Category: Culture/Art

  • East meets west: Orhan Pamuk’s words paint a thousand pictures

    East meets west: Orhan Pamuk’s words paint a thousand pictures

    The novel My Name Is Red offers a compelling evocation of the cultural dialogue between Venice and the Ottoman empire

    Gentile Bellini's portrait of a young scribe at the court of Sultan Mehmed II evokes the world about which Orhan Pamuk writes in My Name Is Red. Photograph: Corbis
    Gentile Bellini's portrait of a young scribe at the court of Sultan Mehmed II evokes the world about which Orhan Pamuk writes in My Name Is Red. Photograph: Corbis

    Sultan Mehmet II

    Gentile Bellini’s portrait of a young scribe at the court of Sultan Mehmed II evokes the world about which Orhan Pamuk writes in My Name Is Red. Photograph: Corbis

    Orhan Pamuk’s My Name Is Red is my summer book, and one of the most fascinating works of art history I have ever encountered. It also happens to be a gripping novel.

    My Name is Red
    by Orhan Pamuk

    The book is one of several about Istanbul that won Pamuk the 2006 Nobel prize in literature. It is set among the art community of the Ottoman capital in the 1590s, at a time when the Islamic art of book illustration is under threat from new European innovations including perspective and portraiture. Should Istanbul’s miniaturists adopt some of the new European methods, or preserve beautiful traditions handed down from the old masters of Persia?

    There’s no danger of me revealing the end of a novel structured as a murder thriller – I haven’t finished it yet – but the art history in Pamuk’s book has me absorbed just as much as the whodunnit plot. It imagines the workshops of the miniaturists and lets them discuss, in erudite detail, the history of book arts, the influence of China, the belief that pictures must illustrate stories, the exquisite beauty of detail.

    The knowledge these artists have of European art comes entirely from Venice, the “Frankish” city that traded most closely with the powerful Ottoman empire. Contact between east and west is a powerful phenomenon in Venetian art. A portrait that conveys the very world this novel recreates can be seen today in the Isabella Stewart Gardner Museum in Boston. It is by Gentile Bellini – at least that is the usual attribution, questioned by some – and portrays a young scribe at the court of Mehmed II in Istanbul. Sitting in profile in ornate and gorgeous robes, he concentrates on his work while the European artist visiting the Ottoman court concentrates on portraying him.

    How do we know it’s a European artist? Because the young scribe’s face is modelled in the round with explicit individuality. It is a great example of the type of Venetian portraiture that Orhan Pamuk’s characters argue about. Is such a revelation of the individual in a painting a brilliant artistic triumph or a symptom of amoral selfishness? Would it be decadence or development for Ottoman artists to adopt such techniques?

    In fact, the portrait, which was bound into a Turkish album, may have been intended to help young miniaturists learn those Venetian skills. Bellini visited the Ottoman court in the late 1470s. If he is the author of this work, did he leave it behind as a teaching aid? If so, it cleverly appeals to artists trained in Islamic traditions by respecting their own abilities. This is in fact a masterpiece of cultural dialogue. While the scribe’s face is a Venetian portrait, his pose and the details of his fine clothes have the calm abstraction and jewel-like accuracy of a great Islamic court painting.

    Venetian artists learned enthusiastically from the east. Venetian painterly light and colour have little in common with other Italian Renaissance art. They have much more in common with the rich eastern cultures whose crystal treasures were brought back from wars and trade. While Venice embraced Islamic decorative sensuality, by the late 15th century Venetian artists were showing off their modern portrait skills in Istanbul.

    Pamuk creates a world where east and west are at a turning point in their relations, and art reflects this moment of choice, on the brink of modernity. My Name Is Red is a beautiful novel and opens up a story of art that is new, unfamiliar, and magical.

    via East meets west: Orhan Pamuk’s words paint a thousand pictures | Art and design | guardian.co.uk.

  • Lost Music of Istanbul’s Sephardic Jews

    Lost Music of Istanbul’s Sephardic Jews

    How a Panoply Sounds Scattered to a New Diaspora

    By Alexander Gelfand

    Published September 01, 2011, issue of September 09, 2011.

    ‘It’s really changed.”

    My wife, Ingrid, and I were sitting in the lobby of the Hotel Residence in Istanbul, listening to an Israeli historian named Daniel wax nostalgic. Daniel’s mother, a native Istanbulu, had taken him there on frequent childhood visits in the years before the varlik vergisi, or “wealth tax,” of the 1940s and the Istanbul pogrom of 1955 — an attack aimed primarily at the city’s Greek population that spilled over onto its Jewish and Armenian ones, as well — persuaded many in its once-thriving Jewish community to leave. (Many had already left by the early decades of the 20th century, spurred by the decline of the Ottoman Empire and the rise of Turkish nationalism.)

    We told Daniel that we planned to take the ferry to the nearby island of Buyukada. Hence his wistful remembrances of days long past: of summers spent on the island as a child, surrounded by Jewish and Greek families seeking refuge from the stifling heat of the city, and of Jewish men in shirt sleeves playing cards on the porches of wooden villas. “There were so many Jews there, the Turks called it ‘Yahudikada,’” Daniel said.

    s Piyyutim 083011

    Aaron Epstein
    Banging a Drum for Piyyutim: Ethnomusicologist and bandleader, Samuel R. Thomas plays in the WNYC Greene Space.

    They don’t call it that anymore. Given Istanbul’s historic importance as a center of Jewish life and culture — Sephardic Jews began settling there en masse during the Inquisition, and at its peak, the Ottoman Empire gave the Golden Age of Spanish Jewry a run for its money — I was struck by how little remained of its Jewish community, and by the lack of Jewish music in particular.

    If that seems like an oddly parochial observation, so be it. The Ottoman Empire essentially gave birth to the Eastern Sephardic musical tradition — a richly seasoned stew of Iberian, Turkic, southern European, Mediterranean and Romani ingredients whose appeal extended beyond Europe to the New World. Early klezmer musicians absorbed bits and pieces of it while working the southern reaches of the Empire with their Roma counterparts prior to the 20th century, and Turkish immigrants like Jack Mayresh and Victoria Hazan served it up on American 78 RPM records with lashings of Turkish, Greek, Hebrew and Ladino. Jewish music has always borrowed from many sources, but the Turks made it into a veritable melting pot long before the English playwright Israel Zangwill popularized that particular metaphor.

    Which is why I was saddened to see that so few traces of it remain, at least in Turkey itself. Saddened, but not surprised: We couldn’t find much traditional Turkish music of any kind, from classical Ottoman fasil to Romani dance music — the latter having been relocated along with its practitioners when the Turkish government razed Sulukule, one of the oldest Roma settlements in the world, in preparation for Istanbul’s turn as cultural capital of Europe in 2010. Just in case the irony was lost on the minister of culture, Ingrid, a percussionist with a soft spot for Romani rhythms, sent him an e-mail congratulating him for having destroyed a sizable chunk of his country’s cultural heritage.

    The contrast with Turkey’s past is even greater when compared with America’s present. Ingrid and I were in Istanbul in late April. Barely two weeks before we left New York City, the ethnomusicologist and performer Samuel R. Thomas took to the airwaves on public radio with a collection of Brooklyn-based rabbis and musicians to play and discuss a selection of piyyutim, the liturgical poems that are set to music throughout the Sephardic diaspora. There were traditional melodies performed in regionally accurate styles from old Ottoman possessions like Egypt and Syria, and some jazzy new arrangements by Thomas. All of it was lovely, and you’d be hard-pressed to find anything like it in Istanbul, the former hub of the Sephardic musical world. (Thomas recently released a new CD, “Resonance,” featuring some of the same material.)

    Istanbul’s historic role as a transformative funnel for the music of Sephardic Jewry was long ago taken up by Israel and America. Shortly after we returned to New York, “Atonement,” an oratorio by the composer Marvin David Levy (best known for his opera, “Mourning Becomes Electra”), had its world premiere at Temple Emanu-El on Manhattan’s Upper East Side. Former New York Governor Mario Cuomo narrated the middle movement, “Inquisition,” which uses Ladino song and Hebrew liturgy to explore the Hobson’s choice offered to Iberian Jews in the 15th century: Convert, flee or die.

    This, in turn, was just a couple of months after Yasmin Levy, an Israeli singer who performs contemporary Judeo-Spanish pop (her latest album, the slickly produced “Sentir,” was released in January), appeared with the Brooklyn-based group DeLeon, which welds Sephardic melodies onto an indie-rock chassis. (In the “it’s a small world” department, Levy’s father was a Turkish émigré who headed the Ladino department of Israeli state radio.) And in December, the annual Sephardic Music Festival will once again present a roster of American, Israeli and Israeli ex-pat musicians performing a spicy array of material (electric, acoustic, traditional, contemporary) from all across the Sephardic spectrum in various Manhattan venues.

    Music history is complicated, and centers of activity can shift for many reasons, pushed hither and thither by everything from changing tastes and shifting economic circumstances to immigration and war. But that all of this creative energy should be flowing not in the old Sephardic diaspora, but rather in the new one, probably says something about how different places, in different eras, respond to the ethnic and religious minorities that provide so much of their diversity and dynamism. With some notable, and horrible, exceptions (see: genocide, Armenian), the Turks may have scored higher marks under the Ottomans than they have in recent years. America, on the other hand — a country whose own empire appears to be in serious decline — is still doing something right.

    Alexander Gelfand is a freelance writer whose work has appeared in The New York Times, The Economist and (his favorite) Bartender Magazine.

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  • Jason Goodwin’s top 10 books about Turkey

    Jason Goodwin’s top 10 books about Turkey

    Encompassing poetry, history, fiction and even cookery, the author picks his favourite reading about this ‘elusive and contradictory’ country

    • Jason Goodwin
    • Grand Bazaar Istanbul 007
      A carpet seller in Istanbul’s Grand Bazaar. Photograph: Patrick Ward/Corbis

      Jason Goodwin fell in love with Istanbul while studying Byzantine history at Cambridge. Since then, he has written a number of highly praised non-fiction books, including On Foot to the Golden Horn and Lords of the Horizons: A History of the Ottoman Empire. He has since begun his series of novels featuring Yashim, the Turkish eunuch detective.

      An Evil Eye
      by Jason Goodwin

      The first, The Januissary Tree (2006), was winner of the Edgar Allan Poe award for best novel. He followed this with The Snake Stone (2007) and The Bellini Card (2008). His newest Yashim novel, An Evil Eye is published by Faber.

      “Now the top destination for Mediterranean tourists, Turkey is rather more than a sunny spot on the beach. Home to successive civilisations from the ancient Hittites to the Romans, from Byzantium to the Ottoman Empire, this is a country forged by one man, Ataturk, in the 1920s, out of the rubble of a multi-national, multi-faith Ottoman empire. Almost a century later, the identity of the country is still elusive and contradictory. Turkey lies along so many fault-lines, between Europe and the Middle East, between the secularity of the state and popular faith, between a many-splendoured past and current explosive growth. The country’s borders march from Armenia and Iraq to Bulgaria and Greece, from the rain-swept coast of the Black Sea to the indented waters of the Aegean, enclosing 21st century Istanbul as well as remote, almost Biblical landscapes of the interior.

      “Is Turkey slowly learning to live at ease with its history – or is it set to abandon the secularism of its founder? Is it still a candidate for EU membership – or has that moment passed? Fiction may sometimes bring the reader a closer sense of the shattering transformations as well as continuities of Turkish history. The following selection is influenced by my interest in 19th century Istanbul, where I chose to set my series of thrillers. Then, the Ottoman capital was grappling with the issues of modernity v tradition, nationalism v multiculturalism, the rule of law and the weight of custom, as well as defining its relationship with Europe and Russia. To visitors from the west, this was the east; easterners saw it as a window on the west. With its Greek, Armenian, Jewish minorities, Istanbul was then a cosmopolitan place; today, another multinational crowd strolls amongst the mementoes of imperial grandeur.”

      1. Istanbul: Poetry of Place, edited by Ates Orga

      With Strolling Through Istanbul in one pocket, and this slim volume in the other, you should be perfectly equipped to explore the former capital of the Byzantine and the Ottoman empires. Packed with poetry and a little prose, Istanbul brings you the voices of the city’s inhabitants, from sultans to modern-day feminists.

      2. Snow by Orhan Pamuk

      Complex, fragmentary, unreliable and poetic, this thoroughly postmodern novel abounds with puns, ironies, double-takes and imponderable conflicts of love, faith and social justice, reflecting not only aspects of the human condition but also of 20th-century Turkey’s preoccupations with secularism, religious freedom and revolution. In the city of Kars, a young journalist, Ka, comes to investigate a spate of suicides relating to the wearing of headscarves – and opens up a kaleidoscopic world of claims, counter-claims and conflicting priorities.

      3. Turkey: a Short History by Norman Stone

      A fanfare for modern Turkey and a vivid, provocative, often funny, always insightful account of how it came about. Stone pulls together his accomplishments as a philoturk, a philologist, controversialist and narrative historian to sweep his readers along a short crash course in Turkish origins, their history and current challenges. If you don’t really know why a portrait of Ataturk hangs in almost every shop in Turkey, read this book.

      4. Classical Turkish Cooking by Ayla Algar

      This may allow you to extend the highlights of your trip indefinitely. There are sexier cook books, but I like the austerity of this one, which expresses much that is gentle and domestic in Turkish culture, and then lets you eat it. Classical meze, soups, meat and fish dishes, and of course pilaffs and pastries – hundreds of recipes, with insights into the history and development of a world-class food culture.

      5. Turkish Letters by Ogier Ghiselin de Busbecq

      The Flemish nobleman wrote his Letters while on an ambassadorial mission to Istanbul between 1554 and 1562, making him a brilliant eye-witness of the Ottoman state at its height, under Sultan Suleyman the Magnificent. Busbecq was a botanist, linguist, antiquarian, scholar and zoologist; he brought back lilac and the tulip.

      6. Constantinople: City of the World’s Desire by Philip Mansel

      The definitive history of the city from 1453, by one of our finest historians, also explains how a multi-ethnic, polyglot empire was controlled by a single dynasty for more than 600 years. Mansel mines a vast range of sources to bring the fashions, pomp and politics of this ancient world capital to life.

      7. Birds without Wings by Louis de Bernières

      I keep picking this up – and putting it down again, because I can’t quite face the onrushing tragedy. Needless to say, it’s the story of a doomed love affair between Philotei and Ibrahim, as relations between Greece and Turkey collapse in the First World War; prelude to the massive population exchange of 1923, which ended Greek settlement of Asia Minor. Gallipoli is in it; so is Ataturk; so are some characters from Captain Corelli’s Mandolin. De Bernières insists this is the better book and I believe him.

      8. Eothen by AW Kinglake

      The title, which means “from the east” is, as the author points out, the hardest thing in the book, a sly travel account purporting to be written by a Victorian hooray which makes for spectacularly funny reading. Jonathan Raban has described the narrator as having the “sensibility of someone who is a close blood-relative of Flashman”: witness his thoroughly waspish account of a meeting with Lady Hester Stanhope. Typical, too, is his insouciance towards the plague in Cairo, which claims his heroic doctor while the narrator survives unmoved.

      9. A Short History of Byzantium by John Julius Norwich

      The three volumes of his magisterial history, boiled down into one, may seem too condensed at times, but Norwich deftly and entertainingly outlines the often outrageous story of an empire that lasted 1,123 years and 18 days. It is as good on Byzantine art and church matters as on the peccadilloes of the emperors – and their triumphs.

      10. Rebel Land by Christopher de Bellaigue

      Caught up in a journalistic furore after his mention of the Armenian massacres that occurred in the dying days of the Ottoman empire, Bellaigue decided to find out for himself what may have happened. He settled on – and in – the town of Varto, which once had a huge Armenian population. Without delivering any final answers, Bellaigue’s beautifully written account of his experiences with locals, secret policemen and even exiles still sheds light on this intractable issue, if only to illuminate the complexity of the situation both then and now.

  • Buying Euro Antiquities for only Pennies on the Pound

    Buying Euro Antiquities for only Pennies on the Pound

    One of the ways we finance our watery world travels aboard Wild Card is by cheaply acquiring rare & precious STUFF in exotic locations, and then reselling that stuff for mega-bucks in London, Paris, and the alleys of New Jersey. Only once has this buy-low, sell-high concept backfired—but how-the-heck was I to know the Mona Lisa wasn’t originally rendered in Crayon? Usually these art scams, antiquity frauds, and ‘indigenous’ swindles are highly profitable—or at least provide us enough pocket change to keep Wild Card limping westward.

    Currently, we’re cruising the Greek isles, and have just made a major, major financial touchdown—the delicious details of which I will reveal in a moment.

    But first, some current political history: Greece appears to be teetering on default within the Euro Zone. What does that mean? That means that a bunch of fat politicians in Brussels are pointing fingers of blame at each other, and screaming, “… it’s not my fault, it is de fault of de system!”

    Here’s what really happened: the Brussels Posse were bored flying their black helicopters over France and Germany to air-lift out their profits, and so decided to loot Greece as well. This plan would have worked fine if Greece had had anything to loot—but they did not. Basically, they’d already looted their public treasury during the Golden Age, around BC400—and chopped off everyone’s head who complained. (Ah, the Good Ole Days!)

    “Sure, we expected those naughty Greeks to ‘fudge the figures’ a tad,” said one outraged EC public servant, “but the Greeks outfoxed us by lying truly large.”

    Yeah, you gotta admire the audacity of these truth-impaired Greeks. They are focused on the truly important aspects of life—like ouzo, anal sex, and international trickery—and refuse to be sidetracked by any silly, trendy ideas about public morality. Of course, we’ve known this for a long time. It’s not exactly a secret. After all, we don’t say, “Never trust an American bearing gifts,” do we?

    Only the Greeks would have thought of having huge photogenic fields of movable, reusable plastic olive trees—easily transportable by truck—as photographic evidence to back up their nation-wide farm subsidy requests. Now that’s thinking out of the box! (Once satellite imagery confirmed the field’s existence to the EU agricultural experts, the fake plants were quickly moved to the next farm, and the process repeated.)

    “And this is why we have our own alphabet,” quipped one fat, happy taverna owner, “so the stupid people we’re gyping don’t have a clue!”

    Yes, the Greeks are far-sighted. Fleecing the tourists is encoded in their DNA.

    “…let’s face it,” said one sailor from that large island in the south, “we’re Cretins and we know it!”

    What’s all this got to do with Euro-cruising?

    Once upon a time, long ago, there was a sailor like myself in the Med—a cruising yachtsman with delusions of grandeur who cruised with empty pockets and scribbled bizarre, rap-style notes about it. This early, trend-setting, ahead-of-his-time, water-borne gang-banger was dubbed Ughy by his crew (Hughie without the ‘h’ sound)—and, thus, chose Ulysses for his pen-name as his fame grew. It stuck. Ultimately, he made a mint on the TV rights to his ‘Odyssey’ brand—an early precursor to the Discovery Channel. Anyway, the media empire he spawned was very successful—mostly because he’d had the good sense to sprinkle in sex and violence about every third sentence.  Picture Two-Pac if he’d jibed away from Thug Life and had, instead, joined the Athena’s Yacht Club—and you’re close to imagining this historically important figure—the sailing community’s first-and-still-most-famous marine journalist.

    … of course, I don’t want to get too sidetracked by all this historical stuff. So let’s refocus solely on the modern day marine aspects of this story. For instance, the locals don’t refer to these islands as ‘Greece’ but rather as Hellenic—I assume because of the hellishly expensive chandlery prices.

    In any event, there aren’t too many good harbors in the Aegean Sea. Most of the anchorages are too deep, gusty with the Meltemi winds, and have horrible holding. But this Ulysses dude was one tough marinaro. He toured the entire island chain over the course of ten eventful years of wild sex, random violence, and copious ouzo-gulping.

    The problem was—and is—that wherever Ulysses tossed his anchor, a pricy stern-to Euro marina sprang up. That’s right—there is not a single square inch of water left in the Med suitable for anchoring which doesn’t cost, and cost big. Worse, you have to stern-to—and right in front of your very eyes (and, alas, your itching-to-be-off-the-boat cruising wife’s eyes) is an expensive Greek restaurant—so pricey they don’t waste time doing the dishes, they just break the plates and buy new ones. (I know, I know … it sounds unbelievable!)

    … they don’t miss a trick, these entrepreneur Greeks. Upstairs of the taverna is the century-old whorehouse. Behind it (for the suddenly left-alone boat wifey) is a freshly-opened male strip club featuring the Full Monty. In between, are Vetus-kissed, Larzzara-blessed marine supplies stores with price-tags designed by Gucci.
    Oh, these ‘full service’ marinas are exactly that. You don’t even have to move your boat if you want to take on fuel—the dockmaster will send over a dockboy pushing a 55 gallon pressurized drum—and pass you a hose. WHAM! …all the ouzo you can drink for as long as your American Express holds out.

    No, Greece is not like Turkey—where the Islamic leaders frown on such profitable vices. A perfect example is all the lovely, lonely Orthodox Monasteries that dot the hillside—each with a huge parking lot for the tour buses, giant air-conditioned gift store, and ice cream huts everywhere. Even the religious toilet attendants reverently hand you complicated price-sheets, depending on need. (I just loudly shout, “Number One and Number Two—Means More Money for You!” to cover all the bases—in case I’m randomly spot-checked before the flush.)

    “Don’t worry,” shouted one flush-faced reveler at the local sailor’s bar, “if we need another round of drinks, we’ll just charge it to Brussels!”

    “… that’s right,” chimed in another, “we’ll just offer ‘em a higher interest rate—what’s the big deal when you’re not going to pay it back anyway?”

    “Yeah,” gaily giggled another partier, “Why not make the Germans pay—they’re used to it!”

    … even the near-by unsophisticated Turks are gaming the system. “Yes, we have a master plan to restore the Ottoman Empire,” they gloat evilly. “As soon as the current Greek administration takes down the European Community, we march out of Istanbul and …”

    The point of all of the above is—when you sail into an expensive moral vacuum like Euro Land, well, it is easy to get your strict Calvinistic values turned around.

    … which brings us full-circle.

    The moment we went stern-to in Milos, in the Sick Ladies (spelled Cyclades), the dock vultures descended upon us. “Hey, skip! Wanna buy some water?”

    “… how much?” I asked.

    “Fifty Euro cents for diarrhea-inducing, and eight Euro per … for semi-clean!”

    “… per metric ton?” I asked.

    “…per liter!” he smirked back.

    One guy tried to sell me a blue-swirled ‘evil eye.’ They are quite popular here. “Guaranteed to protect you from bad people,” he told me. I took it from him, and held it up to his face. He didn’t flinch or run away. “… this one is defective,” I told him as I handed it back.

    An illegal African immigrant offered to sell me a blank DVD disk wrapped in a piece of paper with the name of a current movie freshly printed on it. I refused, saying, “How do I know you’re actually selling movies, when most street vendors aren’t?”

    He looked wounded. “My guarantee as an honest movie pirate of high international integrity is a hundred percent!” he boasted. “If there is a problem, I’ll refund twice the amount paid!”

    “… and where can I find you tomorrow?” I queried.

    “Sudan,” he admitted. “But that’s not a problem—just ask any black man and he’ll refund your money!”

    Yeah, right.

    Mostly, of course, they attempted to sell me arms. Not arms-as-in-weapons but rather human-arms-made-of-marble …

    Gee, I’m not doing a very good job of explaining this, am I?

    This is the island where the famed Venus de Milo was discovered by Yorgos Kentrotas in 1820, sticking out of some dirt. In fact, the marble statue was such a nice piece of pornography that the French immediately attempted to cart it off to the Louvre. But the Greeks love a good ‘adult-toy’ too—and a little tug-of-war ensued as the eager Frogs were attempting to pilfer those perfect Greek breasts. And, of course, in the trans-cultural struggle, her arms snapped off and her nose was broken. Now, of course, if the damage had been done to her nipples or her buttocks, she’d have been worthless. But, luckily, nothing important was missing—and off she went to the Louvre, where she was soon ranked 8.7 in drool-a-bility. (Yes, this is how the world was—pre-internet-video.)

    Of course, I was skeptical of the Greek lad attempting to sell me her arms—but he impressed me by offering to show me where he’d found them—and, after searching around in the bush a bit, I was amazed to learn that he was actually telling the truth. (By law, ‘truth-telling to a foreigner’ is currently illegal in Greece.)

    This actually WAS where Venus had been found! So I gave him my money. Alas, I had thought that my 75 Euros would buy both arms—but discovered I hadn’t read the fine print. Thus, I only managed to purchase a single kilo from one arm—which he quickly broke off with a small sledge on-the-spot. Oh, well. At least I now have a True Euro Artifact that I can sell off for mega-bucks to fund our eventual retirement. Clever, huh? Yes, I love this Euro-Cruising!

    (Editor’s note: Cap’n Fatty and Carolyn are now heading for Sicily, in hopes of finding a more honest, just society.)

    Cap’n Fatty Goodlander lives aboard Wild Card with his wife Carolyn and cruises throughout the world. He is the author of Chasing the Horizon by American Paradise Publishing, Seadogs, Clowns and Gypsies, The Collected Fat, All At Sea Yarns, Red Sea Run and Somali Pirates and Cruising Sailors. For details and more, visit fattygoodlander.com

  • Desperate Housewives to Get Turkish Treatment

    Desperate Housewives to Get Turkish Treatment

    By Kristin Brzoznowski

    Published: August 31, 2011

    Endemol Worldwide

    285336

    ISTANBUL: The Walt Disney Company Turkey is preparing a local production of Desperate Housewives, which will be broadcast on the free-to-air channel Kanal D later this year under the title Umutsuz Ev Kadinlari.

    Globo TV International

    The Turkish series will be co-produced by Medyapim and Disney. In the U.S., the show is headed into its eighth and final season. Since 2006, four different versions have been produced for Latin American audiences.

    The series’ well-known Turkish cast includes Songül Öden (Gümüş) as Susan (to be called Suzan), Bennu Yildirimlar as Bree (called Berrin), Evrin Solmaz as Gabrielle (called Yildiz) and Ceyda Duvenci as Lynette (called Leyla). The series will be filmed on location in Istanbul, where a local Wisteria Lane has been found. Production will closely follow the format and story lines of the original U.S. version, with a uniquely Turkish flavor.

    Sinan Ceylan, the country manager at The Walt Disney Company Turkey, Greece and Cyprus, said: “We’re extremely excited to be co-producing a local version of the hit series “Desperate Housewives” as it offers us the opportunity to connect with Turkish audiences by telling a locally relevant and entertaining story with an all star Turkish cast, using the universal stories and characters created by ABC Studios. This announcement demonstrates our commitment to investing in the Turkish market and supporting the local entertainment industry.”

    Fatih Aksoy, the CEO of Medyapim, added: “I believe Desperate Housewives has one of the best scripts ever written for television. When adapting to Turkish, we are ensuring that we keep up with the level of the original values of the script and will pursue as excellent a production as it has been in the U.S.”

    via WorldScreen.com – TV Formats – Articles.

  • Filming is Underway on Warner Bros. Pictures’ and GK Films’ “Argo”

    Filming is Underway on Warner Bros. Pictures’ and GK Films’ “Argo”

    Ben Affleck directs and stars in the fact-based thriller

    RenderImageBURBANK, Calif., Aug 31, 2011 (BUSINESS WIRE) — Principal photography has begun on Warner Bros. Pictures’ and GK Films’ dramatic thriller “Argo,” directed by and starring Academy Award(R) winner Ben Affleck (“The Town,” “Good Will Hunting”). The film is being produced by Academy Award(R) winner George Clooney (“Syriana”), Oscar(R) nominee Grant Heslov (“Good Night, and Good Luck.”) and Affleck.

    Based on true events, “Argo” chronicles the life-or-death covert operation to rescue six Americans, which unfolded behind the scenes of the Iran hostage crisis — the truth of which was unknown by the public for decades.

    On November 4, 1979, as the Iranian revolution reaches its boiling point, militants storm the U.S. embassy in Tehran, taking 52 Americans hostage. But, in the midst of the chaos, six Americans manage to slip away and find refuge in the home of the Canadian ambassador. Knowing it is only a matter of time before the six are found out and likely killed, a CIA “exfiltration” specialist named Tony Mendez (Affleck) comes up with a risky plan to get them safely out of the country. A plan so incredible, it could only happen in the movies.

    “Argo” also stars Oscar(R) winner Alan Arkin (“Little Miss Sunshine”), Bryan Cranston (TV’s “Breaking Bad”) and John Goodman (“You Don’t Know Jack”). The main cast also includes Kerry Bishe, Kyle Chandler, Rory Cochrane, Christopher Denham, Tate Donovan, Clea DuVall, Victor Garber, Zeljko Ivanek, Richard Kind, Scoot McNairy, Chris Messina, Michael Parks, and Taylor Schilling.

    Affleck is directing the film from a screenplay by Chris Terrio, based on a selection from Master in Disguise by Antonio Mendez. David Klawans, Chris Brigham, Graham King, Tim Headington, Chay Carter and Nina Wolarsky are serving as executive producers.

    The behind-the-scenes creative team includes Oscar(R)-nominated director of photography Rodrigo Prieto (“Brokeback Mountain”), production designer Sharon Seymour (“The Town”); Oscar(R)-nominated editor William Goldenberg (“Seabiscuit,” “The Insider”); and Oscar(R)-nominated costume designer Jacqueline West (“The Social Network,” “The Curious Case of Benjamin Button”).

    Filming on “Argo” began in Los Angeles. Future locations include Washington D.C. and Istanbul.

    Slated for release in 2012, “Argo” is a presentation of Warner Bros. Pictures, in association with GK Films, a Smoke House Pictures production, to be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

    SOURCE: Warner Bros. Pictures

     

    Warner Bros. Pictures Publicity

    Jan Craft, 818-954-2279

    jan.craft@warnerbros.com

     

    Copyright Business Wire 2011

    via Filming is Underway on Warner Bros. Pictures’ and GK Films’ “Argo” – MarketWatch.