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One summer afternoon, decades ago, Lorraine decided to try out her new reel to reel tape recorder by taping a family dinner. She recently stumbled across the plastic reel with its brown ribbon in a metal candy box while she was cleaning out her closet. When she finally located a machine that could play it, she managed to hear once again the ebb and flow of this forgotten, ordinary conversation. It was strangely the only audio recording she possessed of her parents' and grandmother's voices, the sound of which had almost entirely vanished from memory. At first she was unable to recognize either her own child's voice or that of her two brothers. She seemed to be doing an impersonation of a child actor. No doubt she had been self-conscious because she knew the event was being recorded. These casual exchanges were just about all that was left of these once immense, vital, grown-up presences. Her grandmother told what probably seemed at the time to be one of her tedious,drawn out stories about her card playing. It seemed now to be the most precious narrative on earth. Every phrase, in exactly the order her grandmother chose to offer them up, seemed an avowal of her presence and reality, and the slight hiss on the tape marked time's stealthy encroachment. How moving requests to pass the corn or the beans became, or her father's talk of television shows, or her mother's worries about her friend who had turned cold, apparently holding something against her. And there was laughter, and mild reprimands, and the noise of cutlery, and a glass spilling incident. Who could have foretold that their collective life together could dwindle to this random heap of minutes, which they seemed to be dreaming through, letting them all tranquilly slip away as they simply went through the motions. No one was holding on to anything, because more of the same could be counted on. Their drama had neither shape nor structure nor high points nor obvious consequence, but Lorraine could feel to her marrow the beginning, the middle, and the end.


~ George Toles, from a Facebook status update, April 11, 2013

I often consider myself delusional and a fantasist. I say that because I live as a man, more accurately I am actually a man, yet I have this desire to appear a a woman! As a teenager this confused me greatly and I became very withdrawn as the desire was pretty powerful. I have mentioned previously how discovering the word transvestite was my salvation, it set me free.


I used to fantasise a lot as a young man about things dreamed of doing as a girl. I would get upset that I had no breasts, my genitals were male and then feel distraught as I considered do I want to be a girl full time. The realisation was part of me did yet part me did not want that at all. I was straddling two powerful emotions which caused further withdrawal and confusion as tried to work it all out.


I was a quite a bland somewhat invisible figure as a teenager and still am as an adult man yet when I was eighteen i wanted to be a model. Not a male model a female model! How delusional was that? I wanted nothing more than a career n modelling as a girl and O wanted to be an actress. Alongside that though a parallel desire was running in tandem, I liked the idea of being a man that impersonated women, the thrill of being transvestite excited me. The whole notion of dressing up and illusion and doing something my upbringing would say was wrong had a hold on me. I loved the whole transformation and pretence of becoming what I really was not. The adventure was dressing up as a girl yet knowing I was really a boy. It was at times a reckless thing and eventually my lack of nerve caused me to suppress the whole thing.


As I grew into middle age it was inevitable the suppression would fail and I would become a practicing transvestite. Rather embarrassingly, I still had my fantasies of being a female model and an actress. By this point I was a bald middle aged man with a very dark beard shadow, what chance did I have of being a woman? My realisation of being delusional and a fantasist really hit home.


I am aware due to various experiences I’ve had of our mortality and that time can pass too quickly. I vividly remember driving to work one day and deciding ‘do you know what. I am going to try modelling as a woman’. Obviously I was not going to get hired by Vogue or Cosmopolitan and I thought how much I really wanted to do this. I wanted to turn up at a studio as a man, sit in a make-up chair and be painted up in heavy make-up for a studio shoot and pose as if I was a woman modelling on camera.


How though could I do this without being ridiculed? My answer was it was likely people would think I was odd but I had to have the experience I dreamed of. I decided I would hire a make-up artist and photographer with a studio. In my research I came across Jodie Lynn of The Boudoir dressing service. After a few e-mail exchanges and looking through her website I thought this was a great solution. A sympathetic make-up artist and photographer who had a business totally geared to transvestites and fulfilling their dreams.


I made the booking and after a very long trip south in July 2002 I fund myself one morning in London with a completely shaved body, plucked eyebrows finally sat in a make-up chair about to become a female for the day and step on to a photo set as a woman. When jodie painted on the first bit of make-up I almost feinted with a heady mix of emotions. I had dreamed of this moment since i was a teenager and now this was it, it was actually happening! I could barely speak and started to shake. Fortunately Jodie calmed me down and turned me into a woman.

this may sound mad but when I finally stepped onto the set for the photos my head kind of exploded internally, I felt reborn, I was suddenly empowered and a sensation of euphoria like i had never experienced consumed me. I caught sight of myself in make-up, long hair, painted nails, with breasts and wearing lingerie , female clothing and a joyous shout of ‘Yes!’ cried out inside me. I felt I had arrived after years of avoiding my true hopes.


I am sure I was a terrible model but this was pure one hundred percent indulgence and as Jodie and Mike the photographer did not know me I could cast off my inhibitions and become the woman I dreamed of being. I recall laughing a lot and daring to do things I had never ever done, it felt liberating and I did enjoy living out my fantasy.


Many would see me as pathetic and embarrassing for what I did but I needed to do it for myself. it was a selfish and also expensive indulgence yet it gave me so much and even now nearly thirteen years later I can still feel joy just recalling the whole day. That was how powerful the whole experience was for me, a lifelong dream had finally been set free.

At the risk of sounding like the "War on Christmas" paranoids who see an Agent of Satan in every working-the-sales-counter-during-Christmas-break college coed who wishes them an atheistic "Happy Holidays", I have to say that, as a rule, I don't like novelty Christmas songs.


As the title makes clear, I don't mind making jokes myself about the fact that it actually does get really, really cold in Palestine in the winter and you'd have to be six kinds of an idiot shepherd to be abiding in the fields with your flocks by night in late December (when said fields would have no grass for said flocks to graze on anyway), so either Luke was just winging it with the shepherds bit, or the Jehovah's Witness are right and Jesus wasn't born in December, and, as I've said before, celebrating His birth on December 25th is just the result of a ploy by the Vatican to get my tree-hugging squarehead ancestors to stop littering the Black Forest with massacred Roman legions and the missionaries they were supposed to protect (but, in defense of whichever His Holiness it was who came up with the plan, it should be remembered that this was way on back there in the dark ages and popes didn't become infallible until 1870; we'll have to give him a pass if changing their Yuletide winter fertility ritual into a Christian holy day wasn't exactly the "final solution" to the "German Problem" he thought it was going to be).


Still, since the Scriptures don't specifically say when Christ was born, one day is as good as another to celebrate and this is the day we picked, and it IS the most wonderful time of the year, so it should be both a spiritual and secular festive occasion. Consequently, I just don't have much use for any song that doesn't celebrate the birth of Our Savior and peace on earth, good will toward man, or the joy of being home with the family for the holidays and walking in a white Christmas winter wonderland, or the thrill and wonder of being a kid and Santa Claus coming to town--and I have even less use for songs disrespectful of such feelings of glad tidings and good cheer. Even as a kid I was ambivalent about Alvin and The Chipmunks because it seemed more of a gimmick than a celebration of the season, and these days, "Grandma Got Run Over by a Reindeer" just seems cynically mean-spirited, belittling and degrading everything good and decent the holiday is about. And when I hear the dogs barking "Jinglebells"...well, I just wanna whip out my G.I. .45 and do my impersonation of John Belushi as Wild Bill Kelso in "1941" ("Radio's wrong!").


But, I've always liked "Snoopy's Christmas".


Yes, it was a novelty song, and yes, it was a gimmick, and, yes, maybe even a cynical attempt to cash in on the phenomenal popularity of Schulz's cartoon strip at the time. But the song itself isn't cynical, and, far from being cruel, in between the maudlin sentimentality of those few bars of "O, Tannenbaum" at the beginning to the comical pop of the champagne cork, despite the whistle of the wind in the wires and the roar of the twin Spandaus and Vickers, the bells from the village below DO celebrate peace on earth, good will toward men. No matter how it came to be, it IS a Christmas song. And, I was gratified to recently learn I'm not alone in feeling that way--and thus the inspiration for this year's Christmas 'toon.


This year is the Centenary of the 1914 Christmas Truce, that informal and tragically only temporary peace in No Man's Land that undoubtedly outraged the Col. Blimps and Col. von Blimpz in their respective command posts safely behind the lines, but for a few hours brought goodwill toward men between the lines. Christmas being as important to Germans as it is, Kaiser Bill himself saw to it that thousands of trees and millions of candles were sent to the front so that das Frontschweine could keep Christmas in the trenches. That they did, and ended up keeping it out of the the trenches as well, meeting Tommy Atkins between the rows of barbed wire to exchange cigarettes and biscuits and other small gifts, to sing Christmas carols and, yes, to play football. It would only last a few hours, and then the war would continue for almost four more years. But for just that little while, just that once, there was that feeling expressed in "Snoopy's Christmas", for real.


For this year's Christmas cartoon I was considering something to do with trains, either real or model or both, since both are linked in my mind--and in the minds of so many others--with the holiday, but I hadn't really gotten any inspiration yet. Then, I was idly surfing through the WW I sites and ran across an item mentioning that the members of a WW I Centenary group in New Zealand were planning to mark the 100th anniversary of the Christmas Truce with a dinner, and they were planning to start the night's events with a singing of "Snoopy's Christmas", for the very reasons that I've always liked the song. Of course, as soon as I read that I gave up all thought of trains, because I knew then exactly what I wanted to do for this year's 'toon. Having made me change my mind, I hope the Kiwis don't change theirs. They seemed a little defensive about it, but I think it's fine idea. If you'd like a quick but moving tribute to the real story--and an insight into why the New Zealand group might feel a little defensive and why I myself have some doubts about the propriety of this 'toon--check out this commercial for a British supermarket at:


There are also a few historical arguments against both in the New Zealanders using the song at their Christmas Truce dinner and me featuring it in my cartoon. Not the least of these, of course, is that there is no record of any beagle having been commissioned in the RFC/RAF or piloting a Sopwith Camel (although in searching the web for Camel reference material, I did find that a beagle pilot feasibility study has been done).


For another thing, in December, 1914, the air war consisted mainly of German observers wearing their sabers in flight ("Regulations require and Tradition demands...", you know), and of pilots and/or observers on both sides taking the occasional potshot at one another with a pistol or a carbine and a 0.00000000001% chance of actually hitting anything except French airspace, and, in the main, simply waving to one another as they went about their business. As Quentin Reynolds pointed out in "They Fought for the Sky", in all of the major German daily newspapers in all of the month of December, 1914, there is exactly ONE brief mention of military aviation, buried on the back pages. We are still some two months shy of the centenary of the day in February, 1915, when Roland Garros took to the air with steel wedges bolted onto the backs of the propeller blades to deflect the bullets of a machine gun firing through them (deflecting them into the sky on either side was the plan, but, as Herr Fokker would instantly realize when viewing the captured machine--and then setting about re-inventing the interrupter gear--in accordance with Murphy's Law there was the almost certain probability that at least one of the bullets would eventually be deflected into the engine or the fuel tank or M. Garros himself; I've often wondered how that little 80-hp Morane-Saulnier got off the ground with all that metal on board--the weight of the steel wedges was probably negligible, but Roland's Big Brass Ones must have weighed a ton).


Likewise, Manfred von Richthofen would not start flying fighters until 1916, and, moreover, he himself is a bit miscast in the "Snoopy's Christmas" story. By any reasonable assessment he was a cold-blooded bastard who reveled in the kill, and wouldn't have let any bells from the village below--or anything else save a .303 round up his backside from an Aussie machine gun outfit below (or maybe, as I sentimentally still like to think, from a Canadian Roy Brown behind)--keep him from reaching for the trigger to pull it up tight. Ernst Udet almost certainly, Oswald Boelcke or Werner Voss quite possibly, maybe little brother Lothar von Richthofen or perhaps even Hermann Goering, who at the time was still a promising young man and hadn't yet fallen in with bad companions. But the bloody Red Baron? Not bloody likely.


I should also say von Richthofen was not a graying and mustachioed grouchmeister like the Captain in "Katzenjammer Kids", the way he was portrayed on The Royal Guardsmen's album covers and in most if not all other cartoon drawing (and neither was he the devastatingly handsome soap opera hero type pizza guy)(and, other than it goes good with beer, what the hell does he or ANY German have to do with pizza, anyway?!!). But, I decided to bow to tradition and make my 'toon Red Baron a geezer with a gray mustache. It just seemed the Snoopy's Christmas-y thing to do.


Likewise, I didn't give my little Tommie and Fritzi period hairstyles. Instead, I gave them the kind of long, straight, center-parted styles that all the cute girls at my high school were wearing back in the mid- to late-Sixties, to artistically symbolize the days when the "Snoopy vs. the Red Baron" (and, for that matter, everything "Peanuts") craze was at its height, when I was reading everything I could get my hands on about WW I air fighting and building every Airfix and Revell 1/72nd scale and every 1/48th (more or less) scale Aurora WW I aeroplane kit on the market (and, of course, Revell's Triplane, Camel and SPAD in gloriously huge 1/28th), and back when it was only the (holy crap, where did the time go?!!) FIFTIETH anniversary of The Great War. Of course, I also did it to artistically symbolize that long, straight hippie chick hair is a hell of a lot easier to draw than those swirly-curled upswept Edwardian dos in vogue back before it was even the first anniversary.


Finally, I did ponder at some length whether or not to incorporate "Merry Christmas" in the 'toon, although not for any "War on Christmas" reasons. The Camel was a British bus, and most of von Richthofen's action was against the British, and he was killed just as the Americans (other than the relatively few volunteers flying for France and the even fewer serving in the RFC) were just getting into the war, so I was having trouble deciding whether or not to use the American "Merry Christmas", thinking that the English "Happy Christmas" might be more appropriate. As you can see, historical accuracy finally won out. As everyone knows, Snoopy was certain that this was the end, when the Baron cried out:



I was emulating the look of developed Agfa slide film when cross processed in print film chemicals. Obviously these days no smelly or darkened rooms are required as you can reproduce the effect by adjusting the contrast and saturation of a photo. I miss the looks you could achieve by choice of film and how it was developed as digital cameras produce rather flat lifeless images unless some contrast adjustment is used on the camera files. I do however love the freedom and economy that digital cameras provide. The big flaw with digital is choosing the presets and only using JPEG files. If you can shoot using RAW format (if your camera supports it) then you can return the freedom and flexibility that the darkroom used to enable.


Amanda Parnell ( has kind of had a friendly go at me by critiquing my approach to pictures so I've gone in the opposite direction on this shot by getting right up to the camera and using high sharpness, something I normally try to avoid as unlike Amanda I am no beauty. Also, I'm twelve years older than her and have rough skin. Be assured Amanda and me get on well with each other and we exchange critique on our appearances as we are both keen on improving but undeniable she looks gorgeous :-)


However, she inadvertently set me a challenge and I thought I would give it a go so here is the result very high contrast, strong colours and lots of sharpness. In the interests of making this shot work I applied a lot more makeup to my face and used strong contrasting colours such as black eyeliner and bright red lipstick and wore three coats of mascara on my took ages to try and get it all off after the cross-dressing session!


I have to admit I love wearing make up and women's clothing and will really pile on the makeup if required and dress in a skirt, dress and high heels very happily yet when I return to male mode I feel furtive and worry that everyone can tell I was just painted up to the nines in a ton of makeup and acting all girlie whilst relaxing in a dress....I know in reality it's not obvious once I've become a man again but I just irrationally feel everyone can tell what I've just done!


I do adore being a transvestite despite these paranoid feelings, dressing yup as a woman is just such an amazing and liberating thing to do.


Helene x

View On Black




A skyscraper is a tall, continuously habitable building. There is no official definition or height above which a building may clearly be classified as a skyscraper. Most cities define the term empirically; even a building of 80 meters (262 feet) may be considered a skyscraper if it protrudes above its built environment and changes the overall skyline.



Character (arts)


A character is the representation of a person in a narrative or dramatic work of art (such as a novel, play, or film). Derived from the ancient Greek word kharaktêr (χαρακτήρ), the earliest use in English, in this sense, dates from the Restoration, although it became widely used after its appearance in Tom Jones in 1749. From this, the sense of "a part played by an actor" developed. Character, particularly when enacted by an actor in the theatre or cinema, involves "the illusion of being a human person." Since the end of the 18th century, the phrase "in character" has been used to describe an effective impersonation by an actor. Since the 19th century, the art of creating characters, as practiced by actors or writers, has been called characterization.


A character who stands as a representative of a particular class or group of people is known as a type. Types include both stock characters and those that are more fully individualized. The characters in Henrik Ibsen's Hedda Gabler (1891) and August Strindberg's Miss Julie (1888), for example, are representative of specific positions in the social relations of class and gender, such that the conflicts between the characters reveal ideological conflicts.


The study of a character requires an analysis of its relations with all of the other characters in the work. The individual status of a character is defined through the network of oppositions (proairetic, pragmatic, linguistic, proxemic ) that it forms with the other characters. The relation between characters and the action of the story shifts historically, often miming shifts in society and its ideas about human individuality, self-determination, and the social order.




"Hitchcock" is a diverting but dramatically insipid account of how the Master of Suspense took his biggest gamble and delivered his greatest success with "Psycho." Focusing less on the production of that 1960 masterpiece than the strain it purportedly caused the director's relationship with his long-suffering wife, Alma Reville, this behind-the-scenes bonbon offers an easily digestible menu of dishy one-liners and capable performances. But while international and ancillary prospects look decent, the film buffs likely to constitute the bulk of Fox Searchlight's audience will be left unsatisfied by the picture's lack of density, texture or insight into its ostensible subject.

An intriguing change of pace for helmer Sacha Gervasi after his winning 2008 docu "Anvil! The Story of Anvil," this Nov. 23 release arrives in theaters just a month after the airing of HBO's "The Girl," an unflattering portrait of Alfred Hitchcock's troubled dealings with star Tippi Hedren during production on "The Birds" and "Marnie." While it similarly references the helmer's attempts to manipulate the blonde leading ladies who tickled his fancy, the comparatively frothy "Hitchcock" offers a more sympathetic, even comedic assessment of the man behind the portly silhouette.


Following the 1959 success of "North by Northwest," Hitchcock (Anthony Hopkins), annoyed by press coverage suggesting he should quit while he's ahead, decides to tackle something bold and different: an adaptation of Robert Bloch's suspense novel "Psycho" (or, as pronounced in the helmer's British drawl, "Psy-choowww"). Bloch's sordid tale of transvestism, incest and matricide strikes almost everyone as a tasteless choice of material for a world-class director, and when Paramount head Barney Balaban (Richard Portnow) refuses to finance the picture, Hitch opts to pony up the relatively low $800,000 budget himself, in exchange for a cut of the profits.


Despite her own reservations, especially when they're forced to mortgage the house, Alma (Helen Mirren), always her husband's closest confidante and often uncredited collaborator, lends him her customarily wry support. At the same time, she seeks another creative outlet fine-tuning a screenplay by longtime friend and "Strangers on a Train" scribe Whitfield Cook (Danny Huston), baldly depicted here as a cad with more charisma than talent.


Loosely based on Stephen Rebello's terrifically exhaustive 1990 book "Alfred Hitchcock and the Making of 'Psycho,'" the screenplay by John J. Laughlin (a co-writer on "Black Swan") is understandably hard-pressed to accommodate every fascinating aspect of the pic's production history. Still, it's disappointing that the film never gets beyond a superficial re-creation. What relevant details there are tend to get rattled off like bullet points, as when a Production Code censor (Kurtwood Smith) testily informs us that no American movie before "Psycho" has dared to show a toilet being flushed.


Considerable time is spent addressing the director's strained relations with actress Vera Miles (Jessica Biel) and his tender rapport with his new star, Janet Leigh (Scarlett Johansson), who fondly notes that, whatever Hitch's flaws, "compared to Orson Welles, he's a sweetheart." By contrast, Anthony Perkins (James D'Arcy) gets just a few fidgety lines and a coy, smirking reference to the actor's sexuality, and the film only glancingly acknowledges key contributors such as scribe Joseph Stefano (Ralph Macchio) and title designer/pictorial consultant Saul Bass (Wallace Langham). Cinephiles and academics may take issue with numerous other omissions (one never catches even a glimpse of the Universal lot's Bates Motel set, for example).


More egregious than any factual deviation, however, is the film's bizarre suggestion that Hitchcock's headaches were caused not merely by studio and censor interference, but by his own personal demons, stemming from his irrational suspicion that Alma may be having an affair. A series of pointless dream/fantasy interludes show Hitchcock consorting with Ed Gein (Michael Wincott), the serial killer who served as the real-life inspiration for Norman Bates, as if only someone a little nutty himself could have made a great film out of "Psycho." Similarly, the famous shower scene, the making of which could furnish its own movie, has been ludicrously dramatized so as to emphasize the helmer's alleged emotional instability on the set.


The result is a film that essentially contradicts the reality that "Psycho's" limited means, far from exposing the director's incompetence, in fact revealed the extent of his mastery. As such, "Hitchcock" offers almost zero insight into the peculiar workings of creative genius, or into the rich, taboo-shattering legacy of the film whose making it documents.


The upshot of Gervasi and Laughlin's conception is that the Alfred-Alma marriage was sorely tested by the demanding production but wound up saving it in the end. However facile this thesis, it does have the benefit of two lead actors who bring endearing shades of humanity to scenes of the Hitchcocks on the set and in their little-seen home. Mirren has the advantage of not only playing the less widely recognized figure, but also embodying the drama's moral compass; whether scolding her husband for his gluttonous appetite, or telling him off in the film's one riveting scene, she makes poignantly clear that Alma's frustrations with Hitchcock are inextricable from her devotion to him.


Outfitted with facial prosthetics, blue contact lenses and a hairpiece, always gulping rather than sipping a glass of wine, Hopkins does a droll impersonation of the director's iconic stiff posture and sinister tones, and he takes particular delight in his wickedly deadpan asides (on actor John Gavin: "Plywood is more expressive"). Yet while he looks more like Hitchcock than Toby Jones did in "The Girl," Hopkins doesn't quite match that actor's insinuating impact; physical likeness is only half the battle here.


Despite their own so-so resemblances to their real-life counterparts, Johansson and Biel have effective moments, while Michael Stuhlbarg cuts an admirable figure as the young Lew Wasserman, Hitchcock's agent and defender. Pic manages a reasonable evocation of late '50s/early '60s Hollywood but still looks somewhat underrealized, and the occasional use of Bernard Herrmann's screeching violins only accentuates the blandness of the film's main score.


A Fox Searchlight release presented in association with Cold Spring Pictures of a Montecito Picture Co. and Barnette/Thayer production made in association with Dune Entertainment and Ingenious Media. Produced by Ivan Reitman, Tom Pollock, Joe Medjuck, Tom Thayer, Alan Barnette. Executive producers, Ali Bell, Richard Middleton. Co-producer, John Schneider. Directed by Sacha Gervasi. Screenplay, John J. McLaughlin, based on the book "Alfred Hitchcock and the Making of 'Psycho'" by Stephen Rebello.


Alfred Hitchcock - Anthony Hopkins

Alma Reville - Helen Mirren

Janet Leigh - Scarlett Johansson

Peggy Robertson - Toni Collette

Whitfield Cook - Danny Huston

Vera Miles - Jessica Biel

Lew Wasserman - Michael Stuhlbarg

Anthony Perkins - James D'Arcy

Ed Gein - Michael Wincott

Geoffrey Shurlock - Kurtwood Smith

Barney Balaban - Richard Portnow


Justin Chang VARIETY 1 November 2012

By DEB RIECHMANN, Associated Press Deb Riechmann, Associated Press – 18 mins ago


KABUL, Afghanistan – A veteran Afghan military pilot said to be distressed over his personal finances opened fire at Kabul airport after an argument Wednesday, killing eight U.S. troops and an American civilian contractor.


Those killed were trainers and advisers for the nascent Afghan air force. The shooting was the deadliest attack by a member of the Afghan security forces, or an insurgent impersonating them, on coalition troops or Afghan soldiers or policemen. There have been seven such attacks so far this year.


Although the individual circumstances may differ, the incidents of Afghans turning against their coalition partners seem to reflect growing anti-foreigner sentiment independent of the Taliban. Afghans are increasingly tired of the nearly decade-long war and think their lives have not improved despite billions of dollars in international aid.


The Taliban, who are currently staging their opening salvos of the spring fighting season, boasted that the gunman in Wednesday's airport attack was a militant impersonating an army officer.


This claim did not seem credible, however.


Defense Ministry spokesman Gen. Mohammad Zahir Azimi said the gunman was an officer who had served as a pilot in the Afghan military for the past 20 years. The gunman — identified as Ahmad Gul, 48, of Tarakhail district in Kabul province — died in an exchange of fire that followed his attack.


The gunman's brother insisted he was not a Taliban sympathizer.


"He was under economic pressures and recently he sold his house. He was not in a normal frame of mind because of these pressures," said the brother, Dr. Mohammad Hassan Sahibi. "He was going through a very difficult period of time in his life."


"He served his country for years," Sahibi told Tolo, a private television station in Kabul. "He loved his people and his country. He had no link with Taliban or al-Qaida."


Sahibi said his brother was wounded four or five times during his military service — once seriously when his helicopter crashed.


The shooting took place at 10:25 a.m. at Kabul's airport. The gunman opened fire at a meeting in an operations room at the Afghan Air Corps following an argument with foreigners, Afghan defense officials said.


It was unclear what the argument was about.


"Suddenly, in the middle of the meeting, shooting started," said Afghan Air Corps spokesman Col. Bahader, who uses only one name. "After the shooting started, we saw a number of Afghan army officers and soldiers running out of the building. Some were even throwing themselves out of the windows to get away."


Five Afghan soldiers were injured. At least one Afghan soldier was shot — in the wrist — but most of the soldiers suffered broken bones and cuts, Bahader said.


Afghan President Hamid Karzai condemned the shooting and offered his condolences to the relatives of the victims.


Lt. Gen. William Caldwell, who leads the NATO training mission, called the deaths of nine trainers a "tragic loss."


NATO officials said the Taliban are quick to take credit for any attack that results in the death of pro-government forces. They say militants want to undermine trust between coalition and Afghan forces, who are increasingly partnered as the Afghans prepare to take the lead in securing the nation by the end of 2014.


Last year, there were 10,400 partnered operations — up from 530 in 2009, the coalition said.


Increased partnering has created bonds, but also friction among troops who have drastically different lifestyles, cultures and religion. Some coalition troops have expressed exasperation at their less professional Afghan partners. Increased nationalistic rhetoric uttered by the Afghan president also has fueled the rising anti-American sentiment among Afghans.


On April 4 in Faryab province of northwest Afghanistan, a man wearing an Afghan border police uniform shot and killed two American military personnel. NATO intelligence officials said the shooter was upset over the recent burning of the Quran at a Florida church. The Quran burning, which Karzai denounced, also was the impetus for angry protesters to storm a U.N. compound in Masar-i-Sharif on April 1 and kill four Nepalese guards and three international U.N. staffers.


In February, an Afghan soldier who felt he had been personally offended by his German partners shot and killed three German soldiers and wounded six others in the northern province of Baghlan.


In January, an Afghan soldier killed an Italian soldier and wounded another in Badghis province.


Before the airport shooting, the coalition had recorded 20 incidents since March 2009 where a member of the Afghan security forces or someone wearing a uniform used by them attacked coalition forces, killing a total of 36. It is not known how many of the 282,000 members of the Afghan security forces have been killed in these type of incidents.


According to information compiled by NATO, half of the 20 incidents involved the impersonation of an Afghan policeman or soldier. The cause of the other 10 incidents were attributed to combat stress or unknown reasons.


NATO said that so far, there is no solid evidence — despite Taliban assertions — that any insurgent has joined the Afghan security forces for the sole purpose of conducting attacks on coalition or Afghan forces.


Investigators currently are trying to understand why an Afghan soldier walked into a meeting of NATO trainers and Afghan troops at a base in eastern Laghman province on April 16 and detonated a vest of explosives. The bombing killed six American troops, four Afghan soldiers and an interpreter.


U.S. and French forces have trained 220 Afghan soldiers to spot possible Taliban infiltrators, disgruntled soldiers within the ranks and other conditions that could make the force vulnerable to attack. The plan is to have 445 soldiers trained in counterintelligence by the end of the year.


Mark Moyar, research director of the U.S.-based counterinsurgency consultancy Orbis Operations, said he did not think the recent incidents would affect partnering. Coalition commanders generally recognize that Afghan soldiers can interact with the population and collect information better than international troops, he said.


"These incidents are very small in number given the tens of thousands of foreign troops who are partnered with Afghan forces," he said.


Anna, Dale Dye, and Amy

On the set of JFK

Dealy Plaza, Dallas, Texas



It was the spring of 1991. I was working at a law firm part time (and having crazy visions of becoming an attorney someday) while finishing my last year in college. One early spring day when I was cloistered in my windowless cubicle doing yet another menial task, my mom called to say that Oliver Stone was looking for extras in Dallas while he was in town filming "JFK." There would be an open casting call that Saturday.


I quickly abandoned my dull assignment and called my friend, Anna, who was also serving time as a secretary and working her way through college. As soon as I got the first sentence out, she jumped at the chance for a little adventure, and we completely forgot about the piles on our desks as we started mentally scanning our vintage-laden wardrobes planning our perfect casting call outfits. For the next two days, we obsessively planned every detail of our vintage ensembles; I opted for an aqua sheath with boatneck collar and, of course, matching shoes and bag, and Anna wore her best Lilli Ann suit with a great geometric print on the jacket (which she graciously gave me years later because I loved it so much -- I still have it, too!).


Bright and early on a shiny, spring Saturday morning, Anna and I hopped into her car, careful not to fall in our killer pointy-toe stiletto heels (very uncomfortable after about five minutes of wear, but they looked GREAT) and headed downtown. When we got to the casting call at 10:00 a.m. sharp, we were more than surprised to find an interminably long line of people of all ages, sizes, and colors snaking out the door and around a nondescript city building. Feeling like we just lost our opportunity for a grand movie adventure, we sulked our shoulders and got in the back of the forever line, knowing that this was going to be a very long day, especially in those foot-crimping shoes. We stood, shifting our weight from one pained foot to another every few seconds, waiting, waiting, waiting as the line ever-so-slowly creeped toward the entrance about 10 miles away. Since we knew we were going to be in line FOREVER and weren't going anywhere soon, Anna and I gave up the idea of looking perfectly coiffed, removed our pinching heels, and started making the best of things by chatting with the people standing in line around us.


First, we met Amy, a tall redhead who drove two hours from Tyler (a little hamlet in East Texas) to the casting call. She was a sometime actress and full-time wife and mom with an outgoing personality and tons of hilarious stories to tell about small-town life and motherhood. She stood out among the crowd with her vibrant red hair ratted into a perfect bouffant that perfectly matched the colorful circle skirt and button-up shirt with a Peter Pan collar she wore.


Then, there was Michael, looking very official and commanding with his dark, slicked-back hair, black suit with, of course, skinny 60's black tie, and Ray Bans shielding his playful eyes. He worked for Southwest Airlines, drove a burgundy-colored 1963 Corvair convertible (Nadar be damned), and provided us with a hysterically funny running commentary of the day's events in his best deep radio announcer voice (and he was good, too!).


There were two other guys, both of whom were actors and made for really nice eye candy with their slicked back hair and vintage Rob Petrie cardigans (I'm a sucker for a man-cardigan any day, thanks to the old "Dick Van Dyke Show"!). Then there was Linda, who wore a red and white polka dot '50s dress that contrasted dramatically with her ivory skin, red hot red lips, and platinum blond hair. She told us she did Marilyn Monroe impersonations for a living (thus the hair), and when we demanded that she prove it, Linda channeled her best Marilyn and entertained us with her near-perfect breathless and batting eye rendition of "Happy Birthday, Mr. President."


Finally, after an hour or so in a line that was moving nowhere fast, we saw director Oliver Stone and his entourage exit the building, still quite away in the distance. Anna and I quickly squeezed our swollen feet back into our narrow and increasingly painful shoes and waited with our new friends for him to pass. He was way up at the beginning of the line checking people out, handing a few cards to hopefuls here and there, and shaking some hands. When he got to our little group, he stopped and looked at all of us in our vintage attire and seemed pleased that we had made such an effort. He smiled and directed his assistant to give each and every one of us a card! At the time, we didn't know what that meant, but we were sure it was a good thing.


After what seemed like forever waiting in the growing heat outside, we finally gained entrance to the building and encountered a big convention-sized room with another huge line of people (we later found out that over 10,000 people were at the casting call that day and only a few hundred were selected). A helper saw that we had cards and, hallelujah!, directed us to a much smaller room lined with folded out chairs. We took our seats among a couple hundred people and waited ... and waited ... and waited some more. Finally, a girl came up to each of us individually, had us fill out some paperwork, and asked us to read part of a scene. Once we were finished with that, we were told that we could go home.


That was it. No one said thanks or indicated in any way that we were in the movie. We didn't know anything and left the small room and, feeling it had all been a bit anti-climactic, went back outside, where we all exchanged phone numbers, said our goodbyes, and dispersed.


A few weeks later, while laboring away in my dark cubicle dying for 5:00 to arrive, I got a call. The lady on the other end of the line identified herself as part of the "JFK" production and requested that I go to a studio for a wardrobe fitting. I WAS IN!! Now, I had to figure out how to tell my boss at the law firm and my professors at college that I would be taking two weeks off to go be an extra in a movie (luckily, it was no problem).


I called Anna -- she was in, too! She called Amy, who was in. I called Michael -- yes, he had gotten the call, too. So did Linda and the "Eye Candy" boys.


What followed was two weeks of getting up early, early, going to an old warehouse near the West End just a block from Dealey Plaza for hair and make-up, being on the set by sunrise, then spending each and every day in complete fascination watching the iconic scene of JFK getting assassinated. It was truly an amazing experience.


I have more shots of filming JFK -- and more stories -- in my photostream.

I gave him my buck because he and the nine guys he was hunting with didn't see a single deer, and he wanted a doe if I saw one. I could write volumes about this man and someday I'll have to. One of the most incredible people I've ever known. He has a broken ankle but you wouldn't know it to watch him move about. I had to fight him off the buck so he wouldn't put down too much weight and really hurt something. He admitted himself that if he were to stop moving that'd be it.

2/16/09: I visited George last friday, and he informed me that his birthday had been at the end of January. I wished him a happy birthday as he made his way to a closet to retrieve the gift his sons had bought him. I'd had some idea of what it might be, having seen the bag of old 30-06 shells and a couple of loaded stripper clips. He produced a huge velvet gun case that ,being as big as it was, could only hold one thing. I untied the strings near the top and reached in, pulling out a new production M1 Garand rifle. "Nine pounds... nine and a half... Too heavy for an old man, but I'll shoot a coyote with it. I carried one when I was in the marines and could take it apart and put it back together in a minute with a blindfold on. I had to." he told me. He also told me how he landed on Okinawa on the second day, and that he and his buddies babysat a radar installation of some kind. "We got up early, me and my buddy. We'd get up on a little shelf above the beach so we could see over the coral, and before the sunrise got too bright you could pick out two big manta rays. Not the ones that killed that australian fella', the big ones. Twenty feet across. They'd come in every day as the tide came in. Got up early just to see 'em."

He showed me pictures of him while they trained in California, and explained how the doctor told him to keep his foot up for twenty minutes at a time, six times a day. "I can't do that. If you weren't here and weren't sitting down talking I'd have paced back and forth through these rooms nine or ten times already. Gotta' keep movin'."


Update 5/15/2010:

George passed away. He had a stroke that prevented him from walking and just as he'd told me not too long before, if he stopped moving around that would be it. He knew it, and he was right. George has joined his old hunting buddies in that big stand of timber in the sky. George never asked for much of anything, and he was always willing to take just about anyone hunting or fishing. I'm so privileged to have been one of those people, and I'll never forget George or the things he taught me and places he showed me.


Turkey Hunting with Ol' Zebrun:

George took me turkey hunting a number of times. One really memorable hunt took place on a piece of property owned by a lady named Alfono. Her house sat up at the very top of the hill with a cornfield at the base. It made sort of a half horseshoe. Beyond the cornfield there was a narrow strip of timber cut off from the big woods by a good sized creek. We got out of his old Cavalier early in the morning. George slammed his car door as hard as he could to get a shock gobble out of any tom that happened to be nearby. Nothing. George peeked over the roof of the car and even in the dark I could see the glint in his eye. He took the fresh cigar out of his mouth, took a deep breath, and let out what I could only describe as the best parts of a crow and a barred owl call with a big hacking cough at the very end. He regained his composure just in time to hear the response come from down the creek a little ways. He grabbed his arm load of blind material, a couple of stakes, and his beloved good luck decoy Henrietta and off we went. After the blind was all set at the corner of the cornfield and Henrietta was out in the field doing her best turkey-Maralyn Monroe impersonation, we sat settled in against the knobbiest little excuse for a tree you've ever seen. We sat there all morning calling and waiting. It got to be about 8:30 when I heard a turkey flap across a gap in the creek behind us. I turned around and caught a glimpse of a little brown head. I whispered to George what I had seen, and gave me that smile and nod I knew so well. I hadn't said it loud enough. A few minuted later he spotted her and ,in a manner he reserved from polite company, growled "Je-sus Cha-rist, there's a hen right here. Snuck up on us!" Naturally, he thought he'd been pretty clandestine about our exchange, but after the customary 'Put' she was a goner. He decided it was time to call it a day, cursing the cold wet conditions that had plagued hunters in the area so far that spring. He began packing up the blind and his calls and told me to walk the long way around the edge of the field to see if I could see any tracks. I made my way around just slow enough that I wouldn't beat him back to the car. If I did I'd get an earful about not being thorough enough, or not enjoying being outside enough. Once back, we drove into town and ate breakfast at Hardee's and planned the next day's hunt. Even though we didn't see much he never stopped grinning around that little cigar nub.


Two prisoners of war are burying a corpse in the graveyard of a Japanese World War II prison camp in southern Burma. One, American Navy Commander Shears (William Holden), routinely bribes guards to ensure he is put on the sick list, which allows him to avoid hard labour.


A large contingent of British prisoners arrives, marching in defiantly whistling the Colonel Bogey March under the leadership of Colonel Nicholson (Alec Guinness). Because they were ordered by their superiors to surrender, Nicholson states that they should be obedient and cooperative prisoners. The Japanese camp commander, Colonel Saito (Sessue Hayakawa), addresses them, informing them of his rules. He insists that all prisoners, regardless of rank, will work on the construction of a bridge over the Kwai River as part of a railroad that will link all Burma.


The next morning, when Saito orders everyone, including officers, to work, Nicholson commands his officers to stand fast. He points out that the Geneva Conventions state that captured officers are exempt from manual labour. Saito is infuriated and backhands Nicholson in the face, but the latter refuses to back down, even after Saito has a machine gun set up threatening to shoot all the officers. Saito is dissuaded from shooting by Major Clipton (James Donald), a British medical officer prisoner, citing an inquiry and scandal should Saito carry through with the murder of officers. Instead, the Japanese commander leaves Nicholson and his officers standing in the intense heat. As the day wears on, one of them collapses, but Nicholson and the rest are still standing defiantly at attention when the prisoners return from the day's work. After Colonel Nicholson is beaten in Saito's quarters, the British officers are sent into a punishment cage and Nicholson into his own box for solitary confinement.


When Clipton requests to be allowed to check the officers, Saito agrees on the condition that Clipton persuade Nicholson to change his mind. Nicholson, however, refuses to budge, saying "if we give in now there'll be no end to it." In the meantime, construction of the railroad bridge falls far behind schedule, due in part to many "accidents" purposely arranged by the British prisoners.


Saito has a deadline; if he should fail to meet it, it would bring him great shame and oblige him to commit seppuku (ritual suicide). Saito reluctantly releases Nicholson, telling him that he has proclaimed an "amnesty" to commemorate the anniversary of Japan's great victory in the Russo-Japanese War, using it as an excuse to exempt the officers from work. Upon their release, Nicholson and his officers proudly walk through a jubilant reception. Saito for his part breaks down in tears in private.


Having recovered from his ordeal physically, but not mentally broken, Nicholson sets off on an inspection of the bridge and is shocked to find disorganization, shirking and outright sabotage on the construction site. He decides to build a better bridge than the Japanese soldiers. He orders Captain Reeves (Peter Williams) and Major Hughes (John Boxer) to come up with designs for a proper bridge, despite its military value to the Japanese. He wants to demonstrate to his captors what he considers superior British ingenuity and to also keep his men busy, which he feels would be better for morale than sitting around doing nothing in prison.


Meanwhile, three men, one of them the American Shears, attempt to escape. Two are killed; Shears is shot, falls into the river and is swept downstream. After many days in the jungle, he stumbles into a Siamese village, whose residents help him recover and get back to safety. He's given food, water and an outrigger boat to make his way down the river. Shears runs out of water during the trip and is forced to drink the water from the river, which makes him ill. However, he makes it to the mouth of the river and is picked up by British forces and shipped to a British hospital in Colombo, Sri Lanka (at the time, Ceylon). While recuperating, he dallies with a lovely nurse (Ann Sears).


Major Warden (Jack Hawkins), a member of the British Special Forces, asks to speak with him. He informs Shears that he is leading a small group of commandos on a mission to destroy the Kwai bridge. He asks Shears to volunteer, since he knows the area. Shears refuses, finally admitting that he is not Commander Shears at all, but a Navy enlisted man. Shears recounts that he and a Navy Commander survived the sinking of their ship, but the Commander was subsequently killed by a Japanese patrol. "Shears" switched dog tags with the dead officer, hoping to get preferential treatment in captivity. It didn't work, but then he had no choice but to continue the impersonation. Warden tells him that the military already knew about it. To avoid bad publicity, the U.S. Navy loans him to the British. Warden offers him a deal: in exchange for his services, he will be given the "simulated rank" of major on the mission and avoid being charged with impersonating an officer, an offense punishable by death. Thus, Shears reluctantly "volunteers" with the understanding that should he survive, he'll get to keep his officer status. They are to be joined by Lieutenant Joyce (Geoffrey Horne), a young eager officer with no combat experience who insists that he won't fold under pressure should he have to kill someone on the mission, and a fourth officer.


Back in the camp, Nicholson explains to the Japanese through engineering principles that they've selected a poor site for the bridge. Finally convinced, the original bridge is abandoned and construction of a whole new bridge is commenced 400 yards downriver. Clipton watches in bewilderment as Nicholson maniacally drives his men to complete the project by the deadline. Ironically, he even volunteers his junior officers to assist with the physical labor, something he had refused to consider earlier in the standoff with Saito - provided that the Japanese officers are willing to pitch in as well.


Meanwhile, the commandos parachute in. The fourth officer dies due to a bad landing. The rest make their way to the river, assisted by native Burmese women porters and their village chief, Yai (M.R.B. Chakrabandhu). The commandos come upon a Japanese patrol whom they try to kill without firing shots, but Joyce freezes when confronted by one in the jungle. Warden jumps in front of him and kills the Japanese soldier, but gets shot in the foot as a consequence. This slows him down, but Shears refuses to leave him behind and the trio make their way to the bridge with the Burmese helpers.


As the prison camp celebrates the completion of the bridge on time with a party for all, Shears and Joyce wire explosives to it under cover of darkness. The next day, a Japanese train full of soldiers and important officials is scheduled to be the first to use the bridge; Warden wants to blow it up just as the train passes over, accomplishing two missions at once.


As dawn approaches, the trio notice with horror that the river has receded and the wires and explosives that were hidden the night before are now exposed. Nicholson proudly walks up and down his bridge making a final inspection, and notices the wires. The train can be heard approaching. Nicholson and Saito frantically hurry down to the riverbank, pulling up and following the wire towards Joyce who is waiting by the detonator. When they get too close, Joyce breaks cover and stabs Saito to death. Nicholson yells for help and then tries to stop Joyce (who cannot bring himself to kill Nicholson) from getting to the detonator. A firefight erupts as Warden fires upon the approaching Japanese soldiers; Yai is killed in the gunfight. When Joyce is hit, Shears swims across the river to finish the job, but he too is shot just before he reaches Nicholson.


Recognizing Shears, Nicholson suddenly comes to his senses and exclaims, "What have I done?" Warden desperately turns the mortar fire in their direction, killing Shears in the blast and mortally wounding Nicholson. The colonel stumbles over to the detonator plunger and falls on it with his dying breath, just in time to blow up the bridge and send the train hurtling into the river.


Warden, feeling guilty for killing Shears and Nicholson in the face of shocked stares from the Burmese women, pleads, "I had to do it! They might have been taken alive! It was the only thing to do!" Meanwhile, Major Clipton, the British medical officer who has witnessed all the carnage unfold from his vantage point on the hill, shakes his head incredulously, "Madness! ... Madness!".

Move your mouse over the above scan to see the 5 notes!


The scan of this side of the granite artefact shows the silhouette of a bison bowing his head to march straightforwardly. Obviously not for fighting with another one - as everybody would like to believe - but for pulling - as a domesticated draught bison cow harnessed and subdued under a yoke - heavy loads like stones, carts and trolleys.


The other side of this artifact is still not available. It is showing the silhouette of a bison slightly turning his head into the direction of the spectator. The Saint-Germain-en-Laye, Musee des Antiquites nationales has a head turning around bison made of reindeer antler. For 57$ you can buy an artificial copy made of stone-filled polymer.


This granite has a pestle at the headside and a mortar at the tailside, I discovered on September 8th 2007. It is a bifacial. It is a pestle with a mortar-tail: “... les hommes préhistoriques ont affiché leur corps et leur sexualité de façon à la fois explicite, concrète, avec des images matérielles, mais également de façon très dissimulée, très partiellement affichée,...” (L’unité psycho-anthropologique de Sapiens - Par Denis Vialou )


The shape of the tool reminded me of the good old-fashioned (paleolithic), bifacial flint hand axes but could not have taken the function of such a tool because it did not have any sharp edges.


At the rear end of the stone there is a round deepening. A very similar kind of a hollow I saw upon an Abbevillean (250,000 to 700,000 years B.P.) stone offered as a pebble chopper for $ 155.00.


Alpha-Harness of the bison

The harness looks like an Alpha turned upside down ! Does this symbolize that this buffalo is a representative one? The horizontal line of this letter is engraved 1 mm deep. Was the draught-bison often violated by the right shaft of the harness because he had to pull heavy loads?

Alpha (ℵ=Aleph= glyph for a bull-head): Caananite, Aramaic, Phoenician, Hebrew, Etruscan and Hellenic.

Aleph means head, especially the head of the bull, taurus.

The sexual connection of writing and {plowing / furrowing} has been mentioned by Vilem Flusser. Kallir (31) also refers to the double meaning of 'husbandry' in English, as for example in this Shakespeare's sonnet: For where is she so fair whose unear'd womb / Disdains the tillage of thy husbandry?

"The taming of the bull is the great achievement of the developing agricultural civilization and, like the invention of the alphabet, a milestone in the progress of man". (Kallir 39). The Egyptian hieroglyph of plough has a striking similarity to the Semitic aleph sign (Kallir 31).


The colours of the image are of course not very true: At first I struggled with the right scanner illumination and then with Photoshop to reproduce a correct silhouette.


On September 16th 2007 I revisited my stone collection, and discovered a granite that I had taken home a few month ago and that I had suspected to be a pestle, too. It is a granite frog sitting on his rectangular mortar area (4 x 3,5 cm). It is a bifacial pestle made by the same stoneage sculptor: Colour and texture, length and width are exactly the same; height is exactly the same:

Size of the frog

Length ~ 12 cm, Width ~ 6 cm, Height ~ 4 cm.

Size of the bison

length ~ 13 cm

width ~ 4 cm

height ~ 8 cm

These dimensions could serve as a draft for a very special computer-mouse-design?



Shows this backside of a granite the tails of a stoneage coin?

Confer the english phrase: Heads or tails?

Stones marked with such a hollow deepening anywhere functioned as money-piece or just signify a female animal?

Could this stone have had ritual and representative significance? A kind of cattle-money (lt. pecunia) ?

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Granite Granite (IPA: /ˈɡrænɪt/) is a common and widely occurring type of intrusive, felsic, igneous rock. Granites are usually medium to coarsely crystalline, occasionally with some individual crystals larger than the groundmass forming a rock known as porphyry. Granites can be pink to dark gray or even black, depending on their chemistry and mineralogy. Outcrops of granite tend to form tors, and rounded massifs. Granites sometimes occur in circular depressions surrounded by a range of hills, formed by the metamorphic aureole or hornfels.

Granite is nearly always massive, hard and tough, and it is for this reason it has gained widespread use as a construction stone. The average density of granite is 2.75 g·cm−3 with a range of 1.74 g·cm−3 to 2.80 g·cm−3. The word granite comes from the Latin granum, a grain, in reference to the coarse-grained structure of such a crystalline rock.

..... Granite is an igneous rock and is formed from magma.

Natural Radiation

Granite is a normal, geological, source of radiation in the natural environment. Granite has around 10 to 20 parts per million of uranium. By contrast, more mafic rocks such as tonalite, gabbro or diorite have 1 to 5ppm uranium, and limestones and sedimentary rocks usually equally low.

Many large granite plutons are the sources for palaeochannel-hosted or roll front uranium ore deposits, where the uranium washes into the sediments from the granite uplands and associated, often highly radioactive, pegmatites.

In buildings constructed primarily from natural granite, it is possible to be exposed to approximately 200 mrems per year. 1

Granite could be considered a potential natural radiological hazard as, for instance, villages located over granite may be susceptible to higher doses of radiation than other communites. 2 Cellars and basements sunk into soils formed over or from particularly uraniferous granites can become a trap for radon gas, which is heavier than air.

However, in the majority of cases, although granite is a significant source of natural radiation as compared to other rocks it is not often an acute health threat or significant risk factor. Various resources from national geological survey organisations are accessible online to assist in assessing the risk factors in granite country and design rules relating, in particular, to preventing accumulation of radon gas in enclosed basements and dwellings.


Granite has been extensively used as a dimension stone and as flooring tiles in public and commercial buildings and monuments. With increasing amounts of acid rain in parts of the world, granite has begun to supplant marble as a monument material, since it is much more durable. Polished granite is also a popular choice for kitchen countertops due to its high durability and aesthetic qualities. Currently 33% of the kitchen countertops being made are of granite.


The granite has a phaneritic texture It means that the size of grains in the rock are large enough to be distinguished with the unaided eye as opposed to aphanitic (which is too small to see with the naked eye). This texture forms by slow cooling of magma deep underground in the plutonic environment.





Hand Axe A handaxe is a bifacial Paleolithic core tool. This kind of axe is typical of the lower (Acheulean) and the middle Palaeolithic (Mousterian) and is the longest used tool of human history.

200.000 years ago a period of more rapid change about 200,000 years ago. Hand axes and large bifacial stone tools were replaced by stone flakes and blades that were fashioned into scrapers, spear points, and parts for hafted, composite implements. This technological stage, now known as the Middle Stone Age.


Mesolithic age 10–8th Millennium "...began at the end of the last glacial era, over 10,000 years ago. Cultures included gradual domestication of plants and animals, formation of settled communities, use of the bow, and development of delicate stone microliths and pottery." stoneage

Neolithic Copper Age 5th Millennium (Early Phase)

Neolithic Copper Age second half of 5th – first half of 4th Millennium, (Late Phase)

Bronze Age 3200 – 1200 (Early Thracian Culture)

Iron Age 1200 – 500 (Late Thracian Culture)


▐►Ice Ages ◄▌(in Europe and esp. Ireland)

Ireland was an island about 125,000 years ago when the sea level appears to have been very close to its present position. The sea level dropped 130 m (426 feet) or more during the interval from around 30,000 to 15,000 years ago, when Ireland became part of continental Europe [again], and sea levels have been generally rising ever since, albeit at a much slower rate.

In and around 20,000 years ago the area that would later reform the British Isles was mainly covered by a thick sheet of ice. This was during the last maximum expansion of the polar ice caps when sea levels were about 120 meters lower than today.

After a period of about 18000 BC - 16000 BC the thick glacial ice could expand no more and slowly began to melt or evaporate. At the same time the sea levels slowly began to increase.

Estimated between 11000 to 9000 BC the earth's temperature fluctuated, dropped overall, and subsequent periods of glaciation again occurred in Ireland.

After about 9000 BC, the climate again warmed, the juniper spread, and the birch appeared in large numbers for the first time. Pine, elm and other forest trees also appeared, and Ireland began a long-term process of forestation. Other plants and animals crossed the land bridges as well.

Sea level changes and Ireland Relative sea-level rose rapidly between 10,000-5,000 years ago, at averaged rates of approximately 6mm/year. By about 5,000 years ago sea-level rise had slowed considerably to less than 1 mm per year, with RSL having reached to within 2m of present levels by 3,000 years ago.

The association between climate change sea-level seems intuitively clear. Greenhouse gas forcing of climate warming - with the scenario of equivalent C02 doubling by about the year 2030 and averaged temperature rise of 1.5-4.5°C (expected minimum rise of c. 2°C) - would lead to additional melting of the world's remaining ice masses (glaciers, ice sheets, ice caps), coupled with a thermal expansion of ocean water; these together leading to sea-level rise against the world's coastlines.

Speculation in the late 1970s by glaciologists, climate and ocean scientists suggested that the effect of any such climate warming on West Antarctica, which contains about nine per cent of the world's ice, might be catastrophic for the ice sheet due to its structure and thermal characteristics. Conjecture about its melt-out has led to estimates of global sea-level reaching at least 5m above present levels by c. 2150. A complete melting of this ice sheet could lead eventually, it was estimated, to a global raising of sea levels by c. 6m from this source alone.

Since that time, intensive research and improved modelling of the ice sheet's likely behaviour under climate warming scenarios has led to a drastic reevaluation of its and other glaciers' effects upon the oceans. For Ireland and Northwest Europe, RSL rise is likely to be much less than suggested in the 1970s.


▐► B I S O N ◄▌

description a humpbacked shaggy-hared wild ox native to North America and Europe. Genus Bison, family Bovidae. B. bison or North American Prairies (also called Buffalo) and B. bonasus of European forests (also called Wisent), now found only in Poland. These are sometimes regarded as a single species.


Bison Bonasus Stumbras (Lithuanian); Зубар [Subar] (Belarussian); Visent (Norse, Swedish); Visentti (Finnish); Wisent (Dutch, English, German); Zimbru (Romanian); Zubr [Зубр] (Czech, Polish, Russian);Obélix (french).



Fighting Bisons @

Buffalo in the mist @

--------------------------------------------------------------------------------------- (sometimes referred to as the Prairie Cow) is a taxonomic group containing six species of large even-toed ungulates within the subfamily Bovinae. Only two of these species still exist: the American Bison (B. bison) and the European Bison, or wisent (B. bonasus). {†B. antiquus, B. bison, B. bonasus, †B. latifrons, †B. occidentalis, †B. priscus}



ICE AGE BISON (skeleton) bison antiquus became extinct between 12,000 and 10,000 years ago, near the end of the Pleistocene Ice Age.

Buffalo roamed from Asia to North America Some scientists believe that it was human hunting that wiped out this subspecies of bison about 10,000 years ago--a foreshadowing of the remaining species' near-extinction by European settlers just 100 years ago.

Hudson-Meng Bison Hudson-Meng bison represent an intermediate, or transitional form, in what might be considered as the quantum jump from Bison antiquus, or occidentalis to Bison bison. ... About 1 million years ago the bison migrated into North America.



In American Western culture, the bison is commonly referred to as "buffalo"; however, this is a misnomer. Though both bison and buffalo belong to the same family, Bovidae, the term 'buffalo' properly applies only to the Asian Water Buffalo and African Buffalo. The gaur, a large, thick-coated ox found in Asia, is also known as the Indian Bison, although it is in the genus Bos and thus not a true bison.

The American and European bison are the largest terrestrial mammals in North America and Europe. Like their cattle relatives, bison are nomadic grazers and travel in herds, except for the non-dominant bulls, which travel alone or in small groups during most of the year. American bison are known for living in the Great Plains. Both species were hunted close to extinction during the 19th and 20th centuries but have since rebounded, although the European bison is still endangered.

Unlike the Asian Water Buffalo, the bison has never really been domesticated, although it does appear on farms occasionally. It is raised now mostly on large ranches in the United States and Canada for meat. Wild herds are found in Yellowstone, Utah's Antelope Island, South Dakota's Custer State Park, Alaska, and northern central Canada (see Wood Bison).

Bison live to be about 20 years old and are born without their trademark "hump" or horns. With the development of their horns, they become mature at two to three years of age, although the males continue to grow slowly to about age seven. Adult bulls express a high degree of dominance during mating season.

On March 16, 2007, 15 American bison were re-introduced to Colorado to roam where they did over a century ago. A herd of 15 bison has been established in the 17,000-acre (69 km²) Rocky Mountain Arsenal National Wildlife Refuge, a former chemical weapons manufacturing site.


Bison bonasus Wisent, Europäischer Bison, Europas schwerstes und größtes Landsäugetier.

Gefährdete Arten Neben dem Auerochsen war der Wisent das zweite Wildrind, das in den Urwäldern Europas heimisch gewesen ist. Er ist der nächste Verwandte des nordamerikanischen Bisons; beide haben sich aus einer längst ausgestorbenen indischen Stammform entwickelt: der Bison in Nordamerika, der Wisent in Vorderindien und Europa. Wisente können, in beiden Geschlechtern, eine Kopf-Rumpf-Länge von 3,40 Metern, eine Körperhöhe von 2 Metern und ein Körpergewicht von 1000 Kilo erreichen.


Bison = the tractor of the stoneage?




buffalo ru.буйволов, es. búfalo fr.buffle, ch.布法羅, jp 水牛, ko.버팔로, ar.جاموسه

cow it.mucca;de.Muh-Kuh;lt.vacca;fr.vache;es.vaca, ru.корова, ch.奶牛, jp.牛, ko.암소,, ar.البقره

Mortar & Pestle, Manus manum lavat. Exchange: Money Goods.

pestle de.Stößel ru.пестиком, fr.pilon, it.pestello, es.maja, pt.pilão ,ch.杵,jp.乳棒,ko.방앗공이, ar.مدقه

mortar fr.mortier,it.mortaio,de.Mörser, es.mortero,pt.almofariz,ru.минометный,ch.砂浆, jp.乳鉢,ko.박격포,ar.هاون

heads or tails (auf Münzen) = Kopf oder Zahl

pestle noun: heavy tool with a rounded end, used for crushing and grinding substances such as spices or drugs, usually in a mortar. verb: crush or grind with a pestle: she measured seeds into the mortar and pestled them to powder

ORIGIN old French pestel, latin pistillum, from pist- pounded, from lt. pînsere --> pîstor = baker

pestle de. Stößel, Pistill, das (fachspr.)


harness a set of straps and fittings or other draubht animal is fastened to cart, plough, etc. and is controlled by its driver

■ an arrangement for straps for fastening something such as a parachute to a person's body or for restraining a young child

► verb to put a harness on (a horse or other draught animal)

■ (harness something) attach a draught animal to (something) by a harness: the horse was harnished to two long shafts, the Harnished Prometheus

2 control and make use of (natural resorces), especially to produce energy: attempts to harness solar energy | figurative harnessing the creativity of the graduates

PHRASES in harness (of a horse or animal) used for driving or draught work ■ in the routine of daily work: a man who died in harness far beyound the normal age of retirement ■ working closely with someone to achieve something: local and central government should work in harness [NODE p 839]

harness racing another term for trotting ('Trabrennen')

trot = lifting each diagonal pair of legs alternatively


'Granite Buffalo' --> Results: 1.960.000 (esp. Granite Works in Buffalo, NY).



◄ Granite Bison in Harness ► ▬ ▲ la Obélix de la Berlin ▲(Sept 14th)

draughthorse --> draught-bison


▐►Vorgeschichtliches Museum Berlin◄▌


Das Charlottenburger Museum für Vor- und Frühgeschichte wird im für 233 Millionen Euro restaurierten Neuen Museum (1842 von Friedrich August Stüler erbaut) auf der Museumsinsel im Oktober 2009 wiedereröffnet. {21.Sept. 2007, Radiomeldung vom Richtfest im Neuen Museum in Anwesenheit von Stararchitekt David Chipperfield und Kulturstaatsminister Bernd Neumann }

Museum für Vor- und Frühgeschichte der Staatlichen Museen zu Berlin ist eine der größten überregionalen prähistorischen Sammlungen der Alten Welt. Es befindet sich im an das Schloss Charlottenburg angrenzenden Langhansbau (ehemaliges Schlosstheater) und umfasst insgesamt sechs Ausstellungssäle auf drei Etagen.

○ Die Sammlung des Museums geht zurück auf das Kunstkabinett der Hohenzollern, die ab 1830 im Schloss Monbijou eine Sammlung alter Fundstücke als „Museum Vaterländischer Altertümer“ aufgebaut hatten. Die Sammlung hatte später ihren Sitz zunächst im Neuen Museum, ab 1886 im Museum für Völkerkunde in der Prinz-Albrecht-Straße und ab 1921 im Martin-Gropius-Bau, der 1931 in das Staatliche Museum für Vor- und Frühgeschichte umgewandelt wurde. Zu den bedeutendsten Förderern und Beiträgern der Sammlung gehören Rudolf Virchow und Heinrich Schliemann. Nach dem Zweiten Weltkrieg gelangten Teilbestände des Museums als Beutekunst nach Russland.[1] Der Umzug des Museums in das Schloss Charlottenburg erfolgte 1960. Nach der Wende wurden zahlreiche Exponate, die bis dahin im Ost-Berliner Museum für Vor- und Frühgeschichte eingelagert waren, in den Bestand aufgenommen.

○ ○ Stein- und Bronzezeit-Saal [Bearbeiten] Im Stein- und Bronzezeit-Saal (Saal 3) werden Funde dieser Epoche aus Europa dargestellt. Zu sehen sind Artefakte der steinzeitlichen Fundstellen von Combe Capelle und Le Moustier, Kunsterzeugnisse der Eiszeit sowie die Entwicklung der paläo- und mesolithischen Werkzeuge. Außerdem werden die neolithischen Kulturen Europas von der Bandkeramik- bis zur Glockenbecherkultur vorgestellt. Darüber hinaus sind im Abschnitt zur Bronzezeit Exponate ausgestellt, die die Entwicklung der Metallurgie und des Kults und der Bestattungsriten veranschaulichen. Geografisch reichen die Fundplätze dabei von Westeuropa, Norddeutschland und Skandinavien, dem östlichen Mitteleuropa, dem Alpen- und Donauraum bis nach Oberitalien.

Museum für Vor- und Frühgeschichte

Schloß Charlottenburg, Langhansbau, 14059 Berlin


J’arrête là cette simple mise en scène des acteurs, deux millions et demi d’années, les premiers hommes auteurs d’outils, d’habitats un peu structurés; quarante mille ans à peine, le Sapiens, créateur d’images. Que s’est-il passé dans cette évolution, extrêmement courte par rapport à l’histoire de la vie? Qu’est-ce qui fut, et est, le plus marquant? Si nous comparons un de ces premiers hommes tel qu’on l’a défini mais cette fois-ci du côté paléontologique, comme celui que l’on appelle Homo habilis, l’homme habile-auteur d’outils, et un Homo sapiens, le Cro-Magnon ou l’inventeur des peintures de Chauvet ou de Lascaux, la différence fondamentale, et je dirais presque en exagérant, la seule différence concerne la boîte crânienne. Les premiers hommes étaient des bipèdes parfaitement accomplis. Les premiers hommes savaient fabriquer des outils, les premiers hommes disposaient déjà d’un appareil phonatoire qui était sur le plan anatomique parfaitement propre à émettre des sons et à les articuler. On peut imaginer, scientifiquement que le paléolangage est d’entrée aussi un élément séparateur de l’homme par rapport à son animalité essentielle, originelle. Certes. L’unité psycho-anthropologique de Sapiens - Par Denis Vialou



280510: 8530

081010: 9045



GOOGLE - SEARCH - RESULTS: “Alpha”-Bison “BEROLINA” (250809:75; 280510: 34.800; 08102010: 39.600)


with missing backlink & added marketing pop-ups



You Work Online Helping You Make a Living Online

Grab The Affiliate Marketing Profits@ affilatecrunch

Overcome Anxiety Blog A little stress relief. post on: September 19th, 2010 at 5:28 pm



How To Develop Quality Backlinks in Less Than 10 Minutes


Clickthroughs: Via CC it is now in the following public domain pages:

evriM. Bison, known in Japan as Vega, is a video game character created by Capcom. First introduced in Street Fighter II: The World Warrior, the character is a recurring boss and antagonist in the Street Fighter series of fighting games. A would-be world dictator, a pure impersonation of evil on world, M. Bison's ambition is to control the world's governments through his covert crime syndicate... @ evri

transmissionprice Make Money Online Survey

sprywii recover password, related piece

en.wikipedia Berolina Chess

tumblr image

wordnik (examples, definitions, word-frequencies) buffle, bison, draught, artifact

answerbag bison

mashpedia European Stone Age, Mousterian Culture ( predominantly flint tools of Homo neanderthalensis)

ueberuns (Infos und Kontaktadressen zur Webseite) Uni Ulm, Rundfunk Berlin-Brandenburg

Ethnological Museum Berlin, Arnimallee 27, DE-14195 @ funtouristattractiions

Local Affiliate Marketing Small Business: The Everyday Affiliate

October 17th, 2010 | Author: Admin



14th May 2014: 71,957 vv

15th May 2014: 72,377 vv

Juke Box Jury chairman who went on to keep leading politicians in line on radio's Any Questions?


David Jacobs, who has died aged 87, was a radio and television broadcaster of considerable versatility and spirit. He was a reassuring presence whether introducing new pop records on BBC television's Juke Box Jury (1959-67) or keeping politicians and other pontificators politely but firmly in line on Radio 4's Any Questions? (1967-84).


When this itinerant live programme made a 1976 visit to Basingstoke, in Hampshire, anti-fascist demonstrators hurled bricks because they objected to the presence of Enoch Powell on the platform. With great dignity, Jacobs led the team off the platform – and back on to it 10 minutes later when the police had re-established order.


For his final programme, he was allowed to choose his own panellists. His colourful line-up was the yachtswoman Clare Francis, Ken Livingstone, then leader of the Greater London Council, Lord (Richard) Marsh, then head of the Newspaper Publishers' Association, and the writer John Mortimer.


Very determinedly he survived much personal unhappiness, including the death of his son, Jeremy, from his first marriage in a traffic accident, and the death of his second wife, Caroline Munro, in a holiday car crash soon after their wedding in 1975. To any friends who complained of bad luck, he responded: "Count up your good luck."


Born in Streatham Hill, south London, David was the son of Jeanette Jacobs and her once-prosperous Covent Garden fruit importer husband, David senior. He had been ill for 10 years when his business collapsed just before the outbreak of the second world war in 1939. The chauffeur disappeared from the family's life, then the car, then the maid and then their home.


This precipitated David Jr into leaving school at 14. He drifted through dead-end jobs – stable boy, farm hand, errand boy, pawnbroker's clerk, leather worker, tobacconist and gents' outfitter's assistant – maintaining afterwards that the only one that gave him satisfaction was the tobacconist's kiosk in Piccadilly, where he bought American cigarettes from a US sergeant and sold them profitably to selected customers.


The nearest he had got to show business was appearing, with the encouragement of his genial Uncle Lew, at the Rex Cinema, Haslemere, Surrey, for a Sunday afternoon talent concert. When he joined the navy in 1944, fate came to his rescue. His flair for impersonations came to the ears of Lieutenant Commander Kim Peacock, himself an actor, who drafted him into the British Forces Broadcasting Service as an announcer. Peacock explained to Jacobs that his impersonations were awful, but he always introduced them so well.


After two years as chief announcer for the forces station in Ceylon (now Sri Lanka), he was an attractive enough proposition to the BBC Overseas Service for them to gave him a job as an announcer. He lost it when he kept giggling at news items that amused him. After a period on Radio Luxembourg he was offered the freelance job of disc jockey on the radio programme Housewives' Choice, on which Jacobs had to play record requests and punctuate them with anodyne chat.


He was perfect for the job. It was a natural progression when he took over Juke Box Jury, chairing a celebrity panel as they assessed likely chart hits – hailed with a hotel-reception-counter bell – or misses – dismissed with a hooter. In a 1963 edition with the Beatles on the panel a regular audience of 12 million increased to more than 20 million.


The series made Jacobs a popular national institution. Firmly but politely he dealt with temperamental guests such as Zsa Zsa Gabor. He deterred her from insisting grandly that every man on the show must wear a dinner jacket by claiming – off the top of his head – that dinner jackets were never worn before 6.45 pm at Buckingham Palace. She believed him.


Jacobs broke into commercial TV when it started in 1955 by auditioning for a part in a play before Sidney Bernstein of Granada. Bernstein hired him but changed his mind, sending him a substantial cheque to cover his breached contract. Jacobs said he would keep it only in exchange for work, and found himself doing a half-hour outside broadcast at a Morecambe pleasure park which was almost empty because of driving rain. To hold the audience's attention, he ended up by walking fully clothed into the sea. Impressed at this ability to keep going whatever the difficulties, Bernstein offered him the chairmanship of the new quiz show Make Up Your Mind.


At one time Jacobs seemed to be always on television whenever the on-switch was turned, with appearances on What's My Line, Top of the Pops, the Eurovision Song Contest, Come Dancing, Miss World and many more. He knew – though was alway mystified as to quite why – that there were some people for whom his toothy, emollient smiles just did not work. When a senior BBC executive advised him that it was all too much, he reinvented himself as a player with more gravitas, to succeed Freddy Grisewood on Any Questions?


At that time, before television's Question Time took up a similar formula with Robin Day, Any Questions? was the leading political discussion programme. On it Jacobs showed that he was more than just a practised charmer until he was succeeded by the more down-to-earth John Timpson.


Having conceded that he was "too square for the pop scene", Jacobs became a stalwart of Radio 2, presenting music programmes in a succession of formats. He maintained that he gave the necessary impression of one-to-one intimacy by following advice from the great cricket commentator John Arlott, to "always speak while holding, and fingering, a pencil". He broadcast regularly on the station until ill health – liver cancer and Parkinson's disease – intervened this July.


In 1960 Jacobs was declared the Variety Club's BBC TV personality of the year, and in 1975 BBC radio personality of the year. In 1984 he received a Sony gold award for his outstanding contribution to radio. He presented six Royal Command Performances and served many charities.


His Granada experience notwithstanding, there was some acting, notably as Laurie in the BBC's first TV adaptation of Little Women (1950-51). In Ceylon, one of his radio colleagues was Charles Chilton: when Chilton's Journey into Space was broadcast in the 1950s, with Jacobs introducing it and taking 22 roles, it proved to be a great hit. In a later one-off episode for Radio 4, Frozen in Time (2008), he played Captain Jet Morgan.


In 1949, Jacobs married Patricia Bradlaw, and they divorced in 1972. In the 1975 car crash, he and Marsh were motoring with their wives, who were both killed. Jacobs wrote a book, Caroline, published in 1978, and the following year married Lindsay Stuart-Hutcheson. She survives him, as do three daughters from his first marriage.


• David Lewis Jacobs, television and radio presenter, born 19 May 1926; died 2 September 2013


Dennis Barker The Guardian 3 September 2013


Before I start my actual post, I'd first like to apologize to any fans of William Holden-- I don't know what possessed me to try and draw him at this weird angle and it did not come out the way I planned! Alas, I will not rest until I have successfully captured his handsome face on paper-- I will attempt it again very soon.


Now... on to Born Yesterday. This is now one of my all-time favorite films. I've always liked it, but after re-watching it last week I was absolutetly enchanted with the story, the moral of the story, and the characters of Billie Dawn (Judy Holliday) and Paul Verrall (William Holden). The movie is about a rough-edged tycoon, Harry Brock, (Broderick Crawford) who goes to Washington DC to buy up some companies and Congressmen. At his first meeting with a DC judge, he's embarressed by the stupidity and gracelessness of his mistress, Billie Dawn. So he hires Paul Verrall, a journalist, to smarten her up. If I could marry a movie character, I seriously think it would be Paul Verrall.


You can probably imagine, even if you've never seen the movie, how this plot unfolds. Hmm.... choosing between a ruthless brash Broderick Crawford or a thoughtful handsome William Holden? Decisions, decisions...


But underneath the love triangle-angle there is a deep message about business, American ideals, corruption and knowledge. One of my favorite scenes in the entire movie takes place at a museum. Billie expresses her confusion with an essay that Paul assigned her to read, "After Visiting the Tomb of Napoleon" by Robert J. Ingersoll." Here is their exchange:


Paul: (quoting Ingersoll) "and I said I would rather have been a French peasant and worn wooden shoes. I would rather have lived in a hut with a vine growing over the door, and the grapes growing purple in the kisses of the autumn sun. I would rather have been that poor peasant with my loving wife by my side, knitting as the day died out of the sky---with my children upon my knee and their arms about me---I would rather have been that man and gone down to the tongue less silence of the dreamless dust than to have been that imperial impersonation of force and murder, known as Napoleon the Great."


Billie: ...[Harry] probably never heard of Napoleon


Paul: What's worse, he probably never heard of a peasant.


Isn't that just marvelous? It says so much in so few words.


I could go on for hours quoting this movie, because I think it was so beautifully written and has such an important message. I'm a sucker for message films.


Worthing Theatres Listings 2015





Acclaimed jazz singer and West End actress, Claudia Morris, is joined by a 4-piece band in a celebration of Doris Day. Claudia explores the similarities between her life and the icon she has revered for many years in an evening of music and reminiscence. Expect plenty of laughs, a few tears and some surprises. CONNAUGHT THEATRE, THU 19 FEB 7.30PM



Alan Carr will be visiting Worthing as he yaps his way around the UK & Ireland with his brand new stand up show 'Yap, Yap, Yap!' The BAFTA and British Comedy Award winning comedian, author and chat show supremo returns to his stand up roots with his hilarious take on life. ASSEMBLY HALL, FRI 20 FEB 8PM



Paul Jones, Dave Kelly, Rob Townsend, Gary Fletcher and Tom McGuinness perform their latest set, recreating many songs from their classic performance at Rockpalast, a live TV show from Germany transmitted across Europe. They appear in an evening of spirited blues with a peerless pedigree from the finest bluesmen in Europe. PAVILION THEATRE, SAT 21 FEB 7.30PM



Mr Sole Abode is a world-renowned architect, a master chef and an outlandish inventor who lives in a fridge under a bridge. Infused with explosive physicality, touching humour, ingenious design and live music, Mr Sole Abode explores sanity and madness, inviting you to see the world through the eyes of a homeless man. It was inspired by Ben Okris' award-winning novel The Famished Road and David Bohm's writings on the nature of reality. CONNAUGHT STUDIO, SAT 21 FEB 7.30PM


Girl with a Pearl Earring and other treasures of the Mauritshius, the Netherlands. After two years on a blockbuster world tour, Girl with a Pearl Earring has returned home to the much-loved Mauritshuis gallery in The Hague. The enduring appeal of this masterpiece is indisputable. This beautifully filmed documentary goes in pursuit of the many unsolved riddles surrounding it and its mysterious creator, Vermeer. Who was the girl? Why and how was she painted? Why is the picture so revered? CONNAUGHT STUDIO, MON 23 FEB 6.30PM



Live from the Royal Opera House. Wagner's first masterpiece explores the themes of damnation and redemption that would fascinate the composer throughout his career. In this tale of a captain forced to sail the seas for eternity unless released by the faithful love of a good woman, and the lonely girl who longs to save him, Wagner created two unforgettable characters operating near the limits of human emotion. CONNAUGHT CINEMA, TUE 24 FEB 7.15PM



Hot on the heels of Benedict Cumberbatch's starring role in The Imitation Game, Dr Mark Baldwin presents a fascinating talk about the allied codebreakers of Bletchley Park during WWII. Their work intercepting and decoding German secret messages with the Enigma Machine provided intelligence which is thought to have shortened the war by two years. CONNAUGHT STUDIO, THU 26 FEB 7.30PM



Jenny Eclair was the first woman to win the coveted Perrier Award and hasn't stop banging on about it ever since. She still gigs regularly and has teamed up with Hot Bed to support local acts. Support includes Emily Barden, a singer-songwriter, Marion Sharville, a comic poet and Liz Verlander, a comic poet. CONNAUGHT THEATRE, FRI 27 FEB 7.30PM



This is a show not to be missed. For one night only, six legendary names deliver to you a night never to be forgotten. This is the ultimate one-off 60s extravaganza. Featuring Herman's Hermits, The Swinging Blue Jeans, Dave Berry, The Union Gap UK and The Ivy League. Hosted by Alan Mosca form Freddie and the Dreamers. ASSEMBLY HALL, SAT 28 FEB 7.30PM



Comedy through the ages is presented in this hilarious show, from Aristophanes, Shakespeare and Moliere to Vaudeville, Charlie Chaplin and Nick Clegg. The bad boys of abridgment leave no joke untold as they deconstruct the entire history of comedy in 90 minutes. CONNAUGHT THEATRE, SAT 28 FEB 2PM & 7.30PM





Inspired by William Wharton's novel, we meet Birdy; confined to a military psychiatric hospital, locked in silence and trapped in a bird persona. With friend and fellow casualty Al, journey back through their early years and relive their memories. As they leave for battle, their lives are changed forever. CONNAUGHT THEATRE, SUN 1 MAR 7.30PM



Live from Stratford-upon-Avon. Shakespeare's comic romance is set in Autumn 1918, when a group of soldiers return from the trenches. It plays out amidst the brittle high spirits of a post-war house party, as youthful passions run riot, lovers are deceived and happiness is threatened - before peace ultimately wins the day. CONNAUGHT CINEMA, WED 4 MAR 7PM




The British Blues Award's Female Vocalist of the Year, Jo is an original singer-songwriter/bandleader whose work is broadly influenced by blues, gospel, soul, country, rock and other 'roots' sensibilities. CONNAUGHT STUDIO, THU 5 MAR 8PM



One of the world's finest boogie woogie pianists, Ben Waters has worked with The Rolling Stones, Chuck Berry, Jerry Lee Lewis, Shakin' Stevens, Ray Davies, Jools Holland and many others. In this concert, Ben and his band perform amazing numbers from their recent live album. CONNAUGHT THEATRE, SAT 7 MAR, 7.30PM



Laura van der Heijden, BBC Young Musician of the Year 2012, returns with Shostakovich's First Cello Concerto, a powerful work of great intensity and passion. Glinka's famous overture opens the concert in scintillating fashion while the true majesty of a symphony orchestra can be enjoyed in one of Bruckner's most popular symphonies. This music is a blend of lyrical melodies, rich orchestral sonorities and deeply-felt spirituality. ASSEMBLY HALL, SUN 8 MAR 2.45PM



Recorded live at the Bolshoi Theatre, Moscow. William Shakespeare's timeless story, written in 1595, is brought to the stage through breath-taking choreography and Sergei Prokofiev's much-loved score. With its famous melodies, rhythmic variety and universal theme, this story of impossible love remains an all-time favourite, and is one of the world's most popular ballets. CONNAUGHT STUDIO, SUN 8 MAR 3PM



John Challis spills the beans about his Only Fools and Horses co-stars and fellow performers in this intimate talk. Revealing stories and anecdotes from his dazzling career, he also recalls tales from his time in Doctor Who, Coronation St and other TV classics. CONNAUGHT STUDIO, TUE 10 MAR 7.30PM


Live from the London Coliseum is a stunning production of Verdi's masterpiece, which reaches to the heart of the opera's themes of passionate love and tragic death. The production is ideal for opera newcomers with its contemporary staging, and a running time of less than two hours. CONNAUGHT CINEMA, WED 11 MAR 7.30PM



Live form the National Theatre. Meera Syal returns to the National Theatre for this production, directed by Rufus Norris. India is surging with global ambition, but beyond the luxury hotels surrounding Mumbai airport lies a makeshift slum, full of people with plans of their own. Their schemes are fragile, however, global recession threatens the garbage trade and another slum-dweller is about to make an accusation that will destroy herself and shatter the neighbourhood. CONNAUGHT CINEMA, THU12 MAR 7PM




The folk rock pioneers present their new live show. Maddy Prior - the voice of the band - leads a line-up featuring faces old and new. Having recently collaborated with Sir Terry Pratchett on a record based on his Wintersmith novel, this performance sees them perform new gems alongside classics that have made them one of the most successful British folk rock bands ever. PAVILION THEATRE, THU 12 MAR 7.30PM



An exhilarating mixed programme, featuring a double bill by Christopher Bruce CBE, one of the most influential figures in world dance. The event also includes two world premieres; a new piece by Phoenix Artistic Director Sharon Watson, which builds on her exploration of science through dance; and a piece by exciting new choreographer and New Adventures Choreographer Award winner Caroline Finn who presents darkly comic expressions of life and humanity using a playful, quirky and highly engaging choreographic style.



Jason Manford has carefully selected some of his favourite comedians from the circuit, who haven't had their big break on TV yet. Andrew Ryan, Rob Rouse and Charlie Baker are featured in this line-up. He's set up Manford's Comedy Club for audiences who want a proper good night for a reasonable, affordable price so you can share the evening laughing out loud with friends and family and still have enough for a taxi home. CONNAUGHT STUDIO, FRI 13 MAR 8PM



Alessandro Ruisi joins the Worthing Philharmonic Orchestra for a performance of Tchaikovsky's violin concerto. The programme also includes Franck's Symphony, and is completed by Berlioz's Roman Carnival Overture. ASSEMBLY HALL, SAT 14 MAR 7.30PM



The Dancing on Ice winner and X Factor runner-up became a household name following his platinum selling album Doing It My Way. His crooner style and penchant for swing is inspired by the Rat Pack and here he presents an array of new songs from his latest album Old Soul; Young Blood. CONNAUGHT THEATRE, SAT 14 MAR 7.30PM



Mayor Anton Antonovich is having a crisis - the streets haven't been swept for months, there are chickens in the courthouse, he has been somewhat liberal with the mayoral accounts and a government official is on his way. PAVILION THEATRE, SAT 14 MAR 2PM & 7.30PM



Our Afternoon Tea includes a delicious selection of sandwiches, freshly-baked scones with clotted cream and preserves, plus a selection of cakes and pastries, all be served to your table along with your choice of teas or fresh coffee and the all-important glass of bubbles. THE DENTON, SUN 15 MAR 2PM ONWARDS



Live from the Royal Opera House is Swan Lake, surely the greatest of all romantic ballets. It is the captivating story of a beautiful woman transformed into a swan and a heart-rending tribute to the power of love. Swan Lake is a perfect synthesis of choreography and music and, though Tchaikovsky did not live to see it become a success, his first ballet score is now synonymous with ballet itself, inspiring generations of dancers and crossing over into popular culture. CONNAUGHT CINEMA, TUE 17 MAR 7.15PM



Join us for a traditional Irish hot buffet as we celebrate St. Patrick's day. With live music from local Celtic party band, Shenanigan, who perform a great foot-stomping night of Irish Favourites. Jig, jump and reel the night away. Hot buffet includes: Beef and Guinness stew Traditional lamb stew Colcannon Soda bread. THE DENTON, TUE 17 MAR 7PM



Simon Weston OBE was trapped on the burning HMS Sir Galahad after it was bombed by two Argentine planes during the Falklands War. He barely escaped after suffering burns to 46 percent of his body. Now, for the first time since the conflict, Simon shares his no holds barred story with friend and former Sky News anchor David Fitzgerald. This is a truly inspirational tale of one man's journey, from the front line of war to becoming a national treasure. CONNAUGHT STUDIO, THU 19 MAR 7.30PM



After more than a decade in Britain, the German Comedy Ambassador has 'groan' to like puns... though he still couldn't eat a whole one. As Henning's assimilation is not yet complete, he hasn't lost his sense of Westphalian wonderment at the foibles of British society. Why does everybody want to be owned by a house? What's wrong with having the Euro? And why hold society and government responsible for personal underachievement? You've only got yourself to blame for not being born into a better social class. CONNAUGHT THEATRE, FRI 20 MAR 8PM



For children over six, their parents and anyone who likes comedy without the rude words, a show which might or might not discuss lollipop ladies, quantum chromatic disruption machines and tartan badgers. CONNAUGHT STUDIO, SUN 22 MAR 4PM




Filmed at the Royal Exchange and starring Maxine Peake as Hamlet. Hamlet is Shakespeare's most iconic work. Exploding with big ideas, it is the ultimate play about loyalty, love, betrayal, murder and madness. Every Hamlet is defined by the actor. In this stripped back, fresh and fast-paced version, Maxine Peake creates a Hamlet for now, a Hamlet for Manchester. CONNAUGHT CINEMA, MON 23 MAR 7.30PM



This amazing new show starring Strictly's Pasha and his sensational dancers transports you into the world of Ballroom and Latin Dance with all its glitter and sequins. Life Through Dance is a non-stop action and sparkle-packed journey through life and love, expressed through the language of dance. The production features breath-taking choreography, sensational music and amazing costumes in a fun and exciting adventure for the entire family. PAVILION THEATRE, FRI 27 MAR 7.30PM



Since 1997, Northbrook College students have gone on to perform their music all over the world. Here is your chance to catch the latest crop of new talent before they're famous. This gig night is open to all ages and features new talent and new songs. RICHMOND ROOM, FRI 27 MAR 7.30PM



Europe's finest traditional jazz and blues band presents an exciting evening of world-class jazz. Chris Barber formed his first band in 1949 and has become one of Europe's most successful and influential bandleaders and a bona fide jazz legend. PAVILION THEATRE, SAT 28 MAR 7.30PM



John Godber's classic comedy about life at a modern comprehensive introduces an array of terrifying teachers and hopeless pupils, brought to life through the unique eyes of Salty, Gail and Hobby; three Year 11 students about to leave school for good. CONNAUGHT THEATRE, SAT 28 MAR 7.30PM



An intimate candlelit supper with Christine Hamilton, who talks frankly, movingly and in a highly entertaining way about the trials she has faced and how she managed to re-build her life into the successful media personality she is today. Warm-hearted, open and engaging, she speaks from sometimes bitter experience about how she has faced life's battles head-on and triumphed. THE DENTON, MON 30 MAR 7.30PM





Live from the Royal Opera House. Mahagonny is a satire on money, morality and pleasure-seeking among the dubious citizens of a fictional city. The richly varied, jazz-infused score, influenced by ragtime music, includes such irresistible melodies as the 'Alabama Song' and many dramatic ensembles. This is its first every Royal Opera staging and is sung in English. CONNAUGHT CINEMA, WED 1 APR 7.15PM



Louis Pearl has been thrilling audiences around the world for nearly 30 years with the art, magic, science and fun of bubbles. A Fringe favourite, Louis explores the breath-taking dynamics of bubbles, combining comedy and artistry with audience participation and enough spellbinding bubble tricks to keep everyone mesmerized. CONNAUGHT THEATRE, THU 2 APR 11AM & 2PM




Vocalist Joe's repertoire of voices includes hundreds of the world's top singers. He is best known for his impersonation of Shirley Bassey who has commented, "Joe can do me better than I can do myself". ASSEMBLY HALL, THU 2 APRIL 7.30PM




Filmed at the Royal Exchange and starring Maxine Peake as Hamlet. Hamlet is Shakespeare's most iconic work. Exploding with big ideas, it is the ultimate play about loyalty, love, betrayal, murder and madness. Every Hamlet is defined by the actor. In this stripped back, fresh and fast-paced version, Maxine Peake creates a Hamlet for now, a Hamlet for Manchester. CONNAUGHT CINEMA, THU 9 APR 1PM



Award-winning Shakespeare's Globe from London returns with a small troupe of travelling players, who take to the road with Shakespeare's classic tale of star-crossed lovers. CONNAUGHT THEATRE, SAT 11 APR 7.30PM

SUN 12 APR 2PM & 7.30PM



Live from the National Theatre. Acclaimed playwright Tom Stoppard returns to the National Theatre with his highly-anticipated new play directed by Nicholas Hytner. Hilary, a young psychology researcher at a brainscience institute, is nursing a private sorrow and a troubling question at work, where psychology and biology meet. If there is nothing but matter, what is consciousness? This is 'the hard problem' which puts Hilary at odds with her colleagues. CONNAUGHT CINEMA, THU 16 APR 7PM



After covering weighty issues like death, love, religion and spam javelins, "The King of Edinburgh" (List) is in a frivolous mood with this show about daftness, whether the term "cool comedian" is an oxymoron, bouncing joyously on the sofa and how Herring's whole career is a failed attempt to top a piece of visual slapstick comedy he came up with at 16. Can he revisit the joke thirty years on or will it smash his old bones? CONNAUGHT THEATRE, FRI 17 APR 8PM



When Flo, a feisty seventy-something, learns that the hospital she trained at during WWII is being demolished, she decides to take one last look. Her illicit visit becomes a personal celebration of friendship, courage, adventure and romance. But is what Flo remembers really the truth? CONNAUGHT STUDIO,

SAT 18 APR 7.30PM



Live from the Bolshoi Theatre, Moscow. As young Ivan IV is crowned, he has to choose one of the 13 Boyar daughters to be his wife and tsarina. He selects Anastasia, and the two eventually fall deeply in love. When the Boyars plot against him and poison his beloved wife, Tsar Ivan finds himself surrounded by enemies. Haunted by dark thoughts and phantoms, he slowly sinks into madness. CONNAUGHT STUDIO, SUN 19 APR 4PM



The grand final of the piano competition features the three finalists performing three major piano concertos with Worthing Symphony Orchestra, under its principal conductor John Gibbons. The winner receives a cash prize, again sponsored by the Bowerman Trust, a CD demo recording session and worldwide performance opportunities. ASSEM BLY HALL, SUN 19 APR 2.45PM




Josephine talks about her lifetime in show business in this wonderfully funny one-woman show, covering her years in British theatre, her move into TV comedy and her ill-fated but hilarious marriage to Leonard Rossiter.




Alan Davies is best-known for his role on Jonathan Creek and his time as a QI panel member. He returned to his stand-up roots a few years ago and he joins us for one night only, fresh off the back of his Little Victories UK tour. This show is part of HOTBED, supporting local comedians, singer-songwriters, performance poets and more as the strive to reach the big time, all compered by Mark Kelly, "unsung hero of alternative comedy". Support includes Rachel Hawker, singer-songwriter, and Kate Wilson, comic and baby juggler. CONNAUGHT THEATRE, FRI 24 APR 7.30PM



Echo & The Beats, Buddha Blood and Sonny. New gig nights providing an opportunity for local bands, singer-songwriters and DJs to perform in front of an audience. Bands subject to change; keep checking our website for latest gig line-up and info on how to get involved. RICHMOND ROOM, FRI 24 APR 7.30PM



An afternoon of stories and music as Julian Lloyd Webber takes you through the historical and musical journey of his life and career. His story is brought to life by clips of him performing and chatting with of many of the artists he has worked with, including Nigel Kennedy, Elton John, Andrew Lloyd Webber, Yehudi Menuhin, Katherine Jenkins and many others. ASSEMBLY HALL, SAT 25 APR 4PM



The star of Mock the Week, Michael McIntyre's Roadshow and Live at the Apollo embarks on a brand new stand up tour with a fantastic and hilarious new show! With Stewart Francis it's all about puns. And he's a gent. If time is money, Stewart's the man to do your shopping for he'll fill every minute with comedy bargains in the form of non-stop quick-fire gags, rarely giving you time to cease giggling until the next one starts. CONNAUGHT THEATRE, TUE 28 APR 8PM



In northern France in the Second World War, three children encounter a lost American soldier in the ruins of their village. Decades later, the soldier's camera is unearthed and his grandson tries to solve the mystery of the photographs inside. He discovers a world of childhood and imagination, as fragments of war explode into the present day. CONNAUGHT STUDIO, WED 29 APR 8PM



A dude who is fast becoming a recognisable face on British TB with appearances on BBC 1's Live at the Apollo & Let's Dance for Comic Relief, BBC 2's Mock the Week, QI & Nevermind the Buzzcocks, C4's 8 Out of 10 Cats and more, Katherine Ryan embarks on her second UK stand-up tour. The fresh, often dangerously fierce pop-culture obsessed Canadian, was unaffected by publicised death threats and survived the world's first crack smoking mayor. CONNAUGHT THEATRE, THU 30 APR 8PM





Following a hit West End season, Scamp Theatre present their delightful adaptation of Julia Donaldson and Axel Scheffler's hugely popular children's book. Touching, funny and utterly original, this award-winning production is packed full of puppetry, songs, live music and funky moves. CONNAUGHT THEATRE, SAT 2 MAY 2PM




A celebration of morale-boosting hits performed by a full seventeen piece Big Band and four singers. Featuring songs including We'll Meet Again, I'll Be Seeing You, Moonlight Serenade and I've Got Sixpence plus big band classics from Count Basie, Tommy Dorsey, Duke Ellington and the hit songs of Bing Crosby, Frank Sinatra and Ann Shelton. PAVILION THEATRE SUN 3 MAY 3PM



Live from the Royal Opera House. Fredrick Ashton's final full-length ballet is one of his most joyous creations, inspired by his love for the Suffolk countryside. The title translates as 'The Wayward Daughter'. La FIlle displays some of Ashton's most virtuosic choreography - the youthful passion of Lise and her lover, Colas, is expressed in a series of energetic pas de deux. The ballet is laced with good humour and a whirl of dancing chickens, grouchy guardians and halfwit suitors take to the stage. CONNAUGHT STUDIO, TUE 5 MAY 7.15PM



Perfect or fans of good old fashioned Carry On slapstick humour, Ooh, Matron! The Comedy Dinner Show brings you lots of laughs, hilarious innuendos and classic comedy. A homage to the Carry On films, the talented cast portray the famous characters in an evening full of funny sketches. This show contains adult content.





MasterChef's Gregg Wallace gives an inspirational talk about his life and career, plus a live cooking demonstration of some of his favourite desserts. CONNAUGHT THEATRE, SUN 10 MAY 4PM



Lee Nelson is back with a brand new show! You may have seen him host Live at the Apollo or caught him singing on The X Factor! Now see Lee live in his highly anticipated, all new, nationwide tour. PAVILION THEATRE, SUN 10 MAY 7.30PM



Following a sell-out run in Edinburgh, Matt celebrates the great and the good (and Ed Miliband). See his brand new show as the countdown to Election 2015 starts here. As seen on Channel 4's three-part comedy series Jon Richard Grows Up, Have I Got News For You and 8 out of 10 Cats. CONNAUGHT STUDIO, TUE 12 MAY 8PM



Academy Award:registered: nominee Ralph Fiennes plays Jack Tanner in this exhilarating reinvention of Shaw's witty, provocative classic. A romantic comedy, an epic fairytale, a fiery philosophical debate, Man & Superman asks fundamental questions about how we live. CONNAUGHT CINEMA, THU 14 MAY 7PM



Cuban/Mexican inspired street food is served alongside a screening of Chef. Chef is about a chef who loses his restaurant job starts up a food truck in an effort to reclaim his creative promise, while piecing back together his estranged family. Starring Jon Favreau, Robert Downey Jr, Scarlet Johansen and Dustin Hoffman. THE DENTON, FRI 15 MAY 8PM



Jason Manford has carefully selected some of his favourite comedians from the circuit, who haven't had their big break on TV yet. Funny people, who thrive in the live arena and want to make you laugh. He's set up Manford's Comedy Club for audiences who want a proper good night for a reasonable, affordable price so you can share the evening laughing out loud with friends and family and still have enough for a taxi home. MC Maff Brown introduces Angela Barnes, Jonny Awesome and one other. CONNAUGHT STUDIO, FRI 15 MAY 8PM



Young, fit and skilled, the acrobats from the all-male Barely Methodical Troupe handily come in three sizes: small (Beren D'Amico), medium (Charlie Wheeler) and large (Louis Gift); and won a Total Theatre Award at the 2014 Edinburgh Festival with this outstanding debut show. CONNAUGHT THEATRE SAT 16 MAY 8PM



Live from the London Coliseum. Guaranteed to be a major event, Mike Leigh directs his first ever opera for the stage. Gilbert and Sulivan's popular comic opera features favourites including A Policeman's Lot is Not a Happy One and I am the Very Model of a Modern Major General. CONNAUGHT CINEMA, TUE 19 MAY 7.30PM



A mixed bill of progressive dance works featuring new commissions from three world-class choreographers, celebrating the variety of their repertories, to delight both seasoned dance audiences and those new to contemporary dance. CONNAUGHT THEATRE, THU 21 MAY 7.30PM



In this show based on her acclaimed book Sane New World, comedian, actor and writer Ruby explains why we sabotage our sanity with our own thinking, shows how to rewire your thinking to find calm in a frenetic world and how to become the master, not the slave, of your own mind. On top of her comedy accolades, Ruby is also a mental health campaigner and gained a Master's degree in Mindfulness-based Cognitive Therapy from Oxford University. This show is your passport to saner living. PAVILION THEATRE, FRI 22 MAY 8PM



The nation's favourite rock 'n' roll variety show returns with another opportunity to catch its current production! Featuring classic hits from the 50s, 60s & 70s, plus loads more hilarious comedy. PAVILION THEATRE, SAT 23 MAY 7.30PM



Writer and comedian Robert Newman, known for Newman and Baddiel and The Mary Whitehouse Experience, made a welcome return to the Edinburgh Fringe in 2014 with his first new Edinburgh show in seven years, Robert Newman's New Theory of Evolution. This show is part of HOTBED, supporting local comedians, singer-songwriters, performance poets and more as they strive to reach the big time, all compered by Mark Kelly, "unsung hero of alternative comedy". Support includes The Silver Peevil, retro extra-terrestrial, and Emily Barden, singer-songwriter. CONNAUGHT STUDIO, WED 27 MAY 7.30PM




black comedy explores friendship, marriage and what it ultimately means to be happy.


Wealthy, unfulfilled housewife Diana arranges a gathering of old friends to cheer up bereaved Colin, whose fiancée drowned two months earlier. But preparations for the party spark tensions and open old wounds and as lingering resentments and deep-rooted jealousies surface, an unexpectedly cheerful Colin strolls into the mayhem. CONNAUGHT THEATRE THU 28 MAY 7.30PM FRI 29 MAY 7.30PM SAT 30 MAY 2PM & 7.30PM



Northbrook takeover. Since 1997, Northbrook College students have gone on to perform their music all over the world. Here is your chance to catch the latest crop of new talent before they're famous. These gig nights are open to all ages and feature new talent and new songs. RICHMOND ROOM, FRI 29 MAY 7.30PM



Following their debut album And Still I Rise, the Grammy Award nominees perform an inspiring testament to the enduring power, possibilities and boundless beauty of African-American music. PAVILION THEATRE SAT 30 MAY 7.30PM



Sophie has always wanted a pet. She's not allowed a hamster or a kitten and she's certainly not having a dog, because they make too much mess! One day, she goes to the shops and buys herself a baby monster. A very BIG baby monster! But this is where the trouble begins... Blunderbus presents this monster of a show with an irresistible blend of music, puppetry and high-energy storytelling. Little monsters aged 3 to 7 will love this funny, heart-warming tale. CONNAUGHT THEATRE, SUN 31 MAY 2PM



The stunning Kathakali costumes which have been on display at Worthing Museum and Art Gallery are brought to life by world-class artists from Kerala, India. The classical dance drama of Kerala was performed in Hindu temples 500 hundred years ago. It is exciting, dramatic and enhanced by wonderful costumes and unique make-up. The Kala Chethena Kathakali Company perform Hima Sundari, a story similar to Snow White. Suitable for the whole family, the performance is colourful, spectacular and unforgettable. CONNAUGHT STUDIO, SUN 31 MAY 4PM





Marlene & Boycie are hosting a Gala Dinner, but will things go to plan with Del, Rodney and Uncle Albert on the guest list? Expect an evening of chaos and mayhem with extra large portions of comedy. Lovely Jubbly! THE DENTON TUE 2 JUN 7.30PM



Building on the success of international hit Scattered, Motionhouse's brand new production Broken erupts onto the stage examining our precarious relationship with the earth. This powerful company combines athletic dance within intricate digital imagery and original music in an unashamedly visual and adrenaline fuelled spectacle. Hanging in suspense, diving for support and scrambling to safety, the dancers negotiate the cracks and craters of this world of illusions where nothing is quite as it seems. CONNAUGHT THEATRE TUE 2 JUN 7.30PM



Phil Jupitus began his performing career in 1984, when he quit working in a Job Centre to become a left-wing punk poet, going by the name Porky The Poet. As his poetry turned into comedy, his big TV break came in 1996, when he joined BBC2's pop quiz Never Mind the Buzzcocks as a regular team captain. This show is part of HOTBED, supporting local comedians, singer-songwriters, performance poets and more as they strive to reach the big time, all compered by Mark Kelly, "unsung hero of alternative comedy". Support includes Andrew Foster, singer-songwriter, and Rachel Hawker, singer-songwriter. CONNAUGHT THEATRE, THU 4 JUN 7.30PM



Following her previous sold-out performances, Nicola Benedetti returns to play the Brahms concerto - one of the undoubted masterpieces of the violin repertoire with its soaring melodic lines, exquisite oboe solo in the slow movement and a dancing finale infused with the fire of Hungarian dances. ASSEMBLY HALL, SUN 7 JUN 2.45PM



Live from the Royal Opera House. The most popular opera of all returns in one of The Royal Opera's best loved stagings, regularly revived since its opening night in 1974 - and now being seen for the very last time. John Copley's keen stagecraft and loving attention to period and dramatic detail make his production a masterpiece of realism, while Julia Trevelyan Oman's designs evoke the atmosphere of 19-century Paris. Italian with English subtitles. CONNAUGHT CINEMA, WED 10 JUN 7.15PM



An Italian menu and accompanying wine tasting is served alongside a screening of Sideways. Sideways is an Oscar-winning drama starring Paul Giamatti and Thomas Hayden Church. Two men reaching middle age with not much to show but disappointment, embark on a week-long road trip through California's wine country, just as one is about to take a trip down the aisle. THE DENTON, FRI 12 JUN 8PM



One of the most highly regarded vocalists in the UK, Jacqui is known primarily as a jazz singer but draws on folk, soul and blues influences. Her concerts always showcase her virtuosic and effortless mastery of a wide spectrum of genres. Live To Love, her most recent CD, was released in 2013 to rave reviews, she is currently working on her next album and she recently co-produced her husband Charlie Wood's new album New Souvenirs, being released on their own label Perdido Records. CONNAUGHT THEATRE SAT 13 JUN 7.30PM



Direct from London's world famous jazz club, Ronnie Scott's, musical director James Pearson takes to the stage with his 'All Stars'. PAVILION THEATRE, THU 18 JUN 7.30PM



It's 1981. The year of that fairy-tale Royal Wedding. When Barbara's pet Pekinese vanishes, Ruth, a reporter from the Sunday Intruder, suspects foul play. Was it the drunken maid, the frustrated chef or the spinster secretary? Will 'High Tea' ever be the same? CONAUGHT THEATRE THU 18 JUN 7.30PM FRI 19 JUN 2PM & 7.30PM SAT 20 JUN 2PM & 7.30PM



Meatloaf at Mary's, Imbium and The Epiphanies. New gig nights providing an opportunity for local bands, singer-songwriters and DJs to perform in front of an audience. Bands are subject to change. Keep checking our website for latest gig-line up and info on how to get involved. RICHMOND ROOM, FRI 19 JUN 7.30PM



Nominated for Best Show at 2014 Foster's Edinburgh Comedy Awards, Alex Horne brings his curious contraption to the Connaught Theatre, Worthing. Remember that board game Mousetrap? Now that was a brilliant board game wasn't it? And you know that Honda advert, where all the car parts collided to make a thing happen? Now that was a brilliant advert, wasn't it? Well, let me introduce you to Monsieur Butterfly, Horne's most ridiculous and potentially brilliant show yet. In this unprecendented comedy experience, you can watch Alex Horne attempt something similar in just 60 minutes. CONNAUGHT THEATRE, THU 25 JUN 8PM



Internationally acclaimed harpist, Elizabeth Jane Baldry, performs her own haunting score live to a screening of the 1922 horror film, Nosferatu. This iconic film of German expressionist cinema was the first ever screen adaptation of Bram Stoker's Dracula. More than 90 years since its release, it remains one of the most potent and disturbing horror films ever made. CONNAUGHT STUDIO, FRI 26 JUN 7.30PM



Sir Ranulph Fiennes is joined on stage by long-term friend and expedition partner, Anton Bowring. Together, they take a journey through Sir Ranulph's life, covering his childhood, misdemeanours at school, army life and early expeditions, through to the Transglobe Expedition and the recent Coldest Journey. PAVILION THEATRE, TUE 30 JUN 7.30PM





Live. Probably the most popular opera in the world, Carmen scandalised its earliest audiences with its raw depiction of lust in 19th-century Seville. In ENO's popular production, the action is a full-on battle of the sexes, fought out in the arena of the Spanish bullring. CONNAUGHT CINEMA, WED 1 JUL 7.30PM



Welcome, watchers of illusion, to Level 2. Following last year's sell-out Edinburgh run and national tour, Knightmare Live returns with more adventure, characters, puzzles and monsters in this critically acclaimed stage adaption of the cult TV classic. One member of the audience will be guided by two guest comedians through Treguard's dungeon - but will they succeed in their quest, or fall foul to one of Lord Fear's schemes?





The X Factor winner returns with a brand new tour, showcasing the renowned versatility, unmistakable voice, easy wit and warm rapport which have endeared him to his loyal fans. PAVILION THEATRE FRI 3 JUL 7.30PM



Now in its 4th year, this FREE event features an exciting action-packed programme over the weekend with a celebrity chef, cookery demonstrations, markets stalls, food sampling, competitions and musical entertainment. PAVILION THEATRE & PROMENADE SAT 4 & SUN 5 JUL



Live from the Royal Opera House. Opening with what is arguably the most exciting of all operatic overtures, Rossini's final opera helped to lay the foundations of the genre of French grand opera that dominated European stages throughout the mid-19th century. The opera's theme is liberty, as exemplified in the struggle against Austrian occupation led by the Swiss archer and patriot Guillaume Tell: in the opera's most famous scene, Tell shoots an apple from his son's head, a feat that inspires his countrymen to revolt. CONNAUGHT CINEMA, SUN 5 JUL 2.45PM




Café Metro Trio and their guest vocalist present an evening of jazz from the heady days of 1920s Paris, as sung by Josephine Baker, Louis Armstrong and Edith Piaf, as well as Great American Songbook classics by Nina Simone, Frank Sinatra, Ella Fitzgerald and others. THE DENTON, THU 9 JUL 7.30PM




The actress and writer shares a tongue in cheek journey around her brush with show business, literati and reality TV as well as an exclusive reveal of her debut novel Losing It. Best known for her role as the dippy Catriona in Absolutely Fabulous, she is renowned for her unique wit and observational humour. Helen has starred in a great number of top TV comedy and radio shows, including Bottom, French and Saunders, One Foot in the Grave and many more. CONNAUGHT THEATRE, THU 9 JUL 7.30PM




Jason Manford has carefully selected some of his favourite comedians from the circuit, who haven't had their big break on TV yet. Funny people, who thrive in the live arena and want to make you laugh. He's set up Manford's Comedy Club for audiences who want a proper good night for a reasonable, affordable price so you can share the evening laughing out loud with friends and family and still have enough for a taxi home. MC Matt Reed introduces Jo Caulfield, Markus Birdman and one other! CONNAUGHT STUDIO, FRI 10 JUL 8PM



Following the nationwide critically acclaimed hit stage production of Peter James' The Perfect Murder, the best-selling work of the No.1 novelist returns to the stage with the adaptation of his most famous 2 million selling book and the first book that featured the now famous character of Detective Roy Grace - Dead Simple. This gripping, chilling, thriller has all the classic suspense, twists and turns of a best-selling Peter James novel.

CONNAUGHT THEATRE, MON 13 JUL 7.30PM TUE 14 JUL 7.30PM WED 15 JUL 2PM & 7.30PM THU 16 JUL 7.30PM FRI 17 JUL 7.30PM SAT 18 JUL 2PM & 7.30PM




Live. In the melting pot of Venice, trade is God. With its ships plying the globe, the city opens its arms to all, as long as they come prepared to do business and there is profit to be made. With the gold flowing all is well, but when a contract between Bassanio and Shylock is broken, simmering radical tensions boil over. A wronged father, and despised outsider, Shylock looks to exact the ultimate price for a deal sealed in blood. Polly Findlay (Arden of Faversham 2014) directs Shakespeare's uncompromising tragedy. CONNAUGHT THEATRE, WED 22 JUL 7PM



Basil, Sybil and Manuel serve a three-course dinner Fawlty style. A healthy portion of chaos and mayhem is thrown in for good measure while the legends of hotel management do everything they can to keep the evening on course, of course! THE DENTON, THU 23 JUL 7.30PM



International TV stunt scientist Dr Bunhead (Brainiac, Blue Peter, The Slammer) presents an explosive show. He explores everyday bits and bobs, combining recycling with science to inspire budding scientists of all ages to get their hands dirty, but not the carpet. With his array of rainbow fountains, fizz rockets, fire bubbles and all sorts of other awesome science contraptions, you'll leave armed with heaps of safe and spectacular exper

"... real is simply electrical signals interpreted by your brain." - Morpheus, The Matrix, 1999 When I first created an account in Second Life, I soon found it difficult to determine what was real, and what was not. For example, I caught onto SL Exchange, a web based marketplace where you could purchase virtual items, and could not determine if some of the products were in fact, real products for the real world that could be purchased with L$. SL Boutique soon started to sell computer hardware for L$ on it's own marketplace. The people behind avatars is much like the same problem. I have found through my own experiences, and the tales from others that some individuals represent themselves in a different way than who they really are. The classic scenario is that men play as female avatars. Some experiences cause quite a bit of shock when you find out that people are not who they say they are when you act on those perceptions (be it in a po!

sitive or negative way). This blend of the real world with the virtual world is very hard to work with sometimes, with misrepresentation due to the anonymity that individuals can hide behind to protect their real life identities. It also gives people the ability to assume the identity of others through impersonation. One of my first musical experiences in Second Life was seeing the U2inSL band, "Live" (June 25, 2006). This is a group of a few people who dress up as the U2 Band Members, play U2 music through a stream, and perform in an elaborate stage while role playing the U2 bands characters. Asking them if they were really who they were would result in "Yes". Afterwards, they come back out to sign autographs. Being pretty new at the time, I had assumed I was actually in the presence of the real U2 band members behind each avatar. Although the music was a playback of a live recording, the experience was exhilarating because of who was behind each avatar!

. I even got a virtual autographed photo from the Avatars "B!

ono Vox" and "Adam Clayton". During the event, I had signed up for the "One" campaign from U2 as well. Once I had found out later that it was just a tribute band, I felt that I had been made a fool of and was embarassed and angry. Each time I received an email from, it just brought back memories and just disgust each time and ended up unsubscribing. The question remains though - would the experience itself be any different regardless of if the "real" Bono would actually have been there or not? The perception that he was there, made it all the more exciting than if I had known that he was being impersonated. The show itself would probably not be as well performed though. I would imagine that most people who are new to Second Life would be capable of doing more than talking and walking during guest appearances. Even at that, someone may have to assist them while they sit in the captains chair. With the melding b!

etween the virtual and real world, there will soon need to be some way of verifying who is real and unreal. With email and web sites, we have digital certificates that help represent the sender/recipient of email as well as the host/client on web sites. Digital certificates also enable the ability to not only digitally sign messages, but to also encrypt them so that no one else but the intended recipient may read them. It may not be long before we see (optional) extended information in our virtual profiles that help verify real life identities behind the avatars. Today, Both Bono and Adams proviles say that they are in a virtual rock tribute group.The reverse seems to be without any problems. People who are becomming famouse in virtual worlds and social networks seem to be well known in the real world only because their virtual profiles often link to photos and sites that provide references of their real-life selves. They don't have to convince people who!

know their virtual identities that they are who they say th!

ey are. However, comming from a niche market, their identities are not a househould name. The majority of the US population may know Bono's name, or at least the name of the band, U2. It is doubtful that most individuals know of someone popular in a virtual environment unless they appear in an episode of South Park. Long ago, the web itself was a niche market that catered to individuals with technical aptitude or in the academic field. Household names only became known through the (traditional) media. I remember how excited I was to see a billboard in the middle of Pittsburgh with a web address for the remake of a starwars movie. Today, many billboards, magazines, television and just about any form of advertisment has a web address. If Second Life is to catch on in the reality of mainstream, I believe that most advertising campaigns will offer some form of letting the public know that they can be found in Second Life. A SLurl is hard to remember a!

s it contains a lot of extra information (protocol, domain, coordinates). I would think that advertisers would go on region names similar to AOL's Goto keywords. For example, I own the Woodbridge sim, so in advartising, It would probably make sense to say "In SL: Woodbridge", or something similar on a visible ad, or say in a radio advertisement, "More information can be found on the Woodbridge region in SL". Short and easy to remember. The other part of SL becomming mainstream is the default location that people go to find information. If I hear of a new product, want to find information about a band, or need to build a dog house, I often go to search Google. The 3D internet needs to reach that same instinct for mainstream users. Every now and then, I'll search Second Life for things that I am also searching for in Google. Unfortunately, I usually don't find much. From Dedric Mauriac via

Fregoli Raccontato Da Fregoli (2007).


One of my Chinese Sichuan opera photos is featured in an Italian book on the great quick-change artist Leopoldo Fregoli (1867-1936).


Fregoli was famous for his extraordinary ability in impersonations and his quickness in exchanging roles- so much so that while he was performing in London in the 1890s unkind rumours spread that there was more than one Fregoli. In much the same way Sichuan opera's face changing act also features artists who can quickly change character in the blink of an eye.


The book is contributed by Arturo Brachetti (1967-), a world famous, modern day, quick change artist from Turin, Italy. Brachetti is in the Guinness Book of Records for being the world's fastest quick change artist. He has completed thousands of shows and sold over 1.5 million show tickets worldwide.


Florence, Italy. 2007

"... real is simply electrical signals interpreted by your brain." - Morpheus, The Matrix, 1999 When I first created an account in Second Life, I soon found it difficult to determine what was real, and what was not. For example, I caught onto SL Exchange, a web based marketplace where you could purchase virtual items, and could not determine if some of the products were in fact, real products for the real world that could be purchased with L$. SL Boutique soon started to sell computer hardware for L$ on it's own marketplace. The people behind avatars is much like the same problem. I have found through my own experiences, and the tales from others that some individuals represent themselves in a different way than who they really are. The classic scenario is that men play as female avatars. Some experiences cause quite a bit of shock when you find out that people are not who they say they are when you act on those perceptions (be it in a po!

sitive or negative way). This blend of the real world with the virtual world is very hard to work with sometimes, with misrepresentation due to the anonymity that individuals can hide behind to protect their real life identities. It also gives people the ability to assume the identity of others through impersonation. One of my first musical experiences in Second Life was seeing the U2inSL band, "Live" (June 25, 2006). This is a group of a few people who dress up as the U2 Band Members, play U2 music through a stream, and perform in an elaborate stage while role playing the U2 bands characters. Asking them if they were really who they were would result in "Yes". Afterwards, they come back out to sign autographs. Being pretty new at the time, I had assumed I was actually in the presence of the real U2 band members behind each avatar. Although the music was a playback of a live recording, the experience was exhilarating because of who was behind each avatar!

. I even got a virtual autographed photo from the Avatars "B!

ono Vox" and "Adam Clayton". During the event, I had signed up for the "One" campaign from U2 as well. Once I had found out later that it was just a tribute band, I felt that I had been made a fool of and was embarassed and angry. Each time I received an email from, it just brought back memories and just disgust each time and ended up unsubscribing. The question remains though - would the experience itself be any different regardless of if the "real" Bono would actually have been there or not? The perception that he was there, made it all the more exciting than if I had known that he was being impersonated. The show itself would probably not be as well performed though. I would imagine that most people who are new to Second Life would be capable of doing more than talking and walking during guest appearances. Even at that, someone may have to assist them while they sit in the captains chair. With the melding b!

etween the virtual and real world, there will soon need to be some way of verifying who is real and unreal. With email and web sites, we have digital certificates that help represent the sender/recipient of email as well as the host/client on web sites. Digital certificates also enable the ability to not only digitally sign messages, but to also encrypt them so that no one else but the intended recipient may read them. It may not be long before we see (optional) extended information in our virtual profiles that help verify real life identities behind the avatars. Today, Both Bono and Adams proviles say that they are in a virtual rock tribute group.The reverse seems to be without any problems. People who are becomming famouse in virtual worlds and social networks seem to be well known in the real world only because their virtual profiles often link to photos and sites that provide references of their real-life selves. They don't have to convince people who!

know their virtual identities that they are who they say th!

ey are. However, comming from a niche market, their identities are not a househould name. The majority of the US population may know Bono's name, or at least the name of the band, U2. It is doubtful that most individuals know of someone popular in a virtual environment unless they appear in an episode of South Park. Long ago, the web itself was a niche market that catered to individuals with technical aptitude or in the academic field. Household names only became known through the (traditional) media. I remember how excited I was to see a billboard in the middle of Pittsburgh with a web address for the remake of a starwars movie. Today, many billboards, magazines, television and just about any form of advertisment has a web address. If Second Life is to catch on in the reality of mainstream, I believe that most advertising campaigns will offer some form of letting the public know that they can be found in Second Life. A SLurl is hard to remember a!

s it contains a lot of extra information (protocol, domain, coordinates). I would think that advertisers would go on region names similar to AOL's Goto keywords. For example, I own the Woodbridge sim, so in advartising, It would probably make sense to say "In SL: Woodbridge", or something similar on a visible ad, or say in a radio advertisement, "More information can be found on the Woodbridge region in SL". Short and easy to remember. The other part of SL becomming mainstream is the default location that people go to find information. If I hear of a new product, want to find information about a band, or need to build a dog house, I often go to search Google. The 3D internet needs to reach that same instinct for mainstream users. Every now and then, I'll search Second Life for things that I am also searching for in Google. Unfortunately, I usually don't find much. From Dedric Mauriac via

My exchange sis, Anna, doin' her impersonation of a mANNAquin... get it?! HAHAHAHA

Attempt #1- I'm not sure this is a Grrr as much as a drunken Elvis impersonation

NEW YORK – The women of "The View" yukked it up with Illinois Gov. Rod Blagojevich, mussed his often-mocked helmet of hair and asked him to do his impersonation of President Richard Nixon.


"Come on just say, 'I am not a crook.' Do it," co-host Joy Behar said, egging him on to a clapping audience.


"I'm not going to do that," Blagojevich said. "But let me make this perfectly clear, let me make this perfectly clear: I didn't do anything wrong."


The exchange unfolded as the embattled Democrat took an often-surreal tour of the television talk-show circuit Monday, just days before he could be ... Read more...(Yahoo!)

Identifier: roxburgheballads07chapuoft

Title: The Roxburghe ballads

Year: 1879 (1870s)

Authors: Chappell, W. (William), 1809-1888

Subjects: English ballads and songs

Publisher: Hertford : Printed for the Ballad Society by S. Austin

Contributing Library: Pratt - University of Toronto

Digitizing Sponsor: MSN


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our printers, Being fallible mortals, alas !We have found out a few blots and splinters :Please to cancel, and not let them pass. Page 9.—For Beneage Finch, read John, Lord Finch, as rightly on p. 103. 19.—The woodcut of two men going to dig gravel is on p. 196. 23.—The woodcuts are given on p. 133 (=vi. p. 243). Chronos hasbrought together into silence the two who differed in opinion. 28, and p. 43.—The Milkmaid cut is on p. 168, left, with Mercer of p. 83. 32.—The tune of My child must have a father is identified on p. 99. 51.—Read part is here; remainder on p. 54. 83. —The woodcut of Exchange haberdasher is added on p. 168, right.105.—Reference to woodcut of woman with fan should be vi. 166 ; not 16.108.—The woodcut of youth, vi. 50, is given on p. 203, right.110.—Read thank you too ; an accidental slip of g for y.125.—Third line, delete words preceding the bracket {Vingtihne Siecle).187.—Square-bracket, for p. 163, p. 166, read respectively p. 162, p. 165.


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$roup of CraDesmen $ Sportsmen. ~\,T Y heart felt sore, Son o/Adam !-L-L ][£y heart still is heavy for you,At the beck of each Cit, Miss, or Madam,With so very much too-much to do !—My experience of life having shown me{Breaking manacle, fetter and chain,)Social bondage might soon have oer■thrown me ;But I scornd to sell Freedom for gain. Chronos warns us Near Twelve, Son o/Adam ! My own life-spring is well-nigh unwound ;Was it worth while to mutter a sad damn, Because, either way, Failure we found ?Nay, truly, though foot-sore and weary Both pilgrims may long for their rest,Sloth we conquerd, tivixt Goblin and Feri : Whether paid or un-paid, Work ivas best. —Laborare est Orare : Trowbesk MSS. KAMATIC IMPERSONATIONS have beenpopular since the earliest days of ballads andsongs. When a man begins to sing we neednot make him swear on the Koran or theTestament that he is not the character herepresents himself to be, and he may assumewhatever virtues or vices are in keeping withthe


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Adam doing his Robbie the Robot impersonation.

Ian and Sakinah, respectively, impersonate a typical exchange between Susan Noreuil and Marty St. Clair.

Eric did his impersonation of Sylwia's Grrr

Identifier: grandoperasinger02lahe

Title: The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises

Year: 1912 (1910s)

Authors: Lahee, Henry Charles, 1856-1953

Subjects: Singers Opera

Publisher: Boston : L. C. Page

Contributing Library: Harold B. Lee Library

Digitizing Sponsor: Brigham Young University


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se greatsingers were exchanged more or less. For in-stance, Miss Garden was a member of thePhiladelphia-Chicago Company, which tookover many of Hammerstein s singers, and sheappeared in Boston and in New York. MissFremstadt (who won new laurels during thatseason by her impersonation of Isolde) was amember of the Metropolitan Company, but ap-peared in all four houses. Baklanofr* and Con-stantineau of the Boston Company were ex-changed in a similar manner, and there wasfrequent new interest in the repetitions ofoperas by the presentation of new principals.This plan works very well at the present stageof the operatic enterprise of this country. Madame Charles Cahier was formerly SarahLayton Walker, of Indianapolis. She beganher career in America as a church and oratoriosinger, and then went to Paris to complete herstudies with Jean de Reszke. She made a mostsuccessful debut at Nice as Orpheus, in 1904,in consequence of which she had several flat-tering offers from various European opera-


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MADAME CHARLES CAHIER The Metropolitan Opera-House 329 houses. On the advice of de Reszke she refusedall of them and went to Germany to perfectherself in the Wagner repertory. When shemade her German debut it was as Amneris in Aida at Brunswick, and after filling vari-ous short engagements in Berlin and othercities she finally accepted an offer from GustavMahler to go to the Vienna opera. Madame Cahier was also selected by Mahlerto be soloist in several of the musical festivalswhich he conducted, and in this capacity sangat Munich, Vienna, Gratz, Mannheim, and othercontinental cities. She has appeared too atfestivals in London and Paris. In New York she made only two appearancesin opera, at the end of the season (1911-1912),as Azucena in II Trovatore, and as Amnerisin Aida, and she sang at one of the Metro-politan Sunday evening concerts. She showedherself to be a singer of admirable qualities,whose vocal resources are of the best, andwhose style is finished and broad. Her actingwas v


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iamb implant indestructible inorganic intimidation

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iatrogenic implanted indeterminate inorganic compound intolerably

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