text:
Olga Lehmann
Olga Lehmann
Louise Olga Mary Lehmann
10 February 1912
|26 October 2001 (aged 89)
Saffron Walden, Essex, England
|Santiago College
|Alma mater
|Slade School of Fine Art
Olga Lehmann (10 February 1912 – 26 October 2001) was a Chilean-born British visual artist.
Early life[edit]
Born in Catemu, Chile, to Mary Grisel Lehmann (née Bissett) and mining engineer Andrew William Lehmann, Olga Lehmann had one sister, Monica (Monica Pidgeon), and one brother, George (Andrew George Lehmann). Her father was of German and French descent (born in Paris) and her mother was Scottish.[1] She was educated at Santiago College, and in 1929 moved to England, where she was awarded a scholarship to the Slade School of Fine Art, London University.
At the Slade she studied fine art under the tutelage of Henry Tonks and Randolph Schwabe, specializing in theatrical design under Vladimir Polunin and in portraiture under Allan Gwynne-Jones.[2][3] Awarded prizes in life painting, composition, and theatrical design, she visited Spain in the early thirties; Spanish and Moorish themes were subsequently reflected in her art.
Her productive working life as an artist spanned almost six decades, from the 1930s to the 1980s. Throughout the 1930s she acquired a reputation in the fields of mural painting[4] and portraiture.[5] She exhibited her work at the Royal Society of Portrait Painters in 1933, and with the London Group in 1935.[6] Later sitters of note consisted of people associated with the film or record industries such as singers Edric Connor, Carmen Prietto, conductor Richard Austin, and actors Dirk Bogarde and Patrice Wymore.[3] During the Blitz in 1940, her studio-flat in Hampstead was destroyed by a bomb, and much of her early work was lost.
After World War II, her name chiefly became associated with graphic design for the Radio Times, and designing for the film and television industries.[3] In 1939 she married author and editor Edward Richard Carl Huson, by whom she had one son, author and television writer and producer Paul Huson. She was predeceased by her husband in 1984, and she herself died in Saffron Walden, Essex, in 2001.
Illustration, design, and graphic work[edit]
|29 June 1941
|The Suicide Club meets...
|11 July 1941
|Kitchen Front
|30 July 1941
|Don't pass it on, but...
|8 August 1941
|The Raggle-Taggle Gypsies, O!
|12 October 1941
|But lovelier than the cornfield...
|20 November 1941
|The Canterville Ghost
|23 November 1941
|Three Sisters
|15 December 1941
|The Star in the East
|28 December 1941
–3 January 1942
|What the other Listener thinks
|10 January 1942
|The Dancers
|17 January 1942
|The Dark Charmer
|1 February 1942
|And the more I bring off...
|6 March 1942
|Easy Murder
|13 March 1942
|Gestapo over Europe
|26 March 1942
|2 April 1942
|Grim Fairy Tale
|8 April 1942
|26 April 1942
|Alexander Nevsky
|3 May 1942
–9 May 1942
|Japan wants the Earth (cover)
|14 June 1942
–20 June 1942
|Carmen (cover)
|6 July 1942
|Next of Kin
|15 July 1942
|The Words upon the Window Pane
|21 July 1942
|Ladies in Retirement
|4 September 1942
|Death in the hand
|9 September 1942
|Tales of Hoffmann
|30 September 1942
|The Magic Flute
|16 October 1942
|6 November 1942
|The Beggar Student
|4 December 1942
|Ruslan and Ludmilla
|19 December 1942
|La traviata
|18 December 1942
|Programs up to Boxing Day and Turandot
|4 January 1943
|20 January 1943
|The Force of Destiny
|24 January 1943
–30 January 1943
|6 February 1943
|Madame Butterfly
|17 February 1943
|La bohème
|26 February 1943
|Robinson Crusoe
|7 March 1943
|17 March 1943
|11 April 1943
–17 April 2007
|Les Cloches
|29 April 1943
|Royal Gesture
|2 May 1943
|Dona Claries
|17 May 1943
|The Wild Duck
|6 June 1943
|A Princess of Tartary
|25 June 1943
|Master Peter's Puppet Show
|2 August 1943
|How to arrange a Concert
|26 September 1943
–2 October 1943
|Samson and Delilah
|17 October 1943
|Ring up the Curtain
|27 October 1943
|Romeo and Juliet
|22 December 1943
|The Flying Dutchman
|26 December 1943
–1 January 1944
|16 January 1944
|Distant Point
|19 January 1944
|14 February 1944
|The Hostage
|23 April 1944
–29 April 1944
|A Play Toward and Aïda
|6 May 1944
|The Man Stayed Alone
|23 June 1944
|Alexander Nevsky
|25 June 1944
|The Story of the Ballet
|30 June 1944
|Romeo and Juliet
|24 September 1944
|7 October 1944
|The Second Mrs Tanqueray
|8 November 1944
|9 November 1944
|The Story of the Ballet #2
|10 November 1944
|4 December 1944
|Treasure Island
|26 December 1944
|Boxing Day (4 corner vignettes)[7]
|9 January 1945
|A Voyage to Lilliput
|11 February 1945
|The Story of the Ballet #3,
illustration of Sunday Rhapsody
|28 March 1945
|25 April 1945
|The Tale of Tsar Saltan
|1 May 1945
|Tuesday Serenade
|18 July 1945
|A Princess of Tartary
|23 August 1945
|Corner in Crime
|29 August 1945
|The Wizard of the Mountain
|3 September 1945
|The Wild Duck
|9 September 1945
–15 September 1945
|Paul Temple Returns
|1 November 1945
|Golden Dragon City
|21 November 1945
|Schwanda the Bagpiper
|19 December 1945
|Prince Igor
|30 January 1946
|21 February 1946
|Treasure Island
|6 April 1946
|Music for Saturday Night
|2 May 1946
|Bounden Duty
|10 August 1946
|A Hundred Years Old
|11 September 1946
|Lord Mondrago
|19 September 1946
|It Might Have Been the Moon
|22 September 1946
–28 September 1946
|La bohème
|6 November 1946
|5 December 1946
|The Turn of the Screw
|21 December 1946
|Children in Uniform
|28 December 1946
|Androcles and the Lion.
|10 February 1947
|15 March 1947
|Save him, Doctor...
|22 March 1947
|Mary Rose
|5 April 1947
|The Silver Cord
|21 April 1947
|The Laughing Woman
|11 June 1947
|The Man who was Thursday
|21 June 1947
|To What Red Hell
|7 September 1947
|The Poet and the Child
|13 September 1947
|8 October 1947
|The Flying Dutchman
|16 October 1947
|Beyond the Night
|24 November 1947
|The Narrow Corner
|18 January 1948
–24 January 1948
|12 February 1948
|The Black Cap has to wait
|5 May 1948
|Eugene Onegin
|8 June 1948
|The Family from One-End Street
|2 August 1948
|The Lost Horizon
|30 August 1948
|The Healing Stream
|28 September 1948
|The first post will be opened tonight
|9 November 1948
|Focus on Old Age
|2 January 1949
|Scamps in Paradise
|18 January 1949
|Focus on Child Adoption
|25 March 1949
|The Great Ruby Ming
|22 July 1949
|Bizet's Carmen
|28 July 1949
|The Rise and Decline of Johnny Godwin
|14 August 1949
–20 August 1949
|The Story of 'Lulu.'
|26 August 1950
|Point of Honour
|1 September 1950
|Summer Showtime
|15 September 1950
|Promenade Concert
|26 December 1950
|Boxing Day, two double-spreads
|20 April 1951
|Stars from the Shows
|18 July 1951
|Shanties and Forebitters
|5 August 1951
|Summer Showtime
|17 August 1951
|Songs from the Shows
|1 October 1951
|The Bottom of the Well.
|2 March 1952
|Dona Clarines
|14 June 1952
|Cried the Sparrow
|4 July 1952
|Songs from the Shows
|31 July 1952
|Summer Rain
|13 October 1952
|15 February 1953
|La traviata
|1 July 1953
|The Flower in the Rock
|26 July 1953
|The Lady from Albuquerque
|10 October 1953
|The Laughing Woman.
|25 July 1954
–31 July 1954
|The Flying Dutchman
|14 September 1954
|The Turn of the Screw
|11 October 1954
|The Turn of the Screw
|17 October 1954
|The Dark Eyed Sailor.
|26 February 1955
|The Cat and the Canary
|12 April 1955
|A Vegetarian Dish for April
|30 September 1955
|The Turn of the Screw
|3 October 1955
|From Morn to Midnight
|30 December 1955
|Music at Ten
|31 December 1955
|New Year's Eve, triple spread.
|11 June 1956
|Journey to Venezuela
|30 November 1956
|Memories of a Street of Artists
|16 December 1956
|The Lost Horizon.
|13 January 1957
|A Hundred Years Old
|17 July 1957
|Murder at Elstree
|19 July 1957
|Australian Saga
|21 September 1957
|Ruslan and Ludmilla
|26 September 1957
|Stories and Music from the Ballet.
|25 January 1958
|A Time of the Serpent
|21 March 1958
|Samson and Delilah
|21 December 1958
–27 December 1958
|21 December 1958
|The Wraiths.
|25 April 1959
|Lost Love
|29 June 1959
|Shadow of a Pale Horse
|2 August 1959
|Enter Three Witches
|29 November 1959
–5 December 1959
|Where William Weare was Murdered.
|23 July 1960
|A Play for the Guide Festival
|23 December 1960
|Scamps in Paradise
|31 December 1960
|New Year's Eve, triple page spread.
- In 1936 Lehmann executed black and white designs for Pilkington Glass Ltd., and designed wallpapers for John Line, Ltd.[8]
- In 1937 she illustrated the book Weekend Caravan, edited by S. Hillelson.[7]
- In 1938 she illustrated the book Happy Heart, Some frontier folk I have met, fish, flesh and fowl, by Cora L. Shearburn.
- In 1940 Lehmann was permitted by the War Office to make sketches and drawings of London bomb damage, air raid shelters, and Air Raid Precautions personnel.
- In 1941, Lehmann began drawing monthly illustrations for the British Broadcasting Corporation's publication the Radio Times, commissions that would last over a period of almost two decades.
- Lehmann also started drawing illustrations for another BBC publication, The Listener, beginning with Louis Macneice's Cook's Tour of the London Subways. In 1941, Lehmann also illustrated the novel Look! The Wild Swans, by Juliette de Baïracli Levy (pictorial title page, frontis, six full-page and one half-page illustrations in black and white, pictorial card cover). She later illustrated a book of poetry by Levy, The Yew Wreath, (eight full-page black and white illustrations, pictorial card cover), and a second novel of Levy's, The Bride of Llew, (black and white illustrations, pictorial card cover).[7]
- In 1942 Lehmann joined the London artists' agency R. P. Gossop, for illustration commissions.
- In 1946 Lehmann illustrated Fairy Tales from Turkey, collected by Naki Tezel, trans. Margery Kent, ed. Herbert Read (color frontis., seven full-page black and white illustrations).[7]
- In 1947 Lehmann illustrated A Youthful Poet's Dream (black and white vertical half-page in The Children's Own Treasure Book, Odhams Press).
- In between 1948-1950 Lehmann also began drawing periodic illustrations for BBC Publications, the Arabic Listener.[7]
- In 1948 she illustrated An Indian Boyhood by Noel Sircar, London: Hollis & Carter (21 chapter-head illustrations in black and white scraperboard, pictorial dust jacket); The Peddler (black and white pictorial border) in The Modern Gift Book for Children, Odhams Press; "How Dan met the Fairies of Elbolton" (full-page color, pictorial border to title and two text illustrations) in "The Children's Hour Annual", Odhams Press.[7]
- In 1949 Lehmann illustrated the book jacket for Dead Lion by John and Emery Bonnett (Michael Joseph, London).
- In 1950 Lehmann executed illustrations for a year's advertising campaign for Murphy Radio Ltd. She also drew illustrations for The London Mystery Magazine, vol 1, number 2, The Trod, by Algernon Blackwood; and numbers 3, 4, 5, 6, The Slave Detective by Wallace Nichols.[7]
- In 1952, she illustrated Singing Together – Rhythm and Melody, for BBC Publications.
- Lehmann also illustrated the cover for the Christmas issue of London Calling, the overseas journal of the BBC.[7]
- She also drew the illustrations and designed the dust jacket for Evening Star, by M.E. Patchett, Lutterworth Press.
- Lehmann illustrated the 1953 London Calling, Christmas Issue cover.[7]
- 1954–1957: Lehmann designed record sleeves for Argo Records (UK).[7]
- 1954, Lehmann again illustrated the London Calling Christmas Issue cover.[7]
- 1985: Lehmann illustrated and published The Wishing Chair and Other Verse, by her late husband, Carl Huson.
- 1986: Lehmann illustrated and published Spoken Words: World War II Poems, Tales & Memories, by Carl Huson.
- 1987: Lehmann illustrated and published Fine Feathers, a book of poems for children, by Carl Huson.[7]
- In 1934 Olga Lehmann was commissioned by a French company, Stic-B Paints, Ltd, to paint murals in the Palace Hotel, Buxton.
- In 1935 Lehmann painted murals in the St. Helier House Hotel, Jersey. She was chosen to design a canvas mural for the Queen Victoria Street Railway Bridge, London, to celebrate the Royal Silver Jubilee of King George V and Queen Mary.
- Between 1936 and 1938 Lehmann painted murals for architect Clive Entwistle, and received multiple commissions from .Stic-B Paints for murals in hotels, private buildings, shops and nurseries. In 1938 she exhibited mural designs at the Building Centre, Bond Street. London, with Mary Adshead, Aelred Bartlett, John Hutton, Roland Pym and Laurence Scarfe, and painted murals in Fuller's Restaurant, Sloane Street in 1939, just before the outbreak of World War II.
- In 1940 Lehmann painted murals for London Air Raid Precautions Headquarters, and received a permit from the War Office to execute sketches and drawings of London bomb damage, air raid shelters, and ARP personnel. In 1942 she painted murals at the Censorship Department, Holborn.
- 1943: Lehmann designed and painted murals for the workers' canteen in Bristol Aircraft Company's underground, wartime factory in Spring Quarry, Corsham. These are now part of MoD Corsham, and are grade II* listed.[9][10] She also designed and painted murals in the Pavilion Hotel, Scarborough, and the Grand Hotel, Brighton, by which time she had entered the British film industry.
- In 1953 Lehmann painted a mural on canvas featuring Captain Bligh for Errol Flynn's Tichfield Hotel in Port Antonio, Jamaica.
Film, television, and theatrical design[edit]
- In 1941, Lehmann painted murals for the film Hi Gang! at Gainsborough Studios, Islington, and for the film Much Too Shy. She also joined the Association of Cine-Technicians union as a member of the Scenic Artists division, and painted scenery and mural decorations at Gaumont British Studios, Riverside Studios, Metro-Goldwyn-Mayer studios, and British National Studios.
- In 1943 she painted mural decorations for the film He Snoops to Conquer.
- In 1944 Lehmann joined the art department of British National Studios as a scenic artist. She painted mural decorations for the film Waltz Time.
- 1945: Lehmann painted mural decorations for the film Latin Quarter.
- 1946–1954: Lehmann was contracted to Associated British Picture Corporation, painting murals, scenery, portraits of contract stars; drawing continuity sketches and production designs.
- 1946: Lehmann executed paintings for the film The Ghosts of Berkeley Square.
- 1947: Lehmann painted portraits for the film No Room at the Inn, murals for the film Counterblast, and portraits and murals for the film The Three Weird Sisters.
- 1948: Lehmann painted mural decorations for the film Private Angelo.
- 1949: Lehmann painted portraits of Marlene Dietrich for Alfred Hitchcock's Stage Fright.
- 1950: Lehmann designed the opening credits and painted the portrait of Hugh Griffith for the film Laughter in Paradise.
- 1951: Lehmann painted scenic decoration on the film The Master of Ballentrae.
- 1954: Lehmann executed the storyboard and several costume designs for the film The Dark Avenger. She also did scenic decoration on the film Oh, Rosalinda!
- 1955: Lehmann painted the portraits and drew the storyboard for the London sequence of the film based on Jules Verne's novel, Michael Todd's Around the World in 80 Days. She also designed credit titles for the film Safari. She painted the portrait of Terry Moore for the film Portrait of Alison, and designed costumes for the films The Big Money and Gamma People.
- 1956: Lehmann devised and designed Vera-Ellen's ballet for Marcel Helman's film Let's be Happy.[13] She also designed the costumes for the film Robbery under Arms.
- 1957: Lehmann designed the costumes and credit titles for George Pal's film The Adventures of Tom Thumb, and drew the storyboard for the film Inn of the Sixth Happiness.[14]
- 1958: Lehmann designed the costumes for Robert Hamer's film The Scapegoat. She also drew the storyboard for Nicholas Ray's film The Savage Innocents.
- 1959: Lehmann drew the storyboard for Vincente Minnelli's film The Four Horsemen of the Apocalypse. She also painted portraits of Peter Sellers for Anthony Asquith's film The Millionairess.
- 1960: Lehmann became Film Art Director for the London advertising agency Mather & Crowther for two years. She also designed the costumes for Carl Foreman's film The Guns of Navarone, and costumes for the Girl Guides of Great Britain 25th Jubilee pageant .
- 1962: Lehmann formed Olga Lehmann Associates, and took the post of Production Designer for Rank Advertising Films, a position she held for over ten years. She also designed the costumes for Carl Foreman's film' 'The Victors.
- 1966: Lehmann designed costumes for Tippi Hedren in Charlie Chaplin's film A Countess from Hong Kong.
- 1968: Lehmann designed costumes for the film Captain Nemo and the Underwater City.
- 1970: Lehmann designed costumes for the Delbert Mann's film Kidnapped.
- 1976: Lehmann designed costumes and painted a portrait for William Bast's adaptation for television of Dumas's The Man in the Iron Mask, produced by Norman Rosemont. She also designed costumes and painted a portrait for Rosemont's television film The Four Feathers.
- 1977: Lehmann received an Emmy nomination for outstanding costume design on The Man in the Iron Mask. She designed the costumes for Rosemont's television film Les Misérables.
- 1978: Lehmann received an Emmy nomination for outstanding costume design on The Four Feathers.
- 1979: Lehmann designed the costumes for Rosemont's television films Little Lord Fauntleroy and A Tale of Two Cities.
- 1981: Lehmann received an Emmy nomination for outstanding costume design on A Tale of Two Cities. Lehmann designed costumes for Rosemont's television films Ivanhoe and Witness for the Prosecution.
- 1983: Lehmann designed costumes and painted a portrait for William Bast's television adaptation of R. L. Stevenson's The Master of Ballantrae and for William Bast's television film The First Olympics: Athens 1896, both produced by Larry White.
- 1984: Lehmann received an Emmy nomination for outstanding costume design on The Master of Ballantrae.
- 1985: Lehmann painted portraits of Barbara Stanwyck, Charlton Heston and Stephanie Beacham for the Spelling/Shapiro/Cramer ABC television series The Colbys.
- The AIA Gallery, London.
- The Augustine Gallery, Holt.
- The Barnsdale Gallery, Yoxford, Suffolk.
- Canning House, London.
- Galeria Maldon.
- Gainsborough's House, Suffolk.
- The Guildhall, Thaxted.
- Heffer's Gallery, Cambridge.
- The Little Gallery, New Burlington Street, London.
- The Rushmore Rooms, St Catharine's College, Cambridge.
- The John Whibley Gallery, London.
- The London Group.
- The Royal Portrait Society.
- The Building Centre, Bond Street, London: Exhibition of Murals, 1938.
- The Suffolk Art Society.
- The Dunmow Art Group.
- The New English Art Club.
- The Contemporary Portrait Society.
- The Phoenix Gallery, Lavenham.
- The Wright Hepburn Webster Gallery, New York.
- The National Society, London.
- The Society of Graphic Fine Art, London.
- The British Academy of Film and Television Arts, London.
- The Lyttelton Theatre, London.
- The Fry Art Gallery, Saffron Walden.
- Royal Academy of Arts, Diploma Galleries, London: The Slade 1871-1971.
- The Whitechapel Art Gallery: Mural and Decorative Painting, 1935.
- The Tate Gallery: Mural Painting in Great Britain, 1939.
- The Fry Art Gallery, Saffron Walden.
- The Boundary Gallery, London.
- The Harry Ransom Humanities Research Center, University of Austin, Texas.
- The British Film Institute, London.
- Bruce Denman Collection.
- David Cohen Collection.
- Robert Worley Collection.
- Nicholas de Piro Collection.
- Bill Connelly Collection.
- The Victoria and Albert Museum Archive of Art and Design, London.
- The Royal Air Force Museum Art Collection, London.
- The Imperial War Museum, London.
- The Slade School of Fine Art, London.
- University College London Art Museum.
Record sleeves[edit]
Created for Argo Records (UK), 1954 - 1957[15]
- Under Milk Wood, the BBC recording.
- Robert Still: Quintet for Three Flutes, Violin and Cello.
- Songs from Jamaica, recorded by Edric Connor.
- Songs from Trinidad, recorded by Edric Connor.
- The Legend of Sarah Bernhardt, recorded by Esme Percy.
- Constant Lambert.
- Songs from Mexico.
- Béla Bartók.
- Fauré.
- Sir Edward Elgar.
- Calypso, recorded by Edric Connor.
- Sir William Walton.
- Music by William Byrd.
- The Waste Land, by T. S. Eliot.
- The Beggar's Opera.
- ^ "Olga Lehmann's Burlington murals".
- ^ The Slade 1871-1971, The Royal Academy of Arts, London, 1971.
- ^ a b c d e f g Who's Who in Art, "Olga Lehmann", pp. 347-348, Michigan: The Gale Group, 2002.
- ^ Contemporary Mural Painters: Miss Olga Lehmann. The Decorator, London, July, 1941.
- ^ a b Spalding, Frances, Dictionary of British Art, Volume VI: 20th Century Painter and Sculptors, "Olga Lehmann", p. 295, Suffolk: The Antique Collector's Club Ltd., 1990, ISBN 978-1-85149-106-3.
- ^ The Royal Society of British Artists: An Open Assembly, London, 1954.
- ^ a b c d e f g h i j k l Connelly, Bill, Olga Lehmann, Imaginative Book Illustration Society Newsletter, No 15, Summer 2000.
- ^ Jackson, L.: Twentieth-Century Pattern Design, Princeton Architectural Press, 2002.
- ^ Quinn, Andrew H.: Corsham Murals. Cultural Heritage, Defense Estates Annual Report, 2001, Ministry of Defense.
- ^ Historic England. "MoD CORSHAM: Quarry Operations Centre (QOC) Murals (Grade II*) (1409132)". National Heritage List for England.
- ^ Leese, Elizabeth: Costume Design in the Movies, "Olga Lehmann". Frederick Ungar Publications. New York, 1976, 1983.
- ^ Olga Lehmann at IMDb.
- ^ Soren, D.: Vera-Ellen: The Magic and the Mystery, Luminary Press, Midnight Marquee Press, Inc., 2003. ISBN 1-887664-48-3.
- ^ Halligan, F.:Movie Story Boards - The Art of Visualizing Screenplays, pp 62-67, Chronicle Books LLC, 2013. ISBN 978-1-4521-2219-9
- ^ Scott, G.; Miles, B.; Morgan, J.: The Greatest Album Covers of All Time, "Under Milk Wood", London: Collins & Brown, 2005. ISBN 1-84340-301-3.
Further references[edit]
- Bacon, C. W., Scratchboard Drawing, "Olga Lehmann", Studio Publications, 1951.
- Branaghan, S., Chibnall, S, British Film Posters: An Illustrated History, British Film Institute, 2008, ISBN 1844572218.
- Fishenden, R. B., The Penrose Annual; Review of the Graphic Arts, "Olga Lehmann", Hastings House, 1953.
- Foss, B., War Paint: Art, War, State and Identity in Britain 1939-1945, Yale University Press, 2007.
- Harper, S., Women in Cinema, "Olga Lehmann", Continuum, 2000.
- York, Malcolm, Edward Bawden and his Circle, Woodbridge, Suffolk, Antique Collectors Club.
External links[edit]
- 1912 births
- 2001 deaths
- English costume designers
- English illustrators
- English muralists
- British production designers
- English women painters
- Chilean emigrants to the United Kingdom
- Alumni of the Slade School of Fine Art
- 20th-century British painters
- 20th-century British women artists
- Women muralists
- Chilean people of German descent
- Chilean people of French descent
- Chilean people of Scottish descent
- English people of Scottish descent
- English people of French descent
- English people of German descent
- People from San Felipe de Aconcagua Province
- Women production designers
- 20th-century English women
- 20th-century English people


text:
In drupal 7 the recommended method to render output is by using the render api. So no more calling theme(...) directly. Here is a simple example based on the example from the examples module.
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subset: commoncrawl


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Library holding DVD, CD sale in March
Press-Gazette Media
The Friends of the Brown County Library are holding a one-day sale of gently played DVDs and CDs on March 28.
The sale is scheduled from 9:30 a.m. to 1:30 p.m. at the Brown County Central Library, 515 Pine St., Green Bay. It's expected to offer more than 6,000 music CDs and DVDs, including comedies, classics, dramas, Disney and more.
Most items priced at $2 or less. The library is accepting donations of gently played DVDs and CDs at all library locations. Proceeds benefit the Brown County Library's equipment, programs and materials.


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The prescribed painkiller "tramadol" is consumed by millions of people around the world, every single day, so it is a drug that claims lives more than any other, more than cocaine and heroin, reported the top pathologist of Northern Ireland.
This painkiller is harmless if it is consumed by the rules and 100% correctly, but it is quite dangerous when people mix it with some other drugs or even alcohol!
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Source: dailyorganicrecipes.com


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Hello all,
Last Saturday I woke up with an allergic reaction to something that has caused a rash along my arms, torso, neck, and legs. My assumption is a shower gel body wash I used Friday night caused the flare up. I've used this wash before without issue, but I've been told that really means nothing.
I went to an urgent care clinic, and they gave me a steroid shot (can't remember name), and prescribed me 20mg Prednisone pills to take two times a day for 5 days, as well as Triamcinolone Acetonide Cream two times a day for 7 days.
I went to my normal doctor the next day, and was told the prescription is fine, and it should clear up soon. I'm now on day 3 of this prescription, and there's times where I look and it seems like the rash is clearing up, but then other times where it looks like there's been no improvement with additional spreading. I'm also taking Benadryl various times throughout the day to help with the itching, and to give me a good night's rest. From reading various forums online and the impact of using prednisone, I thought the rash would be gone by now, but maybe I have unreasonable expectations.
Any idea when I should contact my doctor and let her know the rash is still around? I travel for work this coming Sunday, so I was hoping it would be gone by then, but not sure that will happen. Thanks in advance!


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Sometimes, when there's a girl you like, you just need a kick in the pants to ask her out, or in Leo's case, a gargantuan monster truck-slash-fortress operated by Aligura, the Queen of Monomania.
Leo is out with Zapp, lamenting the fact he can't tell what White is thinking, when that truck suddenly bears down on them, and Aligura snatches up Leo. Once aboard Aligura's awesome, sumptuously-appointed vehicle-base, Leo gets a little crash course in the monomania Aligura is infamous for.
Love could be described as a kind of monomania, and when Aligura loved two men: Dendro Brody for his personality and Dog Hummer for his looks, she combined them into one, similar to the way someone takes separate ingredients to make their ideal dish. Throughout his ordeal with the highly unstable Aligura, who tries to press him for details about his own love life, Leo is mostly terrified and begging Klaus to save him.
Turns out this is more than just a job for Klaus, or KK, Chain, Lucky, or Zapp; it's also a job for the object of Aligura's affection, as well as her creation: Hummer-Brody, who in his combined form is a massive red demon-like monster with incredible brute strength who is also intensely upbeat, friendly and personable.
Aligura wants her man/men back, but as she herself says about love, you push and push and the one who pushes hardest wins, and that's Hummer-Brody, fusing all of Dendro's blood into a giant fist with which he launches Aligura's truck into the sky, where it breaks up and spreads debris all over the city, injuring "hundreds if not thousands." Chain plucks Leo out of the sky, and all he needs are five stitches. Just another day!
Only it isn't just another day, because even before Aligura kidnaps him, White is on Leo's mind. When he mentions her, she sneezes where she is, and when she sees him at the hospital smiling and laughing with another guy, he's jealous. So just when he's about to drive off home after a long, tiring day, he marches into White's room and asks her out to a movie.
After the giddy thrills of aiding her escape from the hospital and motorcycle ride, the comedy movie surprisingly makes her cry, but cheers her up with some good-old self-deprecation, calling himself "pathetic" compared to his more capable sister Michella, something White refutes by calling saying he's a good guy before cuddling up to him.
Thanks in part to Aligura's unique perspective on the matter, Leo was able to push himself a little closer to the girl he likes.


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Working for British High Commission Georgetown
General information
The British High Commission in Georgetown, Guyana provides a working environment that is challenging but rewarding.
When applying for a specific advertised position, please be sure to forward your cover letter with reference to the position you are applying for along with your resume as directed in the vacancy notice. Candidates who are non diplomatic staff, must have the right to live and work in Georgetown.
We thank all applicants for their interest and advise that only those selected for interview will be contacted.
New staff will be provided with an Induction Package providing various administrative forms and an overview of the British High Commission.
Current work opportunities
If you are interested in a job opportunity at the British High Commission in Georgetown or one of the other UK delegations, DIT offices, other government departments or consulates in Guyana, please visit the FCDO Local Staff vacancies website
To filter the search for current vacancies, use the "Country/Territory" field on the left of the page and select the country you wish to search.
The British Government is an inclusive and diversity-friendly employer. We value difference, promote equality and challenge discrimination, enhancing our organisational capability.
We welcome and encourage applications from people of all backgrounds. We do not discriminate on the basis of disability, race, colour, ethnicity, gender, religion, sexual orientation, age, veteran status or other category protected by law. We promote family-friendly flexible working opportunities, where operational and security needs allow.
Staff recruited locally are subject to Terms and Conditions of Service according to local employment law.


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""What's New in ArkivDigital?"
Kathy Meade, ArkivDigital
What is New in ArkivDigital?
This presentation will focus on additions and changes to ArkivDigital within the last two years. An overview will be given on the differences between the base and All-in-one versions and showing the two methods for searching: archive and register search. Focus will be on showing records in the following archives: Swedish American church records, Tax registers (district, county, and national levels) and the SCB archives.
[wpdm_package id=3853 template="link-template-default.php"]
[wpdm_package id=3871 template="link-template-default.php"]
Using Name Searchable Registers in ArkivDigital
Learn about the name searchable registers in ArkivDigital. Learn how to use the new name searchable registers for the household/congregation records between 1880-1920, population registers for 1950 and 1960 and the Swedes in the 1940 United States census. The presentation will focus primarily on showing how to search in these registers but will also highlight a few other new registers such as emigration and released prisoner name registers.
[wpdm_package id=3855 template="link-template-default.php"]
[wpdm_package id=3873 template="link-template-default.php"]
What is New in ArkivDigital's Military Archives?
ArkivDigital's online archive includes all the general muster rolls for both the allotment and enlisted regiments as well as many other types of military rolls. This presentation will focus on giving an overview of the types of military records one can find in ArkivDigital such as the general muster rolls, pension records, and the recent additions of service records for men enlisted between 1902 and 1941. Examples of how to search for both a general muster roll and during the allotment period and a service record for someone enrolled in the early 20th century will be demonstrated.
[wpdm_package id=3857 template="link-template-default.php"]
[wpdm_package id=3875 template="link-template-default.php"]
Kathy Meade is the North American representative for ArkivDigital. Besides working for ArkivDigital, Ms. Meade serves on the advisory board of the Nordic Family Research Center at the Swedish American Museum in Chicago. She also volunteers at the Arlington Heights Memorial Library helping patrons with their Swedish research.
Kathy has been assisting persons with their Swedish research for eleven years. In a prior life, Ms. Meade worked more than twenty years in the information technology industry including working and living for six years in Sweden and Norway .
"Did You Know?" – executable file download
Paul Ternlund
Plus: "Hobbyhorse Revolution"


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Crossbody Sling Bag - Alpaca Amigo (Winter Gray)
We LOVE Alpacas over here at the little odd forest! Please do not mistake them for Llamas; Alpacas are much smaller and cuter in appearance! This super 'kawaii' crossbody sling bag closes with an Alpaca faced flap, and comes with an adorable Alpaca hairdo too! Nothing can be hilariously cuter than this! Its Alpaca face details are machine embroidered eyelashes, with synthetic leather and fabric appliqued on the flap that closes with a magnetic snap button. Its handy zipper compartment on the front comes with the cutest little leaf zip pull! All 100% handmade! This sling purse is the perfect companion for a fun and whimsical day out. Do not disparage the look of this adorable bag, it can fit your bulky wallet, phone, a small folded umbrella, and even a small bottle of water!
- Made with sturdy twill fabrics, soft fleece lining, with synthetic leather applique and machine embroidered details.
- Magnetic snap button flap
- Approximately 12''L x 12''H
- Exterior zip pocket
- Additional interior pocket
- Shape may vary slightly from that shown in photo.


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BrickArms Value Pack 9#
• CRAZY COLOR Random Sci-fi Weapon
• HCSR RIfle
• M4 Rifle
• MG-42 Machine Gun
• M1A1 v1
• Energy Pistol
• M47 Tactical Shotgun
• Badger Pistol
• M1 Carbine
• SABR Shotgun
• Flintlock Rifle
These custom design weapons are made of high quality injection molded ABS plastic.and will fit most standard LEGO Minifigures.
You are buying only the Set and not the Minifig and / or other displayed Legos.
This set contains small parts and is not intended for childern under 3 years.


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In my c#-project I use the HtmlAgilityPack. Everything worked fine for weeks, but today, when I run the code in Debug Mode and code related to the HtmlAgilityPack is used, VS keeps asking me for the location of "HtmlNode.cs" which is a class within the HtlmAgilityPack.dll. When I choose "Cancel", VS crashes.
I don´t even have any breakpoints set. I cleaned and rebuilt the solution, deleted obj and bin folders, renamed "HtmlAgilityPack.pdb", deleted the temp-folder in the %APPDATA%-directory and also deleted and re-set the link to the assembly. Nothing worked.
Does anybody know what to do?
To fix this issue you have to enable below under
In Debug >> Options >> Debugging/General


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Love means nothing if it does not mean loving some people more than others.
—George Orwell
There's nothing like the birth of a child to get a philosopher thinking about the gulf between our deeply held notions of fairness toward all and our natural inclination to identify our nearest with our dearest. After all, as Columbia College Chicago philosopher Stephen Asma points outs, if our mothers, icons of selfless and nurturing love, had not been so preferentially—and, when necessary, so ferociously—dedicated to us, there would be far fewer of us around to bemoan the unfairness of life.
A few years after his son's birth, Asma found himself at an ethics conference, horrifying fellow panel members, including a priest and a "revolutionary Communist" egalitarian, by blurting out, "I would strangle everyone in this room if it somehow prolonged my son's life." He was laughing as he said it, Asma recalls in an interview, but he soon realized he wasn't really joking. "I knew I meant it on some deep level, and I wondered, 'Why not embrace the natural?' Why is this preference cast as a struggle between primitivism and our higher principles?" The eventual result is the newly released Against Fairness, Asma's cheeky but thought-provoking inquiry into the tension between "two competing notions of the good."
Start, Asma writes, with the notion that bias is primitive. Does humanity have more fair-minded and self-sacrificing exemplars than Jesus and Siddhartha Gautama, the Buddha? The latter metaphysically demolished the Indian caste system, declaring women and untouchables capable of attaining enlightenment, and declared the equality even of animal species. Yet the Buddha had a best friend, his first cousin, Ananda. Jesus not only had a special group of 12 followers, he had three favoured Apostles—"a posse within his posse," as Asma puts it—and one "beloved disciple" (the Apostle John) among them.
And then consider, the philosopher continues, that modern Westerners are none too precise when they speak of "fairness," a word loaded with emotional weight but slippery in its usage. We are certainly all for it—some Westerners, Asma notes ironically, think their culture is superior to others precisely because of its commitment to equality. But fairness as a matter of equal shares—Asma's six-year-old son explained to him how everyone in a school foot race had "won" the sprint—rubs up against a competitive society's acceptance of the principle of winner take all (or at least the lion's share). In other words, equal opportunity versus equal outcome. "We often deliberately blur one concept of fairness with the other," Asma says. "Few people are prepared to argue against equal opportunity, but far more are suspicious of equal-outcome policies."
Asma realizes, with a sigh, "that I will be seen as some conservative Ayn Randian and my book read as a social-Darwinist screed," merely for telling his son that it's not possible for everyone in a race to win it. But that will miss his main point, Asma continues: he's not arguing for a Little Red Hen merit-based fairness over a prizes-for-all equal-shares fairness; he's arguing for a favouritism that flies in the face of both concepts, one that privileges our tribes (by blood or affiliation).
Asma is primarily a philosopher of the life sciences, and he explores at length the new neurological research demonstrating the pathways by which human bonding, part chemical and part psychological, is established. And how the more deeply the bond is made—the more our brains are made opiate-happy by the mere presence of those we have bonded with—the more open humans are to extending their ties outward. We literally get high with a little help from our friends.
Asma knows, again, that he is open to criticism for scandalously reducing humanity's tenderest impulses to "simple rat chemistry." (One of Against Fairness's earliest reviews did, in fact, denounce Asma's "neuromaniacal" reasoning.) But such higher-principle arguments seem "quaint" to him, given the profound similarities in all mammalian biology. And yes, Asma is also quite aware that "linking biology and ethics has not gone well in the past"—in its most malevolent form, it was a Nazi speciality—but he is writing about the importance of attachments in universal human biology. Our emotional brains are "natural nepotists," making us kin-biased by our deepest natures, and we need a body of ethical thought that doesn't make us feel guilty about it.
So far, so good. But returning to that discussion room, who in it exactly—besides an unlucky priest and a Communist—might Asma be willing to throttle for the good of his son? A brother, a niece, a second child of his own? Asma, father of one, has little to say about the twists and turns of family fairness. But the favourite child, and the siblings in his or her shadow, are the complex stuff of classic literature and everyday conversation between parents, and parents and children.
Jeffrey Kluger, a senior writer at Time magazine, received a lot of attention for his 2011 book The Sibling Effect, much of it for the "Golden Child" chapter on favourite kids, and most of all for a comment still reverberating around parent blogs: "It is my belief that 95 per cent of the parents in the world have a favourite child, and the other five per cent are lying,"
Favouritism is natural and well-nigh universal, Kluger says, citing one study that found 65 per cent of mothers and 70 per cent of fathers admitting to having a favourite, often but not always within the classic tropes: mothers and first-born sons, fathers and youngest daughters. Sometimes the favouritism, or perhaps more accurately, its opposite, is complicated in its origins, sometimes it's as simple as the result of humanity's hard-wired preference for the beautiful over the less so. And what's more, every child in the family knows their parents' "worst-kept secret," who the golden child is. They are generally acquiescent in the parental choice, although they do assign a reason for it, usually something natural, something an unfavoured child can do nothing about: of course Mom prefers her only girl to my brothers and I; she's prettier than I am; he's the smart one.
There's no doubt that parental preference is universal, in the sense that it cuts across all human cultures and it has, in some times and places, taken extreme forms. Kluger cites the lengths some Japanese parents went to during the Tokugawa shogunate (1603 to 1868) to ensure their families followed the model of ichihime nitaro (daughter first, son second). Although the eldest son was the keystone child, the future of the family, he was so important that he had to wait for an older sister to help raise him: first-borns who were boys were thus often subject to infanticide. Today, bioethicists still debate the morality of so-called saviour siblings, children selected through IVF to have tissue that is a perfect match for an existing and ill sibling. (Stem cells from its umbilical cord are then used for life-saving transfusions.) Talk about favouritism.
But that's not the sort of favouritism most parents search their souls about. Most people mean situations in which some children can do no wrong, and receive a disproportionate amount of their parents' (particularly their mother's, it seems) care and attention, while others are ignored and some constantly compared, to their detriment, to the golden child. The aftermath, according to Purdue University sociologist Jill Suitor, who has extensively studied parental favouritism in families where the parents are elderly and children adults themselves, is almost uniformly bad sibling relationships. As for the individual fates of the children, clinical psychologist Ellen Libby, author of The Favorite Child (2010), says the results are mixed.
Some unfavoured children achieve later success precisely because their family situation insulated them against the hard knocks of adult life, although far more suffer. Some favoured children, including a disproportionate number of political leaders, flourish because of the inexhaustible confidence instilled in them by parental preference. Franklin Delano Roosevelt, like William Lyon Mackenzie King, grew up as his mother's favourite. King, notoriously, remained a lifelong bachelor, while FDR and Eleanor Roosevelt had one of the most famous political marriages of all time, one which wreaked havoc among their five children, who amassed 19 marriages, 15 divorces and 29 children between them.
Libby, who practises in the U.S. capital, writes that many of her patients are Washington power players infused with the confidence that being favourite children gave them, even while they are "ethically, psychologically or morally wounded" by that same consequence-free indulgence. And she is open about her own brother-in-law, Scooter Libby, chief of staff to George W. Bush's vice-president Dick Cheney, who was convicted in 2007 of perjury in the scandal that swirled about outing Valerie Plame as a covert CIA operative. Ellen Libby pins her brother-in-law's reckless belief that he faced no consequences for lying to a grand jury on his favourite-son status with his mother. As she and her husband, Hank, Scooter's elder brother, watched the golden child rise in Washington political circles, "increasingly, we were bothered by Scooter's lack of communication with us, his growing feelings of entitlement and his seeming inclination to spin stories to further his interests."
Ellen Libby's personal experiences have clearly influenced her professional take on favouritism. But she is scarcely alone in her belief that "every family has favourites," even if she is rare in believing that open communication within the family about who's in and who's out and why, would help salve the wounds. Even Kluger, who agrees with Libby's universalism, doesn't join her on that. And ordinary parents seem appalled at the very notion of telling the children.
In September, Calgary radio host Buzz Bishop, a father of two boys, announced on a parenting blog that "I have a favourite son and I'm not ashamed to admit it." (Bishop prefers his eldest, five-year-old Zacharie, to his youngest, two-year-old Charlie, because the elder boy "can do more things—he's more fun." Bishop, 42, received worldwide attention, almost all of it condemnatory. Not for having a favourite, but for admitting to it, and in the eternal world of the Internet. "Why admit that publicly?" posted one respondent. "Just so you can show how 'honest' you are? Congrats, you're an honest, hurtful dick." Only a few noticed that Bishop's weak favouritism barely deserved the name, certainly not in comparison with the sort of toxic parental preference Libby describes. A lot of men prefer the company of toilet-trained kindergartners over that of toddlers, one mom noted; later, when the older boy is a moody young teen, Bishop's favourite companion may well be the younger son.
The themes of the parental response to Bishop largely match those of experts in the field. University of Indianapolis psychologist Victoria Bedford, a mother of three whose studies have shown the lifelong rifts between siblings caused by childhood favouritism, asks why any parent "would say hurtful things when they are not necessary?" Sociologist Suitor, whose work deals with baby boomers at another transitional point in their lives—when the largest cohort of siblings in society are coming together, after decades apart, in order to care for their elderly parents—sees plenty of damaging conflict rooted in the deep past.
Sibling relationships in adulthood are better when they believe they were all treated not necessarily equally, but equitably as children. On the flip side, nothing is more predictive, notes Suitor, of reduced closeness and increased conflict among adult children than recollections of favouritism in childhood. It's even more disruptive than parental favouritism late in life. In those cases, adult children tend to shrug it off; half the time they cannot even identify mom's current favourite, in part because elderly mothers tend to have one child (usually the eldest or eldest daughter) to whom they turn for practical matters, and another (usually the youngest or youngest daughter) with whom they are emotionally closest. (Middle kids get the short end once again.) Parents openly admitting to past or present favouritism, Suitor says, "worsen an already bad situation." And this conflict matters, not just for the sake of the parent, but for that of the siblings, because good sibling relationships later in life have powerful, positive health effects.
None of that would surprise Asma, even if his son currently has no siblings with whom to compete for parental attention. Just as we naturally gravitate to kin, creating a closeness that benefits us all through life, the better angels of our nature prompt us to shrink from anything that would disrupt those family connections. Sometimes the ties that bind us are tied wrongly, too loose or too tight, but decades of research point to the conclusion that the key to happiness—to what a philosopher would call the good life—is not wealth or social achievement, but strong social bonds. And few are stronger than the oldest ones any of us will ever experience.