How Will Global Warming
Affect Our World?

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© 2008 - Ben Heine
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Is Climate Change
Making Us Sick?
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By Barbara Lantin (*)
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More floods, heat waves, insect-borne disease... Doctors are worried about how global warming will affect our health

You might think that a little climate change would not go amiss in the British Isles. We’d have more warm summers and fewer freezing winters. What’s wrong with that?

Ask the people of Yorkshire. As a result of global warming, many homeowners this week are up to their waists in muddy water. Andflooding could be just the beginning of our worries. This week a paper in the British Medical Journal gave warning that climate change could be particularly damaging to the health of people in the developing world, but research also suggests that it could be bad news for Britain. Delegates at a conference in London on Tuesday will be told that global warming will drive up rates of cardio-respiratory disease, diarrhoea and insect-borne diseases such as malaria in the UK.

Global warming is believed to be occurring because human activities, particularly burning fossil fuels, have released into the atmosphere huge amounts of carbon dioxide and other “greenhouse gases” that are trapping more heat in the Earth’s lower atmosphere. Average global surface temperatures are already rising and are predicted to increase by between 1.4C and 5.8C over the next century, bringing a higher risk of floods, droughts and heat waves.

“We are already witnessing the effects of climate change on health,” says Dr Hugh Montgomery, the director of the Institute for Human Health and Performance at University College London, who has organised next week’s conference at the Royal College of Physicians. The heat wave of 2003, when temperatures in the northern hemisphere reached the highest on record, killed up to 35,000 people – 2,000 of them in the UK. Last summer’s floods have been shown to increase rates of mental illness (see box, left). And milder weather is likely to be behind the arrival here from Europe of the midge-borne cattle disease bluetongue.

“Each of us is, in effect, moving 6km (4 miles) south a year or 60km a decade,” says Dr Montgomery. “The result will be fewer deaths from colds and flu, but more from strokes and heart attacks because of the heat. Global warming means a higher baseline temperature from which there will be more surges and extreme events.”

Every one degree rise means 75 deaths

By the 2080s we can expect to see weather like that of August 2003 every year. This is bad news. Studies by the Department of Health have shown that in June 2006, when temperatures in the UK soared, there were 75 extra deaths for every one degree rise on the thermometer, with children, older people, those living in built-up areas and the chronically sick most at risk. Deaths can be caused by the body’s inability to adapt and cool itself sufficiently. However, the main causes of death and illness are cardiovascular and respiratory disease.

When it’s hot, large quantities of blood are circulated to the skin to keep it cool, placing a sometimes catastrophic strain on the heart. In addition, heat causes ozone concentrations and pollution levels to rise. This increases asthma rates and causes extra deaths from a range of respiratory illnesses.

The heat is also likely to bring more unwelcome insects to these shores. While it is unlikely that malaria will take hold – the disease is controllable in countries with good healthcare – other disease-carrying insects (known as vectors by scientists) may arrive.

“Climate change poses a significant risk of the introduction of vector-borne diseases into Europe and indeed there is evidence that such change has already happened,” says Paul Hunter, a professor of health protection at the University of East Anglia. “Several vector-borne diseases not previously described in Europe have appeared, including chikungunya [a virus carried by Asian tiger mosquito that causes fever, headache and joint pain]. There was an outbreak in Italy last summer.”

Warmer, drier weather could change our landscape, too. Professor Ian Crute, the director of the Biotechnology and Biological Sciences Research Council’s Rothamsted Unit, predicts more maize grown, a possible regeneration of the tree fruit industry and the movement of greenhouse-grown fruit and vegetables to the north. “But I don’t expect we’ll ever have acres of sunflower fields or olive groves,” he says.

However, climate change will have a big impact on the way we live. “Events like the drought that has caused Australian wheat crop failure – and affected worldwide wheat prices – will become common. The era of cheap food that we have enjoyed since the Second World War is ending and people on low incomes will find it increasingly difficult to eat a healthy diet.”

What can we do about it?

Failure to act could have catastrophic consequences but striving to cut carbon emissions could produce unexpected benefits. “What we do to deal with climate change could bring about a revolution in public health,” says Ian Roberts, a professor at the London School of Hygiene and Tropical Medicine. For example, reducing our dependence on cars should mean that more people walk and cycle, leading to a decrease in obesity. It should also reduce road accidents, which kill more than 3,000 Britons a year.

“At the moment we are in a vicious cycle,” says Professor Roberts. “We use our cars more and get fatter because we are not exercising. As we get heavier, we become more dependent on fossil fuels because we are reluctant to walk or cycle at all. We need to break this loop.

“If we design climate change policy to max-imise the health benefits, it will be the silver lining to the cloud of global warming. It’s the only bit of good news in the whole story.”

Rising woes

Increased risk to our physical health won’t be the only result of climate change, our mental health may also be affected.

Sara Wolcott* and family were among the 1,950 people made homeless by floods last July in Gloucestershire (see picture above). “After two months, I had panic attacks when my two sons or my husband left me alone. I kept thinking about all the things we’d lost, reliving it over and over,” she says.

Wolcott, who saw her GP and was prescribed antidepressants, isn’t alone. Soon after the floods, Gloucestershire Primary Care Trust (PCT) had an increase in reports of mental health problems. In response, it set up the People Recovery Group to help those suffering stress and anxiety.

“There is evidence that disasters can increase incidence of mental health problems,” says Dr Nevila Kallfa, of Gloucestershire PCT. " People are living not just with the loss of their homes and posessions but with the constant fear that it will happen again.”

Wolcott agrees: “If floods become the norm, it would add an extra level of stress that’s bound to affect people’s health.”

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(*) Barbara Lantin is a freelance health writer who has contributed for many years to national newspapers, magazines and websites. Her work appears regularly on The Daily Telegraph health-and-wellbeing pages and on the Telegraph website. She has also written consumer information materials for Government departments and others. She is vice-president and former chair of the Guild of Health Writers.

--> The above article appeared on www.timesonline.co.uk
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Creative Commons License
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Over-Consumption...
Planet Earth in Danger !
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Fast Food
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By Richard Thompson

Big mac, small mac, burger and fries
Shove 'em in boxes all the same size
Easy on the mustard, heavy on the sauce
Double for the fat boy, eats like a horse.
Fry them patties and send 'em right through
Microwave oven going to fry me too
Can't lose my job by getting in a rage
Got to get my hands on that minimum wage.

Shove it in their faces, give 'em what they want
Got to make it fast, it's a Fast Food Restaurant.

Shake's full of plastic, meat's full of worms
Everything's zapped so you won't get germs
Water down the ketchup, easier to pour on
Pictures on the register in case you're a moron.
Keep your uniform clean, don't talk back
Blood down your shirt going to get you the sack
Sugar, grease, fats and starches
Fine to dine at the golden arches.

Shove it in their faces, give 'em what they want
Got to make it fast, it's a Fast Food Restaurant.

Baby thrown up, booth number 9
Wash it down, hose it down, happens all the time
Cigarettes in the coffee, contact lens in the tea
I'd rather feed pigs than humanity.

Shove it in their faces, give 'em what they want
Got to make it fast, it's a Fast Food Restaurant.

(The poem appeared on compsci.rice.edu)
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"Planet Health" for Obesity Reduction
in School Children—Readily Accepted
and Cost-Effective

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"Planet Health"

- Physical activity and nutrition lessons woven into existing middle school curriculum
- Effective in reducing TV viewing time in both boys and girls and decreasing obesity in girls
- Readily adopted by teachers; Boston Public Schools expand its use
- Cost-effective and projected to save money in later life

"Background"

Between 1980 and 1999 the prevalence of overweight in the United States nearly tripled (from 5% to 14%) among adolescents and nearly doubled (from 7% to 13%) among children 6 to 11 years of age. This trend forecasts an increase in chronic disease as the younger generation ages. Little is known about effective ways to reverse this alarming trend, although its root cause of insufficient physical activity in relation to excess calories consumed is well known. Because most children spend a substantial portion of their day in school, the school environment is a promising venue for educational and experiential lifestyle interventions.

Context

Focusing on how to increase physical activity and improve dietary habits, researchers at Harvard University’s CDC-supported Prevention Research Center (PRC) developed* an interdisciplinary curriculum (called Planet Health) for public middle schools, in explicit collaboration with teachers and school principals. The curriculum was designed to fit easily into existing language, math, science, social studies, and physical education classes; to foster basic educational competencies required by the state of Massachusetts; and to provide materials easy for teachers to use. The content emphasizes increasing consumption of fruits and vegetables, decreasing consumption of high-fat foods, decreasing television viewing, and increasing physical activity.

Methods and Results

Phase I

A 2-year randomized controlled trial* of the curriculum in 10 public middle schools in Boston yielded a significant reduction in television watching for both girls and boys, and a significant decrease in the prevalence of obesity among girls.

Phase II

After the Boston Public Schools (BPS) expressed interest in disseminating Planet Health, a partnership was formed to pilot test how feasible and sustainable the curriculum could be in public school settings where resources are constrained. Using the model of community-based participatory research, a project advisory board representing the key stakeholders within the BPS and the Harvard PRC guided the partnership from its inception. The BPS selected a sample of six inner-city middle schools to participate, while the PRC provided the Planet Health curriculum, training workshops for more than 100 teachers, small stipends for teacher coordinators within each of the participating schools, and research expertise to assess diffusion of the program.

The diffusion study demonstrated that 76% to 100% of teachers found the curriculum highly acceptable and 78% to 100% planned to continue using it. More than 90% found the curriculum effective and believed that it made a positive contribution to their classes.

Consequences

Satisfied that its criteria for success were met, BPS endeavored to sustain and expand use of the Planet Health curriculum through independent funding. It first secured funding from the U.S. Department of Education’s Physical Education for Progress for pilot expansion to 12 schools in 2002–2003. Subsequently, BPS received financial support for further expansion from the Boston Public Health Commission under the auspices of the new STEPS to a Healthier U.S. project, sponsored by the U.S. Department of Health and Human Services.

Impact and Potential Impact

Planet Health is being implemented in more than 120 schools in Massachusetts, and in the past two years, more than 1,000 teachers have been trained to use it. In addition, 2,000 copies of the curriculum have been purchased by interested parties in 48 states and 20 countries, potentially benefiting many thousands of children.

An independent economic analysis of Planet Health was conducted based on an estimated program cost of $14 per student per year and an obesity reduction of 1.9% persisting into adulthood among girls. Based on these assumptions, the program was found to be highly cost-effective—in fact, more cost-effective than commonly accepted preventive interventions such as screening and treatment for hypertension. Furthermore, the program was projected to save money via avoided medical costs and productivity losses later in life. For every dollar spent on the program in middle school, $1.20 in medical costs and lost wages would be saved when the children reach middle age.

Planet Health has demonstrated effectiveness, feasibility, acceptability, and sustainability in a public school environment. The curriculum has been found to be cost-effective and, dollar for dollar, to save society money in the long run.

*The original efficacy study was conducted under the auspices of the National Institutes of Health.

References

Gortmaker SL, Peterson K, Wiecha J, Sobol AM, Dixit S, Fox MK, Laird N. Reducing obesity via a school-based interdisciplinary intervention among youth: Planet Health. Archives of Pediatrics and Adolescent Medicine 1999;153:409–18.

Wang LY, Yang Q, Lowry R, Wechsler H. Economic analysis of a school-based obesity prevention program. Obesity Research 2003;11:1313–24.

Wiecha JL, El Ayadi AM, Fuemmeler BF, Carter JE, Handler S, Johnson S, Strunk N, Korzec-Ramirez D, Gortmaker SL. Diffusion of an integrated health education program in an urban school system: Planet Health. Journal of Pediatric Psychology 2004;29:467–74.

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--> The above study appeared on www.cdc.gov (Center for Disease Control and Prevention)
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Creative Commons License
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Flower Teach Us
All We Need To Learn
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© 2008 - Hubert Lebizay
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Flower Power
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Unknown author

Have you stopped a while,
to glance at a flower in full bloom,
and felt its power to banish in a moment,
all the gloom ?

The delicate bud peeps out into the world,
shy and unsure.
It is the harbinger of hope,
and knows soon it shall mature.

Its tender touch on your lips,
brings back memories of your first kiss.
Its beauty haunts you,
and its presence you can never miss.

A flower in its limited life,
teachers us all we need to learn.
Its selflessness inspires us,
never to go wrong on any turn.

It spreads its fragrance all around,
sharing it with one and all,
everyone is equal --
no one rich or poor, big or small.

The bees fly to it for nectar,
ants and butterflies too.
We humans reap its fruits,
and turn them to merchandise for livelihood.

Lets learn to be unselfish,
spread our warmth an charm,
age gracefully, shrivel and discolor.
Yet exude dignity till the end ...
Live life like a flower -- my friend.

(Poem's source : englishdaily626.com
The poem and photo appeared
on hubzay.deviantart.com)

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Creative Commons License
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Mike Palecek :
"The Revolution Begins
in the Heartland"

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© 2008 - Ben Heine
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Mike Palecek is an American writer living in Iowa. Former federal prisoner for peace, Mike served time in county jails and federal prisons for civil disobedience at Offutt Air Force Base during the 1980s. He is a former seminarian and during the 1990s was a reporter for small-town newspapers in Nebraska, Iowa and Minnesota.

In 2000, he was the Iowa Democratic Party nominee for the U.S. House of Representatives, Fifth District, receiving 67,500 votes [29%]. Mike lives in Sheldon, Iowa with wife, Ruth, and two children. He works at group home for disabled adults.

He was recently a guest on “Cover To Cover”, on KPFA radio, Berkeley, with host Denny Smithson. They talked about another recent novel by Mike Palecek : “The American Dream” You can listen to the interview here.

Also, see information for “Cost of Freedom” current non-fiction project.

For more information on Mike Palecek, visit his website.

Mike Palecek’s books are available at:

cwgpress.com [The American Dream]
howlingdogpress.com [Looking For Bigfoot]
badgerbooks.com [Twin/Joe Coffee's Revolution]
mainstaypress.com [Terror Nation]

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I made 4 illustrations for Mike Palecek's
newest book : "Iowa Terror".
You can see them below
(click to enlarge) :

Decaf Candidates
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Scarecrow Securing the US
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Terror Watcher in Iowa
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Democrats Hunting Democrats

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Creative Commons License
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Once A King

© 2008 - Hubert Lebizay

Cat Zen

By Connie Webb

Fluffy friend, so soft to hold
Cuddly friend, when I am cold
Leaping friend, wow, you jump high
Funny friend, you almost fly
Then Murderous friend, another dead bird
Clawing friend, bloody absurd
Hissing friend, I'm in your way
Screaming friend, just go away.

(Poem's source : http://www.authorsden.com)

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The poem and photo appeared
on hubzay.deviantart.com
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Creative Commons License
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Imagine
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© 2008 - Ben Heine
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Yes, I may be a dreamer,
but I’m not the only one….

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JOHN LENNON lyrics
Imagine

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Imagine there’s no heaven
It’s easy if you try
No hell below us
Above us only sky
Imagine all the people
Living for today…
Imagine there’s no countries
It isn’t hard to do
Nothing to kill or die for
And no religion too
Imagine all the people
Living life in peace…
You may say I’m a dreamer
But I’m not the only one
I hope someday you’ll join us
And the world will be as one
Imagine no possessions
I wonder if you can
No need for greed or hunger
A brotherhood of man
Imagine all the people
Sharing all the world…
You may say I’m a dreamer
But I’m not the only one
I hope someday you’ll join us
And the world will live as one
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Creative Commons License
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Facebook Vs MySpace
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© 2008 - Ben Heine
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Social Search Engine Face-off:
Facebook vs. MySpace
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By Erik Qualman (*)

Everywhere you turn, everyone's abuzz with Facebook, social search, and social networking. What's all the fuss about? As a marketer, are you missing the train? Or, if you move too quickly, are you jumping on the wrong train?

On the eve of search marketing's new year, does Facebook spiked with Live Search go down like the real deal? Or does guzzling Google-infused MySpace taste like you're drinking the latest Kool-Aid? (Another round of Second Life, anyone? Orkut on the rocks?)

There are many more social networks for myriad audiences: business (LinkedIn, Plaxo), older (Gather, Eons), travel (aSmallWorld, TripAdvisor), teens (eCrush), dating (Match, eHarmony), but we'll focus on the two giants for now: the Google and Yahoo of social search engines.

And when I say big, I mean big. The latest unofficial user figures have Facebook at 73.5 million and MySpace at 289 million -- numbers that have marketers across the globe collectively salivating.

Top 2 Questions: Facebook vs. MySpace

Question: What's the difference between MySpace and Facebook?

Answer: MySpace is starting to be stereotyped as a community for people who want to meet new people. Facebook is viewed as a community designed to keep you in touch with people you already know. Both points are debatable, so we won't go into depth here.

MySpace has also received some bad press lately as an enabler for pedophiles and other nefarious activity. Google faces similar problems in Brazil with their proprietary Orkut social search engine and online community. In your MySpace, as in life, there may be new people you don't necessarily want to meet.

Question: Why is Facebook getting more love than MySpace?

Answer: It seems a bit odd that Facebook is getting all the press these days when MySpace has more users and via strategic partnerships (e.g., Google) have shown they can generate substantial revenue (what I like to dub "socialommerce"). What gives?

Facebook is getting more hype as they're growing at a faster rate (admittedly easier to do with a smaller user base.) Plus, their technical platform is more robust, fostering future growth. Facebook has placed some risky bets that have paid off, adding to the excitement.

Roughly 16 months ago, Facebook opened up their platform to non-college students. Facebook originally was exclusively for those attending a recognized college or university. Facebook user demographics in areas like higher education and discretionary income are typically higher than those of MySpace.

Since opening the platform to non-college students, like-minded individuals have flocked to Facebook in droves. These individuals, while possessing similar psychographics of original Facebookers, have even better demographics for marketers: post-college education, high discretionary income, early adopters, etc.

According to a source within Facebook, the largest growing segment of Facebook is the lucrative 35- to 54-year-olds who enjoy the clean interface and higher privacy levels of Facebook.

Facebook also set the interactive world on its head when it opened up its application program interface (API) to allow any developers to write applications (widgets/modules) that reside within Facebook. Now everyone is following suit: ranging from iGoogle allowing widget development to iPhone opening up application development.

With Facebook, Wiki (pedia/search et. al.) open APIs, the world is truly moving the Web to open source ubiquity. These applications are growing quickly on Facebook. In the travel segment alone, there were at least 80 Facebook applications written as of two months ago. There are now 332 travel applications -- an astounding 400 percent increase.

The most popular travel app, TripAdvisor, enables Facebookers to place "flags" on an interactive map of all the cities they've visited (remember when a paper map on a wall and push pins sufficed?). TripAdvisor's application has roughly 85,000 active daily users.

TripAdvisor's mapping app wasn't even a new idea. TripAdvisor simply built a better mousetrap. Best of all, it's estimated that TripAdvisor only spent $15,000 to develop such an application by simply leveraging the Google Maps API.

From a brand equity standpoint, that's a resounding return on investment.

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(*) Erik Qualman is the Global Vice President of Online Marketing for EF Education, headquartered in Lucerne, Switzerland. EF Education is the world's largest private educator (Student Tours, Language Schools, Smithsonian, Hult MBA School, Au Pair Exchange, Student Exchange, etc.). Qualman works out of the 850 person Cambridge, Massachusetts office.

Prior to joining EF Education, Qualman helped grow the marketing and eBusiness functions of Cadillac & Pontiac (1994-97), BellSouth (1998-2000), Yahoo (2000-03), EarthLink (2003-05) and Travelzoo (2005-08). Qualman holds a BA from Michigan State University and an MBA from The University of Texas at Austin.

Qualman is a frequently requested speaker within the Internet and marketing community. He's also an acclaimed fiction author -- more information is available at american-novel.com. A former basketball player at Michigan State University, Qualman still finds time to follow his beloved Spartans.

------------------------

--> This article appeared on searchenginewatch.com
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Creative Commons License
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Stairs to Heaven
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© 2008 - Hubert Lebizay
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Trinity of Order
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By Egal Bohen

All that is
Was will be
All that was
Was is
All that will be
Will be was
After it is is

(Poem's source : poetryofegalbohen.blogspot.com)

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The poem and photo appeared
on hubzay.deviantart.com
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Creative Commons License
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Silvia Monfort
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© 2008 - Ben Heine
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Silvia Monfort (1923, 1991) was a French actress and theatre director. Daughter of the sculptor Charles Favre-Bertin and wife of Pierre Gruneberg, this talented actress was an undying champion of the popular theatre. She was named Knight of the Legion of Honor in 1973, Officer of Arts and Letters in 1979 and then Commander of Arts and Letters in 1983. She is buried in the Père Lachaise cemetery.

A precocious vocation

She was born in the neighborhood of Le Marais, on Rue Elzévir, a short distance away from Rue de Thorigny, where she would set up her first theatre much later. Her family had lived in this Parisian neighborhood for seven generations. She lost her mother very early and her father put her in a boarding school. She undertook her secondary studies first at lycée Victor Hugo and then at lycée Victor Duruy. She obtained her baccalauréat at 14½ with special permission. Her father had intended for her career to be spent at the Gobelin manufactory but she preferred the theatre and took classes with Jean Hervé and Jean Valcourt. In 1939, aged 16, she met Maurice Clavel, who directed the Resistance network in Eure-et-Loir. Under the pseudonym "Sinclair" (the name of a hill that looms over Sète, Maurice Clavel's native town), she involved herself at his side and participated in the liberation of Nogent-le-Rotrou and of Chartres in 1944. She was one of the notables who welcomed General De Gaulle on the square in front of the Cathedral of Chartres. Once the war ended, she married Maurice Clavel. She was decorated with the Croix de guerre by General De Gaulle and with the Bronze Star Medal by General Patton.

Cocteau, Vilar and the TNP

In 1945, she attracted notice for her acting in a play by Federico García Lorca, La casa de Bernarda Alba. Her strange and powerful personality drew the attention of Edwige Feuillère, whose reader she became in L'Aigle à deux têtes by Jean Cocteau. The play was first presented in 1946 at the Royal Theatre of the Galeries Saint-Hubert in Bruxelles, where she met with great success. After passing through Lyon, the play had its Parisian premiere at the Théâtre Hébertot. Success followed the play all the way to a memorable performance at La Fenice in Venice, greatly contributing to establishing the renown of Silvia's talent.

Playing next in
Tennessee Williams' play, Summer and Smoke, she fell in love with Léonor Fini who was then beginning as a set designer. From their friendship a pretty portrait remains: Silvia painted by Léonor (1954).

Through Clavel, she then met Jean Vilar in 1947 and took part in the great adventure that was the Théâtre National Populaire. She thus took part in the first festival d'Avignon, with The Story of Tobias and Sarah (1947). Beside Gérard Philipe, she played Chimène in Le Cid, then performed at Chaillot and subsequently on tour across Europe (1954). Next, she played with Vilar in Cinna and in The Marriage of Figaro. She thus became an emblematic figure of the TNP and of French theatre in the world.

New Wave and cinema debut

Cinema, through the intermediary of Robert Bresson, had sought her out beginning in 1943, to play in Les Anges du péché. Bresson had hired her without knowing that she was an actress, as he was looking for non-professionals for his film... In 1948, she played the role of Édith de Berg in the cinematic adaptation of L'Aigle à deux têtes by Cocteau beside Feuillère and Jean Marais.

In 1955, Agnès Varda, then a photographer at the TNP, directed her first film, one of the first belonging to the New Wave. Varda remembers Silvia Monfort in La Pointe Courte: "Curious and a pioneer by nature, she threw herself into the project with delight and discipline. I really think she was happy to fight for a cinema of the future."

Henceforth separated from Maurice Clavel, Silvia Monfort shared her life with and participated in the films of director Jean-Paul Le Chanois. Despite her having an arm in a plaster cast, he insisted that she play a Polish prisoner beside François Périer and Pierre Fresnay in a film inspired by a true story, Les Évadés. This film met with great popular success in 1955. She then played beside Jean Gabin and Nicole Courcel in Le Cas du docteur Laurent, a film advocating painless childbirth (1957), and then in an obscure film of Le Chanois dealing with parent-child relations, Par-dessus le mur (1961). In two films dealing with social conditions, she was the unforgettable Eponine of Les Misérables, alongside Gabin and Bourvil (1958), and then the Gypsy girl Myrtille in Mandrin, bandit gentilhomme beside Georges Rivière and Georges Wilson. This film wrapped up her cinematic career[4] and her relationship with Le Chanois in 1962.

On the road

During the 1960s, Silvia Monfort was passionate about cultural decentralization and so set out on the road with Jean Danet and her Tréteaux de France. Each evening, they played under a big top in a different town. She took an active part in this experiment, seeing to it that new and contemporary plays were staged alternately with the classical repertoire. She deepened her knowledge of popular theatre and of her audience and thus acquired a mastery of travelling performances that was subsequently very useful to her. On 23 June 1965, Silvia wrote to Pierre Gruneberg: "I've convinced Danet to schedule for September a series of performances of the Prostitute and of Suddenly, Last Summer under a big top around Paris (in this way the inconvenient returning directors will be able to come see it there if they need to). Oh, I would have done what I could."

Ceaselessly taking part in theatrical performances, she wrote at least once, sometimes several times a day to her companion Pierre Gruneberg. Scribbled on tablecloth corners, on the back of theatre programs or on hotel stationery, reactions, words of love and anecdotes were strung together.

In the collection of this correspondence, Letters to Pierre, Danielle Netter, assistant director, adds: "The Tréteaux de France was an extraordinary theatrical tool that gave us the occasion to present Sophocles and other dramatic poets before the tenants of the HLM, and one evening to hear a spectator declare at the end of Electra to Silvia, It's as beautiful as a Western!, which filled our tragedienne with joy."

An eclectic tragedienne

For nearly half a century, whether with the Tréteaux, in festivals, in private theatres and later in her Carrés, Monfort explored the ancient and modern theatrical repertoires. She acted in no less than five versions of Phèdre in diffrerent theatres as well as on television. She interpreted numerous works of Racine and Corneille. She performed Sophocles' Electra in the most incongruous of places, such as the "trou des Halles" in Paris in 1970.

She acted in the plays and theatrical adaptations of Maurice Clavel, such as The Isle of Goats and The Noon Terrace. She was directed by Roger Planchon at Villeurbanne in 1959 in Love's Second Surprise and by Luchino Visconti in Paris in 1961 in 'Tis Pity She's a Whore beside Alain Delon and Romy Schneider. She made appearances in Summer and Smoke (1953) and Suddenly, Last Summer (1965) by Tennessee Williams. She incarnated the Sphinx of Cocteau's The Infernal Machine in festivals as well as on television with Claude Giraud in 1963. She was The Respectful Prostitute of Jean-Paul Sartre (1965) as well as The Duchess of Malfi beside Raf Vallone (1981).

At Carré Thorigny, she brought about the debut of Bernard Giraudeau in Tom Eyen's Why Doesn't Anna's Dress Want to Come off (1974). She was also seen in The Oresteia (1962) and The Persians of Aeschylus (1984). She incarnated the fearsome Lucrezia Borgia of Victor Hugo (1975) and Marguerite de Bourgogne of The Tower of Nesle by Alexandre Dumas, père (1986). She created an indescribable Alarica in The Evil Is Spreading (1963) and was the Maid of Jacques Audiberti (1971). She was a vibrant Ethel in a radical play helmed by Alain Decaux, The Rosenbergs Should Not Die (1968). She took on Ionesco with Jacques, or the Submission (1971). She restored Henrik Ibsen to popular favor with Philippe Lemaire in When We Dead Awaken (1976) and then with Michel Auclair in The Lady from the Sea (1977). To celebrate the centenary of Cocteau's birth, she appeared for the last time on the Vaugirard stage in a poetic and musical spectacle, The Two Ways, in 1989.

In 1972, on the occasion of the republication of her novel The Raia (Hands Full of Fingers), Silvia Monfort described her favorite roles: "Gérard Philippe, whose Chimène I was, had a habit of replying that his favorite role was his next. For me, the one that I am playing fulfills me. Imagine! What marvelous relations between an actor and his character. They see each other every day, but they also know that it's not forever, so they have to work twice as hard. Certain characters have more of an affinity for us. I have always felt myself closer to adolescents thirsting for the absolute than to women with divided hearts. I prefer Electra to Clytemnestra. I was wildly in love with Alarica from The Evil Is Spreading, Éponine from Les Misérables and recently The Maid by Audiberti. But this doesn't prevent me from knowing beautiful stories about those whom I wouldn't play. Of all the heroines, the one who perhaps excited me most was the queen of the Amazons, Penthesilea. When she thought herself defeated by Achilles, she refused to follow him into his kingdom. She wanted him to be king in her land. So she tore him up with her nails, devoured him with her teeth, and said: All women swear to their lovers: I will eat you as long as I love you – well, I did it."

A mythic Phèdre

Silvia Monfort figures among the most important performers of Phèdre. Notably, she had as a partner in the role of Theseus Jean-Claude Drouot or of course Alain Cuny in the theatre and in a televised version in 1982.

A study by the CNRS about the great tragediennes who have incarnated this character in the 20th century was published in Pour la Science, the French version of Scientific American. This study analyzed the relationship between the pauses and the versified text as well as the fluctuations in delivery and demonstrated that Silvia Monfort made the most important use of them (92% of pauses and 3.8 syllables/minute) in relation to other tragic actresses (Sarah Bernhardt, Marie Bell, Nada Strancar and Natacha Amal); this characteristic of her acting contributed to give Silvia Monfort's interpretation an exceptional quality of psychological depth and emotion which made a success out of her.

She herself said of her character in 1973: "Phèdre burns in each one of us. We have hardly grasped the image in the mirror when she dims, and the imminence of this obliteration sharpens the acuteness of the reflection […] What matters is that there has been a meeting in mystery even from the first reading. It is like desire, or rather it is present in the look that provokes it, or rather there will never be unison. All the opinions, competent, imperious, singular, that were offered to me on the subject of Phèdre, and to which I listened intensely, had no other result with me than to lead me back to my Phèdre, despite her long being hazy, with the obviousness of a pawn moving back to the first square on a board game […] this is the wonder of Phèdre: to tackle it is to resign oneself to it."

The fall that made her an author

In 1946, her first novel appeared. She later explained that what had determined her to write was her seven-meter fall through the glass roof of the Studio des Champs-Élysées. She played in Federico Garcia Lorca's La casa de Bernarda Alba and Maurice Clavel, disdaining her philosophy books, wrote for her first play, The Love Letters. :

"The day when I was to abandon one play for the other, my colleagues from the Studio offered me champagne on the roof of the Théâtre des Champs-Élysées. I had never drunk wine or champagne. I passed through a skylight and found myself in the hospital, my head shattered. Three weeks in a coma, during which Maurice's play was prepared without me.
When I was back on my feet, sad and without a role to play, I sat down at my work table. Without this accident, maybe I would never have taken the time to write. For later, in order to write, I had to take away time from the theatre."

When a journalist asked her why the actress which she had never ceased to be had never been tempted to write a play, or a film script, she replied: "Writing for the theatre is a very special gift. Even some great novelists don't have it. The dramatic author breathes into his characters a life that he doesn't control.

But what interests me above all in writing is analysis. To know, to explain the reason for things, to follow step by step the actions of my characters. And then, I couldn't stand seeing them with another face than that which I had in my mind!"

"This will be my theatre!"

In 1972, with the support of Jacques Duhamel, then Minister of Cultural Affairs, she set up and directed the Carré Thorigny in the neighborhood of Le Marais in Paris, where she put on innovative multidisciplinary shows. She was especially interested in the circus world and organized an exhibit entitled Circus in color which met with enormous success. Following her contacts with circus people and her meeting with Alexis Gruss, she organized old-style circus performances in the courtyard of the Hôtel Salé, located in front of the Carré. The public's fancy led Monfort and Gruss to set up (in 1974) the first circus and mime's school in France, L'école au Carré, which they directed together. They wanted to highlight the nobility of the circus's origins and were involved in bringing to life an updated old-style circus. The Gruss circus followed Monfort in her successive moves until it became a national circus in 1982.

It was at the Carré Thorigny that Alain Decaux awarded Silvia Monfort the Legion of Honor in 1973 while paying homage to "her passion for the theatre and the inflexible will with which she serves it."

The Carré had to leave Rue de Thorigny in 1974 because of a property transaction. Monfort thus transferred her Nouveau Carré into the old théâtre de la Gaîté-Lyrique which opened on 1 October 1974 and set up the Gruss circus in the square in front of the theatre. The hall was inaccessible for safety reasons, so the new Carré put actors and audiences on stage, but because of the building's great age and while awaiting its renovation, she was forced to set up her stage under a big top in the Jardin d'Acclimatation from 1978 to 1979. She then had to move her big top onto the site of the former abattoirs of Vaugirard. There, she actually set up two big tops, one for theatre and one for the circus. Nevertheless, lacking funds, the project of renovating the Gaîté-Lyrique was abandoned.

Yet she never stopped working to establish a Nouveau Carré at Vaugirard on the site of and in place of the big tops. The decision to build the theatre such as it is today was taken in 1986. On 7 March 1989, she wrote: "This will be my theatre. Even so, incredible! I don't know a single living person for whom his own theatre was built, with his name and of the right size." But she died a few months before its completion. Inaugurated in 1992, it bears her name: Théâtre Silvia-Monfort.

During the last years of their time together, Silvia Monfort and Pierre Gruneberg were constantly apart. In winter, as a ski coach, he had to stay at Courchevel, while she worked at Paris, then during the festival period he worked at Cap Ferrat as a swimming instructor, whereas Silvia Monfort's ill health obliged her to pass the summer at Courchevel, alone.

She died on 30 March 1991 of lung cancer.

The Silvia Monfort Prize

Pierre Gruneberg, who became Silvia Monfort's lover in 1963 and married her on 24 May 1990, founded the Silvia Monfort Prize Association in 1996, carrying to completion an idea that Monfort did not have time to put into material form. This prize is issued every two years to a young tragic actress by a professional jury. Since its inception, the prizewinners have been:

  1. Smadi Wolfman (1996)
  2. Rachida Brakni (1998)
  3. Mona Abdel Hadi (2000)
  4. Isabelle Joly (2002)
  5. Marion Bottolier (2004)
  6. Gina Ndjemba (2006)

The Prix Silvia Monfort 2006 was awarded on 22 May to Gina Ndjemba, aged 21, a first-year student at the Conservatoire National d’Art Dramatique, for her interpretation of the role of Camille in Horace by Corneille. This sixth Prix Silvia Monfort ceremony took place at the celebrated tragedienne's theatre in the presence of the academician Alain Decaux, a great friend of Silvia Monfort, to whom he paid a moving homage. This Prize was accompanied by a €4,600 award.

Quotations about her

Jean Cocteau :

"Silvia Monfort possesses an exquisite waist, like that of an hourglass, and the golden sand from up top flows toward the bottom, toward her belly, whence all great actresses draw their genius.

I have known several Silvia Monforts. One, with a wreath of wheat in her hair, entered free Paris as a young leader of the Resistance. Another had written a book of the first rank; a third – and my eye had not yet linked them – came and presented herself at the Théâtre Hébertot to play the role of Mademoiselle de Berg in L’Aigle à deux têtes. She played it and it was only later, a long time later, when all these Silvia Monforts became just one, to whom I address my tender gratitude.

Here she is on her successful voyage, the voyage from role to role, from book to book, the voyage on board which I wave the handkerchief of friendship as a sign of loyal affection and good luck."

Juliette Gréco :

"Silvia Monfort came back from a solitary walk and held out a flower to her husband Clavel, saying in her husky voice: 'I've stolen this flower for you on the mountain...' Jujube was stunned and the exotic Ophelia disappeared under the arches that surrounded the swimming pool."

L'Humanité (following her death) :

"She was a grande dame of the theatre and of the city. We will remember her beautiful tragedienne's voice and her determined wish to make a different theatre, her theatre, in the modernity of the ancients and of the classics. Let us hope that that which will be born and bear her name in the heart of Paris will prolong her memory, the fervor of her art and the exacting purity of her work."
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>>> Read more about Silvia Monfort (Filmography, Theatre and Television references…) on Wikipedia

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--> The above biography was initially written in French by Airair and appeared on Wikipedia in French and in English

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She Thinks You're Too Tall
.
.
sHe, bAres anD
broWns for yOu

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By Kristine Buenavista (*)

D

she is a dying bridge
that coils at night to
hide your bicycle traces
because at dawn,
the pedals are owned by a circus.

R

she's told that you climbed a mountain
between Antique and Igbaras
and picked a grass,
named it after her.

S

you begged to learn poetry
but she pinched your nose and exclaimed:
"Paint your face on my skin. Your heart on my cleavage."

T

you gave her an anklet.
she lost it because she was jumping
up to the ceiling.

A

she thinks you're too tall,
that's all.

F

fcuk you.
Oops.


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(*) Kristine Buenavista is a poetess living in the Philippines.
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