tag:blogger.com,1999:blog-47711956773580001282024-03-05T12:17:59.087-05:00Sharing Guy's JourneyThoughts, comments, observations, reactions, enthusiasmsGuy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.comBlogger248125tag:blogger.com,1999:blog-4771195677358000128.post-16497701183165381262018-02-15T17:00:00.000-05:002018-02-16T11:41:02.600-05:00Personal History: The St. Clair Family at Mobile's Mardi Gras<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Fifty Funny Fellows</span><br />
<span style="font-family: inherit;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">(founded 1927)<br />Mardi Gras Logo</span></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">If there is any single attribute for Mobile as one of America’s most charming cities, it would have to do with the shared commitment of all the city’s citizens to having a good time. Mobile is a city like no other, and although I did not grow up there and hardly knew anything about Mobile when I was growing up in Virginia, I’m sure I never heard anything about “Mardi Gras,” or “Carnival,” or any other festival leading up to the beginning of Lent. Of course I heard fantastic stories about places like Venice, Rio de Janeiro, and the like (who didn’t hear about them?) and certainly New Orleans was talked about from time to time, but I never heard anything about Mardi Gras in Mobile.</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><br /></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Fifty Funny Fellows Queen</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Kimberly Savannah St. Clair</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">It was my loss. And now we’ve had the opportunity to make it up, for this year—thanks to a great honor bestowed on our family—we had the very happy circumstance of being invited to Mobile to attend our granddaughter, Kimberly Savannah St. Clair, who was selected as the queen for the grand ball of the Fifty Funny Fellows, one of Mobile's famous mystic societies. </span></div>
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<span style="color: black; line-height: 150%;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">For us St. Clairs, it was an
invitation that could not be resisted. And since both sons were brought up in
Mobile and Austin—the father of the queen—still lives there, we all (except
for one granddaughter who could not get away from her studies at university)
made our way to Alabama’s famous “Port City” (sometimes called—as will be
very evident to anyone visiting Mobile any time in the next few weeks—“Azalea
City”). It was a once-in-a-lifetime experience we were offered and certainly
for us it turned out to be a week never to be forgotten. <o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Dad George Austin St. Clair</span></td></tr>
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<span style="color: black; line-height: 150%;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Describing Mardi
Gras in Mobile is not easy, for the tradition goes back to the nineteenth
century. Of course with any historical activity of this long standing, there
are many versions of the “real” story but whether based on facts or just “what
everybody knows,” there’s no question that Mardi Gras in Mobile is one of
America’s great celebrations. Our host mystic society, the Fifty Funny Fellows, was organized in 1927, succeeding two other Funny Fellows societies, one called Five Funny Fellows and another called Fifteen Funny Fellows, each of them organized prior to the Fifty Funny Fellows which, as L. Craig Roberts puts it, "remains with us today." Today there are more than 50 members, but by using different membership categories, the name can stay the same. The gentlemen members chose a jester as their emblem (or mascot). Each society has an emblem or mascot and for the FFF, the jester</span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"> </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">(illustrated above)</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"> is the emblem they want, in order to have someone around "whose job it is to entertain the court."</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Stage Setting for the Entrance of the Queen</span></td></tr>
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<span style="color: black; line-height: 150%;"><span style="font-family: inherit; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">And Mobile's Mardi Gras carries with it all the grand and long-standing traditions for which such celebrations are known. Family pride is one of them, of course, and while there are festivals in European cities that have been going on for hundreds of years (with many of them still carrying </span></span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">venerated statues of saints and other religious figures </span><span style="color: black; line-height: 150%;"><span style="font-family: inherit; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">in the processions </span></span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">in places of honor</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">), these European celebrations also include great reverence for the families that have participated over the centuries. My sense in Mobile was that the involvement of Mobile's "historical" families (although for not so many centuries!) was no less obvious. Or sincere. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Proud "Queen's Mom" Denise</span></td></tr>
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<span style="color: black; line-height: 150%;"><span style="font-family: inherit; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">For those of us in the St. Clair Family, we were no </span></span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">less thrilled, as can be seen in the photographs spread throughout this post. While Dad Austin was pretty much covered up by his fantastic and beautiful costume, Proud "Queen's Mom" Denise (note the brooch at the top of her ball gown) was no less splendid in her own formal attire, and despite the fact that we men were limited to good ol' black-and-white tails as we fantasized about being Fred Astaire or Cary Grant, the overall "look" of the event was gorgeous. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Granddad Andrew and<br />Granddad Guy</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">And it was a lot of people. The events begin the day after Twelfth Night and go on until the night before Ash Wednesday. Roberts even hazards an estimate as to how many people get involved: “Over 100,000 guests attend Mardi Gras balls, and over 1 million attend parades each year in Mobile, making Mobile’s Mardi Gras the second-largest community festival in the nation each year.” Balls and parades are sponsored by the mystic societies and financed privately. As you can see in the photos, the balls are very formal, and <i>costume de rigueur</i> is required, with long gowns for ladies, and gentlemen wearing white tie and tails. And no color for us guys, none whatsoever, so I couldn’t even wear the tiny ruby stickpin I usually wear in my buttonhole when I wear my tuxedo!</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Another characteristic of this fabulous multi-week experience (and remember that Mobile goes on from Twelfth Night to the last day before Lent) is the food. When you think about the number of people noted in Roberts' telling of the story, you're not surprised to discover that almost every eating establishment is packed with celebrants. And it's a logical assumption when we think about Mobile's location on the Gulf Coast, for there are amazing seafood delicacies available We were able to eat at several of the better-known places in Mobile, including Wintzell's Oyster House. Roberts describes it well:</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Wintzell's Oyster House dates from 1938, but the building, the oldest wood-frame commercial building in the Lower Dauphin Street Historic District M, was built in 1892 and named the New Era Saloon to bring in the new century. Saloons were so popular into the early 1900s that women became upset with their "menfolk" going out every night and getting "sloshed," and it led to the temperance movement and eventually Prohibition.</span></blockquote>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Granddaughter Claudia</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Another fun place for our gang, not nearly so historical as Wintzell's, was Butch Cassidy's Cafe, where we gathered for one of our lunches and I took this photo of Granddaughter Claudia. </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">And happy I did so, too, as for some reason I did not get around to taking her picture at the ball. </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">And speaking of food at Mardi Gras, to the delight of all of us attending the ball the next day's </span><i style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: large;">Mobile Press-Register</span></i><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"> included reportage about the Fifty Funny Fellows Ball, noting that the article was prepared by "a mysterious denizen of the Leisure Class who covers the local Mardi Gras." His or her anonymous description of the meal gushed that "in gorgeous Queen Savannah's room the crew from Mudbugs at the Loop had catered fresh gumbo, baked potato salad, and crawfish dip." Quite a lovely—and local—meal indeed!</span></div>
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<span style="color: black; line-height: 150%;"><span style="font-family: inherit; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">So there's a lot to think about and observe and, yes, even though some of us were a little unsure about how to refer to this event, what we call this good time hardly matters. As
pointed out in much of the literature about the festival, “Mardi Gras”
is properly only the name of the last day before Lent (“Fat Tuesday,” “Shrove
Tuesday,” <i style="mso-bidi-font-style: normal;">etc</i>.)<i style="mso-bidi-font-style: normal;">.</i> The overall season, with all the balls, parades, and parties is—again, properly—supposed to be called “Carnival.” But let’s not kid
ourselves. In Mobile, everyone talks about the whole thing as “Mardi Gras” and since we’re
all in this to have fun, let’s not get too pedantic this early in the
game.</span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">One of the
valuable texts I got to know is Roberts’ </span><i style="font-family: "trebuchet ms", sans-serif;"><span style="font-size: large;">Mardi Gras in Mobile (</span></i><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">mentioned above),</span> </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">published just three years ago by History Press
in Charleston, South Carolina. The other is </span><i style="font-family: "trebuchet ms", sans-serif;"><span style="font-size: large;">The
Art and Design of Mardi Gras</span></i><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">, published in 2014 by the Mobile Museum of
Art. This latter work is a collection of insightful essays from authoritative
specialists at the Mobile Museum of Art, the History Museum of
Mobile and the Mobile Carnival Museum. These materials—along with many
stories and conversations taking place during Carnival—provide a wealth of information.
While I can’t ascribe any scholarly learning on my part, all of these resources
have contributed to my taking on a fascinating perspective about “Mardi Gras,”
“Carnival,” or whatever we want to call this particular experience in entertaining
ourselves. And in doing so, in making sure that we—along with in this
instance everyone else in attendance at Mardi Gras in Mobile—are having a
good time.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX7iJDHGR9CRTAXsFxTM7kynx3atkTu5aJ8nIHyZwpI8QTMvTtgMnTEiaqXzvGEf70qVr7tQDk-AvnQRmRETGgS0y_-PguWWpDwVsqSI1I-E4JooBBl8pevsbUtvamcesUk11O5gbCziM/s1600/Entrance+to+the+Queen%2527s+Reception+Room.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-size: large;"><img border="0" data-original-height="1280" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX7iJDHGR9CRTAXsFxTM7kynx3atkTu5aJ8nIHyZwpI8QTMvTtgMnTEiaqXzvGEf70qVr7tQDk-AvnQRmRETGgS0y_-PguWWpDwVsqSI1I-E4JooBBl8pevsbUtvamcesUk11O5gbCziM/s320/Entrance+to+the+Queen%2527s+Reception+Room.jpg" width="240" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Entrance to</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">The Queen's Reception Room</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">And while it is
Carnival, it isn’t Venice, and costumes are worn only by mystic society members
at their balls and parades. And on that subject, Mobile's Mardi Gras has another distinction, despite the fact that it’s been around for so long.
It’s not trashy and no one embarrasses anyone else with naughty behavior; at
Mardi Gras events, the entire arrangement is family focused. Of course there
are minimum age limits for attendance at the balls (I think it’s 21 years of
age but I’m not sure), so children aren’t seen at the balls. And for all I
know, perhaps there are age limits for membership in the mystic societies, but
the whole idea, as Roberts points out, is that an important rule for attendees
at the Mobile Mardi Gras is a simple one: “Do Not Misbehave. You will be
arrested for inappropriate or illegal conduct. Mobile’s Mardi Gras is a family
event!”</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKuR1ludXaZSQX8FzEXl1mI6NoQP0SFOvF7VNxQsCZRCUZywMIb5QBudo3oSzAr-nw9L1TRV0QOixmKP92DqWv2XcfKlCvPhgaHCtt6n2inRg8TnOWcadeJvZalTp-YWthi0occV_Si7w/s1600/IMG_0014.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKuR1ludXaZSQX8FzEXl1mI6NoQP0SFOvF7VNxQsCZRCUZywMIb5QBudo3oSzAr-nw9L1TRV0QOixmKP92DqWv2XcfKlCvPhgaHCtt6n2inRg8TnOWcadeJvZalTp-YWthi0occV_Si7w/s320/IMG_0014.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Monogram over Another<br />Entrance to<br />The Queen's Reception Room</span></td></tr>
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<span style="color: black; line-height: 150%;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">As for further
detail (and perhaps connected to the above, if we think about the idea that
“class” and “tradition” go together), there are two “Royal Courts” of Mardi Gras
made up of people who have been involved for generations. The Mobile Carnival Association
(MCA) — founded in 1872 — and the Mobile Area Mardi Gras Association (MAMGA) —
founded in 1938 — are, you might say, the “boards” of the Carnival. They select
participants and schedule and organize all the events that are going to take
place. Each of these “Royal Courts” is separate from the many mystic societies,
and although the mystic societies come and go, at present there seem to be
about sixty-five societies, of which about thirty-five have parades as well as
balls. The oldest of the mystic societies is the Strikers Independent Society,
founded in 1842, leading up to the Order of Pan, started in 2014. And as I think has been clear by now, the mystic
society with whom we affiliated while our family attended Mardi Gras is the
Fifty Funny Fellows (FFF), celebrating its 91st year in 2018. We
were in attendance through the good graces of son George Austin St. Clair, a
past-president of FFF and a life-long resident of Mobile.</span></span><br />
<span style="color: black; line-height: 150%;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><br /></span></span>
<span style="color: black; line-height: 150%;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">And offering those dates brings up what is probably the most-talked-about subject when Mobile's Mardi Gras comes up in conversation. </span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Is Mobile’s Carnival older than the Carnival in New Orleans? For longevity, Mobile wins, as the city was established as the first capital of colonial <i>La</i></span><i style="font-family: "Trebuchet MS", sans-serif; font-size: x-large;"> </i><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><i>Louisiana </i>in 1702<i>. La Nouvelle Orléans </i>(New Orleans) was founded in the spring of 1718 so it's a bit younger. As for the celebrations, Mobile's Cowbellion de Rakin started New Year's Eve parades as early as 1831 and by 1849 these had become an "ornate nighttime spectacle with floats," according to Steve Joynt, Editor/Publisher, <i>Mobile Mask</i>, in his note in <i>The Art and Design of Mardi Gras. </i>Other mystic societies came along, including the aforementioned Strikers, and as Joynt puts it, their efforts were responsible for "cementing Mobile's title as Mother of Mystics." Some members of these societies were in New Orleans for a Mardi Gras event on FatTuesday 1857, and led by Mobile's Joseph Stillwell Cain, they returned to Mobile inspired to parade through the city on Fat Tuesday 1858. And lest anyone think Mobile doesn't honor it's own, Cain is </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">a very serious hero in Mobile history, with his own special day—the final Sunday in Carnival—and I was fortunate to attend one of the big parties on Joe Cain Day many years ago).</span><br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">So who was first? Truth to tell, nobody really cares, and since people celebrating Mardi Gras in Mobile are committed to having a good time, it doesn’t really matter does it? Having a good time is what it’s all about, and while most mystic societies have both balls and parades, FFF limits itself to the ball, a grand affair if there ever was one. This year there were about 2,500 attendees, but it still is not the largest of all the balls, possibly because the Fifty Funny Fellows Ball is quite exclusive, with admission by invitation only.</span><br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">So our family was extremely honored to have granddaughter Savannah as Queen of the Fifty Funny Fellows, and it was a splendid event. The “official” biography introducing Savannah to the attendees and distributed at the ball notes:</span><br />
<br /></div>
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<blockquote class="tr_bq">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Queen Kimberly Savannah St. Clair is the daughter of Mr. and Mrs. George Austin St. Clair and the late Mrs. Kimberly Hinton St. Clair. A Mobile native, Savannah attended Murphy High School, where she was yearbook editor (among other accomplishments). She went on to the University of Alabama where she was a member of the Alpha Gamma chapter of the Delta Zeta sorority. In 2016 Savannah was presented at the Mobile Ballet’s Nutcracker Charity Ball. She graduated from the University of Alabama in May 2017 with a dual degree in Early Childhood and Special Education. Queen Savannah works as a special education resource teacher at Hollinger’s Island Elementary School, and she is now pursuing her master’s degree in Collaborative Special Education K-6 at the University of West Alabama.</span></blockquote>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Family members in attendance to honor Savanna (some pictured here) included sisters Bayley St. Clair (pictured below when we learn about the parades), Claudia Bryan (pictured earlier at our "pre-party" luncheon at Butch Cassidy's) and brother Mal Bryan (pictured later having fun at the parade). </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Granddad Andrew, Will Villani, <br />Madeline St. Clair,<br />Suzanne St. Clair, and Gil St. Clair</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Coming from out of town to Mobile to attend Savannah on this occasion were Austin’s brother, Guy Gaillard (“Gil”) St. Clair and Mrs. Suzanne St. Clair, with their daughters Jacqueline and Madeline, with her gentleman friend Will Villani. As noted, daughter Margaux was sadly unable to attend because of her studies. My husband Andrew Berner and I made up the New York contingent, with the grandchildren delighting in referring to us as “Granddad Andrew” and “Granddad Guy.”</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Dragon Float at<br />The Crewe of Columbus Parade</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">While the Fifty Funny Fellows is not one of the “parading” societies, the members were nevertheless out in full force for more Carnival fun at the parades. As our time was limited, we attended only one of the parades but, as Roberts notes in his delightful telling of the Mobile Mardi Gras story, “for many people, parades are what Mardi Gras is all about.” And certainly there is no age limit for watching these fantastic parades—every member of the family, regardless of age—was brought out. And if the parade we attended is any indication, it’s not hard to establish—when all thirty-seven parades are counted—that the attendance figure of over a million people is a reasonable estimate. People everywhere, screaming at the brass bands, strutting majorettes and drum majors, yelling for all the "swag" thrown from the floats, elegant and grand floats that float by (sorry about that) at a slow speed and all displaying a combination of humor, workmanship, and design skill, including such exceptional float designs as this truly frightening dragon. And, at the same time, establishing once again that Mobile Mardi Gras commitment to fun, fun, fun.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-gOjz1-JjUNxNaKET5gHt4dBOn7oy_dNxzg1gcReiWs1EPhOgh46S6ICDwnsfpH-sRPi1amAOPYVVDRJMOMP5qU-DilxBIXDiiqqpuNpedKv0r3suTVog0ztt2kDj0YOXDSlsCrBQrOE/s1600/Crewe+of+Columbus+Penta+Float.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: inherit; font-size: large;"><img border="0" data-original-height="1280" data-original-width="1207" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-gOjz1-JjUNxNaKET5gHt4dBOn7oy_dNxzg1gcReiWs1EPhOgh46S6ICDwnsfpH-sRPi1amAOPYVVDRJMOMP5qU-DilxBIXDiiqqpuNpedKv0r3suTVog0ztt2kDj0YOXDSlsCrBQrOE/s320/Crewe+of+Columbus+Penta+Float.jpg" width="300" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Crewe of Columbus Pinta Float</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Our parade was the Crewe of
Columbus, another of the long-running societies, dating back to 1921. The
floats were intriguing, this year celebrating a “Mister Mister” theme and
featuring characters from popular animated and other recognizable sources, such
as Mr. Peanut (a character still remembered fondly and clearly from my own childhood),
Mr. Potato Head, Mr. Spock, and a wide range of others I couldn’t begin to
name. Of course there were the Niña, Pinta, and Santa Maria, all beautifully
designed and brightly lit individual floats, followed by the grandest of all,
leading off with a huge sculptured head of Columbus himself.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcZeQ9RRSZdMoLBEGLsjYF1KUAYgni0jiBcIV4gpaFK_An1DNycxUkYBdHu6YlZ1QJbuJsDLpswz9kMzhYoE2AjzVmRLKB9NKE2WCNhYrK0ZtpdJeSFN-q8vVi4p5DoPa39QEGHarPrI/s1600/Granddaughter+Bayley.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="939" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcZeQ9RRSZdMoLBEGLsjYF1KUAYgni0jiBcIV4gpaFK_An1DNycxUkYBdHu6YlZ1QJbuJsDLpswz9kMzhYoE2AjzVmRLKB9NKE2WCNhYrK0ZtpdJeSFN-q8vVi4p5DoPa39QEGHarPrI/s320/Granddaughter+Bayley.jpg" width="234" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Granddaughter Bayley, at the</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">FFF Ball </span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Many bands participate, of course, coming in from all over the country but still providing strong evidence of the high quality of (and taking advantage of) the local high school bands. We were amazed to learn that Granddaughter Bayley is the “transportation monitor” (I might have the title wrong) for her band at Baker High School. Why on earth, I wondered, would a school need a transportation authority for a high school band? But once I saw them—200 strong!—in the parade (just one of many of the bands marching during Mardi Gras), of course. It all made sense. They needed someone just to make sure all the band members got on the right bus, got to the parade site, marched and played (Bayley performs on tenor sax), and then got back on the right bus. What a big job! </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">And how proud we are of Bayley for doing such a good job of it! </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">The photo of Bayley, as it happens, is from the ball, as we couldn't snap her in the parade as she marched and played her sax (although she did spot us and threw kisses to all the family!). </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsJe5-31Hw3H9UAbXKyKjqGRiDN_KXrNsv_PzQLw4Pvg1OTtTz0GSHuPxaOuBIVvImpxPnNGNiL7FAqrwD3OkhRTjmbAK9IvIkS3dlFQT2-p4Ov-7YH_VDxWTOftifMnQPB0pne4Zf9SI/s1600/Mr.+Potato+Head+Float.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: inherit; font-size: large;"><img border="0" data-original-height="1280" data-original-width="1250" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsJe5-31Hw3H9UAbXKyKjqGRiDN_KXrNsv_PzQLw4Pvg1OTtTz0GSHuPxaOuBIVvImpxPnNGNiL7FAqrwD3OkhRTjmbAK9IvIkS3dlFQT2-p4Ov-7YH_VDxWTOftifMnQPB0pne4Zf9SI/s320/Mr.+Potato+Head+Float.jpg" width="312" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Mr. Potato Head Float</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">And as we discuss the parade,
we mustn’t neglect mentioning again the “swag,” all the goodies and gifts that are thrown from
the floats into the crowds. As the floats move past, mystic society members on
board are continually throwing things into the crowd of spectators, all of whom
are energetically collecting massive amounts of beads, footballs and other
balls, stuffed animals, Frisbees, commemorative plastic cups, Mardi Gras
doubloons, and all over the place (far too many to count, or even estimate),
what seemed like tons of Moon Pies, the famous Southern delicacy tempting
everyone to have too many sweets and too much sugar (and they are delicious!). One goal of bead collectors is to acquire as many strands of beads as possible, many of which are loaded into cars and taken to special schools where students with special needs can be entertained re-stringing beads, creating a product that can then be sold to support school projects.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1Jg-UPYGLIEwvfUYv2kst_ttRkpN6g4J5gUv4Gkn9bAKFIwO1AHMaLLjWKqsDqcWjO02Yn_f9LerM1gJb9xcppd1958wG9fG1lIOAfFaaVmIpY5lj3gsKbx9BKDfCale3mcRGezILe7I/s1600/1+%25281%2529.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1Jg-UPYGLIEwvfUYv2kst_ttRkpN6g4J5gUv4Gkn9bAKFIwO1AHMaLLjWKqsDqcWjO02Yn_f9LerM1gJb9xcppd1958wG9fG1lIOAfFaaVmIpY5lj3gsKbx9BKDfCale3mcRGezILe7I/s320/1+%25281%2529.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Grandson Mal Sorting <br />Some of His Swag</span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">But don’t get the wrong idea. Collecting swag is not the purpose. It’s not why we’re here. The whole idea is to have a good time, that commitment I referred to earlier, that love of Mobile’s citizens for each other and for their way of life. They work hard to cut away at dissention and discord (I’ve seen them doing it, and doing it very successfully, most likely simply out of their respect for one another). And it is a commitment. Hours and hours of work, to say nothing of all that “private” funding, goes to make Mardi Gras the success it is. While Andrew and I cannot speak for others visiting Mobile for Mardi Gras, we were certainly made to feel welcome, to feel loved, and—not to be dismissed lightly—to be given as much leeway as we need to have our own good time. And so we did, and after all, as I mentioned at the beginning of this post, that’s what Mardi Gras in Mobile is all about, isn't it?</span></div>
Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-7473593824942293262017-11-12T13:51:00.001-05:002018-04-07T22:47:41.586-04:00Veterans Day 2017<div class="MsoNormal">
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During the past few years we've been observing the centenary of World War I,
and now as we move toward the 100th anniversary of the Armistice next year,
I'll share a few thoughts.<o:p></o:p></span></span></div>
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<span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Here’s one, for example. Did you know
that the holiday we now call Veterans Day was originally called Armistice Day
for the very reason that it marked the anniversary of the Armistice that ended
the fighting in the First World War? The unfortunate intervention of several
other wars made the specific date of November 11 less relevant, so the name of
the holiday was changed to Veterans Day to honor those who had fought in all of
these conflicts.<o:p></o:p></span></span></div>
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<span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Remembering that, this is a proper time
for further thoughts about Veterans Day and in this post I’m sharing thoughts not
only from me, but also links to two important essays I found during the past
week. And while I’ve not done many personal blog posts over the past few
months, sharing these essays seems like an appropriate opportunity for moving
back into my efforts with my personal blog. <o:p></o:p></span></span></div>
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<span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Like many others, I was caught up in
the observance of the centenary, even from its early days back in 2014, or
perhaps even a little earlier. I read much about the war — and the lead-up to
the fighting — and my reading on the subject (which continues unabated) hasn’t
been particularly limited to either fiction or non-fiction. I’ve done both, reading
more books than I could count, I expect. <o:p></o:p></span></span></div>
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<span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">I also shared three posts as the
observance began, as it was my intention to continue sharing thoughts about the
Great War (as people in much of the rest of the world — especially in the U.K.
— refer to what we Americans call "WWI" or the “First World
War"). It was my goal to write about some of the things I've learned about
what went on during that amazing period in our history. And how what we learned
affected what we’ve become as a society. <o:p></o:p></span></span></div>
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<span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">But as I say. my own efforts got
side-tracked, and there wasn’t any long list of Guy’s WWI posts. There were
three, though, for anyone who wants to re-visit what I wrote about in my own
observance of the centenary at the end of 2014:<o:p></o:p></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><a href="http://gstcjourney.blogspot.com/2014/12/guys-homage-to-wwi-starting-with-piano.html"><span style="mso-bidi-font-family: Arial;">Guy’s Homage to WWI: Starting with “The
Piano in Wartime: 1914-1918”</span></a><span style="color: black;"> (December 11, 2014)<o:p></o:p></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><a href="http://gstcjourney.blogspot.com/2014/12/mr-guys-homage-to-wwi-2-very-fine.html"><span style="mso-bidi-font-family: Arial;">Guy’s Homage to WWI: The Very Fine
Exhibition at the New York Public Library</span></a><span style="color: black;"> December 22,
2014), describing “Over Here: WWI and the Fight for the American Mind”<o:p></o:p></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><a href="http://gstcjourney.blogspot.com/2014/12/guys-homage-to-wwi-3-holiday-greetings.html"><span style="mso-bidi-font-family: Arial;">Guy’s Homage to WWI: Holiday Greetings from
the Front</span></a><span style="color: black;"> (December 25, 2014), describing my little group of Three
World War I postcards I discovered when I lived in England.<o:p></o:p></span></span></div>
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<span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">And then yesterday came along, our day
of observance, and I spent much the day thinking about what the war meant to us,
as citizens so far removed from the time of the First World War and, quite
simply, as Americans. And no doubt I’ll continue thinking (and, yes, there will
probably be more posts from me on the subject). Why? Because I continue to be
inspired, and I want to share what I’m thinking about.<o:p></o:p></span></span></div>
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<span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">And among other inspirations, just Friday
I attended the memorial gathering honoring Thomas J. Fleming, a good friend and
very prolific author. Tom was, for me, one of the finest writers I’ve ever
known, and he wrote one of the best stories about WWI. It was a novel (<i style="mso-bidi-font-style: normal;">Over There</i>, published in 1992), and it
was a book that had quite an impact on me. Tom found some notes and stories
from his own father, and they sent him, as he put it once to me, “to the stacks
of the library to see what else I could find.” As it happened, when <i style="mso-bidi-font-style: normal;">Over There </i>was published the book was greeted
with much enthusiasm, and the book continues to find new fans (including myself
of course) as time goes on.<o:p></o:p></span></span></div>
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<span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">And now we move toward the actual
centenary of the Armistice, the agreement that ended the fighting on the
Western Front that went into effect on the eleventh hour of the eleventh day of
November 1918. And even though negotiations went on for six more months, the
Armistice did lead to the Treaty of Versailles of June 28 1919 which officially
brought World War I to an end. <o:p></o:p></span></span></div>
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<span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">We will observe the Armistice centenary
a year from yesterday, and while I won’t promise anything, I'll probably share
a few more thoughts between now and then. But in this post these thoughts are
not from me. As promised earlier, I’ve read two important essays that I want to
let friends and colleagues know about.<o:p></o:p></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;">The first is an excellent essay from
the fine people at <i style="mso-bidi-font-style: normal;">Foreign Affairs</i>, </span><a href="https://goo.gl/WuFrTV"><span style="color: #1155cc; mso-bidi-font-family: Arial;">What America Owes Its
Veterans: A Better System of Care and Support</span></a><span style="color: black;">, by Phillip
Carter. The article offers a good history and analysis of our country's interactions
with its veterans. It’s a real “thought-piece” and well worth reading. And
thanks to the publishers Carter’s essay is a "paywall-free" article
from <i>Foreign Affairs</i>, so there's no charge to see this article (if
the live link doesn't work you can use </span><a href="https://goo.gl/WuFrTV"><span style="color: #1155cc; mso-bidi-font-family: Arial;">https://goo.gl/WuFrTV</span></a><span style="color: #444444;"> </span><span style="color: black;">to open this
article).<o:p></o:p></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;">And if you have the chance, please also
read </span><a href="https://www.nytimes.com/2017/11/08/opinion/robert-gates-daca-immigrant-troops.html?_r=0"><span style="color: #1155cc; mso-bidi-font-family: Arial;">Ending DACA Will Hurt
Immigrant Troops</span></a><span style="color: black;">, by Former Secretary of Defense Robert M. Gates. His
opinion piece provides much stimulating content for us on this Veterans Day
week-end (again if the live link doesn't open, please use </span><a href="https://goo.gl/RvQ4SY"><span style="color: #1155cc; mso-bidi-font-family: Arial;">https://goo.gl/RvQ4SY</span></a><span style="color: #444444;">).</span><span style="color: black;"> In his
article, Former Secretary Gates relates how he believes we need legislation to
"provide a pathway to citizenship for those immigrants who, among other
attributes, are serving or have served in the military...." In light of
their service and sacrifice, he points out simply that "it is also the
right thing to do."<o:p></o:p></span></span></div>
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<span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Something we might think some more
about in this final centenary year of the “war to end all wars.”</span><span style="font-size: 10.5pt;"><o:p></o:p></span></span></div>
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Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-40229866091955509122017-05-28T21:57:00.000-04:002017-05-28T21:57:17.510-04:00A Special Exhibition: A World Of Emotions — Ancient Greece, 700 BC - 200 AD<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Q9o5KUKm-sTMNnz50ZhE8gPHdmnaElyu-fzjcZT1m7A6alsXVU7JH_u9KK3D14U2VlWfkWnKCZnF8EG5wVlvktPOGCSCdnK2Z6l9vGIo8wTpy5-5CzcUzMocq1SPmz3iJkNztQ_WEPg/s1600/serveimage-4.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="508" data-original-width="702" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Q9o5KUKm-sTMNnz50ZhE8gPHdmnaElyu-fzjcZT1m7A6alsXVU7JH_u9KK3D14U2VlWfkWnKCZnF8EG5wVlvktPOGCSCdnK2Z6l9vGIo8wTpy5-5CzcUzMocq1SPmz3iJkNztQ_WEPg/s320/serveimage-4.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exhibition View<br />(Photo: onassisusa.com)</td></tr>
</tbody></table>
<span style="font-family: inherit; font-size: 12pt;">We
New Yorkers like to talk about the many "secret" activities and
events found throughout the city. And it's easy to understand why there are so
many of these hidden things to see and experience, when you think about how
many people live in New York or come into the city either as visitors or for
work. There is a significant critical mass for experiencing what the city has
to offer.</span></div>
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<br /></div>
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<span style="color: black; font-size: 12pt;"><span style="font-family: inherit;">Yet
many of these lesser-known activities get plenty of excellent publicity, and
their sponsoring organizations work hard to get the word out. So I'm always
surprised to see how much many of us miss. I suppose it’s because there’s so
much on offer, and we just can’t keep up with all that’s available.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: black; font-size: 12pt;"><span style="font-family: inherit;">The
work of the Onassis Cultural Center in Olympic Tower, 645 Fifth Avenue (at 51st
Street) is a good example of what I’m describing. The excellence of the
programs and exhibitions at the center is noteworthy, and I think these events
are well attended, but somehow (through no fault of the center) many of us just
don't know about them and we tend to forget about watching for what's coming up
at the center. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: black; font-size: 12pt;"><span style="font-family: inherit;">The
current exhibition — the 17th, I've been told — opened to us on March 9, and
now, having just discovered it, I want to tell all my friends about it and give
you an idea of how impressed I was with what’s on at the Onassis Cultural
Center just now. The exhibition ends on June 24, so if you're a fan of ancient
Greek art, you want to take a look at <i>A World of Emotions — Ancient
Greece, 700 BC - 200 AD</i>. Make a point of getting over to the Olympic
Tower. <o:p></o:p></span></span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc699Fjm_yHOSPsduv-MQxMi4mg8SfoB0awNjxmEYW4eOB1cdEx18AncY3KcbU3GUfz4rhKqrwv0_5WcOcwtGpahY27GGh0RuetSkv7N4xdPd92oQCvirRlwvFMC8j9ZphhAic9lVbTAA/s1600/serveimage-2.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="855" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc699Fjm_yHOSPsduv-MQxMi4mg8SfoB0awNjxmEYW4eOB1cdEx18AncY3KcbU3GUfz4rhKqrwv0_5WcOcwtGpahY27GGh0RuetSkv7N4xdPd92oQCvirRlwvFMC8j9ZphhAic9lVbTAA/s200/serveimage-2.jpeg" width="133" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Boy with a Goose<br />(Photo: National Archaeological<br />Museum,Athens)</td></tr>
</tbody></table>
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<span style="color: black; font-size: 12pt;"><span style="font-family: inherit;">The
idea behind the exhibition is to invite us, as visitors, to think about
the role of emotion in our lives. At the same time the exhibition provides an
opportunity to give attention to how all the many emotions we experience, “in
our interpersonal relations, in private life, in the public sphere, and in
religious worship” (as described in the exhibition’s very well-written guide)
penetrate everything we do and contribute totally to all art and literature. So
the exhibition gives us an opportunity to connect what we know and experience
about our own emotions with what we can now learn about their role in ancient
Greek life and behavior. <o:p></o:p></span></span></div>
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<span style="font-family: inherit; font-size: 12pt;"><br /></span></div>
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<span style="font-family: inherit; font-size: 12pt;">It’s
not possible to describe all of the beautiful objects on display in the
exhibition. Of course there are the sweet innocent pleasures, satisfying just
to look at (such as the famous Boy with a Goose, a third-century BC sculpture
from the National Archaeological Museum, Athens). Once I looked at it the other
day I immediately remembered how much I loved it when I saw it at the museum
back in — I think it was — 1981 or so). Equally thrilling are some of the
beautiful and often very moving depictions of funerary and commemorative
steles. Indeed, the descriptions of the role of cemeteries and death in the
lives of the ancient Greeks are touchingly described in the section on grief.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: black; font-size: 12pt;"><span style="font-family: inherit;">Naturally
much attention is given over to drama, the art so often performed for the
Greeks and comprising — as we all know — a big part of their life. One section
of the exhibition is titled “Enslaved by Emotions” and I really liked one
thesis put forward in this section: “The earliest and most emblematic text of
Greek literature, the <i>Iliad</i> (ca. 700 BC) has an emotion as its
subject: Achilles’ uncontrolled indignation, caused by an insult.” Immediately
following is a section — certainly linked to emotions that enslave —
about <i>Medea</i>. I was impressed by the description and visuals of (and
wished I had been able to witness) a 1984 Japanese all-male staging produced by
the Japanese director Yukio Ninagawa. And for opera lovers like me, it was real
trip down memory lane to see the commentary about Maria Callas (including a
fantastic oversize photograph of her in her perhaps-most-famous operative
role). <o:p></o:p></span></span></div>
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<br /></div>
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<span style="color: black; font-size: 12pt;"><span style="font-family: inherit;">For
me the exhibition also provided the great pleasure of connecting some of what
I’ve experienced in my past with what is on display here, and I’m very
satisfied with what I’ve seen in <i>A World of Emotions</i>. As I think
about some of what I’ve learned in my own classical studies (although I am
definitely no expert or authority, I can assure you), I find with this
exhibition that I’m looking at wonderful depictions of many of the stories and
myths I grew up with and learned about as I was educated. And what I kept
hearing about and learning about throughout my adult life as I played with “the
classics.” Certainly one of my endeavors of a few years ago returned vividly to
mind as I viewed this exhibition, as many of the displayed items brought back
happy memories of a long journey throughout Greece in the 1980s. On that trip I
took along the fairly recent and much-lauded Robert Fitzgerald translation the <i>Iliad</i> and <i>Odyssey</i>.
For me, reading these made ancient Greece came alive, even more so than I had
experienced in previous trips. This exhibition helped me remember that time
with even more pleasure.<o:p></o:p></span></span></div>
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<br /></div>
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<span style="color: black; font-size: 12pt;"><span style="font-family: inherit;">Exhibition
hours are Mon, Tue, Wed, Fri, and Sat: 10 AM - 6 PM (Thu from 10 AM - 9 PM).
Find time to visit Onassis Cultural Center before June 24. <o:p></o:p></span></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
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<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
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Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-85186174756537142482017-03-19T15:06:00.000-04:002018-01-30T13:56:00.088-05:00A Deeper Dive Into Art Nouveau (1)<br />
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">Good
friends like to tease me about my attention to my special interests. When asked,
I’m always quick to note that I have three (in no particular order): my love of
elephants, my devotion to opera, and my joy in discovering the subtle — and
sometimes not-so-subtle — pleasures of Art Nouveau.<o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">The
first comes up pretty often, as demonstrated in my last post. Opera, too, gets written
about frequently in these posts. My third interest, though, hasn’t had much
coverage in the past. If you search the term “Art Nouveau” in the upper
left-hand corner, just above the blog’s title bar, you’ll find I have written
only twice about Art Nouveau, in a description of the style in Brussels when I
visited there in 2010 (</span><span style="font-family: "arial"; font-size: 12.0pt;"><a href="http://gstcjourney.blogspot.com/2010/02/brussels-art-nouveau.html">Art Nouveau</a></span><span style="color: black; font-family: "arial"; font-size: 12.0pt;">, February 24, 2010) and
a longer, very admiring post from Paris (</span><span style="font-family: "arial"; font-size: 12.0pt;"><a href="http://gstcjourney.blogspot.com/2014/01/ah-paris-pierre-cardins-art-nouveau.html">Pierre Cardin’s Art Nouveau Museum at Maxim’s</a></span><span style="color: black; font-family: "arial"; font-size: 12.0pt;">, January 26, 2014). Obviously I have a way to go if I’m going to
catch up and give greater attention to Art Nouveau in the future. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsdMY156QWhDaKF_Ri-FuqZAUFtRPiuS-DF0Q4bHSix173OyJM8P9WuXGeb0V1kQCrHqSLmOHH4XqkCC_D0qCBW-Nlfakdhg1yOFO19EAEae1jkqpId1lQM51uR6wu8mvWshLAnk3oIuA/s1600/serveimage-3.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsdMY156QWhDaKF_Ri-FuqZAUFtRPiuS-DF0Q4bHSix173OyJM8P9WuXGeb0V1kQCrHqSLmOHH4XqkCC_D0qCBW-Nlfakdhg1yOFO19EAEae1jkqpId1lQM51uR6wu8mvWshLAnk3oIuA/s200/serveimage-3.jpeg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Siegfried Bing's<br />
Maison de l'Art Nouveau, Paris</td></tr>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">As
I speak with friends about Art Nouveau, I’m often asked for a definition, and I
usually begin by noting that this decorative movement or style seems to have
been particularly short-lived. Some say it began about 1889 and for others the
beginning period was in the early 1880s. For me, 1895 to 1915 seems to work
best, for it was at the end of 1895 that Siegfried Bing opened his Maison de l’Art
Nouveau at 22 rue de Provence in Paris. The title soon was conveniently
abbreviated in popular conversation to <i style="mso-bidi-font-style: normal;">l’art
nouveau</i> and with the success of the gallery and with the equal success of
the gallery’s displays at the 1900 Exposition Universelle, the phrase became
attached to a type of decorative and design style that was to become
increasingly popular. <o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">The
term (and the style) came about in reaction to what had preceded it. After all,
there can’t be a “new” art/architecture without there having been an “old” one
before it. Until the advent of Art Nouveau, almost all styles of architecture
and decorative arts drew heavily on historical precedent. The 19<sup>th</sup>
century was rife with revivals: Gothic, Romanesque, Greek, Renaissance (adapted
with Beaux Arts) and more. Connected to this attraction to earlier forms and
contributing to the need for and development of a new direction in art was the
fact that the 19<sup>th</sup> century also saw a huge growth of wealth as a
result of the industrial revolution, the expansion of the railroads, and other
technological improvements. In most cases, wealth was concentrated in
relatively few hands. In the United States, the period went under the name of
the Gilded Age. In France it was <i style="mso-bidi-font-style: normal;">La Belle
Époque</i> (the “beautiful era”), and other countries had their own names for
this period. Many of these newly rich (the <i style="mso-bidi-font-style: normal;">nouveau-riches</i>)
sought extravagant examples of these same revival styles. Others, sometimes but
not always younger, sought a style that did not look to the past. They wanted
something new. Art Nouveau fit the bill. <o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">Sadly,
and despite its earlier success, the popularity of Art Nouveau began to wane as
early as the First World War (though certainly examples of fine Art Nouveau
came later). And it spread out, turning up almost all over Western Europe (and even
in Russia, as I discovered when I was in St. Petersburg a few years ago). Not
surprisingly, there were many variations, and these variations were based on many
factors, including geography, national interests, styles, and the specific
tastes of many of the movement’s patrons.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZotHksLo7vXTh9gpWJu802tuCdLAg6C1nbnq8TQ-NDXVv8plqQUideqTXbD1CWFSvNpMagVif4pXq-5lVJ5jsxw9oqqsfVRn-RQ9gb5TpYTy197kUkrg4mIa-SIrUrUQf3kxU2syImsY/s1600/serveimage-2.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZotHksLo7vXTh9gpWJu802tuCdLAg6C1nbnq8TQ-NDXVv8plqQUideqTXbD1CWFSvNpMagVif4pXq-5lVJ5jsxw9oqqsfVRn-RQ9gb5TpYTy197kUkrg4mIa-SIrUrUQf3kxU2syImsY/s200/serveimage-2.jpeg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One of the<br />
Paris Metro entrances<br />
designed by Hector Guimard</td></tr>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">As
Art Nouveau became more recognized, the style was referred to by a wide variety
of names. The original designation — <i style="mso-bidi-font-style: normal;">l’art
nouveau</i> — was generally capitalized when written in English but written in
lower case in French. The term began to appear in many forms, reflecting the several
languages of its different locations. In France, for example, in addition to
the popular term (<i style="mso-bidi-font-style: normal;">l’art nouveau</i>) the
style was sometimes spoken of with an English phrase, the “modern style,” related
to the Arts and Crafts Movement. And in either case, when Art Nouveau was (and is)
discussed in Paris the names of architect and designer Hector Guimard and the furniture
designer and industrial designer Eugène Gaillard are often heard. Across the
Channel, we hear about the <i style="mso-bidi-font-style: normal;">Glasgow</i>
style and in most cases in the same sentence, the names of Charles Rennie
Mackintosh, the Scottish architect and designer and his artist wife Margaret
Macdonald, both of whom were noticeably influential to the Art Nouveau movement. Although
different from what most of us might think of as Art Nouveau, Mackintosh became
one of the most respected of the Art Nouveau specialists (as did — in his own
way — Louis Comfort Tiffany, who led this work in America).</span><br />
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Victor Horta<br />
Entrance Hall to His Home (Brussels)</td></tr>
</tbody></table>
<span style="font-family: inherit;"><span style="color: black; font-size: 12.0pt;">In Brussels</span><span style="font-size: 16px;"> there's the <i>style coup de court</i>, reflecting (jokingly I presume) the nickname "whiplash" and associated with architect Victor Horta and the architecture and furniture designs of Henry van de Velde.</span><span style="font-size: 16px;"> </span><span style="font-size: 12pt;">In
a different part of Europe, if you visit Barcelona you’ll hear much discussion
about a style that is similar to Art Nouveau. There it is known as </span><i style="font-size: 12pt;">Moderisme</i><span style="font-size: 12pt;">, reflecting the critical work
of architect Antoni Gaudí and others. In Vienna you’ll hear </span><i style="font-size: 12pt;">Secessionsstil</i><span style="font-size: 12pt;"> for the movement, with
Otto Wagner’s name prominently associated with it, as well as that of designer Josef
Hoffman. </span><span style="font-size: 12pt;">Germany has its </span><i style="font-size: 12pt;">Jugendstil</i><span style="font-size: 12pt;">, and in Italy we hear about </span><i style="font-size: 12pt;">Stile floreale</i><span style="font-size: 12pt;"> or — the one I like — </span><i style="font-size: 12pt;">Stile Liberty</i><span style="font-size: 12pt;">, after the store in London that for Italians of the
late 19</span><sup style="font-family: arial;">th</sup><span style="font-size: 12pt;">- and early 20</span><sup style="font-family: arial;">th</sup><span style="font-size: 12pt;">-centuries seemed to evoke what
we think of as Art Nouveau. As I say, these are just a few examples but,
hopefully, they give us a snapshot of how this style had so much influence in
the short time in which it was such an important part of the architecture, art,
and design movement.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Eugène Gaillard<br />
cabinet displayed at the<br />
Bröhan-Museum, Berlin</td></tr>
</tbody></table>
<span style="color: black; font-family: "arial"; font-size: 12.0pt;">As
you’ve noticed, I’ve used not only the term “style” to identify Art Nouveau.
The term “movement” comes up often when we discuss Art Nouveau, and others speak
about the “philosophy” underlying Art Nouveau as a style or movement. This is,
I think, because of some of the external forces I mentioned above, the growth
of wealth, the desire to move beyond artistic and design attributes of earlier
historical times, and — not least of all — perhaps a late 19<sup>th</sup> century
interest for exploring a style to “live with,” to create an environment that
was not only pleasing to the people who created it and offered it to the
(obviously well-to-do) public, but to the patrons themselves who were willing
and even enthusiastic about having this particular style as part of their
lives. There are indications that for many who were drawn to Art Nouveau —
despite its brief popularity — they wanted to surround themselves with this
particular style.<o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">And
they — many of them — took the idea of “surrounding themselves” seriously, to
such an extent that some critics and scholars in the field came to recognize
that with Art Nouveau its creators and patrons saw the movement as an “ideal”
or “total” work of art and design (connecting, perhaps, with Wagner’s <i style="mso-bidi-font-style: normal;">Gesamtkunstwerk</i>, in which all elements
of the art combine to provide a unifying experience, all supporting a single
form of expression). That idea might be a little grand but in fact with Art
Nouveau the style (as short-lived as it was) became an almost universal way to
think about architecture, art, design, furniture, jewelry, household utensils,
silver, and a vast array of other art and craft applications. Indeed, the word “universal”
is used in the current digital exhibition, through mid-May, <a href="http://exhibitions.europeana.eu/exhibits/show/art-nouveau-en/">Art
Nouveau: A Universal Style</a> at the Europeana Collections site, a delightful little
display that provides considerable pleasure in and of itself. Had those of
us who have so much fun with Art Nouveau today lived in the movement’s heyday, we
too would have loved surrounding ourselves with Art Nouveau all over the place
(or at least visiting places where it was available to be seen, even if we were
not in the financial bracket for acquiring it for ourselves. </span><br />
<span style="color: black; font-family: "arial"; font-size: 12.0pt;"><br /></span>
<span style="font-family: "arial"; font-size: 12pt;">So
with all that background, how do we define Art Nouveau? The best definition, to
my way of thinking, comes from looking at examples. As I say, it’s not all the
same, but the similarities are there: the focus on nature and natural
structures and, in particular, botanical shapes, the curving, almost sensuous
lines, and, a special joy to me, the many bold and dynamic color combinations. Like
any artistic movement, Art Nouveau did not develop in a vacuum. Indeed, it was in
many ways made possible by technological changes in fields as varied as
building, printing, furniture production, and more. Thanks to the openness of
architects, designers, and artists (especially in reaction to what had come “before”),
new opportunities to aesthetic possibilities led to graceful, eye-pleasing
forms, demonstrated in what we have in our minds’ eye when we think about Art
Nouveau.</span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">[</span><span style="color: black; font-family: "arial"; font-size: 10.0pt;">Guy St. Clair is the
author of <b><i>Knowledge Services: A Strategic Framework for the 21<sup>st</sup>
Century Organization</i></b> (Munich and Boston: De Gruyter, 2016). His
Amazon author page is </span><a href="http://amazon.com/author/guystclair"><span style="font-family: "arial"; font-size: 10.0pt;">amazon.com/author/guystclair</span></a><span style="color: black; font-family: "arial"; font-size: 10.0pt;">. For this blog, Guy thanks Andrew Berner for his subject matter expertise and his editorial assistance.]</span><span style="color: black; font-family: "arial"; font-size: 12.0pt;"><o:p></o:p></span></div>
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Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-84292012930976045952017-02-14T13:46:00.000-05:002017-02-14T13:49:29.119-05:00Elephants and Hotels<div class="MsoNormal">
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">Everyone who knows me knows of my interest (obsession?) regarding elephants, an interest that originated during my time living in Kenya. Recently, I've become aware of various connections between elephants and hotels.</span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">"What?" you ask. "Elephants and hotels?"</span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">Well, yes.</span><br />
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">Here are a few examples. </span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">The first involves Somers, a small town in northern Westchester County, about fifty miles north of New York City. There stands a Georgian brick edifice on which are clearly painted the words "ELEPHANT HOTEL." In front of this elegant structure stands a column atop of which is a statue of, yes, an elephant.</span></div>
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<span style="font-family: "arial"; font-size: 16px;">When friends in Somers introduced me to the story of the town’s Elephant Hotel (now the town hall, with the Somers Historical Society and Museum on the third floor), I wondered about the connection between the town and elephants. In fact, I discovered that</span><span style="color: black; font-family: "arial"; font-size: 12.0pt;"> this can be traced to one Hachaliah Bailey, an early 19th-century resident whose family could trace its presence in the area back to colonial times. Perhaps if you're good at solving puzzles you may have already noticed a connection between the name Bailey and the subject of elephants, and you're on the right track. The Bailey of Barnum and Bailey Circus was James Anthony Bailey, a nephew of Hachaliah. At a time when "the circus" is </span><span style="font-family: "arial"; font-size: 16px;">moving definitely into our past with the closing of the Ringling Bros. and Barnum & Bailey Circus in May,</span><span style="font-family: "arial"; font-size: 12pt;"> it is interesting to look back on the days before formal circuses existed. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXM6IFicN5jIa0O8DkYzxhFKb7kgjqSyW_lcBkQj3BLf69Djg2wf8rt8bRRN2LVL0u3qYtfeqdrc5Ce0inXTCaNLO4N3lN1eumHM4lZaPT7Os8KTt0q2hmXOnV3MSCIeXu0rVFAxdZBwA/s1600/serveimage-3.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXM6IFicN5jIa0O8DkYzxhFKb7kgjqSyW_lcBkQj3BLf69Djg2wf8rt8bRRN2LVL0u3qYtfeqdrc5Ce0inXTCaNLO4N3lN1eumHM4lZaPT7Os8KTt0q2hmXOnV3MSCIeXu0rVFAxdZBwA/s200/serveimage-3.jpeg" width="200" /></a></div>
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<span style="font-family: "arial"; font-size: 12pt;">The Elephant Hotel is not named for the species in general but for one very specific elephant, “Old Bet” (originally “Elephant Betty”). Hachaliah Bailey, sometimes referred to
as the “first menagerie entrepreneur,” acquired Old Bet sometime in the first
decade of the 19</span><sup style="font-family: Arial;">th</sup><span style="font-family: "arial"; font-size: 12pt;"> century. In the rather convoluted story of Bailey’s
work as a menagerie manager, Old Bet became joint property, with ownership
rights shared with others. As told in the Somers history: "</span><span style="font-family: "arial"; font-size: 12pt;">Sometime in 1815 or early 1816 </span><span style="font-family: "arial"; font-size: 16px;">Hachaliah</span><span style="font-family: "arial"; font-size: 12pt;"> leased
an interest in his menagerie to Nathan Howes of Southeast. On July 24, 1816,
while on tour near Alfred, Maine, enroute to Berwick, Old Bet was shot by an
angry farmer named Donald Davis who thought it was sinful for poor people to
spend their hard-earned cash to see a wicked beast."</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9u0lJS6uqZDbxWXmcxdCysMxwwfMbfR7vgz4FxCxVNj_XFzMdU4Q6pAkQ-A-Qvl2FnPNNuqXJAJdSLQXoE0ohn1E4y1PDEowwTJ3zfuKtKJSdMoZ-qX3PadzhlIGS14SDXLG7zv1TTwo/s1600/serveimage-5.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9u0lJS6uqZDbxWXmcxdCysMxwwfMbfR7vgz4FxCxVNj_XFzMdU4Q6pAkQ-A-Qvl2FnPNNuqXJAJdSLQXoE0ohn1E4y1PDEowwTJ3zfuKtKJSdMoZ-qX3PadzhlIGS14SDXLG7zv1TTwo/s200/serveimage-5.jpeg" width="147" /></a><span style="font-family: "arial"; font-size: 12pt;">The elephant’s death was a great blow to menagerie followers (apparently a great entertainment business in many parts of the United States). Indeed, Old Bet was eulogized in such papers as the </span><i style="font-family: Arial; font-size: 12pt;">Boston Gazette</i><span style="font-family: "arial"; font-size: 12pt;"> and the </span><i style="font-family: Arial; font-size: 12pt;">New
York Herald</i><span style="font-family: "arial"; font-size: 12pt;">, and even an advertisement about a display of her skeleton in New
York City appeared in the </span><i style="font-family: Arial; font-size: 12pt;">New York
Evening Post</i><span style="font-family: "arial"; font-size: 12pt;">.</span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">And Old Bet wasn’t forgotten by </span><span style="font-family: "arial"; font-size: 16px;">Hachaliah</span><span style="color: black; font-family: "arial"; font-size: 12.0pt;"> Bailey, either, for by 1820 he had begun the construction of his new large hotel (his new business venture),
destined to become a popular stopping-off point for travelers. The Elephant
Hotel opened in 1825, and Bailey erected the statue (later restored) in front
of the hotel. <o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">But Somers wasn't the only site of an elephant hotel. In fact, some chose not simply to name their hotel after the elephant, but to make the hotel in the shape of the eponymous animal. I can’t help but wonder if
there wasn’t something about the 19<sup>th</sup> century imagination that drew
hotel operators (and their clients) to the “idea” of the elephant. One of the
most famous — as described by Marcia Reiss in <i style="mso-bidi-font-style: normal;">Lost New York</i> — was “Coney Island’s Elephantine Colossus,” built in 1885.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg04EzrAk0kM-iJOJOIp6J2y1kNg5koK5AF7PWfPWSHNjh_y6OstWeb9offaWf5rkQ7BpNFg13cltIe44AKgviL__ZZM5edHrdzTv2m4cqbZnH8milkbvkILJ9f0nrjWTg5ESuT9I3SX3M/s1600/serveimage-2.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg04EzrAk0kM-iJOJOIp6J2y1kNg5koK5AF7PWfPWSHNjh_y6OstWeb9offaWf5rkQ7BpNFg13cltIe44AKgviL__ZZM5edHrdzTv2m4cqbZnH8milkbvkILJ9f0nrjWTg5ESuT9I3SX3M/s320/serveimage-2.jpeg" width="320" /></a></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">How I
would have loved to have seen this one! At twelve stories (150 feet to the top of the howdah) and located right on the Atlantic shore, this elephant would have been visible to those traveling by sea to New York, even before they entered New York Harbor. Beginning in 1886 — on entering the harbor — they would have seen the Statue of Liberty, also 150 feet in height without its pedestal. </span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">From the viewing platform atop the Coney Island Elephant Hotel, visitors
could see all the amusements of Coney Island in one direction and the ocean in
the other. There were thirty-four rooms (some descriptions say thirty-one rooms) and it became a popular
attraction, if only to look at from a distance. And from our 122-year
perspective, you can’t help but wonder at the brashness displayed by J. Mason Kirby, the hotel’s
builder, when he said, as noted by Reiss, that the building was the “eighth
wonder of the world” and could hold 5,000 people (of course he also claimed that from the observation platform, visitors could see the Grand Canyon). <o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">Another telling of the </span><span style="font-family: "arial"; font-size: 16px;">Elephantine Colossus</span><span style="color: black; font-family: "arial"; font-size: 12.0pt;">’s story names the designer and builder as James V. Lafferty, who had earlier built Lucy the Elephant in New Jersey (see below) and then later influenced
the building of the now-gone “Light of Asia,” an elephant-shaped building in Cape
May, New Jersey. But at Coney Island — whether it was J. Mason Kirby or James
V. Lafferty — the Elephantine Colossus was a great sight to see, and attracted
many New Yorkers.<o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">Still, despite its great novelty, the structure
didn’t last long, and it was gone by 1897. For one thing, pickpockets and
prostitutes became an on-going problem, and going into the building became less
interesting (for ordinary beach visitors) than just looking at it from a
distance. Old Bet may have fallen victim to a crazed farmer with a gun, but the Elephantine Colossus was totally destroyed by fire on</span><span style="font-family: "arial"; font-size: 16px;"> September 27, 1896, b</span><span style="font-family: "arial"; font-size: 12pt;">y which date the building had not been occupied for several years.</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT1bFzf2bwC1JZN-jjIN0iFM8PSXJ3LkTkzratT8F0XMS0fVOD0RFYH61rHRE_B9WQn-wHWI-uMTE_XvEdPf_bvrGobSyfFvZydkq8Fe6_lrTDQsROU_annC5Mm9oNF08RFtnee0co758/s1600/serveimage.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT1bFzf2bwC1JZN-jjIN0iFM8PSXJ3LkTkzratT8F0XMS0fVOD0RFYH61rHRE_B9WQn-wHWI-uMTE_XvEdPf_bvrGobSyfFvZydkq8Fe6_lrTDQsROU_annC5Mm9oNF08RFtnee0co758/s200/serveimage.jpeg" width="200" /></a></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; font-size: 12.0pt;">As for Lafferty’s Lucy the Elephant (originally
called “Elephant Bazaar”) over in Margate, New Jersey, the six-story building
wasn’t a hotel — but we can include it here anyway. It was originally built to
promote real estate sales, and interested buyers would climb up to the howdah at the top to view parcels of land on offer. The building later was
used as a restaurant, business office, and for other purposes and despite some
old postcards calling the building “The Elephant Hotel of Atlantic City,” the
actual hotel was in another building, nearby. <o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">Lucy is still there, although about 100 yards
away from its original location. A civic campaign to save the structure was
taken up in the 1960s and considerable repair work was done, to ensure that the
building would be safe. It was designated a National Historic Landmark in 1976.
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; font-size: 12.0pt;">So there is fun to be had thinking about
elephants and hotels. And while they are located all over the world, I like to
think about these from our local history. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; font-size: 12.0pt;">But I mustn't conclude this "connection" between elephants and hotels without returning to my beloved African elephants and sharing the story of how some of them
were discovered behaving in a very different way in a particular hotel. I could
try to tell the story, but it’s best told in this brief video, shared by
another good friend (not the Somers folks this time):</span></div>
<blockquote class="tr_bq">
<span style="color: black; font-family: "arial"; font-size: 12.0pt;"><a href="http://www.trendingly.com/elephants-walk-through-lobby">An Entire Herd ofElephants Walks through this Hotel Lobby Every Spring.</a></span><span style="font-family: "arial"; font-size: 12pt;"> </span></blockquote>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; font-size: 10.0pt;">[Historical
Notes based on <i style="mso-bidi-font-style: normal;">Somers — Its People and
Places: 1788<span style="mso-spacerun: yes;"> </span>- A 200 Year History – 1988,</i>
published by the Somers Historical Society in 1989 and <i style="mso-bidi-font-style: normal;">Lost New York</i>, by Marcia Reiss (Pavilion Books Group, 2011.] <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "" "times" "" , "serif"; font-size: 13.5pt;">_____</span><span style="color: black; font-family: "times"; font-size: 13.5pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; font-size: 10.0pt;">Guy
St. Clair is the author of <b><i>Knowledge Services: A Strategic Framework
for the 21st Century Organization</i></b> (Munich and Boston: De Gruyter,
2016). His Amazon author page is </span><a href="http://amazon.com/author/guystclair"><span style="color: blue; font-family: "arial"; font-size: 10.0pt;">amazon.com/author/guystclair</span></a><span style="color: black; font-family: "arial"; font-size: 10.0pt;">.<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
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Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com1tag:blogger.com,1999:blog-4771195677358000128.post-59266279996024730582016-11-22T09:19:00.001-05:002016-11-22T09:22:18.885-05:00Neue Synagoge (The New Synagogue), Berlin<br />
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<!--[endif]--><o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxZ3nQ9NS-dhTBYykLEda2roW5nqU3m1NyGMA-FnjlPLA4yg0SkR7abrpGNIL0g1yNMYjHtd06xNg9llRw0-5XEVd08zXziyFhD9WKDryKQXgffyrtToqGbV5G96Wm167d1a5FJk9eDpo/s1600/IMG_9416.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxZ3nQ9NS-dhTBYykLEda2roW5nqU3m1NyGMA-FnjlPLA4yg0SkR7abrpGNIL0g1yNMYjHtd06xNg9llRw0-5XEVd08zXziyFhD9WKDryKQXgffyrtToqGbV5G96Wm167d1a5FJk9eDpo/s200/IMG_9416.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8000001907349px;">Neue Synagoge</span><br />
<span style="font-size: 12.8000001907349px;">Oranienburger Straße 30</span></td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYBedmjFYjaxXaTicbWUjB3iezgY00Tr_oyv7Y8VEVYSGi77XkxVaJ0so51w0gxv5aNBjxvc1_k58KeSBPXbVd6dSBaUy-fZu2w7bbn2ZS4HpgiM2BanOjQmoQHQh9lbAkgo4OdFEwAX4/s1600/IMG_0511a.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYBedmjFYjaxXaTicbWUjB3iezgY00Tr_oyv7Y8VEVYSGi77XkxVaJ0so51w0gxv5aNBjxvc1_k58KeSBPXbVd6dSBaUy-fZu2w7bbn2ZS4HpgiM2BanOjQmoQHQh9lbAkgo4OdFEwAX4/s200/IMG_0511a.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Model of the building, showing<br />
the immense space of the main<br />
sanctuary, to the right</td></tr>
</tbody></table>
<span style="color: black; font-family: "arial"; font-size: 12.0pt;">We
like to speak of the cities we visit as “full of stories” and of course every
city — because of its distinctive history, its people, and their values — provides
a wealth of experience, education, and entertainment for most of us as tourists.
To my way of thinking, Berlin is one of the best. I love Berlin, and I have
gone there often (and wouldn’t mind going more often if I could). And when
friends ask me what they should do when they come to Berlin, the New Synagogue is
at the top of the list. <o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">For
one thing, this remarkable building — an architectural gem of the mid-19<sup>th</sup>
century and an historical monument — was designed by Eduard Knoblauch
(1801-1865), who had studied under Karl Friederich Schinkel, one of the best-regarded
architects of his period. The New Synagogue was completed after Knoblauch’s
death by his friend from his student days, Friedrich August Stüler, who himself
took on the duties relating to the building’s construction and its interior
arrangements.</span><br />
<span style="color: black; font-family: "arial"; font-size: 12pt;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigPr0xrMN8HVzoiKXVQB2ggBItJhnnQ_NPUXVpVm0sBv7pNxLVPt_tlHxBI4jdP3FTAijMdlNjzd3Df5D1NlqvKMGOkn33THynrDuLWNnhXrQxWrh2ZXL-fbDQ5MGl_pPlOLayWb6HgZw/s1600/IMG_9412.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigPr0xrMN8HVzoiKXVQB2ggBItJhnnQ_NPUXVpVm0sBv7pNxLVPt_tlHxBI4jdP3FTAijMdlNjzd3Df5D1NlqvKMGOkn33THynrDuLWNnhXrQxWrh2ZXL-fbDQ5MGl_pPlOLayWb6HgZw/s200/IMG_9412.jpg" width="150" /></a></div>
<span style="color: black; font-family: "arial"; font-size: 12pt;">The
location itself is remarkable as well, for the New Synagogue is located in one
of the most interesting parts of the city. </span><span style="font-family: "arial"; font-size: 12pt;">At Oranienburger Straße 30 and not
far from the famous Hackescher Markt, the stately building with its stunning eastern
Moorish style stands out on one of Berlin’s most pleasant streets. But the
building we see today is not exactly the building that Knoblauch designed and
Stüler completed.</span></div>
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</div>
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<br /></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">That
building was constructed between 1859 and 1866. Today’s building dates largely
from 1988 to 1995. So what happened? In its original incarnation, the building
was one of the major religious and cultural centers of Jewish life in Berlin.
With regard to the latter, for example, we find reference to an event held on
January 30, 1930, as recorded in the synagogue records:</span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">…the
“Jadlowker Synagogue Concert” for the benefit of the welfare institutions of
the Berlin Jewish Community. Hermann Jadlowker, appointed in 1912 to the Berlin
Opera at the recommendation of the German Kaiser, had been cantor in a Riga
synagogue since the 1920s. Now he gave a concert in Berlin, and his name
attracted thousands to the New Synagogue. In the course of this concert, Albert
Einstein and the physician Alfred Lewandowski, a son of Louis Lewandowski,
performed two violin duets by Handel and Bach.</span></blockquote>
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<tr><td class="tr-caption" style="text-align: center;">Two internal windows</td></tr>
</tbody></table>
<span style="font-family: "arial"; font-size: 12pt;">Such
cultural activities became important to German Jews, and two more examples are
cited in the history, the Berlin premier of the oratorio by Ferdinand Hiller,
“The Destruction of Jerusalem” on November 20, 1935 and the performance of
Handel’s “Saul” in early 1938. But such events were soon thrown into the past,
for the growing evils of Germany’s regime created new terrors for the
synagogue’s members and their families.</span></div>
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<br /></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">On
November 9-10, 1938 Berlin’s infamous “Kristallnacht” (also called the
“November Pogrom” in some histories) did not spare the New Synagogue. One
warmly remembered hero was Wilhelm Krützfeld, the chief of the district police
precinct. A fire had been started in the synagogue’s wedding hall and Krützfeld
— now remembered as the “courageous chief” — and two of his men, fully armed,
came to the scene and chased the arsonists away. Having with him a file
containing a letter describing the building’s “significant artistic and
cultural value,” he was able to save the building. <o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">For
a while, the building continued to be used for limited religious purposes. The
final Rosh Hashanah service took place on September 14, 1939, and no services
of any kind took place after April, 1940. Ultimately, the New Synagogue was
taken over by the army and used as the Military Clothing Office. <o:p></o:p></span></div>
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<br /></div>
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<tr><td class="tr-caption" style="text-align: center;">Painted ceiling with damage</td></tr>
</tbody></table>
<span style="color: black; font-family: "arial"; font-size: 12.0pt;">As
the synagogue is located in central Berlin, it suffered heavy damage in Allied
bombings of the German capital. The small Jewish population remaining in Berlin
after the war faced problems greater than restoring the building, which fell
into disuse and decay. In the summer of 1958 — on never-explained or justified
orders of the GDR — a large part of what remained of the synagogue was
destroyed. As I mentioned at the beginning of this post, it would not be until
1988-1995 that the New Synagogue would once again take its place as one of the
wonders of Berlin. That it took seven years to reconstruct the building was no
accident. The target dates for the reconstruction were carefully chosen to
correspond with the original seven-year building period from 1859-1866.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Opening Hours sign<br />
for the New Synagogue<br />
library</td></tr>
</tbody></table>
<span style="color: black; font-family: "arial"; font-size: 12.0pt;">At
the re-opening of the building on the evening of May 7, 1995 — the eve of the
50<sup>th</sup> anniversary of the city’s liberation — in a “solemn ceremony”
attended by the Federal President, the Chancellor, and numerous honored guests,
the building was given to the people of Berlin. Its purpose, as noted on one of
the first placards the visitor reads on entering the building, is to be a
“place of learning, remembrance, and exchange.”<o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">One
of the goals of the reconstruction is to give visitors a sense of the Jewish
life that once flourished in Berlin. It was a splendid structure, considered by
some to be the most beautiful and magnificent synagogue in Germany. It was certainly
the largest, with a seating capacity for 3,000 worshipers, and it was built to
serve the city’s growing mid-19<sup>th</sup> century Jewish population, which
was expanding at this time, largely through immigration from Eastern Europe and
Russia. <o:p></o:p></span></div>
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<br /></div>
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<tr><td class="tr-caption" style="text-align: center;">Empty space outside the building<br />
where the main sanctuary stood</td></tr>
</tbody></table>
<span style="color: black; font-family: "arial"; font-size: 12.0pt;">The
New Synagogue — now known also as the Centrum Judaicum — has become an
important attraction for visitors to the city. So it’s a fascinating story, and
a visit to the building, now partially reconstructed, is very satisfying. Even
what is still missing from this great building can be of interest, and one of
the great pleasures (so to speak) of the visit is to be able to see the space
where the great hall stood. A glass and steel wall connects the inside of the
building with the outside, and the “footprints” of the now-gone columns can be
seen on the ground of the open space. As described on the placard mentioned
earlier, the glass and steel wall also links to the synagogue’s historic
vestibule with a permanent exhibition “Open Ye Gates — The New Synagogue Berlin
1866-1995” and the building’s former main hall. It is a thrilling space to
visit and gives the visitor an awesome sense of all that happened in the New
Synagogue.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div style="text-align: center;">
<span style="color: black; font-family: "arial"; font-size: 10.0pt;">[Historical Notes based on <i style="mso-bidi-font-style: normal;">The New Synagogue, Berlin Past-Present-Future</i> by Hermann Simon (Berlin: Edition Hentrich Berlin, 1999)<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: black; font-family: "" "times" "" , "serif"; font-size: 13.5pt;">_____</span><span style="color: black; font-family: "times"; font-size: 13.5pt;"><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; font-size: 10.0pt;">Guy
St. Clair is the author of <b><i>Knowledge Services: A Strategic Framework
for the 21st Century Organization</i></b> (Munich and Boston: De Gruyter,
2016). His Amazon author page is </span><a href="http://amazon.com/author/guystclair"><span style="color: blue; font-family: "arial"; font-size: 10.0pt;">amazon.com/author/guystclair</span></a><span style="color: black; font-family: "arial"; font-size: 10.0pt;">.<o:p></o:p></span></div>
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Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com1tag:blogger.com,1999:blog-4771195677358000128.post-25163968817824116512016-11-01T07:12:00.000-04:002016-11-22T09:03:11.041-05:00Frances Hesselbein: Knowledge Sharing at Its Best<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Frances Hesselbein</td></tr>
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Readers of these posts are aware that my professional focus (and often much of my personal attention) is on knowledge services.<br />
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We define knowledge services simply: it is an approach to managing what we know by pulling together information management, knowledge management (KM), and strategic learning. It works for us as individuals, and in the larger scheme of things, knowledge services benefits any organization or group in which the discipline is practiced. As a compound noun, we describe knowledge services in the singular ("knowledge services is...") and with the convergence of these three splendid practices — information management, KM, and strategic learning — we position ourselves for using knowledge for its best purposes, however we wish to define those purposes.<br />
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Indeed, the best way to describe knowledge services is to think about the concept as what I've come to call "knowledge sharing," that is, the efforts we all make to ensure that that our knowledge "helps." When we share knowledge — and learn from the knowledge others share — we are able to move things along, to get things done.<br />
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It is in this frame of mind that I offer this post to honor one of the most successful practitioners of knowledge sharing I know. She is Frances Hesselbein, President and CEO of the Frances Hesselbein Leadership Institute (founded in 1990 as The Peter F. Drucker Foundation for Nonprofit Management and renamed in 2012 to honor Mrs. Hesselbein). I've known Frances Hesselbein for several years now, and I am impressed — as is everyone who knows her — with the many honors and awards she has received. And who wouldn't be? Among these have been the Presidential Medal of Freedom, awarded by President Clinton in 1998 for her leadership as CEO of Girl Scouts of the U.S.A. from 1976-1990, and her distinction in 2015 by <i>Fortune</i> as one of the world's 50 greatest leaders.<br />
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And it is that connection with the Girl Scouts that brings us to what I'm writing here, for I want to connect the excellence of Mrs. Hesselbein's work with girls and young women when she managed the Girl Scouts with my October 11th post (<a href="http://bit.ly/2dYiNtW">Ada and Michelle — Let's Focus on Girls Education</a>). When Mrs. Hesselbein came to the Girl Scouts in 1976, the organization was having some difficulties and when she — using her well-developed leadership skills — took over, she was able to realign the organization through a major turnaround. As described by Sally Helgesen in <i>Strategy + Business </i>in May, 2015, the Girl Scouts was attempting to deal with "a declining membership, a dearth of volunteers, and a growing reputation for irrelevance." Turnaround? Absolutely, for under Frances Hesselbein's guidance the organization became — as Helgesen described her success — "a cohesive and growing enterprise, focused in helping girls from diverse backgrounds achieve their highest potential through a contemporary program that emphasized leadership, science, technology, and math."<br />
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So for those of us who know and respect Mrs. Hesselbein, leadership is the thing, the very essence of any description of her success. In fact there are many of us who, out of respect for her many years of success in the field, have come to think of Mrs. Hesselbein as sort of the "dean" of leadership development today. Yet there is another side to the story when we talk about her leadership success, one that matches up with that knowledge sharing I referred to earlier. As we commit to our goal for educating girls and young women and, not to put too fine a point on it, combining that goal with enabling <i>all</i> women to connect with leadership, it is in Mrs. Hesselbein's outstanding talent for sharing knowledge that we realize just how important it is to link leadership and knowledge sharing.<br />
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An example? On October 13 I was fortunate to hear her opening keynote address for the Global Women's Leadership Summit. Mrs. Hesselbein's theme was clear from the first: leaders today — and those who aspire to leadership — understand that our modern society requires a new commitment to leadership, a framework for leadership that refutes the low level of trust and the high level of cynicism being experienced in all of society. And, not surprising to her audience, Mrs. Hesselbein recommended a solution. This pioneer in leadership (and in knowledge sharing as well, as I am characterizing her) described for conference attendees a plan, a list she referred to as her Imperatives of Leadership.<br />
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I heard five specific imperatives from Frances Hesselbein:<br />
<ol>
<li>Challenge the gospel of the status quo. It is her own "imperative" but Mrs. Hesselbein was generous to recognize (here and often in her address) the strong connection and friendship she had with Peter Drucker and here she shared a singularly appropriate line of thought. In any organization, those in leadership positions must keep the organization's vision, mission, and values at the very center of the organization, enabling the leaders to build — as they move the organization forward — the organization as an organ of the future.</li>
<li>Build collaborations, alliances, and partnerships. Mrs. Hesselbein has worked in 68 countries and how does she do it all? She uses technology to keep innovative dialogue alive and strong, and she makes no secret of the importance and value of education and learning. In her address, she quoted William Butler Yeats ("Education is not the filling of a pail, but the lighting of a fire"). Following this thought, she admonished all with leadership responsibility to look "beyond the walls of the organization" by simply asking: "And who does that?" Her response was clear and to the point, taking us back to strategic learning and knowledge sharing: "Learning leaders," she said, and left no doubt in her listeners' minds about who she expected to take charge when it is time to light the fire.</li>
<li>For her third leadership direction, Mrs. Hesselbein related her comment (for those of us who know a little of her history) to all of the work she has undertaken throughout her professional career. "Build a richly diverse enterprise," she said. If there is a single goal of the Frances Hesselbein Leadership Institute, it would be to provide equal access. It is a task that cannot be delegated, simply because — as she stated it — "civility and good manners come directly 'from the front' and leaders are responsible for equal access and diversity in the organizations they lead." Or, perhaps more to the point for today's audience: "Are we building today the richly diverse community for the future?"</li>
<li>For leaders, the objective must be to manage and to understand the power of the vision, mission, and values of the organization. That's what innovates the organization's leaders, Mrs. Hesselbein said, reminding her listeners of Drucker's critical dictum: we manage not only for the success of our immediate organizations but for the greater good. As leaders we are not in the role of describing for the organization's workers "how to do." The goal is to demonstrate for them "how to be," a thought that led to another thought from Drucker, that innovation is the change that creates a new dimension of performance. In our current society, we look around and we see that now is the time to lead, to develop our checklist to the leaders of the future so that we enable them to establish and adhere to values-based and demographic-driven leadership principles for leading the organization and its people. </li>
<li>With the last of her leadership imperatives, Frances Hesselbein brought us around to communication, that critical foundation for just about everything we do in the organizations for which we are responsible. She gave considerable attention to the idea that communication is "being heard" and she stated unapologetically that "we need leaders who practice listening." Successful leaders, she said, are those who are listeners and unifiers, and through them "we find common ground." Of course leaders share success but true leaders, she made clear, also accept responsibility for shortcomings and failures when they share success. </li>
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As she ended her her address, Mrs. Hesselbein turned to the subject of mentoring, to how leaders take it upon themselves to inspire fellow travelers. For this, she remembered George Bernard Shaw's focus on mentoring:</div>
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<span class="s1">"I am of the opinion that my life belongs to the community, and as long as I live, it is my privilege to do for it whatever I can. I want to be thoroughly used up when I die, for the harder I work, the more I live. Life is no 'brief candle' to me. It is a sort of splendid torch which I have got hold of for a moment, and I want to make it burn as brightly as possible before handing it on to the future generations."</span></blockquote>
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— George Bernard Shaw</div>
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<span style="text-align: left;">The destiny for her listeners, Frances Hesselbein made clear, is to hold that splendid torch high and, as leaders, "you will make it burn brightly." And, as much as any other point she made for the listeners at the Global Women's Leadership Summit, that future will be filled with leaders whose torches burn brightly. She was speaking to all of us, and — it seems to me — to all women listening to her. And I — because I am so optimistic about what they will do — was particularly pleased as she carefully addressed the millennials in the audience, the people who today represent our future's brightest hope, our new — perhaps — "greatest generation."</span></div>
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It was a remarkable address for that important conference, and it meant a lot to me to be able to hear what Mrs. Hesselbein had to say. And today I am very pleased to pay tribute to Frances Hesselbein with this post, to be able to express my gratitude for having her describe for us how we, as a society, can use leadership to dispel some of the distrust and cynicism that have been shoved into our societal discourse. And for paying tribute to Frances Hesselbein, there is not a better day to do so than today. November 1 is Frances Hesselbein's birthday and I want to go on record as presenting this remarkable woman with my very best wishes for a glorious day. From all of us — many admirers, faithful students and followers, and all of us who have come to appreciate all we have learned from you — we thank you, and we wish you the happiest of birthdays. Best wishes to you, Frances Hesselbein.<br />
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<span style="color: black; font-family: "" "times" "" , "serif"; font-size: 13.5pt;">_____</span><span style="color: black; font-family: "times"; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; font-size: 10pt;">Guy St. Clair is the author of <b><i>Knowledge Services: A Strategic Framework for the 21st Century Organization</i></b> (Munich and Boston: De Gruyter, 2016). His Amazon author page is </span><span style="font-family: "arial"; font-size: 10pt;"><a href="http://amazon.com/author/guystclair"><span style="color: blue;">amazon.com/author/guystclair</span></a><span style="color: black;">.</span></span></div>
Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com2tag:blogger.com,1999:blog-4771195677358000128.post-49427564972270442452016-10-11T09:54:00.001-04:002016-11-01T07:22:33.510-04:00Ada and Michelle — Let's Focus on Girls’ Education<div class="MsoNormal">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Ada Lovelace<br />(Photo: Science & Society<br />Picture Gallery)</span></td></tr>
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Today — the second Tuesday in October — is observed as Ada Lovelace Day, an international
celebration day of the achievement of women in science, technology,
engineering, and math (STEM). The goal — according to the event's organizers
and described at their <a href="http://findingada.com/about/our-mission/">Ada Lovelace Day (ADA) site</a> </span><span style="font-family: "arial"; font-size: 12.0pt;"><span style="color: black;">— is to "increase the profile of women in STEM and in doing
so create new role models who will encourage more girls into STEM careers and
support women already working in STEM." Their day is named for and honors </span></span><span style="font-family: "arial"; font-size: 16.3636360168457px;">Augusta Ada Byron, Lady Lovelace.</span><span style="font-family: "arial"; font-size: 12pt;"> I begin my </span><i style="font-family: arial; font-size: 12pt;">homage</i><span style="font-family: "arial"; font-size: 12pt;"> to Countess Lovelace with this 1840 portrait of her by Alfred
Edward Chalon.</span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">For
2016, there is a remarkable coincidence in celebrating Ada Lovelace Day. As
a result of youth advocacy around the world, the U.N. has since 2011 declared
October 11 as the </span><span style="font-family: "arial"; font-size: 12.0pt;"><a href="http://www.unwomen.org/en/news/in-focus/girl-child">International Day of the Girl Child</a><span style="color: black;">, with its mission stated as “to
help galvanize worldwide enthusiasm for goals to better girls’ lives, providing
an opportunity for them to show leadership and reach their full potential.” The
United States "branch" of this global movement — as described by the
U.N. — encourages activist groups to come together under the same goal to
highlight, discuss, and take action to advance rights and opportunities for
girls everywhere. So for the United Nations, October 11 celebrates not just a
day but, as the U.N. describes it, a movement. <o:p></o:p></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSxjqNJn5N-qMvE6ScIQyFq2zeNeiUCFUEBTPn_9abv4aw8myxBnTVE6UfpdAvtDtT_9WPc2w8P9UVs0RwDR_PWxJ-vGTFBTmb28SSbw56_gB8Tvg0ef9L8boFkEkVR3lccOswD0_v6sY/s1600/Let-Girls-Learn_White-House-Education-Project_GC4W-Recap-250x250.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSxjqNJn5N-qMvE6ScIQyFq2zeNeiUCFUEBTPn_9abv4aw8myxBnTVE6UfpdAvtDtT_9WPc2w8P9UVs0RwDR_PWxJ-vGTFBTmb28SSbw56_gB8Tvg0ef9L8boFkEkVR3lccOswD0_v6sY/s200/Let-Girls-Learn_White-House-Education-Project_GC4W-Recap-250x250.png" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mrs. Obama with her<br />
Let Girls Learn students<br />
(Photo: <a href="http://go4womens.org/">go4womens.org</a>)</td></tr>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">And
of particular note in the United States, October 11 is the Day of
the Girl, coming out of First Lady Michelle Obama's office in recognition of
the work she and the President are doing with </span><span style="font-family: "arial"; font-size: 12.0pt;"><a href="https://letgirlslearn.gov/">Let Girls Learn</a><span style="color: black;">, an initiative launched in March 2015. The purpose of Let
Girls Learn is to leverage public-private partnerships and challenge others to
commit resources to improve the lives of adolescent girls worldwide. The
program, in concert with a variety of other organizations, seeks to address the
range of challenges preventing adolescent girls from attaining a quality
education for empowering them to reach their full potential. And those
challenges are described by Let Girls Learn: "Unfortunately today more
than 62 million girls around the world are not in school — half of whom are
adolescents. We know that countries with more girls in secondary school tend to
have lower maternal mortality rates, lower infant mortality rates, lower rates
of HIV/AIDS, and better child nutrition. But too often, a girl who could change
her world for the better is locked out of that future by the circumstances of
her birth or the customs of her community and country."<o:p></o:p></span></span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">It's
a tall order, and I'm brave enough to try to bring together — in this post — a
look at how it might all be connected. And for this grandfather of six sensational
young women (plus a sensational young grandson as well), I like thinking about
what their lives are going to be like as they move into this world we've
created with digitized information, knowledge services, and — more important
than anything else — strategic learning. We're all going to be required to give
more and more attention to knowledge sharing (which we all accept is the
fundamental attribute of learning, whether it's learning for the workplace and
our career interests or simply learning so we can strengthen and enhance our
own personal capabilities). So while I don't give less consideration to what's
happening with boys and young men, I particularly like thinking about Ada Lovelace in this connection. In one way, she brought together
for us all that we're experiencing with knowledge sharing today.<o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">[And
certainly our First Lady is doing her part. Of course Let Girls Learn is
amazingly serious — and we all admire her and the President greatly for what
they are doing. But she also has very novel ways — or perhaps not so novel —
for getting the message out. If you don't believe me go to her appearance on </span><span style="font-family: "arial"; font-size: 12.0pt;"><a href="https://www.youtube.com/watch?v=ln3wAdRAim4">Carpool Karaoke</a><span style="color: black;"> and have some fun!]<o:p></o:p></span></span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">But
I digress. What I'm trying to do here is give some attention to how far we've
come, and the only place I can seriously begin is with — to use her more formal
title — Augusta Ada King-Noel, Countess of Lovelace (1815-1852). The only
legitimate child of Lord Byron and Anne Isabella Milbanke ("Anabella"),
Lady Wentworth, she never really knew her father, as he left England when she
was just a few months old. He died, without her ever seeing him again, when she
was eight years old.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivSmLsJPyZn8azNJ2OhsF6nt2oQSVROIt4dgEuLwPCvhCYnIS7NQRFLEhfRXOh2NYmK-5BMekuVAmyqHOhe7HyewJqYFTXhG4Tkku-oLAuQTSD8OZOOfnENYR443MgGDpNgCevf-u_CPA/s1600/800px-Ada_Lovelace_portrait.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivSmLsJPyZn8azNJ2OhsF6nt2oQSVROIt4dgEuLwPCvhCYnIS7NQRFLEhfRXOh2NYmK-5BMekuVAmyqHOhe7HyewJqYFTXhG4Tkku-oLAuQTSD8OZOOfnENYR443MgGDpNgCevf-u_CPA/s200/800px-Ada_Lovelace_portrait.jpg" width="138" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ada Lovelace<br />
(Photo: English Wikipedia)</td></tr>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">I
can’t say for sure when I was first taken with Ada (seen here in a portrait by
Margaret Sarah Carpenter from 1836, when Ada was 21 years old and obviously
attired for some major social function!). Probably sometime back when I was
studying library and information science, about the time when computers and
digitization were being discussed often.<span style="mso-spacerun: yes;"> </span>I was probably told some of her story by someone I knew. And being the
incurable romantic I am and with an on-going fascination since childhood for
English literature and poetry (and of course Lord Byron — both his work and his
life! — what young person isn’t caught up in all that?), I think Ada and her
efforts to be “more” than was expected of an aristocratic young lady of her
time had great appeal. And certainly as an adult I became pretty caught up in
her character when Tom Stoppard’s play “Arcadia” opened in 1993; that was when
this delightful young woman (apparently — according to some — based on Ada
Lovelace) took her place in my heart. The character Thomasina Coverly in
“Arcadia” was working on different scientific theories but her personality came
through to me.<o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">For
the “real” Ada, it wasn’t particularly easy going. There were problems with her
mother, whose bitterness — probably warranted — about her husband’s departure
seemed to make her fear that Ada would turn out to be too sensitive (today we
would probably say “high-strung”). So Ada was pushed into mathematics and
technology to perhaps distract her from more ethereal and what we would call "cultural" interests; you can certainly see the connection with young women thinking about careers in STEM today, can’t
you? She seems to have not been able to pull herself completely away from
thinking about her father’s literary and poetical direction (she even referred
to how she considered mathematics and her interests as “poetical science”), so
she became an early example, a living example of an intellectual woman who
could combine the arts and the sciences. Obviously in her case the sciences won
out. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLiFGTpMBjfbP86KZUywHuzHPhVVtbEPeF4o5tdvwfH9aMJLiEYFvhgNJ95u7OXcL_oEQYdriTIcGWdJQsmiuoLLiSx1b0kWc7rSh5O_zY2fn6xq235g5qrC-1hxkot3VJPx95unQxxuE/s1600/IMG_6632%25284%2529.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLiFGTpMBjfbP86KZUywHuzHPhVVtbEPeF4o5tdvwfH9aMJLiEYFvhgNJ95u7OXcL_oEQYdriTIcGWdJQsmiuoLLiSx1b0kWc7rSh5O_zY2fn6xq235g5qrC-1hxkot3VJPx95unQxxuE/s200/IMG_6632%25284%2529.jpg" width="136" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ada Lovelace House<br />
12 St. James Square, London<br />
(Photo: Andrew Berner)</td></tr>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">And
get into the sciences she did, and that interest led her — as a young society
lady meeting many people both at court and otherwise — to come to know
scientists, writers, and others influential in society. And I was lucky enough — as seen here — to find her house when I was recently in London.<o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">At
the <a href="http://findingada.com/about/our-mission/">Ada Lovelace Day site</a> we get a good summary of some of what she did in a
neat little two-paragraph introduction for people meeting up with Ada for the
first time:</span></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">Born
in 1815, Ada Lovelace collaborated with inventor Charles Babbage on his general
purpose computing machine, the Analytical Engine. In 1843, Lovelace published
what we would now call a computer program to generate Bernoulli Numbers. Whilst
Babbage had written fragments of programs before, Lovelace's was the most
complete, most elaborate and the first published. </span></blockquote>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">More
importantly, Lovelace was the first person to foresee the creative
potential of the Engine. She explained how it could do so much more than merely
calculate numbers, and could potentially create music and art, given the right
programming and inputs. Her vision of computing's possibilities was
unmatched by any of her peers and went unrecognized for a century.</span></blockquote>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">And while there has been, from time to time, some controversy about her writings, with evidence offered that Babbage probably wrote more of her material than was recognized at the time, the controversy does not weaken the case for her importance to those of us who deal with knowledge services. And she was, indeed, good at music and art even though her true intellectual success came with
her scientific studies. This was of course long before C.P. Snow and his writings
about the two cultures (<i>The Two Cultures and the Scientific Revolution</i>).
In 1959 — and long beyond — he had us all thinking about how combining the
sciences and the humanities is required if we are not to “impede progress” in
solving the world’s problems. Nevertheless Snow’s work and much that came after
it (and still being discussed) demonstrates to us that with the right
encouragement, the two cultures can work together to bring about important, nay
critical and essential societal change.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: black; font-family: "arial"; font-size: 12.0pt;">This assertion becomes clear when we look back on Ada’s story, by now having been told in many places, including a rather
well-told tale in an updated chapter (</span><span style="font-family: "arial"; font-size: 12.0pt;"><a href="http://findingada.com/shop/a-passion-for-science-stories-of-discovery-and-invention/ada-lovelace-victorian-computing-visionary/">Ada
Lovelace: Victorian Computer Visionary</a><span style="color: black;">) from the
2<sup>nd</sup> edition of the STEM anthology <i style="mso-bidi-font-style: normal;">A Passion for Science: Tales of Discovery and Invention</i>, available
at the </span><span style="color: #0a0a0a; mso-bidi-font-style: italic;">Ada Lovelace
Day site. I have two particular favorites, both fairly recent. James Gleick — a
master story-teller himself — has a great time with Ada’s story in <i>The
Information — A History, a Theory, a Flood</i> (New York: Pantheon, 2011). Even
more fun is Walter Isaacson’s <i>The Innovators — How a Group of Hackers,
Geniuses, and Geeks Created the Digital Revolution</i> (New York: Simon and
Schuster, 2014). Isaacson not only opens his book with Ada, he closes it with
valuable conclusions about her and her contribution. This is my take-away from
Isaacson at the end of his book:<o:p></o:p></span></span></div>
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<br /></div>
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<span style="color: black; font-family: "arial"; font-size: 12.0pt;">This interplay between technology and the arts
will eventually result in completely new forms of expression and formats of
media. “This innovation will come from people who are able to link beauty to engineering,
humanity to technology, and poetry to processors,</span><span style="font-family: "arial"; font-size: 16.3636360168457px;">”</span><span style="font-family: "arial"; font-size: 12pt;"> coming from </span><span style="font-family: "arial"; font-size: 16.3636360168457px;">“</span><span style="font-family: "arial"; font-size: 12pt;">creators who can flourish where the arts intersect with the sciences and
who have a rebellious sense of wonder that opens them to the beauty of both.”</span><br />
<span style="color: black; font-family: "arial"; font-size: 12.0pt;"><br /></span></div>
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<span style="color: black; font-family: "" "times" "" , "serif"; font-size: 13.5pt;">_____</span><span style="color: black; font-family: "times"; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; font-size: 10.0pt;">Guy
St. Clair is the author of <b><i>Knowledge Services: A Strategic Framework
for the 21st Century Organization</i></b> (Munich and Boston: De Gruyter,
2016). His Amazon author page is </span><span style="font-family: "arial"; font-size: 10.0pt;"><a href="http://amazon.com/author/guystclair"><span style="color: blue;">amazon.com/author/guystclair</span></a><span style="color: black;">.<o:p></o:p></span></span></div>
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Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
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Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com1tag:blogger.com,1999:blog-4771195677358000128.post-3255663243182194082016-09-11T17:25:00.002-04:002016-09-11T17:25:42.321-04:00Observing 9/11<br />
There
have been references to 9/11 here. In 2013, for example, I wrote
<a href="http://gstcjourney.blogspot.com/2013/09/a-thought-for-september-11.html">A Thought for September 11</a> and even earlier, in 2011, I shared anniversary thoughts in <a href="http://gstcjourney.blogspot.com/2011/09/ten-years-later.html">Ten Years Later</a>, so it might be time
to move on and let the past be the past. Indeed, “move on” was the phrase
I used in the 2011 post: “Yet ten years later, as the anniversary of 9/11
approached, most of us had moved on. We are living in a different world now
and, yes, one greatly changed by the actions of that horrible day. But we had — nevertheless — moved on.”<br />
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<span style="color: black; mso-bidi-font-size: 11.0pt;">Have
we? Now I'm not quite so sure. Conversations with several friends over the past few days, and especially with two
special and long-time friends (one in England and one in Germany) make it clear
that, yes, the world has changed and today’s world has little in common with
the pre-9/11 world. So it is undoubtedly a “different” world we inhabit nowadays. But is it
a better world? Did we learn anything from 9/11? Did we fix anything? <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0SnovWn9_2TClABYKpMZtqq5dNK568lj7qx9YkrBrxtgZfjbAjoC5D6G_qC8Rgs2Ir9OcvMc8XW1WPOUXT0VAXMe_SGswFpyEH14SCp90d20qq5T5xepXuEJOgR-_JyvUH7_8j7aH6_E/s1600/IMG_9400a.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0SnovWn9_2TClABYKpMZtqq5dNK568lj7qx9YkrBrxtgZfjbAjoC5D6G_qC8Rgs2Ir9OcvMc8XW1WPOUXT0VAXMe_SGswFpyEH14SCp90d20qq5T5xepXuEJOgR-_JyvUH7_8j7aH6_E/s200/IMG_9400a.jpg" width="146" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Canterbury Cathedral<br />
(Photo: Andrew Berner)</td></tr>
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<span style="color: black; mso-bidi-font-size: 11.0pt;">Many of
my friends like to characterize me (sometimes teasingly) as one variation of that sort of “eternal
optimist” we hear about from time to time. Others pick up on my habit of
putting out of my mind (usually without realizing it) any “bad things” that
happen and literally not remembering them, even when I’m reminded that they happened. <o:p></o:p></span></div>
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<span style="color: black; mso-bidi-font-size: 11.0pt;">Perhaps
both characterizations fit but I’m now realizing — for perhaps the first time
in fifteen years — that I’m beginning to arrive at some sort of emotional
maturity about 9/11 (acceptance?), although I expect my situation at the time wasn’t
particularly unique. All of us went through the horrors of the experience and
in many respects I'm sure what happened to me was not unlike things that happened to others. Nevertheless, my experience affected me.<o:p></o:p></span></div>
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<span style="color: black; mso-bidi-font-size: 11.0pt;">In my
case, I was in a meeting at the Pentagon when the first plane hit the World
Trade Center. Someone rushed into our meeting with the news and almost
immediately a huge television on the wall came alive and on it we witnessed the second airplane crashing into the second tower. Not long after (I don't know how long but I think I passed out or something, because I remember someone bringing me around), I was able to leave the building to get to my rental
car. While driving out of the now very crowded circular highway around the
Pentagon, I saw the airplane targeted for Washington dive into the building. All the traffic sped away as fast as we could get out of there. Once back at the hotel — where </span>watching Peter Jennings I remained mesmerized for the rest of the day — all I could think about was getting back to
New York (as I was able to do on the first train back to New York the next
day).</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWVXr8PuxnExGk3oINIteiADUjs-wzqM_wHCb5ieSHCjYFNg8PL5LZiR64t95Vgyf6XHqXR3yiYN7Nn4y3vlZqlvTmxj3vLJzmo-LS2b_PrjPYRK3EmcR6FxVk7DqNwNPoeajtgpPpKYQ/s1600/IMG_9417.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWVXr8PuxnExGk3oINIteiADUjs-wzqM_wHCb5ieSHCjYFNg8PL5LZiR64t95Vgyf6XHqXR3yiYN7Nn4y3vlZqlvTmxj3vLJzmo-LS2b_PrjPYRK3EmcR6FxVk7DqNwNPoeajtgpPpKYQ/s200/IMG_9417.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Die Neue Synagoge — Berlin<br />
(Photo: Andrew Berner)</td></tr>
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<span style="color: black; mso-bidi-font-size: 11.0pt;">So 9/11 was
a</span> truly unbelievable experience but, as I say, not only for me but I suppose for millions
of others as well. And what came of it, on the personal level for us as
citizens of the world or as citizens of wherever we happen to live? I don’t
know the answer to that question and being neither a philosopher nor particularly religious (I’m probably
one of those <a href="http://www.pewresearch.org/fact-tank/2016/08/24/why-americas-nones-left-religion-behind/">“none” believers</a> we hear about from the Pew Research Center) but even thinking in those directions, I am not sure that is where the answer lies. Nevertheless — and as a little aside — I
continue to be impressed with what some of the recognized philosophers have to say. And I continue to respect people who have faith. I enjoy sacred music (particularly choral sacred works) and visiting monuments of faith, as we
might call them. When I travel, I take special pleasure in seeing these magnificent buildings and having them captured in photos (some shown here). And there's no question but that I open my heart to the many generations of ages past whose faith led
them to expect some version of “deliverance” as society moved forward and how they demonstrated their faith in constructing these splendid religious monuments.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYsR9L0jq1tsKWPfz9wduXTF-z0GiU9OJy2ADzxsjIYwRijlogumYFy57MYox98Rx-PVjvYLXP2kOGool7_1e3tFW7eHAt3WYNgOen8ElSJwVwSMV5qL6hTgFpC9KrBVIhTUbUhl9Qo90/s1600/Great+Mosque+of+Cordoba.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYsR9L0jq1tsKWPfz9wduXTF-z0GiU9OJy2ADzxsjIYwRijlogumYFy57MYox98Rx-PVjvYLXP2kOGool7_1e3tFW7eHAt3WYNgOen8ElSJwVwSMV5qL6hTgFpC9KrBVIhTUbUhl9Qo90/s200/Great+Mosque+of+Cordoba.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">La Mezquita — The Great Mosque of Córdoba<br />
(Photo: Andrew Berner)</td></tr>
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<span style="color: black; mso-bidi-font-size: 11.0pt;">And not
just people of the past, for there are believers today, whether believers in
some religious faith or simply humanists and enlightened thinkers
who believe in the “goodness of man” (as it is sometimes expressed). But are we
advancing? Of course the world has changed since 9/11, and in ways that demonstrate clearly that the pre-9/11 world will never return. Yet knowing
full well that our world will never be the same again, how do we get beyond
what we are witnessing and truly frightened about? Most of the people I know (myself included) are considerably
distressed with the nasty political battle going on in the United States, and
the possibility of destroying the society we have and building a new society based
on lies and hatred (of immigrants and any "others" who seem to be so casually identified). Despite our faith in humanity — no matter how
limited — such a society is destined to self-destruct and, I fear, to do so sooner rather
than later. We are very frightened and while we try to be optimistic, it is
difficult. We feel it all around us. Everyone is frightened.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6tSlgFVc-QFSQTQyjLZSTdN1_uzCatz4IHg5wO11r4Xrzikjd7kBsolCct4q5wkDdT_1ln1br1GiyROa6cMq0dPEipGwMi23tHc5hhfrRFpnoH7ClI1_LoPaKFh7-Z2wqdwMPZ-8IKoY/s1600/431px-Marble_Church_NYC.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6tSlgFVc-QFSQTQyjLZSTdN1_uzCatz4IHg5wO11r4Xrzikjd7kBsolCct4q5wkDdT_1ln1br1GiyROa6cMq0dPEipGwMi23tHc5hhfrRFpnoH7ClI1_LoPaKFh7-Z2wqdwMPZ-8IKoY/s200/431px-Marble_Church_NYC.jpg" width="143" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marble Collegiate Church<br />
(Photo: Marble Collegiate Church)</td></tr>
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<span style="color: black; mso-bidi-font-size: 11.0pt;">So what
conclusions are left for us? Where do we go from here? Believing strongly in
that optimism I’m characterized with I want our society — local,
regional, nationally, and yes, even internationally — to advance, and while
there are no simple answers to the question, I think we must look to two points
of view that in my opinion would give us strength. And perhaps might help us deal with what we're up against.</span></div>
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<span style="color: black; mso-bidi-font-size: 11.0pt;">One, not surprisingly, is
simply trust. No long definitions of trust or the value of trust are required at
this point. We know what we are talking about and all we have to do is have the
strength (and especially ask our leaders to have the strength) to think in
terms of trust and not in terms of “gotcha.”<o:p></o:p></span></div>
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<span style="color: black; mso-bidi-font-size: 11.0pt;">And
there’s more: What would happen if we returned to the almost simplistic
leadership (speaking of leaders) of one of the most talked-about people of the
past? Wasn’t it the Rev. Norman Vincent Peale — at Marble Collegiate Church just
a few blocks from where I now live — who urged a mantra of “positive thinking”? Of
course the idea as formalized and preached by Dr. Peale was and remains controversial.
And certainly “positive thinking” as described by Dr. Peale is not advocated by many serious thinkers today. But what would our world be like if, in fact, our leaders (not
just, but especially world leaders) replaced fright and hatred with a positive
approach to getting along? I know nothing about diplomacy but I can’t help but
wonder if such an approach it possible. Probably not, but the words — even if only as words just
because they are out there and part of our vernacular — could be given some
thought. Could this be a direction for our post 9/11 society?</span></div>
Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com1tag:blogger.com,1999:blog-4771195677358000128.post-57550020965089771322016-08-29T21:57:00.001-04:002016-09-06T11:53:22.481-04:00Still in the News: Elephant Poaching Continues<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_YrGOxVc8LTzOgGSPiFCsTleGPOOacogpHSe7CvXdLfpHqW11dHTolla18mZx7x3sj9MEz1bWtRcjkkwyL-_1ZYS9z_r_z2XcGo0-Rh9O2TUl_xtBQls8JSocok6ILcb7AQTfmZNkbD0/s1600/IMG_2196.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_YrGOxVc8LTzOgGSPiFCsTleGPOOacogpHSe7CvXdLfpHqW11dHTolla18mZx7x3sj9MEz1bWtRcjkkwyL-_1ZYS9z_r_z2XcGo0-Rh9O2TUl_xtBQls8JSocok6ILcb7AQTfmZNkbD0/s200/IMG_2196.jpg" width="200" /></a></div>
Friends and colleagues know that among Mr. Guy's favorite things in life (aside from his family, it goes without saying), elephants rank high up there, probably the result of his thrilling experiences living in Kenya and spending as much time as he could going off with his driver Charles to look for elephants. [More about that in the posts noted to the left, dating from late 2009 to early 2011, with one dating from January, 2014.]<br />
<br />
No need to go into a lot of description here except to note that in Africa, according to the World Wildlife Fund, the splendid African elephant comes in two sub-species, the Savannah (or bush) elephant and the Forest elephant. I love them all, and I've decided that — for a gentle re-entry back into the world of "Sharing Guy's Journey" — I'll share a few elephant-related thoughts for those who join with me in thinking about this magnificent animal (which the WWF refers to as "the largest animal walking the Earth).<br />
<br />
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And a little later I'll get to telling some sweet stories to top up part of what I've told earlier (and encouraging anyone reading this to look back at <a href="http://gstcjourney.blogspot.com/2014/01/kenya-guy-and-old-lady-elephant.html">my favorite elephant story</a> about the old-lady elephant who came to mean so much to me).<br />
<br />
But first I want to tackle a problem that seems to keep coming back. Despite a certain tendency toward some level of optimism over the last couple of decades or so, the news about elephant poaching continues to be bad. I'm not sure what's going on, but there is surely some lack of motivation, probably having to do with the times we're living in. We have the international situation with Syria and terrorism news from all over the world. Then there's the attention given to attempting to deal with some version of post-Brexit governance and in the United States we have distractions of what purports to be a political campaign.<br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjybbk_x_Xztdn26ZtsMYfBZ_h-6sm-aCZeJ6QjvJehNLVxhyZYZOxcKMJnVY4IUNsLL1uQjz-0bv21y-NrXjZPLS2htRU_oU9ZRYg841mehBiIDrRFEuvparGlkVeSsYbyLNZCKbxn7Ck/s1600/IMG_1599+-+Version+3A.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjybbk_x_Xztdn26ZtsMYfBZ_h-6sm-aCZeJ6QjvJehNLVxhyZYZOxcKMJnVY4IUNsLL1uQjz-0bv21y-NrXjZPLS2htRU_oU9ZRYg841mehBiIDrRFEuvparGlkVeSsYbyLNZCKbxn7Ck/s200/IMG_1599+-+Version+3A.jpeg" width="200" /></a>So is it any wonder that this particular subject — which worries so many of us — is "out-of-bounds" for most media? Certainly we were all pleased to read about President Uhuru Kenyatta of Kenya repeating a poached-ivory burning ceremony originally performed in 1989, with an impressive monument later built to commemorate Kenya's President (at the time) Daniel arap Moi's burning of some 12 tons of elephant tusks. The monument (shown here) is a popular tourist site within Nairobi National Park, attracting visitors at all times of the year. And the poached-ivory burning ceremony was an action that seemed to have given new attention to changing global policy on exporting ivory. So this past April 30 President Kenyatta oversaw a similar ceremony, which <i>National Geographic </i>described as the destruction of 105 tons of elephant ivory and 1.35 tons of rhino horn, "the final remains," the <i>National Geographic </i>news service reported, "of some 6,500 elephants and 450 rhinos killed for their tusks and horns."<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjIoA6et8YPNTtoPWwyPyJ2sQ_ZtBZMapeZUFly9-rC53PSU_O2uxBwFg3EmKTI-AR6tWP_IVB6kC9cTEQ6LBsTb4VVN3PcXSbIWCGP0VLgEzSfDlvLVdnDS9Og3o7vJYaWCW5pgl0aAg/s1600/IMG_2511.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjIoA6et8YPNTtoPWwyPyJ2sQ_ZtBZMapeZUFly9-rC53PSU_O2uxBwFg3EmKTI-AR6tWP_IVB6kC9cTEQ6LBsTb4VVN3PcXSbIWCGP0VLgEzSfDlvLVdnDS9Og3o7vJYaWCW5pgl0aAg/s200/IMG_2511.jpg" width="200" /></a></div>
That's a very noble response to what is an amazing — in the literal sense of the word — endangered species destruction. But it is also troubling to think that an additional 105 tons of illegal ivory was confiscated between 1989 and 2016. To my way of thinking, it is almost inconceivable that as our society becomes more and more civilized (as we hope is happening) such damage occurs. I recently heard from a good friend who follows these things with more scholarly (and personal) background than I, that <a href="https://secure.avaaz.org/en/">Avaaz</a> — an apparently well-known global civic campaigning community — reports that "Every 15 minutes an elephant is brutally slaughtered for its tusks, and at this rate they will be gone forever in just a few years." The report from Avaaz goes on to state that "momentum is growing for a complete global ban on ivory" but notes sadly that the European Commission in a position paper released last month (according to <a href="https://www.theguardian.com/environment/2016/jul/06/african-wildlife-officials-appalled-as-eu-opposes-a-total-ban-on-ivory-trade">The Guardian</a>) has indicated that "rather than an all-encompassing ban it would be better to encourage countries with growing elephant numbers to 'sustainably manage' their populations."</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihZm16DYs2S7in6fCdbWHyrgyesiyewQWi-nS1Ym-wLlwu3q5MEO2Qn2c2AGmTnMwHlNxxGTG-8KScQXgfFYjmnQ8ergF92rD_ELtcZ9NNwwQQc-uUt6RYUiOdQETtr6P4gnc4nWM_PO8/s1600/1054.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihZm16DYs2S7in6fCdbWHyrgyesiyewQWi-nS1Ym-wLlwu3q5MEO2Qn2c2AGmTnMwHlNxxGTG-8KScQXgfFYjmnQ8ergF92rD_ELtcZ9NNwwQQc-uUt6RYUiOdQETtr6P4gnc4nWM_PO8/s1600/1054.jpg" /></a>Doesn't this seem like an odd response to a problem that is clearly recognized throughout many countries? Over the past couple of years, <i>The New York Times</i> has been running a very informative series of articles about elephant poaching and the dangers of extinction for this remarkable species (just search "elephant poaching" in <i>The New York Times</i>). I think all civilized peoples recognize that the elephant-poaching crisis is heartbreaking. Some 29 African governments have predicted mass extinction within 25 years unless a full-scale ban on any future domestic ivory trade is enacted. What possible reasons could there be — other than greed — to oppose a ban on the sale of ivory?</div>
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These are questions I'm not qualified to answer but that does not mean I don't think about them. And as I spend a little more time thinking about elephants in future blog posts (happier stories I promise) this sad situation has to be kept in mind. It was aviatrix Beryl Markham, in <i>West with the Night</i>, who provides us with a closing thought for today for this subject:<br />
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"It is absurd for a man to kill an elephant. It is not brutal, it is not heroic, and certainly it is not easy; it is just one of those preposterous things that men do...."</blockquote>
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Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-31093312670434509852016-05-10T16:46:00.001-04:002016-05-10T22:05:55.515-04:00A Truly Exciting New Novel (Young Adult Division)<br />
Welcome back.<br />
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<tr><td class="tr-caption" style="text-align: center;">Alwyn Hamilton</td></tr>
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Except for the posts about <a href="http://gstcjourney.blogspot.com/2016/01/impressionist-pictures-that-impress.html">Impressionism</a> on January 1 and the <a href="http://gstcjourney.blogspot.com/2016/02/mahlers-symphonie-no-8-what-treat.html">Mahler 8</a> on February 26, I've been neglecting my personal blog. All for good reason: although not teaching this past semester, I chose to spend my time finishing up my next book. More information about that project when <i style="font-weight: bold;">Knowledge Services: A Strategic Framework for the 21st Century Organization </i>is published in mid-September.<br />
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Speaking of books, though, I want to alert all my friends to one of the most exciting books I've read in a long time. As it turns out, the book is one of a genre referred to as "young adult fiction" but I don't mention that designation to turn my adult friends and colleagues away. In fact, young adult fiction (thought of as fiction written for 15-to-18-year-olds, but depending on the definition you read, the term also refers to readers between the ages of 15 to early twenties) can be greatly pleasurable for anyone who likes to read. The timeframe for the target market doesn't matter. Some adults still enjoy reading young adult fiction (I'm one of them—one of my favorite books continues to be Philip Pullman's <b style="font-style: italic;">His Dark Materials, </b>still a terrific read twenty years after the first volume was published).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpSbgK_wfMYXkHNaSc6FeHgpEY8M09wlNrRueuILesgNUppQOBWaf1Yrm389gZ4U-m8xKW1AETXi5K_9PFP1shiLN7BlxxqyhVTYlK_A2_7zbfvOBBSJsMkubEzeSpLHlOzT8U9aVfiwg/s1600/rebel-of-the-sands-306x470.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpSbgK_wfMYXkHNaSc6FeHgpEY8M09wlNrRueuILesgNUppQOBWaf1Yrm389gZ4U-m8xKW1AETXi5K_9PFP1shiLN7BlxxqyhVTYlK_A2_7zbfvOBBSJsMkubEzeSpLHlOzT8U9aVfiwg/s200/rebel-of-the-sands-306x470.jpg" width="130" /></a>And now I have a new favorite: Alwyn Hamilton's <i style="font-weight: bold;">Rebel of the Sands</i>.<i style="font-weight: bold;"> </i>Just out in March, Hamilton's exciting book is set in a fictional time and place. The former is somewhere in the future (I think—but perhaps not) and the place is an exotic and mixed-landscape piece of the earth somewhere in Africa (or perhaps somewhere else—in any case it's a place where there's lots of sand). That little description gives you an idea of the enormous amount of energy, research, and creative thinking that has gone into the book, and even such notables as Jeff Giles, writing in <i style="font-weight: bold;">The New York Times Book Review </i>(April 10, 2016) recognize the quality of what Hamilton has done:<br />
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"'Rebel of the Sands' (Giles writes) is a winning bit of storytelling, as well as a homage to storytelling itself. It evokes such disparate influences—'1,001 Arabian Nights,' Hindu lore, and Navajo myth, as well as, inevitably, the triumvirate of Tolkien, Lucas, and Rowling—that at times you wonder whether Hamilton can pull it all off. She can. She has circled a spot on the map and claimed it for her own." And I want to be among Giles and the many others showering Hamilton with congratulations (and with full disclosure: I have known Hamilton and her brother since they were youngsters—their parents are good friends of mine).<br />
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My title for this blog post is intentional. Indeed, "exciting" might be a trifle too tame for what Hamilton has created. It's truly a classic page-turner and I hate to think of how many chores didn't get done at my house because Mr. Guy just wanted to keep reading. This book is just too much fun not to (keep reading, that is, not doing chores). It's the first volume in a trilogy, just like Pullman's <i style="font-weight: bold;">Northern Lights</i> (published as <b><i>The Golden Compass</i></b> in America), and I'm already looking forward to Hamilton's next volume.<br />
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The overall plot is good, and the story basically comes down to how smart and quick the heroine is. She's Amani Al'Hiza, and whether she is camouflaged as a boy (which seems to be most of the time) or being her real self, her skill with a gun is amazing to read about. In this land of immortal horses and mystical colleagues and magical djinn, Amani Al'Hiza finds herself in situations that I found simply thrilling to read about. Of course there's romance. Why wouldn't there be? And when our sharpshooter heroine and the guy she finds herself taking up with start to get together, the news is (most of the time) good. There are a few little guy/girl skirmishes but they get resolved in pretty short order, especially when the two of them (our leading man is Jin who is—not to put too fine a point on it—also a true hero) find themselves caught up between two groups of warring princes.<br />
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Get the drift? This one is really fun, and if you have young adult children and grandchildren (or if you're like me and like to read this kind of literature just for the fun of it), this is a book I recommend. Will it replace Pullman for me? Ask me in a year. Right about now, I'm leaning toward Hamilton's new book.<br />
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<br />Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-87799170114715473122016-02-26T17:54:00.000-05:002016-04-24T18:08:28.912-04:00Mahler's Symphony No. 8 — What a Treat!<br />
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<tr><td class="tr-caption" style="text-align: center;">Gustav Mahler 1860-1911</td></tr>
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I've been a Mahler fan for most of my life. Don't know when it started but I'm well aware of the effect a Mahler symphony (and many of the songs) have on me. While the Second has been the one most often to bring me to tears (and to my feet when the applause starts, if I'm hearing a live presentation), it was the Eighth I could never get to hear in a live performance.<br />
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I love the Second, and I never tire of hearing it, either live or recorded, and I've attended many performances, both here in New York and in many cities I've traveled to. And I've never been disappointed; the music of the Second does not—in my opinion—lend itself to disappointment.<br />
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And the Second has a singular very special memory, too, for the most disrupting—in a positive sense of the word—performance of the Second I ever heard took place back on September 11, 2011. The New York Philharmonic, as its gift of remembrance to the citizens of New York on the 10th anniversary of the attacks, packed Philharmonic Hall with a free concert. And for those who could not get tickets, they set up chairs for thousands of people so they could be outside on Lincoln Center Plaza and watch the performance on huge projection screens and hear the music through a massive speaker system.<br />
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I was lucky enough to get in, along with a visiting and great personal friend from Berlin (who to this day remembers to thank me for taking her to that concert). The only down-side was that the free tickets were handed out helter-skelter, in no order, and we didn't get to sit together. No matter! It was an evening to remember, for many reasons, and I've thought often back on what that evening meant to so many of us New Yorkers. The performance got a lot of attention, and critic Graham Parker described what we were all feeling better than I ever could:<br />
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"At the end of the performance," Parker wrote, "what stood out for me was not the immediate ovation from the crowd in the hall, but the looks on the faces on the musicians of the Philharmonic. These jaded New Yorkers suddenly realized what they had done. They had helped heal through notes and gesture. They had given the hundreds of victims’ families and first responders a new perspective on the tragedy through their artistry. They had, in the most dramatic of terms, played like the great orchestra that they are. You could see that they had been changed by Mahler's 90 minutes of drama."<br />
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<span class="s1">So I always approach Mahler with a certain point of view. I don't know quite how to describe it (reverence? awe? just sheer happiness to be able to experience this composer's great output? who knows?). The one thing that had been missing, though, was the Eighth. I knew about it. I have had for a time a splendid old CD of Rafael Kubelik and the Symphonie-Orchester des Bayerischen Rundfunds (a re-mastered performance of about 1970 or so). And I've loved listening to it. But I had never attended a performance. It isn't performed that often (the logistics must be very forbidding except for the most well-organized and well-funded musical organizations) and, well, when it had been performed I had not been able to attend. I must have been traveling or something. </span></div>
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<span class="s1">And even though I had the recording, and occasionally listened on the radio when I knew in advance the Eighth was going to be performed, it wasn't the same. There's no way to get around it: any piece nicknamed "Symphonie der Tausend" is going to lose a little something in a recording. The piece wasn't called that for a joke. As James M. Keller wrote in a program notes for the New York Philharmonic several years ago—for a performance that I missed because that was a performance when was traveling and I remember clearly how disappointed I was to miss it—"The symphony's personnel requirements are indeed extraordinary. Its premiere included the participation of 858 singers and 171 instrumentalists (plus one conductor—Mahler himself)." Just reading the description of that first performance—on September 12, 1910—makes it clear that this is a symphony to be experienced <i>in person</i>, not in a recording.</span></div>
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<span class="s1">On the other hand, YouTube has a very good video of the Eighth, something I had discovered some time back, a two-part video of the complete program. It's Dudamel conducting the Los Angeles Philharmonic in Caracas. It was the conclusion of the mighty LA Philharmonic and the Simón Bolívar Symphony Orchestra's Mahler Project in 2012, performing all of Mahler's symphonies first in Los Angeles and then in Caracas </span>(if you want to try it, Part 1 is <a href="https://www.youtube.com/watch?v=wuve8eKeqKA">here</a> and Part 2 is <a href="https://www.youtube.com/watch?v=ZmxdDTu1O68">here</a>). This is definitely worth listening to, if a live performance isn't available.</div>
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<tr><td style="text-align: center;"><a href="http://www.watsonadventures.com/wp-content/uploads/2012/06/NYC-St-John-the-Divine-e1340917788280.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://www.watsonadventures.com/wp-content/uploads/2012/06/NYC-St-John-the-Divine-e1340917788280.png" height="177" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Cathedral Church of Saint John the Divine in New York</td></tr>
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So why all this lead-in? Because now I've heard it—live! And it was one of those once-in-a-lifetime experiences that gives true meaning to the old idea of being in the right place at the right time. I'm so happy I live where I live. In the January issue of <i>Opera News</i> there was a delightfully fulsome article about Kent Tritle, one of the most popular (and famous) musicians in New York. His "real" job—I suppose it would be called—is Director of Cathedral Music at The Cathedral Church of Saint John the Divine on Manhattan's Upper West Side but that's only the beginning. He is also the conductor of Musica Sacra, the Oratorio Society of New York, and all the choirs of the cathedral. He teaches at Manhattan School of Music and the Julliard School, he is the organist for the cathedral, and as well as organist for the New York Philharmonic and the American Symphony Orchestra. And he was (briefly, sadly) host of a weekly Sunday radio show on New York's WQXR, our classical station, on choral music. He widely recognized for his good work, and when the <i>Opera News</i> article described the up-coming Mahler Eighth, we all ran for tickets. </div>
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The performance was in the great nave of the cathedral, which gives an idea of what the sound was like (complete with about a 5-second reverberation according to one of our group, which just emphasized how engrossing—I suppose that's the right word—)the sound was. We were seated a little less than half-way back, and the sound was excellent. We could hear everything being sung very clearly; and the Eighth—as Mahler himself described it—is a "vocal symphony (just like my beloved Second, the Third, and the Fourth) so it is clearly critical to the performance that the singing come through as clearly and as cleanly as possible. It worked in this performance—there was no "muddling" (at least as far as I could tell—and that sometimes happens with these big choral pieces). And while there was a big crowd (someone told me the nave seated 5,000 people for each of the two performances—I'll take their word for it—I wasn't about to count!), in that high-ceilinged stone space, certainly all those human bodies didn't contribute to muddling the sound either. It was all just as clear as it should be.</div>
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And it was big. While it wasn't the 1,000-plus performers of the premiere in 1910 (or the 1,200-plus performers in Caracas), the 360 or more performers in the Cathedral Church of St. John made quite an impression. And one of the most impressive moments? Why not? As we were taking our seats, we noticed staff setting up a music stand in the aisle right next to where we were to sit. OK. I've performed Dvořák's Stabat Mater at St. Bartholomew's Church back in the old days of the great choir, and, yes, we had brass all over the upper balconies and in the back so I sort of knew what to expect. And sure enough, as we got toward the conclusion of Part 1, an associate conductor carrying his score came out to use that music stand and I looked up. On either side of us—high above the church floor—each of the tall arched openings had a brass player with instrument in place. At the precise moment, following the associate conductor next to us and Tritle up front, we had what must have been one of the most spectacular sounds I've ever heard. And of course it all gets repeated at the finale of Part 2. What a show! </div>
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So there really is no way to convey any of what we heard, other than to just say how grateful I feel we are to be living in a time when we have experiences like this available to us. We are so lucky—as we in our family talk about all the time—and it's moments like this that when we share them (or when we write about them and read about them), we're aware that there is something very good going on. What splendid music we have to listen to!</div>
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Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-34600230724373793352016-01-01T14:05:00.001-05:002016-01-01T17:46:58.495-05:00Impressionist Pictures that Impress<div class="MsoNormal" style="margin-bottom: 13.5pt;">
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<span style="font-size: large;">A recent visit from a young
relative got me to thinking about some of the art works that I keep returning
to and enjoying. Our cousin had come to us on a brief visit once before, but
now she was with us to explore New York City with her grandmother and to see
parts of the city which would be of particular interest to her.</span></div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">Her list included the
Metropolitan Museum of Art, important to her now because—even though she comes
from a family that takes art seriously and enjoys many family visits to
neighboring museums and galleries where they live (Tennessee)—this was to be
her first visit to the Met since she had moved on with her education. She's now
in her first year at university, and art history and art appreciation are now
being taken very seriously. <o:p></o:p></span></div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">When she returned from the
museum, her enthusiasm for the Impressionists was very evident, and she asked
me to describe for her the Impressionist pictures that appeal most me. I told
her, and I'll share these with you, too. It seems like a nice way to usher in
the new year, to share something beautiful that has special meaning, and our
cousin seemed to like hearing about the three paintings described here.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">I had fun with our little
conversation, trying to tell her why each of these pictures is special to me,
playing with each one and coming up with my own explanations. She seemed to
like the stories I told. The fact that two are by Pierre-Auguste Renoir
(1841-1919) and one by his close contemporary Gustave Caillebotte (1848-1894)
probably tells our visitor more about Mr. Guy than about Impressionism, but I
was able—I think—to give her a good idea of the period in French history and
French art that most interests me.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">As we spoke about the
paintings, I talked about how these represent what is called "genre
painting," that is pictures that tell a story of everyday life, with the
artist giving us viewers a snapshot—we might call it—of a particular event or
activity. And in most cases the activity in genre painting was not particularly
noble or had anything to do with the aristocracy or gods and goddesses. Just a
look into something happening at a particular place and at a particular time.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5LNPCs7KGtj0czd0hhi1WRXVBojqrX-HhuPoBdNSpGtM2GcYcTKcBUC9SegAsbJpwSBhRXOkwBL7lWJSR-T-kmhuqpgLhgm2BXOnv7ksbTpsvUrspCbnUiOqJQdiDaps5rQB9pgKm010/s1600/Pierre-Auguste-Renoir-Dance-at-the-Moulin-de-la-Galette-Oil-Painting.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5LNPCs7KGtj0czd0hhi1WRXVBojqrX-HhuPoBdNSpGtM2GcYcTKcBUC9SegAsbJpwSBhRXOkwBL7lWJSR-T-kmhuqpgLhgm2BXOnv7ksbTpsvUrspCbnUiOqJQdiDaps5rQB9pgKm010/s200/Pierre-Auguste-Renoir-Dance-at-the-Moulin-de-la-Galette-Oil-Painting.jpg" width="200" /></a></td></tr>
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Pierre-Auguste Renoir</div>
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<i>Bal du moulin de la Galette</i></div>
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Musée d'Orsay, Paris</div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">Certainly that's what
attracted me to Renoir's 1876 <i>Bal du moulin de la Galette</i>. The idea
of being with these normal, working-class folks dressed up for a light meal and
dancing on a Sunday afternoon appealed very much to me. And the people in the
picture weren't all necessarily working-class people, for somewhere along the
way I learned that some of them were professional or semi-professional friends
of Renoir, like Georges Rivière, the young man with his straw hat pushed back
on his head in the lower right of the painting. I had for some reason thought
that Rivière was a journalist, probably because I had read—confirmed in
Anne Distel's <i>Renoir: A Sensuous Vision</i> (London: Thames
and Hudson, 1995)—that Rivière had published a magazine. Indeed, he had,
briefly. At Renoir's suggestion, he had put out a periodical called <i>L'Impressionniste</i>,
four issues of which came out in April 1877—and for one of which Renoir himself
had written an essay entitled "Decorative and Contemporary Art."
Rivière was, in fact, a civil servant but obviously one who gave serious
attention to his writing, as he ended up being Renoir's biographer, with <i>Renoir
et ses amis </i>published in 1921. In the book he told the story of
the painting of the picture; it seems to have been a very lively afternoon when
Renoir and his friends got together and he spent time with them capturing their
Sunday-afternoon leisure.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">One fact about this
painting I like is that it was in Gustave Caillebotte's collection from 1879 to
1894, when it was transferred to the French Republic after Caillebotte's death,
as Caillebotte had—at the age of twenty-eight—written in his will that his
collection of paintings should be left to the State. <i>Bal du moulin de
la Galette</i> had came into Caillebotte's collection shortly after the
third Impressionist exhibition in 1877, in which twenty other Renior paintings had
also been exhibited. The two men were clearly great friends, and in Distel's
book she tells the sweet story that when Caillebotte decided to paint a
self-portrait sometime about 1879, he used a mirror that also reflected a
painting hung on the wall of his studio "which he accordingly painted in
reverse." It was his friend Renoir's <i>Bal du moulin de la Galette</i>.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">And a story I like to tell
about this painting is more about me than it is about the painting. Once, years
ago, we were in Paris with friends from Canterbury, people we had known for
many years (as will quickly become evident). As we made our way up to the top
floor of the Musée d'Orsay to see the Impressionists, I challenged my friends
to spot my favorite painting (yes, I used the word). We walked into the hall
and my friend Sandra took a very quick look around at all the pictures hanging
all over the place and immediately—without a word—pointed to <i>Bal du
moulin de la Galette</i>. I suppose there is nothing subtle about me, is there?</span></div>
<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXcIhncIP7EpeX_y9uMUbmBvz-fIFLcxJjbQHCZwxp_shlebnyfDz_IzBvim2COgBTG6mBm2LjqFYUv7fmpcmFj2xmUotZyHGc_aqeI9EKxaGn0ZS-IxQcoQgzRmgFabMbBpCn4S3xCEY/s1600/Pierre-Auguste_Renoir_-_Luncheon_of_the_Boating_Party_-_Google_Art_Project.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXcIhncIP7EpeX_y9uMUbmBvz-fIFLcxJjbQHCZwxp_shlebnyfDz_IzBvim2COgBTG6mBm2LjqFYUv7fmpcmFj2xmUotZyHGc_aqeI9EKxaGn0ZS-IxQcoQgzRmgFabMbBpCn4S3xCEY/s200/Pierre-Auguste_Renoir_-_Luncheon_of_the_Boating_Party_-_Google_Art_Project.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">
<div class="p1">
Pierre-Auguste Renoir</div>
<div class="p1">
<i>Le déjeuner des canotiers</i></div>
<div class="p1">
Phillips Collection, Washington DC</div>
</td></tr>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">Another special
story-telling Renoir picture is the 1881 <i>Le déjeuner des canotiers </i>(<i>Luncheon
of the Boating Party</i>), here in the States at the Phillips Collection in
Washington, DC. It was painted on the upstairs terrace of the Fournaise
restaurant, located on the island of Chiard at Chatou, a popular gathering
place for boaters.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">One of Renoir's best-loved
paintings, for me it is always a treat to visit the Phillips and observe how
the people viewing the painting just put themselves into the story. And why
not? It's a luncheon you want to join. For a long time though, despite the fact
that everyone depicted in the picture was a friend of Renoir, only two of the
people according to Distel could be identified. In her book, she notes that the
man leaning against the railing is an oarsman who was a son of Alphonse
Fournaise, who owned the restaurant and the young lady playing with the dog (in
front of Fournaise) is Aline Charigot, a dressmaker who would become Renoir's
wife.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">As it turns out, a few
years after Distel's book Scala Publishers in London created (and it is offered
at the Phillips as a "souvenir" book in the gift shop) a book
"created after the concept of the series <i>Découvertes Gallimard
Hors Série (France). </i>In this fold-out book, practically all the
friends are named including Alphonsine Fournaise (Alphonse's sister), Gustave
Caillebotte (the seated young man with the hat), Jules Laforgue, Charles
Ephrussi, publisher and later owner of <i>Gazette des beaux-arts </i>and
an important champion and collector of the Impressionists. While not a
particularly scholarly approach to learning about the painting, the little book
helps to introduce a very pleasant personal adventure into Impressionism. And
when accompanied by Susan Vreeland's full-fledged fictional account of the
afternoon party—called, like the painting, <i>Luncheon of the Boating
Party </i>(New York: Viking, 2007)—anyone with even the lightest interest
in reading about these people and what was going on will have a good time.</span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: left; float: left; margin-bottom: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWrzVDwcCcr3CtLZyowoyf6gpsqY8EwIriVW-d88wqLor939crs_G4qIutGp2nYjJCFKnQtTp5iLyduJ4-B7U6Zp_1kDSvbsIqO6bnjmhaDOAwAgLyYpucVPAi71pv6BGseKpSpMSotoY/s1600/caillebotte-paris.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWrzVDwcCcr3CtLZyowoyf6gpsqY8EwIriVW-d88wqLor939crs_G4qIutGp2nYjJCFKnQtTp5iLyduJ4-B7U6Zp_1kDSvbsIqO6bnjmhaDOAwAgLyYpucVPAi71pv6BGseKpSpMSotoY/s200/caillebotte-paris.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">
<div class="p1">
Gustave Caillebotte</div>
<div class="p1">
<i>Paris Street, Rainy Day</i></div>
<div class="p1">
Art Institute of Chicago, Chicago IL</div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">And then there's
Caillebotte's own masterpiece (that "masterpiece" designation is my
opinion—Caillebotte painted many very special pictures, including the one for
which he is probably most famous, <i>The Floor Scrapers</i>, painted in
1875). He had a hard time getting started with being recognized, and he was
rejected by the jurors of the 1875 Salon, for which he had submitted <i>The
Floor Scrapers. </i>Recognition did come, though, and I find I'm
particularly taken with thinking about the time and place he worked. This was
the Paris that had come into being with Baron Hausmann's renovation, just
winding down in the early 1870s by which time the shape of the city had been
seriously changed by all the many re-buildings and the many rearrangements of
the streets into what we now think of as so elegant and grand. Caillebotte
excelled particularly in depicting the new look of the city, and <i>Paris
Street, Rainy Day </i>(1877) is typical of his fine eye.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">I specially love <i>Paris
Street, Rainy Day</i>, and it, too, is on view here in the States. And just as
a trip to Washington is worth it to see <i>Luncheon of the Boating Party</i> at
the Phillips Collection, so is a trip to Chicago to go to the Art Institute and
just stand in front of and be awed by this painting. The specialists at the Art
Institute write about the painting's "unusual monumentality and
compositional control" and it's fun to be viewing what one of the city's
new boulevards might have looked like when it rained. Like many of Renoir's
works, this painting, too, was shown in the third Impressionist exhibition; by
that time Caillebotte was being considered one of the most active members of
the Impressionist group.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">I've loved it ever since I
was in graduate school in Illinois, when I visited it every time I had a chance
to go to Chicago. It came to New York a few years ago as part of a splendid
exhibition at the Met, then went back to Chicago for a full restoration before
coming to Washington for the big "Gustave Caillebotte: The Painter's
Eye" exhibition at the National Gallery last summer. And what a job the
restorers did with this jewel-like painting! When I visited the Art Institute
to see the painting about eighteen months ago, I was amazed. It seemed that
every little detail was brought to life anew (and even the small white dot in
the lady's ear—which I thought was a pearl—turns out to be a diamond and a very
pretty one at that).<o:p></o:p></span></div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">So that's my story for a
happy new year, and I thank you for allowing me the opportunity to say a little
something about how nice it is to have a visit from a young relative so
interested in art. And to have her listen to me as I share some of my stories
about some of the special pictures I've come to know and love. Perhaps some of
my enthusiasm about these pictures will rub off on her. Or perhaps on some
other young person.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Trebuchet MS"; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman";">Happy New Year.<o:p></o:p></span></div>
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Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com3tag:blogger.com,1999:blog-4771195677358000128.post-72920577439563567662015-11-14T23:07:00.001-05:002015-11-14T23:09:01.211-05:00Saturday Night in New York and Weeping for Paris<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8nvTMh1fJlKk4V-AmVjRkAxRVKsXQcQg8dYZ6BaMTfwQDvcSOYmqeKPBT0F-E9QV91m6NjN1oUMJ_v45QZ2JVBqakRr0W2skwhjZg7ypj9PQUR1xZQFuvrqRQHcxF58Pcrewg-ppQA_c/s1600/IMG_2900-2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8nvTMh1fJlKk4V-AmVjRkAxRVKsXQcQg8dYZ6BaMTfwQDvcSOYmqeKPBT0F-E9QV91m6NjN1oUMJ_v45QZ2JVBqakRr0W2skwhjZg7ypj9PQUR1xZQFuvrqRQHcxF58Pcrewg-ppQA_c/s200/IMG_2900-2.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Eiffel Tower -<br />
Closed and Dark</td></tr>
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It's Saturday night, and I'm safe at home in mid-Manhattan.<br />
<br />
And my heart is breaking.<br />
<br />
I am thinking of Paris, a city I love so much, and remembering so many things about that beloved place (not visited now for two years — just about this time two years ago — and we were able to enjoy all the pre-holiday festivities and shopping, just as Parisians were doing until last night).<br />
<br />
I'm not dealing very well with the news. I'm streaming <a href="http://www.france24.com/en/">France24</a>. It's coming in very well over the internet, and I'm trying to keep up. But at this point there is no more news, as such. Just horror. And weeping. And Parisians pleading, begging for news of loved ones who are still missing, presumably in hospital or laid out in morgues until the workers can get to them, get them identified, and tell their relatives where they are. Or how they are.<br />
<br />
I'm listening to <a href="http://radioclassique.radio.net/">Radio Classique Paris</a>, streaming in via the other big iMac. Splendid sound, and a little while ago they played the "Libera me" from Verdi's Manzoni Requiem with the Vienna Philharmonic. I decided it would be appropriate for me to play my CD of Dudamel conducting the Requiem at the Hollywood Bowl, so that's what I did for a while this evening.<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDPog2dGf4lrhpC6gQuZhmQadF634e2zb1HgqE4iaVbfRej-s03xAomdnrO6M00_K-lQmD7CXXMlN2YfsP0koM1Dhi-KDAXb3Tful992dTtFkDsrNazRzkwsvvMNp_B1k3dtMC7a3XPY4/s1600/Paris+-+Palais+Garnier+-+Nov+18+2013.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDPog2dGf4lrhpC6gQuZhmQadF634e2zb1HgqE4iaVbfRej-s03xAomdnrO6M00_K-lQmD7CXXMlN2YfsP0koM1Dhi-KDAXb3Tful992dTtFkDsrNazRzkwsvvMNp_B1k3dtMC7a3XPY4/s200/Paris+-+Palais+Garnier+-+Nov+18+2013.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Palais Garnier - No performance here <br />
or at the Opéra Bastille tonight.</td></tr>
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Why appropriate? Because as we finished our nearly day-long walking tour of the Palais Garnier two years ago, we had finished walking about, after several hours (did you know that for €5 you can buy a ticket to go into the Palais Garnier and just walk around to your heart's content, stay as long as you like up to late afternoon? Just swallowing up all that beauty?).<br />
<br />
As we approached the exit, to leave the building — where we were going to hear Mozart's <i>La clemenza di Tito </i>the following evening — I could hear the sounds of the Requiem being played in the gift shop. So of course we went in and of course I bought it. What a splendid souvenir for our day at the Palais Garnier! And never knowing it would be listened to with so much heartbreak this evening. And the Palais Garnier, like everything else, closed and shuttered until ... when? After three days of mourning? Until the next attack?<br />
<br />
What is going on?<br />
<br />
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<tr><td class="tr-caption" style="text-align: center;">Grande Roue - Now Dark</td></tr>
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I keep thinking of people I know and knew in Paris. Not necessarily friends, although there are some of those, friends who have come up from other parts of the country to visit with us when we're in Paris, a special friend from Berlin who had lived in Paris years ago and come from Berlin to have a week with us, another friend — a New Yorker who couldn't stand the pressure of his desires any more and simply, once he had enough financial security, went off to Paris to spend the rest of his life there. And another friend, a silly friend in Washington who has a needlepoint cushion that simply says "I'd rather be in Paris" (and he goes to Paris every opportunity he has). Another couple, friends I got to know and care about when they were in England when I lived there, oh! so many years ago. And in the early 90s when I was in Paris and had a personal family crisis they took me into their flat in La Défense and took care of me until I was OK.<br />
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Tonight the city is all shuddered, closed down, people at home in their beds, afraid to go out, the city desolate. I keep thinking of Parisians I hardly knew and wonder how they are doing. The lovely, very special lady at the Mayfair — my favorite hotel — who takes such good care, such serious, <i>sincere</i> care of us when we're in her hotel. The sweet young man at the Galeries Lafayette (closed today and for a while to come, I gather) who took so much time ('way too much time) to make sure that the clothes I tried on would work on an American man's frame — very different from a Frenchman's!<br />
<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYn2uzQNIDKxnt7xjt0PWyGZRTihlwEyd3nOxZ1L2MHZL2Kv_waFv8rrW8MQEN7o7MwivvTHnXBXf4ZxrZmGkiLsWFkfRA7pkT8CjAMGHdXz6KZXE7scKla6cOcQghlatmN3WHlP9weKo/s1600/IMG_4332-3.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYn2uzQNIDKxnt7xjt0PWyGZRTihlwEyd3nOxZ1L2MHZL2Kv_waFv8rrW8MQEN7o7MwivvTHnXBXf4ZxrZmGkiLsWFkfRA7pkT8CjAMGHdXz6KZXE7scKla6cOcQghlatmN3WHlP9weKo/s200/IMG_4332-3.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Maxim's - No Caption Required</td></tr>
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And most of all I suppose I'm thinking wistfully of the wonderful woman who took time out of her busy career (she's an actress and has a one-person performance piece in which she plays Colette). We were scheduled to visit Pierre Cardin's <i>l'art nouveau</i> museum at Maxim's and the regular curator was not so she stepped in for him. So generous and so willing to allow us to stay as long as we like, take all the photographs we wanted, and she even complimented me on "how well" I speak French (I said she was very generous).<br />
<br />
And I couldn't resist: I wrote about her in January of last year, in a post mostly about <i>l'art nouveau </i>but I had to include her. Take a look if you like: <a href="http://gstcjourney.blogspot.com/2014/01/ah-paris-pierre-cardins-art-nouveau.html">Ah, Paris: Pierre Cardin's Art Nouveau Museum at Maxim's</a>.<br />
<br />
What is she doing tonight? Is Maxim's closed, like everything else? I hope she — and the curator of this very sweet, very fabulous museum — are well.<br />
<br />
So many memories. So sad. And I know I'm not alone. The French were so worried about us when we had 9-11 and now we worry about them. And so many of us — like me — love France and the French so much, and we love Paris, and we're all worried.<br />
<br />
What's going to happen next? I've been advised not to "obsess" about the situation in France, and I'm trying not to.<br />
<br />
But I'm so sad.<br />
<br />Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com3tag:blogger.com,1999:blog-4771195677358000128.post-52490112334854466582015-10-14T16:22:00.000-04:002015-11-08T21:51:50.086-05:00Ostia Antica (3) - The Elephants of Ostia Antica—And a Correction<br />
Yes, I know I'm going a little overboard with so much content about Ostia Antica, but I don't want to forget any of my favorite experiences in this wonderful historical place.<br />
<br />
And who would have expected elephants in this ancient site?<br />
<br />
But before I get to my elephants, let me apologize for a bad link.<br />
<br />
If you enjoyed the first of the Ostia Antica posts (<a href="http://www.gstcjourney.blogspot.com/2015/09/romes-ostia-antica-for-travelers-who.html">Rome's Ostia Antica—For Travelers Who Like to Stray from the Typical Track</a>) and the post about the museum (<a href="http://www.gstcjourney.blogspot.com/2015/10/ostia-antica-2-surprising-museo-ostiense.html">Ostia Antica (2)—The Surprising Museo Ostiense</a>), you probably ran into a flaw with the latter. I refer to my own few photos. I published a bad link to those.<br />
<br />
I think (hope) I've fixed that now, and all the links seem to be working. If you go back to that second post, you should be able to see my few photographs from the Museo Ostiense.<br />
<br />
In any case, I sorry if the bad link caused any inconvenience.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqzHxj3XSu5KE5rSpbs5wGasj7uGmHMxS0n6Rg8TS-e5ms-UFen_4l1HSwIDV9OQuqWDbfWxNZrjuoDm9iiF3yP91DXveEfuodr3Ae2KsfOF6FXKdsi-IkDp6gY91Ql3ASsN8ZmPbWWMY/s1600/IMG_5797a.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqzHxj3XSu5KE5rSpbs5wGasj7uGmHMxS0n6Rg8TS-e5ms-UFen_4l1HSwIDV9OQuqWDbfWxNZrjuoDm9iiF3yP91DXveEfuodr3Ae2KsfOF6FXKdsi-IkDp6gY91Ql3ASsN8ZmPbWWMY/s400/IMG_5797a.jpg" width="400" /></a>Wrapping up my Ostia Antica adventure, I'm delighted to share one more little treasure found at that splendid place, the mosaics of the elephants. And, yes, it's true I seem to go a little overboard about elephants—even elephants from ancient days—but I hope you'll bear with me for yet another story of one more of Guy's adventures with elephants. (I can't seem to stop, can I?)<br />
<br />
Actually, I suppose it's a pretty harmless interest, and certainly seeing the elephants in the wild in Africa is a thrilling adventure indeed. For me, it's also intriguing to think about how long elephants have been capturing the attention of explorers and adventurers, centuries even. I remember visiting Villa Romana del Casale in Sicily and being very impressed with what I saw (and with the extremely knowledgeable archaeologist guide who took us through the site, even kneeling down to wash away some of the dust from some of the mosaics, so we could view the colors better and take joy in how brilliant they are, even after all this time).<br />
<br />
There's a very informative article telling the story of what's happening at Villa Romana del Casale that's worth reading. It appeared in <i>The Telegraph </i>(<a href="http://www.telegraph.co.uk/travel/destinations/europe/italy/9539405/Sicily-a-miracle-at-Villa-del-Casale.html">Sicily: A Miracle at Villa del Casale</a>). We had visited this remarkable site back in 2009, three years before the article in <i>The Telegraph</i>, and it makes me very happy to see that work is progressing there. Even though there is much still to be done, one of the great treasures of Villa del Castale is the very well preserved mosaic floor. It's just loaded with mosaics, including images of people as well as depictions of all the wild animals the Roman nobleman had had brought back to him, after commissioning hunters and ship captains to capture and have these animals in his own private zoo. A massive array of photographs of the mosaics at Villa Romana del Casale can be viewed <a href="http://www.thejoyofshards.co.uk/visits/sicily/romana/thumbnails.shtml">here</a> but, alas, there's no photo of the elephants at that site.<br />
<br />
So there's obviously a long tradition of having mosaics of the wild elephants, and everyone knows elephants live a long time. How about elephants that are still around after 2,000 years?<br />
<br />
OK. Perhaps not the animals themselves, but who wouldn't be impressed when finding himself viewing mosaics that were put down in Ostia Antica.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZvMkUOml0J2DHGiK76zZYImvZ9a0G13cfFhg_1xyNcEl2YR-1DYLxh7G-5I33JX5ndAmZQQhpt2rHVApDJf4TwzuE_-AfW-mO_df21MqCWPqLrRaOw1DC89yHd3EhQYMqzPzVYh4-6R8/s1600/IMG_5776+copy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZvMkUOml0J2DHGiK76zZYImvZ9a0G13cfFhg_1xyNcEl2YR-1DYLxh7G-5I33JX5ndAmZQQhpt2rHVApDJf4TwzuE_-AfW-mO_df21MqCWPqLrRaOw1DC89yHd3EhQYMqzPzVYh4-6R8/s400/IMG_5776+copy.jpg" width="400" /></a>These are located in the floor of the Piazzale delle Corporazioni (Square of the Guilds) which I've already described. This area was sort of a city center or governance area, and because Ostia Antica was the center so much shipping—both for bringing goods into Rome and taking Roman goods away—it makes sense that the shipbuilders and shipping companies (or whatever organizations managed the shipping) would decorate the floors of the square with mosaics with images of what was seen in the lands they visited.<br />
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Of course these two amateur photographs don't add much to the story, and as photographs don't begin to match the "travelogue" photographs in guidebooks and newspaper accounts of ancient mosaics, but they are fun to view. As I noted earlier, I was there almost to closing time, and I didn't get to the mosaic floors of the Piazzale delle Corporazioni until it was nearly evening, and the light was beginning to fade. So I had to do a little dancing about to capture these photos of my beloved ancient elephants. Nevertheless I had fun taking the photos (pine cone detritus and all—I didn't dare climb over the barrier and walk on the mosaics to clear away the pine cones, and I had to deal with the falling shadows as well). So the photos aren't great they're good enough to give me a nice reminder of my favorite part of Ostia Antica.<br />
<br />Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-87251841791853414992015-10-12T15:53:00.002-04:002015-10-14T14:48:51.582-04:00Ostia Antica (2) - The Surprising Museo Ostiense<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHIafIbex4oIwoWcq8k91kkvVUUPXmh3bnvMy821Vsf5ihSfNv231RwLYUkrcf6BYxKWGXsBHa5IR3yh4B_hrOxWpq7JPvlzv2ALJ8kqR7I2FJk7aTwrZ8sl8xEDH9n1dZZpe6nwEHspY/s1600/museum01.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHIafIbex4oIwoWcq8k91kkvVUUPXmh3bnvMy821Vsf5ihSfNv231RwLYUkrcf6BYxKWGXsBHa5IR3yh4B_hrOxWpq7JPvlzv2ALJ8kqR7I2FJk7aTwrZ8sl8xEDH9n1dZZpe6nwEHspY/s200/museum01.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Museo Ostiense<br />
(Photo: Klaus Heese)</td></tr>
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In my September 7 personal post (<a href="http://www.gstcjourney.blogspot.com/2015/09/romes-ostia-antica-for-travelers-who.html">Rome's Ostia Antica—For Travelers Who Like to Stray from the Typical Track</a>) I promised to share my impressions of the Museo Ostiense.<br />
<br />
Tucked away in the almost overwhelming space of Ostia Antica, it is a jewel of a <a href="http://www.ostiaantica.beniculturali.it/en/museo-ostia-antica.php">museum</a>. It is briefly described at the Ostia Antica site:<br />
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The Ostiense Museum is housed on the ground floor of a building dating back to the 15th century, known as "Casone del Sale" (Big House of Salt), as it is linked to the exploitation of the nearby salt marshes by the papal government. The building features a neoclassical façade. During the sixties of the 19th century this structure was adapted by Pius IX to become a museum. Today it serves as a museum and an office space from where the excavation works are directed.</blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWg2_wg_G_hJEcxfByPutZbjbWdjKnKYsCQ4j_o-4kIFoRx18qblBShciMc_y5DPecVKuMRba3wA4Sk4hZ9EnvipLhf4b6kSRAuU4kEd6E278VNaRQ4ScNxjoTIcX6lW_KTVCfUV4Fk88/s1600/Ostia+Antica+Museum+%25281%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWg2_wg_G_hJEcxfByPutZbjbWdjKnKYsCQ4j_o-4kIFoRx18qblBShciMc_y5DPecVKuMRba3wA4Sk4hZ9EnvipLhf4b6kSRAuU4kEd6E278VNaRQ4ScNxjoTIcX6lW_KTVCfUV4Fk88/s200/Ostia+Antica+Museum+%25281%2529.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A classical statue just before the<br />
entrance to the Museo Ostiense</td></tr>
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Any visitor to Ostia Antica will want to set aside some time to visit the museum. It isn't large, although the collections, made up of a wide range of classical sculpture and mosaics gathered from Ostia Antica during the many years of the site's excavation, are impressive. It's my guess that classical scholars are much rewarded by perusing the many items collected here. And an eye-opening digital visit is available at the museum's <a href="http://www.ostia-antica.org/vmuseum/vmuseum.htm">virtual tour</a>.</div>
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<br />
There are a few of my photos <a href="https://guystclair.smugmug.com/Travel/2015-Italy-Ostia-Antica-2/">here</a> (and one image that came from the museum's own <a href="http://www.ostiaantica.beniculturali.it/en/gallery-ostia-antica.php">gallery</a>). </div>
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Of course I enjoyed all the classical sculpture displayed throughout the museum (and there are a few examples outdoors, like this typical statue just to the left of the door as you enter the building). I was particularly taken with two sarcophagi, one a beautiful depiction of children playing, carved on what was obviously a child's sarcophagus. The other one also pleased me very much, a family scene again and I surmise, because of the size, for a child.<br />
<br />
Other child-related sculptures I liked were the boy slaying the cow (his knife lost over the years) and (who could resist?) the delicate depiction of Cupid & Psyche, kissing ever so sweetly. Naturally I enjoyed the classical heroes, and specially liked being able to see the juxtaposition of the Cupid & Psyche quietly resting behind a magnificent statue of Perseus (which I had to photograph twice because it was just so splendid!).<br />
<br />
One innovation I enjoyed was the arrangement of two herms, no longer perched on their pedestals but artfully set up at the base of a doorframe. Very clever.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfQDSsMYqq_1MEXizti7NOZXGG0Foc7iuNGZh1QHMTNQWomTHLfkTno9wHh73U6lS4jBG6Tw3NVmmT977WDnyEpL48V95U7DaPGg8P5ovSkzO18Yh0X72pmTqqX39wFuhunNqZiQxvrIs/s1600/articl12.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfQDSsMYqq_1MEXizti7NOZXGG0Foc7iuNGZh1QHMTNQWomTHLfkTno9wHh73U6lS4jBG6Tw3NVmmT977WDnyEpL48V95U7DaPGg8P5ovSkzO18Yh0X72pmTqqX39wFuhunNqZiQxvrIs/s200/articl12.jpg" width="138" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: Paul Adams<br />
<a href="http://ethicsculture.blogspot.com/">ethicsculture.blogspot.com</a></td></tr>
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If you view my photos, you'll be a little distracted by the first three photographs, showing examples of the work of Giacomo Manzù (1908-1991). The second and third photographs (the two children and the female bronze) are part of a temporary exhibition (until November 2015, I believe). I found out more about Manzù in the <a href="http://www.giacomo-manzu.com/">Art Directory</a> and was pleased to learn about this important 20th-century sculptor of religious statuary. I had not encountered his work before.<br />
<br />
Among Manzù's many successes were his teaching at the International Summer Academy in Salzburg from 1954 to 1966. And at Salzburg he was commissioned to design the main portal of the Salzburg Cathedral in 1955. Shortly thereafter Pope John 23rd asked him to make the "Portal of Death" for St. Peter’s Basilica. Also known as the "Door of the Dead" ("Porte della Morte") it is the southern door of the five portals from the narthex to the interior of the basilica, and it includes in one panel a portrait of John 23rd kneeling before the crucified figure of St. Peter.<br />
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In my photographs, the final of the three pictures of Manzù's work is of a bronze statue of his wife Inge. The "other side"—we might say—of the work of "Bergamo's Master"(as he is designated in the museum's notes) was the series of sculptures and drawings in which the figures, predominantly female, "are investigated (invested?) with meticulous passion." Along with the "Porte della Morte" these works are described in the Museo Ostiense's current exhibition notes as "masterpieces of plastic art in the 20th century."<br />
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Apparently Manzù's fame grew over the years, so much so that, at Ostia Antica, almost at the entrance to the grounds, there is a splendid Manzù sculpture—Grande Cardinale seduto (Grand Cardinal seated)—greeting every visitor, and, as best I can tell, installed permanently on the grounds. I can't pull up the connection between Manzù and the historical site, but I suppose the site's managers have a reason. The first photograph in my little collection shows that outdoor sculpture.<br />
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Go <a href="http://www.ostiaantica.beniculturali.it/en/museo-ostia-antica.php">here</a> to view the "official" link to the Museo Ostiense.<br />
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Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-5285368488659800482015-09-07T17:54:00.001-04:002015-09-07T21:08:06.739-04:00Rome's Ostia Antica - For Travelers Who Like to Stray from the Typical Track<br />
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<tr><td class="tr-caption" style="text-align: center;">The Roman Road—Ostia Antica's<br />
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To anyone who knows much about Italian history and Rome, there's so much to see that no journey could enable you to take in everything. Oh, I suppose if you changed your life and went to Rome to live for a few years, you might get to see all you wanted to see. I have a friend who did that for Paris about fifteen years ago. He's still there and he still complains that he can't see everything he wants to see. So maybe the trick is to seek out things beyond what tourists usually see.<br />
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One "secret" place in Italy is Ostia Antica, deliciously uncrowded (except for the occasional well-mannered school group). Ostia was the original fortified city built to guard the mouth (<i>ostium</i>) of the Tiber. The place is well worth the short journey (a 30-minute train ride from Stazione Ostiense beside Porta San Paolo, plus a few minutes walk from the Ostia Antica station).<br />
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The remains at the site date to the 4th century BC, providing a picture of what life was like in a large commercial city (and not much later, a naval base). Ostia Antica served as the port for Rome, responsible for all of the capital's imports and exports and, in particular, supplying <i>annona (</i>produce—mainly grain—for Rome.<br />
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By the 4th century AD, Ostia Antica had become a residential town instead of a commercial city, and over the next few centuries Ostia went into decline from the loss of trade and the increase of malaria. In the 16th century Gregory IV tried to revive the place, but it didn't work, and as quoted in one text on Ostia Antica:<br />
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By 1786 the city which at the height of its prosperity had a population of some 80,000, had 156 inhabitants; half a century later only a few convicts of the papal government lived here. Augustus Hare, writing in 1878, speaks of one human habitation breaking the utter solitude.</blockquote>
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<tr><td class="tr-caption" style="text-align: center;">The Ruins of the Ancient Granary</td></tr>
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Of course the site had been pretty much covered over during the centuries, and excavations only began (on a small scale) in the early 19th century. Serious work did not get started until 1907, and in 1938-1942 Guido Calza and others embarked on a major excavation program (unbelievable given world events at that time). The work continued after the war, and today, some 34 hectares (or some two-thirds of the city at its largest size) have been excavated. I read somewhere that the site is much larger but by my calculation that's still pretty big, some 84 acres and enough space to tire out a visitor coming for the day.<br />
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<tr><td class="tr-caption" style="text-align: center;">Saying Good-by: The Roman<br />
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There's no question about it: Ostia Antica is an impressive site, with beautiful old packed-dirt streets, excavated ruins, masses of umbrella pines and cypresses, and thick grass just about everywhere, with statuary and building foundations all along the path. And since the ancient city seems to have been divided into five districts or <i>regiones</i>, there are more civic buildings, temples, baths, warehouses, and domestic dwellings than you could ever keep track of. The main street (an original Roman road with its stones still in place) cuts right through the city, as one would expect, and on both sides are blocks and blocks of ruins that in their original state would have been the lifeblood of the central city. The Via delle Corporazioni, with its apartment houses and central government buildings, gives a good sense of how varied and cosmopolitan it all was.<br />
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On one side of the street is the massive theater, originally seating 2,700 people in three tiers, though only two tiers survive. Beyond the theater is the Piazzale delle Corporazioni (Square of the Guilds), where offices of commercial associations were located, with their fascinating mosaics indicating from whence (whence?) foreign representatives from all over the ancient world came. And not only the origins of the foreigners but the trades of local citizens (such as ship repair and construction, dock maintenance, warehouses and embankments), all shown in the beautiful—and exceptionally well preserved—mosaics.<br />
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So it's worth the time, for a day out from Rome (some people who will be nameless here have been known to take the early train from Rome, planning to return by lunchtime. It won't happen. On that occasion the visitor had to be asked to leave the site when it closed at 7pm!). There is a lovely museum (more about that another time) and a tiny, not very special lunchroom. But it's Italy, after all, and even an informal luncheonette is going to provide you with a very tasty meal to keep your energy up while you're wandering about in the ruins.<br />
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A selection of Ostia Antica photos is <a href="https://guystclair.smugmug.com/Travel/2015-Italy-Ostia-Antica-May/n-5xb3HR">here</a>—or if the live link doesn't work: <a href="https://guystclair.smugmug.com/Travel/2015-Italy-Ostia-Antica-May/n-5xb3HR">https://guystclair.smugmug.com/Travel/2015-Italy-Ostia-Antica-May/n-5xb3HR</a>.Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com1tag:blogger.com,1999:blog-4771195677358000128.post-38313082194306856432015-06-26T13:52:00.001-04:002015-06-26T13:52:55.419-04:00"A Victory for America"<br />
The words of President Obama. That line says it all.<br />
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I don't think I can remember such a remarkable ten days in my lifetime.<br />
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Someone can probably remind me of other events that come close in importance, for describing what it's like for us to be citizens in the United States.<br />
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Yet when I look back on my life, I can't seem to remember any time that compares with what we've just experienced: the racist murders in Charleston (and the loving forgiveness expressed by all the victim's families), the U.S. Supreme Court's decision to allow the Affordable Care Act to move forward, and now today's Supreme Court ruling that guarantees marriage equality for all Americans.<br />
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It was this last that President Obama inspired us with this morning, giving us the words I use to title this post.<br />
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As for me, I can't think of any other words that describe so well where we are as Americans. Our nation is now a "little more perfect," the president said, and I don't think any of us can doubt the truth of that when he spoke about how "no matter who you are or where you come from, how you started off, or who you love, America is a place where you can fulfill your destiny."<br />
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Here's something else he said: "Americans should be very proud." In speaking about how our move toward national marriage equality grew and continued - often against very difficult odds - and about how all the struggles and years of hard work went into bringing marriage equality into our society (and how it then got into the American mind-set so fast!) - he referred to today's ruling as an "amazing achievement."<br />
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Yes, "Americans should be very proud."<br />
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Of course we're asking how all this fits, especially in terms of what happened last week in Charleston.<br />
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And from the folks who are so opposed to the Affordable Care Act, the people who don't want all American citizens to have health insurancce.<br />
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And yes, we're hearing some ugly comments from some of the die-hards who won't let up, who speak of their personal "freedoms" to believe what they want to believe, whether what they believe is for the good of society or not.<br />
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But every American citizen doesn't fall into those groups, and I'm sensing that our society is going to figure out how to deal with that sort of thinking one of these days. Sooner rather than later, I'm hoping.<br />
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Why? Because the younger population will finally convince America's leaders - regardless of the leaders' age - that what they want for themselves and their children is a society that cuts through the selfishness, the political polarization, the pandering that seems to carry the day today. We'll finally begin to recognize that the attempts to inhibit freedoms finally, at the end of the day, inhibit freedoms for everyone. Some levels of selfishness will simply have to give way.<br />
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And if we're looking for inspiration beyond that provided by our president, we have only to hear the words of the Charleston victims' survivors. There are ways to move forward, ways to be thinking of others, and forgiveness seems - to me - to be a good place to start.<br />
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Now I'm anxiously awaiting President Obama's remarks this afternoon at Rev. Pinckney's funeral.<br />
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We - as Americans - are going to continue moving forward. Especially now that we're all included as Americans.<br />
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<br />Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com6tag:blogger.com,1999:blog-4771195677358000128.post-60134068114088109342015-06-01T22:54:00.000-04:002015-06-09T19:54:50.408-04:00Dale's Ride - Progress Reports<br />
A couple of months ago you read about Dale Stanley's ride (<a href="http://gstcjourney.blogspot.com/2015/03/join-us-in-support-of-dale-stanleys.html">Join Us in Support of Dale's Important Contribution - We Are So Proud of Him</a>).<br />
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And many of you contributed to help with his fund-raising for the <a href="http://www.aidslifecycle.org/about/why.html?__utma=139551852.298007658.1422508594.1424669822.1424731926.19"><span class="s2">AIDS/LifeCycle</span></a>, in support of the life-saving services offered by San Francisco AIDS Foundation and the Los Angeles LGBT Center.<br />
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Now he's on his way.<br />
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<span class="s1">And because we all want to know how he is doing, Dale is reporting to us on his progress:</span></div>
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<span class="s1"><b>May 30: </b>I promised I'd keep you up-to-date on my ride. Thought I'd test this from home first. I attended an orientation today at the Cow Palace, where we will ride out at 6am tomorrow. It's going to be an amazing scene and Debi & perhaps a friend or two will be there to see me off.</span> </blockquote>
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<span class="s1">Thanks again for your donations and thoughts and prayers. $6,626.80!!</span> </blockquote>
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<span class="s1"><b>May 31: </b>Made it to camp 1, a little over 80 miles today! I think I pushed it a little hard -- came in at 149 out of over 1100 riders. It was overcast all down the coast from SF to Santa Cruz, but still beautiful and nice and cool.</span> </blockquote>
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<span class="s1">The opening ceremony was moving. Most of the thousands in the room have lost friends and loved ones to this horrible disease. The Gilead Team was honored to ride out just behind the large group of riders who are HIV positive.</span> </blockquote>
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<span class="s1">Thanks again for your support. This is so worthwhile.</span></blockquote>
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<b>Jun 2:</b> A pretty good ride, today! Only 65 miles, but included "The Quadbuster" some great downhill, and a very hot finish into Paso Robles. Doing well on the QB and it being a short day made me confident and I pushed it to number 97 out of the 2200 riders today. I'm dehydrated and sunburned, but got here in time to get some water and rest. </blockquote>
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<span class="s1">But my numbers and how well I'm doing is not important compared to this number: $16 MILLION!! That's what you helped raise for this life-saving cause. I am proud to represent you!</span> </blockquote>
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<span class="s1">Highlight of the day was when all 2200 of us invaded the little town of Bradley (pop 120). Every kid in town along with parents and teachers held a massive bbq as a fundraiser for the school. </span></blockquote>
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Jun 3: A really good day. 93 miles, hit the half-way point, and according to some random guy in the middle of nowhere, we crossed over to So Cal. I suppose the highlight was with most of the Gilead Team with the Truvada guy at the half-way point. Also two women who met on last-year's ride got engaged there today. Many amazing stories of how death, sickness, and life have brought people together. </blockquote>
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Thanks for your support of this.</blockquote>
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<b>June 8 - Dale's Final Report:</b> I did the 545 miles, over 60 of you helped raise nearly $7,000 that contributed to the more than $6.3 Million that will help save the lives of those with HIV/AIDS. Thank you! And thanks to all of you who thought of me and gave me words of encouragement during this journey. Together, we did it!</blockquote>
Congratulations, Dale! We are so very proud of you!<br />
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Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-46760464184230125222015-04-16T14:19:00.001-04:002015-04-16T14:19:34.320-04:00"The King and I" - A Classic American Musical Returns to New York<div>
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Spring has come (finally) to New York and with it an event all of us are celebrating.<br />
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Rodgers & Hammerstein's <i>The King and I</i> has arrived with a full-scale revival, and there's no better way to say it: this is one of the most beautiful stage productions ever to arrive in what many consider to true home of American theater.</div>
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What's so good about it? It's hard to begin. First of all, the production values for Lincoln Center Theater productions are extremely high (I'm remembering <i>South Pacific</i> from 2008-2010, and last year's splendid <i>Act One</i>). That tradition continues with <i>The King and I</i>. Or, put it another way, the show is simply beautiful to look at: gorgeous stage settings, stunningly beautiful costumes, and a "take-away" stage picture that invites anyone who sees the show to remember a lovely evening that was totally focused on "Something Wonderful." It's no wonder that song is one of the great hits of <i>The King and I.</i> It's all about - especially in this production - experiencing "Something Wonderful."</div>
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In this connection, there is a thoughtful essay in the current issue of the <i>Lincoln Center Theater Review</i> (Spring, 2015). It's an interview, with Anne Cattaneo speaking with Barlett Sher, the company's resident director (and director of this production of <i>The King and I</i>), set designer Michael Yeargan, and costume designer Catherine Zuber. The title of the piece is "A Modern Twist" and once you've seen the production, you'll recognize why that title was chosen.</div>
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The play has a long history - going back, of course, as far as <i>The English Governess at the Siamese Court</i> (1870) and its sequel <i>Romance of the Harem</i> (1873), both written by Anna Leonowens and combined into Margaret Landon's <i>Anna and the Kind of Siam</i>, the source of the several versions of <i>The King and I</i> with which we are familiar today. As Todd Decker notes in his later essay in <i>The LCT Review</i> "...despite its glistening, tinkling, burnished presentation, <i>The King and I</i> resonates with a deeply American theme that occupies much of the work of Oscar Hammerstein II, the lyricist and librettist: the undeniable claims of human dignity." </div>
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So that goal of providing a "modern twist" to this iconic story makes perfectly good sense, and in the interview, Sher, Yeargan, and Zuber make clear that even though (in my own take on the production) the opulence is there, it is also controlled. Here's how they say it: "In this production, we have to try to strike a sparer tone that reflects something truthful about the inner life of the people rather than just putting them in big exotic clothes for a kind of dress parade or a gallery of exoticness." No, this production of <i>The King and I </i>is not a gallery of exoticness (what a good phrase, that!). And it's this attribute of the production that contributes so deeply to the overall beauty of this version.<br />
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And there's much more background, all coming together to inform us as we take our pleasure in this wonderful new experience: Margaret Landon's 1944 novel followed by the 1946 film, then the earlier productions of the musical (especially the original, with Gertrude Lawrence and Yul Brynner all the way back in March 1951), the movie from 1956, and then the many later productions, all over the world. It's no wonder we all love <i>The King and I</i>.</div>
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And what more of this new version? Of course the performers. Kelli O'Hara is a joy to watch as Mrs. Anna. For those of us who were at LCT back in 2008 O'Hara was a super Nellie Forbush in <i>South Pacific</i>. In last December's <i>The Merry Widow</i> at the Metropolitan Opera she made - from my point of view, agreeing with Critic F. Paul Driscoll in <i>Opera News</i> - a "splendid" debut as Valencienne "singing, dancing and acting with authority and poise." She brought the same professionalism and enthusiasm to Mrs. Anna in <i>The King and I </i>and immediately brought all the audience into her performance when she and Jack Lucas, as Louis, her young son, opened the show with "I Whistle a Happy Tune."<br />
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Ken Watanabe, who plays the King, is also extremely winning in his performance. Of course I did not know of his work (this is his LCT and American stage debut, but there's no question - from reviewing his Japanese theatre credits - that this is a talent we're lucky to see brought to our stages).<br />
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Others are excellent in their performances. Naturally there are far too many to list here, and we can see why. Sher describes the production as "huge" and I suppose that's the only word for it: "Fifty-one people are in it, plus twenty-nine in the orchestra, and only a place like Lincoln Center Theater can kind of pull this off. ... It's like having one foot in the past as deeply as we can, one foot in the present, and our eyes looking out as far as we can see."</div>
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And there's no way to get around it (not that we would want to): it's the music. We've been humming and singing these tunes all our lives, and I can attest to the fact that many of us in the audience at the Vivian Beaumont Theater were hard pressed <i>not</i> to sing along when the orchestra struck up the overture. What a remarkable score!<br />
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So if you're a New Yorker (or visiting New York anytime soon), make it your business to take in <i>The King and I</i>. You won't regret it. For me it was a very special experience and at the curtain calls it turned into a totally un-New York experience when I found myself in a standing ovation, joining almost everyone else in the theater. In the many years I've lived in New York, this was one of the few times this has ever happened; it's something we New Yorkers just don't do very much. On this occasion, there was no choice. It was spontaneous and it was totally appropriate.</div>
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We won't forget this beautiful evening. And just like Anna when she sings about her life with Tom, we join her - in quite a different context - as she sings "All of my memories are happy tonight."</div>
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Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-58421989718029368272015-03-08T23:06:00.001-04:002015-03-09T17:47:58.429-04:00Join Us in Support of Dale Stanley's Important Contribution - We Are So Proud of Him<br />
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<span class="s1">Dale Stanley is our <i>Sharing Guy's Journey</i> Guest Blogger is this time out.</span></div>
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<span class="s1">Dale is one of my best friends and in addition to his professional work at Gilead Sciences in Foster City, CA on a less-formal basis Dale is SMR International's Senior Consultant and Marketing and Operations Manager.</span></div>
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<span class="s1">So we spend a lot of time together, working on our various and many projects (including our KM/knowledge services teaching for our students and clients) and enjoying one another's company.</span></div>
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<span class="s1">I'm honored today to share with our friends, clients, and colleagues Dale's great adventure.</span></div>
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<span class="s1">This is a very important cause - critical, really - and I hope you will join Andrew and me in support of this good work from the San Francisco AIDS Foundation and the Los Angeles LGBT Center.</span></div>
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<span class="s1">Let's let Dale tell you about it:</span></div>
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<span class="s1">Hi there,</span></div>
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<span class="s1">I’ll be riding my bicycle 545 miles from San Francisco to Los Angeles on May 31st - June 6th, 2015. It’s a long way and it won’t be easy for this old guy – averaging 80 miles per day for a week and camping along the way.</span></div>
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<span class="s1">I’m doing it because the money we raise actually helps to save lives. I’ll be participating in the <a href="http://www.aidslifecycle.org/about/why.html?__utma=139551852.298007658.1422508594.1424669822.1424731926.19"><span class="s2">AIDS/LifeCycle</span></a>, in support of the life-saving services offered by San Francisco AIDS Foundation and the Los Angeles LGBT Center. I know I can do it, but I need your help - help with a little financial support.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF0UqLgRMgfYIaAM7JLIGRXnirF0ILH-7RCgDsJG8XxU8_Xh-c9HYNj0UZ5SkeLkWH_KLVS_wSHGMzSiNQZV87Q4BCa3xrYs-jZBwjSmK28_NIRbURCYirkHCW5DUgo-8Nb2S8UTkSUvA/s1600/1770.621437791.custom.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF0UqLgRMgfYIaAM7JLIGRXnirF0ILH-7RCgDsJG8XxU8_Xh-c9HYNj0UZ5SkeLkWH_KLVS_wSHGMzSiNQZV87Q4BCa3xrYs-jZBwjSmK28_NIRbURCYirkHCW5DUgo-8Nb2S8UTkSUvA/s1600/1770.621437791.custom.jpg" height="200" width="112" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dale Stanley</td></tr>
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<span class="s1">Medications for HIV/AIDS have come a long way and people are living longer, healthier lives. Of course, that’s great. It’s also why the work of these organizations is so important. They provide the critical education and support systems that allow HIV victims to get and maintain the life-saving therapies. The drugs can only save their lives if they get tested and have access to all the therapies and services necessary. Our ride literally means the world to those who receive treatment. </span></div>
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<span class="s1">And your support means the world to me. Those of you who know me professionally know of Gilead Sciences and how the company I work for has been life-saving to the millions who take our HIV drugs. At work, I hear daily of the struggles and efforts to improve and to get these therapies to those who have contracted the HIV virus. Many of my colleagues in Gilead's Medical Affairs and other departments are physicians and healthcare workers who have seen first-hand the devastating effects of AIDS. I personally know several who have lost loved ones and who have dedicated their careers to saving others. My work at Gilead continues to help them and I am inspired to do more. </span></div>
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<span class="s1">Those of you who know me outside of work know that I am committed and involved in my church and in a community organization focusing on helping the "least, the lost, and the lonely" in our society. This has certainly included the LGBT community which has been disproportionately affected by this disease. You have taught me and changed me.</span></div>
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<span class="s1">I'm dedicating this ride to our fellow humans who are suffering, who continue to suffer, and to my late professor at USC who in 1983 suffered and died a horrible and scary death from AIDS before we even knew what was happening.</span></div>
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<span class="s1">My goal is to raise $5,000. That’s a mere $10 per mile from all of you, my friends. I’m asking you to join me in this effort. Twenty five or 50 cents per mile would do it. Absolutely any amount would be greatly appreciated because I would know you’re with me on this journey to make HIV/AIDS a thing of the past.</span></div>
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<span class="s3">Here’s a link to my donation site: <a href="http://www.tofighthiv.org/site/TR/Events/AIDSLifeCycleCenter?px=3090257&pg=personal&fr_id=1770"><span class="s4">http://www.tofighthiv.org/site/TR/Events/AIDSLifeCycleCenter?px=3090257&pg=personal&fr_id=1770</span></a></span></div>
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Thanks.</div>
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<span class="s1"><b><i><u>And thanks to you, Dale, for doing this. We are all very grateful to you.</u></i></b></span></div>
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Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-9249662565973566772015-02-09T01:10:00.000-05:002015-02-09T01:10:44.513-05:00Other Voices: Mitzi Perdue Talks about How - For Frank Perdue - Knowledge Sharing Was Simply Part of Sharing - It's What He Did<br />
[Two weeks ago, on <span style="color: #262626;">Mon Jan 26, I posted an interview with Mitzi Perdue at the SMR International corporate blog. It was part of SMR's "Other Voices" series, profiles of leaders in knowledge management and knowledge services. Since the profile was published, several followers of this personal blog have asked to see the post. Happy to oblige.]</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia_-uiSrl_Gyt5X3TRH1PGQW3MZbUSVgcOedOpehT79LpB-Qy4wyQzjvpGwmVthhH9mlVEk5eCU3P0-oi0H4H09jLTpXuPGNMSMKLimJORHhVZ9EDdsSNV4GDaqSeigRCC6hjmwiKrgJ8/s1600/Mitzi+-+Version+3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia_-uiSrl_Gyt5X3TRH1PGQW3MZbUSVgcOedOpehT79LpB-Qy4wyQzjvpGwmVthhH9mlVEk5eCU3P0-oi0H4H09jLTpXuPGNMSMKLimJORHhVZ9EDdsSNV4GDaqSeigRCC6hjmwiKrgJ8/s1600/Mitzi+-+Version+3.jpg" height="200" title="" width="199" /></a><a href="https://www.blogger.com/null" name="OLE_LINK2"></a><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">In our work in knowledge management and knowledge services,
we speak a great deal about knowledge sharing. And not only in our professional
lives. For those of us working with knowledge management (KM), knowledge
sharing, and knowledge strategy, we are constantly aware of how much of what we
do for "a living" carries over into our personal lives.<o:p></o:p></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">The foundation of our work - telling stories and sharing what we
know - is what we do all the time, and from where I sit, one of the best story
tellers in my crowd is Mitzi Perdue. What Mitzi has done with her story about
Frank Perdue and the development of Perdue Farms is, in my opinion, in itself a
super story. When we knowledge services professionals hear this story, we
realize that we're in the company of one of the best knowledge-sharers (if
that's a word) we've come across. And the story relates to what we do.<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">[And full disclosure: yes, I'm referring to Mrs. Perdue as
Mitzi. This is one of those occasions where the professional and the personal
come together - Mitzi and I have known each other a long time, and even
though I'm writing about her professionally, she's still Mitzi to Guy.]<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">Mitzi - whom I've already asserted is an expert story-teller -
has now taken her story-telling to a new level. She written <i>Tough Man, Tender
Chicken: Business & Life Lessons from Frank Perdue. </i>My first reaction
is, yes - a good story indeed, and in reading the book, it becomes evident very
quickly that Frank was an amazing entrepreneur and manager-leader.<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">But he was more than that. In fact, as I read the book, I
am impressed with how much of what Frank did falls into that area we
knowledge services professionals think about in our work, the attention we give
to management and leadership principles as they apply to what we call "the
knowledge domain." Mitzi's describing of those "business &
life" lessons demonstrates clearly that the management and leadership
drivers in Frank's work came from his own private desire to share with others.<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">Mitzi puts it this way: "When you ask people to share with
you what - for them - are life's greatest pleasures, you get lots of
different answers. With Frank, it was sharing. Sharing was in his genes, it was
built in. It was the way he thought about his life and his work. He was, in
fact, a teacher, and it was his great strength that he could teach and inspire.
For Frank - although he wouldn't have characterized it this way -
Frank was a practitioner of the Socratic method. He asked questions. And
he listened."<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">Did he like conversation?<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">"Of course," Mitzi says. "He was known for his
egalitarian ways, possibly from his background of growing up as a boy on a
farm. For Frank it wasn't a case of 'I'm the boss and you'll do what I tell you
to.' Even when he knew how to get from here to there, he wanted to hear what other
people had to say, what they thought about whatever was being talked about. And
listening was his way for conveying that. Everyone was important to him, and no
matter how big the company became, he engaged in conversation. With other
executives of course, but also with people on the line, truck drivers,
distributors.... With whoever needed to speak with him. And he was teaching
then too. One of his big ideas was what came to be known as the 'Perdue model'
for education: teaching people while they are working."<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">It was all part of sharing, and one of Frank's techniques for
sharing was paying attention when other people were speaking with him.
Frank's role in a typical conversation, she says, was 10% speaking and 90%
listening; the person he was in conversation with was the focus of his
attention. That, from my perspective - as we think about our work as knowledge
strategists - seems to be the primary management and leadership principle that
applies to our work. If, as knowledge services professionals and as
knowledge strategists, we're going to manage and lead the
knowledge-development and knowledge-sharing framework in our organizations,
we're going to do it by listening. Then, when we've heard what our
colleagues have to say, like Frank Perdue we'll consider their advice, combine
it with our own knowledge-services expertise, and go forward with a framework
that contributes to the success of that organizational mission we speak about
so much.<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">Mitzi agrees. As she talks with me about Frank's listening skills,
I can't help but wonder how he put it all together: the personal life, his own
interests, the business. I want to know about Frank's vision, about how he came
to be the person he was. She explains it very well: <o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><a href="https://www.blogger.com/null" name="OLE_LINK4"></a><span style="mso-bookmark: OLE_LINK4;"><span style="color: #262626; mso-bidi-font-family: Georgia;">"Frank wasn't doing what he did for himself," she
says. "Naturally he was a businessman and that was his career. That was
how he earned his living. But he was an extremely modest person and - hard to
understand in the business world as we've come to know it - he wasn't
particularly interested in what's called the 'trappings' of success. We lived
in a fairly modest home (but one big enough to entertain Perdue staff on those
occasions when he wanted people to come over - Frank loved that!). We lived in
a middle-class neighborhood with neighbors who included a retired teacher, a
personal trainer, and a guy who sold vending machines. Even when he traveled he
didn't make a big deal about his company and his success, and he always
traveled economy. And when we went to London we got about on the tube. That's
just the kind of person he was. He was not interested in showing off how
successful he was."<o:p></o:p></span></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">Did that contribute to his sharing, sharing both his knowledge
and his success.<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">"Oh, yes," Mitzi says. "He had a tough job and he
knew it, and even though he was working hard to make Perdue Farms the success
it became, he was very proud that he and the company were providing jobs for
people. He truly cared about the people who worked for him. Here's an example,
coming from of his personal life, the many times he spent week-ends calling on
Perdue staff when one of them, or one of their family, was in the
hospital. Or visiting them in their homes after they had retired from the
company. Sharing who he was and talking with people about what was important to
them was critical to Frank. While I don't think he thought of it this way, one
of his greatest successes was that when he communicated with people, they
understood - they knew - that they were important to him."<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">Following from that was what he did for others, not just for
people but for institutions and communities as well. For many management
leaders, part of the management/leadership scenario is this idea that not only
do we manage and lead the business - or the knowledge services effort - or
whatever it is that we've been given responsibility for. Of course it's our job
to make that activity successful, and certainly Frank Perdue exceeded most
people's expectations in that respect. An equal challenge - handed down
throughout management history and given particular attention by Peter Drucker
and others a few years ago - is that managers and leaders also have a
responsibility to give back, to ensure that their organizations or businesses
contribute to the greater good. The current buzzword (one we've been using for the
last decade or so) is corporate social responsibility, sometimes just
abbreviated as "CSR."<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">Was Frank Perdue - the man who made Perdue Farms the success it
became - into that? With so much focus on sharing in both his personal life and
in his interactions in his business career, how did he feel about "giving
back"?<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">As we speak, I can hear the smile of pleasure and
recognition in Mitzi Perdue's voice.<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">"It was a great joy to him," she says. "Indeed,
Frank's life was truly given over to doing for others. But there was a
contradiction."<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">Which was?<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">"Frank was modest," Mitzi says. "He didn't want
attention, and even though in some situations he found himself in deep
conversation - often about books they had both read - with people like one of
our local judges, or even with Dr. Billington, the Librarian of Congress -
Frank never allowed himself to - as people used to say - 'get above himself.'
So the sharing at the personal level, interacting with his friends and his
employees, was easy for him and he was comfortable with it. Not so much the
publicity that comes with making big contributions."<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">And, story-teller that she is, Mitzi has a couple of good
examples.<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">"There was the one time, when we were first married,
when he did something terrific for the Girl Scouts, giving a
substantial contribution or something like that. I found myself caught up in
the idea of all the lovely publicity that could come from that effort and I
approached a friend who worked with the company's public relations effort.
Well, I found out quickly that it wouldn't happen. Nope, 'we don't do
that.' My idea for the lovely publicity didn't go anywhere. Frank's way of
doing what we now call CSR was not discussed because, as I was politely told,
'Frank gives quietly.'"<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">But isn't the Perdue School of Business at Salisbury University
in Salisbury MD named for Frank?<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">"Yes," Mitzi says, "but that wasn't the way it
was going to be."<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">It's a story well told in the book:<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">"Anonymous giving was usually his pattern. ....the part
about founding the school was a fairly easy sell; Frank valued education and he
particularly liked the idea that students could learn things that had taken him
years or decades to understand. The harder part was getting Frank to agree to
having the business school named after him. Frank didn't want this and resisted
it strongly. He and I talked about this, and I know that he didn't like
anything to do with 'self-aggrandizement.' However [Salisbury University
President] Bellavance persuaded Frank that if he allowed the school to be named
Perdue, the brand itself would help attract students and faculty and, perhaps
even more important, a public gift of this sort would signal to other potential
donors that investing in education in our region was a good thing to do."<o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;">So there you are. Mitzi's book is subtitled "Business &
Life Lessons" for a reason. And I will recommend the book for those very
lessons. I will particularly recommend it to people thinking about careers in
any of the fields related to our work with information, knowledge, and
strategic learning. Careers in these fields are the future of information and
knowledge sharing, and I'm going to tell people in knowledge work about it,
especially young people thinking about entering our profession. Whether we're
speaking about knowledge services as a stand-alone management methodology,
about general management and organization development principles, or about any
of the many sub-topics that make up the knowledge domain, fields like research
management, records and archives management, technology management, specialized
librarianship, or any of the other related fields, these are lessons we want to
teach. And learn.</span></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="mso-bookmark: OLE_LINK2;"><span style="color: #262626; mso-bidi-font-family: Georgia;"><br /></span></span></span></div>
Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-45928048730968355822014-12-25T14:26:00.000-05:002014-12-25T14:54:09.990-05:00Guy's Homage to WWI (3): Holiday Greetings from the Front<br />
A reference in Mark Bittman's column yesterday (<a href="http://www.nytimes.com/2014/12/25/opinion/an-atheists-christmas-dream.html?hp&action=click&pgtype=Homepage&module=c-column-top-span-region&region=c-column-top-span-region&WT.nav=c-column-top-span-region&_r=0">An Atheist's Christmas Dream</a>) reminded me of a special World War I moment I had earlier in my life.<br />
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Here's what Bittman wrote:<br />
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Today marks the 100th anniversary of the “Christmas truce” of World War I, when soldiers from both sides left their weapons in the trenches and met in neutral territory to embrace, play soccer and no doubt drink to excess in the spirit of humanity. Although the acts were officially condemned, these “live and let live” moments were repeated throughout the war.</blockquote>
And here's how his comments connected in my (much more recent, of course) memory:<br />
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Among the precious little treasures I have tucked away is a group of three World War I post cards found in a shop somewhere down about Hythe or Folkestone, in the time when I lived in England. I was mostly in Canterbury (although my research work took me all over the country), and in Canterbury, my best pals were Sandra and Colin Ward. When we could, we would take a day off and drive to the sea (as the English liked to say in those days) and poke about in different shops and markets in the several seaside towns we liked to visit.<br />
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Hythe and Folkestone were favorites of mine, and I remember how pleased we were when Sandra found these cards, one cold winter day as we were walking around, mostly stopping in the shops just to get warm. We weren't really interested in buying much of anything, but Sandra had heard about these and I was very pleased when she told me the story behind them.<br />
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Apparently these cards were not all that unique, and I gather that during the 1914-1918 time period many of them were created (they show up - I understand - for sale to postcard collectors as simply "vintage sweetheart embroidered fabrication française" Paris postcards). Of my three, one card has a company name on it ("Paul Heckscher, Paris").<br />
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I gather the designs were embroidered on a fairly lightweight, sheer fabric and inserted in a cardboard-like frame to make a postcard. The embroidery work was done - I learned - by the ladies in France, and then sold (for hardly anything, I imagine) to the English soldiers stationed in France, to send home to England.<br />
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So like the more-famous Christmas truce, the postcards represent another of those humanizing aspects of an otherwise inhumane situation, the horrible wartime environment these people were experiencing. Even today I have a few friends - my generation or a little older - who had fathers who fought in World War I and they still talk about the awful effect the war had on their parents.<br />
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So I'm happy I have these little "pieces" of sentiment, and it pleases me to share them here.<br />
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This card (above) is very special because I'm able to read the message on the back. No date, sadly, but the message - in pencil - reads:<br />
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From Dad<br />
To Willie<br />
Wishing him a Cheerful Xmas and a Bright New Year<br />
With best Love</blockquote>
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This one (above) is another Christmas card but all the writing on the back is gone. I would love to have known what it said.</div>
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And the final one (above). Not really a Christmas card I suppose, because the embroidered design is mostly spring flowers. I'm guessing this one is a birthday card. It, too, has a message, one that is now hardly legible because it's so worn. </div>
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I've been able to make it out, I think, and here's what it seems to say:</div>
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Dear Olive,<br />
Just a card to wish you many happy returns of the day<br />
With love from<br />
Tom</blockquote>
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It's nice to have these, now somewhere about 100 years old, and to think about what the men in the trenches and on the battlefields were thinking about. These notes now are, at least, some tiny remembrance of these men, as they wrote these messages to their sweethearts and children. Very poignant and, in a very different way, very lovely for us to have them as reminders of how much we and our loved ones mean to one another.</div>
Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com1tag:blogger.com,1999:blog-4771195677358000128.post-35463058464029444262014-12-22T23:36:00.000-05:002014-12-25T14:27:11.864-05:00Guy's Homage to WWI (2): The Very Fine Exhibition at The New York Public Library<br />
There aren't many times we get so caught up in an exhibition that we're afraid we'll get locked in.<br />
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That's what happened to me the afternoon I spent at "Over Here: WWI and the Fight for the American Mind."<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7y-DJxlO9DT1ihTviBzG-Zut0qVF2XzXURrpNsW9TMRIhOwHVTCvidaRvBNJafVqxWWOQStXZ2-i6_4QHIBsTBmbESvC2pD0o-Q-U7OdtlO267rZ-4dOO4qZgfLjkFZrI4Z6NEsGM1Vo/s1600/techniques-of-propaganda.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7y-DJxlO9DT1ihTviBzG-Zut0qVF2XzXURrpNsW9TMRIhOwHVTCvidaRvBNJafVqxWWOQStXZ2-i6_4QHIBsTBmbESvC2pD0o-Q-U7OdtlO267rZ-4dOO4qZgfLjkFZrI4Z6NEsGM1Vo/s1600/techniques-of-propaganda.jpg" height="133" width="200" /></a>And just to get my complaint out of the way first: This wonderful exhibition - one of the NYPL's best - is crammed into a tiny space, and if there are more then ten people in the room, it is really hard to move around, much less learn much from viewing the objects on display and reading the legends. The site is the Sue and Edgar Wachenheim III Gallery, on the main floor of the Stephen A. Schwarzman Building (what we used to call "The Main Building" or "The 42nd Street Building") of the New York Public Library. Many thanks to the Wachenheims and to Mr. Schwarzman for the space. It's fine for some exhibitions but, sadly, the space is really cramped for an exhibition as full of content and learning as "Over Here."<br />
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OK. Complaint over. This is truly an amazing exhibition and it's on until February 15, 2015. And from what I've written, you can see that I think it's worth the effort to get into the exhibition and spend time taking it in. Visit the exhibition, and if you're able to go when there aren't many people about, you'll find yourself caught up in massive amounts of content about what was going on in the United States in the years leading up to and during our country's involvement in World War I.<br />
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The subtitle for the exhibition tells us what it's all about, the huge public debate at the time, as Americans struggled (and argued, sometimes not very pleasantly) about whether or not the country should be involved in the war. As the exhibition guide describes what was going on, the debate "was facilitated by an unprecedented array of media and performance outlets, including such recent inventions as recorded sound and motion pictures."<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuiErhhF3-j5o8IwheIGHs3RSculg86lSlrn_0-QIEKZXO-jfCT-STzey2x0krznN8-7TIWN7w3qbrjDgC8bCGJoWfqn7_BTUitML6KcZWGNWcObaod53uZAE-BUqFH24p1bWr4-qphWg/s1600/images.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuiErhhF3-j5o8IwheIGHs3RSculg86lSlrn_0-QIEKZXO-jfCT-STzey2x0krznN8-7TIWN7w3qbrjDgC8bCGJoWfqn7_BTUitML6KcZWGNWcObaod53uZAE-BUqFH24p1bWr4-qphWg/s1600/images.jpg" height="168" width="200" /></a>The result is an intellectual exploration - using materials from the NYPL collections - that teaches us a great deal about how public relations, propaganda, and mass media were used to "shape and control" public opinion. As you spend time with these items, you get the idea that such methods had not previously been used - at least not to such an extent - in any situation in which Americans found themselves. We learn about how "100% Americanism" became the popular phrase of the time, building a "hyperpatriotic" attitude (in the words of the exhibition guide's writers), and the whole shift from absolute neutrality (personified by the activities and leadership of Jane Addams) to total involvement (led by former President Theodore Roosevelt).<br />
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And needless to say, I loved that the cover of one piece of sheet music (left) was used as the wall-size poster to lead visitors into the exhibition (right). An impressive transfer indeed.<br />
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[Note: all images courtesy of The New York Public Library.]<br />
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For me, there were three special conclusions I took from the exhibition. The first - which I had not realized before - was that idea of "100% Americanism" I referred to above. Again taking a leaf from the exhibition guide, I was surprised to learn that "never before in the country's history had Americans been so widely, and energetically, courted. And never in its history had the concept of Americanism - of what it means to be an American - been so hotly contested." Is there, I might ask, some sort of connection between what in our time we hear referred to as American "exceptionalism" and this extreme pro-and-con discussion about patriotic loyalty? Did this sort of thing start with our citizens up to and during World War I? Certainly that subtitle ("WWI and the Fight for the American Mind") clues us in that this sort of thing had not been done before. And look where we are now, in the "fight" for the American mind.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc8wq2fBCTyBZGreonEJfneiYAQW9kGHcJNqH46SKXh-gFp9WSirDA07AfastGvUIYNfpv2U4HPPm1X3tRGxqSYIHisVQfY9D-s1Kg7Q9eMCFN5JuaBiOy0I8Fvhyphenhyphen8gPJnitPwpUTstQg/s1600/Uncle-Sam.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc8wq2fBCTyBZGreonEJfneiYAQW9kGHcJNqH46SKXh-gFp9WSirDA07AfastGvUIYNfpv2U4HPPm1X3tRGxqSYIHisVQfY9D-s1Kg7Q9eMCFN5JuaBiOy0I8Fvhyphenhyphen8gPJnitPwpUTstQg/s1600/Uncle-Sam.jpg" height="200" width="148" /></a>The second conclusion I reached has to do with the amazing role of advertising, public relations, and similar citizen-influencing activities. While many of these started out - as noted - as individual or group activities taking advantage of the various new communications techniques, the effort became "official" on April 14, 1917 with the establishment of the Committee on Public Information (known as "the CIP"), created to bring the American people - willing or not - into supporting and participating in the war effort. And a result of this effort - again a new revelation for me, as I had not known this before - was the birth of the American Civil Liberties Union (ACLU). Founded in 1917 as the National Civil Liberties Bureau (CLB), the organization's main purpose was freedom of speech, especially anti-war speech, and on defending conscientious objectors. I had no idea this was where ACLU came from, but after viewing "Over Here" and learning about the particular tenor of the times, it's no surprise.<br />
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And the third thing that impressed me? No surprise here. I just hadn't thought about it before: the amazing growth and influence of posters as a means of communicating a particular point of view. The exhibition notes point out that the American government became especially proficient in communicating "targeted information to large numbers of people," using such artists as James Montgomery Flagg, Joseph Pennell, and Howard Chandler Christy. Not only proficient but prolific: by the end of the war, more than 20 million copies of some 2,500 distinct poster designs had been produced. As George Creel explained it in his 1920 book <i>How We Advertised America</i>, even those of us of a later era can see why posters were so important:<br />
<blockquote class="tr_bq">
I had the conviction that the poster must play a great part in the fight for pubic opinion. The printed word might not be read, people might not choose to attend meetings or watch motion pictures, but the billboard was something that caught even the most indifferent eye.</blockquote>
So I suppose visiting "Over Here: WWI and the Fight for the American Mind" supports what I learned at the program (described here on December 11) at the Morgan Library and Museum, that World War I - despite what we think about it and read about and attempt to learn about, that war really did move us as a society from a way of life to one that was totally different after the war. Nothing was to be ever the same anymore, especially - as evidenced in this fine exhibition - how we've learned to live with a vastly different way of life as we moved toward and into the 21st century. Lots to think about.<br />
<br />Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0tag:blogger.com,1999:blog-4771195677358000128.post-73526811255159028962014-12-11T10:57:00.001-05:002014-12-25T14:25:05.876-05:00Guy's Homage to WWI: Starting with "The Piano in Wartime: 1914-1918"<br />
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It has been a month now since we had what we used to call Armistice Day, and I have decided the conduct my own <i>homage</i> (if that word isn't a little overblown) to World War I. There isn't any particular reason. It's just that - in my opinion - this amazing and horrible event in Western history had such influence on our collective experience that it seems appropriate to stop and think a little about what it meant to us as people. How did the World War I affect us, as human beings? How have we spent the past 100 years? Has anything been gained from lessons learned from World War I (and, of course, what about the lessons learned but ignored)?<br />
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It's an awesome subject, isn't it? And none of these questions can be answered, not even - with any satisfaction - by the historians and the scholars who pour so much time and attention into their efforts. And certainly non-specialists like most of us can't add anything to the mix. We studied it, we read about it, we watched the films, but we amateurs can't really figure out what went on or what the results have been. But we can - if we pause a bit - pay our respects and try to connect what came from World War I with what we learned about humanity's history before 1914 and where we've come since 1918.<br />
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<tr><td class="tr-caption" style="text-align: center;">The Morgan Library & Museum</td></tr>
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My own little tribute begins with an appealing program announced for last Tuesday at The Morgan Library and Museum. The Morgan happens to be around the corner from where I live, and anyone who knows me knows the role music plays in my life so I could not resist <b>The Piano in Wartime: 1914-1918</b><i style="font-weight: bold;">. </i>Fifteen students from The Julliard School gathered to perform music composed during World War I, and these performances were interspersed with dramatic readings by actors from the school. It was an altogether satisfying evening, and I'm happy I had the opportunity to experience it.<br />
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The program was put together by Aaron Wunsch, Julliard faculty member and director of the PianoScope, the Julliard Piano Department's program that enables performances and other activities around a particular theme. Certainly that format came together for this program, with Wunsch providing a fine pre-performance talk on "Making Music during the Great War" and the performances of the splendid group of pianists and two actors (Therese Barbato and Max Woertendyke) grabbing (and keeping) our attention throughout the entire evening.<br />
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As it happens (as noted in the program notes) the period covered was a little more than the dates 1914-1918 usually associated with World War I because, as Wunsch pointed out, it was the overall era that provided the "range of creativity" that the program invoked. What was really being described (as pointed out also by Andrew as we were leaving the hall) was the impact that, a hundred years later, seems to be somewhat forgotten, that the war not only brought about "a gradual aesthetic change" (as Wunsch put it) in the creative endeavors of artists and like-minded people. The war, truly, changed how society was structured, with a totally different way of life emerging after 1918.<br />
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Because of the number of selections - both musical and written (poetry and letters) - it isn't possible to list everything and everyone involved, but I can provide a flavor of the program by mentioning the we heard performances of works as varied as Alexander Scriabin's <i>Vers la Flamme</i> ("Toward the Flame") of 1914, Igor Stravinsky's <i>Souvenir d'une marche boche </i>("Souvenir of a German March") of 1917, and wrapping up with an almost-unbelievably athletic performance of Maurice Ravel's <i>La Valse</i> of 1919-1920. The readings, too, were equally varied, from the Anonymous "Shattered Illusions," from <i>The BEF</i> [British Expeditionary Force] <i>Times</i> of December 25, 1916 to an excerpt from Edith Wharton's <i>Fighting France </i>(1915), to Wilfred Owen's "Anthem for Doomed Youth" (1917).<br />
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A remarkable program, and I am happy to record here my gratitude to the PianoScope Program of the Julliard School's Piano Department and the Public Programs Department of The Morgan Library and Museum.<br />
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<br />Guy St. Clairhttp://www.blogger.com/profile/08936276691108525763noreply@blogger.com0