Max Jacob was a French poet, painter and critic. After spending his childhood in Quimper, Brittany, he enrolled in the Paris Colonial School, which he left in 1897 for an artistic career, he was one of the first friends. They met in the summer of 1901, it was Jacob who helped the young artist learn French. On the Boulevard Voltaire, he shared a room with Picasso, who remained a lifelong friend. Jacob introduced him to Guillaume Apollinaire, he would become close friends with Jean Cocteau, Jean Hugo, Christopher Wood and Amedeo Modigliani, who painted his portrait in 1916. He befriended and encouraged the artist Romanin, otherwise known as French politician and future Resistance leader Jean Moulin. Moulin's famous nom de guerre Max is presumed to be selected in honor of Jacob. Jacob, Jewish, claimed to have had a vision of Christ in 1909, converted to Catholicism, he was hopeful. Max Jacob is regarded as an important link between the symbolists and the surrealists, as can be seen in his prose poems Le cornet à dés and in his paintings, exhibitions of which were held in New York City in 1930 and 1938.
His writings include the novel Saint Matorel, the free verses Le laboratoire central, La défense de Tartuffe, which expounds his philosophical and religious attitudes. The famous psychoanalyst Jacques Lacan attributed the quote "The truth is always new" to Jacob. Having moved outside of Paris in May 1936, to settle in Saint-Benoît-sur-Loire, Max Jacob was arrested on 24 February 1944 by the Gestapo, interned at Orléans prison. Jewish by birth, Jacob's brother Gaston had been arrested in January 1944, deported to the concentration camp Auschwitz along with his sister Myrthe-Lea. Following his incarceration at Orléans, Max was transferred to Drancy internment camp from where he was to be transported in the next convoy to Auschwitz. However, said to be suffering from bronchial pneumonia, Max Jacob died in the infirmary of La Cité de la Muette, a former housing block which served as the internment camp known as Drancy on 5 March. First interred in Ivry after the war ended, his remains were transferred in 1949 by his artist friends Jean Cassou and René Iché to the cemetery at Saint-Benoît-sur-Loire in the Loiret département.
As well as his nom d'état civil, or regular name, Jacob worked under at least two pseudonyms, Léon David and Morven le Gaëlique. T. R. Knight portrays Jacob in the 2018 season of the television series Genius, which focuses on the life and career of Pablo Picasso. Max Jacob appears as a character in the third book of the novel series'In the Shadow of the Fallen'. Lionel Floch Furniture music: Erik Satie's second set of furniture music was composed and performed in 1920 as Entr'acte music for one of Jacob's comedies The Selected Poems of Max Jacob, trans. William Kulik, ISBN 0-932440-86-X Monsieur Max, French TV movie starring Jean-Claude Brialy as Jacob, in Brialy's last film role Marevna, "Homage to Friends from Montparnasse" Top left to right: Diego Rivera, Ilya Ehrenburg, Chaim Soutine, Amedeo Modigliani, his wife Jeanne Hébuterne, Max Jacob, gallery owner Leopold Zborowski. Bottom left to right: Marevna, Moise Kisling. Association les Amis de Max Jacob English translations from Max Jacob's major collection of prose poetry The Dice Cup Max Jacob at Find a Grave
Libuše is a'"festival opera" in three acts, with music by Bedřich Smetana. The libretto was written in German by Josef Wenzig, was translated into Czech by Ervín Špindler. In Czech historical myth, Libuše, the title character, prophesied the founding of Prague; the opera was composed in 1871–72 for the coronation of Franz Josef as King of Bohemia. This did not happen and Smetana saved Libuše for the opening of the National Theatre in Prague, which took place nine years on 11 June 1881. After the destruction of the National Theatre in a fire, the same opera opened the reconstructed theatre in 1883; the first US performance was reported to have occurred March 1986, in a concert version at Carnegie Hall with Eve Queler and the Opera Orchestra of New York. In the UK, it was first staged by University College Opera in 2019. Commentators have noted the pageant-like nature of the opera and the influence of Richard Wagner in the music; the brothers Chrudoš and Sťáhlav are fighting over the settlement of their father's estate, with Queen Libuše as arbiter.
Czech law dictates either equal division of the land. German law, which Chrudoš, the elder, would demand primogeniture, where the elder sibling would inherit the entire property. Libuše decides to the anger of Chrudoš, who leaves; because some of her male subjects, including Chrudoš, do not accept the idea of a woman as their ruler, Libuše asks her subjects to choose her husband. They say that she should make her own decision on her spouse, where it turns out that she prefers the farmer Přemysl; the act ends as the subjects worry about the possibility that he will sow discord. Scene 1 Part of the reason for Chrudoš' ill humour is revealed, in the relationship of Chrudoš to Krasava. Chrudoš loves Krasava, who returns his sentiments, but considers him insufficiently romantic in his personality. Krasava thus feigns romantic interest in Sťáhlav to make Chrudoš jealous, her father, asserts his authority and demands that she reconcile the quarreling brothers. Krasava challenges Chrudoš to either forgive and embrace her, or kill her with his sword.
Chrudoš takes the route of forgiveness, reconciles with Sťáhlav. Scene 2 Přemysl is watching over the harvest on his lands. A royal escort arrives to bring him to Queen Libuše, to be married. A celebration of the double wedding, of Libuše to Přemysl, of Krasava to Chrudoš, is taking place. Přemysl devises a way for Chrudoš to apologize to the queen. A moment of prophecy takes hold of Queen Libuše, she tells of future visions for the Czech nation. Piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, four trumpets, three trombones, timpani, cymbals, bass drum, strings. Onstage trumpets. 1949, Alois Klíma, Symphony Orchestra and Chorus of the Prague Radio.
James McIntyre was an American minstrel performer and theatrical actor, a partner in the famous blackface tramp comedy duo act McIntyre and Heath. McIntyre was born in Kenosha and began working at a young age to support his widowed mother, he showed an early aptitude for acting. McIntyre sold candy on trains and when "the passengers were in danger of being bored Jim would get out in the aisles and entertain them with his clever acting." He learned the dance form known as clogging, part of the tap dance style. In his early teens he was keen on joining the circus troupes, his mother prevented him from doing so. In 1870, he joined the McKenzie circus and in 1871 joined the Burton and Ridgeway minstrels and toured the South and Western states for a year, he performed with the Katie Putnam Troupe, toured with the Great Transatlantic circus in 1873. He married Emma Maude Young, she was a dancer and balladeer known by the stage names of "Maude Clifford", "Maud Clifton" and she performed as part of the Katie Putnam Troupe.
Although they had no natural born children of their own they did adopt a daughter Maud Ainsworth Young. She was the biological daughter of Emma's older sister Annie Young and Emma's brother-in-law Joseph Charles Ainsworth. In adult life Maud Ainsworth McIntyre became the wife of the Brooklyn criminal trial lawyer and Kings County judge George Washington Martin II. Emma sometimes assisted her husband in negotiating theatre contracts. Emma wrote theatrical scripts using the pseudonym Emily Louise Young, these included The Rag Time Opera of Trial Marriage, she co-wrote Red Pepper and Hello, Alexander. In his peak years as a star performer he gave an interview with the New York Times in which he claimed to have been responsible for introducing to vaudeville the Buck and Wing style of dance, one form of tap dance. In 1874, he met Thomas Kurton Heath in Texas, they developed a blackface tramp duo minstrel act. McIntyre played the character of Alexander Hambletonian, a buffoonish stable-boy. Heath acted as "Henry Jones" a clever black entertainer who outwits Alexander.
Their routines included an oft-performed skit known as the Georgia Minstrels where the character Henry persuades the witless Alexander to quit working as a stable-boy and joins a traveling show where he is promised fame and fortune. None of the fame or fortune materializes and Alexander has comical and outrageous tasks to perform under Henry's direction which allowed them to act out comedic dialogue and songs. Another skit, called the Ham Tree, which formed the nucleus of a stage play, involved the two characters discussing how ham grows on trees that are three hundred feet tall, their acting partnership endured for some fifty years as they worked under the twin influential theatre managers of Tony Pastor and Benjamin Franklin Keith appearing as stars in both vaudeville and Broadway. Their blackface minstrel shows were an influential model followed by film stars such as Al Jolson, their best known plays included: The Ham Tree, performed ninety times at the New York Theatre between August and November 1905.
Included in the cast were Belle Gold and W. C. Fields, in his Broadway debut. In Hayti was performed fifty-six times at the Circle Theatre between August and October 1909. Hello, Alexander was performed fifty-six times at the 44th Street Theatre between October and November 1919. Red Pepper was performed at the Shubert Theatre in 1922. McIntyre died aged eighty at his estate in New York, he was buried in Southampton Cemetery. James McIntyre at the Internet Broadway Database "James McIntyre" in Olympians of the Sawdust Circle, Circus Historical Society; the Billy Rose Theatre Collection at the New York Public Library for the Performing Arts contains photographs and theater memorabilia. The McIntyre and Heath Archive 1878–1936 10 Boxes held in the Charles Deering McCormick Library at Northwestern University in Illinois holds fan mail, playbills, correspondence with Emma Young, texts of comic operas, contracts; some playbills and theater programs for McInytre & Heath are held at the Brooklyn Public Library, refer to Guide to the Brooklyn Theater Playbills and Programs Collection 1875–1972.
The Deacon Samuel and Jabez Lane Homestead is a historic farmstead at 132 Portsmouth Avenue in Stratham, New Hampshire. Built in 1807, the main house is a fine local example of Federal period architecture, with carvings executed by a regional master craftsman; the property is further significant because the owners at the time of its construction kept detailed journals documenting the construction of it and other buildings on the property. The property was listed on the National Register of Historic Places in 1983; the Deacon Samuel and Jabez Lane Homestead occupies a triangular island of land bounded by the junction of New Hampshire Routes 33 and 108, which functions as a rotary. The property includes four buildings: the main house, a shoe shop, corn house, barn; the main house is on the west side of the island. Its main facade is five bays wide and symmetrical, with a center entrance framed by Federal period pilasters, a four-light transom window, a pedimented gable; the house interior has received only modest alteration since its construction in 1807, retaining stencilwork on the parlor floor and a fine cherry central staircase.
A modernized ell extends to the rear. The four buildings that stand here were part of a once-larger industrial site, which included a tanning yard and worker residences. Samuel Lane acquired this property in 1741, his house was completed the following year; the shoe shop and a barn followed, Lane operated a successful tannery on the premises until his death in 1806. It was taken over by his son Jabez, he built a new house on the site of a process that took two years. The corn house, now converted to residential use, dates to this period, its construction and that of the house are detailed in Jabez Lane's journals; the extant barn, now housing a commercial establishment, appears to date to the mid-19th century. The house is notable for the joinery of local craftsman Ebenezer Clifford. Most of its 20th-century modifications, including the addition of minimal modern services to the main block and the addition of porches, have been made to be reversible. National Register of Historic Places listings in Rockingham County, New Hampshire
"Vegas Girl" is a song by British singer Conor Maynard from his debut studio album, Contrast. It was released as the album's second single as a digital download on 22 July 2012; the song was written and produced by The Invisible Men with additional production from Parker & James and was written by Conor Maynard, Dion Wardle and Scott Thomas. It was viewed on MTV Push. A music video to accompany the release of "Vegas Girl" was first released onto YouTube on 24 June 2012 at a total length of three minutes and forty seconds. Filmed in New York, the video was directed by Travis Kopach, it begins with Maynard meeting a girl, wearing a T-shirt that reads "Vegas Girl" he takes a picture of her and tweets it asking his followers if they have seen her throughout the videos various females wearing the same Tshirt are shown. The song features a sampling of A. R. Rahman’s track ‘Urvasi Urvasi’ from the 1994 hit Tamil movie ‘Kadhalan’. Robert Copsey of Digital Spy gave the song a positive review stating: "I'll knock you down like you're Keri/ Forget your name like Rihanna," he insists over slick urban-light beats with a voice that will undoubtedly draw comparisons to Justin Timberlake.
The obvious clichés are all present and correct, but he gets away with it, if only for his homage halfway through to Tequila, Tequila Tequila.... Lyrics of this song at MetroLyrics
A boxing ring is the space in which a boxing match occurs. A modern ring consists of a square raised platform with a post at each corner. Four ropes are attached to the posts and pulled parallel under tension with turnbuckles to form the boundary of the competition area; as there are a number of professional boxing organizations, the standards of construction vary. A standard ring is between 20 feet to a side between the ropes with another 2 feet outside; the platform of the ring is 3 to 4 feet from the ground and is covered by about 1 inch of padding topped by stretched canvas. The ropes are 1 inch in diameter and at heights of 18, 30, 42, 54 inches above the mat, held up on posts rising around 5 feet above the mat; the ropes are attached together with spacers. Construction of the ring environment extends to maximization of lighting in the ring, minimization of heat of the lighting, a complete as possible cut-off of illumination at the ringside. Construction differs from the similar wrestling ring.
A wrestling ring sports only three ropes and is constructed to provide a more flexible mat surface than a boxing ring. The name "ring" is a relic from when contests were fought in a drawn circle on the ground; the name ring continued with the London Prize Ring Rules in 1743, which specified a small circle in the centre of the fight area where the boxers met at the start of each round. The first square ring was introduced by the Pugilistic Society in 1838; that ring was bound by two ropes. For these and other reasons, the boxing ring is referred to as the "squared circle"; the term "ringside seat" dates as far back as the 1860s. Ring girl "Equipment–Ring". AIBA. Retrieved January 10, 2013