Baby pensionata da record: a 29 anni smette di lavorare dopo soli 14 anni di contributi

Baby pensionata da record: a 29 anni smette di lavorare dopo soli 14 anni di contributi

Una baby pen­sion­a­ta da record. Si trat­ta di una don­na friu­lana il cui caso è sta­to mes­so in onda in un servizio a Quar­to Gra­do. La sig­no­ra ha smes­so di lavo­rare a 29 anni, con 14 anni 6 mesi e un giorno di con­tribu­ti ver­sa­ti.

Oggi la don­na ha 64 anni ed è non­na e da diver­si anni vive con il 94% del­lo stipen­dio che riceve­va da lavo­ra­trice. Il caso è decisa­mente raro ma non uni­co. Infat­ti il decre­to legge che varò le baby pen­sioni e che cos­ta anco­ra oggi il 0,4% del Pil com­pie in questi giorni 45 anni.

Il caso del­la sig­no­ra ha indig­na­to molti cit­ta­di­ni e ha sus­ci­ta­to moltissime polemiche.

Una baby pen­sion­a­ta da record. Si trat­ta di una don­na friu­lana il cui caso è sta­to mes­so in onda in un servizio a Quar­to Gra­do. La sig­no­ra ha smes­so di lavo­rare a 29 anni, con 14 anni 6 mesi e un giorno di con­tribu­ti ver­sa­ti.

Oggi la don­na ha 64 anni ed è non­na e da diver­si anni vive con il 94% del­lo stipen­dio che riceve­va da lavo­ra­trice. Il caso è decisa­mente raro ma non uni­co. Infat­ti il decre­to legge che varò le baby pen­sioni e che cos­ta anco­ra oggi il 0,4% del Pil com­pie in questi giorni 45 anni.

Il caso del­la sig­no­ra ha indig­na­to molti cit­ta­di­ni e ha sus­ci­ta­to moltissime polemiche.

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NO, NON BASTA FACEBOOK PER SCONFIGGERE IL MALE DI VIVERE. IN GRAN BRETAGNA UNA COPPIA, 27 ANNI LEI, 34 LUI, SI È TOLTA LA VITA GETTANDOSI ABBRACCIATI SOTTO UN TRENO

1. NO, NON BASTA FACEBOOK PER SCONFIGGERE IL MALE DI VIVERE. IN GRAN BRETAGNA UNA COPPIA, 27 ANNI LEI, 34 LUI, SI È TOLTA LA VITA GETTANDOSI ABBRACCIATI SOTTO UN TRENO
2. EPPURE SEMBRAVA LA COPPIA PERFETTA, QUELLA DA INVIDIARE, CHE CE L’AVEVA FATTA, CHE AVEVA RAGGIUNTO IL PARADISO IN TERRA. DIETRO QUELLA FELICITÀ APPARENTE, FATTA DI SELFIE SORRIDENTI E MOMENTI GIOIOSI DA ESIBIRE VIA FACEBOOK, MELISSA WOOD E CHRISTOPHER LINLEY, NASCONDEVANO INVECE UNMAL DI VIVERE”, UN ABISSO SENZA FINE NEL QUALE ERANO SPROFONDATI MANO NELLA MANO, ABBRACCIANDOSI DISPERATAMENTE PER NON SENTIRSI SOLI
3. LE TELECAMERE DI SICUREZZA HANNO RIPRESO L’ULTIMO ABBRACCIO PRIMA DEL LANCIO

melissa wood 7 melis­sa wood 7

Dagonews

Sem­bra­va la cop­pia per­fet­ta, quel­la da invidiare, che ce l’aveva fat­ta, che ave­va rag­giun­to il par­adiso in ter­ra. Dietro quel­la felic­ità appar­ente, fat­ta di self­ie sor­ri­den­ti e momen­ti gioiosi da esi­bire via Face­book, Melis­sa Wood e Christo­pher Lin­ley, 27 anni lei, 34 lui, nascon­de­vano invece un “mal di vivere” che li acco­mu­na­va, un abis­so sen­za fine nel quale era­no spro­fon­dati mano nel­la mano, abbrac­cian­dosi dis­per­ata­mente per non sen­tir­si soli.

E alle 20.23 di mart­edì scor­so, in una ser­a­ta come tante altre, han­no deciso di morire insieme: abbrac­ciati, get­tan­dosi sot­to un treno. Alla stazione di Don­cast­er, in Gran Bre­tagna, guardan­dosi per l’ultima vol­ta negli occhi, sono saltati dal­la piattafor­ma del bina­rio 1 pro­prio men­tre pas­sa­va un con­voglio: sono mor­ti sul colpo, ren­den­do inutile l’intervento dei medici accor­si sul pos­to.

melissa wood 1 melis­sa wood 1

Melis­sa e Christo­pher, come han­no doc­u­men­ta­to le tele­camere di sicurez­za, era­no arrivati alla stazione un’ora e mez­za pri­ma, alle 18.46. Ave­vano girova­ga­to, si era­no fer­mati nel­la sala d’attesa a par­lare, si era­no spo­sta­ti da un bina­rio all’altro come ani­me in pena. Poi la deci­sione finale e quel tuffo nel buio per dire addio alla vita: abbrac­ciati come era­no sem­pre sta­ti da quan­do si era­no conosciu­ti.

Las­ciano dietro di loro un oceano di dolore in tut­ti quel­li che li conosce­vano e un mare di ricor­di sor­ri­den­ti fis­sati su Face­book, dove appari­vano beat­a­mente innamorati e feli­ci. In un post del mar­zo del­lo scor­so anno, Melis­sa ave­va tag­ga­to Christo­pher dicen­do di sen­tir­si orgogliosa: “Non sono mai sta­ta così felice in tut­ta la mia vita — scrive­va — Amo la mia casa e ho il ragaz­zo migliore in asso­lu­to. Sii felice e fai quel­lo che vuoi, qualunque cosa pensi­no gli altri”. In rispos­ta, Christo­pher le ave­va scrit­to: “La mia felic­ità si spie­ga facil­mente. Ho final­mente trova­to la per­sona sul­la fac­cia del piane­ta che è fica, rilas­sa­ta e felice come me”.

melissa wood 4 melis­sa wood 4

La polizia, che sta inda­gan­do sul­la trage­dia anche se non ha dub­bi che si sia trat­ta­to di un sui­cidio, ha comunque lan­ci­a­to un appel­lo chieden­do a even­tu­ali tes­ti­moni di far­si avan­ti per rac­con­tare quel­lo che han­no vis­to o sen­ti­to, anche per cer­care di chiarire i motivi, anco­ra poco chiari, che pos­sono aver spin­to i due a un gesto così estremo. Un mis­tero che, forse, resterà sepolto insieme a Melis­sa e Christo­pher.

melissa wood 3 melis­sa wood 3 melissa wood 2 melis­sa wood 2 melissa wood 6 melis­sa wood 6 melissa wood 5 melis­sa wood 5

http://www.dagospia.com/rubrica-29/cronache/non-basta-facebook-sconfiggere-male-vivere-nbsp-ndash-gran-170502.htm

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Mamma di due bimbe muore a 35 anni. Lavorava in ospedale, medici sotto choc

JESI — È sta­ta trasporta­ta al Pron­to soc­cor­so del Car­lo Urbani mart­edì pomerig­gio per uno scom­pen­so meta­bol­i­co, poi il trasfer­i­men­to in Rian­i­mazione quan­do i medici, all’esito degli esa­mi stru­men­tali, han­no capi­to che era in peri­co­lo di vita. Mer­coledì sera, ver­so le 21, la gio­vane vita di Glo­ria Benig­ni, 35 anni mam­ma di due splen­dide bimbe di 7 e 12 anni, si è spen­ta improvvisa­mente.

Glo­ria, orig­i­nar­ia del quartiere San Giuseppe, ave­va lavo­ra­to al bar dell’ospedale al viale del­la Vit­to­ria e da qualche anno era oper­a­trice socio san­i­taria (oss) al noso­comio regionale di Tor­rette. Era affet­ta da una malat­tia genet­i­ca, ered­i­ta­ta dal padre, anch’egli venu­to a man­care in gio­vane età. Ma era in cura Glo­ria, era sot­to con­trol­lo. Nes­suno si sarebbe mai aspet­ta­to un epi­l­o­go tan­to dram­mati­co. Gli stes­si medici, che han­no fat­to di tut­to per sal­var­la, sono scioc­cati. Dall’ospedale è sta­ta dira­ma­ta un’informativa alla Procu­ra e la direzione san­i­taria ha dis­pos­to un riscon­tro diag­nos­ti­co, un’autopsia clin­i­ca per chiarire il deces­so. L’accertamento sarà effet­tua­to oggi. Sot­to choc il com­pag­no, con cui era anda­ta a vivere a Pantiere di Castel­belli­no e a cui ave­va regala­to due splen­dide figlie.

Dis­trut­ta la mam­ma, così come i par­en­ti e i col­leghi. Era una ragaz­za sor­ri­dente e sem­pre alle­gra Glo­ria. «L’ho sen­ti­ta l’ultima vol­ta mart­edì pomerig­gio – rac­con­ta il cug­i­no Mano­li­to Ran­go – parla­va con affan­no, non era bril­lante come sem­pre, le ho det­to di chia­mare il 118 e di andare in ospedale. Ieri (mer­coledì, ndr) mia madre mi ha chiam­a­to, avvisan­do­mi che Glo­ria non ce l’aveva fat­ta». Con­tin­ua il par­ente. «Siamo sot­to choc, non ce lo sarem­mo mai aspet­ta­to. Era affet­ta da una patolo­gia genet­i­ca, ma era sot­to con­trol­lo». I funer­ali di Glo­ria Benig­ni saran­no cel­e­brati nei prossi­mi giorni, alla chiesa par­roc­chiale di Pantiere di Castel­belli­no, poi la tumu­lazione al cimitero di Jesi, accan­to all’amato padre come desider­a­va.

https://www.leggo.it/italia/cronache/mamma_morta_jesi_gloria_benigni_30_marzo_2018-3639300.html

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Marito e moglie impiccati in casa davanti alla figlia di 6 anni: “La bimba è sotto choc, l’ha trovata il nonno”

Un doppio sui­cidio davan­ti alla figli­o­let­ta di 6 anni. Accade a Pegog­na­ga, nel man­to­vano, dove mar­i­to e moglie sono sta­ti trovati impic­cati nel­la loro abitazione: per gli inves­ti­ga­tori si sono entram­bi tolti la vita. La figli­o­let­ta è sta­ta trova­ta ieri sera in casa dal non­no in sta­to di shock e con dei livi­di sul col­lo che potreb­bero far sospettare l’intenzione dei gen­i­tori di uccidere anche lei. La bim­ba si tro­va ora nel repar­to di pedi­a­tria dell’ospedale Car­lo Poma di Man­to­va.

Il mar­i­to, che lavo­ra­va in un all­e­va­men­to bovi­no, ave­va 35 anni e la moglie 27. Ieri l’uomo ave­va tele­fona­to in azien­da dicen­do che non sarebbe anda­to al lavoro per­ché dove­va accom­pa­gnare la moglie dal medico. Non aven­do più avu­to loro notizie, uno dei non­ni del­la bam­bi­na è anda­to a casa e ha trova­to i due cor­pi, impic­cati con un’unica cor­da al cor­ri­mano del­la scala inter­na. Le due salme sono alle camere mor­tu­ar­ie dell’ospedale Poma a dis­po­sizione del mag­is­tra­to.

https://www.leggo.it/italia/cronache/marito_moglie_impiccati_davanti_figlia_pegnognaga_30_marzo_2018-3639456.html

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IL 37ENNE ALBERTO VILLANI, BROKER DI PAVIA, E’ STATO TROVATO MORTO IN UNA CITTADINA A 100 KM DA CITTADEL MESSICO

MACELLERIA MESSICANAIL 37ENNE ALBERTO VILLANI, BROKER DI PAVIA, E’ STATO TROVATO MORTO IN UNA CITTADINA A 100 KM DA CITTADEL MESSICO — E’ STATO GIUSTIZIATO CON DUE COLPI DI REVOLVER ALLA TESTA E IL CADAVERE E’ STATO RITROVATO IN UN SACCO CON LA SCRITTAQUESTO MI È SUCCESSO PER ESSERE UN LADRO” — CHE FINE HANNO FATTO I TRE NAPOLETANI SCOMPARSI IN MESSICO

Da www.lastampa.it

ALBERTO VILLANI ALBERTO VILLANI

Il cada­v­ere di un ital­iano, un inter­me­di­ario finanziario che abita­va a Pavia, è sta­to ritrova­to in un sac­co di plas­ti­ca a Tlal­ti­za­plan, una cit­tad­i­na a cir­ca 100 chilometri da Cit­tà del Mes­si­co. La vit­ti­ma, Alber­to Vil­lani, di 37 anni, è sta­ta uccisa con due colpi di revolver alla tes­ta. Lo ripor­ta La Provin­cia Pavese sec­on­do la quale accan­to al cada­v­ere dell’uomo, è sta­to ritrova­to un cartel­lo con la scrit­ta in spag­no­lo: «Questo mi è suc­ces­so per essere un ladro».

La Polizia mes­si­cana non è in gra­do di avan­zare ipote­si sull’omicidio del bro­ker che era spes­so in viag­gio per lavoro. Il cor­po di Vil­lani è sta­to trova­to il 26 mar­zo e l’ultimo con­tat­to con la con­vivente, una don­na orig­i­nar­ia di El Sal­vador, con cui vive­va a Pavia era sta­to il 20. È sta­ta lei ad allertare la Ques­tu­ra atti­van­do le ricerche.

Gli italiani scomparsi in Messico Gli ital­iani scom­par­si in Mes­si­co

La notizia dell’omicidio è sta­ta comu­ni­ca­ta dalle autorità mes­si­cane ai fun­zionari dell’ambasciata ital­iana di Cit­tà del Mes­si­co. E nel­la notte tra ven­erdì e saba­to, è sta­ta infor­ma­ta la con­vivente di Vil­lani, Cori­na Astrid Rodriguez, una don­na di 28 anni orig­i­nar­ia di El Sal­vador. Alber­to Vil­lani abita­va a Pavia, in via Ole­vano, dal mese di novem­bre del 2016. Vive­va con Astrid dal­la quale ave­va avu­to due figli maschi., uno di 4 anni, e l’altro di 4 mesi. Sec­on­do quan­to ripor­ta la Provin­cia pavese, sem­bra che l’uomo avesse salu­ta­to moglie e figli il 23 feb­braio scor­so per volare in Mes­si­co.

RAFFAELE RUSSO SCOMPARSO IN MESSICO RAFFAELE RUSSO SCOMPARSO IN MESSICO

Un viag­gio per motivi di lavoro che si è con­clu­so in trage­dia. «Alber­to — spie­ga Astrid Rodriguez in lacrime — era par­ti­to per il Mes­si­co per­ché dove­va fare da inter­me­di­ario per l’apertura degli uffi­ci di una soci­età finanziaria. Allog­gia­va in un alber­go di Cuaut­la, a una centi­naio di chilometri dal­la cap­i­tale. Lo sen­ti­vo al tele­fono ogni giorno e mi sem­bra­va tran­quil­lo. Mi spie­ga­va che il lavoro pros­egui­va bene e, anzi, ave­va pro­l­un­ga­to il sog­giorno in Mes­si­co. Del resto ave­va un bigli­et­to di ritorno aper­to sino a fine mar­zo».

L’ultimo con­tat­to tele­fon­i­co con la con­vivente era avvenu­to la sera del 20 mar­zo scor­so dall’aeroporto di Cit­tà del Mes­si­co. «Era anda­to li in taxi — spie­ga la don­na — per­ché dove­va cam­biare dei sol­di. Mi ave­va det­to che mi avrebbe richiam­a­to dopo due ore quan­do sarebbe rien­tra­to a Cuaut­la. Invece in alber­go non l’hanno più vis­to.

Italiani scomparsi in Messico - Antonio Russo - suo padre Raffaele e il cugino Vincenzo Cimmino Ital­iani scom­par­si in Mes­si­co — Anto­nio Rus­so — suo padre Raf­faele e il cug­i­no Vin­cen­zo Cim­mi­no

La tele­fona­ta non arriva­va e ho avu­to un pre­sen­ti­men­to. Sen­ti­vo che era suc­ces­so qual­cosa di molto grave. Ho chiam­a­to la nos­tra ambas­ci­a­ta e, dopo molte insis­ten­ze, la polizia è anda­ta in alber­go. Alber­to non c’era ed era anche spari­ta la sua vali­gia». Da lì Astrid Rodriguez ha sporto denun­cia di scom­parsa in ques­tu­ra a Pavia. E il 26 mar­zo scor­so il cor­po del bro­ker pavese è sta­to trova­to chiu­so in un sac­co di plas­ti­ca. L’autopsia ha accer­ta­to che l’uomo è sta­to ucciso con due colpi di pis­to­la alla tes­ta.

http://www.dagospia.com/rubrica-29/cronache/macelleria-messicana-37enne-alberto-villani-broker-pavia-rsquo-170483.htm

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Composer Kamran Aziz passes away

08 03 2017 12:12

Kam­ran Aziz, one of Cyprus’s most impor­tant musi­cians, passed away yes­ter­day at the age of 95.

Her funer­al was held today at the Ismail Safa Mosque before being laid to rest at the Lefkoşa ceme­tery.

Aziz’s music career start­ed in the 1950s in the island’s first pop music band, “Kam­ran Aziz and friends”

She played a pio­neer­ing role in the start of Turk­ish Cypri­ot folk music, com­pos­ing over 50 songs dur­ing her career.

Kıbrıs’ım, Kıbrıs’ım Sana Ne Oldu, Kıbrıs Zey­beği, Al Yemeni Mor Yemeni, Seni Orak­ta Gördüm, Gelin Geliy­or Gelin and Orak Zamanı Gel­di” were just some of her great­est songs she com­posed.

Kam­ran Aziz who was also among the founders of the Cyprus Turk­ish Phar­ma­cists Asso­ci­a­tion was born in 1922.

Mean­while state and gov­ern­ment offi­cials issued mes­sages upon news of Kam­ran Aziz’s death.

Pres­i­dent Mustafa Akıncı in his mes­sage stat­ed that he was deeply sad­dened to hear of the pass­ing away of Kam­ran Aziz who he added was one of Turk­ish Cypri­ot society’s impor­tant names.

She will con­tin­ue to live with­in us with the numer­ous songs she com­posed. May God rest her soul. My deep­est con­do­lences to her fam­i­ly and to our soci­ety” he said.

Prime Min­is­ter Hüseyin Özgürgün also issued a mes­sage.

The Prime Min­is­ter in his mes­sage stat­ed that Kam­ran Aziz was an impor­tant per­son­al­i­ty, com­pos­er and poet.

It is with great sad­ness that I have learned of Aziz’s pass­ing away. She will always have a spe­cial place in our hearts with her naive per­son­al­i­ty and the numer­ous pieces she com­posed” he said.

The Prime Min­is­ter expressed his deep­est con­do­lences and sym­pa­thy to Kam­ran Aziz’s fam­i­ly and the Turk­ish Cypri­ot peo­ple.

BRT Yeni Yayın Döne­mi Genel Tanıtım 1

Barrella71

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Russell M. Gibson

1940 — 2017 Obit­u­ary

Russell M. Gibson Obituary

Rus­sell M. Gib­son

AGE: 76 • Brick

Rus­sell M. Gib­son Age 76 of Brick­town, died Sun­day March 5, 2017 at his home in Brick. A native of Orange who was raised in Newark, NJ before mov­ing to Brick in 1963. He was a man of many trades. He was a pro­fes­sion­al black­smith at Free­hold Race­way, a bar­ber, a din­ner the­ater owner/operator/performer, a play­wright, stand-up come­di­an, and an expert tai­lor. Since retir­ing as a black­smith he found his pas­sion as an actor. He has shared the big screen with many great actors on dozens of movies and tv shows. Some movies he is in are Big, Ana­lyze This, Scent of a Woman, Unfaith­ful, Regard­ing Hen­ry and The Pol­ka King which will be released soon. Some tele­vi­sion shows he had mul­ti­ple appear­ances on are Black List, Law and Order, One Life to Live, All My Chil­dren and Sat­ur­day Night Live. He is a long-stand­ing mem­ber of the Screen Actors Guild. He enjoyed hav­ing fam­i­ly and friends spot­ting him on var­i­ous shows.

Besides act­ing he loved play­ing piano, gui­tar, vio­lin, cook­ing, sewing, gar­den­ing and singing Karaoke. You name it he has done it!!!! Even pilot­ing a plane! He lived life to the fullest and could always make peo­ple smile and laugh. What he loved most was spend­ing time with his fam­i­ly, home and trav­el­ing to Maine. He loved his fam­i­ly more than any­thing in this world. He was a sup­port­ive, hon­or­able, kind and strong father. He was “the fam­i­ly rock” to his chil­dren and grand­chil­dren. He had a rich life with the ones he loved most. He will be missed and is loved. He is pre­de­ceased by his par­ents Alberti­na and John Gib­son. He is sur­vived by his broth­er John Gib­son, for­mer wife Judith Gib­son, his son Regi­nald Gib­son, Daugh­ter and son in law Mary­lou and Robert Clay­ton and grand­chil­dren Bri­an and Nicholas.

A memo­r­i­al Mass will be cel­e­brat­ed on Fri­day, 12 noon at Epiphany Church, 615 Thiele Rd., Brick. Arrange­ments are under the direc­tion of Lau­rel­ton Memo­r­i­al Funer­al Home, 109 Pier Ave., Brick, NJ. In lieu of flow­ers, dona­tions may be made in his mem­o­ry to the Actor’s Fund of Amer­i­ca, 729 7th Ave., 10th Floor, New York City, NY 10019 or www.actorsfund.org. Con­do­lences may be sent to the fam­i­ly by vis­it­ing www.laureltonmemorial.com

Pub­lished in Asbury Park Press from Mar. 11 to Mar. 13, 2017

https://www.legacy.com/obituaries/app/obituary.aspx?n=russell-m-gibson&pid=184430545&fhid=17100

Frollini71

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Sir Howard Hodgkin obituary

Award-win­ning British artist who achieved super­star sta­tus with his vivid abstract work

by

Sir Howard Hodgkin, who has died aged 84, was lit­er­al­ly a broad-brush artist, the width of whose lush, pig­ment-loaded strokes was accen­tu­at­ed in all but the lat­er paint­ings by the small­ness of the sur­face. Their impact was inten­si­fied by his habit of incor­po­rat­ing the frame, actu­al or sug­gest­ed, as part of the pic­ture.

Like Fran­cis Bacon, though, it pleased Hodgkin to refer to him­self as a fig­u­ra­tive painter; and, as with Bacon’s sug­ges­tion that his own smeared ago­nies were real­ist, Hodgkin’s use of the term fig­u­ra­tive seemed to most view­ers of these sump­tu­ous­ly coloured abstrac­tions noth­ing more than a tease. If so, it was a tease that they enjoyed, because his prime Hodgkin became one of the most pop­u­lar artists in Britain, with many suc­cess­ful shows abroad as well, par­tic­u­lar­ly in the US, Ger­many, and Italy, where in 1984 he rep­re­sent­ed his coun­try in an acclaimed show at the Venice Bien­nale.

A few, very few, crit­ics raised their voic­es in dis­sent against the back­ground of loud pop­u­lar and crit­i­cal acclaim. It may be that Hodgkin’s finest lega­cy will turn out to have been the mur­al he cre­at­ed for the British Coun­cil build­ing in New Del­hi by the Indi­an archi­tect Charles Cor­rea. With­in an open log­gia to the front of the build­ing, behind a large cut-out key­hole shape, Hodgkin paint­ed a bold, flat mono­chrome pat­tern that might rep­re­sent a great banyan tree; the shad­owed infor­mal­i­ty of the paint­ing makes some­thing lyri­cal of Correa’s man­i­fest­ly mod­ernist aus­ter­i­ty.

Indi­an Tree, 1990. Illus­tra­tion: © Howard Hodgkin

With his sin­gu­lar approach to paint­ing Hodgkin was cer­tain­ly out of step when he was study­ing at Cam­ber­well School of Art in Lon­don, where Euston Road impres­sion­ism was the order of the day. He claimed ever after to have remained an out­sider, despite his appoint­ment as CBE (1976), a knight­hood (1992) and being made a Com­pan­ion of Hon­our (2003), with trustee­ships, suc­ces­sive­ly, of the Tate and the Nation­al Gallery, appear­ances on TV’s The South Bank Show, with Melvyn Bragg, and Are­na, with Alan Yen­tob, and sundry hon­orary fel­low­ships and doc­tor­ates.

In a sim­i­lar vein, he always said he had come from hum­ble cir­cum­stances, despite the evi­dence of his back­ground: his moth­er, Katharine, was the daugh­ter of a lord chief jus­tice, Gor­don Hewart (Vis­count Hewart); his father, Eliot Hodgkin, it is true, seems to have dis­liked his day job with ICI, but he was a keen plant col­lec­tor and picked up a Vic­to­ria gold medal from the Roy­al Hor­ti­cul­tur­al Soci­ety. The extend­ed Hodgkin fam­i­ly includ­ed Thomas Hodgkin, the physi­cian after whom the lymph node can­cers Hodgkin and non-Hodgkin were named and the artist and crit­ic Roger Fry. The con­duc­tor John Eliot Gar­diner was a cousin.

Hodgkin’s inci­den­tal con­nec­tion to the Blooms­bury set, rein­forced by his own studio’s Blooms­bury address, would lat­er bring him grief at the hands of some crit­ics, who want­ed to see in his paint­ings an equiv­a­lent to the domes­tic designs pro­duced for Fry’s Omega Work­shops.

Rain 1984–1989. Illus­tra­tion: © Howard Hodgkin

If the spoon in Hodgkin’s mouth at birth was mere­ly sil­ver-plat­ed, it was nev­er­the­less a priv­i­leged child­hood. In 1940 his moth­er took Howard and his sis­ter, Ann, away from the threat­ened bomb­ing of Lon­don, their birth­place, to the US and a life on Long Island in the house, he lat­er said, where Scott Fitzger­ald set The Great Gats­by. He had already, at the age of five, decid­ed that he would be an artist. When he was tak­en to New York to vis­it the Muse­um of Mod­ern Art and saw Matisse’s paint­ing Piano Les­son, his deci­sion became irrev­o­ca­ble, despite his mother’s appar­ent­ly irra­tional desire for him to become a diplo­mat. “I would have start­ed a war,” he said, and he was indeed quick to anger.

When he returned to Britain he was sent to Eton, where the draw­ing mas­ter was Wil­frid Blunt. He intro­duced his pupil to Indi­an art and, start­ing young, Hodgkin amassed a famous col­lec­tion of Mughal-derived Pahari paint­ing from the Himalayas. The inter­est extend­ed to India itself, which he vis­it­ed reg­u­lar­ly over the years. His edu­ca­tion prop­er began in 1949 at Cam­ber­well, fol­lowed by the Bath Acad­e­my of Art at Cor­sham (1950–54), where his teach­ers includ­ed William Scott, and where he too lat­er taught for a while. In 1955 he mar­ried a fel­low Cor­sham stu­dent, Julia Lane.

Howard Hodgkin unveils As Time Goes By at the Cristea Gallery, Lon­don, in 2009. Pho­to­graph: Theiner/City AM/Rex/Shutterstock

Hodgkin’s ear­ly spiky style of fig­ures in inte­ri­ors is still regard­ed by a few quirky admir­ers as his best work. Pos­si­bly the ear­li­est of these is Mem­oirs, paint­ed in 1949 when he was only 16. It shows, awk­ward­ly and unap­peal­ing­ly, the young Hodgkin, with an old head on his shoul­ders, in a chair and lis­ten­ing to his host­ess, who reclines on a sofa in the Gats­by house, con­fess­ing her (appar­ent­ly fic­ti­tious) life of sex­u­al affairs. Hodgkin said that the expe­ri­ence of paint­ing it was when he realised that his sub­ject would always be mem­o­ry.

Despite appear­ances, he was for many years a slow work­er, con­stant­ly refor­mu­lat­ing and repaint­ing and pro­duc­ing no more than nine or 10 pic­tures a year. He was 30 before he had his first solo show. When he did, it was with Arthur Tooth, at that time just about the most dis­tin­guished com­mer­cial gallery in Lon­don. By 1976, when Nicholas Sero­ta, then direc­tor of the Muse­um of Mod­ern Art in Oxford, gave him his first muse­um show, Hodgkin had made his break­through to the mature style for which he became known. While he ini­tial­ly scorned the tra­di­tion of easel paint­ing, Hodgkin came round to the view that his own works were arte­facts, objects of con­tem­pla­tion. Hav­ing start­ed by paint­ing the frames, he dis­card­ed can­vas and used wood as the painting’s sur­face – old table tops, bread­boards, and in one case, The Moon (1978–80), the wood­en back of an old clock. This, para­dox­i­cal­ly, was one of his more snail-like pro­duc­tions, but one of the best.

Hodgkin’s friend, the writer Bruce Chatwin, relat­ed the bur­geon­ing of Hodgkin’s mature style at this peri­od to the occa­sion when, hav­ing had a homo­erot­ic expe­ri­ence, he felt emo­tion­al­ly lib­er­at­ed. In 1978 Hodgkin sep­a­rat­ed from Lane, leav­ing her with two sons, Louis and Sam, (this sev­er­ance from her seems to have shad­owed with sor­row the rest of his life) and in 1983 he set­tled into a life­time part­ner­ship with the music crit­ic Antony Peat­tie. Yet Hodgkin him­self denied a direct con­nec­tion between com­ing out as a gay man and the devel­op­ment of his paint­ing. Nonethe­less, many of his works became clear­ly erot­ic and some, like None But the Brave Deserves the Fair, and Wak­ing Up in Naples, refer to sex­u­al encoun­ters.

Howard Hodgkin at his stu­dio in Blooms­bury. Pho­to­graph: Eamonn McCabe for the Guardian

The struc­tur­al under­pin­ning lay in Hodgkin’s rev­er­ence for the work of Edouard Vuil­lard, the French intimiste painter who, like Pierre Bon­nard, set paint­ings in domes­tic inte­ri­ors. Hodgkin acknowl­edged that the bands and blotch­es of colour in his paint­ings could be tak­en as enlarge­ments of Vuillard’s touch, but the influ­ence stretched to the clos­et­ed inten­si­ty of the sur­faces of Vuillard’s paint­ing, accen­tu­at­ed in Hodgkin by the sense of depth impart­ed by his inte­gral fram­ing.

By 1984 Hodgkin had accu­mu­lat­ed enough work to fill the British Pavil­ion at the Venice Bien­nale. That year, too, he was the favourite to win the first Turn­er prize, but instead it went to the US-based British painter Mal­colm Mor­ley; Hodgkin won the fol­low­ing year.

For some­one in whom so many influ­ences have been detect­ed, from Turn­er to Seu­rat, Vuil­lard to Matisse, and, in their great splash­es and swaths of colour, Ivon Hitchens and Peter Lany­on, Hodgkin’s paint­ings are instant­ly recog­nis­able as his alone. The titles are usu­al­ly mean­ing­less to any­body but the artist, though some, such as Bom­bay Sun­set (1972–73), are obvi­ous. Many refer to meet­ings with friends, and occa­sion­al­ly have dis­con­cert­ing fig­u­ra­tive ele­ments, such as the sketched bespec­ta­cled head dim­ly dis­cerned in the paint­ing DH in Hol­ly­wood, 1979–85. DH being his old friend David Hock­ney.

To Hodgkin, the title was always the clue to the pic­ture: each refers to the expe­ri­ence that trig­gered the paint­ing. “Most­ly paint­ing is like putting a mes­sage into a bot­tle and fling­ing it into the sea,” he told the Observ­er in 2001, but his paint­ings do very much recall the expe­ri­ence of liv­ing a well-to-do life of trav­el and din­ing out at friends’ hous­es or in plush restau­rants – trop­i­cal skies, palm trees, lav­ish sun­sets – in exot­ic loca­tions such as Bom­bay, Ker­ala, Venice, Moroc­co and New York.

Howard Hodgkin in front of Home, Home on the Range at the open­ing of his exhi­bi­tion at the Gagosian Gallery in Lon­don in 2008. Pho­to­graph: The Independent/Rex/Shutterstock

Like so many painters, Hodgkin felt lib­er­at­ed by the 1959 Tate show The New Amer­i­can Paint­ing and by the impact of the scale and con­fi­dence of the abstract expres­sion­ists Bar­nett New­man and Jack­son Pol­lock, though until the 1990s he con­tin­ued to paint with­in a pre-abstract expres­sion­ist inti­ma­cy of for­mat, and gained pow­er from that con­tain­ment. He added a rid­er: hang too many paint­ings togeth­er and they tend to kill each oth­er. That cer­tain­ly seemed a major les­son both of the big Hodgkin ret­ro­spec­tive at the Hay­ward Gallery in 1997 and the Tate Britain show in 2006.

As Susan Son­tag observed in the cat­a­logue of anoth­er big show in Fort Worth, Texas: “Each pic­ture is, ide­al­ly, a max­i­mum seduc­tion … the view­er may be tempt­ed to solve the prob­lem, aban­don­ing the prop­er dis­tance at which all the picture’s charms may be appre­ci­at­ed to zero in for immer­sion in sheer colour bliss – what Hodgkin’s pic­tures can always be count­ed on to pro­vide.”

Not quite always: there are bad paint­ings, ruined by a jar­ring note, an unas­sim­i­lat­ed white, say, or large dabbed and stabbed dots which go nowhere and do noth­ing but pile up into a con­sti­pat­ed occlu­sion. Lat­er in life he rid him­self of his con­stant itch to paint and repaint and pro­duced much freer and often big­ger paint­ings that real­ly were a sight for sore eyes. Hodgkin was not only a sur­vivor, but a devel­op­er. In 1962 the ICA set up a show of the work of Allen Jones and Hodgkin. Jones looked much the bet­ter: bet­ter colourist, wit­ti­er, more suc­cinct. Yet, suc­cess­ful as Jones became, he nev­er achieved Hodgkin’s super­star sta­tus.

He was for­tu­nate in his fan club, which includ­ed not only crit­ics such as Robert Hugh­es, who acclaimed him in his Time mag­a­zine review of the Venice Bien­nale, but also, in a book called Writ­ers on Howard Hodgkin (2006), a clutch of authors includ­ing Julian Barnes, William Boyd, James Fen­ton, Alan Hollinghurst and Colm Tóibín, whose prose was, as the Finan­cial Times not­ed in what may not have been intend­ed as a dou­ble-edged remark, as lush as Hodgkin’s paint­ings. At the time of his death the Gagosian was show­ing his work in Hong Kong, and a major show of his por­traits opens at the Nation­al Por­trait Gallery in Lon­don on 23 March.

He is sur­vived by Antony and his chil­dren.

Gor­don Howard Eliot Hodgkin, artist, born 6 August 1932; died 9 March 2017

https://www.theguardian.com/artanddesign/2017/mar/09/sir-howard-hodgkin-obituary

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Graham Shelby

https://2.bp.blogspot.com/-Y4mFNsv32A0/WMLG7SAm_NI/AAAAAAAAv-k/jzaBMoIewYUUNOx3X4L6EYFIvUJHVKM0QCLcB/s1600/abcde.jpg

(http://www.obitpatrol.com)

Gra­ham Shel­by (18 Sep­tem­ber 1939 – 20 Decem­ber 2016) was a British his­tor­i­cal nov­el­ist. He worked as a copy­writer and book-review­er before embark­ing on a series of his­tor­i­cal nov­els, sev­er­al of which are set in the twelfth cen­tu­ry.

List of works

  • The Knights of Dark Renown (1969), set in the King­dom of Jerusalem dur­ing the reigns of Bald­win IV, Bald­win V and Queen Sibyl­la, major­ing on the real-life knights Balian of Ibelin, Rey­nald of Châtil­lon and their arch-ene­my Sal­adin.
  • The Kings of Vain Intent (1970), sequel to the above, deal­ing with the Third Cru­sade, depict­ing Con­rad of Mont­fer­rat as the vil­lain: the US edi­tion con­tains an addi­tion­al chap­ter.
  • The Vil­lains of the Piece (1972) (pub­lished in the US as The Oath and the Sword),is set in an Eng­land racked by anar­chy and civ­il war. It tells of the con­flict between King Stephen and Empress Matil­da .
  • The Dev­il is Loose (1973), is about a rise to pow­er of Richard the Lion­heart and his broth­er John, with the King of France play­ing off one against the oth­er. And the great mod­el of chival­ry, William Mar­shal who remained unswerv­ing­ly loy­al to each of the Angevin kings.
  • The Wolf at the Door (1975), a sequel to the above, fol­low­ing the for­tunes and mis­for­tunes of King John, and the con­tin­u­ing sto­ry of William Mar­shal.
  • The Can­n­aways (1978), First of two books about a fic­tion­al fam­i­ly of 18th cen­tu­ry coach builders in Wilt­shire, tells of the picaresque adven­tures of Bry­dd Can­n­away and his trav­els through Europe to Vien­na.
  • The Can­n­away Con­cern (1980), a sequel to the above, fol­low­ing the sto­ry of Brydd’s daugh­ter, Char­lotte, and her involve­ment with the dash­ing sea cap­tain, Matcham Lodge, and the Jaco­bites.
  • The Edge of the Blade (1986). A fic­tion­al sto­ry about Bay­nard Falkan and his trav­els to the Holy Land at the time of the Third Cru­sade to deliv­er trea­sure to the Cause, and win the hand of the beau­ti­ful Chris­tiane de Mag­nat-Vaul­mi­er.
  • Demand the World (1990), The true sto­ry of Elisa Lynch who escaped pover­ty and the rav­ages of the Irish famine to become the mis­tress of Latin America’s most pow­er­ful dic­ta­tor, Solano Lopez.
  • Colum­bus (1970) Writ­ten under the name of James Gant. A nov­elised biog­ra­phy of the famous explor­er.
  • The Besieged (1972) Also under the name of James Gant, tells the sto­ry of Jew­ish resis­tance to the yoke of Rome, cul­mi­nat­ing in the siege and mas­sacre at Masa­da in AD 72.
  • New Blood (1981) Under the name of Richard Salem, a hor­ror sto­ry set in the US where an appar­ent­ly peace­ful rur­al town hides a hideous secret.

Translations

The Knights of Dark Renown and The Kings of Vain Intent were trans­lat­ed into Ger­man as Rit­ter der Fin­ster­n­is in 1975, and The Dev­il is Loose and The Wolf at the Door as Der ertrink­ende Eber in 1980.

All four nov­els were trans­lat­ed into Hun­gar­i­an as Sotet Lovagok ; Hiu Kira­lyok and A Satan Szet­torte Lan­cat ; Farkas a Kertek Alatt in 1983.

The Edge of the Blade was trans­lat­ed into Hun­gar­i­an as A Penge Ele in 1991.

Demand the World was trans­lat­ed into Span­ish as El Fuego de una Vida in 1992.

New Blood was trans­lat­ed into Hun­gar­i­an, appear­ing as a 5-part ser­i­al in Rake­ta Mag­a­zine, Budapest in 1985 as Friss Ver.

Blood Let (by Richard Salem) was unpub­lished in Eng­lish, but appeared in Hun­gar­i­an as a 4-part ser­i­al in Rake­ta Mag­a­zine, Budapest in 1989 as Kion­tott Ver.

References

 

Lask, Thomas (July 16, 1971). “Fire and Sword in Pales­tine (review)”. New York Times. Retrieved 1 June 2011. The theme of Gra­ham Shelby’s supe­ri­or his­tor­i­cal fic­tion is found in its title. …

 

https://en.wikipedia.org/wiki/Graham_Shelby

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Soap Vet Michael M. Ryan Dead

Michael M Ryan

Ear­li­er this week, the soap world lost Anoth­er World soap vet, Michael M. Ryan when he passed away on Wednes­day, March 1. The tal­ent­ed actor por­trayed John Ran­dolph from 1964 until 1979 when his char­ac­ter died.

Inter­est­ing­ly, act­ing wasn’t Ryan’s first choice in a career. He was with the US Navy and received a degree in For­eign Ser­vice from George­town. From there, Ryan decid­ed to pur­sue act­ing and even­tu­al­ly land­ed the role of John on Anoth­er World.

Soap Hub sends our con­do­lences to his fam­i­ly. A memo­r­i­al will be held on Mon­day for Ryan at the Church of the Nativ­i­ty in Lea­wood, Kansas. Below, you can watch a clip of Ryan as John in an episode of Anoth­er World.

 

 
https://soaphub.com/general-soap-operas/soap-vet-michael-m-ryan-dead/
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