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fall festival

Kuya/Yuki story from Cool-B (November 2014)

This is a sweet and sexy story featuring the student council (including Ninosuke, haha) attending a local festival in Yuki's neighborhood. When some of Yuki's female friends from middle school show up, things get tense... :3

click here for a larger version

fall festival

It was one month after the start of the second trimester.

The school was preparing for the upcoming culture festival, and everyone was stirred up and restless. Of course even the student council was really busy every day. This was in the midst of that.

"Yuki! I got yukatas from the craft club!" Kuya-san said, beaming, as he spread the yukatas on the student council's desk.

The four of us in the student council had worked as models at the request of the craft club, which held a yukata fashion show over summer break called the MALE X YUKATA X Collection. Since that had received good feedback, it seemed they had given them to us while asking for help in the culture festival too.

"This means we can't refuse to model at the culture festival, doesn't it?"

"But we would have agreed without them having to do that."

"Yeah, that's what I said too, but it was a thank-you gift."

We had been given four yukatas. For me and Kuya-san and Takato-san. And one for Hattori-san.

"Then, since we have them, let's all wear them and go to a festival."

"A festival! That would be nice!"

A festival, with all our members wearing yukatas. It really seemed like fun. Besides, if we went to a festival, that meant food stalls! Yakisoba, hotdogs, chicken steak... I also wanted to eat takoyaki. Just imagining it made me salivate.

"But, Asahina. October is out of season for yukatas."

"Then you don't have to wear one, Hattori-san."

"I, I wasn't saying that!"

Hattori-san snatched a yukata and pulled it closer to him. As usual, I couldn't see his face because the mask was in the way, but he was really eager.

"Besides, where are they having a festival?"

"Aren't they everywhere?"

"Masatsugu, isn't there a shrine just outside the school island? How about there?"

"Their festival should have been last month."

Hm? Wait. Recently, I thought someone was talking about a festival...

"I know! There's a fall festival in my neighborhood!"

I was sure my father had told me something like that in an email. When I looked it up on the internet, it was being held this weekend.

"Did we have any plans on Saturday?"

"No, if it's after school, it should be fine..."

As we confirmed our plans, Takato-san looked hard at me and Kuya-san.

"Is it okay, not just the two of you?"

At him saying that, I unconsciously looked at Kuya-san's face.

Going out, just the two of us. That would be a date. No, since we were going out, dates were a given, and over summer break the two of us had gone out together several times, so it shouldn't have been a big deal.

"...I'm sorry, Asahina. That was none of my business."

Ah... was I getting red just at Takato-san apologizing? That was embarrassing in its own way...

"That's right. It's none of your business, Masatsugu! If I'm with Yuki, no matter who else is there, it's an excellent date to me! Don't worry, we'll make out whether you're there or not!"

"Aren't you the one who's most not minding his business, Kuya-san!?"

And so, the four of us went to the fall festival on the weekend.

The festival in my neighborhood wasn't just at the shrine, but also encompassed the shopping district. It was a really large-scale festival so it was pretty famous around there. It was a shrine to Inari, so fox masks were being sold in various places. [info]

During the day, we could hear the high-spirited voices of people carrying portable shrines here and there. At night, the portable shrines would all be gathered on the shrine grounds and it was really impressive, so much so that people came from far away to see it.

Of course, even the food stalls were amazing. They weren't just on the shrine grounds, but the various stalls stretched out endlessly from the path leading to the shrine to the outside road. From traditional crafts like candy sculpture, to popular local foods, they all looked so delicious I couldn't choose.

"Umm, after all, first the yakisoba maybe... What about you, Kuya-san?"

"I want to try that thing called jelly fries! Fried jelly sounds interesting." [info]

"Kuya. Jelly fries are not the same thing as the confection jelly."

Okonomiyaki and obanyaki. Chicken steak, and meat skewers, and grilled squid. The smell of the scorched sauce and the scent of fragrant soy sauce. Ah, festivals were the best!

"By the way, I'm good at goldfish scooping," Hattori-san suddenly declared, even though no one had asked him, and began scooping goldfish. But he really was amazing. In the end, when he scooped up all the goldfish with a single flick, he was surrounded by huge cheers from everyone around the stall.

But still...

"I'm surprised you can eat like that."

Even coming here, Hattori-san still wasn't showing his bare face. In general festival style, we had all changed into the matching fox masks we bought, but he wasn't taking his off and was still eating all sorts of things normally.

"You were eating a candy apple just before. How did you do it?

"Fwahahaha. That's a ninja secret."

What kind of secret was that?

Something was thrust at me and a sweet flavor spread in my mouth. Oh, it was cotton candy.

"This cotton candy is really fluffy! It melts as soon as I put it in my mouth!"

Just as Kuya-san said, the large ball of cotton candy melted sweetly over my tongue. Kuya-san had a big smile even sweeter than the cotton candy.

"Kuya-san, is the first time you've been to a festival like this?"

"I've been a few times, but this is the first time it's been so fun!"

With the dark yukata and the fox mask on his head, Kuya-san seemed a little mysterious somehow. Of course, it suited him, but how should I put it...

"I think you're pretty handsome dressed like this, Kuya-san."

"R, really...?"

I also thought it when he wore a suit, but Kuya-san in his regular outfit seemed out of place. Maybe it was that his face was too beautiful. Even though Kuya-san was cute wearing the frilly shirt or unfashionable track jacket, Kuya-san now seemed like 'Sagimori-sempai,' and somehow... just looking at him made me embarrassed.

I unconsciously averted my gaze and saw some girls looking our way. Oh, they were...

"Oooh. I knew it, it's Asahina. Hey, hey, Yamada, and Fuji."

The girls, who were looking at a stall, turned around. I was right. They were all my classmates from middle school.

"Oh, Taguchi. It's been a while."

"It's been a while! So you came to visit too."

"Yeah. With my high school sempais..."

"Huh? So then all of you are from BL School?"

Suddenly, Taguchi's voice rose sharply. And not just Taguchi's. The girls also crowded around Kuya-san and the others behind me.

"Oh, Kuya-san. These are my friends from middle school. Taguchi and Yamada and Fuji and Miyabe and Nagano."

"I see. Pleased to meet you."

I introduced them and Kuya-san smiled cheerfully. After a moment of silence, the girls began to speak all at once, like a surging wave.

"We were in the same year as Asahina."

"Since you're sempais, are you third-years?"

"Um, my name is Miyabe."

... Even Kuya-san must have been bothered by being spoken to all at once like that. But he smiled and skillfully listened to the girls' talk. Well, it was just as I'd expect.

I felt a tug on the sleeve of my yukata and when I turned around, Taguchi was beckoning me with a finger.

"Asahina, it's amazing. They're both so cool."

"Aren't they?"

It made me happy that she said it clearly. That everyone who saw Kuya-san and Takato-san thought they were cool.

While I was doing that, the girls had surrounded Kuya-san and the others.

At Kuya-san's words, Yamada and the rest cried out in surprise at every little thing, with things like 'the student council?' and 'Asahina is student council president?'

But it was kind of different. Those weren't the girls' voices that I knew. The tone was higher than I remembered, and it seemed like it had gotten a bit cuter.

Taguchi immediately went back to the others and asked Kuya-san what dorm life was like.

That's right. She asked Kuya-san.

At first it was Kuya-san and Takato-san. And I thought they had even been speaking to Hattori-san. But between Hattori-san who wasn't taking off his fox mask, Takato-san who was aloof, and Kuya-san who was cheerful and easy to talk to, it was obvious which one they would speak to.

Since there were five girls, every once in while two would talk softly to each other.

"Sagimori-san looks like a prince, doesn't he?" I heard and was shocked.

Kuya-san was a prince.

I knew how they felt. Even I thought so. Gentle and handsome, and a little refined, he kind of didn't seem real, so naturally my classmates would nickname him prince.

But what was this feeling? It felt kind of oppressive in my chest. My jaw clenched by itself and my mouth became a frown.

The girls. They hadn't all been like that, had they? Fuji totally talked like a guy, not all cute like that. It had hardly been half a year since graduating middle school; had they changed that much?

Nagano had been watching Kuya-san the whole time, and Miyabe was casually stuck to his side.

And Kuya-san... He was a person who always smiled, but the smile he was making now seemed a bit artificial. Probably, he was being courteous because they were girls he didn't know. That's the kind of person he was. But, that seemed to fit the 'Prince of BL School' even more perfectly.

That probably made the girls find him even cooler. Well, Kuya-san was cool. I'd never said it to Kuya-san himself, but I truly thought that he was really cool.

His face was so incredibly beautiful that he wouldn't lose compared to an idol or actor on TV. He was the student council vice president of BL School, and could speak languages from all over the world, and he was an expert at fencing.

But, Kuya-san's coolness wasn't just that. The coolest part was his personality. It was the inside that wasn't like anyone else. That's why Yamada and the rest... when they looked at Kuya-san with such shining eyes, they could tell there was more to him...

I was kind of getting into a bad mood. Just then, Fuji thumped my shoulder from beside me.

"Asahina, don't feel down. Well, I can understand that you'd feel depressed comparing yourself to such high level sempais, though."

"I'm not depressed."

I wasn't really comparing myself to Kuya-san. What I was comparing was rather...

"Now, now. Look, I'll give you this."

She thrust a chocolate covered banana in front of me. The slightly glossy dark chocolate had a scattering of sprinkles in various colors.

"Here, say ah."

She held it at my lips and I opened my mouth wide. I worried it could be misunderstood, but deliciousness was righteousness. But the moment I tried to bite into the banana, a large hand blocked my view.

Suddenly my mouth was covered from behind. It was so sudden that I slightly bit the fingers. Like that, my body was forcefully pulled back, and I was embraced by a large body from behind.

K, Kuya-san...?

With my mouth covered and being held from behind, I stiffened.

It wasn't just me. The girls all had their mouths wide open. I couldn't tell on Ninosuke with the fox mask on, but he was probably the same as the girls.

In the midst of that, only Takato-san pushed the frame of his glasses up while shaking his head in exasperation.

"I'm sorry! I remembered I have some business with Yuki! Masatsugu, I'll see you later!"

"Understood. I'll contact you later."

He caught my wrist with a tug, and pulled along by Kuya-san who ran off, I started to run too. As we ran, weaving through the crowd, question marks kept flying through my head.

... We didn't have any plans, right?

I didn't get it, but I just ran with Kuya-san. We didn't look back at Takato-san and Hattori-san who had been left behind, or the girls from class I hadn't seen in so long.

"W, wait, Kuya-san? My feet hurt...," I said, out of breath after running and running over halfway down the long path that led to the shrine. Kuya-san stopped with a gasp.

"I'm sorry, Yuki!"

Still holding my wrist, Kuya-san lowered his head, looking embarrassed.

"I was rude to your friends...."

"It's fine. No one will mind."

"I see..."

Kuya-san had a complicated look, like he wasn't quite relieved, and his gaze darted about unusually.

"Hey... did it bother you? What Fuji did..."

"Of course it bothered me!"

I was taken aback at Kuya-san's loud voice.

"... I'm sorry. I was jealous of you getting along with your friends, that was really petty of me..."

Kuya-san was?

When I thought about it, suddenly my heart started pounding. It bothered him. My being friendly with a girl had bothered him enough to run away from there, even though he knew he'd surprised everyone.

Even though she was just my friend.

Kuya-san was looking really serious. I could tell he was truly sorry.

"I'm sorry... let's go back..."

"It's fine."

As if pressured by an irresistible emotion, I gently touched the back of Kuya's hand, who was still holding my wrist.

"Hey... let's wander around a little more."

If we went back now, the girls might still be there. Rather than that, I wanted to stay like this.

Like this, just the two of us.

I took the plunge and grasped Kuya-san's hand. It was embarrassing; I could feel the heat slowly radiating from our linked hands. But when I saw Kuya-san's happy smile, even I automatically smiled.

"I guess. Just a little."

"Yeah. Since we're at a festival. Well..."

Shouldn't we be lover-like, just a bit? I said that and Kuya-san nodded deeply, really, really happy.

We walked hand-in-hand into the crowd. It was crowded along the path that led to the shrine, so no one noticed that we were holding hands. Probably.

"Hey, Yuki? What kind of things do lovers do at festivals?"

"Umm, there's goldfish scooping, the shooting gallery... oh. How about a fortune?"

"Aren't fortunes for the first shrine visit of New Year?"

"Oh, right. Then..."

What was this? I felt kind of antsy. Even though we'd already gone to the stalls, this time it felt completely different. Buying a ramune soda and sharing it, splitting the candied strawberries I won at a rock-paper-scissors booth... [note]Note: You pay to start playing, and you get more candy with each consecutive win.

Whatever we did, I was happy, having fun, and practically floating.

I wondered if it was the same for Kuya-san. I looked up at his face, a little above mine as he walked beside me, and his face in profile looked like he was enjoying himself so much he would burst into song.

"This is fun!" He turned towards me and grinned.

Yeah. It was fun. It was so, so fun and a weird laugh slipped out, hehehe.

Anyway, we decided we ought to worship at the shrine, and we headed towards it, joining the flow of people. The grounds, with all the portable shrines out, was deserted and quiet. But after a while, the portable shrines that were out in the town would be brought back. When that happened, this place would be bustling with a crowd of people.

Hearing the sound of far-off traditional music, we went into the empty main shrine. A wish... since it wasn't the first visit of the New Year, maybe it would be better to not make one? Or should I make one normally anyway? I didn't know, so anyway, I prayed that everyone would be happy. I was sure that, like that, even god wouldn't complain.

And when we finished our worship, suddenly Kuya-san spoke up.

"Is your foot hurt?"

Following his look, blood was seeping from under the thong of the geta on my right foot. It seemed like it had ended up happening when I was running with Kuya-san before. It had hurt, but I hadn't thought it was bleeding.

"It looks painful... Anyway, let's go somewhere we can sit."

Looking for a place to sit down, we headed to the back of the main shrine. We sat in a place that seemed to serve as a veranda and Kuya-san ran off, saying to wait a bit.

There were moss covered stones scattered around and not a sign of people. Only, there were lots of bright red flowers blooming. What were those flowers again? They bloomed a lot at Inari shrines... that's right, they were spider lilies. As I thought about that, Kuya-san came running back. His hand gripped a plastic water bottle.

"I'm glad I brought bandages. The skin is peeled, it looks really painful."

"I'm fine, it doesn't hurt as bad as it looks."

Since we noticed it quickly and walked carefully, the wound hadn't gotten that deep. Despite that, Kuya-san kneeled in front of me worriedly. After taking off my sandal, placing my foot on his own lap, and checking the injury carefully, he washed the wound with the water he had bought. The sensation of the cool water felt good. And so did Kuya-san's fingers touching me.

He gently removed the dirt, careful not to touch the wound. His cautious movements treating it like something breakable made me kind of excited. He didn't have to be so careful with my foot. Watching him intently, I started to feel strange and I unconsciously averted my gaze.

Before I knew it, the sun had gone down and signs of night suffused the sky. In the evening light, the red of the spider lilies blurred. The crowds on the path to the shrine and the festival music seemed far off and it felt very quiet here. It was just like we had been cut off from the world and Kuya-san and I were alone together here.

When I looked again, Kuya-san was sticking a bandage with kind of an overly-cute design on my wound with a serious gaze. The mismatch between the tense expression and the bandage was just so Kuya-san.

"... What the matter? Is something funny?"

At my sudden laughter, Kuya-san, who was stroking the bandage as if to check that it was stuck, gave me a mystified look.

This Kuya-san was mine alone. Only I got to see him. I didn't want to let anyone else see. Suddenly those feelings arose and I got flustered. "Yeah.... Well, I was thinking how nice it is to be alone with you."

"Hey..." I pushed my the sole of my foot slightly against Kuya-san's hand. The smooth feel of the back of his hand felt good. "Before... it bothered me too. Because you were so popular."

I was embarrassed at saying something so girly, and I tried pushing jerkily on Kuya-san with my sole a just a little. Maybe I was like the girls who had gotten really girly in front of Kuya-san. I felt it was kind of gross, but those feelings vanished when I saw Kuya-san's face.

"You're the one I love."

Kuya-san looked straight at me. There's wasn't a bit of deception, hesitation, or misplaced kindness. He looked like he was trying to properly express his feelings.

"Yeah, I know..."

And so I nodded honestly. It really didn't matter if it was girly. Only, I loved Kuya-san. That was all. It was only natural, but I was able to recognize the most important thing to me.

"I love you too, Kuya-san."

It was embarrassing and my voice was a little soft, but Kuya-san smiled happily at my saying it clearly.

"It's kind of... amazing."

"What is?"

"When I talk to you, my bad feelings completely disappear."

"I'm glad!"

... This was kind of... my heart ached just now...

I really loved that about Kuya-san. He was cheerful, and beautiful, and generous, and straightforward. My precious person. The person I felt I wanted to protect more than anyone.

"Before, when I was talking to the girls, we were talking about you. I just wanted to hear about you in middle school when I didn't know you."

"It was ordinary, wasn't it?"

"I really realized that you were popular! Every time any girl talked about you, she smiled. I think that's really wonderful."

"I'm not so sure.... All I remember is just doing stupid stuff like eating."

"But it was fun, wasn't it?"

"I'm sure the girls thought so too. They remembered having a lot fun spending time with you and smiled like that."

You're incredible, Yuki.

When Kuya-san said that with a blooming smile, I couldn't stand it. When this person told me something like that, I really did feel like I was incredible. I felt like even I could become an exceptional person like Kuya-san. It was a magic only Kuya-san could use.

When I said that, Kuya-san smiled wryly. "What are you saying? You've always been a really good guy."

"No. I, well, I may be an average nice guy, but you're an especially good person, Kuya-san."

"A good person... huh?"

"Yeah. A really good person."

I repeated it and I felt like Kuya-san's expression suddenly clouded. Before I could even think 'huh...?' Kuya-san was leaning forward.

"That's not true."

My foot was lifted up so suddenly I didn't even have time to be surprised at the hardness in his voice. As I looked down at him in shock, Kuya-san scooped up my injured foot with both hands. In the twilight, my bared calf stood out strangely white. Like that, Kuya-san brought his lips close without any hesitation.

No way, I thought, and his tongue ran over the top of my foot. I was too surprised and my face twisted oddly. I couldn't breathe and something like a moan came out of my nose.

"I'm not a good person."

The soft tongue was touching the hard instep. His outstretched tongue was even redder than the spider lilies and glistened wetly.

"Because I think that I want to do this to you."

I shuddered. At Kuya-san's voice more than having my foot licked. That serious voice felt manly, and hearing it so different than normal was kind of... It was just like I was bound, my body couldn't move. Frozen, I looked down and Kuya-san caught my gaze, just looking right back at me.

The tip of his tongue brushed lightly, slowly, from instep to ankle. A buzzing sensation ran up my leg.

As he focused directly on me, Kuya-san's fingers steadily stroked up my calf. Maybe it was because they had been wet before, but his fingertips were really cold. The chilly sensation stirred up something heavy within me.

I felt like the thin ice we were both carefully, carefully crossing would crack beneath our feet. If it cracked and we fell in, something would change. Actually, I always had that feeling. I was anticipating it.

The sounds of the portable shrines were getting closer. I was sure that the parades that were going here and there in town were coming back. I felt the signs of people had really increased along with them. Maybe the flood of people from the shrine grounds were coming this way.

That thought flashed through my mind, but I couldn't move my body. No... I didn't want to move.

Kuya-san's face drew close. His breath touched my lips. His breath was hot. I was sure mine was too.

Before I could even blink, I heard Kuya-san's voice. "I love you. I want you so much I can't stand it, actually... this is driving me crazy."

I felt like I would get sucked into those yearning eyes that watched me.

The tips of our noses touched and I slowly closed my eyes. Our lips met and I opened my mouth. Without knowing who started it first, as our tongues darted out and entwined, Kuya-san and I embraced each other.

He was hot... Kind of really hot. I felt like Kuya-san's body heat that I could feel through the thin yukata would scorch my skin.

It was hard to breathe. I felt I was going crazy like this.

I was jealous of you getting along with your friends.

Because I think that I want to do this to you.

Kuya-san's words swirled around in my head.

I loved Kuya-san, I loved him so much I couldn't stand it, and like this, I loved him so much I didn't care what happened... I wanted him. I wanted and wanted Kuya-san so much I couldn't stand it.

I was sure Kuya-san felt like that about me too.

Our arms that were wrapped around each other, our lips that were pressed together, they communicated unvoiced words. It was sweet and I felt like I would melt from the incredible heat. Just as if my mind was going numb, my body tingled.

But I couldn't take that last step. I was sure someone would come soon and a part of me was relieved and a part of me was disappointed.

He called my name with longing. Instead of a reply, I returned a kiss.

I wanted to stay like this. I didn't want anyone to interrupt. People would end up coming. We had to hurry and stop. All sorts of feelings swirled around as if they were in a mixer and they flowed toward Kuya-san along with a sigh. He accepted all of it and Kuya-san responded with a long deep kiss.

I loved that gentleness, but, frustratingly, it only made my feelings of desire swell.

Please, just a little longer, I don't want anyone to come. Just a little. Even if it's just a little.

Amid the festival music and cheers from the grounds, we just continued to kiss.

"That's why you should have made it a date from the beginning. Just what kind of sex play is this?"

I felt I heard Takato-san's astonished voice echo through my head.

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Monday, October 31, 2011

The Rams stun the Saints and get out of the winless circle

The St. Louis Rams got their first win of the season yesterday against the mighty New Orleans Saints.  Maybe the Rams were motivated after the St. Louis Cardinals won the 2011 World Series.  Maybe the Saints just took the winless Rams for granted.  Whatever it was, St. Louis looked like a real solid NFL team.  Seriously.  The defense sacked New Orleans QB Drew Brees six times.  The offense scored four touchdowns and even converted on fourth down – twice.  The outcome was a 31 – 21 whipping that made St. Louis cry for joy and New Orleans cry for mercy.

The saying is, “anything can happen on any given Sunday.”  The Rams are at the bottom of the league.  They drafted QB Sam Bradford with their first pick last year.  He is supposed to be the bright star in their future, but just like the end of his college days he is out with an injury.  New Orleans on the other hand is leading the NFC South with a great veteran quarterback.  They won the Super Bowl in 2010.  They are one of the elite groups in the NFL.  The Rams taking out the Saints, explains the point of the saying.

There are two winless teams left in the league.  The Indianapolis Colts and the Miami Dolphins.  The Colts will host the Atlanta Falcons next week while the Dolphins will travel to play the Kansas City Chiefs.  Let’s see if they can finally get a game in the win column.

Heels & Helmets

Monday, October 24, 2011

Touchbacks again and again

Over the weekend, I conducted my introduction to football workshop for D.C. Women’s Business Center.  During the workshop, we discussed touchbacks and one of the attendees said that she had noticed more touchbacks this year than previous seasons.  She is correct.

A touchback happens when a ball lands on the goal line or in the end zone and it is not a touchdown.  This ruling occurs after a kickoff, punt, interception or fumble; but most of the time you see touchbacks from kickoff or punts.

The number of touchbacks has increased because the kickoff rule changed.  The highest risk of injury is at kickoff.  The NFL changed the rule to make kickoff safer and prevent injuries.  Prior to this season, the kicking team kicked off at their 30-yard line.  Now they kick off at their 35-yard line.  Basically, they are kicking off 5 yards closer to their opponent’s goal line.  As a result, the ball has landed in the end zone more and the number of touchbacks has increased.

A lot of fans, players and coaches are annoyed by the rule because it has impacted the number of exciting returns that fans enjoy watching.  After a touchback is ruled, the ball is automatically put on the offense’s 20-yard line.  So, instead of fast return specialist like Josh Cribbs from the Cleveland Browns returning a kickoff and getting strong field position (across the 50-yard line) or a touchdown, we are seeing more offenses start their drives at their 20-yard line.

I am all for player safety, but I must admit that all of the touchbacks are boring.  Perhaps the league should consider more time before the kicking team can run after the receiving team.

Heels & Helmets
Old Kickoff

New Kickoff

Monday, October 17, 2011

It’s on ladies!

I am so pleased to announce that the NFL has truly heard my cry.  For years I have been screaming pink is awareness for breast cancer, not all things women.  Sure, I like the color pink; but if I am going to support my team, I want to wear my team colors.

Ladies, now you can truly represent your team.  The NFL has stepped up their women’s apparel game.  The line is complete with fashionable jackets, boots and accessories.  They even licensed to one of our favorites – Victoria’s Secret!  There are options for business casual, beach, lounge and of course game day!

The best part about the new line is that it fits us and our curves.  No more small, unflattering box cut jerseys.  We can stop cutting, tying and tucking jerseys to make them look fairly decent.  Actually, you do not have to wear a jersey at all to show your team spirit.  Trust me.

I had the opportunity to be a model in the NFL’s women’s apparel campaign, appropriately titled, “Fit For You.”  So, I have tried several of the items from the collection and I loved it.

Check out this video to see some of the latest additions to the NFL’s women apparel collection and see behind the scenes images from the photo shoot.

Heels & Helmets

Monday, October 10, 2011

Motown is rockin’!

I’m in Motown!  Monday Night Football has made its way to Detroit for the first time in a decade and the city is hype!  The Detroit Lions are playing the Chicago Bears at home on national TV.  The city is pumped as if it is a NFL playoff game.

Now the “D” is accustomed to hosting large sporting events.  In the last ten years, they have had Super Bowl, MLB All-Star and a NCAA Men’s Final Four.  It is one of the best sports towns.  Since the last MNF visit, locals have seen the Detroit Pistons, Detroit Tigers and Detroit Red Wings in the playoffs.  Actually, the Red Wings are so good that the playoffs are just considered part of their regular season.  When it comes to professional football the Motor City has  been a little deprived.   So, it isn’t just finally getting MNF.  It is the undefeated Lions hosting a MNF game.

Tonight’s game has the perfect setup for a prime-time battle – rivalry and controversy.  The Lions and Bears are divisional rivals.  The Lions are coming into this game 4 – 0.  They want to prove that they are the real deal and the beginning of their season is not a fluke.  The only other undefeated team in the NFL is the defending Super Bowl Champions, Green Bay Packers.  Coincidentally, the last regular season game Detroit lost was to the Chicago Bears last December.

Chicago won both games last year.  They were close games and had some controversial calls that easily could have given the Lions a victory.  The Bears want to get past their even record (2-2) and sit one game behind second in the NFC North.

To win, both offenses need to focus on what they have done well.  For the Lions, that means QB Matthew Stafford passing to wide receiver Calvin Johnson.  The Bears must keep their running game going and get running back Matt Forte the ball.   On the defense side, Chicago’s secondary has to find an answer for Johnson’s talent and height.   Meanwhile, Detroit will need to slow down Forte.

I am really impressed with the Lions, but I think that the Bears are going to win.  Their record is not as good, but their two losses were to the teams that won the Super Bowl in 2011 (Packers) and 2010 (New Orleans Saints).  The Lions only beat up on Kansas City.  The other three games against Tampa Bay, Minnesota, and Dallas were all close.  And Minnesota just won their first game yesterday.  Great things to come for Lions fan, but I don’t see a 5 – 0 start.

MNF kicks off at 8:30 pm on ESPN.

Heels & Helmets

Monday, October 3, 2011

Comeback victories expose weaknesses

Yesterday a couple of games that began as yawners, ended up dramatic.  The Dallas Cowboys and Philadelphia Eagles both dominated their opponents the first half of the game.  Each of them was leading by 17 points entering the second half. They literally put me to sleep.

I woke up and everything changed.  The fourth quarters were so good, I sat in my bed starving and fighting a cold because I had to watch the outcomes of both of these games.  I am still amazed at how they squandered their huge leads and lost.  To make it worse they were both playing at home.

In Dallas, Cowboys Stadium welcomed the Detroit Lions.  At first, Cowboys Defensive Coordinator, Rob Ryan was feeling proud about his team completely stopping Lions QB Matthew Stafford and wide receiver Calvin Johnson.  They prevented the duo from scoring the first three quarters of the game.  Detroit’s defense woke up in the third quarter; got two pick sixes (an interception returned for a touchdown) and ignited their teammates on offense.  In the last quarter, Stafford, who was playing in his hometown connected with Johnson twice for touchdowns.  The Lions won 34 – 30.  They go back to Motown 4 – 0 tied for first in the NFC North.

The  Philadelphia Eagles hosted the San Francisco 49ers at  Lincoln Financial Field.  Eagles QB Michael Vick, had an unbelievable game.  He had a career-high 416 passing yards and coupled it with 75 rushing yards.  Eagles defense and specials teams wasted it all.  Specials teams missed two field goals less than 40 yards and the 49ers took advantage of an Eagles defense that still has not harmonized.  After being down 23 – 3 in the third quarter, the 49ers fought back and won 24 – 23.  They head back to the West Coast at the top of the NFC West alone with a record of 3 – 1.  Meanwhile the Eagles still have defense problems and have only won one game this season.

There is a saying that the game is won in the fourth quarter.  This was certainly true for the Lions and 49ers yesterday.  Hopefully, the Cowboys and the Eagles got the message that the game does not end at half-time.

Heels & Helmets


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Study, explore and have fun at the ♥ of Europe!
16 July – 04 August 2018
(preliminary registration - not binding)

Summer University Schedule

About the Summer University
Welcome to the summer programme at the University of Opole where you can get a unique chance to broaden your knowledge, develop your communication skills, and enjoy summertime in the exciting and well-situated place. This year, we have developed a programme that offers even greater freedom and flexibility in pursuing your personal ambitions and interests.

The Summer University 2018 is a wonderful opportunity to spend the whole month in Poland: we will be happy to host you starting from 12 July so you could get adjucted to the new environment and people – our Buddy Mentors and other students to feel comfortable to begin your classes on July 16. After the end of classes,  you will still have time to explore Europe (or Poland) till August 12.

Programme extensions

Central European Capitals A trip to central European capitals – three-day visiting Berlin, Prague, Vienna and Bratislava – extra cost approx. 200 Euro. The ultimate price depends on the number of participants. Here you can find the detailes of the trip.

Creative Week in Trier and Luxembourg It is an additional programme (paid extra 250 EUR) prepared together with our partners, Moving.Lab  to give the Summer School students even more opportunity to exercise English and visit Luxembourg and Western Germany. The bus trip (included in the price) in the western direction from Opole will take you to the border between Germany and Luxembourg. In the stunning Mosel valley area, we will spend a week with our partner University of Applied Sciences learning about European identity and lifestyle using experimental design methods in the shades of the ancient Roman Porta Nigra. The creative workshop will be followed by the visits to Karl Marx museum as the city of Tier is his hometown and it celebrates the 200th anniversary of the philosopher’s birth. The week will be concluded with a field trip to a re-developed Belval industrial zone, where the campus of the University of Luxembourg is located.

Teaching Staff
Our qualified and experienced teachers are eager not only to share their knowledge and skills with their students – they are also dedicated to broaden their students’ points of views, improve their critical thinking and are themselves always open to discussions. Apart from philologists and cultural studies researchers – specialists in sociology and art as well as physical training instructors contribute to the programme.

The lodging cost in a dormitory is included in the price of the program. Students and professors will be accommodated in Niechcic Hall which is located in immediate vicinity of the university’s facilities. The dormitory offers rooms in modules, i.e. two (double or triple) rooms with a shared bathroom. They are equipped with single beds, wardrobe, desk, chairs, table and fridge. Rooms are locked with a key in possession of the inhabitant. There is a launderette and a kitchen on each floor equipped with a gas cooker, sink table and numerous cupboards. Washing machines and dryers are available for the participants to use. Each bathroom (one per module) contains a shower, basin and a toilet.

In order to be registered as a participant of the Summer University, please, fill in the registration form. Your personal and university data will be used to issue a letter of invitation necessary to acquire a visa. Being aware of the participants’ levels of English and field of study will enable us to adjust the Summer University program according to your needs. At the end of the form you will find the terms and conditions of the programme. Accepting them is essential in order to be registered. Upon registering you will get a confirmation via e-mail.

Please note that the application and payment deadline passes on May 15.

Should you have any questions, do not hesitate to contact our staff at .

Summer University Schedule

Our programme covers more than 80 hours of classes, workshops and activities. All in-class activities are divided into two major parts. The core module that focuses on practical English is the same for all participants and will develop your speaking and listening skills in the academic environment. The second part includes special purpose modules where students can learn English within the context and in the atmosphere that suit their respective study profiles or personal interests. Additionally, each participant will be able to join afternoon and weekend activities.
Practical English with elements of academic English The aim of the course is to help students achieve fluency in discussing various topics concerning daily and university life and to enable them to express and exchange ideas concerning various issues; to familiarize students with certain terms, idiomatic expressions and grammatical constructions that aim at improving their ability to express themselves well; to broaden speaking, writing, listening and reading skills by introducing specific vocabulary and grammatical forms to develop students’ confidence in communicating in English. Here you can find the syllabus for the course.
The elective courses are aimed at extending your knowledge of English in the specific context of various academic subjects and disciplines. You select one course, most suitable for you.  The proposed topics cover the following areas:

1. Academic English – this programme is aimed at improving various academic skills, like reading, writing, note-taking, or text analysis. Focus on those important skills will allow you to build your vocabulary, learn grammar as well as other useful techniques and later be fluent in oral presentations, project proposals, demonstrations or talks in the classroom setting. The course will also help you in various kinds of writing – essays, literature reviews, or theses. Syllabus for the programme.

2. Intercultural competence & communication profile offers practical and theoretical workshops about dialogue and conflict in cultures of the 21st century. In the times of mass movements of people  from various  cultural and national backgrounds around the world, after the great migration from the country to the city and in the era of the internet and social media, both communication and good understanding of others is a highly valuable skill. This module has been designed to help you apply and broaden those skills. All this with tact and sensibility that will help intercultural interactions within one or between many countries.

3. Legal, administrative and organisational profile. Institutions, organizations, business models, management strategies are the building blocks of today’s corporate cultures. To know the jargon and also be aware of the basic components of the professional, official life of the modern times, one should know the regulations behind typical professional situations. This module is a must for those who study business, management or legal issues and want to explore them, learning the specialist language in the meantime.

4. The social science will help you understand society and the basic rules concerning social interaction. You will learn about the main concepts in social sciences and standard vocabulary in the field. Sociological imagination workshop will stimulate critical thinking and creative approach to the social worlds. The methods include group-work, based on case studies developed by the students themselves. We will have a critical look at different phenomena of today: migrations, diversity and various dimensions of inequalities, including class and gender but also the power relations in the social media. The course will touch upon the social scientist’s toolbox: various methodologies, including arts based research and autoethnography. This module is designed for all students interested in better understanding of human interaction in the contemporary world. The workshops will be taught by professors of sociology and political science.

5. English in science profile will focus on developing students’ vocabulary and grammar used in the natural sciences (including medical sciences), chemistry and physics. Classes will involve practical exercises but also demonstrations and visits to labs and experimental facilities. They will be designed to make students more relaxed and competent in their use of English within the contexts created by modern science.

6. Art and literature profile will stimulate the students’ creativity and increase the knowledge of language in today’s visual arts and literature. The profile will be divided into two parts. The first part will be taught at the Faculty of Art and will cover some practical activities and actions involving creative work (drawing, painting, ceramics, etc.) adjusted to the needs and abilities of students. The second part fill explore the power of literature and will consist of close reading and analysis of selected fragments of literary works in English. As in the case of the arts classes, the level and topics of the discussed literary material will be adjusted to individual needs of the students.

7. The art projects module offers a series of workshops about the art and/in public spaces. It will start with a brief history of contemporary, conceptual art with inspiring examples and interpretations. It will later focus on the discussion of the most recent performative and engaged arts projects. The course will look at the cityscape and different public spaces and conclude with interactive art projects in Opole with students’ involvement. The classes are held at the Faculty of Art where you can work with different media, photo, illustration, painting, printmaking and video and prepare your own pieces. The work will be conducted in the studios and will be rich in the concepts and specialist vocabulary in order to help you engage in the discussion and actual making of art.

8. Introduction to the Polish language and culture module is an offer to students interested in the local language, customs and daily lives. Polish is the sixth language of the European Union, spoken by more than 45 million people, 38 million of which live in Poland. It is expanding around the world. Poles have traveled and migrated for centuries, so you can meet them nearly everywhere. The knowledge of Polish will open your eyes and ears to other related Slavic languages, for example Czech, Slovak, and Russian. The course gives you a chance to learn about the history of Opole and the Opole region and get to know its complicated, multicultural past and present. Syllabus for the programme.

Please note that for the elective course to be launched we will need a minimum of 12 participants

Workshops will allow you to practice and expand your communicative skills beyond the classroom environment in natural, spontaneous situations. They will involve such activities as cooking classes, photography workshops, sightseeing trips, as well as meetings with interesting people. The programme also includes a two-day trip to Kraków (Poland’s ancient capital) and a one-day excursion to Wrocław.

Practical English with elements of academic English

Academic English

Introduction to the Polish language and culture

Additional Information


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On Prolific, you have the option to reject low-quality submissions. However, before you reject submissions, please think carefully whether the rejection is justified. Nobody likes to get rejected, so please try to keep rejections to a minimum. Participants are penalised for rejections and if they receive too many they will be removed from the pool. If you don't feed like a participants has been negligent then please avoid rejecting, participants are able to voluntarily return submissions and will often do so upon request if it's demonstrated that a mistake was made.

General rule of thumb when reviewing submissions: If a participant completed the survey in time and submitted a completion code, then they should be compensated.

Valid reasons for rejections are, for example:

  • The participant completed your study exceptionally fast. By "exceptionally fast" we mean participants who are statistical outliers.
  • The participant skipped crucial questions. Crucial questions are those that are inevitable to answering your research question. Demographic questions, for example, do not necessarily fall under "crucial questions" because participants have the right to withhold such sensitive information (according to guidelines by the British Psychological Society).
  • The participant failed one or multiple attention checks (for more on attention checks or instructional manipulation checks please click here).
  • The participant did not sufficiently engage in a task where the required level of engagement was clearly specified. e.g. the participant was asked to write a paragraph but only put a few words or gibberish.

Below are not valid reasons for rejection:

  • A participant completed your study "too fast" when "too fast" isn't clearly specified in advance. e.g. I don't think participants can complete this in less than X mins. Participants completion time varies around an average. They have variable reading speeds and variable knowledge of keyboard shortcuts and other browser tools. Please use attention checks/IMCs to check for attention rather than completion time. Completion time cannot be used as a reason for rejection unless they are a statistical outlier below the mean.
  • I can't use the data because:
    - The participant completed the study but failed an internal measure so I can't use their data. e.g. the participant's variance on a measure was not above an arbitrary threshold. Unfortunately, in most cases, if you use internal measures as a quality control that are not explicitly explained to participants then you'll still need to pay for their response even if you can't use their data. Please get in touch if you need clarity on your study.
    - There was a technical error in my study that caused the data not to be saved but wasn't the participant's fault. Unfortunately, technical errors sometimes occur but if it was not the participant's fault then this is not a valid reason for rejection. Please get in touch if this happens and we'll help as best we can.

Please be respectful to participants and try to resolve issues with participants as best you can - remember that these are people that have taken their time to participate in your research :)

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Locating Fair Use in the Space Between Fandom and the Art World (Part Two)

Last time, I shared with you the story of Stacia Yeapanis, an artist whose videos deploy appropriated footage from television programs. She recently received a cease and desist notice when she posted her works on YouTube. More and more of us are receiving such notices for content which we might have believed fell under fair use. Such notices have a "chilling effect" on this emerging platform for participatory culture. Trying to understand these issues more fully I contacted some friends who are doing cutting edge work around fair use and user-generated content. Each of them shares their reactions to Stacia's story below.

Peter Jaszi:

Let me start by saying that I think that Ms. Yeapanis' fanvid "We Have a Right to Be Angry" has a lot going for it where copyright fair use is concerned. It creates "new meaning by juxtaposition," to borrow language from our "Code of Best Practices in Fair Use on Online Video" (p,9). And it also can be understood as "commenting on ... copyrighted material (p.5). The hardest aspect to defend would be the use of "Invincible" in its entirety, but even there the argument is pretty strong: the clips illustrate the song in ways that "help us to hear in a new way." And, in any event, the take-down notice to Youtube came from Fox, not Sony (or Pat Benatar).

But, that, of course, isn't the end of story. Ms. Yeapanis is right that were she to formally request a put-back, Fox might begin a lawsuit against her -- if it actually were inclined to press its claim. That's because Section 512(g) of the Copyright Act says that if a suit hasn't been filed within 10 business days of the so-called "counter notice," YouTube can put the video back up without losing its qualified immunity from liability for infringement.

Would Fox choose this course of action? It's hard to know, but there's reason to think that if she (and YouTube) were to stand up, Fox might sit down. Large, well-counseled copyright owners generally don't pursue claims that they might lose -- especially when the loss might be a adverse legal precedent. on an issue as volatile as fair use. And the law isn't as far behind the practice of remix culture as the post suggests. Jeff Koons may have lost his case back in 1990-91, but in 2006 he won a big fair use victory in the Second Circuit Court of appeals, in Blanch v. Koons. The case involved use of a cropped advertising photo in a collage, and the court decided that the case turned on whether the artist "had a genuine creative rationale for borrowing Blanch's image, rather than merely using it merely 'to get attention or to avoid the drudgery in working something fresh up.'" In other words, they decided it was a "transformative" use.

Legal developments notwithstanding, we all can sympathize with Ms. Yeapanis' concern about the potential expense and incidental stress of becoming a fair use "test case" -- in the (perhaps unlikely) event that it ever came to that. Of course, were YouTube to restore the vid, and were Fox actually to sue, she'd still have the (admittedly somewhat humiliating) option of cooperating in yet another take-down to settle the matter. But, perhaps, in the meantime, she'd have been able to find a lawyer to take her case pro bono. There already are resources out there: the Fair Use Project at Stanford, volunteer lawyers for the arts organizations in many cities, EFF's lawyer referral service, a network of law school-based IP clinics around the country, and more. But if we take fair use seriously -- and we should -- we need to find more and better ways to support the risk-takers among us!

Peter Jaszi is faculty director of the Glushko-Samuelson Intellectual Property Law Clinic and professor of law at American University. He was co-editor of The Construction of Authorship: Textual Appropriation in Law and Literature (1994). Through the Center for Social Media, he has been helping to develop "best practices for fair use" for documentary filmmakers, DIY video producers, and media literacy educators.

Rebecca Tushnet:

I think the artist does a great job of articulating the issues and the connections between the art world and nontraditional communities making their own art, which also has a context that can take outsiders a while to grasp. One of the challenges we face is persuading intermediaries like YouTube to stand up for fair use more aggressively. The really interesting thing to me about this round of takedowns is that they often stem from automated searches by YT itself, not copyright owner complaints. YT is adopting screening technology to show its good faith in combating copyright infringement, but automated systems inherently risk catching what EFF calls fair use "dolphins" among the infringing "tuna." And because these aren't copyright-owner-initiated, the part of the DMCA that allows videomakers to file a counternotification and get the videos put back doesn't apply; YT has the discretion to simply say, we disagree with your fair use claim and we're keeping the video off.

The big lesson, I think, is this: Fair use is no longer predominantly a conversation with courts and occasional legislators. It is instead part of the structure of the internet; it has to be part of private institutions' design as well as formal law, or the formal law will become irrelevant.

Rebecca Tushnet is a law professor at Georgetown who specializes in intellectual property and a member of the board of the Organization for Transformative Works.

Kevin Driscoll:

When YouTube Product Manager David King announced the beta release of "content identification" tools on the Google blog in 2007, he reminded readers that submitting copyright infringement claims would remain as easy as "the click of a mouse." In the intervening year, the contributions of thousands upon thousands of users have been disabled on behalf of just a few industry stakeholders. When it comes to the application of the Digital Millenium Copyright Act, a process that impacts citizens' ability to own and author their media environment, how easy is too easy?

Fanvidders were among the first communities to respond to YouTube's commitment to go "above and beyond" its legal obligations to copyright claimants. Faced with videos silenced and disabled for their transformative use of popular music, vidders like zcatz recorded glum farewell notes for their subscribers and set sail for friendlier sites like imeem and Vimeo.

Numerous other creative communities relying on YouTube's video sharing service have faced a similar decision: should they weather the uncertainty of life at YouTube or retreat to a niche service in the hope that there is security in (relative) obscurity.

Pauliewanna demonstrating "Limelight" by Rush

Unlike the vidders, the Living Room Rock Gods (LRRG) have stuck with YouTube and channeled their frustration into the loose-knit resistance movement Tribute is not Theft. LRRG members like Pauliewanna recorded impassioned video blogs addressing the recording artists they idolize. They stress the role of learning and respect for intellectual property that pervades their community, confounding the stereotype of anti-copyright radicals flaunting the law.

Paulie, the drummer featured above speaks directly to Rush's Neil Peart,

"We're just trying to do what we love. [To] listen to your music, play it, share it with others, show them how it's done, see how they do it, compare notes. [...] Our primary reason is to share with other drummers. We just want you [...] to know that this is happening."

The Rock Gods' experience reveals an imbalance in YouTube's community support. While a handful of major stakeholders are provided special tools to automate identification and facilitate the pursuit of copyright infringement claims, the remaining majority of YouTube users are left confused and frustrated.

Kutiman - 01 - Mother of All Funk Chords

The diversity of material presented by YouTube's users presents a thrilling challenge to conventional understandings of ownership, authorship, and originality. Unfortunately, YouTube's existing architecture leaves little room for human intellect to confront and interrogate these delicious details. When I filed a counter-claim for one of my own disabled videos, I learned that YouTube no longer evaluates the accuracy of copyright claims made by its Content ID system:

[S]ince the identification of the claimed content was automated, we are unable to accept your counter-notification at this time.

In other words, YouTube's current policy denies my opportunity to file a counter-claim (as described in S.512(g)(3) of the DMCA) and privileges the judgement of software over that of a human observer.

YouTube is wise to be proactive in defense of copyright. Antagonizing extent media industries does little to resolve persistent tensions in digital culture. But if its effort to please the handful of major stakeholders fails to consider the fair use rights of informal media practitioners, YouTube will sacrifice the vibrant creative communities that made it worth visiting in the first place.

Kevin Driscoll is a masters student in the Comparative Media Studies Program working on a thesis dealing with hip hop culture, technology, and pedagogy. Kevin is a frequent collaborator with internet-based artist Claire Chanel and a hip-hop dj responsible for Gold Chain and Todo Mundo events.


text:
Her Middle Class Ass Flying First Class

On my return flight from a recent business trip, a series of events and my “elite” status, for the first time ever, upgraded me to a seat in first class. I was overcome with excitement, as I’d never pay extra for first class even if I had the money, but it was nice to receive the benefits of being a loyalist of the airline I fly all the time.

When my name was called to the desk a few minutes before boarding, I was concerned I was going to be bumped off the flight. Instead, I was handed a new boarding pass — seat 2B.

For a minute, I thought I just got moved. But then it hit me… 2 meant 2nd row, and 2nd row meant first class.

In the brief minutes before boarding, I daydreamed about what it would be like in first class… after all, flying coach hundreds of times, I always assumed first class was an incredible experience worth the extra cost. Weren’t the seats going to be so posh? Was there going to be special entertainment? Would the bathroom be large enough to turn around in and not smell so darned disgusting?

Then, I looked down at my clothes and realized that it was very clear that I was an “upgrader,” a middle class gal flying first class due to my elite mileage status (thanks to so much work travel.) I started to get a bit nervous… more about all those people sitting in economy who would be walking past the first class seats, as I normally did, glancing over the first classers and wondering who these people are and why they are willing to spend so much on a flight from point A to B. I was going to be one of those people.

As a first classer, I boarded early and sat in my seat. It was definitely more cushy and roomier than an economy seat, but I still couldn’t find a comfortable way to sit in the chair. Shortly after boarding the flight attendant took our drink orders for before the flight took off. Apparently, booze is free in first class. I ordered a bloody mary to calm my nerves, and because the man across the aisle also ordered a bloody mary and I wanted to fit in. One thing that hadn’t changed was how the flight attendant came by about two minutes later forcibly collecting the drinks, even if you weren’t finished. I drink slow, so I hid mine and she didn’t bother me.

After takeoff, another drink was offered. Another bloody mary. What the hell, I’m in first class.

The back-of-the-seat televisions were identical to those in economy (on this airline) but I didn’t have to pay $6 extra to watch for the entire flight. Score. I watched American Idol. A very middle class thing to do in first class, but I didn’t care. Others seemed to be watching business news or sports.

I had stuffed myself on airport food before boarding the plane, as I wasn’t aware I was to be upgraded to the fine dining portion of the plane. The only option left, when they got to my seat, was prime rib, or something like that, which sounded fancy but wasn’t something I eat. I had some chicken soup that was very good and some more alcohol. They poured wine for everyone with dinner. I wasn’t about to refuse. That wouldn’t be very posh of me, now would it?

The biggest disappointment, I must say, was the first class bathroom. It was identical to the bathroom in economy, except, of course, less people were using it. But I really wanted it to be some other color at least, something exciting and fancy. It wasn’t.

When I landed, I returned to my regular middle class regime. I certainly didn’t mind flying first class for once in my life, and if I get that “upgrade” call again, I’ll be fast to accept the offer.

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  1. Ridiculous says:

    You really seem to care a lot of what people think of you. Really this much thought into sitting in first-class? I upgrade about four times a year and just make sure I get my alcohol in.

    1. HECC says:

      While I do care a lot what other people think about me (blame my parents on that one), I think most people would be excited about flying first class for the first time. After you get upgraded and it's a common occurrence, I'm sure it's no longer exciting in the same way.

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Reproduction only for non-commercial use.
© March 2005; revised 11 January 2007 > HOME

Gallery Exhibit, Catalog Nos. 41 & 42 & 43 & 44 & 45 & 46 & 47 & 48 & 49 & 50

NOTE: A new (revised & expanded) edition of this Gallery Exhibit is forthcoming.

Richard Lovelace on Sir Peter Lely’s Talent for Psychological Portraiture, 1647

PETER LELY WAS BORN, under the name of Vander Faes, in Westphalia (Soest), to Dutch parents. His father hailed from a house in de Lelye on the western side of the Noordeinde of The Hague, and it was from this location of the family house that, by 1637, he acquired the name Peter Lely — and along with it, the identity of a great landscape painter and portraitist.

In 1641, Lely visited England, where he would reside until his sudden death in 1680. Already by 1650, while still in his thirties, Lely (heavily influenced by Anthony Van Dyck in London) had achieved great acclaim and was considered by many to be England’s finest portrait painter. Appointed principal painter to the king in 1661, and knighted in 1679, Lely achieved his greatest prominence after the Restoration, under the royal patronage of Charles II.

Charles I, with his second son, James, Duke of York, in 1647
Painted by Peter Lely (1618–1680).

View an enlarged 1000 x 802 pixel JPG image (174KB)

With his large studio of assistants, Lely brought the mass production of portraiture in England to a new level.

While modern art critics have noted the “mass-produced quality” of some of Lely’s output — for example, his portraits of women (in the style of Van Dyck) show his female sitters in loose-fitting dress, usually made of satin, before standard backgrounds of fluted columns and drapery — at least one of his contemporaries was struck by Lely’s skill at psychological portraiture, given the right subject. In verses dated ca. 1647, the poet-painter, Richard Lovelace, praised Lely’s unique ability to “dr[a]w a Minde.”

RICHARD LOVELACE (1618–1658) was described by his contemporaries, John Aubrey and Anthony Wood, as “one of the handsomest men in England” — and also as a casualty of the civil war. Lovelace spent his entire fortune (as heir to great estates in Kent) in support of the Royalist cause, and was twice jailed for his political activism. He died in abject poverty — lodged in “obscure and dirty places, more befitting the worst of beggars and poorest of servants,” and wearing “ragged cloaths (whereas when he was in his glory he wore cloth of gold and silver)” — of a consumption brought on by debilitating melancholy, the psychosocial response of a “prowd” and inflexible man to the Royalists’ changed condition.

The following verses conclude a “famous piece of ecphrastic poetry” written by Lovelace after viewing Lely’s portrait (painted sometime between the end of August and middle of November 1647) of Charles I with his second son, the future James II. Lely’s painting and Lovelace’s verses pre-date the Regicide (Charles I was executed on 30 January 1649), but both texts are the work of artists trying to come to terms with the crumbling Royalist position at the end of the First Civil War (May–June 1646), and with Charles I’s subsequent imprisonment and declining fortunes throughout 1647.

In particular, Lovelace’s verses compliment Lely on his moving account of unbowed royalty, painted “with so bold a spirit / And soft a grace”:

Not as of old, when a rough hand did speake

A strong Aspect, and a faire face, a weake;

When only a black beard cried Villaine, and

By Hieroglyphicks we could understand;

When Crystall typified in a white spot,

And the bright Ruby was but one red blot;

Thou [Lely] dost the things Orientally the same,

Not only paintst its colour, but its Flame:

Thou sorrow canst designe without a teare,

And with the Man his very Hope or Feare;

So that th’amazed world shall henceforth finde

None but my Lilly [Lely] ever drew a Minde.

Lois Potter’s sensitive reading of both texts emphasizes Lovelace’s fascination with paradox in Lely’s painting: “the emotional charge which it creates between king, prince, and spectator, while apparently suppressing all emotion” (Potter 1989, p. 67).

To drive home his point about the hidden powers of Lely’s psychological portraiture, Lovelace relies on an orientalist metaphor — “Thou dost the things Orientally the same” — thus invoking a cultural commonplace among virtuosi concerning oriental unities. In juxtaposing the unity of signifier and signified found in the Chinese (Oriental) character with the crude visual hieroglyphs “of old” emphasized in emblematic picturing, Lovelace constructs an eastern frame for Lely’s western art, thus enlisting yet another principle of the well-entrenched doctrine of the coincidence of opposites. Later in the century, Samuel Butler would write in Hudibras of how “The extremes of glory and of shame / Like east and west become the same.”

The unusual human and psychological dimension of Lely’s visual rhetoric in the 1647 portrait of Charles I and son is most apparent when set against what Lois Potter describes as “the old-fashioned iconic royal portraits of Queen Elizabeth I.” Lovelace is most struck that, as perceived through Lely’s empathic eye and brush, “the king needs no crown to express his innate royalty” (Potter 67).

Robert Hooke’s portable camera obscura
(designed in the early 1660s)
Of note, Robert Hooke apprenticed briefly with Lely, ca. 1648/9, shortly after his father died (when Hooke was 13), leaving young Robert £100 for this purpose. But Hooke incurred such severe headaches from the paints at Lely’s establishment that he soon removed himself to the more congenial atmosphere of Dr. Busby’s Westminster School, where he flourished under Busby’s tutelage. A maturer Hooke would return to Lely’s studio in 1675 to demonstrate the use of a portable camera obscura he had designed during the 1660s, and to discuss with the celebrated artist additional means “of helping the sight.”
Artwork for January page of 2002 Peace Calendar from the Syracuse Cultural Workers
A modern appreciation of “the China Character” and its conceptual art

This popular portrait print of Elizabeth, published by Sudbury & Humble during the early years of the 17th century, shows the Virgin Queen in full royal regalia — holding sceptre and orb, bejeweled in a triple chain of pearls — all recognizable icons of Elizabethan power and rule.
And just in case the viewer does not hold a monarch so represented in sufficient awe, a 2-part, 3-line gloss is added at the bottom of the print:

[on the left]

Th’ admired Empresse through the worlde applauded / For supreme Virtues rarest Imitation: / Whose Scepters rule fames lowde-voyc’d trumpet lawdeth.

[on the right]

Unto the eares of every forraigne Nation / Cannopey’d under powerfull Angells winges / To her Immortall praise sweete Science singes.

Engraving of Elizabeth I, Queen of England. Engraved by William Rogers after Isaac Oliver.
View an enlarged 1190 x 1496 pixel JPG image (424KB)
This portrait engraving of the House of Stuart also popularized the symbols of royal power, here closely associated with the “divine right” of kings.

The 2-part gloss at the bottom of the print takes a less rhapsodic tone towards the royal sitters than did Sudbury and Humble’s print of Elizabeth I:

[on the left]

“The most High and Mighty Monarck JAMES by the grace of God king / of Great Brittaine, France, and Ireland. Borne the 19 of June. 1566.”

[on the right]

“The most excellent Princesse ANNE Queene of Great Brittaine, / France, and Ireland. Borne the 12 of October. 1574.”

Engraving of James I and Anne of Denmark, King and Queen of England.
Engraved by Renold Elstrack, for publication by Sudbury & Humble.
View an enlarged 1180 x 1470 pixel JPG image (397KB)

Leona Rostenberg has documented the considerable influence of the portrait engraving — “which enjoyed a popularity similar to that of the cabinet photograph of the Victorian age” throughout the Stuart period — within the 17th-century world of professional image-making and socio-political commentary.

As the distributors of portrait prints, Sudbury and Humble and the growing rival firms of the Hollands and Peakes not only benefitted from the increasing sales but also stimulated artistic productivity in this particular field. Actually the early Stuart specialists nurtured a new business commodity and forseeing its future growth and success they, like any modern entrepreneur, cultivated it carefully and shrewdly.

(Rostenberg 1963, p. 3)

The prosperity enjoyed by the printseller was based not only upon a knowledgeable pursuit of his trade but also upon the response of an enthusiastic public which could purchase at a relatively reasonable price a handsome, decorative and useful item. The specialist dealer had become an entrepreneur in mass production. The medium of line-engraving in its reproductive process had become for many financially limited Englishmen the substitute for an original limning in oil. A plate of Delaram and a mezzotint of Browne satisfied the artistic cravings of the English collector who could not afford a Van Dyck or a Peter Lely. Since prints and maps in many instances could be acquired for less than certain household staples and articles of dress, the enthusiast could readily satisfy his aesthetic and practical needs in portrait and view, local and foreign maps.

(Rostenberg 1963, p. 92)

The prevalence of prints within the middle-class home, where they had multiple uses including interior decoration, grew along with the picture-sellers’ trade. For example, mountable prints were advertised in 1680 as

useful Pieces for Closets, Chimneys, Stair-Cases over Doors and Screens

by Richard Thompson, mezzotint dealer of the Sun in Bedford Berry.

And a full range of 17th-century conduct books and graphic design manuals instructed amateurs and professionals alike in the art of self-presentation, learned by studying “the best prints cut in copper.” The heroic posturings of 17th-century celebrities — mostly royals and aristocrats — were widely enough disseminated by way of portrait prints to have saturated Stuart-era visual culture.

That made Lely’s painting of Charles I with son, James, in 1647 remarkable in its picturing of royalty as a human, psychological state. Earlier portraits of Charles I by Van Dyck were heavily iconographic, showing the king, with crown and orb, in the full regalia of the ceremonial Order of the Garter:

Charles I, in 1636.
Painted by Sir Anthony Van Dyck (1599–1641).
View an enlarged 470 x 712 pixel JPG image (77KB)
In her 2002 biography of Sir Christopher Wren (On a Grander Scale), Lisa Jardine argues that Order of the Garter artifacts were potent symbols, psychologically and politically, for royalists like Wren and his friend and colleague, Robert Hooke. As Dean of Windsor prior to the civil wars, Wren’s father had held a regal appointment as Registrar of the Order of the Garter. After the deanery at Windsor was ransacked, and the treasures and records of the Garter Order pillaged, Dean Wren and his family were evacuated to Bristol. Dean Wren took what Garter records he could safeguard with him, and later passed them on to Christopher, whose first responsibility after the return of Charles II to London on 29 May 1660 was to hand over to the new Dean of Windsor the Garter record books which his father had saved from destruction during the civil war.

The annual celebrations of the Order of the Garter recommenced with the restoration of Charles II, and Garter ceremonies were described in full by Elias Ashmole — one of the earliest Fellows of the Royal Society (with which he was associated as early as 1661) who founded the first university chemical laboratory at Oxford — in his book on the subject published in 1672.

But even during the royalists’ years of exile, Garter symbolism was still in play. For example, William Cavendish was given a Garter by Charles II on 12 January 1650, despite the fact that traditional Garter ceremonies could no longer be held at Windsor Castle, and it would take over 10 years before he could be invested. The investiture finally took place on 15 April 1661, with William’s son, Henry, serving as his proxy.

Another ceremonial portrait of Charles I (ca. 1630s–1640s), highlighting the insignia of the Knights of the Garter.
Painted by Sir Anthony Van Dyck (1599–1641).
View an enlarged 860 x 1096 pixel JPG image (180KB)
Regalia of the Order of the Garter, with the St. George medallion (said to be the one Charles I wore on the scaffold), at bottom center.
Engraved plate by Wenceslaus Hollar from Elias Ashmole’s The institution, laws & ceremonies of the most noble Order of the Garter (London, 1672).
View an enlarged 870 x 692 pixel JPG image (164KB)

When he later painted a middle-aged Charles II, restored to monarchical splendor and his inherited legacy as Stuart autocrat, Lely reverted to the more traditional visual idiom associated with kingship. Charles II is shown in Garter robes, with crown beside him.

Charles II, ca. 1675.
Painted by Peter Lely (1618–1680).
View an enlarged 1060 x 1474 pixel JPG image (90KB)
from Carol Wax, The Mezzotint: History and Technique (1990):

“Tompson was among the first printsellers to recognize the commercial potential of mezzotint, and he specialized in promoting the art form. With his help, mezzotint evolved from an amateur pastime to a professional engraver’s art. Although Dutch artists were creating original as well as copied images in mezzotint and exporting them to England, Tompson’s grasp of the British print market’s demands for popular imagery pushed mezzotint further in the direction of becoming a reproductive medium. Tompson realized that portraits were the most lucrative subjects and that prints by professional engravers reproducing portraits by well-known painters of personalities of interest to the British people sold especially well. Among the printed portraits being collected at this time were those of people belonging to or connected with the royal family, lesser nobles, famous clergy, landed gentry, and the growing population of wealthy businessmen and their family members.”

Mezzotint of Charles II, King of England (late 17th-century).
Unknown mezzotinter, after painting by Peter Lely, for sale by Richard Tompson, the first active (ca. 1669-1693) London mezzotint dealer.
Richard Ollard points out that the softness of the mezzotint medium “mellows” the asperities of Charles II’s character, which are more pronounced in the Lely portrait of Charles II.
View an enlarged 1180 x 1710 pixel JPG image (204KB)

Other artists would copy Lely’s style, giving Charles II an imperious, almost disdainful air. Something of the man’s less-than-ideal human character is revealed in his face.

Charles II, ca. 1680.
Attributed to Thomas Hawker.
View an enlarged 410 x 539 pixel JPG image (105KB)
Related Links

• another look at the artfully-designed individual of “natural” virtue and title to authority, like Lely’s Charles I, in the GALLERY exhibit on the changing iconography of design

• discussion of Charles I’s most famous allegorical portrait — the engraved frontispiece to Eikon Basilike — and of emblematic picturing in general in the GALLERY exhibit on the Athenian Society’s emblem

• a study of the connections between psychological portraiture and new science theories of motionalism in the IN BRIEF topic on motism

• more on melancholic gentlemen like Lovelace — “who had suffered frustration in their careers or who were out of tune with the prevailing political or religious attitudes of the day” — in the Introduction to the GALLERY exhibit, “Portraits of Melancholy”

• Sir Peter Lely’s portrait of a melancholic Abraham Cowley in the Introduction to the GALLERY exhibit, “Portraits of Melancholy”

• more on the dialectical relationship between visual and verbal poetry in the GALLERY exhibit on Sor Juana’s portraiture

• further discussion of the Baroque understanding of the picture as “mute Poesie” (and poetry as “vocal Painting”) in the ISSUES web essay, “Pictures of the Thought”

• a digital transcription of Kircher’s disquisition (fully illustrated) concerning the Chinese character and language, Part VI of his China monumentis, qua sacris quà profanis, nec non variis naturæ & artis spectaculis ... (Amsterdam, 1667), in the LIBRARY

• a digital transcription of John Wilkins’ commentary on “the China Character and Language so much talked of in the world,” from Chapt. VI of Part IV of his An Essay towards a Real Character, and a Philosophical Language (London, 1668), in the LIBRARY

• more on Baroque verbal and visual play with east-west mergings and orientalist tropes in the GALLERY exhibit on the Ferrar maps of colonial Virginia

• a LIBRARY monograph (Robert Hooke’s Camera Designs) on the portable camera obscura Hooke demonstrated to Sir Peter Lely in 1675

• an IN BRIEF biography of England’s King James I

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text:
Healthy Weight-loss Advice To Lose Weight Beginners

Many people like the idea of shedding pounds to make their health look slimmer, nonetheless they often get bored by it. They become sick and tired of doing repetitive exercises time and time again and present up before they see any results. There are ways to lose weight which can be fun. The following article contains tips that will help you have a good time while losing weight.

The best way to lose weight would be to incorporate healthy fats in your diet. A number of people are fearful of the saying fat, but what most people don't know is that there are good fats that are crucial to our overall health. A good example of a good fat source is salmon.

To shed weight without changing your lifestyle, eat six small daily meals instead of the usual three. Eating a large meal then waiting several hours to enjoy again can actually get you to put on pounds, as your body is put into starvation mode and stores calories. Eating small meals throughout the day keeps you full and prevents your system from storing excess calories.

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In conclusion, many people try to lose weight, but lose interest at the same time. The notion of repeating exercises makes people abandon their plans before these are finished. Weight loss lacks to become boring, and with the tips with this article, you may have fun while slimming down.

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