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  • molly bloom
    replied
    Have we had the Coptic Pope ?

    Shenouda shuffles off this mortal coil...


    Pope Shenouda III of Alexandria, who has died aged 88 after suffering from prostate cancer, was for four decades the spiritual leader of the Coptic Orthodox Church, the largest Christian community in the Middle East. In his native Egypt he was patriarch to 7 to 11 million Copts – the government of the predominantly Muslim country giving a lower estimate than the church's – and another 4 million worldwide.

    Coptic congregants, worshipping in a tradition that goes back to the earliest days of Christianity, held "Baba Shenouda" in high regard. Yet his pontifical reign was marked by controversy. While inter-communal strife saw thousands of Copts leave Egypt, critics blamed him for politicising his office and exacerbating matters, either through over-assertiveness or timidity. Egypt's 2011 uprising threw such tensions into starker relief.

    Ten years into his papacy, Shenouda had famously fallen out with President Anwar Sadat; in September 1981 he was summarily dethroned and banished to an ancient desert monastery. Reinstated by Sadat's successor, Hosni Mubarak, in January 1985, the Coptic pope, 117th in a line of leaders that began with St Mark, achieved considerable successes. The ordination of deaconesses was resumed after an interval of several centuries, and he brought women into theological colleges and communal councils, though he was against them becoming priests.

    Beyond his devotional authority, Shenouda also represented Coptic lay and political interests in Egypt and fostered ties with wealthier Coptic diasporas in the US, Canada, Europe, South Africa and Australia. From 1965 and throughout his papacy he edited the Coptic journal El Keraza.

    However, he was beset by problems in his final years. Once he had proclaimed: "A church without youth is a church without a future"; now young Copts resented the way he spoke on their behalf. Shenouda began sacking dissenters with alarming frequency and secularists said he encouraged a dangerous culture of church-centred isolationism.

    Past troubles came back to haunt him, too. In 1976 he dismissed a rebellious deacon, Max Michel, who in 2005 was declared a bishop by an Orthodox organisation in Nebraska, and the following year crowned himself Archbishop Maximus I, head of a rival St Athanasius church. Michel claimed that God had deserted Shenouda's congregation and that more than a million Copts had become Muslims or evangelical Christians. While Michel attracted little support, he caused much rancour.

    Also in 1976, Shenouda severed relations with a sister church in Ethiopia after the Marxist regime arrested and then executed the Orthodox patriarch.

    Shenouda developed a personal respect for and close working relationship with Mubarak, to whose government he and his bishops had privileged access. Initially he discouraged Copts from taking part in the demonstrations that led to Mubarak's overthrow in February 2011. The year of revolution posed new questions of identity, security and political involvement for a section of society that had always felt discriminated against. Faced with January 2012's elections to a parliament dominated by the Muslim Brotherhood and conservative Islamists, many Copts suppmore effective orted the liberal, secular Muslim-Christian Egyptian Bloc, which achieved fourth place. Others formed specifically Coptic parties, a development that Shenouda had resisted.

    He was born Nazir Gayed, the youngest of eight children in Asyut, southern Egypt, moved to Cairo at 16 and served as a novice at St Anthony's church school. In 1947, he gained a BA in history from Cairo University, fought as an officer in the Arab-Israeli war the following year and then taught English in a high school. In 1949, he graduated from the Coptic Orthodox Theological Seminary. Four years later, he began teaching at the Monastic School in Helwan and became professor of Old Testament studies. All the while he dabbled in classics and archaeology; he wrote poetry and penned newspaper opinion pieces, many on Coptic history.

    The name Copt, from the Greek for "Egyptian", now denotes indigenous Orthodox believers who make up 95% of Egyptian Christians. They maintain that the apostle Mark founded the Church of Alexandria around AD55. After an ecumenical ruling in 451, other Christians ostracised them for believing in the single nature of Christ – divine and human seen as one – a charge that Copts rejected. Arabs conquered Egypt two centuries later, although Copts remained a majority until the 12th century, when many converted to Islam. Shielded from Europe, Copts developed distinctive customs such as fasting, monasticism and the usage of liturgical Coptic, derived from the Pharaonic language of ancient Egypt.

    Gayed entered the El Suryan (St Mary) monastery in Egypt's remote western desert in July 1954. From 1956 to 1962, he lived in a cave and experienced "complete freedom and clarification". His teacher was the charismatic Father Matta el-Meskin (Matthew the Poor), later to become an opponent. Sadat offered Matta the papacy in place of Shenouda in 1981.

    Recalled from the hermit's life, Gayed became dean of the Coptic Seminary and bishop for religious education with the saintly name of Shenouda. Within seven years, enrolment of part-time students had grown tenfold.

    Shenouda was appointed personal secretary to the newly elected Pope Kyrillos VI in 1959, though briefly suspended in 1966 for radically demanding the popular election of bishops. When Kyrillos died in March 1971 he was named as a possible successor. Ritually chosen by a blindfolded boy drawing lots from among three candidates elected by church bodies, in November 1971 Gayed was enthroned as His Holiness Shenouda III, Pope of Alexandria and Patriarch of All Africa.

    More ebullient than his predecessor, Shenouda inspired the growth of churches outside Egypt – from seven in 1971 to more than 150 three decades later. The number of bishops in the Holy Synod increased from 20 to 83; four bishops were ordained in Britain, where 30,000 Egyptian Copts live.

    But life beyond the cloisters proved more perilous. Having long opposed demands to impose Islamic sharia law on Egypt, he befriended Sadat, who had been Egypt's president from 1970, and endorsed his peace initiative with Israel. But Sadat later damned Shenouda as a secessionist after Christians fought Muslims in Cairo and expatriate Copts barracked Sadat during an American visit. In September 1981, Sadat arrested Shenouda along with 1,500 other "opposition figures" including journalists and unionists, Muslim Brothers and Coptic clerics. He replaced the pope with a panel of five bishops and banished him to Wadi Natrun. A month later, Sadat was assassinated.

    Eventually Mubarak recalled Shenouda to the papal seat after intercession by visiting clerics, including Graham Leonard, then Anglican bishop of London. Vowing to be a turbulent priest no more, Shenouda told a welcoming party of 10,000 at St Mark's Cathedral: "We Christians and Muslims are like organs in one body, which is Egypt."

    He often met Egypt's supreme Muslim cleric, Sheikh Mohammed Tantawi, and championed Arab causes in international forums. He backed the Madrid conference of 1991 intended to further the Israeli-Palestinian peace process and in 2000 became the first person to win Unesco's Mandanjeet Singh prize for tolerance. For 20 years, Shenouda's Ramadan breakfasts helped repair Muslim-Coptic rifts. In 2001 he proclaimed: "Love generates love and separation generates separation."

    Shenouda visited Pope Paul VI in Rome in 1973 and signed a declaration of common faith. This marked the first meeting between Alexandrine and Roman pontiffs since 451. In 1989 he signed a similar concordat with his Orthodox brothers, and in 2000 he welcomed Pope John Paul II to Egypt. Shenouda also defended smaller, beleaguered Christian communities throughout the Middle East.

    Yet his liberalism had its limits. He said Anglican priests who converted to Catholicism had "left one error to embrace another that is worse". Cairo's Al-Ahram newspaper chided his "politically motivated" 1979 edict forbidding Egyptian Christians from visiting co-religionists in Jerusalem. His comments on Jews often sailed close to crass antisemitism and he rebuffed calls to soften Coptic strictures on divorce.

    With his voluminous beard, grand turban and ornate oriental crucifix, Shenouda's public persona could appear solemn. Then he would suddenly break into laughter, living up to his reputation as a great teller of jokes.

    Like John Paul II, the Egyptian pope seemed too innovative to some, too conservative to others. Many disliked his mild response to allegations of forced conversions of Christian girls, and to recurrent sectarian violence. Extremists killed 10 in a church in 1997; 20 more were murdered after new year 2000.

    He did criticise lenient sentences and often asked why so few Copts sat in parliament. Yet he seldom challenged the government, preferring to work behind the scenes, and upset Muslims and Copts by endorsing Mubarak's candidacy for re-election as president in 2005. The liberal Muslim analyst Ahmad al-Aswani blamed the pope for "beard-kissing and forgetting" instead of confronting an "open season on Copts".

    Shenouda's hundred books and countless sermons untangled abstruse dogma in a straightforward way. His more than 30 foreign visits included the first by a Coptic pope to the US, in 1977.

    In April 2008, overzealous Heathrow security officials frisked Shenouda while on his way to consecrating St George's Coptic Cathedral, Shephalbury Manor, Stevenage. Angry protests back in Egypt showed the respect he still commanded.

    However, his health was failing, and in June 2008 he underwent surgery in Ohio. Internal Coptic disputes went public and Shenouda seemed to lose his celebrated grip over his community.

    On 1 January last year, 23 people were killed outside a Coptic church in Alexandria. When Egypt's revolution began later that month, the sight of Christians chanting alongside Muslims in Tahrir Square, Qur'ans and crosses held aloft, momentarily dispelled fears of sectarian carnage. But order broke down after Mubarak's forced departure and 12 died as extremists attacked churches in Cairo's poor Imbaba district in May. When thousands of Copts took to the streets in October to protest against the state's recent demolition of an "unlicensed" church in Aswan, the resulting military crackdown left 27 people dead.

    Shenouda hailed the victims as martyrs, "beloved children whose blood does not come cheap". Yet he faced defiance from the Maspero Youth Union, Copts who condemned the governing SCAF, the Supreme Council of the Allied Forces. There was therefore urgency in Shenouda's call for national unity at a Christmas service in St Mark's at the beginning of January this year: "For the first time the cathedral … is packed with all types of Islamist leaders in Egypt. They all agree ... on the stability of this country, and to work with the Copts as one hand for the sake of Egypt."

    This month's visit by Muslim Brotherhood leaders to Shenouda echoed that sentiment, as did the Maspero Youth's slogan at cathedral prayers for the ailing pope: "Your people love you."

    • Pope Shenouda III (Nazir Gayed), prelate, born 3 August 1923; died 17 March 2012
    Egyptian spiritual leader of the Coptic Orthodox Church for more than 40 years

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  • regexcellent
    replied


    Ferdinand Porsche, Creator of 911 Sportscar Icon, Dies at 76

    “As creator of the Porsche 911, he established a design culture that molds our sportscars still today,” Matthias Mueller, chief executive officer of Porsche AG, said in an e- mailed statement. “His philosophy of good design is for us a legacy that we will also honor in the future.”
    Ferdinand Alexander Porsche, the inventor of the 911 sportscar, has died, at 76, Porsche AG said in an e-mailed statement today. Source: Porsche Design via Bloomberg
    A Porsche 911 Turbo sits on display at the Frankfurt Motor Show on Sept. 16, 2009. Photographer: Adam Berry/Bloomberg
    Ferdinand Alexander Porsche, the grandson of Ferdinand Porsche, who created the original Volkswagen (VOW3) Beetle, designed the first 911 in 1962. He went on to develop racecars for the German automaker until leaving the Stuttgart-based company in 1972 with other family members when Porsche was transformed into a joint stock company.
    The 911 remains the epitome of the Porsche brand, even as the carmaker, which is jointly owned by the Porsche SE holding company and Volkswagen AG (VOW3), expands beyond sports cars. The Cayenne sport-utility vehicle was the brand’s top seller last year, with triple the deliveries of the 911. The Macan, a compact SUV, is scheduled to start production next year.
    Porsche unveiled the seventh generation of the $82,100 911 in September. The 350-horsepower sportscar has a top speed of 289 kilometers per hour (179 miles per hour) and surges to 100 kilometers in 4.6 seconds.
    “He was a very special man, and the company Porsche was his life and what he stood for,” said Guenther Molter, who co- authored his father’s Ferry Porsche autobiography. “He carried on the work of his father in his own way. He realized the Porsche 911, which was his idea.”
    After leaving Porsche, Ferdinand Alexander Porsche founded the Porsche Design Studio, where he devoted himself to developing watches, eyeglasses, writing utensils and other design projects. He was a proponent of clear, austere lines.
    His credo was “design must be functional and the functionality must be visually implemented without gags that need to be explained,” according to the Porsche statement.
    Ferdinand Alexander Porsche will be interred among close family members at a ceremony at Zell am See in Austria. A public ceremony will take place at a later date, Porsche said.
    RIP

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  • -Jrabbit
    replied
    Speaking of electric guitar, Jim Marshall, creator of the Mashall Amp and known as the "Lord of Loud," has passed away at age 88.

    RIP, and thanks for all the tone...

    Leave a comment:


  • Wezil
    replied
    With only 3 hits we're falling behind the pros.

    Derby leader now has 6/20 hits
    Lee Atwater leader has 5/10 hits

    We're beating the DeathList (as usual) with 2/50

    Leave a comment:


  • Wezil
    replied


    The opening medley also sucked. Worse air guitar ever (4:00 min mark). No, the video isn't out of sync with the audio.... Capt. Kirk is.




    On topic, I have to agree with the earlier comments - He does appear to be in pretty good health so probably not a good pick.

    Leave a comment:


  • -Jrabbit
    replied
    Nothing? Not even a "where no artist has gone before"?

    Leave a comment:


  • Wezil
    replied
    Not one single Star Trek reference.

    Leave a comment:


  • -Jrabbit
    replied
    He hosted the Juno Awards last night. Gotta give him credit: he keeps working.

    Leave a comment:


  • Uncle Sparky
    replied
    I almost posted that ^ . I saw a preview of his one man show - very little singing...

    Leave a comment:


  • -Jrabbit
    replied
    Actually, his concept album, Seeking Major Tom, came out last year. Themed to the Bowie hit and replete with guest appearances from real musicians. He's also got a one-man show he's taking to Broadway.



    Not bad for an 81-year old Canuck, eh.

    Leave a comment:


  • molly bloom
    replied
    Originally posted by Uncle Sparky View Post
    I saw Shatner in person a couple of months ago. He definately has a few more years in him.
    But let us hope no more albums.

    Leave a comment:


  • Uncle Sparky
    replied
    Originally posted by Wezil View Post
    Borgnine we have. Shatner somehow escaped our attention.
    I saw Shatner in person a couple of months ago. He definately has a few more years in him.

    Leave a comment:


  • Wezil
    replied
    Originally posted by molly bloom View Post
    It has Ernest Borgnine & William Shatner...
    Borgnine we have. Shatner somehow escaped our attention.

    Leave a comment:


  • molly bloom
    replied
    Ex- angry young playwright dies:

    John Arden, who has died aged 81, was among the first of the so-called Angry Young Men to be drawn to the Royal Court theatre as a dramatist in the 1950s.

    Arden first came to public attention in 1957 when George Devine chose his The Waters of Babylon — a tragicomedy of London low-life starring Robert Stephens and Phyllida Law — for one of his Sunday night “productions without decor”. The play is punctuated with songs and abrupt changes of theatrical tone.

    He was best-known, though, for Serjeant Musgrave’s Dance (1959), written in the wake of an atrocity committed by British troops serving in Cyprus. Set in the 19th century, it concerns four Army deserters, sickened by the colonial war in which they have been fighting, who descend on a northern English town with the intention of somehow “bringing home” the brutality they have witnessed overseas.

    Though the work won praise in some quarters for its theatrical power and its use of verse and incidental ballad (Sean O’Casey called it “far and away the finest play of the present day”), it left audiences baffled about the playwright’s intentions and unsure whether the underlying message, if there was one, was about pacifism. The Sunday Times’s critic Harold Hobson described it as a “frightful ordeal”. It ran for only 28 performances and was a financial disaster.

    However, the play was soon reassessed: Hobson publicly changed his mind; it won the Evening Standard award for best play in 1960; and it became a standard on the school English curriculum. When, during the Iraq war in 2003, the Oxford Theatre Company staged a revival, audiences were reminded of a neglected talent.

    The initial mixed reaction to the piece owed much to the fact that Arden sought to bypass the convention of heroes and villains, believing that audiences with their wits about them should enjoy the absence of moral nudging from the playwright.

    In this, he not only stood apart from conventional West End plays, but also from other members of the “Angry Young Men” brigade, who rose to fame at the Royal Court under George Devine with plays clearly designed to make the audience question the state of British society.

    In his autobiography, John Osborne wrote that “Arden became an in-house joke for box office disaster”. Between 1956 and 1961 the Royal Court made about £50,000 from Osborne’s plays, but lost nearly £15,000 on Arden’s.

    Arden sought to reinstate poetic tradition, not in the elegant and self-consciously literary style of Christopher Fry but with heightened, theatrical prose and ballads, and making extensive use of song, dance, masks and puppetry. He tried for a stronger, grittier, more muscular style which mixed the formal with the natural, the concrete with fantasy. But audiences tended to find his earnestness off-putting. His writing sometimes struck a portentous note, and his refusal to make it clear where the playwright stood could be a challenge too far.

    Although he never won a wide following, Arden’s influence on other writers eventually became obvious; and the faith shown in him by the English Stage Company at the Royal Court in the 1950s helped to put him, for a short time, in the front rank of British dramatists, alongside Osborne, Wesker, Simpson and Pinter.

    The son of a glass factory manager, John Arden was born at Barnsley on October 26 1930. After Sedbergh School, where he played Hamlet, and National Service in the Intelligence Corps, he read Architecture at King’s College, Cambridge. He qualified as an architect at Edinburgh College of Art, where his first play, All Fall Down, was performed by a student group.

    He continued to write while working in an architects’ office until George Devine accepted The Waters of Babylon. Live Like Pigs, which premiered at the Court in 1958 and was directed by George Devine himself, was a welfare state comedy about a gipsy family being forced into council accommodation.

    If Arden’s writing was never “commercial”, it was sufficiently interesting artistically to attract the attention of the subsidised companies. Plays such as The Workhouse Donkey, about town hall corruption and the appointment of a fanatical chief constable, and Armstrong’s Last Goodnight (with Albert Finney as a 16th-century Scottish chieftain) were staged at Chichester in the 1960s. Both were epic in style, mixing verse and prose with ballads and enough political and moral ambiguity to keep audiences confused.

    Left-Handed Liberty (1965) was the result of a commission to celebrate the 750th anniversary of Magna Carta, and was staged at Bernard Miles’s Mermaid Theatre. In 1968 Arden’s The Hero Rises Up, a musical about Admiral Lord Nelson, earned polite reviews.

    From the mid-Sixties, Arden’s wife, the Irish actress, writer and political activist Margaretta D’Arcy, collaborated with him on his plays, and it was probably their quarrel with the Royal Shakespeare Company about the staging of The Island of the Mighty in 1972, at the Aldwych, which ended his links with the London theatre.

    A four-hour verse saga about King Arthur, derived from a television series, The Island of the Mighty was received with derision by the critics. The Ardens, who felt that the production had been slanted in favour of imperialism, ended up picketing the audience at their own play.

    Thereafter the Ardens, who lived in Galway, devoted themselves to Irish theatre and (largely) Irish themes, founding the Corrandulla Arts Centre in Co Galway and contributing frequently to community drama.

    In later life, Arden turned to writing novels and short stories. His first novel, Silence Among the Weapons, was shortlisted for the Booker prize in 1982. His Books of Bale (1988), about the English Protestant writer and churchman John Bale, appointed to the Irish see of Ossory in 1552, was seen by some as a metaphor for Arden’s own life.

    John Arden, who was a Fellow of the Royal Society of Literature, is survived by his wife and four sons. Another son predeceased him.

    John Arden, born October 26 1930, died March 28 2012
    Find information, resources and relevant links for tollbit-host.com. This domain may be for sale.


    Should you ever have the chance to see a production of 'Serjeant Musgrave's Dance' don't miss it.


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  • molly bloom
    replied
    For everyone who was (and like me still is) a fan of Vincent Price and some of his camper/darker horror films more sad news:

    Robert Fuest:

    Director who blended sophistication and sickness in the horror film The Abominable Dr Phibes

    With its mix of pop art, sophisticated humour, pulp science fiction and English eccentricity, the television series The Avengers was among the most influential and significant products of "swinging London" in the 1960s. Robert Fuest, who has died aged 84, cut his teeth on the series under the aegis of the writer-producer Brian Clemens, initially as a production designer when the show was produced "as live" in the studio in black and white and co-starred Honor Blackman with Patrick MacNee, then as director when the series had moved on to colour, film and Linda Thorson.

    As designer and director, Fuest learned how to achieve style on a budget – making a great deal of the show's famously minimalist aesthetic – and he carried this over into his best-known works as a film director, the two Dr Phibes horror movies of the early 1970s, starring Vincent Price, and the Michael Moorcock adaptation The Final Programme (1973). In 1970, he made a commercially successful literary adaptation of Wuthering Heights, with Timothy Dalton as a pin-up Heathcliff, and the highly regarded, recently remade suspense picture And Soon the Darkness.

    Fuest was born in Croydon, south London. He graduated from Wimbledon School of Art with a national diploma in design, then went on to Hornsey College of Art to study for his art teacher diploma. He did his national service in the RAF and was involved, in a tiny way, in the Berlin airlift of 1948.

    After a decade teaching illustration and lithography at Southampton School of Art, he entered the TV industry as a production designer in 1961, first working at Thames Television on The Avengers. He worked for ITV and the BBC throughout the 1960s, mostly as an art director/production designer on prestige shows including Out of This World, Armchair Theatre and the BBC Sunday Night Play. He also contributed material to the Peter Cook-Dudley Moore sketch show Not Only … But Also, as a comedy writer, and seemed drawn towards the pop art/satire world epitomised in the British cinema by the films of Richard Lester.

    In 1967, Fuest wrote, directed and provided songs for his first feature, the marriage-in-crisis comedy Just Like a Woman, starring Wendy Craig and Francis Matthews. The film ventures into freewheeling, surreal territory thanks to a Peter Sellers-esque performance from Clive Dunn as a modern architect who creates a stylish but hideous new home for the heroine. Seldom revived yet fresh and memorable, Just Like a Woman might well have been Fuest's most personal film, though his subsequent work found him gravitating towards mainstream success and a lasting cult reputation.

    Fuest then directed eight episodes of The Avengers and continued his collaboration with Clemens on And Soon the Darkness, a sunstruck thriller about two girls (Pamela Franklin and Michele Dotrice) stalked by a murderer while on a cycling holiday in France. Wuthering Heights, one of several literary classics reimagined as 1960s-style youth romances in the wake of Franco Zeffirelli's Romeo and Juliet, and John Schlesinger's Far from the Madding Crowd – was made for American International Pictures, which was at that time best known for beach-party musicals and Roger Corman's Edgar Allan Poe adaptations starring Price.

    Wuthering Heights was AIP's biggest success to that date – rather to the surprise of studio chief Samuel Z Arkoff, who tried in vain to persuade Fuest to deliver a sequel – and Fuest was then teamed with Price, who had at that time grown weary of his horror stardom and become prickly to work with. Rewriting without credit a simple parade-of-deaths film initially called The Curse of Dr Pibe, Fuest delivered The Abominable Dr Phibes (1971), in which a disfigured vaudeville organist-theologist kills off, in gruesome manners derived from the Plagues of Egypt ("Aaargh, locusts!"), the doctors who failed to save his wife's life.

    Aside from the relentless black humour of the premise, Fuest and Price worked hard on an unusual blend of sophistication and sickness, playing up the art deco sets and befuddled succession of mostly doomed British character actors. The film was a big enough hit to re-enthuse Price and AIP and led to an even more stylish and acid-dipped follow-up, Dr Phibes Rises Again (1972), which did well, but not well enough to ensure further instalments.

    The Final Programme, with Jon Finch as Moorcock's futuristic dandy Jerry Cornelius and an absurdist take on the end of the world, is a remarkable achievement, though the author did not care for it and audiences did not initially take to its odd qualities. After directing an entertaining American horror movie, The Devil's Rain (1975) – with Ernest Borgnine and William Shatner – Fuest mostly worked in television in the US and UK, inevitably directing episodes of The New Avengers but also odd projects such as Revenge of the Stepford Wives; an hour-long version of Poe's The Gold-Bug; and children's programs in the US and the UK.

    From the mid-80s, he returned to teaching, as senior professor at the London International Film School, and then became a full-time painter, specialising in seascapes and maritime subjects. He was also a well-liked guest at film festivals and cult movie events.

    He is survived by his wife, Jane, and their daughter Rebecca, and his former wife, Gillian, and their sons Adam, Ben and Aaron.

    • Robert Fuest, director, production designer and artist, born 30 September 1927; died 21 March 2012
    Director who blended sophistication and sickness in the horror film The Abominable Dr Phibes


    I recommend quite highly both 'Dr. Phibes' films and the France-set thriller 'And Soon The Darkness'- which shows just how unsettling beautiful countryside and bright sunshine can be. 'The Devil's Rain' is great fun- I used to own a copy on video. It has Ernest Borgnine & William Shatner, so it's an American ham and Canadian bacon double treat (no, I really do like it).

    Gettin' the Phibes vibes:

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