Archive for February, 2007

Digital Photography Shutter Speed Effects

Shutter speed is perhaps the most creative adjustment available to the digital photographer. It allows us to freeze action or use motion blur to create a variety of effects, and is expressed in seconds or fractions of seconds depending on the length of exposure.

A high shutter speed (1/1000 of a second or higher) can freeze even very fast moving objects dead in their tracks. However, you will need to keep a couple of things in mind:

1.) You are going to need a brightly lit subject as shutter speeds this high don’t allow your camera much time to gather light for exposure. You can get around this to a degree by using a higher ISO setting, but don’t go to high, or noise will creep into your shot.

2.) If possible, set up your shot by having your camera focused on the spot where your subject is going to pass by. This will allow you to concentrate on timing your subject’s approach, giving you a better chance to trip the shutter at just the right moment.

Medium shutter speeds (1/20 of a second to 1/80 of a second) can be used to create motion blur when photographing moving objects. This gives the photo a sense of life and motion. Here are several ways you can approach this type of motion blur:

1.) With your camera stationary, trip the shutter as a moving subject passes by. This will make the subject look blurred, while keeping the rest of the shot clear—giving your subject a look of speed and a sense that it is moving out of the shot.

2.) Follow your subject through the viewfinder in a smooth sweeping motion as it approaches, and trip the shutter as your subject goes by—this is called “panning.” This method will keep your subject relatively clear, but will blur the background, giving an overall sense of speed and movement. The timing for this type of shot takes a little practice, but the results make it well worthwhile.

3.) When shooting a stationary subject, purposely move your camera in a sweeping or circular motion to create a blur of colours and lines. This one is a lot of fun and can provide some interesting abstract results.

Low shutter speeds (1/8 of a second up to 30 seconds and beyond) can be used to create a variety of effects—here are just a few:

Note: For most of these long exposures a tripod or some other means of keeping the camera perfectly still is necessary to avoid creating unintended blur.

1.) Moving water will look smooth and silky when shot at shutter speeds of 1/8 of a second or more—the longer the exposure the more pronounced the effect.

2.) When photographed at shutter speeds of 2 seconds or greater, car lights will turn into long colourful trails—the longer the exposure, the longer the trails.

3.) When very long exposures are used (15 seconds plus) city lights will often take on a stretched, star-like appearance.

4.) Photographing city lights at shutter speeds of 1/15 of a second, or so, either from a moving vehicle, or while walking, can produce interesting and colourful abstracts (no tripod needed.)

Most digital cameras have a shutter speed priority setting, which allows you to control the shutter speed—try it—it can open up a whole new world, and its loads of fun to boot.

For more digital photography tips, visit Jeff Galbraith’s web site: jeffgalbraithphotography.ca jeffgalbraithphotography.ca

Borat: Not A Laughing Matter!

It was Thanksgiving Day evening when I saw Borat. After all the commotion surrounding this movie, I really wanted to see it, but for the same reason, I really didn’t want to see it. But I decided to go, and I’m glad that I did. Since then, lots of my congregants have asked me: So nu, Rabbi, what do you think? So nu, here’s what I think…

Borat Sagdiyev is a fictional Kazakhstani journalist invented and portrayed by the British comedian provocateur Sacha Baron Cohen for Da Ali G Show, an unstaged and unscripted show in which Borat interviews people who believe that he is a real Kazakhstani television journalist. As an aside, Borat speaks Hebrew for most of the movie when he converses with his sidekick. That’s because Sacha Baron Cohen grew up Orthodox and speaks fluent Hebrew! I have to say, Borat is absolutely outrageous! His humor is “over-the-top.” That does not mean that he is always funny, because sometimes he is, and sometimes he is not. When he is not funny, he is hateful. He travels around America and in his so-called interviews; he inserts bathroom language and racist descriptions, inviting his subjects to prove that they themselves are as bigoted as he portrays himself to be.

For example (just one of many), he regales his newfound American friends with the story of the Running of the Jew–an annual traditional festival in which the 300 bravest men of Kazakhstan chase large papier-mache caricatures of Jews on the streets, and chase them into wells, while spectators break the eggs they lay, and throw stones and potatoes at the Jewish caricatures. “It is for the childrens,” says Borat. As he tells the story, people are drawn in by his folksy way of speaking, and so there are no objections or complaints from anyone. No one stops him; no one calls him on the anti-Semitism this story illustrates. They just accept him, and are complicit with him in his rants. He asks a gun-dealer, what is the best gun to shoot Jews with, and the gun-dealer shows him the preferred model. No rebuttal, no shock, no anger, no nothing. He just hands him the best gun in his shop to kill Jews!

In fact, it’s all a joke, Borat is making it all up. But it’s pretty scary, too, how so-called educated and enlightened Americans could go along with Borat’s extremism and bigotry. And that leads me to “the” question: How should we respond to racial and sexual defamation when we hear it? What should we say, how should we react, when we hear comments from others that we know in the deepest part of our hearts, are repulsive? Did Borat’s subjects know he was kidding them? I think not. Some of them were genuinely welcoming to him, showing real kindness and hospitality to a stranger to these shores, even to the point of putting up with his ribald insensibilities. Others, however, were clearly bigots—anti-Semitic, anti-black, anti-woman, anti-anybody who was different.

Did they realize Borat was playing with them? No, and that’s the scary part. Yes, there are bigots in America, and we need to be on the lookout for them. But even we who are not bigots, we too just love to hear a joke that pokes fun at someone else—another person or ethnic group or someone who is somehow “different” from us. We call that gossip, and it is wrong. But often it’s funny, and so we laugh, even as we may cringe at the same time. Gossip is a favorite topic in the Talmud (500 CE), because the Rabbis understood human nature. They said: “The person who listens to gossip is even worse than the person who tells it; because no harm could be done by gossip if no one listened to it. It has been said that lashon ha-ra (disparaging speech) kills three: the person who speaks it, the person who hears it, and the person about whom it is told.”

Borat the movie is indeed “no laughing matter.” There are critical issues of diversity and language and acceptance of others which he invites us to face in our own lives. We all should know by now from our world history that bigotry often begins with humor that goes astray and becomes racism in thought and deed. There is nothing funny about that, even though Borat wants us to think so. Life is serious, and God expects us to treat all His children as we ourselves would expect to be treated. We are, each and every one of us, no matter our sex, religion, sexual preference or political affiliation, created in the Divine Image, and when we all realize it, and act as if we get it, the world will be a much better place.

And that’s nothing to laugh at!

yourgriefmatters.com yourgriefmatters.com

Aladdin – Music to Remember

While the plot of Disney’s Aladdin is perfectly competent, and Robin Williams does a star turn as the genie, it is the film’s songs that make it truly memorable, to the point where Disney has been able to produce successful stage musicals in the same way as it has for the Lion King.

The song everyone remembers, of course, is A Whole New World. It won an Oscar, a Golden Globe and a Grammy, not to mention finally knocking ‘I Will Always Love You’ off the top of the chart – not bad for a sentimental song from a kids’ film. It still weighs heavily on the public consciousness, and is apparently the most-performed song at every American Idol audition.

Then there’s the title song, Arabian Nights, which refers to the title of the original book the story was taken from (variously known as the Book of One Thousand and One Nights, or 1,001 Arabian Nights, among other translations). This song was the source of considerable controversy in the Arab world upon the film’s original release, because of the lyric “where they cut off your ear if they don’t like your face”. This has since been changed to “where it’s flat and immense and the heat is intense” for the home video and DVD releases.

Then there’s the song that introduces the genie, Friend Like Me, with one of the trippiest sequences in any Disney film. It was this song more than anything that made the genie such a great character, although he also does well in the Prince Ali song (the one that he sings when Aladdin becomes a prince and makes his way to the palace).

Overall, when you look at the music of Aladdin, it is surprising how good it is as a whole – there really isn’t any one song that lets the side down. It is doubtlessly one of Disney’s finest musicals.

John Gibb is the owner of aladdin-resources4u.info aladdin data
, For more information on aladdin check out aladdin-resources4u.info aladdin-resources4u.info

Jane Fonda: Can we Change (A View)

So I feel, Jan Fonda is mostly remembered for her activist movements during the ’60s on Vietnam, and her love for the Vietcong, vs. the indifference to the dying American soldiers during the Vietnam War. She, Jane Fonda, like Jean Penn, found it [after soul-searching] productive to go and sympathize with the enemy, and run back home to their safe America and make their millions, she should had stayed over there, like Penn, the two cowards.

Again I must say, Jane was the spot light a year ago or so, with her movie “Monster-in-Law,” (and her recently published book), I wouldn’t see one of her movies, should they give me free theater tickets, or Sean Penn’s for that matter. Zebra strips can’t be wipe off so easily. Anyhow, Jane was known to us soldiers back then, in Vietnam as Hanoi Jane and I know she apologized to the Vietnam Veterans prior to writing her book for it is in the book; Hollywood style, you know, with the showmanship and all, smirk and all, and all that crap.

She now proclaims to be a “Feminist Christian,” not sure what that exactly is (never heard of one), a new creature of some kind I would guess; something perhaps her and Shirley MacLean, devised. I mean, there is no such creature as a Feminist Christian, in the Christian faith, she would have to have started that up as a movement. Never has been. What that really means is she’s a humanist and not a follower of Jesus Christ per se. Hence, she is part of the circle that believes she can buy her way into heaven under her own terms. I do not think the gates of heaven will bow to her new religion, it is a little stricter than that, nor is this Hollywood. I think she’s better off with her Hollywood party lifestyle than trying to fool the masses: she’s like a snake that sheds their sick: “Hanoi Jane!” You can fool some of the people some of the time, but not all, all of the time.

Jane, Shirley, Sean Penn, Susan and Robinson, all silly little bears from Hollywood. Humanism is that last box of the end time doctrine and feminism is the last block to be placed in the box. So the only thing Hanoi Jane tells me is that we may be pretty close to end time events. Please don’t insult Christendom with your new form of Christology.

See Dennis’ web site: dennissiluk.tripod.com dennissiluk.tripod.com

#74 Connecticut Huskies Preview

Spring practices are in the books and fall camps will be here before you know it so that means getting an early jump on the 2006 NCAA football season. Knowing the teams now will save you time in August and Matt Fargo is here to help you get a grasp of what to expect this upcoming year. We go from worst to first in this 2006 College Football Preview.

#74 – Connecticut Huskies 5-6 SU; 6-4 ATS

Fargo’s Take It’s amazing that the short amount of time that Connecticut has been a 1-A program, it’s been a very stellar team. Unlike most teams that can take years to rebuild, the Huskies look like it will only take them one year and their first losing season in four years will be a thing of the past. Connecticut wasn’t supposed to do much last season and despite the injuries that set in on top of that, the 5-6 record is very impressive. Now with the injuries a thing of the past and seven starters returning on each side of the ball, the Huskies have a shot at another winning season and a bowl bid. The offense has the needed weapons while the defense, after finishing 7th in the country in total defense a season ago, is solid once again. Connecticut might not have the same horsepower as West Virginia and Louisville to make a run at the Big East title, but it will go down fighting as it does every year. The schedule is in its favor once again so the Huskies will have to take advantage.

Returning Starters on Offense – 7 Connecticut fell on hard times on the offensive end in 2005, averaging fewer than 30 ppg for the first time in four years. Injuries played a big part in that as both quarterback and running back were affected throughout the season. Once the injuries to the quarterbacks hit after the fifth game, it was all downhill. The Huskies averaged only 14.8 ppg over their final six games and that was because of the unfamiliarity of the offense as three different signal callers had to be thrown into action. They averaged a paltry 149.5 ypg through the air, 106th in the country but things will be better in 2006. D.J. Hernandez was the frontrunner coming out of spring practices and with a better offensive line along with a healthy Terry Caulley to hand the ball off to, he should be ready for a breakout season. The young receivers are the big concern but Dan Murray is second best tight end in the conference.

Returning Starters on Defense – 7 The Huskies put up some very impressive numbers on defense last year but the jury is still out whether or not they were legitimate. Connecticut played a very soft schedule and in addition to it being ranked 91st in strength, the Huskies played two teams that were without starting quarterbacks, Georgia Tech and Louisville. Nonetheless, finishing 7th in total defense and 21st in scoring defense against anyone deserves some merit and we will see if it can be matched. Experience is the strength as Connecticut went eight straight games with eight different starting lineups at one point last year due to injuries. The defensive line and the secondary are going to be very strong and while the linebackers are the weakest part, they do boast leading returning tackler Danny Lansanah. The defense yielded 13 or fewer points five times last season but also allowed 26 or more points five times so the question is which one of those defenses will we see in 2006.

Schedule The Big East schedule is nothing to shudder about even though four of the seven games are on the road. One of those road games is the season finale at Louisville but the other three at Syracuse, Rutgers and South Florida are all winnable. Getting West Virginia and Pittsburgh at home is a good break even though a win likely won’t occur in either of those. The non-conference slate is not overwhelming but it does pose a challenge. The home opener against Rhode Island is a cakewalk and the other three home contests are against Navy, Wake Forest and Army, all of which should be better than they were last year. The lone non-conference road game is at Indiana, a game it should be able to win as the Hoosiers could be looking ahead to its Big Ten opener against Wisconsin.

You can bet on… Connecticut was riddled by injuries last season and still nearly pulled off a winning season. A two-point home loss against Rutgers was the difference and with the amount of personnel back this year, a second bowl game in the history of the program is well within reach. Football is becoming a big deal in Storrs as sellouts are now the norm at Rentschler Field where the Huskies are 15-4 over the last three seasons. Connecticut was a perfect 5-0 ATS at home last season and with seven games on the home slate, more good things are expected. The Huskies are 15-6-1 in their last 22 games when laying points including a 6-2 ATS mark on the road. Depending on how the early season unfolds, Connecticut might be giving points at Indiana in the third game of the season.

Matt Fargo is a documented member of the Professional Handicappers League.
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Bob Fosse’s ‘Lenny’: A Lost Treasure

When George Carlin hit the height of his fame in the mid-seventies, he was considered by many to be a serious innovator. Besides being extremely unpredictable (walking off minutes into the act, insulting the audience or simply not showing up), behind every scathing and hilarious rant there lay a solid foundation of social commentary relevant to the times. Nothing was too taboo – religion, politics, sex, all the way down the line to simple fart jokes – he talked and the world listened, laughed and, most importantly, thought.

Other comics were out there doing it as well, Richard Pryor the most notable, fueling his raging stage show – like Carlin – with a drug habit to match. Bill Hicks (a self-titled ‘Chomsky with dick jokes’) wouldn’t hit until a decade or so later but he carried the tradition on with an acerbic wit and level of skill that managed to set the bar that much higher for future generations.

And though those torch bearers seem to be few and far between these days, the impact of these artists can still be seen, and felt, in this new generation – it’s just a matter of searching.

Once they’re found, a little study can follow their slight branches down into thicker territory, on to the trunk, and finally the roots. There we find one person: Lenny Bruce.

Ever hear the Carlin bit about ‘context’, or his famous ‘Seven Things You Can’t Say on Television’ routine? What about Pryor’s ‘racial epithets’? Or Hicks’ bit about a resurrected Jesus witnessing the crucifix necklace phenomenon?

They’re all variations, but at the core he’s there - Lenny. Lenny. Lenny.

Eleven books have been written about him and numerous documentaries have been made. He literally blew the comedic scene apart in the early sixties, taking comedy to levels no one thought possible, championing the First Amendment (in a battle he wouldn’t officialy win until nearly four decades after his death) and changing the very face of the profession forever. He didn’t just push the envelope, he folded it into a paper airplane and flew that motherf*cker into space.

Yet still, mention him to nearly anyone in their twenties – fans of Chris Rock and Dave Chapelle, not to mention Jon Stewart – and the inevitable ‘who?’ follows. You can imagine my frustration.

The greatest tragedy to be found amongst this mess, though, is the lost masterpiece Lenny, directed by Bob Fosse in 1974 and garnering six Oscar nominations (including Best Actor, Actress, Director and Film). Ever see it for rent at the video store? Maybe in the classics section? Last week I was in Blockbuster and I asked the teenager behind the counter what Fosse movies they had. After several minutes of searching and a dazed ‘Gee, I never even heard of the bugger…’ he informed me they didn’t even have one. Forget the Oscar, Emmy, Tony and Palm d’Or the man won, we want tits and explosions, goddamit.

For anyone reading this who hasn’t heard of him and carries any interest or opinion about censorship, truth and the art of comedy, I suggest searching out a copy of Lenny.

Based on Julian Barry’s stage play of the same title, Lenny was shot in black and white and remains, thirty years later, a cast spell from start to finish. Fosse was an undisputed master of both musical theatre and cinema, and Lenny is a robust testament to his genius. He perfectly captures nearly every opposing aspect of the comedian’s life, from the most tender, personal moments all the way to the flashing, nearly clairvoyant brilliance he displayed onstage during the zenith of his career. No stranger to the turmoil most performers experience in their personal lives as well, however, Fosse does not shy away from taking us directly into some of the artist’s most bitter and humiliating moments.

Dustin Hoffman is phenomenal in the role, somehow managing to fall into Bruce’s body and channeling him with a tittering, manic grace that is sometimes hard to watch but never anything less than riveting. As with all of Fosse’s films the cast is utterly believable, right down to the lowest paid extra, leaving you feeling as if you’ve stepped right into the furtive, bawdy underworld of the late 1950’s New York Jazz circuit.

Valerie Perinne is truly excellent in her portrayal of Lenny’s stripper wife, Honey, and Jan Miner is dead-on in a small role as his mother Sally Marr, but the meat and bones of this thing is the combination of Hoffman and Fosse. Every emotional angle Hoffman comes at us from is perfectly reflected in the tilt and sway of the camera, every broken scene and lost moment written in shadow and light that slides with a natural ease. The score, of course, is amazing (Fosse was already making good money choreographing and writing musical comedy sketches by the age of fifteen, after two years of touring theatres and strip joints in the Chicago area during the early 40’s), but the overall triumph is in Fosse’s ability to show Lenny Bruce as THE innovator that he truly was. Lenny himself once said: “Comedy isn’t about telling jokes - it’s about telling the truth.” And that’s exactly what Fosse has done here.

Lenny’s fight, at the core, was a humanitarian one, and Fosse paints a portrait of Lenny as many different things throughout the movie, but beneath it all, he finds a core that was uniquely, and tragically, human.

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Night Photography Tips for Amateurs

Taking a photo is not as easy as focusing on the subject and then clicking the camera. It takes more than that. In fact, it takes a lot of intuition and a set of lessons. This is why amateurs in photography need not only experience but also lessons in techniques and of course in the basics.

One of the hardest thing to master is night photography, not only because the subject is hard to find but also because the shadows will make it more difficult for the amateur photographer to take a good shot. Below are some tips that any amateur photographer can use to master night photography.

Safety

The first thing of course that amateur photographers need to remember is to choose the location well. Remember that if you are going to do the shoot, you will have valuable equipment with you. There are places in the country especially in the cities that are very dangerous at night. Safety is paramount. If possible, do your explorations with one or two people as you cannot very well conduct your shoot in daylight or under artificial lights.

Spares

Another reminder is that batteries often run out easily in cold conditions, so it is best to carry an extra or if you have none, try to fully charge your batteries before going out of the house and proceeding with the shoot. You should also bring a good case for your camera as moisture during the night can easily permeate to your camera.

Other equipment

The best camera to use for night work is actually the one with the manual exposure settings, preferably an SLR (single lens reflex). Automatic cameras are not often recommended, as they are not powerful enough to fight the darkness. Another requirement is a sturdy tripod with a rubber leg to minimize slippage. A cable release is also needed as this will enable you to hold the shutter speed open.

Exposures

One important thing that an amateur must remember in conducting night photography is the fact that longer exposures are needed for black and white photos compared to ordinary lighting. Color film, on the other hand, will produce shifts in colors.

Use of flash

With insufficient light from the moon, most photographers will supplement the light with a hand-held flashes, a technique known as “painting with light.” Other more sophisticated ones may also use movie lights and torches as additional lights.

This content is provided by Low Jeremy and may be used only in its entirety with all links included. For more info on Photography please visit photography.articlekeep.com photography.articlekeep.com

Guitar Lesson: Learn To Play Guitar Tab Solo With Fur Elise

Fur Elise is a famous piano solo by Beethoven. In this guitar lesson you will learn to play Fur Elise on your guitar. You don’t have to read sheet music notation so let’s start!

As I told you we will not use sheet music. Instead we will use guitar tablature.

Tablature is a form of musical notation, often with numbers and letters, which tells the player where to place their fingers on the guitar fretboard rather than which pitches to play.

I will use my own type of guitar tab notation today to make sure that the guitar tab is correctly displayed on article sites. The more common guitar tab staff notation you will find on my site.

The six strings on your guitar is numbered from the one with the highest pitch. This string is called the first string.

Let’s start with the first part of the melody with guitar tab:

01 42 01 42 01 02 32 12 23

Now we will take a look at this guitar tab and how to interpret it. You have probably noticed that the numbers are organized in pairs.

The first number in the pair tells you what fret to press down and the second number what string to play.

01 tells you to play the open first string. This means that you play the string without pressing down a left hand finger.

42 indicates that you press down a left hand finger on the fourth fret of the second string. Well, now it’s time for you to play the melody. Did you recognize the melody? Good!

This type of guitar tab doesn’t indicate the length of the notes. If you sing the lyrics you will probably feel how to play the notes.

What finger should you use when you play with your right hand? In this guitar lesson we will not concentrate on your right hand. I suggest that you play the notes with your thumb or in another way you choose.

Let’s play the next guitar tab:

35 24 23 02 24 13 02 12

What about your left hand? You can play the notes with your index finger but I suggest that you assign the notes on the first fret to your index finger, the notes on the second fret to your middle finger and so on.

It means that the 42 note in the beginning of the melody will be played with your little finger. Is it difficult? Yes, it will be difficult but not for long! You will get used to these fingerings if you are persistent!

In the long run you will probably even find it easier to play melodies this way if you get used to this more sophisticated fingering!

Let’s continue! The next guitar tab is identical with the first line:

01 42 01 42 01 02 32 12 23

and the next guitar tab nearly the same as the second line:

35 24 23 02 24 12 02 23

A new melodi is introduced:

02 12 32 01 03 11 01 32

and ends this way:

34 01 32 12 24 32 12 02

By now you know how to play this guitar tab notation so let’s play on!

01 42 01 42 01 02 32 12 23

35 24 23 02 24 13 02 12

01 42 01 42 01 02 32 12 23

35 24 23 02 24 12 02 23

Now you can play Fur Elise by Beethoven with guitar tab. Congratulations!

I suggest that you memorize the melody one line at a time so that the reading of this guitar tab will not slow you down when you play the melody in public!

This is a nice melody to know by heart as part of your repertoire for example when somebody asks you to play something! Everyone knows this song, don’t they!

Peter Edvinsson is a musician, composer and music teacher. Visit his site Capotasto Music and download your capotastomusic.com free sheet music and guitar tab at capotastomusic.com capotastomusic.com

Romancing San Francisco [Chapter one plus, Introduction: Sammies Bar]

Introduction
[1966-67]

I was twenty years old, and we all talked about the “Cat”, at our dojo in St. Paul, Minnesota. Especially during the cold two winters I studied GoJo Kai karate on ‘Cat,’ because of his ‘Cat Stance’. He was a 10th degree black belt in Japan. We all heard about him and our instructor who was a 2nd degree black belt had studied Karate in Japan during his Army tours, as he called them.

I was a green belt back then; –the belts go, white, green, brown, purple and black; –or so they did in St. Paul, in San Francisco, there was no such thing as a ‘Purple’, belt. In any case, several times I got thinking and talking to Jim about traveling to San Francisco —-where Gosei Yamaguchi opened up his Karate Studio in the early 60’s. He was the oldest son to Gogen Yamaguchi, the Cat, and was putting together an International, National and regional karate organization at the time I arrived in San Francisco. The Cat was a legend in his own time, and Gosei was like Bruce Lee, 6th degree, and unbeaten, at least in my eyes. We had heard he had beaten Yamamoto, a karate man who had killed a man once, and who had broken the horns off of bulls that challenged him; or maybe it was the other way around. But these were stories, rumors, no one knew for sure, or for that matter, how to sort the truth from the legends.

Chuck Skinner, our instructor had never met either Gosei or Gogen, but he talked about them enough. And the more Jim talked to me about going to San Francisco, the more we both became convinced to go. Finally we came up with a plan, –Jim would go first to San Francisco, with his family, find a job, apartment, and get to know Goesi, and I’d follow a month later, and I could stay with him and we’d both study under Master Yamaguchi. It sounded excellent we shock hands and waited for the day to arrive.

٭

Romancing San Francisco

Sketches of Life In
San Francisco in the Late Sixties

Chapter One

Sammie’s Bar

The Castro Area
[San Francisco]

◊

I had many difficulties the first six weeks in San Francisco, my friend from Minnesota wanted me to leave his house because I got poison oak. I went to a hotel, and had run out of money, down to one silver dollar so I ate at the mission. Then Gosei Yamaguchi, my karate instructor offered me to live in the dojo [the dojo being the gym] and so I ended up living there in and teaching in the morning karate to kids, and in the evening being instructed by one of the greatest karate masters in the world, Gosei, –and drinking at night in the Castro district. What I didn’t know was, I would get an unquenchable thirst for this new life I was entering into, and it would be a romance of sorts, but not with any certain person, rather with the city itself, San Francisco.

I had found a bar I liked in particular, about three blocks away from the dojo. After everyone was gone in the evening in the dojo, I’d step out and walk down among the busy district lights, with its overpowering charm, and go into the semi-crowed bar called: “Sammie’s”. It was not much of a bar, a lot of smoke inside, and a few drunks, many men, and a few women; –an older couple, Mr. and Mrs. Palace was quite friendly with me. I liked talking to them. I also enjoyed eating the free sandwiches, and chili they always had; –couldn’t figure it out, a small dingy bar, with so many people, and two male bartenders, –Ted and Joe. They seem to work well together though. They were quite colorful in their delightful way in managing the bar, and its customers, always so approachable. The people who frequented the bar seem to be for the most part, the same customers each evening, and all quite well mannered, quiet and friendly, even the few drunks that fell to sleep now and then followed this pattern. I never thought it too strange though. Maybe because this was one of the first places that reminded me of home somewhat, even though I was only twenty, I had been drinking in the bars back home for sometime.

Outside the bar was a crowed commercial area; along with a real live cable car up the block. There were also several bars cramped into a square eight block area, a few cloth stores, a small grocery store down the block, and a movie theater: –up the block on Main Street was that street car again [I was talking about] it went downtown, or if going in the other direction, it went under a bridge and out toward the University; –when I was about six, I remember them street-cars in St. Paul, but they had got rid of them since, so this was a novelty for me [I made sure I rode on them purposely], and along side that was the main street that went down town San Francisco, or what I called downtown. I had stayed in the hotel down there, the Freemont for a week, with my poison oak I had acquired across the bay up on some damn hill, while resting one afternoon and absorbing the beautiful sun; — the hotel broke me, it got too be pretty expensive and my money run out, and I lucked out I guess one might say, when I got to stay at the dojo.

At the dojo, I slept on the sofa in the main lobby, and in the back of the building, within the dojo, was a stove and refrigerator, I occasionally used. Gosei would put a five or ten spot [dollar bill] under my pillow about once or twice a week, when he came in early the next morning, I’d be sleeping, but I’d kind of wake up when he’d do that. When I got up, he’d ask, “You eating all right,” and I’d say yes, I didn’t want to complain, I was there on my own free will, yet, I was a little ashamed I had to take the money. But I had also learned a lesson a year earlier, while traveling and living in Seattle for a month. I had run out of money, and had no one to help me with the food thing, consequently, I learned quickly about hunger, and it was not an option not eat, you had to. Therefore, I found a job but it didn’t pay for two weeks, and so I had to beg, borrow and almost stole candy from a boy selling it door to door as a Boy Scout, but I didn’t; I just allowed myself to get more hungry while in Seattle, that is. I did not want to be in that situation again, here in San Francisco.

Goesi would go to his semi-enclosed office behind the tall thin counter; –which was the first thing people saw when they came through the doors, and up the twenty plus steps to reach the top, and there the desk would be, and Lorenzo, whom I got to know quite well, would greet you. He was a light mulatto, and his wife a black woman, a first degree black belt. Lorenzo had been studying karate for some thirteen years when I had met him, yet had no colored belt, he said he never took one; but as I got to know him, he was as good as any black belt.

The toilet in the dojo was fine, clean, but no shower, and so I just wiped myself clean daily, although a few of my karate friends were letting me know I was not smelling all that great.

It was summer time and the city was wide open with life, charm, it was a colorful playground for the new generation, the ‘Love Generation’, the ‘Flower People,’ —-life in San Francisco was as if there was a fest going on everywhere. The pulse of the city was going wild; two-hundred beats a minute.

At “Sammie’s” no one seems to get too much out of place, that is, no one caused trouble, I liked it because of that. Furthermore, it seemed like I came to the city just at the right time, summer was warm and the parks were filled with people, and bands were in every big or small park throughout the city. Everyone smoking pot, everyone but me that is, I was drinking. I had been down to Hayed Asbury Street, a week ago, by myself at night with a wine bottle in my hands, and you couldn’t walk: –everyone, everywhere, asking if you wanted a joint or whatever, everyone with white and/or decorative colored shirts, with randomly selected hats of every color and type, — and pants with patches and holes; —-more moccasins than shoes where being displayed on the feet of the inhabitants. In some of the more discolored corners of the archways to the buildings as I walked the street, you would get the whispers of whatever you wanted, it was for sale. This was of course a daily thing, meaning, night or day, for I had been there a few times during the day also. Some of the hippies were quite grimy looking, my age. I thought them to be lost at the time in this marvelous Saint Hood of a city. But in a like manner, so was I.

At Sammie’s bar, most of the people didn’t seem to be of the hippie type, or even with the times, more settled in one might say, or for some odd reason that is how I recognized it, even good old Mr. and Mrs. Palace seemed to be content with avoiding the trend and the times of the day; and again, –Joe, the older man [bar tender] always looked at me with a forked-look, as if he had swallowed a frog, and Ted, the thinner of the two, was more business like and said very little to me, or for that matter, spoke only when need be. But my thoughts on the matter were simple, people are different, let it be.

I walked down toward the center of this section of the city [Castro], not too far, yet south of the city was an old church, Dolores street was there also, and the way to the downtown area was a few blocks to the North. Over to the East was where I had started working, a place called Lilli Ann, a dress designer outfit. Adolph Shuman owned the place to my understanding, and had his name on many of the labels attached to the cloths. I had not seen him yet, but I was told he’d show up at the most unexpected times, and was told to just keep out of his way, by my boss Mr. Arthur Blair from England, a dress designer. I think he had a few undesirable run-ins with him. I had soon found out that Lilli Ann was one of the most famous women’s clothing outfits in the world. I’d sometimes have to go down to the fur room, have to bring some furs to the women working, they were beautiful, each time I did this, I seem to have been under a watchful eye until they got to know me better, that is.

The clothing was exceptionally well done, suede, faux mink, other fabrics like mohair wool, etc. I would live to find out, some thirty-five years down the road that Lilli Ann cloths would outlive itself; –and remain world famous. In addition, I would have a dress made for my mother, the women liked me there and so they were kind enough to use their spare time to make the dress for me, and I needed only to buy the fabric. It was worth $85, more than a week’s wages for me. Two other times people asked me to ask the women to make dresses for them, when they found out they did it for me, and they again, made them for me twice more, but then I stopped asking, feeling I was abusing my friends, and the people asking were abusing me. I would also meet Mr. Shuman, the multi-millionaire four times. As I looked back I was always bumping in to history in the making.

It was a warm, friendly and pleasant evening, for the most part; I was about to venture downtown but decided to go back to the bar at the last minute. There I walked in, took my jacket off, and sat on one of the stools. It was a long bar, like back in the days of Jessie James, with tables to my back.

“What’re you having again,” asked Ted.

“Tap beer, as usual.”

“You got it…” said Ted.

A woman somewhat drunk at the end of the bar was checking me out, or so it seemed. The beer went down my insides like a cool breeze refreshing my every pore, on this warm evening. The girl was pretty, but she didn’t really seem to be too interest in me, only curious for some odd reason. I smiled, and she returned it, and started talking to one of the men standing by her at the bar. And so, unabated I went on day-dreaming, drinking and smoking.

I sat thinking about how my karate adventure to travel some 2000-miles and meet one of the great masters of karate, one of the best in the world, and possible somewhere along the line I might get to meet his father the ‘Cat’, Gogen Yamaguchi, was a thrill of a lifetime. I ordered another beer, looking at the girl at the end of the bar again –before I fell back into my day-dreaming state.

I thought about San Francisco, how I was getting to know the city, and she was starting to belong to me: –along with this new era, the place and especially this bar. I felt alone at times, yet, not lonely, inasmuch as, anyone might, had they left their home behind them. It pained me to think had I not gone on this venture I might have lost out on a golden opportunity, that is to say, one I might look back at in thirty-five years and say, ‘Yaw, that’s where it all started.’ I had always felt a little lost, but better to be lost than sad.

٭

I had not made love to a girl yet, –that is, not in the last six weeks I had been here in San Francisco. Maybe I was leading up to it. I had met two girls at the dojo: one Japanese girl called Kikuyu, very pretty, but she had it for Buck I think, my 4th degree black belt friend. Every time he and I were by them she ended up floating on air, not sure if Buck took note of that. And Karen her girlfriend, whom was too bare for me I felt, liked me. Wasn’t that the luck of the draw? I would have liked to have changed girlfriends with Buck, but felt, leave well enough alone. First Buck wasn’t really interested in her, and second, I had learned that when a woman was interested in one person, that was it, he could be with fifty other guys in a naked group, and she’d wait for him to emerge.

As I ate my ham and cheese sandwich, Joe asked me if I wanted to go to a party which he was having in two weeks, writing his address down, he pushed it over towards me on the bar.

“We’re having Oysters,” he said, adding “Ted and Mr. and Mrs. Palace would be there [knowing I liked them], so try to be there.”

“If I can make it Joe, I will … [hum] thanks.” He gave me that look again; but this time the look entailed the cat eating the mouse.

I finished my sandwich, drank down my 5th beer, paid the bill and readied myself to leave the bar.

“Thanks again, Joe for the invitation,” I said as I walked out the door, back down the street, taking a right to go up the hill, and another right to go up a second hill. The dojo was in the middle of the second hill, Collingswood.

See Dennis’ web site: dennissiluk.tripod.com dennissiluk.tripod.com

Beethoven’s Only Opera

“Fidelio” is the only opera that Beethoven composed. It is now considered to be one of the world’s best masterpieces. However, there were three releases of the opera. Each time the piece was treated and accepted differently. The great master revised his work three times. Each time it was like a new creation, so different, but yet so similar. Let’s take a closer look at each release of the opera.

Beethoven took his time over a span of years looking through libretto
after libretto to write what he thought would be the greatest opera of
the time. Though that sounds a bit arrogant, he was Beethoven; the
greatest composer of western music to date, and that was his goal.
Finally he stumbled across a libretto inspired by the French
technique, which intrigued him, and he jumped at the opportunity. By
November of 1805, the initial version of what was called at the time
“Leonora,” was ready to be premiered. A key fact to the reception of
this piece however lies in history. In late October 1805, Napoleon’s
armies were bearing down on Vienna. By the 30th they had
entered Salzburg, leading to the flea of most persons of wealth and
nobility. These people were who would have normally made up the
audience at a premier such as Beethoven’s first and last opera. So it
was under these horrendous circumstances that “Fidelio” was performed
at the Theatre an der Wien. The usual audience had either fled or
was unable to reach the theater as the city had been closed to the
suburbs. The initial version of the opera was a very long, drawn
out piece, consisting of three acts. Needless to say under the
circumstances the first performance was not acclaimed by either the
reviewers or the audiences. After three performances Beethoven
withdrew the opera in disgust, for further review. It is safe to
say the initial result was what no one expected as it was ridiculed by
audiences and critics alike.

After the initial catastrophe, Beethoven went back to work importing a
new librettist, shortening the work, and changing some music as well.
By 1806 it was ready to be premiered again, and this time to the usual
audience. The performance was extremely anticipated, however again
failed in the eyes of the critics; however more importantly to
Beethoven was the opinion of the audiences. The audience adored the
re-release. The great Hector Berlioz states:

“Some time afterwards, however, it reappeared; modified in several
ways, both as to music and text; and furnished with a new overture.
This second trial was a complete success; and Beethoven, loudly
recalled by the audience, was brought upon the stage after the first
act, and again after the second act; the finale of which produced an
enthusiasm hitherto unknown at Vienna. The score of “Fidelio” was,
however, none the less subject to varying degrees of bitter criticism.”

Although the second release of “Fidelio” was certainly better received
than the first, and to the correct audience, Berlioz goes on to say,
“The fact is that, of these three scores, the first is extremely weak;
the second scarcely a work of talent; and the third a masterpiece of
genius.” This statement exemplifies the bulk of Reception Theory
research found today. Though the second version of “Fidelio” was
rather widely acclaimed and began to play all over Europe at different
theatre companies, it was not until the third and final version,
released in 1814, that “Fidelio” could be called an operatic
masterpiece for the ages.

Many years and many works after the release of the second version of
“Fidelio,” with yet another librettist and more changes including the
addition of an overture, the final version of “Fidelio” premiered on
23 May 1814. This form and performance catapulted “Fidelio” into a
widely acclaimed masterpiece of opera. Critics and audiences alike
would praise the work for years and years to come, as it is still
acclaimed as one of the great opera’s of the time today. Beethoven in
response to the much awaited success wrote in his daybook, “It is
certain that one writes best when one writes for the public.”
The Reception Theory combines a variety of thoughts on a piece
with it’s reception by the critics and general public at the time, and
when the piece is widely acclaimed, which could be much later in time.
Often time’s works that are experimental in one era become hailed as
masterpieces in another, that’s the whole point of the Reception
Theory, to determine when a work makes this crossover. Beethoven’s
“Fidelio” had the perfect timing as far as this approach states. With
the final changes to the piece, it became praised as one of the
all-time masterpieces almost immediately. “One can only guess at the
depth of Beethoven’s frustration upon being repeatedly told, by even
the most well-meaning of his admirers, that he was writing for the
future and that he could not be understood in his own day.”
What “Fidelio,” accomplished upon completion and acclaim was
prove to Beethoven that as often as his pieces were based on where
music was going, he could still write for the people of the time,
while moving in the direction of the future. What is found upon
further research is that “Fidelio” has grown like a fine wine, though
highly praised in 1814 at the conception of the final version; it has
only grown in the public’s appreciation over time. There is not exact
date in which the work crossed over to a masterpiece, essentially from
the final version’s premiere it was a fact understood by the audience,
that this was and would be a great opera for a lengthy period of time.

The article was produced by the member of masterpapers.com.
Sharon White is a senior writer and writers consultant at masterpapers.com/college topic_essay.htm” target=”_blank college essays topics selection. Get some useful tips for masterpapers.com/compare_and_contrast_essay.htm” target=”_blank compare and contrast essays and masterpapers.com/creative_dissertation.htm” target=”_blank creative dissertations writing.

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