❶Copy ❷Paste ❸Be Happy ★ Special Characters for Social Media are ♨HOT!☺


keyboard special characters💰 Special Characters Map for use on Twitter, FaceBook, Blogs and Social Media Sites

★ Free character maps online where you can copy and paste a special character from a Web page into

Here are some to get you started:

♈ ♉ ♊ ♋ ♌ ♍ ♎ ♏ ♐ ♑ ♒ ✐ ❂ ♓ ☨ ☧ ☦ ✁ ✃ ✄ ✎ ☬ ☫ ❉ ❆ ♅ ♇ ♆ ♙ ♟ ♔ ♕ ♖ ♗ ♘ © ® ™ … ∞ ≤ ≥ « » ç ∫ µ ◊ ı ¥ € £ ƒ $ º ª ‽ ♤ ✈ ♪ ☤ ♀ ☾ ☝ ♖ ✽ ☯ ♥ ☺ ♬ ☹ ☑ ✩ ☠ ✔ ✉ ♂ ✖ ✏ ♝ ❀ ♨ ❦ ☁ ✌ ♛ ❁ ☪ ☂ ★ ✇ ♺ ☭ ☃ ☛ ♞ ✿ ☮ ♘ ✾ ☄ ☟ ✝ ☼ ☚ ♟ ✺ ☥ ✂ ✍ ♕ ✵ ☉ ☇ ☈ ☡ ✠ ☊ ☋ ☌ ☍ ♁ ✇ ☢ ☣ ✣ ✡ ☞ ☜ ✜ ✛ ❥ ♗ ♚ ♛ ♜ ♝ ♞ Ω ≈ * § ∆ ¬ † & æ π ¡ ¿ ø å ∂ • ¶ œ Æ ß ÷ ‰ √ ª % ♠ ☎ ☻ ♫ ☒ ˚ ¯ º ‽ ≠ ˆ ˜ ˘ ∑ ƒ

❄ Add Special Characters in Twitter With the Windows Character Map

1. Click Start, open your list of All Programs, and open the Accessories folder. Navigate to System Tools and open the Character Map program.

2. Select a font from the list.

3. Check the Advanced view box.

4. In the Character set list, select Unicode.

5. In the Group by list, select All to browse all available characters by font, or select Unicode Subrange to browse characters by category.

6. Collect characters by highlighting them and clicking Select. When you are finished collecting, click Copy to copy the characters to the clipboard. You can now paste them into your message.
Use Facebook Emoticons

Here is the complete list of Facebook Chat emoticons and what character combinations create them. Note that these currently only work in Facebook Chat and will not display correctly in Facebook status updates or comments.

Smile 🙂 🙂 :] =)

Frown 😦 😦 :[ =(

Tongue 😛 😛 :-p :p =P

Grin 😀 😀 =D

Gasp :-O :O 😮 😮

Wink 😉 😉

Glasses 😎 8) B-) B)

Sunglasses 8-| 8| B-| B|

Grumpy 😡 >:-(

Unsure :/ :-/ :\ :-\

Cry 😥

Devil 3:) 3:-)

Angel O:) O:-)

Kiss :-* :*

Heart :O >:-O >:o >:-o

Pacman :v

Curly Lips :3

Robot :|]

Chris Putnam :putnam:

Shark (^^^)

Penguin <(“)

42 :42:

Using Emoticons in Gmail, Gchat, and Other Google Services

To unlock all available emoticons in Gmail:

1. Click the Gear icon in the top right corner, then click Labs.

2. Type emoji in the Search for labs box.

3. Enable Extra Emoji and click Save Changes. Enable the Extra Emoji option in Google Labs.

4. When composing a message, click the Insert Emoticon symbol to browse. Click any symbol to insert it into your message.

You must be in rich formatting mode to insert emoticons. In GChat, some emoticons are easy to select, but others are hidden:

1. Click the Gear icon in the top right corner, then click Mail Settings.

2. In the Chat tab, select Emoticons on at the bottom. Click Save Changes. Switch on emoticons in the Chat tab.

3. Open a new chat window and click the emoticon in the corner to browse GChat emoticons. Nice job!

One final tidbit: The emoticons listed in the GChat window aren’t all that are available.

Here is a top-secret list of hidden GChat emoticons:

Devil }:-)

Moustache :{

Robot [:|]

Poo ~@~

Rock Out \m/

Monkey :(|)

Bell +/’\

Crab V.v.V Wince >.<

Broken heart

Pig :(:)

Kiss 😡

keyboard and number pad special charactersUse your number keypad (ALT + Number Pad.) for these special characters

Special characters work on Google+, Facebook, Twitter, LinkedIn, Pinterest, and Tumblr.

☺           ALt+1

☻          ALt+2

♥            ALt+3

♦             ALt+4

♣            ALt+5

♠             ALt+6

•             ALt+7

◘            ALt+8

○             ALt+9

◙            ALt+10

♂          Alt + 11

♀          Alt + 12

♪             ALt+13

♫            ALt+14

☼           ALt+15

░            ALt+176

▒            ALt+177

▓            ALt+178

│             ALt+179

┤            ALt+180

╡            ALt+181

╢            ALt+182

╖            ALt+183

╕            ALt+184

╣            ALt+185

║            ALt+186

╗            ALt+187

╝            ALt+188

╜            ALt+189

╛            ALt+190

┐             ALt+191

└             ALt+192

┴            ALt+193

┬            ALt+194

├            ALt+195

─             ALt+196

┼            ALt+197

╞            ALt+198

╟            ALt+199

╚            ALt+200

╔            ALt+201

╩            ALt+202

╦            ALt+203

╠            ALt+204

═            ALt+205

╬            ALt+206

╧            ALt+207

╨            ALt+208

╤            ALt+209

╥            ALt+210

╙            ALt+211

╘            ALt+212

╒            ALt+213

╓            ALt+214

╫            ALt+215

╪            ALt+216

┘             ALt+217

┌             ALt+218

Special Characters in HTML

left single quote &lsquo;
right single quote &rsquo;
single low-9 quote &sbquo;
left double quote &ldquo;
right double quote &rdquo;
double low-9 quote &bdquo;
dagger &dagger;
double dagger &Dagger;
per mill sign &permil;
single left-pointing angle quote &lsaquo;
single right-pointing angle quote &rsaquo;
black spade suit &spades;
black club suit &clubs;
black heart suit &hearts;
black diamond suit &diams;
overline, = spacing overscore &oline;
leftward arrow &larr;
upward arrow &uarr;
rightward arrow &rarr;
downward arrow &darr;
trademark sign &trade;
unused &#00;-
&#08;
horizontal tab
line feed
unused &#11;
space
exclamation mark ! !
double quotation mark &quot;
number sign # #
dollar sign $ $
percent sign % %
ampersand & &amp; &
apostrophe
left parenthesis ( (
right parenthesis ) )
asterisk * *
plus sign + +
comma , ,
hyphen
period . .
slash / &frasl; /
digits 0-9 0-
9
colon : :
semicolon ; ;
less-than sign < &lt; <
equals sign = =
greater-than sign > &gt; >
question mark ? ?
at sign @ @
uppercase letters A-Z A-
Z
left square bracket [ [
backslash \ \
right square bracket ] ]
caret ^ ^
horizontal bar (underscore) _ _
grave accent ` `
lowercase letters a-z a-
z
left curly brace { {
vertical bar | |
right curly brace } }
tilde ~ ~
ellipses &hellip;
en dash &ndash;
em dash &mdash;
unused ˜-
Ÿ
nonbreaking space &nbsp;  
inverted exclamation ¡ &iexcl; ¡
cent sign ¢ &cent; ¢
pound sterling £ &pound; £
general currency sign ¤ &curren; ¤
yen sign ¥ &yen; ¥
broken vertical bar ¦ &brvbar; or &brkbar; ¦
section sign § &sect; §
umlaut ¨ &uml; or &die; ¨
copyright © &copy; ©
feminine ordinal ª &ordf; ª
left angle quote « &laquo; «
not sign ¬ &not; ¬
soft hyphen ­ &shy; ­
registered trademark ® &reg; ®
macron accent ¯ &macr; or &hibar; ¯
degree sign ° &deg; °
plus or minus ± &plusmn; ±
superscript two ² &sup2; ²
superscript three ³ &sup3; ³
acute accent ´ &acute; ´
micro sign µ &micro; µ
paragraph sign &para;
middle dot · &middot; ·
cedilla ¸ &cedil; ¸
superscript one ¹ &sup1; ¹
masculine ordinal º &ordm; º
right angle quote » &raquo; »
one-fourth ¼ &frac14; ¼
one-half ½ &frac12; ½
three-fourths ¾ &frac34; ¾
inverted question mark ¿ &iquest; ¿
uppercase A, grave accent À &Agrave; À
uppercase A, acute accent Á &Aacute; Á
uppercase A, circumflex accent  &Acirc; Â
uppercase A, tilde à &Atilde; Ã
uppercase A, umlaut Ä &Auml; Ä
uppercase A, ring Å &Aring; Å
uppercase AE Æ &AElig; Æ
uppercase C, cedilla Ç &Ccedil; Ç
uppercase E, grave accent È &Egrave; È
uppercase E, acute accent É &Eacute; É
uppercase E, circumflex accent Ê &Ecirc; Ê
uppercase E, umlaut Ë &Euml; Ë
uppercase I, grave accent Ì &Igrave; Ì
uppercase I, acute accent Í &Iacute; Í
uppercase I, circumflex accent Î &Icirc; Î
uppercase I, umlaut Ï &Iuml; Ï
uppercase Eth, Icelandic Ð &ETH; Ð
uppercase N, tilde Ñ &Ntilde; Ñ
uppercase O, grave accent Ò &Ograve; Ò
uppercase O, acute accent Ó &Oacute; Ó
uppercase O, circumflex accent Ô &Ocirc; Ô
uppercase O, tilde Õ &Otilde; Õ
uppercase O, umlaut Ö &Ouml; Ö
multiplication sign × &times; ×
uppercase O, slash Ø &Oslash; Ø
uppercase U, grave accent Ù &Ugrave; Ù
uppercase U, acute accent Ú &Uacute; Ú
uppercase U, circumflex accent Û &Ucirc; Û
uppercase U, umlaut Ü &Uuml; Ü
uppercase Y, acute accent Ý &Yacute; Ý
uppercase THORN, Icelandic Þ &THORN; Þ
lowercase sharps, German ß &szlig; ß
lowercase a, grave accent à &agrave; à
lowercase a, acute accent á &aacute; á
lowercase a, circumflex accent â &acirc; â
lowercase a, tilde ã &atilde; ã
lowercase a, umlaut ä &auml; ä
lowercase a, ring å &aring; å
lowercase ae æ &aelig; æ
lowercase c, cedilla ç &ccedil; ç
lowercase e, grave accent è &egrave; è
lowercase e, acute accent é &eacute; é
lowercase e, circumflex accent ê &ecirc; ê
lowercase e, umlaut ë &euml; ë
lowercase i, grave accent ì &igrave; ì
lowercase i, acute accent í &iacute; í
lowercase i, circumflex accent î &icirc; î
lowercase i, umlaut ï &iuml; ï
lowercase eth, Icelandic ð &eth; ð
lowercase n, tilde ñ &ntilde; ñ
lowercase o, grave accent ò &ograve; ò
lowercase o, acute accent ó &oacute; ó
lowercase o, circumflex accent ô &ocirc; ô
lowercase o, tilde õ &otilde; õ
lowercase o, umlaut ö &ouml; ö
division sign ÷ &divide; ÷
lowercase o, slash ø &oslash; ø
lowercase u, grave accent ù &ugrave; ù
lowercase u, acute accent ú &uacute; ú
lowercase u, circumflex accent û &ucirc; û
lowercase u, umlaut ü &uuml; ü
lowercase y, acute accent ý &yacute; ý
lowercase thorn, Icelandic þ &thorn; þ
lowercase y, umlaut ÿ &yuml; ÿ
Alpha &Alpha; Α
alpha &alpha; α
Beta &Beta; Β
beta &beta; β
Gamma &Gamma; Γ
gamma &gamma; γ
Delta &Delta; Δ
delta &delta; δ
Epsilon &Epsilon; Ε
epsilon &epsilon; ε
Zeta &Zeta; Ζ
zeta &zeta; ζ
Eta &Eta; Η
eta &eta; η
Theta &Theta; Θ
theta &theta; θ
Iota &Iota; Ι
iota &iota; ι
Kappa &Kappa; Κ
kappa &kappa; κ
Lambda &Lambda; Λ
lambda &lambda; λ
Mu &Mu; Μ
mu &mu; μ
Nu &Nu; Ν
nu &nu; ν
Xi &Xi; Ξ
xi &xi; ξ
Omicron &Omicron; Ο
omicron &omicron; ο
Pi &Pi; Π
pi &pi; π
Rho &Rho; Ρ
rho &rho; ρ
Sigma &Sigma; Σ
sigma &sigma; σ
Tau &Tau; Τ
tau &tau; τ
Upsilon &Upsilon; Υ
upsilon &upsilon; υ
Phi &Phi; Φ
phi &phi; φ
Chi &Chi; Χ
chi &chi; χ
Psi &Psi; Ψ
psi &psi; ψ
Omega &Omega; Ω
omega &omega; ω
password dot
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Victory Day 8-9 May – 68th Anniversary of Victory in World War II


С Днем Победы-Victory Day 9 May

Victory Day on May 8 and May 9 Two separate capitulation events took place at the time

Tuesday 8 May 1945 was ‘Victory in Europe’ (VE) Day, and it marked the formal end of Hitler’s war.

With it came the end of six years of misery, suffering, courage and endurance across the world.

Two separate capitulation events took place at the time. First, the capitulation to the Allied nations in Reims was signed on 7 May 1945, effective 23:01 CET 8 May. This date is commonly referred to as the V-E Day (Victory in Europe Day) in most western European countries. The other World War II victory day, the V-J day (Victory in Japan Day) is commemorated in August, and is of considerably lesser significance in Europe.

However, the Soviet Union’s only representative in Reims was General Ivan Susloparov, the Military Liaison Mission Commander. General Susloparov’s scope of authority was not entirely clear, and he had no means of immediate contact with the Kremlin, but nevertheless decided to sign for the Soviet side.
Susloparov was caught off guard; he had no instructions from Moscow. But if he did not sign, he risked a German surrender without Soviet participation. However, he noted that it could be replaced with a new version in the future. Joseph Stalin was later displeased by these events, believing that the German surrender should have been accepted only by the envoy of the USSR Supreme command and signed only in Berlin and insisted the Reims protocol be considered preliminary, with the main ceremony to be held in Berlin, where Marshal Zhukov was at the time, as the latter recounts in his memoirs:

“ [Quoting Stalin:] Today, in Reims, Germans signed the preliminary act on an unconditional surrender.The main contribution, however, was done by Soviet people and not by the Allies, therefore the capitulation must be signed in front of the Supreme Command of all countries of the anti-Hitler coalition, and not only in front of the Supreme Command of Allied Forces. Moreover, I disagree that the surrender was not signed in Berlin, which was the center of Nazi aggression. We agreed with the Allies to consider the Reims protocol as preliminary. ” (

Therefore, another ceremony was organized in a surviving manor in the outskirts of Berlin late on 8 May, when it was already 9 May in Moscow due to the difference in time zones. Field-Marshal Wilhelm Keitel submitted the capitulation of the Wehrmacht to Marshal Georgy Zhukov in the Soviet Army headquarters in Berlin-Karlshorst. To commemorate the victory in the war, the ceremonial Moscow Victory Parade was held in the Soviet capital on 24 June 1945 (four years and two days after the beginning of Operation Barbarossa – the invasion of the Soviet Union).

Victory Day Parade in Moscow every year May 9

Victory Day Parade in Moscow every year May 9

Victory Day 9 May marks the capitulation of Nazi Germany to the Soviet Union in the Second World War (also known as the Great Patriotic War in the Soviet Union). It was first inaugurated in the fifteen republics of the Soviet Union, following the signing of the surrender document late in the evening on 8 May 1945 (after midnight, thus on 9 May, by Moscow Time). The Soviet government announced the victory early on 9 May after the signing ceremony in Berlin.

Though the official inauguration happened in 1945 (which means it has been celebrated since 1946), the holiday became a non-labour day only in 1965 and only in some of the countries.

In the former Soviet Union this festival was celebrated to commemorate the Red Army’s victory over the Nazi forces.

National WWII Memorial “Save Our History” Teachers Guide and Interactive TimelineHistory GuideThe History Channel� developed a teacher’s manual that accompanied its special on the National World War II Memorial. You can download the guide by clicking on the links below. The document is in two parts and can be viewed with Adobe’s Acrobat Reader. (Download Adobe Acrobat Reader here.)

Download:
Part 1 (334k)
Part 2 (205k)

The History Channel

Note: The American Battle Monuments Commission is no longer raising funds for the WWII Memorial. Please do not implement the fund raising suggestions provided in chapter IV of the Teacher’s Guide unless for a cause other than the National WWII Memorial.

Victory in World War II References:

Showcase Your Creativity


Showcase Your Creativity and  Enhance Your Site with Post Formats – Re-blogged from WordPress.com

With over 30 portfolio themes to choose from (and over 200 total themes in our Theme Showcase), there’s surely one that reflects your style.

Portfolio Themes
Customize your theme

Your online portfolio is about you and your personal brand. All of our themes let you set a custom header image and a custom background image or color.

Customize Your Site

Turn your portfolio site into a work of art in itself with the Custom Design upgrade. Choose the fonts and colors that match your personal style, and tweak your design even further with Custom CSS.

Manage your portfolio

In addition to themes, WordPress.com provides heaps of tools you can use to maintain your online portfolio and communicate with clients and prospective employers.

Stunning images

Your images are everything. Our themes and tools are designed to make your images look great. Do you have special projects that you want to highlight? Some of our portfolio themes, such as Skylark and Simfo, come with featured post sliders that show off these projects with beautiful featured images.

Read more on original post here: http://en.blog.wordpress.com/2013/01/16/showcase-your-creativity-with-a-portfolio-site/

You can Also Enhance Your Site with Post Formats:

A simple way to add visual variety to your site’s front page is to publish your content using Post Formats. Over 50 of our themes support Post Formats, which means they can display various types of content — including images, videos, quotes, links, audio, and short snippets called “asides” — with different formatting, adding subtle but nice touches to your site.

The types of Post Formats you can choose from depends on your theme. To see what Post Formats your current theme supports, go to Posts » Add New in the dashboard and look for a Format module on the right, with various options like the one below:

Format Module

Using Post Formats is optional — if your theme supports them, you don’t have to use them, since the default (standard) format works well with any content you publish. Using Post Formats is also free: you don’t need to purchase the custom CSS upgrade to enable different Post Formats.

Our Top Themes Now Support Post Formats

Recently, we made our top 25 themes — from popular free themes like Pilcrow, Manifest, and Bueno to premium themes such as Elemin — look even better with Post Formats. Here’s a sampling of how Post Formats look different, using the Elemin theme as an example:

Image Format:

Image Format

Video Format:

Video Format

Quote Format:

Quote Format

Link Format:

Link Format

Read original blog post: Enhance Your Site with Post Formats

 

Related Posts:

For more information about social media networking, how to add podcast to your website, SEO tips, tricks, social media  good practice, online tools and how to market your site visit New York Web Designer Agency Website

The WordPress.com Blog

Do you shoot photographs or video? Illustrate, paint, or draw? Design things? If you answered “yes” to one or more of the above, WordPress.com is the perfect place to show your stuff. We’ve just launched WordPress.com/portfolios to help you build an online portfolio you’re proud of.

Portfolios

Over 30 portfolio themes

You need a canvas that lets your work shine. With over 30 portfolio themes to choose from (and over 200 total themes in our Theme Showcase), there’s surely one that reflects your style.

Portfolio Themes

Customize your theme

Your online portfolio is about you and your personal brand. All of our themes let you set a custom header image and a custom background image or color.

Customize Your Site

Turn your portfolio site into a work of art in itself with the Custom Design upgrade. Choose the fonts and colors that match your personal style, and tweak your design even further with Custom…

View original post 369 more words

The First Four Notes of the Beethoven’s Fifth


 Ludwig van Beethoven

Ludwig van Beethoven in 1804, the year he began work on the Fifth Symphony. Detail of a portrait by W. J. Mähler

The Symphony No. 5 in C minor of Ludwig van Beethoven, Op. 67

Fifth Symphony was written in 1804–1808. It is one of the most popular and best-known compositions in classical music, and one of the most frequently played symphonies.

First performed in Vienna‘s Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterwards. E. T. A. Hoffmann described the symphony as “one of the most important works of the time”.

It begins by stating a distinctive four-note “short-short-short-long” motif twice: (About this sound listen (help·info))

The symphony, and the four-note opening motif in particular, are well known worldwide, with the motif appearing frequently in popular culture, from disco to rock and roll, to appearances in film and television.

The opening of Ludwig van Beethoven’s Symphony No. 5.

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Ludwig van Beethoven – 5th Symphony 5 – Symphonie Nr. 5 – Best of Classical Music

beethoven-symphony-5-opening

Beethoven 5 th Symphony Opening

A new book, a new recording and some old instruments, all addressing the most memorable phrase in music: the opening of Beethoven‘s Fifth Symphony.

Matthew Guerrieri has written a book about this symphony, called The First Four Notes: Beethoven’s Fifth and the Human Imagination. (Source:http://www.wbur.org/npr/165495617/beethovens-famous-4-notes-truly-revolutionary-music)

Guerrieri writes about how Beethoven’s piece resonated with everyone from revolutionaries to Romantics, and German nationalists to anti-German resistance fighters.

So many people have found so much meaning in just those first four notes. But Guerrieri says that we really don’t know all that much of what Beethoven meant by them.

“The most common story that is told is that Beethoven allegedly said that the opening of the symphony was supposedly symbolizing fate knocking at the door. And this is probably an invention of his biographer, although we can’t really tell,” Guerrieri tells NPR’s Robert Siegel. “The other story going around at the time that Beethoven wrote it was that he had gotten the opening motif from the song of a bird. And that story just sort of fell away as the fate symbolism took over. But in Beethoven’s time, and to Beethoven, that actually would have been a fairly noble way of getting a musical idea.”

A Romantic ‘Bombshell,’ Delivered By Beethoven’s Fifth

English: Trio from Beethoven's 3rd. Symphony

English: Trio from Beethoven’s 3rd. Symphony (Photo credit: Wikipedia)

In his book, Guerrieri writes:

“The Romantic era [of the early 19th century] never really ended … Every time a singer-songwriter is praised for projecting autobiographical authenticity, every time a movie star expresses the desire for a project that is ‘more personal,’ every time a flop is subsequently recategorized as a before-its-time masterpiece, all these are reverberations of the bombshell of Romanticism. And one of its pre-eminent delivery systems was Beethoven’s Fifth.”

The author adds: “I think that the Romantic era is another thing that we just sort of take for granted, because they’ve kind of always been there for us. But it’s amazing how many of these ideas were new around the time that Beethoven was writing music. The whole idea that music picks up where language leaves off — which is pretty much a cliche nowadays — that was a very specific Romantic idea, and it’s one that lasted. Also, the idea that the artist is somehow more privileged in accessing these things beyond language, in accessing the sublime, in accessing glimpses of the divine, however you want to characterize it. A lot of the ideas we use to talk about music are these ideas.”

And how to play those four notes? “The two things that have been argued about more than any other technical aspect of the opening are the tempo and the fermata that Beethoven stuck in the opening,” says Guerrieri. “A fermata is an indefinite hold — the conductor can hold onto a note as long as he wants.”

Holding On And Letting Fly: The Tempo

The question of tempo relates back to an interesting story Guerrieri tells in his book. The metronome was an invention of Beethoven’s day; he didn’t have access to it when he was writing his early symphonies. But later, he came into contact with it and loved the device. “He immediately buys one and sits down and starts going back over all his old scores and putting in metronome markings,” Guerrieri says. “And he picked a tempo for the Fifth Symphony that even today sounds really, astonishingly fast.”

The setting he chose was 108 beats per minute — so fast, so hard to play, Guerrieri says, that people have been theorizing for centuries about why Beethoven might have mismarked his own symphony. A broken metronome? Advancing deafness? Nobody knows.

Dah-Dah-Dah-Duh For ‘Victory’

Here’s one other story Guerrieri writes about those first four notes: In World War II, the anti-German resistance in occupied Belgium needed a simple graffiti symbol. A Belgian came up with the letter “V.” It stood equally for victoire — “victory” in French — and freiheit, or “freedom,” in Flemish. “Once that ‘V’ idea got back to the BBC and they wanted to start using it in their overseas broadcasts,” says Guerrieri, “it was at the BBC that they had the idea of combining it with the Morse code for ‘V’: three short and one long. Somebody at the BBC realized that matches Beethoven’s Fifth. So they could start using that as a little tag to symbolize that [something] was going to be a pro-Ally, propaganda broadcast from the BBC.”

For full article and interview with author visit: http://www.wbur.org/npr/165495617/beethovens-famous-4-notes-truly-revolutionary-music

Auguste Rodin – Promenades of an Impressionist


Auguste Rodin

Zentralbild Auguste Rodin

Rodin was born in 1840 into a working-class family in Paris, the second child of Marie Cheffer and Jean-Baptiste Rodin, who was a police department clerk. He was largely self-educated, and began to draw at age ten. Between ages 14 and 17, Rodin attended the Petite École, a school specializing in art and mathematics, where he studied drawing and painting. His drawing teacher, Horace Lecoq de Boisbaudran, believed in first developing the personality of his students so that they observed with their own eyes and drew from their recollections. Rodin still expressed appreciation for his teacher much later in life. It was at Petite École that he first met Jules Dalou and Alphonse Legros.

RODIN – View from 1910.

“PROMENADES OF AN IMPRESSIONIST” By JAMES HUNEKER 1910 – contributed by: History of Art and Paintings

Rodin, the French sculptor, deserves well of our new century; the old one did so incontinently batter him. The anguish of his own Hell’s Portal he endured before he moulded its clay between his thick clairvoyant fingers. Misunderstood, therefore misrepresented, he with his pride and obstinacy aroused—the one buttressing the other—was not to be budged from his formulas and practice of sculpture. Then the world of art swung unwillingly and unamiably toward him, perhaps more from curiosity than conviction. Rodin became famous. And he is more misunderstood than ever.
His very name, with its memory of Eugène Sue‘s romantic rancour—you recall that impossible and diabolic Jesuit Rodin in The Mysteries of Paris?—has been thrown in his teeth. He has been called rusé, even a fraud; while the wholesale denunciation of his work as erotic is unluckily still green in our memory. The sculptor, who in 1877 was accused of “faking” his life-like Age of Brass—now at the Luxembourg—by taking a mould from the living model, also experienced the discomfiture of being assured some years later that, not knowing the art of modelling, his statue of Balzac was only an evasion of difficulties. And this to the man who had in the interim wrought so many masterpieces.

To give him his due he stands prosperity not quite as well as he did poverty. In every great artist there is a large area of self-esteem; it is the reservoir which he must, during years of drought and defeat, draw upon to keep his soul fresh. Without the consoling fluid of egoism, genius must perish in the dust of despair. But fill this source to the brim, accelerate the speed of its current, and artistic deterioration may ensue.

Rodin - The Gates of Hell, a monumental sculptural group

The Gates of Hell, a monumental sculptural group depicting scenes from Dante’s Inferno in high relief. Often lacking a clear conception of his major works, Rodin compensated with hard work and a striving for perfection

Rodin has been called, fatuously, the second Michael Angelo—as if there could ever be a replica of any human. He has been hailed as a modern Praxiteles. And he is often damned as a myopic decadent whose insensibility to pure line and deficiency in constructional power have been elevated by his admirers into sorry virtues. Yet is Rodin justly appraised? Do his friends not overdo their glorification, his critics their censure? Nothing so stales a demigod’s image as the perfumes burned before it by his worshippers; the denser the smoke the sooner crumble the feet of their idol.

However, in the case of Rodin the fates have so contrived their malicious game that at no point of his career has he been without the company of envy, chagrin, and slander. Often, when he had attained a summit, he would find himself thrust down into a deeper valley. He has mounted to triumphs and fallen to humiliations, but his spirit has never been quelled, and if each acclivity he scales is steeper, the air atop has grown purer, more stimulating, and the landscape spreads wider before him. He can say with Dante: “La montagna che drizza voi che il mondo fece torti.” Rodin’s mountain has always straightened in him what the world made crooked. The name of his mountain is Art. A born non-conformist, Rodin makes the fourth of that group of nineteenth-century artists—Richard Wagner, Henrik Ibsen, and Edouard Manet—who taught a deaf and blind world to hear and see and think and feel.

Rodin's The Thinker (1879–1889)

Rodin’s The Thinker (1879–1889) is among the most recognized works in all of sculpture.

Is it not dangerous to say of a genius that his work alone should count, that his life is negligible? Though Rodin has followed Flaubert’s advice to artists to lead ascetic lives that their art might be the more violent, nevertheless his career, colourless as it may seem to those who better love stage players and the watery comedies of society—this laborious life of a poor sculptor—is not to be passed over if we are to make any estimate of his art. He, it is related, always becomes enraged at the word “inspiration,” enraged at the common notion that fire descends from heaven upon the head of the favoured neophyte of art. Rodin believes in but one inspiration—nature. He swears he does not invent, but copies nature. He despises improvisation, has contemptuous words for “fatal facility,” and, being a slow-moving, slow-thinking man, he admits to his councils those who have conquered art, not by assault, but by stealth and after years of hard work. He sympathises with Flaubert’s patient toiling days, he praises Holland because after Paris it seemed slow. “Slowness is a beauty,” he declared. In a word, Rodin has evolved a theory and practice of his art that is the outcome—like all theories, all techniques—of his own temperament. And that temperament is giant-like, massive, ironic, grave, strangely perverse at times; and it is the temperament of a magician doubled by that of a mathematician.

Books are written about him. De Maupassant describes him in Notre Coeur with picturesque precision. He is tempting as a psychologic study. He appeals to the literary, though he is not “literary.” His modelling arouses tempests, either of dispraise or idolatry. To see him steadily, critically, after a visit to his studios in Paris or Meudon, is difficult. If the master be there then you feel the impact of a personality that is as cloudy as the clouds about the base of a mountain and as impressive as the mountain. Yet a pleasant, unassuming, sane man, interested in his clay—absolutely—that is, unless you discover him to be more interested in humanity. If you watch him well you may find yourself well watched; those peering eyes possess a vision that plunges into your soul. And the soul this master of marbles sees as nude as he sees the human body. It is the union of artist and psychologist that places Rodin apart. These two arts he practises in a medium that has hitherto not betrayed potentialities for such almost miraculous performances. Walter Pater is quite right in maintaining that each art has its separate subject-matter; nevertheless, in the debatable province of Rodin’s sculpture we find strange emotional power, hints of the art of painting and a rare musical suggestiveness. But this is not playing the game according to the rules of Lessing and his Laocoön.

Let us drop this old æsthetic rule of thumb and confess that during the last century a new race of artists sprang up from some strange element and, like flying-fish, revealed to a wondering world their composite structures. Thus we find Berlioz painting with his instrumentation; Franz Liszt, Tschaikowsky, and Richard Strauss filling their symphonic poems with drama and poetry, and Richard Wagner inventing an art which he believed to embrace the seven arts. And there is Ibsen, who used the dramatic form as a vehicle for his anarchistic ideas; and Nietzsche, who was such a poet that he was able to sing a mad philosophy into life; and Rossetti, who painted poems and made poetry that is pictorial. Sculpture was the only art that had resisted this universal disintegration, this imbroglio of the arts. No sculptor before Rodin had dared to break the line, dared to shiver the syntax of stone. For sculpture is a static, not a dynamic art—is it not? Let us observe the rules, though we preserve the chill spirit of the cemetery. What Mallarmé attempted to do with French poetry Rodin accomplished in clay. His marbles do not represent but present emotion, are the evocation of emotion itself; as in music, form and substance coalesce. If he does not, as did Mallarmé, arouse “the silent thunder afloat in the leaves,” he can summon from the vasty deep the spirits of love, hate, pain, despair, sin, beauty, ecstasy; above all, ecstasy. Now the primal gift of ecstasy is bestowed upon few. In our age Keats had it, and Shelley; Byron, despite his passion, missed it, and so did Wordsworth. We find it in Swinburne, he had it from the first; but few French poets have it. Like the “cold devils” of Félicien Rops, coiled in frozen ecstasy, the blasts of hell about them, Charles Baudelaire can boast the dangerous attribute. Poe and Heine knew ecstasy, and Liszt also; Wagner was the master adept of his century. Tschaikowsky followed him close; and in the tiny piano scores of Chopin ecstasy is pinioned in a few bars, the soul often rapt to heaven in a phrase. Richard Strauss has shown a rare variation on the theme of ecstasy; voluptuousness troubled by pain, the soul tormented by stranger nuances.

Rodin was a naturalist, less concerned with monumental expression than with character and emotion.

Under French law no more than twelve casts of this piece were permitted after Rodin’s death. The London casting, purchased by the British Government in 1911, is one of those.
Rodin often duplicated parts of his statues. For example two of the heads on this grouping are identical and a third only slightly altered. Some of the hands are used twice.

Rodin is of this tormented choir; he is master of its psychology. It may be the decadence, as any art is in decadence which stakes the parts against the whole. The same was said of Beethoven by the followers of Haydn, and the successors of Richard Strauss will be surely abused quite as violently as the Wagnerites abuse Strauss to-day—employing against him the same critical artillery employed against Wagner. That this ecstasy should be aroused by pictures of love and death, as in the case of Poe and Baudelaire, Wagner and Strauss, must not be adjudged as a black crime. In the Far East they hypnotise neophytes with a bit of broken mirror, for in the kingdom of art, as in the Kingdom of Heaven, there are many mansions. Possibly it was a relic of his early admiration and study of Baudelaire that set Wagner to extorting ecstasy from his orchestra by images of death and love; and no doubt the temperament which seeks such combinations—a temperament commoner in mediæval days than ours—was inherent in Wagner. He makes his Isolde sing mournfully and madly over a corpse and, throwing herself upon the dead body of Tristan, die shaken by the sweet cruel pains of love. Richard Strauss closely patterns after Wagner in his Salome, there is the head of a dead man, and there is the same dissolving ecstasy. Both men play with similar counters—love and death, and death and love. And so Rodin. In Pisa we may see (attributed by Vasari) Orcagna’s fresco of the Triumph of Death. The sting of the flesh and the way of all flesh are inextricably blended in Rodin’s Gate of Hell. His principal reading for forty years has been Dante and Baudelaire. The Divine Comedy and Les Fleurs du Mal are the key-notes in this white symphony of Auguste Rodin’s. Love and life and bitterness and death rule the themes of his marbles. Like Beethoven and Wagner he breaks the academic laws of his art, but then he is Rodin, and where he achieves magnificently lesser men would miserably perish. His large tumultuous music is for his chisel alone to ring out and sing.

 
“PROMENADES OF AN IMPRESSIONIST” By JAMES HUNEKER 1910 – contributed by: History of Art and Paintings
 
 
“Rodin was a naturalist, less concerned with monumental expression than with character and emotion”
 

Why do we vote on Tuesday? ELECTION 2012: WHAT’S AT STAKE


Your-vote-countsWhy do we vote on Tuesday?

Election Day in the United States is the day set by law for the general elections of public officials. It occurs on the Tuesday after the first Monday in November.

The earliest possible date is November 2 and the latest possible date is November 8.

The next election will be held on November 6, 2012.  (http://en.wikipedia.org/wiki/Election_Day_(United_States) )

A uniform date for choosing presidential electors was instituted by the Congress in 1845.

Many theories have been advanced as to why the Congress settled on the first Tuesday after the first Monday in November.

The actual reasons, as shown in records of Congressional debate on the bill in December 1844, were fairly prosaic. The bill initially set the national day for choosing presidential electors on “the first Tuesday in November,” in years divisible by four (1848, 1852, etc.). But it was pointed out that in some years the period between the first Tuesday in November and the first Wednesday in December (when the electors met in their state capitals to vote) would be more than 34 days, in violation of the existing Electoral College law.

So, the bill was amended to move the national date for choosing presidential electors forward to the Tuesday after the first Monday in November, a date scheme already used in the state of New York.

In 1845, the United States was largely an agrarian society. Farmers often needed a full day to travel by horse-drawn vehicles to the county seat to vote.

Tuesday was established as Election Day because it did not interfere with the Biblical Sabbath or with market day, which was on Wednesday in many towns.
November was chosen because the economy was driven by farmers

“There’s religious, economic and political reasons we vote on Tuesday,” said Mower county auditor/treasurer Doug Groh. “It all stems from 1845.”

It was the year James Polk became our 11th president and Texas became our 28th state.

“Horse and buggy days, and the county seat was the polling place,” Groh told us.

“A lot of people might have to travel and stay overnight to vote,” added Austin city clerk Lucy Johnson. And since Sunday was a day of rest:

“They allowed Monday to travel to the county seat to vote, so then they voted on Tuesday,” Groh explained.

“November was their first slow month,” said Johnson.

And there was a safe political reason for keeping the vote in November.

“It’s far enough from April 15th when you last paid taxes you kind of forgot, and you haven’t started to think about paying taxes again on April 15th to influence your vote,” Johnson explained.

(Source: http://kaaltv.com/article/stories/s2817722.shtml )

seal-of-the-president-of-the-united-states

Seal of the President of the United States

Some activists oppose this date on the grounds that it decreases voter turnout because most citizens work on Tuesdays, and advocate making Election Day a federal holiday or allowing voters to cast their ballots over two or more days. The United Auto Workers union has negotiated making Election Day a holiday for its workers at the U.S. domestic auto manufacturers.

Many states have implemented early voting, which allows the voters to cast ballots, in many cases up to a month early. Also, all states have some kind of absentee ballot system. The state of Oregon, for example, performs all major elections through postal voting that are sent to voters several weeks before Election Day. Some companies will let their employees come in late or leave early on Election Day to allow them an opportunity to get to their precinct and vote.

Move Election Day to the weekend…

Soboroff and Israel say Tuesday voting bars access to democracy and keeps America’s voter turnout chronically low. They point to census survey data showing that 1 in 4 people says he’s too busy or his schedule doesn’t allow him to get to the polls.

Their solution? Move Election Day to the weekend. Israel has been introducing and reintroducing a bill to move voting to the weekend.

But moving poll day turns out to be no easy task. The weekend voting bill keeps dying in committee. And earlier this year, when the Government Accountability Office talked to elections officials about how weekend voting would work, they came up with a list of logistical difficulties, from keeping equipment safe overnight to recruiting poll workers to work the weekend. There’s also, of course, no guarantee that moving Election Day would change voter turnout.

Then there’s the simple fact that Americans have gotten used to voting on Tuesday. “We’re a very traditional county, and that became a tradition in a lot of ways,” says Ritchie. “That’s the way people were accustomed to doing it, people could count on it, you could set your calendars on it.”

(Source: http://www.npr.org/blogs/itsallpolitics/2012/10/23/162484410/why-are-elections-on-tuesdays )

Need To Know by PBS.

What’s at Stake reviews top campaign issues and considers how the outcome of the election could impact voters’ lives.

What’s at Stake: PBS Election 2012 From jobs and taxes to climate change, PBS presents an in-depth look at the issues


Check this video out – What’s at Stake: PBS Election 2012

Episode: What’s at Stake: PBS Election 2012

What’s at Stake leads viewers through issues at the center of this year’s campaigns: jobs and tax policy, entitlements and debt, healthcare, and foreign policy. Frontline, PBS Newshour,
Need to Know and Washington Week in Review contribute their special reporting and analysis.

Latest news One Day before Election Day!

“WASHINGTON (Reuters) – President Barack Obama and Republican challenger Mitt Romney make a frenetic dash to a series of crucial swing states on Monday, delivering their final arguments to voters on the last day of an extraordinarily close race for the White House.

After a long, bitter and expensive campaign, national polls show Obama and Romney are essentially deadlocked ahead of Tuesday’s election, although Obama has a slight advantage in the eight or nine battleground states that will decide the winner.”


“Romney, who would be the first Mormon president, has centered his campaign pitch on his own experience as a business leader at a private equity fund and said it made him uniquely suited to create jobs.

Obama’s campaign fired back with ads criticizing Romney’s experience and portraying the multimillionaire as out of touch with everyday Americans.”
(Source: http://news.yahoo.com/obama-romney-sprint-unpredictable-campaign-finish-021401657.html)

How to Say Hello and Thank You in Different Languages?


Thank You in Different LanguagesHow to say thank you - Wordle

Why do we have different languages?

Different languages were created over a lengthy period of time due to different colonies separating and cultures gradually morphing. Each colony made its own way of communicating – often more individual than the others – to show pride and uniqueness in their own people.

For instance, when referring to Germanic languages and how they made their way to England, we see how the language changed constantly due to environmental factors. The Saxons, speakers of Saxon, a Germanic language, were invaded by the Normans who introduced Norman French to the language of Saxon. The Vikings also had an effect in the north of England as they spoke Norse as well as the Romans, who invaded some time before and introduced Latin, thus the English language we speak today was born and it will continue to forever change.

Dialects also cause the language to change. As mentioned above, some colonies of people wished for their language to be unique and individual from another. The language of Swiss-German is a good example when comparing it to German. Although, some time ago, these were the same people, they purposely created a language – which did have some environmental effects due to bordering with France and Italy – in order to appear different from the common Germanic man. (more here : http://wiki.answers.com/Q/Why_do_we_have_different_languages)

How to Say Thank You?

Language Thank you Pronunciation
Afrikaans dankie dahn-kee
Arabic shukran shoe-krahn
Australian English ta (informal)
Chinese, Cantonese do jeh daw-dyeh
Chinese, Mandarin xie xie syeh-syeh
Czech dêkuji deh-ku-yih
Danish tak tahg
Finnish kiitos kee-toas
French merci mehr-see
German danke dahn-kah
Greek efharisto ef-har-rih-stowe
Hebrew toda toh-dah
Hindi, Hindustani sukria shoo-kree-a
Indonesian/Malayan terima kasih t’ree-ma kas-seh
Italian grazie gra-see
Japanese arigato ahree-gah-tow
Korean kamsa hamnida kahm-sah=ham-nee-da
Norwegian takk tahk
Philippines (Tagalog) salamat po sah-lah-maht poh
Polish dziekuje dsyen-koo-yeh
Portuguese obrigado oh-bree-gah-doh
Russian spasibo spah-see-boh
Spanish gracias gra-see-us
Sri Lanka (Sinhak) istutiy isst-too-tee
Swahili asante ah-sahn-teh
Swedish tack tahkk
Thai kawp-kun krap/ka’ kowpkoom-krahp/khak
Turkish tesekkür ederim teh-sheh-kur=eh-deh-rim


How to Say Hello?

How to Say Hello?

Mirëdita – Say Hello to your  Albanian friends

Ahalan – Say Hello to your  Arabic speaking friends

Parev – Say Hello to your  Armenian friends

Zdravei / Zdrasti – Say Hello to your  Bulgarian friends

Nei Ho – Say Hello to your  Cantonese speaking Chinese friends

Dobrý den / Ahoj – Say Hello to your  Czech friends

Goddag – Say Hello to your  Danish friends

Goede dag, Hallo – Say Hello to your  Dutch friends

Hello – Say Hello to your  English friends

Saluton – Say Hello to your  Esperanto speaking friends

Hei – Say Hello to your  Finnish friends

Bonjour – Say Hello to your  French friends

Guten Tag – Say Hello to your  German friends

Gia’sou – Say Hello to your  Greek friends

Aloha – Say Hello to your  Hawaiian friends

Shalom – Say Hello to your  Hebrew speaking friends

Namaste – Say Hello to your  Hindi speaking friends

Jó napot – Say Hello to your  Hungarian friends

Halló / Góðan daginn – Say Hello to your  Icelandic friends

Halo – Say Hello to your  Indonesian friends

Aksunai / Qanuipit? – Say Hello to your  Inuit friends

Dia dhuit – Say Hello to your  Irish friends

Salve / Ciao – Say Hello to your  Italian friends

Kon-nichiwa – Say Hello to your  Japanese friends

An-nyong Ha-se-yo – Say Hello to your  Korean friends

Salve / Salvëte – Say Hello to your  Latin speaking ancient Roman friends

Ni hao – Say Hello to your  Mandarin speaking Chinese friends

Hallo – Say Hello to your  Norwegian friends

Dzien’ dobry – Say Hello to your  Polish friends

Olá – Say Hello to your  Portuguese friends

Bunã ziua – Say Hello to your  Romanian friends

Zdravstvuyte – Say Hello to your  Russian friends

Hola – Say Hello to your  Spanish speaking friends

Jambo / Hujambo – Say Hello to your  Swahili friends

Hej – Say Hello to your  Swedish friends

Sa-wat-dee – Say Hello to your  Thai friends

Merhaba / Selam – Say Hello to your  Turkish friends

Vitayu – Say Hello to your  Ukrainian friends

Xin chào – Say Hello to your  Vietnamese friends

Hylo; Sut Mae? – Say Hello to your  Welsh friends

Sholem Aleychem – Say Hello to your  Yiddish speaking friends

Sawubona – Say Hello to your  Zulu speaking friends