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Monthly Archives: July 2018

Games with Shadows

25 Wednesday Jul 2018

Posted by Ollamh in Artists and Illustrators, Fairy Tales and Myths, Narrative Methods, Theatre and Performance

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Claude Debussy, cuntastori, Estampes, gamelan, Hacivat, Indian shadow puppets, Indonesia, Javanese, Karaghiozis, Karagoez, Lotte Reiniger, Mahabharata, Marionettes, metallophones, Mimmo Cuticchio, Pagodes, Paris Exposition, puppets, Ramayana, shadow puppets, Teatro dell'Opera dei Pupi, Turkey, Wallace and Gromit, wayang kulit

Welcome, as always, dear readers.

From our childhood, we’ve been interested in puppets.  We began with marionettes.

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(These, by the way, are from Palermo, in Sicily, and come from the famous Teatro dell’Opera dei Pupi, whose chief puparo, or puppeteer, is a hero of ours, Mimmo Cuticchio,

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who is also  a street-corner storyteller, a cuntastori, who, with only a cape and wooden sword, can make anything happen.)

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All kinds of puppets interest us, however, from the most elaborate, like marionettes,

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to the most basic–

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and what can be more basic than Cookie Monster?

In our last, we briefly mentioned the work of Lotte Reiniger (1899-1981),

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who, in a long career, created hundreds of figures in silhouette, employing them to tell both traditional stories as well as original ones.

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Her method was to draw and cut out figures, then film them with stop-motion photography—if you know the adventures of Wallace and Gromit, you’ll have seen the clay figure version of this method.

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Her figures, as we wrote, reminded us of traditional shadow puppets, once popular in many parts of the world, from Karagoez, in Turkey (KAH-rah-goes on the right, with his friend, Hacivat—HA-tsih-vat)

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to his Greek cousin, Karaghiozis,

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to Indian shadow puppets

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to their direct descendants, the wayang kulit, or “leather puppets” of Indonesia.

 

Not only the look of these puppets, but how they’re managed against a screen reminded us of Lotte Reiniger’s work.

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We say “direct descendants” because, considering the two main stories Indonesian puppeteers tell, as well as elements of the puppets themselves, it’s clear that this part of shadow puppet tradition has come to the island from farther west, those two stories, the Mahabharata and the Ramayana, being traditional Indian epics, like the West’s Iliad and Odyssey.

(If you don’t know Indian epic, we would recommend this English version of the Ramayana.  It’s meant for children, but it’s nicely told and keeps to the basic story—we also like the fact that the author’s first name, Bulbul, (“Nightingale”) is that of one of our main characters in our new novel, Grey Goose and Gander.)

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Lotte Reiniger’s puppets are cut from what appears to be black cardboard and therefore lack color.

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Traditional puppets are made of buffalo leather, scraped thin, and painted in such a way that they almost look like figures from medieval stained glass windows.

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They are large and are supported on a rod, with thinner rods allowing the arms to move.

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The stage is a large, white screen

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and the shadows are created by a lamp behind it.  Traditionally, an oil lamp is used, but you can now see performance pictures with an electric light which, to us, is too bright and rather spoils the old-fashioned, smoky effect.

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Because of the bright colors of the puppets, some people actually prefer to sit behind the screen,

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where they can also better hear the accompanying orchestra, a gamelan, or group of metallophones.

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Here’s a LINK to music used in performances.  We recommend it, believing it to be very beautiful, as well as being very different, both in sound and structure, from western classical music (and, if you read us regularly, you know that we’re passionate about that, as well).  In fact, it has even influenced western classical music, particularly that of Claude Debussy (1862-1918).

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Debussy first heard a gamelan in 1889 at the Paris Exposition,

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was impressed with what he heard, and began to play with effects which echo gamelan compositions.  “Pagodes” from his 1903 collection, Estampes (“Prints”) is a good example.  Here’s a LINK so that you can compare it with the gamelan.

The performances themselves are an interesting mixture, typical of what was originally an oral tradition.  Although plot lines are taken directly from epic, they act as a mere skeleton for the play.  The puppeteer, like someone rebuilding a body on a skeleton, adds his own material—dialogue, subplots, extra characters, jokes, and, sometimes, political commentary—to (literally) flesh out the basic frame.  It’s interesting, too, that the characters can be on two levels.  On the upper level, they are all princesses and princes, kings and queens, nobles and generals.

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On the lower level, they can be demons,

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who act not only as servants, but as interpreters, a very necessary function as the upper level characters tend to speak in Old Court Javanese, an archaic language which the audience wouldn’t understand.  The lower level speaks the local language and so can guide the audience through the (often complex) plot, as well as make local references and jokes.

Unfortunately, it’s difficult to see wayang kulit outside of Indonesia or in any language besides those of Indonesia, but one of us has been fortunate to see several performances in English by the US puppeteer, Larry Reed, of Shadowlight Productions.  These shows are about two hours long (very short in comparison with Indonesian performances, which can go on all night) and feel like 10 minutes, the magic being in the shadows, the plot, and the quick wit of the puppeteer.  Here’s a LINK to Shadowlight to tell you more.

We want to end on a different note, however.  A long time ago, we saw a very good amateur production of The Hobbit as a play.  At the time, we were struck by how much could be done very simply on stage and, in particular, how Smaug could be brought to life with a small group of actors bunched together, swaying in a strobe light (that’s one of those flashing lights which alternates light and shadow effects) and all speaking at once.  Ever since, we’ve thought about shadow plays and The Hobbit—just look at this dragon from a production by the Great Arizona Puppet Theatre—what do you think, dear readers?

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And thanks, as ever, for reading!

MTCIDC

CD

ps

If you’re bitten by the puppet bug, and would like to know more, visit The World Encyclopedia of Puppetry Arts at this LINK.

Theme and Variations.5

18 Wednesday Jul 2018

Posted by Ollamh in Artists and Illustrators, Fairy Tales and Myths, Films and Music, Literary History, Theatre and Performance

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Arthur Rackham, Aschenputtel, Brothers Grimm, Cendrillon, Charles Perrault, Cinderella, CS Evans, Disney, Histoires ou Contes du Temps Passe, Jardin des Tuileries, Julie Andrews, La Belle au Bois Dormant, Lotte Reiniger, My Fair Lady, Ombres Chinoises, Oscar Hammerstein, Richard Rodgers, Sergei Prokofiev, Shadow puppet plays, Sleeping Beauty, Tchaikovsky, wayang kulit, Zolushka

Welcome, as always, dear readers.

In this post, we come to the end of our series on other ways of presenting fairy tales, in which we have taken two by the author who is usually cited as beginning the modern Western tradition, Charles Perrault (1628-1703).

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In 1697, Perrault had published this,

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entitled Histoires ou Contes du Temps Passe (“Stories or Tales of/from Past Time”), with a kind of subtitle, Contes de Ma Mere L’Oye (“Tales of My Mother Goose”).

The volume contained only 8 stories, with two being “La Belle au Bois Dormant” (“The Beautiful Girl in the Sleeping Wood”)

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and “Cendrillon” (“Cinderella”), which we chose to be the basis of our posts.

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So far in these posts, we’ve looked at “Sleeping Beauty” in everything from ballet to Disney and “Cinderella” in early operas and silent films.  In this final post of the series, we want to begin by saying, as we did in our first post, that “Cinderella” exists in two basic forms, that of Perrault, from 1697, and that of the Brothers Grimm,

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from 1812.

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In this version of the story, the fairy godmother is removed and replaced by birds seemingly sent by Cinderella’s dead mother.

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We mention this because this is the version followed by our next creator, Charlotte (Lotte) Reiniger (1899-1981)

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in her 1922 film, Aschenputtel (“Cinderella”)

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This is a silent film in which delicately-cut paper figures through stop-motion photography are manipulated to tell the story.

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Here’s a LINK so that you can enjoy the short (about 13 minutes) film.  And, if you enjoy that, there are more of Reiniger’s works on YouTube for you to see.

To us, her work very much resembles wayang kulit, the traditional shadow plays of Bali,

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as well as the Ombres Chinoises, (“Chinese Shadows”—Chinese shadow puppets) brought to France in the 18th century.

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It also closely resembles two works illustrated by Arthur Rackham (1867-1939),

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his Cinderella (1919)

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and The Sleeping Beauty (1920).

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In each of these, Rackham employs silhouettes to tell the story (in versions by CS Evans), giving both the look of stories told by moonlight.

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We could easily show you all of the illustrations, marveling at them right here, but, instead, we give you a LINK to an on-line version of The Sleeping Beauty (with apologies for not being able to locate an on-line Cinderella).

In one of our previous posts in the series, we discussed Tchaikovsky’s ballet, Sleeping Beauty, now we add to this Cinderella (Zolushka) by the Russian composer, Sergei Prokofiev (1891-1953),

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premiered in 1945.  Here’s a LINK to a suite of music from it, along with two sheets of costume designs from the original production, suggesting what a sumptuous spectacle it must have been.

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Prokofiev and his collaborators followed Perrault and the fairy godmother was back.  Here’s the pumpkin coach from a more modern—but still Russian—production.

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And this coach brings us to our next and next-to-last item.

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We grew up with this image of the story in our heads, as well as its music.

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This is the 1950 Disney version, which stuck fairly closely to the Perrault, but, along with the fairy godmother, kept the helpful birds (changing their color)

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and added a gang of equally helpful mice.

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To which we add our final piece.  In 1957, the well-known composer/lyricist team of Rodgers and Hammerstein created a first, a made-for-television musical production of Perrault’s version, starring someone who was already becoming a star by appearing as Eliza Doolittle in Lerner and Lowe’s My Fair Lady, Julie Andrews.

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In five postings, we’ve traveled from 1697 to 1957 and visited a number of places in between, all of which was based upon two traditional stories recreated in new tellings by Charles Perrault.  Is it any wonder, then, that in 1910, this bust was erected to his memory in the Jardin des Tuileries in Paris?

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Thanks, as always, for reading.

MTCIDC

CD

Theme and Variations.4

11 Wednesday Jul 2018

Posted by Ollamh in Artists and Illustrators, Fairy Tales and Myths, Films and Music, Literary History, Narrative Methods

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A Trip to the Moon, Alexandre Dumas, Arthur Rackham, Cendrillon, Charles Perrault, Charles S Evans, Cinderella, Cinderella 1899, Cinderella 1911, Cinderella 1912, Cinderella 1914, Contes de Ma Mere L'Oye, Film, Florence La Badie, Georges Melies, Gustave Dore, Henri IV, Histoires ou Contes du Temps Passe, Hugo, Le Voyage dan la Lune, Louis XIII, Mary Pickford, silent film, Sleeping Beauty, The Invention of Hugo Cabret, The Three Musketeers

Welcome, dear readers, as ever.

This is the next-to-last in a little series on several of the fairy tales of Charles Perrault (1628-1703) from his 1697 collection, Histoires ou Contes du Temps Passe (“Stories or Tales of Past Time”), better known by a kind of subtitle, Contes de Ma Mere L’Oye (“Tales of My Mother Goose”).

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So far, we’ve devoted two posts to “Sleeping Beauty” (actually called by Perrault “La Belle au Bois Dormant”—“The Beautiful Girl in the Sleeping Wood”), covering everything from 19th-century theatrical performances to book illustrations to Disney.

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In the third post, we began to look at “Cinderella”, more specifically in opera, from Isouard’s 1810 Cendrillon to Viardot’s 1904 Cendrillon.

Now, in this post, we want to look at “Cinderella” in film, beginning with the 1899 work of Georges Melies (1861-1938)

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whom you may know from the 2011 film Hugo

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based upon Brian Selznick’s 2007 wonderfully inventive novel, The Invention of Hugo Cabret.

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Even if you aren’t familiar with Melies, you may recognize his work in this image

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from his 1902 science fiction film, Le Voyage dans La Lune (“The Trip to the Moon”), thought by scholars to be the first science fiction film (or at least first surviving such film.  Silent film historians estimate that only about 10% of all silent films made are still available to us.  Here’s a LINK to the film so that you can enjoy it for yourself).

Cendrillon was Melies’ most elaborate film to date and was a commercial success, even though only just under 6 minutes long—which says something for the expectations of the movie-going public of 1899.

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As it is so short, it has only a couple of scenes—the kitchen in Cinderella’s house, the palace ballroom, Cinderella’s room, and what appears to be the outside of the palace—and very much depends upon the viewer already knowing the basic story (it begins, for example, with a very fancily-dressed woman leaving the kitchen and the sudden appearance of the Fairy Godmother, with no introduction at all).  Its greatest strength, for us, is in its transformation scenes (a Melies’ specialty), particularly the change of rats/mice into coachmen and footmen. (And here’s a LINK to the film, see if you agree with the 1899 audience.)

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Our second film is from 1911 and is nearly 15 minutes long, meaning that it actually has time to tell the story, if not in a leisurely fashion, at least in a more complete one than the Melies.  This is a US version of the story, starring an early popular favorite, Florence La Badie (or Labadie).

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Forgotten except by silent film enthusiasts, La Badie was a hardworking dare-devil, appearing in nearly 200 films between 1909 and her death in 1917, and doing most of her own stunts.  She was also someone who personified a new look for young women in the years leading up to the Great War—as this portrait (and there are more like it) shows.

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If you follow this LINK, you can see not only the actress, but a “Cinderella” which has almost everything we would expect from the Perrault original.

Florence La Badie had gotten into films through the suggestion of an acting friend, Mary Pickford,

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who starred in our next Cinderella, in 1914.

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Two things strike us about this:

  1. it’s over 50 minutes long—a great advance from the 1911 15 minutes
  2. the advertising seems to suggest that the audience of 1914 was expected to visit the theatre to see Mary Pickford in Cinderella, rather than Cinderella in which Mary Pickford plays the title role. For us, this foreshadows the obsession with film celebrities which is still with us today.

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This version, with its almost luxurious length, has plenty of time not only to tell the Perrault story, but to makes two additions to the plot:  Cinderella actually meets the prince before the ball, near her home and they fall in love—but are then separated; the stepsisters visit a fortune-teller, who informs them cryptically that one of their family will be successful at the ball.  (Here’s a LINK so that you can enjoy this more elaborate version.)

In the midst of these US versions, Georges Melies issued a second one himself.  At about 24 minutes long, it is much grander than his 1899 production, spending nearly a quarter of its length on the transformation of Cinderella from kitchen maid to grand lady alone.  The contrast between the 1899 pumpkin coach and the 1913 one illustrates this nicely.

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It did not enjoy the success of the 1899 original, perhaps because, the weight of production values was simply too heavy for the little story inside, which was smothered by all of the plumed hats and sweeping bows.  We admit that we find this version a little slow, but the creation of the pumpkin coach is still as impressive to us as it must have been in 1913.  Here’s a LINK so that you can judge for yourself. It’s dated 1912, by the way, when the film was made, but it premiered in 1913, so we are sticking to the later date.

It has been suggested that Melies, in the look of this later take on the story, was influenced by the work of Gustave Dore (Do-RAY) (1832-1883).

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In 1867, Dore—a well-known illustrator–among other things–published Les Contes de Perrault, dessins par Gustave Dore. image15contes

Here’s one of the three illustrations done for the story.

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To us, however, Melies thinks of the story taking place in the time of Louis XIII (reigned 1610-1643), when Dumas’ “Musketeers” novels are set (with a little 18th-century addition here and there).

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Dore would appear to be setting it earlier, in the time of Louis’ father, Henri IV (reigned 1589-1610).

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One of our very favorite illustrators, Arthur Rackham (1867-1939),

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tackled both “Cinderella” in 1919 and “Sleeping Beauty” in 1920, with retellings by Charles S. Evans.  Always original and surprising in his approach, Rackham here has produced what we believe to be two of his most inspired works—we’ll talk about them, as well as more versions of “Cinderella”, in our next.

But we’ll finish this post with one more image—as a teaser…

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And thank you, as ever, for reading.

MTCIDC

CD

Theme and Variations.3

04 Wednesday Jul 2018

Posted by Ollamh in Fairy Tales and Myths, Films and Music, Literary History, Narrative Methods

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Cendrill, Charles Perrault, Cinderella, Edmund Dulac, Fairy Godmother, Four and Twenty Fairy Tales, Frederic Chopin, Georges Melies, Giacomo Rossini, Histoires ou Contes du Temps Passe, James Robinson Planche, Jules Massenet, La Cenerentola, Nicolo Isouard, Opera, Pauline Viardot, Sleeping Beauty, William Henry Margetson

As always, dear readers, welcome!

In this posting, we’re continuing the little series we began on the fairy tales of Charles Perrault and what other creators have done with those stories over the centuries.

In 1697, Perrault (1628-1703) published Histoires ou Contes du Temps Passe (“Stories or Tales of Past Time”).

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This little collection (which also came to be known by a secondary title as Contes de Ma Mere L’Oye–“Tales of My Mother Goose”)–contained, among other stories, “Sleeping Beauty”—which we’ve discussed in the first two posts of this series—and “Cinderella”.  (The original 1697 version is available from the BnF—the Bibliotheque nationale de France—here’s a LINK.)

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If you’d like to read the closest one might get to Perrault’s late-17th-century French, you might try the translation by James Robinson Planche, the dramatist/costume-designer/etcetc, whom we mentioned in the first post in this series.  He had conscientiously searched for a first edition of Perrault’s collection, but had to make do with a second, as he tells us, but he strove to recreate in his English the feel of the French original.  Here’s a LINK to Planche’s 1858 Four and Twenty Fairy Tales.  Selected from Those of Perrault, and Other Popular Artists.

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This is an illustration for that story by Edmund Dulac (1882-1953)

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from Edmund Dulac’s Picture-Book for the French Red Cross (1916)—with a LINK to it here.  (It’s an especially interesting book, not only for the beautiful illustrations, but also for the wide range of stories, including a version of the famous Persian/Arabic story of “Majnun and Layla”.)

“Cinderella” has been a favorite subject for opera composers, at least back to 1810, when Nicolo Isouard’s (1773-1818)

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version, Cendrillon, was a  hit in Paris—and then internationally.  Here’s a LINK to a recording of its overture so you can see what pleased Europe in the middle of the Napoleonic Wars.

Isouard’s opera’s popularity was quickly overtaken by Giacomo Rossini’s (1792-1868)

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version in 1817, La Cenerentola.  Here’s an early Italian playbill for it.

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And here’s a LINK to the overture. (If you like it, there is at least one complete performance available on YouTube—you can easily find it when you follow this link.)

What’s interesting about these versions is that the Fairy Godmother of the original story has been replaced by a human—in Isouard’s version, with some magical powers, in Rossini’s, with native wit.  There’s no explanation for this—it’s simply the case and, for us, it somehow diminishes the story.  It’s like the Troy movie of 2004, from which the gods had been removed.

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Perhaps we’ve always wanted a fairy godmother?

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(An image by William Henry Margetson, 1861-1940.)

Our third opera comes from the very end of the 19th century:  Jules Massenet’s (1842-1912)

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Cendrillon.

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Unlike Isouard and Rossini, the fairy godmother, plus assorted fairies, are present and active in this very elaborate telling.  Here’s a LINK to some of the ballet music to give you an idea of the sound of the opera.

Our last opera is the very opposite of Massenet’s, being a chamber opera with only a piano for an orchestra.  It is by a woman composer who began her career as a famous mezzo-soprano, Pauline Viardot (1821-1910).

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Not only was she a brilliant singer, with an enormous range, but she was also a pianist so good that she regularly played duets with her friend, Frederic Chopin,

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as well as speaking half-a-dozen languages fluently.  When her voice began to fail her, she moved to teaching and composition, as well as keeping a salon in which many of the most famous and influential creators of the second half of the 19th century spent their evenings.

Her version of the Cinderella story, Cendrillon, was first performed in 1904.

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As we suggested, it’s the very opposite of the very sumptuous Massenet opera:  7 singers, no chorus, piano for accompaniment, but it’s musically very rich—and includes the fairy godmother—and the pumpkin, etc., although these are all off-stage.  It is not often performed—there’s one recording—

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which we heartily recommend, as it’s beautifully sung.  And here’s a LINK to a production on YouTube, if you’d like to see it.

We’re going to close this posting, take a deep breath, and start writing the last in this little series:  Cinderella on film, beginning, in a surprisingly-early (if brief) version by Georges Melies—from 1899.

But thanks, as always, for reading and definitely

MTCIDC

CD

ps

If you read us, you know us—we can never resist a PS—and this is just a visual.  In our survey of Cinderella images, we found this.  Need we say more?

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