Sunday, March 28, 2010

Vintage Home, Sweet Vintage Home

I love this style so very much. The colors melt so well. It is a beautiful place.

To see the rest, visit: DeMujer

Saturday, March 27, 2010

This makes me travel through time…

There is a secret in this kind of music. I love just caressing its fragrance, trying to unfold it… never guessing  what kind of sacred ingredient makes it unique.

Béla Bartók Rumanian folk Dances


Oskar Joost - Schön ist die Nacht (1939)

This is so sweet

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Tanz-Sinfonie-Orchester Peter Kreuder - Easy to love (1937)

By Peter Kreuder.

I really love so much this kind of music. Magical, makes you daydream and imagine.


"Easy to love" is perhaps one of Cole Porter's most beautiful compositions. The song was featured in the MGM musical "Born to dance" starring Eleanor Powell, James Stewart and Virginia Bruse. It is James Stewart who serenades Eleanor Powell with "Easy to love..." read more

Lillian Russell Film in Colour (1913)

Small fragment of a lost film in Kinemacolor, "How to Live 100 Years" (1913), starring Lillian Russell. This appears to be the only surviving footage of Russell in colour.

Sunday, March 21, 2010

Spring Sprung

I find this dress absolutely beautiful, with this retro vintage allure, it is so perfect for springtime!


I love the combination of shoes color as well. And with the summer coming up, a light touch of sun tan would look wonderful as well! It is really sweet.

To see the original post and brands, visit: Vintage Polka Dots

Saturday, March 13, 2010

Precognition and Death

IN THE morning of December 16, 1897, Frederick Lane, an
actor in William Terriss's company, entered the Adelphi
Theatre, London, to take part in a rehearsal.

Before arriving at the dressing rooms he encountered Miss
Olive Haygate, also a member of the company, and they ex-
changed greetings.

"There will be no performance to-night! " declared Lane
jovially, and went on to explain that a few hours earlier he had
dreamed that he saw Mr. Terriss lying on the stairs leading
to the dressing rooms. His chest was bare and his clothing torn
aside, so that Lane thought he must be in some kind of fit.
Various people belonging to the theatre were standing by, and
doing their best for him. Immediately afterwards Lane
dreamed that the theatre would not open that night.

He did not take his dream in the least bit seriously. Rather
did he regard it as a waggish story about the chief, and on
entering the dressing rooms he repeated it in this spirit to
several men members of the caste.

In the evening of the same day, as William Terriss reached
the private entrance of the theatre in Maiden Lane, and was
putting his key in the lock, a man who for some time had been
lurking about the lane, rushed forward, and, with a long thin-
bladed knife, stabbed the unfortunate actor in the region of
the heart and again in the back.

Lane, who was himself on his way to the theatre about this
time, heard the outcry resulting from the outrage, and learn-
ing what had happened, rushed for a doctor. When he got
back to the theatre he saw Terriss lying in the place where he
had seen him in the dream. In the interval the wounded man
had been carried inside the theatre, but it had been found im-
possible to take him further than the foot of the stairs leading
to the dressing room, and there in less than twenty minutes he
died. Terriss's clothing was open as Lane had seen it in the
dream, and the same people were standing round and tend-
ing him. There was no performance at the theatre that night.

At the request of the Society for Psychical Research, Miss
Haygate, H. Carter Bligh, and S. Creagh Henry, members of
the caste, wrote out signed statements confirming that Lane
had told the dream to them in detail in the morning, when
neither he nor anyone else attached any serious importance to
it. These statements, with that of Lane himself, are included
in a full report of the case published in the Society 's Proceed-
ings, vol. xiv, 1898-9. 1

Telepathy from the murderer (who, by the way, was found
to be insane) , would not account for this dream, because the
deed was committedwhere the murderer obviously intended
to commit it outside the theatre, and he could not know that
his victim, on being carried inside, would have to be left at the
foot of the stairs.

The case well illustrates that it is the coming experience of
the percipient himself that is precognised, and not the event.
Lane did not foresee the crime. He dreamed a picture ("I saw
it like a tableau") of the scene at the foot of the stairs as it
would be presented to him, individually, in the future. His
dream did not even tell him that Terriss was wounded, let
alone that he would die. So far as the demonstration of Pre-

cognition is concerned Lane's dream could as well have re-
lated to some trivial matter, but then it would never have been
recorded, and even the dreamer himself might not have re-
membered his experience for long.

The too-ready assumption in all ages that experiences un-
der the head of Precognition must be intended as "warnings"
ol what is to come has prevented a detached judgment of
them. The records of mankind teem with legends and anec-
dotes of solemn premonitions given to kings and to every
grade of their subjects. These prophecies or premonitions
generally portended death or some great calamity.


France Olive Haygate, one of the witnesses of Lane’s dream account.

Taken from:


By W. H. W. SABINE, 1951


In using the spoon, he holds it in his right hand like the fork. In eating cereal or dessert, he may be allowed to dip the bowl of the spoon toward him and eat from the end, but in eating soup he must dip his spoon away from him—turning the outer rim of the bowl down as he does so—fill the bowl not more than three-quarters full and sip it, without noise, out of the side (not the end) of the bowl. The reason why the bowl must not be filled full is because it is impossible to lift a brimming spoonful of liquid to his mouth without spilling some, or in the case of porridge without filling his mouth too full. While still very young he may be taught never to leave the spoon in a cup while drinking out of it, but after stirring the cocoa, or whatever it is, to lay the spoon in the saucer.

A very ugly table habit, which seems to be an impulse among all children, is to pile a great quantity of food on a fork and then lick or bite it off piecemeal. This must on no account be permitted. It is perfectly correct, however, to sip a little at a time, of hot liquid from a spoon. In taking any liquid either from a spoon or drinking vessel, no noise must ever be made.

"In Eating Soup The Child Must Dip His Spoon Away From Him—turning The Outer Rim Of The Spoon Down As He Does So...."


"In Being Taught To Use Knife And Fork Together, The Child Should At First Cut Only Something Very Easy, Such As A Slice Of Chicken...."


"Having Cut Off A Mouthful, He Thrusts The Fork Through It, With Prongs Pointed Downward And Conveys It To His Mouth With His Left Hand. He Must Learn To Cut Off And Eat One Mouthful At A Time.


"When No Knife Is Being Used, The Fork Is Held In The Right Hand, Whether Used 'Prongs Down' To Impale The Meat, Or 'Prongs Up' To Lift Vegetables."


"Bread Should Always Be Broken Into Small Pieces With The Fingers Before Being Buttered."


"When He Has Finished Eating, The Child Should Lay His Knife And Fork Close Together, Side By Side, With Handles Toward The Right Side Of His Plate...."









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Thursday, March 11, 2010

Vintage Soda Labels

Just when I remember the old soda labels and then see them again, my heart melts. Why do I so much love vintage things? How not to like to drink a cold soda in summertime after a long walk by tandem? :-)'

Here is an example of what I am trying to say:

If you want to admire many different soda labels, please visit Lovely Package

And drink at ease.


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