Category Archives: IN THE SPOTLIGHT
Wikipedia: Linus Pauling
https://en.m.wikipedia.org/wiki/Linus_Pauling
Linus Pauling
Linus Carl Pauling (/ˈpɔːlɪŋ/; February 28, 1901 – August 19, 1994) was an American chemist, biochemist, chemical engineer, peace activist, author, and educator. He published more than 1,200 papers and books, of which about 850 dealt with scientific topics.[4] New Scientist called him one of the 20 greatest scientists of all time,[5] and as of 2000, he was rated the 16th most important scientist in history.[6] For his scientific work, Pauling was awarded the Nobel Prize in Chemistry in 1954. For his peace activism, he was awarded the Nobel Peace Prize in 1962. He is one of four individuals to have won more than one Nobel Prize (the others being Marie Curie, John Bardeen and Frederick Sanger).[7] Of these, he is the only person to have been awarded two unshared Nobel Prizes,[8] and one of two people to be awarded Nobel Prizes in different fields, the other being Marie Curie.[7] He was married to the American human rights activist Ava Helen Pauling.
Linus Pauling
ForMemRS

Linus Pauling in 1962
Born
Linus Carl Pauling
February 28, 1901
Portland, Oregon, U.S.
DiedAugust 19, 1994(aged 93)
Big Sur, California, U.S.
NationalityAmericanEducation
Oregon State University (BS)
California Institute of Technology(PhD)
Known for
Alpha sheet
Beta sheet
Bond order
Breath gas analysis
Coiled coil
Corey-Pauling rules
CPK coloring
Crystal structure prediction
Electronegativity
Elucidating chemical bondsand molecular structures
Ice-type model
Linear combination of atomic orbitals
Molecular clock
Molecular medicine
Orbital overlap
Pauling equation
Pauling’s rules
Pauling–Corey–Branson alpha helix
Pauling’s principle of electroneutrality
Quantum chemistry
Quantum graph
Residual entropy
Resonance (chemistry)
Space-filling model
Valence bond theory
Vitamin C megadosage
Xenic acid
Advocating nuclear disarmament
Spouse(s)
Ava Helen Miller
(m. 1923; d. 1981)
Children4, including Peter PaulingAwards
ACS Award in Pure Chemistry (1931)
Irving Langmuir Award (1931)
Member of the National Academy of Sciences(1933)
Davy Medal (1947)
Nobel Prize in Chemistry (1954)
Nobel Peace Prize(1962)
Roebling Medal(1967)
Lenin Peace Prize(1968–69)
National Medal of Science (1974)
Lomonosov Gold Medal (1977)
NAS Award in Chemical Sciences (1979)
Priestley Medal(1984)
Vannevar Bush Award (1989)
Scientific careerFields
Quantum chemistry
Biochemistry
InstitutionsAs faculty memberCaltech (1927–1963)UC San Diego(1967–1969)Stanford (1969–1975)
As fellow
Cornell University(1937–1938)University of Oxford (1948)Center for the Study of Democratic Institutions(1963–1967)ThesisThe Determination with X-Rays of the Structures of Crystals (1925[3])Doctoral advisorRoscoe Dickinson
Richard Tolman[1]Other academic advisorsArnold Sommerfeld
Niels Bohr[2]Doctoral studentsMartin Karplus
Jerry Donohue
Matthew Meselson
Robert E. Rundle
Edgar Bright Wilson
William Lipscomb[1]SignatureNotes
The only person to win two unshared Nobel Prizes.
Pauling was one of the founders of the fields of quantum chemistry and molecular biology.[9] His contributions to the theory of the chemical bond include the concept of orbital hybridisation and the first accurate scale of electronegativities of the elements. Pauling also worked on the structures of biological molecules, and showed the importance of the alpha helix and beta sheet in protein secondary structure. Pauling’s approach combined methods and results from X-ray crystallography, molecular model building, and quantum chemistry. His discoveries inspired the work of James Watson, Francis Crick, and Rosalind Franklin on the structure of DNA, which in turn made it possible for geneticists to crack the DNA code of all organisms.[10]
In his later years he promoted nuclear disarmament, as well as orthomolecular medicine, megavitamin therapy,[11] and dietary supplements. None of the latter have gained much acceptance in the mainstream scientific community.[5][12]
Wikipedia: Epidemia de coronavirus (2019-nCoV)
https://ro.m.wikipedia.org/wiki/Epidemia_de_coronavirus_%282019-nCoV%29
Epidemia de coronavirus (2019-nCoV)
Acest articol sau secțiune este de actualitate.
Informațiile se pot schimba rapid odată cu desfășurarea evenimentelor.Epidemia de coronavirus (COVID-19)BoalaCOVID-19Tulpina de virusCoronavirusul sindromului respirator acut sever 2(SARS-CoV-2)Primul caz1 decembrie 2019OrigineWuhan, Hubei, Republica Populară ChinezăMorți2.801Cazuri confirmate82.187Modifică date / text
Focar
Harta focarului de coronvirus Wuhan 2019-2020, cu număr de cazuri în China, Hong Kong, Macau și Taiwan.
Suspectate
Confirmate: 1–9
Confirmate: 10–99
Confirmate: 100–999
Confirmate: ≥1000
Harta focarului de coronvirus Wuhan 2019-2020 (începând cu 24 ianuarie 2020):
Țara de origine de unde a provenit coronavirusul (China)
Cazuri confirmate
Cazuri suspecte raportate pe țară
Epidemia de coronavirus 2019-nCoV, cunoscut și sub denumirea de coronavirus Wuhan, focar de pneumonie chineză sau pneumonie Wuhan (chineză simplificată: 武汉肺炎; chineză tradițională: 武漢肺炎; pinyin: Wǔhàn fèiyán) a început pe 12 decembrie 2019 în centrul orașului Wuhan, China, atunci când a apărut un grup de persoane cu pneumonie de cauză necunoscută, a fost legat în principal de proprietarii de tarabe care lucrau la piața de pește Huanan, care vindeau și animale vii. Ulterior, oamenii de știință chinezi au izolat un nou coronavirus, denumit 2019-nCoV, care s-a dovedit a fi cel puțin 70% similar în secvența genelor SARS-CoV.[1][2] Coronavirusul 2019-nCoV a fost identificat în Wuhan, provincia Hubei, China, după ce oamenii au dezvoltat pneumonie fără să aibă o cauză clară și pentru care vaccinurile sau tratamentele existente nu au fost eficiente. Virusul prezintă dovezi de transmitere de la persoană la persoană, iar rata de transmitere (rata infecției)[3] pare să fi escaladat la jumătatea lunii ianuarie, aceasta reieșind și din alte cazuri decât cele pe care China le-a raportat până acum.[4] Primul caz de coronavirus din România a fost confirmat pe 26 februarie 2020 la un bărbat din județul Gorj.[5]
Perioada de incubație (perioada de la expunere până la apariția simptomelor) este de aproximativ două săptămâni, simptomele includ febră, tuse și dificultăți de respirație și ea poate fi fatală.[6]
Pe 20 ianuarie 2020, premierul chinez Li Keqiang a cerut eforturi decisive și eficiente pentru prevenirea și controlul epidemiei de pneumonie cauzată de un nou coronavirus.[7] Începând cu 24 ianuarie 2020, au avut loc 26 decese, toate în China și există dovezi că se transmite de la om la om. Testele ample au evidențiat peste 2120 de cazuri confirmate, dintre care unii sunt angajați în asistență medicală.[8] De asemenea, au fost semnalate cazuri confirmate în Thailanda, Coreea de Sud, Japonia, Taiwan, Macau, Hong Kong și Statele Unite.
La 23 ianuarie 2020, OMS a decis să nu declare o urgență internațională pentru sănătate.[9] OMS avertizase anterior că este posibil un focar mai larg,[10] există temeri de transmitere ulterioară în timpul sezonului maxim al Anului Nou Chinezesc.[11][12] Creșterea bruscă a focarelor de boală a ridicat întrebări cu privire la traficul de animale sălbatice, răspândirea virusului și incertitudinile legate de virus, indiferent dacă virusul a circulat mai devreme decât se credea anterior, originea și probabilitatea de a fi super-virale, adică un eveniment de răspândire majoră.[13][12][14]
Primele cazuri suspectate au fost raportate la 31 decembrie 2019,[15]primele cazuri de boală simptomatică apărând cu puțin peste trei săptămâni mai devreme la 8 decembrie 2019.[16] Piața a fost închisă la 1 ianuarie 2020 și persoanele care au prezentat semne și simptome ale infecției cu coronavirus erau izolate. Peste 9930 de persoane, care au intrat în contact strâns cu persoane posibil infectate, au fost inițial monitorizate. După dezvoltarea unui test de reacție de polimerizare în lanț de diagnostic specific pentru detectarea infecției, prezența 2019-nCoV a fost confirmată ulterior la 41 de persoane în clusterul din Wuhan,[17] dintre care două au fost ulterior raportate ca fiind un cuplu căsătorit, dintre care unul nu fusese prezenți pe piață și alți trei membri ai aceleiași familii care lucrau la standurile de fructe de mare ale pieței.[18][19] Prima moarte confirmată din cauza infecției cu coronavirus a avut loc la 9 ianuarie 2020.[20]
La 23 ianuarie 2020, centrul Wuhan a fost plasat în carantină, în care au fost suspendate toate mijloacele de transport în comun și din Wuhan. Orașele din apropiere Huanggang, Ezhou, Chibi, Jingzhou și Zhejiang au fost de asemenea plasate în carantină începând cu 24 ianuarie 2020.[21][22]
Context
Epidemiologie
Identificare
Cauze
Diagnostic
Prevenirea
Igiena respiratorie
Cercetări privind vaccinul și terapia
Gestionarea
În cultura populară
Referințe
STELLA MAEVE: American Mona Lisa mysterious, benevolent, smile
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Stella Maeve
Stella Maeve (born November 14, 1989) is an American film and television actress best known for her role of Julia Wicker in The Magiciansand of Nadia in Chicago P.D.[1]
Career
Maeve’s first feature film role was in the comedy-drama Transamerica(2005),[2] and she has since acted in the comedy Harold (2008),[2] and in the crime drama Brooklyn’s Finest(2009).[2] She has made appearances on multiple television series, including recurring roles on Gossip Girl (2008–09),[2] and House (2010–11).[2] She played Sandy West in the film The Runaways (2010), a drama about the 1970s all-girl rock band of the same name, alongside Kristen Stewart and Dakota Fanning.[2]
In 2013, she was cast as the younger sister of Det. Walter Clark (Theo James) in CBS‘s crime drama television series, Golden Boy.[3] In January 2014, Maeve began appearing on Chicago P.D. as Nadia.[4]Her character was killed off on a Chicago P.D. episode titled “The Number of Rats”, during a crossover event with Law & Order: Special Victims Unit and Chicago Fire.[5]
In 2014 she starred in the music video “Figure it out” by Royal Blood. Since 2015, she has starred as Julia Wicker in the Syfy TV series The Magicians.[2]In 2019 Stella returned to her Big Apple home to guest-star on an episode of the hit CBS drama (and NYC-based and filmed) God Friended Me.
Personal life
Stella Maeve has stated that she is Native American.[6] When asked for further details on her Instagram photo, she answered that she was “Blackfootand Cherokee.”[7]
In an April 2019 post to Reddit, Maeve confirmed that she is engaged to Deadly Class actor Benjamin Wadsworth. In August 2019, Maeve and Wadsworth revealed via social media that they are expecting their first child together, a baby girl. Jo Jezebel Wadsworth was born on January 29, 2020.[8]
Filmography
Film
Television
References
Comments Off on STELLA MAEVE: American Mona Lisa mysterious, benevolent, smile
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Tagged benevolent, Smile, STELLA MAEVE: American Mona Lisa mysterious
I just earned the Silver Today’s Holiday badge on The Free Dictionary!:
I just earned the Silver Today’s Holiday badge on The Free Dictionary!: http://secure.thefreedictionary.com/user/George_Bost?rff=bFGy3
ESL: HOW TO GIVE BAD NEWS
Posted in Educational, English Grammar, IN THE SPOTLIGHT, Uncategorized
Tagged ESL: HOW TO GIVE BAD NEWS
“THERE IS NO PASS TO HAPPINESS: HAPPINESS IS THE PASS” (BUDDHA)
Posted in Educational, Fitness, running, biking, outdoors, FOOD AND HEALTH, Graphic Arts, IN THE SPOTLIGHT, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, QUOTATION, Quote of the Day, Special Interest, SPIRITUALITY, Uncategorized, Yoga
Tagged "THERE IS NO PASS TO HAPPINESS: HAPPINESS IS THE PASS" (BUDDHA)
You can open any door if you only have the key…careful though: some doors are better left unopened!
You can open any door if you only have the key…careful though: some doors are better left unopened!
Mother’s courage
Mother’s courage
Haiku: Few dead leaves and sticks (© poetic thought by GeorgeB @ euzicasa)
Haiku: Few dead leaves and sticks (© poetic thought by GeorgeB @ euzicasa)
Few dead leaves and sticks make
live ikebana in vase…
No need to water.
Haiku: Few dead leaves and sticks (© poetic thought by GeorgeB @ euzicasa)
List of compositions by Ludwig van Beethoven
https://en.m.wikipedia.org/wiki/List_of_compositions_by_Ludwig_van_Beethoven?wprov=sfla1
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List of compositions by Ludwig van Beethoven
Title page of Beethoven’s Symphonies from the Gesamtausgabe
The compositions of Ludwig van Beethoven (1770–1827) consist of 722 works[1] written over forty-five years, from his earliest work in 1782 (variations for piano on a march by Ernst Christoph Dressler) when he was only twelve years old and still in Bonn, till his last work just before his death in Vienna in 1827. Beethoven composed in all the main genres of classical music, including symphonies, concertos, string quartets, piano sonatas and one opera. His works range from requiring a solo performer to needing a large orchestra and chorus to perform.
Beethoven straddled both the classical and romantic periods, working in genres associated with Wolfgang Amadeus Mozart and his teacher Joseph Haydn such as the piano concerto, string quartet and symphony, while on the other hand providing a precursor to Romantic composers such as Hector Berliozand Franz Liszt with programmatic works such as his Pastoral Symphonyand Piano Sonata “Les Adieux“[2]. Beethoven’s work is typically divided into three periods. The “Early” period where Beethoven composed in the “Viennese” style. The “Middle” or “Heroic” period where his work is characterised by struggle and heroism, such as in the EroicaSymphony, the Appassionata Sonataand in his sole opera Fidelio. Beethoven’s “Late” period is marked by intense, personal expression and an emotional and intellectual profundity. Although his output dropped drastically in his later years this period saw the composition of masterpieces such as the Late Quartets, the Final Five Piano Sonatas, the Diabelli Variations, the Missa Solemnis and his Ninth Symphony[3].
Beethoven’s works are classified by both genre and various numbering systems[4]. The most well known numbering system for Beethoven’s works is that by opus number, assigned by Beethoven’s publishers during his lifetime. Only 172 of Beethoven’s works have opus numbers, divided among 138 opus numbers. Many works that were unpublished or else published without opus numbers have been assigned either “WoO” (Werke ohne Opuszahl—works without opus number), Hess or Biamonti numbers. For example, the short piano piece “Für Elise“, is more fully known as the “Bagatelle in A minor, WoO 59 (‘Für Elise’)”. Some works are also commonly referred to by their nicknames, such as the Kreutzer Violin Sonata, or the ArchdukePiano Trio.
As well as these numbering systems, works are also often identified by their number within their genre. For example, the 14th string quartet, published as Opus 131, may be referenced either as “String Quartet No. 14” or “the Opus 131 String Quartet“. The listings include all of these relevant identifiers. While other catalogues of Beethoven’s worksexist, the numbers here represent the most commonly used.
List of works by genre
Beethoven’s works are published in several editions, the first of these was Ludwig van Beethovens Werke: Vollständige kritisch durchgesehene überall berechtigte Ausgabe published between 1862 and 1865 with a supplemental volume in 1888 by Breitkopf & Härtel, commonly known as the “Beethoven Gesamtausgabe” [GA]. While this was a landmark achievement at the time, the limitations of this edition soon became apparent. Between 1959 and 1971 Willy Hess prepared a supplemental edition, Beethoven: Sämtliche Werke: Supplemente zur Gesamtausgabe, [HS] containing works that were not in the Gesamtausgabe.
Since 1961 the Beethoven Archive has been publishing a new scholarly–critical Complete Edition of Beethoven’s works, Beethoven: Werke: neue Ausgabe sämtlicher Werke[5][NA]. However, only 42 of the projected 56 volumes have been published so far.[6] As this edition has not been published in full there are works without an NA designation.
Legend for publications – p: parts s: full score vs: vocal score
Orchestral music
Beethoven wrote nine symphonies, nine concertos, and a variety of other orchestral music, ranging from overtures and incidental music for theatrical productions to other miscellaneous “occasional” works, written for a particular occasion. Of the concertos, seven are widely known (one violin concerto, five piano concertos, and one triple concerto for violin, piano, and cello); the other two are an early piano concerto (WoO 4) and an arrangement of the Violin Concerto for piano and orchestra (Opus 61a).
Symphonies
Beethoven is believed to have intended to write a Tenth Symphony in the last year of his life; a performing version of possible sketches was assembled by Barry Cooper.[10]
Concertos
Workout: Shoulders Stretch
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Tagged Workout: Shoulders Stretch
Watch “Google — Year in Search 2019” on YouTube
Watch “THE RAVEN. EDGAR ALLAN POE. READING BY VINCENT PRICE” on YouTube
Posted in (The smudge and other poems), AudioBooks, BOOKS, e-books, Educational, IN THE SPOTLIGHT, Lyrics, on the mundane side of the town, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Poetry, Poets, QUOTATION, Quote of the Day, SPIRITUALITY, Uncategorized
Tagged THE RAVEN. EDGAR ALLAN POE. READING BY VINCENT PRICE" on YouTube
YOGA, HEALING: HEAT VS. ICE
Posted in Educational, FOOD AND HEALTH, IN THE SPOTLIGHT, QUOTATION, Special Interest, SPIRITUALITY, Uncategorized, Yoga
Tagged HEALING: HEAT VS. ICE, Yoga
Just a thought: “Imagination is fearlessness applied, with mother’s courage as weapon.”
“Imagination is fearlessness applied, with mother’s courage as weapon.”
(© poetic thought by GeorgeB @ euzicasa)
Posted in (The smudge and other poems), BOOKS, Educational, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, News, on the mundane side of the town, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, QUOTATION, Quote of the Day, SITE DEVELOPMENT, Special Interest, SPIRITUALITY, surveillance, Uncategorized
Tagged "Imagination is fearlessness applied, with mother's courage as weapon." (© poetic thought by GeorgeB @ euzicasa)
??????????? Answered (© poetic thought by GeorgeB @ euzicasa): “Time is capricious, love unclaimed transcends.”
https://euzicasa.wordpress.com/2013/02/14/st-valentines-day/
????????????? Answered (© poetic thought by GeorgeB @ euzicasa)
(© poetic thought by GeorgeB @ euzicasa)
Love, love, love,
is it love,
if one cannot embrace human vanity
or is it just plain silliness?
Should love be sang, declared,
or deep in one’s heart vault be contained,
no,
not like in a prison cell, but like
a precious ore not yet uncovered, claimed, explored…
not yet EXPLOITED, by anyone,
ever so well unclaimed,
it shines like the sum of all suns
Time is capricious, love unclaimed transcends.
(Posted Here )
Posted in (The smudge and other poems), e-books, IN THE SPOTLIGHT, Lyrics, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Poetry, Poetry, Poets, Writers, Poets, QUOTATION, Quote of the Day, Special Interest, SPIRITUALITY, Uncategorized
Tagged "Time is capricious, love unclaimed transcends." ?????????????? Answered (© poetic thought by GeorgeB @ euzicasa) (© poetic thought by GeorgeB @ euzicasa)
Access many fabulous websites from EUZICASA! (SEVERAL OF THEM ARE FEATURED IN THE SCREENSHOT BELLOW)
https://euzicasa.wordpress.com/
Access many fabulous websites from EUZICASA! (SEVERAL OF THEM ARE FEATURED IN THE SCREENSHOT BELLOW)
Posted in Educational, Graphic Arts, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, QUOTATION, Special Interest, SPIRITUALITY, Uncategorized
Tagged Access many fabulous websites from EUZICASA! (SEVERAL OF THEM ARE FEATURED IN THE SCREENSHOT BELLOW)
Just a thought: Acolo unde totul e de vanzare…
Just a thought: Acolo unde totul e de vanzare…
QUOTE: Suffering is not holding you, you are holding suffering. BUDDHA
QUOTE: Suffering is not holding you, you are holding suffering. BUDDHA
Watch “Fischer/Mendelssohn Violin Concerto in E Minor, Op. 64/Myung Whun Chung/Festival de Saint Denis.” on YouTube
Violin Concerto (Mendelssohn
Felix Mendelssohn’s Violin Concertoin E minor, Op. 64, is his last large orchestral work. It forms an important part of the violin repertoire and is one of the most popular and most frequently performed violin concertosin history.[1][2][3] A typical performance lasts just under half an hour.
Violin Concertoby Felix Mendelssohn
Mendelssohn in 1846
KeyE minorCatalogueOp. 64Year1844PeriodRomanticGenreConcertoComposed1838–1844Movements3ScoringViolin and orchestraPremiereDate13 March 1845LocationLeipzig
Mendelssohn originally proposed the idea of the violin concerto to Ferdinand David, a close friend and then concertmaster of the Leipzig Gewandhaus Orchestra. Although conceived in 1838, the work took another six years to complete and was not premiered until 1845. During this time, Mendelssohn maintained a regular correspondence with David, who gave him many suggestions. The work itself was one of the foremost violin concertos of the Romantic era and was influential on many other composers.
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Tagged Fischer/Mendelssohn Violin Concerto in E Minor, Op. 64/Myung Whun Chung/Festival de Saint Denis." on YouTube
“Monday’s Prospects” (my virtual graphic arts work)
“Monday’s Prospects” (my virtual graphic arts work)
Monday’s Prospects
Thoughts of Wisdom: Forgive them, even when they are not sorry…
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Tagged even when they are not sorry..., Thoughts of Wisdom: Forgive them
Watch “Hugh Laurie – Saint James Infirmary (Let Them Talk, A Celebration of New Orleans Blues)” on YouTube
It was down by old Joe’s barroom, on the corner of the square
They were serving drinks as usual, and the usual crowd was there
On my left stood Big Joe McKennedy, and his eyes were bloodshot red
And he turned his face to the people, these were the very words he said
They were serving drinks as usual, and the usual crowd was there
On my left stood Big Joe McKennedy, and his eyes were bloodshot red
And he turned his face to the people, these were the very words he said
I was down to St. James infirmary, I saw my baby there
She was stretched out on a long white table,
So sweet, cool and so fair
She was stretched out on a long white table,
So sweet, cool and so fair
Let her go, let her go, God bless her
Wherever she may be
She may search this whole wide world over
Never find a sweeter man as me
Wherever she may be
She may search this whole wide world over
Never find a sweeter man as me
When I die please bury me in my high top Stetson hat
Put a twenty dollar gold piece on my watch chain
The gang’ll know I died standing pat
Put a twenty dollar gold piece on my watch chain
The gang’ll know I died standing pat
Let her go, let her go God bless her
Wherever she may be
She may search this wide world over
Never find a sweeter man as me
Wherever she may be
She may search this wide world over
Never find a sweeter man as me
I want six crapshooters to be my pallbearers
Three pretty women to sing a song
Stick a jazz band on my hearse wagon
Raise hell as I stroll along
Three pretty women to sing a song
Stick a jazz band on my hearse wagon
Raise hell as I stroll along
Let her go Let her go
God bless her
Wherever she may be
She may search this whole wide
World over
She’ll never find a sweeter
Man as me
God bless her
Wherever she may be
She may search this whole wide
World over
She’ll never find a sweeter
Man as me
Source: LyricFind
Songwriters: Joe Primrose / Irving Mills
St. James Infirmary lyrics © Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Downtown Music Publishing, Spirit Music Group, BMG Rights
St. James Infirmary Blues
“St. James Infirmary” on tenor sax
“St. James Infirmary Blues” is an American jazz song of uncertain origin. Louis Armstrong made the song famous in his 1928 recording on which Don Redman was credited as composer; later releases gave the name Joe Primrose, a pseudonym of Irving Mills. The melody is 8 bars long, unlike songs in the classic blues genre, where there are 12 bars. It is in a minor key, and has a 4/4 time signature, but has also been played in 3/4.
Authorship and history
“St. James Infirmary Blues”, sometimes known as “Gambler’s Blues”, is often regarded as an American folk song of anonymous origin. Moore and Baxter published a version of “Gambler’s Blues” in 1925.[1]In 1927, Carl Sandburg published a book called The American Songbagwhich contained lyrics for two versions of a song called “Those Gambler’s Blues”.[2] However, the song “St. James Infirmary Blues” is sometimes credited to the songwriter Joe Primrose (a pseudonym for Irving Mills), who held copyrights for several versions of the song, registering the first in 1929. He claimed the rights to this specific title and won a case in the U.S. Supreme Court on this basis, the defendants having failed to produce the documentary evidence required by the court that the song had been known by that name for some years.[1]
“St. James Infirmary Blues” is sometimes said to be based on an eighteenth-century traditional folk song called “The Unfortunate Rake” (also known as “The Unfortunate Lad” or “The Young Man Cut Down in His Prime”) about a soldier who uses his money on prostitutes and then dies of venereal disease. But the familiar recorded versions (such as Armstrong’s) bear little relation to the older traditional song. The earliest known form of this song was called “The Buck’s Elegy” and is set in Covent Garden, London.[3]
According to Robert W. Harwood, A. L. Lloyd was the first person to connect “St. James Infirmary” with “The Unfortunate Lad/Rake”.[1]:36 Harwood refers to a five-page article by Lloyd in the January 1947 issue of the English music magazine Keynote.[4] In 1956, Lloyd published a revised version of this article in Sing magazine.[5] In both articles Lloyd refers to an English broadside song entitled “The Unfortunate Lad”, commenting that the song is sometimes known as “The Unfortunate Rake”. No date or source for the latter title is given. The opening line of this version of the song refers to the “lock hospital”, not to an institution named St James. The term “lock hospital” was the name of an institution in Southwark, London, where lepers were isolated and treated. The lock in Southwark was used for those suffering from venereal diseases. The longer term came into use as a generic term for a hospital treating venereal diseases. Its first recorded use is 1770.
Lloyd claims that a song collected by Cecil Sharp in the Appalachians in 1918 which contains the words “St James Hospital” is the parent song and that it looks like an elder relative of “The Dying Cowboy”. The opening of that song, as quoted by Lloyd, is:
As I went down by St James Hospital one morning,
So early one morning, it was early one day,
I found my son, my own son,
Wrapped up in white linen, as cold as the clay.
He also claims that this Appalachian version derives in turn from the version published by Such in London in the 1850s which refers to a lock hospital. The opening verse of this song, entitled “The Unfortunate Lad”, is:
As I was walking down by the Lock Hospital,
As I was walking one morning of late,
Who did I spy but my own dear comrade,
Wrapp’d up in flannel, so hard was his fate.
Lloyd’s articles comment on the jazz hit “St. James Infirmary Blues”. The first article asserts that “the song is, or was before it became corrupted, a narrative ballad. Such ballads are rare in Negro song…So doubts are raised about whether ‘St. James Infirmary’ began life as a Negro song”.[4]:10 The second article includes the following comment on the song: “Most versions of ‘Infirmary’ include a number of stanzas from other songs, grafted on to the main stem – a confusion especially common with songs current among Negroes. The curious switchover from the actual death of the girl to the hypothetical death of the gambler creates some ambiguity too”.[5]:19 Lloyd points out that in some early variants of “The Unfortunate Rake” the sex of the victim of venereal disease was female. “We realise that the confusion in the ‘Infirmary’, where the dead person is a woman but the funeral is ordered for a man, is surely due to the fact that the original ballad was commonly recorded in a form in which the sexes were reversed, so singers were often in two minds whether they were singing of a rakish man or a bad girl”.[5]:21
Lloyd’s second article is cited as a reference by Kenneth Goldstein in his liner notes for a 1960 Folkways LP called The Unfortunate Rake. These liner notes are often used as a source for the history of “St. James Infirmary Blues”. One example is an article by Rob Walker.[6] The liner notes raise the question of whether St. James’ Hospital was a real place and, if so, where it was. Goldstein claimed in the notes that “St. James” refers to London’s St. James Hospital, a religious foundation for the treatment of leprosy. His references list an article by Kenneth Lodewick. That article states, giving no reference or source for the idea, that the phrase “St. James Hospital” refers to a hospital of that name in London.[7]There is some difficulty in this because the hospital in question closed in 1532 when Henry VIIIacquired the land to build St James’s Palace.[8]
Another possibility suggested by Higginbotham on the basis of his claim that the song “St. James Infirmary” dates at least from the early nineteenth century, is the Infirmary section of the St James Workhousewhich the St. James Parish opened in 1725 on Poland Street, Piccadilly, and which continued well into the nineteenth century.[9] This St. James Infirmary was contemporaneous with the estimated advent of the song “The Unfortunate Lad”, but it is not the London Lock Hospital. Another difficulty is that, out of the early versions of the song mentioned in the references given by Goldstein, only the one collected by Cecil Sharp in the Appalachians in 1918, and one found in Canada in the 1920s, make use of the phrase “St. James”.
The liner notes link the Rake to an early fragment called “My Jewel, My Joy”, stating that it was heard in Dublin. The same statement appears in the Lodewick article referenced in those notes[7] The notes given in the source cited for this fragment, a collection of songs collected by William Forde and published by P. W. Joyce, state that the song was heard in Cork, not Dublin.[10]
The version of the “Unfortunate Rake” on the LP of that name is sung by Lloyd, of whom it has been said that he “sometimes modified lyrics or melodies to make the songs more palatable for contemporary listeners”,[1]:38 and its first verse is as follows:
As I was a-walking down by St. James Hospital,
I was a-walking down by there one day.
What should I spy but one of my comrades
All wrapped up in a flannel though warm was the day.[a]
The liner notes[11] state that Lloyd is singing a nineteenth century broadside version, but do not specify which. The Lloyd article cited in the references given in the liner notes,[5]refers to a version published by Such and to no other version. The title and words sung by Lloyd are not those of the Such broadside[12] which has no reference to St. James and is not called “The Unfortunate Rake”. Lloyd recorded a slightly different version in 1966, this time calling the song “St James Hospital”.[13] In 1967, his book Folk Song in England was published.[14] This includes some comment on the song, claims without any supporting references or information that a Czech version pre-dates the British ones, repeats the confusion between Dublin and Cork as the place where the “My Jewel My Joy” fragment had been heard, and includes an unattributed quotation of two verses that differ from the versions sung by Lloyd.
Variations typically feature a narrator telling the story of a young man “cut down in his prime” (occasionally, a young woman “cut down in her prime”) as a result of morally questionable behaviour. For example, when the song moved to America, gambling and alcohol became common causes of the youth’s death.[15]
There are numerous versions of the song throughout the English-speaking world. For example, it evolved into other American standards such as “The Streets of Laredo“.[16]
The song, “Dyin’ Crapshooter’s Blues”, has sometimes been described as a descendant of “The Unfortunate Rake”, and thus related to “St. James Infirmary Blues”. This song was issued as a record four times in 1927, and attributed to pianist, arranger, and band-leader Porter Grainger.[17] Blind Willie McTell recorded a version of the former for John Lomax in 1940 and claimed to have begun writing the song around 1929.
Gottlieb considered whether there were Jewish American influences through the use of the Ukrainian Dorian mode, but only found hints of this in a version published by Siegmeister and Downes.[18] He also suggests that there may have been Jewish influences on the rendition by Cab Calloway.[18]:211 A melody very similar to the Armstrong version can be found in an instrumental composition entitled “Charleston Cabin”, which was recorded by Whitey Kaufman’s Original Pennsylvania Serenaders in 1924 (three years before the earliest recording of “Gambler’s Blues”).[1]:39
As with many folk songs, there is much variation in the lyric from one version to another. These are the first two stanzas as sung by Louis Armstrong on a 1928 Odeon Records release:
I went down to St. James Infirmary,
Saw my baby there,
Stretched out on a long white table,
So cold, so sweet, so fair.
Let her go, let her go, God bless her,
Wherever she may be,
She can look this wide world over,
But she’ll never find a sweet man like me.
Some of the versions, such as the one published as “Gambler’s Blues” and attributed to Carl Moore and Phil Baxter, frame the story with an initial stanza or stanzas in which a separate narrator goes down to a saloon known as “Joe’s barroom” and encounters a customer who then relates the incident about the woman in the infirmary. Later verses commonly include the speaker’s request to be buried according to certain instructions, which vary according to the version.[19]
Other versions
Koko the clown (a rotoscopedCab Calloway) performing the song in the 1933 Betty Boopanimation Snow White
The song was first recorded (as “Gambler’s Blues”) in 1927 by Fess Williams and his Royal Flush Orchestra with credits given to Moore and Baxter.[1]:150This version mentions an infirmary but not by name. The song was popular during the jazz era, and by 1930 at least eighteen different versions had been released.[1]:30 The Duke Ellington Orchestra recorded the song using pseudonyms such as “The Ten Black Berries”, “The Harlem Hot Chocolates”, and “The Jungle Band”,[1]:19 while Cab Callowayperformed a version in the 1933 Betty Boop animated film Snow White, providing vocals and dance moves for Koko the clown.[20]
In 1961, Bobby “Blue” Bland released a version of “Saint James Infirmary” on the flip side of his No. 2 R&B hit “Don’t Cry No More” and included it in his album Two Steps from the Blues.[21][22]In 1967 the French-American singer Joe Dassin recorded the song. In 1968, Don Partridge released a version on his self-named album, as did Eric Burdon and the Animals on their album Every One of Us.[23]Dock Boggs recorded a version of the song entitled “Old Joe’s Barroom” (1965)[24]
The song was often performed by cabaret surrealists The Mystic Knights of the Oingo Boingo in South California; the band’s vocalist and songwriter, Danny Elfman, often cited Cab Calloway as his inspiration in his youth. The White Stripes covered the song on their self-titled debut album, and Jack White says he and fellow band member, Meg White, were introduced to the song from a Betty Boop cartoon.[25] In 1981, Bob Dylan adapted the song when he wrote and recorded “Blind Willie McTell”. The song was written for his 1983 release, Infidels, but was not released until The Bootleg Series, Vol. 1-3: Rare and Unreleased, 1961-1991 (Columbia, 1991).[26] In 2012, Trombone Shortyand Booker T. Jones performed an instrumental version as the opening number of the “Red, White, and Blues” concert at the White House.[27]
- Josh White (1944) [28]
- Snooks Eaglin – New Orleans Street Singer (Folkways, 1959)[29]
- Lou Rawls – Back and Blue(1963)[30]
- The Standells – Try It (1967)[31]
- Joe Cocker – Joe Cocker (1972)[32]
- Canadian Brass – Basin Street(1984)[33]
- Isobel Campbell and Mark Lanegan[34] (2005)
- The Devil Makes Three – A Little Bit Faster and a Little Bit Worse (under the title St James) (2006)[35]
- Arlo Guthrie with the University of Kentucky Symphony Orchestra – In Times Like These (2007)[36]
- Hugh Laurie – Let Them Talk (2011)
- Rickie Lee Jones – The Devil You Know[37] (2012)
- Dalice Marie – Twenty Eight(2016)[38]
- Yo-Yo Ma‘s Silkroad Ensemble with Rhiannon Giddens – Sing Me Home(2016)[39]
- Jon Batiste – Hollywood Africans(2018)
- Liquor Beats Winter – Lost In The Sauce (2018)
See also
From Wikipedia:
St. James Infirmary Blues
“St. James Infirmary” on tenor sax
“St. James Infirmary Blues” is an American jazz song of uncertain origin. Louis Armstrong made the song famous in his 1928 recording on which Don Redman was credited as composer; later releases gave the name Joe Primrose, a pseudonym of Irving Mills. The melody is 8 bars long, unlike songs in the classic blues genre, where there are 12 bars. It is in a minor key, and has a 4/4 time signature, but has also been played in 3/4.
Authorship and history
“St. James Infirmary Blues”, sometimes known as “Gambler’s Blues”, is often regarded as an American folk song of anonymous origin. Moore and Baxter published a version of “Gambler’s Blues” in 1925.[1]In 1927, Carl Sandburg published a book called The American Songbagwhich contained lyrics for two versions of a song called “Those Gambler’s Blues”.[2] However, the song “St. James Infirmary Blues” is sometimes credited to the songwriter Joe Primrose (a pseudonym for Irving Mills), who held copyrights for several versions of the song, registering the first in 1929. He claimed the rights to this specific title and won a case in the U.S. Supreme Court on this basis, the defendants having failed to produce the documentary evidence required by the court that the song had been known by that name for some years.[1]
“St. James Infirmary Blues” is sometimes said to be based on an eighteenth-century traditional folk song called “The Unfortunate Rake” (also known as “The Unfortunate Lad” or “The Young Man Cut Down in His Prime”) about a soldier who uses his money on prostitutes and then dies of venereal disease. But the familiar recorded versions (such as Armstrong’s) bear little relation to the older traditional song. The earliest known form of this song was called “The Buck’s Elegy” and is set in Covent Garden, London.[3]
According to Robert W. Harwood, A. L. Lloyd was the first person to connect “St. James Infirmary” with “The Unfortunate Lad/Rake”.[1]:36 Harwood refers to a five-page article by Lloyd in the January 1947 issue of the English music magazine Keynote.[4] In 1956, Lloyd published a revised version of this article in Sing magazine.[5] In both articles Lloyd refers to an English broadside song entitled “The Unfortunate Lad”, commenting that the song is sometimes known as “The Unfortunate Rake”. No date or source for the latter title is given. The opening line of this version of the song refers to the “lock hospital”, not to an institution named St James. The term “lock hospital” was the name of an institution in Southwark, London, where lepers were isolated and treated. The lock in Southwark was used for those suffering from venereal diseases. The longer term came into use as a generic term for a hospital treating venereal diseases. Its first recorded use is 1770.
Lloyd claims that a song collected by Cecil Sharp in the Appalachians in 1918 which contains the words “St James Hospital” is the parent song and that it looks like an elder relative of “The Dying Cowboy”. The opening of that song, as quoted by Lloyd, is:
As I went down by St James Hospital one morning,
So early one morning, it was early one day,
I found my son, my own son,
Wrapped up in white linen, as cold as the clay.
He also claims that this Appalachian version derives in turn from the version published by Such in London in the 1850s which refers to a lock hospital. The opening verse of this song, entitled “The Unfortunate Lad”, is:
As I was walking down by the Lock Hospital,
As I was walking one morning of late,
Who did I spy but my own dear comrade,
Wrapp’d up in flannel, so hard was his fate.
Lloyd’s articles comment on the jazz hit “St. James Infirmary Blues”. The first article asserts that “the song is, or was before it became corrupted, a narrative ballad. Such ballads are rare in Negro song…So doubts are raised about whether ‘St. James Infirmary’ began life as a Negro song”.[4]:10 The second article includes the following comment on the song: “Most versions of ‘Infirmary’ include a number of stanzas from other songs, grafted on to the main stem – a confusion especially common with songs current among Negroes. The curious switchover from the actual death of the girl to the hypothetical death of the gambler creates some ambiguity too”.[5]:19 Lloyd points out that in some early variants of “The Unfortunate Rake” the sex of the victim of venereal disease was female. “We realise that the confusion in the ‘Infirmary’, where the dead person is a woman but the funeral is ordered for a man, is surely due to the fact that the original ballad was commonly recorded in a form in which the sexes were reversed, so singers were often in two minds whether they were singing of a rakish man or a bad girl”.[5]:21
Lloyd’s second article is cited as a reference by Kenneth Goldstein in his liner notes for a 1960 Folkways LP called The Unfortunate Rake. These liner notes are often used as a source for the history of “St. James Infirmary Blues”. One example is an article by Rob Walker.[6] The liner notes raise the question of whether St. James’ Hospital was a real place and, if so, where it was. Goldstein claimed in the notes that “St. James” refers to London’s St. James Hospital, a religious foundation for the treatment of leprosy. His references list an article by Kenneth Lodewick. That article states, giving no reference or source for the idea, that the phrase “St. James Hospital” refers to a hospital of that name in London.[7]There is some difficulty in this because the hospital in question closed in 1532 when Henry VIIIacquired the land to build St James’s Palace.[8]
Another possibility suggested by Higginbotham on the basis of his claim that the song “St. James Infirmary” dates at least from the early nineteenth century, is the Infirmary section of the St James Workhousewhich the St. James Parish opened in 1725 on Poland Street, Piccadilly, and which continued well into the nineteenth century.[9] This St. James Infirmary was contemporaneous with the estimated advent of the song “The Unfortunate Lad”, but it is not the London Lock Hospital. Another difficulty is that, out of the early versions of the song mentioned in the references given by Goldstein, only the one collected by Cecil Sharp in the Appalachians in 1918, and one found in Canada in the 1920s, make use of the phrase “St. James”.
The liner notes link the Rake to an early fragment called “My Jewel, My Joy”, stating that it was heard in Dublin. The same statement appears in the Lodewick article referenced in those notes[7] The notes given in the source cited for this fragment, a collection of songs collected by William Forde and published by P. W. Joyce, state that the song was heard in Cork, not Dublin.[10]
The version of the “Unfortunate Rake” on the LP of that name is sung by Lloyd, of whom it has been said that he “sometimes modified lyrics or melodies to make the songs more palatable for contemporary listeners”,[1]:38 and its first verse is as follows:
As I was a-walking down by St. James Hospital,
I was a-walking down by there one day.
What should I spy but one of my comrades
All wrapped up in a flannel though warm was the day.[a]
The liner notes[11] state that Lloyd is singing a nineteenth century broadside version, but do not specify which. The Lloyd article cited in the references given in the liner notes,[5]refers to a version published by Such and to no other version. The title and words sung by Lloyd are not those of the Such broadside[12] which has no reference to St. James and is not called “The Unfortunate Rake”. Lloyd recorded a slightly different version in 1966, this time calling the song “St James Hospital”.[13] In 1967, his book Folk Song in England was published.[14] This includes some comment on the song, claims without any supporting references or information that a Czech version pre-dates the British ones, repeats the confusion between Dublin and Cork as the place where the “My Jewel My Joy” fragment had been heard, and includes an unattributed quotation of two verses that differ from the versions sung by Lloyd.
Variations typically feature a narrator telling the story of a young man “cut down in his prime” (occasionally, a young woman “cut down in her prime”) as a result of morally questionable behaviour. For example, when the song moved to America, gambling and alcohol became common causes of the youth’s death.[15]
There are numerous versions of the song throughout the English-speaking world. For example, it evolved into other American standards such as “The Streets of Laredo“.[16]
The song, “Dyin’ Crapshooter’s Blues”, has sometimes been described as a descendant of “The Unfortunate Rake”, and thus related to “St. James Infirmary Blues”. This song was issued as a record four times in 1927, and attributed to pianist, arranger, and band-leader Porter Grainger.[17] Blind Willie McTell recorded a version of the former for John Lomax in 1940 and claimed to have begun writing the song around 1929.
Gottlieb considered whether there were Jewish American influences through the use of the Ukrainian Dorian mode, but only found hints of this in a version published by Siegmeister and Downes.[18] He also suggests that there may have been Jewish influences on the rendition by Cab Calloway.[18]:211 A melody very similar to the Armstrong version can be found in an instrumental composition entitled “Charleston Cabin”, which was recorded by Whitey Kaufman’s Original Pennsylvania Serenaders in 1924 (three years before the earliest recording of “Gambler’s Blues”).[1]:39
As with many folk songs, there is much variation in the lyric from one version to another. These are the first two stanzas as sung by Louis Armstrong on a 1928 Odeon Records release:
I went down to St. James Infirmary,
Saw my baby there,
Stretched out on a long white table,
So cold, so sweet, so fair.
Let her go, let her go, God bless her,
Wherever she may be,
She can look this wide world over,
But she’ll never find a sweet man like me.
Some of the versions, such as the one published as “Gambler’s Blues” and attributed to Carl Moore and Phil Baxter, frame the story with an initial stanza or stanzas in which a separate narrator goes down to a saloon known as “Joe’s barroom” and encounters a customer who then relates the incident about the woman in the infirmary. Later verses commonly include the speaker’s request to be buried according to certain instructions, which vary according to the version.[19]
Other versions
Koko the clown (a rotoscopedCab Calloway) performing the song in the 1933 Betty Boopanimation Snow White
The song was first recorded (as “Gambler’s Blues”) in 1927 by Fess Williams and his Royal Flush Orchestra with credits given to Moore and Baxter.[1]:150This version mentions an infirmary but not by name. The song was popular during the jazz era, and by 1930 at least eighteen different versions had been released.[1]:30 The Duke Ellington Orchestra recorded the song using pseudonyms such as “The Ten Black Berries”, “The Harlem Hot Chocolates”, and “The Jungle Band”,[1]:19 while Cab Callowayperformed a version in the 1933 Betty Boop animated film Snow White, providing vocals and dance moves for Koko the clown.[20]
In 1961, Bobby “Blue” Bland released a version of “Saint James Infirmary” on the flip side of his No. 2 R&B hit “Don’t Cry No More” and included it in his album Two Steps from the Blues.[21][22]In 1967 the French-American singer Joe Dassin recorded the song. In 1968, Don Partridge released a version on his self-named album, as did Eric Burdon and the Animals on their album Every One of Us.[23]Dock Boggs recorded a version of the song entitled “Old Joe’s Barroom” (1965)[24]
The song was often performed by cabaret surrealists The Mystic Knights of the Oingo Boingo in South California; the band’s vocalist and songwriter, Danny Elfman, often cited Cab Calloway as his inspiration in his youth. The White Stripes covered the song on their self-titled debut album, and Jack White says he and fellow band member, Meg White, were introduced to the song from a Betty Boop cartoon.[25] In 1981, Bob Dylan adapted the song when he wrote and recorded “Blind Willie McTell”. The song was written for his 1983 release, Infidels, but was not released until The Bootleg Series, Vol. 1-3: Rare and Unreleased, 1961-1991 (Columbia, 1991).[26] In 2012, Trombone Shortyand Booker T. Jones performed an instrumental version as the opening number of the “Red, White, and Blues” concert at the White House.[27]
- Josh White (1944) [28]
- Snooks Eaglin – New Orleans Street Singer (Folkways, 1959)[29]
- Lou Rawls – Back and Blue(1963)[30]
- The Standells – Try It (1967)[31]
- Joe Cocker – Joe Cocker (1972)[32]
- Canadian Brass – Basin Street(1984)[33]
- Isobel Campbell and Mark Lanegan[34] (2005)
- The Devil Makes Three – A Little Bit Faster and a Little Bit Worse (under the title St James) (2006)[35]
- Arlo Guthrie with the University of Kentucky Symphony Orchestra – In Times Like These (2007)[36]
- Hugh Laurie – Let Them Talk (2011)
- Rickie Lee Jones – The Devil You Know[37] (2012)
- Dalice Marie – Twenty Eight(2016)[38]
- Yo-Yo Ma‘s Silkroad Ensemble with Rhiannon Giddens – Sing Me Home(2016)[39]
- Jon Batiste – Hollywood Africans(2018)
- Liquor Beats Winter – Lost In The Sauce (2018)
See also
Posted in ARTISTS AND ARTS - Music, Educational, FILM, IN THE SPOTLIGHT, Lyrics, MEMORIES, MUSIC, MY TAKE ON THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Special Interest, SPIRITUALITY, surveillance, Uncategorized, YouTube/SoundCloud: Music
Tagged A Celebration of New Orleans Blues)" on YouTube, Hugh Laurie - Saint James Infirmary (Let Them Talk, Louis Armstrong
Haiku: Haiku def.(noun) (© poetic thought by GeorgeB @ euzicasa)
Haiku: Haiku def. (noun)
(© poetic thought by GeorgeB @ euzicasa)
Five syllables words
Seven syllables follow
End… as it started.
Haiku
Haiku
ROBERT RAJCZAKOWSKI: Renaissance Art and Architecture
Posted in Arts, Arts -Architecture, Arts -Architecture, sculpture, Arts, Virtual Museums tour., Educational, Graphic Arts, IN THE SPOTLIGHT, MY TAKE ON THINGS, Painting, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, sculpture, sculptors, Special Interest, Uncategorized
Tagged ROBERT RAJCZAKOWSKI: Renaissance Art and Architecture
My birds on the wire today
My birds on the wire today
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Puţini ştiu că în apropiere de Făgăraş există satul Bărcut, un loc de poveste, cu peisaje de vis | euzicasa
Puţini ştiu că în apropiere de Făgăraş există satul Bărcut, un loc de poveste, cu peisaje de vis: dealuri înverzite şi izvoare ce şi-au croit drum printre ele. Cel mai însemnat este izvorul din care s…
Un lunetist SAS a ucis trei jihadişti de la peste un kilometru, salvând sute de vieţi | euzicasa
Lunetistul a reuşit să-şi fixeze ţintele de la o distanţă de peste un kilometru şi să le elimine, distrugând aproape în totalitate unul dintre pereţii clădirii în care se aflau ele. Potrivit unor surs…
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<li class="" style="margin:0;padding:0;border:0;font-style:inherit;font-variant:inherit;font-weight:inherit;font-stretch:inherit;line-height:inherit;font-family:inherit;font-size:.75em;vertical-align:baseline;background:none transparent;box-sizing:border-box;display:inline-block;position:relative;"><a class="" href="https://en.m.wikipedia.org/wiki/Wikipedia:General_disclaimer" style="margin:0;padding:.7em 12px;border:0;font-style:inherit;font-variant:inherit;font-weight:inherit;font-stretch:inherit;line-height:inherit;font-family:inherit;font-size:14.4px;vertical-align:baseline;background:none;text-decoration:none;color:rgb(51,102,204);hyphens:none;box-sizing:border-box;display:block;max-width:100%;text-overflow:ellipsis;white-space:nowrap;overflow:hidden;"><span style="margin:0;padding:0;border:0;font-style:inherit;font-variant:inherit;font-weight:bold;font-stretch:inherit;line-height:inherit;font-family:inherit;font-size:.875em;vertical-align:middle;background:none;box-sizing:border-box;">Disclaimers</span></a></li>