Fifi The Flea | The Hollies, 1966

Fifi the flea fell in love
With a clown from a flea circus fair
She gave him her heart
But he still couldn’t see
That for such a long time she had cared
He put himself ‘round all the other girl fleas
Unaware that he hurt her so badly
She cried in the arms of his manager friend
And declared that she loved the clown madly

One day Fifi went
And this drove the clown wild
The poor little flea started crying
Never you mind his manager said
I ought not to tell but she’s dyin’
Dyin’ for love of you little flea
You’ve broken her heart with your lyin’
She couldn’t stand to see you throw
Her love away without tryin’

The day Fifi died the little clown vowed
He’d tend her grave every hour
He broke down and cried
When he saw her grave
And on it he placed a small flower
Poor little flea he wasted away
He’d lost his Fifi forever
So they opened her grave
Put him inside
Now at last they are together 

The Hollies, band-written song under the pseudonym, "Ransford",
Allan Clarke, Tony Hicks and Graham Nash 

 Fifi The Flea,  The Hollies, Would You Believe?, 1966

"Fifi", covered by the Everly Brothers in the 1966 Two Yanks in England album.

Jim Jarmusch Film Posters | Andrzej Klimowski, 1991-2017

Andrzej Klimowski, Mystery Train, 1991/ Jim Jarmusch (1989)       Andrzej Klimowski, Stranger than Paradise, 1991 / Jim Jarmusch (1989)
Andrzej Klimowski, Night on Earth, 1993 / Jim Jarmusch (1991)         Andrzej Klimowski, Permanent Vacation, 1991 / Jim Jarmusch (1980)
Andrzej Klimowski, Down by Law, 1991 / Jim Jarmusch, 1986                    Andrzej Klimowski, Dead Man, 2017 / Jim Jarmusch, 1995


Alphabetarion # Consistency | Yuval Noah Harari, 2011


“Consistency is the playground of dull minds.”

Yuval Noah Harari
 Sapiens: A Brief History of Humankind, 2011

The World Is As It Appears | Miguel Hernández (1910-1942)

Miguel Hernández - Josefina Marhuenda

The world is as it appears
before my five senses,
and before yours, which are
the borders of my own.
The others' world 
is not ours: not the same. 
You are the body of water
that I am— we, together,
are the river
which as it grows deeper
is seen to run slower, clearer.
Images of life—
as soon as we receive them,
they receive us, delivered
jointly, in one rhythm.
But things form themselves
in our own delirium.
The air has the hugeness
of the heart I breathe,
and the sun is like the light
with which I challenge it.
Blind to the others,
dark, always remiss,
we always look inside,
we see from the most intimate places.
It takes work and love
to see these things with you;
to appear, like water
with sand, always one.
No one will see me completely.
Nor is anyone the way I see him.
We are something more than we see,
something less than we look into.
Some parts of the whole
pass unnoticed.
No one has seen us. We have seen
no one, blind as we are from seeing. 

The World Is As It Appears | Miguel Hernández  (1910-1942)

The Synchronization Of Emotions | Paul Virilio, 2010

"This first regime consisted of the standardization of products and opinions.
The second, current regime is comprised of the synchronization of emotions,
 ensure the transition from a democracy of opinion to a democracy of emotion"

“The contemporary sedentary is someone who feels at home everywhere,
thanks to cellphones, and the nomad is someone who does not feel at home
anywhere, someone who is excluded, ostracized.”

“Speed now illuminates reality whereas light once
 gave objects of the world their shape.”

Paul Virilio, The Administration of Fear, 2010


Book//mark - Today I Wrote Nothing | Daniil Kharms, 1905-1942

Daniil Kharms with Alice Poiret

“I was most happy when pen and paper were taken from me and I was forbidden from doing
anything. I had no anxiety about doing nothing by my own fault, my conscience was clear,
and I was happy. This was when I was in prison.” 

“These verses have become a thing and one can take them off the page and throw them
 at a window, and the window would break. That's what words can do!” 

“You see,” I said, “in my opinion, there are no believers or non-believers. There are only
those who want to believe and those who do not want to believe.” “So those who do not
want to believe already believe in something?” said Sakerdon Mikhailovich. “And those
 who want to believe already believe in nothing?” 

“Madeleine, you’ve grown too cold to lie alone beneath a bush a youth bows down over you
with a face as hot as Tibet. The pilot has grown old along the way. He waves his hands—but
doesn’t fly he moves his legs—but doesn’t go waves once or twice and falls then lies for years
 without decay Poor Madeleine grieves a braid she weaves. and chases idle dreams away.” 

“A short lightning flash of white snow flew into the woods frightening the animals there a
hare hops around the bird-cherry there a bobcat lies in wait for an underwater mouse puffed
out its muzzle raised its tasseled tail mangy beast of prey to you woodpeckers and rabbits
are as scrambled eggs to us only the oak stands paying no attention to anyone itself just
recently fallen from the sky the pain not yet abated the branches had not drawn apart not a
reproach nor an answer did I deserve oh my spurs seize me chop me and beat me right in the
back right in the back oh he’s fast I thought I see before me the torah but no the lun a tic the
lunatic of my words one thing I won’t repeat will not repeat my whole life through this is
ladies and gentlemen ladies and gentlemen my attentive audience that leap the leap from the
heights of treesongers down on to the boards of stone the tables of stone tables of oh giant

“It’s hard to say something about Pushkin to a person who doesn’t know anything about him.
Pushkin is a great poet. Napoleon is not as great as Pushkin. Bismarck compared to Pushkin
is a nobody. And the Alexanders, First, Second and Third, are just little kids compared to
Pushkin. In fact, compared to Pushkin, all people are little kids, except Gogol. Compared
to him, Pushkin is a little kid.
And so, instead of writing about Pushkin, I would rather write about Gogol.
Although, Gogol is so great that not a thing can be written about him, so I'll write about
Pushkin after all.
Yet, after Gogol, it’s a shame to have to write about Pushkin. But you can’t write
anything about Gogol. So I’d rather not write anything about anyone.”

 Daniil Kharms, 1905-1942, Today I Wrote Nothing: Selected Writings


Βοτανική Πρακτική | Διονύσιος Πύρρος ο Θετταλός, 1838

Βοτανική Πρακτική | Διονύσιος Πύρρος ο Θετταλός, 1838

Βοτανική Πρακτική | Διονύσιος Πύρρος ο Θετταλός, 1838

Ο Διονύσιος Πύρρος ο Θετταλός (1774 ή 1777 -1853), ήταν καλόγερος, ιατρός, συγγραφέας 
και εκδότης. Πέραν του συγγραφικού του έργου ασχολήθηκε και με τη δημιουργία χαρτών 
και ουράνιων και υδρόγειων σφαιρών. Επίσης αποπειράθηκε να δημιουργήσει εργοστάσιο
 χαρτοποιίας αλλά απέτυχε. Μετεπαναστατικώς σύστησε λιθογραφείο στην Αθήνα. 
Τα βιβλία που είχε τυπώσει τα υπολόγιζε σε 25.000 τόμους και κάλυπταν ένα εύρος
 αντικειμένων: ιατρικά, γεωγραφικά, ιστορικά, θρησκευτικά, ηθοπλαστικά, γραμματικά.

Alphabetarion # Distance | Johann Wolfgang von Goethe, 1795

Paul Klee, Southern (Tunisian) gardens, 1919

“The world is so empty if one thinks only of mountains, rivers and cities; 
but to know someone here and there who thinks and feels with us, 
and though distant, is close to us in spirit 
— this makes the earth for us an inhabited garden.”  

Johann Wolfgang von Goethe, Wilhelm Meister’s Apprenticeship, 1795


Escapades in Africa | Photos, Collages & Drawings by Peter Beard, 1938-2020

Peter Beard

Peter Beard

"I like things that don’t look like you’re in control. It’s like life itself. 
You just learn how to benefit from accidents and chances that you take."

Peter Beard
Peter Beard

"I'm an escapist. I'm not a planner; I've never made a decision about anything in my life. 
The good thing about Africa is that you can escape forever. You can do what you want
 without someone looking over your shoulder."

Peter Beard

"Like society, the diary is a world of useless secrets. 
Everything is there, yet there is nothing."

"The whole world is a scab. The point is to pick it constructively."

Peter Beard, Envelope with ink and collage, 1984 
Peter Beard, At the Edge of the World, Uganda, 1966 

"It's a lonely life for almost everyone. But you can get a lot out of isolation. 
Maybe it's motivating. Motivation is valuable, however you get it—even if 
you get it by being slapped in the face."

Peter Beard

"I used to do horseback riding in the South, and it was just things I’d be pasting. 
I think my diaries was just an infantile desire to record things. I liked saving 
things instead of writing."

Peter Beard
I’ll Write Whenever I Can, Koobi Fora, Lake Rudolf, 1965 

"I had some highlight moments in the early '60s when I used to do a lot of rubbings. 
I used Afta; it's an amazing chemical. If you pour it on something and rub, you get 
amazing results. Before that, I used lighter fluid and, well, I've always liked blood. 
Everybody thinks I am very sick, but the thing is, blood is better than any ink or paint."

Peter Beard, 1938-2020

Peter Beard, Giraffes in Mirage on the Taru Desert, Kenya, June 1960
Peter Beard
Peter Beard, Elephant, 1970
Peter Beard, Spitting Cobra in Tsavo, 1960
Peter Beard, We have lived in the best time..., 1966
Peter Beard, Crocodiles, Mingled destini, Moite Bay, Lake Rudolf, 1965
Peter Beard

Another gate | Arthur Wing Pinero, 1893

"I believe the future is only the past again, entered through another gate."

Arthur Wing Pinero, The Second Mrs. Tanqueray, 1893


Στον Έρωτα | Ρώμος Φιλύρας, 1910

Albert Breaute (1853–1939), Woman In An Interior 

Έρωτα, Έρωτα, νιώθοντάς σε
νιώθω να περνά της ψυχής μου σκότος
η φωτεινή σου αχτίνα
και να γίνομαι όλος
ένας παλμός!

Ρέε ήρεμα, ήρεμα μέσα μου
και γίνου εσύ όλος ο εαυτός μου,
τόσο, που να γίνω περήφανος
σαν Θεός,
γιατί θα κλείνω εντός μου το μόνο Θεό,
γιατί θα είμαι
ο παλμός ο δικός σου!

Ρώμος Φιλύρας 15.11.1910


The Beatles | Hamburg days | Photos by Astrid Kirchherr, 1960-1963

John Lennon, Paul McCartney, George Harrison, Pete Best, Stuart Sutcliffe, from Hugo Hasse Fun Fair Session, 1960

 "Our philosophy then, because we were only little kids, was wearing black clothes and going
around looking moody. Of course, we hadn't a clue who Jean-Paul Sartre was. We got inspired
by all the French artists and writers, because that was the closest we could get. England was so
far away, and America was out of the question. So France was the nearest. So we got all the
information from France, and we tried to dress like the French existentialists...
We wanted to be free, we wanted to be different, and tried to be cool, as we call it now."

Astrid Kirchherr, 1995

Astrid Kirchherr, Self-Portrait, Hamburg, 1960                                      Stuart Sutcliffe and Astrid, 1960

"Stuart was somebody very, very special. He had a wisdom, and the ability to give so much, 
as far as feeling and love was concerned. We were young and innocent and Stuart gave all he 
had - he wasn’t the type of person who could hide anything. He gave everything fully, not 
only to me but in his devotion to art. We had loved from first sight and he’s the only man I
 met who I was sure would be ‘the one’ - he would be me and I would be him."

Astrid Kirchherr

Astrid Kirchherr: John, George & Stuart  at Heiligengeistfeld from Truck Session, 1960  / Stuart Sutcliff at the rear exit of the Star Club, 1961

'It was Hamburg that did it. That's where we really developed. To get the Germans going,
and keep it up for twelve hours at a time, we would really have to hammer. We would
never have developed as much if we'd stayed at home. We had to try anything that came
into our heads in Hamburg. There was nobody to copy from. We played what we liked
best and the Germans liked it as long as it was loud.'

 John Lennon

John Lennon and Stuart Sutcliffe at the Fairground, 1960
Paul McCartney and Stuart Sutcliffe at the Fairground, 1960
Stuart and Astrid, Hamburg 1961

“You know I wanna stay with you, right? I mean forever... we agree on that, right?
Are you crazy, Stuart?
No, I'm in love... but maybe that's the same thing.”

Arne Bellstorf, Baby's in Black: Astrid Kirchherr, Stuart Sutcliffe, and The Beatles

Stuart Sutcliffe in Hamburg, 1960
Stuart Sutcliffe, in woods near Elbe river, 1960
Stuart Sutcliffe, in woods near Elbe river, 1960
After Stuarts death - John & George in Stuart Sutcliffe’s art studio at Astrid Kirchherr’s house, 1962

 “After the death of Stuart, John and George took care of me. And they often visited my home. 
John said first: “Show me where he drew.” And I answered: “Of course.” And then I realized 
that I should take a picture. I took an old chair, and set it there. John was overwhelmed with 
emotion. He sat in a room where his friend had just worked. He almost burst into tears. 
George began to worry, and I asked him to stand behind John. It’s amazing how quickly 
George realized what was happening, that life and death had met. He just turned eighteen. 
But his eyes on the photo are full of concern for John. And John was on the verge of collapse. 
It was visible on his face."

Astrid Kirchherr

Astrid Kirchherr, Paul McCartney, George Harrison, 1960          Astrid Kirchherr, George Harrison, 1960

"George was a sweet man, who, despite reflections on him by others, 
was really the least complicated of the Beatles… at least to me"

Astrid Kirchherr

John Lennon, Paul McCartney, George Harrison, Ringo Starr, from Chair Session, 1962

'John said in an interview that Brian Epstein had persuaded them to put on suits, and that
they didn't like it too much at first; but in truth they were well aware that it was a essential
part of being successful, and playing bigger venues like the Star Club. They weren't
shouting, 'Get this suit off me!' or 'I can't stand it!' I think they liked the suits; they'd
had made them how they'd wanted.'

 Astrid Kirchherr

Astrid Kirchherr, George and John, 1962

'I know for sure that if I hadn't have met The Beatles in 1960, 
my life would have been completely different.' 

 Astrid Kirchherr

Paul McCartney, George Harrison & Astrid Kirchherr; on vacation in Tenerife, 1963

Astrid Kirchherr (1938 – 2020) was a German photographer and artist known for her association 
with the Beatles, and her photographs of the band's original members – John Lennon, Paul 
McCartney, George Harrison, Stuart Sutcliffe and Pete Best – during their early days in Hamburg.

Max Scheler, Astrid Kirchherr in front of The Cavern Club in Liverpool, 1964


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