The Flickr Josephinebaker Image Generatr

Beautiful poster spotted in Trouville-Deauville, Normandy.
What a beautiful animal to take for a walk!
en.wikipedia.org/wiki/Josephine_Baker

The Folies Bergère (French pronunciation: ​[fɔ.li bɛʁ.ʒɛʁ]) is a cabaret music hall, located in Paris, France. Located at 32 Rue Richer in the 9th Arrondissement, the Folies Bergère was built as an opera house by the architect Plumeret. It opened on 2 May 1869 as the Folies Trévise, with light entertainment including operettas, comic opera, popular songs, and gymnastics. It became the Folies Bergère on 13 September 1872, named after nearby Rue Bergère. The house was at the height of its fame and popularity from the 1890s' Belle Époque through the 1920s.

Revues featured extravagant costumes, sets and effects, and often nude women. In 1926, Josephine Baker, an African-American expatriate singer, dancer and entertainer, caused a sensation at the Folies Bergère by dancing in a costume consisting of a skirt made of a string of artificial bananas and little else.

The institution is still in business, and is still a strong symbol of French and Parisian life.


Contents
1History
2Performers
3Filmography
4Similar venues
5In popular culture
6See also
7Notes
8External links
History

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Jules Chéret, Folies Bergère, Fleur de Lotus, 1893 Art Nouveau poster for the Ballet Pantomime

Costume, c. 1900
Located at 32 Rue Richer in the 9th Arrondissement, the Folies Bergère was built as an opera house by the architect Plumeret. The métro stations are Cadet and Grands Boulevards.

It opened on 2 May 1869[citation needed] as the Folies Trévise, with light entertainment including operettas, opéra comique (comic opera), popular songs, and gymnastics. It became the Folies Bergère on 13 September 1872, named after a nearby street, Rue Bergère ("bergère" means "shepherdess").[1]


Manet's A Bar at the Folies-Bergère
In 1882, Édouard Manet painted his well-known painting A Bar at the Folies-Bergère which depicts a bar-girl, one of the demimondaines, standing before a mirror.

In 1886, Édouard Marchand conceived a new genre of entertainment for the Folies Bergère: the music-hall revue. Women would be the heart of Marchand's concept for the Folies. In the early 1890s, the American dancer Loie Fuller starred at the Folies Bergère. In 1902, illness forced Marchand to leave after 16 years.[2]


Josephine Baker in a banana skirt from the Folies Bergère production Un Vent de Folie
In 1918, Paul Derval [fr] (1880–1966) made his mark on the revue. His revues featured extravagant costumes, sets and effects, and "small nude women". Derval's small nude women would become the hallmark of the Folies. During his 48 years at the Folies, he launched the careers of many French stars including Maurice Chevalier, Mistinguett, Josephine Baker, Fernandel and many others. In 1926, Josephine Baker, an African-American ex-patriate singer, dancer and entertainer, caused a sensation at the Folies Bergère in a new revue, La Folie du Jour, in which she danced a number Fatou wearing a costume consisting of a skirt made of a string of artificial bananas and little else. Her erotic dancing and near-nude performances were renowned. The Folies Bergère catered to popular taste. Shows featured elaborate costumes; the women's were frequently revealing, practically leaving them naked, and shows often contained a good deal of nudity. Shows also played up the "exoticness" of people and objects from other cultures, obliging the Parisian fascination with the négritude of the 1920s.[clarification needed]

In 1926 the facade of the theatre was given a complete make-over by the artist Maurice Pico [fr]. The facade was redone in Art Deco style, one of the many Parisian theatres of this period using the style.[3]

In 1936, Derval brought Josephine Baker from New York City to lead the revue En Super Folies. Michel Gyarmathy [de], a young Hungarian arrived from Balassagyarmat, his hometown, designed the poster for En Super Folies, a show starring Josephine Baker in 1936. This began a long love story between Michel Gyarmathy, Paris, the Folies Bergère and the public of the whole world which lasted 56 years. The funeral of Paul Derval was held on 20 May 1966. He was 86 and had reigned supreme over the most celebrated music hall in the world. His wife Antonia, supported by Michel Gyarmathy, succeeded him. In August 1974, the Folies Antonia Derval passed on the direction of the business to Hélène Martini, the empress of the night (25 years earlier she had been a showgirl in the revues). This new mistress of the house reverted to the original concept to maintain the continued existence of the last music hall which remained faithful to the tradition.

Since 2006, the Folies Bergère has presented some musical productions with Stage Entertainment like Cabaret (2006–2008) or Zorro (2009–2010).

en.wikipedia.org/wiki/Folies_Berg%C3%A8re


Why was gold so important to alchemists and how does the work of these ancient mystics and proto-scientists relate to our modern understandings of...

17 September 2018

GINTE SERENAITE

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Why was gold so important to alchemists and how does the work of these ancient mystics and proto-scientists relate to our modern understandings of the world?

Since ancient times, gold has been recognised not only for its beauty but also for its unique chemical and physical properties. Nowhere was gold more valued than in the mysterious practice of alchemy: a philosophical and protoscientific tradition that sought to create gold from other elements and practiced throughout history, from Ancient Egypt right up until the European Enlightenment.

Alchemist’s laboratory picture from Amphitheatrum Sapientiae Aeternae Solius Verae written by Heinrich Khurath in 1595
Alchemist’s laboratory picture from Amphitheatrum Sapientiae Aeternae Solius Verae written by Heinrich Khurath in 1595

The first records of alchemic practice date back to the advent of metallurgy around 3500 BC. Historians have identified traditions of alchemy, in China, India, the Middle East and Europe. The Egyptian alchemist Zosimos of Panopolis writes around 300 BC about the concept of a ‘philosopher’s stone’ a legendary material central to alchemy which could allegedly cure all ills, grant eternal life and turn metals into gold. It was believed by some to have been given to Adam by God.

An alchemist in search of the philosopher's stone by Joseph Wright
An alchemist in search of the philosopher’s stone by Joseph Wright

Alchemy primarily focuses on the transmutation of common metals (e.g. lead, copper) into ‘noble metals’, particularly gold, as well as the creation of a ‘panacea’ – a remedy which would cure all diseases and prolong life indefinitely. Gold was believed to be the origin of all metals, a view well illustrated by George Starkey (known by the pseudonym of Eirenaeus Philalethes) – a 17th century Colonial American alchemist who wrote “All metallic seed is the seed of gold: for gold is the intention of nature with regard to all metals. If the base metals are not gold, it is only through some accidental hindrance: they are all potentially gold.”[i]

Such an interpretation of gold’s chemical properties motivated alchemists from around the world to search for the ‘philosopher’s stone’ – a legendary substance or elixir that was thought of being capable of turning base metals into gold.

Even Sir Isaac Newton (1642-1727), recognised as one of science’s seminal geniuses and perhaps the most influential figure in the scientific revolution, devoted a great deal of time to alchemy. He believed that in the entire mineral kingdom, metals were the only materials that could ‘vegetate’ whereas other minerals could only form mechanically.[ii] Newton spent days locked up in his laboratory practising alchemy and trying to perform a transmutation of lead into gold. Some believe he finally succeeded in it. Perhaps that explains why, at the peak of his career, he was appointed director of England’s Royal Mint, with the duty of securing and accounting for England’s repository of gold.[iii]

Sir Isaac Newton (1642-1727)
Sir Isaac Newton (1642-1727)

Having the ability to turn lead into gold would have obvious benefits today, but the reason behind why ancient and medieval alchemists sought to change base metals into gold was not simply greed. As Nevill Drury and Lynne Hume wrote in their book The Varieties of Magical Experience: Indigenous, Medieval, and Modern Magic: “The alchemists did not regard all metals as equally mature or ‘perfect.’ Gold symbolized the highest development in nature and came to personify human renewal and regeneration. A ‘golden’ human being was resplendent with spiritual beauty and had triumphed over the lurking power of evil. The basest metal, lead, represented the sinful and unrepentant individual who was readily overcome by the forces of darkness… If lead and gold both consisted of fire, air, water, and earth, then surely by changing the proportions of the constituent elements, lead could be transformed into gold. Gold was superior to lead because, by its very nature, it contained the perfect balance of all four elements.[iv]’

Many of the goals sought by ancient and medieval alchemist have now been attained by today’s chemists and nuclear physicists. Henri Becquerel’s discovery of radioactivity in 1896 and Joseph John Thomson’s discovery of the electron a year later, led to an understanding of natural transmutation. Further to this, the joint experiments carried out by Ernest Rutherford and Frederick Soddy in the early 20th century proved that the radioactivity of thorium was the result of a disintegration or decay process of one element into another. This transmutation and other consecutive discoveries facilitated the liberation of tremendous amounts of energy which scientist TJ Trenn referred to as ‘the gold of newer alchemy.[v]’

Although the creation of gold from other metals proved impossible for alchemy, alchemists played an important role in formulating our understanding of the material world and in laying the foundations of modern science. And their legacy lives on: in the 21st century we have now found a way to create gold and other elements by replicating exploding stars.

Image top: the alchemist Michael Sendivogius by Jan Matejko

[i] Franklyn J (Ed.) 1973. ‘A Dictionary of the Occult’, p. 5, Causeway Books: New York.
[ii] Dobbs BJ.T, Ambix 1979. p. 26, 145-169; Isis, 1982, 73, 511-528; also see Burndy MS 16, fol. 3r
[iii] archive.is/20130217100410/http://gtresearchnews.gatech.ed...
[iv] Hume L., Drury N. 2013. The Varieties of Magical Experience: Indigenous, Medieval, and Modern Magic, p. 122-123, Praeger: California.
[v] Trenn T.J. 1981. ‘Transmutation: Natural and Artificial’, p. 56, Heyden & Son: London.

glintpay.com/blog/gold-mysterious-world-alchemy/

Want to get Gold Capped? This column shows you how. Join author Basil "Euripides" Berntsen, also of outdps.com, the Hunting Party podcast and the Call to Auction podcast.

Alchemy is an awesome way to make money in WoW. As we've said before, some businesses are proactive, requiring you to invest time and money in order to make profits. Some are reactive, allowing you to use a cooldown to craft something that's in demand for smallish volume of sales at high profit. Alchemy is unique in the sense that it allows you to both! You can craft and sell potions, flasks and elixirs, and you can transmute an epic gem once a day and Titanium Bars without a cooldown since patch 3.3.
Alchemy mastery specialization choice
Let's start with the easy part. Assuming you have an alchemist at 450 skill, you will really want to get a specialization.You have to choose between one of the three possibilities, unless you're crazy like some of my auctioneer buddies who have more than one alchemist!
Transmutation mastery is the most common spec among auctioneers. It allows you to proc extra items whenever you transmute. This is key if you're into the saronite-to-titanium market, and is well worth the time and money needed to get it solely based on the epic gem transmutes. You need to pick up the quest Master of Transmutation all the way back in Netherstorm.
Elixir mastery (or flask mastery, as it should have been called) is another specialization you can get. It lets you proc additional freebies when you're making flasks, battle elixirs or guardian elixirs. You need to start off at the "Master of Elixirs" quest in the Shattrath's Lower City.
Potion mastery is the last option, and (you guessed it!) it allows you to proc additional potions. The quest you must complete to get this is Master of Potions in the Cenarion Expedition area of Zangarmarsh.
You choice between these specs should be based on what you see yourself doing the most. If you make a lot of flasks but only transmute your daily epic gem, the extra yield on your flasks will be more profit than extra epic gem yield. One important thing to note: if you change your mind and want to switch, you just need to pay 150g and won't have to do the quest again.

Selling flasks and elixirs
Raiders are your biggest market for flasks and elixirs. Obviously, this means that your big nights will happen on the instance resets and weekends, when most people are in raids. I find that there's more competition on weekends, though, so focus my efforts on Tuesdays.

Your two biggest sellers are going to be:
Flask of Endless Rage is the physical DPS flask of choice. It's not the best for all specs and all classes, but it's certainly the most popular, because it lasts through death.
Flask of the Frost Wyrm is the caster flask of choice, as well as the choice of many healers.
You will see some sales if you list Flasks of Stoneblood for tanks and Flask of Pure Mojo for those classes that need mana regen; however, not in nearly the volume the first two will see. You should also consider doing your Northrend Alchemy Research every three days until you have all the elixirs. These don't sell as fast, but they do sell, and the barrier to entry for the market is higher than it is for the bread and butter flasks. As with all products like this, make sure you remember to vary your stack size when you're selling them.

Selling potions
Potions are another big seller on raid nights. Most people like to have a stack of something or other on them when they're doing their end-game raiding or PvP. Guess what? The good ones are discovered by Northrend Alchemy Research again. Every three days! Don't forget!

Your big sellers are the obvious ones: These potions restore health or mana or increase butt-kickery for short periods of time.
Potion of Speed
Potion of Wild Magic
Indestructible Potion
Runic Healing Potion
Runic Mana Potion
Powerful Rejuvenation Potion
There's a much longer list of potions that may sell, but these are the primary ones. Also, there's a bunch of really specific resist potions that are rareish drops off of specific mobs in Icecrown. These absorb damage of a particular school of magic but are rarely called for on the AH (at least when I checked last).

Transmutation consideration
The last, and often most profitable, way to make money with an alchemist is transmutation. There are a bunch of transmutations that share a cooldown. If you transmute an epic gem, you can't transmute an eternal, for example. Anyway, now that the titanium transmutation has no cooldown, this is a large money-maker -- more so if you can buy Saronite Ore and smelt it yourself into Saronite Bars. Whether you sell the titanium or use it to craft something else that's profitable, this is probably the cheapest way to get it, especially if you factor in the extra 20% from transmute mastery.

Transmuting epic gems basically free money. You start off with the ability to make anything but Cardinal Rubies (which require a quest); however, these days, the other ones are often more profitable. Especially since anyone can buy a Cardinal Ruby for 10,000 honor now. Look at the price of the mats for each epic gem, and look at the price for the raw gem. Whatever has the highest margin, do that. Even if you're prospecting saronite for your mats, take the most profitable one. The fact that you paid less for your mats doesn't mean that they're worth less. If you find that the Eye of Zul is the best margin, just sell your Scarlet Rubies (or cut and sell them).

Anyways, no matter how much or little thought you put into it, make sure you transmute something every day.

[image credit: Amy Loves Yah via flickr]

www.engadget.com/2010-04-21-gold-capped-making-gold-with-...

Live Jazz.Barnes Museum Philadelphia.Artwork of Josephine Baker by Mickalene Thomas for her exhibit All About Love.-35mm Olympus Stylus Epic,Ilford XP2 400.

Live jazz with dancer.Art work of Josephine Baker by Mickalene Thomas.Barnes Museum,Philadelphia Pa-35mm Olympus Stylus Epic,Ilford XP2 400.

7C200876 - Château des Milandes

In the exhibition titled “Brilliant Exiles: American Women in Paris, 1900-1939” at the Smithsonian American Art Museum, Washington, D.C.

“A network of African American women in Paris enriched the interwar blossoming of Black culture known as the Harlem Renaissance. French society was by no means colorblind, but it lacked the segregation policies of the United States. In Paris, American women of color felt liberated from the double burden of racial and gender-based discrimination. They were free to study at the city’s many art academies and private studios and to show their work in prestigious exhibitions. Writers thrived in an environment that seemed far more egalitarian than the one at home. . .

“Ada ‘Bricktop’ Smith was the enterprising proprietor of several popular Montmartre nightspots. At her clubs, black and white Americans mingled freely . . . Bricktop’s one-time protégé, the singer and dancer Josephine Baker (1906-1975), was the most famous American living in Paris. She rocketed to stardom by performing theatrical roles based on French colonial stereotypes of Africa. . .

“In 1935, Josephine Baker returned to the United States for the first time in ten years. Hotels and restaurants refused to accommodate her, and reviews of her performances were lackluster.

“By contrast, Baker received a hero’s welcome on arriving back in France, In interviews, she expressed deep gratitude to the French people ‘to whom I owe being Josephine Baker.’ This exuberant poster celebrates Baker’s appearance in a show written specifically for her. It commemorated the fiftieth anniversary of the Folies Bergere, a renowned Parisian musical hall.

“Baker became a French citizen in 1937. The racism she experienced in the United States, however, awakened her political consciousness. In 1963, she returned to the United States to speak at the March on Washington for jobs and Freedom. She told the crowd, ‘I could not walk into a hotel in America and get a cup of coffee, and that made me mad.” [Excerpts from the accompanying text]

[Note: The poster is approximately 10 feet 9 inches tall (about 3.27 meters). It’s a truly impressive piece!]

Garden of Heroes and Villains

Art Deco sculpture by Claire Jeanne Roberte Colinet (1885-1972). The American-born Baker was a sensation at the Folies-Bergère in Paris, and became one of the icons of the Jazz Age and Roaring Twenties. Racial issues prompted her to renounce her US citizenship to become a French national, later helping the French Resistance during World War II.

During my recent visit to the North End neighborhood of #detroit, I checked out a muralist who will soon be finishing a mural he is creating here in Sterling Heights. Anthony Lee did the Josephine Baker mural on the Cafe Noir coffee shop. Anthony’s work is amazing, and just around the corner are a few murals from other artists to enjoy along with those giant concrete work tubes
Detroit, Michigan

Madame D'Ora
"Josephine Baker"
Revue des Monats, Jul. 1927

Per an exhibit plaque:

In 1935 Josephine Baker (1906-1975) returned to the U.S. for the first time in ten years. Hotels and restaurants refused to accommodate her, and reviewes of her performances were lackluster.

By contrast, Baker received a hero's welcome on arriving back in France. In interviews, she expressed deep gr atitude to the French people 'to whom I owe being Josephine Baker'. The exuberant poster shown above celebrates Baker's appearance in a show written specifically for her. It commemorated the 50th anniversary of the famous Parisian music hall.

Baker became a French citizen in 1937. The racism she experienced in the U.S., however, awakened her political consciousness. In 1963, she returned to the U.S. to speak at the March on Washington for Jobs and Freedom. She told the crowd, 'I could not walk into a hotel in America and get a cup of coffee, and that made me mad'.

Per Wikipedia:

Michel Gyarmathy ( 1908 in Austria-Hungary - 1996) was a Hungarian director and costume designer.

His career began at the Király Theater in Budapest . In 1933 he emigrated to Paris and became a director, costume designer and technical director at the world-famous Folies Bergère revue theater, where Josephine Baker, Maurice Chevalier and Marlène Charell, among others, performed.

The director, known in France as Monsieur Michel, also published poems that repeatedly recalled his former homeland Hungary or past friends and love affairs ("Mosolyok és könnyek" / roughly translated in German as "Smiles and Tears" Paris 1970).

Gyarmathy died on October 31, 1996 and was given an honorary grave in his adopted homeland of France due to his popularity.

IMG_3010 V2

Per an exhibit plaque:

In 1935 Josephine Baker (1906-1975) returned to the U.S. for the first time in ten years. Hotels and restaurants refused to accommodate her, and reviewes of her performances were lackluster.

By contrast, Baker received a hero's welcome on arriving back in France. In interviews, she expressed deep gr atitude to the French people 'to whom I owe being Josephine Baker'. The exuberant poster shown above celebrates Baker's appearance in a show written specifically for her. It commemorated the 50th anniversary of the famous Parisian music hall.

Baker became a French citizen in 1937. The racism she experienced in the U.S., however, awakened her political consciousness. In 1963, she returned to the U.S. to speak at the March on Washington for Jobs and Freedom. She told the crowd, 'I could not walk into a hotel in America and get a cup of coffee, and that made me mad'.

Per Wikipedia:

Michel Gyarmathy ( 1908 in Austria-Hungary - 1996) was a Hungarian director and costume designer.

His career began at the Király Theater in Budapest . In 1933 he emigrated to Paris and became a director, costume designer and technical director at the world-famous Folies Bergère revue theater, where Josephine Baker, Maurice Chevalier and Marlène Charell, among others, performed.

The director, known in France as Monsieur Michel, also published poems that repeatedly recalled his former homeland Hungary or past friends and love affairs ("Mosolyok és könnyek" / roughly translated in German as "Smiles and Tears" Paris 1970).

Gyarmathy died on October 31, 1996 and was given an honorary grave in his homeland due to his popularity.

IMG_3010 V1

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Madame D'Ora
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Fantasio, Jul. 15, 1928