Beauty product – Not to get on any person event, but near are a few beauty errors you could be creation all day. A number of of these no-no’s are famed, like pumping your makeup. But there are others that take wing under the sensor. Grow the fast fixes to the flubs you didn’t level know you were binding when you read on. www.mixvel.com/beauty-product-you-can-be-using-wrong/
An interview with my daugter & I: bewaremag.com/editorial-3-separes-fox-harvard/
(translation from the French below)
– If I understood well, you’ve been separated from your father for a long time. How was it to meet him again and what has changed since?
We have actually been separated since the day I was born because I was adopted, so when we met it was really like we were meeting for the first time. It’s not that anything has changed it’s that everything was new. It was really interesting getting to know him because we were almost the same people growing up. We had no contact until I received a letter from him through the adoption agency when I was seventeen, yet we did or became interested in the same things around the same age. When we were both around six or seven we became interested in Japanese culture, when we were in our teens we both starting getting into cooking and photography, and throughout both of our lives we were always drawing or painting.
– Were you familiar with his work before you’d met and if so what were your opinions of it?
Yes, he sent me his website shortly before we met. I was very impressed with the creativity and originality and was especially taken by the unique themes of his shoots. All of his shoots have something special about them, so no two look the same. His style has something about it that just captures your attention.
– Was it he or you who had the idea to shoot together?
He first suggested that we should shoot soon after we met. It took me a little while to get comfortable with the idea because I hadn’t shot with anyone except friends, and that was a couple years ago. I also didn’t have any professional experience so I was nervous about how well I would do.
– Had you ever done any modeling before shooting with him? Would you like it to lead you to shooting with other people?
The only modeling I’ve done prior to this shoot was with friends who were practicing their photography, nothing with anyone professional. There aren’t a lot of modeling opportunities in Florida. I would definitely like this to lead to more shoots with other people. I’ve wanted to model since I was thirteen and this is the perfect opportunity to start a possible modeling career.
– What does this shoot represent to you, about your relationship with your father? Are you planning on shooting again and if so what would your ideas be for those?
It represents our creativity coming together, because the shoot was a collaboration of both of our ideas and personalities. Yes we are planning on shooting again. My ideas for upcoming shoots would most likely involve even more creativity to make it especially unique. I want to brainstorm ideas with Fox to come up with something really different that will capture people’s attention.
– What do you think about his body of work ? How do you feel about some of the more graphic or controversial pieces and have they affected you or your relationship with anyone else you know?
I admire his style of work, it’s unique and original, and that’s what’s gotten him so far in his career. I don’t mind the graphic or controversial pieces because nudity doesn’t bother me. I don’t understand why some people are so offended by the bodies they were born with. The human body is beautiful and should be appreciated, not shamed. Some of my friends and family members were uncomfortable with his work at first but it didn’t take long for them to change their minds so it never really affected any of our relationships. The key to changing their minds is explaining to people how illogical it is to question Fox and our relationship just because he takes nude pictures. It doesn’t make any sense to me to be offended by a naked body, something we all have, and actually are, yet for some reason we try to cover up and shame ourselves and others.
– Does that kind of subject matter affect the way you view your relationship with your father (is it awkward or does it help you view him more as a person rather than a parent, etc.) ? Does seeing yourself in his images make you view yourself differently?
It definitely helps me to view him more as a person and has made me realize how alike we are in our ideas and beliefs. We both hold the belief that it’s illogical to shame the human body like it’s unnatural. It’s made me appreciate him more since he isn’t afraid of doing something risky even if some people may not like it. Seeing myself in his images makes me view myself a little differently but definitely in a good way. I see the potential I have for doing something I’ve always wanted to do.
– Anything else you’d like to say? Anything special to add?
I would like to add how proud I am of my father and how far he has made it in his career. Making a living from being an artist is nearly impossible, especially in America where the arts aren’t as appreciated as they are in other countries. His originality is truly the driving force in his success, which is something many people lack today.
I would also like to add how special my relationship with Fox is to me. We have tried to get in contact for years but with an unorganized and lazy adoption agency between us, it wasn’t easy. They had told Fox they were sending us letters and leaving us voice mails but we never received anything. They also held a letter Fox wrote to me for four years before actually sending it. I’m glad we finally met though and he has definitely changed me as a person for the better. Even though he couldn’t be around until I was eighteen, he still has managed to guide me as a parent. There will be many more photo shoots after this, I can assure you.
From Fox Harvard:
– Please tell us a bit about yourself/your work.
I was born in Tampa and raised in Sarasota, actually. Sarasota’s considered the “cultural coast” so that’s where the arts became the norm for me; most of our school field-trips were to places like the Sarasota Opera, the Sarasota Ballet, the Ringling Museum, etc. My parents noticed what they saw as a drawing talent and enrolled me in arts classes when I was around 8 or so; I also started private painting tutors on the weekends and afterschool. At fifteen I was accepted at a private performing arts high school, and went on to study studio arts for a few years at university.
I started shooting loosely when I was 16; my grandfather gave me my first camera when I was a sophomore in high school (my father was into photography when he was younger as well, but he only dabbled in it when I was a kid). My focus then was large-scale mixed media so I wasn’t shooting photography for photography’s sake but rather as a secondary element included in my mixed media work. I’ve only been shooting “seriously” for about five & 1/2 years or so now–and that started mainly because the camera was the most convenient tool to work with when I gave up my studio–but now I think I actually prefer it as my main creative outlet. It’s ceaselessly challenging and admittedly the hardest medium I’ve ever worked in as far as being able to successfully execute what I imagine internally with any satisfaction; I’m nowhere near where I’d like to be with it yet.
– Why do you think your work has evolved the way it has?
A mixture of circumstance and choice, to be frank. A lot of which has nothing to do with art, so buckle in.
As much as I loved painting and creating mixed media pieces I never bought into the bullshit idea of being a starving artist. I guess my wake up call came when I realized that my tastes and the income that lifestyle provided weren’t exactly relative. After seeing how disillusioned or just plain oblivious the other kids were to this fact I really wondered why the hell business classes weren’t a requirement for dreamers in school.
Right after my senior year in high school the girl I was with at the time got pregnant. And due to youth, timing, and other unpleasant circumstances beyond my control we were forced to separate and give her up for adoption. It was absolutely the hardest fucking thing I’d ever done–unimaginably tough on me. Horrific anxiety, guilt, panic attacks–the lot. I still have sketchbooks from that time filled with dream sequences that I’d frantically scribbled down in detail after being blasted out of sleep by night terrors so lucid & vivid that some of them left me rattled for what seemed like hours, unable to move from bed until I’d figured out what I’d just dreamt wasn’t real. I’ve always had certain obsessive elements to my personality, which is genuinely helpful in the way I create, but when coupled with reliving disturbing events isn’t pleasant, to say the least. Having something akin to hyperthymesia on top of that only compounds the trauma. A lot of people view it as an intriguing novelty but it’s more a curse than anything else; having to relive things in Technicolor detail on a video loop that you’d give anything to be able to erase or forget. I normally try to bury it by categorizing what’s really worth replaying, which gives me the tendency to forget peripheral things that I should be remembering. Anyway, for a while I withdrew from everyone I loved; I fought with my parents, I left home & lived out of my car for a while, sponging off friends & family for food or places to stay, and after a while eventually regained some semblance of normalcy. As ridiculous as it sounds, for a few years–regardless of whom I was seeing or what I was doing–the only thing that gave me any real consolation and peace of mind was art. On a side note, it wasn’t a conscientious decision at all, but looking back on my work at the time, the imagery of children–especially that of little girls—began appearing more & more in the final pieces during those years. Not all the time, to be sure, but enough to have taken notice of its relative symbolism.
When I finally started attending college I figured any degree would look good on a resume and hacked away at a Studio Arts major for a few years while being the director at a local gallery. Since paintings don’t sell I shot the odd commissioned work or adult gig while managing the gallery (since it didn’t pay shit either) before having another epiphany that almost any degree–outside law or medicine–wasn’t really worth fuck all. I never cared for frozen dinners or the idea of sharing a two-bedroom apartment with four people so about 2001 or so I quit amidst a shakeup at the gallery, to snatch up a good corporate sales job that had come along. I sold off all my equipment, fell in love with the girl I was seeing, and moved across the state with her to take the job.
I worked in sales making pretty good money while living with my girlfriend in Tampa for about seven or eight years–and all the meantime going mad from the stress and hours of the job; and worse for it because for the first time in my life I had no creative outlet. In the middle of all this, around 2004 or so, I was thrown for a loop–shocked to receive a random envelope out of nowhere in the mail one day from the adoption agency with pictures of my daughter at eight years of age. Grainy, low-quality scanned prints of her gleefully playing with her sister in the driveway of their house, dancing near the guard-rail on the deck of a Disney cruise-ship at night, out at sea, cavorting around the kitchen in mom’s high heels and dresses, marching past the camera as the apathetic & uninterested cheerleader at school, waving those pom-poms with a precocious vitriol and purpose seemingly unintended by her instructor…Jesus fucking Christ, I cherished those pictures like nothing else existed in the world. Every fiber of my being sang as the guilt of what I felt I’d done and the weight of a non-creative life dissolved away by the mere thought that my daughter was out there–and happy. Finally, some proof–something tangible–any denial or fear I’d harbored for the last decade was virtually gone. Apparently my ex had been contacted by the adoption agency we’d used with a package of photographs and a letter from her new family and managed to track me down after years of no communication through a daisy chain of disconnected and forgotten friends (for whatever reason the agency had neglected to keep me updated with anything at all, regardless of how many times I had optimistically updated them with any change of address or phone number I’d had).
For different reasons–even before we’d moved to Tampa–I had become absolutely disgusted with the art world, and our apartment–big as it was–was too nice to function as a working studio, so painting on the scale I was used to was out of the question, and so I abandoned it. For other reasons the relationship wasn’t as healthy as it should have been towards the end, which was largely my fault, and as a result it completely dissolved right around the time I’d had enough of working for that particular company. In desperation I thought a house & a marriage might salvage what was left, but for obvious reasons, didn’t.
I was beyond madly in love with her and when we parted ways half of everything I was left with her. It was the most devastating heartbreak I’d ever suffered. Not creating for almost ten years was the second worst mistake I’d ever made in my life and I had no idea who I was anymore or where I wanted to be–and there I was, stuck in a big empty house with no heart left and no soul to create. I’d grown up on the beach in Sarasota and for the first time in my life had absolutely no sense of any home. I dumped the house & immediately moved back to the water. Getting serious about creating again was probably the one main thing that helped me regain my strength, my sanity & focus enough to be able to function in any self-respectable capacity. So, in 2008 I went to Paris for a few months to shoot.
The divorce was finalized so I came back and settled into another sales job, this time in the beauty industry. Between that and shooting, my new love enabled me to create the images that led me, eventually, to present day. Mind you, my older work was a bit more salacious than what I’m producing today but everything evolves–as it should. I know I’m not currently producing art with a capital “A” exactly, but as an artist, if I weren’t constantly evolving in that manner I’d be doing something wrong. And more to the point, I’d be doing a disservice to myself, and those that follow my work.
My current occupation isn’t the most poetic, noble, or virtuous thing one could say they do for a living, but I couldn’t really care at this point, to be honest. It affords me the ability to do what I love; and more importantly to spend time with the person I love more than anything else in life–my daughter, Katie–and I truly love her more than life itself.
– You told me this series was with your daughter, from who you’ve been separated for a long time. How was it shooting with her?
Pretty emotional. I tried to mask it with concepts and themes and locations that were personal to her, but truth be told it was something I’d always longed to do. Before we’d ever shot we had drawn together on numerous occasions and even aside from the rate at which her skill level accelerated, that shared act alone was immensely rich and permanently bonding; so much so it became a much-welcomed catharsis. Short of a few very specific pieces of photojournalism or combat photography, before receiving her pictures for the first time I’d never been emotionally affected by a photograph like that before. I mean, I’d always respected photography as a fine-art medium (Sally Mann, Jock Sturges, Robert Mapplethorpe, etc.), but that was based more on aesthetic and beauty rather than something that really socked you right in the fucking gut. When I originally received the pictures of her as a child it made me realize exactly how powerful the medium could be for me; even from the perspective of simple, low-quality, family photo-album snapshots. And if that sort of emotive character could be invoked by plain, unassuming, unembellished pieces like that, then that was the medium I had to attempt to master.
The entire time Katie was growing up I had no contact with her, even though I wished to beyond desperation. I had no idea where she was living, who the family was, or what life was like for her. I had some vague knowledge of where her family lived (Orlando, FL) when she was adopted but no concrete certainties. Out of my own insecurities I hoped/feared she’d look exactly like me; I kept an eye out for her everywhere I went. Every time I was in a mall, or at Disneyworld, or at an art show or in the supermarket–anywhere out in public around that area–I was always scanning the crowds for a little girl who looked like me, in hopes of making a connection with her. I even went out of my way to make trips to Orlando when I had some weird feeling I might see her across a restaurant or in a theme park somewhere. I knew it was a bit unhealthy at the time but it was something I simply had to do in order to keep my sanity. It was haunting for along while but in the end a bit of a relief knowing the biggest regret of my life might also have been the wisest choice I’d ever made.
To be honest, I feel I failed at being able to invoke the power and monumental range of emotive quality I had hoped for when I dreamt about what I could create with her–and no fault of hers, to be certain. To be clear, I’m not saying I don’t like them–to the contrary I like them quite a lot–I just feel they could be so much more emotional to me, so much stronger. Maybe restrained by inhibition, maybe held back by social mores, maybe held back by skill or concept or medium or fear–too many factors to even begin to say. But then again, I’m not sure any medium could truly express the manner in which I feel for Katie; I’d need a lifetime with her just to be able to replicate what Sally Mann did with her own children. But failure is good; it means you’re trying new things–pushing yourself, venturing into areas you haven’t been before (including those within yourself). And I’m grateful for that failure–maybe it will teach one of us something more valuable than what we gained while working together. Moreover it’s an absolute driving force to get me to keep pushing the envelope with her until I get something that makes me stop thinking about what else there could be.
– Your photography is often sunny & warm. Tell us more about your inspirations and the atmosphere you like the most to shoot in?
It’s interesting you have that perception. I never analyze my work as I’m creating it at all, but rather only after the fact. Even in the sunniest and brightest of pictures I always viewed my finished work as possessing something struggling to break out of a certain melancholy or darkness. Most of the figures seem to posses something subtle, albeit a kind of quiet desperation or heaviness. Maybe that’s just my projection or misperception.
As far as inspiration goes, because I was more into painting & drawing growing up than I was into photography, I don’t really take much influence from photographers; I took more influence from painters. And I’d like to think a lot of the older photographers probably did too (your Helmut Newtons, your Robert Doisneaus, etc.).
I’m a big cinema buff and was so into movies growing up it was ridiculous. I find the aesthetic of a lot of my stuff tends to look like the old films I loved as a kid; especially the black and white work. Most of the time I didn’t even give a shit about the plot or the dialogue, I was just more enamored with the "look" of the film itself. I’d watch hours of them back to back–old Japanese works, French new-wave films–long before I understood what they were about. I remember seeing stuff on cable TV by Shohei Imamura, Kaneto Shindo, Francois Truffaut, Federico Fellini… and not even realizing who or what I was looking at until I’d rediscovered them as a teenager; I was just taken aback by the beauty in the manner of the way they’d been shot. To be honest, I’ve always derived more inspiration from old directors than I have photographers, even now. I liked the darkness and the stark contrast of their black & whites, the really shallow depth of field on certain close-ups, etc. I get a lot of comments from people saying my stuff appears theatrical or cinematic; it’s quite flattering, and I imagine that that’s the genesis of what you’d call my “inspiration”.
As far as the editorial aspect of it goes, for the modern I’d definitely have to tip my hat to Ellen Von Unwerth, Paolo Roversi, Chadwick Tyler, Steven Klein, and the late Corinne Day—for the classic work I’d have to go with the afore mentioned Helmut Newton, Lillian Bassman, and some of Bob Richardson’s work (his son Terry was phenomenal in the early 2000’s, like the work he did for Sisley, but lately he’s kind of raking over the same old coals). For the more artsy side of photography: Man Ray, Sally Mann, Doisneau, Jock Sturges’ earlier 8×10 work in particular, Robert Mapplethorpe, and Henri Bresson—the usual. For artists growing up: Robert Rauschenberg, Antoni Tapies, Joseph Beuys, and Marcel Duchamp are the first that spring to mind.
The atmosphere I like shooting in per se includes anything on location in natural light; I abhor most studio work at this point. I especially love being able to shoot in the model’s home environment (provided it’s interesting enough). I love being able to incorporate something personal from the model’s own life into the work–I think it gives it more of a personal feel that’s not biased just to the photographer; I think it makes the image more unique to the model as well as looking stronger in the sense that it’s not just some transparent concept plunked down by the photographer.
– What about music? What are you listening to, these days?
Again, I always took more inspiration from cinema than photography when creating, and I although I can’t stand shooting with music, I can’t edit at all without it. And I think because of that I take a lot from classical music while working–a lot of operatic pieces in particular. But I think you’d find me listening to Ravel, Rachmaninoff, Camille Saint-Saëns, Eric Satie, Verdi, Donizetti…and usually the same opus or movement on repeat, over and over–I’m captivated by the depth and by the enormity of the mood and swing that’s there throughout the same piece. Movies and music–the only two things I adore in repetition–anything else is monotonous and a monumental fucking aggravation to me. That being said, I’m all over the map really–I don’t adhere to any one thing in particular. Radiohead, The Love Language, Muddy Waters, EMA, Peaches, Childish Gambino, Odesza, Billie Holiday…no particular order to those. Beck’s new Morning Phase is still holding its grandeur no matter how much I listen to it. I wish Washed out would release a catchier album again; Bjork too. Seems their last couple have been using the same bag of tricks and it’s all starting to sound the same. Even Purity Ring (I’d kill to direct my own really libidinous video version of their song “Lofticries”). There’s a lot of Sinatra in my shuffle too. And Louis Prima, for his mercurial energy.
– A little word for Beware?
I wish I didn’t have to sleep, so the improvement & learning process was continuous and without gaps. I wish I had access to a broader range of people than I have now. I want to be able to shoot editorials on the scale of the grand masters of oil painting one day. I wish I were in love again. I want to cement my reputation as a professional and a gentle man. I want to go forward being able to do well for the things I regrettably cannot reverse. I want to be able to create non-stop and share it with as many people as I can. In the end I want to be able to feel I put some sort of substance back into style and make beauty a noble thing, not just superficial; regardless of what form it comes in. I need to do all of these things. And I think perhaps I will continue to do as I have been, until a better method makes itself known. But most importantly, I know now that no matter how great my love has been for all of these things, I’ve known no greater happiness than the love I have for my daughter. I can only hope the rest comes close to equaling that one day.
Mingle Media TV’s Red Carpet Report team were invited to come out and see the awesome Swag Bag that Distinctive Assets put together to take the sting out of not getting an Oscar at this years 86th Academy Awards. From fashion to luxury accommodations and chocolate, they thought of everything one would need to feel better about being nominated but not getting an Oscar this year.
The 2014 Distinctive Assets “Everybody Wins” Swag Bag valued at over $80,000!
We have the complete list of goods below and links to the websites where you can find this swag – cause we know you’ll want to try some of these goodies out too! Here’s what’s in the bag:
Chocolate soothes all wounds, so these talented nominees will be served exquisitely savory wine-infused chocolate from Chicago-based Chocolatines. In the spirit of gifts that give back, a 10,000 meal donation of Oscar host Ellen DeGeneres’ Halo natural pet food to the animal shelter of their choice through Halo’s partnership with Freekibble.com. Additionally, nominees like Meryl Streep, Jennifer Lawrence, Bradley Cooper and Leonardo DiCaprio will enjoy Hydroxycut Gummies + Lean Protein Shakes + Protein Bars, innovative Swiss-made Slow Watches, Betty Jane Homemade Candies, Acure Organics cutting-edge skincare, Jan Lewis Designs bangle bracelets + silk neckties, 2011 California Cabernet from Cannonball Wine Company, Narrative Clip wearable automatic camera + app, PolarLoop activity tracker, Bee Free Honee made from US-grown organic apples, Blossom Blends bespoke teas, MACE pepper gun, fine art from Gizara Arts, Jitseu Handbags, the LOADED book series, Steamist Total Sense Home Spa System, Aviv 613 luxury vodka, Wrag Wrap luxury sustainable gift wrap, Dosha Pops, VETVIK “The Covert” luxury leather iPhone5 cases, HISY Bluetooth camera shutter remote for Apple devices, Mane ‘n Tail haircare plus Conceived by Nature styling products, The Green Garmento Gargantote + reuseable dry cleaning bag, Le Petit Cirque aerial lessons, Naked Luxury Condoms, Epic Pet Health electrolyte therapy, M3K Beauty products for exceptionally vibrant skin, DrainWig, acupuncture sessions with Heather Lounsbury, personal training sessions at Huntley Drive Fitness, Rouge Maple “best maple syrup you’ve ever tasted”, Slimware portion-control plates, °Coolway “no damage” Go Pro Blow Dryer, Simon’s Happy Pet Shampoo, Wonder Glow Organic Lipgloss from Makeup Studio by Diane Capt, lifetime subscription to Headspace.com, CherryT Knit & Co. cable knit mittens, Krystal Klear Water whole house water filtration system, the O-Shot procedure by Dr. Charles Runels, ARTAS Robotic Hair Transplant System performed by Dr. William Yates, Max Martin luxury American-made shoes, and deluxe vacation packages to the Canadian Rockies (Rocky Mountaineer), Hawaii (Koloa Landing Resort), Las Vegas (PR Plus), Mexico (Imanta Resorts) and Japan (Walk Japan).
Get the Story from the Red Carpet Report Team, follow us on Twitter and Facebook at: twitter.com/TheRedCarpetTV www.facebook.com/RedCarpetReportTV www.redcarpetreporttv.com www.youtube.com/MingleMediaTVNetwork
About Distinctive Assets
Distinctive Assets is a niche marketing company offering celebrity placement, product introduction and branding opportunities within the entertainment industry. The breadth of Distinctive Assets’ services transcends award shows and has organically grown over the past decade to include Celebrity Seeding, Corporate Gifting, Event Production, Public Relations, Product Development and Strategic Marketing. From Fortune 100 companies to start-ups, our clients benefit from customized marketing solutions that leverage unparalleled experience as well as access to top celebrities, premier events, influential media and strategic partners. For more info visit: www.distinctiveassets.com
Hạ Long Bay (Vietnamese: Vịnh Hạ Long, About this sound listen, literally: "descending dragon bay") is a UNESCO World Heritage Site, and a popular travel destination, in Quảng Ninh Province, Vietnam. Administratively, the bay belongs to Hạ Long City, Cẩm Phả town, and the part of Vân Đồn District. The bay features thousands of limestone karsts and isles in various sizes and shapes. Hạ Long Bay is a center of a larger zone which includes Bái Tử Long bay to the northeast, and Cát Bà islands to the southwest. These larger zones share similar geological, geographical, geomorphological, climate, and cultural characters.
Hạ Long Bay has an area of around 1,553 km2, including 1,960–2,000 islets, most of which are limestone. The core of the bay has an area of 334 km2 with a high density of 775 islets. The limestone in this bay has gone through 500 million years of formation in different conditions and environments. The evolution of the karst in this bay has taken 20 million years under the impact of the tropical wet climate. The geo-diversity of the environment in the area has created biodiversity, including a tropical evergreen biosystem, oceanic and sea shore biosystem. Hạ Long Bay is home to 14 endemic floral species and 60 endemic faunal species.
Historical research surveys have shown the presence of prehistorical human beings in this area tens of thousands years ago. The successive ancient cultures are the Soi Nhụ culture around 18,000–7000 BC, the Cái Bèo culture 7000–5000 BC and the Hạ Long culture 5,000–3,500 years ago. Hạ Long Bay also marked important events in the history of Vietnam with many artifacts found in Bài Thơ Mount, Đầu Gỗ Cave, Bãi Cháy.
500 years ago, Nguyễn Trãi praised the beauty of Hạ Long Bay in his verse Lộ nhập Vân Đồn, in which he called it "rock wonder in the sky". In 1962, the Ministry of Culture, Sports and Tourism of North Vietnam listed Hạ Long Bay in the National Relics and Landscapes publication. In 1994, the core zone of Hạ Long Bay was listed by UNESCO as a World Heritage Site according to criterion vii, and listed for a second time according to criterion viii.
The name Hạ Long is derived from the Sino-Vietnamese 下龍, meaning "descending dragon".
Before 19th century, the name Halong Bay had not been recorded in the old books of our country. It has been called An Bang, Luc Thuy, Van Don… Late 19th century, the name Halong Bay has appeared on the Maritime map of France. "Haiphong News" published in French, has reported: " Dragon appears on Halong Bay". The story can be summarized as follows: In 1898, lieutenant Lagoredin captain of Avalangso met a couple of giant sea snake on Halong Bay three times. Not only the lieutenant but also many other sailors saw those species. The European thought that those animals looked like Asian dragon. Maybe the appearance of strange animals led to the name of Quang Ninh sea area today: Halong Bay
According to local legend, when Vietnam had just started to develop into a country, they had to fight against invaders. To assist the Vietnamese in defending their country, the gods sent a family of dragons as protectors. This family of dragons began spitting out jewels and jade. These jewels turned into the islands and islets dotting the bay, linking together to form a great wall against the invaders. Under magics, numerous rock mountains abruptly appeared on the sea, ahead of invaders’ ships; the forward ships struck the rocks and each other. After winning the battle, the dragons were interested in peaceful sightseeing of the Earth, and then decided to live in this bay. The place where the mother dragon descended was named Hạ Long, the place where the dragon’s children attended upon their mother was called Bái Tử Long island (Bái: attend upon, Tử: children, Long: dragon), and the place where the dragon’s children wriggled their tails violently was called Bạch Long Vỹ island (Bạch: white-color of the foam made when Dragon’s children wriggled, Long: dragon, Vỹ: tail), present day Trà Cổ peninsula, Móng Cái.
The bay consists of a dense cluster of some 1,600 limestone monolithic islands each topped with thick jungle vegetation, rising spectacularly from the ocean. Several of the islands are hollow, with enormous caves. Hang Đầu Gỗ (Wooden stakes cave) is the largest grotto in the Hạ Long area. French tourists visited in the late 19th century, and named the cave Grotte des Merveilles. Its three large chambers contain large numerous stalactites and stalagmites (as well as 19th century French graffiti). There are two bigger islands, Tuần Châu and Cát Bà, that have permanent inhabitants, as well as tourist facilities including hotels and beaches. There are a number of beautiful beaches on the smaller islands.
A community of around 1,600 people live on Hạ Long Bay in four fishing villages: Cửa Vạn, Ba Hang, Cống Tàu and Vông Viêng in Hùng Thắng commune, Hạ Long city. They live on floating houses and are sustained through fishing and marine aquaculture (cultivating marine biota), plying the shallow waters for 200 species of fish and 450 different kinds of mollusks. Many of the islands have acquired their names as a result of interpretation of their unusual shapes. Such names include Voi Islet (elephant), Ga Choi Islet (fighting cock), Khi Islet (monkey), and Mai Nha Islet (roof). 989 of the islands have been given names. Birds and animals including bantams, antelopes, monkeys, and lizard also live on some of the islands.
Almost all these islands are as individual towers in a classic fenglin landscape with heights from 50m to 100m, and height/width ratios of up to about six.
Another specific feature of Halong Bay is the abundance of lakes inside the limestone islands. For example, Dau Be island has six enclosed lakes. All these island lakes occupy drowned dolines within fengcong karst.
Hạ Long Bay is located in northeastern Vietnam, from E106°56′ to E107°37′ and from N20°43′ to N21°09′. The bay stretches from Yên Hưng district, past Hạ Long city, Cẩm Phả town to Vân Đồn District, bordered on the south and southeast by the Gulf of Tonkin, on the north by China, and on the west and southwest by Cát Bà Island. The bay has a 120 km long coastline and is approximately 1,553 km² in size with about 2,000 islets. The area designated by UNESCO as the World Natural Heritage Site incorporates 434 km² with 775 islets, of which the core zone is delimited by 69 points: Đầu Gỗ island on the west, Ba Hầm lake on the south and Cống Tây island on the east. The protected area is from the Cái Dăm petrol store to Quang Hanh commune, Cẩm Phả town and the surrounding zone.
The climate of the bay is tropical, wet, sea islands, with two seasons: hot and moist summer, and dry and cold winter. The average temperature is from 15 °C- 25 °C, and annual rainfall is between 2 meters and 2.2 meters. Hạ Long Bay has the typical diurnal tide system (tide amplitude ranges from 3.5-4m). The salinity is from 31 to 34.5MT in the dry season and lower in the rainy season.
SOI NHU CULTURE (16,000–5000 BC)
Located in Hạ Long and Bái Tử Long are archaeological sites such as Mê Cung and Thiên Long. There are remains from mounds of mountain shellfish (Cyclophorus), spring shellfish (Melania), some fresh water mollusc and some rudimentary labour tools. The main way of life of Soi Nhụ’s inhabitants included catching fish and shellfish, collecting fruits and digging for bulbs and roots. Their living environment was a coastal area unlike other Vietnamese cultures, for example, like those found in Hòa Bình and Bắc Sơn.
CAI BEO CULTURE (5000–3000 BC)
Located in Hạ Long and Cát Bà island, its inhabitants developed to the level of sea exploitation. Cái Bèo culture is a link between Soi Nhụ culture and Hạ Long culture.
History shows that Hạ Long Bay was the setting for local naval battles against Vietnam’s coastal neighbors. On three occasions, in the labyrinth of channels in Bạch Đằng River near the islands, the Vietnamese army stopped the Chinese from landing. In 1288, General Trần Hưng Đạo stopped Mongol ships from sailing up the nearby Bạch Đằng River by placing steel-tipped wooden stakes at high tide, sinking the Mongol Kublai Khan’s fleet.
During the Vietnam War, many of the channels between the islands were heavily mined by the United States navy, some of which pose a threat to shipping to this day.
GEOLOGY AND GEOMORPHOLOGY
In 2000, the UNESCO’s World Heritage Committee has inscribed the Hạ Long Bay in the World Heritage List according to its outstanding examples representing major stages of the Earth’s history and its original limestone karstic geomorphologic features. The Hạ Long Bay and its adjacent areas consist of a part of the Sino-Vietnamese composite terrane having its development history from pre-Cambrian up to present day. During Phanerozoic, terrigenous, volcanogenic and cherty-carbonate sediments containing in abundance graptolites, brachiopods, fishes, corals, foraminiferas, radiolarias, bivalves and flora, separated one from another by 10 stratigraphic gaps, but the boundary between Devonian and Carboniferous has been considered as continuous. The limestone karstic geomorphology of the bay was developed since Miocene, especially the cone-shaped hills (fengcong), or isolated high limestone karst towers (fenglin) with many remnants of old phreatic caves, old karstic foot caves, marine notch caves form magnificent limestone karst landforms as unique on the world. The Quaternary geology was developed through 5 cycles with the intercalation of marine and continental environments. The present Hạ Long Bay, in fact, appeared after the Middle Holocene maximum transgression, leaving ultimate zone of lateral undercutting in the limestone cliffs bearing many shells of oysters, having the 14C age as 2280 to >40,000 y. BP. Geological resources are abundant: anthracite, lignite, oil shale, petroleum, phosphate, limestone and cement additives, kaolin, silica sand, dolomite, quartzite of exogenous origin, and antimony, mercury of hydrothermal origin. Besides, there still are surface water, groundwater and thermal mineral water on the shore of the Hạ Long – Bái Tử Long Bays and other environmental resources.
In terms of marine geology, this area is recorded as an especially coastal sedimentary environment. In the alkaline seawater environment, the chemical denudation process of calcium carbonate proceeds rapidly, creating wide, strangely shaped marine notches.
The bottom surface sediments are various from clay mud to sand, however, silty mud and clay mud are dominated in distribution. Especially, the carbonate materials originated from organisms make up from 60-65% sedimentary content. The surface sediments of coral reefs are mainly sand and pebbles of which the carbonate materials occupy for more than 90%. The intertidal zone sediments are various from clay mud to sand and gravel depending to distinguished sedimentary environments such as mangrove marshes, tidal flats, beaches etc. At the small, but wonderfully beautiful beaches, the sand sediments may be dominated quartz or carbonate materials.
The sediment layers of intertidal zone, the upper sea bed with a plain surface conserving ancient rivers, systems of caves and it’s sediments, traces of ancient marine action forming distinctive notches, beaches and marine terraces, mangrove swamps are important evidence of geological events and processes taking place during Quaternary.
HISTORY OF TECTONICS
Hạ Long Bay has experienced at least 500 million years in various geological states of orogeny, marine transgression and marine regression. During the Ordovician and Silurian periods (500-410 million years ago), Hạ Long Bay was deep sea. During the Carboniferous and Permian periods (340-250 million years ago), Hạ Long Bay was at shallow sea level.
The dominated uplift movement of neotectonic and recent tectonic influenced deeply on topography of this area, and the present landscape of sea-islands was formed around 7 or 8 thousand years ago by the sea invasion during Holocene transgression begun at about 17-18 thousand years ago. Particularly from the Holocene time, from about 11,000 years ago Cat Ba – Hạ Long area has much archaeological evidence connecting variations in sea levels with the development of ancient cultures such as the Soi Nhu and Ha Long cultures.
KARST GEOMORPHOLOGY VALUE
Due to a simultaneous combination of ideal factors such as thick, pale, grey, and strong limestone layers, which are formed by fine-grained materials; hot and moist climate and slow tectonic process as a whole; Hạ Long Bay has had a complete karst evolution for 20 million years. There are many types of karst topography in the bay, such as karst field.
Hạ Long Bay is a mature karst landscape developed during a warm, wet, tropical climate. The sequence of stages in the evolution of a karst landscape over a period of 20 million years requires a combination of several distinct elements including a massive thickness of limestone, a hot wet climate and slow overall tectonic up lift. The process of karst formation is divided into five stage is the formation of the distinctive do line karst. This is followed by the development of fengcong karst can be seen in the groups of hills on Bo Hon and Dau Be Inland. These cones with sloping side average 100m in height with the tallest exceeding 200m. Fenglin karst is characterised by steep separate towers. The hundreds of rocky islands with form the beautiful and famous landscape of the Bay are the individual towers of a classic Fenglin landscape where the intervening plains have been submerged by the sea. Most towers reach a height of between 50 and 100m with a height to width ratio of about 6. The karst dolines were flooded by the sea becoming the abundance of lakes that lie within the limestone islands. For example, Dau Be island at the mouth of the Bay has six enclosed lakes including those of the Ba Ham lakes lying within its fencong karst. The Bay contains examples of the landscape elements of fengcong, fenglin and karst plain. These are not separate evolutionary stages but the result of natural non – uniform processes in the denudation of a large mass of limestone. Marine erosion created the notches which in some places have been enlarged into caves. The marine notch is a feature of limestone coastline but, in Ha Long Bay, it has created the mature landscape.
Within Ha Long Bay, the main accessible caves are the older passages that survive from the time when the karst was evolving though its various stages of fengcong and fenglin. Three main types of caves can be recognized in the limestone islands (Waltham, T. 1998):
Remnants of old phreatic caves
Old karstic foot caves
Marine notch caves
The first group of caves is old phreatic caves which include Sung Sot, Tam Cung, Lau Dai, Thien Cung, Dau Go, Hoang Long, Thien Long. Nowadays, these caves lie at various high levels. Sung Sot cave is on Bo Hon island. From its truncated entrance chambers on allege high on the cliff, a passage of more that 10m high and wide descends to the south. Tam Cung is a large phreatic fissure cave that developed in the bedding planes of the limestone dividing the fissure cave into three chambers. Lau Dai is a cave with a complex of passages extending over 300m opening on the south side of Con Ngua island. Thien Cung and Dau Go are remnants of the same old cave system. They both survive in the northern part of Dau Go island at between 20 and 50m above sea level. Thien Cung has one large chamber more that 100m long, blocked at its ends and almost subdivided into smaller chambers by massive wall of stalactites and stalagmites. Dau Go is a single large tunnel descending along a major set of fractures to a massive choke.
The second group of caves is the old karstic foot caves which include Trinh Lu, Bo Nau, Tien Ong and Trong caves. Foot caves are a ubiquitous feature of karst landscapes which have reached a stage of widespread lateral undercutting at base level. They may extend back into maze caves of stream caves draining from larger cave systems within the limestone. They are distinguished by the main elements of their passages being close to the horizontal and are commonly related to denuded or accumulated terraces at the old base levels. Trinh Nu, which is one of the larger foot caves in Ha Long Bay with its ceiling at about 12m above sea level and about 80m in length, was developed in multiple stages. Bo Nau, a horizontal cave containing old stalactite deposits, cuts across the 25o dip of the bedding plane.
The third group is the marine notch caves that are a special feature of the karst of Ha Long Bay. The dissolution process of sea water acting on the limestone and erosion by wave action crates notches at the base of the cliffs. In advantageous conditions, dissolution of the limestone allows the cliff notches to be steadily deepened and extended into caves. Many of these at sea level extend right though the limestone hills into drowned dolines which are now tidal lakes.
A distinguishing feature of marine notch caves is an absolutely smooth and horizontal ceiling cut through the limestone. Some marine notch caves had been not formed at present sea level, but old sea levels related to sea level changes in Holocene transgression, event to Pleistocene sea levels. Some of them passed preserved the development of old karstic foot cave in mainland environment or preserved the remnants of older phreatic caves. One of the most unusual features of Ha Long Bay is the Bo Ham lake group of hidden lakes and their connecting tunnel – notch caves in Dau Be island. From the island’s perimeter cliff a cave, 10m wide at water level and curving so that it is almost completely dark, extends about 150m to Lake 1. Luon cave is on Bo Hon island and extends 50m though to an enclosed tidal lake. It has a massive stalactite hanging 2m down and truncated at the modern tidal level. It has passed though many stages in its formation.
The karst landscape of Ha Long Bay is of international significance and of fundamental importance to the science of geomorphology. The fenglin tower karst, which is the type present in much of Ha Long Bay, is the most extreme form of limestone landscape development. If these karst landscapes are broadly compared in terms of their height, steepness and number of their limestone towers, Ha Long Bay is probably second in the entire world only to Yangshou, in China. However, Ha Long Bay ha also been invaded by the sea so that the geomorphology of its limestone is lands are, at least in part, the consequence of marine erosion. The marine invasion distinguishes Ha Long Bay and makes it unique in the world. There are other areas of submerged karst towers which were invaded by the sea, but none is as extensive as Ha Long Bay.
TIMELINE OF GEOLOGIC EVOLUTION
Some of the most remarkable geological events in Hạ Long Bay’s history have occurred in the last 1,000 years, include the advance of the sea, the raising of the bay area, strong erosion that has formed coral, and, pure blue and heavily salted water. This process of erosion by seawater has deeply engraved the stone, contributing to its fantastic beauty. Present-day Hạ Long Bay is the result of this long process of geological evolution that has been influenced by so many factors.
Due to all these factors, tourists visiting Hạ Long Bay are not only treated to one of the natural wonders of the world, but also to a precious geological museum that has been naturally preserved in the open air for the last 300 million years.
Halong Bay is host to two ecosystems: a tropical, moist, evergreen rainforest ecosystem; and a marine and coastal ecosystem. The bay is home to seven endemic species: Livistona halongensis, Impatiens halongensis, Chirita halongensis, Chirita hiepii, Chirita modesta, Paraboea halongensis and Alpinia calcicola.
The many islands that dot the bay are home to a great many other species, including (but likely not limited to): 477 magnoliales, 12 pteris, 20 salt marsh flora; and 4 amphibia, 10 reptilia, 40 aves, and 4 mammalia.
Common aquatic species found in the bay include: cuttlefish (mực); oyster (hào); cyclinae (ngán); prawns (penaeidea (tôm he), panulirus (tôm hùm), parapenaeopsis (tôm sắt), etc.); sipunculoideas (sá sùng); nerita (ốc đĩa); charonia tritonis (ốc tù và); and cà sáy.
With an increasing tourist trade, mangroves and seagrass beds have been cleared and jetties and wharves have been built for tourist boats.
Game fishing, often near coral reefs, is threatening many endangered species of fish.
Local government and businesses are aware of problems and many measures have been taken to minimize tourism affect to the bay environment for sustainable economic growth like introducing eco friendly tours and introducing tight waste control on resorts.
AWARDS AND DESIGNATIONS
In 1962, the Vietnam Ministry of Culture, Sport and Tourism designated Hạ Long Bay a ‘Renowned National Landscape Monument’.
Hạ Long Bay was first listed as a UNESCO World Heritage Site in 1994, in recognition of its outstanding, universal aesthetic value. In 2000 the World Heritage Committee additionally recognised Hạ Long Bay for its outstanding geological and geomorphological value, and its World Heritage Listing was updated.
In October 2011, World Monuments Fund included the bay on the 2012 World Monuments Watch, citing tourism pressures and associated development as threats to the site that must be addressed. The goal of Watch-listing is to promote strategies of responsible heritage-driven development for a sustainable future.
In 2012, New 7 Wonders Foundation officially named Halong Bay as one of New Seven Natural Wonders of the world.
Hạ Long Bay is also a member of the Club of the Most Beautiful Bays of the World.
In writings about Hạ Long Bay, the following Vietnamese writers said:
Nguyễn Trãi: "This wonder is ground raising up into the middle of the high sky".
Xuân Diệu: "Here is the unfinished works of the Beings…Here is the stones which the Giant played and threw away".
Nguyên Ngọc: "…to form this first- rate wonder, nature only uses: Stone and Water…There are just only two materials themselves chosen from as much as materials, in order to write, to draw, to sculpture, to create everything…It is quite possible that here is the image of the future world".
Ho Chi Minh: "It is the wonder that one cannot impart to others".
Phạm Văn Đồng: "Is it one scenery or many sceneries? Is it the scenery in the world or somewhere?".
Nguyễn Tuân: "Only mountains accept to be old, but Hạ Long sea and wave are young for ever".
Huy Cận: "Night breathes, stars wave Hạ Long’s water".
Chế Lan Viên:
"Hạ Long, Bái Tử Long- Dragons were hidden, only stones still remain
On the moonlight nights, stones meditate as men do…"
Lord Trịnh Cương overflowed with emotion: "Mountains are glistened by water shadow, water spills all over the sky".
Hạ Long bay’s inhabitants have developed numerous tales explaining names given to various isles and caves in the bay.
Đầu Gỗ cave (literally: "the end of wooden bars" cave): these wooden bars in this cave are the remnants of sharped wooden columns built under the water level by the order of Trần Hưng Đạo commander in order to sink Mongolian invaders’ ships in the 13th century.
Kim Quy cave (literally: "Golden Turtle" cave): it is told that the Golden Turtle swam toward the Eastern Sea (international name: South China Sea) after returning the holy sword which had assisted King Lê Thái Tổ in the combat against Ming invaders from China. Next, with the approval of the Sea King, Golden Turtle continued to fight against monsters in this marine area. The turtle became exhausted and died in a cave. Consequently, the cave was named after the Golden Turtle.
Con Cóc isle (literally: Frog isle): is a frog- like isle. According to ancient tales, in a year of severe drought, a frog directed all animals to the Heaven and protested against the God. They demonstrated in favour of making rain. As a result, the God must accept the frog as his uncle. Since then, whenever frogs grind their teeth, the God has to pour water down the ground.
Another of the most famous Shakespeare Love Poems, Sonnet 130 is strange when you first look at it. It shows Shakespeare seemingly in conflicting minds about his mistress (the dark lady). The other poems he writes are descriptive, compare with the way he describes the fair youth in sonnet 18. However, its is indeed a satire in nature and there are clever facets to this poem. He talks about the mistress as having lots of bad qualities, bad breath, frizzy hair, dull complexion. But in the end, the writer still loves her.
Straight away the tone is set, and the writer compares the mistress as being nothing like the sun (compare with “gold complexion” of the fair youth in sonnet 18). With the next lines, he seems to be criticising or even mocking her. It almost seems like the writer is confession of pitying the mistress and is almost ashamed of himself for being with her. The writer says “her breasts are dun” showing that her skin is dark and dull, and white skin was perceived as beautiful at the time. He describes her hair as black wires, and again black hair was seen as common and not beautiful. This first quatrain is strange and seems to have a certain lack emptiness and lack of emotion coinciding with it.
The writer continues to criticise her, saying there is no colour in her cheeks, and that her breath smells bad. Its poems continues to sound hollow and sad. At this point we still do not know where this poem is leading. The next quatrain reveals all
The 3rd quatrain opens with “I love to hear her speak”. This is typical of Shakespeare’s style to completely change the tone at the start of a quatrain. “I love to hear her speak” is an honest compliment, and may be starting to convey the idea that for all her outer faults, It is the mistress’s inner beauty that the writer loves. However the the next line seems to go back being derisive and harsh. “But music hath a more pleasing sound” It leaves us wondering why he has so suddenly gone back to being negative about the mistress. The next 2 lines seem to say “my mistress is no goddess”.
But to understand this we must understand the contemporary poets of the time for example, Thomas Watson, Michael Drayton, and Barnabe Barnes. They all wrote over-the-top, highly romanticised sonnets, with lots of elaborate description and they were not really honest. In sonnet 130, Shakespeare has given an honest description. The writer is saying what he truly sees and feels about the mistress. This is completely unlike the much earlier sonnet 18 where the writer seems to be wearing rose tinted glasses and describes the “fair youth” with all manner of descriptive adjectives.
Shakespeare is satirising and almost making a mockery of his contemporary writers. He thinks they look silly by always by being so over the top and elaborate (a bit like how the media nowadays sensationalises all their stories), and slates them for their dishonesty.
People do not want to be complemented on qualities they do not really have. If you have tanned skin, you do not want to be complemented on how white and fair your skin looks, but maybe you would like to be complemented in such as a way as “Wow your skin is a lovely shade of caramel”. Here, although the writer seems to criticise the mistress at times, he is really complementing her on qualities she really does have.
Final Rhyming Couplet
The writer ends the poem with a confession of love. For all her strange qualities which he has listed int the poem before, He still loves her. It is interesting to note that in Shakespearean English, the word belied can mean falsely represented and also sexually mounted. As this whole poem is a satire, Shakespeare could be subtly accusing his rival poets of coercion, using flattering words to get their mistresses in bed.
Here is sonnet 130, another of my favourite Shakespeare love poems, with the quatrains already separated for you to make it easier to read.
My mistress’ eyes are nothing like the sun;
Coral is far more red than her lips’ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground:
Final Rhyming Couplet
And yet, by heaven, I think my love as rare
As any she belied with false compare.
Sonnet 130 is one of the most clever Shakespeare Love Poems. It is interesting to see all the different facets of Shakespeare poetry, and this poem can be interpreted 2 ways. You can compare this with the simple description in Sonnet 18.
first attempt at making a beauty dish let me know what you think. it still needs some work this is just basic with a standard 60w bulb going to eventually modify so i can fit my 430ex ii or any other flash to it. if you have any tips really would like to hear from you.
With generous, community-minded support from American Public University System. (The sentiments in this production do not in any way reflect modern-day policies of APUS). More at apus.edu
1_Mother of thine stone fountains
Mother of thine stone fountains; my heart goes back with the setting sun; my heart, my heart is in the mountains. (piano).
2_The “Most Excellent” Hamilton Hatter
The “Most Excellent” Hamilton Hatter (1856-1942) Part 1 (music)
3_Once enslaved near Charlestown, Virginia
Once enslaved near Charlestown, Virginia, Hamilton Hatter
4_seizes opportunities to learn and overcome
seizes opportunities to learn and overcome. At one college he builds young minds and even its buildings –
5_then launches another college in his beloved West Virginia
then launches another college in his beloved West Virginia again building minds and buildings.
6_Hatter’s descendant Joyceann Gray continues
Hatter’s descendant Joyceann Gray continues: The third event that I’d like to share with you from the Hatter family history is about Hamilton Hatter. Hamilton is the son of Rebecca and Franklin Hatter and he was born in 1856. Hamilton was a very industrious young man and did everything he could in order to make money because his desire was to gain an education He learned to do house framing, make plows – he was very, very handy. (music) But first he had to overcome.
7_But first he had to overcome. Overcoming in Hamilton Hatter’s Charlestown, Va. – 1865 to 1867.
But first he had to overcome. Overcoming in Hamilton Hatter’s Charlestown, Va. – 1865 to 1867.
8_His almost savage answers did not move me
His almost savage answers did not move me; but all the while I looked with compassion at his fine young face, and that pendant idle sleeve. (music)
9_and I can rejoice now in the belief that THE SCHOOL WILL GO ON
"and I can rejoice now in the belief that THE SCHOOL WILL GO ON!” (music)
10_The children were of both sexes, ranging from three to twenty years of age
The children were of both sexes, ranging from three to twenty years of age, neatly and comfortably clad, well fed, healthy, and cheerful,
11_with an uncommon array of agreeable and intelligent countenances peering over the tops of the desks
with an uncommon array of agreeable and intelligent countenances peering over the tops of the desks. (crickets, dog bark)
12_Northern journalist John Trowbridge came to Charlestown in the early summer of 1865
Northern journalist John Trowbridge came to Charlestown in the early summer of 1865, a war-worn town with its ruins and seething and
13_six months before Hatter’s school was opened there.
six months before Hatter’s school was opened there. (train sound) Trowbridge arrived at Charlestown in about May, 1865 expecting nothing in particular.
14_He came by train from Harper’s Ferry
(He came by train from Harper’s Ferry a hub of Federal army activity). (women wail)
15_Old and infirm African-Americans arrived there
Old and infirm African-Americans arrived there along with women with children, some “cut loose” by their onetime owners and they sought medical help, food and shelter. (women wail crickets)
16_Able-bodied freedmen were in demand
Able-bodied freedmen were in demand and they were paid well to get the corn and wheat planted). (train)
17_One morning I took the train up the Valley to Charlestown
One morning I took the train up the Valley to Charlestown, distant from Harper’s Ferry of eight miles. The railroad was still in the hands of the government.
18_There were military guards on the platform
There were military guards on the platforms, and about an equal mixture of Loyalists and Rebels within the cars.
19_Furloughed soldiers, returning to their regiments
Furloughed soldiers, returning to their regiments at Winchester or Staunton, occupied seats with
20_Confederate officers just out of their uniforms
Confederate officers just out of their uniforms. The strong, dark, defiant, self-satisfied face typical of the second-rate “chivalry,” and the good-natured,
21_shrewd, inquisitive physiognomy of the Yankee speculator
shrewd, inquisitive physiognomy of the Yankee speculator going to look at Southern lands,
22_were to be seen side by side, in curious contrast.
were to be seen side by side, in curious contrast. There also rode the well-dressed
23_wealthy planter, who had been to Washington to solicit pardon for his treasonable acts
wealthy planter, who had been to Washington to solicit pardon for his treasonable acts, and
24_the humble freedman returning to the home
the humble freedman returning to the home from which he had been driven by violence.(train)
25_Mothers and daughters of the first families of Virginia
Mothers and daughters of the first families of Virginia sat serene and uncomplaining in the atmosphere of mothers and daughters of late their slaves or their neighbors’, but now citizens like themselves, free to go and come, and as dearly entitled to places in the government train as the proudest dames of the land. We passed through a region of country
26_stamped all over by the devastating heel of war
stamped all over by the devastating heel of war. (raven) For miles
27_not a fence or cultivated field was visible
not a fence or cultivated field was visible.
28_It is just like this all the way up the Shenandoah Valley,
“It is just like this all the way up the Shenandoah Valley,” said a gentleman at my side, a Union man from Winchester.
29_The wealthiest people with us are now the poorest
“The wealthiest people with us are now the poorest." Harper’s Magazine Writer and Illustrator
30_David Hunter Strother, whose wife came from Charlestown, wrote
David Hunter Strother, whose wife came from Charlestown, wrote of just one such landowner who meets in a store a one-time slave of his: (banjo)
31_Not long ago a country gentleman and one of his old slaves met in a store
Not long ago a country gentleman and one of his old slaves met in a store, where they had gone to transact some business and make purchases. They had parted in 1862, but recognized and greeted each other with the cordiality of ancient friendship, instinctively the while taking stock of each others appearance and deportment. The negro was hale, sleek, and well dressed, and in settling up a smart account which stood against him on the merchants books he showed a porte monnaie plethoric with the results of a summers steady work. The master’s heart was warmed at the evident prosperity of his old servant. (banjo)
32_He used to think him drunken, lazy, and tricky
He used to think him drunken, lazy, and tricky, and had prophesied his ruin when left to his own devices. Unlike Jonah and most other prophets of evil, he was not embittered at the non-fulfillment of his predictions, but cordially invited Harry out to see the family and the old place. (banjo). The freedman’s observations had not been so satisfactory. The old master was roughly clad in ex-Confederate gray, faded, stained, threadbare, and frayed at the button-holes; his hair and beard grizzled to suit, and his face haggard and care-worn. His pocketbook resembled a dried North Carolina herring. In making his purchases he was scrutinizing and skimpy, and once
33_obscurely hinted at credit, which the shopkeeper failed to hear
obscurely hinted at credit, which the shopkeeper failed to hear. (banjo) That afternoon
34_Harry walked out to the old place
Harry walked out to the old place, and it saddened his heart to see it. The noble woodland that used to be so jealously preserved, (banjo) and was always teeming with possums and coons, had been hacked and haggled until it had nearly disappeared.
35_36_The barn was gone
The barn was gone, and only some charred and blackened stumps indicated where it once stood. The house was paint-less and dilapidated, the enclosures broken, gates off their hinges, or rudely mended with rails or boards; the shade trees worm-eaten and dying at the top, the lawn and borders hirsute with weeds and suckers. (banjo) But still, as of yore, a
37_a hospitable smoke was pouring out of the kitchen chimney
hospitable smoke was pouring out of the kitchen chimney, and the proprietor was ready with a cheerful and friendly welcome.
38_Harry respectfully dropped his hat
Harry respectfully dropped his hat upon the porch floor, while he nervously fumbled for a package in his coat pocket. "I say, Mister Charles, do you still use tabaccy ?" (The negro now carefully abstains from the master and mistress in his address.)
39_Oh yes, Harry. And that reminds me here’s a pound of tobacco
"Oh yes, Harry. And that reminds me here’s a pound of tobacco and a pipe I got for you in town. "Harry looked confounded, and then, shaking with deferential hilarity,
40_excavated a package of like character from his own pocket.
excavated a package of like character from his own pocket. (banjo) Trowbridge continued:
41_I suggested that farms, under such circumstances, should be for sale at low rates.
I suggested that farms, under such circumstances, should be for sale at low rates. "They should be; but
42_your Southern aristocrat is a monomaniac on the subject of owning land.
your Southern aristocrat is a monomaniac on the subject of owning land. He will part with his acres about as willingly as he will part with his life. But everything is being revolutionized now.
43_Northern men and northern methods are coming into the Valley as sure as water runs down hill
Northern men and northern methods are coming into the Valley as sure as water runs down hill. (train)
44_It is the greatest corn, wheat and grass country in the world
It is the greatest corn, wheat and grass country in the world. The only objection to it is that
45_in spots the limestone crops out a good deal
in spots the limestone crops out a good deal.” (train) At the end of a long hour’s ride,
46_we arrived at Charles Town
47_interest to me as the place of John Brown’s martyrdom
we arrived at Charles Town, chiefly of interest to me as the place of John Brown’s martyrdom. (music)
48_We alighted from the train on the edge of boundless unfenced fields
49_unfenced fields, into whose melancholy solitudes the desolate streets emptied themselves
We alighted from the train on the edge of boundless unfenced fields, into whose melancholy solitudes the desolate streets emptied themselves – rivers to that ocean of weeds. The town resembled to my eye some unprotected female sitting, sorrowful on the wayside,
50_in tattered and faded apparel, with unkempt tresses fallen.jpg
in tattered and faded apparel, with unkempt tresses fallen negligently about features which might once have been attractive. (music)
51_On the steps of a boarding house I found an acquaintance.jpg
52_whose countenance gleamed with pleasure “at sight,” as he said, “of a single loyal face in that nest of secession.jpg
On the steps of a boarding house I found an acquaintance whose countenance gleamed with pleasure “at sight,” as he said, “of a single loyal face in that nest of secession.”
53_He had been two or three days in the place waiting for luggage which had been miscarried.jpg
He had been two or three days in the place waiting for luggage which had been miscarried. While Jefferson County, West Virginia is still small, the sentiment toward secession throughout the County before the Civil War varied widely, with
54_the hotbed of secessionist sentiment in the area around Charlestown
the hotbed of secessionist sentiment in the area around Charlestown and adjacent large farms. (mandolin)
55_They are all Rebels here – all rebels!
“They are all Rebels here – all rebels!” he exclaimed as he took his cane and walked with me. “They are a pitiable poverty-stricken set, there is no money in the place, and scarcely anything to eat.
56_We have for breakfast salt-fish, fried potatoes and treason
We have for breakfast salt-fish, fried potatoes and treason. Fried potatoes, treason, and salt-fish for dinner. At supper, the fare is slightly varied, and we have treason, salt-fish potatoes, and a little more treason.
57_My landlady’ s daughter is Southern fire incarnate.jpg
My landlady’ s daughter is Southern fire incarnate; and she illustrates Southern politeness by abusing Northern people and the government from morning ‘till night, for my especial edification. Sometimes I venture to answer her, when she flies at me, figuratively speaking, like a cat. The women are not the only out-spoken Rebels, although they are the worst.
58_The men don’t hesitate to declare their sentiments
The men don’t hesitate to declare their sentiments, in season and out of season.” (mandolin).
My friend concluded with this figure:
59_The war feeling here is like a burning bush with a wet blanket wrapped around it
“The war feeling here is like a burning bush with a wet blanket wrapped around it. Looked at from the outside, the fire seems quenched. But just peep under the blanket and there it is, all alive and eating, eating in. The wet blanket is the present government policy; and
60_every act of conciliation shown the Rebels
every act of conciliation shown the Rebels is just letting in so much air to feed the fire.” (mandolin)
61_A short walk up into the center of town.jpg
62_John Browns trial andhanging became symbols to soldiers during the Civil War.jpg
A short walk up into the center of the town took us to the scene of John Brown’s trial. (music, gavel, wagon),
63_John Brown’s body lies a mouldering in the grave.jpg
Oh John Brown’s body lies a moulderin’ in the grave, While weep the sons of bondage whom he ventured all to save; But tho he lost his life while struggling for the slave,
64_his soul is marching on.jpg
His soul is marching on. Glory,
65_Glory Glory hallelujah.jpg
66_John Brown Hanged.jpg
glory, hallelujah (humming, drums)(eerie music) It was a consolation to see that
67_the jail had been laid in ashes.jpg
the jail had been laid in ashes, and that the
68_court-house, where the mockery of justice was performed.jpg
69_a ruin abandoned to rats and toads
court-house, where the mockery of justice was performed, was a ruin abandoned to rats and toads. (toads) Four mossy white brick pillars, still standing, supported a riddled roof, through which God’s blue sky and gracious sunshine smiled.(music) The main portion of the building had been literally torn to pieces.
70_In the floorless hall of justice.jpg
In the floorless hall of justice, rank weeds were growing. Names of Union soldiers were scrawled along the wall. No torch had been applied to the wood-work, but the work of destruction had been
71_performed by hilarious soldier boys.jpg
performed by the hands of (laughter) hilarious soldier-boys ripping up floors and pulling down laths and joists to the tune of “John Brown” – the swelling melody of the song and the accompaniment of crashing partitions, reminding the citizens who thought to have destroyed the old hero, that his soul was marching on. (eerie music,Glory, glory hallelujah). As we were taking comfort, reflecting how unexpectedly at last justice had been done at that court-house, (horse whinny,wagon) the townspeople passed on the sidewalk,
72_“daughters and sons of beauty,” for they were mostly a fine-looking, spirited class.jpg
73_a fine-looking, spirited class.jpg
“daughters and sons of beauty,” for they were mostly a fine-looking, spirited class; one of whom, at a question which I put to him, stopped quite willingly and talked with us. I have seldom seen a handsome young face, a steadier eye, or more decided pose and aplomb, neither have I ever seen the outward garment of courtesy so plumply filled out with the spirit of arrogance. His brief replies spoken with a pleasant countenance,
74_yet with short, sharp downward inflections, and were like pistol shots.jpg
yet with short, sharp downward inflections, and were like pistol shots. Very evidently the death of John Brown, and the war that came swooping down the old man’s path to avenge him, and to accomplish the work wherein he failed, were not pleasing subjects to this young southern blood.
75_and no wonder his coat had an empty sleeve.jpg
And no wonder. His coat had an empty sleeve. The arm which should have been there had been lost fighting against his country. His almost savage answers did not move me; but all the while
76_I looked with compassion at his fine young face
I looked with compassion at his fine young face, and that pendant idle sleeve. (music)
77_He had fought against his country; his country had won; and he was of those who had lost
78_all they had been madly fighting for, and more, – prosperity, prestige and power.jpg
He had fought against his country; his country had won; and he was of those who had lost, not arms and legs only, but all they had been madly fighting for, and more, – prosperity, prestige and power.
79_His beautiful South had been devastated.jpg
80_her soul drenched with the best blood
His beautiful South was devastated, and her soil drenched with the best blood of her young men. Whether regarded as a crime or a virtue, (mandolin) the folly of making war upon the mighty North was now demonstrated, and
81_the despised Yankees had proved conquerors of the chivalry of the South.jpg
82_May well your thoughts be bitter
the despised Yankees had proved conquerors of the chivalry of the South. “Well may your thoughts be bitter,” my heart said, as I thanked him for his information. (mandolin) To my surprise he seemed mollified, his answers losing their explosive quality and sharp downward inflection. He even seemed inclined to continue the conversation and as we passed we left him on the sidewalk looking after us wistfully, as if the spirit working within him had still no word to say different from any he had yet spoken. What his secret thoughts were, standing there with his dangling sleeve, it would be interesting to know. (mandolin)
83_Walking through the town we came to.jpg
84_Here we engaged a bright young colored girl.jpg
Walking through town we came to other barren and open fields on the further side. Here we engaged a bright young colored girl to guide us to the spot where John Brown’s gallows stood. (music) She led us into the wilderness of weeds waist-high to her as she tramped on, parting them before her with her hands. The country all around us lay utterly desolate without enclosures, and without cultivation. We seemed to be striking out into the rolling prairies of the West, except that these fields of ripening and fading weeds had not the summer freshness of the prairie-grass. A few scattering groves skirted them; and here and there a fenceless road drew its winding, dusty line away over the arid hills.
85_“This is about where it was,” said the girl
“This is about where it was,” said the girl, after searching some time among the tall weeds. (music)