#Correspondence: 1926 1969
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I'm more than ever of the opinion that a decent human existence is possible today only on the fringes of society, where one then runs the risk of starving or being stoned to death. In these circumstances, a sense of humor is a great help.
Hannah Arendt, Correspondence: 1926-1969
#philosophy#quotes#Hannah Arendt#Correspondence: 1926 1969#life#ethics#humanity#society#humor#laughter
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THIS DAY IN GAY HISTORY
based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more …
1870 – Magnus Enckell (d.1925) was a Finnish painter. Enckell was born in Hamina, a small town in eastern Finland, the son of a priest. He was the youngest of six sons.
In 1889, at the age of 19, he began his artistic studies in Helsinki, at the Drawing School of the Finnish Art Association. In 1891 he went to Paris for the first time. There he was drawn to the Symbolist movement, and was influenced by the painter Pierre Puvis de Chavannes as well as Symbolist literature.
Enckell was homosexual, as seems indicated in some erotic portraits which were quite uninhibited for their time. As Routledge's "Who's who in gay and lesbian history" puts it, "His love affairs with men have not been denied ... Enckell's naked men and boys are openly erotic and sensual."
The Awakening
In 1894 and 1895 Enckell traveled to Milan, Florence, Ravenna, Siena and Venice, where his inner conflicts were reflected in his art. In 1898 he taught himself fresco and tempera techniques in Florence, by studying the work of Masaccio and Fra Angelico.
The years in Italy gave his work a greater range of colors and a more optimistic foundation. In the first years of the twentieth century, under the influence of Post Impressionism, he developed a brighter, more colorful palette. An example of this is the series, The Bathers, in dark, lively colors. Together with Verner Thomé and Ellen Thesleff, Enckell founded the group 'Septem', in which artists who shared his beliefs came together.
In 1907 Enckell executed the commission for the altarpiece of Tampere Cathedral. The fresco, more than 10 meters wide and 4 meters high, shows, in subdued colors, the resurrection of people of all races. In the middle of the painting two men walk hand in hand.
From 1901 onwards Enckell spent many summers on Suursaari Island, where he painted his "Boys on the Shore" (1910). He organised exhibitions of Finnish art in Berlin (1903) and Paris (1908), and of French and Belgian art in Helsinki (1904). He chaired the Finnish Arts Association from 1915 to 1918, and was elected a member of the Fine Art Academy of Finland in 1922.
Enckell died in Stockholm in 1925. His funeral was a national event. He was buried in his native village in Finland.
1905 – Erika Mann (d. 1969), was the daughter of Thomas Mann and Katia Mann and led one of the most eventful lives you've probably never heard of. She was born in Munich and had a privileged childhood. The Mann home was a gathering-place for intellectuals and artists. She was hired for her first theater engagement before finishing her Abitur at the Deutsches Theater in Berlin.
On July 24, 1926, she married German actor Gustaf Gründgens, but they divorced in 1929. In 1927, she and her brother Klaus Mann, a homosexual, undertook a trip around the world, which they documented in their book Rundherum; Das Abenteuer einer Weltreise.
The following year, she began to be active in journalism and in politics. She was involved as an actor in the Lesbian film Mädchen in Uniform (1931, Leontine Sagan) but left the production before its completion. In 1932 she published the first of many children's books.
Shortly thereafter she became involved in several Lesbian affairs in her private life. Her first noted affair was with actress Pamela Wedekind, whom she met in Berlin, and was who engaged with her brother Klaus. She later became involved with director Therese Giehse, and journalists Betty Cox and Annemarie Schwarzenbach, whom she served with as a war correspondent during World War II. As was later written, her relationships were both sexually passionate and intellectually stimulating. Mann enjoyed being in the company of women who were intelligent, and with whom she could converse with on any number of international topics.
In 1933, she, Klaus, and Therese Giehse had founded a cabaret in Munich called Die Pfeffermühle, for which Erika wrote most of the material, much of which was anti-Fascist. Erika was the last member of the Mann family to leave Germany after the Nazi regime was elected. She saved many of Thomas Mann's papers from their Munich home when she escaped to Zurich. In 1936, Die Pfeffermühle opened again in Zurich and became a rallying point for the exiles. In 1935 she undertook a marriage of convenience to the homosexual English poet W. H. Auden, in order to obtain British citizenship. She and Auden never lived together, but remained friends and technically married until Erika's death.
In 1937, she crossed over to New York, where Die Pfeffermühle (as The Peppermill) opened its doors again. They lived (with Therese Giehse and her brother Klaus Mann and Miro) in a large group of artists in exile with people like Kurt Weill, Ernst Toller, and Sonja Sekula.
In 1938, she and Klaus reported on the Spanish Civil War, and her book School for Barbarians about Nazi Germany's educational system was published. The following year, they published Escape to Life, a book about famous German exiles.
During the war, she was active as a journalist in England. After World War II, Mann was one of the few women who covered the Nuremberg Trials. Following the war, both Klaus and Erika came under an FBI investigation into their political views and rumored homosexuality. In 1949, becoming increasingly depressed and disillusioned over post-war torn Germany, Klaus Mann committed suicide. This event devastated Erika.
In 1952, she moved back to Switzerland with her parents. She had begun to help her father with his writing and had become one of his closest confidantes. She became responsible for his works and the works of her brother Klaus after death and worked on them intensely. She died in Zürich in 1969.
1953 – Steve Clark Hall is a retired United States Navy submarine officer and documentary film maker. He is the first openly gay senior U.S. Navy officer who is a graduate of the U.S. Naval Academy.
Steve Clark Hall was born in San Francisco, and attended high school in Eureka, California. He was nominated to the U.S. Naval Academy by Senator John V. Tunney of California. He graduated with honors in the Class of 1975 with a Bachelor of Science in Systems Engineering and rowed all four years on the Navy Lightweight Crew team. After completing his 20-year career as a nuclear submariner, he retired from Naval Service and returned to his home in the Castro District of San Francisco.
Hall was one of 35 LGBT Naval Academy alumni who sought official recognition from the U.S. Naval Academy Alumni Association as the USNA Out Chapter. In July 2007, Hall began the Out of Annapolis Project which included a detailed study of the LGBT alumni of the Naval Academy. He produced and directed the documentary film Out of Annapolis, which opened at the SVA Theater in New York in June 2010.
In January 2009, after a front-page article in the Annapolis Capital brought significant awareness to the Out of Annapolis Project, Hall worked with LGBT alumni of the U.S. Military Academy to establish an association similar to USNA Out, Knights Out.
1994 – Collin Martin is an American professional soccer player who plays as a midfielder for San Diego Loyal in the USL Championship. He has played for D.C. United and Minnesota United FC in Major League Soccer, and for Richmond Kickers and Hartford Athletic in the United Soccer League. He came out as gay in June 2018, making him at the time the only out man in any of the big five American sports leagues or any top-division professional men's national soccer leagues.
Born in Chevy Chase, Maryland, Martin joined the D.C. United Academy during the 2009–10 season as a 14-year-old in the under-16 category. In his second season with the u16s, Martin led the team in scoring with 13 goals while leading the side to finish top of its group in the U.S. Soccer Development Academy. Then, the next season, Martin was promoted to the under-18s where he led the team in scoring with 11 goals. He impressed the coaching staff enough that season to earn playing time with the D.C. United Reserves in MLS Reserve League action.
Martin then choose to attend Wake Forest University where he would play for the Wake Forest Demon Deacons soccer team for the 2012 season in which he scored one goal and registered six assists. At the end of the season, Martin earned All-ACC Freshman Team honors.
In February 2020, Martin was signed by San Diego Loyal for its inaugural season. During a home match against Phoenix Rising FC on September 30, 2020, Martin was the target of a homophobic slur by Phoenix midfielder Junior Flemmings during first-half stoppage time. Flemmings called him a "batty boy", a homophobic slur in his native Jamaica. After he went to the referee to report the incident, Martin was shown a red card that was later rescinded after the referee admitted he was confused. After Phoenix manager Rick Schantz declined to apologize and remove Flemmings, San Diego walked off the field and forfeited the match in protest. A week earlier, the Loyal had forfeited a match against the LA Galaxy II after a racial slur was used against one of their players. Flemmings was banned for six games and fined an undisclosed amount.
1975 – The Saskatchewan Human Rights Commission rules that "sex" in Human Rights Act includes sexual orientation and begins formal proceeding against University of Saskatchewan for discriminating against teacher Doug Wilson who had been fired after coming out.
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Filmography to Love and Adore (1900 - 2022 AD)
1900:
-Joan of Arc
-The One-Man Band
1901:
-History Of A Crime
1902:
-The Coronation of Edward VII
1903:
-Life of An American Fireman
1904:
-The Impossible Voyage
1905:
-Esmerelda
1906:
-The Story of The Kelly Gang
1907:
-L'Enfant Prodigue
1908:
-Dr. Jekyll And Mr. Hyde
-Fantasmagorie
1909:
-Princess Nicotine/The Smoke Fairy
-The Golden Louis
1910:
-Frankenstein
1911:
-Little Nemo
1912:
-The Beautiful Leukanida
1913:
-The Adventures of Kathlyn
1914:
-The Squaw Man
1915:
-Are You A Mason?
-Carmen
-Barnaby Rudge
1916:
-Civilization
-The Mystery of the Leaping Fish
1917:
-Charlie Chaplin: The Cure
1918:
-The Tenth Symphony
1919:
-Intoxication
1920:
-The Saphead
1921:
-L'Atlantide
-Charlie Chaplin: The Kid
1922:
-The Toll of The Sea
1923:
-The Unknown Tomorrow
-The Man in The Iron Mask
1924:
-Dante's Inferno
1925:
-Alfred Hitchcock: The Pleasure Garden
-The Phantom of the Opera
1926:
-The Great Gatsby
-The Devil's Wheel
-The Devil's Circus
-The Golden Butterfly
1927:
-The Jazz Singer
-Alfred Hitchcock: The Lodger (The Story of the London Fog)
-Metropolis
1928:
-Noah's Ark
1929:
-Alfred Hitchcock: Blackmail
-The Broadway Melody
1930:
-Hell's Angels
-Young Man of Manhattan
1931:
-The Man Who Came Back
-Bad Girl
1932:
-Smilin' Through
-Tarzan The Ape Man
-Strange Interlude
1933:
-Little Women
-Gold Diggers of 1933
1934:
-The Lost Patrol
-Riptide
1935:
-Alfred Hitchcock: The 39 Steps
1936:
-Reefer Madness
1937:
-Walt Disney: Snow White & The Seven Dwarfs
-The Good Earth
1938:
-Jezebel
-Alfred Hitchcock: The Lady Vanishes
1939:
-The Wizard of Oz
1940:
-Walt Disney: Pinocchio
-Alfred Hitchcock: Correspondent
-Walt Disney: Fantasia
-Charlie Chaplin: The Great Dictator
-Boom Town
1941:
-Alfred Hitchcock: Suspicion
-Orson Welles: Citizen Kane
1942:
-Casablanca
-Road To Morocco
1943:
-For Whom The Bell Tolls
-Alfred Hitchcock: Shadow of A Doubt
1944:
-Gaslight
-Double Indemnity
-Laura
-National Velvet
1945:
-Alfred Hitchcock: Spellbound
1946:
-The Best Years of Our Lives
-Alfred Hitchcock: Notorious
1947:
-Forever Amber
-The Egg And I
1948:
-The Treasure of the Sierra Madre
-The Search
1949:
-I Married A Communist
-The Man From Colorado
-The Heiress
1950:
-Walt Disney: Cinderella
1951:
-Quo Vadis
-Awaara
-That's My Boy
-The Thirteenth Letter
1952:
-The Big Sky
1953:
-The Robe
-Walt Disney: Peter Pan
1954:
-Magnificent Obsession
-Godzilla
1955:
-Sissi
-The Man With The Golden Arm
1956:
-Francis In The Haunted House
-And God Created Woman
-Anastasia
-The Rainmaker
1957:
-The Bridge on the River Kwai
-Yellow Crow
1958:
-Gigi
-The Defiant Ones
-I Want To Live!
1959:
-Ben-Hur
-The 400 Blows
1960:
-Mughal-E-Azam
1961:
-The Misfits
1962:
-The Manchurian Candidate
-Sundays and Cybéle
-Francis Ford Coppola: The Bellboy & The Playgirls
1963:
-Nurse On Wheels
-Shock Corridor
1964:
-The Beatles: A Hard Day's Night
-Mary Poppins
-Becket
-My Fair Lady
-Seven Days in May
-The Time Travelers
1965:
-The Sound of Music
-The Beatles: Help!
-The Spy Who Came in From The Cold
-The Shop on Main Street
1966:
-A Man for All Seasons
-Roman Polanski: Cul-de-sac
-La Battaglia di Algeri
1967:
-The Graduate
-The Beatles: Magical Mystery Tour
1968:
-Psych-Out!
-Stanley Kubrick: 2001 A Space Odyssey
-The Girl on A Motorcycle
-Roman Polanski: Rosemary's Baby
-Candy
-Wild In The Streets
1969:
-The Night of the Following Day
-Psychout for Murder
-Medium Cool
-The Arrangement
-Easy Rider
1970:
-Donkey Skin
-I Drink Your Blood
-Night Slaves
-Patton
1971:
-Harold and Maude
-Billy Jack
-Stanley Kubrick: A Clockwork Orange
-Frank Zappa: 200 Motels
-Dirty Harry
1972:
-Francis Ford Coppola: The Godfather
-Slaughterhouse-Five
1973:
-The Hourglass Sanatorium
-The Crazies
-American Graffiti
1974:
-Francis Ford Coppola: The Conversation
1975:
-Satanico Pandemonium
1976:
-Martin Scorsese: Taxi Driver
1977:
-Rituals
-Blue Sunshine
1978:
-Deathsport
1979:
-Mad Max
-Francis Ford Coppola: Apocalypse Now
1980:
-Star Wars V: The Empire Strikes Back
-The Exterminator
-Stanley Kubrick: The Shining
-Altered States
-The Octagon
1981:
-Christiane F.
1982:
-Silent Rage
1983:
-Star Wars VI: Return of The Jedi
1984:
-This is Spinal Tap
-Dune
-The Killing Fields
-Red Dawn
1985:
-The Emerald Forest
-Invasion U.S.A.
1986:
-Gus Van Sant: Mala Noche
-What Every Frenchwoman Wants
-Platoon
1987:
-The Girl
1988:
-Zombi 3
-Brain Damage
1989:
-Drugstore Cowboy
1990:
-Hardware
-Jacob's Ladder
-Les 1001 Nuits
1991:
-Oliver Stone: The Doors
-Richard Linklater: Slacker
1992:
-Batman Returns
1993:
-In The Name of The Father
-12:01
1994:
-The Stand
-The Crow
-Leon The Professional
-Pulp Fiction
1995:
-Before Sunrise
-The Basketball Diaries
-Billy Madison
1996:
-Mike Judge: Beavis And Butthead Do America
-Wes Anderson: Bottle Rocket
-Beautiful Girls
-Mission Impossible
1997:
-Conspiracy Theory
-Harmony Korine: Gummo
-Lost Highway
1998:
-The Truman Show
-Fear And Loathing In Las Vegas
-The Big Lebowski
-Wes Anderson: Rushmore
-Vincent Gallo: Buffalo 66
1999:
-Stanley Kubrick: Eyes Wide Shut
-Fight Club
-The Matrix
-American Beauty
-The Blair Witch Project
2000:
-American Psycho
-Mission Impossible II
-Scary Movie
2001:
-Studio Ghibli: Spirited Away
-Wes Anderson: The Royal Tenenbaums
2002:
-Star Wars II: Attack of the Clones
-Damon Packard: Reflections of Evil
-Demonlover
-Equilibrium
-Panic Room
-Spun
2003:
-The League of Extraordinary Gentlemen
-Oldboy
-Just Married
-Vincent Gallo: The Brown Bunny
-Party Monster
-Gus Van Sant: Elephant
2004:
-Before Sunset
-Fahrenheit 9/11
-The Day After Tomorrow
2005:
-Gus Van Sant: Last Days
2006:
-Jet Li: Fearless
-Candy
-Children of Men
-Little Miss Sunshine
-The Science of Sleep
2007:
-Hot Rod
2008:
-Tropic Thunder
-Batman: The Dark Knight
-Robot Chicken: Star Wars Episode II
-The Love Guru
-Be Kind Rewind
-Gonzo: The Life And Work of Dr. Hunter S. Thompson
2009:
-The Imaginarium of Dr. Parnassus
-Harmony Korine: Trash Humpers
-Enter The Void
-Zombieland
-District 9
-We Live In Public
2010:
-My Joy
2011:
-The Sitter
-Drive
2012:
-Dredd
-Crystal Fairy & The Magic Cactus
-Jim Gaffigan: Mr Universe Standup Comedy
-Artificial Paradises
-Cloud Atlas
-Batman: The Dark Knight Rises
2013:
-A Field In England
-3096 Days
2014:
-Saint Laurent
2015:
-The Road
2016:
-The Love Witch
-Dernieres Nouvelles Du Cosmos (Latest News From The Cosmos)
2017:
-Low Life
2018:
-Mandy
-Waco
-Climax
2019:
-Joker
-1917
-Once Upon a Time In Hollywood
2020:
-Borealis
2021:
-Fear And Loathing in Aspen
-The Beatles/Peter Jackson: Get Back
-Juice WRLD: Into The Abyss
2022:
-Everything Everywhere All At Once
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The Chinese Lunar Calendar names each of the twelve years after an animal. Legend has it that the Lord Buddha summoned all the animals to come to him before he departed from earth. Only twelve came to bid him farewell and as a reward he named a year after each one in the order they arrived. The Chinese believe the animal ruling the year in which a person is born has a profound influence on personality, saying: "This is the animal that hides in your heart." This Chinese zodiac jade necklace is a great and unique. Based on the birth year of the wearer the corresponding zodiac sign necklace is a great gift to give. Year of the Rat (1912, 1924, 1936, 1948, 1960, 1972, 1984, 1996, 2008, 2020) Year of the Ox (1913, 1925, 1937, 1949, 1961, 1973, 1985, 1997, 2009, 2021) Year of the Tiger (1914, 1926, 1938, 1950, 1962, 1974, 1986, 1998, 2010, 2022) Year of the Hare (1915, 1927, 1939, 1951, 1963, 1975, 1987, 1999, 2011, 2023) Year of the Dragon (1916, 1928, 1940, 1952, 1964, 1976, 1988, 2000, 2012, 2024) Year of the Snake (1917, 1929, 1941, 1953, 1965, 1977, 1989, 2001, 2013, 2025) Year of the Horse (1918, 1930, 1942, 1954, 1966, 1978, 1990, 2002, 2014, 2026) Year of the Sheep (1919, 1931, 1943, 1955, 1967, 1979, 1991, 2003, 2015, 2027) Year of the Monkey (1920, 1932, 1944, 1956, 1968, 1980, 1992, 2004, 2016, 2028) Year of the Rooster (1921, 1933, 1945, 1957, 1969, 1981, 1993, 2005, 2017, 2029) Year of the Dog (1922, 1934, 1946, 1958, 1970, 1982, 1994, 2006, 2018, 2030) Year of the Pig (1923, 1935, 1947, 1959, 1971, 1983, 1995, 200
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John Robert Fowles was born on March, 31 1926. He was an English novelist of international renown, critically positioned between modernism and postmodernism. His work was influenced by Jean-Paul Sartre and Albert Camus, among others.
After leaving Oxford University, Fowles taught English at a school on the Greek island of Spetses, a sojourn that inspired The Magus, an instant best-seller that was directly in tune with 1960s "hippy" anarchism and experimental philosophy. This was followed by The French Lieutenant's Woman (1969), a Victorian-era romance with a postmodern twist that was set in Lyme Regis, Dorset, where Fowles lived for much of his life. Later fictional works include The Ebony Tower, Daniel Martin, Mantissa, and A Maggot.
Fowles's books have been translated into many languages, and several have been adapted as films.
In late 1960, though he had already drafted The Magus, Fowles began working on The Collector. He finished his first draft of The Collector in a month, but spent more than a year making revisions before showing it to his agent. Michael S. Howard, the publisher at Jonathan Cape was enthusiastic about the manuscript. The book was published in 1963 and when the paperback rights were sold in the spring of that year, it was "probably the highest price that had hitherto been paid for a first novel," according to Howard. British reviewers found the novel to be an innovative thriller, but several American critics detected a serious promotion of existentialist thought.
The success of The Collector meant that Fowles could stop teaching and devote himself full-time to a literary career. Film rights to the book were optioned and it was adapted as a feature film of the same name in 1965. Against the advice of his publisher, Fowles insisted that his second published book be The Aristos, a non-fiction collection of philosophy essays. Afterward, he set about collating all the drafts he had written of what would become his most studied work, The Magus.
In 1965 Fowles left London, moving to Underhill, a farm on the fringes of Lyme Regis. Dorset. The isolated farm house became the model for The Dairy in the book Fowles was writing: The French Lieutenant's Woman (1969). Finding the farm too remote, as "total solitude gets a bit monotonous," Fowles remarked, in 1968 he and his wife moved to Belmont, in Lyme Regis. (Belmont was formerly owned by Eleanor Coade), which Fowles used as a setting for parts of The French Lieutenant's Woman. In this novel, Fowles created one of the most enigmatic female characters in literary history. His conception of femininity and myth of masculinity as developed in this text is psychoanalytically informed.
In the same year, he adapted The Magus for cinema, and the film was released in 1968. The film version of The Magus (1968) was generally considered awful; when Woody Allen was later asked whether he would make changes in his life if he had the opportunity to do it all over again, he jokingly replied he would do "everything exactly the same, with the exception of watching The Magus."
The French Lieutenant's Woman (1969) was released to critical and popular success. It was translated into more than ten languages, and established Fowles' international reputation. It was adapted as a feature film in 1981 with a screenplay by the noted British playwright (and later Nobel laureate) Harold Pinter, and starring Meryl Streep and Jeremy Irons.
Fowles lived the rest of his life in Lyme Regis. His works The Ebony Tower (1974), Daniel Martin (1977), Mantissa (1981), and A Maggot (1985) were all written from Belmont House.
(1963) The Collector
(1964) The Aristos, essays
(1965) The Magus (revised 1977)
(1969) The French Lieutenant's Woman
(1973) Poems by John Fowles
(1974) The Ebony Tower
(1974) Shipwreck
(1977) Daniel Martin
(1978) Islands
(1979) The Tree
(1980) The Enigma of Stonehenge
(1982) A Short History of Lyme Regis
(1982) Mantissa
(1985) A Maggot
(1985) Land (with Fay Godwin)
(1990) Lyme Regis Camera
(1998) Wormholes - Essays and Occasional Writings
(2003) The Journals – Volume 1
(2006) The Journals – Volume 2
Fowles was named by The Times newspaper of UK as one of the 50 greatest British writers since 1945.
In 1998, he was quoted in the New York Times Book Review as saying, "Being an atheist is a matter not of moral choice, but of human obligation."
Fowles composed a number of poems and short stories throughout his life, most of which were lost or destroyed. In December 1950 he wrote My Kingdom for a Corkscrew. For A Casebook (1955) was rejected by various magazines. In 1970 he wrote The Last Chapter.
In 1990, his first wife Elizabeth died of cancer, only a week after it was diagnosed. Her death affected him severely, and he did not write for a year. In 1998, Fowles married his second wife, Sarah Smith. With Sarah by his side, Fowles died of heart failure on 5 November 2005, aged 79, in Axminster Hospital, 5 miles (8.0 km) from Lyme Regis.
In 2008, Elena van Lieshout presented a series of 120 love letters and postcards for auction at Sotheby's. The correspondence started in 1990, when Fowles was aged 65. Elena, a young Welsh admirer and a student at St. Hilda's College, Oxford, contacted the reclusive author and they developed a sensitive, albeit unconsummated, relationship.
Daily inspiration. Discover more photos at http://justforbooks.tumblr.com
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4. Alfred Hitchcock
The Pleasure Garden (1925)
The Mountain Eagle (1926)
The Lodger: A Story of the London Fog (1927)
The Ring (1927)
Downhill (1927)
The Farmer’s Wife (1928)
Easy Virtue (1928)
Champagne (1928)
The Manxman (1929)
Blackmail (1929)
Juno and the Paycock (1930)
Murder! (1930)
Elstree Calling (1930)
The Skin Game (1931)
Mary (1931)
Rich and Strange (1931)
Number Seventeen (1932)
Waltzes from Vienna (1934)
The Man Who Knew Too Much (1934)
The 39 Steps (1935)
Secret Agent (1936)
Sabotage (1936)
Young and Innocent (1937)
The Lady Vanishes (1938)
Jamaica Inn (1939)
Rebecca (1940)
Foreign Correspondent (1940)
Mr. & Mrs. Smith (1941)
Suspicion (1941)
Saboteur (1942)
Shadow of a Doubt (1943)
Lifeboat (1944)
Spellbound (1945)
Notorious (1946)
The Paradine Case (1947)
Rope (1948)
Under Capricorn (1949)
Stage Fright (1950)
Strangers on a Train (1951)
I Confess (1953)
Dial M for Murder (1954)
Rear Window (1954)
To Catch a Thief (1955)
The Trouble with Harry (1955)
The Man Who Knew Too Much (1956)
The Wrong Man (1956)
Vertigo (1958)
North by Northwest (1959)
Psycho (1960)
The Birds (1963)
Marnie (1964)
Torn Curtain (1966)
Topaz (1969)
Frenzy (1972)
Family Plot (1976)
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The idea that the various nations worshiped basically the same deities but under different names and in different forms eventually led to the belief in a Supreme Being (the Greek expression is Hypsistos, the Highest One) comprising in its essence not only all the myriads of known and unknown deities, but above all those three or four Gods who, in the context of different religions, play the role of the Highest God (usually Zeus, Sarapis, Helios, and Iao=YHWH). This superdeity is addressed by appellations such as Hypsistos (Supreme) and the widespread "One-God" predication Heis Theos. Oracles typically proclaim particular Gods to be one and the same together with other Gods:
"One Zeus, one Hades, one Helios, one Dionysus,
One God in all Gods." (Pseudo-Justin, "Exhortation against the Greeks" 15=Orphic frag 239 [Macrobius, "Saturnalia" 1.18.17 quotes the first verse])
In one of the oracles, Iao, the God of the Jews, is proclaimed to be the God of Time (Olam-Aion), appearing as Hades in winter, Zeus in springtime, Helios in summer, and "Habros Iao" in autumn. (Macrobius, "Saturnalia" 1.18.20; see Peterson 1926: 243-4; Hengel 1969: 476-7; and the inscription Heîs Zeùs Sérapis Iaó [CIL 2 suppl 5665=Dunand 1975: 170]). These oracles and predications manifest a quest for the sole and supreme divine principle beyond the innumerable multitude of specific deities. This is typical of the "ecumenical age" and seems to correspond to efforts toward political unification (see Peterson 1935, 1951; Schindler 1978; Momigliano 1987; Dunand 1975; and Fowden 1993). The belief in the Supreme Being (Hypsistos) has a distinctly universalist character:
"The sons of Ogyges call Me Bacchus,
Egyptians think Me Osiris,
Mysians name Me Phanaces,
Indians regard Me as Dionysus,
Roman rites make Me Liber,
The Arab race thinks Me Adoneus,
Lucaniacus the Universal God." (Ausonius "Epigrammata" #48 [trans White 1985])
This tradition of invoking the Highest God by the names given Him by the various nations expresses a general conviction in late antiquity about the universality of religious truth and the relativity of religious institutions and denominations and the conventionality of divine names. According to Servius, the Stoics taught that there is only one God, whose names merely differ according to actions and offices. Varro (1116-27 BCE), who knew about the Jews from Poseidonius, was unwilling to make any differentiation between Jove and YHWH because he was of the opinion that it mattered little by which name he was called as long as only the same thing was meant ("nihil interesse censens quo nomine nuncupetur, dum eadem res intelligatur"; "Antiquitates rerum divinarum", frag 16 Cardauns). Porphyry held the opinion that the names of the Gods were purely conventional. Celsus argued that "it makes no difference whether one calls God 'Supreme' [Hypsistos] or Zeus or Adonai or Sabaoth or Ammon such as the Egyptians do or Papaios as the Scythians." The name does not matter when it is evident what or who is meant.
“Monotheism and Polytheism” by Jan Assmann in Ancient Religions edited by Sarah Iles Johnston (p 27-8)
#zeus#serapis#heleus#yahweh#hades#dionysus#osiris#liber#adonis#jupiter#amun/amaunet#papaios#monotheism and polytheism#jan assmann
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Benjamin Mays
Benjamin Elijah Mays (August 1, 1894 – March 28, 1984) was an American Baptist minister and civil rights leader who is credited with laying the intellectual foundations of the Civil Rights Movement. Mays taught and mentored many influential activists: Martin Luther King Jr, Julian Bond, Maynard Jackson, and Donn Clendenon, among others. His rhetoric and intellectual work focused on notions of nonviolence and civil resistance–beliefs inspired by the teachings of Mahatma Gandhi. The peak of his public influence occurred during his almost thirty years as the 6th President of Morehouse College, a historically black institution of higher learning.
Mays was born in the Jim Crow South on a repurposed cotton plantation to freed sharecroppers. He traveled North to attend Bates College and the University of Chicago from where he began his career in activism as a pastor in the Shiloh Baptist Church in Atlanta, Georgia. After a brief career as a professor, he was appointed as the Dean of the School of Religion at Howard University in 1934 which elevated him to national prominence as a proponent of the New Negro movement. Six years later, Mays was elected as the president of Morehouse College, an at-the-time financially unstable enterprise. Over his tenure from 1940 to 1967, the college's financial endowment was doubled and enrollment quadrupled; it was established as a leading liberal arts college in the United States.
Due to the relative smallness of the college, Mays mentored and taught many students, most notably King. His connection with King spanned his early days at the college in 1944. King was known as Mays' "spiritual son" and Mays his "intellectual father." After King's famous "I Have A Dream" speech at the March on Washington for Jobs and Freedom on August 28, 1963, Mays gave the benediction. Upon the 1968 death of King, he was asked to give the eulogy where he described him in his "No Man is Ahead of His Time" speech. Mays stepped down from the presidency in 1967 continuing to work as a leader in the African American community. He presided over the Atlanta Board of Education from 1969 to 1978, where he initiated the desegregation of Atlanta.
Mays' contributions to the civil rights movement have had him hailed as the "movement's intellectual conscience" or alternatively the "Dean [or Schoolmaster] of the Movement". Historian Lawrence Carter described Mays as "one of the most significant figures in American history". Hundreds of streets, buildings, statues, awards, scholarships, grants, and fellowships are named in his honor. Numerous efforts have been brought forward to posthumously award Mays the Presidential Medal of Freedom as well as feature him on a U.S. postage stamp.
Early life
Early life and ancestry
Benjamin Elijah Mays was born on August 1, 1894 in Epworth, South Carolina, in the small town of Ninety Six, South Carolina, the youngest of eight children. His mother, Louvenia Carter Mays, and father, Hezekiah Mays, were born into slavery on Virginia and South Carolina plantations, respectively. Both were freed in their later lives with the passage of the 1863 Emancipation Proclamation. Mays' father often hit him, his siblings and Louvenia growing up, expressing anger about how he was treated by his master. The "Mays" family name was derived from their slaver and owner's name, Henry Hazel Mays; he owned 14 slaves in the same area. Hezekiah worked as a cotton sharecropper to generate income for his family.
Mays was told to be cautious of white people and exhibit black pride whenever possible growing up. Mays' older sister, Susie, began to teach him how to read before his formal schooling commenced, which gave him a year's growth in reading compared to the other students in his primary schools. School officials cited him as "destined for greatness." Growing up, he went by the nickname "Bennie" and was inspired by Fredrick Douglass, Booker T. Washington, and Thomas E. Miller. The Bible was influential to young Mays because he could see his name (of Biblical origins) mentioned frequently, instilling a feeling of empowerment within. During this time, Benjamin Tillman rose to power in South Carolina which saw to the redoubling of lynching and segregation in Mays' neighborhood. Throughout his tenure as governor, 18 black men were lynched and dozens were hurt in the 1876 shoot-off. On November 8, 1898, members of the Phoenix Riot–a white suprematist mob–rode up on horses to the Mays household, a repurposed cotton plantation. They drew their guns at Mays' father and told him to remove his hat and bow down to them. The event would stay with Mays throughout his life. A year later, white mobs and Ku Klux Klan members searched his house in search of relatives after local newspapers announced that cotton prices had plummeted.
Early education
In 1911, he was enrolled at the Brick House School in Epworth, a Baptist-sponsored school. He then transferred to the High School Department of South Carolina State College in Orangeburg. He graduated in 1916, aged 22 as its valedictorian. In high school, teachers often let Mays instruct parts of the mathematics curriculum to students in exchange for extra credit. He won awards for debate and mathematics. A teacher at the school had told Mays to seek graduate school at the University of Chicago as he thought the school would best nurture Mays' intellect. However, before attending graduate school Mays needed to seek an undergraduate education. His relatives and teachers forced him to attend a Baptist university–the Virginia Union University. He grew weary of the violence against blacks in Virginia so he sought the guidance of his academic advisors at Virginia Union. They advised him to look into schools in the North as they were typically seen as more prestigious, challenging, and prominent than those of the South.
Four professors at the university had attended Bates College in Lewiston, Maine and urged Mays to apply. However, its exacting standards prohibited him from attending. After a year more in Richmond, Mays elevated his grades to the top of his class and wrote personally to Bates president George Colby Chase. Chase granted him a full financial aid package and boarding upon hearing his story and reviewing his academic background. Virginia Union's president warned him that studies at Bates would be "too hard for a colored boy" and that he should stay in Virginia. Mays ignored his warnings and enrolled in 1917, aged 23. While at Bates he felt pressure to compete with "Yankees at the Yankee level" which drove him to dedicate him to his studies. He would write in a diary: "Yankee superiority was the gauntlet thrown down. I had to pick it up." Working to midnight weekly and arising at 4 AM, Mays excelled at Greek, mathematics, and speech. Although he would experience little racism in college, upon seeing The Birth of a Nation in a local cinema, the crowd cheered for the white slaver which frightened Mays. In college, he was captain of the debate team, played on the football team and served as the Class Day Speaker. He graduated with departmental honors with a B.A. in 1920. Contrary to popular writing and official college records, Mays never received Phi Beta Kappa; his attendance of a "school from the South" disqualified him.
Marriages
Shortly after graduation, he married his first wife, Ellen Edith Harvin, in August 1920 in Newport News, Virginia. The two met when Mays was still in South Carolina and wrote to each other frequently. She was a home economics teacher at a local college before she died after a brief illness two years after they married at age 28. He met his second wife, Sadie Gray, while working at South Carolina State College. After months of courtship, they married on August 9, 1926. Mays was secretive about his relationship with his second wife; he burned the majority of letters and correspondence between them.
Early academic career
On January 3, 1921, he then entered the University of Chicago as a graduate student, earning an M.A. in 1925. Early on in his academic career he decided to join Omega Psi Phi, a national fraternity for colored men. This organization was known for pooling resources and information among its members so Mays viewed it with great interest. Mays viewed it as "a mountain top from which he could see above and beyond". In 1924, upon hearing news that there was to be a fraternity meeting in St. Louis, Missouri, Mays traveled by train. However, his decision to travel first class from Birmingham to St. Louis was indirectly against the Jim Crow laws. The ticket salesman only sold Mays a ticket when he lied about who it was for. While riding to St. Louis, the Pullman warned Mays that he was risking his life by sitting in first class and that he should get off at the next stop. Shortly after, three white men, guns drawn, escorted Mays into a car in the back known as the "Jim Crow car". He eventually made it to the Omega Psi Phi meeting, where he spoke of his experience.
To finance his time in university, Mays worked as a Pullman Porter, a railway assistant. Much of the money he had earned growing up was spent financing his time at Bates, on Christmas Day 1921, Mays held only $45 dollars ($587 in 2018 USD). Mays began labor organizing to increase his wage, which was seen negatively by the Porter managers. Although he legally established a labor group for Pullman Porters, he was fired from his job for "attracting too much attention to labor rights." His time at the University of Chicago was marked by segregation. He was asked to sit at the colored area in the dining halls and was only allowed to use certain rooms for reading. Mays tolerated the segregation with the mindset that he was "only there to get a degree, to convince another brilliant set of Yankees that he could do their work." Although he was licensed to preach in 1919, he was officially ordained a Baptist minister in 1921. During this time he encountered John Hope, the current president of Morehouse College. Hope spoke to Mays about the lack of "a fine education for the colored in Atlanta". Mays traveled to Atlanta in 1921 and served as a pastor at the Shiloh Baptist Church until 1923. In March 1925, Mays was award an M.A. in religious studies from the university. Upon receiving his master's degree, he wrote to the pastorate with his intention of resigning to pursue a doctorate in the coming years. However, due to his financial status, he took up a teaching position instructing English at South Carolina State College from 1925 to 1926. Mays left his teaching position after routinely clashing with other faculty over grade inflation and academic standards.
From 1928 to 1930, he worked as the national student secretary of the Young Men's Christian Association (YMCA). A couple of months later, he was asked to serve as the director of Study of Black Churches in the United States by the Institute of Social and Religious Research of New York. In 1932, Mays returned to the University of Chicago with the intent of completing a Ph.D. in line with what was asked by the Institute of Social and Religious Research of New York. After some deliberation between fields of studies he could pursue a doctorate in he eventually decided to study religion and not mathematics or philosophy. Mays also worked as a student assistant to Dr. Lacey Kirk Williams, pastor of Olivet Baptist Church in Chicago and President of the National Baptist Convention. In 1933, he wrote his first book with Joseph Nicholson, The Negro's Church. It was the first sociological study of the black church in the United States and was submitted to the university faculty as his dissertation in 1935. Historian John Herbert Roper estimates that Mays was one of 20 African Americans so earn a doctorate during that year.
Howard University
Shortly after receiving his doctorate, he was called by the presidents of multiple universities to lead their religion departments. Mays chose to accept a position at Howard University in Washington as its dean of religious studies. He was instructed to build up the department and establish a reputation for well-trained ministers. Mays first renovated its library and secured loans from the federal government to expand it. His second objective was to separate the federally-funded portions of Howard University from the new school of religion. At the time, the university was partially funded by the U.S. Department of the Interior which prohibited funding to religious enterprises. After he successfully removed the School of Religion from the auspices of the federal government he was tasked with securing funding from wealthy donors from the North.
Mays secured a multi-million dollar package from donors by 1930, and was averaging yearly contributions of $750,000 during the Great Depression. The expanding Department of the Interior under Franklin D. Roosevelt, coupled with Mays' fundraising led to unprecedented growth at the university. Salaries for professors increased, new dorms were built and refurbished, the library Mays had been developing was completed, and new lecture halls were established. In 1938, he published his second book, The Negro's God as Reflected in His Literature. In 1939, he secured a large collection of theology books for his new library which prompted the American Association of Theological Schools to accredit the new School of Religion. During this time Mays developed a reputation for exacting standards and elitism. He was a vocal opponent of the notion that black men are inherently more violent than their white counterparts in universities. He was a vocal proponent of the New Negro movement and frequently lectured about its foundlings and applications.
In January 1940, Mays was secretly approached by, John Hervey Wheeler, a trustee of Morehouse College, to see if he was interested in an upcoming search for the college's next president. Wheeler told Mays that the school had a tough time with getting tuition payments out of the students, growing their endowment, and establishing national prominence. Mays expressed interest in the position but Wheeler cautioned him about the odds of him actually being offered the job. On March 10, 1940, Mays was offered the presidency of Morehouse by its trustees; he moved to Atlanta shortly after. When Mays left Howard University, he was honored with the renaming of the newly constructed home of the divinity school to "Benjamin Mays Hall."
Meeting with Gandhi
In 1936-37, Mays traveled to Mysore, India, where, at the urging of Howard Thurman, a fellow professor at Howard, he spoke at some length with Mahatma Gandhi. The two spoke for an hour and a half about the realities and powers of militant pacifism which he used to shape his civil rights ideology and practice. Mays asked Gandhi about the influence nonviolence had in his life and what his personal thoughts were on the caste system in India. Gandhi told Mays that there was never an instance where violence was acceptable especially that which was undertaken in retaliation. He was told that "one must pay the price for protest, even with one's life". In response to the caste system. Gandhi believed that there those with darker skin were not inherently untouchable but labeled it a "necessary economic injustice".
Morehouse College, 1940–1967
Early years
Mays was offered the presidency on March 10 and inaugurated the sixth president on August 1, 1940. Upon his assumption of the presidency, the school was in severe financial distress. In his first speech to an incoming freshman class in 1940, he said, "If Morehouse is to continue to be great; it must continue to produce outstanding personalities." Mays set out to improve the training of Morehouse men, increase enrollment, grow its endowment, and collect tuition payments.
Many associated with the college referenced him as a "builder of men." To improve the training of Morehouse men, Mays set out to advance a new curriculum based on the New Negro movement. He specifically wished to increase the training of black physicians, ministers and lawyers. Although Morehouse College was not a medical, law, or ministry school, it was a feeder institution into them so Mays took the preparation of his students into these schools seriously.
Financial planning
During his first three months nothing was planned to be or currently being constructed on campus. Mays had inherited "mountains of uncollected student bills" which served as a threat to the liquidity of the college. In 1933, Morehouse was doing so poorly financially that it had allowed Atlanta University to take over its financial direction and budget. He earned a reputation for being a penny-pincher and demanded tuition fees on time, which earned him the nickname "Buck Bennie;" the student newspaper occasionally ran headlines such as "Buck Bennie Rides Again," during the first couple of years of his Morehouse presidency. However, he often helped students pay their bills by offering work or finding it around campus. He would write to the employers of the college's graduates to ask them how the recent grads were doing as a way to measure the Morehouse education. Within two years of his presidency, Mays was so successful that he was able to regain control of Morehouse's finances.
Effects of World War II
Soon after primary advancements were made with the college, World War II broke out and many students were drafted for military service. The Chairman of the Board of Trustees of Morehouse approached Mays and requested the school be shut down for the remainder of the war, which prompted Mays to lash out and reject his proposition publicly. Mays counter-proposal was to open the school to younger students who were ineligible to be drafted. He moved to improve the academic quality of the students by lowering admissions rates, and reforming the academic platform. College faculty often were encouraged to befriend students and provided them with guidance in a tumultuous social scene at the time.
Recognition
The introduction to his speech compilation at Morehouse notes him with the following:
In physical stature Mays stood six feet tall, but appeared taller because of his erect posture--a habit he developed during his youth to walk around with dignity and pride; he weighted approximately 180 pounds and had a full head of iron-grey air with a contrasting dark complexion. His distinctive physical appearance commented his towering intellectual stature. When Mays walked into a room, eyes were likely to focus in his direction. His mere physical presence attracted attention.
He received an honorary doctorate and the "Alumnus of the Year" Award from Bates College in 1947 and the University of Chicago in 1949, respectively. Although he was a college president, he was not allowed to vote in the 1950s until he was 52 years old. Pulpit, a magazine focusing on black religious preachers, ranked him among the top 20 preachers in America in 1954. The same year he was one of the "Top Ten Most Powerful Negros" in the nation according to black magazine, Our World.
Jackie Robinson
In 1966, as president, Mays was invited to sit at a Atlanta Braves baseball game as a guest-of-honor by Jackie Robinson when the sports franchise moved from Milwaukee to Atlanta. Robinson invited Mays because of his efforts to integrate the baseball team in Atlanta. Robinson said of Mays: "When we first moved here it was the first team of major league caliber to ever move this far south to play baseball. And of course [Mays] was one of the guys, one of the persons really that made things a lot easier for myself and some of the other black ball players."
Roles in the White House
As president he was in great demand as a public speaker. He met hundreds of national and international leaders and served as a trusted advisor to Presidents Kennedy, Johnson, and Carter. He was appointed by President Truman to the Mid-Century White House Conference on Children and Youth. When Pope John XXIII died in 1963, President Kennedy sent Mays and his Vice President to represent the United States at the funeral in Rome, Italy. During the Kennedy administration, southern members of the Senate blocked Mays' appointment to the United States Civil Rights Commission by accusing him of being a Communist. Mays denied the charges. His relationship with President Jimmy Carter was marked with "warmth" and "hospitality." Carter visited Mays' home in Atlanta, and Mays in turn campaigned for Carter during his 1976 and 1980 presidential runs. Carter wrote to Mays on a monthly basis during his presidency asking him about "humans rights, international affairs, and discrimination."
Final years
Mays wanted to hire more teachers, and to pay those teachers a better salary. To do that, Mays sought to be more strict in the collection of student fees, and wanted to increase Morehouse's endowment from $1,114,000. He more than quadrupled the endowment that he inherited by the end of his 27-year tenure. Over Mays' twenty-seven years leading Morehouse, the enrollment increased 169%, from 238 to almost a thousand students and furthered the motivation for graduates to pursue graduate studies.
Connection to Martin Luther King Jr.
Mays first became associated with Martin Luther King Jr. during his time as a student at Morehouse College. While King was a student from 1944 to 1948 he often went to Morehouse's chapel to hear Mays preach. After the sermons, King would run up to Mays and engage with him about the ideas he presented often following him into his office, hours after the sermon ended. He was also a friend of Martin Luther King Jr.'s father, Martin Luther King Sr. and often participated with him religious organizations in Atlanta. Mays dined at the King's homes every so often and spoke with the young Martin Luther King Jr. about his career prospects and ambitions. His mother, Alberta Williams King said Mays was a "great influence on Martin Luther King Jr.," "[an] example of what kind of minister Martin could become," and "possessor of great moral principles."
While King was only his 20s, Mays helped him assume the responsibility of his actions in the civil rights rallies in which he participated. King needed Mays "for spiritual support as he faced the burden of being perceived as the personification of black America's hopes and dreams, it was Mays who held the job as King's consigliere over the next fourteen years as the death threats against him grew more ominous and the public battles more dangerous."
After King gained national attention as a consequence of his 1955 Montgomery bus boycott, he began to refer to Mays as his "spiritual and intellectual mentor", which enhanced the friendship they had and prompted Mays to be more involved with King's civil rights endeavors. Mays revered him as his "spiritual son". Mays gave the benediction at the close of the official program of the March on Washington for Jobs and Freedom, where King delivered his "I Have a Dream" speech in 1963.
"No man is ahead of his time" speech
The two developed a close relationship that continued until King's assassination by James Earl Ray on April 4, 1968. King and Mays promised each other that whoever outlived the other would deliver the eulogy at the other's funeral.
On April 9, 1968, Mays delivered a eulogy that would later be known as the "No Man is Ahead of His Time" speech. He noted King's time in history to an estimated 150,000 mourners by stating in his most famous passage:
If Jesus was called to preach the Gospel to the poor, Martin Luther was called to give dignity to the common man. If a prophet is one who interprets in clear and intelligible language the will of God, Martin Luther King Jr. fits that designation. If a prophet is one who does not seek popular causes to espouse, but rather the causes he thinks are right, Martin Luther qualified on that score.No! He was not ahead of his time. No man is ahead of his time. Every man is within his star, each in his time. Each man must respond to the call of God in his lifetime and not in somebody else's time. Jesus had to respond to the call of God in the first century A.D., and not in the 20th century. He had but one life to live. He couldn't wait.
The speech was well received by the attendants of the funeral and the American populate. It was later hailed as "a masterpiece of twentieth century oratory."
After the death of King, Mays drew controversy when his sermon at the Ebenezer Baptist Church urged an audience of mostly white people, "not to dishonor [King's] name by trying to solve our problems through rioting in the streets. If they could turn their sorrow into hope for the future and use their outrage to invigorate a peaceful climb to the mountaintop, Martin Luther King Jr. will have died a redemptive death from which all mankind will benefit."
After Morehouse, 1967–1981
Social tours and advocacy
Mays began teaching again, and served as a private advisor to the president of Michigan State University and went on to publish Disturbed About Man, a collection of his sermons at Morehouse College. His publications described his early life in South Carolina and the racial tensions he had to overcome. During this time he began to give speeches and commencement addresses at various intuitions to spread both religious and racial tolerance. He ended his social tours in the early 1980s, giving a total of 250 commencement addresses at colleges, universities, and schools. In 1978, the U.S. Department of Education granted him the Distinguished Educator Award and the South Carolina State House hung a commissioned portrait of him in its chamber. These awards from South Carolina were deeply appreciated by Mays as he left the state in fear of his life and this he loved. During the social transformation of the South in the 1970s, Mays' legacy in his birthplace was solidified and he took on the title of "native son".
Atlanta board presidency
At age seventy-five, Mays was elected president of the Atlanta Public Schools Board of Education, where he supervised the peaceful desegregation of Atlanta's public schools as a consequence of the 1970 federal court order. Members of the board argued that since the bussing was not a part of their system they did not have to create one for desegregation; however, the idea was shot down by Mays, who cited the Swann v. Charlotte-Mecklenburg Board of Education Supreme Court decision. It was during this time that Mays ordered the city to create bus routes to cater to African-American neighborhoods. The board did not support the decision and asked the Georgia's Attorney General, Arthur K. Bolton, for a review of the case. Bolton brought the city government together with the board and with Mays created what was known as the Atlanta Compromise Plan.
His "commanding and demanding personality" was largely credited for the exponential levels of desegregation in Atlanta. The Atlanta Compromise Plan prompted Mays to advocate for the administration of the plan to be "colorless", that is to say, black and white students were transported on the same routes, in the same buses. This was named the "Majority to Minority" volunteer plan, better known as the "M to M" plan. The plan also allowed each student whose race was in the minority to transfer to a school that had the majority race; this was advantageous to the black populace of Atlanta. The program was later known as the "Volunteer Transfer Program" or VTP, and was ministered by the federal courts and the board. On July 28, 1974, Mays signed the alignment order declaring that the Atlanta School System was unitary.
On July 1, 1973, Mays appointed Alonzo Crim as the first African-American superintendent of schools, which was met with backlash from the other board members and city officials. He used his power and influence in Atlanta to shield Crim from the criticism and allowed him the opportunity to run the school system. During the later part of his tenure he greatly expanded the jurisdiction of the board, and upon his retirement in 1981 Mays was honored by the naming of a street. Near the end of his tenure, the board voted to name a newly constructed school after Mays; Mays High School was constructed on February 10, 1985, and was open to students of all races. He retired from the board in 1981. The Atlanta Board of Education had a rule against naming buildings after people unless they had been deceased for two years; they waived it for Mays; he visited the school frequently when it was being built. He is widely credited as the most influential figure in the desegregation of Atlanta, Georgia.
Death and legacy
Benjamin Mays died on March 28, 1984 in Atlanta, Georgia. He was initially buried at South-View Cemetery, but in May 1995 his body was entombed on the campus of Morehouse College along with his wife Sadie. Morehouse College established the Benjamin E. Mays Scholarship shortly after his death.
Boston University professor Lawrence Carter described Mays as "one of the most significant figures in American history." Andrew Young said of Mays: "if there hadn't of been [sic] a Benjamin Mays there would not have been a Martin Luther King Jr. He was very much a product of Dr. Mays religious thinking." He was known to Dillard University president Samuel Dubose Cook as "[one of the] great architects of the civil rights movement. Not only in training individuals but in writing his books, leadership in churches, as a pastor, college president. He set the standard. And he was uncompromising." In 2002, scholar Molefi Kete Asante listed Benjamin Mays on his list of 100 Greatest African Americans.
Sites and honors
In his home state of South Carolina he was inducted into the South Carolina Hall of Fame in 1984. His childhood home was relocated from Epworth to Greenwood, SC and is listed as a State Historic Site by the government of South Carolina, and was referred to as an "education icon" by the South Carolina Radio Network in 2011. Upon his death Mays was designated Phi Beta Kappa, Delta Sigma Rho, Delta Theta Chi, Omega Psi Phi.
Nationally, he was awarded the Spingarn Medal from the National Association for the Advancement of Colored People in 1982. He was elected to the Schomburg Honor Roll of Race Relations along with "only a dozen major leaders to be so honored." In 2011, Wiliams College in Williamstown, Massachusetts, introduced the Mellon Mays Undergraduate Fellowship at Williams College. The National School Boards Association created the Benjamin Elijah Mays Lifetime Achievement Award for "an individual who—during his or her lifetime—has demonstrated a longstanding commitment to the educational needs of urban school children through his or her service as a local school board member." Due to his stature in academia he was frequently awarded honorary degreess from universities. He was awarded 40 of them during his lifetime and as of February 2018, he has received 56 honorary degrees.
Bates College's highest alumni distinction is known as the Benjamin E. Mays Medal and is reserved for "the alumna or alumnus who has performed distinguished service to the larger (worldwide) community and been deemed a graduate of outstanding accomplishment." The inaugural winner was Mays himself. The college established the Benjamin E. Mays Distinguished Professorship in 1985.
Mays has been the subject or inspiration of memorials, and the eponym of hundreds of buildings, schools, streets, halls, awards, grants, scholarships, fellowships, and statues. Although he through his life had been appreciative of all of them, he "[was] reported to have said he was moved most deeply when a small black church in Ninety Six, South Carolina, renamed itself Mays United Methodist Church. There are numerous memorials to Mays in the United States, including:
Benjamin E. Mays High School, in Atlanta, Georgia, U.S.
Benjamin E. Mays Drive in Atlanta, Georgia, U.S.
Benjamin E. Mays Archives in Atlanta, Georgia, U.S.
Benjamin E. Mays National Memorial in Atlanta, Georgia, U.S.
The Statue of Benjamin E. Mays at Morehouse College, Atlanta, Georgia, U.S.
Benjamin Mays Hall of Howard University, in Washington, D.C., U.S.
Benjamin Mays Center of Bates College, in Lewiston, Maine, U.S.
Benjamin E. Mays International Magnet School, in St. Paul, Minnesota, U.S.
Mays House Museum, in Greenwood, South Carolina, U.S.
Benjamin Mays Historic Site, in Greenwood, South Carolina, U.S.
Dr Benjamin E. Mays Elementary School in Greenwood, South Carolina, U.S.
Mays United Methodist Church, in Ninety Six, South Carolina, U.S.
Mays Crossroads on Highway 171 in Ninety Six, South Carolina, U.S.
Benjamin E. Mays Elementary Academy, in Chicago, Illinois, U.S.
Benjamin E. Mays High School in Pacolet, South Carolina, U.S.
Medal of Freedom effort
After Mays stepped down from the Atlanta Board of Education presidency in 1981, a petition was sent to the desk of U.S. President Ronald Reagan requesting that Mays be given the Presidential Medal of Freedom, but it was turned down. Georgian representative John Lewis proposed a bill in January 1993 that would commemorate Mays on a federal stamp and requested that Mays be given the Medal of Freedom posthumously. The request was sent to U.S. President Bill Clinton but his time as president ended before he could address the request. A request was sent once again to U.S. President George Bush by Georgian representatives Max Cleland and Zell Miller which passed both houses of Congress but has yet to be signed by a U.S. president. The petition was sent once more in 2012 to U.S. President Barack Obama, yet failed to be awarded.
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Israel Joshua Singer (left), Melech Ravitch (right), Ravitch’s wife, and their two children, Yosl and Ruth, ca. 1925. (YIVO)
Singer, Israel Joshua
(1893–1944), Yiddish fiction writer. Born in Biłgoraj, Lublinprovince, Israel Joshua Singer was the second child in a family of Yiddish writers that included his elder sister, Esther Singer Kreitman, and his younger brother, Isaac Bashevis Singer. Singer spent much of his childhood in another small town, Leoncin, Warsaw province.
Singer received a traditional Jewish education and was influenced by the opposing strains of Jewish thought represented by his Misnagdic mother and his Hasidic father. When he was 14, the family moved to the Hasidic court at Radzimin and then to Warsaw, where Singer worked as an unskilled laborer and proofreader. He studied painting and hid in an artists’ atelier to avoid the military. By 1918, when he traveled to Kiev and Moscow, he had already begun publishing his earliest stories.
In Moscow, he was influenced by Dovid Bergelson. But, dissatisfied with his reception among Soviet Yiddish writers and unhappy with their politics, Singer returned to Warsaw in late 1921. Singer associated with the small, fluid group of writers called Di Khalyastre (The Gang), who opposed both social realism and romanticized depictions of Jewish life and who announced a new, though brief, expressionist episode in Yiddish literature. Their journal, Khalyastre, included illustrations by Marc Chagall and poems, stories, and essays by Perets Markish, Melech Ravitch, Uri Tsevi Grinberg, Yoysef Opatoshu, Oyzer Varshavski, Dovid Hofshteyn, and Singer.
When Singer published his most ambitious work to date, a short story titled “Perl” (Pearls) in Ringen(1921), he attracted the attention of Abraham Cahan, the powerful editor of the New York Yiddish daily, the Forverts. Singer served as a correspondent for the newspaper, reporting on his travels to Galicia in 1924, throughout Poland in 1926, and then once again to the Soviet Union in the same year; in 1931 he met Cahan in Berlin and then visited the United States for several months in 1932, before finally settling there in 1934. His travelogue, Nay Rusland (New Russia; 1928), as well as his subsequent work, appeared first in the Forverts. He wrote fiction under his own name and journalistic essays primarily under the pseudonym G. Kuper, his wife’s maiden name. He and his wife had two sons, one of whom died just before the family’s emigration from Poland.
Singer’s first novel, Shtol un Ayzn (1927; in English translation, Blood Harvest; 1935; and Steel and Iron; 1969) generated considerable controversy about the place of politics in fiction. Accused of not understanding politics and convinced that his critics were merely Communist or socialist party hacks, Singer publicly renounced Yiddish literature, turning to journalism instead. But just four years later, he published his second and most successful novel, Yoshe Kalb (1932; in English translation, The Sinner; 1933; and Yoshe Kalb; 1965). He published three more novels after his arrival in the United States: Di brider Ashkenazi (1936; in English translation, The Brothers Ashkenazi;1936 and 1980); Khaver Nakhmen (1938; published in English as East of Eden; 1939); Di mishpokhe Karnovski (1943; in English translation, The Family Carnovsky; 1969).
Adapted for the stage, Yoshe Kalb was performed in New York in 1932 and became one of the most critically acclaimed and financially successful plays ever produced in the Yiddish theater. Less successful adaptations of his other novels followed: Di brider Ashkenazi in 1938, Khaver Nakhmen in 1939, and Di mishpokhe Karnovski in 1943. In addition, a collection of stories, Friling (Spring; 1937) appeared in Warsaw and two posthumous works were issued in New York: his autobiographical memoir, Fun a velt vos iz nishto mer (1946; in English translation, Of a World that Is No More; 1970), and Dertseylungen (Stories; 1949).
His epic novel, Di brider Ashkenazi, traces the history of twin brothers and the industrial city of Ł��dź. Written in the first years of Nazi rule, it ends with World War I, the Russian Revolution, and the establishment of an independent Poland. But for the Jews in this novel, these events have less resonance than the end that is depicted in the infamous 1918 pogrom in Lwów. The fates of the religious and the Marxist, the assimilated and the traditional Jew are identical.
By the time Singer wrote Di mishpokhe Karnovski, he was explicitly coming to terms with the early years of what was already being called in Yiddish the khurbn (the Holocaust). The novel traces three generations through half a century, following a family from a Polish shtetl to Berlin to New York, and ending almost at the moment of publication. At the end of the novel, Singer leaves his characters’ fates uncertain, a sign of the difficulty of conceiving of a coherent conclusion to the conflicts of the novel and current history. Singer’s energies were no doubt placed elsewhere. His correspondence during the period is full of increasing concern about his family’s fate under the Nazis. (He could not maintain contact with his mother and youngest brother, Mosheh, caught in the war’s upheaval. Neither survived the war, and Singer died still uncertain of their fates.)
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Alfred Hitchcock's 39 Stairs
a video by Max Tohline
A supercut / video essay conceived as a single-channel gallery video installation, to play on a continuous loop (2 loops play above).
A compilation of staircase shots from 39 films directed by Alfred Hitchcock (list below), with music by Michael Daugherty: Metropolis Symphony, Mvt. 5, Red Cape Tango.
In the first shot of Alfred Hitchcock's first film, The Pleasure Garden (1925), a line of women stream down a spiral staircase backstage at a theater. In the last shot of Hitchcock's last film, Family Plot (1976), Barbara Harris sits down on a staircase, looks into the camera, and winks. In the fifty years and over fifty films between these bookends, Hitchcock made the staircase a recurring motif in his complex grammar of suspense -- a device by which potential energy could be, metaphorically and literally, loaded into narrative, a zone of unsteady or vertiginous passage from one space to another, always on the verge of becoming a site of violence. Nearly every Hitchcock film includes stairs somewhere -- with the exceptions of a few films in which the setting precluded it (Lifeboat (1944) and Rope (1948), for instance) or in which the genre did not call for it (in his only outright comedy, Mr. and Mrs. Smith (1941), they use elevators to get everywhere).
Even though I acknowledge that there are already plenty of Hitchcock supercuts out there (viz) and that further auteur-fetishization is probably the last thing we need, I threw this one together anyway because I thought it up with a friend nearly 10 years ago and wanted to see the idea through. From now on I execute every idea I get immediately, so that better editors like Steven Benedict (here) don't beat me to the punch again. Shout-out to Jacob Schmidt, whose Stairs to Suspense cuts together scenes of staircases from 18 Hitchcock films, and to Room 237, whose 39 Staircases in Cinema also punningly rips off the title of Hitchcock's 1935 classic, but which collects staircase scenes mainly from other filmmakers.
Sifting through those other variations of this idea, it strikes me that the Hitchcock supercut is probably a genre unto itself by now. In the fullness of time, it may become possible, with the help of higher dimensions, to make a supercut of Hitchcock supercuts. So maybe I made this one just to help make that possible. Until then, we turn and turn in the widening gyre...
Films featured, in order of appearance:
Frenzy (1972)
The Trouble with Harry (1955)
Rear Window (1954)
North by Northwest (1959)
Bon Voyage (1944)
Number Seventeen (1932)
Easy Virtue (1928)
The Lady Vanishes (1938)
Marnie (1964)
Young and Innocent [The Girl was Young] (1937)
Sabotage (1936)
To Catch a Thief (1955)
The Birds (1963)
Rebecca (1940)
Under Capricorn (1949)
Shadow of a Doubt (1943)
Saboteur (1942)
The Man Who Knew Too Much (1956)
Family Plot (1976)
The 39 Steps (1935)
The Paradine Case (1947)
The Wrong Man (1956)
I Confess (1953)
The Man Who Knew Too Much (1934)
Topaz (1969)
Foreign Correspondent (1940)
Blackmail (1929)
Jamaica Inn (1938)
Stage Fright (1950)
Strangers on a Train (1951)
Spellbound (1945)
Rich and Strange [East of Shanghai] (1932)
The Pleasure Garden (1926)
Torn Curtain (1966)
Vertigo (1958)
The Lodger (1927)
Suspicion (1941)
Notorious (1946)
Psycho (1960)
Apologies for leaving out the escalator in Downhill (1927) and "the fifth step" in Dial M for Murder (1954).
#supercut#video art#video installation#alfred hitchcock#hitchcock#the 39 steps#stairs#staircases#steps#formal patterns#patterns
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Leonid Yakobson in Leningrad c. 1926. Photographer unknown; it’s the cover photo for Like A Bomb Going Off.
Leonid Veniaminovich Yakobson was a St. Petersburg-born choreographer who created many ballets at a variety of Russian companies, notably the Mariinsky/Kirov and Choreographic Miniatures.
Yakobson staged his first ballets while still a student at the Leningrad Choreographic School. Almost immediately, he placed himself in opposition to the standard Soviet fashion of ballets, and in particular against Agrippina Vagonova. Despite initial difficulty finding work without the authorities’ or Vagonova’s favor, he was invited to choreograph for the Kirov (now Mariinsky) Theater after some years working as a schoolteacher.
His first choreographic commission was the second act of Shostakovich’s The Golden Age in 1930. Shostakovich was a perpetually sensitive topic in any case, and Yakobson’s libretto involved a politically-charged plot and the inclusion of several types of banned dance, such as tap and the tango. It ran for eighteen performances before being banned. Soon after, Vagonova became head of the Kirov and prohibited him from choreographing more ballets at the theater. This series of events more or less set the stage for Yakobson’s entire career.
He continued to work as a choreographer in other cities around the USSR, plagued by antisemitism and truly extraordinary bad luck. In one particularly egregious example, his later success Shurale was due to premiere on June 22, 1941, the very day Germany invaded the USSR. It did not see release until 1949.
These difficulties continued until after the death of Stalin in 1953, when state-sponsored antisemitism in the USSR lessened slightly and allowed Yakobson to find work more easily. He returned to the Kirov and began choreographing once more. Then, in 1956, Yakobson’s (in)famous Spartacus premiered, setting the world of Russian classical ballet entirely on its head. Dancers wore neither tulle nor pointe shoes, and the movements were shockingly elastic, athletic, and contemporary. Hailed as innovative genius by audiences, Spartacus was nevertheless quickly removed from the repertoire. Gregorovich’s better-known version is a direct response to Yakobson’s daring. Even so, Yakobson found himself once more on the figurative streets.
Determined to show his choreographing (and perhaps by this point realizing that the classical establishment loathed him with a passion), Yakobson spent a few years finagling his way into a directorship at a new dance theater in Leningrad (St. Petersburg). The Choreographic Miniatures company officially opened under Yakobson’s management in 1969. The company and the shorts and one-act ballets Yakobson choreographed for it were highly praised domestically and internationally, winning prizes in several European countries. Out of the unfriendly limelight of the Kirov, Yakobson had his chance to express himself, and choreographed several ballets on Jewish themes, such as Wedding Cortége, The Lovers, and The Newlyweds.
Unfortunately, only six years later in 1975, Yakobson succumbed to terminal cancer, leaving behind his company and a large collection of personal correspondence and notes. He was survived by his wife Irina, a former Kirov dancer, confidante to Maya Plisetskaya, and notable ballet teacher.
Today the Choreographic Miniatures company also bears his name, and Yakobson is recognized as one of the most notable Soviet choreographers, key in developing a new, athletic style that (unlike Gregorovich) retained the grace and control vital to the classical Russian style. Recently, the publication of Janice Ross’ Like a Bomb Going Off: Leonid Yakobson and Ballet as Resistance in Soviet Russia (2015) has renewed interest in Yakobson’s life and oeuvre. With luck, more of his works will become widely known outside Russia.
Further reading: A YouTube playlist of several Yakobson balletic miniatures (all in Russian), Like a Bomb Going Off on Google Books, more pointed Google Books results, Yakobson speaks about his inspirations in Seeing Israeli and Jewish Dance, NYT review of Like a Bomb Going Off
#Leonid Yakobson#Choreographic Miniatures#Kirov Ballet#Mariinsky Ballet#Judaism#ballet#choreographer#Soviet#informational
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Female Editors From the “Talkies” Era (1929-1940s)
The editors mentioned previously who began in the silent era, Margaret Booth and Anne Bauchens, continued to work all the way through the “talkies” and into the 50s/80s. Dorothy Spencer and Barbara McLean are two more female editors renown for their work. The transition into the “Talkies” was a tough change for editors - it meant you had less flexibility with the edit in order to keep the sound in sync. The style of editing during this period was predominantly continuity editing.
Dorothy Spencer
Birth/Death: 1909 - 2002
Years Active: 1929 - 1979
Nationality: American
Editing Career: At the age of 15 she got into the film industry doing entry-level jobs (shadowing negative-cutters and serving tea/coffee) at the Consolidated-Aller Lab in 1924. Between 1926 and 1929 she was uncredited assistant editor for several directors, such as Frank Capra (who later directed Its a Wonderful Life 1946) and Raoul Walsh (Founding member of AMPAS, and described as a “Hollywood Legend” by IMDb). She joined Fox studios’ editing department in 1929. in the 1940s Spencer took on a solo editing role where she worked with Hitchcock and other directors. She has a total of 75 credits.
Notable Works: Stagecoach 1939; Foreign Correspondent 1940; Lifeboat 1944; Cleopatra 1963; A Tree Grows in Brooklyn 1945; Earthquake 1974.
Awards/Nominations: Nominated for Best Film Editing four times - Earthquake 1974, Cleopatra 1963, Decision Before Dawn 1951, Stagecoach 1939. She Won a Career Achievement Award in 1989.
Notes: She was known for a traditionalist approach adhering to the classic rules of continuity editing.
Barbara McLean
Birth/Death: 1903 - 1996
Years Active: 1924 - 1969
Nationality: American
Editing Career: In 1924 McLean married a film projectionist and cameraman, where soon after, she found a job as an assistant editor at ‘First National Studio’ in LA. Fist National Studio became 20th Century Pictures in 1933, and in the same year McLean got her first credit as editor. In 1935, 20th Century Pictures became 20th Century Fox, and subsequently McLean was promoted to editor-in-chief. McLean remained with 20th Century Fox until her retirement in 1969. In that time, she was granted full authority over the studio’s film edits, and has a total of 64 credits.
Notable Works: Les Miserable 1935; Alexander’s Ragtime Band 1938; The Rains Came 1939; Jesse James 1939; The Black Swan 1942; Wilson 1944; All About Eve 1950.
Awards/Nominations: 6 Nominations for Best Film Editing - Les Miserable 1935; Lloyds of London 1936; Alexander’s Ragtime Band 1938; The Rains Came 1939; The Song of Bernadette 1943; All About Eve 1950. Winner for Best Film Editing for Wilson 1944.
Notes: A 1940 issue of the Los Angeles Times declared, “Barbara McLean, one of Hollywood’s three women film editors, can make stars — or leave their faces on the cutting room floor.” This shows how much influence she had as a film editor.
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Escala de Beaufort
Definição
A escala de Beaufort é uma medida empírica que relaciona a velocidade do vento com as condições observadas no mar ou em terra.
Seu nome completo é a escala de força do vento Beaufort.
A escala de Beaufort, oficialmente conhecida como escala de força eólica de Beaufort, é uma tabela descritiva
A escala de Beaufort é uma escala de força do vento variando de 0 (calma) a 12 (furacão), correspondendo à velocidade do vento a uma distância definida acima do nível do solo ou do mar.
História
Escala de Beaufort, em escala completa da força eólica de Beaufort, escala criada em 1805 pelo comandante (mais tarde almirante e comandante cavaleiro do banho) Francis Beaufort da marinha britânica por observar e classificar a força do vento no mar.
Originalmente baseado no efeito do vento em um homem de guerra com equipamento completo, em 1838 tornou-se obrigatório para entradas de toros em todos os navios da Marinha Real.
Alterado para incluir as observações do estado do mar e dos fenômenos terrestres como critério, foi adotado em 1874 pelo Comitê Meteorológico Internacional para uso internacional em telegrafia meteorológica.
O que é a escala de Beaufort?
A escala de força eólica de Beaufort, ou simplesmente escala de Beaufort, foi criada no início do século 19 (por volta de 1805) para fornecer uma medida padrão da velocidade do vento para os marinheiros.
Foi posteriormente estendida para uso da terra cerca de um século depois, em 1906, por George Simpson.
A escala de Beaufort é uma escala de vento entre muitas que foram desenvolvidas na época, mas depois que se tornou o padrão obrigatório para medir a velocidade do vento na Marinha Real em 1838, a escala continuou a permanecer, como ocorre até hoje.
A escala de Beaufort tem 12 graus, variando de ar calmo a ventos com força de furacão.
Em 1969, foram adicionados os estágios 13 a 17 para casos especiais, como tempestades e furacões especialmente fortes, embora essa escala seja geralmente chamada separadamente de Escala de Furacões Saffir-Simpson.
A partir de 0, correspondente à calma, a escala de Beaufort sobe ao ar leve em 1, brisa leve em 2, brisa leve em 3, brisa moderada em 4, brisa moderada em 4, brisa fresca em 5, brisa forte em 6, vento forte em 7, vento forte em 7, vento forte em 8, vendaval forte aos 9, tempestade aos 10, tempestade violenta aos 11 e furacão aos 12.
A escala de Beaufort tornou-se popularizada parcialmente graças à invenção do telégrafo em 1837 por Samuel Morse e ao anemômetro de copo em 1846 por T.R. Robinson.
O anemômetro da xícara é uma meia esfera oca que gira a uma dada rotação por minuto, dependendo da força do vento.
Essas duas invenções permitiram que as velocidades do vento fossem empiricamente medidas e comunicadas a longa distância, permitindo alertas de tempestades.
Isso se tornou particularmente desejável após uma guerra naval entre franceses e ingleses em 1854, onde muitos navios foram perdidos devido a tempestades severas.
Embora a escala de Beaufort tenha continuado a ser usada ao longo do século XIX, não havia uma maneira padrão de conectar as rotações dos anemômetros de copo a um determinado grau de força do vento, com mais de 30 escalas de discordância sendo usadas em todo o mundo.
Foi em 1926 que uma escala uniforme foi estabelecida, com pequenas modificações em 1946.
A escala Beaufort ainda está em uso hoje, mas muitos navegadores simplesmente medem a velocidade do vento em nós.
Força do vento
A escala de Beaufort ou a escala de força de vento de Beaufort é um sistema para estimar a força do vento sem o uso de instrumentos, com base nos efeitos que o vento exerce sobre o ambiente físico.
O comportamento da fumaça, ondas, árvores, etc., é classificado em uma escala de 13 pontos de 0 (calma) a 12 (furacão).
A escala foi inventada em 1805 pelo comandante naval britânico, mais tarde almirante, Sir Francis Beaufort (1774-1875).
Um outro conjunto de números (13-17) para ventos muito fortes foi adicionado pelo US Weather Bureau em 1955.
A Escala de Beaufort, como redigida originalmente, não fez referência à velocidade do vento e várias tentativas foram feitas para correlacionar as duas.
Atualmente, a escala não é usada com frequência, pois os meteorologistas usam métodos mais diretos para medir a velocidade do vento. No entanto, ainda é útil na estimativa da velocidade do vento, especialmente quando os anemômetros não estão disponíveis.
O que é a velocidade do vento?
A velocidade do vento é normalmente considerada como a velocidade do vento. A maioria das medições do movimento do ar é feita do ar externo e existem vários fatores que podem afetá-lo.
A velocidade média do vento é geralmente determinada por um anemômetro e geralmente é categorizada em uma escala de medição padronizada, denominada Escala de Beaufort.
Dos principais fatores que influenciam a velocidade do vento, o mais importante é chamado de gradiente de pressão, criado por uma disparidade gradual da pressão atmosférica que ocorre em diferentes locais.
Algumas áreas têm baixa pressão, enquanto outras têm maior pressão. Por exemplo, um vale pode ter uma pressão atmosférica mais alta que o pico de uma montanha que fica a apenas alguns quilômetros de distância. Geralmente, a pressão aumenta gradualmente entre os dois pontos.
Na maioria das vezes, o ar se move ao longo desses gradientes de pressão de alta pressão para baixa pressão. O movimento é a principal força que cria vento na Terra. Quanto maior a diferença de pressão, maior a velocidade do vento. Portanto, as áreas que experimentam uma grande mudança de pressão em uma curta distância geralmente apresentam velocidades de vento mais altas do que aquelas em que a mudança é mais gradual.
Outro fator que pode afetar a velocidade do vento são as condições climáticas locais. As frentes de tempestade geralmente contribuem para as correntes de ar, pois podem criar gradientes de pressão para o vento viajar.
Também tempestades assustadoras, como furacões ou ciclones, podem alterar drasticamente a velocidade do vento.
Outra influência na velocidade do vento é a presença de ondas de Rossby. Essas correntes atmosféricas superiores manipulam os padrões climáticos no ar abaixo. Eles são causados pelo efeito Coriolis.
Uma onda de Rossby pode influenciar os gradientes de pressão e aumentar a velocidade.
A maneira mais comum de medir a velocidade do vento é usar um anemômetro. Os primeiros anemômetros consistiam em um eixo vertical com uma roda horizontal de raios. Cada raio segura uma pequena xícara no final, e as xícaras pegam o vento para girar a roda. A velocidade do vento pode ser calculada com base na frequência com que a roda gira em um determinado período de tempo. Muitos desses dispositivos ainda são feitos assim.
Outros tipos de anemômetros também foram desenvolvidos. Os anemômetros Doppler a laser usam lasers para calcular a velocidade do vento. Os anemômetros do moinho de vento operam com um ventilador apontado ao vento.
Os anemômetros de fio quente usam o atrito produzido pelo vento em um fio eletricamente carregado para determinar a velocidade do vento.
A escala de Beaufort é uma medida padronizada para a velocidade do vento. É um sistema de classificação empírica originalmente baseado na aparência e altura das ondas no mar.
O sistema foi desenvolvido para incluir também classificações de velocidade para cada nível em nós, milhas por hora e quilômetros por hora.
Quais são as diferentes técnicas para medir a velocidade do vento?
Existem vários métodos diferentes de medição da velocidade do vento, e nenhuma das ferramentas utilizadas é particularmente complexa.
Eles contam com fórmulas matemáticas baseadas em como o vento está manipulando o dispositivo de medição. Anemômetros, meias de vento e observação visual são usados para medir a velocidade do vento.
O dispositivo mais comum usado para medir a velocidade do vento é chamado de anemômetro. Este dispositivo é constituído por um anel de xícaras pequenas que podem ser empurradas pelo vento, fazendo com que as xícaras se movam em círculo. A velocidade das rotações pode ser usada para determinar a velocidade do vento, embora seja necessário um contador para obter uma medida precisa do número de rotações por minuto que ocorrem muito rapidamente para que o olho possa determinar com precisão.
Essas ferramentas simples são frequentemente usadas em casas como parte de um cata-vento, que mostra a direção em que o vento está soprando.
Outra ferramenta comum para medir a velocidade do vento é a meia de vento. Esses dispositivos são feitos de um tubo, conectado a um poste.
O tubo é mais largo em uma extremidade do que na outra e o vento empurra o tubo para que a extremidade larga fique voltada para a direção da qual o vento está vindo.
É possível fazer uma medição da velocidade do vento observando o movimento da meia de vento. Uma meia de vento que bate suavemente indica que há uma pequena brisa, enquanto uma que é mantida reta indica um vento forte.
A velocidade do vento pode ser medida em milhas ou quilômetros por hora. Outras escalas de medição da velocidade do vento, no entanto, foram desenvolvidas.
A escala de Beaufort, por exemplo, foi desenvolvida em 1805.
Ela categoriza a velocidade do vento em 12 níveis diferentes, cada um dos quais corresponde às velocidades reais do vento.
A Escala Fujita é uma medida da força dos ventos em um tornado. O furacão é classificado em uma escala de 0 a 6 e pelo tipo de dano que causa à área em que ocorre.
Um 1 na escala Fujita indica danos moderados a edifícios na área, enquanto um tornado classificado como 5 pode levantar casas inteiras no ar e danificar seriamente edifícios resistentes.
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Robert Filliou Robert Filliou est né à Sauve dans le Gard en 1926. Après une scolarité turbulente, il s'engage dans la Résistance dès 1943 et adhère au Parti communiste. Il obtient un diplôme d'économie à l'université de Los Angeles (U.C.L.A.) qui lui ouvre la possibilité de partir en mission pour les Nations unies au Japon et en Corée du Sud, où il découvre la pensée extrême-orientale. Il démissionne en 1954 et entreprend des voyages qui le mènent en Égypte, en Allemagne, en Espagne et au Danemark où il rencontre Marianne en 1957. Le « Principe d'Économie Poétique » se substituant à celui d'économie politique, Filliou développe à partir de 1960 une activité poétique qu'il présente à la galerie Addi Köpcke de Copenhague : Poème de 53 kg, Longs Poèmes courts à terminer chez soi (1961). En 1963, il conçoit avec Joachim Pfeufer le Poïpoïdrome qui trouvera sa forme définitive en 1978 au Centre Georges-Pompidou, lors de leur « hommage aux Dogons et aux Rimbauds ». Robert Filliou est un artiste et poète français. Il remet en cause les relations traditionnelles de l’art et du monde: « C’en est fini pour moi des objets-oeuvres d’art. Ils ne sont plus pour moi que des pistes de décollage. » comme ses contemporains Marcel Duchamp, Joseph Beuys, Kurt Schwitters ou encore John Cage. Robert Filliou est obsédé par l’idée de paix ce qui se ressent fortement dans ces oeuvres. Il fonde « The Afro-Asiatic Combine » qui est un mouvement dédié à la recherche sur l’influence de la pensée contemporaine africaine et asiatique sur la culture occidentale. Il se rapproche de l'esprit Fluxus, il fait d’ailleurs la connaissance d'Emmett Williams et de George Maciunas. Installé à Villefranche-sur-Mer, il ouvre en 1965 avec George Brecht un atelier-boutique : La Cédille qui sourit.« On faisait des jeux, on inventait et „désinventait“ des objets, on était en contact avec les petits et les grands, on buvait et parlait avec les voisins, on produisait des poèmes à suspens et des rébus qu'on vendait par correspondance. On a commencé une anthologie des malentendus et des blagues à partir desquels on a fait des films, avec des scénarios d'une minute... ». En 1967, Robert Filliou s'installe à Düsseldorf où il rejoint Daniel Spoerri et Dieter Roth. C'est à cette époque qu'il élabore le concept de « création permanente » lié au « Principe d'équivalence : Bien-fait/Mal-fait/Pas-fait » (galerie Schmela, Düsseldorf, 1969). « Je parle beaucoup de la Création Permanente et j'essaie de la rendre accessible aux autres. Mais il y a quelque chose que j'estime être le secret relatif de la Création permanente, c'est ce qui suit : quoi que tu fasses, fais autre chose. En français cela s'appelle l'Autrisme. Comme je ne supporte pas les „ismes“ j'en ai fait un par ironie. » En 1968, Filliou et BRECHT annoncent « l’ouverture de The Eternal Network » – traduit en français par « la fête permanente » – qu’il faut entendre comme l’« élargissement du concept de l’art au concept de la Création Permanente ». Ils expliquent que The Eternal Network est formé du réseau horizontal qui regroupe l’ensemble des activités humaines, dont l’art, et du réseau vertical des activités supranaturelles qui nous relie au cosmos. Ainsi, il faut appréhender la notion de Création Permanente dans la multitude des champs de la Création et de leurs processus d’évolution comme la synergie des différents règnes du vivant, humain, animal, minéral, végétal et divin. En 1970, Robert Filliou publie Teaching and Learning as Performing Arts, en collaboration avec Beuys, Cage et Kaprow. La même année, il réalise Commemor, proposant « aux pays qui songeraient à faire la guerre d'échanger leurs monuments aux morts avant au lieu de la faire ». Un an plus tard, Filliou crée le Territoire de la République géniale, qui tend à abolir les barrières entre l'art et la science, dont il montre les premières « recherches » au Stedelijk Museum d'Amsterdam (1971). « J'avais l'idée de créer mon propre territoire et, bien sûr, de proposer aux autres également de créer le leur. Je me disais que les gens qui vivraient dans un tel territoire passeraient leur temps à développer leur génie plutôt que leurs talents. » Utopiste intégral dans la lignée de Fourier, Filliou pense que « tout le monde est parfait » et imagine à cet effet la « Parfaitologie ». En faisant de l'Imagination et de l'Innocence les emblèmes de sa démarche, l'artiste entend réconcilier l'art et la science, l'économie et la poésie. En 1975, Filliou s'installe à Flayosc dans le Var. Marianne crée le « Cucumberland », territoire mimétique de la République Géniale. Filliou réalise en vidéo ses Hommages aux Dogons ainsi que sa série Telepathic Music. En 1980, il quitte le Var pour les Eyzies en Dordogne, afin de se rapprocher d'un monastère bouddhiste. Après ses rétrospectives (The Eternal Network) au Sprengel Museum de Hanovre, à la Kunsthalle de Berne et au musée d'Art moderne de la Ville de Paris (1984), il entre en retraite pour trois ans, trois mois et trois jours au Centre d'études tibétaines de Chanteloube en Dordogne, où il meurt le 2 décembre 1987, emporté par un cancer. Les grandes rétrospectives posthumes de Bâle, de Hambourg, du Centre Georges-Pompidou (1990) et du musée d'Art contemporain de Nîmes (1990-1991) soulignent l'importance de l'œuvre de Robert Filliou dans l'art de la deuxième partie du XXe siècle et son influence décisive sur la scène de l'art contemporain. Robert Filliou dépasse le champs spécifique de la création artistique. Il s’est nourri de tous les domaines de la connaissances pour réaliser ces ouvres comme métaphysique, la philosophie, la linguistique, l’économie, l’écologie, aux sciences ou aux arts. Il se présente d’ailleurs comme un « animateur de pensée ». Dans le contexte des mouvements de protestation et de libération des années 1960, de la contre-culture, son art s’inspire de la logique de la philosophie bouddhiste, et plus particulièrement du bouddhisme tantrique, qui consiste à dépasser la dualité du bien et du mal. Il construit un langage qui joue avec la polysémie et les symboles pour procéder par rebonds et faire surgir le subtil, les paradoxes. Il considère l’art comme une « nouvelle source d’énergie, spirituelle et matérielle » susceptible de dépasser les situations de crise. Il analyse les modèles sociaux et économiques. On peut presque le qualifié d’artiste totale puisqu’il s’intéresse a tout les art comme la poésie, le théâtre, la sérigraphie, le collage, les performances de rue… Robert Filliou a agi en parfait perturbateur. Il savait pointer les défaillances d’un art toujours maintenu dans des carcans idéologiques et des règles techniques. Il plaçait la liberté au-dessus de tout, la rapidité d’exécution comme gage d’efficacité. Il apparaît sans conteste le chef de file de nouvelles pratiques contemporaines. La rapidité d’exécution lui garantit de conserver l’étincelle créative, l’énergie du big-bang captée puis retranscrite dans chaque geste, chaque pensée. Il a cette capacité de voir le monde de biais et avec humour, sans aucune orthodoxie. C’est cette énergie que l’on retrouve dans ces sérigraphies comme : -Robert Filliou, Projects for Skywriting, 1971, sérigraphie. -Robert Filliou, Bélier, sérigraphie . -Robert Filliou, Cancer, sérigraphie. -Robert Filliou, Capricorne, sérigraphie. -Robert Filliou, Taureau, sérigraphie. -Robert Filliou, Modern video Model. Sérigraphie et collage signée. -Robert Filliou, 7 Childlike uses of warlike material, 1971 Ensemble de 7 sérigraphies. C’est lui qui a remis au gout du jour la sérigraphie en art. Bibliographie J. BÜCHNER, J.-H. MARTIN, S. PAGÉ, M. ERLHOFF, G. JAPPE & I. LEBEER, Robert Filliou, La Fête permanente, ARC, musée d'Art moderne de la Ville de Paris ; Sprengel Museum, Hanovre ; Kunsthalle, Berne, 1984 Robert Filliou, catal. expos., musée d'Art contemporain, Nîmes, 1990 Robert Filliou, Lebeer-Hossmann, Bruxelles, 1990 Robert Filliou, catal. expos., Centre Georges-Pompidou, Paris, 1991.
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The Chinese Lunar Calendar names each of the twelve years after an animal. Legend has it that the Lord Buddha summoned all the animals to come to him before he departed from earth. Only twelve came to bid him farewell and as a reward he named a year after each one in the order they arrived. The Chinese believe the animal ruling the year in which a person is born has a profound influence on personality, saying: "This is the animal that hides in your heart." This Chinese zodiac jade necklace is a great and unique. Based on the birth year of the wearer the corresponding zodiac sign necklace is a great gift to give. Year of the Rat (1912, 1924, 1936, 1948, 1960, 1972, 1984, 1996, 2008, 2020) Year of the Ox (1913, 1925, 1937, 1949, 1961, 1973, 1985, 1997, 2009, 2021) Year of the Tiger (1914, 1926, 1938, 1950, 1962, 1974, 1986, 1998, 2010, 2022) Year of the Hare (1915, 1927, 1939, 1951, 1963, 1975, 1987, 1999, 2011, 2023) Year of the Dragon (1916, 1928, 1940, 1952, 1964, 1976, 1988, 2000, 2012, 2024) Year of the Snake (1917, 1929, 1941, 1953, 1965, 1977, 1989, 2001, 2013, 2025) Year of the Horse (1918, 1930, 1942, 1954, 1966, 1978, 1990, 2002, 2014, 2026) Year of the Sheep (1919, 1931, 1943, 1955, 1967, 1979, 1991, 2003, 2015, 2027) Year of the Monkey (1920, 1932, 1944, 1956, 1968, 1980, 1992, 2004, 2016, 2028) Year of the Rooster (1921, 1933, 1945, 1957, 1969, 1981, 1993, 2005, 2017, 2029) Year of the Dog (1922, 1934, 1946, 1958, 1970, 1982, 1994, 2006, 2018, 2030) Year of the Pig (1923, 1935, 1947, 1959, 1971, 1983, 1995, 200
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OLD STAGEHANDS
Following a performer around with what amounts to a big flashlight sounds easy, and probably looks easy too, if you watch while it's being done. Well, it ain't; and your lack of ability is most immediately apparent to the other operators who can make those first outings tough on you if they wish. That's when those relationships first begin to pay back dividends. The lighting director will be less aware of your foibles because the angle from which he is observing is a bad one; the audience even less able to see anything of what is going on. Your buddies can cover for your short-comings, and try to talk you through the rough spots. You'd better be able to take a ration of good-natured ribbing about it too!
Watching an experienced operator while the show is going on is one of the best ways to get a heads-up on many of the subtleties that can take years to acquire. If you show the proper respect to his situation, you can ask questions and get helpful answers during the show. This exchange is doubly instructive because you observe the mysterious operations while in direct correspondence to actions occurring on the stage. Sometimes the cuing is coming through a biscuit(a small portable speaker) and you see that much more clearly how his responses co-ordinate with what is taking place. The respect part is something that you must learn about too, in order to understand; when to ask your questions so that they are not bothersome, distracting or downright disastrous; being aware that the presence of the headset sometimes means others are hearing everything or aware of your presence in the booth. Few apprentice operators ever spend that much time doing this; many experienced operators are glad they don't!
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[email protected]
memories of those who worked in Atlanta, GA-theaters prior to the chartering of IATSE Locals 834 & 927
https://www.facebook.com/pg/oldstagehands/about/
https://www.facebook.com/pg/oldstagehands/photos/?tab=albums
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WORST OPENING PARAGRAPH EVER WRITTEN [FEB 28, 2015]
Pelosi was on TV, as I sipped something that belonged on the bottom shelf. I'd already tried to unscramble the coded references in a long list of MediaCom channels(supposed to be available), and had just about decided that the paddle-shaped remote could be re-purposed as a swizzler, for stirring all the evil concoctions I knew had been the chemicals corroding the Senator's skin & converting knowing eyes into 'burnt holes in a blanket!' I briefly had thoughts of travelers in those rooms overhead, who pondered the same list(with instructions), while trying to consciously ignore CNN, by considering all the aero-dynamic factors coming into play, when their remote traced a looping-arc onto the unused bed next to the one already turned down.
use entire paragraph as search-parameter @ask.com
http://teapartyorg.ning.com/forum/topics/pelosi-to-mother-whose-son-was-set-on-fire-illegals-in-sanctuary-?page=8&commentId=4301673%3AComment%3A4492400&x=1#4301673Comment4492400
https://aclj.org/constitution/defeat-the-lefts-attacks-in-congress?utm_source=adwords&utm_medium=social&utm_campaign=d-01112019_top-_seg-jayfb_con-con_typ-AD&gclid=EAIaIQobChMIxoj4ksqu4AIVyB-GCh1g2w37EAAYASAAEgIJIPD_BwE
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https://www.facebook.com/pg/WorldBusinessEmailDatabaseList/posts/
https://www.youtube.com/watch?v=S7IoXDT4238
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https://www.youtube.com/watch?v=HggqA5XDSPk
https://www.youtube.com/watch?v=hAAalFim4QQ - time-lapse installation[1:46]
IATSE Local 720 (Las Vegas) Carpenters, Electrics, and Riggers installing Polaroid booth at CES 2015 in Las Vegas NV. 720 was hired on by PRG / Dave Sage.
This video was shot with a GoPro Hero2 and was obviously not manned and ran out of card space or battery juice before the booth was finished.
https://www.youtube.com/watch?v=9YGecX5GJR0
The National Labor Relations Board petitions for enforcement of its order arising from an unfair labor practice charge filed by Gary Elias, alleging that the Union violated Section 8(b)(1)(A) of the National Labor Relations Act.
https://www.youtube.com/watch?v=hEBU6W73Ric
know your history
https://www.youtube.com/watch?v=dHFpcmwDB1Q
https://www.youtube.com/watch?v=MSoJjnh_nHc - go/pro vertigo
https://www.youtube.com/watch?v=dHFpcmwDB1Q - 1887/electrified theater/Manhattan
IATSE/organizers met @Chicago World Fair;
https://www.iatse.net/bio/lee-m-hart
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https://www.youtube.com/watch?v=dHFpcmwDB1Q
https://www.nlrb.gov/about-nlrb/who-we-are/our-history/1947-taft-hartley-substantive-provisions
Taft-Hartley defined six additional unfair labor practices, reflecting Congress' perception that some union conduct also needed correction. The Act was amended to protect employees' rights from these unfair practices by unions.
I remember Dad harping on the damage done to the Labor-Movement by this legislation; I was still in grammar school, and wrote a 'research-paper' on Labor Law[using excerpts from our dated set of encyclopedias.
The amendments protected employees' Section 7 rights from restraint or coercion by unions, and said that unions could not cause an employer to discriminate against an employee for exercising Section 7 rights. They declared the closed shop illegal, but provided that employers could sign a union shop agreement under which employees could be required to join the union on or after the 30th day of employment.
The amendments also imposed on unions the same obligation to bargain in good faith that the Wagner Act placed on employers. They prohibited secondary boycotts, making it unlawful for a union that has a primary dispute with one employer to pressure a neutral employer to stop doing business with the first employer.
Unions were prohibited from charging excessive dues or initiation fees, and from "featherbedding," or causing an employer to pay for work not performed. The new law contained a "free speech clause," providing that the expression of views, arguments, or opinions shall not be evidence of an unfair labor practice absent the threat of reprisal or promise of benefit.
Several significant changes were made for representation elections. Supervisors were excluded from bargaining units, and the Board had to give special treatment to professional employees, craftsmen and plant guards in determining bargaining units.
Congress also added four new types of elections. The first permitted employers faced with a union's demand for recognition to seek a Board-conducted election. The other three enabled employees to obtain elections to determine whether to oust incumbent unions, whether to grant to unions authority to enter into a union shop agreement, or whether to withdraw union shop authorization previously granted. (The provisions authorizing the union shop elections were repealed in 1951).
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https://www.iatse.net/leadership/past-international-presidents
Dick Walsh was still President, in 1969, when I joined IATSE Local 41
Walter Diehl was a Boston-projectionist/IA-rep until 1957, when he was appointed Assistant to the International President, a position he held until 1974, when he was elected International President of the IATSE by the delegates to the 52nd International Convention.
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Dick Walsh entered the entertainment industry as an apprentice electrician at Brooklyn's Fifth Avenue Theatre in 1917; elected President of Local No. 4 in 1925, and again in 1938, serving in that position through 1959; Business Agent of the same local in 1926; in 1941, he became International President of the Alliance, a position he was re-elected to through 1974, when he retired from office and was succeeded by Walter F. Diehl; Chairman of the Board of Directors of the Will Rogers Memorial Hospital, Inc., and Director of the Union Labor Life Insurance Company[ULLICO]; Richard F. Walsh passed away on August 13, 1992, at the age of 92; before his retirement[1974], he attended IA-Conventions, but often was unable to stand/speak[Diehl spoke @Convention[s] with full authorization; effectively running the entire organization
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