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The tall, broad, plumply handsome Orson caught the eye of Hilton Edwards, the Gate's legendary co-founder. Edwards had been looking for an actor charismatic enough to play the key role of Duke Karl Alexander in a forthcoming production of a play called Jew Suss, and now he thought he'd found him. Welles, who always looked and sounded much older than his years, claimed he was 18 and already an established player in New York. Edwards would later say he didn't believe a word, but nevertheless he hired him on the spot, and young Orson began his first professional rehearsal.

Not everyone at the Gate Theatre was over the moon about Orson's arrival on the scene, most particularly Hilton Edwards' professional and romantic partner, Micheal MacLiammoir. A very interesting character in his own right, MacLiammoir had been born Alfred Willmore in Kensal Green, London, and fell in love with Irish culture when he visited the country in the s. Though having no connection with Ireland whatsoever, he studied the Irish language until he could write and speak it fluently, changed his name to MacLiammoir and began claiming Cork heritage.

A rich southern lift invaded his plummy accent, and his apparent Irish credentials were a great help when he and the very English Hilton Edwards set up the Gate Theatre in He and Edwards became perhaps Dublin's first openly gay couple, their sexuality quietly acknowledged by the city's residents, who referred to them, affectionately for the most part, as 'the boys'. Fiercely jealous both of Hilton's attention and of actors who might upstage him, McLiammoir saw the young and dashing Orson as a rival on several fronts.

About his lover he need not have worried - Welles was and would always remain enthusiastically heterosexual. But MacLiammoir's other worst fear was confirmed when Welles received a thunderous standing ovation for his performance in Jew Suss on the play's opening night - October 13, In the wings, MacLiammoir fumed, and thereafter, as Welles himself put it, "whenever I was anywhere near the Gate it was one long plot to cut me down".

He appeared in a number of other Gate productions over the next few months, including Hamlet, but his roles from then on were relatively minor, and he would often find bits of scenery mysteriously interposing themselves between him and the audience.

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He left Ireland again for New York in , but he held fond memories of the Gate in his heart and, remarkably, no ill feeling towards MacLiammoir. More than anyone he understood the raging insecurities of the performing artist, and when he made a movie version of Othello in the early s it was Micheal MacLiammoir whom he asked to be his Iago. And around that time he returned to Ireland and made a short film with Edwards and MacLiammoir called Return to Glennascaul It was filmed in the Phoenix Park and narrated by Welles, who played an American who's driving through the Irish countryside when he picks up a hitch-hiker who tells him a disturbing ghost story.

This atmospheric little film was shown for many years in Dublin cinemas before the main feature, and can be found on a DVD release of Welles' Othello. MacLiammoir also starred in a TV production Welles did of King Lear, and Orson always credited Hilton Edwards for inspiring him towards the kind of bold and overtly theatrical productions of Shakespeare's plays that would ultimately get him noticed. He owed the Gate - and Ireland - a great deal, and never forgot it. He returned numerous times, and in brought his Shakespeare mash-up stage production Chimes at Midnight to The Gaiety Theatre.

That show would eventually become Welles' last great film. In later life he would often speak fondly of Ireland, but was less keen on Irish-Americans, whom he referred to as "a new and terrible race". But the Irish-Americans have invented an imitation Ireland which is unspeakable. The wearin' o' the green. Oh my God! To vomit! He was convicted of racketeering in and was in jail until being released in Kissed Mouth, Dante Gabriel Rossetti. Francis Wu Portrait of an Old Woman.

At least they tried Our dog Bart tried to bull his way into the Thanksgiving meal again this year by posing as an Eastern European war refugee. It didn't work. Why God made the day after Thanksgiving. How to make a day after Thanksgiving sandwich. Get three pieces of Wonder Bread, and it has to be Wonder Bread.

There is no happiness in that. Put a lot of salt on it. Put that on top of the good kind of cranberry sauce. Spread stuffing on top of the middle piece of bread. Put the last piece of bread on top of the stuffing and squish tightly. Eat the hell out of the sandwich. By Neal Colgrass. Like to size up the cranium that once held the brain behind Macbeth, Hamlet, and roughly 1, words we still use today?

Well, it's bad news for you—and anyone who believes William Shakespeare's skull is lying under a small village chapel in England, the Birmingham Mailreports. Seems a clergyman at St. Leonard's Church in Beoley, Redditch, asked to have the skull there removed for a quick DNA test and saw his request denied. Dated and , the anonymous articles claim that a doctor dug up Shakespeare's skull to win a reward offered by an art historian in , the Telegraph reports. But after the doctor couldn't get his money, the skull was buried in a vault under St.

Leonard's Church. With the Rev. Paul Irving's request for a DNA test now denied, area clergymen are licking their wounds: "There is this skull sitting there on its own and we would love to know who it is," says a reverend who oversees the Beoley church. The Observation and Appreciation of Architecture. A property in down town Gettysburg Pa. It's time to rethink the entire role and language of architecture.

Mob Testimony: Joe Pistone, Michael Scars DiLeonardo, Angelo Lonardo and others

As director of the Venice Biennale, Alejandro Aravena is on a mission to harness the knowledge of other disciplines, embrace the insights of untrained citizens, and take architecture to new frontiers. Alejandro Aravena. As architects, we are living at a time of shifting paradigms.

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In the past, the scale of our designs grew large, but how many people were we really engaging with? Today, we understand better the sheer complexity of the issues at play when we design and plan buildings, neighbourhoods and even entire cities — and this demands a new, more open approach. Our challenge must be to go beyond architecture and speak the languages of these other disciplines, before translating our discussions into formal design proposals.

One of the biggest problems is bad information — well, architects have a responsibility to engage in broad conversations that ensure we are properly informed about all the parameters of a given project.

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Our ultimate focus is still on form, but what informs this has expanded dramatically. As curator of Reporting From The Front, I want to reverse the idea that the Biennale only deals with issues that are of interest to other architects. We have begun by identifying problems that every citizen can not only understand but actually has a say in: immigration, water, land capacity, waste and so on.


Alejandro Aravena discusses his entry for the Biennale. More and more people in the world are searching for a decent place to live, yet the conditions to achieve this are becoming tougher by the hour. Any attempt to go beyond business as usual encounters huge resistance in the inertia of reality. Any effort to tackle relevant issues has to overcome the increasing complexity of the world. Unlike military wars where nobody wins and there is a prevailing sense of defeat, however, on the frontlines of the built environment there is a sense of vitality, because architecture is about looking at reality in a proposal key.

We should never forget that design can be a very powerful tool in mobilising people to act.

But we must pay attention to the circumstances — the shocking or the dramatic is not always the right response. We want to learn from architectures that, despite or perhaps because of a scarcity of means, intensify what is available instead of complaining about what is missing. We will present numerous examples where organised communities and empowered citizens, sometimes without any formal design training, have been able to improve their own built environment.

There are new actors in this story — not least those property developers who use buildings to chase huge profits. But we are interested in how architecture can introduce a broader notion of gain: design as added value instead of an extra cost; architecture as a shortcut towards equality.

We want to see cases where architecture did, is, and will make a difference in winning those battles and expanding those frontiers. Design ideas that, by balancing intelligence and intuition, are able to escape the status quo.

Paul Castellano and Gloria Olarte | Mafia Days | Mafia gangster, Life of crime, Mafia

Major changes in cities happen over a timescale much longer than that of the typical political administration, and citizens are the core authors who can guarantee these changes. We seek to balance hope with rigour: the battle for a better built environment is neither a tantrum nor a romantic crusade. It is nothing more — but also nothing less — than the disciplined construction of the spaces in which life takes place.

Alejandro Aravena is director of the Venice Architecture Biennale, and executive director of Elemental. Its year anniversary debates are held in conjunction with Guardian Cities. To these two life had come quickly and gone, leaving not bitterness, but pity; not disillusion, but only pain. Scott Fitzgerald's The Lees of Happiness. A crowd helps a man who got his leg stuck.

Lester Young.