Saturday, 24 August 2013

SONG OF INDIA

“Death is not extinguishing the light; it is only putting out the lamp because the dawn has come.” - Rabindranath Tagore

Music from Nikolai Rimsky-Korsakov’s opera in seven scenes, “Sadko” (Russian: Садко, the name of the main character). The libretto was written by the composer, with assistance from Vladimir Belsky, Vladimir Stasov, and others. Rimsky-Korsakov was first inspired by the bylina of Sadko in 1867, when he completed a tone poem on the subject, his Op. 5. After finishing his second revision of this work in 1892, he decided to turn it into a dramatic work. The musically unrelated opera was completed in 1896.  The music is highly evocative, and Rimsky-Korsakov’s famed powers of orchestration are abundantly in evidence throughout the score. According to the Soviet critic Boris Asafyev, writing in 1922, Sadko constitutes the summit of Rimsky-Korsakov’s craft.
 

Although the opera is not performed often nowadays, one of the arias is often played as an instrumental arrangement. This is the famed “Song of India” – which is one of the three arias that fit into the plot as replies by foreign merchants to questions about what their respective countries are like. Song of the Indian Guest (Песня Индийского гостя). Tommy Dorsey's 1938 instrumental arrangement of it is a jazz classic. Here are the classic arrangement and the jazz arrangement.
 

The illustration above is a detail from the 1876 painting by Ilya Repin of “Sadko in the Underwater Kingdom”.

Friday, 23 August 2013

LEEK & MUSHROOM BAKE

“Fifty thousand dollars’ worth of cabinets isn't going to make you a better cook; cooking is going to make you a better cook. At the end of the day, you can slice a mushroom in about three inches of space, and you can carve a chicken in a foot and a half. So it doesn't matter how big the kitchen is.” - Tyler Florence
 
We had this delicious bake yesterday and as the weather was cold and wet, it was delightful just out of the oven with some red wine, crusty bread and a green salad!
 
Leek & Mushroom Bake
Ingredients

20g unsalted butter
1 tbs olive oil
1 thinly sliced leek (white part only)
1 garlic clove, crushed
400g mixed, thinly sliced mushrooms (button, Swiss brown and oyster)
2 tbs plain flour
6 eggs
150ml thickened cream
40g grated parmesan
40 g grated tasty cheese
Thyme leaves
 
Method
Preheat the oven to 180°C and lightly grease a 20cm cake pan.
Melt butter with oil in a large frying pan over medium-low heat. Add leek and cook for 5 minutes until soft but not browned. Add garlic, and then the mushrooms and stir until mushrooms are soft. Add the flour and stir thoroughly, mixing with mushrooms until flour is golden.
Whisk together eggs, cream and cheese in a jug. Season and add to the leek and mushrooms, stirring thoroughly. Fill the prepared pan with the mixture, sprinkle with thyme. Bake for 25-30 minutes until lightly browned and set. Cool slightly, then turn out onto a board. Cut into slices and serve with a green salad.

This post is part of the Food Friday meme,
and also part of the Food Trip Friday meme.

Thursday, 22 August 2013

DAFFODIL DAY 2013

“Hope is the thing with feathers that perches in the soul - and sings the tunes without the words - and never stops at all.” - Emily Dickinson
 

Friday August 23 is Daffodil Day in Australia. This corresponds with the flowering time of these beautiful Spring bulbs in southern Australia, and just as they are a symbol of hope of the Spring to follow Winter, they have been adopted as a powerful symbol of hope for cancer patients. Daffodil Day is one of Australia’s best-known and most popular charity events devoted to fundraising for research into cancer.
 

Each day more than 100 Australians will die of cancer. Daffodil Day raises funds for the Cancer Council to continue its work in cancer research, providing patient support programs and cancer prevention programs available to all Australians. Daffodil Day helps grow hope for better treatments, hope for more survivors, hope for a cure for all cancers.
 

To the Cancer Council, the daffodil represents hope for a cancer-free future. Everyone can help in the fight against cancer by participating in Daffodil Day. Daffodil Day merchandise is on sale throughout August, and people can donate to Daffodil Day at any time.
 

In Federation Square in Melbourne, the Cancer Council has constructed a daffodil garden of hope. People can write their messages of hope for cancer sufferers, be they friends, family members or even themselves, while the blooming daffodils provide a ray of sunshine in even the dullest of gray Winter days. I hope that I see a day where cancer is no longer a death sentence for many people, where treatments are effective and relatively free of side-effects, where people can take an active role in effectively preventing cancer…

Wednesday, 21 August 2013

AUBREY, HERCULES & ST THADDEUS

“Man is the only animal that blushes. Or needs to.” - Mark Twain
 

On August 21 the Greek Orthodox faith celebrates the feast of St Thaddaeus the Apostle (St Jude). It is also the Independence Day of the three Baltic States, Estonia, Latvia and Lithuania whose history shows many common features.
 

This day is the anniversary of the birth of:
Philippe II Augustus, king of France (1165);
Francis de Sales, Geneva Bishop (1567);
Hubert Gautier, bridge builder (1660);
Tobias Furneaux, explorer (1735);
William IV, king of England (1765);
Hugh Victor McKay, Australian 'Sunshine Harvester' inventor (1865);
Aubrey Beardsley, English artist (1872);
Christopher Milne, son of A.A. Milne (1920);
Margaret, princess of England (1930);
Mart Crowley, playwright (1936);
Kenny Rogers, singer (1938);
Matthew Broderick, actor (1962);

The cuckoo flower, Cardamine pratensis, is today’s birthday flower.  The language of flower ascribes the meaning “ardour” to this bloom.  Astrologically the flower is under the moon's dominion.
 

Billowy white clouds that look tall and mountainous  in the morning, suggest afternoon rain according to this couplet:
            Mountains in the morning,
            Fountains in the evening.
Also sign of an approaching downpour is a heatwave:
            Heatwaves end in thunderstorms.
 

Rainbows do not always mean the end of rainy weather! Compare:
            Rainbow at morn, good weather has gone.
with:
            Rainbow after noon, good weather comes soon.
And also:
            Rainbow to windward, foul falls the day;
            Rainbow to leeward, rain runs away.
 

Whenever a rainbow is seen you should bow to it and remember that it is God's promise to mankind that He will never again cause a flood of the type that Noah survived.  To point to a rainbow is always unlucky.
 

In ancient Rome, today was XII Kalends September, on which was celebrated the Feast of Hercules. Hercules was the roman equivalent of the Greek mythic hero Herakles. The son of Zeus and the mortal Alkmene, Herakles had superhuman strength and had to perform immense tasks in order to appease Hera, Zeus's much betrayed wife. When he died he was deified and became the protector of ancient Roman businessmen. All year long, Roman businessmen set aside a tenth of their profits for the god's benefit. On this day a solemn sacrifice to the god was offered, followed by an enormous banquet and much carousing. So much food was prepared that often mountains of leftovers had to be thrown into the Tiber the next few days.
 

The Baltic states of Estonia, Latvia and Lithuania were incorporated into the USSR in 1940 and gained their independence in 1991. They are situated on the shores of the Baltic Sea across them to the West being Finland and Sweden. Their areas and populations are 45,000 square km and 2 million for Estonia; 64,000 square km and 3 million for Latvia and 65,000 square km and 4 million for Lithuania. Temperate climate supports farming and agriculture. However, limited resources and damaged environment with many economic problems mean that these countries will have to struggle in this new millenium in order to recover fully and become prosperous and financially secure.

Tuesday, 20 August 2013

MAD KATE

“Heaven is comfort, but it's still not living.” - Alice Sebold, ‘The Lovely Bones’
 

An Elena Kalis photograph has been provided by Magpie Tales to function as inspiration for all who will take up her creative writing challenge. Here is my offering:

Mad Kate
 

‘Mad Kate’, they called her
When she walked the fields alone,
Her hair undone and flowing,
Her dress windblown
And her hands full of the wild heather she had plucked.
 

Mad Kate, they said, was wayward,
A maid with a savage nature and a wild streak
Defiant of every rule and convention;
She lived alone, after all,
And did what she wanted – just to please herself…
 

Mad Kate, with windswept hair,
And freckled face, and sunny smile
Ready to turn to mirthful laughter;
With breath as sweet as the wild honey she ate,
And a bosom that smelt of lily and lavender.
 

Mad Kate, they said, would come to no good –
And even the village idiot was wise
Compared to her, so headstrong was she;
The woods more home to her
Than any confining village cottage that would cage her.
 

And when a village lad,
Resentful of her firm refusals, lay in wait,
And forced himself upon her in the green wood,
Mad Kate’s futile wails only echoed pointlessly,
As he ran away, his guilt assuaged easily enough, for she was mad.
 

Mad Kate, they said would come to no good –
And when her lifeless body was found in deep water,

They shook their heads, so satisfied they were proven right:
The girl was looking for trouble, she was daft,
And all her gallivanting did do her in at last.

Monday, 19 August 2013

MOVIE MONDAY - THE KILLING

“Murder is unique in that it abolishes the party it injures, so that society has to take the place of the victim and on his behalf demand atonement or grant forgiveness; it is the one crime in which society has a direct interest.” – W.H. Auden
 
We are currently watching a very good TV series on DVD, hence we haven’t watched any movies lately. We are in the midst of viewing the first season of the 2011 series “The Killing” starring Mireille Enos, Joel Kinnaman and Billy Campbell. This is an American remake of the original 2007–2012 Danish TV series “Forbrydelsen”, which received rave reviews and had a tremendous following around the world. If you have been reading my movie reviews on this blog, you know that I like subtitles so the reason we are watching the American version is because we were unable to get original Danish version. All that said, we are enjoying this version and it is this one that I shall briefly review here.
 
The events surrounding the brutal murder of Rosie Larsen, a teenager living in Seattle, are examined in great detail in this series, with each episode setting out to explore the discoveries, relationships and events that take place on a single day of the investigation. The first season comprises 16 episodes, 45 minutes each. Central to the investigation is Detective Sarah Linden who at the commencement is on what supposedly is her last day on the job. She and her son Jack are booked to leave that evening to join her fiancé in Sonoma, California Her replacement, Detective Stephen Holder, is ready to take over but they answer a call from a patrol car who have found a bloodied pullover in a field. When the missing girl, is found in the boot of a car at the bottom of a lake it turns out the car is registered to the campaign committee of councilman Darren Richmond, who is running for mayor. Linden delays her departure for what she hopes will be only a few days. This causes many complications, not only in her professional life, but also her personal life.
 
The series is extremely well made and the acting is very good. Although Mireille Enos and Joel Kinnaman playing the two detectives are the stars of the show, all other actors involved in larger or smaller roles play convincingly and contribute to the success of the series. Although this is a police drama, there are quite a few subplots and we get an intriguing insight into the lives of the people involved in the crime, with several guilty secrets being gradually revealed as the show progresses. It seems there are no “good” and “bad” guys, no white or black behaviours, only shades of grey. As more is revealed about each character, our suspicions shift and different motives for the murder are explored, suspects parade in front of us and are absolved of suspicion as we learn more about them…
 
The series has gone into a second and third season, so one presumes that there many more twists and turn in the plot and one wonders how the writers kept the viewing public engaged. However, if the first season is any indication, the following seasons’ episodes do keep the interest up and the viewers have stayed glued to the TV set. We are enjoying the show and the lives, motives, past actions and hidden lives of the characters is what is interesting and engaging. We are still hoping to get to see the Danish series and compare it to the American one. If you have watched both, I would appreciate your evaluation and comparison.
 
One has to mention in the same breath the 2011 American remake of the original 2009 Swedish film “The Girl with the Dragon Tattoo”, which I have reviewed here on this blog. The original film was so good that I am reluctant to watch the American version – at least not in the immediate future. Of course one has to make allowance for the tastes and inclinations of the general English-speaking viewing public who are loath to read subtitles in foreign language films, hence one can understand the remake. However, this reluctance to watch films with subtitles severely limits the viewing pleasure of the English speaker, as many excellent foreign language films do not get remade for English speakers. In any case, I often find that I switch on subtitles in even English speaking films as the accents, background noise, music soudtrack and sound recording are so bad or intrusive, that understanding everything that is said is very hard…

Sunday, 18 August 2013

ART SUNDAY - CAILLEBOTTE

“Everybody is so talented nowadays that the only people I care to honor as deserving real distinction are those who remain in obscurity.” - Thomas Hardy
 

Gustave Caillebotte was born on August 19, 1848, Paris, France and died February 21, 1894, Gennevilliers. He was a French painter, art collector, and impresario who combined aspects of the academic and Impressionist styles in a unique synthesis. Born into a wealthy family, Caillebotte trained to be an engineer but became interested in painting and studied at the École des Beaux-Arts in Paris. He met Pierre-Auguste Renoir and Claude Monet in 1874, and showed his works at the Impressionist exhibition of 1876 and its successors. Caillebotte became the chief organiser, promoter, and financial backer of the Impressionist exhibitions for the next six years, and he used his wealth to purchase works by other Impressionists, notably Monet, Renoir, Camille Pissarro, Paul Cézanne, Edgar Degas, Alfred Sisley, and Berthe Morisot.
 

Caillebotte was an artist of remarkable abilities, but his posthumous reputation languished because most of his paintings remained in the hands of his family and were neither exhibited nor reproduced until the second half of the 20th century. His early paintings feature the broad new boulevards and modern apartment blocks created by Baron Haussmann for Paris in the 1850s and ‘60s. The iron bridge depicted in “Le Pont de l’ Europe” (1876) typifies this interest in the modern urban environment, while “The Parquet Floor Polishers” (1875) is a realistic scene of urban craftsmen busily at work. Caillebotte’s masterpiece, “Paris Street; Rainy Day” (1877 – shown here), uses bold perspective to create a monumental portrait of a Paris intersection on a rainy day.
 

Caillebotte also painted portraits and figure studies, boating scenes and rural landscapes, and decorative studies of flowers. He tended to use brighter colours and heavier brushwork in his later works.  Caillebotte’s originality lay in his attempt to combine the careful drawing and modelling and exact tonal values advocated by the Académie with the vivid colours, bold perspectives, keen sense of natural light, and modern subject matter of the Impressionists.
 

Caillebotte’s posthumous bequest of his art collection to the French government was accepted only reluctantly by the state. When the Caillebotte Room opened at the Luxembourg Palace in 1897, it was the first exhibition of Impressionist paintings ever to be displayed in a French museum.
 

The painting above, “Rising Road” of 1881 is a wonderful, impressionistic work, typical of Caillebotte’s later period. The brilliant colours and bold brushstrokes that the old régime abhorred are evident here and could not be any further from the careful drawing, precise modelling, subdued colours and smoothly worked surface of the academic works of the time. The artist’s mastery of perspective is clearly visible in this work and even though the painting looks fresh and spontaneous, it is also carefully balanced, well-drawn and executed. This artist’s works deserve to be more widely recognised and appreciated.

Saturday, 17 August 2013

VIVALDI FOR SATURDAY

“The salvation of this human world lies nowhere else than in the human heart, in the human power to reflect, in human meekness and human responsibility.” - Václav Havel
 
For Music Saturday, a piece of music by Antonio Vivaldi, the motet “Longe Mala Umbrae Terrores” in G minor, RV629. The motet speaks of the terrors of the world and asks for the Lord to appear with his glory in order to save believers in Him. It is a wonderful showpiece for a soprano, with great varieties in mood and character of the music, to reflect the lyrics. This recording is with Teresa Berganza and the English Chamber Orchestra conducted by Antonio Ros-Marbá.
 
Antonio Lucio Vivaldi (4 March 1678 - 28 July 1741), nicknamed il Prete Rosso (“The Red Priest”) because of his red hair, was an Italian Baroque composer, Catholic priest, and virtuoso violinist, born in Venice. Recognised as one of the greatest Baroque composers, his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over forty operas. His best-known work is a series of violin concertos known as “The Four Seasons”.
 
Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi had been employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for preferment. The Emperor died soon after Vivaldi's arrival.
 
Though Vivaldi's music was well received during his lifetime, it later declined in popularity until its vigorous revival in the first half of the 20th century. Today, Vivaldi ranks among the most popular and widely recorded of Baroque composers.


The illustration above is Samuel Colman's “The Rock of Salvation”

Friday, 16 August 2013

FOOD FRIDAY - CHICK PEAS

“Food for the body is not enough. There must be food for the soul.” - Dorothy Day
 

The chickpea (Cicer arietinum) is a legume of the family Fabaceae. Its seeds are high in protein. It is one of the earliest cultivated legumes: 7,500-year-old remains have been found in the Middle East. Other common names for the species include garbanzo bean, ceci bean, sanagalu, chana, hummus and Bengal gram.
 
Chickpeas are a source of zinc, folate and protein. Chickpeas are low in fat and most of this is polyunsaturated. Nutrient profile of desi chana (the smaller variety) is different, especially the fibre content which is much higher than the light-coloured variety. One hundred grams of mature boiled chickpeas contains 164 calories, 2.6 grams of fat (of which only 0.27 grams is saturated), 7.6 grams of dietary fiber and 8.9 grams of protein. Chickpeas also provide dietary phosphorus (168 mg/100 g), which is higher than the amount found in a 100-gram serving of whole milk. Recent studies have also shown that they can assist in lowering of cholesterol in the bloodstream.

Chick Peas
Ingredients

 

1 kg dried chick peas
2 onions
1 cup olive oil
1 shot glass full of white wine
salt and pepper
ground cumin

paprika
1.5 litres vegetable stock
4 tender stalks celery
1 + 1 tbsp baking soda

 

Method
Dissolve the 1 tbsp baking soda in a bowl of water that will contain the chick peas and soak the chick peas for about 20-24 hours (or at least overnight). Drain the chick peas well the following day and put them in a big tea towel with the other 1 tbsp baking soda and rub them vigorously through the towel with circular movements so that the skin of the chick peas is removed – these skins are then discarded. Once the chick peas are cleaned, put them in a colander and wash well, allowing them to drain once again.
 

Chop the onion and celery stick finely. Put half a cup of olive oil in a big kettle and heat up, putting in the celery and onions and stirring until the onion is golden. Put in the white wine and stir through. Add the vegetable stock and allow to come to the boil. Put in the chick peas and stir through. Boil for about 70-90 minutes until the chick peas are very tender. While they are boiling, some remaining pieces of peel may come to the surface, so remove these and discard. Stir periodically to prevent the peas sticking to the bottom of the pan. Add enough water to maintain a thick consistency (not too watery). Taste and season with salt, pepper and cumin to taste.
 

Once cooked, remove from the flame and cover the kettle with a tea towel and the kettle cover for about 5 minutes. Serve, drizzling each plate with a little olive oil, finely sliced onion (optional), paprika or parsley (optional).
 

Leftover chick peas can be blended to a pulp with crushed garlic, lemon juice and oil and some breadcrumbs to make hummus.
 

This post is part of the Food Friday meme,
and also part of the Food Trip Friday meme.

Thursday, 15 August 2013

WORK-LIFE BALANCE

“By working faithfully eight hours a day you may eventually get to be boss and work twelve hours a day.” - Robert Frost
 

I have been extremely busy the past two days at work as I was attending some high level strategy meetings. These were very useful and interesting, however, they left very little for anything else. Hence this lapse from my daily routine of blogging and collecting a few thoughts together here…
 

I am certainly looking forward to the weekend where I plan to spend some time on myself –although there are also responsibilities and a long list of chores waiting to be done at home. It is very difficult to balance the demands of work, family and personal needs and wants at the moment. I await eagerly my retirement, where hopefully I will be able to spend more time on things that I have not had the ability to fit into my busy schedule at the moment.

Tuesday, 13 August 2013

LEFT-HANDERS' DAY

“Left-handers are wired into the artistic half of the brain, which makes them imaginative, creative, surprising, ambiguous, exasperating, stubborn, emotional, witty, obsessive, infuriating, delightful, original, but never, never, dull.” - James T deKay & Sandy Huffaker from “The World’s Greatest Left-Handers: Why Left-Handers are Just Plain Better than Everybody Else”
 

August 13 is International Left-Handers’ Day. It is on this day that left-handers everywhere can celebrate their sinistrality and increase public awareness of the advantages and disadvantages of being left-handed. This event is now celebrated worldwide, with activities such as left-vs-right sports matches, left-handed tea parties, pubs using left-handed corkscrews where patrons drink and play pub games with the left hand only, and “Lefty Zones” where left-handers’ creativity, adaptability and sporting prowess are celebrated, whilst right-handers are encouraged to try out everyday left-handed objects to see just how awkward it can feel using the wrong equipment! On the other hand (ahem!) Sinistrophobia is the fear of left-handedness or things on the left side and it is surprising that there is still some of this prejudice around.
 

Only about 10% of the population is left-handed. During the 1600’s people, thought left-handers were witches and warlocks. International Left Hander’s Day was first celebrated on August 13, 1976. It was started by Left-handers’ International. It is believed that all polar bears are left-handed. While many people are left-handed, very few are 100% left-handed. For example, many left-handers’ golf and bat right-handed (ambidextrous refers to being able to use both hands more less equally). Conversely, most of right handed are 100% right-handed. Lefties are also called “southpaws”. This term was coined in baseball to describe a left-handed pitcher.

Left- and right-handed people have different brain structures, particularly in relation to language processing. Research shows that poor infant health increases the likelihood of a child being left-handed. Compared to righties, lefties score lower on measures of cognitive skill and, contrary to popular belief, are not over-represented at the high end of the distribution. Lefties have more emotional and behavioural problems, have more learning disabilities such as dyslexia. Left-handed individuals complete less schooling, and work in less cognitively intensive occupations. Differences between left- and right-handed siblings show similar trends. Most strikingly, lefties have six percent lower annual earnings than righties, a gap that can largely be explained by these differences in cognitive skill, disabilities, schooling and occupational choice. Those likely be left-handed due to genetics show smaller or no deficits relative to righties, suggesting the importance of environmental shocks as the source of disadvantage.
 

To balance these ideas it is important to realise that there are a multitude of famous and very accomplished people in history who were left-handed. This particular very long list compiled at the University of Indiana is a case in point.
 

Thankfully we are more enlightened about left-handedness nowadays and we do not force left-handers to use their hand. Parents want what is best for their children, teachers strive to maximise all individuals’ potential to learn, employers strive to maximise their profit, and manufacturers want their products to sell. The hope is for parents, educators, employers, and manufacturers to understand that the best way to achieve their goals is by listening to left-handers and ambidextrals. By making the world a little more left-hand friendly, we are aiding everyone achieve their true potential whether they are right- or left-handed.

Monday, 12 August 2013

MOVIE MONDAY - THE DAY THE CLOWN CRIED

“Everything human is pathetic. The secret source of humor itself is not joy but sorrow. There is no humor in heaven.” - Mark Twain
 
Today I will review the film you will probably never see… It is the 1972 Jerry Lewis movie “The Day the Clown Cried” , starring Jerry Lewis, Peter Ahlm, Lars Amble. Let me make it perfectly clear that neither I have seen this movie. However, I became aware of it several years ago and the whole matter of its non-release fascinated me. Quite coincidentally I heard about it again a few days ago.

The plot is set at the time of WWII and concerns Helmut Doork who is a once great clown, but who is dismissed from the circus. Quite depressed, he goes to a local bar and he pokes fun at Hitler in front of some Gestapo officers, who arrest and send him to a political prisoner camp. Helmut angers his fellow prisoners by refusing to perform for them, wanting to preserve his legend. As times passes, Jews are brought into the camp, and they are sequestered away, not being allowed to interact with other prisoners. Helmut is forced by the other prisoners to perform or be beaten. His act is terrible and he leaves the building depressed, trying the routine out again alone in the prison yard. He hears laughter and sees a group of Jewish children watching him through a fence. Happy to be appreciated again, he makes a makeshift clown suit and begins to regularly perform to growing audiences of Jewish youngsters. The new prison Commandant orders Helmut to stop but he refuses, and continues to perform. He is beaten up and locked in solitary confinement. But the Nazis soon come up with a use for Helmut, which is a terribly vengeful one and demoralising for both his ego and his new-found sensitivities – He is forced to march the children into the gas chambers...
 
The movie is based on a story by Joan O’Brien and Charles Denton. Producer Nathan Wachsberger, offered Lewis the chance to star in and direct the film with complete financial backing from his production company and Europa Studios. In February 1972, Lewis toured the remains of Auschwitz and Dachau concentration camps and shot some exterior shots of buildings in Paris for the film; all the while reworking the script. He reportedly lost forty pounds for the concentration camp scenes. Principal photography began in Sweden on the film in April 1972, but the shoot was beset by numerous problems.
 
Wachsberger not only ran out of money before completing the film, but his option to produce the film expired before filming began. He had paid O’Brien the initial $5,000 fee, but failed to send her the additional $50,000 due to her prior to production. Lewis eventually ended up paying production costs with his own money to finish shooting the film, but the parties involved in its production were never able to come to terms, which would allow the film to be released. After shooting wrapped, Lewis announced to the press that Wachsberger had failed to make good on his financial obligations or even commit to producing. Wachsberger retaliated by threatening to file a lawsuit of breach of contract and stated that he had enough to finish and release the film without Lewis. Wanting to ensure the film would not be lost, Lewis took a rough cut of the film, while the studio retained the entire film negative.
 
On January 12, 2013, Lewis appeared at a Cinefamily Q&A event at the Los Angeles Silent Movie Theatre. He was asked by actor Bill Allen: “Are we going to ever gonna get to see ‘The Day the Clown Cried’?” Lewis replied in the negative, and explained the reason the movie would never be released was because: “...in terms of that film I was embarrassed. I was ashamed of the work, and I was grateful that I had the power to contain it all, and never let anyone see it. It was bad, bad, bad.” Later that year at Cannes while promoting Max Rose, Lewis was asked about ‘The Day the Clown Cried’ and said: “It was bad work. You’ll never see it and neither will anyone else.”
 
The film is dealing with a sensitive issue and despite Lewis’ talent, his brand of broad, slapstick comedy would not seem to be suited for such a film. Nevertheless, even in his most zany films he does have scenes full of pathos and poignancy that show his talent at making the viewers drop a tear in between the laughs. However, to deal with such a horrific topic at the time the film was made, while he was beset by all sorts of problems – psychological, financial, existential, was perhaps not wise… In later years, Roberto Benigni showed that a similar idea could work extremely well, although even Benigni’s 1997 “Life is Beautiful” has its critics.
 
The Holocaust is one of the darkest moments of human history. The tragedy and horror of the systematic extermination of millions people by a totalitarian regime has no humorous side. However, humans have always turned to humour as coping mechanism in even the direst circumstances, or perhaps these circumstances are the ones that need humour the most. The question of taste of course is a personal matter and whether the humour is appropriate or not is often debatable. Lewis’ efforts in dealing with this painful and very sensitive topic cannot be judged objectively in the absence of a final, complete, released version of the movie. It would be wise to refrain from making any judgment when one has not seen the movie. Perhaps today in capable hands, the film could be remade and its message – a humanistic one would be evident.
 
I have reviewed another film about the Holocaust and children. It is the excellent “The Boy in the Striped Pajamas” . We have to acknowledge even the most painful of topics, we have to remember even the most brutal of atrocities, and we have to have the strength to never allow them to be repeated. Jerry Lewis probably had the right intention when he set out to make “The Day the Clown Cried” – if the film turned out to be “…bad, bad, bad.” (by his own admission) is something that we may never be able to judge for ourselves.

Sunday, 11 August 2013

ART SUNDAY - JULIEN DUPRÉ

“The earth is the earth as a peasant sees it, the world is the world as a duchess sees it, and anyway a duchess would be nothing if the earth was not there as the peasant sees it.” - Gertrude Stein
 
Julien Dupré (1851-1910) was a French realist painter in the academic tradition. He was born in Paris on March 18, 1851 to Jean Dupré (a jeweller) and Pauline Bouillié and began his adult life working in a lace shop in anticipation of entering his family's jewellery business. The war of 1870 and the siege of Paris forced the closure of the shop and Julien began taking evening courses at the École des Arts Décoratifs and it was through these classes that he gained admission to the École des Beaux-Arts.

At l' École he studied with Isidore Pils (1813-1875) and Henri Lehmann (1814-1882). In the mid-1870s he traveled to Picardy and became a student of the rural genre painter Désiré François Laugée (1823-1896), whose daughter Marie Eléonore Françoise he would marry in 1876; the year he exhibited his first painting at the Paris Salon. Throughout his career Dupré championed the life of the peasant and continued painting scenes in the areas of Normandy and Brittany until his death on April 16, 1910.
 
Till now, very little has been compiled about the life of this important Realist artist who was described in an article in the Magazine of Art (1891) as: “...one of the most rising artists of the French School.” Dupré exhibited works at every Salon exhibition from 1876 until his death in 1910 and earned critical acclaim for his depictions of peasant life. He was awarded medals at several Salon Exhibitions and received a Gold Medal at the Exposition Universelle in 1889 for his pictorial representations of the life of the farm worker.
 
Dupré was very successful during his lifetime both in Europe and the United States. Wealthy American patrons travelled to Paris to acquire his works, which became part of the great collections of the 19th century. Many of these collections, in turn, would become the cornerstones of great American museums. His painting 'Au pâturage' (exhibited at the Paris Salon in 1882) is now in the collection of the Washington University Gallery of Art, St. Louis, Mo. and 'Milking Time', a monumental work, is in the collection of The Fine Arts Museums of San Francisco. Other important works by the artist can be found in the collections of the St. Louis Art Museum; Worcester Art Museum; Joslyn Art Museum; Museum of Fine Arts, Boston; and The Reading Public Museum and Art Gallery to name a few.
 
Dupré's art is typical of the academic tradition, his realism well suited to the genre paintings he executed. His paintings exhibit excellent technique, well-controlled drawing with handling of colour and space, his composition always well-considered and pleasing to the eye. The realist technique and his depiction of the life of the French peasants is well suited to his style, especially given the rather glamourised treatment he gives his milkmaids and farmworkers. When one compares Dupré's peasants with those of Van Gogh, one can immediately see which of the two is more “real”. Nevertheless, Dupré's popularity was assured by his almost Arcadian bucolic visions and the beauty of his models, which idealised farm life and prettified it the way that rich patrons wanted it, so that they were suitable for hanging in their parlours. After all, Marie Antoinette's shenanigans in Versailles did involve dressing up as a milkmaid cavorting in fields with manicured lawns and frolicking with well bathed and coiffured cows!

Saturday, 10 August 2013

VIOLA DA GAMBA

“Who hears music, feels his solitude peopled at once.” - Robert Browning
 
Georg Philipp Telemann (14 March 1681 – 25 June 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family’s wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of the city’s five main churches. While Telemann’s career prospered, his personal life was always troubled: His first wife died only a few months after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving Telemann.
 
He was a remarkably prolific, skillful, and forward-thinking, one of the foremost musicians of his day, who wrote a great many sacred and secular vocal works as well as orchestral, chamber, and keyboard music. A contemporary of Bach and Handel, Telemann shared many of their musical techniques and wrote for many of the same genres; and though his music is overshadowed by theirs, it has many charms, perhaps more evident in Telemann’s modest instrumental works (of which the Suite for Flute & Strings in A is a good choice) than in his 40 operas, 600 overtures, 44 liturgical passions, and other large works. Handel said Telemann could write an eight-part motet with the ease that someone else would write a letter.
 
Here is some of his wonderful music for viola da gamba, played by Hille Perl (viola da gamba) accompanied by the Freiburger Barockorchester and directed by Petra Müllejans. The viola da gamba is a bowed, stringed musical instrument used principally in chamber music of the 16th to the 18th century. The viol shares with the Renaissance lute the tuning of its six strings (two fourths, a major third, two fourths) and the gut frets on its neck. It was made in three sizes: Treble, tenor, and bass, with the bottom string tuned, respectively, to D, G (or A), and D. To these sizes was later added the violone, a double bass viol often tuned an octave below the bass.

Thursday, 8 August 2013

FOOD FRIDAY - HERB BREAD

“A loaf of bread, a jug of wine, and thou.” - Omar Khayyam
 

It has been a cold, wet and dark Winter’s day today. Nothing to cheer one up like a warm, glowing home to come to with the smell of fresh bread baking in the oven! That and some olive oil and balsamic vinegar spread generously on thick slices and a nice glass of red wine…
 

Herb Bread
Ingredients

 

550 g flour (can use white, wholemeal or half-and-half)
2 teaspoons salt
1/2 teaspoon sugar
1 cup warm milk
1/3 cup warm water
3 tablespoons olive oil
1 packet instant yeast (7g)
Dried herbs, chopped (rosemary, thyme, dill, oregano, sage, etc to taste)
Spices, ground (dried mustard, cardamom, paprika, onion powder, etc to taste)
Poppy seeds and white sesame (optional)
 

Method
Turn the oven on and with oven rack in the lowest position and warm to 80˚C. Turn oven off after 10 minutes and keep door closed.
 

Mix 3_ cups of the flour, sugar and the salt in the bowl of a standing mixer fitted with the dough hook. Mix the milk, water, oil, herbs, spices, and yeast in a 4-cup liquid measuring cup. Turn the mixer to very low speed and slowly add the liquid. When the dough comes together, increase the speed to medium and mix until the dough is smooth and shiny, stopping the mixer two or three times to scrape dough from hook, if necessary, for about 10 minutes. (After 5 minutes of kneading, if the dough is still sticking to the sides of the bowl, add flour, 1 tablespoon at a time and up to _ cup total, until the dough is no longer sticky.) Turn the dough onto a lightly floured work surface; knead to form a smooth, round ball, for about 20 seconds.
 

Place the dough in a very lightly oiled large bowl, rubbing the dough around the bowl to coat lightly. Cover the bowl with plastic wrap and place in the warmed oven until the dough doubles in size, for 40 to 50 minutes. Take the dough out and punch down, kneading a little.
 

Roll the dough firmly into a cylinder, pressing with your fingers to make sure the dough sticks to itself. Place the dough in an oiled 25x10 cm loaf pan and press it gently so it touches all four sides of the pan. Paint the loaf top with milk and sprinkle some poppy seeds and white sesame on the top, if using. Cover with plastic wrap; set aside in a warm spot until the dough almost doubles in size, for 20 to 30 minutes.
 

Keep one oven rack at the lowest position and place the other at the middle position and heat the oven to 175˚C. Place an empty baking pan on the bottom rack. Bring 2 cups of water to a boil in a small saucepan. Pour the boiling water into the empty pan on the bottom rack at set the loaf onto the middle rack. Bake for about 40 to 50 minutes until golden brown. Remove the bread from the pan, transfer to a wire rack, and cool to room temperature. Slice and serve.
 

This post is part of the Food Friday meme,
and also part of the Food Trip Friday meme.

Wednesday, 7 August 2013

IDIOMS AND LANGUAGE

“It’s a strange world of language in which skating on thin ice can get you into hot water.” - Franklin P. Jones
 
A living language is a dynamic, vibrant system, which breathes the same air as its speakers do and undergoes similar transformations in its character as the people who speak it. Its changing face relies very much on shifts in word meaning and the generation of new words or phrases to convey new meanings as new situations or new discoveries require. Novelty thrives not only on demands of society for advances in technology and changes in lifestyle that require neologisms, but also the insatiable search of people for saying old things in a fresh way. Idioms are very much a part of this process, and together with age-old clichés, that can be demonstrated (in some languages, at least) to be thousands of years old, the new slang of today becoming the idiom or cliché of tomorrow, sometimes progressing to a well-entrenched part of formal language a few decades later.
 
The word idiom comes from the Greek “idivwma” and means “one’s own thing” or “peculiarity”. Idiom can also mean to a certain extent “dialect” as frequently in dialects, words in common with the parent language can acquire new meanings or be used in unconventional ways. More often than not, however, an idiom is an expression in a mainstream language, which, typically cannot be explained in a straightforward way – grammatically or semantically. It is in many cases distinctive to that particular language alone, and it cannot be translated word for word into another language. One could also say that an idiom is a “peculiarity of phrase approved by usage”; it is an unusual or even completely illogical way of saying something, which is accepted because by convention people use it very often and are familiar with its “hidden” meaning.
 
Idiomatic expressions are a lively part of almost all the world’s languages and underlying these phrases are historical, political, social or cultural events that have had a great deal to do with their creation. Myths and legends, folk stories, observations of nature and the endowment of animals with certain human traits will often create an idiomatic expression. Sometimes, a potent visual image underlies their origin, and metaphor, simile or hyperbole often underpins them. In a few instances the same image is conveyed across many languages, which demonstrates the universal need to colour ordinary speech with a powerful image whose common origin spans several cultures and linguistic groups. Idioms have sometimes been referred to as “miniature word poems” for these reasons.
 
One, however, should be wary of applying one’s own cultural yardsticks to another language and culture, since the same social situation, everyday object or common animal may be viewed differently in different cultures. A case in point is the fox, which in many Western cultures and languages is the archetypal illustration of cunning, craftiness and slyness. In other cultures, the fox may not be viewed in the same way! In Luke 13.32, Jesus uses the illustration of a “fox” to characterise the petty king, Herod Antipas. When the Greek term, Αλώπηξ, “fox”, was simply translated into English as “fox”, the intended meaning it had for Jesus’ hearers in the first century was missed, because the sociocultural connotations did not necessarily travel when this word was translated into another cultural setting.
 
Countless commentators have for years blithely assumed that “a fox, is a fox, is a fox” and that the idiomatic meaning underlying “fox” in all cultures is that of cunning and craftiness. The notion, “sly as a fox”, is assumed to be applied universally. However, many rabbinical illustrations reveal that in the ancient Judaean setting, and within the Hebraic sociolinguistic culture, the term “fox” (Hebrew shu’al) does not signify “sly” or “crafty” at all. Rather, it signifies “small fry,” “weak,” or “insignificant.” In Hebrew, the fox is the animal that is consistently used for contrast with “lion” (as an indication of someone strong or significant). In actuality therefore, Jesus was characterising Herod Antipas as an insignificant ruler rather than as a crafty or sly one.
 
The idioms that are unique to a certain language alone present a major stumbling block to foreign language learners when they encounter these offending phrases. To speak “idiomatically” is the aim of advanced foreign language learners. One’s competence in a language will often be judged, ultimately, on one’s command of the idioms of that language, as any solver of the English cryptic crossword will testify! Hence, familiarity with most of the commonly used idioms of a language is considered to be an essential feature of demonstrating competency in that language.

Tuesday, 6 August 2013

HIROSHIMA DAY 2013

“The atomic bomb made the prospect of future war unendurable. It has led us up those last few steps to the mountain pass; and beyond there is a different country.” - J. Robert Oppenheimer
 

On August 6, 1945, the United States of America used a massive, atomic weapon against Hiroshima, Japan. This was the first time an atomic bomb was used in warfare. The nuclear bomb, which packed the equivalent of 20,000 tons of TNT, flattened the city, killing tens of thousands of civilians. While Japan was still trying to comprehend this devastation three days later the United States struck again with another atomic bomb, this time dropping it on Nagasaki.
 

Japan marked the 68th anniversary of the atomic bombing of Hiroshima with a sombre ceremony to honour the dead, and once again pledged to seek the elimination of nuclear weapons from the world’s arsenals. Approximately 50,000 people stood for a minute of silence in Hiroshima's peace park near the epicentre of the early morning blast on Aug. 6, 1945, that killed up to 140,000 people. The bombing of Nagasaki three days later killed tens of thousands more people, prompting Japan’s surrender to the World War II Allies. Japan’s Prime Minister Shinzo Abe was one of the many dignitaries attending the event, and noted that as his was the only country in history to face a nuclear attack, it has the responsibility to seek to ban nuclear weapons.
 

The U.S.A and its allies have always maintained that the WWII bombings of Hiroshima and Nagasaki were necessary and helped save many more lives around the world by convincing Japan to surrender, bringing about an end to WWII. The sacrificing of tens of thousands of civilians as a means to an end, however noble this end seems to be, has always been a point of protest and argument against what has been characterised as an inhuman act, or as a war crime.
 

The sensitive anniversary of the Hiroshima bombing comes as Japan debates the role of nuclear energy, following the country’s 2011 earthquake and subsequent nuclear disaster, which is still now having widespread and dangerous after-effects. Presently, almost all of Japan’s nuclear power plants remain shut down following the meltdowns at Fukushima, which spread radiation over a large area and forced thousands to flee the area. Prime Minister Abe and his party want to restart the plants following safety inspections, but the plan has proved controversial for many in the energy-dependent nation. Since the accident, there have been repeated safety concerns at the Fukushima power plant, where operators are struggling to contain radiation-contaminated water, which is now making its way to the ocean and contaminating intervening land and subsoil.
 

Humans are blessed with the largest and most powerful brain power in the animal kingdom. We have the capacity to think and our intellect gives us the ability to create and use knowledge in ways that allow us to control our environment in amazing ways. We have developed the power to create marvels: Great works of architecture, art, music, literature, engineering, invention… But we have also excelled in the arts of war, with an almost endless repertoire of destruction and cruelty within our means. We have the potential to be angels, but how much easier to be devils. It takes great effort to be “good” rather than “evil” and that is where the real power of an individual is manifest – to be creative, good and kind rather than destructive, evil and cruel.

Monday, 5 August 2013

THE SCRIBE

“Life is the art of drawing without an eraser.” John W. Gardner
 

Maurits Cornelis Escher (17 June 1898 – 27 March 1972), usually referred to as M. C. Escher, was a Dutch graphic artist. He is known for his often mathematically inspired woodcuts, lithographs, and mezzotints. These feature impossible constructions, explorations of infinity, architecture, and tessellations.
 

He worked primarily in the media of lithographs and woodcuts, though the few mezzotints he made are considered to be masterpieces of the technique. In his graphic art, he portrayed mathematical relationships among shapes, figures and space. Additionally, he explored interlocking figures using black and white to enhance different dimensions. Integrated into his prints were mirror images of cones, spheres, cubes, rings and spirals. Escher was left-handed…

Magpie Tales has chosen M.C. Escher’s “Drawing Hands” of 1948 as a stimulus for the creativity of the followers of her meme. Here is my poem inspired by this Escher drawing.
 

The Scribe
 

I create with hands clasping pencil;
With pencil drawing lines
That define the hands that guide the pencil,
That is driven by my desperate soul.
 

I write with hands holding pen;
The pen that dips into the inkwell of my heart,
Giving my lifeblood a voice of its own,
And my vehement emotions an outlet to vent.
 

I limn with hands that guide brush;
A brush that takes breaths from my lips
And rebreathes them in colour on a page
That outlines my spent desires and vain hopes.
 

I sketch with hands blackened by charcoal;
The charcoal not black enough to compare
To the blackest thoughts of my mind’s vacuum,
The emptiness of the void that was there
Ever since you left.

MOVIE MONDAY - FREQUENCY

“Our heirs, whatever or whoever they may be, will explore space and time to degrees we cannot currently fathom. They will create new melodies in the music of time. There are infinite harmonies to be explored.” - Clifford Pickover
 
We had some cold and wet weather over the weekend and it was very pleasant to be able to sit at home in the warmth and watch a movie in the afternoon. It was a rather interesting film that we did watch, Gregory Hoblit’s 2000 movie “Frequency” starring Dennis Quaid, Jim Caviezel, Shawn Doyle and Elizabeth Mitchell. The film was a science fiction drama based on the premise that communication between the future and the past is possible under a set of certain electromagnetic conditions triggered by solar flares. Once you get over this conceit, you can immerse yourself in the possibilities suggested by the movie, including the famous paradoxes where the possibility of time travel in one form or another allows one to change the course of history.
 
For example, one paradox is the idea that if one were able to go back in time, the time traveller could change things in the past by interfering with his own family history. The grandfather paradox and the idea of autoinfanticide are typical of this: In this paradox, a time traveller goes back in time and kills his grandfather at a time before his grandfather met his grandmother. If he did so, then his mother or father never would have been born, and neither would the time traveller himself, in which case the time traveller never would have gone back in time to kill his grandfather… Autoinfanticide works the same way, where a traveller goes back and attempts to kill himself as an infant. If he were to do so, he never would have grown up to go back in time to kill himself as an infant.
 
The plot of the movie has as follows: A rare atmospheric phenomenon triggered by solar flares in the 1960s and the 1990s allows a New York City firefighter in the past, to communicate with his son 30 years in the future via short-wave radio. The son uses this opportunity to warn the father of his impending death in a warehouse fire, and manages to save his life. However, what he does not realise is that changing history has triggered a new set of tragic events, including the murder of his mother. The two men must now work together, 30 years apart, to find the murderer before he strikes so that they can change history again.
 
We enjoyed this film as a thriller/mystery more than as a science fiction movie. Time played a role, but the interweaving stories of past and present were what made the film interesting and involving. The characters were interesting and believable, the family relationships portrayed were authentic and believable and the situations that father and son find themselves in through the tenuous connection over time are often poignant, sometimes humorous and at other times filled with suspense and mystery. The acting is very good and both Quaid as the father and Caviezel as the son do a sterling job with the material that has been given to them.
 
Toby Emmerich, better known as a film producer, wrote the story of this movie and he has managed to combine a great many original features with some old standards of the “Time travel” theme. The strong serial killer plotline that runs through the movie adds so much to the story and as the film progresses becomes an integral part of the story. Michael Kamen has provided an intelligent film score that doesn’t intrude but invests the action with suitable suspense and mystery. Cinematography by Alar Kivilo and film editing by David Rosenbloom contribute to the polished feel and look of the film. Watch it!

Sunday, 4 August 2013

ART SUNDAY - HENRY MOORE

“Now I really make the little idea from clay, and I hold it in my hand. I can turn it, look at it from underneath, see it from one view, hold it against the sky, imagine it any size I like, and really be in control, almost like God creating something.” - Henry Moore
 
Henry Spencer Moore OM CH FBA (30 July 1898 – 31 August 1986) was an English sculptor and artist. He is best known for his monumental bronze sculptures, which are located in various prominent public places. He became the most influential and famous sculptor of his generation. Henry Moore was born on 30 July, 1898, in Castleford, Yorkshire. He was the seventh child in a family of 8 children. His father worked in a colliery in Castleford but wanted his children to avoid working down the mines, so as much as possible given the family’s poverty, the children were educated at a local school.
 
It was in his teenage years that Henry developed an interest in art. His talent helped him to get a scholarship to Castleford Secondary school. Aged 18 he was called up to the army and in 1917 was injured during a gas attack at the Battle of Cambrai. After his injury, he spent the remainder of the war behind the lines training new recruits. Moore later said the war was for him not a traumatic experience - unlike that of many of his contemporaries.  After the war, he continued his education and in 1921 won a scholarship to study at the Royal College of Art.
 
Moore was a talented student, but already he was experimenting with new styles and this often created conflict with his teachers who were trying to teach the classic style of perfection in form and composition. Moore was attracted to a more spontaneous art form with imperfections evident in the sculpting. In 1924, he spent time travelling in Italy and later Paris. Here he could view the great Masters such as Michelangelo and Giovanni Pisano. But Moore was also influenced by his studies of primitive art, and at the Louvre he was particularly influenced by the Toltec-Maya sculptural form, the Chac Mool.
 
On his return to London, he took up a teaching post at the Royal College of art. This part time post enabled him to work on his own art, leading to his first commissions such as the “West Wind” (1928-29).  In the 1930s, Moore became an active member of the informal modern art movement, centred around the ideas and innovation of people like Pablo Picasso and Jean Arp. He also briefly flirted with the surrealist movement.
 
The Second World War led to more traditional commissions and Moore worked as a war artist producing memorable pictures such as images of civilians fleeing the Blitz in the London underground.  This helped Moore’s reputation and after the war led to numerous awards and opportunities in America. In 1948 he was awarded the International Sculpture Prize at the Venice Biennale. Significant commissions included: A reclining figure for UNESCO building in Paris 1956; A Nuclear energy sculpture at the University of Chicago. (to commemorate 25th anniversary of nuclear reaction); Knife Edge – Two Piece in 1962 for College Green, London around Houses of Parliament.
 
In 1972, Henry Moore established his Henry Moore Foundation - a charitable trust to promote art education and the support of young artists. He was a man of modest means. Despite his wealth and fame he lived frugally remembering his Yorkshire roots. He even turned down a knighthood in 1951 because he didn’t want to be seen as an establishment figure. Yet, during his lifetime he did become the dominant sculpture of his generation.
 
Moore’s organically shaped, abstract, bronze and stone figures constitute the major 20th-century manifestation of the humanist tradition in sculpture. Much of his work is monumental, and he was particularly well-known for a series of reclining nudes. The image above is characteristic of his work. It is the “Reclining Woman” of 1956. It is located at the Sainsbury Centre, University of East Anglia, Norwich, Norfolk, England (1962 cast, acquired by Sir Robert and Lady Sainsbury).