Hızlı ve kolay bir şekilde sende web site sahibi olmak istiyorsan tek yapman gereken sitenin aşağısında bulunan iletişim formu üzerinden gerekli bilgileri girmen. Hepsi bu kadar.
Web Siteye Reklam Ver
Sende web sitemize reklam vermek veya ilan vermek istiyorsan. Tek yapman gereken sitenin en altında bulunan yere iletişim bilgilerini girmen yeterli olacaktır. Ekip arkadaşlarımız siziznle iletişime gececektir.
Web Sitemizin Yazarı Editörü OL
Sende kalemine güveniyorsan web sitemizde bir şeyler paylaşmak yazmak istiyorsan siteinin en aşağısında bulunan iletişim formunu kullanarak bizimle iletişime gecebilirisni
In the past we've taken a look -- sometimes in-depth, sometimes in a more cursory manor -- at most of the 19th Century schools that educated the children of the farmers, laborers, and artisans of Mill Creek Hundred. There has been one that I've skipped over so far, partially because I didn't much information about it, but mostly because I had never seen a photograph of it. One of the real joys about continuing to write the blog (when I thought I would run out of topics years ago) is that you never know when something wonderful will come out of the blue.
A few weeks back, Mary Torbey showed me a postcard she had recently purchased, which was labeled as "White Clay Creek School Building". I had never seen this particular one before, but I was pretty sure I knew what it had to be. The White Clay Creek School, District No. 36, stood for many years along the Capital Trail, the Road from Stanton to Newark, the Road to White Clay Church, or any of the many other things this stretch of road has been known as over the years. Although I knew where it had been, I did not know when it was built, when it closed, or when it was torn down. I figured I might be able to find out some more about it, but the first order of business was to verify that the schoolhouse on the postcard truly was the District No. 36 school.
As stated, the school stood on the north side of the main road to Newark, just east of Polly Drummond Hill Road and White Clay Creek Presbyterian Church. It is clearly seen on the 1849 map below. The trick to the current location, though, is that this stretch of the old road dipped south of the current path of Kirkwood Highway (as highlighted in yellow below). Therefore, the school sat south of Kirkwood Highway, as it so happens, on the property of a current school -- Shue-Medill Middle School. Its location is circled in red in the bottom photo below.
S.H. (School House) 36, on the 1849 Rea & Price map
Path of the old road, highlighted in yellow
Red circle indicates location of the White Clay Creek Schoolhouse
The real kicker, though, in proving that this really was the District No. 36 school in the postcard was (as so often seems to be the case in situations like this) something in the background. If you look in the back left of the photograph (enlarged below), you can see a house. In trying to judge the angle, I first thought it must have been at the corner of Capitol Trail and Polly Drummond -- and long gone by now. However, I quickly realized that this house is still standing, and there's a decent chance that some of you have been in it before. This house, for the past 60+ years, has been the Kirkwood Animal Hospital.
Enlargement showing the house in the background
And this is the house, now the Kirkwood Animal Hospital
Once I determined that this was the White Clay Creek School, the next thing I wanted to know was when it was built. That could be hard to figure out for sure, but there were clues that could help narrow it down. As the 1849 map shows, there was definitely a school at that location at least that early. The style of the building in the picture looks very similar to other mid-19th Century school houses like the District No. 38 in Stanton, the District 33 Brandywine Springs, or the Harmony School on Limestone Road. Since it does not look like the larger schools built in the late 1800's and early 1900's, I think it's safe to assume that the schoolhouse in the photo is the original one. Since the building itself is long gone, the next best way to determine when it was built would be to find out when the property for it was acquired by the school district.
Since it stood on the north side of the road, I initially assumed it had been a part of the farm to the north, which was owned from 1808 until 1865 by Andrew Gray and then his son Andrew C. Gray. It was later purchased by Judge Hugh Morris. However, after being unable to find any sale between Gray and the school district, I tried the owner to the south. It turns out, that was the direction to go. On August 22, 1839, Amos and Ann Sanders sold 38.05 perches of land (just under a quarter of an acre) to School District Number Thirty six. In 1792, brothers Amos and Ellis Sanders had purchased a 200 acre tract from Thomas Shields, which in 1819 they officially divided, with Amos receiving the western 41 acres. It was from this land that the District No. 36 property was taken. (Amos Sanders' house appears to still be standing, but that will be an investigation for another time.) I think it's safe to assume that the schoolhouse was built soon after the 1839 transfer.
Part of the 1839 sale from the Sanders' to the District No. 36
On the 1868 map below, you can see the boundaries of District No. 36. Even nearly 30 years after its creation, the district is not densely populated, except for two regions. Towards the northeast corner, near the Old Coach Road/Upper Pike Creek Road intersection, there were several mills. More importantly though, I think, a short distance west of the school stood the Roseville Cotton Factory. At the time of the school's creation, there were about 30 houses present for the workers at the factory. My guess is that many of the White Clay Creek school's original pupils were the children of the cotton factory workers. Although to be fair, at least some of the students probably worked at the mill, too.
1868 Beers map, showing District No. 36
The White Clay Creek School seems to have had a pretty quiet and uneventful history, albeit one that lasted over 80 years. There were undoubtedly many dedicated teachers who toiled away in the little school over the years, most of whose names I do not know. Judging from the reports from the early 20th Century, it seems like the teachers moved around quite bit, rarely staying at one school for more than a few years. From the few newspaper articles I could find, some of the teachers were: Mary Osborne (1896), Lillian Armor (1907), Anna M. Glenn (1909), Frances Medill (1910), Florence J. Little (1911), Catherine Heiser (1911), Deborah Wilson (1912), Celia Mahoney (1913), R. Elizabeth Stroud (1914), and Bessie Leach (1916). So, as you can see, quite a bit of turnover.
Notice of the sale of school properties at the Deer Park Hotel There is no mention of nachos
I haven't found a definitive date as to when the school closed for good, but my assumption is that the 1922-1923 school year was its last. As you can see in the notice above, the school was part of a sale of unused properties on Halloween Day, 1923. (As a side note, while I'm sure that at least some of you spent some of your money for school at the Deer Park, I'll bet none of you spent money on a school there.) I believe District 36 was likely absorbed into the Newark public schools. It's probably no coincidence that the new Newark Public School on High Street (now Academy Street) was opened the following year, in 1924. Used as a public school until 1981, it is now UD's Pearson Hall.
The District No. 36 property was purchased at that 1923 sale by W. Vaughn and Mary Heavellow. They used the old school as their home until selling it in 1948 to Paul Burge. Burge sold it two years later to Mary Hutchison. In 1952, the Newark School District announced that it would be erecting a new elementary school opposite the old White Clay Creek School. The new school would be named for E. Frances Medill, then an 83 year old retired teacher of 52 years. Miss Medill had attended White Clay Creek, and began teaching there in 1887. She apparently did several stints at the little school and had a great impact on the area.
Miss Medill, however, is not the only former White Clay Creek teacher to have a school named for her. The new teacher in 1914, R. Elizabeth Stroud, later married Harvey Maclary. Mrs. Maclary taught for fifty years, and in 1967 (three years after her retirement) the new Maclary Elementary School opened not far away, in the Chapel Hill area off of Possum Park Road. Mrs. Maclary was apparently very involved in the school that bore her name, up until her passing in 1980.
Although the old school was still standing as the new one was being built, I don't think it survived much longer. Plus, who would want to live in a house literally directly off of an elementary school parking lot? I like kids. Have a couple of my own. But, no. And while it's technically possible, I doubt there are any alumni of the White Clay Creek School still with us. However, I'm sure many children over those 83 years or so had lots of fun in the yard, received a good education, and left with many great memories of the District No. 36 White Clay Creek School.
Mariss Jansons conducts the Wiener Philharmoniker in Robert Schumann's Symphony No.1 in B flat major "Spring", Op.38, and Hector Berlioz's Symphonie fantastique: Épisode de la vie d'un Artiste, H.48 / Op.14. The concert was recorded live at Elbphilharmonie in Hamburg, Germany, on June 5, 2019.
✻
Schumann's First Symphony came with astonishing speed. He noted "beginning of a symphony in C minor" on 21 January 1841, but the work was abandoned. Two days later, however, inspired by a poem by Adolf Böttger, he wrote "Spring Symphony started". On 24 January, the first movement of the new work was sketched and the "adagio and scherzo made ready"; on 25 January "Symphony fire – sleepless nights – on the last movement" and on the fourth and final day, "Hurrah! Symphony finished!". Orchestration would occupy him till 20 February, but in four days and nights – "it mostly seems to have been written at night" – he had effectively written the Symphony in B flat that would become his Op.38. Clara wrote in their joint diary: "I am infinitely happy that Robert has at last arrived where, with his great imagination, he belongs". It fell to Felix Mendelssohn to premiere the work, at a concert that March when Clara would be performing for the first time since her wedding. On 6 and 10 March, Schumann went through the Symphony with Mendelssohn. The late beginner was deeply impressed by his friend's understanding: "He always sees the right thing and fastens on to it". There was, for example, a problem with the horn calls at the very opening of the symphony – valved horns were just coming in – and at a rehearsal Schumann had to rewrite the passage to obtain something more like the effect he wanted. After some furious copying of parts, the "Spring" Symphony was given at the Leipzig Gewandhaus on 31 March 1841, just over nine weeks after Schumann had started it. The evening was a triumph, with congratulations coming from all sides. The work was performed again in Leipzig on 13 August, after still further revisions. Source: John Worthen (hyperion-records.co.uk)
✻
Symphonie fantastique, H.48 / Op.14, in full "Symphonie fantastique: Épisode de la vie d'un Artiste", English "Fantastic Symphony: Episode in the Life of an Artist", orchestral work by French composer Hector Berlioz, widely recognized as an early example of program music, that attempts to portray a sequence of opium dreams inspired by a failed love affair. The composition is also notable for its expanded orchestration, grander than usual for the early 19th century, and for its innovative use of a recurring theme – the so-called ideé fixe ("fixed idea" or "obsession") – throughout all movements. The Symphony premiered in Paris on December 5, 1830, and won for Berlioz a reputation as one of the most progressive composers of the era. After completing medical studies at the behest of his father, who was a doctor, Berlioz rebelliously pursued music and literature, for which he had harboured passions since childhood. In the fall of 1827, at age 24, he attended the opening night of Shakespeare's Hamlet, performed in Paris by an English theatre company. Because his formal education had exposed him only to Latin and Greek, Berlioz understood little of the language. Nevertheless, he was transformed by the experience and recalled it in his memoirs: "Shakespeare, coming upon me unaware, struck me like a thunderbolt". On that night, however, Berlioz was fascinated by more than the work of the revered English poet: he was enchanted by Harriet Smithson, the young Irishwoman who played Ophelia. That enchantment soon turned to obsession as Berlioz haunted the stage door and inundated Smithson with love letters only to have his advances ignored. Motivated by the pain of unilateral love, Berlioz began after three years to compose an elaborate quasi-autobiographical piece of program music, a symphony that would depict a disconsolate lover driven to the brink of suicide by his lady's indifference. That work became Symphonie fantastique: Épisode de la vie d'un Artiste, or simply Symphonie fantastique. Berlioz declared in his memoirs that the music portrays the dreams of a young man who, in the aftermath of a failed love affair, has taken an overdose of opium. The first movement, which begins gently but increases in intensity, is intended to depict the delights and despairs of love. The second movement, an elegant waltz, evokes a ball where the lover again encounters the woman he can never possess, now in another man's arms. The idyllic strains of the third movement portray his attempt to escape his passions by traveling to the countryside, but, as memories of the unattainable woman return to his thoughts, the tone grows sombre. The composition takes a highly dramatic turn in the ponderous fourth movement, when the young man imagines that he has murdered his beloved and is about to be executed for the crime. The music depicts his march to the guillotine, where his last thought is of the woman he loves. In the final movement, he is in hell at a witches' sabbath over which his beloved herself presides, surrounded by echoes of the ancient hymn Dies irae ("Day of Wrath"), from the Catholic requiem mass. Aside from its pioneering role as a symphony with a program – that is, with a story to tell – Symphonie fantastique is remarkable for its use of the idée fixe, which surfaces in every movement and unites the entire work. The recurring theme is essentially the tune of the beloved, representing in its varying moods the woman's ever-changing image in her lover's eye. Berlioz's idée fixe paved the way for the development of similar compositional devices in the mid-19th century, including the thematic transformations associated with the works of Franz Liszt and the leitmotifs of Richard Wagner's operas. Symphonie fantastique also constituted the largest-scale symphony composed by anyone to that time, with its five movements spanning nearly an hour and a dauntingly large orchestra that employed new wind instruments – such as the ophicleide (predecessor of the tuba) and the valve trumpet – as well as doubling on the harp and timpani parts. Although the lover and the beloved are nowhere united in Symphonie fantastique, Berlioz, against all odds, eventually achieved the union in life. Two years after the piece's premiere, when the composer was planning another Paris performance of the massive symphony together with its new choral sequel entitled Lélio, or Le Retour à la vie (1832; "The Return to Life"), he arranged for an English newspaper correspondent to attend the concert with Smithson as his guest. The unsuspecting actress was not warned about what music was on the program, nor was she aware that Berlioz himself would be there. She took the shock reasonably well and was observed to be reading the composer's descriptive program notes closely and paying keen attention to the music. The performance was well received, and soon afterward Smithson consented at last to meet Berlioz. The following year, on October 3, 1833, the two were married. Their marriage, however, was not a happy one, and the couple separated less than a decade later. Source: Betsy Schwarm (britannica.com)
Robert Schumann (1810-1856) ♪ Symphony No.1 in B flat major "Spring", Op.38 (1841) [00:09:18]* i. Andante un poco maestoso – Allegro molto vivace – Animato ii. Larghetto iii. Scherzo: Molto vivace – Trio I: Molto più vivace – Tempo I – Trio II – Coda iv. Allegro animato e grazioso Hector Berlioz (1803-1869) ♪ Symphonie fantastique: Épisode de la vie d'un Artiste, H.48 / Op.14 (1830) [01:16:53] i. Rêveries – Passions (Daydreams – Passions) ii. Un bal (A ball) iii. Scène aux champs (Scene in the Country) iv. Marche au supplice (March to the Scaffold) v. Songe d'une nuit de sabbat (Dream of a Witches' Sabbath) Wiener Philharmoniker Conductor: Mariss Jansons Elbphilharmonie (Elbe Philharmonic Hall), Hamburg, Germany, June 5, 2019 (HD 1080p)
* Start time of each work
Mariss Jansons obituary
In any league table of great conductors, the name of the Latvian-born maestro Mariss Jansons, who has died aged 76 after suffering from a long-term heart condition, would feature very near the top. Indeed, in the first decades of this century he was frequently awarded the accolade of greatest living conductor. His tours in those years, to London and other cities, with his two primary orchestras, the Bavarian Radio Symphony and the Concertgebouw of Amsterdam, were eagerly awaited events and rarely did they disappoint.
Lacerating anguish in Mahler symphonies, blistering climaxes in Strauss tone poems, intense, finely wrought detail in almost any repertoire: these were the characteristics that defined his music-making, which consistently pushed expressive possibilities to their extremes. Even the heart attack he suffered on the podium conducting La Bohème in Oslo in 1996, from which he nearly died, did little to lower the emotional temperature of his interpretations, in which every nerve and sinew seemed to be strained.
There was subtlety aplenty too. With the Concertgebouw, in particular, he cultivated the orchestra's trademark timbral qualities: brass that sounded creamy in pianissimo and refulgent in louder passages, fruity woodwind, and miraculously full-textured strings. Sometimes it was difficult to believe there were not twice as many cellos on the stage.
Jansons showed exceptional talent at an early age. Having won a prize at the International Herbert von Karajan Competition in Berlin in 1971, he was invited by Karajan, then at the peak of his worldwide influence, to be his assistant. Jansons' native Latvia was then under Soviet control, however, and the authorities ensured that he never heard about the offer. And so it was that he secured his first post in the west, as music director of the Oslo Philharmonic, only in 1979.
But it was not until, in the early 1990s, he began to guest conduct other orchestras (including the London Philharmonic as principal guest conductor from 1992, and the Vienna Philharmonic at the Salzburg festival in 1994) that he began to attract significant attention. His first major post came as music director of the Pittsburgh Symphony Orchestra (1997), followed by the appointments with the Bavarian RSO (2003) and the Concertgebouw (2004).
Jansons' decision to leave the Concertgebouw at the end of the 2015 season came as a surprise, despite renewed concerns about his health. There was speculation at this time that he might succeed Simon Rattle at the Berlin Philharmonic, but Jansons made it clear that he intended to stay with the Bavarians. The reason he gave for deciding in favour of the latter was his vigorous involvement in the campaign for a new home. To abandon the orchestra in its long-fought struggle for a world-class concert hall in Munich "would be like betraying them", he said.
In February 2015 the city of Munich and state of Bavaria announced that there would be no new hall; rather, that the existing Gasteig concert hall (shared between the Bavarian RSO and the Munich Philharmonic), with its notoriously poor acoustics, would be renovated. But eventually plans were agreed for a new hall to be built in the east of the city, opening in 2024, and Jansons extended his contract with the orchestra until that year.
The son of the distinguished conductor Arvid Jansons and his wife Erhaida – the singer Iraida Jansons – he was born in the Latvian capital of Riga during the second world war, while his Jewish mother was in hiding after being smuggled out of the Riga ghetto, where her father and brother were killed. Jansons began to study the violin with his father, and in 1957 entered the Leningrad Conservatory. There he also studied conducting with Nikolai Rabinovich, and made his conducting debut before graduating with honours.
From 1969 to 1972 he studied conducting with Hans Swarowsky in Vienna and then with Von Karajan in Salzburg. Denied by the Soviet authorities the chance to continue working with Karajan, he was instead appointed associate conductor of the Leningrad Philharmonic, becoming associate principal conductor in 1985. In the same year he became guest conductor of what was then the BBC Welsh Symphony Orchestra, continuing until 1988.
Meanwhile he had also taken the appointment with the Oslo Philharmonic, rapidly raising its status to international level. Under his charismatic leadership until 2002, the orchestra was invited to the Salzburg festival, the BBC Proms, Carnegie Hall, the Suntory Hall in Tokyo and other prestigious venues.
Notable recordings made with the Oslo Philharmonic included the complete Tchaikovsky symphonies (including Manfred), which was praised as a leader of the field for its urgently spontaneous performances, with fresh orchestral sonorities enhanced by the richly atmospheric Chandos sound. They also recorded works by Dvořák, Grieg, Sibelius and Honegger, as well as an anthology of Russian and eastern European works for the orchestra's 75th anniversary.
After his brush with mortality in 1996 – a second heart attack followed five weeks after the first – he was fitted with a defibrillator in his chest, designed to detect any irregularity in the heartbeat and adjust it with the appropriate voltage. (Jansons' father had died from a heart attack, in Manchester in 1984, while conducting the Hallé, of which he was principal guest conductor.) Maris Jansons' resignation in 2000 followed disputes with the city authorities about the poor acoustics of the Oslo concert hall.
With the St Petersburg Philharmonic (as it was renamed in 1991) he recorded the complete orchestral works of Rachmaninov, which were characterised by warmly idiomatic phrasing and powerful climaxes. During his seven-year tenure of the music directorship of the Pittsburgh Symphony, he was credited with transforming the orchestra's sound. The players also expressed satisfaction, after the years of Lorin Maazel's soulless technical wizardry, that Jansons took the trouble to learn their names and made them think more deeply about the music they were playing. Players who had been wary of taking the lift if Maazel was in it were now more likely to mob their music director after rehearsals.
Where Maazel was very precise about every detail, Jansons talked more about the mood he wished to create, without always giving precise instructions. Often during a concert, he would stop conducting altogether, forcing the orchestral players to listen to each other. He was also renowned for asking for the same passage to be played sometimes loud, sometimes soft, keeping the players on their toes with relish.
There were also disappointments in Pittsburgh, however: consistently low audience turnout and a projected $1m deficit in his last year. His plans for a music school for young gifted children were set aside, and he also drew a blank with his outreach efforts to schools. For one reason or another – and transatlantic commuting took its toll – Jansons spent only 10 weeks a year in Pittsburgh, using the rest of the time to maintain positions with the Oslo, London and St Petersburg Philharmonic orchestras.
He also guest conducted other leading North American and European orchestras at this time, including the Chicago Symphony and Cleveland orchestras and the London Symphony Orchestra, with whom he recorded a fine Mahler Symphony No 6 for LSO Live. But it was with the Concertgebouw and Bavarian RSO that he was inspired to his greatest heights.
A visit to the BBC Proms with the latter in 2004 generated in Tchaikovsky's Pathétique Symphony a volcanic climax to the first movement, the claps of thunderous timpani seeming to emanate from the bowels of the earth. The virtuoso orchestral playing was heard to greatest effect in the velvet-clad military machine of the third movement march – which provoked a spontaneous, if premature, burst of applause from the audience, though the ultimate ovation, when it came, was more overwhelming still.
In a 2005 Prom with the Concertgebouw, Jansons mercilessly probed the tormented psyche given such powerful expression in Mahler's Sixth, again, with, in the opening movement, the tramp of a martial beat underfoot, the strings digging deep into their appoggiatura accents, the wind adding their own plangent punctuation. Above all, conductor and orchestra showed how the nerves and sinews could be exposed without any compromise of aesthetic quality.
The following year he won a Grammy for best orchestral performance with the Bavarian orchestra and chorus for their recording of Shostakovich's Symphony No.13. Also in 2006, a visit to the Barbican with the Concertgebouw resulted in a grandiloquent but never bombastic reading of Strauss' Ein Heldenleben, the hero's aura enhanced by the vivid presence conjured by the orchestra. While the strings were able to encompass both glassy brilliance and intense, throbbing passion, the woodwind could be languid or sensuous, the brass potent or exultant. Yet it was the final section, the tenderly, infinitely protracted pastoral idyll, that, one sensed, offered the inner truth of the work, for Jansons as for the composer.
They were back at the Barbican in London in 2009 for a truly apocalyptic Mahler Resurrection Symphony, and again in 2012 for a searching account of Strauss' Also Sprach Zarathustra that encompassed doubt as well as affirmation.
When Jansons finally felt obliged to give up the Amsterdam appointment in 2015, his unflagging energy and total commitment were acknowledged by the players: "We will all remember him for his detail, passion and immense musicality and knowledge", one said. "There is nothing in every score he conducts that he hasn't read, researched, discussed, thought about and worried about."
As in Oslo and Pittsburgh, Jansons was credited with transforming the sound of the Dutch orchestra, in this case muting the brightness cultivated by his predecessor Riccardo Chailly and restoring the warmth and depth with which it had traditionally been associated.
In 2016 he conducted the Vienna Philharmonic's New Year’s concert for the third time. At the start of this year he gave another striking account in London of Ein Heldenleben, this time with the Bavarians. This summer he took a break from conducting on doctor's orders, but was back in action in Munich in the autumn.
Players in all the orchestras he conducted had difficulty matching his energy levels, but Jansons drove himself in the belief that he had not reached his peak, that there was still more to learn. It was perhaps that unflagging commitment, combined with his search for truth, that made him the outstanding conductor he was.
He is survived by his second wife, Irina (nee Outchitel), whom he married in 1967, and by his daughter, Ilona, a pianist, from his first marriage.
Mariss Ivars Georgs Jansons, conductor, born 14 Jan 1943; died 30 November 2019. This article was amended on December 2, 2019. Source: Barry Millington, December 1, 2019 (theguardian.com)
The Grand Ducal Court of Luxembourg has revealed that Hereditary Grand Duke Guillaume (b.1981) and Hereditary Grand Duchess Stéphanie (b.1984; née Countess of Lannoy) are expecting their first child in May 2020. The couple married in October 2012. This happy news was announced by the Marshall of the Court:
Their Royal Highnesses the Grand Duke and Grand Duchess are immensely pleased to announce that the Hereditary Grand Duke and Hereditary Grand Duchess are expecting Their first child.
The birth is scheduled for May.
The Grand Duke, the Grand Duchess and the members of both families are delighted with the news and share their great joy.
After their father, the Hereditary Grand Duke, this new Prince or Princess of Luxembourg will be the next in line to the Luxembourgish throne.
Hereditary Grand Duke Guillaume is the eldest child of Grand Duke Henri of Luxembourg (b.1955) and Grand Duchess Maria Teresa (b.1956; née Mestre). Hereditary Grand Duchess Stéphane is the daughter of the late Count Philippe of Lannoy (1922-2019) and Countess Alix (1941-2012; née della Faille de Leverghem). Having lived in London until recently, Guillaume and Stéphanie have now taken up residence at Schloß Fischbach, which was most recently the home of the late Grand Duke Jean of Luxembourg (1921-2019), the expected infant's paternal great-grandfather.
While giving a brief interview to L'essential, the couple had the following to say about their happy news:
Interviewer:Congratulations! How are you feeling?
Guillaume: It's such a huge joy for us and it's a huge joy to be able to celebrate with all the people we met today. They all had warm words for us, we can feel how happy they are for us and it really means a lot.
Interviewer:We've seen a lot of enthusiasm today following the news, you must be happy to see that!
Stéphanie:Yes, absolutely. Especially when you keep it a secret for a few months and then all of a sudden, everyone knows. It's so nice to be able to share our joy now with the people.
We send our most heartfelt congratulations to Their Royal Highnesses and their families on this wonderful news!
I also frequently get notifications in the email box about these two designs you see here above being viewed a lot, So it LOOKS like Great CHRISTMAS GIFT Ideas
The Strandis more than just the magazine that published Sherlock Holmes stories in the 19thand early 20th centuries. Revived as an American publication some years ago, it is the periodical arm of an operation that sells a wide range of Sherlockian products.
One such product is their Sherlock Holmes calendar, which has a new design each year. I haven’t held a copy in my hands, but it looks spectacular. It’s in full color on heavy stock paper, with color art by Sidney Paget as well as by modern artists Jeffrey McKeever and Phil Cornell.
And who doesn’t need a calendar on your wall as well as on your phone? Check it out at The Strand's website.
Are you in search of a royal present for Christmas (or for any day of the year)? Do you love reading about royal history? Well, then Eurohistory's wide selection of publications might be just the thing for you! Over the past twenty years, Eurohistory and Kensington House Book have published over twenty titles.
Currently, the following books are in stock, and, depending on where you live, they could be at your home in time for the holidays.
The Royal Hellenic Dynasty (2007) by HRH Prince Michael of Greece and Denmark, Mrs. Helen Helms-Markesinis, and Arturo E. Beéche.
Email: eurohistory@comcast.net or aebeeche@mac.com
A subscription to the European Royal History Journal might also be on your wish list: you will certainly be happy if you join the readers of the journal!
In publication since 1997, EUROHISTORY (European Royal History Journal) remains one of the most widely-read by the discerning royalty-watching public. While glossier magazines may be "royalty-light," EUROHISTORY is definitely "royalty-heavy," particularly given the depth of our articles and the research we require before they get published.
EUROHISTORY, SPRING and SUMMER 2018 – Issues CXVII & CXVIII
Many of today's most recognized royalty authors are regular contributors to EUROHISTORY, as well as often participating in our royalty conference series, ROYAL GATHERINGS," which take place in London, San Francisco, and The Hague.
EUROHISTORY, FALL 2018 – Issue CXIX
EUROHISTORY is published four times per year: Spring, Summer, Fall and Winter!
As we do not sell advertising space, all our financing comes from subscriptions. Instead of using space for off-magazine advertising, we use to bring you lengthy and well-illustrated articles!
Join us...we know you will love EUROHISTORY!
EUROHISTORY, WINTER 2018 – Issue CXX
Subscription Rates
Yearly rates cover 4 issues:
USA $50.00 Canada $55.00 Europe $75.00 UK £50.00 Latin America $75.00 Australia $75.00 New Zealand $75.00 Rest of the World $75.00
Payment must be mailed by check or postal money order to:
Eurohistory
Kensington House Books 6300 Kensington Avenue East Richmond Heights, CA 94805-1618 USA
To pay by credit card, please call: 510.236.1730. You may also mail your credit card information to our address above or use our secure system by sending us an email at: aebeeche@mac.com
We also accept Paypal at our address: eurohistory@comcast.net
We accept VISA, MasterCard and Venmo (aebeeche@mac.com)
Guinness Rekorlar Kitabı Nedir? Nasıl Oluştu? Hikayesi Nedir?
Guinness Rekorlar Kitabı Nedir? Nasıl Oluştu? Hikayesi Nedir? gibi soruları merak ediyorsanız bu yazımız tam size göre bu kitabın hikayesini, özelliklerini kısa ve özet bir şekilde sizlere anlattık.Tarihi Olaylar, İlgin Olaylar, Gizemli Olaylar, Guinness Rekorlar Kitabı, Kitaplar, İlginç Olaylar,
Guinness Rekorlar Kitabı
Guinness Rekorları denilince akıllara ilginç, farklı, en aşırı olaylar ve görüntüler gelmektedir. İşte bu akıl almaz olayların ve insanların anlatıldığı kitaba Guinness Rekorlar Kitabı adı verilmektedir. 1950’li yıllarda bir İrlanda barında yazılan kitap, 1955 yılından beri düzenli olarak yazılmakta ve her yıl güncellenerek piyasaya sürülmektedir. Ayrıca dünyanın en çok okunan seri kitabı olmakla birlikte Amerika kütüphanesinden de en çok çalınan kitap olma özelliğine sahiptir.
Farklı Dallarda Guinness Rekorları
Guinness rekorlar kitabının yoğun bir ilgi görmesinin nedeni, belki de insanların evrende var olan ilginç şeyleri öğrenme konusundaki meraklarıdır. Bu kitabın varlığını öğrenen insanlar kendilerinde olan aşırılıkları duyurarak biricik olduklarını dünyaya ispatlamak istemişlerdir. Bu nedenledir ki, farklı niteliklere sahip insanlar için bu kitap, farklı kategorilere ayrılmıştır. Bunları; İlginç Özellikler, Doğal Dünya, Bilim ve Teknoloji, Sanat ve Medya, Modern Toplum, Gezi ve Taşıtlar, Sporlar ve Oyunlar olarak sayabiliriz.
Türkiye’den Sultan Kösen’in “dünyanın en uzun adamı” unvanıyla kayda geçtiği Guinness Rekorlar Kitabı, günümüzde farklı dallarda özelliklere sahip insanları tespit etmek için yeni aşırılıkları aramaya devam etmektedir. Aynı şekilde insanlar da sahip oldukları aşırılıkları ile bu kitaba adlarını yazdırmak için uğraş vermektedirler.
En İlginç Guinness Rekorları Guinness Rekorlar Kitabı başlı başına ilginç rekorlarla doludur. İnsanların bu kitaba adlarını yazdırmak için çaba sarf ettiklerinden bahsetmiştik. Bunlardan en ilginç olanlarından bazılarını sıralayacak olursak;
Brezilyalı bir kadın Guinness Rekoru için vücuduna 1903 adet piercing yaptırmıştır. Adeta bir büyücüyü andıran kadın, bunun yanı sıra dilinde de serçe parmağı kalınlığında bir delik açtırmıştır. Çinli Xie Qiuping adlı bir kadın saçlarını 6 metre uzatarak dünyanın en uzun saçlı kadını unvanına sahip olmuştur. Moğolistan’da Oyungerel Luvsandorj isimli kadın, kendi vücudunu dilinin üzerinde 50 saniye tutarak Guinnes Rekorlar Kitabı’na girmeye hak kazanmıştır. Lee Redmond, 1979’dan 2009’a kadar hiç kesmediği 9 metre uzunluğundaki tırnaklarıyla rekorlar kitabına girmeyi başarmıştır. Cathie Jung, Guinness Rekorlar Kitabı’na girmek maksadıyla belini yıllarca korse girmek suretiyle inceltmiş ve böylece dünyanın en ince belli kadını unvanını almıştır. En güncel Guinness Rekorları’na da değinecek olursak;
Miami Beach’s Ocean Drive’da 24 saat 28 saniye süren moda gösterisi düzenlendi. Normal şartlarda 10-15 dakika sürmesi gereken gösteride pamuktan oluşan tek bir kıyafet giyen modeller 24 saat podyumda yürüyerek dünyanın en uzun maraton pisti gösterisini gerçekleştirdiler. Al Roker ise, 34 saat kesintisiz olarak sunduğu hava durumu programı ile Guinness Rekorlar Kitabı’na girmeyi başarmıştır.
John Titor Kimdir? Neden Dünyaya Salmıştır? Özelliği Nedir? Kehanetleri?
John Titor Kimdir? Kehanetleri ve bu adam neden dünyaya nam saldı işte tüm cevapları bu yazımızda. İlgili Kategoriler;Tarihi Olaylar, İlgin Olaylar, Gizemli Olaylar, Kehanetler, John Titor, Kim Kimdir?, Gizemli İnsanlar, Sırlar,
John Titor
John Titor, kendisinin zaman yolculuğu yapıp 2036 yılından geldiğini öne sürmüş esrarangiz bir sosyal medya figürüdür.
John Titor, devlet için çalışan ve zaman yolculuğu projesi için seçilen bir asker olduğunu iddia etmiştir. 2000-2001 yılları arasında birçok internet ve haber sitelerine belirli belirsiz, çoğunun yanlışlığı kanıtlanabilen bilgiler yollamış, yakın gelecekle ilgili öngörüler ve yaşadığı zaman hakkında bilgiler vermiştir. 2036 yılından 1975 yılına IBM 5100 almak için döndüğünü söylemiş ve bu bilgisayar ile 2036 yılında eski programların "ayıklama" işini yapacağını iddia etmiştir.
John Titor'un İddiaları - “Amerika, Irak’a ve Ortadoğu’ya petrol için saldıracak, oradaki iç karışıklık 10 yıl civarı sürecektir.”
- “2015 yılında 3.dünya savaşı çıkacak. Çin-Amerika karşıtlarının yarattığı bu savaşın götürüsü çok yüksek olacak. Milyonlarca insan ölecek. Savaşın sonunda dünyada etnik kimlik, kültür kalmayacak. İnsanlar robotikleşme, üst kimliğe bürünme, tanrılaşma evresine girecek, daha az hastalanacak, daha uzun yaşayacak, doğru seçimleri daha rahat verebilecek.”
- “III. Dünya savaşı’ndan sonra ülkelerin toparlanması 20 yıl sürecek.”
- “2037 yılında bu düzene karşı çıkan anarşistler olacak. Ben de bu anarşistlerden birisiyim. Zaman makinesini bilim adamlarımızın sayesinde yalnızca biz bulduk. Düşmanımızın bilgisayar ağını hacklememiz için 1970 yılında üretilen IBM cihazının bilgisayar kodlaması gerekmektedir. Bu cihazı alabilmek için 1970 yılına dönmem gerekirdi. Fakat zaman ayarında hata yaptığımız için 2002 yılına geldim ve görevim o bilgisayarı bulmak, daha fazla bilgi vermemem emredildi.”
John Titor bu bilgileri verdikten sonra bir anda ortalıktan kaybolmuştur.
John Titor’un kim olduğu hakkında bir çok varsayım ortaya atılmıştır. Bunlardan en popüler olanları;
* Yazar Douglas Adams’ın hayali karakteridir. (Adams, Titor'un yeni yazılar eklemeyi bırakmasından birkaç ay sonra ölmüştür)
* John Titor yazılar yazdığı web sitesinin yöneticileri tarafından popülerlik oluşturmak için yaratılmış bir hayali kişidir.
John Titor’un var olup olmadığı hala bilinmeyen bir sırdır. Bir sır olarak da kalacağa benziyor
Kategoriler: Tarihi Olaylar, İlgin Olaylar, Gizemli Olaylar, Kehanetler, John Titor, Kim Kimdir?, Gizemli İnsanlar, Sırlar,
Sorry! The content you were looking for does not exist or changed its url.
Please check if the url is written correctly or try using our search form.
Bigger Archive Portal
Other portals
World War I , Africa ,United States of America ,Anime and manga ,Ankara ,Anthropology ,Military • Astronomy • Asia • European Union • Azerbaijan • Azerbaijan (Iran) • BBC • Beşiktaş • Science • History of science • Biography • Byzantine Empire • Bosnia -Herzegovina • Jazz • Sexuality • Geography • China • Language • Religion • Literature • Energy • Armenia • Eurovision • Evolutionary biology • Philosophy • Feminism • Fenerbahçe • Palestine • Physics • France • Football • Galatasaray • South Korea • Georgia • Harry Potter • Aviation • Hinduism • Christianity • Iraq • England • Human rights • Internet • Iran • Islam • Istanbul • Scouting • Izmir • Japan • Kazakhstan • Cyprus • Kuwait • North Korea • North Macedonia • Culture • Lady Gaga • LGBT • Liberalism • Madonna • Mathematics • Media • Mexico • Michael Jackson • Mustafa Kemal Atatürk • Music • Middle East • Middle World • Ottoman Empire • Automobile • Free software • Pakistan • Psychology • Russia • Art • The Simpsons • Cinema • Politics • Socialism • Soviet Union • Sports • Syria • History • Technology • Television • Terrorism •Medicine • Theater • Society • Turkish Armed Forces • Turkish history • Turkey • Video games • Judaism • Stargate
Kayıtlar
