Wednesday, 25 September 2019

WILLIAM C. FAULKNER, A NOBEL PRIZE FROM MISSISSIPPI

William Faulkner
After celebrating the Festivity of La Mercè, the Patron of Barcelona, during five intensive days, The Grandma is exhausted. Today, she has decided to rest at home and reread one of her favourite writers, William Faulkner, who was born on a day like today in 1897.

The Grandma has invited Jordi Santanyí, her closer friend, to talk about Faulkner, his literature, his ideas, and his influence over the Universal Literature.

William Cuthbert Faulkner (September 25, 1897-July 6, 1962) was an American writer and Nobel Prize laureate from Oxford, Mississippi

Faulkner wrote novels, short stories, screenplays, poetry, essays, and a play. He is primarily known for his novels and short stories set in the fictional Yoknapatawpha County, based on Lafayette County, Mississippi, where he spent most of his life.

Faulkner is one of the most celebrated writers in American literature generally and Southern literature specifically.

Though his work was published as early as 1919 and largely during the 1920s and 1930s, Faulkner's renown reached its peak upon the publication of Malcolm Cowley's The Portable Faulkner and his 1949 Nobel Prize in Literature, making him the only Mississippi-born Nobel winner. Two of his works, A Fable (1954) and his last novel The Reivers (1962), each won the Pulitzer Prize for Fiction.

In 1998, the Modern Library ranked his 1929 novel The Sound and the Fury sixth on its list of the 100 best English-language novels of the 20th century; also on the list were As I Lay Dying (1930) and Light in August (1932). Absalom, Absalom! (1936) appears on similar lists.

More information: The William Faulkner Society

Born William Cuthbert Falkner in New Albany, Mississippi, he was the first of four sons of Murry Cuthbert Falkner and Maud Butler. He had three younger brothers. Soon after his first birthday, his family moved to Ripley, Mississippi, where his father Murry worked as the treasurer for the family-owned Gulf & Chicago Railroad Company.  

William Faulkner
Murry hoped to inherit the railroad from his father, John Wesley Thompson Falkner, but John had little confidence in Murry's ability to run a business and sold it for $75,000. Following the sale of the railroad business, Murry proposed a plan to get a new start for his family by moving to Texas and becoming a rancher. Maud disagreed with this proposition, however, and they moved instead to Oxford, Mississippi, where Murry's father owned several businesses, making it easy for Murry to find work. Thus, four days prior to William's fifth birthday, the Falkner family settled in Oxford, where he lived on and off for the rest of his life.

His family, particularly his mother Maud, his maternal grandmother Lelia Butler, and Caroline Callie Barr, the African American nanny who raised him from infancy, crucially influenced the development of Faulkner's artistic imagination. Both his mother and grandmother were avid readers as well as painters and photographers, educating him in visual language.

More information: Writing Cooperative

While Murry enjoyed the outdoors and encouraged his sons to hunt, track, and fish, Maud valued education and took pleasure in reading and going to church. She taught her sons to read before sending them to public school and exposed them to classics such as Charles Dickens and Grimms' Fairy Tales.

Faulkner's lifelong education by Callie Barr is central to his novels' preoccupations with the politics of sexuality and race.

As a schoolchild, Faulkner had success early on. He excelled in the first grade, skipped the second, and did well through the third and fourth grades. However, beginning somewhere in the fourth and fifth grades of his schooling, Faulkner became a much quieter and more withdrawn child.

He began to play hooky occasionally and became somewhat indifferent to his schoolwork, instead taking interest in studying the history of Mississippi on his own time beginning in the seventh grade. The decline of his performance in school continued, and Faulkner wound up repeating the eleventh and twelfth grade, never graduating from high school.

William Faulkner
Faulkner spent his boyhood listening to stories told to him by his elders including those of the Civil War, slavery, the Ku Klux Klan, and the Falkner family. 

Faulkner's grandfather would also tell him of the exploits of William's great-grandfather and namesake, William Clark Falkner, who was a successful businessman, writer, and Civil War hero. Telling stories about Old Colonel, as his family called him, had already become something of a family pastime when Faulkner was a boy. According to one of Faulkner's biographers, by the time William was born, his great-grandfather had been enshrined long since as a household deity.

When he was 17, Faulkner met Phil Stone, who became an important early influence on his writing. Stone was four years his senior and came from one of Oxford's older families; he was passionate about literature and had already earned bachelor's degrees from Yale and the University of Mississippi.

Faulkner also attended the latter, joined the Sigma Alpha Epsilon fraternity, and pursued his dream to become a writer. Stone read and was impressed by some of Faulkner's early poetry, becoming one of the first to recognize and encourage Faulkner's talent. Stone mentored the young Faulkner, introducing him to the works of writers such as James Joyce, who influenced Faulkner's own writing.

More information: Writers Write

In his early 20s, Faulkner gave poems and short stories he had written to Stone in hopes of their being published. Stone would in turn send these to publishers, but they were uniformly rejected.

The younger Faulkner was greatly influenced by the history of his family and the region in which he lived. Mississippi marked his sense of humor, his sense of the tragic position of black and white Americans, his characterization of Southern characters, and his timeless themes, including fiercely intelligent people dwelling behind the façades of good ol' boys and simpletons.

William Faulkner
Unable to join the United States Army due to his height (he was 5' 5½"), Faulkner enlisted in a reservist unit of the British Army in Toronto. Despite his claims, records indicate that Faulkner was never actually a member of the British Royal Flying Corps and never saw active service during the First World War.

In 1918, Faulkner's surname went from Falkner to Faulkner. According to one story, a careless typesetter simply made an error. When the misprint appeared on the title page of his first book, Faulkner was asked whether he wanted the change. He supposedly replied, Either way suits me.

In adolescence, Faulkner began writing poetry almost exclusively. He did not write his first novel until 1925. His literary influences are deep and wide. He once stated that he modeled his early writing on the Romantic era in late 18th- and early 19th-century England. He attended the University of Mississippi in Oxford, enrolling in 1919, going three semesters before dropping out in November 1920.

Faulkner was able to attend classes at the university because his father had a job there as a business manager. He skipped classes often and received a "D" grade in English. However, some of his poems were published in campus publications.

More information: The Culture Trip

Although Faulkner is identified with Mississippi, he was residing in New Orleans, Louisiana, in 1925 when he wrote his first novel, Soldiers' Pay. After being directly influenced by Sherwood Anderson, he made his first attempt at fiction writing. Anderson assisted in the publication of Soldiers' Pay and Mosquitoes, Faulkner's second novel, set in New Orleans, by recommending them to his publisher.

The miniature house at 624 Pirate's Alley, just around the corner from St. Louis Cathedral in New Orleans, is now the site of Faulkner House Books, where it also serves as the headquarters of the Pirate's Alley Faulkner Society.

During the summer of 1927, Faulkner wrote his first novel set in his fictional Yoknapatawpha County, titled Flags in the Dust. This novel drew heavily on the traditions and history of the South, in which Faulkner had been engrossed in his youth. He was extremely proud of the novel upon its completion and he believed it to be a significant step up from his previous two novels. However, when submitted for publication, it was rejected by the publishers Boni & Liveright. 

William Faulkner
Faulkner was devastated by this rejection, but he eventually allowed his literary agent, Ben Wasson, to significantly edit the text, and the novel was published in 1929 as Sartoris.

In the autumn of 1928, just after his 31st birthday, he began working on The Sound and the Fury. He started by writing three short stories about a group of children with the last name Compson, but soon began to feel that the characters he had created might be better suited for a full-length novel. Perhaps as a result of disappointment in the initial rejection of Flags in the Dust, Faulkner had now become indifferent to his publishers and wrote this novel in a much more experimental style.

In describing the writing process for this work, Faulkner would later say, One day I seemed to shut the door between me and all publisher's addresses and book lists. I said to myself, 'Now I can write.'

After its completion, Faulkner insisted that Ben Wasson not do any editing or add any punctuation for clarity.

More information: UVA Magazine

In 1929, Faulkner married Estelle Oldham, Andrew Kuhn serving as best man at the wedding. Estelle brought with her two children from her previous marriage to Cornell Franklin and Faulkner hoped to support his new family as a writer. He began writing As I Lay Dying in 1929 while working night shifts at the University of Mississippi Power House. The novel would be published in 1930.

Beginning in 1930, Faulkner sent out some of his short stories to various national magazines. Several of his stories were published, which brought him enough income to buy a house in Oxford for his family to inhabit, which he named Rowan Oak. He made money on his 1931 novel, Sanctuary, which was widely reviewed and read, but widely disliked for its perceived criticism of the South.

William Faulkner
By 1932, Faulkner was in need of money. He asked Wasson to sell the serialization rights for his newly completed novel, Light in August, to a magazine for $5,000, but none accepted the offer. Then MGM Studios offered Faulkner work as a screenwriter in Hollywood.

Although not an avid moviegoer, he needed the money, and so accepted the job offer and arrived in Culver City, California, in May 1932. There he worked with director Howard Hawks, with whom he quickly developed a friendship, as they both enjoyed drinking and hunting. Howard Hawks' brother, William Hawks, became Faulkner's Hollywood agent. Faulkner would continue to find reliable work as a screenwriter from the 1930s to the 1950s.

Faulkner served as Writer-in-Residence at the University of Virginia at Charlottesville from February to June 1957 and again in 1958.

On June 17, 1962, Faulkner suffered a serious injury in a fall from his horse, which led to thrombosis. He suffered a fatal heart attack on July 6, 1962, at the age of 64, at Wright's Sanatorium in Byhalia, Mississippi.

Faulkner is buried with his family in St. Peter's Cemetery in Oxford, alongside the grave of an unidentified family friend, whose stone is marked only with the initials E.T.

More information: Brain Pickings

From the early 1920s to the outbreak of World War II, Faulkner published 13 novels and many short stories. Such a body of work formed the basis of his reputation and earned him the Nobel Prize at age 52.

Faulkner's prodigious output includes his most celebrated novels such as The Sound and the Fury (1929), As I Lay Dying (1930), Light in August (1932), and Absalom, Absalom! (1936). Faulkner was also a prolific writer of short stories.

Faulkner was awarded the 1949 Nobel Prize for Literature for his powerful and artistically unique contribution to the modern American novel. It was awarded at the following year's banquet along with the 1950 Prize to Bertrand Russell. 

Faulkner detested the fame and glory that resulted from his recognition. His aversion was so great that his 17-year-old daughter learned of the Nobel Prize only when she was called to the principal's office during the school day.

He donated part of his Nobel money to establish a fund to support and encourage new fiction writers, eventually resulting in the PEN/Faulkner Award for Fiction, and donated another part to a local Oxford bank, establishing a scholarship fund to help educate African-American teachers at Rust College in nearby Holly Springs, Mississippi.

More information: Archive


Read, read, read.
Read everything -trash, classics, good and bad, and see how they do it.
Just like a carpenter who works 
as an apprentice and studies the master.
Read! You'll absorb it. Then write.
If it's good, you'll find out. If it's not, throw it out of the window.
 
William Faulkner

Tuesday, 24 September 2019

'LA MERCÈ', FOLK & POPULAR CULTURAL ATTRACTIONS

The Grandma & Claire enjoy La Mercè
Today, Claire Fontaine and The Grandma have enjoyed La Mercè, the festivity of the patron of Barcelona. Although Barcelona has three patrons (Madrona, Eulàlia and Mercè), the only one that has a festivity day is La Mercè.

Claire and The Grandma love Catalan popular culture and they have decided to enjoy the Cavalcada, a great parade of figures that symbolize different characters of the history of Barcelona since the 15th century until nowadays.

Els Gegants de Barcelona or Els Gegants de la Ciutat are a couple of giants called Jaume I and Violant d'Hongria, owned by the Barcelona City Council and delegates to the Geganters Coordinator of Barcelona. They are the oldest documented giants in Catalonia, although not in their present form.

His names, Jaume I and Violant d'Hongria, are in honor of these important Catalan monarchs, although it is worth mentioning that during the Franco dictatorship they were forced to be renamed with the names of Fernando and Isabel, in honour of Catholic kings.

Els Gegants de la Ciutat are the highest representation of the Barcelona protocol, along with the Àliga de Barcelona and are part of the Seguici Popular of the City of Barcelona, ​​along with the Capgrossos Macers, the Historic Bestiary of the city, Els Gegants del Pi and Els Gegants de Santa Maria del Mar.

Gegants de Barcelona, del Pi & de Santa Maria del Mar
Els Gegants del Pi are led by L'Associació d'Amics dels Gegants del Pi, a cultural association created in 1992 in the district of Pi de la Ciutat Vella that assumes all the tasks that follow from the operation of the festive elements of the parish and is continuing work since 1960 had carried out the Patronage of Els Gegants del Pi.

Els Gegants del Pi have always been housed in the Basilica del Pi and have a long history that began in 1601. First they were in charge of the parish's Works Council, which was keeping watch over. References to the appearances of the giants at the Corpus Christi festivities and other solemnities of the parish and of Barcelona are numerous throughout the 17th, 18th and 19th centuries, until 1870s are closed in the attic of the bell tower of the church of the Pi.

During the Spanish Civil War they could be saved from the burning of the basilica and, in 1959, were recovered by a group of parishioners of the Pi interested in the traditions of Barcelona and subsequently restored by Manel Casserres i Boix. The 12 of June of 1960 they return to dance by the streets of the city.

In 1985, in the celebration of the 25th anniversary of its recovery, they are sponsored by their eternal companions, the city's giants, and baptized as Mustafà and Elisenda.

Els Gegants de Santa Maria del Mar in Barcelona are historical giants of the city documented from the 16th century and belonging to the Basilica of Santa Maria del Mar. They represent King Solomon and the Queen of Saba.

Els Gegants de Santa Maria del Mar, historically led by the bastions of the Port of Barcelona, took part in the processions and festivities of the city until their disappearance a year earlier from the Spanish Civil War, but the belief remains that they were not burned because of the war, because they were not found in the Basilica.

In 2002, the current version of
Els Gegants de Santa Maria del Mar was released. 

More information: Ajuntament de Barcelona

Els Capgrossos Macers, also known as Capgrossos de la Ciutat, are a couple of figures that lead the Seguici Popular of the City of Barcelona, next to the giants Jaume I and Violant. They represent processors of a procession, and the carrier always comes out with a mallet in his hand.

Els Capgrossos Macers have their own dance, which they premiered in 1999 at the Toc d'Inici of the Mercè festivities, an occasion where they can be seen year after year. They dance a piece called La Gavaldana, by Xavier Padrissa, with choreography of the Gegantera Colla of Sant Josep de Calassanç.

L'Àliga de Barcelona is an element of the popular Catalan beast of the city of Barcelona, ​​where it is part of the Seguici Popular of the City of Barcelona. Together with Els Gegants de Barcelona is the maximum representative of the city of Barcelona.

L'Àliga de Barcelona & Els Capgrossos Macers
When it does not come out, you can visit the Palau de la Virreina, where it is permanently exposed. Some think that the eagle symbolizes the evangelist St. John, who since the middle ages has been represented with this bird.

L'Àliga de Barcelona has been documented since the 14th century, and lived its most splendid time in the 16th and 17th centuries, when it was the responsibility of the Municipal Council and, for that reason, it had to be presented at any ceremony, party official or event attended by any of the Council member representing the city. He also had the privilege of being able to dance in churches and the procession of Corpus had the right to march right in front of the Custody.

The figure had great popularity during the first centuries of activity until the XVIII. From then on, with El Decret de Nova Planta (New Plant Decree) in 1716 and the 1771 prohibitions diminished its privileges and symbolisms until reaching its last reference in 1807 by the canonization festivities of Sant Josep Oriol.

El Ball de l'Àliga, Ball per a ballar la aliga per xeremies or Ball per a ballar l'Àliga de Barcelona is a composition in the form of dance, which the document calls Mantuano referring to a melody of bass very popular since the rebirth and used in this composition.

More information: Betevé (Catalan Version)

El Lleó de Barcelona is an element of the popular Catalan beast that is part of the Seguici Popular of the City of Barcelona.

His first reference dates from 1424 to El Llibre de les Solemnitats de Barcelona (Book of Solemnities of Barcelona), but it is not in 1601 on the occasion of the canonization festivities of Sant Ramon de Penyafort that we find referenced properly as a great crowned figure. We find it documented throughout the seventeenth century and the eighteenth century enjoying a renowned popular prestige for its ravages and performances.

Its representation corresponded to the Gremi dels Blanquers, with its headquarters in the Basilica del Pi, and when it left, it was accompanied by characters with lion masks. There is evidence of his participation in the procession for the beatification of Sant Josep Oriol in 1801 and the festivities for the peace of the Seven Years' War in 1837. He also had a solid participation in the procession of the Parish of Pi until to 1870.

El Lleó & La Mulassa
La Mulassa de Barcelona or Mulassa de Pi is an element of the popular Catalan beast of the city of Barcelona, where it is part of the Seguici Popular of the City of Barcelona.

La Mulassa de Barcelona is a figure that represents a mule decorated and that has always been linked to the Basilica del Pi.

It has two known and differentiated aspects. On the one hand, he is a member of the Historical Bestiary and of the Seguici Popular of Barcelona, ​​which is why he participates in numerous protocol events, occasions where he brings a bouquet of flowers to his mouth or a floral garland on his neck. And, on the other hand, participate in correfocs and similar shows, throwing fire from four points in the mouth.

The history of La Mulassa dates back to 1601, during the canonization festivities of Sant Ramon de Penyafort. We also know that the Gremi de Paraires, which had a chapel in Santa Maria del Pi, was already in charge of guarding it and making it participate in all acts.

During the seventeenth century and much of the eighteenth century there are documented a series of demonstrations of the beast, as a participant element of processions and celebrations and also as a beast of fire. And little by little it was becoming one of the funniest and most baffled elements of the bestiary, famous for the spectacles of fire that he was leading.

The figure enjoyed great popularity during the first centuries of activity, but from the XVIII, with the decree of Nueva Planta, they were restricting privileges and limiting areas of action because it was a trade union property. Over time, he was losing symbolism and calling, and even in 1771 he was expressly prohibited from throwing rockets. From that moment the popularity of La Mulassa began to decline and since 1812, we no longer find any other reference.

More information: La Casa dels Entremesos (Catalan Version)

El Bou de Barcelona or Bou de Sant Just is an element of the popular Catalan beast of the city of Barcelona, ​​where it is part of the Seguici Popular of the City of Barcelona, ​​along with other elements such as Àliga, León, Dragón o Víbria.

It is a figure that represents a docile and calm character, unlike the role it plays in some other Catalan populations. 

El Bou & El Drac
It has two known and differentiated aspects. On the one hand, we can find it in protocoled acts with the Barcelona Patronage, where a walk is decorated with a crown of flowers, and on the other, in correfocs, removing fire for the horns.

The figure can be visited all year round, as long as it does not go out, to the Casa dels Entremesos, with much of the figures of the festive imagery of the old Barcelona. The figure is loaded internally by a person.

El Drac de Ciutat Vella is an element of the popular Catalan beast of the city of Barcelona, where it is part of the Seguici Popular of the City of Barcelona. The beast is loaded internally with wheels for 2 people.

It has two known and differentiated aspects. On the one hand, it participates as a bonfire bonfire in the spectacles of fire -through sparkles by the mouth, wings and tail- and as a peaceful figure in the formal acts with the Seguici Popular of the City Barcelona, ​​in which it carries a bouquet of carnations in the mouth. The figure can be visited all year round at Casa dels Entremesos, where it is exhibited with much of the festive imagery of the Ciutat Vella.


La Víbria de Barcelona is an element of the popular Catalan beast of the city of Barcelona, ​​where it is part of the Seguici Popular of the City of Barcelona.

Víbria is a medieval mythological figure that represents an evil female dragon, with snake tail, bat wings and woman's breasts. It is a piece of festive imagery that is part of the Historical Beast and the Seguici Popular of the City of Barcelona, ​​and goes both in parades and protocol acts as well as in fire spectacles.

The figure has its own dance, the Dance of the Vibria, with music played by gralles and percussion. It can be seen in the most symbolic moments of the Barcelona festivities -Mercè, Santa Eulàlia, and Corpus- with the dances of the other figures of the procession. When it does not come out, the Víbria de Barcelona can be visited at Casa dels Entremesos, where it is permanently exhibited with much of the festive imagery of the Ciutat Vella.

The figure is already documented in the fifteenth century, when he was involved in Corpus Christi processions. By the book El Llibre de les Solemnitats de Barcelona (Book of Solemnities of Barcelona), ​​it is known that he participated, together with the Àliga de Barcelona, ​​in the coronation of King Martí I l'Humà in Zaragoza in 1399.

Like most of the pieces of the Historical Beast, we find it documented participating in the canonization festivities of Sant Ramon de Penyafort, in 1601. 

La Tarasca, Els Cavallets Cotoners & La Víbria
La Víbria de Barcelona enjoyed great popularity during the first centuries of activity, but in the eighteenth century, with the restrictions of the Bourbon monarchy, it began to lose importance, especially as a result of the prohibition of the royal decree of Charles III, in 1780. In the nineteenth century, it is no longer documented anywhere.

La Tarasca of Barcelona or Cuca Fera is a piece of popular Catalan beast belonging to the Seguici Popular of the City of Barcelona. The character of the Tarasca spread throughout Occitania, through the lands of the Crown of Aragon and the rest of the peninsula with very different forms, from those similar to the Occitan myth to those close to the classic dragon. It has a humanized feline head and a turtle body that has a dual function: it takes fire to the fireworks and shows and launches water and candy in the parades and acts of protocol. The figure can be visited all year round at Casa dels Entremesos, where it is exhibited with much of the festive imagery of the Ciutat Vella.

The origin of the figure must be found in a legend of the Provencal population of Tarascó, which explains that there was a beast that lived between the fog and the muddy waters of the wetlands and that the population was terrified because it was devoured young maidens. As a result of this story, the character became very popular and spread throughout Occitania and part of the Crown of Aragon. In some places, it has come to this day as a festive element.

Tarasca's information as a piece of Barcelona's festive imagery is uncertain, often because it has been confused with other elements of the bestiary. In fact, the Castilian writers, who ignored the Barcelona festive heritage, tended to call Tarasca any element of the bestiary that was alien to them.

Els Cavallets Cotoners de Barcelona are some elements of the popular Catalan bestiary protocol of the city of Barcelona. They are part of the Seguici Popular of the City of Barcelona thanks to the Esbart Català de Dansaires. They are currently eight figures.

The first reference of the Cavallets in Barcelona dates from 1424 in the
El Llibre de les Solemnitats de Barcelona (Book of Solemnities of Barcelona) where it appears that they belong to the Council of Barcelona. Already in 1430 there were eight figures, oscillating the number over the years but never reaching more than twelve. In 1437 the City Council ceded the easels to the Gremi de Cotoners to assume their management.

After missing years they were recovered by La Societat del Born to participate in the Carnival celebrations in 1860, but later they were damaged and disappeared definitively.

More info: Coordinadora Geganters de Barcelona (Catalan version)


We're giants, and we're unaware of things
that are too small for us to see.

Louie Schwartzberg

Monday, 23 September 2019

BOB MARLEY, JAMAICAN REGGAE & RASTAFARIANISM

Bob Marley
Today, The Grandma has gone to the library to borrow Les Elegies de Bierville, a wonderful compilation of poems written by the Catalan writter Carles Riba during his exile in Montpellier, Occitania.

The Grandma has wanted to remember Riba, who was born on a day like today in 1893, rereading this work that is a masterpiece and a must.

After borrowing the book, The Grandma has gone to the music section to search some works of Bob Marley, the Jamaican singer and songwriter who offered his last concert in Pittsburgh, Pennsylvania, on a day like today in 1980. Marley was an icon in music but also a great defender of African countries and culture.

Robert Nesta Marley (6 February 1945-11 May 1981) was a Jamaican singer and songwriter. Considered one of the pioneers of reggae, his musical career was marked by blending elements of reggae, ska, and rocksteady, as well as forging a smooth and distinctive vocal and songwriting style. Marley's contributions to music increased the visibility of Jamaican music worldwide, and made him a global figure in popular culture for over a decade.

Born in Nine Mile, British Jamaica, Marley began his professional musical career in 1963, after forming Bob Marley and the Wailers. The group released its debut studio album The Wailing Wailers in 1965, which contained the single One Love/People Get Ready; the song was immensely popular, peaking in the top five on worldwide music charts, and established the group as a rising figure in reggae.

More information: Bob Marley

The Wailers subsequently released eleven further studio albums; while initially employing louder instrumentation and singing, the group began engaging in rhythmic-based song construction in the late 1960s and early 1970s, which coincided with the singer's conversion to Rastafarianism. During this period Marley relocated to London, and the group typified their musical shift with the release of the album The Best of The Wailers (1971).

The group attained international success after the release of the albums Catch a Fire and Burnin' (both 1973), and forged a reputation as touring artists. A year later the Wailers disbanded, and Marley went on to release his solo material under the band's name.

Bob Marley
His debut studio album Natty Dread (1974) received positive reception, as did its follow-up Rastaman Vibration (1976). A few months after the album's release Marley survived an assassination attempt at his home in Jamaica, which prompted him to permanently relocate to London soon afterward. There he recorded the album Exodus (1977); it incorporated elements of blues, soul, and British rock, enjoyed widespread commercial success, and is widely considered one of the best albums of all time.

Over the course of his career Marley became known as a Rastafari icon, and the singer sought to infuse his music with a sense of spirituality. He is also considered a global symbol of Jamaican culture and identity, and was controversial in his outspoken support for the legalization of marijuana, while he also advocated for Pan-Africanism.

In 1977, Marley was diagnosed with acral lentiginous melanoma; he died as a result of the illness in 1981. His fans around the world expressed their grief, and he received a state funeral in Jamaica. The greatest hits album Legend was released in 1984, and subsequently became the best-selling reggae album of all-time. Marley also ranks as one of the best-selling music artists of all-time, with estimated sales of more than 75 million records worldwide, while his sound and style have influenced artists of various genres. He was posthumously honored by Jamaica soon after his death, as he was designated the nation's Order of Merit award.

More information: Bob Marley Foundation

Bob Marley was born on 6 February 1945 at the farm of his maternal grandfather in Nine Mile, Saint Ann Parish, Jamaica, to Norval Sinclair Marley and Cedella Booker. Norval Marley was a white Jamaican originally from Sussex, who claimed to have been a captain in the Royal Marines; at the time of his marriage to Cedella Booker, an Afro-Jamaican then 18 years old, he was employed as a plantation overseer.

Bob Marley's full name is Robert Nesta Marley, though some sources give his birth name as Nesta Robert Marley, with a story that when Marley was still a boy a Jamaican passport official reversed his first and middle names because Nesta sounded like a girl's name. Norval provided financial support for his wife and child but seldom saw them as he was often away. Bob Marley attended Stepney Primary and Junior High School which serves the catchment area of Saint Ann. In 1955, when Bob Marley was 10 years old, his father died of a heart attack at the age of 70. Marley's mother went on to marry Edward Booker, a civil servant from the United States, giving Marley two half-brothers: Richard and Anthony.

Bob Marley
In February 1962, Marley recorded four songs, Judge Not, One Cup of Coffee, Do You Still Love Me? and Terror, at Federal Studios for local music producer Leslie Kong. Three of the songs were released on Beverley's with One Cup of Coffee being released under the pseudonym Bobby Martell.

In 1963, Bob Marley, Bunny Wailer, Peter Tosh, Junior Braithwaite, Beverley Kelso, and Cherry Smith were called the Teenagers. They later changed the name to the Wailing Rudeboys, then to the Wailing Wailers, at which point they were discovered by record producer Coxsone Dodd, and finally to the Wailers.

In 1966, Marley married Rita Anderson, and moved near his mother's residence in Wilmington, Delaware in the United States for a short time, during which he worked as a DuPont lab assistant and on the assembly line at a Chrysler plant in nearby Newark, under the alias Donald Marley.

Though raised as a Catholic, Marley became interested in Rastafari beliefs in the 1960s, when away from his mother's influence. After returning to Jamaica, Marley formally converted to Rastafari and began to grow dreadlocks.

More information: Bob Marley Museum

In 1972, Bob Marley signed with CBS Records in London and embarked on a UK tour with soul singer Johnny Nash.

The Wailers disbanded in 1974, with each of the three main members pursuing a solo career.

In 1975, Marley had his international breakthrough with his first hit outside Jamaica, No Woman, No Cry, from the Natty Dread album. This was followed by his breakthrough album in the United States, Rastaman Vibration (1976), which reached the Top 50 of the Billboard Soul Charts.

Marley left Jamaica at the end of 1976, and after a month-long recovery and writing sojourn at the site of Chris Blackwell's Compass Point Studios in Nassau, Bahamas, arrived in England, where he spent two years in self-imposed exile.

Bob Marley
Whilst in England, he recorded the albums Exodus and Kaya. Exodus stayed on the British album charts for 56 consecutive weeks. It included four UK hit singles: Exodus, Waiting in Vain, Jamming, and One Love (a rendition of Curtis Mayfield's hit, People Get Ready). During his time in London, he was arrested and received a conviction for possession of a small quantity of cannabis.

Survival, a defiant and politically charged album, was released in 1979. Tracks such as Zimbabwe, Africa Unite, Wake Up and Live, and Survival reflected Marley's support for the struggles of Africans.

In July 1977, Marley was found to have a type of malignant melanoma under the nail of a toe.

The album Uprising was released in May 1980. The band completed a major tour of Europe, where it played its biggest concert to 100,000 people in Milan. After the tour, Marley went to the United States, where he performed two shows at Madison Square Garden in New York City as part of the Uprising Tour.

Marley's last concert occurred at the Stanley Theater, now called The Benedum Center For The Performing Arts, in Pittsburgh, Pennsylvania, on 23 September 1980. Just two days earlier he had collapsed during a jogging tour in Central Park and was brought to the hospital where he learned that his cancer had spread to his brain.

More information: The New Yorker

While Marley was flying home from Germany to Jamaica, his vital functions worsened. After landing in Miami, Florida, he was taken to the hospital for immediate medical attention.

Marley died on 11 May 1981 at Cedars of Lebanon Hospital in Miami, now University of Miami Hospital, aged 36. The spread of melanoma to his lungs and brain caused his death. His final words to his son Ziggy were Money can't buy life.

Marley was a Pan-Africanist and believed in the unity of African people worldwide.

His beliefs were rooted in his Rastafari religious beliefs. He was substantially inspired by Marcus Garvey, and had anti-imperialist and pan-Africanist themes in many of his songs, such as Zimbabwe, Exodus, Survival, Blackman Redemption, and Redemption Song.

Redemption Song draws influence from a speech given by Marcus Garvey in Nova Scotia, 1937.

Marley held that independence of African countries from European domination was a victory for all those in the African diaspora. In the song Africa Unite, he sings of a desire for all peoples of the African diaspora to come together and fight against Babylon; similarly, in the song Zimbabwe, he marks the liberation of the whole continent of Africa, and evokes calls for unity between all Africans, both within and outside Africa.

Marley considered cannabis a healing herb, a sacrament, and an aid to medication; he supported the legalisation of the drug.

More information: African News


The greatness of a man is not in how much wealth he acquires,
but in his integrity and his ability to affect those around him positively.

Bob Marley

Sunday, 22 September 2019

'THE DEAD SEA SCROLLS' ARE AVAILABLE TO THE PUBLIC

Visiting El Call, The Jewish Quartier, Barcelona
Today, The Grandma has visited the Ancient Synagogue of Barcelona. This place, in Catalan Sinagoga Major de Barcelona, is believed to be an ancient synagogue located in the centre of Barcelona. It has been described as one of the oldest synagogues in Europe. After many centuries of use for other purposes, the building re-opened as a synagogue and museum in 2002. No congregation prays regularly at the Sinagoga Major, but it is used for festive occasions.

Archaeological investigations show that the original structure of the building was built in the third or fourth century; whether this structure was the synagogue cannot be said with certainty. The building was significantly expanded during the 13th century. Medieval Barcelona is known to have had several synagogues, and the main synagogue was certainly in the immediate area.

King Jaume I visited the synagogue in 1263 at the conclusion of the Barcelona Disputation. Shlomo ben Aderet served as the rabbi of the Sinagoga Major for 50 years.

More information: MUHBA I, II, III & IV

The Jews of Barcelona were massacred in 1391. The building was used for many purposes and its original use was forgotten. Over the centuries, additional stories were added to the building.

In 1987, Jaume Riera i Sans began researching the location of the Sinagoga Major. His research was based on a reconstruction of the route followed by a thirteenth-century tax collector that ended at the Sinagoga Major.

Riera's work led Miguel Iaffa to examine the exterior of the building. Iaffa noted that the structure had been built in compliance with religious requirements that the building should face Jerusalem and that it should have two windows. In fact, the eastward orientation of the building, toward Jerusalem, broke with the northwest/southeast alignment of the streets in its neighborhood.

Iaffa purchased the building in 1995 when its owner put it up for sale. The Call Association of Barcelona, in Catalan Associació Call de Barcelona, led by Iaffa, undertook the recovery and restoration of the synagogue. The Sinagoga Major was opened to the public in 2002, and it drew 20,000 visitors during 2005.

More information: Barcelona Bus Turístic

The Grandma loves Jewish culture and history, perhaps because her ancestors were xuetes, the descendants of Majorcan Jews and she is very interested in knowing more things about her past.

Barcelona is celebrating its patron festivity and during five days all museums are open and free. She has decided to visit El Call, the Jewish quartier of Barcelona, and its historical places -the Synagogue and the Jewish Museum. During her visit to the museum, she has remembered another important event for the Jewish culture when on a day like today in 1997; the Dead Sea Scrolls were made available to the public for the first time.

The Dead Sea Scrolls, also Qumran Caves Scrolls, are ancient Jewish religious manuscripts found in the Qumran Caves in the Judaean Desert, near Ein Feshkha on the northern shore of the Dead Sea. Scholarly consensus dates these scrolls from the last three centuries BC and the first century AD.

The Dead Sea Scrolls
The texts have great historical, religious, and linguistic significance because they include the second-oldest known surviving manuscripts of works later included in the Hebrew Bible canon, along with deuterocanonical and extra-biblical manuscripts which preserve evidence of the diversity of religious thought in late Second Temple Judaism.

Almost all of the Dead Sea Scrolls collection is currently under the ownership of the Government of the State of Israel, and housed in the Shrine of the Book on the grounds of the Israel Museum. Many thousands of written fragments have been discovered in the Dead Sea area. They represent the remnants of larger manuscripts damaged by natural causes or through human interference, with the vast majority holding only small scraps of text. However, a small number of well-preserved, almost intact manuscripts have survived – fewer than a dozen among those from the Qumran Caves.

Researchers have assembled a collection of 981 different manuscripts -discovered in 1946/47 and in 1956- from 11 caves.

The 11 Qumran Caves lie in the immediate vicinity of the Hellenistic-period Jewish settlement at Khirbet Qumran in the eastern Judaean Desert, in the West Bank.

More information: The Dead Sea Scrolls

The caves are located about 1.6 kilometres west of the northwest shore of the Dead Sea, whence they derive their name. Scholarly consensus dates the Qumran Caves Scrolls from the last three centuries BCE and the first century CE. Bronze coins found at the same sites form a series beginning with John Hyrcanus, in office 135–104 BCE, and continuing until the period of the First Jewish–Roman War (66–73 CE), supporting the radiocarbon and paleographic dating of the scrolls.

In the larger sense, the Dead Sea Scrolls include manuscripts from additional Judaean Desert sites, dated as early as the 8th century BCE and as late as the 11th century CE.

Biblical texts older than the Dead Sea Scrolls have been discovered only in two silver scroll-shaped amulets containing portions of the Priestly Blessing from the Book of Numbers, excavated in Jerusalem at Ketef Hinnom and dated c. 600 BCE. The third-oldest surviving known piece of the Torah, the En-Gedi Scroll, consists of a portion of Leviticus found in the Ein Gedi synagogue, burnt in the 6th century CE and analyzed in 2015. Research has dated it palaeographically to the 1st or 2nd century CE, and using the C14 method to sometime between the 2nd and 4th centuries CE.

The Qumran Caves, the Dead Sea
Most of the texts use Hebrew, with some written in Aramaic, for example the Son of God text; in different regional dialects, including Nabataean, and a few in Greek. Discoveries from the Judaean Desert add Latin -from Masada- and Arabic -from Khirbet al-Mird- texts.

Most of the texts are written on parchment, some on papyrus, and one on copper.

Archaeologists have long associated the scrolls with the ancient Jewish sect called the Essenes, although some recent interpretations have challenged this connection and argue that priests in Jerusalem, or Zadokites, or other unknown Jewish groups wrote the scrolls.

Owing to the poor condition of some of the scrolls, scholars have not identified all of their texts. The identified texts fall into three general groups:

-About 40% are copies of texts from the Hebrew Scriptures.

-Approximately another 30% are texts from the Second Temple Period which ultimately were not canonized in the Hebrew Bible, like the Book of Enoch, the Book of Jubilees, the Book of Tobit, the Wisdom of Sirach, Psalms 152–155...

-The remainder, roughly 30%, are sectarian manuscripts of previously unknown documents that shed light on the rules and beliefs of a particular group or groups within greater Judaism, like the Community Rule, the War Scroll, the Pesher on Habakkuk, and The Rule of the Blessing.


The Dead Sea Scrolls were discovered in a series of twelve caves around the site originally known as the Ein Feshkha Caves near the Dead Sea in the West Bank, then part of Jordan, between 1946 and 1956 by Bedouin shepherds and a team of archeologists. The practice of storing worn-out sacred manuscripts in earthenware vessels buried in the earth or within caves is related to the ancient Jewish custom of Genizah.

The initial discovery by Bedouin shepherd Muhammed edh-Dhib, his cousin Jum'a Muhammed, and Khalil Musa, took place between November 1946 and February 1947. The shepherds discovered seven scrolls housed in jars in a cave near what is now known as the Qumran site.

Early in September 1948, Metropolitan bishop Mar Samuel brought some additional scroll fragments that he had acquired to Professor Ovid R. Sellers, the new Director of ASOR. By the end of 1948, nearly two years after their discovery, scholars had yet to locate the original cave where the fragments had been found. With unrest in the country at that time, no large-scale search could be undertaken safely.

 More information: Century One

Sellers tried to get the Syrians to assist in the search for the cave, but he was unable to pay their price. In early 1949, the government of Jordan gave permission to the Arab Legion to search the area where the original Qumran cave was thought to be. Consequently, Cave 1 was rediscovered on 28 January 1949, by Belgian United Nations observer Captain Phillipe Lippens and Arab Legion Captain Akkash el-Zebn.

The 972 manuscripts found at Qumran were found primarily in two separate formats: as scrolls and as fragments of previous scrolls and texts.  

The Dead Sea Scrolls
In the fourth cave the fragments were torn into up to 15,000 pieces. These small fragments created somewhat of a problem for scholars. G.L. Harding, director of the Jordanian Department of Antiquities, began working on piecing the fragments together but did not finish this before his death in 1979.

Some fragments of scrolls have neither significant archaeological provenance nor records that reveal in which designated Qumran cave area they were found. They are believed to have come from Wadi Qumran caves, but are just as likely to have come from other archaeological sites in the Judaean Desert area. These fragments have therefore been designated to the temporary X series.

The Dead Sea Scrolls that were found were originally preserved by the dry, arid, and low humidity conditions present within the Qumran area adjoining the Dead Sea. In addition, the lack of the use of tanning materials on the parchment of the Dead Sea Scrolls and the very low airflow in the Qumran caves also contributed significantly to their preservation.

Some of the scrolls were found stored in clay jars within the Qumran caves, further helping to preserve them from deterioration. The original handling of the scrolls by archaeologists and scholars was done inappropriately, and, along with their storage in an uncontrolled environment, they began a process of more rapid deterioration than they had experienced at Qumran. During the first few years in the late 1940s and early 1950s, adhesive tape used to join fragments and seal cracks caused significant damage to the documents.

More information: History

The Government of Jordan had recognized the urgency of protecting the scrolls from deterioration and the presence of the deterioration among the scrolls.

However, the government did not have adequate funds to purchase all the scrolls for their protection and agreed to have foreign institutions purchase the scrolls and have them held at their museum in Jerusalem until they could be adequately studied.

In partnership with Google, the Museum of Jerusalem is working to photograph the Dead Sea Scrolls and make them available to the public digitally, although not placing the images in the public domain.

The lead photographer of the project, Ardon Bar-Hama, and his team are utilizing the Alpa 12 MAX camera accompanied with a Leaf Aptus-II back in order to produce ultra-high resolution digital images of the scrolls and fragments.

With photos taken at 1,200 megapixels, the results are digital images that can be used to distinguish details that are invisible to the naked eye. In order to minimize damage to the scrolls and fragments, photographers are using a 1/4000th of a second exposure time and UV-protected flash tubes. The digital photography project was estimated in 2011 to cost approximately 3.5 million U.S. dollars.

More information: The Digital Dead Sea Scrolls


For a thousand years after the Dead Sea Scrolls were written,
the Jewish holy scriptures -the five parts of the Torah and 19 other holy books- were copied and passed down in the various Jewish communities from generation to generation.

Ronen Bergman