text:
Isoäidin Tarinasta
Pieneen Punahilkkaan
Tarina kietoutuu pienen tytön ympärille, jonka on pukeutunut tarinalle tunnusomaiseen punaiseen hilkkaan (myssymäinen päähine Grimmin versiossa), kaapuun tai viittaan (Perraultin versio). Tyttö kulkee metsän läpi viedäkseen sairaalle isoäidille ruokaa.
Ilkeä susi tahtoo syödä tytön, mutta ei näkyvällä paikalla. Susi lähestyy tyttöä, joka tyhmyyksissään kertoo, mihin on matkalla. Susi kehottaa tyttöä keräämään esimerkiksi kukkasia, ja tyttö tottelee. Sillä välin susi ehättää isoäidin talolle, ja pääsee sisälle teeskentelemällä tyttöä. Susi hotkaisee isoäidin (jossakin tapauksessa lukitsee kaappiin), ja jää odottamaan seuraavaa suupalaa isoäidiksi naamioituneena.
Tytön saapuessa talolle hän huomaa kyllä, että isoäidissä on jotain kummalliseta, ja kyselee näistä ominaisuuksista "Miksi sinulla on niin suuret silmät?" saaden kyllä ensin ihan järkeviä vastauksia, joka tosin suden malttamattomuuden vuoksi ryöstäytyy lopulta käsistä vastaukseksi "Voidakseni syödä sinut paremmin". Tässä vaiheessa susi hotkaisee tytön, ja käy vatsa täynnä levolle.
Kuvaan astuu yleensä tässä vaiheessa puunkaataja, entisaikojen metsuri, joka tulee auttamaan kovan kohtalon kokenutta tyttöä ja isoäitiä. He myös täyttävät suden vatsan painavilla kivillä tämän yhä nukkuessa. Suden herää ja yrittää paeta, mutta vatsassa olevien kivien vuoksi sitä odottaa kauhea kohtalo. Joissakin tarinan versioissa puunkaataja pelastaa tytön ennen kuin susi hotkaisee hänet.
Eurooppalaisessa tarinamaailmassa Punahilkka tunnetaan lähinnä kertomuksena nuoresta tytöstä ja isosta pahasta sudesta, ja aiheesta tunnetaan lukemattomia eri versoita. Charles Perrault julkaisi ensimmäisen kirjallisen tuotoksen aiheesta.
Punahilkka on vanha eurooppalainen satu.
Satu on lähtöisin 1600-luvun Ranskasta, joskin samantapaisia satuja on ollut jo aiemmin. Esim. 1300-luvulla Italiassa, sekä Ranskan maaseudulla. Italiainen satu oli nimeltään Väärä Isoäiti (La finta nonna), ja sadusta tunnettiin useita versioita. Satu kulki myös nimellä Isoäidin Tarina. Sadun alkujuuret voivat olla kauempanakin historiassa, sillä Californian yliopiston professori Wolfram Eberhard keräsi vastaavan tarinan tekstiversioita Taiwanissa, Taipein lähialueella 241 kappaletta. Suden tilalla oli, kulttuuriympäristö huomioon otettuna, tietenkin, tiikeri.
Ensimmäinen laajalti tunnettu muistiin kirjattu versio on vuodelta 1697 ja Charles Perraultin käsialaa. Nykyisin on tunnetumpi 1800-luvulta peräisin oleva Grimmin veljesten versio, jossa on onnellisempi loppu: Punahilkan syötyään susi menee nukkumaan, ja ohikulkenut puunhakkaaja avaa suden mahan, josta Punahilkka ja isoäiti tulevat ulos vahingoittumattomina.
Jokaisessa versiossa on kuitenkin sama teema: metsä voi olla vaarallinen, ventovieraille ei kannata puhua, ja epärehellinen voi helpostikin huijata viatonta, jos ei pidä varaansa.
Vastaavia tarinoita on paljon ympäri maailman eri teemoituksilla. Venäläinen kansansatu Pekka ja Susi tunnetaan meilläkin. Seitsemän pientä kiliä lienee kaikille tuttu, kuten myös Joona ja valas.
Alunperin satu oli paljon raaempi.
Useasta eri lähteestä kerännyt, ja englanninkielestä kääntänyt: Saga
Pieneen Punahilkkaan
Tarina kietoutuu pienen tytön ympärille, jonka on pukeutunut tarinalle tunnusomaiseen punaiseen hilkkaan (myssymäinen päähine Grimmin versiossa), kaapuun tai viittaan (Perraultin versio). Tyttö kulkee metsän läpi viedäkseen sairaalle isoäidille ruokaa.
Ilkeä susi tahtoo syödä tytön, mutta ei näkyvällä paikalla. Susi lähestyy tyttöä, joka tyhmyyksissään kertoo, mihin on matkalla. Susi kehottaa tyttöä keräämään esimerkiksi kukkasia, ja tyttö tottelee. Sillä välin susi ehättää isoäidin talolle, ja pääsee sisälle teeskentelemällä tyttöä. Susi hotkaisee isoäidin (jossakin tapauksessa lukitsee kaappiin), ja jää odottamaan seuraavaa suupalaa isoäidiksi naamioituneena.
Tytön saapuessa talolle hän huomaa kyllä, että isoäidissä on jotain kummalliseta, ja kyselee näistä ominaisuuksista "Miksi sinulla on niin suuret silmät?" saaden kyllä ensin ihan järkeviä vastauksia, joka tosin suden malttamattomuuden vuoksi ryöstäytyy lopulta käsistä vastaukseksi "Voidakseni syödä sinut paremmin". Tässä vaiheessa susi hotkaisee tytön, ja käy vatsa täynnä levolle.
Kuvaan astuu yleensä tässä vaiheessa puunkaataja, entisaikojen metsuri, joka tulee auttamaan kovan kohtalon kokenutta tyttöä ja isoäitiä. He myös täyttävät suden vatsan painavilla kivillä tämän yhä nukkuessa. Suden herää ja yrittää paeta, mutta vatsassa olevien kivien vuoksi sitä odottaa kauhea kohtalo. Joissakin tarinan versioissa puunkaataja pelastaa tytön ennen kuin susi hotkaisee hänet.
Eurooppalaisessa tarinamaailmassa Punahilkka tunnetaan lähinnä kertomuksena nuoresta tytöstä ja isosta pahasta sudesta, ja aiheesta tunnetaan lukemattomia eri versoita. Charles Perrault julkaisi ensimmäisen kirjallisen tuotoksen aiheesta.
Punahilkka on vanha eurooppalainen satu.
Satu on lähtöisin 1600-luvun Ranskasta, joskin samantapaisia satuja on ollut jo aiemmin. Esim. 1300-luvulla Italiassa, sekä Ranskan maaseudulla. Italiainen satu oli nimeltään Väärä Isoäiti (La finta nonna), ja sadusta tunnettiin useita versioita. Satu kulki myös nimellä Isoäidin Tarina. Sadun alkujuuret voivat olla kauempanakin historiassa, sillä Californian yliopiston professori Wolfram Eberhard keräsi vastaavan tarinan tekstiversioita Taiwanissa, Taipein lähialueella 241 kappaletta. Suden tilalla oli, kulttuuriympäristö huomioon otettuna, tietenkin, tiikeri.
Ensimmäinen laajalti tunnettu muistiin kirjattu versio on vuodelta 1697 ja Charles Perraultin käsialaa. Nykyisin on tunnetumpi 1800-luvulta peräisin oleva Grimmin veljesten versio, jossa on onnellisempi loppu: Punahilkan syötyään susi menee nukkumaan, ja ohikulkenut puunhakkaaja avaa suden mahan, josta Punahilkka ja isoäiti tulevat ulos vahingoittumattomina.
Jokaisessa versiossa on kuitenkin sama teema: metsä voi olla vaarallinen, ventovieraille ei kannata puhua, ja epärehellinen voi helpostikin huijata viatonta, jos ei pidä varaansa.
Vastaavia tarinoita on paljon ympäri maailman eri teemoituksilla. Venäläinen kansansatu Pekka ja Susi tunnetaan meilläkin. Seitsemän pientä kiliä lienee kaikille tuttu, kuten myös Joona ja valas.
Alunperin satu oli paljon raaempi.
Useasta eri lähteestä kerännyt, ja englanninkielestä kääntänyt: Saga
The tale makes the clearest contrast between the safe world of the village and the dangers of the forest, conventional antitheses that are essentially medieval, though no written versions are as old as that. Specifically, the tale parallels how an innocent victim can be taken in and controlled by a criminal mentality, therefore, facilitating further subjection of a crime or harm against a vulnerable victim through mischievous criminal intent by removing the victim from a familiar or "safe" public location - facilitating the crime in an effort to isolate the victim by drawing her to another location "away from the public eye" where the criminal entity has complete control over the victim.
Relationship to other tales
The theme of the ravening wolf and of the creature released unharmed from its belly is also reflected in the Russian tale Peter and the Wolf, and the other Grimm tale The Wolf and the Seven Young Kids, but its general theme of restoration is at least as old as Jonah and the Whale. The theme also appears in the story of the life of Saint Margaret, where the saint emerges unharmed from the belly of a dragon, and in the epic "The Red Path" by Jim C. Hines.
The dialogue between the mean wolf and Little Red Riding Hood has its analogies to the Norse Þrymskviða from the Elder Edda; the giant Þrymr had stolen Mjölner, Thor's hammer, and demanded Freyja as his bride for its return. Instead, the gods dressed Thor as a bride and sent him. When the giants note Thor's unladylike eyes, eating, and drinking, Loki explains them as Freyja not having slept, or eaten, or drunk, out of longing for the wedding.
Also The grandmother's tale is an oral story that has been told in many parts of Medieval Europe and is open to many interpretations. The tale could be interpreted as a literal warning and moral tale, or as a symbolic journey from little girl to mature woman and the inevitable development of female sexuality.
During the medieval period many people lived in small towns or villages, making the threat of wolf (or "werewolf") attacks quite common, it could be that this story was simply one told to warn their daughters of the dangers of the forest, to behave as a proper young lady should. The simple style of the story: a straight forward linear plot, the lack of depth in characterization or setting, makes one of this folk tale's meanings glaringly obvious. In one respect it was a simple warning to village people of medieval times against the dangers of the forest.
Although this meaning is the most obvious, there is a vast amount of symbolism in this story that implies a much deeper meaning. The grandmother's tale symbolizes the medieval ideal of innocence and the deviation from this ideal as girls grow into women who can be easily tempted by 'wolves'. The werewolf is a symbol of danger from both the animals in a forest, and men who lead girls and women to 'stray from the path'. The girl must choose a path to her grandmother's house, the path of pins or the path of needles. These sewing tools are a symbol for the different stages of a woman's life; pins are simple fastenings which are used temporarily, whereas a needle is used for the permanent fastening, and the act of threading a needle can be seen as sexual innuendo. The girl takes the path of pins, demonstrating her youth and yet to be corrupted innocence, the wolf travels by the path of needles highlighting his position as a sexual threat. So far, the girl is still the idealized picture of innocence and purity.
In this early version of the tale, the wolf is able to kill and eat the grandmother, and leaves her flesh and blood for
the young girl to eat. The, albeit unintentional, cannibalism of the girl's grandmother shows her development from young naive child to a mature, intelligent woman. As she eats the flesh and wine (blood) she takes a metaphorical step from child to adult hood, infusing her own mind and spirit with that of the grandmother, becoming a wiser, more powerful woman. This mental, spiritual development allows the young girl to be wary of the wolf and his threat to her.
This tale was most likely originally told by women, and it is noticeable in its plot. This fact is made exceedingly clear by the lack of a masculine 'hero' and the fact that the wolf is eventually out witted by a group of female characters. The girl is clever and able to trick the wolf into letting her escape her grandmother's house. After he has her strip and almost enter the bed, where she would most definitely be devoured, the girl excuses herself to go outside and 'relieve herself' and slips away. A second act of female cunning occurs when the women at the river manage to drown the wolf, saving the girls life and proving the strength and character women can possess.
'The Grandmother's Tale' has many readings available to it, it is both literal and metaphorical. A warning against the dangers of the untamed world, a symbol of the transition from girl to woman and the power and intelligence women can posses. It reflects the minds of those who created the story, and projects its meaning onto the world around it.
These early variations of the tale differ from the currently known version in several ways. The antagonist is not always a wolf, but sometimes an ogre or a 'bzou' (werewolf), making these tales relevant to the werewolf-trials (similar to witch trials) of the time (e.g. the trial of Peter Stumpp). The wolf usually leaves the grandmother's blood and meat for the girl to eat, who then unwittingly cannibalizes her own grandmother. Furthermore, the wolf was also known to ask her to remove her clothing and toss it into the fire.
In some versions, the wolf eats the girl after she gets into bed with him, and the story ends there. In others, she sees through his disguise and tries to escape, complaining to her "grandmother" that she needs to defecate and would not wish to do so in the bed. The wolf reluctantly lets her go, tied to a piece of string so she does not get away. However, the girl slips the string over something else and runs off.
In these stories she escapes with no help from any male or older female figure, instead using her own cunning. Sometimes, though more rarely, the red hood is even non-existent.
Charles Perrault
French images, like this 19th-century painting, show the much shorter red chaperon being worn
The earliest known printed version was known as Le Petit Chaperon Rouge and had its origins in 17th century French folklore. It was included in the collection Tales and Stories of the Past with Morals. Tales of Mother Goose (Histoires et contes du temps passé, avec des moralités. Contes de ma mère l'Oye), in 1697, by Charles Perrault. As the title implies, this version is both more sinister and more overtly moralized than the later ones. The redness of the hood, which has been given symbolic significance in many interpretations of the tale, was a detail introduced by Perrault.
The story had as its subject an "attractive, well-bred young lady", a village girl of the country being deceived into giving a wolf she encountered the information he needed to find her grandmother's house successfully and eat the old woman while at the same time avoiding being noticed by woodcutters working in the nearby forest. Then he proceeded to lay a trap for the Red Riding Hood. Little Red Riding Hood ends up being asked to climb into the bed before being eaten by the wolf, where the story ends. The wolf emerges the victor of the encounter and there is no happy ending.
Charles Perrault explained the 'moral' at the end so that no doubt is left to his intended meaning:
From this story one learns that children, especially young lasses, pretty, courteous and well-bred, do very wrong to listen to strangers, And it is not an unheard thing if the Wolf is thereby provided with his dinner. I say Wolf, for all wolves are not of the same sort; there is one kind with an amenable disposition – neither noisy, nor hateful, nor angry, but tame, obliging and gentle, following the young maids in the streets, even into their homes. Alas! Who does not know that these gentle wolves are of all such creatures the most dangerous!This, the presumed original, version of the tale was written for late 17th century French court of King Louis XIV. This audience, whom the King entertained with extravagant parties and prostitutes, presumably would take from the story the intended meaning.
Brothers Grimm
Wilhelm (left) and Jacob Grimm (right) from an 1855 painting by Elisabeth Jerichau-Baumann.
In the 19th century two separate German versions were retold to Jacob Grimm and his younger brother Wilhelm Grimm, known as the Brothers Grimm, the first by Jeanette Hassenpflug (1791–1860) and the second by Marie Hassenpflug (1788–1856). The brothers turned the first version to the main body of the story and the second into a sequel of it. The story as Rotkäppchen was included in the first edition of their collection Kinder- und Hausmärchen (Children's and Household Tales (1812)).
The earlier parts of the tale agree so closely with Perrault's variant that it is almost certainly the source of the tale. However, they modified the ending; this version had the little girl and her grandmother saved by a huntsman who was after the wolf's skin; this ending is identical to that in the tale The Wolf and the Seven Young Kids, which appears to be the source.
The second part featured the girl and her grandmother trapping and killing another wolf, this time anticipating his moves based on their experience with the previous one. The girl did not leave the path when the wolf spoke to her, her grandmother locked the door to keep it out, and when the wolf lurked, the grandmother had Little Red Riding Hood put a trough under the chimney and fill it with water that sausages had been cooked in; the smell lured the wolf down, and it drowned.
The Brothers further revised the story in later editions and it reached the above mentioned final and better known version in the 1857 edition of their work. It is notably tamer than the older stories which contained darker themes.
After the Grimms
Numerous authors have rewritten or adapted this tale.
Andrew Lang included a variant called "The True History of Little Goldenhood" in The Red Fairy Book (1890). He derived it from the works of Charles Marelles, in Contes of Charles Marelles. This version explicitly states that the story had been mistold earlier. The girl is saved, but not by the huntsman; when the wolf tries to eat her, its mouth is burned by the golden hood she wears, which is enchanted.
James N. Barker wrote a variation of Little Red Riding Hood in 1827 as an approximately 1000-word story. It was later reprinted in 1858 in a book of collected stories edited by William E Burton, called the Cyclopedia of Wit and Humor. The reprint also features a wood engraving of a clothed wolf on bended knee holding Little Red Riding Hood's hand.
In the 20th century, the popularity of the tale appeared to snowball, with many new versions being written and produced, especially in the wake of Freudian analysis, deconstruction and feminist critical theory. (See "Modern uses and adaptations" below.) This trend has also led to a number of academic texts being written that focus on Little Red Riding Hood, including works by Alan Dundes and Jack Zipes.
Red Riding Hood by George Frederic Watts
Besides the overt warning about talking to strangers, there are many interpretations of the classic fairy tale, many of them sexual. Some are listed below.
Natural cycles
Folklorists and cultural anthropologists such as P. Saintyves and Edward Burnett Tylor saw "Little Red Riding Hood" in terms of solar myths and other naturally-occurring cycles. Her red hood could represent the bright sun which is ultimately swallowed by the terrible night (the wolf), and the variations in which she is cut out of the wolf's belly represent by it the dawn. In this interpretation, there is a connection between the wolf of this tale and Sköll, the wolf in Norse myth that will swallow the personified Sun at Ragnarök, or Fenrir. Alternatively, the tale could be about the season of spring, or the month of May, escaping the winter.
The tale has been interpreted as a puberty ritual, stemming from a prehistorical origin (sometimes an origin stemming from a previous matriarchal era). The girl, leaving home, enters a liminalstate and by going through the acts of the tale, is transformed into an adult woman by the act of coming out of the wolf's belly.
Bruno Bettelheim, in The Uses of Enchantment, recast the Little Red Riding Hood motif in terms of classic Freudian analysis, that shows how fairy tales educate, support, and liberate the emotions of children. The motif of the huntsman cutting open the wolf, he interpreted as a "rebirth"; the girl who foolishly listened to the wolf has been reborn as a new person.
Sexual awakening
Red Riding Hood has also been seen as a parable of sexual maturity. In this interpretation, the red cloak symbolizes the blood of menstruation, braving the "dark forest" of womanhood. Or the cloak could symbolize the hymen (earlier versions of the tale generally do not state that the cloak is red). In this case, the wolf threatens the girl's virginity. The anthropomorphic wolf symbolizes a man, who could be a lover, seducer or sexual predator. This differs from the ritual explanation in that the entry into adulthood is biologically, not socially, determined.
Norse myth
The poem Þrymskviða from the Poetic Edda mirrors some elements of Red Riding Hood. Loki's explanations for "Freyja's" (actually Thor disguised as Freya) strange behavior mirror the wolf's explanations for his strange appearance.
The red hood has often been given great importance in many interpretations, with a significance from the dawn to blood.
Modern uses and adaptations
There have been many modern uses and adaptations of Little Red Riding Hood, generally with a mock-serious reversal of Red Riding Hood's naïveté or some twist of social satire; they range across a number of different media and styles. Multiple variations have been written in the past century, in which authors adapt the Grimms' tale to their own interests.
The tale can be told in terms of Little Red Riding Hood's sexual attractiveness. The song "How Could Red Riding Hood (Have Been So Very Good)?" by A.P. Randolph in 1925 was the first song known to be banned from radio because of its sexual suggestiveness. The 1966 hit song "Lil' Red Riding Hood" by Sam the Sham & the Pharaohs takes the Wolf's point of view, implying that he wants love rather than blood. In the short animated cartoon Red Hot Riding Hood by Tex Avery, the story is recast in an adult-oriented urban setting, with the suave, sharp-dressed Wolf howling after the nightclub singer Red. Avery used the same cast and themes in a subsequent series of cartoons.Allusions to the tale can be more or less overtly sexual, as when the color of a lipstick is advertised as "Riding Hood Red".
This sexual analysis may take the form of rape. In Against Our Will, Susan Brownmiller described the fairy tale as a description of rape.[30] Many revisionist retellings depict Little Red Riding Hood or the grandmother successfully defending herself against the wolf.
The story may also serve as a metaphor for a sexual awakening, as in Angela Carter's story "The Company of Wolves", published in her collection The Bloody Chamber (1979). (Carter's story was adapted into a film by Neil Jordan in 1984.) In the story, the wolf is in fact a werewolf, and comes to newly-menstruating Red Riding Hood in the forest in the form of a charming hunter. He turns into a wolf and eats her grandmother, and is about to devour her as well, when she is equally seductive and ends up lying with the wolf man, her sexual awakening.[32] Such tellings bear some similarity to the "animal bridegroom" tales, such as Beauty and the Beast or The Frog Prince, but where the heroines of those tales transform the hero into a prince, these tellings of Little Red Riding Hood reveal to the heroine that she has a wild nature like the hero's.
As they often did with fairy tales and children's classics, Warner Brothers' Looney Tunes/Merrie Melodies cartoon unit made frequent use of Red's story for satirical purposes. One of the most famous was "Little Red Riding Hoodwinked," featuring Sylvester chasing Tweety---who's the gift Red is bringing to Grandma's house---concurrent to the wolf hunting Red after throwing Grandma out of the house.
Little Red Riding Hood is also one of the central characters in the 1987 Broadway musical Into the Woods by Steven Sondheim and James Lapine. In the song, "I Know Things Now" she speaks of how the wolf made her feel "excited, well, excited and scared," in a reference to the sexual undertones of their relationship. Red Riding Hood's cape is also one of the musical's four quest items that are emblematic of fairy tales.
Publishers like BeeGang and So Out maintained unaltered the original story written by Charles Perrault mainly adding interactivity or educational content to their book apps; Other publishers like BlueQuoll, an Australian publishing group, have pushed further the boundaries of the narration and re-invented the story even in the title, Mr. Wolf and the Ginger Cupcakes that puts the wolf at the center of the narration. In their version the element of good vs evil is removed from the story and the wolf is not portrayed as a negative character that deserves to die miserably at the end of the story.
A recent adaptation of Little Red Riding Hood has been seen in the ABC new hit series Once Upon a Time. In this version, Little Red Riding Hood (played by Meghan Ory) goes by 'Red' and she is no innocent little girl. Red is given a mature, fiery attitude but lives with her grandmother because she was told her parents were killed in a hunting accident. As the story elaborates, we find out Red is actually the wolf that threatens the forest and if she does not keep her magic, red cloak on she turns into the wolf on the night of a full moon. Later, Red finds her mother, who is in fact not dead, but part wolf as well, and is the leader of a group of other half-wolf people who have learned to embrace the wolf inside them instead of fear it. Her mother teaches Red to embrace the wolf as well, and Red learns to accept who she is instead of seeing herself as a monster.
Numerous variants of The Grandmother's Tale were collected by French folklorists in the 19th and 20th centuries in the Loire basin, the Nivernais, the Forez, the Velay, the northern Alps, and the Italian Tyrol. Italo Calvino published a version from Abruzzo in his collection Italian Folktales(1956). Called The False Grandmother, in this story a hungry ogress takes the place of the wolf - but in other respects, the story is quite similar to the French folktale. Just as in the French story, the girl is offered a grisly meal — beans (really teeth) boiled in a pot and fitters (really ears) in a frying pan; and she, too, escapes by feigning the need to relieve herself outside. Calvino had doubts that The False Grandmother actually came from the Italian oral tradition, suggesting it may have derived instead from published versions by Perrault and the Brothers Grimm. Yet the Abruzzo tale contains elements that link it clearly to the older folk tradition: the cannibal meal, the toilet ruse, the heroine who plots her own escape... all things that disappeared as the tale moved from oral transmission to print.
In the oral tales, the girl must chose between two paths of needles and pins. In some versions she chooses pins, in other versions she chooses needles, and in a few versions the bzou chooses the path for her. Folklore scholars have different theories on what precisely these paths are meant to represent. Sewing and spinning terms are ones we find often in fairy tales, for the making of cloth and clothes was a constant part of women's labor prior to the 20th century. Such work was often done communally, in spinning rooms and around the evening fire, when gossip was shared and tales were told to relieve the monotony of the tasks at hand. Small wonder then that needles, pins, distaffs, spindles, and other symbols of women's work make frequent appearances in folk stories largely told by female storytellers, and some folklorists attach no more significance to the two different paths than this. Paul Delarue and Marc Soriano viewed the choice between pins and needles as a nonsense question, a false choice (for both are equally prickly), a deliberate absurdity. Yvonne Verdier disagreed in her fascinating essay "Le petit chaperon rouge dans la tradition orale," first published posthumously in 1995. Verdier had extensively recorded and studied the folklore, traditions, and rituals of rural women in remote areas of France, and she brought her wider understand of traditional women's stories to her examination of The Grandmother's Tale.
In villages Verdier studied, she found that girls were sent at puberty to spend one winter with local seamstresses — a passage of time that marked a girl's change from child to young woman. Writing about a village in the Châtillonnais, she noted "This had less to do with learning to 'work,' to sew and use needles, than with refining herself, with polishing herself and learning to adorn herself, to dress up. The seamstress expressed this by saying of her young apprentices, 'They have been gathering pins.' When they reached the age of fifteen, both the winter with the seamstress and the ceremonial entry into the age group consecrated to St. Catherine signified their arrival at maidenhood (la vie de jeune fille), that is, permission to go dancing and to have sweethearts, of which the pin seemed to be the symbol. It was by offering them dozens of pins that boys formerly paid court to girls; it was by throwing pins into fountains that girls assured themselves a sweetheart."
While pins marked the path of maidenhood, needles implied sexual maturity. "As for the needles," wrote Verdier, "threaded through its eye, in the folklore of seamstresses it refers to an emphatically sexual symbolism." Indeed, in some parts of Europe, prostitutes once wore needles on their sleeves to advertise their profession. The versions of The Grandmothers Tale where the girl chooses to take the Path of Needles might well imply that the heroine is trying to grow up a bit too quickly.
At the end of the path, the werewolf awaits, disguised as the heroine's grandmother. We assume that he's wearing his human shape now, which makes the deception a bit more convincing, and yet — as Marina Warner points out in her fairy tale study From the Beast to the Blonde — it's odd that the granddaughter can't tell the difference. Perhaps, Warner suggests, it's because there's a similarity between the wolf and the crone. The grandmother lives apart in the forest — an unusual place for a helpless old woman, but a common dwelling for wise-women, witches, herbalists, and otherfemmes sauvage. Warner writes, "In the witch-hunting fantasies of early modern Europe they [wolf and crone] are the kind of beings associated with marginal knowledge, who possess pagan secrets and are in turn possessed by them. Both dwell in the woods, both need food urgently (one because she's sick, the other because he hasn't eaten in three days), and the little girl cannot quite tell them apart."
We're not surprised when the bzou slaughters the grandmother-that is, after all, what werewolves do. But the granddaughter's gruesome meal is shocking-particularly in those versions of the tale where the method of cooking and seasoning is elaborately described. Yvonne Verdier likens this ritual meal to a sacrificial act, a physical incorporation of the grandmother by her granddaughter. Such a scene is reminiscent of a wide variety of myths in which a warrior, shaman, sorcerer, or witch attains another's knowledge or power through the ritual ingestion of the other's heart, brain, liver, or spleen. But Verdier looks at this part of the story in more symbolic terms. "What the tale tells us," the scholar conjectures, "is the necessity of the female biological transformation by which the young eliminate the old in their own lifetime. Mothers will be replaced by their daughters and the circle will be closed with the arrival of their children's children. Moral: grandmothers will be eaten."
The slow striptease then demanded by the wolf hints at another kind of appetite, as does the fact that the bzou is not just a wolf, but also a man. Though focusing on those aspects of the tale that speak the language of female initiation, Verdier also acknowledges the powerful role of the wolf at the center of the story. He is more than just a symbol of the dangers of sexual deception; he is the agent of change. "At the crossroads when she chooses the pins, he is at the origin of the choice; it is when she is face to face with him, under his gaze and at his demand, that she incorporates her grandmother and undresses. This is as much to say that he leads the game...." He leads, but he does not win-for in the folktale (unlike Perrault's retelling), she is not eaten by the wolf. She sees through the bzou's tricks at last, takes his measure, and shrewdly escapes him.
The werewolf is finally destroyed not by a passing woodsman or hunter, but by a group of women engaged in traditional women's labor. Verdier comments: "This double role held by the laundresses — on the one hand allowing the girl to pass, thereby rescuing her, on the other drowning the wolf, killing him — is consistent with their role in the social reality of village life. In fact the job of assisting in 'passages,' of helping in childbirth and helping people to die, is held-at least in the Châtillonnais-by one and the same person, an aged woman, a woman who can at the same time handle the swaddling and the shroud, who washes infants as she washes the dead....If the laundresses bring about the death of the wolf, they bring about the [re-]birth of the girl."
Looking at The Grandmother's Tale within the context of rural French history, we should also remember that the story comes from a time when wolves were still a real danger, and when people of all classes still believed in the existence of werewolves. As German folklorist Marianne Rumpf has documented, France was positively rife with werewolf trials in the 15th to 17th centuries — a masculine counterpart to the witch hysteria of the time. In werewolf trials, men stood accused of shape-shifting, killing and devouring children, as well as of incest and other unnatural acts. These men transformed into wolves, it was said, with the help of salves purchased from the Devil. Any man might be a wolf in disguise, and any wolf, a man. In 1598, to give just one example, a man named Jacques Raollet was tried as a werewolf in Angers, Touraine — which was a time and place when Perrault's own mother might have witnessed these events. Raollet was eventually declared insane and placed in a metal hospital, but other men were hung and burned for crimes supposedly committed as wolves. Rumpf points out that the regions of France where folklorists found The Grandmother's Tale being told were also the very regions where werewolf trials had once been widespread.
By the end of the 17th century, when Perrault published his Little Red Riding Hood, popular belief in werewolves had dwindled, at least among the upper classes. Educated people generally disdained the "backwards" folklore of the countryside-but that was about to change, due to a group of Parisian writers. These writers, congregating in the influential literary salons of Paris, created a vogue for magical stories, for which they coined the name contes des fées, or fairy tales. The salon writers drew inspiration from peasant tales of magic and enchantment—but they reworked this material, dressing it up in rococo language and aristocratic clothes, penning stories that commented on life in the court of Louis XIV. In many respects, the salon fairy tale movement was the fantasy genre of its day—lively, inventive, popular with readers, and held in suspicion by the literary establishment (in particular because it was a movement dominated by outspoken women authors). The salon tales proved to be so popular that they were eventually collected in forty-one volumes in the Cabinet des fées, and were also reprinted and translated in smaller editions across western Europe. Simplified versions of the stories reached the lower classes in the pages of the Bilbliotheque Bleue—inexpensive chapbooks sold by traveling booksellers-and many tales then filtered back down into the groundwater of the oral tradition.
Although not the first or the only successful fairy tale writer to emerge from the Paris salons, Charles Perrault is the author whose tales were most often reprinted, and are still read and loved today. Perrault was an influential civil servant in the court of Louis XIV, as well as a prolific writer on a variety of subjects and a member of the French Academy. He wrote his fairy tale collection, Histoires ou contes du temps passé, during the final years of a busy life-and probably little dreamed that this is what he'd be remembered for three hundred years later. Like the other salonnières, Perrault used themes and characters drawn from peasant tales, turning them into droll little stories for adult readers of the upper classes. Unlike a number of the other salon writers, however (including his niece, Marie-Jeanne L'Héritier), Perrault maintained traditional ideas about the role of women, and his tales demonstrated the "correct" behavior expected of women of his class. His heroines are uniformly beautiful (whereas we know nothing of the appearance of the granddaughter in The Grandmother's Tale); they also tend to be hapless creatures — either passive saints or active fools.
The heroine of Little Red Riding Hood, one of the eight stories in Perrault's Histoires, is a pretty, naive child, doted on by her mother and grandmother. Perrault gives her a redchaperon to wear — a fashionable little hat, not a hood, that was generally made out of velvet or satin. Red would have been an unusually flamboyant color choice for an unmarried girl; more modest attire, the text implies, might not have attracted the attention of the wolf. But attract him she does, and worse, she stops to talk with him, "not knowing any better." She tells him where Grandmother lives, whereupon he suggests a race to the house. He runs, while she foolishly dawdles, amusing herself with butterflies and flowers. (Here again the text implies that the heroine's fate is her own blessed fault.) Perrault eliminates the cannibal meal, and the details of the girl's striptease, merely telling us that the girl undresses and climbs into bed beside the wolf. When she says, "Grandmother, what big teeth you have," the wolf gives his well-known reply: "All the better to gobble you up!" And then he pounces, eats her up, and there the story ends. Perrault finishes with a moral, making the point of his story crystal clear. "Now there are real wolves, with hair pelts and enormous teeth," he writes, "but also wolves who seem perfectly charming, sweet-natured and obliging, who pursue young girls in the street and pay them the most flattering attention. Unfortunately, these smooth-tongued, smooth-pelted wolves are the most dangerous of all."**
Once again, let's look at this tale within an historical context, for it was published in 1796 for a very particular audience: aristocratic readers in the court of Louis XIV. The Sun King's court was famed for its wealth, its intrigues, and its sexual excesses, particularly as practiced at the King's sumptuous playground of Versailles. (Read the letters of the Marquise de Sévigné for a glimpse of this fascinatingly decadent society.) At the same time, virginity in young brides was absolutely insisted upon — for marriage was a business arrangement contracted between two families, and a girl's market value decreased sharply if her virginity was compromised. Perrault's story addressed the subject of seduction and rape — but rape as it was understood at the time, not as we define today. Fathers had the absolute legal to right to determine whom their daughters would marry — and a man who seduced or married a young woman without her father's consent was guilty of rape, regardless of the wishes of the woman in question. To avoid this occurrence, daughters were often kept locked in convents until they married in order to avoid romances and elopements. Perrault's own wife had been raised in a convent, emerging shortly before their marriage, and Perrault had laid eyes on her only once before the wedding.
At the same time, certain women were agitating for greater freedom for their sex — particularly the influential women who hosted the Parisian salons. Within the salons, men and women could mix more casually than was possible at court; they could converse about art and politics, and meet on more equal terms. Perrault himself was a frequenter of the salons (one of them run by L'Héritier); and as an academician, he championed Modern culture, which was generally more favorable to women. But in his tales he consistently stripped folk heroines of the power of self-determination, holding up modesty and demur good manners as the feminine ideal. By lacking these things, Red Riding Hood walks blindly into the jaws of the wolf; and her fate is as merciless as that of girls seduced by wolves in human skin. The wolves are only doing what comes naturally; it's female behavior that is under scrutiny here. As Catherine Orenstein writes in Little Red Riding Hood Uncloaked, "Perrault's 'girls' are bien faites andgentilles: of the aristocracy. His warning is not simply to girls, but to the well-bred, educated women of high society who, in inviting men and women together in mixed company, set a dangerous precedent. Perrault's wolf is the dapper charmer of Parisian high society, seducer of young women and a threat to the family patrimony-he is, as one folklorist has called him, the 'unsuitable suitor," who insinuated his way into the best beds in town, deflowering young women and robbing their value as virgin pawns in the marriage de raison."
Little Red Riding Hood was a popular tale, and it soon spread beyond the borders of France. As it became well known, elements from Perrault's story (such as the redchaperon and the foolish heroine) slipped into the oral tradition just as though they'd always been there. When the Brothers Grimm published their version of the story, Little Red-cap, one hundred years later, they convincingly proclaimed it as part of the oral folk tradition of Germany. Contrary to public perception, however, the stories published by Wilhelm and Jacob Grimm in their famous collection of German folktales did not come straight from the mouths of stout German peasants. Many tales came from their circle of middle class friends, who had heard them from nursemaids and governesses (some of whom were French), and whose re-tellings bore the influence of literary tales from France and Italy. The Grimms collected Little Red-cap from Marie Hassenpflug, an educated woman of French Huguenot ancestry; it's a tale complete with red hat and gobbling wolf that clearly derives from Perrault. They then altered the story for publication, as they did with many of their tales — particularly in the later editions of the collection, aimed more and more at children. (The first edition had been geared toward scholars.) The Grimms begin their tale with a warning from the mother instructing Little Red-cap to stay on the path, which subtly shifts the emphasis of the story to the girl's disobedience. Whereas Perrault had warned girls to be modest and chaste lest they be gobbled up by the wolf, the Grimms warn them to mind the rules and stay on the straight and narrow. They also changed the ending, adding a hunter who comes to save the day. He cuts the wolf's belly open, and out steps Grandmother and Little Red-cap, as good as new. The wolf's belly is then filled with stones, which causes him to fall down dead. Just in case we don't get the point, there's a second ending appended to the Grimms' re-telling in which Little Red-cap encounters a second wolf, but this time she's a good little girl. She stays on the path and reaches her Grandmother's house in safety.
Little Red Riding Hood became popular with English language readers in the middle of the 19th century when the fairy tales of the Brothers Grimm took Victorian England by storm. The red cap then became a red cloak and hood like those worn by English country women, and it's in this guise that the heroine of the tale has been known to us ever since. Advances in printing methods led to the rise of the children's book industry, and Victorian editors-following in the footsteps of the Grimms-continued altering fairy tales to make them suitable for younger and younger children. Some publishers found even the Grimms' edited renditions of fairy tales too harsh, and soon there were versions of Little Red Riding Hood in which the huntsman comes to the rescue before the wolf pounces on the girl. "In England and America," notes folklore scholar Jack Zipes, "sweet, innocent, and helpless Little Red Riding Hood suffered through hybrid adventures. That is, the Perrault and Grimms versions were often mixed together, and, whether the plot was developed in verse, prose, theatrical scenes, or illustrations, there was a general tendency to make Little Red Riding Hood into a Victorian middle-class lass whose virtue is threatened because she forgets to control her sensual drives and disobeys her super-ego mother."
With a few exceptions, it was not until after World War I that writers began to examine the fairy tale anew-whereupon we begin to see it used in literary works that were not expressly aimed at younger readers, such as Charles Guyot'sThe Granddaughter of Little Red Riding Hood (1922), Milt Gross's Sturry from Rad Ridink Hoot (1926), and James Thurber's wonderful, wry tale The Girl and the Wolf (1939.) [For an in-depth look at early 20th century versions of the tale, see The Trials of Little Red Riding Hood by Jack Zipes.] By the end of the 20th century, the pendulum had fully swung, and fairy tales could be found once again on the shelves of adult literature. Echoing the fairy tale movement of 17th century France, the writers of the new contes des fees were largely (but not exclusively) women, using the stories to comment on life in the 20th/21st centuries. Two primary texts of the new movement were Transformations by Anne Sexton (1971) and The Bloody Chamber by Angela Carter (1979), both of which contained powerful re-workings of Little Red Riding Hood. In Transformations — a volume of seventeen poems based on the themes of Grimms' fairy tales — Sexton used Little Red Riding Hood to explore the subject of deception—the lies we tell and the lies we believe. In The Bloody Chamber, Carter's "The Company of Wolves" was a sensual fever-dream of a story that skillfully manipulated the themes, the symbols, the very language of Little Red Riding Hood. In "The Werewolf," in the same collection, Carter re-examined the fairy tale from a different angle, taking a more historical, less psychoanalytical approach in this dark rendition.
In the years since Sexton's and Carter's ground-breaking volumes, the field of fairy tale literature has become a lively one-but to seek out its treasures, readers must travel to many different parts of the bookstore. Due to the idiosyncrasies of the modern publishing industry, this type of literature is published under a variety of labels: mainstream fiction, fantasy fiction, historical fiction, horror fiction, feminist fiction, and young adult fiction. A number of novels and stories make use of the themes of Little Red Riding Hood, including the following:
Novels: Wolf by Gillian Cross (1990), winner of the 1991 Carnegie Medal, is a rich, engrossing novel set in contemporary London, involving wolves, IRA terrorism, and the complexities of family relationships. Little Red Riding Hood in the Red Light District by Manlio Argueta (1998) is another award winner, this one set on the streets of El Salvador. It's a brutal, haunting political novel with tenderness at its heart. Darkest Desire: The Wolf's Own Tale by Anthony Schmitz (1998), is a quirky little novel in which the wolf meets the Brothers Grimm and tells them his story.
Short Stories: "Wolfland" by Tanith Lee, first published in her fine story collection Red as Blood (1983), is a deliciously gothic tale set in 19th century Scandinavia. "I Shall Do Thee Mischief in the Woods" by Kathe Koja, from Snow White, Blood Red (1993), is a dark, sharp story that forces us to re-examine the roles of predator and prey. "Little Red" by Wendy Wheeler, from Snow White, Blood Red (1993), is a disturbing contemporary tale about wolves whose skin is on the inside, and the ways that young girls can be preyed on. "The Apprentice" by Miriam Grace Monfredo, from Ellery Queen's Mystery Magazine (November, 1993), mixes fantasy, mystery, and fairy tales in a poignant exploration of the subject of child abuse. "The Good Mother" by Patricia Galloway, from Truly Grim Tales (1995), reworks the fairy tale into a post-nuclear-disaster science fiction story. "Riding the Red" by Nalo Hopkinson, first published in Black Swan, White Raven(1997), is an extraordinary story about sex and female power, influenced — at least in the rhythm of the language — by the author's Caribbean background. "Wolf" by Francesca La Block, from her urban fairy tale collection The Rose and the Beast (2000), is another story using the fairy tale to explore the subject of childhood sexual abuse. "Little Red and the Big Bad" by Will Shetterly, from Swan Sister (2003), is a sly urban version of the story, street-wise and sassy.
There are also many good rewordings of Little Red Riding Hood over on the poetry shelves. Olga Brooms explores familial relationships between women in her "Little Red Riding Hood," from Beginning With O (1977). Roald Dahl's "Little Red Riding Hood and the Wolf," from Revolting Rhymes (1983), is a hilarious poem in which the wolf is no match for a little girl with gun. Gwen Strauss's disturbing poem "The Waiting Wolf," from Trail of Stones (1990), is one that should not be missed. "Waiting in this old lady's ruffled bed, I am all calculation," says the wolf as he justifies his behavior and awaits his tender prey. Alice Wirth Gray's "On a Nineteenth Century Color Lithograph of Red Riding Hood by the Artist J.H.," from What the Poor Eat (1993), turns the tale into a police report, examined from multiple points of view. "In a tupperware wood, mix child and hood. Stir slowly. Add wolf," begins "Journeybread Recipe" by Lawrence Schimel, from Black Thorn, White Rose (1994). "....Serve swaddled in a wolfskin throw, cradled in a basket and left on grandmother's doorstep." In the same volume, the narrator of "Silver and Gold" by Ellen Steiber is asked how it was that she could not manage to tell her grandmother from a wolf. Perhaps, her doctor suggests in the poem, she was actually living with wolves all along. The heroine of Carol Ann Duffy's "Little Red-Cap" knows precisely why she followed the wolf. "The wolf, I knew, would lead me deep into the woods, away from home, to a dark tangled thorny place it by the eyes of owls." The poem comes from Duffy's splendid collection The World's Wife (1999). In Lawrence Syndal's "Grandmother," from Conjunctions #31 (1999), the old woman muses on her time in the belly of the wolf: "I lay me down between his ribs and let each sighing lung massage the ache from these old bones." Sinking happily into the dreams of the wolf, she is not pleased to be rescued. Other Little Red Riding Hood poems can be found the following two excellent collections: The Poets' Grimm, edited by Jeanne Marie Beaumont and Claudia Carlson, and Disenchantments, edited by Wolfgang Mieder.
Dramatic adaptations of Little Red Riding Hood include Tex Avery's wickedly salacious cartoons: Little Red Walking Hood (1937), Red Hot Riding Hood (1945), and Little Rural Riding Hood (1949), as well as Disney's first animated short,Little Red Riding Hood (1922). Shelley Duvall's Faerie Tale Theatre: Little Red Riding Hood (1983) starred Malcolm McDowell as the Big Bad Wolf and Mary Steenburger as the heroine. Angela Carter's story "The Company of Wolves" became a wonderfully evocative film of the same title, directed by Neil Jordan in 1984. Carter wrote the screenplay with Jordan, and is reputed to have disliked the end. (In the film, a dreaming young girl is awakened when a pack of wolves bursts into her home. In the story, the heroine tames her wolf lover and sleeps safely in his arms.) Cannon Movie Tales: Little Red Riding Hood (1987), a rendition set sometime during the Middle Ages, tells the story of the daughter of a village lord, her evil uncle, and an enchanted wolf. Freeway (1986) is a rather dreadful film that turns the story into a contemporary serial killer flick. Rees Witherspoon plays the heroine, and Kiefer Sutherland plays the urban wolf. Far more worth seeing is Little Red Riding Hood, a short film directed by David Kaplan (1997) — a surprising and sensual version of the story that's definitely not for children.
If you are looking for good versions of the tale adapted for children, I recommend these three picture books: Little Red Riding Hood, illustrated by Trina Schart Hyman (1988);Little Red Cap, illustrated by Lizbeth Zwerger (1995); andLittle Red Ridinghood: A Classic Collectible Pop-up Book, illustrated by Marjorie Priceman (2001).
If you'd like to know more about the history of Little Red Riding Hood, there are quite a few good books to chose from. For an introduction to the tale, including a primer on fairy tale history, I recommend Little Red Riding Hood Uncloaked: Sex, Morality, and the Evolution of a Fairy Tale by Catherine Orenstein (2002). It's a lively, entertaining book, written for casual readers rather than folklore scholars. Jack Zipes presents numerous versions of the tale from Charles Perrault's to Angela Carter's, along with an excellent essay on the subject, in his useful book The Trials and Tribulations of Little Red Riding Hood (Second Edition, 1993). In Little Red Riding Hood: A Casebook (1989), Alan Dundes presents critical writings on the tale from a wide range of folklorists, including Wolfam Eberhard's essay on Asian variants, "The Story of Grandaunt Tiger". For a general history of fairy tales, including Little Red Riding Hood, try From the Beast to the Blonde by Marina Warner, Twice Upon a Time by Elizabeth Wanning Harries, and Touch Magic by Jane Yolen. Recommended articles: "Little Red Riding Hood in the Oral Tradition" by Yvonne Verdier, Marvels & Tales: Journal of Fairy-tale Studies, Vol. 11, Numbers I-2 (1997); "Red Riding Hood: An Interpretation from Anthropology" by Mary Douglas, Folklore, #106 (1995); and (for fun)"Little Red Riding Hood Revisited" by Russell Baker, The New York Times Magazine (January 13, 1980).
The characters in familiar fairy tales have a way of sinking deep into our psyches. Charles Dickens claimed Little Red Riding Hood as his first love, and felt that if only he could have married her, he would have known perfect bliss. Yet Little Red Riding Hood was changed through the years, diminished, punished, literally gobbled up. By knowing and retelling older versions of her story, and by re-imagining her in fiction and poetry today, we reclaim the spirit of girls everywhere who can face down the wolves in their lives, and outwit them.
Endnotes* GreatAunt Tiger, a story found in various forms in China, Japan, and Korea, is clearly related to Little Red Riding Hood. Heinz Insu Fenkl will explore the Asian version of the story in a future Folkroots column, so for now we'll limit ourselves to the Western history of the tale. return to text
** Translated by Marina Warner, From the Beast to the Blonde, pgs. 182-183. return to text
collected from wikipedia, books, and other free stories from internet: Saga
Satu tekee selväksi eroavaisuuden turvallisen kylämaailman ja metsän vaarojen välillä keskiaikaisessa maailmassa, vaikka kirjoitetut versiot liikkuvatkin tätä käsitettä modernimmassa ympäristössä. Tarinan perusajatus on osoittaa ja varoittaa, kuinka rikoksen uhri houkutellaan ja eristetään kauas tutusta ympäristöstä, pois valvovan silmän alta, ja miten rikollinen mieli vahingoittaa ja hallitsee täydellisesti viatonta uhria.
Vastaavat teemat
Tarina suden vatsasta pelastetusta uhrista vastaa pitkälti myös venäläistä Pekka ja Susi-tarinaa, sekä erästä Grimmin kertomusta, Seitsemän pientä kiliä, mutta on teemaltaan vähintään yhtä vanha kuin Joona ja valas. Sama tapahtuma käydään läpi myös Pyhän Margaretin elämässä, jossa hänet pelastetaan lohikäärmeen vatsasta, sekä Jim C. Hinesin Punainen polku-tarinassa.


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Faced with a slow Saturday night, an NYU studio art major decided to craft an origami-like Valentine to his favorite newspaper -- amNewYork.
Using about four copies of the weekend amNewYork paper, which serendipitously featured a rendering of Edvard Munch's famous painting, "The Scream," on its cover, Christopher Minafo created a tiered ballgown with futuristic angles that referenced the poufy, bustle-y frocks of the 1880s.
"You're a strong paper!" enthused Minafo, 19, noting that once he crafted straps "it held the whole thing up ... I was very surprised by how much it can hold." Blue painter's tape helped to serve as seams in some places.
There was never any doubt about which paper the Stuyvesant Town resident would use for his wearable sculpture: "I love that you guys are always current and not just about politics. You have things for young people like the Grammys -- and you're always around." Too, he conceded that free is his favorite price and we qualify as "a clean medium," which left little ink behind on his fingers. The paper is also "a good size," he said.
Minafo created the gown directly on the body of his friend, Seton Hall student Erin Burke, 19. "I had to cut her out of it," trying to keep his creation "in the best shape I could," Minafo recounted.
Minafo, who is partial to creating "realistic style paintings" (you can see more of his work on Instagram at @thephotorealist) said he read amNewYork online and in print. "You lose reception down there," he said of the subways, but the print edition is a permanent thing of beauty.

subset: commoncrawl


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Aquapac Whanganui Case - Small for Mobile Phones
This product is no longer available or has been replaced by a newer model.
The Aquapac Whanganui Case turns your existing phone into a waterproof phone. Everything works normally through the case including cameras and capacitive touch-screens and you can talk and hear without a problem, allowing you to keep safe and in touch whatever the elements may throw at you. More
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- The Whanganui River is a major river in the North Island of New Zealand.
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Product Specification
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|150 x 200 mm


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Wednesday, September 2, 2009
Columbia Heights Day recap
The rain stayed away and a pretty big crowd came to Columbia Heights Day. I got there about 1 pm and saw lots of folks hula hooping, kids playing games, and lots of folks I knew, both from the neighborhood and from farther afield.
It was a good time. There was a yoga demonstration early, some booths (MPD, DC GOP, etc), lots of fun for kids (see this awesome photo), and a lot of varied bands, from reggae (locals Lucky Dub) to samba (Clube do Samba) to hard rock (Imperial China). The petting zoo is always a popular spot, with a camel, sheep, ducks, geese, and rabbits, and there was also a pet show and the cupcake eating contest. Unfortunately this year's contest didn't feature Jim Graham as emcee (he's on vacation) or other political types as eaters.
There was also a food tent, but unfortunately most of it was gone when I went there. I hear there were Scotch eggs from CommonWealth and pupusas, but I missed them. There were also some local artisan types, like t-shirt guys and others.
As for constructive criticism -- food was a big one, I would have liked there to be vendors and/or more free food. Of course, there were lots of deals in area restaurants, but sometimes you just want to eat while walking around. I also could have gone for more booths of craftspeople and organizations and such, it was kind of quick to see everything. But all in all, a good time in the neighborhood.
Did you go? What did you think?
Above photos by me. Lots more photos from me and reader Ken here.
3 comments:
- Mike said...
There definitely needs to be more vendors there in future years. If you're an adult, after you grab some food and listen to music for a bit, you've run out of things to do (at least kids had the bounce houses). It shouldn't be that difficult to get some of the vendors who are out at Adams Morgan day and/or Eastern Market on Sundays to set up shop. If there were there this would be a way bigger draw.
- September 2, 2009 at 12:10 PM
- Alex said...
There needs to be more opportunities to get water. Especially on a hot day.
- September 2, 2009 at 9:21 PM
- Jamie said...
I was on the planning committee. The food & water criticisms are noted - we began with about 500 bottles of water which were gone within a couple hours. We went out to get more whenever it ran out but it was hard to keep up.
For food, we easily gave away twice as much free food this year as last year, and had representations from several neighborhood restaurants of which we had only one last year.
However we really do want to keep this a neighborhood festival. And that means we want the food vendors to be people who represent neighborhood businesses. We're not going for a street festival/adams morgan day thing where it's just cart after cart of food vendors who have nothing to do with the neighborhood. So I doubt you will ever see dozens of pushcart vendors, but I think after this year's success it will be easier to get more of the local restaurants to be there in the future.
It's hard to know how big a crowd to expect and we got a much bigger crowd this year than last year, so it was a learning experience.
- September 3, 2009 at 8:46 AM


text: The contacts, I did a google sync on so thats fine and good to go. I got three things I'm not sure are possible to move over from my oldblackberry 8900, but I would really appreciate some advice on these. 1. NOTES. I know you can do this using outlook but since I dont have a outlook setup, any other way? 2. PASSWORD KEEPER. 3. CALENDER NOTES. I did sync my calender from my BB to my gmail account and then I synced it with the new captivate but it didnt seem to move over any small notes I have kept on my BB. For example, things like birthdays. I always noted those in my calender but those didnt get moved over. Let me know your thoughts please thanks much


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Dear Santa Trailer (1983)
01 December 1983 4 mins
A mischievous young boy realizes as christmas approaches that he can't make good his promises to Santa. He will try a new route to Santa - ransom!
Watch the official Dear Santa 1983 trailer in HD below or find more Dear Santa videos on Vidimovie.


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Yeah, that's what struck me. Due largely to improvements in agriculture created by evil agribusiness, and to India moving away from its socialist tradition.
IOW, if liberals had their way, India would still be starving.
Dream on. I remember being in the Seychelles in thw early 70s and seeing ships arriving with grain from India at a time when we were sending them massive food aid.
Indians were exploiting the situation by selling their production at a big profit.


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Alternative Title: Loya Jirgah
Learn about this topic in these articles:
administration of Afghanistan
...separation of executive, legislative, and judicial authorities. A military coup in 1973 overthrew the monarchy, abolished the constitution of 1964, and established the Republic of Afghanistan. The Grand Assembly (Loya Jirga) adopted a new constitution in February 1977, but it was abrogated in 1978 when another coup established the Democratic Republic of Afghanistan, governed by the Afghan...


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Shawn Regan
Thu, 07/27/2017
All is not well on America's public lands.
Shawn Regan
Wed, 12/14/2016
This special issue of PERC Reports explores how markets can help us adapt to climate change now and in the future.
Esteban Rossi-Hansberg, Klaus Desmet
Wed, 12/14/2016
How free trade and free migration can help us adapt to climate change.
Shawn Regan
Mon, 07/27/2015
As the National Park Service turns 100, creative solutions and responsible policies are needed. This issue of PERC Reports is devoted to exploring some of those ideas.
Frank Wolak
Mon, 12/08/2014
Q&A with 2014 Lone Mountain Fellow Frank Wolak.
Shawn Regan
Mon, 12/08/2014
This special issue of PERC Reports is dedicated to PERC's Lone Mountain Fellows. In our cover story, Michael 't Sas-Rolfes explores the war on wildlife trade and offers insights from his recent research at PERC.
Brent Fewell
Wed, 05/14/2014
Q&A with PERC's new executive director Reed Watson.
Laura Huggins
Tue, 05/13/2014
En·vi·ro·pre·neur: difficult to pronounce but easy to conceptualize.
Laura Huggins
Thu, 12/05/2013
Understanding the relationship between economic development, assimilation, and tribal culture is challenging. This issue begins to explore some of the connections.
Laura Huggins
Thu, 02/07/2013
The connection between the fields of economics and ecology


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How To Spot A $1 Million Idea
09/10/2015 7:46 PM AEDT | Updated 15/07/2016 12:51 PM AEST
Julian Holman CEO and founder of oversixty.com.au
A couple of years ago at Christmas my mum - who is over 60 - and I were enjoying a glass of wine and having a conversation about Facebook. Newly joined, she had 25 friends. As I explained the various features on Facebook - one of which was starting a group - she struggled with the idea that we could start a group that would allow people her age to share photos, stories and opinions - and that it would garner a following. In a bid to convince her, I bet her that within two weeks I could build an "over-60" group with 10,000 like-minded people. Fast-forward two years and Over60 now has over 250,000 Facebook followers, is one of the top 10 Facebook lifestyle communities in Australia and has grown to include a website, Instagram, Twitter and Pinterest accounts. Needless to say I won the bet.
One of the keys to making a success of something is being able to use real-life experiences - problems you, or the people you know, have faced. If it has happened to you, it's likely that it has happened to millions more.
With Over60, before it all began at the end of 2013, the senior demographic in Australia largely felt despondent by companies that either a) didn't cater to them at all online, or b) assumed that all over-60s are the same whether they are 60 or 85. This state of affairs was surprising considering Australia is an ageing population and over-60 is the fastest growing demographic online and on Facebook.
Like all sustainable ventures, however, there needs to be commerciality to an idea and, I won't lie, that was a major driver to this project. As the business kicked off, so too did the power of the site as a vehicle to influence what it means to be a senior, create change around what retirement looks like today and advocate for that part of the community, in an ageing population.
Readers come to the website to find out how they are affected by news/trends/government changes and so on. We deliver useful information each day to help readers make informed decisions, get the most out of life and experience things that have been tailored specifically to this age group. But most importantly, the site is a place where the community can navigate this stage in life with like-minded people while having fun along the way and remembering the good old days.
My journey as an "entrepreneur/businessman" didn't begin here, though. In my early 20s I was working in sales when one day it dawned on me that I was making other people successful. I quickly knew I wanted to see the upside. In 2000 I was part of the early team at Soulmates Technology - a white label internet dating company that went on to partner with Microsoft, was eventually acquired by Interactive Corp and later became the international platform for Match.com.
Along with the guys I worked with at Soulmates, we formed 3H Group, a global partner of MSN Messenger where we created Meegos - an animated avatar display window with 50 million users. Then there was another dating site, Oasis.com - now Australia's largest online dating site that was recently acquired by Fairfax.
The group-buying phenomenon took hold, which is when I co-founded OurDeal. Today OurDeal is still one of Australia's leading group buying businesses, which I sold to News Corp and Channel 10 and was recently acquired by Groupon.
In order to make a success of something, you can't be afraid to challenge what has come before. Disruption is key to making it to the top. When I look around at the many successful entrepreneurs out there, the common theme is passion, a real want to succeed and the drive to make things better.
Top tips for spotting a million-dollar idea:
For more expert entrepreneurial tips and insights, the latest news on technology and business trends, and all the news about The Venture competition head to theventure.com
Get top stories and blog posts emailed to me each day. Newsletters may offer personalized content or advertisements. Learn more


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Please: Stop boring your friends with your expansive knowledge of Napa Cab's jamminess, and stow your expert Pinot recommendations for just a second.
Thai chef Kasem "Pop" Saengsawang owns several solid restaurants in San Francisco, including the breakfast-centric Sweet Maple and the Asian fusion spot Kitchen Story, but his newest project Farmhouse Kitchen is the one to miss at your peril.
Archives |
Tags: recipes, Image


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Former foreign minister Maxime Verhagen wanted the secret service to spy on Freedom Party leader Geert Wilders to find out more about his anti-Qur'an film , says television broadcaster Human in a reconstruction to be aired on Monday.
Mr Verhagen is currently the minister of economic affairs and deputy prime minister in the cabinet of conservative Prime Minister Mark Rutte. As foreign minister under Christian Democrat Prime Minister Jan Peter Balkenende, Mr Verhagen wanted to find out when the short film would be released and what images would be shown in it.
The Balkenende government was extremely concerned about the response the film would elicit, in particular in Muslim countries and among Muslim communities. Interior Minister Guusje ter Horst, the programme claims, refused to honour Mr Verhagen's request because she objected to the service spying on an MP.
The makers of the programme say their reconstruction is based on statements made by two former cabinet ministers who wish to remain anonymous. They also say Mr Verhagen suggested banning the film as a precaution and proposed having the Public Prosecutors Office study the legal feasibility of a ban.
© Radio Netherlands Worldwide


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|Article Index
|About Us
|WHGA Sponsors and Partners
|All Pages
Executive Summary
West Harlem Group Assistance, Inc. (WHGA), a community based development corporation, was established more than 45 years ago to revitalize the under-invested West and Central Harlem communities - riddled with dilapidated and abandoned buildings. Ironically, WHGA's primary function has become to quell the negative impact of such rapid gentrification on our low to moderate income constituency as Harlem, over the past several years, is experiencing an influx of new businesses and investments.
It is also ironic that WHGA has played a major role in this era of Harlem's prosperity often referred to as the "Second Harlem Renaissance". In the 70s and 80s our tenant organizing operation prevented numerous arson attempts by gluttonous slum landlords seeking insurance payoffs. In the late 80's WHGA began re-building entire blocks which lay so vacant and destitute that even New York's poorest were only remotely interested in living there.
As the new millennium approached significant community and city based reconstruction had taken place. The once infamously barren communities of Harlem were becoming increasingly attractive to the for- profit sector. -There was the potential to generate revenue in a rapidly growing neighborhood where land was still relatively inexpensive - compared to neighboring communities on the southern border, known as the Upper West side.
Today Harlem boasts a real estate market beyond comprehension. Renovated historic brownstones, former havens for drug dealers and prostitutes, now carry a minimum asking price of $1.2 million dollars. Two bedroom cooperatives and condominiums average $500 per square foot.
Very few of Harlem's long term residents have the capacity to negotiate in this highly competitive real estate market. Yet WHGA operates on the premise that ownership, in the face of increased marginalization, is the best insurance against displacement. WHGA's three- year strategic plan, therefore is guided by an ambitious asset building initiative which includes home ownership, enterprise, and education programs which target households earning less than 80% of area median income.
For the segment of the population that do not have the capacity for asset building, there is WHGA's affordable housing development and preservation agenda that will continue to be a major component of our overall all strategy.
For more information about our programs and services see links below or contact us:
West Harlem Group Assistance, Inc.
1652 Amsterdam Avenue
New York, NY 10031
ph: (212) 862 - 1399
History of WHGA and Community Development in NYC - A 40-Year Retrospective (pdf)
Organizational Documents
WHGA Organizational Chart (pdf)
WHGA Application for Appointment to the Board (pdf)
WHGA Employment Application (pdf)
WHGA Apartment Application (pdf)
Board of Directors
Genevieve Outlaw, Chair
Ann Dozier, Vice Chair
Diane Ince, Treasurer
Courtney Bennett, Board Member
Lenore Brown, Esq., Board Member
Ilena DeLaRosa, Esq., Board Member
Executive and Management Staff
Donald C. Notice, Executive Director
June Andrews- Henderson, Chief Operating Officer
Grace Matthews, Director of Human Resources
Gillian Andrews, Director of Contract Compliance
Partners and Sponsors
Corporate Sponsors
American Express
Capital One
HSBC Bank, USA
J.P. Morgan Chase
Government Partners
New York City Housing Preservation and Development
New York State Housing and Community Renewal
U.S. Department of Housing and Urban Development
New York City Office of Health and Mental Hygiene
New York City Department of Homeless Services
Neighborhood-Based and Non- Profit Partners
NYC Local Initiative Support Corporation
Colin Powell Center for Policy Studies at the City College of New York
New York Women's Chamber of Commerce
West Harlem Community Preservation Organization
Community Impact at Columbia University


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WARM SPRINGS, Ga. — Georgia state parks officials say President Franklin D. Roosevelt will be honored in Georgia on the anniversary of his death.
An annual ceremony is set for April 12 at Roosevelt's Little White House State Historic Site in Warm Springs. This year will mark 69 years since Roosevelt died at the Little White House.
Brian Roslund, president of the nonprofit Friends of FDR's Little White House, says Nina Roosevelt Gibson, the president's granddaughter, will serve as keynote speaker at the event.
Admission to the site will be free until noon for the event. The site is operated by the Georgia Department of Natural Resources.
Warm Springs is about 40 miles northeast of Columbus.


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Is your Birthday the same as one of your favorite NFL Player?
Perhaps you guys have the same name? This is the power of NUMEROLOGY!
So What Can Numerology Do For You?
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Determine your Life Path Number and Destiny Number , your Lucky Number, and other crucial numbers in your life.
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Dak Prescott Born July 29 1993 in Sulphur Louisiana
Dak Prescott Zodiac Sign Leo. Dak Prescott Life Path Number 4
See Also
Kirk Cousins Born August 19 1988 in Barrington Illinois
Is your Birthday the same as one of your favoriteRead More >>
Tom Brady Born August 3 1977 in San Mateo California
Is your Birthday the same as one of your favoriteRead More >>


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Would you like to save as your currency permanently or for this visit only?
Situated near Dayan Town the Nanxuan Hotel (Nanxuan Huiguan Jingpin Kezhan) is a 20-minute drive from East Lijiang Railway Station. The hotel offers parking on-site and free Wi-Fi access in public areas. Guests can enjoy Chinese cuisine at the on-site restaurant. Business travelers can host meetings and events in the hotel's on-site business center. During your leisure time you can enjoy a massage relax in the spa play golf have a barbecue or go fishing.


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About NPHS
Spanning over its 24 years of service, Neighborhood Partnership Housing Services (NPHS) has become one of the most respected and innovative nonprofit housing organizations in the Inland Empire. Established in 1991 as a grassroots neighborhood organization, NPHS has grown into a multi-faceted community development corporation a providing comprehensive Redevelopment, Lending, Real Estate and Community Wealth Building services to a diverse range of stakeholders including residents, local governments, private sector businesses and other nonprofit organizations. As a community development organization, NPHS is committed to developing and managing affordable housing and strives to create developments that contribute positively to communities in San Bernardino, Riverside and Eastern Los Angeles Counties.
Position Overview:
As a member of the development team, the Project Manager performs all tasks associated with the acquisition, construction and/or rehabilitation of affordable housing developments throughout San Bernardino, Riverside County and East Los Angeles Counties. Project Manager. The Project Manager implements the day-to-day progression of all aspects of the development process, including due diligence, entitlements, regulatory approvals, financing, design, construction, and leasing while delivering quality projects on schedule and within budget. The Project Manager is expected to manage multiple real estate development projects at one time, in various stages of development. This work is performed under the direction of the Redevelopment Director.
Implements the day-to-day progression of all aspects of the development process, including due diligence, entitlements, regulatory approvals, financing, design and construction delivering construction projects on schedule and within budget;
Prepares financial and economic feasibility analysis for new development projects and creates and maintains financial models, projections, and schedules;
Coordinates with Redevelopment Director on design, engineering, estimating and bidding;
Prepares and submit applications for funding to federal, state, local and private funding sources;
Prepare project time line and monitor adherence to schedule, track & report project issues;
Engage and provide on-going coordination between architects, contractors, attorneys, and other members of the development team, coordinate the design/entitlement/permitting process with project team members;
Provide on-going coordination with property and asset management staff within the organization to incorporate management input into the design, operating budgets, process and track development expenses with Redevelopment Director;
Project determination (financial structure, funding commitments, cost estimates, establishment of project pro forma, due diligence);
Perform all types of administrative tasks/duties and other related activities as required including project cost accounting and interface with auditors as necessary, drafting site inspections, change order evaluation; assist with preparation of monthly draw requests and oversight of construction contracts;
Assist with the identification and negotiation of land, existing buildings or other development opportunities;
Project design (architect selection & management, plans & specs, set-up of requisition system);
Responsibility for preparing RFQ/RFP procurement documents;
Show the ability to thoroughly convey NPHS' ideas to potential clients;
Manages all other department projects related to neighborhood revitalization, stabilization and various other redevelopments projects;
Other responsibilities as assigned to support specific department business needs.
Knowledge, Skills and Abilities:
Strong financial and analytical skills required, with a passion for real estate development;
Handle multiple projects through the consistent completion of tasks with established deadlines;
Work with other staff on critical path identification, risk analysis, and proactive communication with Development leadership and corporate support functions;
Must possess strong verbal and written communication skills and must possess advanced knowledge of Microsoft Office, Excel, and Project; Adobe skills preferred;
Knowledge of AutoCAD a plus.
Work Experience Required:
Three to five years of direct real estate development and project management experience;
Prior experience with affordable housing finance and working with government funding and government housing agencies.
Physical Requirements:
Driving to and attending off-site meetings including construction sites where physical barriers are present;
Extensive use of computers and telephone;
Sitting at desk for extended periods of time;
The ability to lift/move/carry up to and including 50 pounds.
Minimum Educational Level:
B.A. in business administration with emphasis or concentration in finance, real estate or related field.
Benefits and Compensation:
NPHS offers a competitive salary and benefits package that includes paid vacation and sick time as well as medical, dental, and retirement programs.
NPHS is an Equal Employment and Affirmative Action Employer F/M/Disability/Vet.
How to apply
To apply please email resume and cover letter to:
Attn: Trevor Miles, Human Resources Neighborhood Partnership Housing Services 9551 Pittsburgh Avenue Rancho Cucamonga, CA 91730 Email: email@example.com
If you have any questions, please call Trevor Miles at (909) 988-5834. For more information on NPHS, please visit www.nphsinc.org.
NPHS is an equal opportunity employer.


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The National Mississippi River Museum and Aquarium is located within the Port of Dubuque and is actually the area's most important attraction. It aims to take visitors on a journey along the Mississippi River through dynamic aquariums, wetlands, a boatyard, and historical exhibits. During your trip, you can pilot a barge, tour William M. Black, a famous steamboat on the National Historic Register, and even get close to live critters. Take a walk along the Woodward Nature Wetland Trail and stop by the Pfohl Family Boatyard during your trip. Admission is $15, with discounts for children and seniors.
As one of the most commonly photographed places in the state, it is no surprise that Pikes Peak State Park is a top Iowa attraction. During your trip, climb the bluff 500 feet to get breathtaking views of where the Mississippi and Wisconsin Rivers meet. There is a half-mile boardwalk that will take you to the Bridal Veil Falls, well worth several minutes of observation. You can also walk through the park along the 11.5 miles of hiking trails or spend the night camping at the campground.
Okoboji is a larger area of Iowa and filled with too many attractions to count. The biggest attraction in this zone are its glacier-carved lakes that cross the Minnesota border and travel southwest of it, covering around 15,000 acres. Water sports are the main activity in Okoboji and you can do anything from boating to fishing to parasailing to kayaking. There are also multiple golf courses, an amusement park, over 20 miles of trails, picnics, camping, museums, live music, antique shopping, and more. Give yourself at least a few days in Okoboji to experience all it has to offer.
The Field of Dreams is the actual baseball field and farm that appeared in the 1989 movie of the same name. While this particular attraction is particularly popular among those who love the movie, it has been attracting thousands of visitors for over 25 years. The farm dates back to 1906 and when you visit, you will see feed corn planted all around the field. If you take a closer look, you will notice that a nearby family actually plants their corn carefully - they make sure that every row faces the outfield so visitors can get the best view possible.
Many people consider the Grotto of Redemption to be the "Eighth Wonder of the World" and in 2001 this "miracle in stone" was added to the National Register of Historic Places. The Grotto is made up of nine different grottos which portray different scenes in Christ's life. It is also the largest of all man-made Grottos in the world and has the most gems and precious stones to be found in one location. Admission is $8 per adult and $5 per child and you can also stay at the on-site campground if you prefer to get the most out of your visit to this attraction.


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I have power and I'm not corrupted at all. Now, go get me a pizza you little twit!!!
I have a specific ringtone for everyone of my contacts. Usually I answer quickly, unless I'm not in the mood to talk. I also have a generic tone set for calls not coming from my contact list. I check and see if it's the pharmacy or dr's office. If it isn't them I ignore the … Read more
It depends on how far I am from the phone and who is on the caller ID. And my landline only rings 3 time before it goes to voice mail.


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Rear passengers will be able to stretch out a lot more in the Audi Q7 than in the Volkswagen Touareg. The Volkswagen Touareg offers just a little more front head- and legroom than the Audi Q7, offering the driver and front passenger a bit more room and comfort.
You'll be making about the same number of stops at the gas station with the Audi Q7 as you will with the Volkswagen Touareg, as they are both able to travel similar distances on a tank of gas.
There are a lot of factors to consider when calculating the overall cost of a vehicle. The main consideration is Manufacturer's Suggested Retail Price (MSRP). When looking only at MSRP, the Audi Q7 will have less of an impact on your bank account than the Volkswagen Touareg. Another consideration is the Destination Charge, which is a standard charge for transporting the vehicle to the dealer from where it's built. The Audi Q7 will cost more in terms of transportation costs than the Volkswagen Touareg.
The Audi Q7 is a little wider than the Volkswagen Touareg, so getting in and out of the car in a crowded parking lot may be a little more of a squeeze. If you go with the Audi Q7, you may be circling the block looking for a space large enough to park more often than with the Volkswagen Touareg.
With similar torque, the Audi Q7 and the Volkswagen Touareg are about even in transmitting their respective horsepower to the wheels.
The Audi Q7 has a larger turning radius than the Volkswagen Touareg, making it slightly more difficult to maneuver in and out of tight spots.
In terms of towing capacity, the Volkswagen Touareg is clearly the choice over the Audi Q7 for pulling heavy loads. The Audi Q7 has a little less horsepower than the Volkswagen Touareg.
The Audi Q7 offers greater seating capacity than the Volkswagen Touareg, making it a better choice for those who find themselves chauffeuring others around. The Audi Q7 has a roomier cargo area for putting your bags or other items than the Volkswagen Touareg.
You'll have greater peace of mind with the more generous basic warranty of the Audi Q7 than that of the Volkswagen Touareg.
Compare the 2018 Audi Q7 and the 2017 Volkswagen Touareg.
2018 Audi
2017 Volkswagen
|Cash Back Rebate:
|Visit Rebate Center
|Visit Rebate Center
|Low APR Loan:
|Lease Incentive:
|City MPG:
|Highway MPG:
|Inline-4, V-6
|Seating Capacity:
|Basic Warranty:
|4 years/50,000 miles
|3 years/36,000 miles
|$46,408 - $52,452
|$47,070 - $57,247
Days on Lot measures the average number of days a model sits on a dealer's lot before it's sold. This is one predictor of a dealer's willingness to negotiate.
Monthly Trend for:
2018 Audi Q7
No Data
Monthly Trend for:
2017 Volkswagen Touareg
No Data
*MSRP and Invoice prices displayed are for educational purposes only, do not reflect the actual selling price of a particular vehicle, and do not include applicable gas taxes or destination charges.


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Heading for the Mall? Why Not Try Third Ave.?
Published: August 13, 1995
(Page 3 of 3)
Of course, not all chains are responding to Third Avenue's siren call. Jerome Chazen, chairman of Liz Claiborne, says brokers keep dangling Third Avenue spaces before him, but he is not biting. "We have our hands full with our new flagship store," he said, referring to the store that Liz Claiborne is opening at Fifth Avenue and 52d Street this Thursday. "Fifth Avenue provides more of the international presence, the image that we want," he said.
Conversely, not all Third Avenue buildings are being inundated with would-be tenants. There's a lot of vacant retail space on the block from 64th to 65th, on Third Avenue's west side, in part because the building's construction is such that the stores do not have a lot of window space. And Food Emporium, which wants to rent out part of the ground floor space it owns in Trump Palace, at 1175 Third at 68th Street, is having trouble finding a tenant willing to pay the $125 a square foot it is asking.
Nor has the chain-store invasion meant uniformly good news for the neighborhood. It has grown harder to find places to get shoes fixed or clothes cleaned, to get any of the services that are part of mundane living.
"The high rents have forced out the individual merchants that provide the personal services or the unique products," said Mrs. Wekselbaum of Gracious Home. "The big chains have brought a sameness to the neighborhood. A Gap here, a Gap in Paris, it's the same clothes, nothing is tailored to the neighborhood."
Nonetheless, no amount of nostalgia is likely to keep the chain-store juggernaut from rolling up Third. In fact, there is a good chance that the malling of Third Avenue willpush even further north, as space runs out on the lower stretch.
For now, there are not enough new buildings north of 74th Street to accommodate many national chains. But many of the older buildings on Third Avenue from 74th Street through, say, 90th Street, are ripe for assembly. And the neighborhood demographics remain delicious for retailers.
"Remember, all of the young professionals are taking the 86th Street subway to Wall Street and midtown," said Ms. Ploeger of the Chamber of Commerce.
Still, for now south of 74th Street remains the more profitable venue. Cosmetics Plus, which has had a store at 70th and Third for seven years, opened one on 79th less than two years ago. "The demographics are pretty much the same, but 70th Street is still the better store," said Mr. Bartosh. "On 70th Street, we were successful from the first day we opened up."
WHETHER the push north gathers speed may hinge on what happens with Toys 'R' Us. The national toy retailer is battling for the right to build a 38,000-square-foot store at 80th Street, where an old warehouse now stands, and above which developer Ian Bruce Eichner is building a condominium. The Board of Standards and Appeals recently turned down the retailer's request for a zoning variance, citing neighborhood worries about traffic and late-night noise from loading docks.
Toys 'R' Us is appealing the decision, and a trial date has been set for Sept. 20. According to Michael P. Miller, a Toys 'R' Us senior vice president, if the judge rules against the store, Toys 'R' Us might build a scaled down 22,700-square-foot store, which the retailer says would be allowed as of right.
"This is a market we are not serving, and its demographics make it a market where we want to be," Mr. Miller said.
If Toys 'R' Us does win its case, it may prove the same magnet to other reatil chains as the Gap did 14 blocks south. "If Toys 'R' Us goes ahead," Mr. Bartosh said, "the Third Avenue retail corridor will definitely be extended upward."
Photos: Banana Republic, at 66th Street, is one of many chain stores on Third Avenue.,; Gracious Home, left, occupies more than a full block, and is looking for more space.; Talbots opened in April in a landmarked former bank branch at 72d Street. (pg. 1); The Gap helped inaugurate the area for national chains when it opened at Third Avenue and 66th Street in 1990. Other mall retailers soon followed. (pg. 8) (Photographs Fred R. Conrad/The New York Times)


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£989 For a titanium folder, maybe.
"FUBi is the worlds most compact, full-sized foldable bicycle that at the same time retains all the functionality and styling of standard full-sized bicycles! Our patented collapsible frame is the smallest in the world."
Seen this on another thread. Seems to make a lot of sense. If taking 4 bikes in the car this looks easy compaired to, say, 4 birdies,or airamals.
You can't really put it in a sports locker as shown, as you would proberly want to use the wheels in addition to the frame!!.
Same restrictive problem with sticking with 700c sized wheels. A 20" version could be really interesting imo.
1 Attachment(s)
I am not sure if this is really about bikes anyway.
The video froze here first time I watched it.
Looks suspicious like a espionage cold war movie scene................
Very interesting. I agree that having a version with 20" wheels would make sense, too
Do they wheels fold? How do they go into the bag?
Srsly,how can they say it's "the world's most compact, full-sized foldable bicycle" and pretend like the wheels just vanish.
Although maybe they're using Transformers technology. Didn't Optimus Prime's trailer magically disappear in the cartoon when he transformed?
20" wheels would be a nice option for exactly that reason.
It will be interesting to see what comes of this.
Could be the platform for folding bike wheels..
Unless they manage to include the mentioned folding wheel, they good ask me to trade my Brompton for 2 of those that I would say no. Not good for traveling, it seems that the assembling/disassembling is not a "few seconds" procedure and, lastly, 700c are quite big as key rings or any other acceptable accessory.
One technical aspect about the bike is the finish. The wheel set are pure glossed over finish!!
From another site, the wheels are interchangeable, front to back, and made so that they can lay flat together, with little hub protruding from the center. Note the pic of the folded bikes, where the cassette is still attached to the rest of the bike where the wheels have been made invisible.
It would make a great full-size travel bike... except it doesn't look like total packed dimension would be much different than a conventional separable bike. That design as a mini-velo w/ 20" wheels would more pique my interest...
I'm not disagreeing with you, but it's something of an apples to oranges comparison. Brompton bikes are very good folding bikes; this one is a packable bike.
Regardless of whether or not it makes sense, there is a largely held belief that 20" wheels (or smaller) don't work well. While in most cases, it isn't true, it doesn't change the fact that I think a lot of people who dismiss a Brompton out of hand as a touring bike might find this option a lot more interesting.
I'd love to try a FUBI. It looks promising. Wonder when they will be across the pond?
Who knew that bike theft was such a problem in Stockholm?
The separate-able frame looks pretty good actually, but to get people on board he will have to re-invent the wheel.
It looks interesting, but am not sure what advantage this has over something like a Bike Friday, which is also a packable bike, but one you can customize in any way you want. To travel with this, you end up with two pieces of luggage -- a frame and your wheels, which definitely won't fit into the overhead bin on an airplane. When I travel with the Friday it's a single (heavy) piece of luggage, and it's pretty well protected against the vagaries of airport baggage handlers.
And of course the Friday is standard parts, more or less. If my derailleur breaks, I swap it out, same with the brakes etc etc. I suspect that's not the case here.
As for the idea of being embarrassed to ride with small wheels? Pfut.
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