Re: Died on Christmas Day (list)
The Kentucky Wizard
> x-no-archive: yes
>
> Died on Christmas Day
>
>
> W.C. Fields, 66 (1946)
>
> Kathryn Sheldon, 96 (1975)
> ['Nell' on "Rockin' Thru the Rockies" (1940), with The Three Stooges]
>
> Charlie Chaplin, 88 (1977)
>
> Joan Blondell, 73 (1979)
> Jack Pearl, 88 (1982)
> ['Baron Munchhausen' on radio show; "Vas you dere, Sharlie?"]
>
> Nicolae Ceausescu, 71 (1989) [dictator of Romania, executed]
> Billy Martin, 61 (1989) [baseball player, manager; NY Yankees]
> Dean Martin, 78 (1995)
> Jonbenet Ramsey, 6 (1996)
> Denver Pyle, 77 (1997)
> James Brown, 73 (2006)
Oh Lord, don't you have *something* to do today? I'll even pretend to send
you a present if you in turn pretend to open it.
--
Have a Merry Christmas and a Happy New Year,
© The Wiz ®
«¤»¥«¤»¥«¤»
Charlene
TJ-BF wrote:
>
> Died on Christmas Day
>
>
> W.C. Fields, 66 (1946)
>
etc.
Also:
Samuel de Champlain (1635)
Karel Capek (introduced the word "robot") (1938)
Joan Miro, painter (1983)
wd42
Hyfler/Rosner
"The Kentucky Wizard" <Kentuck...@gmail.com> wrote in
message
>
> Oh Lord, don't you have *something* to do today? I'll even
> pretend to send you a present if you in turn pretend to
> open it.
I can't believe I'm going to come to Roy's defense, but KW,
there are plenty of people who have nothing to do today.
It's just another movie day to me.
Janice Busgal Brooks
tonight. So I have a few hours.
On Dec 25, 9:08 am, "TJ-BF" <r...@att.net> wrote:
> x-no-archive: yes
>
> "Hyfler/Rosner" <rel...@rcn.com> wrote in messagenews:pvudnRQyEPeERRLY...@rcn.net...
>
>
>
> > "The Kentucky Wizard" <KentuckyWiz...@gmail.com> wrote in message
>
> >> Oh Lord, don't you have *something* to do today? I'll even pretend to
> >> send you a present if you in turn pretend to open it.
>
> > I can't believe I'm going to come to Roy's defense, Thanks, Amelia. I think.
>
> > but KW, there are plenty of people who have nothing to do today. It's just
> > another movie day to me. C-SPAN ("Washington Journal" show) is also a good way to start any
> day.
The Kentucky Wizard
I understand completely, except for the coming to Roy's defense part. Also,
I guess leading off with "Oh Lord" didn't set the tone very well either. :-)
Actually, I'm watching CourtTV myself right now. The Mrs. is still in the
bed, our son is at grandma's house, and our "Killer Chihuahua" is curled up
in his favorite sleeping place, which is also in the bed, right next to the
Mrs. So today isn't always "Happy Happy, Joy Joy" for many of us Christians
either.
Now, later on today, when the ball games get fired up on the ole TV, it'll
be a different story.........
The Kentucky Wizard
> x-no-archive: yes> news:aKqdnSjVwdT0WBLY...@insightbb.com...
> Shutting yer loud mouth would be a great present for me.
>
> > --
> >
> > Have a Merry Christmas and a Happy New Year,
>
> You want to try for 2-out-of-2?
Ok, just what are you drinking, and where can I get me some of it?
Bill Schenley
> > > W.C. Fields, 66 (1946)
> > > Kathryn Sheldon, 96 (1975)
> > > Charlie Chaplin, 88 (1977)
> > > Joan Blondell, 73 (1979)
> > > Jack Pearl, 88 (1982)
> > > Nicolae Ceausescu, 71 (1989)
And his wife, Elena.
> > > Billy Martin, 61 (1989)
> > > Dean Martin, 78 (1995)
> > > Jonbenet Ramsey, 6 (1996)
> > > Denver Pyle, 77 (1997)
> > > James Brown, 73 (2006)
> > Also:
> > Samuel de Champlain (1635)
> > Karel Capek (introduced the word "robot") (1938)
> > Joan Miro, painter (1983)
> Very obscure individuals for most people, but thanks
> for the update to the list.
Huh?
Joan Miro and Champlain are "obscure" ... but Kathryn Sheldon and Jack
Pearl are not?
Add: Johnny Ace ... You know, if he's not too ... obscure ...
Ron
> Hyfler/Rosner wrote:
>> "The Kentucky Wizard" <Kentuck...@gmail.com> wrote in
>> message
>> >
>> > Oh Lord, don't you have *something* to do today? I'll even
>> > pretend to send you a present if you in turn pretend to
>> > open it.
>>
>>
>> I can't believe I'm going to come to Roy's defense, but KW,
>> there are plenty of people who have nothing to do today.
>> It's just another movie day to me.
>
>
> I understand completely, except for the coming to Roy's defense part.
> Also, I guess leading off with "Oh Lord" didn't set the tone very well
> either. :-)
>
> Actually, I'm watching CourtTV myself right now. The Mrs. is still in the
> bed, our son is at grandma's house, and our "Killer Chihuahua" is curled
> up in his favorite sleeping place, which is also in the bed, right next to
> the Mrs. So today isn't always "Happy Happy, Joy Joy" for many of us
> Christians either.
Looks like a very PEACEFUL scene to me. That would mean "Happy/Joy" to me.
We wish each other PEACE at Christmas, but when we have it, we don't
recognize it or appreciate it. Think about those who have lost their "Mrs."
this past year, or their son, or his grandma, or their beloved pet .... you
also have a home, a bed and a TV...
You have a lot to look around at and be grateful for...Heavenly Peace is
yours...at least for this day.
mrhead
Name Year Name Year
Rajshekhar 2005 Philip Hunter (I) (79) 1982
Derek Bailey (III) (75) 2005 Gustaf Färingborg (74) 1982
Manuel Gurría 2005 Jack Pearl (88) 1982
Ray Cymoszinski (60) 2005 Collier Young (72) 1980
Charles France 2005 Louis Neefs (43) 1980
Birgit Nilsson (II) (87) 2005 Miriam Battista (68) 1980
Felice Andreasi (77) 2005 Karel Stepanek (81) 1980
Roy Stuart (I) (78) 2005 Lee Kresel (62) 1980
Dolly Dyer 2004 Fred Emney (80) 1980
Necip Tekce (80) 2004 Gregory Battcock (43) 1980
Haydeé Larroca 2003 Mario Filippeschi (72) 1979
David L. Ford (63) 2003 Joan Blondell (73) 1979
Nicola Paone (88) 2003 Lee Bowman (I) (64) 1979
Davina Whitehouse (90) 2002 O.P. Smith (84) 1977
Fritz Decho (70) 2002 Paul Villé (96) 1977
Reggie Rymal (81) 2002 Charles Chaplin (88) 1977
William T. Orr (85) 2002 Frank P. Keller (64) 1977
Henry F. Greenberg (90) 2002 Jose Portugal (68) 1976
Omar Volmer (68) 2002 Irving Lerner (67) 1976
Walter Rits (53) 2002 Charles Sherman 1976
Brett Ford (31) 2001 Frankie Darro (59) 1976
Irving H. Cooper (92) 2001 Kathryn Sheldon (96) 1975
Ruth Sheila Hodgson (80) 2001 Gaston Gallimard (94) 1975
Horst Fantazzini 2001 Ismet Inönü (89) 1973
Joe Olivier (74) 2001 György Tarján 1973
Dhirendra Gopal 2000 Adrian Scott (I) (61) 1973
Joan Camden (71) 2000 Leona Anderson (88) 1973
Zully Moreno (79) 1999 C.R. Rajagopalachari (94) 1972
Don Watters (63) 1999 L. Guy Wilky (83) 1971
Peter Jeffrey (I) (70) 1999 Naum Trakhtenberg (61) 1970
Tito Guízar (91) 1999 Alexander Campbell (I) (82) 1970
Mike McAlary (41) 1998 Robert Horton (II) (100) 1970
Katharina Brauren (88) 1998 Miguel Ángel Valladares (50) 1969
Richard Paul (I) (58) 1998 Boyd Steven 1967
Marcella Rabwin (90) 1998 Martín Morazzo (60) 1967
Giorgio Strehler (76) 1997 Anna Tõkés (63) 1966
George Arnold (III) (76) 1997 Marty Martyn (59) 1964
Shinichirô Nakamura 1997 Cheerio Meredith (74) 1964
Denver Pyle (77) 1997 Armas Fredman (76) 1964
Julie Kingdon (85) 1997 Josef Fux 1963
Paco Michel 1997 Tristan Tzara (67) 1963
Roger Duchesne (90) 1996 Ken Walters (I) (60) 1962
Jonbenet Ramsey (6) 1996 Warren Austin (85) 1962
Derek Prouse (74) 1996 Barry O'Brien (II) (68) 1961
Joe Valino (67) 1996 Howard Gardiner (57) 1960
Al Schottelkotte 1996 Helen Freeman (74) 1960
Michel Berto (56) 1995 Lorin Raker (68) 1959
Dean Martin (I) (78) 1995 Zivan 'Zika' Cukulic (45) 1959
Nicolas Slonimsky (101) 1995 Charles L. Cooke (67) 1958
Jack Fascinato (79) 1994 Käthe Dorsch (66) 1957
Azat Sherents (80) 1993 Charles Pathé (94) 1957
Blandine Ebinger (94) 1993 Eugenio Centenaro Kerrigan 1956
Ann Ronell (88) 1993 Robert Walser (I) (78) 1956
Rollin Moriyama (85) 1992 Abe Reynolds (71) 1955
Monica Dickens (77) 1992 Ben Jacksen (67) 1952
Sandra Dorne (68) 1992 Ivan Bersenyov (62) 1951
Krzysztof Swietochowski (54) 1992 Max Kravetz 1951
Orane Demazis (97) 1991 Paul Gavault (86) 1951
Gotlib Roninson (73) 1991 Fernando Delgado (I) (59) 1950
Thomas Newman (II) (60) 1991 Frank MacQuarrie (75) 1950
Curt Bois (90) 1991 Leon Schlesinger (65) 1949
Mark Carvel 1990 William Beery (70) 1949
Benjamin Jacobsen (75) 1990 Charles E. Nixon (59) 1949
Marguerite Whitten (77) 1990 Fritz Linn 1949
Ilhan Engin (65) 1990 Lettice Fairfax (72) 1948
Dodo Watts (79) 1990 Theodor Tufwesson (63) 1947
Billy Martin (I) (61) 1989 W.C. Fields (66) 1946
Robert Pirosh (79) 1989 D'Arcy Corrigan (75) 1945
Gus Dahlström (83) 1989 George Stewart (I) (57) 1945
Elena Ceausescu (70) 1989 Edwin Stanley (64) 1944
Betty Garde (84) 1989 Gwen Farrar (45) 1944
Nicolae Ceausescu (71) 1989 Gustav von Seyffertitz (81) 1943
Domenico Scala (86) 1989 Ralph McCullough (48) 1943
Terence Dudley (I) 1988 William Irving (I) (50) 1943
Shohei Ooka (79) 1988 William Hamilton Osborne (69) 1942
Joe Kaye 1987 Blanche Bates (68) 1941
Agustín Cuzzani 1987 Agnes Ayres (42) 1940
André Saint-Luc (86) 1987 Richard Cummings (II) (80) 1938
Peggy Oumansky (83) 1987 Harry Myers (I) (56) 1938
Friedrich von Ledebur (86) 1986 Karel Capek (I) (48) 1938
Krsto Petanjek (61) 1986 Newton Baker (66) 1937
Sasu Haapanen (81) 1986 Arthur Brisbane (72) 1936
Kaarel Ird (77) 1986 Clifford Bartlett (33) 1936
Jacques Monod (67) 1985 Rufus Steele 1935
Joseph Oriolo (72) 1985 Paul Bourget (83) 1935
Alan Miller (I) (77) 1985 Francesc Macià (74) 1933
George Rhodes (I) (67) 1985 Fred Thomson (38) 1928
Carl Latowich 1984 Frederick Lewis (III) (67) 1927
Armando Pontier 1983 Dick Bernard (59) 1925
Joan Miró (90) 1983 Doc Gessler (44) 1924
Bram Nossem (87) 1983 Lottie Alter (45) 1924
Anthony Averill (71) 1982 Vladimir Korolenko (68) 1921
Helen Foster (I) (76) 1982 Raul Pompéia (32) 1895
Bill Schenley
> > > > Samuel de Champlain (1635)
> > > > Karel Capek (introduced the word "robot") (1938)
> > > > Joan Miro, painter (1983)
>
> > > Very obscure individuals for most people, but thanks
> > > for the update to the list.
>
> > Huh?
>
> > Joan Miro and Champlain are "obscure" ...
>
Heh ...heh ... Joan Miro is not "world-famous?" ¹
You mean, because he was never in a Three Stooges short?
> ... or who introduced the word 'robot', yes.
I suppose it was your pathetic public school education that led you to
believe Champlain introduced the word "robot" to the world.
> > but Kathryn Sheldon and Jack Pearl are not?
>
> You better have your eyes checked--fast.
> I distinctly wrote explanations on who they were, but you
> ignored that info.
I didn't ignore that tidbit of valuable info ... It just wasn't
relevant. Who knew you would need an "explanation" as to who Joan Miro
was ... or that you'd think Champlain was hip to robots ...
> > Add: Johnny Ace ... You know, if he's not too ... obscure ...
>
> Subtract: Johnny Ace.
> He did NOT die on Christmas Day, fool!
> He died Dec. 24, 1954 (Houston, TX)
> http://en.wikipedia.org/wiki/Johnny_Ace
No, you Wiki-fuck-tard, he died on Christmas Day.²
Here, dumbass, do I have to do everything for you:
Below are two obituaries for Joan Miro and one for Johnny Ace. And,
Roy, I want you to pay special attention (knowing that your attention
span is somewhat limited) to the first paragraph in both the Miro
obits. If all this seems too much for you ... focus on the words
"universally acknowledged" and "great masters and creators of modern
art."
"Not-world-famous-painter." That's great. FOR A RETARD!
¹ Joan Miro Dies In Spain At 90; Influenced Art For 60 Years
FROM: The New York Times (December 26th 1983) ~
By John Russell
Joan Miro, universally acknowledged as an artist of the first rank who
played an important role in the imaginative life of the 20th century
for more than 60 years, died yesterday at his home in Palma, Majorca.
He was 90 years old.
Miro, who suffered from heart disease, had been bedridden since he
left a clinic two weeks ago where he was examined for respiratory
problems.
Almost from the moment that Miro arrived in Paris in 1919, fresh from
his native Barcelona, he stood out among the painters and poets who
believed that the first duty of the artist was to the unfettered
imagination.
Left Ineffaceable Mark
As a painter, as a maker of constructions and assemblages, as a stage
designer, as a monumental muralist and as a sculptor on the grand
public scale, he left an ineffaceable mark upon his century.
In recent years, nowhere was this true more than in the United States,
where major sculptures by him had an impressive effect in Chicago and
Houston, and museums and collectors throughout the country vied for
his paintings. In particular, the Museum of Modern Art in New York had
assembled over the last 50 years an exceptionally representative
survey of his long career. The effect of these paintings,
constructions and sculptures upon American artists was undeniably
profound.
Channel of Surrealist Art
In the catalogue of an exhibition called ''Miro in America'' that she
organized in 1982 for the Museum of Fine Arts in Houston, the critic
and curator Barbara Rose argued that ''Miro, the Surrealist not exiled
in New York during World War II, was actually the channel through
which the genuinely innovative forms, techniques and attitudes we
identify as Surrealist passed into American art.''
As the critic David Sylvester once said: ''Miro's art may well have
been the most far-reaching single influence the American Abstract
Expressionists had. It is reflected in Pollock and Gorky, Gottlieb and
Baziotes, Motherwell and Smith. And is there any influence other than
his that has been common to both de Kooning and Rothko?''
Initially and by nature the most private of men, Miro adapted in time
to a public role that took two specific and quite different forms. As
of 1958, when he made a large ceramic mural for the headquarters of
UNESCO in Paris, he was continually in demand for big- scale public
decorations. Adapting without apparent effort to a wide range of
commissions, he brought his inimitable vein of fantasy to airports,
hospitals, schools and museums the world over.
He also came out in his 70's and 80's as an archetypal upright citizen
to whom it came naturally to speak his mind on the great issues of the
day. When he was 76 years old, he did not hesitate to spend the night
in an unheated Spanish castle while keeping a vigil to protest the
mistreatment of political prisoners in Spain.
'Always Worked for Liberty'
In his 80's he collaborated with a Barcelona street-theater troupe
called the Claca, for which he designed a series of over-lifesize
monster figures; pre-eminent among them was an elephantine grotesque
in whom Spanish audiences were quick to spot a likeness to Franco
himself.
''I have always worked for liberty,'' he said to a friend recently.
''Liberty of expression in art is the same as liberty of expression in
ideas''.
Miro will be remembered, with Max Ernst, Rene Magritte, the young
Salvador Dali and one or two others, as the embodiment of the
spontaneous imagination as it was nurtured in the art of the 1920's
and 30's.
Miro never ran with any pack, never sided with any faction, never gave
up any part of himself. He knew that when the imaginative conditions
were right, two and two could make 75. And he acted on that principle
until almost the day of his death.
Joan Miro was born in Barcelona on April 20, 1893. He was the first
son of Dolores Ferra and Michel Miro Adzirias, a goldsmith and
watchmaker. In no way precocious, he nonetheless experienced a kind of
epiphany when he began to learn drawing at the age of 10 or 11.
''That class was like a religious ceremony to me,'' he said later. ''I
would wash my hands carefully before touching paper or pencils. The
instruments of work were sacred objects to me.''
His progress was not, however, such as to convince his parents that he
had a vocation for art. In classic style, they found him a job as a
bookkeeper when he was 17, and in classic style he rebelled against it
to the point of a nervous breakdown, followed by typhoid fever. At
that point, his parents settled him in a farmhouse outside Montroig,
near Barcelona, and agreed that he could give up his business career.
Passion for Catalonia
Miro loved Montroig. Not only did it become the subject of his first
important paintings, but when he moved to Paris he made a point of
taking grasses and stones from Montroig in his luggage, so that
contact should not be lost.
Montroig prompted the big painting called ''The Farm,'' now on loan to
the National Gallery in Washington and which for many years belonged
to Ernest Hemingway.
Montroig was the focus of Miro's intense, lifelong and steadfast
passion for Catalonia. (''Madrid is a foreign country for me,'' he
once said to a friend.) The architecture, the landscape, the very
color of the earth - all were an inspiration to him, and when he
brought a poet's imagination to bear upon the memory of Montroig in
the 1920's there was no end to the epigrammatic symbols that resulted.
Barcelona at the time of Miro's youth was one of the liveliest and
most enlightened cities in Europe. Everything about it was delightful
to him, from the medieval works of art in the Catalan Museum to the
new art, the new books and the new music that were being discussed in
the cafes.
He always remembered how in 1916 the Parisian dealer Ambroise Vollard
had sent an exhibition of French Impressionist painting to Barcelona.
''There was a Monet landscape in that show,'' he said later. ''It was
so beautiful that when the guard wasn't looking I went over and kissed
it.''
But after World War I, Paris beckoned, and in 1919 he got there. He
carried with him a Catalan cake that had been baked by Picasso's
mother as a present for Picasso; and Picasso, along with many others
in Paris, immediately saw the point of Miro.
Sense of Scale Abolished
The same, however, could not be said of the public at large, and Miro
was often hungry to the point at which he hallucinated. Happily, he
could put those hallucinations to good use in paintings in which
plants, animals and human beings exchanged characteristics with one
another. All sense of everyday scale and space was abolished in those
paintings, of which the most celebrated is perhaps the ''Harlequin's
Carnival,'' now in the Albright- Knox Art Gallery in Buffalo.
By 1925, Miro was ready to bear upon his back the burden of
reinventing painting in pictures like ''The Birth of the World,''
which is now in the Museum of Modern Art.
William Rubin, director of painting and sculpture at the Museum of
Modern Art, once described this large and premonitory painting, as
''the first of a long series of visionary surrealist works that deal
with the act of artistic creation through an image of the universe.''
In more ways than one, Miro in the late 1920's began to anticipate
modes of expression that did not become generally current until quite
a few years later. It is, for instance, implausible that the elements
used by Miro's close friend Alexander Calder in his mobiles would have
been what they were if Calder had not been familiar with Miro's
paintings. The imagery used by Arshile Gorky likewise ran close to
Miro's in later years.
Miro's use of large open fields of pure color beyond question had an
effect upon American abstract painting. As for the enigmatic
three-dimensional constructions like the ''Object'' of 1936 that is in
the Museum of Modern Art, it stands as first father to a vast family
of three-dimensional images that was to grow up over the next 40
years.
Refused Abstract Painter Label
Miro's images did not always reveal themselves at a casual glance, but
he refused to regard himself in any way as an abstract painter.
''The smallest thing in nature is an entire world,'' he once said. ''I
find all my themes in the fields and on the beaches. Pieces of
anchors, rudders, starfish and tiller handles - they all turn up in my
compositions. So do the heads of mushrooms and the 77 shapes of the
calabash.''
The multiplicity of these amoebic images was never more vividly
manifested than in the ''Constellations,'' a series of quite small
paintings that he sent to the Pierre Matisse Gallery toward the end of
World War II. When shown in New York, they had a considerable
influence, as much for their omnidirectional composition and their
free-running sense of fun as for their formal derivations.
Under the watchful and affectionate guidance of Mr. Matisse, Miro in
the years after World War II consolidated his American reputation year
by year.
His first visit to this country in 1947 had the effect upon him, so he
said, of ''a blow in the chest.'' Quite possibly that visit and
ever-increasing fame were the more welcome to him because in Franco's
Spain he had to endure what he called ''a total indifference, a total
silence,'' except on those occasions when the Government wished to
involve him for reasons of its own in enterprises that did not tempt
him.
''My hope has always been to work fraternally, as part of a team,'' he
once said. For this and other reasons he enjoyed making ceramics with
his friend J. L. Artigas. From there to making sculpture was a natural
step, one that he took with pleasure and full confidence in the last
two decades of his life.
Outgoing and Generous
For Chicago, he created a tall standing figure, half beauty queen,
half female Neptune, that looked as if she had stepped ashore at dawn
from the chill waters of Lake Michigan. For Houston, he made a
55-foot-high sculpture called ''Personage and Birds.'' Built
originally from many disparate elements - among them a pair of chair
legs and their crosspieces - it brought an element of mischief and
insubordination into the very headquarters of corporate activity.
As one critic wrote at the time: ''In a particularly sterilized
context it reminds us that birds sometimes leave their droppings even
on the chairman of the board.'' To those who found it (and others
among his late works) grotesque he would say: ''We live in a monstrous
era. How should art not reflect that?''
Miro in all his ways was simple, direct, outgoing and illimitably
generous. His instinct was to give everything to everyone and keep as
little as possible for himself.
In 1975, there was opened in Barcelona what is generally called the
Miro Foundation. Thereafter, he made this the repository for a great
part of his output, and it was natural that visitors should think of
it as an institution devised to honor him. He did not see it that way,
disliked the name and hoped that it would be ''a pretext for those who
come after,'' rather than a monument to himself.
He looked forward, not back, and when he was asked to make a mural for
the exterior of Wichita State University in Kansas, he readily agreed.
''It's the young people who interest me, and not the old dodos,'' he
said. ''If I go on working, it's for the year 2000, and for the people
of tomorrow.''
He is survived by his wife of many years, Pilar; a daughter, Dolores,
and two grandchildren.
---
Joan Miro, A Master Of Modern Art, Dies At 90
FROM: The Washington Post (December 26th 1983) ~
By J. Y. Smith, Staff Writer
Joan Miro, 90, one of the
died yesterday at his home near Palma de Mallorca, Spain. He had heart
and lung ailments.
Mr. Miro was a surrealist who looked at the world from the perspective
of his native Catalonia, and some of his greatest works depict the
vibrance and earthiness of Catalan life: peasants, farms, fishermen,
trees, animals, birds, everyday implements, toys and ancient and
primitive decorations. Although his paintings are abstract, they
depict specific things that the artist held to be recognizable.
Principal characteristics of his work are wit and an engaging
eroticism.
If his subjects often came from home, his art came largely from
France. He was influenced by the work of Cezanne, Matisse, van Gogh
and Picasso, who was his friend as well as his countryman, and the
primitive pictures of Henri Rousseau, to which he was particularly
attracted. He read the poetry of Rimbaud and Mallarme and other
symbolists. He studied the crowded and tortured canvases of
Hieronymous Bosch. He drew from all of these and more. He absorbed
cubism, Fauvism and postimpressionism and put his own mark on all of
them.
It was a mark that had a large influence on abstract expressionists of
a later generation, such as Mark Rothko and Jackson Pollock. Mr. Miro
was one of the last major figures whose creations provide a direct
link between art at the turn of the century and art today.
His more important works include "Standing Nude" (1918); "The Farm"
(1921-1922); "Catalan Landscape (The Hunter)" (1923-1924); "Carnival
of Harlequin" (1924-1925); "The Birth of The World" (1925); "Spanish
Dancer" (1928); the series of gouaches called "Constellations" (1941);
the three "Blue" paintings of the 1960s; and his numerous sculptures
and ceramic murals, such as the one at Wichita (Kan.) State Univesity
or the ones adorning the Paris headquarters of the U.N. Educational,
Scientific and Cultural Organization and the Harkness Commons of the
Graduate Center at Harvard University. (The original work at Harvard,
painted in 1959, was a mural. It is now in the Museum of Modern Art in
New York and was replaced by the present ceramic wall, which Mr. Miro
did with the late Josep Lorens Artigas, who collaborated on many of
his ceramics.)
Another ceramic mural is at the Guggenheim Museum in New York City.
Still another, executed in 1972, is on permanent loan to the Zurich
Kunsthaus. A large mosaic, done in 1977, is part of the Rambla de las
Flores in Barcelona.
Other works are the bronze sculptures "Moon Bird" and "Sun Bird,"
which were exhibited in New York City in 1970, and a tapestry,
"Woman," which hangs in the East Building of the National Gallery of
Art here.
John Canaday of The New York Times wrote of the "Bird" pieces: "The
new sculptures are so alive, so vigorous and so inventive that
everything he has done until now begins to look like a series of
preparatory exercises."
In 1980, the Hirshhorn Museum and Sculpture Garden hung a major
retrospective show of Mr. Miro's work. In an essay in the accompanying
catalogue, Charles W. Millard said, " . . . it is clear that, with
Matisse and Picasso, Miro is one of the three giants of European
modernism in this century, and, indeed, his achievement may be even
more sustained and more varied than that of his compatriot. That
achievement, forged entirely in its own terms, shares both Matisse's
French fluency and Picasso's Spanish expressionism and stands easily
alongside the best of both."
A special significance attaches to the walls and other works on
display in heavily traveled places. This is because they represent Mr.
Miro's conviction that the world of art must be the world of people
and particularly the world of young people.
"A picture that an artist keeps is like a corpse," he told an
interviewer. "A picture has no life unless it circulates."
And as a picture is seen, it must have meaning. Thus, Mr. Miro
insisted that his abstractions were recognizable objects that conveyed
a sense of life.
"It seems to me a prime necessity that there should be a strong and
fruitful subject matter that hits the spectator in the face before he
can begin to collect his thoughts," he said in 1936. "This is poetry
expressed in plastic terms and it speaks its own language. Under these
conditions I can't understand--and I take it as an insult--when people
include me with the abstract painters."
In 1941, he said painters must "create new human beings, breathe life
into them and create a world for them."
And in 1959 he declared, "A picture must be fertile. It must give
birth to a world. Whether you see in it flowers, people, horses, it
matters little so long as it reveals a world, something alive."
Joan Miro was born April 20, 1893, in Barcelona. He spent his
childhood there and in Montroig, a nearby village in the hills along
the Mediterranean coast. His parents were Michel Miro Adzerias, a
jeweler and watchmaker, and Dolores Ferra Miro. Throughout his life,
he cherished his Catalan heritage, with its tradition of independence.
"It's in the blood," he said in an interview in 1980.
As a boy, he first came under the spell of medieval frescoes in
Catalan churches. As a man he painted Montroig. As a world figure he
often returned to it.
Mr. Miro began his studies as a child in evening drawing classes. In
1907, he enrolled at the School of Fine Arts in Barcelona, where his
teachers were Modesto Urgell and Jose Pasco. He became an accomplished
draftsman. In 1910, he worked briefly as a clerk and returned to
Montroig to recover from a bout of typhoid fever. In 1912, he joined
the school of Francesco Gali in Barcelona. Gali has been credited with
introducing him to music and poetry.
Through shows at the gallery of Jose Dalman, Mr. Miro was able to
study the work of Van Gogh and others. He had his first one-man show
at the Dalman gallery in 1918, and in 1919, he took part in a
municipal exhibition in Barcelona.
In 1919, he made his first trip to Paris, where he almost starved.
Sometimes, he said, hunger brought on hallucinations and he would jot
them down in a notebook for use in his work. Sometimes he would study
the cracks in the plaster walls of his garret. These images he also
incorporated into his work. His first show in Paris, in 1921, drew bad
reviews and few buyers.
But the following year he completed "The Farm," which is generally
acknowledged as his first masterpiece. The painting was part of
another Miro show in 1925 that was a success, and it was bought by
Ernest Hemingway, a friend of the artist. In 1926, he collaborated
with Max Ernst on sets for Diaghilev's production of the ballet,
"Romeo and Juliet."
The growing interest in his work assured Mr. Miro's future. In 1932,
Pierre Matisse became his dealer in New York and thereafter put on an
average of one Miro show a year. In 1948, Aimee Maeght, founder of the
Galerie Maeght in Paris, became his European representative. These
associations eventually made him rich.
For many years, Mr. Miro spent his winters in Paris and his summers at
Montroig. During the Spanish Civil War, which broke out in 1936 and
lasted until 1939, he expressed his horror at the conflict by painting
"Still Life with Old Shoe," which took him five months to complete and
showed objects with which he believed all Spaniards could identify.
Although he was not a political person, he created an anti-Franco
mural, "The Reaper," for the Spanish Pavilion at the Paris Exposition
of 1937, and also produced a poster, "Help Spain."
During World War II, he fled Paris for Normandy and then went to
Spain. He did not visit the United States, a country he liked, until
1947, when he had a commission to do a mural for the Terrace Plaza
Hotel in Cincinnati. On another trip here, in 1959, he called on
President Eisenhower to receive the $10,000 Guggenheim International
Award.
Since 1956, he had lived in a house he had built on a property at
Palma de Mallorca. The grounds, "Son Abrines," include a 200-year-old
farmhouse and a spacious studio. The studio was designed by his friend
Jose Lluis Sert, the great architect.
Mr. Miro, a dapper, blue-eyed figure who was five feet tall, was
described by friends as a lively companion. In his early days in
Paris, he used to go the gym with Hemingway and time him while he
boxed. Once he got into the ring with the writer and went a few rounds
to find out what it was like. In the United States, he developed a
passion for baseball, particulary night games, and ice hockey. But he
did not like openings--"They are commercial, 'political' and everyone
talks so much"--and he was taciturn about his art, asserting it was no
business of his to talk about painting. The views he did express were
notable for their clarity and steadfastness.
His work, he once said, "is always born in a state of hallucination
induced by some kind of shock, objective or subjective, for which I am
not personally responsible in the least." But having been conceived in
"a frenzy," a picture was finished "with a clinical coolness."
"I work in a state of passion and compulsion," he said in 1959. "When
I begin a canvas, I obey a physical impulse, a need to act. It's like
a physical discharge . . . . It's a struggle between me and what I am
doing, between me and the canvas, between me and my distress. This
struggle is passionately exciting to me. I work until the distress
leaves me."
To purge his distress, he worked in many mediums and used numberless
images. The figures in "The Farm" are simply and primitively drawn. In
"Catalan Landscape (The Hunter)," the half-word "sard" appears to help
identify a sardine eating a fly. A peasant is represented by a
triangle with an ear and there are entrails and genitalia. The flags
of France and Catalonia represent the cultural symbiosis of Paris and
Barcelona.
"Spanish Dancer," which Hilton Kramer described in The New York Times
as "a haunting and hilarious image of the passion and movement that is
also a very touching and delicate glimpse of human frailty," is an
abstraction made of sandpaper, string, nails, fur and a draftsman's
triangle, all stuck on linoleum. The powerful and anguished
"Self-Portrait I" of 1937-1938, which is done in pencil, crayon and
oil on canvas, shows Mr. Miro's extraordinary skill in drawing.
"Self-Portrait II" of 1938 is entirely abstract.
To do large works, Mr. Miro sometimes put the canvas on the floor so
he could pour color or turpentine on it and walk on it. Sometimes he
pushed the paint on with his fingers. When he thought he was done, he
would prop the picture against a wall so he could see it as a whole
and decide on changes.
"On the floor, I work flat on my stomach," he said in 1974. "Oh yes, I
get color on me, on my face, in my hair. My face and hair are all
smeared, all spattered. And as for my work outfit, it is a real
painting."
In 1972, Mr. Miro established the Joan Miro Foundation for the Study
of Contemporary Art in Barcelona. Its building, designed by Sert and
on a site donated by the city, opened in 1976 with a show of 475
drawings dating from 1901 to 1975.
Increasing infirmities, including operations for cataracts on both
eyes, forced Mr. Miro to cease his regular work about two years ago. A
year ago, a heart pacemaker was implanted. Two weeks ago, he was
released from a clinic at Palma where he had been treated for
respiratory problems. Last Monday, he received the last rites of the
Roman Catholic Church.
Yet until his final illness he continued to sketch, for there remained
in him what he once described as a compulsion to "refine the magical
sense of things."
Survivors include his wife, the former Pilar Juncosa, a cousin whom he
married in 1929, and a daughter, Maria Dolores, both of Palma de
Mallorca; four grandsons; and one great-grandchild.
---
² Tragedy Strikes R&B Field;
Johnny Ace Dies In Russian Roulette Game
FROM: The Associated Press (January 1st 1955) ~
HOUSTON, Texas
Rhythm and blues recording star Johnny Ace
accidentally killed himself while playing Russian
roulette at a holiday dance here on Saturday (25).
The shooting occurred at a show featuring the
popular singer and his band. Ace had gone backstage
for a five-minute break and had been fooling around
with a revolver with one bullet in the chamber.
Ace, whose real name was John Alexander, was one of
the brightest stars in the r&b field. He rose to fame on
Duke Records, coming thru with his first hit, "My Song,"
in 1952. Since then he has had eight hits in a row,
including "Cross My Heart," "Please Forgive Me," "The
Clock," "Yes, Baby" and the current "Never Let Me Go."
The news of the singer's death caused a big demand for
his past record hits. Peacock Records, which owns the
Duke label, is rushing out an LP of Ace's sides to meet
this demand.
In addition, the label is releasing another new single,
"Pledging My Love."
The label will also release other sides made by Ace recently.
Ace was 25 years old.
MGW
scrawled:
>
> Rhythm and blues recording star Johnny Ace
> accidentally killed himself while playing Russian
> roulette at a holiday dance here on Saturday (25).
I don't consider it an accidental death when someone's killed while
playing Russian roulette.
--
MGW
I have yet to see a problem, however complicated, which when you looked at
it in the right way, did not become still more complicated. ~ Poul Anderson
kar...@webtv.net
>but KW, there are plenty of people who have nothing
>to do today. It's just another movie day to me.
I can't believe anyone takes KW seriously...
>[This posting contains Japanese text that can't be displayed on
>your WebTV Internet Terminal]
Then again, maybe he's just misunderstood; by some.
J.D. Baldwin
Owen Brewster, the sleazy senator from Maine portrayed by Alan Alda in
the movie "The Aviator."
--
_+_ From the catapult of |If anyone disagrees with any statement I make, I
_|70|___:)=}- J.D. Baldwin |am quite prepared not only to retract it, but also
\ / bal...@panix.com|to deny under oath that I ever made it. -T. Lehrer
***~~~~-----------------------------------------------------------------------
Charlene
TJ-BF wrote:
> C-SPAN ("Washington Journal" show) is also a good way to start any
> day.
Personally I like to start the day with something that doesn't put me
back into catatonia, but that's your choice.
wd42, who forgets that to some people Champlain and Miro are obscure.
Yeesh. I'm sure to some people Paris Hilton is obscure, and I'd like to
be one of them, but...
Kent
I can't see the whole thread for some reason, perhaps I have some losers
blocked :), but I hope someone has pointed out that JonBenet Ramsey didn't
die on Christmas. She died the day after.
Kent
Bill Schenley
> tirades for no good reason.
Uh, Roy, I know that reading is not your strong suit ... but take a
moment, just a moment, and re-read this thread. See if you can figure
out which one of us started the "name-calling."
Think of this as a fun-to-do Christmas-time puzzle. No crayons or glue
will be necessary.
You'll notice, as usual, you were the first to call names. I will
admit, however, that I'm better at it than you ...
The Kentucky Wizard
> Try it (instead of quarts of KY bourbon); you'll like
> it!
I'm not a partaker of spirits, remember?
The Kentucky Wizard
> x-no-archive: yes> news:M6CdnZsh6s9JehLY...@insightbb.com...
> > Hyfler/Rosner wrote:
> > > "The Kentucky Wizard" <Kentuck...@gmail.com> wrote in
> > > message
> > > >
> > > > Oh Lord, don't you have *something* to do today? I'll even
> > > > pretend to send you a present if you in turn pretend to
> > > > open it.
> > >
> > >
> > > I can't believe I'm going to come to Roy's defense, but KW,
> > > there are plenty of people who have nothing to do today.
> > > It's just another movie day to me.
> >
> >
> > I understand completely, except for the coming to Roy's defense
> > part. Also, I guess leading off with "Oh Lord" didn't set the tone
> > very well either. :-)
> >
> > Actually, I'm watching CourtTV myself right now. The Mrs. is still
> > in the bed, our son is at grandma's house, and our "Killer
> > Chihuahua" is curled up in his favorite sleeping place, which is
> > also in the bed, right next to the Mrs. So today isn't always
> > "Happy Happy, Joy Joy" for many of us Christians either.
>
> <I know, Stimpy said the line, but your attitude is very
> 'Rennish' today.>
>
> > Now, later on today, when the ball games get fired up on the ole
> > TV, it'll be a different story.........
>
> <only baseball gets to be called 'ball games', football is
> always just football>
Ball games involve any sport where a ball is used, and can be referenced as
such, but you already knew that. I wouldn't expect to go to a bobsled event
and say something like "Hey, look at that ball fly", unless of course one of
the participants were to be thrown from the sled, and then it's referenced
as "balls" and not "ball".
Bill Schenley
> and Miro are, and record how many know
> compared to how many don't know.
This is what you wrote about Joan Miro:
"For most people who aren't into
not-world-famous painters ..."
Here's a little tidbit you can make book on ... World-wide ... many,
*many* more people would recognize the name Joan Miro before they would
know the names Stan Musial or Albert Pujols.
About a gabazillion more ...
Charlene
The Kentucky Wizard wrote:
> I'm not a partaker of spirits, remember?
I didn't know that. How about Moxie?
wd42
R H Draney
>
>On 25 December , the following people died:
>
Let us hope this is the only place you'll see those two names side-by-side....r
--
"Keep your eye on the Bishop. I want to know when
he makes his move", said the Inspector, obliquely.
R H Draney
>
>Ball games involve any sport where a ball is used, and can be referenced as
>such, but you already knew that. I wouldn't expect to go to a bobsled event
>and say something like "Hey, look at that ball fly", unless of course one of
>the participants were to be thrown from the sled, and then it's referenced
>as "balls" and not "ball".
Old joke:
Q: What sport has the fastest-moving balls?
A: Er, jai alai?
Q: No. Skydiving.
LidsvilleNine
The Kentucky Wizard wrote:
> TJ-BF wrote:
> > x-no-archive: yes
> >
> > Died on Christmas Day
> >
> >
> > W.C. Fields, 66 (1946)
> >
> > Kathryn Sheldon, 96 (1975)
> > ['Nell' on "Rockin' Thru the Rockies" (1940), with The Three Stooges]
> >
> > Charlie Chaplin, 88 (1977)
> >
> > Joan Blondell, 73 (1979)
> > Jack Pearl, 88 (1982)
> > ['Baron Munchhausen' on radio show; "Vas you dere, Sharlie?"]
> >
> > Nicolae Ceausescu, 71 (1989) [dictator of Romania, executed]
> > Billy Martin, 61 (1989) [baseball player, manager; NY Yankees]
> > Dean Martin, 78 (1995)
> > Jonbenet Ramsey, 6 (1996)
> > Denver Pyle, 77 (1997)
> > James Brown, 73 (2006)
>
> you a present if you in turn pretend to open it.
>
then bitch about a timely post???
LidsvilleNine
TJ-BF wrote:
> x-no-archive: yes
>
> "Bill Schenley" <stra...@ma.rr.com> wrote in message
> news:1167113310.1...@79g2000cws.googlegroups.com...
Well, you deserve what you get.
The Kentucky Wizard
>
> 'Fool' isn't a bad name.
"But I say unto you, That whosoever is angry with his brother without a
cause shall be in danger of the judgment: and whosoever shall say to his
brother, Raca, shall be in danger of the council: but whosoever shall say,
Thou fool, shall be in danger of hell fire."
Matthew 5:22
The Kentucky Wizard
Moxie is not a spirit, it is a soft beverage. I do use the term 'soft' very
loosely, for anything that's basically the equivalent of liquid brimstone
imported from straight from the depths of hell shouldn't ever be classified
as 'soft'.
The Kentucky Wizard
> The Kentucky Wizard filted:
> >
> > Ball games involve any sport where a ball is used, and can be
> > referenced as such, but you already knew that. I wouldn't expect to
> > go to a bobsled event and say something like "Hey, look at that
> > ball fly", unless of course one of the participants were to be
> > thrown from the sled, and then it's referenced as "balls" and not
> > "ball".
>
> Old joke:
>
> Q: What sport has the fastest-moving balls?
> A: Er, jai alai?
> Q: No. Skydiving.
Ah, but when they hit the ground following a parachute malfuncton, do they
bounce?
The Kentucky Wizard
Oh yeah, I forgot, I'm new here. Thanks for keeping me in line and showing
me the err of my ways.
Putz.....
Bill Schenley
>
> anyone else.
Yes, you do, you twit. You continually start name-calling ... and then
you start bawlin' your beady little eyes out just because you ain't no
good at it.
> If I make a mistake, it is easy enough to just say
> (and give a reference or summary) where the
> mistake is made.
Oh. You mean like this:
"Joan Miro and Champlain are "obscure" ... but
Kathryn Sheldon and Jack Pearl are not?
Add: Johnny Ace ... You know, if he's not too ...
obscure ... "
- Bill Schenley -
Your response to me furthering your education was:
"Subtract: Johnny Ace.
He did NOT die on Christmas Day, fool!"
- Roy -
> He doesn't do only that, which would be appropriate
> in any polite, civil discussion.
There is no "polite, civil discussion" with you. None. The moment
someone disagrees with you or corrects one of your 400 trillion
mistakes ... you take it as a personal insult. You've never *not* done
that, no matter who it is.
> He personalizes it with names, abuse, and other ways
> that aren't needed.
You deserve everything you get. You have posted thousands of OT
bullshit posts - posts that amount to nothing more than troll-posts
(and, I should add, posts you don't have the balls to stand behind),
and you continually insult anyone and everyone who doesn't see your
NewWorldOrder. When you get back "20 times" what you give - you cry
real tears.
You've posted 3,000 times in the last six months, and you know as well
as I do, that almost 2,900 of them were off-topic, troll posts. And
about half of them contain your weak-ass name-calling. You ain't got
nothing to bitch about.
> If you agree with his obnoxious verbal crap, you deserve
> what you get.
> Think about that!
You're just mad because Wiki-fuck-tard was a lot cooler than "fool!"
> You (and he) should be ashamed of yourselves for
> lowering yourself to such low-class nonsense.
Think how much easier it would have been, when Charlene offered Joan
Miro and Samuel de Champlain, to just say "Thanks, but who are they?"
Or, when I wrote Johnny Ace, to say, "I thought he died on the 24th."
You couldn't do that because you couldn't stand the correction. You
don't have it in you.
You could'a got off with a simple ... "Oops."
> It makes him (and you/others) look no better than
> Erik.
I don't jump ahead to name-calling without a reason. Not even with Bob
Champ. Okay, maybe a few times with Bob ...but only because he
deserved it. You deserve it, too, but at least *you* have an excuse:
You're a moron.
> You want to join Erik's pitiful line of verbal attacks and
> sink to his low level of discourse?
Quit cryin'.
Quit_Fucking_Cryin'.
The Kentucky Wizard
> > R H Draney wrote:
> > > The Kentucky Wizard filted:
> > > >
> > > > Ball games involve any sport where a ball is used, and can be
> > > > referenced as such, but you already knew that. I wouldn't
> > > > expect to go to a bobsled event and say something like "Hey,
> > > > look at that ball fly", unless of course one of the
> > > > participants were to be thrown from the sled, and then it's
> > > > referenced as "balls" and not "ball".
> > >
> > > Old joke:
> > >
> > > Q: What sport has the fastest-moving balls?
> > > A: Er, jai alai?
> > > Q: No. Skydiving.
> >
> >
> > Ah, but when they hit the ground following a parachute malfuncton,
> > do they bounce?
>
How you took this from balls to big boobs is beyond me, but at least it is a
more pleasurable subject to discuss.
> > Have a Merry Christmas and a Happy New Year,
>
> Christmas is over.
> Time to shorten that sig. to just "Happy New Year."
Why, Christmas is *never* over, little Virginia.
The Kentucky Wizard
Yes, I certainly am.
> > Thanks for keeping me in line and showing me the err.
>
> You playing OLD-time baseball with that spelling?
Yes, I certainly am.
> > of my ways
>
> > Putz.....
>
> You don't have one.
Ah ha! Caught you peeking up my skirt again, you dirty boy you.
The Kentucky Wizard
> > TJ-BF wrote:
> > > x-no-archive: yes
> > >
> > > "The Kentucky Wizard" <Kentuck...@gmail.com> wrote in message
> > > news:B9ednX82pLOiQA3Y...@insightbb.com...
> > > > R H Draney wrote:
> > > > > The Kentucky Wizard filted:
> > > > > >
> > > > > > Ball games involve any sport where a ball is used, and can
> > > > > > be referenced as such, but you already knew that. I wouldn't
> > > > > > expect to go to a bobsled event and say something like "Hey,
> > > > > > look at that ball fly", unless of course one of the
> > > > > > participants were to be thrown from the sled, and then it's
> > > > > > referenced as "balls" and not "ball".
> > > > >
> > > > > Old joke:
> > > > >
> > > > > Q: What sport has the fastest-moving balls?
> > > > > A: Er, jai alai?
> > > > > Q: No. Skydiving.
> > > >
> > > >
> > > > Ah, but when they hit the ground following a parachute
> > > > malfuncton, do they bounce?
> > >
> > > Only if she has big boobs.
> >
> > How you took this from balls to big boobs is beyond me, but at
> > least it is a more pleasurable subject to discuss.
>
> What is your opinion about little boobs?
All boobs are good boobs.
> > > > Have a Merry Christmas and a Happy New Year,
> > >
> > > Christmas is over.
> > > Time to shorten that sig. to just "Happy New Year."
> >
> >
> > Why, Christmas is *never* over, little Virginia.
>
> What a great line (minus the 'little Virginia')!
Well, I was going to call you "little vagina", but it's the holidays, so I'm
trying to be nice.
> Can you get our Fearless Leader(s) to think about
> Peace instead of War?
Sure thing, I'll take that up with him the next time he calls me.
> > Have a Merry Christmas and a Happy New Year,
>
> Same to you, Wiz, but the Christmas part is for
> Dec. 2007.
Remember, get those cards and gifts out early. Your postman will love you
for it.
Have a Merry Christmas (in 2007) and a Happy New Year,
© The Wiz ®
«¤»¥«¤»¥«¤»
PS: Bill is pulverizing you, let it go.
David Carson
> Now, let's wipe the slate clean on both sides and we'll see
>who starts the name-calling, exaggerations, abuses and other crap from this
>point on.
I don't know whether you or Bill will be the first to throw down an
insult, but I do know which of you will be the first to *complain* about
the other one throwing down an insult.
I also know which of you will be the first to:
1) Be wrong about something,
2) Fail to acknowledge that he was wrong about it,
3) Jump on someone else for a mistake they made when that person didn't
actually make a mistake at all, and
4) Fail to admit that he jumped on the person in error.
The only real question is whether all of the above will take place before
2006 is over.
Bill Schenley
> names, just on this one post.
I don't know why ... You can't count any better than you can read.
> > You've posted 3,000 times in the last six months
> How many posts have YOU posted on old--and
> I mean really old, baseball or other obscure people
> nobody gives a rat's ass about?
Oh. You mean *obituaries*. What an oddity on an *obituary* newsgroup.
And, Roy, you can only speak for yourself. And you forgot to count
that one against *you* ...
> > You're just mad because Wiki-fuck-tard was a lot
> > cooler than "fool!"
> I only used 'fool' because it is a small dig back to
> you but it isn't anywhere close to how many times
> or how much stronger the names are you always use
> against me
What was the name I called you before your "small dig?"
> The only one on this ng who really deserves it is Erik,
> because that is all he does.
You're not that much different than Erik ... But again, he's much
better at it than you are ...
> There is a difference with you being the worst of all,
> and you consistently go over the line with hard-edged
> insults, names, snide remarks, extreme sarcasm, etc.
> "Johnny Ace ... You know, if he's not too ... obscure ..."
*That's* "extreme sarcasm?"
Do you suffer from vaginal dryness or have an annoying, flaky feminine
itch?
Extreme sarcasm?
> There is a perfect example.
> I knew who Johnny Ace was. But I'll bet there are tens
> of millions of people just in the U.S. who would give you
> a blank stare if you asked them who he was because he
> still is *obscure*.
<sigh> So desperate.
> And if you bring up Kathryn Sheldon and Jack Pearl
> again, I'll remind you (once more) I put explanatory
> notes after their names to say who they were because
> they are obscure today compared to decades past.
Here, you goofy, retarded little fuck, this is what Charlene wrote:
"Also:
Samuel de Champlain (1635)
Karel Capek (introduced the word "robot") (1938)
Joan Miro, painter (1983)"
Didn't she also add an "explanatory" note ... But that didn't stop you
from your "extreme sarcasm," did it ...
"Very obscure individuals for most people ..."
So once again, Joan Miro and Samuel de Champlain are not obscure
individuals for most people ... at least most people on this newsgroup.
Did Miro's obituary read like it was written about an "obscure"
person?
<What the fuck am I thinking ... How would you know ... It was an
obituary ... No mention of the horrors of public schools, The
Carpenters or the Duopoly ... So why would *you* bother to read any of
them ...>
> As also was Johnny Ace, except for R&B/pop music buffs.
Which would pretty much cover most of this newsgroup, right ...
> Now, let's wipe the slate clean on both sides and we'll see
> who starts the name-calling, exaggerations, abuses and other
> crap from this point on.
Don't look for me to help you through this, ya' little dimwit ...
> And a piece of obvious advice to you: if you don't like one
of my posts, DON'T read it or if you do afterwards, ignore it!
Are you kidding? I love your posts. You're an idiot ... and that
makes for big fun. On the other hand, you could always take your own
advice ...
> That's what I do with YOUR posts.
If you did ... we wouldn't be this far into the thread ...
Steve Hayes
>x-no-archive: yes
Why?
>Died on Christmas Day
--
Steve Hayes from Tshwane, South Africa
Web: http://hayesfam.bravehost.com/stevesig.htm
E-mail - see web page, or parse: shayes at dunelm full stop org full stop uk
Charlene
The Kentucky Wizard wrote:
> Charlene wrote:
> > The Kentucky Wizard wrote:
> >
> > > I'm not a partaker of spirits, remember?
> >
> > I didn't know that. How about Moxie?
> >
> > wd42
>
> Moxie is not a spirit, it is a soft beverage. I do use the term 'soft' very
> loosely, for anything that's basically the equivalent of liquid brimstone
> imported from straight from the depths of hell shouldn't ever be classified
> as 'soft'.
>
My point about Moxie still stands.
wd42