The recipe of this brew is prepared according to the recipe and brewing method discovered by a team of University of Cambridge archaeologists/Egyptologists in the Queen Nefertiti’s Temple of the Sun in Egypt. The brewery found in the corner of the said temple is believed to have been built by King Akhenaton who is King Tutankhamen’s father.
Harold Smith represented Lloyds of London and many other insurance companies for over 50 years, specializing in fine-art and jewelry theft. He also was a security consultant for leading jewelers, museums and art galleries in the United States and overseas, including Sotheby's, Christie’s, the Smithsonian, and the Getty Museum. Among his cases were the largest gold robbery in the history of the United States and the master theft of 13 paintings from the Isabella Stewart Gardner Museum in 1990, which included a remarkable Vermeer, “The Concert.”
City Confidential is an American documentary television show, transmitted on the A&E Network, which singled out a community during each episode and investigated a crime that had occurred there. Rather than being a straighforward procedural, the installments began by focusing on the history and spirit of the city chosen. Often, the crime and persons involved highlighted a unique feature of that community. Additionally, the show analyzed not only the crime itself, but also the impact which the crime, ensuing investigation and legal proceedings, had had on the community at large.
Attila Ambrus was a gentleman thief, a sort of Cary Grant - if only Grant came from Transylvania, was a terrible professional hockey goalkeeper, and preferred women in leopard-skin hot pants. During the 1990s, while playing for the biggest hockey team in Budapest, Ambrus took up bank robbery to make ends meet. His opponents: a police chief who learned how to be a detective via dubbed episodes of Columbo; a deputy so dense he was known only by his Hungarian nickname, Mound of Asshead; and a forensics expert-cum-ballet teacher who wore a top hat and tails on the job.
For decades the work of Swiss photographer Karlheinz Weinberger was shrouded in obscurity. In the 1950s he published numerous homoerotic photographs under the pseudonym "Jim" in Der Kreis, the legendary international gay magazine that featured highly sophisticated photographs by, among others, George Platt Lynes and Herbert List. Weinberger was one of the first queer photographers to show his often working-class models posing in their everyday surroundings.
Hugo von Hofmannsthal's Andreas is a novel of violence and naivety, pathos and melancholy. Set in the eighteenth century, it tells the story of a young Viennese aristocrat who intends to travel alone to Venice as the first stage of his "Grand Tour". On his journey, he acquires an unsavoury servant who unleashes a trail of destruction and violence which taints and corrupts Andreas's first experience of love. Andreas's loss of innocence takes place in the misty alleyways and gloomy palaces of Venice, whose masked inhabitants confuse and entice him, the women either madonnas or whores indistinguishable behind their masks.
Drvengrad is a traditional village that the Serbian film director Emir Kusturicahad built for his film Life Is a Miracle. The streets in the village bear the names of various individuals that Kusturica holds in high esteem or finds to be personally significant: Nikola Tesla,Ernesto "Che" Guevara, Diego Maradona, Miodrag Petrović Čkalja, Federico Fellini, Ingmar Bergman, Joe Strummer, Novak Djoković and of course, Ivo Andrić, after whom the main street is named.
Vija Celmins is an acclaimed Latvian-American visual artist best known for photo-realistic paintings and drawings of natural environments and phenomena such as the ocean, spider webs, star fields, and rocks.
Mario Praz was among the great scholars of the 20th century. His studies of iconography and seventeenth-century art remain unsurpassed and indispensable. His most famous work, The Romantic Agony, examines the themes of sexuality and morbidity that permeated so much late-eighteenth and nineteenth-century literature. But The House of Life comes as close to his autobiography as anything we are likely to encounter, and it is a quirky and magical book. In simplest terms, it is a house tour, but Praz's Roman apartment was no ordinary house it was a wunderkammer, a house of wonders, rooms replete with objets d'art and sculpture, walls hung with paintings and prints, bureaus overflowing with postcards and ephemera. And Praz is no ordinary guide; he leads you, the reader, through each room lecturing on the objects therein. What emerges are his passions, his immense erudition, his insatiable curiosity, his undeniable amiability, his infectious enthusiasm. What might have been a predictable didactic exercise is transformed and expanded into a multi-layered disquisition on the nature of art, on the challenge of investigation and discovery, on the idiosyncrasies of personalities, on the serendipitous way in which art and the objects we choose to surround us tell stories that go far beyond their purely physical attributes.
The Heineken WOBO was a bottle that doubled as a brick to build houses.