In classical Greek mythology, Syrinx was a nymph and a follower of Artemis, known for her chastity. Pursued by the amorous god Pan, she ran to a river's edge and asked for assistance from the river nymphs. In answer, she was transformed into hollow water reeds that made a haunting sound when the god's frustrated breath blew across them. Pan cut the reeds to fashion the first set of pan pipes; the word syringe was derived from this word. The story of the syrinx is told in Achilles Tatius' Leukippe and Kleitophon where the heroine is subjected to a virginity test by entering a cave where Pan has left syrinx pipes that will sound a melody if she passes; the story became popular among writers in the 19th century. The Victorian artist and poet Thomas Woolner wrote Silenus, a long narrative poem about the myth, in which Syrinx becomes the lover of Silenus, but drowns when she attempts to escape rape by Pan; as a result of the crime, Pan is transmuted into a demon figure and Silenus becomes a drunkard.
Amy Clampitt's poem Syrinx refers to the myth by relating the whispering of the reeds to the difficulties of language. Longus makes reference to Syrinx in his tale of "Daphnis and Chloe" in Book 2:34. Whilst the description of the tale here is modified to that of Ovid, it incorporates Pan's desire to have her. Longus, makes no reference to Syrinx receiving aid from the Nymphs in his version, instead Syrinx hides from Pan in amongst some reeds and disappeared into the marsh. Upon realising what had happened to Syrinx, Pan created the first set of panpipes from the reeds she was transformed into, allowing her to be with him for the rest of his days; the story was used as a central theme by Aifric Mac Aodha in her poetry collection Gabháil Syrinx. Samuel R. Delany features. Syrinx is the name of one of the main characters in the Night's Dawn Trilogy of space opera novels by British author Peter F. Hamilton. In the trilogy, Syrinx is a member of the transhumanist future society known as Edenism, serves as the captain of the Oenone, a living starship.
A 1972 poem by James Merrill, titled "Syrinx", draws on several aspects on the mythological tale, with the poet himself identifying with the celebrated nymph, desiring to become not just a "reed" but a "thinking reed". The poet aspires to return to his "scarred case" with minimal suffering inflicted by "the great god Pain", a play of words on the Greek god Pan. "Syrinx" is the final poem in Merrill's 1972 collection. In Dark Places of Wisdom, Peter Kingsley discusses in some detail the use of the word in Parmenides' poem and in association with the ancient practice of incubation The British Victorian artist Arthur Hacker depicted Syrinx in his 1892 nude; this painting in oil on canvas is on display in Manchester Art Gallery. A sculpture of Syrinx created in 1925 by sculptor William McMillan is displayed at the Kelvingrove Art Gallery and Museum in Glasgow. Sculptor Adolph Wolter was commissioned in 1973 to create a replacement for a stolen sculpture of Syrinx in Indianapolis, United States; this work was a replacement for a similar statue by Myra Reynolds Richards, stolen.
The sculpture sits in University Park located in the city's Indiana World War Memorial Plaza. Claude Debussy based his 1913 "Syrinx" on Pan's sadness over losing his love; the piece is still popular today. Maurice Ravel incorporated the character of the Syrinx into his ballet Daphnis et Chloé. Gustav Holst alludes to the story of Pan and Syrinx in the opening of his "First Choral Symphony," which draws from the text of John Keats' 1818 poem "Endymion." French Baroque composer Michel Pignolet de Montéclair composed "Pan et Syrinx", a cantata for voice and ensemble. Danish composer Carl Nielsen composed "Pan and Syrinx", Op. 49, FS 87. Canadian electronic progressive rock band Syrinx took their name from the legend. Canadian progressive rock band Rush have a movement titled "The Temples of Syrinx" in their song "2112" on their album 2112; the song is about a dystopian futuristic society in which the arts music, have been suppressed by the Priests of the Temples of Syrinx. Related to the Rush reference, Maryland based rockers Clutch mention the Temples of Syrinx in their song "10001110101" from their album Robot Hive/Exodus.
3360 Syrinx - an asteroide named after Syrinx
Latin American Bible Institute, California is a private coed Bible college in the Avocado Heights district of La Puente, California. It was founded in 1926 and is one of the oldest Hispanic educational institutions in the United States. Biblical and ministerial training is offered in both English and Spanish; the school has a Bible-centered curriculum designed to educate and train full-time ministers, church leaders, missionaries. On October 1, 1926, Miss Alice E. Luce, a former Anglican missionary, joined with Ralph and Richard Williams and founded Latin American Bible Institute in San Diego, California, in conjunction with Glad Tidings Bible Institute. Experiencing a time of growth, the institute moved in 1935 from San Diego to nearby La Mesa and again in 1941 to Los Angeles. In 1950 the institute moved to its current location in La Puente. Official website
Mattheus van Helmont, was a Flemish painter specialized in genre scenes of interiors and village scenes. His style and subject matter were influenced by the work of David Teniers the Younger and Adriaen Brouwer, his preferred subjects were peasant feasts, wedding celebrations and alchemists. He developed his own personal style towards the final phase of his career, he moved to Brussels later. Mattheus van Helmont was born in Antwerp as the son of Mattheus van Elisabeth Cremers, he was baptised in the Cathedral of Antwerp on 24 July 1623. Mattheus first joined the Antwerp Guild of Saint Luke as the son of a master and in 1645 he became a full master in the Guild, his paintings of Italianizing market scenes and fairs suggest that he visited Italy but there is no documentary evidence to corroborate such trip. He joined the Brussels Guild of Saint Luke in 1674. On 17 August 1647 he married Margaratha Verstock; the couple had four sons of whom two - Jan and Gaspard - trained with their father and became painters.
Jan became a portrait painter. Gaspard did not leave any known work; the family lived in the Lange Nieuwstraat in Antwerp. He had a large output but got into debt due to his unruly character and frequent involvement in brawls; this caused him to leave Antwerp and settle in Brussels in 1674. He was forced to leave many paintings with his creditors in Antwerp, he remained the remainder of his life in Brussels where he died some time between 1679 and 1699. Mattheus van Helmont is known for his large output, signed or monogrammed, but dated, his known works can be dated to the period from 1638 to 1670. He was a genre painter and specialised in painting interior scenes with peasants and craftsmen at work, tavern interiors, village scenes, market scenes and kermesses, he painted some still lifes. He is reported to have painted singeries, a genre popularized by David Teniers the Younger and depicting monkeys appearing in human attire and a human environment. However, there exist no firm attributions to van Helmont of works in this genre.
He may have produced'guardroom scenes', i.e. scenes depicting an interior scene with officers and soldiers engaged in merrymaking. However, the Guardroom with the Release of St. Peter attributed to him has now been re-attributed to a follower of David Teniers the Younger. Whereas most of his village scenes depict Flemish villages, he painted scenes of Italian-looking villages and towns such as the Market scene in an imaginary Italian town, he is known to have contributed staffage for the landscapes of Jacques d'Arthois. Van Helmont was stylistically and thematically influenced by Adriaen Brouwer, David Ryckaert III and David Teniers II. In the final phase of his career his style became more personal. Another popular genre scene which van Helmont painted was the alchemist at work; this was a theme, popularised by Teniers. Alchemists and artists had much in common, including the grinding and mixture of chemicals which artists used for pigments; this is shown in van Helmont's The alchemist. Many of the objects found in the alchemist's rooms might be found in an artist's studio.
The écorché plaster sculpture on the desk shows muscle groups under the skin, of use to artists and to alchemists interested in physical health. The violin, symbolic of inspiration, is shown in paintings of painters' studios, but its meaning could apply well to alchemists. Books, glassware, a human skull, distillation apparatus, the furnaces in the painting are all part of the productive clutter of equipment in a busy alchemist's shop. Van Helmont produced multiple versions of The Temptation of Saint Anthony; this subject was popular in Flemish art from the late 15th century. Catholics regard Saint Anthony as a model to be emulated as he is believed to have resisted multiple temptations sent to him by the devil. Flemish paintings dealing with the theme of the temptation of Saint Anthony are populated with witches and monstrous creatures that tempt him. In the 17th century David Teniers the Younger and his brother Abraham Teniers returned to the theme. A composition of The Temptation of Saint Anthony sold at Sotheby’s shows Saint Anthony kneeling in front of a block of stone resembling an altar on which several religious objects are placed.
While David Teniers humanized his witches and creatures in appearance as well as behaviour, van Helmont seems to continue the 16th-century tradition of emphasising their monstrosity. Van Helmont elected to give the role of female temptress to a seductive, bare-breasted woman unlike Teniers who opted for a beautiful but decently dressed young woman. Media related to Mattheus van Helmont at Wikimedia Commons
Stunt Rock is a 1978 Australian mockumentary musical action film directed by Brian Trenchard-Smith and starring Grant Page. Australian stuntman Grant Page accepts a job on an American television series and travels to Los Angeles, where he reunites with his cousin, Sorcery band member Curtis Hyde. Hyde performs with a heavy metal band called Sorcery, playing the part of The Prince of Darkness, locked in cosmic combat with the King of the Wizards. While the band plays out the story with its signature brand of theatrical but muscular hard rock, Page's first stunt for the cameras goes awry and he is hospitalized, but defies his doctors by escaping out a fifth story window to get back to the set; such reckless behavior attracts the attention of newspaper reporter Lois, writing an article about the career-obsessed, co-star Monique van de Ven, who both gravitate towards the stuntman's professional fearlessness. Together they attend Sorcery concerts, enjoy Hollywood parties with the band and explore the nature of extreme living.
Grant Page as himself Monique van de Ven as herself Margaret Trenchard-Smith as Lois Sorcery: Paul Haynes – King of the Wizards Curtis Hyde – Prince of Darkness Greg Magie – Lead Singer Smokey Huff – Lead Guitar Richie King – Bass Guitar Perry Morris – Drums Doug Loch – Keyboards Richard Blackburn as Agent Ron Raley as TV Director Chris Chalen as Escapologist Barbra Paskin as herself Yana Nirvana as Assistant Director Phil Hartman as Monique's Assistant Trenchard-Smith says he was in the shower in December 1977 when the concept of the film came to him. "Famous stuntman meets famous rock group - much stunt, much rock: the kids will go bananas! Eureka!" He wrote a six-page outline in half an hour, motivated in part by a desire to launch Grant Page as an international star. He sent the outline to a European distributor who had bought Trenchard-Smith's previous film and who agreed to finance provided the film could be made in six months. Trenchard-Smith hurriedly went to America to look for a band.
Foreigner were on a tour and would not be back in time. Trenchard-Smith luckily found the Los Angeles-based band Sorcery. Sorcery was signed to do the picture in Dec. 1977, signed with EMI Records in January 1978. The soundtrack album was recorded at the Warner Bros. Burbank CA. studios in March 1978. It was produced by Jimmy Haskell, released on EMI records in the summer of 1978; the director says he had to rewrite the script to incorporate a Dutch actress for the Dutch market, the making of the film was intensely political and happened in far too quick period of time. "It was a film. That is no way to make a feature and, when you see the film, you will answer why."Stunt Rock includes footage from other films in which Grant Page appeared such as Mad Dog Morgan. In 1980 Trenchard-Smith said in an interview that the film had "sold well though it is the worst film I have made; such is life. All I can say to other filmmakers is never let yourself be pressured into making a deal rather than a film, what happened to me.
However his opinion seemed to soften and in 2010 he said the film "holds a special place for me". Stunt Rock disappeared from theaters shortly after its release, was not seen by the general public for nearly 15 years. In 1997, a DVD of the film was distributed via the World Wide Web; as sales of that DVD increased, clips of the film began appearing on the web, including "You-Tube" sites, up-loaded by Sorcery fans. As time passed, more people began to discover the film for the first time; that created the interest that motivated the "Code-Red" company to re-issued the film on DVD in 2009. The 2/disc DVD includes interviews with the films Producer Martin Fink, Director Brian Trenchard-Smith, Richard Blackburn, who directed of the great film "Lemora": A Child’s Tale of the upernatural plus interviews with SORCERY band members Richard Taylor and Perry Morris. In 2006 Trenchard Smith tracked down a reel, buried in someone's garage; the film has been shown in a number of theaters around the world since then.
Stunt Rock is available on DVD. Stunt Rock on IMDb http://liberaldead.com/blog/ozploitation-files-stunt-rock-1978/ http://www.comeuppancereviews.com/2011/03/stunt-rock-1980.html http://www.dvdtalk.com/reviews/40331/stunt-rock-2-disc-special-edition/ http://10kbullets.com/reviews/s/stunt-rock-code-red/ http://www.dvdbeaver.com/film2/DVDReviews47/stunt_rock.htm http://www.sorcerymusic.com
10 Song Demo is a 1996 album by Rosanne Cash, produced by her husband, John Leventhal. The album, her first for Capitol Records after having left Columbia, her label for fourteen years, included stripped down acoustic tracks. Despite the album's title, it contains eleven songs, not ten; the song "The Summer I Read Collette" was a tribute to French novelist Sidonie-Gabrielle Colette. Emmylou Harris and Linda Ronstadt would cover the song "Western Wall", including it on their 1999 collaboration Western Wall: The Tucson Sessions. All songs by Rosanne Cash except as indicated. "Price of Temptation" – 2:12 "If I Were a Man" – 3:20 "The Summer I Read Collette" – 3:28 "Western Wall" – 3:00 "Bells & Roses" – 3:04 "List of Burdens" – 3:04 "Child of Steel" – 3:36 "Just Don't Talk About It" – 3:48 "I Want to Know" – 3:17 "Take My Body" – 3:52 "Mid-Air" – 2:37 Rosanne Cash: Vocals, Acoustic guitar, Piano Larry Campbell: Acoustic & electric guitar, Background vocals John Leventhal: Acoustic & electric guitar, Keyboards, Percussion Lincoln Schleifer: Bass, Percussion
"Romanca" was the Croatian entry at the Eurovision Song Contest 2008 held in Belgrade, Serbia. The song is performed by the group Kraljevi ulice and 75 Cents with Mia Lisak dancing wearing a red dress and playing percussion with glass bottles towards the end of the song, Mia is barefoot for the performance; the song reached first place in Dora, the Croatian national final, thus entering the song as a Croatian entry. The song has a slight touch of humour, as the spoken introduction says that there is no difference between this song of romance and all the others. 75 Cents is rapping about how "monkeys" created the internet, however it was old people who invented music and united the world and therefore old people are not so useless as people like to think. In the live performance towards the end, he can be seen doing modern DJ trickery on a old gramophone; the song was performed in the Croatian language and versions were recorded in Croatian and Russian. The singing part is sung however the rapping and intro bear slight humour to them.
On 22 May 2008 the song competed in the second semifinal of the competition, was chosen as one of the 10 songs that advanced to the final, held on the 24th. At the final, the song received 44 points, placing 21st in a field of 25; the song was succeeded as Croatian representative at the 2009 contest by Igor Cukrov with "Lijepa Tena". Croatian lyrics with translation Russian lyrics with transcription but no translation