Archive for May, 2017

Monday 22nd May 2017

Posted in Life the Universe and Other Things on May 22, 2017 by bishshat



Justin Hayward

Do you ever get the feeling
That it’s all coming true
And it’s all been realised by you
Do you ever get the feeling
What was prophesied was true
And it’s all being witnessed now by you

The faces of the children
In the artist’s loving hands
Are all returning
Into sand
The waters of the oceans
Like the rivers running dry
It brings a tear to your eye
Don’t let Terra die

Do you ever get the feeling
That it’s all coming true
And it’s all being recognised by you
Do you ever get the feeling
Nostradamus told us true
And it’s all being witnessed now by you

The waters of the oceans
Like the rivers running dry
It brings a tear to your eye
The faces of the children
In the artist’s loving hands
Are all returning
Into sand
And slipped right through our hands

Do you ever get the feeling



Sunday 21st May 2017

Posted in Life the Universe and Other Things on May 21, 2017 by bishshat

45Screenshot 2017-05-21 11.11.52IMG_1889

Born on a Crescent

I was born on a Crescent
Not a Road or a Lane
Nor a Street or a Terrace
Neither a Walk nor a Way
I was born on a Crescent
Not a Mall or a Square
Not a Boulevard a Place a Plaza
Not a Grove, Arcade, Court, Drive or Alley
I was born on a Crescent that swept from field to field
It was the place of my birth
Where my dad passed away
Where my mother loved me
Where she battled her demons
The Crescent was full of friends
We shared common values
We shared celebrations
We shared sorrows
On the edge of a city
On the boarder of the green belt
A river cast a mist in spring
And in winter a fog held it tight
Gardens, hills, lakes, old oak trees
I was born on a Crescent
Not a Grove or a Corner
Not a Circle, Parade, Mews or Close
I could not imagine me being born
Anywhere else than on a Crescent
It made me who I am
It gave the moon an extra dimension
Artemis-Diana waxing and waning
I was born on a Crescent
And It always felt it special


Hull City 1 Spurs 7

The Hull City fans sang their appreciation for boss Silva, but it was gold all the way for us as Harry Kane powered his way to a second successive Premier League Golden Boot with his second hat-trick in three days – and his fifth of the season – as we humbled the already-relegated Tigers 7-1 at the KCOM Stadium.


The striker had put himself in pole position for the top scorer’s title when we hammered Leicester City 6-1 on Thursday, but he made sure with one more treble while the team went one better to register our biggest-ever away league win on Sunday.

It means Harry finishes the 2016-17 campaign with 29 league goals and 35 in all competitions – four more than his previous personal best during his breakthrough campaign in 2014-15.

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It’s the 11th time a Spurs player has won the Goldon Boot in English football’s top flight – Harry with two of those, with Jimmy Greaves responsible for four.

Dele Alli, Victor Wanyama, Ben Davies – with his first Premier League goal in our colours – and Toby Alderweireld joined the England ace on the scoresheet, with the only blemish a deflected Sam Clucas shot in the second half that robbed Hugo Lloris of a share of Chelsea goalkeeper Thibaut Courtois’ Golden Gloves prize, the Frenchman having played two games less.

All told, we’ve finished second in the table on 86 points, our highest league placing since 1963 and our biggest-ever points total by some margin – a fine achievement for Mauricio Pochettino’s irresistible side.


Saturday 20th May 2017

Posted in Life the Universe and Other Things on May 20, 2017 by bishshat

Telegraph Road

Dire Straits

A long time ago came a man on a track
Walking thirty miles with a pack on his back
And he put down his load where he thought it was the best
Made a home in the wilderness
He built a cabin and a winter store
And he ploughed up the ground by the cold lake shore
And the other travellers came riding down the track
And they never went further, no, they never went back
Then came the churches then came the schools
Then came the lawyers then came the rules
Then came the trains and the trucks with their loads
And the dirty old track was the telegraph road
Then came the mines – then came the ore
Then there was the hard times then there was a war
Telegraph sang a song about the world outside
Telegraph road got so deep and so wide
Like a rolling river. . .
And my radio says tonight it’s gonna freeze
People driving home from the factories
There’s six lanes of traffic
Three lanes moving slow. . .
I used to like to go to work but they shut it down
I got a right to go to work but there’s no work here to be found
Yes and they say we’re gonna have to pay what’s owed
We’re gonna have to reap from some seed that’s been sowed
And the birds up on the wires and the telegraph poles
They can always fly away from this rain and this cold
You can hear them singing out their telegraph code
All the way down the telegraph road
You know I’d sooner forget but I remember those nights
When life was just a bet on a race between the lights
You had your head on my shoulder you had your hand in my hair
Now you act a little colder like you don’t seem to care
But believe in me baby and I’ll take you away
From out of this darkness and into the day
From these rivers of headlights these rivers of rain
From the anger that lives on the streets with these names
‘cos I’ve run every red light on memory lane
I’ve seen desperation explode into flames
And I don’t want to see it again. . .
From all of these signs saying sorry but we’re closed
All the way down the telegraph road


I went to take a look at a studio space I was offered only to find that the lady had had two other ladies that wanted to think about it until next week. As they were already sharing a space at the studio she gave them an option of taking it over me. A bit disappointing.


21st Century Man


A penny in your pocket
Suitcase in your hand
They won’t get you very far
Now you’re a 21st century man.
Fly across the city
Rise above the land
You can do ‘most anything
Now you’re a 21st century man.
Though you ride on the wheels of tomorrow (tomorrow)
You still wander the fields of your sorrow
What will it bring?
One day you’re a hero
Next day you’re a clown
There’s nothing that is in between
Now you’re a 21st century man.
You should be so happy
You should be so glad
So why are you so lonely
You 21st century man?
You stepped out of a dream
Believing everything was gone
Return with what you’ve learned
They’ll kiss the ground you walk upon.
Things ain’t how you thought they were
Nothing have you planned
So pick up your penny and your suitcase
You’re not a 21st century man.
Though you ride on the wheels of tomorrow
You still wander the fields of your sorrow (sorrow)
Tomorrow, 21st century man
21st century man
21st century man…

I added Oliver to my Sgt Pepper anniversary cover.


Peter Blake is celebrated as the creator of the sleeve art of The Beatles’ Sgt. Pepper album. But his collaborator has been forgotten. As Sgt Pepper turns 50, ALASTAIR McKAY talks to American Pop artist Jann Haworth about art, celebrity, sexism, and her role in a modern design classic

It would be wrong to suggest that Jann Haworth is annoyed about the fact that her contribution to the design of one of the most famous record sleeves in history has been airbrushed from history.

Haworth, along with her then-husband, Peter Blake, designed the cover of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, and as the 50th anniversary of the record’s release (on June 1st, 1967) approaches, others are stepping forward to highlight their own contribution to the image.


The pop art sleeve is commonly considered to be by Blake alone, with Haworth’s contribution marginalised
In a recent Mojo magazine, Nigel Hartnup, assistant to photographer Michael Cooper, suggested that it was he who pressed the camera shutter. An undated sketch – actually, a doodle – reputedly by John Lennon, is currently up for auction, which seems to suggest that he came up with the concept, though more often Paul McCartney is credited with drawing the original design.

Beyond these disputed details, the pop art sleeve is commonly considered to be by Blake alone, with Haworth’s contribution marginalised.

“In a way, it’s a patchwork vision that’s being put forward,” Haworth says, diplomatically. “And some of the things are in utter conflict.”

It’s true that Haworth’s reputation has suffered, largely because of her decision to prioritise family life over her artistic career. Some of this is just straightforward sexism, an outgrowth of the attitude she encountered when she asked a tutor at London’s Slade art school whether he needed to see her portfolio.

“He said: ‘We don’t look at the portfolios of the female students. We just look at their photographs, ’cause they’re here to keep the boys happy.’”

But Haworth also stresses the importance of collaboration in art, an approach which ties in with her use of traditionally female skills. She pioneered soft sculpture, casting life-size figures in cloth (her Shirley Temple doll is on the right of The Beatles’ sleeve.) Consider also that the Sgt. Peppers’ cover is a study in celebrity, and Haworth – the daughter of Oscar-winning production designer Ted Haworth – was raised in Hollywood.
“I grew up watching Marilyn Monroe perform, or Dana Wynter in Invasion of the Body Snatchers, and I was young enough that they were just adults, they weren’t any more interesting than anybody else. I remember my friends being impressed that I knew Tony Curtis, and saying it must be so wonderful to daydream about him. I couldn’t do it. Celebrity has always been a fiction to me.”

Coming out of Hollywood, it’s how I’ve always worked
Jann Haworth
What, then, is the truth of the Sgt. Peppers’ sleeve?


Jann Haworth in front of her mural, SLC Pepper, in Salt Lake City, Utah, 2004. An update of the Sgt. Pepper theme, she was careful to ensure gender balance of cultural figures. Courtesy of the artist.

“Let’s start with the crowd. The crowd really is Peter’s idea. It’s not Paul’s. It arises out of Peter’s work directly. It’s part of what he did at the time. He did collage, he’d ask his students to paint their heroes.

“It’s a convention, the portrayal of a group of people that way, in rows. He likes always to go to the most traditional, obvious idea. That speaks to a nostalgic photograph. But what it becomes in this case is a falsification. We know immediately it’s false. That’s the interesting, surreal part of it. Peter wanted to do it as a collage.

“My vision was to do it as a set. And that is supported by my work at the time. Everything I did was life size, everything I did had a setting so I would create furniture around something or I would put a figure that I had made in a chair with a lamp, with a dog, with flowers. Coming out of Hollywood, it’s how I’ve always worked.

“My father was in town at the time, making Half a Sixpence with Tommy Steele, so I conferred with him. We looked at a set he was doing. He’d actually got in touch with (fairground artist) Joe Ephgrave, through me, to get a merry-go-round for the set, and Joe was the one who painted the drum skin. Joe was a friend of mine.

“So I collaborated with my dad on that, and what my dad did was, he said what you want to do is have a backlit photograph to be behind The Beatles so that it looks real. The cheat of two-dimensional photographs eliding into a front row of three dimensional things – that’s straight from Hollywood, straight from my father, straight from me. I saw my dad do it from the age of five. It’s fun and funny. So I absolutely claim that.
“The flowers: I hated the idea of lettering, or a graphic designer taking Peter and my artwork and slapping their lettering on it. Paul claims it was his idea to do the civic flower arrangement – not right.

We were standing in my studio when that idea came up. I suggested it
Jann Haworth
“We were standing in my studio when that idea came up. I suggested it. (Art dealer) Robert Fraser and Paul came out to the studio and they would have come on the Hammersmith flyover, and right past that was this little instal of succulents that made… I think at the time it was a clock. The idea of doing lettering like that, I just loved, so I suggested that as another form of lettering, besides the drum, that would keep the integrity of the cover.

“So it doesn’t matter whether that’s 20% of the cover or 50%… the authorship was definitely enhanced by Robert Fraser and Paul and their confirmation of the ideas that we put forward, but it wasn’t prefigured by Paul at all, despite his claims.”

The continuing interest in the Sgt. Peppers’ sleeve has prompted Haworth to revisit and re-evaluate the image, and reference it in new works, first in SLC Pepper, a mural in Salt Lake City, Utah (where she now lives), which celebrated scientific advance rather than fame, and aimed for a cast that was 50% female.

It was followed in 2016 by Work In Progress (a collaboration with her daughter, Liberty Blake) which celebrated great female leaders. The work was commissioned to coincide with Hillary Clinton’s presidential candidacy and was translated into banners for the feminist protests during the Trump inauguration.

Haworth – who never listens to the Beatles – says she has taken more satisfaction from questioning the Sgt Peppers’ sleeve than she ever got from making the original artwork.

“It’s a piece of cardboard that’s a foot square. And you look at the photographs from the Hubble (space telescope), and you say, ‘How can it be important?’ It’s not like Rosalind Franklin’s photograph of DNA – or whether that was by Crick and Watson, or a collaboration. They looked at that, and then ‘bingo!’ something happened. Look what it’s done, that photograph, look what it’s done to medicine. That’s really big!”

Sgt. Pepper’s Lonely Hearts Club Band was released on 1 June 1967.

SLC_Pepper_2015_cropped_&_revised (1)

In 2004, Haworth began work on SLC PEPPER, a 50-foot × 30-foot civic wall mural in downtown Salt Lake City, Utah, representing an updated version of the Sgt. Pepper’s Lonely Hearts Club Band album cover. As Haworth stated, “The original album cover, famous though it is, is an icon ready for the iconoclast. We will be turning the original inside out… ethnic and gender balancing, and evaluating for contemporary relevance.”[8] Together with over thirty local, national, and international artists of all ages, Haworth created a new set of “heroes and heroines of the 21st century” in stencil graffiti, replacing each of the personalities depicted in the original. Only the Beatles’ jackets remain as metal cut-outs with head and hand holes so that visitors may “become part of the piece” by taking souvenir photos.

The first phase of the mural’s construction was completed in 2005. SLC PEPPER remains an ongoing arts project, where local artists will continue to add to its design.

Among the over 100 new people selected for SLC PEPPER are: Adbusters, Akira Kurosawa, Alice, Alice Walker, Annie Lennox, Banksy’s Rat, B.B. King, Beastie Boys, Benicio del Toro, Billie Holiday, Björk, Bob Marley, César Chávez, Charlize Theron, Cindy Sherman, Dalai Lama, David Bowie, David Hockney, Ellen DeGeneres, Erykah Badu, Eudora Welty, Enid (Thora Birch), Eve Ensler, Felix the Cat, Frank Zappa, Frida Kahlo, Garrison Keillor, Gandhi, Mikhail Gorbachev, Gore Vidal, Guerrilla Girls, Harvey Pekar, Hedwig, Howard Zinn, Jackie Robinson, Jane Goodall, Jean-Michel Basquiat, Jeff Bridges, Katharine Hepburn, Laurie Anderson, Lee Krasner, Louise Brooks, Martin Luther King, Jr., Maya Angelou, Maya Lin, Miles Davis, Mother Jones, Muddy Waters, Nelson Mandela, Pablo Picasso, Peter Gabriel, Robert Rauschenberg, Ray Charles, Richard Feynman, Rosa Parks, Samuel Beckett, Sylvia Plath, Sojourner Truth, Terry Gilliam, Tom Waits, Thom Yorke, Toni Morrison, Tony Kushner.

Friday 19th May 2017

Posted in Life the Universe and Other Things on May 19, 2017 by bishshat


Thursday 18th May 2017

Posted in Life the Universe and Other Things on May 19, 2017 by bishshat


Leicester 1 Spurs 6

Records were shattered as Harry Kane’s four-goal salvo helped us to our biggest ever Premier League away win at Leicester City on Thursday night.

The England striker traded goals with Heung-Min Son before smashing home twice in the closing minutes, completing his second hat-trick against Leicester – the first coming in March, 2015 – before making it four in a game for the first time as we won 6-1, equalling our all-time league away victory and eclipsing our previous best in the Premier League – 6-2 against Wimbledon in May, 1998, and 5-1 at Hull City in August, 2009.

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It was the second time we’ve scored six this season after our 6-0 home win over Millwall in the FA Cup and means Kane is now on 32 goals for the campaign in all competitions. His 26 in the top flight mean he’s now two ahead of Everton’s Romelu Lukaku in the race for what would be a second consecutive Golden Boot, in spite of missing a combined total of 11 weeks of the campaign with two ankle injuries.


Son’s first goal shortly before half-time, meanwhile, took the South Korean international star’s tally to 20 for 2016-17, meaning this is the first time we’ve ever had three players reach the 20-goal mark in one season, with Kane and Dele Alli having also eclipsed that total. He ended the night with 21.

Leicester had made it 2-1 through Ben Chilwell in their best spell of the game shortly after half-time, but we were always in control as, despite already being assured of a second place finish, we pressed high at every opportunity to reach 83 points – two more than the Foxes won the division with this time last year.

The assist for Harry’s hat-trick goal came from debutant Filip Lesniak, the Slovakian youth.


Wednesday 17th May 2017

Posted in Life the Universe and Other Things on May 17, 2017 by bishshat

I did a schools programme at Compton Verney yesterday and it was faces and feelings.We look at the pictures and discuss what the people maybe feeling.Smiles, shock, sadness and maybe pain or fear.The children show us their sad face and happy face and grumpy face. They then do self portraits in the afternoon out of clay. On looking at the paintings in the collection of folk art one of the children asked what was in the basket of the returning from a bad day at the market painting?


I said that it was fish.Just for fun I asked the children if they thought animals or fish could show what they were feeling . They thought they could not but I asked them if they could give me a fish face. It was great they all did the typical Gold Fish mouth.Then I asked if they could do a shark face. They could and it was excellent.

rate 5 if scared of

At the cafe on the way to Helen’s there was a wine shop and it sold wine with this label.

Felix and Felicette

Among many animal which have been sent to space, only French have sent a cat. Events that led to that launch happened in early 1960’s when French government obtained numerous cats and put them to initial tests. Cats were conditioned to live in small and enclosed spaces, they were suited in special spacesuits witch monitored their health conditions and were subjugated to various tests that would simulate launch and reentry conditions (compression chambers, centrifuges and rocket propelled sleds).

In mid October 1963 everything was ready. Male cat called Felix was chosen to undertake first mission but on the day of the launch this soon to be space cat managed to escape! His replacement was a female cat Félicette which was launched on 18 October 1963 riding the French Véronique AG1 rocket from Algerian Sahara desert rocket base. During her 15 minutes long flight she reached the altitude of 130 miles and safely returned to Earth alive. On 24 October French sent another cat into space but this time they recovered capsule two days late and unknown astronaut cat was already dead by then.
Félix and Félicette remained remembered in France and they appeared on several stamp collections during the years.

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José Guadalupe Posada

José Guadalupe Posada (February 2, 1852 – January 20, 1913 was a Mexican political printmaker and engraver whose work has influenced many Latin American artists and cartoonists because of its satirical acuteness and social engagement. He used skulls, calaveras, and bones to make political and cultural critiques. Among his famous works was La Catrina. Posada was born in Aguascalientes on February 2, 1852. His father was Germán Posada Serna and his mother Petra Aguilar Portillo. Posada was one of eight children, among them; José Maria de la Concepción, José Cirilo, José Barbara, José Guadalupe, Ciriaco, and Maria Porfirio. His education in his early years was drawn from his older brother Cirilo, a country school teacher, who taught him reading, writing and drawing. He then joined la Academia Municipal de Dibujo de Aguascalientes (the Municipal Drawing Academy of Aguascalientes). Later, in 1868, as a young teenager he went to work in the workshop of Trinidad Pedroso, who taught him lithography and engraving. Some of his first political cartoons were published in El Jicote, a newspaper that opposed Jesús Gómez Portugal. He began his career as an artist making drawings, copying religious images and assisting in a ceramic workshop.


In 1872, Posada and Pedroza dedicated themselves to commercial lithography in Leon, Guanajuato. While in Leon, Posada opened his own workshop and worked as a teacher of lithography at the School of Secondary education along with continuing his work with lithographs and wood engravings. In 1873, he returned to his home in Aguascalientes where married María de Jesús Vela in 1875. The following year he purchased the printing press from Trinidad Pedroza. From 1875 to 1888, he continued to collaborate with several newspapers in León, including La Gacetilla, el Pueblo Caótico and La education.

He survived the great flood of León on June 18, 1888, of which he published several lithographs representing the tragedy in which more than two hundred and fifty corpses were found and more than 1,400 people were reported missing. At the end of 1888, he moved to Mexico City, where he learned the craft and technique of engraving in lead and zinc. He collaborated with the newspaper La Patria Ilustrada and the Revisita de Mexico until the early months of 1890.


He began to work with Antonio Vanessa Arroyo, until he was able to establish his own lithographic workshop. From then on Posada undertook work that earned him popular acceptance and admiration, for his sense of humor, and propensity concerning the quality of his work. In his broad and varied work, Posada portrayed beliefs, daily lifestyles of popular groups, the abuses of government and the exploitation of the common people. He illustrated the famous skulls, along with other illustrations that became popular as they were distributed to various newspapers and periodicals.

In spite of his varied and popular work, Posada was not as recognized as other contemporary artists. It wasn’t until his death that his aesthetic as a true folk artist was recognized. This was largely thanks to Diego Rivera, who gave great publicity to his work.


In 1871, before he was out of his teens, his career began with a job as the political cartoonist for a local newspaper in Aguascalientes, El Jicote (“The Bumblebee”). The newspaper closed after 11 issues, reputedly because one of Posada’s cartoons had offended a powerful local politician. He then moved to the nearby city of León, Guanajuato. There Posada was married to Maria de Jesús Vela on September 20, 1875. In Leon, a former associate of his from Aguascalientes assisted him in starting a printing and commercial illustration shop. They focused on commercial and advertising work, book illustrations, and the printing of posters and other representations of historical and religious figures. Included among these figures were the Virgin of Guadalupe, the Virgin, the Holy Child of Atocha and Saint Sebastian.

In 1883, following his success, he was hired as a teacher of lithography at the local Preparatory School. The shop flourished until 1888 when a disastrous flood hit the city. He subsequently moved to Mexico City. His first regular employment in the capital was with La Patria Ilustrada, whose editor was Ireneo Paz, the grandfather of the later famed writer Octavio Paz. He later joined the staff of a publishing firm owned by Antonio Vanegas Arroyo and while at this firm he created a prolific number of book covers and illustrations. Much of his work was also published in sensationalistic broadsides depicting various current events.

From the outbreak of the Mexican Revolution in 1910 until his death in 1913, Posada worked tirelessly in the press. The works he completed in his press during this time allowed him to develop his artistic prowess as a draftsman, engraver and lithographer. At the time he continued to make satirical illustrations and cartoons featured in the magazine, El Jicote. He played a crucial role for the government during the presidency of Francisco I Madero and during the campaign of Emiliano Zapata.


He illustrated stories of crime and passion, along with stories of appearances and miracles. Posada portrayed and illustrated all kinds of characters in his works; some of them being revolutionaries, politicians, drunks, elegant ladies, bull fighters, workers and a wide array of others. He also coined the illustration for the famous skulls. They portrayed a wide variety of people, generally used to show the regrets and joys of the people.

Monday 15th May 2017

Posted in Life the Universe and Other Things on May 15, 2017 by bishshat


The Wicker Man

The Wicker Man is a 1973 British mystery horror film written by Anthony Shaffer and directed by Robin Hardy. The film stars Edward Woodward, Britt Ekland, Diane Cilento, Ingrid Pitt, and Christopher Lee. Paul Giovanni composed the soundtrack. The story, inspired by David Pinner’s 1967 novel Ritual, centres on the visit of Police Sergeant Neil Howie to the isolated island of Summerisle, in search of a missing girl. Howie, a devout Christian, is appalled to find that the inhabitants of the island have abandoned Christianity and now practise a form of Celtic paganism.


The Wicker Man is generally well-regarded by critics. Film magazine Cinefantastique described it as “The Citizen Kane of horror movies”, and in 2004 Total Film magazine named The Wicker Man the sixth greatest British film of all time. It also won the 1978 Saturn Award for Best Horror Film, the burning Wicker Man scene was No. 45 on Bravo’s 100 Scariest Movie Moments, and during the 2012 Summer Olympics opening ceremony the film was included as part of a sequence that celebrated British cinema. In 2013, a copy of the original U.S. theatrical version was digitally restored and released.

In 1989, Shaffer wrote a script treatment for The Loathsome Lambton Worm, a direct sequel with fantasy elements. Hardy had no interest in the project, and it was never produced.


Sergeant Howie (Edward Woodward) journeys to the remote Hebridean island Summerisle to investigate the disappearance of a young girl, Rowan Morrison (Gerry Cowper), about whom he has received an anonymous letter. Howie, a devout Christian, is disturbed to find the islanders paying homage to the pagan Celtic gods of their ancestors. They copulate openly in the fields, include children as part of the May Day celebrations, teach children of the phallic association of the maypole, and place toads in their mouths to cure sore throats. The Islanders, including Rowan’s mother (Irene Sunters), appear to be attempting to thwart his investigation by claiming that Rowan never existed.

While staying at the Green Man Inn, Howie notices a series of photographs celebrating the annual harvest, each featuring a young girl as the May Queen. The photograph of the most recent celebration is suspiciously missing; the landlord (Lindsay Kemp) tells him it was broken. The landlord’s beautiful daughter, Willow (Britt Ekland), attempts to seduce Howie, but he refuses her advances.


After seeing Rowan’s burial plot, Howie meets the island’s leader, Lord Summerisle (Christopher Lee), grandson of a Victorian agronomist, to obtain permission for an exhumation. Lord Summerisle explains that his grandfather developed strains of fruit trees that would prosper in Scotland’s climate, and encouraged the belief that old gods would use the new strains to bring prosperity to the island. Over the next several generations, the island’s inhabitants fully embraced the pagan religion.

Howie finds the missing harvest photograph, showing Rowan standing amidst empty boxes. His research reveals that when there is a poor harvest, the islanders make a human sacrifice to ensure that the next will be bountiful. He comes to the conclusion that Rowan is alive and has been chosen for sacrifice. During the May Day celebration, Howie knocks out and ties up the innkeeper so he can steal his costume and mask (that of Punch, the fool) and infiltrate the parade. When it seems the villagers are about to sacrifice Rowan, he cuts her free and flees with her into a cave. On exiting it, they are intercepted by the islanders, to whom Rowan happily returns.


Lord Summerisle tells Howie that Rowan is not the intended sacrifice — Howie himself is. He fits their gods’ four requirements: he came of his own free will, with “the power of a king” (by representing the Law), is a virgin, and is a fool. Defiant, Howie loudly warns Lord Summerisle and the islanders that the fruit-tree strains are failing permanently and that the villagers will turn on him (Lord Summerisle) and sacrifice him next summer when the next harvest fails as well; Summerisle angrily insists that the sacrifice of the “willing, king-like, virgin fool” will be accepted and that the next harvest will not fail. The villagers force Howie inside a giant wicker man statue, set it ablaze and surround it, singing the Middle English folk song “Sumer Is Icumen In.” Inside the wicker man, a terrified Howie recites Psalm 23, and prays to Christ. He curses the islanders as he burns to death. The wicker man collapses in flames, revealing the setting sun.