterior will minimize maintenance and extend the longevity of the material. Rot resident cement board lap siding was selected with similar reasoning. While spacious in feel, the house is quite compact, leaving not a square inch of wasted space. On the home’s lowest level Two pairs of bunkbeds and a murphy bed allow the cottage to comfortably accommodate ten people. Thirteen in a pinch.
Lawless Retreat, Michigan – Building Information
Design: Searl Lamaster Howe Architects
Project size: 2700 ft2
Site size: 300000 ft2
Completion date: 2019
Building levels: 7
Photographers: Tony Soluri
Lawless Retreat in Jones, Michigan images / information received 281119 from Searl Lamaster Howe Architects
Location: Jones, MI, USA
Michigan Architecture Designs
Design: Richard Meier & Partners Architects LLP
image : James Haefner
Douglas House in Michigan by Richard Meier & Partners Architects on e-architect
Glen Lake Tower
Design: Balance Associates Architects
photo : Steve Keating Photography
Glen Lake Tower Michigan
One of seventy-nine shortlisted buildings that have won the prestigious 2017 American Architecture Awards ® for the best new buildings designed and constructed by American architects in the U.S. and abroad and by international architects for buildings designed and built in the United States.
Michigan Lake House shortlisted for American Architecture Awards
Comments / photos for the Lawless Retreat in Jones, Michigan design by Searl Lamaster Howe Architects page welcome.


Undergraduate Music Minors
The School of Music offers three options for a minor - the Minor in Music, the Minor in Musical Theatre, and the Minor in Jazz Studies. All music minors allow a student the opportunity to earn a credential containing a balance of academic and practical musical knowledge without pursuing a music major. The Minor in Musical Theatre is an interdisciplinary collaboration between the School of Music and the Department of Theatre. Designation of a completed minor will appear on the diploma and transcript along with the major degree.
To officially declare your minor, fill out the declaration form at this link: https://advising.missouri.edu/majors-minors/minors-certificates/. Once you have received confirmation of your minor declaration, you can access your progress towards your minor by running a degree audit. If you have questions about the minor after you view your degree audit, contact the advisor for the minor (Kay Gregory). More information on declaring a minor can be found here.
A total of 18 hours of music courses, with a minimum number in each category listed below. Six credits must be 2000-level or higher. Because of the prerequisites that many courses have, the course numbers suggested below (in parentheses) usually constitute the minimum requirements.
Music Theory (Four hours: Music 1220 and 1221)
Music History (Six hours: Music 1322, 2307, and 2308)
Music Performance (Four hours, chosen from among appropriate applied classes [generally
Music 2445] and/or ensemble courses [e.g., Music 1841 or 1842]).
The student chooses one of the above categories for his or her "emphasis area" and earns at least 4 additional hours in that category with the approval of his music advisor. If history or theory is the emphasis area, then the normal course sequence must be followed.
The Jazz Studies Minor is not intended for beginners; rather, it is for students with basic musical knowledge. Hence, some of the required courses have pre-requisites, and auditions are required both for ensembles and for admission to the programs.
Course Requirements (student must pass with a ‘C-’ or higher):
- Music 4645: Jazz Improvisation (2 credits)
- Music 4210: Jazz Harmony and Arranging I (2 credits)
- Music 4211: Jazz Harmony and Arranging II (2 credits)
- Music 1311: Jazz, Pop, and Rock (3 credits)
- Music 1620: Jazz Piano Class (1 credit)
- Music 2445: Studio Instruction or additional hours in Jazz Ensembles (3 credits)
- Music 1841/1846: Jazz Ensembles (2 credits)
- One semester of large jazz ensemble
- One semester of small jazz combo
Instrumentalists (other than drummers):
Prepare one jazz standard and one blues in the key of your choice, improvising on each piece. Please provide your own accompaniment (Aebersold or other play-along CD).
Perform the following grooves at the prescribed tempos:
Swing at 120 bpm
Double-Time Swing at 240 bpm
Bossa Nova at 100 bpm
Samba (double-time bossa nova) at 100 bpm (half-note)
Funk/Hiphop at 100 bpm
Ballad (with brushes) at 80 bpm
Alternating four (4) measures swing with four (4) measures solo at 120 bpm
Prepare one medium up-tempo jazz standard and one ballad, no more than one chorus of each. Please provide your own piano accompaniment (Aebersold or other play-along CD).
The Minor of Musical Theatre is an interdisciplinary minor between the School of Music and the Theatre Department consisting of 18 credit hours.
MUS_THRY 1220: Tonal Music Theory I or
MUS_THRY 1213: Introduction to Music Theory or
MUSIC_NM 1211: Fundamentals of Music I (2 credits)
MUS_ENS 1842: Choral Ensemble (1 credit)
MUS_ENS 1865: Opera Workshop (1 credit)
MUS_APMS 2455: Studio Instruction or
MUS_APMS 2445: Studio Instruction (1 credit)
MUS_H_LI 4376: American Musicals (3 credits)
THEATR 1420: Stage Movement for the Actor or
THEATR 3420: Acting I (3 credits)
THEATR 2300: Production Workshop I or
THEATR 2410: Performance Workshop (1 credit)
THEATR 2800: Principles of Script Analysis (3 credits)
THEATR 4460: Musical Theatre Performance (3 credits)
The Graduate Minor in Musicology provides the opportunity for graduate music students to develop and/or strengthen their skills in this academic area. In addition, completing this minor can enhance the employability of individuals with degrees in performance, theory, or composition, by preparing them to teach courses in music appreciation and music history.
Prerequisites: Students must be enrolled in a graduate music degree program.
MUS_H_LI 8313: Introduction to Graduate Study (2 credits)
MUS_H_LI 8314: Introduction to Graduate Studies in Music II (1 credit)
MUS_H_LI 7330: Music of the PostModern Era - Or any period course, including one of the following:
MUS_H_LI 7336: Music in the Baroque Era or
MUS_H_LI 7337: Music of the Classic Era or
MUS_H_LI 7338: Music of the Romantic Era or
MUS_H_LI 7339: Music of the Modern Era (3 credits)
MUS_H_LI 7311: Historical Studies in Art Song - Or any genre course, including one of the following:
MUS_H_LI 7312: Historical Studies in Choral MusicMUS_H_LI 7313: Historical Studies in Opera or
MUS_H_LI 7315: Historical Studies in Chamber or MusicMUS_H_LI 7317: Historical Studies in Jazz and Popular Music or
MUS_H_LI 7318: Studies in World Music or
MUS_H_LI 7320: Historical Studies in African-American or MusicMUS_H_LI 7341: Advanced Studies in American Music (3credits)
MUS_H_LI 8340: Focal Composers (3 credits)
MUS_GENL 8085: Problems in Music (Capstone independent study project) (3 credits)
MUS_H_LI 7350: Introduction to Ethnomusicology (Not a required course, but may substitute for a period, genre, or focal composer course) (3 credits)


As Arnold Kaplan pointed out in his item about good spots in Vermont to shoot foliage, it's the season to try to capture those vivid colors in interesting ways. Over the next few weeks e-mail your best fall foliage shots and I'll post them. Meanwhile, here's a sample of photos from the Globe's photography staff that may help you think about how to shoot these classic pictures in interesting ways.
In the photo above, for example, Mark Wilson used the sharp contrast of the reddish-orange leaves and the white birch to create a striking image. John Blanding did the same in this shot:
Often, including another element in your shot helps lend context, balance, or just some interest to the photo, as in these shots:
on the Williams College campus. (Globe Photo/John Tlumacki/File 2006)
(Globe Photo/John Tlumacki/File 1995)
(Globe Photo/John Tlumacki/File 2000)
If you own a wide-angle lens, you can get pretty creative, as David L. Ryan did:
(Globe Photo/David L. Ryan/File 1997)
Don't take all of your foliage shots from a distance. The following photos demonstrate that getting up close can have tremendous impact.
(Globe Photo/Bill Greene/File 2000)
in Minuteman National Historic Park. (Globe Photo/Mark Wilson/File 2003)
And finally, sometimes the best shot comes not from shooting foliage directly, but rather capturing its reflected glory:
with the colors of fall foliage. (Globe Photo/John Tlumacki/File 2000)
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Life and wildlife in Madagascar


Following the passage of the same-sex marriage bill in New York and a recent weekend of LGBT pride, it just felt right to attend curator Bradford Nordeen’s “Dirty Looks.” The series is a monthly platform for experimental queer film and video that Nordeen affectionately describes as “roaming”—June’s event was held at P.P.O.W. Gallery in Chelsea, though it takes place in various venues across the city.
Capitalist Realism or Poverty Porn?
For more than three decades, Shelby Lee Adams has photographed families living the Appalachian hollers of Kentucky. Adams sees himself as a documentarian and observing participant in the communities he works in, developing close friendships with his subjects and allowing them to shape his photographic practice. But is his kind of practice truly documentarian or is it exploitation?
Videos by Dave Greber: Life, The Universe and Everything
New Orleans artist Dave Greber’s video work addresses issues of optical phenomena and universal spirituality. It’s also a hell of a lot of fun to watch.
Summer in DUMBO: A Visit to the Sharpe Foundation
The Marie Walsh Sharpe Art Foundation’s “Space Program” offers seventeen emerging artists a year’s worth of studio space and a summer show in DUMBO. Here’s a look.
New Orleans and the Summer of Swoon
There’s more compelling art being produced in the Crescent City these days than at any point in its history. And there may be no better place to start looking at it this summer than the Great Hall of the New Orleans Museum of Art.
Hyperallergic Is Going On Vacation to New Orleans!
Starting Wednesday, July 6, Hyperallergic will be heading to the land of Creoles and Cajuns for two weeks by Lake Pontchartrain. During the period, we’ll be handing over the reigns of the publication to veteran blogger John D’Addario. You’re in for a treat!
Artist Known for Pulling Scroll Out of Her Vagina Talks Culture, Cats and Road Rage
Tuesday night, I ventured to St. Mark’s Bookshop to see pioneering feminist artist Carolee Schneemann read from her recent book of letters. Schneemann entered the crowded wearing her infamous devil mask.
A Fond Farewell
For the past 9 months, I’ve had an amazing time with you all at Hyperallergic. As staff writer, I’ve posted day in and day out, attempting to provide a guide to what’s actually interesting in the art world. It’s been an incredible experience, to say the least. I’ll be leaving Hyperallergic today.
Learning to Be Canadian Through Art
As an Armenian Canadian living in New York for over a decade, I’m conflicted when it comes to the idea of Canada Day … the question of what it mean to be Canadian pops up now and again.
How Ai Weiwei Saw New York City
Ever wondered what New York City looks like through the eyes of a great artist? In a newly opened exhibition at Asia Society, viewers get the chance to see how recently released Chinese artist Ai Weiwei saw New York City in a series of diaristic photos taken between 1983 and 1993.
Thinking About Art and Devotion
Art as a messenger of belief is nothing new. From the obvious ostentatious examples like the Sistine Chapel, to the much more ephemeral Buddhist sand mandalas, faith has often driven artistic creation. Yet, can art be a system of belief in itself? The artists in Architecture of Devotion at the Gowanus Ballroom definitely put a lot of faith in their own creative views as they all respond to this history of artistic devotion.
An Abstract Moment in Chelsea
Checking out the Chelsea gallery scene last week, my results were surprisingly mixed — from overly offbeat summer shows to nonsensical group exhibitions, the galleries just didn’t seem to have it together. But one thread did emerge in my wanderings. I discovered that Chelsea was having a brief love affair with big abstraction, wall-size pieces that dominated their respective art spaces. Works by Sol Lewitt, Keith Haring, Li Songsong and Garth Weiser all packed a refreshing amount of visual punch, brightening a hazy summer day.


This pretty Tinkle character wall decal would be a fun piece of décor for your home. The famous Ina Mina Mynah Mo characters from Tinkle comics adds the right bit of vibrance and fun to the place. It comes with a matte finish and is waterproof.
Note: Handmade furniture being exclusive presents slight differences between each piece. Based on your screen's setting, resolution and photography, the actual product may vary from the product image shown.


Until 1970, Dolly Parton’s career in country music looked to be average at best. She had songwriting talent from the beginning, but despite the popularity of her duets with Porter Wagoner (five had reached the US Country Top 10 from 1967 to ‘69), Parton’s solo releases barely dented the chart. In fact, after her first few moderate hits in 1967, successive releases charted successively worse through the end of the decade. That is, until she released a cover version of the Jimmie Rodgers country standard “Mule Skinner Blues” in 1970.
Rodgers wrote the song as one of his “Blue Yodels” - No. 8 to be exact - and first recorded it in 1930. Dolly Parton’s version forty years later peaked at #3 on the US Country chart. The song carried RCA Record’s release of her first “best of” compilation, released the same year, and set Parton up for the success that followed with “Joshua” (the song and the album). Also helping Parton get noticed: 40 double-Ds.
“The existentialist does not believe in the power of passion. He will never regard a grand passion as a destructive torrent upon which a man is swept into uncertain actions as by fate, and which, therefore is an excuse for them.”—Sartre, “Existentialism Is a Humanism” (via fuckyeahphilosophy) (via phasechangesyndrome) (via fuckyeahexistentialism)
“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to.”
I could go dozens of places with this post, but let me start here… Classical music finds its way into more “popular” more often than one might realize. There are the obvious examples like The Toy’s 1965 hit “A Lover’s Concerto,” for which the melody was taken directly from “Minuet in G,” composed by Christian Petzold in 1725 (often mistakenly attributed to J.S. Bach). There are also less well-known examples. Both “The Free Design’s “Kije’s Ouija” from 1970 (a previous song of the day) and Greg Lake’s “I Believe in Father Christmas” from ‘75 take their melodies from “Troika,” the fourth movement of Sergei Prokofiev’s 1934 Lieutenant Kijé film score.
“If I Were a Rich Man” takes both its style and melody from a theme in the third movement of Gustav Mahler’s 1896 first symphony (click to 2:35 into the linked song), which itself was partly a reworking of the traditional European folk song “Frère Jacques” into a funeral march. Follow all that?
The point, then, is that new melodies are hard to come by these days. Where modern artists make their mark is in performance. Zero Mostel’s interpretation of Tevye, the Russian Milkman protagonist in Fiddler on the Roof, won him a Tony Award, and for good reason. The most impressive moment in the entire musical for Mostel came with “If I Were a Rich Man,” a performance so overflowing with personality it became arguably the defining work of Mostel’s career. The small idiosyncrasies he incorporated brought out both the solemnity and humor of Tevye’s life. The fun version of “If I Were a Rich Man” posted here comes from the cast recording of the 1964 original Broadway production of Fiddler on the Roof.
I have a ton more fun facts and interesting angles to take on this song (did you know Bea Arthur was an original cast member in the ‘64 Broadway production?), but I suppose this post is long enough already…
To finish off our short lapse with popular music crossover into classical music (or vice versa, if you look at it that way) here’s a piece from Fiddler on the Roof.
And well.. he explains it quite well. Stay tuned for the piece that inspired it.


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In this edition of my Photographer Focus series, I am interviewing Architectural Photographer James Tarry Photography. A London-based freelance photographer who specializes in Architectural style image production.
I am a freelance architectural photographer based in London. I specialize in Interiors and Architectural Photography. Besides my Architecture Photography, I also shoot stock photography. I am also a photographic artist making work largely out of Polaroids.
Apparently, I started my photography journey while I was very young, at least according to my parents anyway. I used to grab their disposable cameras and take all sort of random photos. The earliest camera I remember owning was a Kodak Disc.
I had always wanted to be an animator/artist/designer, generally something of a creative nature. I had taken all my GCSE’s in Art/design and then took photography which I also aced. For those how are not aware, the GCSE stands for “The General Certificate of Secondary Education“. It is a set of exams taken in England, Wales, Northern Ireland, and other British territories. I took that into A-level (Advanced Level above GCSE) and that is where everything went wrong.
My teachers at the time were not particularly supportive. I was living in a city where not many left. You picked a trade and stayed put. I was constantly told to pick something that would be possible to earn a living at. My parents were always trying to encourage me to do what I loved but I hated school. This put me off going to University. I just wanted to escape a city that I hated. I went to work, stopped taking photos, stopped drawing, stopped making art and I moved to London at age 17 or 18 as far as I can recall.
For about 10 years I bounced around from job to job. I did everything from being a PA to celebrities, a Shop Manager and even a Chauffeur. When I was made redundant from a driver delivery job, the pressure was to go back to retail as apparently, that is what I was good at. But I could not stand it! I decided to try getting back into photography, the thing I actually loved. I pieced together a rough portfolio and started looking for work. Eventually, I got offered a job photographing interiors at a Real Estate Agent. It paid out a decent enough pay packet and I figured it would be at least in the realm of what I enjoyed doing. And here I am, still doing it 14 years later.
Before becoming a freelance architectural photographer, I had tried my hand at everything from working in retail to professional driving. Funnily enough, I was also a Personal Assistant at one stage. I was even a delivery driver.
I went from Full-Time employment to a Freelance Photographer approximately 5 years ago back in 2013.
Primarily I am a freelance architectural photographer. Interior photography is the only thing I offer aside from floor plans. I can also draw professional plans for clients if needed. I have been thinking the video would be a nice next step. But I am still finding that at the moment the video is not really needed or wanted.
Initially, it was fairly straight forward. I had made enough contacts while being in full-time employment. The company I was working for Full Time allowed me to go Freelance too. The transition was quite straight forward.
With competing companies offering more for less, it is getting harder and harder to compete without cutting my own prices. Brexit has also hit my business hard at the moment, with people waiting on seeing how the market reacts.
Yes. There are more of us working professionally in the industry for a start. And advancements in technology means quality has also improved. Advancement in Social Media means that you can reach more people faster and cheaper than it used to be too.
I wish that I started out earlier. That I started Photography earlier. If I could rewind time, I would have liked to have gone to University or at least been on a course.
My main work camera at the moment is a Sony A7Rii. I also have Canon and Sony lenses.
My mobile phone is the key piece of equipment that I have. Most of my work is booked through that during the day. Apart from my phone and my camera gear, then the next important would be my iMac and Adobe Lightroom.
It depends massively on the client I am shooting for. Sometimes the designer will be on site styling things, instructing on what they need. However, often times I am on my own. London is a fast market so I tend to work fast and hard, including turning around the images in a short time. Most times the client will have the photos the next day, quite often when they walk into their office or when they wake up. More often than not, I am walking in blind and won’t know what I am going to see. Some are more hands-on and will print out sheets of what they would like.
Work hard and focus on quality. Learn everything you can. Shooting in natural light and get comfortable using strobes. Always be as professional as possible. Most of my work comes through word of mouth, or connections I have made from other jobs. Develop your own style. I quite often hear that my interiors are very “clean”. Normally the presumption is that I have used several layers in Photoshop or deployed an HDR technique. When in reality, they are always one shot and often carefully lit. Correct and clever lighting is always the key!


2018 is the 300th anniversary of the arrival of Prince George and Princess Caroline in Richmond – the first step in a sequence of events that would lead to, among other things, the creation of Kew Gardens. The following is by way of commemoration of this event.
Stephen “Thresher” Duck (1705-56) was a self-educated Wiltshire ploughman who achieved fame in his day as a poet. He has recently received some attention from sociologists for his description of gruelling manual work in his poem “The thresher’s labour”. However, unlike that other 18th-century ploughman poet, Robert Burns (1759-96), who wrote mostly in the vernacular, Duck wrote mostly in the style of John Milton, his verse replete with classical allusions. In 1735 Queen Caroline, after receiving a character reference from Alexander Pope, housed Duck in Richmond and employed him as “librarian” in her Merlin’s Cave in Richmond Gardens. His collection of poems, Poems on several occasions, was first published in 1736 and ran to several editions. This collection includes a poem concerning the two royal estates in Richmond – Richmond Park and the grounds of Richmond Lodge (Old Deer Park). The latter is here called by Duck “Royal Gardens” and elsewhere “Richmond Gardens”. [N.B. the spelling in the text that follows has been modernised.]
“On Richmond Park and Royal Gardens” (1736)
By Stephen Duck
Duck begins his praise of the two Richmond estates with a reference to Alexander Pope’s early poem, “Windsor Forest” (1713). “Cynthia” is an epithet of the Greek nature goddess, Artemis, who is depicted with a quiver of arrows and a knotted belt. “Consecrated floods”: rivers in ancient times were consecrated to and named after deities.
Of blissful groves I sing, and flowery plains:
Ye Sylvan Nymphs, assist my rural strains.
Shall Windsor Forest gain a deathless fame,
And grow immortal, as the Poet’s name;
While not a bard, of all the tuneful throng,
With these delightful fields adorns his song?
Thy Gardens, Richmond, boast an equal theme,
And only ask an equal Muse’s flame.
What, though no virgin Nymphs, of Cynthia’s train,
With belt and quiver grace the verdant plain?
What, though no fabled consecrated floods
Flow o’er thy fields, or murmur through thy woods?
My song thy real beauties shall pursue,
And paint the lovely scenes, and paint ’em true;
A pleasing task! Nor slight shall be the praise,
If Royal Caroline accept the lays.
The poet ascends Richmond Hill.
Delighted, often thro’ the mazy groves,
The Muse, in pensive contemplation, roves;
Or climbs the slow ascending hill, whose brow
Hangs o’er the silver stream, which rolls below;
Where all around me shining prospects rise,
And various scenes invite my gazing eyes;
And, while I view one object with delight,
New pleasing wonders charm the feasted sight:
Now this allures, now that attracts it most;
And the first beauty’s in the second lost.
Thus, in a grateful concert, may we hear
The sounds at once surprise, and charm our ear;
The trembling notes, in hasty fugues, arise;
And this advances, ere the former flies;
All seem to be confused, yet all agree,
To perfect the melodious harmony.
The Thames is compared to the Rivers Hermos (in modern Turkey) and Tagus (Iberia). Sir John Denham (1615-69) was an Irish poet, whose poem “Cooper’s Hill” describes the Thames Valley at his home in Egham.
Beneath the mount, with what majestic pride
The sire of rivers rolls his silver tide!
Let poets sing of Hermos’ golden shore,
His amber foam, and sands of shining ore:
Nor Tagus envy we, nor fruitful Nile,
Whose fattening floods enrich the thirsty soil:
Happy Britannia boasts as fair a stream,
As great in bounties, and as great in fame;
Since Denham’s deathless Muse has sung his tide,
And India’s riches o’er his surface glide.
“Obsequious” at this time did not have a pejorative connotation. Here it could mean either “keen to please” or “winding like a root” (according to the Oxford English Dictionary). “Infidels” here means “atheists”.
Obsequious river, when my eyes survey
Thy waves, or east, or west, pursue their way;
Now swiftly roll, to meet the briny main,
At stated periods, now return again;
How vain the schemes of infidels appear!
How weak their reasonings, and the God how clear!
Say, atheists, since you own, by Nature’s laws,
There’s no effect produced without a cause;
Why should the restless stream run to and fro,
And, with alternate motion, ebb and flow;
Did not some being, of superior force,
Rule the wild waves, and regulate their course?
Windsor Castle is visible from Richmond Hill on a clear day. “Pompous” was once also not derogatory. It meant “grandiose” or “magnificent”. John Milton’s epic poem “Paradise Lost” (1674) has a description of Eden before the Fall.
Hence lofty Windsor to the sight appears;
And, high in air, her pompous turrets rears:
Wide, round her domes, the spacious forest shines.
Though brighter much in Pope’s harmonious lines:
O! would his tuneful Muse my breast inspire,
With equal warmth, with her sublimer fire;
Then Richmond Hill renowned in verse should grow,
And Thames re-echo to the song below;
A second Eden in my page should shine,
And Milton’s Paradise submit to mine.
The poet enters Richmond Park. “Aurora” is the Roman goddess of the dawn. “Philomela” was a mythical Greek princess who was turned into a nightingale; hence a synonym for nightingale.
Oft, lost in thought, forgetful of my way,
I, o’er the park, through wilds of beauty, stray;
Where sportive Nature wantons at her will,
And lavishes her bloom, unchecked by skill.
Old venerable trees, majestic, rise,
Sublime in air, and brave the vaulted skies;
Which, free from cruel steel, or labourer’s hand,
In peaceful age, and hoary honour, stand.
Here, when Aurora first begins to dawn,
The wakeful larks spring mounting from the lawn;
Poised by their plumes, in lofty flights they play;
With joyful warblings hail the approaching day:
But, when the sun displays a purple scene,
And drinks the pearly dew, that decked the green;
A thousand tuneful birds in concert meet,
A thousand tuneful notes the groves repeat;
And, when their music ceases with the day,
Sweet Philomela chants her pensive lay.
“Albion’s King” is George II, King of Great Britain from 1727.
But, hark! I hear a louder music sound;
From woods and vales the various notes rebound:
‘Tis Albion’s King pursues the royal chase;
The nimble stag skims o’er the unbending grass:
The way which fear directs, he trembling tries;
Nor knows, where fear directs, or where he flies:
A hundred different sounds assail his ears;
A death, in every different sound, he fears:
And now he faintly moves a slower pace,
And closer now the hounds pursue the chase;
Till, in despair, back on his foes he turns;
Makes feeble efforts with his branchy horns;
Short is the combat, soon he yields his breath,
And gasping falls, and trembling pants in death.
The scene now moves to the grounds of Richmond Lodge. “Terrace” refers to the riverside terrace that ran the length of this estate until it was demolished by Lancelot “Capability” Brown. “Ceres and Flora” are the Roman goddesses of agriculture and flowers respectively.
Now to a softer theme descends my Muse;
Through artful walks her pleasing path pursues;
Where lofty elms, and conic lindens rise,
Or where the extensive terrace charms her eyes;
Where elegance and noble grandeur meet,
As the ideas of its mistress, great,
Magnificently fair, majestically sweet.
See, on its margin, fields of waving corn;
These bearded crops, and flowerets this, adorn;
Ceres and Flora lovingly embrace,
And gay varieties the landscape grace.
“Oval” refers to the “Great Oval”, a clearing in the pleasure grounds over 500 feet in diameter, created by Charles Bridgeman. The “sequestered cell” refers to William Kent’s Hermitage (1731) which contained busts of Robert Boyle and Isaac Newton.
Hence lead me, Muses, through yon archèd grove,
Adorned with sand below, and leaves above;
Or let me o’er the spacious Oval trace,
Where verdant carpets spread the lovely place;
Where trees in regular confusion stand,
And sylvan beauties rise on every hand:
Or bear me, Nymphs, to the sequestered cell,
Where Boyle and Newton, mighty sages!, dwell;
Whose fame shall live, although the grot decay,
Long as those sacred truths their works display.
Phoebus is the Graeco-Roman epithet for Apollo as sun god.
How sweetly pleasing is this cool retreat,When Phoebus blazes with meridian heat!
In vain the fervid beams around it play;
The rocky roof repels the scorching ray;
Securely guarded with a sylvan scene,
In Nature’s livery dressed, for ever green.
To visit this, the curious stranger roves,
With grateful travel, through a wild of groves;
And, though directed, oft mistakes his way,
Unknowing where the winding mazes stray;
Yet still his feet the magic paths pursue,
Charmed, though bewildered, with the pleasing view.
“Thorny brakes” means briers. “Symmetry from wild disorder sprung” is probably a reference to Milton’s “Light shone and order from disorder sprung” (“Paradise Lost”).
Not so attractive lately shone the plain,
A gloomy waste, not worth the Muses’ strain;
Where thorny brakes the traveller repelled,
And weeds and thistles overspread the field;
Till Royal George, and Heavenly Caroline,
Bid Nature in harmonious lustre shine;
The sacred fiat through the chaos rung,
And symmetry from wild disorder sprung.
Duck draws a strained analogy between the landscaping of Bridgeman and Kent and the Roman Empire. Perhaps his subtext is that Britain has become the new Rome.
So, once, confused, the barbarous nations stood;
Unpolished were their minds, their manners rude;
Till Rome her conquering eagles wide display,
And bid the world reform – the world obeyed.
“Augusta’s pompous piles” means Augusta’s grandiose buildings. Augusta was the honorific name given to Roman empresses. In this case it likely refers to Livia, wife of Emperor Augustus, who is noted for commissioning a number of public buildings. This stanza contains a Judeo-Christian creation story with an admixture of classical allusions in the manner of “Paradise Lost”. “Solitude”, “peaceful Nymph” and” celestial Dame” are apparently references to Hekate, one of whose epithets, according to the first Orphic Hymn, is Philerimon (“fond of solitude”). She was the only Titan spared by the Olympian god Zeus. “Eternity” is the Greek god Aeon. Michael is the archangel of that name.
How blessed the man in these delightful fields!
New pleasures each indulgent moment yields.
Let gayer minds in town pursue their joys,
Exchanging quietness for crowds and noise;
Consume the night at masquerade or play;
Or waste, in busy idleness, the day:
I envy not Augusta’s pompous piles,
Since rural solitude more pleasing smiles.
O Solitude! the sage’s chief delight!
What numbers can thy lovely charms recite!
Hail, peaceful Nymph! thou eldest thing on Earth!
Nay, like Eternity, thou hadst no birth:
The Heavens alone can thy commencement tell,
Ere Michael fought, or peccant Angels fell;
Before the skies with radiant light were clad,
In awful gloom, and venerable shade,
The Father thee his sole companion made.
When to creation first his thoughts inclined,
And future worlds were rising in his Mind;
He sat with thee, and planned the mighty scheme;
With thee adjusted the stupendous frame;
Contrived how globes, self-balanced in the air,
With restless rounds should rule the circling year;
How orbs o’er orbs in mystic dance should roll,
What laws support, and regulate the whole:
Nor art thou yet impaired, celestial Dame;
Thy charms are still attractive, still the same;
With thee the mind, abstracted from the crew,
May study Nature, and her ends pursue;
With thee I hear the feathered warblers sing;
With thee survey the beauties of the spring,
When blossoms, leaves, and fruits the branches yield,
And Eden’s glory crowns the happy field.
“Royal guardian” refers to Queen Caroline. “Condescending” is not pejorative: it means something like “graciousness shown to someone of a lower social status”. What follows is praise of George II’s avoidance of war while the country is protected by the Royal Navy (“floating towers”). This was before the War of Austrian Succession (1740-48).
Here first the Muse (auspicious was the place!)
Rejoiced to see her Royal guardian’s face:
How mild, yet how majestic, was her look!
How sweetly condescending all she spoke!
On every pleasing accent wisdom hung,
And truth and virtue dwelt upon her tongue.
O! were I equal to the glorious theme,
Then should my lays immortalise her fame;
Or paint great George in peaceful laurels dressed,
With Albion’s safety labouring in his breast;
Who (while contending nations round him jar,
And subjects’ wealth supports their monarchs’ war)
Guards happy Britain, with his floating towers,
From purple slaughter and invading powers;
No plundering armies rob our fruitful plain;
But, blessed with peace and plenty, smiles the swain.
Meanwhile, other European countries wage war and their armies ravage the countryside.
Not so he smiles upon the foreign shores;
But starving walks through Nature’s lavish stores;
Poor peasants with their rigid burdens groan,
And till the glebe for harvests not their own.
What, though their more propitious Phoebus shines
With warmer rays, and chears the curling vines?
What, though rich olives grace the fertile soil,
And the hot climate teems with fattening oil?
The hungry farmer views his crops in vain,
In vain the vineyard tempts the thirsty swain;
While their stern tyrant’s arbitrary power
Rifles the plains, and ravages their store:
Thy sons, Britannia, from such evils free,
Enjoy the sweets of peace and liberty;
A gracious Sovereign smiles upon the throne,
And heaven confirms the happy realm his own.
Duck’s description of the view from Richmond Hill was written after the more famous 1730 version of James Thomson (1700-48). The latter was also a local resident (Kew Foot Lane, now Kew Foot Road) but he was a protégé of Frederick Prince of Wales, the son and neighbour of Queen Caroline. The poetry of the university-educated Thomson, it must be said, is the better. The two poets were acquainted. It is known that Duck sent Thomson a copy of his poems and that Thomson reciprocated. They spent some time together and, according to Duck, “drank plentifully to Miss Robbison’s health” (a local beauty perhaps?).
After Queen Caroline’s death in 1737, Duck took holy orders and was for a while a preacher at St Anne’s church in Kew. He drowned at the age of 51 in the River Kennet at Reading, but whether he committed suicide is disputed.
© Ron McEwen 2018