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Ingres ' portrait of Bertin was a critical and popular success , but the sitter was a private person . Although his family worried about caricature and disapproved , it became widely known and sealed the artist 's reputation . It was praised at the Paris Salon of 1833 , and has been influential to both academic painters such as Léon Bonnat and later modernists including Pablo Picasso and Félix Vallotton . Today art critics regard it as Ingres ' finest male portrait . It has been on permanent display at the Musée du Louvre since 1897 .
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= = Background = =
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Louis @-@ François Bertin was 66 in 1832 , the year of the portrait . He befriended Ingres either through his son Édouard Bertin , a student of the painter , or via Étienne @-@ Jean Delécluze , Ingres ' friend and the Journal 's art critic . In either case the genesis of the commission is unknown . Bertin was a leader of the French upper class and a supporter of Louis Philippe and the Bourbon Restoration . He was a director of the Le Moniteur Universel until 1823 , when the Journal des débats became the recognised voice of the liberal @-@ constitutional opposition after he had come to criticize absolutism . He eventually gave his support to the July Monarchy . The Journal supported contemporary art , and Bertin was a patron , collector and cultivator of writers , painters and other artists . Ingres was sufficiently intrigued by Bertin 's personality to accept the commission .
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It was completed within a month , during Ingres ' frequent visits to Bertin 's estate of retreat , Le Château des Roches , in Bièvres , Essonne . Ingres made daily visits , as Bertin entertained guests such as Victor Hugo , his mistress Juliette Drouet , Hector Berlioz , and later Franz Liszt and Charles Gounod . Ingres later made drawings of the Bertin family , including a depiction of his host 's wife and sketches of their son Armand and daughter @-@ in @-@ law , Cécile . The portrait of Armand evidences his physical resemblance to his father .
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Ingres ' early career coincided with the Romantic movement , which reacted against the prevailing neoclassical style . Neoclassicism in French art had developed as artists saw themselves as part of the cultural center of Europe , and France as the successor to Rome . Romantic painting was freer and more expressive , preoccupied more with colour than with line or form , and more focused on style than on subject matter . Paintings based on classical themes fell out of fashion , replaced by contemporary rather than historical subject matter , especially in portraiture . Ingres resisted this trend , and wrote , " The history painter shows the species in general ; while the portrait painter represents only the specific individual — a model often ordinary and full of shortcomings . " From his early career , Ingres ' main source of income was commissioned portraits , a genre he dismissed as lacking in grandeur . The success of his The Vow of Louis XIII at the 1824 Salon marked an abrupt change in his fortunes : he received a series of commissions for large history paintings , and for the next decade he painted few portraits . His financial difficulties behind him , Ingres could afford to concentrate on historical subjects , although he was highly sought @-@ after as a portraitist . He wrote in 1847 , " Damned portraits , they are so difficult to do that they prevent me getting on with greater things that I could do more quickly . "
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Ingres was more successful with female than male portraits . His 1814 Portrait of Madame de Senonnes was described as " to the feminine what the Louvre 's Bertin is to the masculine " . The sitter for his 1848 Portrait of Baronne de Rothschild looks out at the viewer with the same directness as Bertin , but is softened by her attractive dress and relaxed pose ; she is engaging and sympathetic rather than tough and imposing .
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= = The portrait = =
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= = = Preparation and execution = = =
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Ingres was self @-@ critical and consumed by self @-@ doubt . He often took months to complete a portrait , leaving large periods of inactivity between sittings . With Bertin , he agonised in finding a pose to best convey both the man 's restless energy and his age . At least seven studies survive , three are signed and dated . Ingres was a master draftsman and the sketches , if not fully realised , are highly regarded in their own right . The sketches are exemplary in their handling of line and form , and similar in size .
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The earliest study has Bertin standing and leaning on a table in an almost Napoleonic pose . His hard , level stare is already established , but the focus seems to be on his groin rather than his face . It is obvious that Ingres struggled with the sketch ; the head is on a square of attached paper which must have replaced an earlier cut @-@ out version , and other areas have been rubbed over and heavily reworked . The next extant drawing shows Bertin seated , but the chair is missing . The last extant sketch is the closest to the eventual painting , with a chair , though his bulk has not yet been filled out .
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Frustrated by his inability to capture his subject , Ingres broke down in tears in his studio , in company . Bertin recalled " consoling him : ' my dear Ingres , don 't bother about me ; and above all don 't torment yourself like that . You want to start my portrait over again ? Take your own time for it . You will never tire me , and just as long as you want me to come , I am at your orders . ' " After agreeing to a breathing spell Ingres finally settled on a design . Early biographers provide differing anecdotes regarding the inspiration for the distinctive seated pose . Henri Delaborde said Ingres observed Bertin in this posture while arguing politics after dinner with his sons . According to Eugène Emmanuel Amaury Duval ( he said was related to him by Bertin ) , Ingres noticed a pose Bertin took while seated outside with Ingres and a third man at a café .
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Bertin said that Ingres , confident that he had finally established the pose for the portrait , " came close and speaking almost in my ear said : ' Come sit tomorrow , your portrait is [ as good as ] done . ' " Bertin 's final pose reverses the usual relationship between the two men . The artist becomes the cool , detached observer ; Bertin , usually calm and reasoned , is now restless and impatient , mirroring Ingres ' irritation at spending time on portraiture .
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= = = Description = = =
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Bertin is presented as strong , energetic and warm @-@ hearted . His hair is grey verging on white , his fingers spread across his knees . Bertin 's fingers were described in 1959 by artist Henry de Waroquier as " crab @-@ like claws ... emerging from the tenebrous caverns that are the sleeves of his coat . " The bulk of his body is compacted in a tight black jacket , black trousers and brown satin waistcoat , with a starched white shirt and cravat revealing his open neck . He wears a gold watch and a pair of glasses in his right pocket . In the view of art historian Robert Rosenblum , his " nearly ferocious presence " is accentuated by the tightly constrained space . The chair and clothes appear too small to contain him . His coiled , stubby fingers rest on his thighs , barely protruding from the sleeves of his jacket , while his neck cannot be seen above his narrow starched white collar .
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The painting is composed in monochrome , muted colours ; predominately blacks , greys and browns . The exceptions are the whites of his collar and sleeves , the reds in the cushion and the light reflecting on the leather of the arm @-@ chair . In 19th @-@ century art , vivid colour was associated with femininity and emotion ; male portraiture tended towards muted shades and monochrome . Bertin leans slightly forward , boldly staring at the viewer in a manner that is both imposing and paternal . He seems engaged , and poised to speak , his body fully towards the viewer and his expression etched with certainty . Influenced by Nicolas Poussin 's 1650 Self @-@ Portrait with Allegory of Painting , Ingres minutely details the veins and wrinkles of his face . Bertin is in three @-@ quarter profile , against a gold – brown background lit from the right . He rests on a curved @-@ back mahogany chair , the arms of which reflect light falling from the upper left of the pictorial space .
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Ingres seems to have adapted elements of the approach and technique of Hans Holbein 's 1527 Portrait of William Warham , now in the Louvre . Neither artist placed much emphasis on colour , preferring dark or cool tones . The Warham portrait seems to have informed the indicators of Bertin 's aging and the emphasis on his fingers . Jacques @-@ Louis David also explored hyper @-@ realism in his depictions of Cooper Penrose ( 1802 ) and Emmanuel Joseph Sieyès ( 1817 ) . In the later painting , David shows tiny glints of light reflecting on the sitter 's chair and painstakingly details " every wayward curl of [ Sieyès ' ] closely cropped auburn hair . "
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The Greek meander pattern at the foot of the wall is unusually close to the picture plane , confining the sitter . The wall is painted in gold , adding to the sense of a monumental portrait of a modern icon . The details of Bertin 's face are highly symmetrical . His eyes are heavily lidded , circled by oppositely positioned twists of his white collar , the winds of his hair , eyebrows and eyelids . His mouth turns downwards at the left and upwards to the right . This dual expression is intended to show his duality and complex personality : he is a hard @-@ nosed businessman , and a patron of the arts . The reflection of a window can be seen in the rim of Bertin 's chair . It is barely discernible , but adds spatial depth . The Portrait of Pope Leo X ( c . 1519 ) by Raphael , a source for the Bertin portrait , also features a window reflection of the pommel on the pope 's chair .
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The painting is signed J.Ingres Pinxit 1832 in capitals at the top left , and L.F. Bertin , also in capitals , at the upper right . The frame is the original , and thought to have been designed by Ingres himself . It shows animals around a sinuous and richly carved grapevine . Art historians Paul Mitchell and Lynn Roberts note that the design follows an old French tradition of placing austere male portraits within " exuberantly carved " frames . The frame closely resembles that of Raphael 's c . 1514 – 15 Portrait of Baldassare Castiglione , a painting that influenced Ingres , especially in colour and tone .
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= = Reception = =
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Monsieur Bertin was exhibited at the 1833 Salon alongside his 1807 Portrait of Mme Devauçay . It met with near universal praise to become his most successful artwork to that point . It sealed his reputation as a portraitist , reaching far enough into public consciousness to become a standard for newspaper political satires . Today it is considered his greatest portrait . Ingres viewed all this as a mixed blessing , remarking that " since my portraits of Bertin and Molé , everybody wants portraits . There are six that I 've turned down , or am avoiding , because I can 't stand them . " Before the official exhibition , Ingres displayed the painting in his studio for friends and pupils . Most were lavish in their praise , although Louis Lacuria confided to a friend that he feared people might " find the colouring a bit dreary " . He proved correct ; at the Salon , critics praised the draftsmanship , but some felt the portrait exemplified Ingres ' weakness as a colourist . It was routinely faulted for its " purplish tone " — which the ageing of the oil medium has transformed over time to warm greys and browns . Bertin 's wife Louis @-@ Marie reportedly did not like the painting ; his daughter , Louise , thought it transformed her father from a " great lord " to a " fat farmer " .
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Given the standings of the two men , the painting was received in both social and political terms . A number of writers mentioned Bertin 's eventful career , in tones that were , according to art historian Andrew Carrington Shelton , either " bitingly sarcastic [ or ] fawningly reverential " . There were many satirical reproductions and pointed editorials in the following years . Aware of Bertin 's support of the July Monarchy , writers at the La Gazette de France viewed the portrait as the epitome of the " opportunism and cynicism " of the new regime . Their anonymous critic excitedly wondered " what bitter irony it expresses , what hardened skepticism , sarcasm and ... pronounced cynicism " .
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Several critics mentioned Bertin 's hands . Twentieth @-@ century art historian Albert Boime described them as " powerful , vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled " . Some contemporary critics were not so kind . The photographer and critic Félix Tournachon was harshly critical , and disparaged what he saw as a " fantastical bundle of flesh ... under which , instead of bones and muscles , there can only be intestines – this flatulent hand , the rumbling of which I can hear ! " Bertin 's hands made a different impression on the critic F. de Lagenevais , who remarked : " A mediocre artist would have modified them , he would have replaced those swollen joints with the cylindrical fingers of the first handy model ; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature " .
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The work 's realism attracted a large amount of commentary when it was first exhibited . Some saw it as an affront to Romanticism , others said that its small details not only showed an acute likeness , but built a psychological profile of the sitter . Art historian Geraldine Pelles sees Bertin as " at once intense , suspicious , and aggressive " . She notes that there is a certain amount of projection of the artist 's personality and recalls Théophile Silvestre 's description of Ingres ; " There he was squarely seated in an armchair , motionless as an Egyptian god carved of granite , his hands stretched wide over parallel knees , his torso stiff , his head haughty " . Some compared it to Balthasar Denner , a German realist painter influenced by Jan van Eyck . Denner , in the words of Ingres scholar Robert Rosenblum , " specialised in recording every last line on the faces of aged men and women , and even reflections of windows in their eyes . " The comparison was made by Ingres ' admirers and detractors alike . In 1833 , Louis de Maynard of the Collège @-@ lycée Ampère , writing in the influential L 'Europe littéraire , dismissed Denner as a weak painter concerned with hyperrealistic " curiosities " , and said that both he and Ingres fell short of the " sublime productions of Ingres ' self @-@ proclaimed hero , Raphael . "
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The following year Ingres sought to capitalise on the success of his Bertin portrait . He showed his ambitious history painting The Martyrdom of Saint Symphorian at the 1834 Salon , but it was harshly criticised ; even Ingres ' admirers offered only faint praise . Offended and frustrated , Ingres declared he would disown the Salon , abandon his residence in Paris for Rome , and relinquish all current positions , ending his role in public life . This petulance was not to last .
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Bertin bequeathed the portrait to his daughter Louise ( 1805 – 77 ) on his death . She passed it to her niece Marie @-@ Louise @-@ Sophie Bertin ( 1836 – 93 ) wife of Jules Bapst , a later director of the Journal des débats . They bequeathed it to their niece Cécile Bapst , its last private owner . In 1897 Cécile sold it to the Musée du Louvre for 80 @,@ 000 francs .
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= = Legacy = =
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The Bertin portrait has been hugely influential . At first it served as a model for depictions of energetic and intellectual 19th @-@ century men , and later as a more universal type . Several 1890s works closely echo its form and motifs . Jean @-@ Joseph Benjamin @-@ Constant 's monochrome and severe 1896 Portrait of Alfred Chauchard is heavily indebted , while Léon Bonnat 's stern 1892 portrait of the aging Ernest Renan has been described as a " direct citation " of Ingres ' portrait .
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Its influence can be seen in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso 's 1906 Portrait of Gertrude Stein . Picasso admired Ingres and referred to him throughout his career . His invoking of Bertin can be read as a humorous reference to , according to Robert Rosenblum , " Stein 's ponderous bulk and sexual preference " . Stein does not possess Bertin 's ironic stare , but is similarly dressed in black , and leans forward in an imposing manner , the painting emphasising her " massive , monumental presence " . In 1907 the Swiss artist Félix Vallotton depicted Stein , in response to Picasso , making an even more direct reference to Ingres ' portrait , prompting Édouard Vuillard to exclaim , " That 's Madame Bertin ! "
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The influence continued through the 20th century . Gerald Kelly recalled Bertin when painting his restless and confined series of portraits of Ralph Vaughan Williams in 1952 – 61 . In 1975 Marcel Broodthaers produced a series of nine black and white photographs on board based on Ingres ' portraits of Bertin and Mademoiselle Caroline Rivière .
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= Harajuku Lovers Tour =
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The Harajuku Lovers Tour was the first solo concert tour of American recording artist Gwen Stefani . The tour began through October to November 2005 , to support of her debut studio album Love . Angel . Music . Baby . ( 2004 ) . Although Stefani embarked on multiple tours with her band No Doubt , she initially opted not to participate in a tour to promote her album , an attitude that the singer eventually abandoned due to the commercial success of Love . Angel . Music . Baby .
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The Harajuku Lovers Tour consisted of only one leg , which encompassed a three @-@ month @-@ long series of performances that visited cities throughout the United States and Canada . Stefani recruited hip hop group The Black Eyed Peas , rapper M.I.A. , and singer Ciara to accompany her as opening acts for her endeavors . The tour produced varying responses from contemporary critics , who despite praising Stefani 's vocals , were critical of other aspects of the show such as its musical material . According to Billboard , the tour grossed $ 22 million from 37 concerts , from which 20 sold @-@ out . A video album , titled Harajuku Lovers Live , was released in DVD format in conjunction with her 2006 album The Sweet Escape and features the singer performing at the Honda Center in Anaheim , California , Stefani 's birthplace .
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= = Background = =
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Stefani announced a tour to support her first solo studio album Love . Angel . Music . Baby . ( 2004 ) on June 27 , 2005 , giving details of sixteen dates from October 16 to November 10 . The announcement on June 27 also included the fact that hip hop group The Black Eyed Peas , who are also signed to Interscope Records , would be the opening act for all the announced dates except November 3 . The group , who were backing their album Monkey Business , ended up touring with Stefani until November 14 . On August 8 , it was announced that singer @-@ songwriter and rapper M.I.A. would take over as the opening act from November 16 to November 25 , although it wasn 't until August 17 that the extra dates from November 11 to November 25 were officially added to the tour . M.I.A. toured with Stefani , backing her album Arular , until December 1 . On September 29 , the final set of dates , November 26 to December 21 , were added to the tour and it was announced that the third and final opening act for Stefani 's tour would be singer Ciara , backing her album Goodies , from December 3 to December 21 .
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Stefani initially did not intend to tour to support the album , responding " What tour ? " to a question from MTV News in December 2004 regarding a possible tour . She later mentioned several times that she had not originally intended to tour in support of the album , referring to her " illegal tour " and apologizing for her breaking her promise not to tour on stage at the Xcel Energy Center in Saint Paul , Minnesota on November 14 and admitting " I just wanted to make a record . I didn 't want to tour , I was too tired , then you guys kept buying the record , and I had to come out and see you guys " on stage at Winnipeg on November 16 . In a September interview with MTV News , Stefani said of the tour : " I 'm looking forward to it , it 's going to be unbelievable . [ ... ] I would love to try to roll a little bit of ' Orange County Girl ' in there . We 'll see . Anything can happen in rehearsals . I don 't even know how long the show can be right now . "
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= = Concert synopsis = =
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Stefani opened the show with the song " Harajuku Girls " , an ode to Harajuku , the fashion district of Tokyo , Japan . She appeared on stage wearing a tiara and baby doll outfit , sitting in the red velvet and gold throne from the cover of Love . Angel . Music . Baby. and surrounded by her backing dancers , also called the Harajuku Girls , while video images of Harajuku itself played on screens behind her . Her second song was the first single from the album , " What You Waiting For ? " , which she began as a ballad before bringing it up to its usual pace . Stefani and the Harajuku Girls then left the stage to change into one @-@ piece bathing suits while her band continued to play , before returning to perform " The Real Thing " . A group of four breakdancers came on stage to perform while Stefani left the stage again to change into a black @-@ and @-@ white leather tracksuit . For the next song , the album 's sixth single " Crash " , the audience were then divided into male and female halves and , as images of a car hood bouncing to the beat were broadcast , each half took turns to sing the lyric " back it up , back it up " . Stefani then performed the fourth single from the album , " Luxurious " .
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Stefani changed outfits again into a pair of black hot pants to perform " Rich Girl " , the album 's second single , while walking along a catwalk into the crowd and giving fans high @-@ fives . She then sang " Danger Zone " and " Long Way to Go " , both intimate songs , before performing two new songs back @-@ to @-@ back : " Wind It Up " , which would become the first single from her second album The Sweet Escape , and " Orange County Girl " . " Wind It Up " was performed with a carnival vibe and " Orange County Girl " was accompanied by a video montage of childhood photos of Stefani and images of items mentioned in the song . She changed into a silver sequinned cocktail dress for the fourth single from her first album , " Cool " .
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In early performances of the show , Stefani 's next song was " Hollaback Girl " , the album 's third and best @-@ selling single , performed in a drumming costume and singing with the audience . This was followed by an encore of " Serious " and " Bubble Pop Electric " , for which Stefani was brought out in a stretcher by the Harajuku Girls . However , in later performances , " Hollaback Girl " was saved for the encore and preceded by the two other songs .
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= = Critical response = =
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Critics were divided with the Harajuku Lovers Tour . Patrick MacDonald of the Seattle Times , while applauding Stefani 's song @-@ writing efforts and the show 's " frothy fun " antics , reprimanded the singer 's dancing and limited material , given that she performed only twelve songs from Love . Angel . Music . Baby. and two from The Sweet Escape but none from previous work with her band No Doubt . In regards to the musical selection , MacDonald concluded that half the songs are " eminently forgettable " , a view echoed by Winnipeg Sun columnist Rob Williams , who described some of the album tracks as " filler " . Despite these objections , Williams issued her MTS Center performance a three @-@ and @-@ a @-@ half out of five stars . " But sometimes the music didn 't matter when there was as much eye candy as Stefani provided " , opined the Winnipeg Sun writer . " She is an extremely striking figure and the choreography , light show , backup dancers and frequent costume changes all added to the spectacle , which ended up being more style than substance . "
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Mike Ross of the Edmonton Sun was impressed with Stefani 's ability to engage the audience , a quality that earned her the description of the " effervescent hostess " from the journalist . In his four star review for the concert , he commended the " swell " music and " amazing " choreography ; " It also had merit as a choreographic tour @-@ de @-@ force — thanks in large part to a quartet each of talented dancing geisha girls and B @-@ boys " , remarked Ross . Stefani 's different outfits and set pieces also won praise . " So you could have enjoyed last night 's concert as a fashion show . Or a music video , sure " , Ross concluded . Although she called Stefani the " new princess of pop " and praised the singer 's charismatic presence during the show , Jane Stevenson of the Toronto Sun felt that the concert was " definitely of the lightweight variety in the music department " and noted that , although Stefani models herself after Madonna , she is " no real threat " . She gave the concert three @-@ and @-@ a @-@ half stars out of five .
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MTV 's Corey Moss compared Stefani 's performance to Madonna with regard to " the eight costume changes to the dancers to the theatrics to , hell , even the music itself " and avouched that she sounded completely different from how she did with No Doubt . Moss asserted that the No Doubt lead vocalist was the " most captivating thing onstage " with her " confident strut and dead @-@ on vocals " . Jon Pareles of The New York Times admired the " glamour and groove " antics of the show and how Stefani " flaunt [ ed ] the perks of stardom " . He praised her music , describing the album as " a smart [ record ] , with honed rhythm tracks that flit from funk to pop , electronics to rock " , although calling most tracks " superficial " , being about " style " , " success " , " shopping " and " sex " .
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Jim Harrison of SoundSpike affirmed that the Harajuku Lovers Tour lacked a strong musical setlist , and also felt that Stefani 's stage presence was absent . He stated that she " doesn 't have many songs that translate well in a live setting " from her album Love . Angel . Music . Baby. and suggested that she should have included songs by No Doubt for " much @-@ needed shots of adrenaline " for the audience , who were , according to Harrison , " figuratively sitting on their hands and literally yawning four songs into the set " . Harrison felt that Stefani seemed truly " lost on stage without a band " , ultimately describing her performance as " [ lacking in ] energy " , " lukewarm " and seemingly " on autopilot " . Furthermore , the SoundSpike writer thought that her performance was akin to that of fellow American recording artist Britney Spears , which was " utterly unsuitable for both the song selection and her style " . However , he did praise the rendition of " Hollaback Girl " , calling it " great " and " Gwen being all Gwen can be " , and called the breakdancing " pretty cool " .
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= = Broadcast and recordings = =
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Stefani 's performance in late November 2005 in her home town of Anaheim , California was recorded and released on DVD as a video album Harajuku Lovers Live . It was released on December 5 , 2006 , the same release date as Stefani 's second album , The Sweet Escape . The DVD was directed by Sophie Muller . The concert features performances of all twelve songs from Love . Angel . Music . Baby. and two new songs from her second studio album , The Sweet Escape , as well as interviews with the musicians and dancers and a documentary of tour preparation . The DVD received similar mixed reviews to the concerts themselves . Reviewers praised Stefani 's musical performances and stage presence , but criticizing the lack of material and the long costume changes . The DVD was certified gold in Australia by the Australian Recording Industry Association and platinum in Canada by the Canadian Recording Industry Association .
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= = Opening acts = =
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The Black Eyed Peas ( October 16 – November 14 )
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M.I.A. ( November 16 – December 1 )
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Ciara ( December 3 – December 21 )
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= = Set list = =
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= = Tour dates = =
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= Laborintus II ( 2012 recording ) =
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Laborintus II is a 2012 album by Belgian orchestra Ictus Ensemble , vocal group Nederlands Kamerkoor and American vocalist Mike Patton . It is a recording of the 1965 work of the same name by Italian composer Luciano Berio , which featured lyrics taken from fellow Italian Edoardo Sanguineti 's 1956 poem Laborintus . The performance was recorded live at the 2010 Holland Festival .
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Berio 's composition employs elements of jazz and electronic music , and Sanguineti 's libretto borrows ideas from the works of Dante Alighieri , T. S. Eliot and Ezra Pound as well as using his own original work . Berio named " memory , death and usury " as the work 's main concerns , believing these themes to be present in Dante 's work .
| 0c741ec0d5bdcb6dbf63a1b887b4913b | 20,574 |
Released on July 10 , 2012 , the album debuted at number 23 on the American Billboard Classic Albums chart . It has received mixed reviews from critics , most of whom highlighted its challenging and free @-@ form composition .
| de45600d76f35aa1cf9a570a77b69500 | 20,575 |
= = Production = =
| faaebcbbaf42e685bce2a1bbbaaad33b | 20,577 |
Laborintus II is a recording of the 1965 composition of the same name by Luciano Berio , who wrote it for the 700th anniversary of Dante Alighieri 's birth . The libretto was provided by Edoardo Sanguineti , who included elements of his 1956 poem Laborintus in it . AllMusic 's Thom Jurek described the original poem as speaking of " the timelessness of love and mourning , while acting as a critique of the commoditization of all things " . In addition to Sanguineti 's own poetry — itself based on themes found in Dante 's Divina Commedia , Convivio and La Vita Nuova — the work uses excerpts from the Bible and the writings of poets T. S. Eliot and Ezra Pound . Musically , Laborintus II incorporates elements of jazz and electronic music while sometimes evoking the style of Italian composer Claudio Monteverdi .
| 0b86fd1321f2e91ea6e8637ed563d1ed | 20,579 |
Berio described the main structure of Laborintus II as a " catalogue , in its medieval meaning " ( exemplified by the Etymologies of Isodore of Seville ) , using Dante 's themes of " memory , death and usury " . Members of the Dutch choir Nederlands Kamerkoor , which performed in the recording , have also cited usury as a key theme in the work , describing the composition as " an indictment against the practice " . Of the form , Berio wrote : " Individual words and sentences are sometimes to be regarded as autonomous entities , and sometimes to be perceived as part of the sound structure as a whole . " The instrumentation of Laborintus II was written as an " extension " of the vocal material ; its electronic section is likewise an extension of the instrumental music . Berio used car tyres and a blow @-@ up doll on stage in a performance of the work at the Holland Festival in 1973 .
| c5f0d5115ed713f277facde1ac2beb8b | 20,580 |
The album was recorded live at the Holland Festival on June 18 , 2010 , in the Muziekgebouw aan ' t IJ . The work was performed by Mike Patton and the Belgian Ictus Ensemble conducted by Georges @-@ Elie Octors . Solos were performed by Ictus Ensemble clarinetist Dirk Descheemaeker , trumpeter Loïc Dumoulin , trombonist Michel Massot , double bass player Géry Cambier , and percussionists Michael Weilacher and Gerrit Nulens . Nederlands Kamerkoor provided the choral accompaniments . The album marks only the third recording of the composition to have been released since it was first broadcast on French radio by Office de Radiodiffusion Télévision Française . Patton has said of the work , " I can listen to Berio and Nono as easily as I can to Morricone but like all modern music of Italy , it is unfortunately marginalized ... Maybe because of the language barrier , maybe because it ’ s not easily understood . Berio , who was teaching in California when he wrote this piece , was listening to jazz , pop and folk music and incorporated all of it in his works without prejudice . "
| ade4c8632df8091c4681f59165491907 | 20,581 |
= = Composition = =
| 877ada88b88d531934189955d86ea716 | 20,583 |
Laborintus II combines orchestral , choral and spoken elements throughout its three parts . Patton 's spoken narration is delivered in Italian , although taped samples feature Sanguineti speaking in English . From a whisper to a shout , the words carry a variety of emotional tones as the work progresses . The choral parts respond to the narration both with unified chanting and with disjointed arguing , the latter serving to increase the tension . They are accompanied by three female vocalists whose voices range from soprano singing to " cooing " and " howling " .
| a8c31952f05b91ddd2f146b9afa2c332 | 20,585 |
The music incorporates elements of jazz and 20th @-@ century avant @-@ garde . The instruments in the orchestra frequently interrupt both each other and the female voices , and some sections of the composition seem as though they are improvised . Laborintus II makes use of both traditional percussion instruments and electronic sounds , and their interplay serves to " erect musical and textural architectures , then disassemble them quickly " . Max Feldman has compared the style to that of Raymond Scott .
| d8e34e697e4c508b868d99d98394647b | 20,586 |
The first part of the composition features the three female voices creating a " mournful " tone while the orchestra plays recurring musical passages . The second part is a discordant crescendo , as Patton 's narration becomes increasingly shouted and the orchestral accompaniment more " hyperactive " . The third and final part returns to a calmer tone , focussing on drums and jazz woodwind instruments .
| 30a88bd6aa4c0946c8f161bdb033586b | 20,587 |
= = Track listing = =
| 72495df880382348360bb3e5f3082d84 | 20,589 |
All lyrics written by Edoardo Sanguineti , all music composed by Luciano Berio .
| 9aeebb25504c36e15ff422b3da212dbf | 20,591 |
= = Personnel = =
| 7a6d26083ea635088dddefc202021790 | 20,593 |
= = Release and reception = =
| 19921e070bb07338a9bb1c4e1d93031f | 20,596 |
Laborintus II was released on July 10 , 2012 , through Patton 's record label Ipecac Recordings . In the United States , the album debuted on the Billboard Classic Albums chart at number 23 ; it spent one week on the chart .
| 55f639a5ed1ad3cfca2c193032c5a69a | 20,598 |
The album received mixed reviews from critics . Review aggregation website Metacritic awarded it an average score of 58 out of 100 , based on eight reviews . Writing for The A.V. Club , Chris Mincher rated the album B − , calling it " challenging , uncompromising , and bordering on inaccessible " . Mincher felt that the album was abstract and difficult but contained " hidden payoffs " to reward repeated hearings . He called Patton 's arrangements " haunting " and " wraithlike " . AllRovi 's Thom Jurek rated the album 3 @.@ 5 stars out of 5 , describing the recording as " a very nearly dazzling endeavor that rewards patience mightily " . Jurek felt that , as an album , Laborintus II was difficult to grasp at first , by virtue of being a recording of theatrical music , but he praised the performance of Ictus Ensemble , writing of their " bracing freshness and mischievous glee " . Eli Kleman of Sputnikmusic rated it 3 @.@ 5 out of 5 , finding it " fascinating if not unwieldy " . He felt that Laborintus II was perhaps Patton 's most ambitious album to date , but noted that the musician has previously produced similarly avant @-@ garde records in the past . Kleman described the composition as " somber , beautiful , and ominous , but always affecting " .
| 96b57e475c79548e73322e240a1a94ae | 20,599 |
Max Feldman of PopMatters awarded Laborintus II a rating of seven out of ten , finding Berio 's composition " challenging " and " exhausting " . He noted the work 's free jazz elements , comparing it to the 1970 Miles Davis album Bitches Brew . Feldman felt that the music " constantly emphasises its own unpredictability " . Consequence of Sound 's Carson O 'Shoney rated the album three stars out of five , calling it " unlike anything else you ’ ve ever heard " . O 'Shoney felt that the music might need more than one hearing to appreciate it , adding that it " runs the gauntlet from quiet , jazzy atmospherics to brazen , unsettling primal noise " . A review for Q magazine described Laborintus II as " tedious " , finding the album disorienting . Spin 's Christopher R. Weingarten rated it 7 out of 10 , calling it an " orchestra / tape collision crisper " .
| 8ce2306f6639c15a4d2fd4d32ecba08b | 20,600 |
= Residence of the United States Ambassador to the United Nations =
| 36d0f704ac81d834886e40f70d6743e6 | 20,603 |
The residence of the United States Ambassador to the United Nations is the official residence of the United States Ambassador to the United Nations . As of 2016 it was located in a suite of rooms on the 42nd floor of the Waldorf @-@ Astoria Hotel in New York City leased by the U.S. Department of State . Described in press reports as " palatial " , the establishment of the current residence in 1947 marked the first time in history that an ambassadorial residence had been located in a hotel .
| c0cf50d2c247b8e3a7f6e74e47c28491 | 20,605 |
= = History = =
| fd3fc667e330e6e3944a4f085f9ef39d | 20,607 |
= = = Background = = =
| ea9ac47e32ffc41a1781ee037f9f0838 | 20,610 |
Beginning in 1947 , shortly after the siting of the United Nations secretariat in New York , the U.S. State Department took a long @-@ term lease for occupancy of a suite of rooms by the U.S. ambassador at the Waldorf @-@ Astoria , a luxury hotel constructed in 1931 . The establishment of the ambassador 's residence at the Waldorf @-@ Astoria made it the first hotel in history to house an ambassadorial residence . In 1960 , a townhouse at Sutton Place , originally constructed by J.P. Morgan in 1921 , was donated to the U.S. government by then owner Arthur Houghton with the intention it be used as a new ambassadorial residence . However , ambassador Adlai Stevenson II determined the home was not to his liking and the residence continued at the Waldorf @-@ Astoria . ( The Sutton Place townhouse was subsequently re @-@ gifted by the United States to the United Nations and currently serves as the official residence of the Secretary @-@ General of the United Nations . )
| edcf7c457a379137a7801ff29c606bf5 | 20,612 |
In 1978 , Ebony reported that Andrew Young and his family explored the possibility of moving out of the suite at the Waldorf @-@ Astoria and into a house instead . Young , who was the first ambassador to live in the suite with " young children " , stated that " [ t ] he Waldorf is very nice , and its convenient , but I just have problems trying to bring up a small child in a hotel . " However , the search ultimately " became a media issue " and Young elected to stay in the suite . Nevertheless , he opined that " [ p ] eople tried to make it seem like I was saying that the Waldorf wasn 't good enough for us " .
| 35814a5d4b14c5e41677dc9a0368e50c | 20,613 |
As of 1999 , the State Department was paying $ 360 @,@ 000 per year to lease the suite on a rolling basis ; the lease is renewed every ten years with an optional one or two year short @-@ term extension . In 2015 , it was announced the State Department would no longer permit staff to be housed at the Waldorf @-@ Astoria , due to security concerns arising from the recent purchase of the property by Chinese business interests . Whether the decision would impact the status of the residence was not made clear , however , as of March 2016 the hotel was still being occupied by the U.S. ambassador .
| a95bcf3461b3cb048688734826f3c1f2 | 20,614 |
= = = Notable residents = = =
| 825dd2deeb37893d88ae13b48a73f91c | 20,616 |
Madeleine Albright , George H. W. Bush , John Bolton , Adlai Stevenson II , Samantha Power , and Bill Richardson are among notable former residents of the suite . During his tenure as ambassador , Richard Holbrooke elected not to occupy the 42nd floor apartment , choosing instead to live in his private Manhattan home . In his place , the residence was temporarily occupied by Holbrooke 's assistant , then 27 @-@ year old Randolph Eddy . According to reports , Holbrooke and his wife , journalist Kati Marton , would throw " glittery parties " in the suite " where pols and foreign ministers mixed with the likes of Robert De Niro and Sarah Jessica Parker . " As of July 2014 , Power lived in the suite with her husband , Harvard Law School professor Cass Sunstein , and their two young children .
| 69cd55161a4c79dccb342c1c346134c9 | 20,618 |
= = Design = =
| 27a68d88afcf8b73909bed8e24598173 | 20,620 |
The suite is located on " the very top floor " of the Waldorf @-@ Astoria Hotel . Described in press accounts as " palatial , " the residence is decorated with , among other items , a Jim Dine painting , an Alexander Calder mobile , and a grand piano , and features " twinkling city views " of the New York skyline . The front door to the suite is framed by a golden eagle . It is located on the opposite side of the corridor from the " royal suite " , so @-@ called as it was long used by the Duke of Windsor as his unofficial New York City residence .
| 005a2323a9b6973e9d6736252bfb3642 | 20,622 |
As of 1971 , the interior of the suite was sectioned into nine rooms , including five bedrooms and a living room with a 48 @-@ foot ( 15 m ) tall ceiling , which was used to " host large official receptions . " Dorothy Bush Koch noted that the apartment was designed with " high ceilings , handsome old woodwork , working fireplaces , and big windows with beautiful views of New York City . "
| 4755e540c426e8087bbca7111dddfd99 | 20,623 |
= K @-@ 22 ( Kansas highway ) =
| 16ccbd0d47a61c30fb9f5e1f3c613d35 | 20,626 |
K @-@ 22 is a 3 @.@ 087 @-@ mile @-@ long ( 4 @.@ 968 km ) highway in the U.S. state of Kansas . Located entirely within Washington County , the route runs from U.S. Route 36 ( US @-@ 36 ) north to the city limit of Haddam . A previous designation of the route existed in the 1930s from Wichita to Topeka , but was deprecated . The current alignment was designated in the 1940s .
| eff18524bb28c1bb88b3e297e9fa6d54 | 20,628 |
= = Route description = =
| 492dd728c7998b12b26ca6c56c46440f | 20,630 |
K @-@ 22 begins at an intersection with US @-@ 36 , known as 17th Road . The route continues south as Deer Road toward Vining . From this intersection , K @-@ 22 heads north along Deer Road through a grassland area to an intersection with 18th Road . The route then crosses the Mulberry Creek and runs near it until it reaches Haddam . The roadway then crosses Mill Creek before meeting its northern terminus at the south city limit of Haddam near an intersection with Main Street . Deer Road continues north toward the Nebraska state line , but does not cross it .
| b7f2ce81a96d1c970960a85eab6033af | 20,632 |
The route is maintained by the Kansas Department of Transportation ( KDOT ) , who is responsible for constructing and maintaining highways in the state . As part of this role , KDOT regularly surveys traffic on their highways . These surveys are most often presented in the form of annual average daily traffic , which is the number of vehicles that use a highway during an average day of the year . In 2010 , KDOT calculated that a total of 205 vehicles used the road daily , including 45 trucks . No part of the highway has been listed as part of the National Highway System , a network of roads important to the nation 's defence , mobility , and economy .
| c31c0cd62542c53813d3e69e00606184 | 20,633 |
= = History = =
| fd3fc667e330e6e3944a4f085f9ef39d | 20,635 |
The first designation for K @-@ 22 was established by 1927 and ran from US @-@ 54 near Liberal to US @-@ 36 near Halford . During this time , most of the route was a dirt road , except for a portion near Garden City , which was paved . This routing was relinquished by 1932 . By 1933 , a new routing was created , and the road instead began in Wichita , headed east along US @-@ 54 to Eureka and north to Emporia . From Emporia , the route turned northeast toward Scranton and north into Topeka . This designation was decommissioned between January and July 1938 . The current designation of K @-@ 22 was established in 1941 . No alignment changes have taken place since then .
| a0ba2957db22b17038bc5f5fc897cc84 | 20,637 |
= = Major intersections = =
| 758ae1495b9ccb2712446fb9e200ddfc | 20,639 |
The entire route is in Washington County .
| bdd69fb1f49a7f7b0f88817bfbf695ad | 20,641 |
= Tropical Storm Jose ( 2005 ) =
| 66acba6b0454c16947d8f1e4d0a1a27e | 20,644 |
Tropical Storm Jose was a short @-@ lived tropical storm which made landfall in central Mexico during August 2005 . Jose was the tenth named storm of the 2005 Atlantic hurricane season and the fourth of six tropical cyclones ( three hurricanes and three tropical storms ) to make landfall in Mexico in that year .
| f3feef77d3c4812889d9fe7dcee8499a | 20,646 |
Tropical Storm Jose formed in the Bay of Campeche on August 22 and made landfall in the Mexican state of Veracruz the next day . It retained tropical characteristics for less than one day before dissipating , but still brought heavy levels of rainfall to the region . Mudslides caused by the rainfall killed eight people , six of those directly , and caused $ 45 million ( 2005 USD ) in damage .
| 4940f2bf7f92ecc9ca81f44e84fb0c76 | 20,647 |
= = Meteorological history = =
| fe82527ae426423900c55a793eed715f | 20,649 |
Tropical Storm Jose was first identified as a tropical wave that moved off the western coast of Africa on August 8 , 2005 . On August 13 , the system spawned Tropical Depression Ten over the central Atlantic ; the wave itself continued westward , entering the Caribbean on August 17 . Slight development took place as the system moved over the Yucatán Peninsula ; however , by the time it entered the Bay of Campeche on August 21 , little convection was associated with the system . The following morning , convection exploded under highly favorable divergence from an upper @-@ level anticyclonic flow . According to readings from the QuikSCAT satellite , a well @-@ defined low pressure center developed by 1200 UTC , prompting the National Hurricane Center to classify the system as Tropical Depression Eleven . At this time , the depression was situated roughly 110 mi ( 175 km ) east of Veracruz , Mexico .
| e3d9d4bca9f86095ee7ad327882278b2 | 20,651 |
Situated over very warm waters and within an area of low wind shear , the depression was able to quickly organize ; however , due to its proximity to land , the NHC noted , " the system does not have very long ... to take advantage of these favorable conditions . " Located to the south of a mid @-@ level ridge , the depression tracked just north of due west and kept this motion through the remainder of its existence . The depression rapidly intensified as it moved to the west , becoming Tropical Storm Jose just six hours later . The global model guidance initially failed to resolve the storm 's track well , with some models indicating that it would stall offshore . Jose continued to strengthen as it moved towards the coast and made landfall in the state of Veracruz early on August 23 with winds reaching a peak of 60 mph ( 90 km / h ) . As Jose made its landfall an eye was beginning to form , although the storm was still well short of hurricane intensity . Tropical Storm Jose quickly weakened after landfall and dissipated that afternoon in the mountains of central Mexico only 24 hours after forming .
| 2db4e1d4e39b7b1cf8fed0175a803cf1 | 20,652 |
= = Preparations and Impact = =
| e0168e436a91a175f5eed6d74b2b00ea | 20,654 |
As Tropical Storm Jose formed so close to shore there was a lead time of less than 9 hours on the tropical storm warning for the Veracruz coastline . The area covered by the warning issued on August 22 was extended southwards as Jose intensified , before being canceled soon after landfall on August 23 . The advisories issued by the National Hurricane Center emphasized that rainfall from Jose was the primary threat .
| dd86bb1064086b2c2d5d3906eb186ba5 | 20,656 |
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