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Month: March 2019
The Lutèce Diaries, 26: Dimensions
Marcel Lempereur-Haut, "Tete-mécanisée" (Mechanized head), 1916-1970. Oil on panel. Among the galleries in Saint-Germain-des-Près maintaining the standard set by their ancestors in the late 1940s and 1950s is OSP – Oeuvres sur Papier, with its self-professed "pronounced taste for the forgotten, the inclassable, women, writer-drawers, etching maniacs, and young painters." The OSP also likes juxtapositions. Its recent exhibition at 7, rue Visconti — itself a mythic gallery street — paired the Modernist heads, hearts, and stars of Lempereur-Haut (1898 – 1986) with the drawings and water-colors (see below) of contemporary artist Maximilien Pellet (b. 1991), for whom, says the gallerist, "the hour of hyper-consumation visual, of the digestion of images is significant." Photo by and courtesy Galerie OSP.
by Paul Ben-Itzak
Text copyright 2019 Paul Ben-Itzak
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PARIS — Nearing the end of my virgin visit to Paris one brisk November afternoon in 2001, I stepped on my tippy-toes to touch a corner of the pedestal of a marble statue on the periphery of one of the two large fountains in the Tuileries gardens, where Augie Renoir and his pals used to pitch stones at the window of the Princess, who would toss bon-bons back at them. The idea was that a future Paul had touched the same spot and assured me "You'll be back." Which I did when I was, and have continued to do over the years (on both the receiving and giving end). If I chose this particular statue, it was probably because it featured a bare-breasted woman leaning (protectively I thought) over a child. (Living at the time in New York — where nary a human bronze bust was bared and a polychrome cow had caused a scandal because its teats weren't covered — I'd found the French embrace of the beauty of the naked human body refreshing.)
It wasn't until Friday afternoon, returning to the Tuileries for the first time on this Paris stay and wanting to record the actual name of the statue for you, that I realized the woman (sculpted by Pal Gasq in 1893 and installed in the Tuileries since 1904) was Medea and the child was screaming.
"On laissera des traces," Lapotoc. Painting and collage, on view through April 13 at the galerie ArtAme at 37 rue Ramponeau in Paris. (See below.) "Immersed between reality and fiction, my world is a mix of painting, words, and images-matter, with my personal history as the common denominator," says the artist. "I work with the individual and collective sub-conscious, attempting to echo that which unites and divides us. It's a voyage between my own life experience and that of the regardeur. My collage technique is fragmentation, based on my piecemeal vision of the world." Courtesy Lapotoc.
But this first brilliant Spring day in Paris, palpably emanating from the alabaster sculptures arrayed around the gardens washed in the late afternoon sunlight, was too sublime to let a little Greek blood-lust way-lay my plans, which were to secure a reclining green iron chair in front of my favorite fountain — the small one at the Louvre end and Seine side of the park, a favorite of the locals — and sip my thermos coffee 'a petites gouts' (as Simenon's Commissar Maigret does after his wife serves him in bed) while marveling at the statuary. The chair was waiting for me, offering the unanticipated benefit of a side view on the Eiffel tower under the partly clouded sky. The mallards in the pond outnumbered the female ducks four to two, with one already ushering in the season by vigorously bobbing his head in the universally recognized sign for "Let's get it on." (After playing it coy, she eventually bobbed back.)
A young couple across the pond from me was mimicking the ducks, only their heads weren't bobbing but nuzzling. Between them and me a voluptuous blonde woman in a summer dress more willowy than she was sat down next to a male friend and gathered her arms around her scrunched-up knees as the wind blew the dress up to reveal her pallid gams.
When I poured my first cup of coffee (healthily dosed with nutmeg and cinnamon), reclined back, and sipped — continuing a ritual initiated 15 years ago after a meeting at the American consulate with the Paris representative of the IRS (no doubt the cushiest job in the agency; I'd loved the juxtaposition of an inevitably stressful meeting, although Monsieur. Greg Burns was incredibly helpful, and the least stressful most bucolic pastime one can imagine, sipping coffee before a fountain in the Tuileries), j'était rempli and sated.
Given the way the day of my most recent visit had begun, I shouldn't have been surprised by the apparition of Medea.
"Je suis venu pour mes jumeaux," I've come for my twins, I'd announced to the butcheresse at the marché on the Place des Fetes, high atop the rue Belleville (and where the market scenes in Cedric Klapisch's "Paris" may have been shot, which would explain why I was looking for Juliette Binoche at every counter). At first she had no idea what I was talking about, understandable given that the last time I'd seen her, and used this line, was in November 2015, right after the Paris massacres, over which we'd commiserated. ("I just don't understand how someone could do something like that," she'd told me.) "Les lapins," I clarified (we're back in 2019), pointing down at the two for 12 Euro rabbits splayed out in the vitrine. "The price has gone up!" (It had been 10 for two since 2009, when I first started provisioning myself at the market.)
"Clients keep telling us that, even though we changed it in September."
"I haven't been here since 2015!"
"Do you want me to slice them up for you?" she asked, wielding a long narrow blade.
"Yes, just don't forget the heads, they give it taste."
When she bobbled one of the noggins, I couldn't resist: "Don't lose your head!" After I'd paid I asked, "Can I leave them here while I do the rest of my marketing?"
"Yes, we'll keep them au frais."
By the time I'd come back she'd apparently remembered our routine of four years ago. "Rabbits, rabbits? I have no idea what he's talking about" she told a colleague when I returned to fetch the twins.
"Comme toujours!" I retorted.
"Come back again, before 2021!"
In fact she'd given me an excuse to return much sooner. When I'd asked if she (I keep referring to her as 'she' because I've realized that neither 'butcheresse' nor a physical description can do justice to the way her beauty startled me) had a recipe for Lapin au moutarde, "because I'll be making Lapin au chasseur with the first one," she'd begun with "it's a lot less complicated than Lapin au chasseur." My idea was to come back Sunday to offer her a portion of my "Hunter's rabbit," a dish I've been perfecting for 15 years, since I found the recipe in an Astra ad in the "Adieu a Churchill" 1965 issue of Paris Match. (Which I did on Sunday. Lifting the plastic quince paté container into which I'd placed the sample, she suggested, "Come back next Friday for the desert!")
En attendant this next move, there I was this past Friday afternoon watching the ducks and other humans mating at the Tuileries fountain, decided to indulge myself with a second cup of thermos coffee. This would have to be the limit because of the paucity of toilets within a five-mile radius of the park. When the Sun disappeared, the wind kicked up, and my neighbors lit up, I decided to continue to the gardens of the Palais Royale, where an alleged vernissage had provided the putative excuse for Friday's expedition. (I know, I shouldn't need one to go to the Tuileries; it's the practical Taurus in me.)
Maximilien Pellet, Untitled, 2018. Water-color and ink on paper. Photo by and courtesy Galerie OSP. (See above for more information on the gallery, its aesthetic, and this artist.)
I never found the exhibition, and the "Cocteau – Colette – Palais Royale" banner pasted to the gardens' grill after I hop-scotched over the Daniel Burin black and white columns turned out to just be announcing that they both once lived there, but I did get to surreptiously watch a Spanish girl who sat down in the green iron chair next to me on the lip of the multi-spigot fountain carefully select a fountain pen from a small case and start sketching pictures of a far building and the tree-tops bisecting its view. When the wind picked up more and started blowing the water on me, I headed out of the gardens, turning from the short cobblestoned uphill street at the exit onto the rue Vivienne, intending to check out the bookstalls in the glass-covered Vivienne arcade. Two tres chic French girls were excitedly gaggling in the middle of the street ahead of me while marching towards their Friday evening no doubt on the Grandes Boulevards, and I'd just concluded that the one with her blonde hair bunched up artfully was another French girl I could fall in love with when she spat ungraciously and inconsequently on the cobblestones.
After walking down the long glassed arcade of the Vivienne I turned on to a corner to re-find my source for all things Max Jacob and Kees von Dongen (I'm always getting lost in and confounding the Vivienne, Panoramic, and Victoires arcades, one of which spits you out onto the Grandes Boulevards), where the bookseller was hurriedly clearing the tables outside his shop and putting the books on the 2 Euro bargain table into cartons so that he could close. Too late for me to peruse.
From Artcurial's recent Estampes & Livres auction in Paris: Kees van Dongen, "De Seine," 1962. Color lithograph on Japan paper, 39.1 x 59.7 cm Signed and justified "III/X." Image copyright and courtesy Artcurial.
I did, however, discover a sanitaire that hadn't been on my Paris toilet radar. (This is rare.) And one whose soggy floor — unlike at least half of the municipally operated sanitaires in Paris I've inspected — wasn't covered in shit, despite that they're supposedly automatically washed after each use. And had toilet paper. (Half the dispensaries are empty.) Toilet paper that on your fanny actually felt like toilet paper. This is probably because this particular sanitaire was located just outside the French stock market, on top of the 3 Metro station.
In the Metro car there was more cardboard and another blonde, this one natural, wearing an oversized plaid Mackinaw and who instead of clinging to a cell-phone as if it were a lifeline like nine in ten subway passengers I see was holding up a subway-car height, three-foot wide carton side on the top of which was scrawled:
"Et si on parlait de l'intelligence?" (How about if we talk about intelligence?)
As the girl — who might have been in her last year of high school or first year of college — looked up at me shyly I leaned my head sideways to read the rest. Under the title was written "Jours d'entrainment," Training Days, and under that was a list of columns, suggesting a sort of intellectual Olympics, dividing the visual and other response times of "Homo-Sapiens" and "Homo Neanderthals." (Note that I'm not the one who brought up Trump.) At the lower right corner of the slat under a cut-out of the title of the sports weekly "L'equipe" (the team) someone had added "Scientific!"
When the girl realized I was copying this all down — that I was a reporter — she raised her magazine to hide behind it.
I finished just in time to hop out at the station Arts & Metiers, whose shiny copper-colored metal walls with their displays behind portals make you feel like you're in a submarine designed by Jules Verne.
"Don't be Afraid," Lapotoc. Painting and collage. Courtesy Lapotoc and on view at the galerie ArtAme in Paris through April 13.
More provocative phrases awaited me when I surfaced at Belleville, these mixed into collages by the eponymous Lapotoc, who through April 13 is sharing an exhibition with Farah Iaaich in the Galerie ArtAme (Art & Soul) at 37, rue Ramponeau, a street on which the state of artists if not art is fragile after a long fight to save the ateliers and one of Belleville's last craftsmen workshops from eviction by city hall in a mixed-use building at No. 48.
If I continue to believe that it's vital to support an artistic presence in what's fast being transformed into BoBoville, this does not mean that all the art I've seen in Belleville this season is vital. In contrast to Saint-Germain des Pres, where the standard of the exhibitions I've caught in recent months often rivals the golden period of the late 1940s and 1950s, in Belleville the vernissages I've attended seem to be mostly populated by friends of the artists and if it's unfair to categorize all of them as Sunday painters, many of the artists wear the etiquette "auto-didact" like a badge of honor, as if they're proud of having received no formal training, even if this gap often reveals itself in a lack of rigor. Soit, but when this extends to ignoring their own history, it's often manifest in work that presents itself as new but which in fact is derivative even if the author doesn't know what it's derived from.
So it was that fresh off the vernissage for an exhibition of animal art I'd attended Thursday at the gallery of the Associated Artists of Belleville (at least this time we weren't treated to the cruelty of one artist bringing a live rabbit wearing a tutu), not to mention the alleged Palais Royale exhibition which had posed me as a lapin (= stood me up), I was already not of a particularly open disposition when I walked into Art & Soul. It didn't help when the (no doubt well-meaning) gallery owner introduced one of the artists with "This is the Artist." "This is the spectator. And journalist," I couldn't help responding. If I didn't quite wince when I saw the catch-phrases mixed with catch-images (some of which were captured on Google Images, the artist in this case, Lapotoc, notes; I do have a problem with this generic attribution — before they got to Google, those images were made by real people), I still thought, "This isn't new." So it was as much to demonstrate my own smarts as to earnestly dialogue with the artist that I asked, pointing at a large work taking up most of one wall, "Is the canvas hand-made paper?," noting the material's warped shape. "No," this "gondola" effect is the canvas's response to the glue and other matter with which the collaged cut-outs are pasted on to it, Lapotoc explained. When she added that her purpose was to create matter for dialogue I offered, "For example, the juxtaposition between the phrase 'Tout un parfum,' the woman's naked back and… is that an atomic symbol?" I was expecting a response but instead she just nodded.
"Tout un parfum," Lapotoc. Painting and collage. Courtesy Lapotoc and on view at the galerie ArtAme in Paris through April 13.
If I dutifully copied down phrases from three other collages which particularly spoke to me — "Don't be afraid," "On laissera des traces" (We will leave traces), and, from the canvas "Vaisseau Beauté," "Parce que je le vaux," (Because I deserve it) it was just to have some images to request to accompany this chronique; even if they resonated with me personally, the phrases still seemed straight out of a women's self-help book and once I got home I couldn't remember any of the images.
But a funny thing happened as I was writing this piece. When the images of the four works arrived in my e-mail box from Lapotoc, they had the opposite effect of that of seeing them in front of me. The gondola'd shape and texture of the canvas didn't come across in the two-dimensional electronic format. But it wasn't just the words in "On laissera des traces" that left me in tears, and "Don't be afraid," with a unit of cell phones replacing the body between a hanging head and stilletos, seemed to crystalize the horror of seeing all these people on the Metros riveted to their devices. (And me to my laptop here in Paris, which is why I don't have an Internet connection at my regular digs.) The images had put my verbal description of this phenomenon into a visceral form. Although I can't help wondering if, at least in this particular work, Lapotoc is using the words as a crutch; I'm not sure we need them.
"Vaisseau Beauté," Lapotoc. Painting and collage. Courtesy Lapotoc and on view at the galerie ArtAme in Paris through April 13.
Another thing art does, besides giving aesthetic form to our ideas and sentiments, is to invest us with the capability to view quotidian things and circumstances — our surroundings and environments — with an artistic sensibility. I already have this sensibility when I walk the streets and ride the Metros of Paris and observe certain things that resonate with my own life experience and references, or even in the greater story of Paris or of me in Paris. But what happened to me Friday night after leaving Lapotoc's exhibition was that her artistic sensibility immediately imbued a banal object that has never interested me or resonated with me before with an exquisite beauty.
I don't identify at all with swimmers or find myself in a swimming pool. The former (with the exception of my mentor; you know who you are) intimidate me and the latter frighten me. And yet when just moments after leaving Art & Soul, wanting to avoid the busy boulevard Belleville, I turned down a cobbled pedestrian alley one block up that I've been by-passing for 10 years because it's too branché (hip), I found myself stopped and standing before the glass front of a building I'd never even noticed before: A swimming pool. The symmetry of the pool with its curved ceiling, the light reflecting off and from the bottom of the water, the contrast of that light with the night outside and the penumbra of the alley, the syncopated bodies with their slowly churning arms, their '20s-style bathing caps which made the scene timeless — something left me so transfixed that I even read the entire two long poster-length "A History of Swimming Pools in Paris" affixed to the window. Seeing this perfect beauty — in relation to, what, the garbage around it (Paris and particularly the Right Bank is filthy)? The garbage in the air (and more polluted than ever)? The crowds? (The swimmers moved neatly and orderly in the lanes without crowding each other.) The contrast of this immaculate scene with the memory of the dirty, gym-sweat smelling, often-underground municipal swimming pools of my San Francisco youth?
I think rather it was that something in Lapotoc's artistic way of seeing — as chaotic and crowded and sometimes even n'importe quoi some of her oeuvres seen Friday seem to me — had managed to expand even my own over-stimulated vision and way of seeing.
I'm not sure why this artist had this effect on my vision; she didn't so much impress me as empower, or expand my ability to be impressed by even the most ordinary of surroundings. (This continued Saturday, when the crepuscule found me paused on the rue Buffon that flanks the Jardin des Plantes, leaning against the garden's stone wall and iron fence and fascinated by a solitary tree projecting over the street from the fence, the vetuse shutters on an ancient apartment building, an oval window under the roof of another, the sunlight glinting on the chrome surface of a modern office building at the end of the street.) Maybe it's her sincerity or determination to put the whole ugly beautiful sensory mess on a canvas without too much concern to organize or arrange it. But how often is art able to accomplish this? To not only make you see what the artist is seeing, but to expand your general vision once you leave the work of art?
The Lutèce Diaries, 25: Montmartre, copyright "Amélie" or, Why a duck shop bothers me so much
Gen Paul (1895-1975), "Le bureau de tabac, rue Norvins et le Sacre-Coeur," circa 1928-29. Oil on canvas, 28.74 x 36.22 inches. Signed lower right, signed again and dated on the reverse. The artist was part of the controversial writer Louis-Ferdinand Céline's circle during his Montmartre years — and sometimes his target, as he had only one real leg. Estimated price for Artcurial's March 20 Art of the 20th Century, 1900 – 1950 sale in Paris: 22,000 – 28,000 Euros. Image courtesy and copyright Artcurial.
by Paul Ben-Itzak
Text copyright 2019 Paul Ben-Itzak
Dedicated to Martin Epstein on this his birthday. For the teaching.
PARIS — The last time I saw Montmartre, heart bleeding and gums aching, I made it as high as the grave of François Truffaut (down the path from Zola and up the hill from "Camille"), where, after imbibing a Paracetemol cocktail, I shouted "J'accuse" at the author of the five-film Antoine Doinel cycle that began with "The 400 Blows" for filling me up with an ideal of Paris love that did not exist. But Paris fairy-tale dreams die hard, so there I was again Monday afternoon huffing and puffing my way up the 400 flights of stairs from the netherworld of the Abbesses Metro, no doubt neighboring the subterranean tunnel through which is shot the pneumatic Delphine Seyrig (as the wife of his shoe-store owner boss) sends Antoine fixing a tryst in "Stolen Kisses," the third film.
The first indication I had that Montmartre had accelerated its downhill slide into the mother of all Tourist-lands was a sign on the rue Yvonne le Tac: "The Paris Duck Store." As la belle-mere, who used to furnish me with a steady supply of the buoyant creatures when she had a San Francisco boutique called Common Scents, will confirm, I've got nothing against rubber duckies. The problem I have with "The Paris Duck Store" is that it could be anywhere. Its various canard characters — Prince, a Rasta duck that I guess was supposed to be Bob Marley, even a Trump duck ("He is surrounded by two devil ducks!," the duck sales clerk tried to assure me) — have nothing to do with Paris. No Jean Gabin duck. No Piaf duck. No Montand duck. No De Gaulle duck and no Godard duck. No "Amélie" duck. (We'll get back to her.) Not even a "Yellow-Vested" duck. And indeed the Duck Store, which originated in Amsterdam, is now everywhere. "We have ten duck stores all over Europe!" the sales clerk proudly informed me. (This genericizing of Paris is not confined to Montmartre. As a fellow Parisian recently complained to me, "You emerge from your apartment building, you look at the café across the street, and you could be anywhere in the world.")
Where exactly is the Paris in the Paris Duck Store? And where is the Montmartre? (And if your answer is "It's the free market, buddy," mine is that in Paris, the mayor has the right to a certain degree of commerce control to preserve a neighborhood's historic character.)
Suzanne Valadon (1865-1938), "Nu sortant du bain, " circa 1904. Sanguine and crayon gras on paper. 25 x 20.30 cm. Collection Paul Lombard. Image courtesy and copyright Artcurial from its 2017 sale of the Collection of Paul Lombard. (Arts Voyager Archives.)
As I continued down the street towards the Square Suzanne Valadon at the base of the park below Sacre-Coeur where the funicular would take me to the "Butte" or top of Montmartre, I thought about how the Communards, who put up barricades around Montmartre and Belleville (provisions were dropped into the park from hot air balloons) in 1871 to protest Versailles' capitulation to the Germans, might feel if they knew that the cradle of their movement had been invaded by Dutch rubber duckies. (Not to mention whether Sesame Street's Ernie would still think that his Rubber Ducky made bathing lots of fun if the petite canard had orange hair and tried to build a wall around the bathtub to keep out Gordon, Mr. Looper, and that transspecies fruitcake Big Bird.) Pondering this revolting development as the single petite transparent Metro car took me up to Sacre-Coeur while contemplating from its window the winding stairways of the park around which a caped and masked Audrey Tatou had tantalized Mathieu Kassovitz in Jean-Pierre Jeunet's "The Fabulous Destiny of Amélie Poulain," I decided to take the matter up with the Chevalier de la Barre.
Being burned at the stake in 1766 at the age of 19 after having his tongue and hands cut off when he refused to doff his cap before and hurled impudent ditties at a procession of religious notables earned the Chevalier de la Barre the right to his own statue, which now presides over a narrow oblong park just below Sacre-Coeur. (This is kind of a French thing; they burn you at the stake and then give you a statue.) After saluting him by removing mine (cap), I turned my back to the Chevalier so that I could sit on a bench looking out through bare winter trees over Paris and the Eiffel Tower, standing sentry in the midst of the late-afternoon dappled sky. As I sipped my hot thermos ginger-rosehip tea, the Paris moment was perfect. When the pigeons crashed the party, I left the park and, after negotiating the crowd of tourists along the rue Norvins and saluting the ghosts of Valadon, her lover Felix Utter, and her son Maurice Utrillo on the narrow rue Rustique from which their late-night arguments used to echo through the village (she served as Renoir's model before taking lessons from Degas and becoming a painter in her own right after giving up the idea of flying the trapeze with the Medrano circus; her son is singularly responsible for the postcard image Montmartre has today), turned left onto the rue Cortot to visit with Satie, who from 1890 to 1898 created Minimalism in a small chamber at No. 6, a sign on the elevated building above the paved street informs us. (A couple of blocks below chez Satie Pissarro holed up in a studio making pastel drawings of the rue Vincent, which leads to the village's wine orchards.)
After I repeated a future wedding ritual under the trelisse of the park at the other side of the church I've practiced since I used to jog up to the Butte along the rue des Martyrs from my flat on the rue de Paradis in the 2000s, I and my Montmartre retrouvaille went downhill. Descending Lamarck, I found a restaurant on a catty-corner whose high terrace looked out on a story-typical Montmartre view. The reasonably priced menu looked appealing until I noticed the non-translation (not just a bad translation; it made something up) of "Pommes Sarladoise," which — as they should — were listed as accompanying the duck confit: "Oven-cooked with butter." As any Perigordin worth the salt in which he preserves his duck knows, Pommes (Potatoes) Sarladoise — the recipe originated in Sarlat, 19K from the Dordogne village where I live — are cooked not in butter but duck or goose fat. When I verified with the server that his restaurant observed this rule and informed him of the bad translation (duck fat into butter), he just laughed. I don't think he realized that if tourists come to Paris, it's not just to get fatted up but because they appreciate that the French take their food seriously; they know the difference between duck fat and butter. (Which these days in is more expensive in France than duck or even goose fat.)
If subsequent English menus I spotted were correct — apart from that of the café off Norvins which offered "hot got cheese salad" — this was probably because there are only so many ways you can spell "French Onion Soup," which featured on the carte du jour of most of the restaurants I passed while careening down the rue Caulaincourt (trying to avoid the omnipresent green and grey construction barriers) back towards the cemetery. In other words, at least judging by the menus Montmartre has become the worst example of Paris-land I've seen since I returned here in January, giving the tourists a cardboard version of Paris and France which only confirms their most tired stereotypes and has little to do with the real Paris of today.
As far as tourist traps go, the worst offender — as I discovered after turning down Lepic (where Van Gogh once talked sales strategy with his brother before heading down to the Grands Boulevards to try to sell his paintings to Goupil) from Joseph le Maistre after pausing on the bridge over the cemetery (which figures in three of the Antoine films) to watch the crepuscular Sun piercing the gathering storm clouds — is the Café des deux moulins (so dubbed because it's midway between the Moulin Rouge and the Moulin Galette immortalized by Renoir and later Utrillo), the real restaurant where the fake heroine worked in "The Fabulous Destiny of Amélie Poulain." The film poster which immediately went up in the wake of the global success of Jeunet's movie was understandable; something had to tell the gaggles of Japanese girls who turned up that they were in the right place. But "Amélie," or more precisely the exploitation of tourists in the name of everything "Amélie," has now completely taken over what once actually was — in real life as in the film — a working-class neighborhood café. So you now have the "Amélie gouter" (afternoon snack, usually reserved for schoolchildren; in the Perigord we serve them chilled, watered down, sugared red wine in which they dip stale bread) of Viennese coffee, creme brulé, and a Polaroid (presumably with the Amélie poster): 12.80 Euros. Which is just to fatten you up for the Amélie burgers, whose prices, arrayed on a menu plastered with "Amélie"'s puckered face, range from 17 to nearly 20 Euros, enough to get you a decent prix fix three course meal in many other restaurants. (Okay, the 20 Euro one includes foie gras, but a resto up the street on le Maistre, le Gascogne, offers the same plus fries and smoked duck breast for less than 16.)
The piece de resistance — or, as we say here, the cerise sur la gateau — is that while I was copying some of the menu down for this diatribe, a short man popped out of the entrance, wagged his finger at me and warned, "No taking notes! Copyright!" The presumption being that I was a competitor stealing his recipe for what goes into a foie gras and hamburger hamburger. (Foie gras, hamburger, and, okay, stewed onions.) In other words, a tourist trap operator shamelessly exploiting a work of art (regardless of whether he has permission to use the Amélie iconography — at presstime, I'd received no response on the question from Jeunet's official website — it's still shameless, and a subversion of what this movie is really about) to sell food tchotchkes at inflated prices was lecturing me about copying down recipes any kindergartner could make up.
Montmartre, copyright "Amélie." Quelle farce! C'est le monde a l'envers.
Because "Amélie," you see, didn't just spring from Jean-Pierre Jeunet's fertile imagination. Like Marcel Carné / Jaques Prevert's 1947 "Les Portes de la Nuit," in which a lanky Yves Montand made his debut (and introduced Prevert's "Autumn Leaves") wandering through a fairy-tale, oneiric, cauchemaresque Montmartre after missing the last Metro at Barbes; like Piaf singing for her supper on a street corner off Clichy until a local impresario discovered her; like Patachou at her nightclub near the Lapin Agile giving a chance to a young singer-poet, George Brassens, who would go on to become the French equivalent of Bob Dylan (his songs sound better when she sings them); like Picasso and Braque forging Cubism from African artifacts at the Bateau Lavoir; like Picasso, Apollinaire, Marie Laurencin and the rest of the gang converging in his tiny flat to hear the Douanier Rousseau entertain them on his violin in 1910; like Max Jacob, who would later be slated for Deportation, hurrying across the street to his home on the rue Ravignon a few doors up from the Bateau Lavoir clutching his self-published poetry; like Toulouse-Lautrec limping home across the cemetery bridge towards his studio on the rue Tourlaque after transforming whores and can-can dancers into deities; like Boris Vian debating Pataphysics (I'm still not sure what that is) with his neighbor Prevert on their adjoining terraces over the Verdun alley; like Gabrielle posing for Renoir, pere, on the rue Fontaine before returning to comb the long golden locks of Renoir, fils, for whom she was the nanny; like Cezanne trading tableaux for powder with the Pere Tanguy while Tanguy's dubious wife looked on; like Vuillard capturing the way the light filtered into the flat he shared with his mother looking out on the Square Adolph Max below the boulevard Clichy; like Brel coming to Madame Arthur's to hear transvestite singers; like Maigret's Inspector Malgraceux surveilling the flat across the way from him over the square Constantin Pecqueur or Steinlen leaving out bowls of food for his feline models in the same location (I tried taking my tea there too on Monday, but the bench was splattered with pigeon shit and the Steinlen fountain dry); like all these storied ancestors, "Amélie" sprung from the feu follet fermenting in the cemetery and all over Montmartre.
This is why a duck shop bothers me.
Klee redux par Vera Molnar
From the exhibition Vera Molnar, Affinités particulières: Hommages à Dürer, Cezanne, Klee, on view at the Galerie Berthet-Aittouares in Paris through April 20: Vera Molnar, "Le Mont Parnasse d'après Klee," 2005. 30×20 cm, 20 x 20 cm. Image copyright Galerie Berthet-Aittouares.
Le feuilleton (the Serial), 2 : "Trompe-l'œil" — Michel Ragon's ground-breaking 1956 satire of the Contemporary Art Market (in French and English), Part Two
By and copyright Michel Ragon
Translation copyright Paul Ben-Itzak
(Original French version follows English translation.)
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Charles was entering his 18th year. He'd only remotely followed the metamorphosis of his parents and was astonished. His father and mother's sudden passion for Modern Art bewildered him. By nature a bit slow, a good boy with a below average intelligence, he had trouble keeping up with the evolution of his family. When his father praised Klee to the detriment of Kandinsky, he might as well have still been comparing Mumphy underwear to Rasural underwear.
Charles was not subject to this fever which had consumed his loved ones since the adventure of the Paul Klee paintings had begun: it should be pointed out that speculation wasn't the only engine driving Monsieur Mumfy's new attitude. If Monsieur Mumfy had become obsessed with abstract painting, it wasn't just because he was counting on it — following the example of the Klees — to centuple in value, but also because he liked it. In her role as a good spouse, Madame Mumfy accompanied him in this conversion. She who previously had never set foot in a museum these days wouldn't miss a single vernissage or cocktail if it had anything to do with abstract art. She even tried her hand at a variety of smaller works about which she didn't make a big deal, even though some galleries wanted to expose them.
When it was decided that Charles would become a painter, Monsieur and Madame Mumfy threw a cocktail party to which they invited all the critics, dealers, and collectors.
Once more everyone raved about the perspicacity of the master of the house, who'd had the acumen to build such a stellar collection of Klees.
"When one considers," proclaimed Charles Roy, "that the Modern Art Museum of the City of Paris doesn't have a single Klee, not even a Mondrian, in its collection, it's scandalous! It's up to the private collectors to retain for France a few chefs-d'oeuvre of contemporary art. France owes you so much, dear Monsieur Mumfy!"
Monsieur Mumfy was used to inspiring such homages. Little by little he'd convinced himself that he actually had discovered Paul Klee before the war. In the beginning, he was pretending; now he wasn't lying. He really believed that he'd always loved Klee — for at least the last 20 years anyway. For that matter, the dates on the paintings on his walls seemed to back up this claim. And given that the art critics, the dealers, and the other collectors who frequented his house were themselves recent converts to abstract art, no one could disabuse him of this notion.
The critic Charles Roy, a specialist in abstract art, had burst into the public spotlight with great fanfare after the Libération. Even though he was already in his 50s, his pre-war activity remained fuzzy. In fact, he'd played a laudable role in the Résistance and he was rewarded by being offered his own platform in the press. As he was absolutely incapable of writing in clear French, or at least of paying any attention to the rules of grammar, he was relegated to the art column. In this post which, on a major newspaper, is usually cloistered and innocuous, Charles Roy had succeeded in carving out a niche for himself thanks to his total ignorance of syntax. No one understood a word he wrote, and as he wrote about paintings that no one understood, people just thought it was a new style. Charles Roy was the veritable inventor of this brand of abstract art criticism which, born at the same time as the Academy of Abstract Art in Paris, made people believe in a concordance of genres when in reality it was just one big critical scam which had encrusted itself like a parasite in the haunches of an art form which merited its own Baudelaire or Apollinaire.
If all the major photographers in Paris were inevitably Hungarian, the big art critics were Belgian. Charles Roy was no exception, and his moniker was obviously a pseudonym. His enemies liked to point this out by punning, "He waffles like a real Belgian."
Like all Johnny-come-latelies, Charles Roy veered from one extreme to another. A salesman of religious tchotchkes for tourists before the war (voila why he changed his name), Charles Roy now recognized only the strictest form of abstract art. Charles's artistic coming out party found him once again defending this standard to the boy's father:
"I admire Klee in a historic sense," he was saying, "but I don't approve of his anecdotal aspect. It's literary painting. Art is only justified today if it doesn't evoke the least parcel of reality."
"Ah! Don't touch my Klee!" Monsieur Mumfy responded in a sententious tone. "You can accuse Miro of being literary, or Picasso of being anecdotal, but when you go after Klee in my presence, it's as if you're insulting a member of my family."
At just this moment a brouhaha broke out in the salon at the entrance sur scene of a dwarf who appeared leaning on a small cane with his bifocals perched on a large nose, a dwarf bearing a surprising resemblance to a Toulouse-Lautrec caricature. The guests parted to make way for the dwarf, who stood on his tip-toes to kiss Madame Mumfy's hand.
Charles Roy and Monsieur Mumfy fell over themselves to see who could get to the dwarf's side first.
"My dear Laivit-Canne…."
"Monsieur Laivit-Canne…."
The dwarf sank into an easy chair provided by a servant and announced in a nasal voice:
"I've just cut off Manhès!"
This declaration was met with a stupefied silence. The majority of those gathered in the salon turned their heads towards the wall, where five paintings by Manhès stared back at them. They seemed to be looking at them for the first time, even though they were all quite familiar with Manhès's work. In reality, they were seeking out the little imperfections, the vice which might have earned them the disfavor of Laivit-Canne.
It was finally Charles Roy who broke the silence, ingratiatingly enough, to flatter Laivit-Canne:
"Bravo!, Monsieur Laivit-Canne. Manhès's style might end up selling well, but in fact it's already passé. It's not genuine abstract painting."
The dwarf, ensconced in his cushions, exuded the surly air of a spoiled child. He resumed in swishing his nose for emphasis:
"I don't give a fig about abstract painting or non-abstract painting, sellable or non-sellable art …. Manhès insulted me — Manhès who owes me everything, Manhès who'd be dead if not for me –"
The dwarf nimbly scooped up a petit-four from a passing platter, masticated it with determination, and explained:
"Manhès called me a self-hating Jew…."
This unexpected insult created an unease among the guests. Someone ventured:
"Manhès has always struck me as a racist."
The dwarf sought out the origin of the voice, squinting his eyes, came up empty, and continued:
"I strongly advise you, my dear Mumphy, to sell your Manhèses. Before long they won't be worth a wooden nickel.."
"There's no rush, there's no rush," joked Monsieur Mumfy with a cheerful bonhomie which broke the tension a little. Then, assuming a stentorian tone, he proclaimed:
"Tonight I'm proud to announce some good news. Charles has decided to choose art over underwear. He's to be a painter."
"Which academy will you send him too?" asked one woman, "chez Léger ou chez Lhote?"
"Just don't tell us he's going to the Beaux-Arts Academy," asked another worried woman.
"Don't be alarmed," assured Monsieur Mumfy. "He'll be trained at the right school. I'm going to sign him up for the Abstract Art Academy."
Big hands started clapping. Those of Charles Roy. The guests formed into groups, depending on their affinities. Many paused in front of Manhés's paintings, where the conversation was particularly animated. Everyone rushed to shake the hand of Charles, who was starting to get bored.
Version originale par et copyright Michel Ragon:
Charles entrait dans sa dix-huitième année. Il avait assisté à la métamorphose de ses parents sans enthousiasme. La soudaine passion de son père et de sa mère pour l'art moderne le déroutait. D'un naturel un peu niais, bon garçon, d'une intelligence au-dessous de la moyenne, il ne suivit l'évolution de sa famille que de très loin et le souffle coupé. Lorsqu'il entendait son père louer Klee au détriment de Kandinsky, cela lui produisait le même effet que si son géniteur avait fait l'apologie des sous-vêtements Michaud au détriment de sous-vêtements Rasurel.
Charles ne participait pas à cette fièvre qui s'était emparée des siens depuis cette aventure des tableaux de Paul Klee: Il faut dire que la spéculation n'était pas la seul moteur réagissant la nouvelle attitude de Monsieur Michaud. Monsieur Michaud achetait de la peinture abstrait, non seulement parce qu'il comptait bien que celle-ci, a l'exemple des tableaux de Klee, centuple sa valeur, mais aussi parce qu'il aimait ça. En bonne épouse, Madame Michaud l'accompagne dans sa conversion. Elle qui, autrefois, n'avait jamais mis les pieds dans un musée, ne manquait aujourd'hui aucun vernissage, aucun cocktail, concernant l'art abstrait. Elle s'essayait même, comme nous l'avons vu, à certaines petites œuvrettes dont elle avait la sagesse de ne pas faire grand cas et ceci bien que certaines galeries lui aient proposé de les exposer.
Lorsqu'il fut décidé que Charles serait peintre, Monsieur et Madame Michaud donnèrent un cocktail où tous les critiques, marchands, collectionneurs, furent invités.
On s'extasia une fois de plus sur la perspicacité du maître de maison qui avait su réunir une collection de Klee aussi merveilleuse.
— Quand on pense, s'exclama Charles Roy, que le Musée d'Art Moderne de la Ville de Paris n'a même pas un seul Klee, pas un Mondrian, c'est une scandale ! Il faut que ce soient des collectionneurs privés qui retiennent en France quelques chefs-d'œuvre de l'art actuel. La France vous devra beaucoup, cher Monsieur Michaud !
Monsieur Michaud était habitué a soulever de tels enthousiasmes. Peu à peu, il finit par se convaincre qu'il avait réellement découvert Paul Klee avant la guerre. Au début, il jouait la comédie; maintenant il ne mentait plus. Il était persuadé qu'il avait toujours aimé Klee, depuis vingt ans au moins. D'ailleurs les dates des tableaux sur les murs témoignaient de cette ancienneté. Comme les critiques d'art, les marchands et les autres collectionneurs qui fréquentaient sa maison n'étaient eux aussi convertis à l'art abstrait que depuis fort peu de temps, personne ne pouvait le détromper.
Le critique Charles Roy, spécialiste de l'art abstrait, s'était révélé avec fracas à l'attention du public après la Libération. Bien qu'il fût âgé d'une cinquantaine d'années, son activité avant la guerre restait dans un anonymat très vague. En fait, il eut un rôle très méritoire dans la Résistance et on l'en récompensa en lui créant un fromage dans la presse. Comme il était incapable d'écrire un française clair, ou tout au moins correct, on le relégua dans la chronique des arts. A ce poste, qui, dans un grande journal est en général terne et sans histoire, Charles Roy réussit à se faire un nom grâce à sa méconnaissance totale de la syntaxe. Personne ne comprenant rien à ce qu'il écrivait et comme il parlait de tableaux que personne ne comprenait, on crut à un nouveau style. Charles Roy est le véritable créateur de cette critique d'art abstrait qui, née parallèlement au développement d'une Ecole d'Art Abstrait à Paris, fit croire à une concordance des genres alors qu'il ne s'agissait que d'un cafouillage incrusté en parasite au flanc d'une peinture qui méritait son Baudelaire ou son Apollinaire.
Si, à Paris, les grands photographes sont en général hongrois, les critiques d'art sont belges. Charles Roy n'échappait pas à cette règle et son nom était évidemment un pseudonyme. Ses ennemis disaient même, par un calembour facile : « Il est belge comme pieds. »
Comme tous les néophytes convertis sur le tard, Charles Roy allait d'un extrême à l'autre. Représentant de statuettes du genre Saint-Sulpice avant la guerre (et c'est pour cela qu'il avait changé son nom), Charles Roy n'admettait plus maintenant que l'art abstrait le plus strict. Encore une fois, il se chamaillait à ce propos avec Monsieur Michaud :
— J'admire Klee d'une façon historique, disait-il. Mais je lui reproche son côté anecdotique. C'est de la peinture littéraire. L'art ne se justifie aujourd'hui que s'il n'évoque pas la moindre parcelle de réalité.
— Ah ! ne touchez pas à Klee; répondait Monsieur Michaud d'un ton sentencieux. Vous pouvez me dire que Miro est littéraire, que Picasso est anecdotique, mais lorsqu'on attaque Klee en ma présence, c'est comme si on insultait ma famille.
Il se fit un brouhaha dans le salon et l'on vit entrer un nain, avec une petite canne et des lorgnons sur un gros nez, ressemblant étonnamment à un caricature de Toulouse-Lautrec. Tout le monde s'inclinait au passage du nain qui se haussa sur la pointe des pieds pour baiser la main de Madame Michaud.
Charles Roy et Monsieur Michaud se bousculèrent pour arriver le premier près du nain.
— Mon cher Laivit-Canne…
— Monsieur Laivit-Canne…
Le nain s'enfonça dans un fauteuil que lui avança un domestique et dit d'une voix nasillarde :
— Je viens de couper les vivres à Manhes !
Un silence stupéfait accueillit cette déclaration. La plupart des personnes réunies dans la salon tournèrent la tête vers le mur où cinq tableaux de Manhès étaient accrochés. Elles semblaient les regarder pour la première fois, bien que toutes connussent fort bien la peinture de Manhès. En fait, elles cherchaient l'imperfection, le vice qui leur valait la défaveur de Laivit-Canne.
Ce fut Charles Roy qui rompit le silence, assez bassement, pour flatter Laivit-Canne:
— C'est tout à votre honneur, Monsieur Laivit-Canne. La peinture de Manhès pourrait devenir très commerciale, mais elle est tout à fait dépassée. Ce n'est pas un véritable peintre abstrait.
Le nain, enfoncé dans les coussins, avait l'air hargneux d'un enfant prodige. Il reprit en chuintant du nez :
— M'en fous de la peinture abstraite ou pas abstrait, de la peinture commerciale ou pas commerciale… Mais Manhès m'a injurié, lui qui me doit tout, moi qui le faisais vivre…
— Oh !
Le nain attrapa prestement un petit-four, sur un plateau qui passait, le mastique avec application et dit :
— Manhès m'a traité de Juif honteux…
Cette injure inattendue créa un malaise dans l'assistance. Quelqu'un risqua :
— Manhès m'a toujours paru raciste.
Le nain chercha d'où venait cette voix, en plissant les yeux, ne la reconnut pas, et dit :
— Je vous engage, mon cher Michaud, à vendre vos Manhès, bientôt ils ne vaudront plus rien.
— Ce n'est pas pressé, ce n'est pas pressé, plaisanta Monsieur Michaud avec ne bonhomie enjouée qui dégela un peu l'assistance. Puis, reprenant une voix solennelle :
« Ce soir, je veux vous annoncer une bonne nouvelle. Charles vient de préférer les arts aux sous-vêtements. Il sera peintre. »
— Où l'envoyes-vous, demanda une dame, chez Léger ou chez Lhote ?
— Il ne va pas faire les Beaux-Arts, au moins, s'inquiéta une autre ?
— Ne vous alarmez pas, dit Monsieur Michaud, il sera formé à bonne école. Je vais le faire inscrire à l'Académie d'Art Abstrait.
De grosses mains applaudirent. C'étaient celles de Charles Roy. Des groupes se formèrent dans l'appartement, au gré des sympathies et des antipathies. On allait beaucoup devant les tableaux de Manhés et la conversation s'animait dans ce coin-là. Chacun serait vigoureusement la main à Charles, qui s'ennuyait.
Excerpted from "Trompe-l'œil," by Michel Ragon, published in 1956 by Éditions Albin Michel, Paris, and copyright Michel Ragon.


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Thrive Therapy LIVE on Day Time Toronto
January 26, 2016
At Thrive Therapy we encourage our clients to push themselves out of their comfort zones on a daily basis. Today, we not only talked the talk but also walked the walk. Thrive Therapy was featured on Day Time Toronto LIVE on Rogers TV!! Our founder Tania DaSilva was extremely excited about such a great opportunity, but she also faced her own anxieties about being on LIVE TELEVISION!! You guessed it! She totally used all those anxiety coping skills she recommends you use, and reminders about not being so hard on yourself, but instead enjoying the moment and just giving it your best! Tania discussed her love and passion for helping others and how that led her to create Thrive Therapy. Tania also shared some easy and helpful DIY activities to do with your children, clients or students when facing anxiety, behavioural issues etc. Unfortunately if you missed us on air, due to copyright regulations we cannot post the episode. No need to worry though we will create a few Vlogs to follow on each of the activities shown on air! A huge thanks to Rogers TV! Everyone at Rogers TV was extremely kind and helpful, the experience was a great one and we even left with a new client we met on set (yay us!).
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- Proclamation printed on canvas photo paper
- Ornate antique style gold frame, size approx 11.5″ x 13″ (30 cm x 33 cm)
A beautiful print of the Irish Proclamation in an ornate antique style gold frame.
This is a very impressive framed reproduction of the Irish Proclamation of Irish Independence, one of the most important documents from Irish history.
The Irish Proclamation was issued on Easter Monday 1916 at the GPO, O'Connell Street, Dublin, during the 1916 uprising against British rule in Ireland.
Made in Ireland. Low Stock - Order Now!
|1.8000 kg
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bComm Association: Free, Inclusive & With Tangible Benefits
20 Jun, 2018, 12:59 BST
LONDON, June 20, 2018 /PRNewswire/ --
CoinGeek is proud to be a founding member of the bComm Association
As we approach the first year since the fork to Bitcoin Cash (BCH) it's imperative that we in the community continue to help the growth of merchant adoption of the one true bitcoin; the only low-transaction fee digital currency.
So many industry associations fail as they lack tangible benefits for their members but Membership to the bComm Association is free, inclusive and comes with tangible benefits.
The bComm Association intends to be the focal point for miners, merchants, exchanges, developers and members of the BCH community.
CoinGeek owner Calvin Ayre has provided a significant donation for funding and facilities to the bComm Association to improve communication across all area of the BCH community. His donation has allowed the Association to offer free memberships and the all the benefits it entails.
The founding board of directors come from some of the largest and most influential companies in the BCH community, ABC, Bitcoin.com, CoinGeek, Lokad and nTrust.
Founding director and ABC Lead Developer Amaury Séchet had this to say, "I hope that the bComm association will allow for closer cooperation between developers, miners, merchants and other participants in the ecosystem. Cooperation will be key to the success of Bitcoin Cash and its ecosystem."
After the success of the first CoinGeek.com bComm Conference in Hong Kong, we're holding an even bigger event in London the week of November 26th. bComm Association members will have a chance to grab a VIP passes to the event.
Founding Director Jimmy Nguyen from nChain, who hosted the Hong Kong event, "We want to see Bitcoin Cash WIN as the leading global cryptocurrency and technology platform. This new bComm Association will support keys to achieve that world-changing vision: collaboration, communication, and community."
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CoinGeek Week (November 27-30), will feature tracks specifically for miners, developers and merchants. For your chance to grab a VIP membership please preregister for a free membership to the bComm Association
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You can preregister for membership in the bComm Association on their website to have the chance to gain VIP inclusion to CoinGeek week and future events and networking opportunities.
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(PresseBox) - .
Plant shines in trial operation with total availability of over 99%
Ideal supplement to renewable energies and essential contribution to securing the power supply and grid stability in Northern Germany
Planning and implementation by the general contractor Kraftanlagen M
The general contractor Kraftanlagen Miability with a total availability of over 99% for a wide range of operating requirements.
The Kiel coastal power plant makes an important contribution to the energy transition and sets new standards in terms of flexibility, efficiency and ecological sustainability due to the generation concept with gas engines, heat accumulators and electrode boilers.
As general contractor, KAM was responsible for the planning, approval, supply, construction and commissioning of the power plant with its 20 gas engines and a total output of 190 MW electric and 192 MW thermal, with all ancillary equipment, including the auxiliary building, the integration of the heat accumulator and the electrode boiler.
In future, this power plant will supply more than 73,000 households and facilities with climate-friendly district heating. In addition, the electrical energy generated will be fed into the Kiel grid, which supplies both the households in the state capital and the surrounding communities with electricity. Excess energy is fed into the upstream power grid. The flexibility of the combined heat and power plant is enhanced by a 60 metre high heat storage unit (30,000 m3
St"As general contractor, we have once again demonstrated with this project what expertise and potential we have. It takes courage to get involved in a project like this and to break new ground. In Kiel, everyone involved has done pioneering work in recent years. The coastal power plant is a lighthouse project of the energy and heat transition. We are proud to have realized the most modern, largest and most flexible gas engine combined heat and power plant in Europe together with Stadtwerke Kiel and the solutions provider for gas engines Innio Jenbacher".
On January 16, 2020, an official inauguration will take place at the coastal power plant with the participation of the Minister President of Schleswig-Holstein and the Lord Mayor of Kiel.
Kraftanlagen Mnies and investments in numerous locations, the Kraftanlagen Group offers an extensive service network with over 2,200 employees. It carries out major projects as a general contractor as well as individual trades in the following product areas: Energy and power plant technology, decentralised power generation, nuclear technology, industrial plants, utility services and fabrication.
More information:
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Kraftanlagen München GmbH belongs to the French group Bouygues Construction and, together with its subsidiaries, forms the Kraftanlagen Group. As a versatile partner for industry, energy and real estate, Kraftanlagen München GmbH uses state-of-the-art processes and technologies throughout Europe. With its companies and investments in numerous locations, the Kraftanlagen Group offers an extensive service network with over 2,200 employees. It carries out major projects as a general contractor as well as individual trades in the following product areas: Energy and power plant technology, decentralised powergeneration, nuclear technology, industrial plants, utility services and fabrication.
Date: 11/29/2019 - 04:30
Language: English
News-ID 1554345
Character count: 3200
Firma: Kraftanlagen München GmbH
Stadt: Kiel
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Barnsley are now close to double figures for summer signings after the loan arrival of Joe Williams became the ninth new player through the Oakwell doors since the 2016-2017 campaign ended.
20 year old Williams has joined on a season long loan from Premier League outfit Everton and it is believed the Toffees chose the Reds to send their highly rated youngster to after forging good relationships in the past couple of years with John Stones and Mason Holgate moving to Goodison Park whilst last year Barnsley took Gethin Jones on loan.
Williams is yet to make a senior appearance for Ronald Koeman but did make the bench on four occasions in the Premier League last season and appeared for the Under 23 side in the Checkatrade Trophy defeat at Cheltenham in October.
Williams who has also featured for the England Under 20 team is classed as a tough tackling defensive midfielder so therefore could be seen as a replacement for Josh Scowen.


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Manchester City manager Pep Guardiola has been spotted in Barcelona as rumours begin to swirl that his side are about to agree a deal to bring Barcelona legend Lionel Messi to the Etihad.
Messi told Barca officials on Tuesday that he wanted out of the Nou Camp after 17 years with the club.
The Catalan giants desperately want to keep him but Messi reportedly has his head and heart set on a move away.
It's also been reported that City, and a reunion with Guardiola, are his preferences moving forward.
JUST IN: Chelsea boss Lampard wants one more transfer after £90m Havertz deal
He has, however, been linked with the likes of Paris Saint-German, Inter Milan and Manchester United too.
But City are said to be close to agreeing personal terms with Messi, who believes he has a chance of leaving Barca for free.
City chiefs are apparently supposed to convene in Barcelona soon to hash out a deal for Messi.
Antonio Conte set to hand blow to Frank Lampard's Chelsea plans
Premier League TV games: Sky Sports confirm schedule for live matches
Arsenal to be offered two Atletico Madrid players in Lacazette swap
But Guardiola has already been spotted dining out in his home city at top restaurant Kao.
According to Argentine newspaper La Nacion, Messi has already told his friends that he wants to move to City.
He reportedly said: "I'm going to talk to Pep so he can arrange my move to City.
"The football there is spectacular."
Messi, 33, is also supposed to have already spoken to Guardiola on the phone at length about the move to Manchester.
City are desperate to win the Champions League while Messi wants to win his first one since 2015.
Messi's relationship with Josep Bartomeu has massively deteriorated and the forward doesn't want any part of Barca anymore.
Liverpool boss Jurgen Klopp has already ruled out a move for Messi, while United likely can't afford him.
Chelsea are going to spend close to £250million this summer and are not said to be looking at Messi as a viable transfer option either.
Source: Read Full Article


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Friday, August 13, 2010
another weirdo dream about a game
In addition to the usual costumery and props, every participant carries a smartphone of some sort. Want to 'pick the lock' on one of the maglock doors? You play a little lockpicking minigame on your iPhone or Droid or whatever. Spell casting also worked through the smartphone. Select light off of your spell list and remote controlled lights come on wherever you are at. Cast clairvoyance and the phone shows you whatever the nearest hidden camera is picking up.
In the dream your phone also somehow tracked hit points. You couldn't die in the middle of a fight, but after defeating the badguys you might get a text message telling you that you're dead.
7 comments:
That would be AWESOME! I wonder how hard it would be to rig up an old laser tag place to do that. Or an off-season Renn Faire site. I think it would be easier to create and program custom devices, rather than require every person to have a smartphone.ReplyDelete
It's really just the obvious overlap between LARP and ARG. It just amazes me that you could set it up pretty easily with existing technology.
Jeff, you need to ditch that whole going back to school thing and go into entertainment and amusement venture design!ReplyDelete
- Anonymous4:07 PM
Ever read Dream Park? It's thirty years old at this point, and the sequels switched over the VR tech instead of holograms as it seemed more plausible, but they're some great gaming fiction as well as decent mystery stories. The second book is The Barsoom Project, and the third The California Voodoo Game.ReplyDelete
A game he ran with his old roommate, Thugs For Drugs, was pretty close to a LARP. Involved toy guns and fake cash, lockers, clues, disguises....ReplyDelete
wierdo dream or pure genius? i know where my vote lies, and it is wholeheartedly in the latter...ReplyDelete
I had a similar idea once when I saw those apps people had that dropped GPS info into the live camera view into a smart phone and made sort of like an HUD overlapping reality. You look through the phone screen/camera lens and can see things that aren't THERE in real life.ReplyDelete
Most of the time, this is used to paste directional arrows giving people directions.
But I thought, why not put monsters, puzzles, clues, etc. Basically you could lay real-world LARP/scavenger hunt/geocaching games over actual geography and architecture.
All the "modules" and where you can start play, even scores and playthroughs could be kept on a central site.
Anyone could create new "modules" anywhere on earth (where you can get a smartphone signal anyway) and it would add a whole new layer to going on vacation, right?
Anyway, I really like the idea of adding a specialized environment to that, which would respond via door-locks and things of that same ilk.
But that reality HUD thing has insane possibilities. Like, if you're an elf, the "secret doors" will be detectable when you look around for them.
Stuff like that. :)


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Chas Craig, BridgeTower Media Newswires
While it is hard to accept the low rates of return presented by bonds, having at least some high-quality fixed-income exposure in a financial portfolio is like eating your vegetables. A large benefit of high-quality bonds is that during times of equity market stress they typically hold their value or even appreciate, at which time they can potentially be partially sold in order to buy stocks at depressed prices.
We think high-quality bonds offer more value today than they have in some time. As the bond market has sold off in recent months, with yields going higher, bonds have obviously become cheaper on an absolute basis, but in our minds they have also increased in relative value as the valuation for the general stock market has climbed. While the -3 percent return the U.S. bond market handed investors in the fourth quarter is nothing compared to the volatility one should expect from stocks, in the bond market, which is a game of inches, -3 percent over three months is a lot.
Since the most time-tested and capital destructive tradition on Wall Street is to extrapolate into the future what just happened, now, after an already very large move to the downside for bonds, financial market participants have been armed with confirmation that interest rates will continue to rise meaningfully over a rather short period of time. To this point, in the interest rate futures market the net-short open interest (bearish bets on bonds) has been near the highest levels on record in recent weeks. While we agree that interest rates are likely to move higher over the long-term, the high speed expectation of this currently expressed by the market through security prices is exaggerated in our view. Unfortunately, many of the reasons for low interest rates are still intact. While many proposed policies of the incoming administration do argue for higher interest rates, they are unlikely to fully reverse the market forces that have marked the post-crisis interest rate environment.
Plainly stated, most market participants are currently zigging in unison, which has historically proven to be an intelligent moment to zag in the opposite direction. Additionally, the spread between 10-year Treasurys and 10-year German Bunds is currently near its historic highs. On another relative value note, based on current valuations, we think investors can reasonably expect a 5-percent return from stocks and a 2.5-percent return from bonds over the next 10 years. While neither of these figures are very high on an absolute basis or relative to history (which is a large part of the case for active management), the spread between the two is in keeping with the historical premium investors should reasonably expect to earn from stocks for assuming a higher level of risk.
Therefore, after the recent run in stocks and decline in bonds, the argument that stocks are a way better deal than bonds on a risk-adjusted basis is no longer convincing to us, which perhaps presents investors with a favorable opportunity to rebalance their portfolios back to percentages that are consistent with their risk tolerances. To the extent that assets are held in taxable accounts, the new year might make incurring the likely taxes associated with rebalancing more tenable, and even more so if the tax policies being floated by the new Congress and incoming administration come to fruition.
Chas Craig is president of Meliora Capital in Tulsa (www.melcapital.com).
Published: Mon, Jan 16, 2017


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Rumor SA rains are not developing?
Your research?
I would appreciate it if you would provide information and sources and not tell us
"Rumor SA rains are not developing?"
Asking me for a forecast is great but it turns me off when people spread rumors.
nice storm here in the tucson area yesterday, and today. a nice steady, light rain. gray sky. perfect temps.
maybe the bees will keep making a little honey into fall.
I am terribly sorry. Poor word choice.
There is a suggestion in the coffeeforum that rains are not developing per seasonal.
No problem tjc,
I realize that you didn't mean anything by it but we are living in a world of fake news and manufactured/made up/biased facts(your stuff is ALWAYS authentic) and we don't need to make it any worse here.
It's true that there hasn't been much rain there yet but I think it's not much different than the last few models runs, which don't get much going until later today.
Thanks to your clarification, that is actually not what you were referring to, so now that you clarified, I can address the right time frame........which is the extended.
Yes, I agree with that statement and its the reason that I mentioned a couple of days ago that I was looking at buying coffee this week.
It's still early in the rainy season though. If the regular rains don't start until late October, the coffee crop will do just great.
But no rains for more than 2 weeks after this one will be bad for this first flowering, triggered by these rains, which may abort.
To elaborate more, here is what I have on the coffee thread. Bottom line is that the market will now be trading rains in the extended, until there is enough of it to get several good flowering that take and ensure we have plentiful cherries.
By metmike - Sept. 16, 2019, 1:37 p.m.
"Fundamentally speaking Somar Meteorologia on Monday said that most arabica-coffee crops in the Cerrado region of Minas Gerais, the biggest arabica coffee growing region in Brazil, have not had significant rain in 3 months"
It almost never rains there in June/July/August and even September rains are unusual. This is completely normal weather for their "monsoon".
"The rainy season starts in October, which triggers the initial flowering(s). Only if no rains are seen in outlooks that go into a good part of October would the dry weather be seen as bullish. There is rain in the forecast right now for week 2 and this is still late September.
The months when they get blockbuster rains are Nov/Dec/Jan. Rains taper off after that, then they have the dry season again May-September. "
Climate in Ipatinga (Minas Gerais)
This is the mean monthly precipitation, including rain, snow, hail etc. Show in Inches »
|Population (2015)
|Minas Gerais
|April 29, 1964
|• Mayor
|Nardyello Rocha (MDB)
|• Total
|165.509 km2 (63.903 sq mi)
|• Total
|• Density
|1.440/km2 (3.73/sq mi)
|Time zone
|Postal Code
|0,806 – high
I really don't know if more or less rain is falling than expected because I don't have access to accurate, live radar images.
Maybe close to expected if I had to guess.
The next big event after this is going to be awhile.........more than a week and mainly the southern sections, so it could be supportive if those rains don't keep moving north.
There are signs of an upper level ridge holding back the rainy season in the extended.
If that ridge builds more, it could turn bullish.
TY for the update. KC paused today.
Exceeding 105 should activate a lot of buying in KCZ
Thanks tjc!
From the looks of it, the Eastern half of coffee land is getting a big rain, maybe not as much farther west.
Once this rain is over, tomorrow, then we will be dry for quite awhile. Could be another 2 weeks before the next rain..........if then.
So there will be several ways to look at it tomorrow.
1. These rains will be over and even if they are bountiful, any bearishness related to them will be dialed in. In fact, I would say they were dialed in numerous days ago, when we plunged from the highs last week on the bearish/wetter forecasts.
2. It's still just late Sept and the forecast only goes out to Oct. 11th. The rainy season does not need to really kick in until late Oct and we can still have a great crop. The market is already trading rains but the absence of rain will only really start to hurt the new crop prospects if we have forecasts that take us into late Oct, with no rain. Reality vs perception here. Perception is what drives market mentality and trading. Also, if maps at the end of 2 weeks look bullish/blocking high, the market will extrapolate and add more time to that, adding to the bullishness.
3. No rains for at least 10 days, possibly longer means that flowering triggered by these rains could be aborted(especially with heat).
4. Here is something else that happens when you have an early rain like this...........then no rain for weeks. The cherries that do form because of this flowering which take/stay will be weeks ahead on maturity than those that form on future flowerings. I don't know that this effects production that much but its a bigger challenge at harvest time when you have to pick the mature cherries, some that are ready more than a month before the rest.........if rains don't return for, let's say 3 or 4 weeks.
I'm sure that growers would love for the rainy season to start a bit later than this, then feature regular rains so that the time differential between the first and last flowerings is not that spread out.
I'll have to learn more about harvesting and share it but thought this video was interesting:
5. The last model runs don't have more rains after this one going out 2 weeks. This means the weather forecast is bullish but again, its still early. Also, the European model 30 day outlook will be out later today. If forecasts for week 3 bring rains, then this will suppress the bullishness.
6. I will need to catch up on coffee fundamentals but apparently they are bearish. There is much more that can affect the prices than just the weather here. However, every day that goes by in October that does not bring rains closer will increase the bullishness of the weather forecast(and the weather premium will not go up by a measured amount every day, it will go up with gyrating spikes). If we would go out another 2 weeks from today's forecast, without another good rain in the forecast, then weather WILL be the #1 item traded every day.
The 768 hour European model was pretty bullish for coffee country weather going out the next month.
We had some early strength in coffee, probably from the updated, bullish Euro monthly forecast that comes out Mon and Tue late afternoon.
Still some lingering rains from this system into early next week.....light and scattered. Then dry for 10+ days.
Then..........? Maybe the next system.
The next system should be able to make it into coffee land if we projected the maps out just beyond 2 weeks.........which would still just be mid October and be just great for the coffee crop.
There is no blocking upper level high but there is the potential for a transitory upper level high to build and become more of a blocking feature into week 3...............potential that is only fullfilled if the models change how they handle the week 2 features.
Eric Snodgrass has a nice discussion of the affects of the MJO on the Brazil weather. Starts about 17 min in.
Thanks very much for that always wonderful video!!
Great information everyone!
The International Coffee Organization (ICO) estimates world coffee production in coffee year 2018/19 to be 3.7 per cent higher than in the previous year at 168.87 million 60-kilogram bags. However, at 164.82 million bags, world consumption for coffee year 2018/19 is estimated to have only grown 2.1 per cent.
This means coffee supply has exceeded demand by 4.05 million bags.
Output rose in all regions except for Mexico and Central America, where the harvest declined by 0.8 per cent to 21.47 million bags. Nearly half of the world's coffee was produced in South America, where production is estimated 4.8 per cent higher at 80.95 million bags in coffee year 2018/19. Production grew by 4.6 per cent in Asia and Oceania to 48.46 million bags, while output in Africa rose by 1.9 per cent to 17.99 million bags.
Output of Arabica has increased 1.8 per cent to 102.68 million bags and Robusta grew 6.7 per cent to 66.04 million bags. The larger supply in coffee year 2018/19 is reflected in increased shipments in the first eleven months of the coffee year, during which global exports increased by 9.2 per cent to 120.28 million bags, surpassing the total volume shipped in 2017/18.
This ICO says this surplus is a major factor in the low prices this season, with the ICO composite indicator only averaging 100.47 US cents per pound in coffee year 2018/19.
The ICO composite indicator fell to 97.74 US cents per pound in September 2019, increasing 1.7 per cent from August. It reached its lowest point of 94.01 US cents per pound in the month on 5 September. It peaked at 100.29 US cents per pound on 16 September, which is the only day that the indicator exceeded 100 US cents per pound in the month.
Prices for the Arabica group indicators rose in September 2019, while the Robusta indicator fell to its lowest monthly average since April 2010, decreasing to 70.64 US cents per pound in September 2019.
Still looks like a rain maker in the middle of next week(best rains southeast sections of Minas Gerais-#1 producer)........dry before then followed by dry after that with a big of heat.
Should that continue during the 2nd half of October, it would be bullish coffee weather!
I'm thinking that coffee may be getting ready to respond positively to that potentially bullish forecast, despite very negative fundamentals.
"On climate change, it is prescient that this announcement coincides with UN Climate Week because this worries me greatly — what's around the corner?," Verma stated. "We are seeing how more extreme weather patterns can alter the flowering and fruiting cycles in producing countries as well an increase in pests and diseases, such as [leaf] rust… Without the means to invest in more resilient hybrids and other adaptation methods for the future, farmers cannot be blamed if they give up."
metmike: Just one huge problem with that. The reason that coffee prices are so cheap is because the complete opposite of the paragraph above is happening as the climate optimum for life on this greening planet continues. As a result, production is exceeding demand.
The data on coffee and other crops with regards to yields and production is the data.......not an opinion and not words and not politics.
If they want higher prices from the effects of weather/climate we can:
1. Go back to the old climate of 100 years ago that produced much more adversity for life and crops.
2. Drop beneficial CO2 levels
3. Have global cooling instead of slight beneficial warming.
Coffee weather continues to become more bullish.
1 wimpy rain maker mid/late next week. Dry before then, dry after that thru 2 weeks.
If we go thru week 3 with it continuing dry, coffee could have a strong rally.


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Foodservice Packaging Recovery Case Study
Seattle, Washington
In 2007, the Seattle City Council adopted Resolution 30990, which set a 70 percent recycling rate goal, along with targets for waste reduction. Seattle Public Utilities introduced city-wide composting, a robust recycling program and addressed reducing greenhouse gasses and waste. In doing so, Seattle has become a national leader among cities in greenhouse gas reduction and seeks to further that effort through waste reduction and increased recycling. Seattle's citizens enjoy the ability to divert more items from the landfill, and Seattle's restaurants are able to save money on waste collection costs, as compost collection is 30 percent less expensive than garbage pickup in Seattle.
Seattle requires all foodservice operators to use recyclable or compostable foodservice packaging. In addition, operators must collect recyclable and compostable packaging in clearly labeled bins and sign up for composting and recycling service offered by a collection service provider.
Recycling, Compost, and Trash collection bins and signage at Seattle restaurants
Foodservice Packaging Materials
Accepted in the recycling bin:
Coated and uncoated paper cups and plates
Coated and uncoated paper take-out containers
Paper bags
Paper egg cartons
Plastic cups
Plastic lids (3" or larger)
Plastic take-out containers
Not accepted in the recycling bin:
EPS items (Seattle banned EPS in 2009)
Accepted in the composting bin (if on their "approved" list):
Food-soiled egg cartons
Food-soiled uncoated paper cups, plates and containers
Pizza boxes
PLA items
Seattle's material recovery facility (MRF) operator, Republic Services, has stated that food contamination is a concern but for all recyclable containers that come into contact with food, not just FSP. Foodservice packaging has proven to be a viable player in recycling, and Seattle's MRF treats FSP just like any other recyclable material. The general manager of Seattle's MRF has stated that "FSP is only noticeable if loads of material arrive from restaurants. None is noticeable in the mixed single stream recyclables from households." He is unable to measure how much FSP is handled through the MRF, but states that it is a low amount. With a low amount of FSP in the MRF's recycling stream, FSP flows through the stream without challenges just like any other material.
End Markets
Marketing bales that include FSP has not been a problem (paper FSP is included in mixed paper bales; plastic FSP is included in #3-7 bales). Note that polycoated paper FSP is baled and marketed with mixed paper. At the levels currently found in the material stream, FSP materials have not been an issue for the markets.
Key Findings and Recommendations
To cities considering offering recycling and composting of foodservice packaging, representatives of Seattle Public Utilities Solid Waste Division stress that outreach to stakeholders is critical to success. Stakeholders include: material haulers and MRF operators; restaurants and grocery stores; national fast food chains; packaging distributors and manufacturers; wholesale restaurant supply companies; food court operators; and compost processors.
Seattle recycling officials also point out the most significant thing the packaging industry can do is accurately mark each food service item, whether it is compostable or "recyclable when clean."
-December 2013


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800 quarantined after Delhi Mohalla clinic doctor tests positive for coronavirus
, 20 news, 0 views
New Delhi, Mar 26: As many as 800 people who came in contact with a mohalla (community) clinic doctor who tested positive for coronavirus have been quarantined, the state government said on Thursday.
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Awami League (AL) General Secretary Obaidul Quader on Saturday urged the leaders of Bangladesh Nationalist Party (BNP) to leave the politics of killing, violence and militancy.
"BNP's political dilemma is caused by its culture of criminalisation. They have to change this culture. For this, they have to leave the politics of killing, violence, favouring militancy and looting-corruption."He made the calls while addressing a rally against any violence and militancy, arranged by AL south city unit in front of the AL central office in the capital's Bangabandhu Avenue.
"Quader, also the Road, Transport and Bridges Minister, said, "It is BNP that introduced negative politics in the country. Their prime target is Prime Minister Sheikh Hasina, the daughter of Bangabandhu. They can't tolerate even her name although her leadership is being lauded as a popular and people-oriented one across the globe."


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Well-known member
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- 15,676
Britain, the Netherlands and Sweden dug their heels in last night leading to the collapse of the 2011 budget negotiations with the EU Parliament. Parliament were looking for a 6.2% increase at a time when many countries are making drastic cuts in public spending. A compromise on a 2.9% increase looked as if it could pass but the Parliament wanted further concessions on its powers over future budgets which the member states would not concede. An early casualty of the budget collapse is the EU foreign service which will not have additional funding for 2011. As a result of the collapse 2011 budgets will be frozen at 2010 levels.
BUSINESS WORLD - Negotiations on 2011 EU budget collapse
BUSINESS WORLD - Negotiations on 2011 EU budget collapse