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Seeing Bruce perform live for the first time only confirmed that what my dad had been telling me for years was true: Bruce is truly an icon with the ability to engage and unite any crowd. As he left, people around me kept repeating, “Broooce!

By the spring of , he and the E Street Band played a markedly different show than eight months prior, its length shorter, its contents refined. Even the tempos at which they played individual songs shifted.

London was a place of change unto itself. Springsteen had made his U. Let the music have the final word on both counts. Here, less than six years later, he had eluded those ghosts.

Nearing the end of a six-night run at Wembley Arena, with The River buoyed by a small armada of singles and a 12″ EP pressed especially for this U. He sounds assured in each element of this song concert, exemplary of the high-intensity, relatively compact performances he had crafted that year, which helped mint loyal audiences from Barcelona to Stockholm. With a tilt toward the rockers, London June 4, presents ten River tracks, from “The Ties That Bind” to “Ramrod,” and “Jackson Cage,” too, played in response to a perfectly-timed request shouted from the audience.

In the back half of the set, Springsteen hums along to “Racing in the Street,” filling a space as if charmed like anyone else hearing it , then pairs it with a typically impassioned version of “Backstreets. Overall, five different song selections complement the following night’s performance, itself a previous Live Archive release [right] in Springsteen’s muse had wandered well beyond the confines of his expansive double album — itself a response to precisely the same creative restlessness that caused him to mothball its single-disc predecessor.

For his first formal tour outside North America, Springsteen became an ambassador of sorts, bringing plenty of his own music and a bevy of covers, too, from traditional folk and Cajun numbers to Stax, Elvis Presley, and John Fogerty. The show in Europe was celebratory, but Springsteen picked up on the openness of his new audiences and experimented broadly as the tour continued, going so far as to add a new verse to Creedence Clearwater Revival’s “Run Through the Jungle” though even he may have been surprised by its punch — he performed it only three times on the tour, in The Netherlands and Sweden.

Whether tried out or brought in for the long haul, never had his choices in covers sounded more deliberate. Wembley Arena in , photographed by Gary Desmond. Landing in the U. K, with Pete Townshend watching admiringly — and no doubt eager to pass the torch — Springsteen laid out his own State of the Union, articulating a vision and honoring his forebears as he continued crafting covers like a caretaker. The former ditched its initial ’round-the-campfire pleasantries; in London, it stood as a stark reminder of inclusiveness.

It sits out this night, but resumes its duties the next. Those cover songs evolved organically. But “Trapped,” heard here shortly after its May 29 debut at Wembley, came in as if it had been stage-ready and waiting all along: in topic and arrangement, the reinvention of the Jimmy Cliff original is perhaps the single number that sounds like a Bruce Springsteen song he never wrote.

Moreover, like “War” at the end of the Born in the U. Framed by a brooding keyboard that countered a ticking-of-the-clock guitar part, and set off, finally, by the biggest saxophone solo of the s, it was transcendent in the first person and made the most of E Street muscle.

Springsteen later contributed a recording of “Trapped” to We Are the World, which FM radio picked up; it spent three weeks at 1 on the Mainstream Rock Airplay Chart in the spring of ‘ Its ethereal, monochrome arrangement featured a motif that recalled The Beatles’ “Mr. Moonlight,” which carries the tension and effectively recasts the lyrical optimism as a cautionary tale — not the excited sprint up the driveway at Graceland, but the chastened, dead-of-night walk back down.

Later in the tour, Springsteen would connect the dots about forces that shaped his father’s life. Here, he merely wonders how a young Elvis who “seemed so sure of himself” could have gone astray.

When Springsteen took the stage at Hammersmith Odeon, relatively few had seen “rock and roll future. By , however, Springsteen stood in a different place, appearing, as Greil Marcus wrote in New West that February, “at once as the anointed successor to Elvis Presley and as an impostor who expects to be asked for his stage pass; his show is, among other things, an argument about the nature of rock ‘n’ roll after twenty-five years.

A tradition that made its way to Tupelo, then on to Freehold, and finally, to Wembley. The stuff, in other words, of dreams. Also Read: Erik Flannigan’s latest nugs.

He had been candid about the darkness and isolation he experienced following the ’81 River Tour part of the recipe for Nebraska , and in , at the pair of Christic Institute concerts, Bruce talked openly before “My Father’s House” on the first night, and before “The Wish” on the second about seeing a psychiatrist. Both disclosures got laughs — and of course there’s plenty of humor in the telling — but both nights emphasized that those stories were true.

It was a bold admission at the time; well before Metallica’s So me Kind of Monster , therapy just wasn’t a subject many rock musicians tended to chat about, certainly not on stage — “it’s against all that macho posturing you have to do,” as Bruce said about the lack of “mother songs” in rock ‘n’ roll.

But to many Springsteen fans, it was compelling and clear that “doing the work” was helping him better understand himself and his art. For a wider audience, James Henke’s Rolling Stone Interview was particularly notable for Springsteen’s discussion of therapy, and what Bruce called “a real intense period of self-examination” circa ” The best thing I did was I got into therapy. That was really valuable. I crashed into myself and saw a lot of myself as I really was. And I questioned all my motivations.

Why am I writing what I’m writing? Why am I saying what I’m saying? Do I mean it? Am I bullshitting? Am I just trying to be the most popular guy in town? Do I need to be liked that much? I questioned everything I’d ever done, and it was good. You should do that. And then you realize there is no single motivation to anything. You’re doing it for all of those reasons. Bruce also noted Patti Scialfa’s helpful role in the process: “She had a very sure eye for all of my bullshit. She recognized it.

She was able to call me on it. So given that history, it’s less surprising that Springsteen has now written the foreword for a Goop self-help book. Springsteen calls it “a beautiful and important book, particularly for the moment we are in. It helps lead the way to a more powerful and noble society based on the tenets of love, justice, and respect. For my wife, Patti, and me, Terrence Real has been one of those guides, and this book is a map through those trees.

If the dark forest and river of life sound familiar, you’ll surely recognize additional metaphors, ideas, and kernels from his songs in Bruce’s writing here. The more personal element of his Foreword looks back at his own struggles, viewed now from the perspective of a man with “forty years of trying to find my way through the shadowed trees, down to the river of a sustaining life”:.

With help I realized, in early middle age, that I was subject to a legacy that had been passed down from generations in my Italian-Irish family.

A long and stubborn stream of mental illness and dysfunction manifested itself in my life as a deep, recurring depression and an emotional paralysis. I had a fear of exposing my inner life to anyone besides twenty thousand complete strangers at your nearest arena. So how do you transform that legacy? How do you break the chain of trauma and illness whose price is compounded with each successive generation?

As Terry says, “Family pathology is like a fire in the woods taking down all in front of it until someone turns to face the flames. And at the end of the day, the way we honor our parents and their efforts is by carrying on their blessings and doing our best to not pass forward their troubles, their faults, to our own children. Our children’s sins should be their own. It’s only through the hard work of transformation do those of ours who have come before cease to be the ghosts that haunt us and transform into the ancestors we need and love to walk beside us.

Working even a small piece of this into my life took a long time, and I’m still a daily work in progress. Springsteen’s entire foreword appears online courtesy of oprahdaily.

As always, it’s a good idea stay alert as onsales continue for other cities — next on the docket are stops in Germany and Austria. The sale for the two shows in the Netherlands, in Amsterdam and Landgraaf, was also cancelled and will open tomorrow at am.

What a terrible day for Ticketmaster — and for those fans that may not have the time off from work to try once again tomorrow. I can’t remember ever having experienced this. The website may have been busy and unstable during previous big sales, but having to cancel it all and start over isn’t everyday stuff.

So, in case someone should doubt it, the demand for tickets to a Bruce show appears to be at the same level — at least — as before Covid Another example: the almost , tickets for the three shows in Gothenburg sold out in less than an hour on Monday.

I got tickets for June 26 and 28, so already I’m really looking forward to next summer! The legendary, Detroit-based rock mag was home to some of the most exciting music journalism of its era. One of the many hallmarks of the magazine was the way it consistently championed rock artists — including Bruce Springsteen — before the mainstream media caught on, and CREEM always managed to be cutting edge and extremely entertaining all at the same time.

One of Kramer’s employees, Tony Reay, was hired as the first editor and named the magazine after his favorite band, just changing the spelling to avoid confusion.

Shortly thereafter, year old future Springsteen biographer Dave Marsh was hired. Legendary rock writer Lester Bangs was recruited soon after that, having been fired from his gig at Rolling Stone for “disrespecting musicians.

CREEM’ s irreverent brand of rock journalism lasted in its initial run from to The archives are open to the general public on June 1, but the fine folks at CREEM have been kind enough to give Backstreets readers an early start on this classic material, available for perusing now using this Backstreets link. The entire digital archive is FREE with a day trial. It’s only fitting that Springsteen fans get first crack, because the magazine covered the Boss with some frequency in its issue run.

Tons of great photos are here, too, and even fold-out Bruce calendar pages! Make your way to archive. The extra show went on sale immediately as it announced, approximately 15 minutes into today’s scheduled onsale — that’s standard operating procedure for additional dates that weren’t in the original press release. To date, extra shows have also been added for Dublin May 9 and Oslo July 2 ; it’s a good idea stay alert as onsales continue for other cities. A week from today brings the official release of this classic Asbury Jukes show at the Agora Ballroom in Cleveland in If you’re a fan of Southside Johnny With Memorial Day just around the corner, we’ve just gotten in a brand new run of our Backstreet Records T-shirt with the classic logo from the ’80s — this time it’s green on green.

Green on “heathered dusty sage,” to be exact. Quantities are limited — if you like the look, grab yours now , in sizes from Medium to 3X, and show off your support of our Springsteen-focused indie record shop. We still have a few sizes left of the prior colorway, gold on dark navy … but just a few.

And as usual, when the new one runs low, we’ll whip up another fresh batch in new colors. On the new tour schedule, and plans to extend it: “We’ve got an old-school tour planned, where we’ll be out there for quite a while to give everybody a chance to see us if they’d like to.

Then head over to Europe through the beginning of August, and come back to the States play a few stadium shows outside. On plans for the show itself: “I already wrote out a setlist — just to have something to do, and an idea, like, ‘Well, we could start from here, and see where it’s going to go…’. And then because of the way we are, after a short period of time we start switching it up anyway, just to keep it interesting for us, and because we’ve got such a big body of work this time.

It should be a balance… the show should feel contemporary, and it should also make you feel at home at the same time. Re new material — on Letter to You, a tour for which was a casualty of Covid: “There will be plenty of that when we get out on the road.

It’s not impossible. That one, I’m gonna have to wait and see. On not touring with the E Street Band since “It’s kind of mind-boggling, to be honest with you. I mean, it doesn’t feel that long. We stayed busy over that time, but still… I’ve got the jones to play live very badly at this point, so I’m deeply looking forward to getting out there in front of our fans. You’d be forgiven for thinking it might never happen Those initial U. Additional cities and shows in the U.

A second North American tour leg will start in August. By the time the tour begins, nearly six years will have gone by. See you out there, next year — and beyond.

Just keep clear of monkeypox. Stay safe. And of course, watch this space for additional details on cities, dates, and on-sales as soon as we know them.

A new, hardcover Revised and Expanded edition is out now from Rutgers University Press, with an extra chapter “Fourth of July, ” examining how Asbury Park has changed in the 21st century, experiencing both gentrification and new forms of segregation.

He’ll be signing and speaking about Asbury Park — “which is to say,” he adds, speaking “about gentrification and urban renewal, Bruce Springsteen and racism, condominiums and oom-pah bands.

Admission is free. If you won’t be in Brooklyn on Sunday, Daniel has kindly signed bookplates for us, so you can still get his signature with your copy of the new edition when you order from Backstreet Records — in stock now! If you have any doubts that a one-man show on ukelele could do justice to the music, watch Jim Boggia ‘s new “Growin’ Up” clip above.

And if you dig that, check out “Born to Run,” too — shot on location. Public Service Announcement with guitar! Seeing these two revisit their history? It’s the night when rock critic Jon Landau was in the crowd, about which he famously went on to write, “I saw rock and roll future and its name is Bruce Springsteen.

For the story of the night as it’s been told nowhere else, we hope you’ll check out Rock and Roll Future if you haven’t already. Barry has offered these at a special price just for us, and it’s one hell of a value, we can say “without reservations of any kind.

Host Greg Drew has assembled another great hour-plus mix of tracks to focus on Danny’s greatness. Greg’s mix spans more than three decades of Federici’s professional career, taking us into the studio and live onstage, on and off E Street, even to the solo projects where Danny played all of the keyboard parts, thanks to the magic of multi-tracking. As usual, along the way we’re also accompanied by the host’s insightful commentary.

This challenge was often a real one for me when I was young, as I could barely afford tickets or bus fare to the venue. Bob Marley came to Seattle with two shows on one night, and I could only afford one ticket, but I managed to see both by hiding on the gross auditorium floor between shows until the second one started. My standard answer to this quandary is that, no matter how special those finales might be, you never want to miss the first show an artist plays in a city.

On any opening night, the musicians are nervous, you are nervous, and all those nerves make the whole thing come alive. Bruce was born on the Jersey Shore and became famous in Richmond and Philly, but his entire early life he dreamed of “making it” in New York.

That was the true measure of success for a kid growing up in New Jersey — or anywhere, for that matter. NYC really meant something. Myself, I had missed the No Nukes show because in I was just a young, poor college kid in Seattle who couldn’t afford a plane ticket. So a decade later, finally walking into MSG felt special in so many ways if only to see the Knicks banners on the ceiling.

Furthermore, Bruce had seen Elvis Presley play the Garden, so in that way this was a palace of dreams to Bruce, and to many, and to me. But once the show started with “Tunnel of Love,” I returned to and stopped my historical daydreaming. I was nervous, Bruce was likely nervous… but after three months on the road playing more than 40 shows, this was a well-oiled machine. Since the Tunnel tour was really a conceptual show, and Bruce’s first attempt at that, the basic set list didn’t vary tremendously.

Max and Garry’s role in the band is often under-celebrated, but just listen to the first ten seconds of “Boom Boom” and you’ll sense what’s under the hood of the E Street Band. This band has a Hurst on the floor. I thought “Be True” might be dropped, as when “Boom Boom” took its place in Indiana and Minnesota, so it felt extra special when it stayed in and they played both. I was already over “Seeds” by this point, because to this ballad-loving boy, most of the rockers lose a level of emotional resonance to me — but I make an exception for “Roulette.

Hearing an outtake tape a couple years later, I fell in love with “Roulette” and took on a lobbying effort to get Bruce to play it. Readers of Backstreets probably got sick of hearing me advocate for it; I have to think Bruce got sick of me bringing it up every time I ran into him it is likely the words “Jesus Christ, there’s that freaking kid from Seattle who is going to ask to me play ‘Roulette’ again” were uttered.

But when Bruce played it in Worcester, it was sweet vindication. Hearing it in MSG… well, that was winning a championship. Many of the highlights of the Tunnel shows, including this Garden stand, were the non-album tracks, which were to us long-timers like a new vein of gold discovered.

But some of the band’s longtime standard-bearers were also special moments at MSG. Thirty-four years later now I can still remember the way the New York crowd greeted the searing solos in “Adam Raised a Cain” they went crazy.

Bruce did not need to play like that to win over an audience like this, but maybe it was revenge in his psyche for all those bus rides into the city in the pre-fame days.

I didn’t know it at the time, but this would be the last performance of “Walk Like a Man” for 17 years. It was my favorite song on Tunnel , and even though my father hadn’t walked me down the aisle on my wedding day, I still felt like this song was written about me. That’s the power of great art to transcend from the creator to the listener.

It’s a magic act for every single song, maybe an illusion like a tunnel of love, but this song made me cry every time I heard it in concert. It brought up so much grief about my own relationship with my dad. I cried that night at the Garden hearing “Walk Like a Man” — but I probably would have wept even more if I knew the song would go away for almost two decades.

This was only eight months after the Black and White Night show, but I’ve always felt that Roy Orbison was ultimately the model that Springsteen most emulated: aloof, mysterious, haunting, but also haunted himself. Did it reappear at the second show? Was it as good as watching the live premiere?

No, it was not. Did Bruce sing this as well as Roy? No, no one sings like Roy. But Bruce is clearly really into this performance, and the final time he sings “cry-aaaah-ing” is as poignant a moment as any on the Tunnel tour.

This was pre-computer setlist databases, and trying to figure out in my head the last time Bruce didn’t play “Rosalita” took up all the head space I had left. What the heck? And then the thought: “Maybe… this is better , dare I say? I’m still thinking that over years later, but at the time, it felt like the show was a bit naked, and in that nakedness, it felt fresh. It felt raw. It felt like suddenly something different was happening. I felt like crying all over again realizing I had seen a Bruce show without “Rosalita.

Today’s release brings a rare bonus track, as have only a couple of Live Archive releases so far. Appended to the full show recording is a highlight from that day’s soundcheck: “In Dreams,” another Orbison classic, also lovely, and one more piece of evidence that Bruce had Roy on his mind that night and on many nights.

When the show was over, for the first time in my life I walked out of Madison Square Garden. Walking in was one thing; but walking out of this concert hall, and immediately being right in the middle of NYC — that was something. The New York Times called Bruce’s performance “magnificent. Springsteen” reconciling “a sober awareness of social and erotic realities and a boundless faith in life.

NYC is the capital of culture, but rarely does a visitor come away with a boundless faith in anything, much less in life. That night, I did. Also read: Erik Flannigan’s latest essay for the nugs. Cross reporting. It was a one-time-only live event: for more than an hour in this intimate setting, the conversation between these two longtime blood brothers traced their lives and music, guided by Stevie’s New York Times bestselling memoir, Unrequited Infatuations.

Their warm and lively dialog was buoyed by the energy of the small, in-person audience, who were the only witnesses. A multi-camera shoot of the Between the Lines interview, directed and produced by Ryan Celli who also produced Little Steven and the Disciples of Soul: Live from the Beacon Theatre , captures the spirit of the event and will make you feel like you’re right there in the room, as you can see in this sneak peek:.

Donate to view the stream, and as a bonus you’ll be entered into Hard Rock’s “Party Like a RockStar” vacation package, which includes:. If you have any issues, contact Michael-Ann Haders at michael teachrock.

In a statement from Sony Music announcing the acquisition late last year, Springsteen noted the year milestone:. I am one artist who can truly say that when I signed with Columbia Records in , I came to the right place. During the last 50 years, the men and women of Sony Music have treated me with the greatest respect as an artist and as a person. I’m thrilled that my legacy will continue to be cared for by the Company and people I know and trust.

In his Born to Run memoir, Springsteen wrote that he “couldn’t believe it” at the time, astounded by how manager Mike Appel “finagled” the face-to-face at Hammond’s office: “John Hammond! The legendary producer who signed Dylan, Aretha, Billie Holiday — a giant in the recording business The motor mouth of Mike Appel was a fierce and surgucal instrument when put to proper use. Springsteen played a handful of songs with just Hammond and Appel in the room that morning, on a loaned guitar Bruce brought with him sans case : “I had no acoustic guitar of my own so I borrowed a cheap one with a cracked neck from Vinnie ‘Skeebots’ Maniello, my old Castiles drummer.

The songs were strong enough to overcome the aggresive setup. We were a storybook scene then. I turned to him and I said, ‘I think we’re on Columbia. Interviewed for Backstreets again in , Appel described the scene from his perspective:. I said to [Hammond], “If you are the guy that discovered Bob Dylan, then you won’t miss this. And he hated that. He had dark sunglasses on the top of his head, on his gray crew cut, and he put them down over his eyes.

I thought, “Oh god, now he hates my guts. Play me another song, Bruce. He did not miss a thing. He was as excited as we all were. He was just like a big kid. So it didn’t matter that he might have been in his 60s or whatever, that didn’t mean a damn thing. That guy saw it right away. But I need to see you play. And I need to hear how you sound on tape.

We went to another club. And finally we went to the old Gaslight on McDougal Street and the guy says, ‘Yeah, we have an open night where you can come down and play for half an hour.

John Hammond said, ‘Gee, that was great. I want you to come to the Columbia Recording Studio and make a demo tape. Historical accounts including Bruce’s own vary, but as we understand it, that recording session took place the very next day.

Springsteen, Appel, and Hammond got back together at Columbia and got 12 songs on tape — typically referred to since as the Hammond Demos — for the ears of Columbia president Clive Davis. As those four demos became canon in ’98, Bruce recalled to MOJO how he felt on the day of their recording — now a half-century ago: “I was excited.

I felt I’d written some good songs and this was my shot. I had nothing to lose and it was like the beginning of something. I knew a lot about John Hammond, the work he’d done, the people he’d discovered, his importance in music, and it was very exciting to feel you were worth his time. No matter what happened afterwards, even if it was just for this one night, you were worth his time. That meant a lot to me. He was very encouraging — simply being in that room with him at the board was one of my greatest recording experiences.

The Live Series today returns with track Songs of Location This month is a rare one with five Fridays, so even though it might feel like today is right for another Live Archive release, the next First Friday is still a week away. There is, however, a new playlist of live tracks online today, the latest entry in The Live Series that brings select Archive performances to a wider audience. These songs previously appeared in the context of full-show releases from the Archive and are now available available for streaming beyond the nugs.

Like previous Live Series entries, the themed playlist spans Bruce’s career from to Click here for links. Along with the offer, Nugs has provided a list of recommendations from our own Erik Flannigan, who also provides the monthly write-ups about each release on the nugs. Navigating the bounty of the Live Archive series, which contains some of the most famous shows Bruce has ever performed, can be delightfully daunting.

These performances are especially near and dear to me. This list of “Flannigan’s Faves” includes his rationale for each pick; we’ll also provide the chronological list below, with links to our own write-ups for each release for further reading. Though the Live Archive releases are also available via live.

But of course many of us don’t want to wait two months to see Springsteen’s first public performances of the year. These are crowd-shot and bit distant, but it’s proof of life… right now. So it was particularly fitting that the Boss would return to pay his own respects, with Stewart the man of the hour at the Kennedy Center last night, the beloved former host of The Daily Show winning the 23rd Mark Twain Prize for American Humor.

Springsteen made a special trip to Washington DC yesterday to be a surprise guest at the prize ceremony — he wasn’t on the advance bill, but his face appeared on the event poster when attendees arrived at the John F. Kennedy Center for the Performing Arts.

As Stewart took the stage at the beginning of the night, it was to the sounds of Springsteen performing with Gary Clark Jr. A quarter-century later, it stands as Springsteen’s most substantial collaboration on another artist’s record since Gary U. American Babylon was remastered and expanded for a 25th Anniversary release on compact disc last year, and now it’s finally time for the vinyl edition, due next Friday, April Other than beyond a very limited European run in , this is the album’s first commercial release on vinyl.

The new 2LP set features the newly remastered 12 tracks from the original studio recording, plus six live songs from ‘s October Assault tour, when Bruce performed with the band as an honorary Houserocker. While the vinyl doesn’t include as many bonus tracks as the 2CD set which has additional live tracks as well as a few song demos , it does include Springsteen’s vocal turn on “Light of Day” and a never-before-heard version of Little Richard’s “Keep a Knockin’,” exclusive to this two-record set.

We’re now taking pre-orders for the American Babylon 25th Anniversary 2LP , and we’ve recently added other new items to our store as well See all Latest Arrivals in the Backstreet Records shop. It is a testament to his brilliance as songwriter that Springsteen’s songs are covered so often. Better still is when a musician chooses a hidden gem.

Doors are open for Bruce Springsteen Live! Above and right, photographs from the newly opened exhibit in Tulsa by Kat McDonald. As a year follower of Bruce Springsteen and the E Street Band, I knew I had to make the trip to Tulsa for the opening — and the exhibit was worth every minute of the seven-hour drive from Austin, TX.

I attended the member-exclusive preview of the exhibit on April 15, and I instinctively knew it was going to be an experience of a lifetime. Being surrounded by artifacts, photos, and memories of Springsteen and the E Street Band was nearly overwhelming. Bruce’s Esquire is of course a major attraction, but it was Clarence’s black-and-gold saxophone and Danny’s accordion that brought tears to my eyes while also invoking memories of these master musicians performing on stage.

Stunning photographs of the band surrounded the exhibit, while the interactive displays provided a more intimate connection with Springsteen and the E Street Band. Photograph by Nicki Germaine – of a Nicki Germaine photograph from on display in the exhibit. As she recounted it, the band was very laid back prior to the show, but when they hit the stage, they exploded — and she knew she had to capture this phenomenon.

Tallent recalled the band’s now-legendary concert in East Berlin, for a massive crowd of , behind the Berlin Wall. He remarked how he felt privileged to be an American after seeing the suppression and censorship being imposed on the people of East Berlin.

That July 19, concert is included in the exhibit’s top ten list of Springsteen shows. Bruce Springsteen Live! Read more about the exhibit in its initial Newark run here. Join us in wishing EStreetMax a happy birthday, 71 today! Much of that tape became his narrative masterpiece Nebraska , and other elements helped launch his best-selling LP Born in the U. In illustrating Scott’s studio process, the YouTube video [below] reveals how Bruce and the band worked up parts and arrangements for the storied title track, taking the lament of a Vietnam Veteran from its rugged, raw form to multi-platinum, worldwide fame.

Toby Scott served for decades as Springsteen’s mixer, recorder, and archivist. In , he captured “Born in the U. In it, Scott uses the stems, or isolated tracks, to demonstrate, quite simply, how a song gets recorded. Forty years on, hearing the straw spun into gold not only is useful for music professionals, but also it provides a fascinating glimpse for fans who’ve long understood that the E Street Band recorded “Born in the U.

That may be the case — once they copped the final arrangement. Scott’s whistle-stop through the song’s various stations — unused keyboard parts, Springsteen instructing the band, isolated drum and bass parts — clearly shows the song’s evolution. By this point in its history, the E Street Band was recording live. Scott illustrates how they set up in the Power Station and even where they stood: on this track, Clarence Clemons plays a shaker in a hallway just outside the main studio.

Explaining how sounds and effects got placed, Scott’s presentation pays particular attention to Max Weinberg’s drums, Springsteen’s voice, and his guitar. From knowing how to mic the room to his ability to mix on the fly, Scott was instrumental in the sessions, in which, by his count, the E Street Band committed 65 songs to tape from to And while recording would stretch on for two more years after getting “Born in the U.

A,” they worked quickly. Scott’s deep dive into “Born in the U. A” follows a similar one that mixmaster Bob Clearmountain appeared in a year ago — recommended further viewing if you enjoy seeing how Springsteen and the E Street Band recorded one of Bruce’s best songs. With this much great music, combined with the host’s insightful commentary, it’s made abundantly clear that while the E Street Band has been blessed with several guitar wizards over the years, the band’s leader is also among their ranks.

While John Hammond often gets sole credit for signing Springsteen to Columbia Records in , label president Davis played no small part. Young Bruce auditioned for him as well, that day in , and Davis was quickly won over, becoming a dependable and crucial source of consistent support at the label. As Springsteen put it just a few years ago [see clip below from the documentary Clive Davis: The Soundtrack of Our Lives ], Davis displayed “a tremendous personal commitment to my own career.

Davis also had a different perspective on their new Columbia signee than Hammond, recalling in his memoir, The Soundtrack of My Life , that Hammond “viewed Bruce as essentially an acoustic artist, whereas…I felt he was a rock artist by both taste and inclination. I believed it was essential to emphasize that element in his sound. So it’s no surprise that, when Clive Davis was feted on Wednesday night for his birthday, Springsteen was one of many prominent artists to pay tribute and serenade the newly music business legend.

The surprise: Bruce had to do so via video screen, since he was quarantined at home. As Variety reports:. Bruce Springsteen, appearing from his home studio in a pre-recorded video projected onto the venue’s several big screens, apologized for not being present but said he was “quarantined” at home — which sounds alarming but he didn’t seem terribly concerned about it; his rep did not respond to requests for comment, but it seems possible that someone on his team had tested positive.

Springsteen remained engaging and entertaing despite not being in the room, appearing healthy and in good spirits as he addressed Davis and the others assembled, guitar in hand.

His acoustic performance of “Blinded By the Light” was prefaced by a warm, heartfelt tribute to the man of the evening, emphasizing Clive’s “all-in” support as well as just how far the two go back:. Fifty years ago! Fifty years ago with just an acoutsic guitar in my hand, and nothing else, and sitting down and playing you a few songs, and you were so kind, and generous, and gentle, and patient with an absolute nobody who came up to New York City on the Lincoln Transit bus with his guitar between his legs.

I can’t thank you enough for that moment — I’ll never forget it as long as I live. For the crowd there: when Clive is with you, he is with you all the way! One-hundred percent. And he says, “There’s nothing we can play on the radio. Two of my best songs on that record, thank you, Clive.

And then when the record came out, Clive recited the lyrics like they were the Dead Sea Scrolls — like they were Shakespeare’s lost sonnets, like they were missing pages of Revelation — filmed himself, and sent that film all across the United States, to every Columbia Recording office in the U. That was all-in, Clive. And so in your honor, and ’cause I love ya so much, and ’cause you’ve been so good to me, and you’ve made such change in my life, I’ll never forget it… I’ll never forget you.

This is for you, Clive! As Jem Aswad writes in the Variety report, “It’s not a song he plays often these days, and it was amusing watching his face as he struggled at a couple of points to recall the knotty lyrics, then burst into a ‘hey! I got it! Happy birthday, Mr. Other historically significant reels from the WMMR archives, these containing the legendary Main Point ’75 show broadcast by the station the following year – via wmmr.

Invited by disc jockey David Dye known then and now as a major supporter of Bruce’s music , Springsteen rolled into Rittenhouse Square sounding like he’d just woke up after a hard night.

Dye introduces Bruce noting, “He had a gig last night and he looks like David Dye, now semi-retired but still doing a Sunday morning show at Philly public radio’s WXPN called in to yesterday’s rebroadcast to share what he remembered. He noted Bruce’s seemingly uncharacteristic recalcitrance, explaining that Springsteen was known to be a little shy in circumstances that weren’t onstage — which is why he’d invited him to do a guest DJ set, rather than a straight interview, as it might put him more at ease.

Bruce introduced the pile of records he’d pulled out of the WMMR library as “things that influenced me, got me where I’m going,” with the Young Rascals’ “Good Lovin'” first up. One of the calls inquired as to the origins of “Rosalita. That is the story,” Bruce insists, saying that “you end up messing with the magic of the whole thing” if you have to start explaining things. Dye begins grilling him as to which songs were autobiographical: “Sandy? Having seen his share of Springsteen shows even at that point, Dye asked Springsteen which songs were most popular with live audiences.

Dye can’t resist leaning in: “He starts off with ‘New York City Serenade’ most of the time, which is a real balls move.

While admittedly, none of this is exactly earth-shattering information, it is definitely from a time period where there isn’t a lot of this material lying around, and it’s a fascinating artifact from that standpoint alone. If you missed yesterday’s broadcast, WMMR has made the half-hour of flashback audio available online so that everyone can enjoy this window into the past.

Bruce lived there, “in the shadow of the steeple,” for his first six years, along with his little sister Virginia, their parents and paternal grandparents. The site of the house, which was torn down in , is now the parking lot for the Saint Rose of Lima Church. No known photos of this house exist.

Researchers and Springsteen family members — especially Bruce’s cousin Glenn Cashion, who is writing a family history — have searched for years for a photo, with no success though one still may be hidden in the wedding album of some Freehold couple long ago married at Saint Rose. Finally, after many unsuccessful attempts to find one, Glenn came up with the idea of having an artist’s rendition of the house created.

This rendition would be based on the recollections of three family members: Glenn, Virginia, and Bruce himself. Glenn had previously worked with local artist Susan Winter , a native of Freehold presently living in Hightstown, and he knew that she would be perfect for this project. For reference, Glenn found a similar house in Freehold, and the three family members filled in the details for the artist.

Based on their memories, these details included such things as the color of the shingles, the color and angle of the roof, the porch configuration, steps, windows, and, of course, the famous beech tree. Near the front door you’ll also notice young Bruce’s brown Schwinn bicycle, which was once stolen right off of that porch. Charcoal drawing by Susan Winter. The project, started in early January, is now finished with both oil and charcoal renditions; both are shown above, though the image does not do the original painting justice — it’s beautiful!

Susan Winter did a remarkable job recreating the image of this long-ago demolished Randolph Street home, and everyone who has seen the painting has been amazed. For two hours on a recent Wednesday night at City Winery Boston, Max was his usual non-stop freight train of motion on the drum set as he led his Jukebox band.

Getting to watch him drumming at the lip of the stage instead of all the way in the back was truly special. The setlist was driven by audience requests, as usual for a Max Weinberg’s Jukebox cocert: before the show started, as hundreds of song titles scrolled on video screens, showgoers wrote their selections on pieces of paper and dropped them in an ice bucket.

Max picked from the bucket throughout the night. We didn’t only get great music, though — Max was also very talkative throughout the night. Any E Streeter needs to know their rock ‘n’ roll history, and Max had plenty of it to share with the audience. He spoke about playing in Levon Helm’s all-star band in , and how weird it was to have to fill in for the legendary drummer, who had been injured while filming a movie.

Max also spoke multiple times about Charlie Watts, how great he was and how no one played like him, especially when the Rolling Stones didn’t know how to end a song and the late, great drummer woud just make it happen.

For “Jumpin’ Jack Flash,” a random audience member was tapped to come up and play the cowbell, and it wound up being an old friend who worked at Zildjian for years.

Max made sure we knew he wasn’t a plant. There were a few times when the band had to figure out what key the next song was in, and it was a running joke all night that Max doesn’t care what key anything is in, ever, since he just needs to keep the beat. He also doesn’t need to know the words to the songs, since he’s not a vocalist, which led to an audience member asking him to sing.

Max recalled going on to Ringo about how many records and tickets were being sold, with the Born in the U. Ringo, with his perfect comedic timing, replied, “That’s all fine but you must never forget, I was in The Beatles. The set itself covered a good chunk of rock ‘n’ roll history. There was a powerful rendition of Led Zeppelin’s “Good Times Bad Times,” a song he recalled hearing for the first time while driving on Route 22, and it made him pull his car over.

Of course, some of the night’s requests were for songs that Weinberg played on originally. The show ended with a wild “I Can See For Miles” followed by “Glory Days,” Max prefacing the latter by telling the crowd, “I’m about to be 71 — and as long as I keep drumming, I’m going to feel like a kid forever.

Max Weinberg’s Jukebox returns to the road in May — visit maxweinberg. At the dedication of Freehold’s Vinyard Park, Springsteen praised her as “Saint Marion” for putting up with Tex , as one of the “unsung heroes of rock ‘n’ roll,” for a place to practice “and feeding us sandwiches every day.

The initial Europe ’93 stops were indoors except Verona and mostly two-night affairs. After a short break, they played outside except Mannheim. By tour’s end it wasn’t the U.

And it was the first Springsteen tour to play more shows in Europe than in the U. Springsteen had performed once before at this beautiful amphitheater next to the Olympiastadion: in , three days after the historic, well-documented E Street Band concert in East Berlin.

Between and , the wall was torn down, Germany was reunified… and Bruce got a new band. Older chestnuts, however, did not replace them. Instead, Springsteen added some never-played covers, which gave the backup singers more opportunities to shine on stage. What’s more, Springsteen started all of these concerts with an acoustic set.

In the early-to-mid ’70s, shows often began with a piano-led acoustic song. But for Bruce to go out on his own before the band with an acoustic guitar in true folk-singer-style? That had only happened once before on “Independence Day” in London, The ’93 acoustic set included a mindblower in the unreleased-at-the-time “This Hard Land,” preceded this night by “Darkness on the Edge of Town” and “Adam Raised a Cain” the latter with an introduction spoken in German for a song “about fathers and sons”.

Then he announced, “We’re gonna try something different,” calling the singers on stage for the live debut of “Satan’s Jeweled Crown,” which they’d begun to rehearse at soundcheck a few days earlier. With a few line changes, Bruce’s was a really beautiful rendition played only five more times on that tour.

As far as I remember, Roy accompanied him on accordion. Then the rest of the band took the stage, and they tore into “Better Days” and “Lucky Town. Other first-set highlights included “Badlands,” with its famous chant established, I believe, in in Milan bringing a reprise — one of only a couple instances in the other time at the second show in Dortmund, in early April.

During “Leap of Faith,” Bruce leaned into the audience as much as possible, but the venue setup made a full leap impossible, and it was a far cry from the crowd surfing in later years. The second set started with “Downbound Train,” followed by a few relationship songs including one from the new albums he was still promoting, “Human Touch”.

As the audience sing-along of “The River” faded, the mood of the concert changed as a deep keyboard hum crept in and Bruce introduced “Who’ll Stop the Rain” as a prayer for Bosnia and Herzegovina.

At the time, a horrendous war was raging in that part of southern Europe. For the encores, one probably drunk fan climbed on top of one of those and saw the show from a pretty vantage point. Bruce saw him and greeted him. The encores included the usual crowd-pleasers starting with “Hungry Heart” and “Glory Days”. During the band introduction, Bruce mentioned that Gia Ciambotti had her own fan club at the show made up of a couple of regulars on that tour.

But he introduced it as a song for Berlin, and it captured very well the feelings of some people in eastern Germany towards the effects of the reunification after nearly three years. Following a wonderful rendition of “My Beautiful Reward” there was a bit of that “I’m too tired”-shtick in German, and three more crowd-pleasers to close out the show.

At the time, there was a lot of discussion among fans about how well this “other” band was capable of playing those old E Street Band classics, the arrangements being pretty close to what we were used to from earlier tours. In retrospect, it seems Bruce could have been a bit bolder in rearranging his songs to suit the possibilities of the ‘ musicians — witness, after all, what he would do with the Sessions Band in Now, together with the Nugs releases from , Berlin gives you another chance to judge for yourself — and, finally, the high point of the World Tour that represents.

Put your makeup on, fix your hair up pretty, it’s FirstFriday! Lucky Touch! Today, almost 25 years later, he releases the follow-up: Thanks for Checking In is a ten-song, minute collection that showcases alternative aspects of his musical personality. It has elements of that, how could it not, but it’s my version of a pop record that lives in my head. It’s basically a combination of American ’70s and British ’80s, in a contemporary setting.

There are fastballs and curves, because that’s what I like in a collection. Kazee wrote, produced and arranged the record. He also sang vocals, played piano, Wurlitzer and Rhodes electric pianos, Hammond B3 organ, accordion, harmonium, mellotron, synthesisers, vibraphone, shakers, tambourine, cowbell, guiro, celeste, glockenspiel and tubular bells, and added “ambient textures.

Bob Delavante provided the cover art. Thanks for Checking In is now streaming on all the usual platforms, and is available as a digital download and CD from jeffkazee. Refugees in Ukraine and around the world need our help now. Max writes: Checking in with all of our friends at Backstreets and dedicated citizens of the E Street Nation!

The Max Weinberg Jukebox rolls on and on. Sadly, Covid hit some of the “mom and pop” sort of clubs and theaters hard, and we will miss playing them. Fortunately, many of our regular venues managed though with difficulty to stay open the past two years and are back to regular programming. Please check out MaxWeinberg. Although the news of the day is the “slap heard ’round the world” from the Oscar broadcast, I have some exciting television news for me, anyway!

In this episode, “Hidden Motive,” Vangelis has been released from his two-year country club prison bid, sporting a deep tan and more than ready to continue his nefarious activities. I had a blast again working on this production. Bridget Moynihan — for 12 seasons, the lovely and talented star of the show as Assistant District Attorney Erin Reagan — made her directorial debut with this episode and totally nailed it. I have two scenes pivotal to the arc of the series centered around the developing relationship between Erin and Vangelis.

The always fun-to-act-and-hang-with Steven Schirripa, as Detective Anthony Abetemarco, reminds me of Clarence when you’re with him. Puts that big arm around you, and you feel safe. As I’ve said before, Clarence would invariably come up behind me as we waited to hit the stage and give me a quick but powerful trapezius and neck muscle squeeze.

It became a tradition. Both were a big help to me, as always, at the studio in Astoria, NY, and the Brooklyn diner where one of the scenes was shot. So, please tune in if you’re able. Affinity Publisher comes with a full collection of powerful, non-destructive adjustment layers to make crucial image corrections right there in your document.

Create and edit vector graphics in your layout using the powerful pen, node and comprehensive shape tools — all with fine control over gradients and transparency. Collate your document alongside all used image and font resources into a folder. This can then be easily transferred to another system to aid collaboration or for print production.

Perfect for creating certificates, business cards, badges, tickets, form letters, envelopes and catalogues. Customise the all new Preflight panel to receive live warnings for possible errors in your document, including poor image resolution, bleed hazards, overflowing text, spelling errors, missing images or font resources, and more.

The first technology of its kind, this revolutionary feature takes the pain out of publishing by allowing you to instantly switch to the advanced photo editing features of Affinity Photo and precise vector tools of Affinity Designer without ever leaving the app. Here are just some of the other capabilities built into this incredible app….

Instantly scrub through hundreds of undo steps with the history slider. Plus, save your history with your document. Dedicated colour picker tool to accurately pick a colour, including single point or averaged sampling over an area.

Create sets of regularly used assets which can be instantly accessed and dragged onto your project. Drag a transparency gradient over any object, with support for linear, radial, elliptical and conical types. Flag imported PDFs for PDF passthrough to ensure that files will be perfect representations of original PDFs when exporting, regardless of whether embedded fonts are installed or not.

Offering full control over dashed line styles, arrowheads and pressure properties. Affinity Publisher comes loaded with default keyboard shortcuts, but you can tailor to your own muscle memory. Instantly switch from viewing grids, guides, bleed and margins to a completely clean preview of your document. Organise your documents with the section manager and automatically generate indexes and a table of contents. Save your favourite workspace setups for different tasks and easily switch between them.

Bookmarks provide a listing of flagged content present within a PDF document and are a great tool to save digital readers time as it allows them to skip to certain parts of a document, such as an order form.

No subscription needed! Fluid publishing powerhouse Optimised for the latest tech on Windows and Mac — and chosen by Apple as its Mac App of the Year — Affinity Publisher is the next generation of professional publishing software. Spectacular layouts With essentials like master pages, facing page spreads, grids, tables, advanced typography, text flow, full professional print output and other amazing features, Affinity Publisher has everything you need to create the perfect layout — whatever your project.

Text to match the power of your words Free yourself from the constraints of tired, traditional text layouts. Text styles Link the style of your text across all pages in your document. OpenType support Open up all stylistic features of the latest OpenType fonts.

Text decorations Add lines and borders to elements of your typography. Drop caps Add drop capitals to any paragraph. Text on a path Draw any curve and type along it. Artistic text Gain creative control over titling and other stand out text. Flow options Avoid orphaned or widowed lines, among many other features.

Baseline grid Ensure the baseline of your text is aligned across all columns and spreads.

 
 

 

How To Create Dotted Lines with Affinity Designer – Introduction to InDesign Highlight Text

 

At the top of the Stroke menu you will see an option labeled as Style , along with 4 boxes next to it. It should be the third box in from the left:. Once applied, the stroke that you have drawn with the Pen Tool will be converted from a solid line to a dashed line:. Your dashed line may be too small to see at the default size it was when drawn, so go ahead and increase the Width of your stroke in the Stroke menu to see it better.

Set the first input box to 0 to make your dashed line into a dotted line:. To do so, first make sure that your object has a stroke applied to it. Then, navigate to the Stroke tab and set the Style option to Dashed :.

Now navigate down to the bottom of the Stroke menu where is says Dash and set the first input box to 0. This will make the dashes into dots:.

To change the thickness of your dotted line, change the Width setting in the Stroke menu:. You can change the style of your dashes by using the first input box of the Dash setting at the bottom of the menu:. Simply hover your cursor over the box and roll up on your mouse wheel to increase the length of your dashes. You can decrease the length of them by rolling down. Rolling down will decrease the spacing.

Finally, you can change the color of your dotted line by navigating back to the Color tab. Make sure that you have the Stroke fill enabled:. And that should be everything you need to know about creating dotted lined with Affinity Designer! If I missed anything though, or if you have any questions, do not hesitate to leave a comment below. Want to learn more about how Affinity Designer works?

Enroll Now. Want to learn more about how Adobe Illustrator works? If you want all the dots to be just touching each other, then the diameter of the dots has to divide evenly as much as we can into the circumference of the circle right?

And the diameter of the dots is the line width in the all touching scenario. The actual appearance is then dependent on the stroke width that’s set the numbers entered in the dashed strokes settings being just multiples of the stroke’s width. The smaller the pattern’s length in relation to the length of the circumference the greater the chance that it will just about seem!

However, there will almost always be discrepancies because the circumference’s length is usually not a regular natural number multiple of the pattern’s lenght at it’s given stroke weight.

So where beginning and end of a circle’s periphery meet you will most likely see these “effects” as the pattern isn’t really completed by then or the beginning of it’s next iteration will be visible. To avoid this you then start to play around with weird decimal numbers for the gaps with a simple standard dotted line. I find this really bothersome and actually not exactly worthy of an app that claims to play to prefessional needs.

It should be a regular feature that the app calculates the necessary tweaks in the patterns automatically to guarantee a seemless appearance. Adobe Illustrator does exactly that for years by now and you can just click a checkbox in InDesign, too, make your stroke patterns align perfectly to the orners of polygons which regrettably isn’t possible in AD either This is for simple, evenly spaced dotted lines with dots in the form of perfect circles.

Notice: You’ll have to use a consistent unit for any values of lenght or width e. You will have to make some conversions, if you — e. First you have to know or calculate the total length of the path you want to apply your dotted line to. Then you have to decide how many spaces you want to have in total between the dots e. When you divide the total length of the path circumference by that number of spaces you’ll get the length of a single space.

The second value, however, controls the width or lenght of the space or gap between the dots. It is actually a multiple of the stroke width you’ve set at the top. Accordingly when you set that second value to “2” meaning: 2 times the stroke width the visible gap between to dots will be just as wide as the dots themselves are.

The resulting number is the value you’ll have to enter in that second field mentioned just before. Then the gaps’ length will be adjusted correctly to give you the number of even spaces between the dots that you defined at the start of these calculations. I’m aware that this works well when you can actually distribute spaces but it won’t work well with a circle or path of a given!

In this case you will have to adjust the lenght of the path instead just so that a whole number of dots having the diameter given by the stroke width will fit exactly within that lenght It’s a bit tedious, actually I wonder, however, if anybody can follow my mathematical amifications here I beg your pardon. It depends on the circle’s radius and on the stroke’s width, whether the first and last dot will align. What you’re basically trying to do is to seamlessly put objects of a given size the dots on a path of an inpendently given length the circle’s circumference.

Obviously this will only succeed if there is a certain ratio between the width of those elements and the overall length of the path. If you take your circle’s diameter as given you have to tweak the stroke width to make it happen — or, if you take the stroke witdh as given you’ll have to adjust the circle’s size ever so slightly to make a whole number of dots whose diameter equals the stroke width to just fit in.

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Paste as plain text instead. Only 75 emoji are allowed. Display as a link instead. Clear editor. Upload or insert images from URL. Please note there is currently a delay in replying to some post. See pinned thread in the Questions forum. These are the Terms of Use you will be asked to agree to if you join the forum. Privacy Policy Guidelines We have placed cookies on your device to help make this website better.

 
 

InDesign highlight text | Learn how to highlight text and use that highlight?.

 
 

At first the Brangwens were astonished by all this commotion around them. The building of a canal across their land made them strangers in their own place, this raw bank of earth shutting them off disconcerted them. As they worked in the fields, from beyond the now familiar embankment came the rhythmic run of the winding engines, startling at first, but afterwards a narcotic to the brain.

Then the shrill whistle of the trains re-echoed through the heart, with fearsome pleasure, announcing the far-off come near and imminent.

As they drove home from town, the farmers of the land met the blackened colliers trooping from the pit-mouth. As they gathered the harvest, the west wind brought a faint, sulphurous smell of pit-refuse burning. As they pulled the turnips in November, the sharp clink-clink-clink-clink-clink of empty trucks shunting on the line, vibrated in their hearts with the fact of other activity going on beyond them. She was a slim, pretty, dark woman, quaint in her speech, whimsical, so that the sharp things she said did not hurt.

She was oddly a thing to herself, rather querulous in her manner, but intrinsically separate and indifferent, so that her long lamentable complaints, when she raised her voice against her husband in particular and against everybody else after him, only made those who heard her wonder and feel affectionately towards her, even while they were irritated and impatient with her.

She railed long and loud about her husband, but always with a balanced, easy-flying voice and a quaint manner of speech that warmed his belly with pride and male triumph while he scowled with mortification at the things she said. Consequently Brangwen himself had a humorous puckering at the eyes, a sort of fat laugh, very quiet and full, and he was spoilt like a lord of creation. He calmly did as he liked, laughed at their railing, excused himself in a teasing tone that she loved, followed his natural inclinations, and sometimes, pricked too near the quick, frightened and broke her by a deep, tense fury which seemed to fix on him and hold him for days, and which she would give anything to placate in him.

They were two very separate beings, vitally connected, knowing nothing of each other, yet living in their separate ways from one root. There were four sons and two daughters. The eldest boy ran away early to sea, and did not come back.

After this the mother was more the node and centre of attraction in the home. The second boy, Alfred, whom the mother admired most, was the most reserved. He was sent to school in Ilkeston and made some progress. But in spite of his dogged, yearning effort, he could not get beyond the rudiments of anything, save of drawing.

At this, in which he had some power, he worked, as if it were his hope. After much grumbling and savage rebellion against everything, after much trying and shifting about, when his father was incensed against him and his mother almost despairing, he became a draughtsman in a lace-factory in Nottingham. He remained heavy and somewhat uncouth, speaking with broad Derbyshire accent, adhering with all his tenacity to his work and to his town position, making good designs, and becoming fairly well-off.

But at drawing, his hand swung naturally in big, bold lines, rather lax, so that it was cruel for him to pedgill away at the lace designing, working from the tiny squares of his paper, counting and plotting and niggling. He did it stubbornly, with anguish, crushing the bowels within him, adhering to his chosen lot whatever it should cost. And he came back into life set and rigid, a rare-spoken, almost surly man.

He married the daughter of a chemist, who affected some social superiority, and he became something of a snob, in his dogged fashion, with a passion for outward refinement in the household, mad when anything clumsy or gross occurred. Later, when his three children were growing up, and he seemed a staid, almost middle-aged man, he turned after strange women, and became a silent, inscrutable follower of forbidden pleasure, neglecting his indignant bourgeois wife without a qualm. Frank, the third son, refused from the first to have anything to do with learning.

From the first he hung round the slaughter-house which stood away in the third yard at the back of the farm. The Brangwens had always killed their own meat, and supplied the neighbourhood. As a child Frank had been drawn by the trickle of dark blood that ran across the pavement from the slaughter-house to the crew-yard, by the sight of the man carrying across to the meat-shed a huge side of beef, with the kidneys showing, embedded in their heavy laps of fat.

He was a handsome lad with soft brown hair and regular features something like a later Roman youth. He was more easily excitable, more readily carried away than the rest, weaker in character. At eighteen he married a little factory girl, a pale, plump, quiet thing with sly eyes and a wheedling voice, who insinuated herself into him and bore him a child every year and made a fool of him.

When he had taken over the butchery business, already a growing callousness to it, and a sort of contempt made him neglectful of it. He drank, and was often to be found in his public house blathering away as if he knew everything, when in reality he was a noisy fool. Of the daughters, Alice, the elder, married a collier and lived for a time stormily in Ilkeston, before moving away to Yorkshire with her numerous young family.

Effie, the younger, remained at home. The last child, Tom, was considerably younger than his brothers, so had belonged rather to the company of his sisters. She roused herself to determination, and sent him forcibly away to a grammar-school in Derby when he was twelve years old.

He did not want to go, and his father would have given way, but Mrs. Brangwen had set her heart on it. Her slender, pretty, tightly-covered body, with full skirts, was now the centre of resolution in the house, and when she had once set upon anything, which was not often, the family failed before her. So Tom went to school, an unwilling failure from the first. He believed his mother was right in decreeing school for him, but he knew she was only right because she would not acknowledge his constitution.

If he could have been what he liked, he would have been that which his mother fondly but deludedly hoped he was.

He would have been clever, and capable of becoming a gentleman. It was her aspiration for him, therefore he knew it as the true aspiration for any boy. When he got to school, he made a violent struggle against his physical inability to study. He sat gripped, making himself pale and ghastly in his effort to concentrate on the book, to take in what he had to learn. But it was no good.

If he beat down his first repulsion, and got like a suicide to the stuff, he went very little further. He could not learn deliberately.

His mind simply did not work. In feeling he was developed, sensitive to the atmosphere around him, brutal perhaps, but at the same time delicate, very delicate. So he had a low opinion of himself.

He knew his own limitation. He knew that his brain was a slow hopeless good-for-nothing. So he was humble. But at the same time his feelings were more discriminating than those of most of the boys, and he was confused. He was more sensuously developed, more refined in instinct than they.

For their mechanical stupidity he hated them, and suffered cruel contempt for them. But when it came to mental things, then he was at a disadvantage.

He was at their mercy. He was a fool. He had not the power to controvert even the most stupid argument, so that he was forced to admit things he did not in the least believe. And having admitted them, he did not know whether he believed them or not; he rather thought he did.

But he loved anyone who could convey enlightenment to him through feeling. His lips parted, his eyes filled with a strained, almost suffering light.

And the teacher read on, fired by his power over the boy. Tom Brangwen was moved by this experience beyond all calculation, he almost dreaded it, it was so deep. He threw the book down and walked over it and went out to the cricket field. And he hated books as if they were his enemies.

He hated them worse than ever he hated any person. He could not voluntarily control his attention. His mind had no fixed habits to go by, he had nothing to get hold of, nowhere to start from. For him there was nothing palpable, nothing known in himself, that he could apply to learning. He did not know how to begin. Therefore he was helpless when it came to deliberate understanding or deliberate learning. He had an instinct for mathematics, but if this failed him, he was helpless as an idiot.

So that he felt that the ground was never sure under his feet, he was nowhere. His final downfall was his complete inability to attend to a question put without suggestion. You have to be over five foot eight. Then he reddened furiously, felt his bowels sink with shame, scratched out what he had written, made an agonized effort to think of something in the real composition style, failed, became sullen with rage and humiliation, put the pen down and would have been torn to pieces rather than attempt to write another word.

He soon got used to the Grammar School, and the Grammar School got used to him, setting him down as a hopeless duffer at learning, but respecting him for a generous, honest nature. Only one narrow, domineering fellow, the Latin master, bullied him and made the blue eyes mad with shame and rage.

The teacher got little sympathy. But Brangwen winced and could not bear to think of the deed, not even long after, when he was a grown man. He was glad to leave school. It had not been unpleasant, he had enjoyed the companionship of the other youths, or had thought he enjoyed it, the time had passed very quickly, in endless activity. But he knew all the time that he was in an ignominious position, in this place of learning.

He was aware of failure all the while, of incapacity. But he was too healthy and sanguine to be wretched, he was too much alive. Yet his soul was wretched almost to hopelessness. He had loved one warm, clever boy who was frail in body, a consumptive type. The two had had an almost classic friendship, David and Jonathan, wherein Brangwen was the Jonathan, the server. So the two boys went at once apart on leaving school. But Brangwen always remembered his friend that had been, kept him as a sort of light, a fine experience to remember.

Tom Brangwen was glad to get back to the farm, where he was in his own again. He had too low an opinion of himself. But he went about at his work on the farm gladly enough, glad of the active labour and the smell of the land again, having youth and vigour and humour, and a comic wit, having the will and the power to forget his own shortcomings, finding himself violent with occasional rages, but usually on good terms with everybody and everything. When he was seventeen, his father fell from a stack and broke his neck.

Then the mother and son and daughter lived on at the farm, interrupted by occasional loud-mouthed lamenting, jealous-spirited visitations from the butcher Frank, who had a grievance against the world, which he felt was always giving him less than his dues.

Frank was particularly against the young Tom, whom he called a mardy baby, and Tom returned the hatred violently, his face growing red and his blue eyes staring. Effie sided with Tom against Frank. But when Alfred came, from Nottingham, heavy jowled and lowering, speaking very little, but treating those at home with some contempt, Effie and the mother sided with him and put Tom into the shade.

But Alfred was something of a Prometheus Bound, so the women loved him. Tom came later to understand his brother better. As youngest son, Tom felt some importance when the care of the farm devolved on to him. He was only eighteen, but he was quite capable of doing everything his father had done. And of course, his mother remained as centre to the house. The young man grew up very fresh and alert, with zest for every moment of life.

He worked and rode and drove to market, he went out with companions and got tipsy occasionally and played skittles and went to the little travelling theatres.

Once, when he was drunk at a public house, he went upstairs with a prostitute who seduced him. He was then nineteen. The thing was something of a shock to him. In the close intimacy of the farm kitchen, the woman occupied the supreme position. The men deferred to her in the house, on all household points, on all points of morality and behaviour. The woman was the symbol for that further life which comprised religion and love and morality.

They depended on her for their stability. Without her, they would have felt like straws in the wind, to be blown hither and thither at random. She was the anchor and the security, she was the restraining hand of God, at times highly to be execrated.

Now when Tom Brangwen, at nineteen, a youth fresh like a plant, rooted in his mother and his sister, found that he had lain with a prostitute woman in a common public house, he was very much startled. For him there was until that time only one kind of woman—his mother and sister. But now? He did not know what to feel. There was a slight wonder, a pang of anger, of disappointment, a first taste of ash and of cold fear lest this was all that would happen, lest his relations with woman were going to be no more than this nothingness; there was a slight sense of shame before the prostitute, fear that she would despise him for his inefficiency; there was a cold distaste for her, and a fear of her; there was a moment of paralyzed horror when he felt he might have taken a disease from her; and upon all this startled tumult of emotion, was laid the steadying hand of common sense, which said it did not matter very much, so long as he had no disease.

He soon recovered balance, and really it did not matter so very much. But it had shocked him, and put a mistrust into his heart, and emphasized his fear of what was within himself. He was, however, in a few days going about again in his own careless, happy-go-lucky fashion, his blue eyes just as clear and honest as ever, his face just as fresh, his appetite just as keen.

Or apparently so. He had, in fact, lost some of his buoyant confidence, and doubt hindered his outgoing. For some time after this, he was quieter, more conscious when he drank, more backward from companionship. The disillusion of his first carnal contact with woman, strengthened by his innate desire to find in a woman the embodiment of all his inarticulate, powerful religious impulses, put a bit in his mouth.

He had something to lose which he was afraid of losing, which he was not sure even of possessing. This first affair did not matter much: but the business of love was, at the bottom of his soul, the most serious and terrifying of all to him. He was tormented now with sex desire, his imagination reverted always to lustful scenes. But what really prevented his returning to a loose woman, over and above the natural squeamishness, was the recollection of the paucity of the last experience.

It had been so nothing, so dribbling and functional, that he was ashamed to expose himself to the risk of a repetition of it. He made a strong, instinctive fight to retain his native cheerfulness unimpaired. He had naturally a plentiful stream of life and humour, a sense of sufficiency and exuberance, giving ease. But now it tended to cause tension. A strained light came into his eyes, he had a slight knitting of the brows.

His boisterous humour gave place to lowering silences, and days passed by in a sort of suspense. He did not know there was any difference in him, exactly; for the most part he was filled with slow anger and resentment. But he knew he was always thinking of women, or a woman, day in, day out, and that infuriated him. He could not get free: and he was ashamed. He had one or two sweethearts, starting with them in the hope of speedy development.

But when he had a nice girl, he found that he was incapable of pushing the desired development. The very presence of the girl beside him made it impossible.

He could not think of her like that, he could not think of her actual nakedness. She was a girl and he liked her, and dreaded violently even the thought of uncovering her. He knew that, in these last issues of nakedness, he did not exist to her nor she to him.

Again, if he had a loose girl, and things began to develop, she offended him so deeply all the time, that he never knew whether he was going to get away from her as quickly as possible, or whether he were going to take her out of inflamed necessity. Again he learnt his lesson: if he took her it was a paucity which he was forced to despise. He did not despise himself nor the girl. But he despised the net result in him of the experience—he despised it deeply and bitterly. Then, when he was twenty-three, his mother died, and he was left at home with Effie.

He could not understand it, he knew it was no good his trying. One had to submit to these unforeseen blows that come unawares and leave a bruise that remains and hurts whenever it is touched. He began to be afraid of all that which was up against him. He had loved his mother. After this, Effie and he quarrelled fiercely.

They meant a very great deal to each other, but they were both under a strange, unnatural tension. He stayed out of the house as much as possible.

He teased all the women, who liked him extremely, and he was very attentive to the talk of the men, very respectful. To drink made him quickly flush very red in the face, and brought out the look of self-consciousness and unsureness, almost bewilderment, in his blue eyes. When he came home in this state of tipsy confusion his sister hated him and abused him, and he went off his head, like a mad bull with rage. One Whitsuntide he went a jaunt with two other young fellows, on horseback, to Matlock and thence to Bakewell.

Matlock was at that time just becoming a famous beauty-spot, visited from Manchester and from the Staffordshire towns. In the hotel where the young men took lunch, were two girls, and the parties struck up a friendship. The Miss who made up to Tom Brangwen, then twenty-four years old, was a handsome, reckless girl neglected for an afternoon by the man who had brought her out. She saw Brangwen and liked him, as all women did, for his warmth and his generous nature, and for the innate delicacy in him.

But she saw he was one who would have to be brought to the scratch. However, she was roused and unsatisfied and made mischievous, so she dared anything. It would be an easy interlude, restoring her pride. She was a handsome girl with a bosom, and dark hair and blue eyes, a girl full of easy laughter, flushed from the sun, inclined to wipe her laughing face in a very natural and taking manner.

Brangwen was in a state of wonder. He treated her with his chaffing deference, roused, but very unsure of himself, afraid to death of being too forward, ashamed lest he might be thought backward, mad with desire yet restrained by instinctive regard for women from making any definite approach, feeling all the while that his attitude was ridiculous, and flushing deep with confusion. She, however, became hard and daring as he became confused, it amused her to see him come on.

And she followed him, his rather sloping shoulders and his cloth riding-gaiters, out of the room. The young men got their own horses out of the stable. The girl sat very insecurely, clinging fast. He put a hand on her waist, to support her. And he held her closely, he clasped her as in an embrace, he was weak with desire as he strode beside her. It was the time of very full skirts. She managed to get astride the horse, quite decently, showing an intent concern for covering her pretty leg.

And they cantered off, leaving him very flushed, trying to be quite normal with the girl. But presently he had gone back to the hotel and given his horse into the charge of an ostler and had gone off with the girl into the woods, not quite knowing where he was or what he was doing.

His heart thumped and he thought it the most glorious adventure, and was mad with desire for the girl. Afterwards he glowed with pleasure. By Jove, but that was something like! He [stayed the afternoon with the girl, and] wanted to stay the night. She, however, told him this was impossible: her own man would be back by dark, and she must be with him.

He, Brangwen, must not let on that there had been anything between them. He could not tear himself away, though he had promised not to interfere with the girl. He stayed on at the hotel over night. Brangwen guessed that he was a foreigner. He was in company with another, an Englishman, dry and hard. The four sat at table, two men and two women. Brangwen watched with all his eyes. He saw how the foreigner treated the women with courteous contempt, as if they were pleasing animals.

She wanted to win back her man. When dessert came on, however, the little foreigner turned round from his table and calmly surveyed the room, like one unoccupied. Brangwen marvelled over the cold, animal intelligence of the face. They rested on Brangwen. The latter marvelled at the old face turned round on him, looking at him without considering it necessary to know him at all. It was an old, ageless face. The man was most amazingly a gentleman all the time, an aristocrat.

Brangwen stared fascinated. The girl was pushing her crumbs about on the cloth, uneasily, flushed and angry. As Brangwen sat motionless in the hall afterwards, too much moved and lost to know what to do, the little stranger came up to him with a beautiful smile and manner, offering a cigarette and saying:. Brangwen never smoked cigarettes, yet he took the one offered, fumbling painfully with thick fingers, blushing to the roots of his hair. Then he looked with his warm blue eyes at the almost sardonic, lidded eyes of the foreigner.

The latter sat down beside him, and they began to talk, chiefly of horses. Brangwen loved the other man for his exquisite graciousness, for his tact and reserve, and for his ageless, monkey-like self-surety. They talked of horses, and of Derbyshire, and of farming. The stranger warmed to the young fellow with real warmth, and Brangwen was excited.

He was transported at meeting this odd, middle-aged, dry-skinned man, personally. The talk was pleasant, but that did not matter so much. It was the gracious manner, the fine contact that was all. They talked a long while together, Brangwen flushing like a girl when the other did not understand his idiom.

Then they said good night, and shook hands. Again the foreigner bowed and repeated his good night. Brangwen went up to his room and lay staring out at the stars of the summer night, his whole being in a whirl.

What was it all? There was a life so different from what he knew it. What was there outside his knowledge, how much? What was this that he had touched?

What was he in this new influence? What did everything mean? Where was life, in that which he knew or all outside him? He fell asleep, and in the morning had ridden away before any other visitors were awake. He shrank from seeing any of them again, in the morning. His mind was one big excitement. The girl and the foreigner: he knew neither of their names.

Yet they had set fire to the homestead of his nature, and he would be burned out of cover. Of the two experiences, perhaps the meeting with the foreigner was the more significant.

But the girl—he had not settled about the girl. The result of these encounters was, that he dreamed day and night, absorbedly, of a voluptuous woman and of the meeting with a small, withered foreigner of ancient breeding. No sooner was his mind free, no sooner had he left his own companions, than he began to imagine an intimacy with fine-textured, subtle-mannered people such as the foreigner at Matlock, and amidst this subtle intimacy was always the satisfaction of a voluptuous woman.

He went about absorbed in the interest and the actuality of this dream. His eyes glowed, he walked with his head up, full of the exquisite pleasure of aristocratic subtlety and grace, tormented with the desire for the girl. Then gradually the glow began to fade, and the cold material of his customary life to show through. He resented it. Was he cheated in his illusion? He balked the mean enclosure of reality, stood stubbornly like a bull at a gate, refusing to re-enter the well-known round of his own life.

He drank more than usual to keep up the glow. But it faded more and more for all that. He set his teeth at the commonplace, to which he would not submit. It resolved itself starkly before him, for all that.

He wanted to marry, to get settled somehow, to get out of the quandary he found himself in. But how? He felt unable to move his limbs. He had seen a little creature caught in bird-lime, and the sight was a nightmare to him. He began to feel mad with the rage of impotency. He wanted something to get hold of, to pull himself out. But there was nothing. Steadfastly he looked at the young women, to find a one he could marry. But not one of them did he want.

And he knew that the idea of a life among such people as the foreigner was ridiculous. Yet he dreamed of it, and stuck to his dreams, and would not have the reality of Cossethay and Ilkeston. Then a fever of restless anger came upon him. He wanted to go away—right away.

He dreamed of foreign parts. But somehow he had no contact with them. And it was a very strong root which held him to the Marsh, to his own house and land. Then Effie got married, and he was left in the house with only Tilly, the cross-eyed woman-servant who had been with them for fifteen years. He felt things coming to a close. All the time, he had held himself stubbornly resistant to the action of the commonplace unreality which wanted to absorb him.

But now he had to do something. He was by nature temperate. Being sensitive and emotional, his nausea prevented him from drinking too much. But, in futile anger, with the greatest of determination and apparent good humour, he began to drink in order to get drunk. So he rose and went down to Ilkeston, rather awkwardly took his place among a gang of young bloods, stood drinks to the company, and discovered he could carry it off quite well.

He had an idea that everybody in the room was a man after his own heart, that everything was glorious, everything was perfect. He went home talking to himself and to the moon, that was very high and small, stumbling at the flashes of moonlight from the puddles at his feet, wondering What the Hanover!

In the morning he woke up and thought about it, and for the first time in his life, knew what it was to feel really acutely irritable, in a misery of real bad temper. After bawling and snarling at Tilly, he took himself off for very shame, to be alone.

And looking at the ashen fields and the putty roads, he wondered what in the name of Hell he could do to get out of this prickly sense of disgust and physical repulsion. And he knew that this was the result of his glorious evening.

And his stomach did not want any more brandy. He went doggedly across the fields with his terrier, and looked at everything with a jaundiced eye. There he sat and stubbornly waited for what would happen next. Did he, or did he not believe that he belonged to this world of Cossethay and Ilkeston?

There was nothing in it he wanted. Yet could he ever get out of it? Was there anything in himself that would carry him out of it? Or was he a dunderheaded baby, not man enough to be like the other young fellows who drank a good deal and wenched a little without any question, and were satisfied. He went on stubbornly for a time. Then the strain became too great for him. A hot, accumulated consciousness was always awake in his chest, his wrists felt swelled and quivering, his mind became full of lustful images, his eyes seemed blood-flushed.

He fought with himself furiously, to remain normal. He did not seek any woman. He just went on as if he were normal. Till he must either take some action or beat his head against the wall. Then he went deliberately to Ilkeston, in silence, intent and beaten.

He drank to get drunk. He gulped down the brandy, and more brandy, till his face became pale, his eyes burning. And still he could not get free. He would get free. Gradually the tension in him began to relax. He began to feel happy. His riveted silence was unfastened, he began to talk and babble.

He was happy and at one with all the world, he was united with all flesh in a hot blood-relationship. But he had achieved his satisfaction by obliterating his own individuality, that which it depended on his manhood to preserve and develop. So he became a bout-drinker, having at intervals these bouts of three or four days of brandy-drinking, when he was drunk for the whole time. He did not think about it.

A deep resentment burned in him. He kept aloof from any women, antagonistic. When he was twenty-eight, a thick-limbed, stiff, fair man with fresh complexion, and blue eyes staring very straight ahead, he was coming one day down from Cossethay with a load of seed out of Nottingham.

It was a time when he was getting ready for another bout of drinking, so he stared fixedly before him, watchful yet absorbed, seeing everything and aware of nothing, coiled in himself. It was early in the year.

He walked steadily beside the horse, the load clanked behind as the hill descended steeper. The road curved down-hill before him, under banks and hedges, seen only for a few yards ahead. Slowly turning the curve at the steepest part of the slope, his horse britching between the shafts, he saw a woman approaching. But he was thinking for the moment of the horse.

Then he turned to look at her. She was dressed in black, was apparently rather small and slight, beneath her long black cloak, and she wore a black bonnet. She walked hastily, as if unseeing, her head rather forward. It was her curious, absorbed, flitting motion, as if she were passing unseen by everybody, that first arrested him.

She had heard the cart, and looked up. Her face was pale and clear, she had thick dark eyebrows and a wide mouth, curiously held. He saw her face clearly, as if by a light in the air. He saw her face so distinctly, that he ceased to coil on himself, and was suspended. As the cart passed by, splashing through the thin mud, she stood back against the bank. Then, as he walked still beside his britching horse, his eyes met hers. He looked quickly away, pressing back his head, a pain of joy running through him.

He could not bear to think of anything. He turned round at the last moment. He saw her bonnet, her shape in the black cloak, the movement as she walked. Then she was gone round the bend. She had passed by. He felt as if he were walking again in a far world, not Cossethay, a far world, the fragile reality.

He went on, quiet, suspended, rarefied. He could not bear to think or to speak, nor make any sound or sign, nor change his fixed motion. He could scarcely bear to think of her face.

He moved within the knowledge of her, in the world that was beyond reality. The feeling that they had exchanged recognition possessed him like a madness, like a torment. How could he be sure, what confirmation had he? The doubt was like a sense of infinite space, a nothingness, annihilating.

He kept within his breast the will to surety. They had exchanged recognition. He walked about in this state for the next few days. And then again like a mist it began to break to let through the common, barren world.

He was very gentle with man and beast, but he dreaded the starkness of disillusion cropping through again. As he was standing with his back to the fire after dinner a few days later, he saw the woman passing.

He wanted to know that she knew him, that she was aware. He wanted it said that there was something between them. So he stood anxiously watching, looking at her as she went down the road. He called to Tilly.

Tilly, the cross-eyed woman of forty, who adored him, ran gladly to the window to look. She was glad when he asked her for anything. She craned her head over the short curtain, the little tight knob of her black hair sticking out pathetically as she bobbed about. Tilly blushed and drew her neck in and looked at him with her squinting, sharp, almost reproachful look. Who set up that menagerie confabulation? Brangwen stood musing.

She was the widow of a Polish doctor, he gathered. Her husband had died, a refugee, in London. She spoke a bit foreign-like, but you could easily make out what she said. She had one little girl named Anna. Brangwen felt that here was the unreality established at last.

He felt also a curious certainty about her, as if she were destined to him. It was to him a profound satisfaction that she was a foreigner.

A swift change had taken place on the earth for him, as if a new creation were fulfilled, in which he had real existence. Things had all been stark, unreal, barren, mere nullities before.

Now they were actualities that he could handle. He dared scarcely think of the woman. He was afraid. Only all the time he was aware of her presence not far off, he lived in her. But he dared not know her, even acquaint himself with her by thinking of her. One day he met her walking along the road with her little girl. It was a child with a face like a bud of apple-blossom, and glistening fair hair like thistle-down sticking out in straight, wild, flamy pieces, and very dark eyes.

But the mother glanced at him again, almost vacantly. And the very vacancy of her look inflamed him. She had wide grey-brown eyes with very dark, fathomless pupils. He felt the fine flame running under his skin, as if all his veins had caught fire on the surface. And he went on walking without knowledge. It was coming, he knew, his fate. The world was submitting to its transformation. He made no move: it would come, what would come.

When his sister Effie came to the Marsh for a week, he went with her for once to church. In the tiny place, with its mere dozen pews, he sat not far from the stranger.

There was a fineness about her, a poignancy about the way she sat and held her head lifted. She was strange, from far off, yet so intimate. She was from far away, a presence, so close to his soul. She was not really there, sitting in Cossethay church beside her little girl. She was not living the apparent life of her days. She belonged to somewhere else. He felt it poignantly, as something real and natural.

But a pang of fear for his own concrete life, that was only Cossethay, hurt him, and gave him misgiving. Her thick dark brows almost met above her irregular nose, she had a wide, rather thick mouth. The child beside her watched everything with wide, black eyes. She had an odd little defiant look, her little red mouth was pinched shut.

She seemed to be jealously guarding something, to be always on the alert for defence. The old clergyman droned on, Cossethay sat unmoved as usual. And there was the foreign woman with a foreign air about her, inviolate, and the strange child, also foreign, jealously guarding something. When the service was over, he walked in the way of another existence out of the church.

Her tiny fingers were fine and quick, but they missed the red button. And he also stooped for the button. But she had got it, and she stood back with it pressed against her little coat, her black eyes flaring at him, as if to forbid him to notice her. The mother had stood watching impassive, looking not at the child, but at Brangwen. He became aware of the woman looking at him, standing there isolated yet for him dominant in her foreign existence.

He did not know what to do, and turned to his sister. But the wide grey eyes, almost vacant yet so moving, held him beyond himself. Things were as they were. Another day, at tea-time, as he sat alone at table, there came a knock at the front door. It startled him like a portent. No one ever knocked at the front door. He rose and began slotting back the bolts, turning the big key.

When he had opened the door, the strange woman stood on the threshold. He tried to attend to her question. She was looking at him questioningly. But underneath the question, what was there, in her very standing motionless, which affected him? He stepped aside and she at once entered the house, as if the door had been opened to admit her. That startled him. It was the custom for everybody to wait on the doorstep till asked inside.

He went into the kitchen and she followed. His tea-things were spread on the scrubbed deal table, a big fire was burning, a dog rose from the hearth and went to her.

She stood motionless just inside the kitchen. Brangwen looked at the table. There was a large pat of butter on a plate, almost a pound. It was round, and stamped with acorns and oak-leaves. The stranger spoke, in her curiously distinct, detached manner of one who must think her speech first.

She could not understand the entire lack of manners, was slightly puzzled. Any politeness would have made the situation quite impersonal. But here it was a case of wills in confusion.

Brangwen flushed at her polite speech. Still he did not let her go. Tilly bridled her head, bursting to say that, according to the etiquette of people who bought butter, it was no sort of manners whatever coming to a place cool as you like and knocking at the front door asking for a pound as a stop-gap while your other people were short.

The Polish lady did not. And as she wanted butter for the vicar, and as Tilly was churning in the morning, she waited. But she was not sure of her ground, and the conversation came to an end. Her eyes looked at him all the while, because she could not speak the language. And she sat in a chair, her slim arms, coming through the slits of her cloak, resting on her lap.

Her self-possession pleased him and inspired him, set him curiously free. It seemed to him almost brutal to feel so master of himself and of the situation. Her eyes rested on him for a moment, questioning, as she thought of the meaning of his speech. Yes, it is different, it is strange. She did not quite understand. His protective manner, and his sureness, and his intimacy, puzzled her. What did he mean? If he was her equal, why did he behave so without formality?

Yet he was good-looking, with his fair hair and blue eyes full of energy, and with his healthy body that seemed to take equality with her. She watched him steadily. He was difficult for her to understand, warm, uncouth, and confident as he was, sure on his feet as if he did not know what it was to be unsure. What then was it that gave him this curious stability? She did not know. She wondered. She looked round the room he lived in.

It had a close intimacy that fascinated and almost frightened her. The furniture was old and familiar as old people, the whole place seemed so kin to him, as if it partook of his being, that she was uneasy. Her eyes were on him all the time, wide-open and trying to grasp him. He felt that he was there for her. He looked down at her and met her look. It disturbed her.

She did not know him. He was a foreigner, they had nothing to do with each other. Yet his look disturbed her to knowledge of him. He was so strangely confident and direct. And whenever her eyes, after watching him for some time, inevitably met his, she was aware of a heat beating up over her consciousness.

She sat motionless and in conflict. Who was this strange man who was at once so near to her? What was happening to her? Something in his young, warm-twinkling eyes seemed to assume a right to her, to speak to her, to extend her his protection.

Why did he speak to her? Why were his eyes so certain, so full of light and confident, waiting for no permission nor signal? Tilly returned with a large leaf and found the two silent.

At once he felt it incumbent on him to speak, now the serving-woman had come back. Curiously quiet she was, almost abstracted, answering these questions.

She looked at him again, with some maidenhood opening in her eyes. He felt he could not move, neither towards her nor away from her. Something about her presence hurt him, till he was almost rigid before her. And she went. Brangwen stood dimmed by her departure. He could not notice Tilly, who was looking at him uneasily, wanting to be reassured.

He could not think of anything. He felt that he had made some invisible connection with the strange woman. A daze had come over his mind, he had another centre of consciousness. In his breast, or in his bowels, somewhere in his body, there had started another activity. It was as if a strong light were burning there, and he was blind within it, unable to know anything, except that this transfiguration burned between him and her, connecting them, like a secret power.

Since she had come to the house he went about in a daze, scarcely seeing even the things he handled, drifting, quiescent, in a state of metamorphosis. He submitted to that which was happening to him, letting go his will, suffering the loss of himself, dormant always on the brink of ecstasy, like a creature evolving to a new birth. She came twice with her child to the farm, but there was this lull between them, an intense calm and passivity like a torpor upon them, so that there was no active change took place.

He was almost unaware of the child, yet by his native good humour he gained her confidence, even her affection, setting her on a horse to ride, giving her corn for the fowls. Once he drove the mother and child from Ilkeston, picking them up on the road. The child huddled close to him as if for love, the mother sat very still. There was a vagueness, like a soft mist over all of them, and a silence as if their wills were suspended.

Only he saw her hands, ungloved, folded in her lap, and he noticed the wedding-ring on her finger. It excluded him: it was a closed circle. It bound her life, the wedding-ring, it stood for her life in which he could have no part. Nevertheless, beyond all this, there was herself and himself which should meet.

As he helped her down from the trap, almost lifting her, he felt he had some right to take her thus between his hands. She belonged as yet to that other, to that which was behind. But he must care for her also.

She was too living to be neglected. Sometimes her vagueness, in which he was lost, made him angry, made him rage. But he held himself still as yet. She had no response, no being towards him. It puzzled and enraged him, but he submitted for a long time. By highlighting text we can differentiate that text from other text of text frames or use that highlighter as a design element. We can use any color of highlighter for text but there is no specific tool named with Highlight text in fact we do this by adjusting some features of text parameters.

Here in this article, I will tell you how to highlight text and use that highlight on your desired text of different pages. We highlight text in this software for providing a special indication to that text or use a highlighter as a design element. So let me tell you all the important aspects of the highlight text feature in this software. Start Your Free Design Course.

Now I will select this text and want to highlight it. You have to select first that text or character or letter which you want to highlight.

Now navigate the character panel in your user screen of InDesing. Make a click on the top right corner button of this panel and you will have a popup list. Once you click on it a dialog box of Underline Options will be open. Click on the check box for enabling it. Once you click on it an underline will come on your selected text. I will increase the value of the Weight option and you can see if we increase the value of this option, the width of the underline also increasing.

My font size is 12pt so I will take the Weight value higher than this so that my text covers completely. You can set the underline width as per your requirement. It need not be necessary to cover text completely. Now I will start to change the Offest value.

By changing the offset value we can move to underline in an upward or downward direction. If we increase the offset value in a positive direction it will move into the downward direction. Now from the Color option, we can choose the color for underline which will be the color of our highlighter.

I will choose the yellow color and then click on the Ok button. What if you want to have some type of highlight text effect on other text of document also? It may be on the same page or on any other page of the document.

For this purpose, I will go with the Character Style panel. You can find this panel in the Window menu of the menu bar also. So go to this menu and then go to the Styles option of scroll down list.