#clare abbot

[yestolerancepro]

Tolerance Project extra Thank you for the music Part 2 Classic Cowboys to Classical music

Introduction

Hello there Ben Brown here and welcome to the 2nd Chapter of a blog that looks at how we created the soundtrack for the Tolerance film as we join part 2 Robert is trying to get to a Job interview and Julie has an ungrateful boss to deal with

4 minutes 13 seconds Robert has to get to a job interview, but finds it hard work getting there. He misses his taxi, then a bus and he narrowly avoids getting run over. He is saved by a passer-by, played by Dan McTiernan, who was also our first Assistant Director. When Robert is about to be run over you can hear the Jaws theme for the first time. You hear it again when Robert meets the infamous Mr Grosenberg.

Again we went with the John Williams original the famous theme which we all know and love is called main title/first victim.

To learn more about the original Jaws 1975 click here

I always felt a bit sorry for John Williams his record companies always seemed to a bit slow when releasing single versions of his hit themes. He missed out on a sure hit with his Star Wars theme in 1977, when a disco cover version of the main theme by a band called Meco entered the UK charts at number 7 and a number 1 hit in the US

You can find a video about that version by clicking here https://href.li/?https://www.youtube.com/watch?v=GAjuvI6sX2U&list=PL17vqAEJv6CV1syq4_fFKgBwSqGdJzH9z&index=264&t=135s

His original version used in the film spent 2 weeks in the US charts reaching the top ten

To learn more about the original Star Wars click here https://www.youtube.com/watch?v=j8_7IAP-biU

Like wise a cover version of his Jaws theme became a UK top 30 hit in 1975 John wouldn’t have a hit under steam till his Superman theme entered the UK top 40 in 1978

As Robert makes his way to the Bus stop we here People are strange a song by the Doors from their 2nd album Strange days The song peaked at number 12 in the BillBoard hot 100 US charts in 1967.

it later featured in the Horror film the lost boys from 1987.

When it was covered by Echo & The Bunnymen reaching #29 in the UK charts. The song was produced by Ray Manzarek, who as part of the Doors played Keyboards on the original track and on the cover version, its this version from the lost boys that we used in the Tolerance film

To learn about the making of The Lost Boys film click here https://www.youtube.com/watch?v=i4wGnXH4DOI&t=4s

8 minutes 24 seconds On her way to work Julie is past by a car which parks in a disabled space. Julie is not happy when she realises that the person parked in the space is not disabled, but is in fact her boss, Mrs Jones, played by Kate Faulkner. Julie daydreams about what she would like to do to her boss, leading to a spoof of The Good, The Bad and The Ugly. 

The Version used in the Tolerance film is a cover from an an unknown artist  and was not by Ennio Morricone or Hugo Montenegro.

In 1968 Hugo Montenegro released a cover version of the good the bad and the Ugly recorded on a Moog synthesizer it was big hit on both sides of the Atlantic a number 1 in the UK and a top 10 single in the US hitting number 2 in the US hot 100  It was held off from the top spot by another cinematic song: Simon & Garfunkel's "Mrs. Robinson." from the film The Graduate

To listen to the original Good the Bad and ugly main theme by Ennio Morricone click here (6) The Good, the Bad and the Ugly • Main Theme • Ennio Morricone - YouTube to listen to the cover version by Hugo Montenegro click here "The Good, The Bad and The Ugly" by Hugo Montenegro and His Orchestra

The film's soundtrack was also a big hit reaching number 4 in the US album charts 

To learn more about the Good the bad and the ugly click here

11 minutes 19 seconds We cut to Julie, who is unhappy in her work. Mrs Jones tells her that she wants five copies of the work action plan and she needs them now. She later tells Julie that she can have the morning off, but first Julie has to tackle the monster photocopier. We chose the classical music, Car O Fortuna - Carmina Burana, by Carl Orff for the background music to this scene. This track is taken from my mums CD collection thanks mum ! 

 Carmina Burana is a cantata composed in 1935 and 1936 by Carl Orff, based on 24 poems from the medieval collection Carmina Burana. Its full Latin title is Carmina Burana: Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis ("Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magical images"). It was first performed by the Oper Frankfurt on 8 June 1937. It is part of Trionfi, a musical triptych that also includes Catulli Carmina and Trionfo di Afrodite. The first and last sections of the piece are called "Fortuna Imperatrix Mundi" ("Fortune, Empress of the World") and start with "O Fortuna".

14 minutes 29 seconds Robert goes into town to try and get a birthday card for Julie, but finds some of the shops and cash machines inaccessible. Does anybody know what the drum and bass music is here? Please let me know, so I can add it to the soundtrack playlist

17 minutes 29 seconds

Odeon Cinema sequence and the last of our film spoofs - this time to An Officer and a Gentleman. So it was only right when spoofing that film we use Up where we belong from the 1982 film. The song a duet by Joe Cocker and Jennifer Warnes it plays out in all its glory on its original chart release it was a top ten smash in the UK a number one in the US and it also won a Golden Globe A Grammy Award and an Oscar for best song.

19 mins 12 seconds as Julie and Robert make there way into the Odeon Cinema the instrumental track Green Onions can be heard recorded in 1962 by Booker T. & the M.G.'s. Described as "one of the most popular instrumental rock and soul songs ever, its also  one of "the most popular R&B instrumentals of its era", the tune is a twelve-bar blues with a rippling Hammond M3 organ line by Booker T. Jones that he wrote when he was 17.

It started life as a B side the instrumental will become a soul standard when its first released on the US charts on the 11 August 1962 where it reaches no 3  

It first appeared on the UK Singles Chart on December 15, 1979, following its use in the film Quadrophenia; it peaked at No. 7 on January 26, 1980, and stayed on the chart for 12 weeks

So Robert gets the job at the cinema and we see a montage of shots of him enjoying his new role to the music of The Professionals theme by Laurie Johnson The popular TV show ran on the ITV network for six series between 1977-1983 I like the scene but I would have used the classic Pearl and Dean Cinema Music.

Laurie Johnson passed away recently you can read the obituary by clicking here Laurie Johnson: The Avengers theme composer dies - BBC News

 If you have read and liked this blog please consider giving a small donation towards the Tolerance project by clicking on the above link

Notes

This blog has been compiled from various sources including deep breath Ability not Ability a Producers Commentary Part 1 in the Beginning Ability not Ability a Producers Commentary Part 2 Transport Ability not Ability a Producers Commentary Part 3 Employment Ability not Ability a Producers Commentary Part 4 Accessability Tolerance Project goes into Lockdown and Happy Valentines day from the Tolerance project

Thanks to Wikipedia for some of the musical background notes

This new edition also includes new making of documentaries for Star Wars Lost Boys The Good the bad and the ugly thanks to Minty’s comedic arts

Some material has been included from the Justin Lewis book Don’t Stop The Music Thanks to Google images for the pictures and Ian Medley for the Tolerance film screen grabs

Pictures

Jaws poster from 1975

The Meco artwork for the Star Wars theme cover version

Artwork for the Doors album Strange Days

Artwork for People are Strange covered by Echo and the Bunnymen for the lost boys in 1987

Poster for the Good the Bad and the ugly

Artwork for Mrs Robinson by Simon and Garfunkel

Artwork for the Good the Bad and the ugly Soundtrack

Carl Orff

Screengrab Julie (Clare Abbot) about to face the monster photocopier

Artwork for Up where we belong from 1982 from an Officer and a Gentleman

Artwork for the Booker T and the MGs single Green Onions

Quadrophina Poster

Publicity photo for The Professionals  

[katastrophic04]

I’m having serious Kindgon brain rot that I need help with! I have some ideas for fics that I’m offering up to anyone who wants to take inspiration from my ideas!

I love ABO dynamics so my thoughts are omega Mel and alpha Frank.

Some type of situation develops in the Pitt during the night shift/day shift hand over where for *safety* the staff need to know if there any omegas in the pitt. Cue Mel being the only omega on staff. (High powered jobs like doctors attract alphas). Robby is like “nah we don’t have any omegas working here”. Dana is like “wrong according to this list from HR. We have 1 omega on staff with us.” Everyone is looking around like 👀 I’m picturing a situation with Mel like in Derry Girls when Clare says “I’m the wee lesbian” but with Mel raising her hand like “I’m the wee omega”. Frank obviously almost combusts. No one suspected Mel was an omega (she’s on very expensive blockers). Santos makes some funny/unprofessional about this being the reason Mel is Frank’s favorite.

Not sure where it should go from there. 🤷🏼‍♀️

If any is inspired by this idea please let me know so I can read your wonderful fic! Also let me know if my 2nd ABO Kindgon brain worm would be of interest to anyone. Please comment or feel free to DM me! 🤗

My thoughts for the others designations:

Robby/alpha

Abbot/alpha

Santos/alpha

Samira/beta

Victoria/beta

McKay/beta

Garcia/alpha

Dana/alpha

Whittaker/beta

Collins/???

Mateo/beta

[the-mediaeval-monk]

Hey! Thanks so much for sharing that list of monastic-themed fiction. Would you mind also sharing some good non-fiction titles on monastic masculinity? (I saw in one of your posts that it was a topic in your dissertation.) It doesn’t have to be exhaustive, just something for an introduction or maybe some titles you personally like. Thanks a lot!

Hi! Yes, here is a (non-exhaustive) list of sources :)

Primary Sources:

Clairvaux, Bernard of. The Letters of St. Bernard of Clairvaux. Translated by Bruno Scott James. London: Burns Oates, 1953.

Daniel, Walter. The Life of Aelred of Rievaulx. Translated by F. M. Powicke. Edited by Marsha Dutton. Kalamazoo, Mich.: Cistercian, 1994.

Gender and Sexuality in the Middle Ages : A Medieval Source Documents Reader, edited by Martha A. Brozyna, Jefferson, N.C.: McFarland & Co., 2005.

McNeill, John T., and Helena M. Gamer. Medieval Handbooks of Penance : A Translation of the Principal "Libri Poenitentiales" and Selections from Related Documents. New York ; Chichester: Columbia University Press, 1990.

Suso, Henry. The Life of the Servant. Translated by James M. Clark. London: James Clarke & Co Ltd., 1952.

Secondary Sources

Arnold, John H. "The Labor of Continence: Masculinity and Clerical Virginity." In Medieval Virginities, edited by Anke Bernau, Sarah Salih and Ruth Evans, 102-18. Cardiff: University of Wales Press, 2003.

Boswell, John. Christianity, Social Tolerance, and Homosexuality : Gay People in Western Europe from the Beginning of the Christian Era to the Fourteenth Century. Chicago ; London: University of Chicago Press, 1980.

Bullough, Vern L. "On Being a Male in the Middle Ages." In Medieval Masculinities, edited by Clare A. Lees, Thelma Fenster and Jo Ann McNamara. Regarding Men in the Middle Ages, 31-46: University of Minnesota Press, 1994.

Bynum, Caroline Walker. "Jesus as Mother and Abbot as Mother: Some Themes in Twelfth-Century Cistercian Writing." The Harvard Theological Review 70, no. 3/4 (1977): 257-84. http://www.jstor.org/stable/1509631.

Bynum, Caroline Walker. Jesus as Mother : Studies in the Spirituality of the High Middle Ages. Publications of the Center for Medieval and Renaissance Studies, Ucla. Berkeley: University of California Press, 1982.

Bynum, Caroline Walker. "The Female Body and Religious Practice in the Later Middle Ages." Chap. 6 In Fragmentation and Redemption : Essays on Gender and the Human Body in Medieval Religion, 181-238. New York: Zone Books, 1992.

Connell, R.W. "The History of Masculinity." Chap. 14 In The Masculinity Studies Reader, edited by Rachel Adams and David Savran, 245-61. Malden, Mass. ; Oxford: Blackwell, 2002.

Coon, Lynda L. Dark Age Bodies : Gender and Monastic Practice in the Early Medieval West. The Middle Ages Series. Philadelphia: University of Pennsylvania Press, 2011.

Damrosch, David. "9. Non Alia Sed Aliter: The Hermeneutics of Gender in Bernard of Clairvaux." In Images of Sainthood in Medieval Europe, edited by Szell Timea, 181-96. Ithaca, NY: Cornell University Press, 1991.

Doss, Jacob W. "Making Masculine Monks: Gender, Space, and the Imagined “Child” in Twelfth-Century Cistercian Identity Formation." Church History 91, no. 3 (2022): 467-91. https://doi.org/10.1017/S0009640722002098.

Elliott, Dyan. Fallen Bodies : Pollution, Sexuality, and Demonology in the Middle Ages. The Middle Ages Series. Philadelphia: University of Pennsylvania Press, 1998.

Elliott, Dyan. The Corrupter of Boys: Sodomy, Scandal, and the Medieval Clergy. The Middle Ages Series Edited by Ruth Mazo Karras. Philadelphia: University of Pennsylvania Press, 2020.

Gutt, Blake. "Medieval Trans Lives in Anamorphosis: Looking Back and Seeing Differently (Pregnant Men and Backward Birth)." Medieval feminist forum 55, 1 (2019): 174–206.

Hadley, D. M. "Introduction: Medieval Masculinities." In Masculinity in Medieval Europe, 1-18. London: Longman, 1999.

Hotchkiss, Valerie R. Clothes Make the Man : Female Cross Dressing in Medieval Europe. New York ; London: Garland, 1996.

Karras, Ruth Mazo. From Boys to Men : Formations of Masculinity in Late Medieval Europe. Philadelphia ; [Great Britain]: University of Pennsylvania Press, 2003.

Karras, Ruth Mazo. "The Regulation of “Sodomy” in the Latin East and West." Speculum 95, no. 4 (2020): 969-86. https://doi.org/10.1086/710639. https://www.journals.uchicago.edu/doi/abs/10.1086/710639.

Karras, Ruth Mazo. "Attitudes to Same- Sex Sexual Relations in the Latin World." In A Companion to Crime and Deviance in the Middle Ages, edited by Skoda Hannah, 84-101. Amsterdam: ARC Humanities Press, 2023.

Karras, Ruth Mazo, and Katherine E. Pierpont. Sexuality in Medieval Europe : Doing Unto Others. Fourth ed. London: Routledge, 2023.

Kerr, Julie. Life in the Medieval Cloister. United Kingdom: Bloomsbury Publishing, 2009.

Kieckhefer, Richard. "14. Holiness and the Culture of Devotion: Remarks on Some Late Medieval Male Saints." In Images of Sainthood in Medieval Europe, edited by Szell Timea, 288-305. Ithaca, NY: Cornell University Press, 1991.

Kieckhefer, Richard. Forbidden Rites : A Necromancer's Manual of the Fifteenth Century. University Park, PA, UNITED STATES: Pennsylvania State University Press, 1998. http://ebookcentral.proquest.com/lib/exeter/detail.action?docID=6224672.

Kieckhefer, Richard. "Necromancy in the Clerical Underworld." Chap. 7 In Magic in the Middle Ages, 151-75. Cambridge, UK ; New York: Cambridge University Press, 2000.

Klaassen, Frank. "Learning and Masculinity in Manuscripts of Ritual Magic of the Later Middle Ages and Renaissance." The Sixteenth Century Journal 38, no. 1 (2007): 49-76. http://www.jstor.org/stable/20478245.

Klaassen, Frank. "Necromancy." In The Routledge History of Medieval Magic, edited by Sophie Page and Catherine Rider. London: Routledge, 2019.

Kolve, V. A. "Ganymede/Son of Getron: Medieval Monasticism and the Drama of Same-Sex Desire." Speculum 73, no. 4 (1998): 1014-67. https://doi.org/10.2307/2887367. http://www.jstor.org/stable/2887367.

Linkinen, Tom. Same-Sex Sexuality in Later Medieval English Culture. Amsterdam: Amsterdam University Press, 2015.

McNamara, Jo Ann. "The Herrenfrage the Restructuring of the Gender System, 1050–1150." In Medieval Masculinities, edited by Jo Ann McNamara, Clare A. Lees and Thelma Fenster. Regarding Men in the Middle Ages, 3-30: University of Minnesota Press, 1994.

Mills, Robert. "The Signification of the Tonsure." In Holiness and Masculinity in the Middle Ages, edited by P. H. Cullum and Katherine J. Lewis, 109-26. Cardiff: University of Wales Press, 2004.

Mills, Robert. "Transgender Time." In Seeing Sodomy in the Middle Ages University of Chicago Press, 2015.

Muir, Carolyn Diskant. "Bride or Bridegroom? Masculine Identity in Mystic Marriages." In Holiness and Masculinity in the Middle Ages, edited by P. H. Cullum and Katherine J. Lewis, 58-78. Cardiff: University of Wales Press, 2004.

Murray, Jacqueline. "Masculinizing Religious Life: Sexual Prowess, the Battle for Chastity, and Monastic Identity." In Holiness and Masculinity in the Middle Ages, edited by P. H. Cullum and Katherine J. Lewis, 24-42. Cardiff: University of Wales Press, 2004.

Murray, Jacqueline. "One Flesh, Two Sexes, Three Genders?". In Gender and Christianity in Medieval Europe, edited by Lisa M. Bitel and Felice Lifshitz. New Perspectives, 34-51: University of Pennsylvania Press, 2008.

Nelson, J.L. "Monks, Secular Men and Masculinity, C. 900." In Masculinity in Medieval Europe, edited by Dawn M. Hadley. Women and Men in History 121-42. London: Longman, 1999.

Newman, Martha G. "Real Men and Imaginary Women: Engelhard of Langheim Considers a Woman in Disguise." Speculum 78, no. 4 (2003): 1184-213. http://www.jstor.org/stable/20060926.

Rollo, David. Medieval Writings on Sex between Men: Peter Damian’s the Book of Gomorrah and Alain De Lille’s the Plaint of Nature. Brill, 22 Feb. 2022, 2022. doi:https://doi.org/10.1163/9789004507326. https://brill.com/view/title/57406.

Sauer, Michelle M. "Uncovering Difference: Encoded Homoerotic Anxiety within the Christian Eremitic Tradition in Medieval England." Journal of the History of Sexuality 19, no. 1 (2010): 133-52. http://www.jstor.org/stable/40663371.

Shopkow, Leah. "Mooning the Abbot: A Tale of Disorder, Vulgarity, Ethnicity, and Underwear in the Monastery." Chap. 9 In Prowess, Piety, and Public Order in Medieval Society: Studies in Honor of Richard W. Kaeuper, edited by Craig M. Nakashian and Daniel P. Franke, 179-98: Brill, 2017.

Thibodeaux, Jennifer D. The Manly Priest : Clerical Celibacy, Masculinity, and Reform in England and Normandy, 1066-1300. Philadelphia: University of Pennsylvania Press, 2015.

Trokhimenko, Olga V. ""Believing That Which Cannot Be": (De)Constructing Medieval Clerical Masculinity in "Des Münches Not"." The German Quarterly 85, no. 2 (2012): 121-36. http://www.jstor.org/stable/41494744.

Trans and Genderqueer Subjects in Medieval Hagiography. Edited by Alicia Spencer-Hall, and Blake Gutt. Netherlands: Amsterdam University Press, 2021.

[warrioreowynofrohan]

Getting back to Marmion! Some bits of context for the last few days’ posts.

A palmer was sort of a continual pilgrim, who spent a period of time travelling to holy sights and praying. The greatest holy sight of all was Jerusalem, where the palmer in the poem has in fact been, along with a huge list of other holy sights, from Mt. Ararat where Noah’s Arc reputedly came to rest after the Flood, to Mt. Sinai, to Santiago de Compostela in Spain, and in England Durham and Canterbury among others.

I think (I am not sure) palmer paid for their travels in part by donations from pious people, who might want the palmer to pray for them at some shrine. Marmion himself expresses a more lighthearted picture of palmers in general -

I love such holy ramblers; still

They know to charm a weary hill,

With song, romance, or lay:

Some jovial tale, or glee, or jest,

Some lying legend, at the least,

They bring to cheer the way.”

- and that may not be unrealistic for a category of people that could have included the medieval equivalent of a tourist with a GoFundMe. But this palmer is not of that kind - he’s haggard and gloomy, and kind of disturbing with his nighttime mutterings. But Marmion chooses to accept him as a guide all the same, and the next morning the whole group departs.

The first canto (The Castle) ended, we switch scenes and characters for the second (The Convent), to a boat travelling north, up the eastern coast of England, from Whitby to the island of Lindisfarne (also called St. Cuthbert’s Isle) with a group of nuns aboard. Now, where has Lindisfarne been mentioned in the previous canto? In the bit about Marmion’s former page:

That boy thou thought’st so goodly fair,

He might not brook the Northern air.

More of his fate if thou wouldst learn,

I left him sick in Lindisfarne:

The voyage is both a little scary and exciting for the nuns, who don’t get out much. Many of the castles the pass, like Warkworth and Dunstanburgh and Bamburgh, are ones you can still see on the Northumberland coast today.

But two of the group in particular are not having fun: the abbess (chief nun), who is not named, and the novice (i.e., has not yet taken vows and become a nun) Clare. Clare joined the convent recently after the loss of the man she loved, and in order to escape an unwelcome suitor who is trying to marry her in order to get at her property.

She was betrothed to one now dead,

Or worse, who had dishonoured fled.

Her kinsmen bade her give her hand

To one who loved her for her land;

Herself, almost heart-broken now,

Was bent to take the vestal vow,

And shroud, within Saint Hilda’s gloom,

Her blasted hopes and withered bloom.

On top of these griefs, there’s been an attempt to murder her, and the people who attempted it are now prisoners in Lindisfarne awaiting trial:

And jealousy, by dark intrigue,

With sordid avarice in league,

Had practised with their bowl and knife

Against the mourner’s harmless life.

This crime was charged ’gainst those who lay

Prisoned in Cuthbert’s islet grey.

Moving back a bit to yesterday’s entry, this is why the abbess of Whitby is going on this journey: to sit in judgement on these attempted murderers.

Sad was this voyage to the dame;

Summoned to Lindisfarne, she came,

There, with Saint Cuthbert’s Abbot old,

And Tynemouth’s Prioress, to hold

A chapter of Saint Benedict,

For inquisition stern and strict,

On two apostates from the faith,

And, if need were, to doom to death.

Lindisfarne is a tidal island: at low tide it is a peninsula that can be reached from the mainland across mudflats, but at high tide it is an island.

The tide did now its floodmark gain,

And girdled in the saint’s domain:

For, with the flow and ebb, its style

Varies from continent to isle;

As the ship reaches Lindisfarne, the nuns of Whitby on the ship sing a hymn, and the nons and monks of Lindisfarne sing one in return.

[immediatebreakfast]

The disonance between the cantos of "In which Judgement is passed" and "In Which We Stop at an Inn" is truly fucked when we compare the situation between Constance de Beverley, and lord Marmion side by side.

Judgement is finally given to Constance, and her cellmate like it's a herald from god itself.

Till thus the Abbot’s doom was given, Raising his sightless balls to heaven:— “Sister, let thy sorrows cease; Sinful brother, part in peace!” From that dire dungeon, place of doom, Of execution too, and tomb, Paced forth the judges three,

Part in peace... there is something so dark about telling the people that you are condemning to a possible death to go in peace, or that their sorrows will cease.

Although, I have to ask if in this canto is where Constance gets... put into a wall because of the metaphors used to convey the sheer terror that comes to the unsuspecting people that are not aware of the judgement.

That conclave to the upper day; But, ere they breathed the fresher air, They heard the shriekings of despair, And many a stifled groan: With speed their upward way they take, Such speed as age and fear can make, And crossed themselves for terror’s sake,

Are these shrieks of despair Constance's doing? Because as the canto goes to describe the overall ambiance that surrounded this unsettling moment, the shrieks got duller, and quieter.

Meanwhile this fucked up idea of justice is happening, or happened depending on the timeline, we start the third canto in an inn where lord Marmion and his army are staying for the time being.

No summons calls them to the tower, To spend the hospitable hour. To Scotland’s camp the lord was gone; His cautious dame, in bower alone, Dreaded her castle to unclose, So late, to unknown friends or foes, On through the hamlet as they paced, Before a porch, whose front was graced With bush and flagon trimly placed, Lord Marmion drew his rein: The village inn seemed large, though rude:

Yeah Constance is going to get trapped inside a fucking wall, but look! Lord Marmion found a problem! The poor lord, and his army didn't get the hospitality they wanted because the Dame rightfully didn't want to open her home to a bunch of men she didn't know while her husband was gone.

And now we are in a inn. There is laughter, food, and a very warm reading in what we now as modern readers can associated with what a medieval inn constitutes. And yet, the dread didn't left because the Palmer, once again a theme figure in contrast to Marmion, and his army, acts in a ominous manner.

Resting upon his pilgrim staff, Right opposite the Palmer stood; His thin dark visage seen but half, Half hidden by his hood. Still fixed on Marmion was his look, Which he, who ill such gaze could brook, Strove by a frown to quell; But not for that, though more than once Full met their stern encountering glance, The Palmer’s visage fell.

Even if Constance's revenge is slowly building towards victory, she is still going to end up dead while Marmion enjoys (for now I hope) all of the privilegues of being an emisary to the king. It's literally a methaporical situation of the people serving the elite, Constance escaped with Marmion and dedicated a good chunk of her life to him, and he repaids her with abandoning her to force Clare to marry him.

The power imbalance is unreal, and it will feel so good when Marmion does a single misstep that brings all of his good fortune crashing down. Well, I hope it happens.

[anastpaul]

Saint of the Day – 25 June – Blessed Burchard of Mallersdorf OSB (Died 1122) Abbot

Saint of the Day – 25 June – Blessed Burchard of Mallersdorf OSB (Died 1122) the 1st Abbot of the Monastery of Mallersdorf. Born in the 11th Century in the Upper Franconia (in modern Bavaria, Germany) died on 25 June 1122 of natural causes in Mallersdorf, Bavaria, Germany. Also known as – Burkhard. Mallersdorf Monastery is now a Franciscan Convent for Poor Clares Little is known about…

[tristencrone]

Chapters: 8/12 Fandom: Harry Potter - J. K. Rowling Rating: Explicit Warnings: Graphic Depictions Of Violence Relationships: Hermione Granger/Draco Malfoy, Harry Potter/Ginny Weasley, Lavender Brown/Ron Weasley Characters: Hermione Granger, Draco Malfoy, Scorpius Malfoy, Ron Weasley, Harry Potter, Neville Longbottom, Hannah Abbott, Dean Thomas, Ginny Weasley, Pansy Parkinson, Theodore Nott, Clare Abbot (OC), Lavender Brown, Narcissa Black Malfoy, Caelum Black (OC) Additional Tags: St Mungo's Hospital (Harry Potter), Post-War, Healer Hermione Granger, Baby Scorpius, References to Illness, Medical Procedures, Medical Inaccuracies, I am trying my best and making it up as I go along, Scorpius is in danger, Draco Malfoy Needs a Hug, Hermione Granger & Pansy Parkinson Friendship, Original Character(s), WIP (Sorry), The Horrors Persist But So Do I (Writer's block is a bitch), Blood Curses | Blood Malediction (Harry Potter), Past Miscarriage, Ron Bashing, Angst with a Happy Ending, Angst and Hurt/Comfort, Past Hermione Granger/Ron Weasley, Past Astoria Greengrass/Draco Malfoy, injuries, Unforgivable Curses (Harry Potter), Harry Potter Epilogue What Epilogue | EWE, Post-Second Wizarding War with Voldemort (Harry Potter), Explicit Language, Explicit Sexual Content, Eventual Smut, Eventual Happy Ending, Single Parent Draco Malfoy, No Beta We Die Like Sirius, Imprisonment, Wrongful Imprisonment, Auror Harry Potter, Harry is a Little Shit, Ron Weasley Bashing, Emotional/Psychological Abuse, Infidelity, not between draco and hermione, Ron is a POS, Hermione Granger Needs a Hug, he falls first, Verbal Abuse, POV Draco Malfoy, POV Hermione Granger, Molly Weasley Bashing, Ginny Weasley Bashing, Weasley Family Bashing (Harry Potter) Summary:

Head-Healer in charge of the emergency department of St. Mungo's, Hermione Granger makes it through each day by Occluding her way through it. Barely holding it together after years of tucking away the pain of her past, her world is rocked when a distressed Draco Malfoy bursts into her hospital and through her detached mentality with his unresponsive son—begging for help. When the Auror department arrives to take Malfoy into custody for the harm done to his child, Hermione is the only person who believes the innocence he claims. Vowing to Draco that she will care for Scorpius, Hermione will stop at nothing to find the true villains responsible and reunite father and son. https://archiveofourown.org/works/52939102/chapters/133915633

[dhr-ao3]

i'd walk so far just to take the injury of finally knowing you

i'd walk so far just to take the injury of finally knowing you https://ift.tt/vuVHPqm by TristenCrone Head-Healer in charge of the emergency department of St. Mungo's, Hermione Granger makes it through each day by Occluding her way through it. Barely holding it together after years of tucking away the pain of her past, her world is rocked when a distressed Draco Malfoy bursts into her hospital and through her detached mentality with his unresponsive son—begging for help. When the Auror department arrives to take Malfoy into custody for the harm done to his child, Hermione is the only person who believes the innocence he claims. Vowing to Draco that she will care for Scorpius, Hermione will stop at nothing to find the true villains responsible and reunite father and son. Words: 5285, Chapters: 1/?, Language: English Fandoms: Harry Potter - J. K. Rowling Rating: Explicit Warnings: Graphic Depictions Of Violence Categories: F/M Characters: Hermione Granger, Draco Malfoy, Scorpius Malfoy, Ron Weasley, Harry Potter, Neville Longbottom, Hannah Abbott, Dean Thomas, Ginny Weasley, Pansy Parkinson, Theodore Nott, Clare Abbot (OC), Lavender Brown, Narcissa Black Malfoy Relationships: Hermione Granger/Draco Malfoy, Harry Potter/Ginny Weasley, Lavender Brown/Ron Weasley Additional Tags: St Mungo's Hospital (Harry Potter), Post-War, Healer Hermione Granger, Baby Scorpius, References to Illness, Medical Procedures, Medical Inaccuracies, I am trying my best and making it up as I go along, Scorpius is in danger, Draco Malfoy Needs a Hug, Hermione Granger & Pansy Parkinson Friendship, Original Character(s), WIP (Sorry), The Horrors Persist But So Do I (Writer's block is a bitch), Blood Curses | Blood Malediction (Harry Potter), Past Miscarriage, Ron Bashing, Angst with a Happy Ending, Angst and Hurt/Comfort, Draco Malfoy in Azkaban, Past Hermione Granger/Ron Weasley, Past Astoria Greengrass/Draco Malfoy, injuries, Unforgivable Curses (Harry Potter), Harry Potter Epilogue What Epilogue | EWE, Post-Second Wizarding War with Voldemort (Harry Potter), Explicit Language, Explicit Sexual Content, Eventual Smut, Eventual Happy Ending via AO3 works tagged 'Hermione Granger/Draco Malfoy' https://ift.tt/DU78laR January 10, 2024 at 04:16AM

[libidomechanica]

My spirit, hasty

A sonnet sequence

               1

With scoff; and to known; human loves in light with my father’s are but the hall—a babe an idle glimmering in ripples will she waxen rise; thy tongues. To ever strife! But the Valley, basil sweetheart of musing an end. Hand one house; he plaining, and studding look behind? Flash of why lips and Nature let through of the day a shower’d skimming forth fresh fire. The continued they sell. My spirit, hasty as I ought and affixed around was the oracles the dancing, love to point to praised they knows! ’Mong that you be? And so in the sky with the receive at last, shalt passed.—When Arthur’s reign.

               2

The crown’d with power, and friend, tenderneath dew-sweet; and mars the eyes when you comes begin to Camelot: or when I fade whose diamonds deserved to catch yours cries, o heaven our hunting of the dead with the secret joy the shrings so thee with the storm. Shield of glow, seeing slope up where beguile, an abbot one doth cares, become on Porphyro too well her brand offendered lordlier the pride, and fear! You with a glory- crown though the mountain tunes range the sweet molten gleam luridly. To strain the play at ancient row wiser summer’d, and thou art, if I resign’d, to come once, likes it dear.

               3

That, many otherwise I watch in her wakeful care, which credit will chesnuts in my blood and all my pretest see her fall; locks; and I went night goddess of the silver sweet’st though thee along again, as no reveal thy peers. But some devout kissed her bark, and than be made so fall before stockit fall akin flame forgive me pains! Dame stept—truly the mirror, nor was not this genuine shall our rimes, nor set our lips sharped crake; o given in her brain— ’tis wife: choose our sweet self; and, with the gross. Know this much with sing, before to me. One stems of loue destiny to Solitude.

               4

The kind and morning’s a fruit me left to thee, ah famous call out, all in the first that from thee fail from when all the war. Not will yet none; but that all as thou prates the whilst I, confound thou and my days. Whose gently I bough of rankes dainty foreign thy change’s knight the years the Rosemaree? The world is sluggish me without thou this waters Science, and her throw to speak, twas Sleep I give tender’d, and gone!—Starts; and more and which this mail of a high Muse of my fading mean fame the blesse that liberties; nor cool’d with delicate claring discern— infinite Pursuits of myself too.

               5

No wanton did this Saynt of molten glancing, that necessary. But thy vain pretty maid whisper o’er that Time and he but removed you in war, wan asterday. The linger; but I was made. Since and such deaden Melpomene than I, and out die that your hands, and their meet often as the wind a bed of the past: o that which love you up the setting. With his cold about the Mauis demanding bastard very people, that years sleep twelve gone herself what the steps, O thou look on when his lights, and greet has nothing not yet they were at those myrtles and aves in his lower grow farewell!

               6

Through all bald eye; eye, tower’d state, deep peace; with the child in feed, devoid of bliss: I prayse, because, her breathe springs me when sweetest dreerie dead sport of nigher to still moved and thee she wake, thy beauty is stuck on these her song. Watch at ebb and why, he breaking the mother! She sicken and drop the might have coming Foot. To say, and seemely well; and I adore each moment heere, then first cares, not wrought, earth him. Then a mother salad ushering to received, as walk as a Fiend, but as a sing: an iron poets since take Jamshýd’s Sev’n-ring’d Cupid’s alembic, and let me where is change.

               7

And home; they down with the heeded half and stings on my bed remain that above than hills, those wholly spoken, and the man. Than thing eyes walking which from ready spy those went rain are shall I faded wind famine ear. Betters on the winter she mas-ke, a mortals of my kneel, well my suddenly friend, thy weal, will of child; she turn to ride. The Word heights mine: but thy unbraided me was written, hush’d from hills float her; as I swore: the ground of all that thee. Thou wilt thee forest of love is work the beneath dead: and listening farewell, for not. That blew sing, there, and the trainspout your eccho ring.

               8

Remember his world of day—nor thicket more friend; as your very dream for the myself and grieves in an of good and all cease to make all enters are plains there, bare their folly! It were lying and mine it grows define in delightly o’er the stalks each voice was wide Border’d let me go, but mate; by all the valiant sea;—what the power to thee. Muse in passions to our Christmas dimmer’s head. More we thought, the earth again. Such left when, eu’n of the wroth words are the Dame: she crimson clouded wind the beldam, if the free from himself with my mind, that in heard the freshet yieldes shield of whom?

               9

Thy thou payèd were the absence again and heart didst our left it cannot loss, and wakes him run. My friendship and lost. The breeze; for a cockney ear, to beares she sails at it much. That inhabit—they should may come a schooling side thy fingers return against the thousand the day and stilled There in your unhallop lay dense of which the golden Galaxy. That darken’d eaves take—and all pass, sister well, for abstinence! Schoolboy heart, and year. Fire of Let here I knowing his captive cherubs drawn for Dian’s: lo! And euen someone shore, sullen a helpless to wrangle, and knowledge comrade of Hell.

               10

—Starling stranger taper fifth autumn, big approach, begin the dances loue; here above and days, oh, the fair my day, and an opiate of sorrow cloyest moan for his day. That swallow great plays, did starts; the green her mortal place that clusters dint: all chemistress’d: ah, curbs, and flower! Let’s call, and thine to blame? To the glorious battles ye hae they were, two that weary of million permit you do diction mean a lov’d vows that look’d up her eye Love, begin that love appears—’fore he hunting at then, all alone, her brest wild flourish now not God to the loose of needes more, Love a care.

               11

” None and hope hope hope the night, whom but lives. We a medical spread he spirit flies; till of flower panted Manuscription the global circummortal her nameless of thee, and whispers, Tis no esteems, and stranged for his wise to the literary unto thee ere ye saw her drank that I see thy lying. The ring look shall fast such a journey is hear no second listence of evermore, and time man to that race sent my warmth with his long trust on the space maintain cleft? And thy for now baleful guard, or front steps are gazing rings made Now long by the pulses wrough,                      You art morn.

               12

Delaying pearly, know thine than had been fairer face! That I leaving space of Let other towers’ joy gone, yet sake? Dream him if To-day our may delayest moan, received on to th’ height once we’re all to knewe weeds. Can trod this to look’d dove. I have golden many loved the narrow of—was pretend vs to inquired of me so, which was cajoled. From thy despairing look’d so I ask, that, may behind the has he was silent the would down into that sick to hills in experiment. Shall six months after, see! In my woman look’d upon the skies to tame of a guest, to this Soul.

               13

Descend; and welcome smoke and mind. Of the from out the dark still as all wakeful blinded, and leaf, and was to-day; and I near. Kiss of peoples full rymes better shake me fitting whithere the light; and bright best dread led body sit for all, and unto my thro’ the phantoms wide that I keep the stopp’d to drag to his sister, silence I am that, has thou climbs strange to all my sword the carest fate proposed; and weary moonrise, what with his desire is courself with slowlye lay, for now her, and green, no bad expect our hope ford, tenderness of the fern in they could, and the garland!

[silvestromedia]

SAINTS FOR MARCH 06

Sts. Kyneburga, Kyneswide, & Tibba, 680 A.D. Abbesses whose relics are in St. Peterborough Abbey in England. Kyneburga and Kyneswide were daughters of King Penda of Mercia . The former founded an abbey at Castor, Northamptonshire. She was joined there by Kyneswide. Tibba was probably a relative who entered the same convent.

ST. ROSE OF VITERBO, VIRGIN, FRANCISCAN

ST. COLETTE BOYLET, VIRGIN AND FRANCISCAN, FOUNDRESS OF THE POOR CLARES

St. Baldred, 8th century. Bishop of Scotland, successor of St. Kentigern in Glasgow. He retired from his see to become a hermit on the Firth of Forth.

St. Bilfrid, 8th century. Benedictine hermit, the silversmith who bound the Lindisfarne Gospels. He was a hermit in Lindisfarne, Ireland, off the coast of Northumbria, in northern England, where he aided Bishop Eaddfrid in preparing the binding of that masterpiece. He used gold, silver, and gems to bind the famous copy of the Gospels of St. Cuthbert. His relics were enshrined in Durham, England, in the eleventh century.

St. Cadroe, 976 A.D. A Scottish prince and Benedictine abbot. He studied in Arrnagh, Ireland, and went to England where tradition states he saved London from a fire. In Fleury, France, Cadroe became Benedictine. Soon after, he became the abbot of Waul sort Monastery on the Meuse River in Belgium. He then went to Metz, Prance, to become abbot of St. Clements’s monastery.

St. Fridolin, 540 A.D. Benedictine abbot, an Irishman venerated as “the Apostle of the Upper Rhine.” He traveled to France and settled in Poitiers, rebuilding the monastery of St. Hilary which had been destroyed by Vandals. He then became a hermit on the Rhine. There he built the abbey of Sackingen. Fridolin was called “the Wanderer’ because of his many evangelizing trips in the region

[celtfather]

Christmas with The Celtic Kitchen Party

This week, you will enjoy not just a whole of great Celtic Christmas Music #71, you’ll also meet The Celtic Kitchen Party as we talk about their new album, One Celtic Christmas.

Abbots Cross, Patrick O'Flaherty, The Poor Clares, The Gothard Sisters, Ashley Davis, The Celtic Kitchen Party, The Barra MacNeils, Gaelynn Lea, A Shamrock in Kudzu, Reilly

THIS WEEK IN CELTIC CHRISTMAS MUSIC

0:08 - Abbots Cross "Lucy Farr's Barn Dance / Angels We Have Heard on High / Peelor's Jacket" from Christmas Visions

3:33 - WELCOME TO THE CELTIC CHRISTMAS MUSIC

I am Marc Gunn. Celtic musician and podcaster. We are promoting Celtic culture through Christmas cheer. If you hear music you love, please support the artists. Visit the shownotes to find out more about the artists and follow the show at CelticChristmasPodcast.com.

I want to thank our Celtic Christmas Producer: Carol Baril and all of our generous patrons. This show is thanks to your kindness and generosity this holiday season. Do you love Celtic Music?

Do you also love Christmas music? Please make a pledge to support us on Patreon. Or buy some digital albums, also on Patreon so that we can keep producing episodes of this podcast.

4:49 - Patrick O'Flaherty, The Poor Clares "Nollaig Shona" from The Poor Clares: Songs for Midwinter

6:58 - The Gothard Sisters "Wexford Carol" from A Celtic Christmas

10:41 - Ashley Davis "Song for a Winter's Night" from Songs of the Celtic Winter II

14:37 - INTRO: THE CELTIC KITCHEN PARTY

15:37 - INTERVIEW WITH THE CELTIC KITCHEN PARTY

Boasting a diversity of talent The Celtic Kitchen Party plays a mix of Celtic infused originals, traditional and contemporary East Coast, Irish and Scottish tunes as well as the right dash of Pop and Classic Rock! The name conjures up that down home feeling where all your relatives and neighbors drop in for a traditional kitchen party, bringing a lively high energy performance to any venue for a night you and your guests are sure to remember.

18:17 - ONE CELTIC CHRISTMAS INSPIRATION

19:20 - The Celtic Kitchen Party "Jingle Bells" from One Celtic Christmas

22:36 - STORY: Huron Carol

23:48 - The Celtic Kitchen Party "Huron Carol" from One Celtic Christmas

27:34 - STORY: (not so) Silent Night

28:42 - The Celtic Kitchen Party "(Not So) Silent Night" from One Celtic Christmas

31:33 - INTERVIEW CLOSING REMARKS

33:30 - The McDades “Dreaming on a Yuletide Night” from A Winter Collection

35:56 - Gaelynn Lea "It Came Upon a Midnight Clear" from Deepest Darkness, Brightest Dawn

37:08 - A Shamrock in Kudzu "Christmas is Coming" from Kudzu for Christmas

38:27 - CLOSING

39:26 - Reilly "For You On Christmas" from Kick Ass Celtic Christmas

42:53 - CREDITS

Celtic Christmas Music was produced by Marc Gunn, Carol Baril, and our Christmas Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to subscribe to the podcast. You’ll find links to all of the artists played in this episode.

You can subscribe to our Celtic Music Magazine and get 34 Celtic MP3s for Free plus, you’ll get 7 weekly news items about what’s happening with Celtic music and culture online. And best of all, you will connect with your Celtic heritage.

Please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor.

Finally, remember. Reduce, reuse, recycle, and think about how you can make a positive impact on climate change.

Promote Celtic culture through Christmas music at CelticChristmasPodcast.com.

Nollaig Shona Daoibh!

#celticchristmas #celticchristmasmusic #theceltickitchenparty

  Check out this episode!

[yestolerancepro]

Tolerance Project Extra up where we belong Officer and a Gentlemen

Introduction

Hello there and welcome to a new series of Blogs that looks at each of the films featured in the Tolerance video this one looks at the Officer and a Gentleman a romantic drama comedy from 1982.

We will have other that will also look at Jaws Star Wars James Bond debut adventure Dr No and the Good the Bad and the ugly.

Background

An Officer and a Gentleman is a 1982 American romantic drama film directed by Taylor Hackford from a screenplay by Douglas Day Stewart, and starring Richard Gere, Debra Winger and Louis Gossett Jr. It tells the story of Zack Mayo (Gere), a United States Navy Aviation Officer Candidate who is beginning his training at Aviation Officer Candidate School. While Zack meets his first true girlfriend during his training, a young "townie" named Paula (Winger), he also comes into conflict with the hard-driving Marine Corps Gunnery Sergeant Emil Foley (Gossett) training his class.

Its title is an old expression from the Royal Navy and later from the US Uniform Code of Military Justice's charge of "conduct unbecoming an Officer and a Gentleman" (from 1860).

The film was commercially released in the US on August 13, 1982. It was well received by critics, with a number calling it the best film of 1982. It also was a financial success, grossing $190 million against a budget that was between $6-$7 million. Gossett won the Academy Award for Best Supporting Actor for the film, making him the first Black male to do so, as well as a Golden Globe Award. The film also received Oscar nominations for Best Actress (for Debra Winger), Best Original Screenplay, Best Film Editing, Best Original Score and Best Original Song (for "Up Where We Belong").

Casting the two romantic leads

Originally, folk music singer and occasional actor John Denver was signed to play Zack Mayo. But a casting process eventually involved Jeff Bridges, Harry Hamlin, Christopher Reeve, John Travolta, and Richard Gere..

 Gere eventually beat all the other actors for the part. Travolta had turned down the role, as he did with American Gigolo (another Richard Gere hit).

The role of Paula was originally given to Sigourney Weaver, then to Anjelica Huston[11] and later to Jennifer Jason Leigh, who dropped out to do the film Fast Times at Ridgemont High instead.Eventually, Debra Winger replaced Leigh for the role of Paula. Rebecca De Mornay, Meg Ryan, and Geena Davis[ auditioned for the role of Paula.

In spite of the strong on-screen chemistry between Gere and Winger, the actors did not get along during filming. Publicly, she called him a "brick wall" while he admitted there was "tension" between them. Thirty years later, Gere was complimentary towards Winger when he said that she was much more open to the camera than he was, and he appreciated the fact that she presented him with an award at the Rome Film Festival.

Music

When talking about the music for the film there is only really one song we need to talk about and that up where we belong sung by Jennifer Warnes"Up Where We Belong" is a song written by Jack Nitzsche, Buffy Sainte-Marie and Will Jennings that was recorded by Joe Cocker and Jennifer Warnes for the 1982 film An Officer and a Gentleman. Warnes was recommended to sing a song from the film because of her previous soundtrack successes, and she had the idea for the song to be a duet that she would perform with Cocker. Jennings selected various sections of the score by Nitzsche and Sainte-Marie in creating the structure of the song and added lyrics about the struggles of life and love and the obstacles that people attempt to dodge. It was released in July of that year to coincide with the release of the film.

The song reached number one on the Billboard Hot 100 in the US and topped the charts in several other countries. It also sold more than one million copies in the US and was recognized by the Recording Industry Association of America as one of the Songs of the Century. Cocker and Warnes were awarded the Grammy for Best Pop Performance by a Duo or Group with Vocals, and Nitzsche, Sainte-Marie, and Jennings won both the Academy Award and Golden Globe Award for Best Original Song

Awards

 Officer and a Gentleman Oscars

Louis Gossett Jr won best supporting actor for his role as gunnery Sargent Emil Foley you can watch him collect his Oscar by clicking here Thanks to Youtube

Louis sadly passed away while I was writing this blog you can read his obituary by clicking here A Poet of an Actor: Louis Gossett, Jr. (1936-2024) | Tributes | Roger Ebert 

it also won best original song Oscar for up where we belong, you can see footage of the best original song Oscar from 1983 by clicking here once again thanks to You Tube

Further Watching

To watch the Up where we belong being performed on Top of the pops click here

To Watch the original trailer for an Officer and a Gentlemen click here

Officer and a Gentleman The Tolerance connection

Odeon Cinema sequence and the last of film spoofs film to feature in the Tolerance video- this time to An Officer and a Gentleman. David Smith playing Robert in the Tolerance film remembers this scene vividly as he quotes it both in his introduction for Tolerance and in an interview he gave me later for the films publicity material. 

I don’t know if you knew this but there was a bit of controversy on the making of the Tolerance film in hiring non disabled actors to play disabled roles if you remember we made all the cast and Crew for the duration of the shoot use a wheelchair 24/7 how did you find the experience?

I wasn’t aware of the controversy, but expressed my own reservations to Richard Hellawell (the director) when we first talked about me playing the role. There’s a dream sequence in the film that required my character to walk, so ultimately I felt that was sufficient justification And David again mentioned the Officer and a Gentleman sequence for the introduction to The Tolerance film

‘I played Rob - a wheelchair user - even though I’m not a wheelchair user myself. At the heart of the film is a drive to see the person not the disability, so maybe it shouldn’t matter who plays the character - but it’s certainly worth thinking through.’

 In fact, Rob needs to walk in the film (no spoilers!), and that was the principal driver behind using an actor who was not a wheelchair user.

 You can judge for yourselves whether that decision was justified. Perhaps the producers would not make the same choice today. Perhaps the story would be re-shaped to enable the casting of actors with disabilities.

Watching the film again recently Gemma Blagbourgh remembered that her and Helen Rees had to Iron David’s officer suit quite a few times to give the pristine look that you saw in the finished film the flowers that Rob gave his girlfriend Julie proved a abit of a problem too as Ben Brown remembers oh those flowers that came from one of the films sponsors who owned a flower shop called The flower basket and they were great looked really nice but they kept at my house as I recall over night and we had to water them quite a few times to stop the poor things from dying ha ha

Notes

Once again thank you to Google images for the pictures and Wikipedia for the background to Officer and a Gentleman and to youtube for the Academy Award Videos  also a lot of this blog prevously appeared in part 4 of my of Producers commentary Accessability Relationships and Social life  Tolerance film behind the scenes photos thanks to Helen Batty and to Ian Medley for Cleaned up Screengrab

Pictures

 1) Officer and a Gentleman film poster from 1982

2) Up where we belong single cover

3) David Smith and Claire Abbot doing their best Richard Gere and Debra Winger impressions

4)  Helen Batty and Charlotte McCamlie if you look carefully you can see those flowers on the backseat of the minibus

Remember if you have read this blog and like it please consider giving a donation to the Tolerance project by clicking on the above link thank you

[clarestrand]

NEXT/PREVIOUS

The Gerald Moore Gallery 2nd-30th September.

The Gerald Moore Gallery is pleased to present Next: Previous, a curated by Steven Scott that brings together works from eight artists with practices established in diverse fields. Artists include Andy Bannister, Frederick Bell, Andrew Bick, Peter Downsbrough, Susan Morris, Nicola Rae, Steven Scott, and Clare Strand.

The Gerald Moore Gallery is pleased to present Next:Previous, a group exhibition curated by Steven Scott that brings together works from eight artists with practices established in diverse fields to offer correlations between form and reference, concurrency and possibility. The exhibition will run from 2nd to 30th September 2023 and includes pieces by Andy Bannister, Frederick Bell, Andrew Bick, Peter Downsbrough, Susan Morris, Nicola Rae, Steven Scott, and Clare Strand.

The private view will be on Friday 1st September 5 - 8pm.

The selection of works for this exhibition began from structural concerns around dual and multiple images and interrelationships between the temporal sequence and the spatial array. It is hoped that alignments perceived as a result of bringing these different works together will allow for new relationships and perceived concurrencies to be revealed.

The exhibited works include a dual painting by Andrew Bick titled OGVGGT [double echo], and a double tapestry by Susan Morris, Binary Tapestry & Binary Tapestry (Reversal). These pieces have been described in relation to notions of ventriloquism and the channeling of one aspect of the work through its other in asymmetrical circuits. Viewed this way these works incorporate doubling modes of translation that play out in alternating shifts between concurrent states and references to spatialised time and the marking of lived events.

Clare Strand’s Spaceland/Flatland consists of darkroom generated images and sculptural objects that form spatial sequences and shape-shifting arrays. The work references Edwin Abbot’s 1884 novella Flatland with its satirical use of hierarchies of form and dimension,

Binary Tapestry & Binary Tapestry (Reversal)

by Susan Morris

alongside Eastman’s patenting of photographic film and the subsequent increase in viewing the world as 2D images. Notions of translation between dimensions also inform the dual projection piece by Nicolas Rae, Remote Sensing Sonification: Jupiter Aurorae, in which she transposes digital recordings of Jupiter’s auroral data between image and sound.

Fredrick Bell’s paintings of sequenced forms in The Conversation, Diagram Painting Number One describe both directional flows and mapped positions as overlapping events across four panels, and the print Delay/Delay by Peter Downsbrough reminds us how repetition and mirroring can slow the immediacy of language, here rendering it concrete in the collapsing of form and content.

Andy Bannister adopts pictorial and schematic forms in a dual drawing titled Container/Contained/Sellafield ’16 to allude to nuclear half-life, extended duration and an unknowable future, and the light and photogram works from the series Sequence and Stereograph by Steven Scott attempt to frame perceptions of phasing and parallax shifts as a visual experience that maintains a potential for future concurrencies.

The exhibition is open every Saturday 10am to 4pm until 30th September 2023 or by appointment for other days.

Andy Bannister lives and works in London. Since graduating from Chelsea College of Art in 1992 he has made and exhibited works which employ a range of media including sculpture, drawing, video and sound. Most recently, his work was included in the 2018 and 2022 Trinity Buoy Wharf Drawing Prize exhibitions. His current practice investigates the impact of science and technology on culture and society from the mid- twentieth century to the present. Since 2017 he has created a number of drawings which involve the meticulous transcription of archival photographs and documents that relate to the history of the atomic age; in doing this he aims to reveal the latent meanings that these images hold and to explore the connections between them.

Frederick Bell worked for several years as a medical lab technician in the NHS before going on to Art College. This had some Influence on his conceptual approach, using mainly painting and photography in a symbiotic relationship. He first exhibited in The Young Contemporaries at The Whitworth, Manchester and shortly after graduating moved to Brussels. He has exhibited widely across Europe including at Fotogalerie Vienna, Royal Museum of Fine Arts and FOMU Antwerp, J&J Donguy Paris.

Whilst exhibiting regularly at Galerie Ruimte Morguen in Antwerp his work began a dialogue with the exhibition space itself. His work became about ‘the work of art’ and its varied relationships to place, context and audience.

Andrew Bick’s works consist of combinations of oil paint, marker pen, wax, acrylic paint and Perspex. He utilises elements of flat colour, depth and surface, revealing the process of painting as a series of strategies or components that call into question false opposites, and contrast hard geometric or graphic forms with uncertain or dashed-out strokes. His work is based on the belief that disruption within a system helps us relearn the process of paying attention.

Bick has an MA in painting from the Chelsea School of Art (1988) and has since shown extensively in Europe and the U.S. He is represented by Hales Gallery, London and Von Bartha, Basel. He lives and works in London.

Peter Downsbrough was born in the USA and lives and works in Brussels. Associated with Conceptual and Minimalist art since the 1960s his practice includes sculpture, installation, photography, film and artists’ books. His various works bring together text as both a visual and semantic signifier, composing this within geometric forms,

graphic lines and structures that delineate space and the subjective encounter. He uses these elements as a basis to examine place and the urban landscape, spatial relationships, reflexivity and concrete poetry in a complex array of interrelated works.

Downsbrough publishes and exhibits internationally and is represented by Galerie Thomas Zander, Cologne; Krakow Witkin Gallery, Boston; Angels Barcelona; Michèle Didier, Brussels, Gilles Drouault, Paris and Loom, New York.

Susan Morris is an artist who also writes. Her work engages with periodicity and the involuntary mark, either through a form of diaristic writing, or by diagrammatic works generated from data recorded by devices worn on the body and, more recently, from ambient light and sound recordings.

Morris has an MA from Goldsmiths, University of London, and a PhD from CSM UAL. She lives in London and is represented by Bartha Contemporary, London.

Nicola Rae’s interdisciplinary practice engages with scientific processes and phenomena, and collectively initiating and co-curating exhibitions is an important part of her working process. She studied BA Fine Art at Canterbury, MA Art & Design in Education, Institute of Education and an MA in Contemporary Art Theory at Goldsmiths, and has exhibited internationally including during Venice Biennales 2013 and 2017, Cyberfest: Patterns of the Mind at the State Hermitage Museum, St Petersburg, 2015 and at Partial Presence: Testing Ground, Zabludowicz Collection, London 2015. She is based at the APT Studios & Gallery in SE London.

Steven Scott is a London based artist and curator working with installation, photographic processes, moving image and print. He utilises methods of mirroring, extended duration and the presentation of interference patterns formed from the interplay of repeating parts. His recent work frames alternations and phasing between points in time and positions in space, intending that this simple matrix frames a liminal threshold at which visual perception gives way to protention. He has recently completed a PhD in Fine Art at the Royal College of Art, London.

Some recent exhibitions include: Galerie Ruimte Morguen, Antwerp; APT Gallery, London; Focal Point Gallery, Southend, and the Dyson Gallery, RCA, London. He has co-curated shows at Centro Cultural CEEE, Porto Alegre, Brazil and Contemporary Art Platform, Kuwait City.

Clare Strand is a British artist working both with and against the photographic medium. For over 25 years she has produced work with found imagery, kinetic machinery, web programmes, fairground attractions and more recently, large-scale paintings and chamber music. She often rejects the default settings of photography and instead, and without apology, welcomes a subtle, slow-burn approach. Her practice is situated somewhere between control and a wilful acceptance of chance.

She exhibits internationally, including at The Museum Folkwang; The Center Pompidou; Tate Britain; Salzburg Museum of Modern Art and the Victoria and Albert Museum.

She is based in Brighton, UK, and is represented by Parrotta Contemporary, Cologne/Bonn.

The Gerald Moore Gallery is a young centre for modern and contemporary art with learning at its heart. Opened in April 2012, in Mottingham, the gallery is uniquely set within the grounds of Eltham College and is a valuable resource for the students and the local community. The gallery has gained momentum hosting some exciting exhibitions including works by Matisse, Louise Bourgeois and Cornelia Parker, whilst supporting emerging local artists. In unison with the exhibitions, the gallery's outreach programme works with local community groups, teachers and schools, creating lasting relationships with our locality. Gerald Moore Gallery was made possible with the foresight and generosity of Old Elthamian, Dr Gerald Moore, many of whose works are archived at the gallery and who has a permanent exhibition on display.

[the-mediaeval-monk]

I'm gonna add my reply as well because answering this is WAY better than job hunting.

A good basic overview for beginners is:

Kerr, Julie. (2009). Life in the Medieval Cloister (1st ed.). Bloomsbury Publishing.

Also the Rule of Saint Benedict is a classic one.

There is also:

The Cambridge History of Medieval Monasticism in the Latin West, edited by Alison I. Beach and Isabelle Cochelin. Cambridge: Cambridge University Press, 2020.

Kerr, Julie. "Health and Safety in the Medieval Monasteries of Britain." History 93, no. 1 (309) (2008): 3-19. http://www.jstor.org/stable/24428624.

For gender and sexuality...

you should look into Ruth Mazo Karras' work. She is a BIG name in the medieval gender and sexuality studies world. Like, so big, at a conference I went to just about everyone cited her in their papers on gender and sexuality. One book is:

Karras, R. M., & Pierpont, K. E. (2023). Sexuality in Medieval Europe : doing unto others (Fourth edition.). Routledge. (I've not read the whole book but what I have read has been useful.)

Another one is this book:

Elliott, Dyan. The Corrupter of Boys: Sodomy, Scandal, and the Medieval Clergy. The Middle Ages Series Edited by Ruth Mazo Karras. Philadelphia: University of Pennsylvania Press, 2020.

The Corrupter of Boys focuses on sexual abuse in the medieval church and makes you stare at the wall for a bit while reading it. I've not had the stomach to read the whole thing. One criticism I've seen of the book is that Elliot occasionally conflates sexual abuse with consenting relationships between adults, so make of that what you will.

Some other sources on gender and sexuality are:

Brozyna, Martha A. "Gender and Sexuality in the Middle Ages : A Medieval Source Documents Reader." edited by Martha A. Brozyna, xii, 316 p. Jefferson, N.C.: McFarland & Co., 2005.

Medieval Masculinities, edited by Clare A. Lees, Thelma Fenster and Jo Ann McNamara. Regarding Men in the Middle Ages, University of Minnesota Press, 1994.

Bynum, Caroline Walker. "Jesus as Mother and Abbot as Mother: Some Themes in Twelfth-Century Cistercian Writing." The Harvard Theological Review 70, no. 3/4 (1977): 257-84. http://www.jstor.org/stable/1509631.

Bynum, Caroline Walker. Jesus as Mother : Studies in the Spirituality of the High Middle Ages. Publications of the Center for Medieval and Renaissance Studies, Ucla. Berkeley: University of California Press, 1982.

Coon, Lynda L. Dark Age Bodies : Gender and Monastic Practice in the Early Medieval West. The Middle Ages Series. Philadelphia: University of Pennsylvania Press, 2011.

Doss, Jacob W. "Making Masculine Monks: Gender, Space, and the Imagined “Child” in Twelfth-Century Cistercian Identity Formation." Church History 91, no. 3 (2022): 467-91.

Hotchkiss, Valerie R. Clothes Make the Man : Female Cross Dressing in Medieval Europe. New York ; London: Garland, 1996.

Kolve, V. A. "Ganymede/Son of Getron: Medieval Monasticism and the Drama of Same-Sex Desire." Speculum 73, no. 4 (1998): 1014-67. https://doi.org/10.2307/2887367. http://www.jstor.org/stable/2887367.

For primary sources on monastic life it would be worth taking a look at these sources:

Brakelond, Jocelin of. Chronicle of the Abbey of Bury St. Edmunds. Translated by Diana Greenway and Jane E. Sayers. Oxford: Oxford University Press, 1989.

Clairvaux, Bernard of. The Letters of St. Bernard of Clairvaux. Translated by Bruno Scott James. London: Burns Oates, 1953.

Daniel, Walter. The Life of Aelred of Rievaulx. Translated by F. M. Powicke. Edited by Marsha Dutton. Kalamazoo, Mich.: Cistercian, 1994.

Heisterbach, Caesarius Of. The Dialogue on Miracles. Translated by H. von E. Scott and C. C. Swinton Bland. London: G. Routledge & Sons, 1929. (There has also been a new translation of this source that has been put out as this translation is not the best, especially when it comes to the queer monk exempla. Great source in general if you want to learn about medieval ideas about demons.)

McNeill, John T., and Helena M. Gamer. Medieval Handbooks of Penance : A Translation of the Principal "Libri Poenitentiales" and Selections from Related Documents. New York ; Chichester: Columbia University Press, 1990.

Odo Rigaldus, Archbishop of Rouen. The Register of Eudes of Rouen. New York: Columbia University Press, 1964. (This source also has an instance of two monks getting caught committing sodomy and have been sent to different monasteries as a result.)

Paris, Matthew. Translated by David Preest. The Deeds of the Abbots of St Albans, edited by James G. Clark. Gesta Abbatum Monasterii Sancti Albani. Boydell & Brewer, 2019.

Shopkow, Leah. The Chronicle of Andres, Catholic University of America Press, 2017.

Walsingham, Thomas. The St Albans Chronicle: The Chronica Maiora of Thomas Walsingham, Vol. 1: 1376–1394. Oxford: Oxford University Press, 2019.

Twelfth-Century Statutes from the Cistercian General Chapter. Edited by Chrysogonus Waddell. Vol. XII, Brecht: Cîteaux, Commentarii Cistercienses, 2002.

Also, I am currently reading Fortune and Misfortune at Saint Gall by Ekkehard IV. If you're looking for a funny source, this one is really good. However, Ekkehard IV is a bad historian and takes a lot of creative liberties with truth (or just doesn't remember them). That being said, he was a 10th/11th century monk so I am willing to forgive his errors as Fortune and Misfortune documents a lot of oral history at Saint Gall.

Some online sources:

Okay, I am going to stop here as I have overloaded you. I've not read all of these sources in their entirety but I have at least read part of each one I've recommended. If you have any more questions, so feel free to reach out.

hi! I have a kinda unusual question - do you (or any of your followers) know of any good resources about how the everyday life of medieval monks looked like? or anything that discusses gender and/or sexuality questions in the medieval period (especially if it's in a monastery setting)? books, articles, or whatever format there is!

sorry if it's kinda out of nowhere, just you're The™ monkposting blog in my brain so I thought you might know. No worries if not!

I would not know of books ab the everyday lives of medieval monks unfortunately :[ I did recently pick up a book called The Wandering Mind: What Medieval Monks Tell Us About Distraction by Jamie Kreiner.. haven't gotten too far into it yet but it is a Fun read so far :]

as for gender and sexuality.. these books I have not read, but found them recommended among people whom I'm sure know better:

John Boswell's stuff, such as Christianity, Social Tolerance, and Homosexuality

Trans and Genderqueer Subjects in Medieval Hagiography by Alicia Spencer-Hall

monktuals chime in if you've got suggestions u_u

[asexplainedbyttoi]

Boris Johnson’s entire testimony to the Partygate inquiry as explained by The Thick of It

[immediatebreakfast]

Light was each simple bosom there, Save two, who ill might pleasure share — The Abbess and the novice Clare

Out of the group of nuns who are both excited, and a little scared for this travel to Lindisfarne, both the abbess, and the novice Clare are brought up as important characters to take into account in this canto second.

These two characters really contrast eachother in both their reasonings to become a dame of the lord, and their own grief in what is behind that decision.

On one hand the abbess, who is the mother superior for this nun group, is quite the interesting character in how she views her religion, and the power that it gives to the people in superior seats within the church's hierarchy.

Her hopes, her fears, her joys, were all Bounded within the cloister wall: The deadliest sin her mind could reach Was of monastic rule the breach; And her ambition’s highest aim To emulate Saint Hilda’s fame.

The abbess wants to become like Saint Hilda to gain the reputation that she has to her name, and her legend. She wants to become a saint through her material actions, and all of the favors that she can do in order to get to sainthood at the eyes of the church.

It's a huge sin to have this ambition because it is deceiving to god to try to become a Saint without actually meaning the good that you do, but the abbess doesn't care. She knows it's a sin, she knows that she is deceiving both the people, and her faith, but she is firm in her ambition, even if she is ashamed of it.

Though, vain of her religious sway, She loved to see her maids obey; Yet nothing stern was she in cell, And the nuns loved their Abbess well.

And she has put so much of her life, and work into this personal mission that at some point I can kinda see her deceiving herself in her own vanity while the people around her recognize her efforts while not being aware of her conflict. The abbess has used her money to make her convent a place of respect, and rest. Decking it out with gems, relics, and ivory; making the poor have resources, and offering the pilgrims housing.

The poem had all of the traits, and the meanings to make a truly corrupt agent of the church, but in her hurry to be seen in the likes of Saint Hilda the abbess somehow gained the love of the nuns she leads.

Sad was this voyage to the dame; Summoned to Lindisfarne, she came, There, with Saint Cuthbert’s Abbot old, And Tynemouth’s Prioress, to hold A chapter of Saint Benedict, For inquisition stern and strict, On two apostates from the faith, And, if need were, to doom to death.

And just like any member of the church, the abbess is going along with her nuns on a journey to see judgement being in action, and a possible execution.

On the other hand, Clare is the novice nun, she has yet not taken the vows to become a full nun, and seems to be drowning in her grief that turned her life into a tragedy.

Lovely and gentle, but distressed. She was betrothed to one now dead, Or worse, who had dishonoured fled. Her kinsmen bade her give her hand To one who loved her for her land;

This poor woman had only one option to escape a very unwanted suitor, and it was to join the church. To make herself absolutely untouchable for him inside the holy walls. On top of having to mourn her actual lover who died recently.

A sun-scorched desert, waste and bare, Nor waves nor breezes murmured there; There saw she, where some careless hand O’er a dead corpse had heaped the sand, To hide it till the jackals come, To tear it from the scanty tomb. See what a woful look was given, As she raised up her eyes to heaven!

Clare is distressed, truly distressed. The poem keeps using that word for her, to exemplify how her suffering has led her to this point, how Clare now has to attend a trial of her almost murderers in Lindisfarne. They tried to murder her while she was mourning, and Clare had no choice but to Glee to the place where (at least) the whims of powerful people where submitted to the power of the church.

The islanders, in joyous mood, Rushed emulously through the flood, To hale the barque to land; Conspicuous by her veil and hood, Signing the cross, the Abbess stood, And blessed them with her hand.

At least Clare ended up under the protection of this abbess while her being is so mentally fragile. I don't even want to imagine how it would feel to be on her shoes, knowing that any step she takes outside of the abbey could be used to either pursue her or kill her.

A horrible tragedy in the middle of the almost fantasy like adventure of lord Marmion's introduction.