Kissing under the Mistletoe has been a custom I've observed for many years around Christmastime. I never knew until recently that the custom began with the druids in northern Europe.
"They believed mistletoe had curative powers and could heal lots of things, including separation between people. So when two enemies happened to meet under an oak tree with mistletoe hanging above them, they took it as a sign from God that they should drop their weapons and be reconciled. They would set aside their animosities and embrace each other under the mistletoe." This excerpt is from Christmas Gifts That Won't Break: An Advent Study for Adults by James W. Moore.
Another legend about mistletoe involves color.
"In pre-scientific Europe it was believed that mistletoe plants burst forth -- as if by magic -- from the excrement of the "mistel" (or "missel") thrush. According to Sara Williams at the University of Saskatchewan Extension, "It was observed in ancient times that mistletoe would often appear on a branch or twig where birds had left droppings. 'Mistel' is the Anglo-Saxon word for 'dung,' and 'tan' is the word for 'twig'. So, mistletoe means 'dung-on-a-twig'." Not exactly a word origin in keeping with the romantic reputation of mistletoe plants!
While belief in spontaneous generation has long been discredited, the word origin of "mistletoe" is not as fanciful as one might at first think. "By the sixteenth century," says Williams, "botanists had discovered that the mistletoe plant was spread by seeds which had passed through the digestive tract of birds." And folks had known for some time that the berry of mistletoe plants is a favorite treat of the mistel thrush. So while their reasoning was somewhat askew, the old-timers were justified, after all, in naming mistletoe plants after the bird most responsible for its dissemination.
As might be expected from a plant that has held people's fascination for so long, mistletoe plant has also carved out a niche of fame for itself in literary annals. Two of the better-known books of the Western tradition feature a particular mistletoe shrub prominently -- a mistletoe shrub given the pseudonym of "golden bough." And herein lies yet another twist in the tale of this remarkable plant.
In Virgil's Aeneid, perhaps the most famous book in classical Latin literature and one of the most famous poems of all time, the Roman hero, Aeneas, makes use of this "golden bough" at a critical juncture of the book. The "golden bough" was to be found on a special tree in the grove sacred to Diana, at Nemi; a tree containing a mistletoe plant. The prophetess Sibyl instructed Aeneas to pluck this magic bough before attempting his descent into the underworld. Sibyl knew that, with the aid of such magic, Aeneas would be able to undertake the perilous venture with confidence. Two doves guide Aeneas to the grove and alight upon the tree, "from which shone a flickering gleam of gold. As in the woods in the cold winter the mistletoe -- which puts out seed foreign to its tree -- stays green with fresh leaves and twines its yellow fruit about the boles; so the leafy gold seemed upon the shady oak, so this gold rustled in the gentle breeze." (Aeneid VI, 204-209).
The title of Sir James G. Frazer's anthropological classic, "The Golden Bough" (1922), derives from this very scene in Virgil's Aeneid. But just how, you might be asking, can something green like mistletoe plants become associated with the color gold? According to Frazer, mistletoe could become a "golden bough" because when the plants die and wither (even evergreens eventually die, of course), mistletoe plants acquire a golden hue. Fair enough. But once again, botany and folklore most likely must be mingled to arrive at the full explanation.
The perception of goldenness in the dried leaves of mistletoe plants was probably influenced by the fact that, in the folklore of Europe, it was thought that mistletoe plants in some cases are brought to earth when lightning strikes a tree in a blaze of gold. And a fitting arrival it would be, after all, for a plant whose home is half way between the heavens and the earth."
Enjoy those kisses under the mistletoe, just don't eat the berries because they are poisonous!
Monday, December 10, 2012
Friday, December 7, 2012
Emerald Green is Pantone's Choice for 2013
Let's hope that Pantone's announcement of Emerald Green as the color of 2013 is prophetic of good financial times on their way.

Every December, Pantone, the provider of professional colour standards to the design industries, announces its colour forecast for the following year.
Just look to the Duchess of Cambridge - who recycled a positively regal-hued emerald Mulberry dress for a public appointment at the Natural History Museum last week.
"The most abundant hue in nature, the human eye sees more green than any other colour" explains Leatrice Eiseman, executive director of the Pantone Colour Institute of the shade, adding: "This powerful and universally-appealing tone translates easily to both fashion and home interiors."
But how is the annual colour determined and what does it mean in terms of fashion trends?
Pantone's Institute combs the world of entertainment to travel, sports events to new textile developments - looking for colour influences. The fashion world's adoption of green also plays a part: its recent rise on the red carpet and on the catwalks, and in men's sportswear knitwear and ties, add to Pantone's belief that emerald will "continue to make a statement beyond spring and summer into fall and winter."
Pantone name emerald the colour of 2013
Pantone, the global authority on colour, announced emerald green as the colour of 2013.
BY Olivia Bergin |
The Duchess of Cambridge in an emerald Mulberry dress in London in October, 2012 Photo: REUTERS
Just look to the Duchess of Cambridge - who recycled a positively regal-hued emerald Mulberry dress for a public appointment at the Natural History Museum last week.
"The most abundant hue in nature, the human eye sees more green than any other colour" explains Leatrice Eiseman, executive director of the Pantone Colour Institute of the shade, adding: "This powerful and universally-appealing tone translates easily to both fashion and home interiors."
But how is the annual colour determined and what does it mean in terms of fashion trends?
Pantone's Institute combs the world of entertainment to travel, sports events to new textile developments - looking for colour influences. The fashion world's adoption of green also plays a part: its recent rise on the red carpet and on the catwalks, and in men's sportswear knitwear and ties, add to Pantone's belief that emerald will "continue to make a statement beyond spring and summer into fall and winter."
Colors for Christmas
Elvis rocked out on Blue Christmas years ago, with romantic lyrics.
I'll have a blue Christmas without you
I'll be so blue just thinkin' about you.
Decorations of red on a green Christmas tree
won't be the same, dear, if you're not here with me.
And when those blue snowflakes start fallin',
that's when those blue memories start callin'.
You'll be doin' alright with your Christmas of white,
but I'll have a blue, blue, blue Christmas.
And, let's not forget his rendition of White Christmas
I'm dreamin' of a white Christmas
like the ones I used to know
where those treetops glisten and
children listen to hear sleighbells in the snow.
I'm dreamin' of a white Christmas
with every Christmas card I write.
May your days be merry and bright
and may all your Christmases be white.
If you decorate for Christmas, let me know what colors you use, I'd like to
report back what colors the majority of readers report. And, for incentive, the first one to respond will be receiving the Elvis Presley CD "It's Christmas Time."
I'll have a blue Christmas without you
I'll be so blue just thinkin' about you.
Decorations of red on a green Christmas tree
won't be the same, dear, if you're not here with me.
And when those blue snowflakes start fallin',
that's when those blue memories start callin'.
You'll be doin' alright with your Christmas of white,
but I'll have a blue, blue, blue Christmas.
And, let's not forget his rendition of White Christmas
I'm dreamin' of a white Christmas
like the ones I used to know
where those treetops glisten and
children listen to hear sleighbells in the snow.
I'm dreamin' of a white Christmas
with every Christmas card I write.
May your days be merry and bright
and may all your Christmases be white.
If you decorate for Christmas, let me know what colors you use, I'd like to
report back what colors the majority of readers report. And, for incentive, the first one to respond will be receiving the Elvis Presley CD "It's Christmas Time."
Reindeer Jobs
Questions
& Antlers
Q: How in the
world can Santa’s reindeer make the grueling trek all the way around the globe,
working through the night with only short rooftop breaks?
A: They’re
females, that’s how they do it.
In most deer species only males grow antlers, but that’s
not true for reindeer. And because most mature male reindeer shed their antlers
in the winter, it’s safe to assume the antlered reindeer working their magic on
Christmas Eve are female.
Q: Since
reindeer are fairly large, averaging 4-5 feet in height at the shoulder, where
did Santa come up with his tiny fleet?
A: Christmas
reindeer are most likely a subspecies from the Svalbard Island off of Norway.
Svalbards measure roughly half the size of other reindeer.
Rudolph, keeping things merry and bright!
Wednesday, December 5, 2012
Tacky Taste
Yoko Ono is in the headlines for her new fashions for men. Nearly 80, she still grabs the news headlines with her provocative designs.
This week in New York, Ono unveiled her first ready-to-wear collection -- an edgy unisex line called "Fashions for Men," based on sketches Ono first started in 1969 and gave to her husband as a wedding present that year.
The capsule collection includes apparel, footwear and accessories. One of the most provocative pieces is the "hand" wool suit, featuring a white handprint over the crotch of a pair of black trousers.
Bare shoulders peek out of paper-thin tight-fitting knit tops in pink or black. Tank tops and shirts are also provocative, with peekaboo holes.
"I was inspired to create 'Fashions for Men', amazed at how my man was looking so great. I felt it was a pity if we could not make clothes emphasizing his very sexy bod," Ono said in a statement.
"So, I made this whole series with love for his hot bod, and gave it to him as a wedding present."
More than 40 years after that wedding, and 32 years after Lennon's assassination, Ono was able to bring the collection to life thanks to Humberto Leon, the co-founder of uber-chic New York fashion emporium Opening Ceremony.
Leon said the idea first started to gel when the two met in Japan.
"We met about three years ago, at our opening in Tokyo. And when we met, she mentioned to me that she had done some drawings," Leon told AFP at the presentation of the collection.
"About a year and a half ago, we met and she showed it to me and together we said, 'Oh, why don't we make this come to life!'"
"We went as close as we could to what she had originally envisioned for John back then. It's exciting to see it all," Leon said.
Ono, wearing a double-stacked black top hat with whimsical puffy white bows and a black jacket revealing ample cleavage, signed copies of the book -- which includes some of her sketches -- published to mark the collection's debut.
The Tokyo-born artist -- raised in both Japan and the United States in a well-off family of bankers -- became a global icon when she married the rocker from Liverpool and really never left the limelight after Lennon's 1980 slaying.
Ono -- who was long accused of sparking the break-up of the Beatles, a claim she vehemently denies -- earned plaudits for her performance art and her work as a tireless campaigner for world peace.
Ever since her Montreal honeymoon with Lennon, during which the couple called for peace from their marital bed, Ono has pursued the fight. In 2002, she launched the "LennonOno" grant for peace in Iceland, given every two years.
She has also campaigned against world hunger and fracking.
At the fashion opening, her adoring fans have not lost an ounce of enthusiasm."
I am decorating a Christmas sweater to wear to a "Tacky Party." Thinking of tacky clothes, I have to give Ono credit for the tackiest I've seen yet.
What do you think?
"Yoko Ono has nearly done it all -- contemporary art, music,
activism. But as she nears her 80th birthday, the widow of Beatle John Lennon is
dabbling in something new: the fashion world.
This week in New York, Ono unveiled her first ready-to-wear collection -- an edgy unisex line called "Fashions for Men," based on sketches Ono first started in 1969 and gave to her husband as a wedding present that year.
The capsule collection includes apparel, footwear and accessories. One of the most provocative pieces is the "hand" wool suit, featuring a white handprint over the crotch of a pair of black trousers.
Bare shoulders peek out of paper-thin tight-fitting knit tops in pink or black. Tank tops and shirts are also provocative, with peekaboo holes.
"I was inspired to create 'Fashions for Men', amazed at how my man was looking so great. I felt it was a pity if we could not make clothes emphasizing his very sexy bod," Ono said in a statement.
"So, I made this whole series with love for his hot bod, and gave it to him as a wedding present."
More than 40 years after that wedding, and 32 years after Lennon's assassination, Ono was able to bring the collection to life thanks to Humberto Leon, the co-founder of uber-chic New York fashion emporium Opening Ceremony.
Leon said the idea first started to gel when the two met in Japan.
"We met about three years ago, at our opening in Tokyo. And when we met, she mentioned to me that she had done some drawings," Leon told AFP at the presentation of the collection.
"About a year and a half ago, we met and she showed it to me and together we said, 'Oh, why don't we make this come to life!'"
"We went as close as we could to what she had originally envisioned for John back then. It's exciting to see it all," Leon said.
Ono, wearing a double-stacked black top hat with whimsical puffy white bows and a black jacket revealing ample cleavage, signed copies of the book -- which includes some of her sketches -- published to mark the collection's debut.
The Tokyo-born artist -- raised in both Japan and the United States in a well-off family of bankers -- became a global icon when she married the rocker from Liverpool and really never left the limelight after Lennon's 1980 slaying.
Ono -- who was long accused of sparking the break-up of the Beatles, a claim she vehemently denies -- earned plaudits for her performance art and her work as a tireless campaigner for world peace.
Ever since her Montreal honeymoon with Lennon, during which the couple called for peace from their marital bed, Ono has pursued the fight. In 2002, she launched the "LennonOno" grant for peace in Iceland, given every two years.
She has also campaigned against world hunger and fracking.
At the fashion opening, her adoring fans have not lost an ounce of enthusiasm."
I am decorating a Christmas sweater to wear to a "Tacky Party." Thinking of tacky clothes, I have to give Ono credit for the tackiest I've seen yet.
What do you think?
Monday, December 3, 2012
Red's Significance in Les Miserables
With the blockbuster, Les Miserables, to open soon in theatres, the following article about the choice of red for key scenes makes perfect sense.
For 'Les Miz' and more, the color red makes a statement
It's a strong color. Costume designers tend to use it sparingly. But sometimes the situation just calls for it.
-
XPhotos: Hairywood: Awards contenders and their facial hairFrank Langella talks about his role in indie 'Robot & Frank' With four films in serious contention, Fox Searchlight has a planPhotos: Do freshman TV shows have the class to win? John Madden and Ol Parker riff on 'Marigold Hotel'On Location: Busy 'Argo' editor turns footage into breathless action 'Lincoln' costume designer Joanna Johnston brings beauty to warThe risks and rewards of 'auteur' filmmakingConnie Britton finds a true voice in 'Nashville''Walking Dead's' Norman Reedus is go-to guy in zombie times
For most of "Les Misérables," things do not go well for Fantine. Abandoned by
the father of her child, she goes on a long spiral down the economic ladder and
winds up working in a brothel. And although she's always featured with a splash
of color in the film, by the time she's selling her body there's only one color
left for her to wear: red.
"In 'Les Misérables,' one thing [director Tom Hooper] wanted to have was color. Fantine always had to have reds and pinks in her outfit," says costume designer Paco Delgado. "I love to think in terms of color for characters and in moments of the movie. Color really connects with emotions that shape the psyche of the audience."
Color is naturally part of the decision-making process for costume designers, who must consult with production designers and the director to make sure whatever the actor wears in a given scene complements or contrasts with the scenery around them. But beneath that initial decision making, the ultimate color choice carries with it a lot of other meaning, meaning that usually just brushes past the audience the way foreshadowing does in a book. But when the color is red, everything goes out the window. Shown on an actress (or an actor), red makes a statement: This is an important moment, this character needs to come front and center.
Color choice can be a tug of war between a costume designer who knows the power of red and a director who wants to pull it out for great effect — and gratuitous use of the color isn't necessarily the fault of the designer. Notes Landis, "Costume designers don't have the final decision on anything. The decider may have changed from producer to director over the years, but the costume designer has always been just one piece of the visual context of the frame."
"In 'Les Misérables,' one thing [director Tom Hooper] wanted to have was color. Fantine always had to have reds and pinks in her outfit," says costume designer Paco Delgado. "I love to think in terms of color for characters and in moments of the movie. Color really connects with emotions that shape the psyche of the audience."
Color is naturally part of the decision-making process for costume designers, who must consult with production designers and the director to make sure whatever the actor wears in a given scene complements or contrasts with the scenery around them. But beneath that initial decision making, the ultimate color choice carries with it a lot of other meaning, meaning that usually just brushes past the audience the way foreshadowing does in a book. But when the color is red, everything goes out the window. Shown on an actress (or an actor), red makes a statement: This is an important moment, this character needs to come front and center.
"Red's a very attention-drawing color," says "Django
Unchained" costume designer Sharen Davis. "You put a red outfit on the
female lead, and she's usually going to be turning a corner or trying to be very
sexy — it's a pivoting point where they're trying to be bold and
aggressive."
Although Quentin
Tarantino's "Django" itself isn't covered in red (outside of the blood),
splashes do pop up — a burgundy suit, for example. Davis, who earned an Oscar
nomination for her "Dreamgirls" work, notes, however, that when the lead
actresses in that film stepped into a dream sequence, over to the bad side, they
were in red beaded dresses. "It does have a meaning," she says. "But you use it
sparingly."
Sparingly, primarily, because no one wants to jerk
the audience out of the fantasy experience of the story and into the mechanics
of how the strings are being pulled. Some directors don't shy from "on the nose"
use of bold colors — Jacqueline Durran, costume designer for Joe Wright's "Anna
Karenina," earned an Oscar nomination for her work with him on "Atonement"
and recalls, "He specifically wanted Benedict
Cumberbatch's character to wear yellow in that film ['Atonement'], because
it is the color of cowardice."
But for the most part, it's about knowing the right time and place to deploy
the red bomb. "You have to decide: Do you want it spot on?" asks Deborah
Nadoolman Landis, former president of the Costume Designers Guild, now the
director of the David C. Copley Center for Costume Design. "Is this costume
going to sabotage the scene? Because if we're looking at the dress, we're not
listening to what the actress is saying."Color choice can be a tug of war between a costume designer who knows the power of red and a director who wants to pull it out for great effect — and gratuitous use of the color isn't necessarily the fault of the designer. Notes Landis, "Costume designers don't have the final decision on anything. The decider may have changed from producer to director over the years, but the costume designer has always been just one piece of the visual context of the frame."
"Certain directors — none that I worked for —
that's their big idea and how they've always envisioned it and they have a crush
on the leading lady and she has to be in red," says Mark Bridges, costume
designer for "The
Master" and "Silver
Linings Playbook."
Fortunately that wasn't an issue in "The Master,"
where red is brought out in subtle, careful spots: The first time Philip
Seymour Hoffman's title character is seen, he's in red patterned pajamas.
"We did that to catch [Joaquin
Phoenix's character] Freddy's attention," Bridges says. "We wanted to compel
his mind."
In the occasional instance in which a director might be more demanding in his
use for that red flag color, "Lincoln's" costume designer JoAnna Johnston
suggests there are ways to get around it, like toning the brightness down. "You
do sometimes hear directors saying, 'I see her in red,' because it's classically
sexy and hot and all of those things, but what's interesting with red is when
you drop the color around a little bit — a bit more orange, a bit more blue —
then it can send out an entirely different signal."
In "Lincoln," the nearly overwhelming need for
earth tones and black suits made red almost impossible, but Johnston found the
right spot: as the character Elizabeth Blair (Julie White)
is bundling her father into a carriage. "I gave her a very strong red shawl,"
she says. "I wanted her to have strength in that scene — she's quite fiery and
strong and a modernist. That's the only time I felt it would be right to use
it."
But for Johnston — who used red to great effect in
highlighting the "clues" in "The
Sixth Sense," prudency with red is warranted in any film; costume designers
shouldn't fear being obvious: "Whether it's a sexy silk dress or a man in a red
cloak, it's got drama,
and people love seeing red. It may be a cliché sometimes, but that's good
too."
No doubt about the power of red to convey drama. BBL
Saturday, December 1, 2012
The World's Most Famous Step-Father
The El Paso Museum of Art will host an exhibit dedicated to the world's most famous step-father.
Saint
Joseph
December 2 – April 21, 2013
Dorrance and Olga Roderick Gallery: Retablo
Niche
|
Anonymous,
Mexico
Saint Josephand the Child Jesus, 18th Century Oil on copper Gift of Mrs. Dubois Tobin |
Continuing its focused, thematic exhibitions from
the retablos permanent collection the El Paso Museum of Art announces the
exhibition Saint Joseph on view in the Roderick
Retablo Niche Gallery from December 2nd, 2012 through April 21st, 2013. Known to
many as Christ`s surrogate father, Saint Joseph has been historically depicted
in art as a haloed or crowned member of the holy family. The seventeen retablos
included in this exhibition examine the traditional iconography of
color, costume and pose as well as the attributes with which the saint has been
portrayed. Shown exclusively in close contact with the Christ child in several
creative variations influenced by local traditions Saint Joseph`s role as
Christ`s guardian is a recurring, significant feature.
This wonderful museum is located at One Arts Festival Plaza in El Paso. The phone number is:
915-532-1707.
Feliz Navidad!
Subscribe to:
Comments (Atom)











