The Postcard

 

A Colourmaster postcard that was distributed by Dragon Publishing Ltd. of Llandeilo. The photography was by Roger Vlitos.

 

On the divided back of the card is printed:

 

'Dylan's Writing Shed,

Laugharne, Dyfed.

In this converted garage with

views over the Taf estuary and

Sir John's Hill, Dylan Thomas

wrote much of his finest poetry.

Along with his last home, The

Boat House, it is preserved in

memory of the poet.'

 

Dylan Thomas

 

Dylan Marlais Thomas, who was born in Swansea on the 27th. October 1914, was a Welsh poet and writer whose works include the poems 'Do not go Gentle Into That Good Night' and 'And Death Shall Have No Dominion.'

 

Dylan's other work included 'Under Milk Wood' as well as stories and radio broadcasts such as 'A Child's Christmas in Wales' and 'Portrait of the Artist as a Young Dog'.

 

He became widely popular in his lifetime, and remained so after his death at the age of 39 in New York City. By then he had acquired a reputation, which he had encouraged, as a roistering, drunken and doomed poet.

 

In 1931, when he was 16, Thomas, an undistinguished pupil, left school to become a reporter for the South Wales Daily Post, only to leave under pressure 18 months later.

 

Many of his works appeared in print while he was still a teenager. In 1934, the publication of 'Light Breaks Where no Sun Shines' caught the attention of the literary world.

 

While living in London, Thomas met Caitlin Macnamara. They married in 1937, and had three children: Llewelyn, Aeronwy and Colm.

 

Thomas came to be appreciated as a popular poet during his lifetime, though he found it hard to earn a living as a writer. He began augmenting his income with reading tours and radio broadcasts. His radio recordings for the BBC during the late 1940's brought him to the public's attention, and he was frequently used by the BBC as an accessible voice of the literary scene.

 

Thomas first travelled to the United States in the 1950's. His readings there brought him a degree of fame, while his erratic behaviour and drinking worsened. His time in the United States cemented his legend, however, and he went on to record to vinyl such works as 'A Child's Christmas in Wales'.

 

During his fourth trip to New York in 1953, Thomas became gravely ill and fell into a coma. He died on the 9th. November 1953, and his body was returned to Wales. On the 25th. November 1953, he was laid to rest in St Martin's churchyard in Laugharne, Carmarthenshire.

 

Although Thomas wrote exclusively in the English language, he has been acknowledged as one of the most important Welsh poets of the 20th century. He is noted for his original, rhythmic and ingenious use of words and imagery. He is regarded by many as one of the great modern poets, and he still remains popular with the public.

 

Dylan Thomas - The Early Years

 

Dylan was born at 5 Cwmdonkin Drive, the son of Florence Hannah (née Williams; 1882–1958), a seamstress, and David John Thomas (1876–1952), a teacher. His father had a first-class honours degree in English from University College, Aberystwyth and ambitions to rise above his position teaching English literature at the local grammar school.

 

Thomas had one sibling, Nancy Marles (1906–1953), who was eight years his senior. The children spoke only English, though their parents were bilingual in English and Welsh, and David Thomas gave Welsh lessons at home.

 

Thomas's father chose the name Dylan, which means 'Son of the Sea', after Dylan ail Don, a character in The Mabinogion. Dylan's middle name, Marlais, was given in honour of his great-uncle, William Thomas, a Unitarian minister and poet whose bardic name was Gwilym Marles.

 

Dylan caused his mother to worry that he might be teased as the 'Dull One.' When he broadcast on Welsh BBC, early in his career, he was introduced using this pronunciation. Thomas favoured the Anglicised pronunciation, and gave instructions that it should be spoken as 'Dillan.'

 

The red-brick semi-detached house at 5 Cwmdonkin Drive (in the respectable area of the Uplands), in which Thomas was born and lived until he was 23, had been bought by his parents a few months before his birth.

 

Dylan's childhood featured regular summer trips to the Llansteffan Peninsula, a Welsh-speaking part of Carmarthenshire, where his maternal relatives were the sixth generation to farm there.

 

In the land between Llangain and Llansteffan, his mother's family, the Williamses and their close relatives, worked a dozen farms with over a thousand acres between them. The memory of Fernhill, a dilapidated 15-acre farm rented by his maternal aunt, Ann Jones, and her husband, Jim, is evoked in the 1945 lyrical poem 'Fern Hill', but is portrayed more accurately in his short story, 'The Peaches'.

 

Thomas had bronchitis and asthma in childhood, and struggled with these throughout his life. He was indulged by his mother and enjoyed being mollycoddled, a trait he carried into adulthood, and he was skilful in gaining attention and sympathy.

 

Thomas's formal education began at Mrs Hole's Dame School, a private school on Mirador Crescent, a few streets away from his home. He described his experience there in Reminiscences of Childhood:

 

"Never was there such a dame school as ours,

so firm and kind and smelling of galoshes, with

the sweet and fumbled music of the piano lessons

drifting down from upstairs to the lonely schoolroom,

where only the sometimes tearful wicked sat over

undone sums, or to repent a little crime – the pulling

of a girl's hair during geography, the sly shin kick

under the table during English literature".

 

In October 1925, Dylan Thomas enrolled at Swansea Grammar School for boys, in Mount Pleasant, where his father taught English. He was an undistinguished pupil who shied away from school, preferring reading.

 

In his first year, one of his poems was published in the school's magazine, and before he left he became its editor. In June 1928, Thomas won the school's mile race, held at St. Helen's Ground; he carried a newspaper photograph of his victory with him until his death.

 

During his final school years Dylan began writing poetry in notebooks; the first poem, dated 27th. April 1930, is entitled 'Osiris, Come to Isis'.

 

In 1931, when he was 16, Thomas left school to become a reporter for the South Wales Daily Post, only to leave under pressure 18 months later. Thomas continued to work as a freelance journalist for several years, during which time he remained at Cwmdonkin Drive and continued to add to his notebooks, amassing 200 poems in four books between 1930 and 1934. Of the 90 poems he published, half were written during these years.

 

In his free time, Dylan joined the amateur dramatic group at the Little Theatre in Mumbles, visited the cinema in Uplands, took walks along Swansea Bay, and frequented Swansea's pubs, especially the Antelope and the Mermaid Hotels in Mumbles.

 

In the Kardomah Café, close to the newspaper office in Castle Street, he met his creative contemporaries, including his friend the poet Vernon Watkins.

 

1933–1939

 

In 1933, Thomas visited London for probably the first time.

 

Thomas was a teenager when many of the poems for which he became famous were published:

 

-- 'And Death Shall Have no Dominion'

-- 'Before I Knocked'

-- 'The Force That Through the Green Fuse Drives the Flower'.

 

'And Death Shall Have no Dominion' appeared in the New English Weekly in May 1933:

 

'And death shall have no dominion.

Dead men naked they shall be one

With the man in the wind and the

west moon;

When their bones are picked clean and

the clean bones gone,

They shall have stars at elbow and foot;

Though they go mad they shall be sane,

Though they sink through the sea they

shall rise again

Though lovers be lost love shall not;

And death shall have no dominion'.

 

When 'Light Breaks Where no Sun Shines' appeared in The Listener in 1934, it caught the attention of three senior figures in literary London - T. S. Eliot, Geoffrey Grigson and Stephen Spender. They contacted Thomas, and his first poetry volume, '18 Poems', was published in December 1934.

 

'18 Poems' was noted for its visionary qualities which led to critic Desmond Hawkins writing that:

 

"The work is the sort of bomb

that bursts no more than once

in three years".

 

The volume was critically acclaimed, and won a contest run by the Sunday Referee, netting him new admirers from the London poetry world, including Edith Sitwell and Edwin Muir. The anthology was published by Fortune Press, in part a vanity publisher that did not pay its writers, and expected them to buy a certain number of copies themselves. A similar arrangement was used by other new authors, including Philip Larkin.

 

In September 1935, Thomas met Vernon Watkins, thus beginning a lifelong friendship. Dylan introduced Watkins, working at Lloyds Bank at the time, to his friends. The group of writers, musicians and artists became known as "The Kardomah Gang".

 

In those days, Thomas used to frequent the cinema on Mondays with Tom Warner who, like Watkins, had recently suffered a nervous breakdown. After these trips, Warner would bring Thomas back for supper with his aunt.

 

On one occasion, when she served him a boiled egg, she had to cut its top off for him, as Thomas did not know how to do this. This was because his mother had done it for him all his life, an example of her coddling him. Years later, his wife Caitlin would still have to prepare his eggs for him.

 

In December 1935, Thomas contributed the poem 'The Hand That Signed the Paper' to Issue 18 of the bi-monthly New Verse.

 

In 1936, Dylan's next collection 'Twenty-five Poems' received much critical praise. In 1938, Thomas won the Oscar Blumenthal Prize for Poetry; it was also the year in which New Directions offered to be his publisher in the United States. In all, he wrote half his poems while living at Cwmdonkin Drive before moving to London. It was the time that Thomas's reputation for heavy drinking developed.

 

In early 1936, Thomas met Caitlin Macnamara (1913–94), a 22-year-old blonde-haired, blue-eyed dancer of Irish and French descent. She had run away from home, intent on making a career in dance, and at the age of 18 joined the chorus line at the London Palladium.

 

Introduced by Augustus John, Caitlin's lover, they met in The Wheatsheaf pub on Rathbone Place in London's West End. Laying his head on her lap, a drunken Thomas proposed. Thomas liked to comment that he and Caitlin were in bed together ten minutes after they first met.

 

Although Caitlin initially continued her relationship with Augustus John, she and Thomas began a correspondence, and by the second half of 1936 they were courting. They married at the register office in Penzance, Cornwall, on the 11th. July 1937.

 

In early 1938, they moved to Wales, renting a cottage in the village of Laugharne, Carmarthenshire. Their first child, Llewelyn Edouard, was born on the 30th. January 1939.

 

By the late 1930's, Thomas was embraced as the "Poetic Herald" for a group of English poets, the New Apocalyptics. However Thomas refused to align himself with them, and declined to sign their manifesto.

 

He later stated that:

 

"They are intellectual muckpots

leaning on a theory".

 

Despite Dylan's rejection, many of the group, including Henry Treece, modelled their work on Thomas's.

 

During the politically charged atmosphere of the 1930's, Thomas's sympathies were very much with the radical left, to the point of holding close links with the communists, as well as being decidedly pacifist and anti-fascist. He was a supporter of the left-wing No More War Movement, and boasted about participating in demonstrations against the British Union of Fascists.

 

1939–1945

 

In 1939, a collection of 16 poems and seven of the 20 short stories published by Thomas in magazines since 1934, appeared as 'The Map of Love'.

 

Ten stories in his next book, 'Portrait of the Artist as a Young Dog' (1940), were based less on lavish fantasy than those in 'The Map of Love', and more on real-life romances featuring himself in Wales.

 

Sales of both books were poor, resulting in Thomas living on meagre fees from writing and reviewing. At this time he borrowed heavily from friends and acquaintances.

 

Hounded by creditors, Thomas and his family left Laugharne in July 1940 and moved to the home of critic John Davenport in Marshfield, Gloucestershire. There Thomas collaborated with Davenport on the satire 'The Death of the King's Canary', though due to fears of libel, the work was not published until 1976.

 

At the outset of the Second World War, Thomas was worried about conscription, and referred to his ailment as "An Unreliable Lung".

 

Coughing sometimes confined him to bed, and he had a history of bringing up blood and mucus. After initially seeking employment in a reserved occupation, he managed to be classified Grade III, which meant that he would be among the last to be called up for service.

 

Saddened to see his friends going on active service, Dylan continued drinking, and struggled to support his family. He wrote begging letters to random literary figures asking for support, a plan he hoped would provide a long-term regular income. Thomas supplemented his income by writing scripts for the BBC, which not only gave him additional earnings but also provided evidence that he was engaged in essential war work.

 

In February 1941, Swansea was bombed by the Luftwaffe in a three night blitz. Castle Street was one of many streets that suffered badly; rows of shops, including the Kardomah Café, were destroyed. Thomas walked through the bombed-out shell of the town centre with his friend Bert Trick. Upset at the sight, he concluded:

 

"Our Swansea is dead".

 

Soon after the bombing raids, he wrote a radio play, 'Return Journey Home', which described the café as being "razed to the snow". The play was first broadcast on the 15th. June 1947. The Kardomah Café reopened on Portland Street after the war.

 

In May 1941, Thomas and Caitlin left their son with his grandmother at Blashford and moved to London. Thomas hoped to find employment in the film industry, and wrote to the director of the films division of the Ministry of Information (MOI). After initially being rebuffed, he found work with Strand Films, providing him with his first regular income since the Daily Post. Strand produced films for the MOI; Thomas scripted at least five films in 1942.

 

In five film projects, between 1942 and 1945, the Ministry of Information (MOI) commissioned Thomas to script a series of documentaries about both urban planning and wartime patriotism, all in partnership with director John Eldridge:

 

-- 'Wales: Green Mountain, Black Mountain'.

-- 'New Towns for Old' (on post-war reconstruction).

-- 'Fuel for Battle'.

-- 'Our Country' (1945) was a romantic tour of Great Britain set to Thomas's poetry.

-- 'A City Reborn'.

 

Other projects included:

 

-- 'This Is Colour' (a history of the British dyeing industry).

-- 'These Are The Men' (1943), a more ambitious piece in which Thomas's verse accompanied Leni Riefenstahl's footage of an early Nuremberg Rally.

-- 'Conquest of a Germ' (1944) explored the use of early antibiotics in the fight against pneumonia and tuberculosis.

 

In early 1943, Thomas began a relationship with Pamela Glendower; one of several affairs he had during his marriage. The affairs either ran out of steam or were halted after Caitlin discovered his infidelity.

 

In March 1943, Caitlin gave birth to a daughter, Aeronwy, in London. They lived in a run-down studio in Chelsea, made up of a single large room with a curtain to separate the kitchen.

 

The Thomas family made several escapes back to Wales during the war. Between 1941 and 1943, they lived intermittently in Plas Gelli, Talsarn, in Cardiganshire. Plas Gelli sits close by the River Aeron, after whom Aeronwy is thought to have been named. Some of Thomas’ letters from Gelli can be found in his 'Collected Letters'.

 

The Thomases shared the mansion with his childhood friends from Swansea, Vera and Evelyn Phillips. Vera's friendship with the Thomases in nearby New Quay is portrayed in the 2008 film, 'The Edge of Love'.

 

In July 1944, with the threat of German flying bombs landing on London, Thomas moved to the family cottage at Blaencwm near Llangain, Carmarthenshire, where he resumed writing poetry, completing 'Holy Spring' and 'Vision and Prayer'.

 

In September 1944, the Thomas family moved to New Quay in Cardiganshire (Ceredigion), where they rented Majoda, a wood and asbestos bungalow on the cliffs overlooking Cardigan Bay. It was here that Thomas wrote the radio piece 'Quite Early One Morning', a sketch for his later work, 'Under Milk Wood'.

 

Of the poetry written at this time, of note is 'Fern Hill', believed to have been started while living in New Quay, but completed at Blaencwm in mid-1945. Dylan's first biographer, Constantine FitzGibbon wrote that:

 

"His nine months in New Quay were a second

flowering, a period of fertility that recalls the

earliest days, with a great outpouring of poems

and a good deal of other material".

 

His second biographer, Paul Ferris, concurred:

 

"On the grounds of output, the bungalow

deserves a plaque of its own."

 

The Dylan Thomas scholar, Walford Davies, has noted that:

 

"New Quay was crucial in supplementing

the gallery of characters Thomas had to

hand for writing 'Under Milk Wood'."

 

Dylan Thomas's Broadcasting Years 1945–1949

 

Although Thomas had previously written for the BBC, it was a minor and intermittent source of income. In 1943, he wrote and recorded a 15-minute talk entitled 'Reminiscences of Childhood' for the Welsh BBC.

 

In December 1944, he recorded 'Quite Early One Morning' (produced by Aneirin Talfan Davies, again for the Welsh BBC), but when Davies offered it for national broadcast, BBC London initially turned it down.

 

However on the 31st. August 1945, the BBC Home Service broadcast 'Quite Early One Morning' nationally, and in the three subsequent years, Dylan made over a hundred broadcasts for the BBC, not only for his poetry readings, but for discussions and critiques.

 

In the second half of 1945, Dylan began reading for the BBC Radio programme, 'Book of Verse', that was broadcast weekly to the Far East. This provided Thomas with a regular income, and brought him into contact with Louis MacNeice, a congenial drinking companion whose advice Thomas cherished.

 

On the 29th. September 1946, the BBC began transmitting the Third Programme, a high-culture network which provided further opportunities for Thomas.

 

He appeared in the play 'Comus' for the Third Programme, the day after the network launched, and his rich, sonorous voice led to character parts, including the lead in Aeschylus's 'Agamemnon', and Satan in an adaptation of 'Paradise Lost'.

 

Thomas remained a popular guest on radio talk shows for the BBC, who stated:

 

"He is useful should a younger

generation poet be needed".

 

He had an uneasy relationship with BBC management, and a staff job was never an option, with drinking cited as the problem. Despite this, Thomas became a familiar radio voice and well-known celebrity within Great Britain.

 

By late September 1945, the Thomases had left Wales, and were living with various friends in London. In December, they moved to Oxford to live in a summerhouse on the banks of the Cherwell. It belonged to the historian, A. J. P. Taylor. His wife, Margaret, became Thomas’s most committed patron.

 

The publication of 'Deaths and Entrances' in February 1946 was a major turning point for Thomas. Poet and critic Walter J. Turner commented in The Spectator:

 

"This book alone, in my opinion,

ranks him as a major poet".

 

From 'In my Craft or Sullen Art,' 'Deaths and Entrances' (1946):

 

'Not for the proud man apart

From the raging moon, I write

On these spindrift pages

Nor for the towering dead

With their nightingales and psalms

But for the lovers, their arms

Round the griefs of the ages,

Who pay no praise or wages

Nor heed my craft or art'.

 

The following year, in April 1947, the Thomases travelled to Italy, after Thomas had been awarded a Society of Authors scholarship. They stayed first in villas near Rapallo and then Florence, before moving to a hotel in Rio Marina on the island of Elba.

 

On their return to England Thomas and his family moved, in September 1947, into the Manor House in South Leigh, just west of Oxford, found for him by Margaret Taylor.

 

He continued with his work for the BBC, completed a number of film scripts, and worked further on his ideas for 'Under Milk Wood'.

 

In March 1949 Thomas travelled to Prague. He had been invited by the Czech government to attend the inauguration of the Czechoslovak Writers' Union. Jiřina Hauková, who had previously published translations of some of Thomas' poems, was his guide and interpreter.

 

In her memoir, Hauková recalls that at a party in Prague, Thomas narrated the first version of his radio play 'Under Milk Wood.' She describes how he outlined the plot about a town that was declared insane, and then portrayed the predicament of an eccentric organist and a baker with two wives.

 

A month later, in May 1949, Thomas and his family moved to his final home, the Boat House at Laugharne, purchased for him at a cost of £2,500 in April 1949 by Margaret Taylor.

 

Thomas acquired a garage a hundred yards from the house on a cliff ledge which he turned into his writing shed, and where he wrote several of his most acclaimed poems. To see a photograph of the interior of Dylan's shed, please search for the tag 55DTW96

 

Just before moving into the Boat House, Thomas rented Pelican House opposite his regular drinking den, Brown's Hotel, for his parents. They both lived there from 1949 until Dylan's father 'D.J.' died on the 16th. December 1952. His mother continued to live there until 1953.

 

Caitlin gave birth to their third child, a boy named Colm Garan Hart, on the 25th. July 1949.

 

In October 1949, the New Zealand poet Allen Curnow came to visit Thomas at the Boat House, who took him to his writing shed. Curnow recalls:

 

"Dylan fished out a draft to show me

of the unfinished 'Under Milk Wood'

that was then called 'The Town That

Was Mad'."

 

Dylan Thomas's American tours, 1950–1953

 

(a) The First American Tour

 

The American poet John Brinnin invited Thomas to New York, where in 1950 they embarked on a lucrative three-month tour of arts centres and campuses.

 

The tour, which began in front of an audience of a thousand at the Kaufmann Auditorium in the Poetry Centre in New York, took in a further 40 venues. During the tour, Thomas was invited to many parties and functions, and on several occasions became drunk - going out of his way to shock people - and was a difficult guest.

 

Dylan drank before some of his readings, although it is argued that he may have pretended to be more affected by the alcohol than he actually was.

 

The writer Elizabeth Hardwick recalled how intoxicated a performer he could be, and how the tension would build before a performance:

 

"Would he arrive only to break

down on the stage?

Would some dismaying scene

take place at the faculty party?

Would he be offensive, violent,

obscene?"

 

Dylan's wife Caitlin said in her memoir:

 

"Nobody ever needed encouragement

less, and he was drowned in it."

 

On returning to Great Britain, Thomas began work on two further poems, 'In the White Giant's Thigh', which he read on the Third Programme in September 1950:

 

'Who once were a bloom of wayside

brides in the hawed house

And heard the lewd, wooed field

flow to the coming frost,

The scurrying, furred small friars

squeal in the dowse

Of day, in the thistle aisles, till the

white owl crossed.'

 

He also worked on the incomplete 'In Country Heaven'.

 

In October 1950, Thomas sent a draft of the first 39 pages of 'The Town That Was Mad' to the BBC. The task of seeing this work through to production was assigned to the BBC's Douglas Cleverdon, who had been responsible for casting Thomas in 'Paradise Lost'.

 

However, despite Cleverdon's urgings, the script slipped from Thomas's priorities, and in early 1951 he took a trip to Iran to work on a film for the Anglo-Iranian Oil Company. The film was never made, with Thomas returning to Wales in February, though his time there allowed him to provide a few minutes of material for a BBC documentary, 'Persian Oil'.

 

Early in 1951 Thomas wrote two poems, which Thomas's principal biographer, Paul Ferris, describes as "unusually blunt." One was the ribald 'Lament', and the other was an ode, in the form of a villanelle, to his dying father 'Do not go Gentle Into That Good Night". (A villanelle is a pastoral or lyrical poem of nineteen lines, with only two rhymes throughout, and some lines repeated).

 

Despite a range of wealthy patrons, including Margaret Taylor, Princess Marguerite Caetani and Marged Howard-Stepney, Thomas was still in financial difficulty, and he wrote several begging letters to notable literary figures, including the likes of T. S. Eliot.

 

Margaret Taylor was not keen on Thomas taking another trip to the United States, and thought that if he had a permanent address in London he would be able to gain steady work there. She bought a property, 54 Delancey Street, in Camden Town, and in late 1951 Thomas and Caitlin lived in the basement flat. Thomas described the flat as his "London House of Horror", and did not return there after his 1952 tour of America.

 

(b) The Second American Tour

 

Thomas undertook a second tour of the United States in 1952, this time with Caitlin - after she had discovered that he had been unfaithful on his earlier trip. They drank heavily, and Thomas began to suffer with gout and lung problems.

 

It was during this tour that the above photograph was taken.

 

The second tour was the most intensive of the four, taking in 46 engagements.

 

The trip also resulted in Thomas recording his first poetry to vinyl, which Caedmon Records released in America later that year. One of his works recorded during this time, 'A Child's Christmas in Wales', became his most popular prose work in America. The recording was a 2008 selection for the United States National Recording Registry, which stated that:

 

"It is credited with launching the

audiobook industry in the United

States".

 

(c) The Third American Tour

 

In April 1953, Thomas returned alone for a third tour of America. He performed a "work in progress" version of 'Under Milk Wood', solo, for the first time at Harvard University on the 3rd. May 1953. A week later, the work was performed with a full cast at the Poetry Centre in New York.

 

Dylan met the deadline only after being locked in a room by Brinnin's assistant, Liz Reitell, and was still editing the script on the afternoon of the performance; its last lines were handed to the actors as they put on their makeup.

 

During this penultimate tour, Thomas met the composer Igor Stravinsky. Igor had become an admirer of Dylan after having been introduced to his poetry by W. H. Auden. They had discussions about collaborating on a "musical theatrical work" for which Dylan would provide the libretto on the theme of:

 

"The rediscovery of love and

language in what might be left

after the world after the bomb."

 

The shock of Thomas's death later in the year moved Stravinsky to compose his 'In Memoriam Dylan Thomas' for tenor, string quartet and four trombones. The work's first performance in Los Angeles in 1954 was introduced with a tribute to Thomas from Aldous Huxley.

 

Thomas spent the last nine or ten days of his third tour in New York mostly in the company of Reitell, with whom he had an affair.

 

During this time, Thomas fractured his arm falling down a flight of stairs when drunk. Reitell's doctor, Milton Feltenstein, put his arm in plaster, and treated him for gout and gastritis.

 

After returning home, Thomas worked on 'Under Milk Wood' in Wales before sending the original manuscript to Douglas Cleverdon on the 15th. October 1953. It was copied and returned to Thomas, who lost it in a pub in London and required a duplicate to take to America.

 

(d) The Fourth American Tour

 

Thomas flew to the States on the 19th. October 1953 for what would be his final tour. He died in New York before the BBC could record 'Under Milk Wood'. Richard Burton featured in its first broadcast in 1954, and was joined by Elizabeth Taylor in a subsequent film. In 1954, the play won the Prix Italia for literary or dramatic programmes.

 

Thomas's last collection 'Collected Poems, 1934–1952', published when he was 38, won the Foyle poetry prize. Reviewing the volume, critic Philip Toynbee declared that:

 

"Thomas is the greatest living

poet in the English language".

 

There followed a series of distressing events for Dylan. His father died from pneumonia just before Christmas 1952. In the first few months of 1953, his sister died from liver cancer, one of his patrons took an overdose of sleeping pills, three friends died at an early age, and Caitlin had an abortion.

 

Thomas left Laugharne on the 9th. October 1953 on the first leg of his trip to America. He called on his mother, Florence, to say goodbye:

 

"He always felt that he had to get

out from this country because of

his chest being so bad."

 

Thomas had suffered from chest problems for most of his life, though they began in earnest soon after he moved in May 1949 to the Boat House at Laugharne - the "Bronchial Heronry", as he called it. Within weeks of moving in, he visited a local doctor, who prescribed medicine for both his chest and throat.

 

Whilst waiting in London before his flight in October 1953, Thomas stayed with the comedian Harry Locke and worked on 'Under Milk Wood'. Locke noted that Thomas was having trouble with his chest, with terrible coughing fits that made him go purple in the face. He was also using an inhaler to help his breathing.

 

There were reports, too, that Thomas was also having blackouts. His visit to the BBC producer Philip Burton a few days before he left for New York, was interrupted by a blackout. On his last night in London, he had another in the company of his fellow poet Louis MacNeice.

 

Thomas arrived in New York on the 20th. October 1953 to undertake further performances of 'Under Milk Wood', organised by John Brinnin, his American agent and Director of the Poetry Centre. Brinnin did not travel to New York, but remained in Boston in order to write.

 

He handed responsibility to his assistant, Liz Reitell, who was keen to see Thomas for the first time since their three-week romance early in the year. She met Thomas at Idlewild Airport and was shocked at his appearance. He looked pale, delicate and shaky, not his usual robust self:

 

"He was very ill when he got here."

 

After being taken by Reitell to check in at the Chelsea Hotel, Thomas took the first rehearsal of 'Under Milk Wood'. They then went to the White Horse Tavern in Greenwich Village, before returning to the Chelsea Hotel.

 

(Bob Dylan, formerly Robert Zimmerman, used to perform at the White Horse; Dylan Thomas was his favourite poet, and it is highly likely that Bob adopted Dylan's first name as his surname).

 

The next day, Reitell invited Thomas to her apartment, but he declined. They went sightseeing, but Thomas felt unwell, and retired to his bed for the rest of the afternoon. Reitell gave him half a grain (32.4 milligrams) of phenobarbitone to help him sleep, and spent the night at the hotel with him.

 

Two days later, on the 23rd. October 1953, at the third rehearsal, Thomas said he was too ill to take part, but he struggled on, shivering and burning with fever, before collapsing on the stage.

 

The next day, 24th. October, Reitell took Thomas to see her doctor, Milton Feltenstein, who administered cortisone injections. Thomas made it through the first performance that evening, but collapsed immediately afterwards.

 

Dylan told a friend who had come back-stage:

 

"This circus out there has taken

the life out of me for now."

 

Reitell later said:

 

"Feltenstein was rather a wild doctor

who thought injections would cure

anything".

 

At the next performance on the 25th. October, his fellow actors realised that Thomas was very ill:

 

"He was desperately ill…we didn’t think

that he would be able to do the last

performance because he was so ill…

Dylan literally couldn’t speak he was so

ill…still my greatest memory of it is that

he had no voice."

 

On the evening of the 27th. October, Thomas attended his 39th. birthday party, but felt unwell, and returned to his hotel after an hour. The next day, he took part in 'Poetry and the Film', a recorded symposium at Cinema 16.

 

A turning point came on the 2nd. November. Air pollution in New York had risen significantly, and exacerbated chest illnesses such as Thomas's. By the end of the month, over 200 New Yorkers had died from the smog.

 

On the 3rd. November, Thomas spent most of the day in his room, entertaining various friends. He went out in the evening to keep two drink appointments. After returning to the hotel, he went out again for a drink at 2 am. After drinking at the White Horse, Thomas returned to the Hotel Chelsea, declaring:

 

"I've had eighteen straight

whiskies. I think that's the

record!"

 

However the barman and the owner of the pub who served him later commented that Thomas could not have drunk more than half that amount.

 

Thomas had an appointment at a clam house in New Jersey with Todd on the 4th. November. When Todd telephoned the Chelsea that morning, Thomas said he was feeling ill, and postponed the engagement. Todd thought that Dylan sounded "terrible".

 

The poet, Harvey Breit, was another to phone that morning. He thought that Thomas sounded "bad". Thomas' voice, recalled Breit, was "low and hoarse". Harvey had wanted to say:

 

"You sound as though from the tomb".

 

However instead Harvey told Thomas that he sounded like Louis Armstrong.

 

Later, Thomas went drinking with Reitell at the White Horse and, feeling sick again, returned to the hotel. Dr. Feltenstein came to see him three times that day, administering the cortisone secretant ACTH by injection and, on his third visit, half a grain (32.4 milligrams) of morphine sulphate, which affected Thomas' breathing.

 

Reitell became increasingly concerned, and telephoned Feltenstein for advice. He suggested that she get male assistance, so she called upon the artist Jack Heliker, who arrived before 11 pm. At midnight on the 5th. November, Thomas's breathing became more difficult, and his face turned blue.

 

Reitell phoned Feltenstein who arrived at the hotel at about 1 am, and called for an ambulance. It then took another hour for the ambulance to arrive at St. Vincent's, even though it was only a few blocks from the Chelsea.

 

Thomas was admitted to the emergency ward at St Vincent's Hospital at 1:58 am. He was comatose, and his medical notes stated that:

 

"The impression upon admission was acute

alcoholic encephalopathy damage to the brain

by alcohol, for which the patient was treated

without response".

 

Feltenstein then took control of Thomas's care, even though he did not have admitting rights at St. Vincent's. The hospital's senior brain specialist, Dr. C. G. Gutierrez-Mahoney, was not called to examine Thomas until the afternoon of the 6th. November, thirty-six hours after Thomas' admission.

 

Dylan's wife Caitlin flew to America the following day, and was taken to the hospital, by which time a tracheotomy had been performed. Her reported first words were:

 

"Is the bloody man dead yet?"

 

Caitlin was allowed to see Thomas only for 40 minutes in the morning, but returned in the afternoon and, in a drunken rage, threatened to kill John Brinnin. When she became uncontrollable, she was put in a straitjacket and committed, by Feltenstein, to the River Crest private psychiatric detox clinic on Long Island.

 

It is now believed that Thomas had been suffering from bronchitis, pneumonia and emphysema before his admission to St Vincent's. In their 2004 paper, 'Death by Neglect', D. N. Thomas and Dr Simon Barton disclose that Thomas was found to have pneumonia when he was admitted to hospital in a coma.

 

Doctors took three hours to restore his breathing, using artificial respiration and oxygen. Summarising their findings, they conclude:

 

"The medical notes indicate that, on admission,

Dylan's bronchial disease was found to be very

extensive, affecting upper, mid and lower lung

fields, both left and right."

 

The forensic pathologist, Professor Bernard Knight, concurs:

 

"Death was clearly due to a severe lung infection

with extensive advanced bronchopneumonia.

The severity of the chest infection, with greyish

consolidated areas of well-established pneumonia,

suggests that it had started before admission to

hospital."

 

Thomas died at noon on the 9th. November 1953, having never recovered from his coma. He was 39 years of age when he died.

 

Aftermath of Dylan Thomas's Death

 

Rumours circulated of a brain haemorrhage, followed by competing reports of a mugging, or even that Thomas had drunk himself to death. Later, speculation arose about drugs and diabetes.

 

At the post-mortem, the pathologist found three causes of death - pneumonia, brain swelling and a fatty liver. Despite Dylan's heavy drinking, his liver showed no sign of cirrhosis.

 

The publication of John Brinnin's 1955 biography 'Dylan Thomas in America' cemented Thomas's legacy as the "doomed poet". Brinnin focuses on Thomas's last few years, and paints a picture of him as a drunk and a philanderer.

 

Later biographies have criticised Brinnin's view, especially his coverage of Thomas's death. David Thomas in 'Fatal Neglect: Who Killed Dylan Thomas?' claims that Brinnin, along with Reitell and Feltenstein, were culpable.

 

FitzGibbon's 1965 biography ignores Thomas's heavy drinking and skims over his death, giving just two pages in his detailed book to Thomas's demise.

 

Ferris in his 1989 biography includes Thomas's heavy drinking, but is more critical of those around him in his final days, and does not draw the conclusion that he drank himself to death.

 

Many sources have criticised Feltenstein's role and actions, especially his incorrect diagnosis of delirium tremens and the high dose of morphine he administered. Dr C. G. de Gutierrez-Mahoney, the doctor who treated Thomas while at St. Vincent's, concluded that Feltenstein's failure to see that Thomas was gravely ill and have him admitted to hospital sooner was even more culpable than his use of morphine.

 

Caitlin Thomas's autobiographies, 'Caitlin Thomas - Leftover Life to Kill' (1957) and 'My Life with Dylan Thomas: Double Drink Story' (1997), describe the effects of alcohol on the poet and on their relationship:

 

"Ours was not only a love story, it was

a drink story, because without alcohol

it would never had got on its rocking

feet. The bar was our altar."

 

Biographer Andrew Lycett ascribed the decline in Thomas's health to an alcoholic co-dependent relationship with his wife, who deeply resented his extramarital affairs.

 

In contrast, Dylan biographers Andrew Sinclair and George Tremlett express the view that Thomas was not an alcoholic. Tremlett argues that many of Thomas's health issues stemmed from undiagnosed diabetes.

 

Thomas died intestate, with assets worth £100. His body was brought back to Wales for burial in the village churchyard at Laugharne. Dylan's funeral, which Brinnin did not attend, took place at St Martin's Church in Laugharne on the 24th. November 1953.

 

Six friends from the village carried Thomas's coffin. Caitlin, without her customary hat, walked behind the coffin, with his childhood friend Daniel Jones at her arm and her mother by her side. The procession to the church was filmed, and the wake took place at Brown's Hotel. Thomas's fellow poet and long-time friend Vernon Watkins wrote The Times obituary.

 

Thomas's widow, Caitlin, died in 1994, and was laid to rest alongside him. Dylan's mother Florence died in August 1958. Thomas's elder son, Llewelyn, died in 2000, his daughter, Aeronwy in 2009, and his youngest son Colm in 2012.

 

Dylan Thomas's Poetry

 

Thomas's refusal to align with any literary group or movement has made him and his work difficult to categorise. Although influenced by the modern symbolism and surrealism movements, he refused to follow such creeds. Instead, critics view Thomas as part of the modernism and romanticism movements, though attempts to pigeon-hole him within a particular neo-romantic school have been unsuccessful.

 

Elder Olson, in his 1954 critical study of Thomas's poetry, wrote:

 

"There is a further characteristic which

distinguished Thomas's work from that

of other poets. It was unclassifiable."

 

Olson went on to say that in a postmodern age that continually attempted to demand that poetry have social reference, none could be found in Thomas's work, and that his work was so obscure that critics could not analyse it.

 

Thomas's verbal style played against strict verse forms, such as in the villanelle 'Do not go Gentle Into That Good Night'.

 

His images appear carefully ordered in a patterned sequence, and his major theme was the unity of all life, the continuing process of life and death, and new life that linked the generations.

 

Thomas saw biology as a magical transformation producing unity out of diversity, and in his poetry sought a poetic ritual to celebrate this unity. He saw men and women locked in cycles of growth, love, procreation, new growth, death, and new life. Therefore, each image engenders its opposite.

 

Thomas derived his closely woven, sometimes self-contradictory images from the Bible, Welsh folklore, preaching, and Sigmund Freud. Explaining the source of his imagery, Thomas wrote in a letter to Glyn Jones:

 

"My own obscurity is quite an unfashionable one,

based, as it is, on a preconceived symbolism

derived (I'm afraid all this sounds woolly and

pretentious) from the cosmic significance of the

human anatomy".

 

Thomas's early poetry was noted for its verbal density, alliteration, sprung rhythm and internal rhyme, and some critics detected the influence of the English poet Gerard Manley Hopkins. Hopkins, had taught himself Welsh, and used sprung verse, bringing some features of Welsh poetic metre into his work.

 

However when Henry Treece wrote to Thomas comparing his style to that of Hopkins, Thomas wrote back denying any such influence. Thomas greatly admired Thomas Hardy, who is regarded as an influence. When Thomas travelled in America, he recited some of Hardy's work in his readings.

 

Other poets from whom critics believe Thomas drew influence include James Joyce, Arthur Rimbaud and D. H. Lawrence.

 

William York Tindall, in his 1962 study, 'A Reader's Guide to Dylan Thomas', finds comparison between Thomas's and Joyce's wordplay, while he notes the themes of rebirth and nature are common to the works of Lawrence and Thomas.

 

Although Thomas described himself as the "Rimbaud of Cwmdonkin Drive", he stated that the phrase "Swansea's Rimbaud" was coined by the poet Roy Campbell.

 

Critics have explored the origins of Thomas's mythological pasts in his works such as 'The Orchards', which Ann Elizabeth Mayer believes reflects the Welsh myths of the Mabinogion.

 

Thomas's poetry is notable for its musicality, most clear in 'Fern Hill', 'In Country Sleep', 'Ballad of the Long-legged Bait' and 'In the White Giant's Thigh' from Under Milk Wood.

 

Thomas once confided that the poems which had most influenced him were Mother Goose rhymes which his parents taught him when he was a child:

 

"I should say I wanted to write poetry in the

beginning because I had fallen in love with

words.

The first poems I knew were nursery rhymes,

and before I could read them for myself I had

come to love the words of them. The words

alone.

What the words stood for was of a very

secondary importance ... I fell in love, that is

the only expression I can think of, at once,

and am still at the mercy of words, though

sometimes now, knowing a little of their

behaviour very well, I think I can influence

them slightly and have even learned to beat

them now and then, which they appear to

enjoy.

I tumbled for words at once. And, when I began

to read the nursery rhymes for myself, and, later,

to read other verses and ballads, I knew that I

had discovered the most important things, to

me, that could be ever."

 

Thomas became an accomplished writer of prose poetry, with collections such as 'Portrait of the Artist as a Young Dog' (1940) and 'Quite Early One Morning' (1954) showing he was capable of writing moving short stories. His first published prose work, 'After the Fair', appeared in The New English Weekly on the 15th. March 1934.

 

Jacob Korg believes that one can classify Thomas's fiction work into two main bodies:

 

-- Vigorous fantasies in a poetic style

-- After 1939, more straightforward

narratives.

 

Korg surmises that Thomas approached his prose writing as an alternate poetic form, which allowed him to produce complex, involuted narratives that do not allow the reader to rest.

 

Dylan Thomas as a Welsh Poet

 

Thomas disliked being regarded as a provincial poet, and decried any notion of 'Welshness' in his poetry. When he wrote to Stephen Spender in 1952, thanking him for a review of his Collected Poems, he added:

 

"Oh, & I forgot. I'm not influenced by

Welsh bardic poetry. I can't read Welsh."

 

Despite this, his work was rooted in the geography of Wales. Thomas acknowledged that he returned to Wales when he had difficulty writing, and John Ackerman argues that:

 

"Dylan's inspiration and imagination

were rooted in his Welsh background".

 

Caitlin Thomas wrote that:

 

"He worked in a fanatically narrow groove,

although there was nothing narrow about

the depth and understanding of his feelings.

The groove of direct hereditary descent in

the land of his birth, which he never in

thought, and hardly in body, moved out of."

 

Head of Programmes Wales at the BBC, Aneirin Talfan Davies, who commissioned several of Thomas's early radio talks, believed that the poet's whole attitude is that of the medieval bards.

 

Kenneth O. Morgan counter-argues that it is a difficult enterprise to find traces of cynghanedd (consonant harmony) or cerdd dafod (tongue-craft) in Thomas's poetry. Instead he believes that Dylan's work, especially his earlier, more autobiographical poems, are rooted in a changing country which echoes the Welshness of the past and the Anglicisation of the new industrial nation:

 

"Rural and urban, chapel-going and profane,

Welsh and English, unforgiving and deeply

compassionate."

 

Fellow poet and critic Glyn Jones believed that any traces of cynghanedd in Thomas's work were accidental, although he felt that Dylan consciously employed one element of Welsh metrics: that of counting syllables per line instead of feet. Constantine Fitzgibbon, who was his first in-depth biographer, wrote:

 

"No major English poet has

ever been as Welsh as Dylan".

 

Although Dylan had a deep connection with Wales, he disliked Welsh nationalism. He once wrote:

 

"Land of my fathers, and

my fathers can keep it".

 

While often attributed to Thomas himself, this line actually comes from the character Owen Morgan-Vaughan, in the screenplay Thomas wrote for the 1948 British melodrama 'The Three Weird Sisters'.

 

Robert Pocock, a friend from the BBC, recalled:

 

"I only once heard Dylan express an

opinion on Welsh Nationalism.

He used three words. Two of them

were Welsh Nationalism."

 

Although not expressed as strongly, Glyn Jones believed that he and Thomas's friendship cooled in the later years because he had not rejected enough of the elements that Thomas disliked, i.e. "Welsh nationalism and a sort of hill farm morality".

 

Apologetically, in a letter to Keidrych Rhys, editor of the literary magazine 'Wales', Thomas's father wrote:

 

"I'm afraid Dylan isn't much

of a Welshman".

 

FitzGibbon asserts that Thomas's negativity towards Welsh nationalism was fostered by his father's hostility towards the Welsh language.

 

Critical Appraisal of Dylan Thomas's Work

 

Thomas's work and stature as a poet have been much debated by critics and biographers since his death. Critical studies have been clouded by Thomas's personality and mythology, especially his drunken persona and death in New York.

 

When Seamus Heaney gave an Oxford lecture on the poet, he opened by addressing the assembly:

 

"Dylan Thomas is now as much

a case history as a chapter in the

history of poetry".

 

He queried how 'Thomas the Poet' is one of his forgotten attributes. David Holbrook, who has written three books about Thomas, stated in his 1962 publication 'Llareggub Revisited':

 

"The strangest feature of Dylan Thomas's

notoriety - not that he is bogus, but that

attitudes to poetry attached themselves

to him which not only threaten the prestige,

effectiveness and accessibility to English

poetry, but also destroyed his true voice

and, at last, him."

 

The Poetry Archive notes that:

 

"Dylan Thomas's detractors accuse him

of being drunk on language as well as

whiskey, but whilst there's no doubt that

the sound of language is central to his

style, he was also a disciplined writer

who re-drafted obsessively".

 

Many critics have argued that Thomas's work is too narrow, and that he suffers from verbal extravagance. However those who have championed his work have found the criticism baffling. Robert Lowell wrote in 1947:

 

"Nothing could be more wrongheaded

than the English disputes about Dylan

Thomas's greatness ... He is a dazzling

obscure writer who can be enjoyed

without understanding."

 

Kenneth Rexroth said, on reading 'Eighteen Poems':

 

"The reeling excitement of a poetry-intoxicated

schoolboy smote the Philistine as hard a blow

with one small book as Swinburne had with

Poems and Ballads."

 

Philip Larkin, in a letter to Kingsley Amis in 1948, wrote that:

 

"No one can stick words into us

like pins... like Thomas can".

 

However he followed that by stating that:

 

"Dylan doesn't use his words

to any advantage".

 

Amis was far harsher, finding little of merit in Dylan's work, and claiming that:

 

"He is frothing at the mouth

with piss."

 

In 1956, the publication of the anthology 'New Lines' featuring works by the British collective The Movement, which included Amis and Larkin amongst its number, set out a vision of modern poetry that was damning towards the poets of the 1940's. Thomas's work in particular was criticised. David Lodge, writing about The Movement in 1981 stated:

 

"Dylan Thomas was made to stand for

everything they detest, verbal obscurity,

metaphysical pretentiousness, and

romantic rhapsodizing".

 

Despite criticism by sections of academia, Thomas's work has been embraced by readers more so than many of his contemporaries, and is one of the few modern poets whose name is recognised by the general public.

 

In 2009, over 18,000 votes were cast in a BBC poll to find the UK's favourite poet; Thomas was placed 10th.

 

Several of Dylan's poems have passed into the cultural mainstream, and his work has been used by authors, musicians and film and television writers.

 

The long-running BBC Radio programme, 'Desert Island Discs', in which guests usually choose their favourite songs, has heard 50 participants select a Dylan Thomas recording.

 

John Goodby states that this popularity with the reading public allows Thomas's work to be classed as vulgar and common. He also cites that despite a brief period during the 1960's when Thomas was considered a cultural icon, the poet has been marginalized in critical circles due to his exuberance, in both life and work, and his refusal to know his place.

 

Goodby believes that Thomas has been mainly snubbed since the 1970's and has become: "... an embarrassment to twentieth-century poetry criticism", his work failing to fit standard narratives, and thus being ignored rather than studied.

 

Memorials to Dylan Thomas

 

In Swansea's maritime quarter is the Dylan Thomas Theatre, the home of the Swansea Little Theatre of which Thomas was once a member. The former Guildhall built in 1825 is now occupied by the Dylan Thomas Centre, a literature centre, where exhibitions and lectures are held and which is a setting for the annual Dylan Thomas Festival. Outside the centre stands a bronze statue of Thomas by John Doubleday.

 

Another monument to Thomas stands in Cwmdonkin Park, one of Dylan's favourite childhood haunts, close to his birthplace. The memorial is a small rock in an enclosed garden within the park, cut by and inscribed by the late sculptor Ronald Cour with the closing lines from Fern Hill:

 

'Oh as I was young and easy

in the mercy of his means

Time held me green and dying

Though I sang in my chains like

the sea'.

 

Thomas's home in Laugharne, the Boathouse, is now a museum run by Carmarthenshire County Council. Thomas's writing shed is also preserved.

 

In 2004, the Dylan Thomas Prize was created in his honour, awarded to the best published writer in English under the age of 30. In 2005, the Dylan Thomas Screenplay Award was established. The prize, administered by the Dylan Thomas Centre, is awarded at the annual Swansea Bay Film Festival.

 

In 1982 a plaque was unveiled in Poets' Corner, Westminster Abbey. The plaque is also inscribed with the last two lines of 'Fern Hill'.

 

In 2014, the Royal Patron of The Dylan Thomas 100 Festival was Charles, Prince of Wales, who made a recording of 'Fern Hill' for the event.

 

In 2014, to celebrate the centenary of Thomas's birth, the British Council Wales undertook a year-long programme of cultural and educational works. Highlights included a touring replica of Thomas's work shed, Sir Peter Blake's exhibition of illustrations based on 'Under Milk Wood', and a 36-hour marathon of readings, which included Michael Sheen and Sir Ian McKellen performing Thomas's work.

 

Towamensing Trails, Pennsylvania named one of its streets, Thomas Lane, in Dylan's honour.

 

List of Works by Dylan Thomas

 

-- 'The Collected Poems of Dylan Thomas: The New Centenary Edition', edited and with Introduction by John Goodby. London: Weidenfeld & Nicolson, 2014.

-- 'The Notebook Poems 1930–34', edited by Ralph Maud. London: Dent, 1989.

-- 'Dylan Thomas: The Film Scripts', edited by John Ackerman. London: Dent 1995.

-- 'Dylan Thomas: Early Prose Writings', edited by Walford Davies. London: Dent 1971.

-- 'Collected Stories', edited by Walford Davies. London: Dent, 1983.

-- 'Under Milk Wood: A Play for Voices', edited by Walford Davies and Ralph Maud. London: Dent, 1995.

-- 'On The Air With Dylan Thomas: The Broadcasts', edited by Ralph Maud. New York: New Directions, 1991.

 

Correspondence

 

-- 'Dylan Thomas: The Collected Letters', edited by Paul Ferris (2017), 2 vols. London: Weidenfeld & Nicolson

Vol I: 1931–1939

Vol II: 1939–1953.

-- 'Letters to Vernon Watkins', edited by Vernon Watkins (1957). London: Dent.

 

Posthumous Film Adaptations

 

-- 2016: Dominion, written and directed by Steven Bernstein, examines the final hours of Dylan Thomas.

-- 2014: Set Fire to the Stars, with Thomas portrayed by Celyn Jones, and John Brinnin by Elijah Wood.

-- 2014: Under Milk Wood BBC, starring Charlotte Church, Tom Jones, Griff Rhys-Jones and Michael Sheen.

-- 2014: Interstellar. The poem is featured throughout the film as a recurring theme regarding the perseverance of humanity.

-- 2009: A Child's Christmas in Wales, BAFTA Best Short Film. Animation, with soundtrack in Welsh and English. Director: Dave Unwin. Extras include filmed comments from Aeronwy Thomas.

-- 2007: Dylan Thomas: A War Films Anthology (DDHE/IWM).

-- 1996: Independence Day. Before the attack, the President paraphrases Thomas's "Do not go Gentle Into That Good Night".

-- 1992: Rebecca's Daughters, starring Peter O'Toole and Joely Richardson.

-- 1987: A Child's Christmas in Wales, directed by Don McBrearty.

-- 1972: Under Milk Wood, starring Richard Burton, Elizabeth Taylor, and Peter O'Toole.

 

Opera Adaptation

 

-- 1973: Unter dem Milchwald, by German composer Walter Steffens on his own libretto using Erich Fried's translation of 'Under Milk Wood' into German, Hamburg State Opera. Also at the Staatstheater Kassel in 1977.

 

Final Thoughts From Dylan Thomas

 

"Somebody's boring me.

I think it's me."

 

"Do not go gentle into that good night,

Old age should burn and rave at close of day;

Rage, rage against the dying of the light."

 

"When one burns one's bridges,

what a very nice fire it makes."

 

"I think, that if I touched the earth,

It would crumble; It is so sad and

beautiful, so tremulously like a dream."

 

"An alcoholic is someone you don't like,

who drinks as much as you do."

 

"I hold a beast, an angel, and a madman in me,

and my enquiry is as to their working, and my

problem is their subjugation and victory, down

throw and upheaval, and my effort is their self-

expression."

 

"The only sea I saw was the seesaw sea

with you riding on it. Lie down, lie easy.

Let me shipwreck in your thighs."

 

"Why do men think you can pick love up

and re-light it like a candle? Women know

when love is over."

 

"Poetry is not the most important thing in life.

I'd much rather lie in a hot bath reading

Agatha Christie and sucking sweets."

 

"And now, gentlemen, like your manners,

I must leave you."

 

"My education was the liberty I had to read

indiscriminately and all the time, with my eyes

hanging out."

 

"I'm a freak user of words, not a poet."

 

"Our discreditable secret is that we don't

know anything at all, and our horrid inner

secret is that we don't care that we don't."

 

"It snowed last year too: I made a snowman

and my brother knocked it down and I knocked

my brother down and then we had tea."

 

"Though lovers be lost love shall not."

 

"Man’s wants remain unsatisfied till death.

Then, when his soul is naked, is he one

with the man in the wind, and the west moon,

with the harmonious thunder of the sun."

 

"And books which told me everything

about the wasp, except why."

 

"We are not wholly bad or good, who live

our lives under Milk Wood."

 

"Love is the last light spoken."

 

"... an ugly, lovely town ... crawling, sprawling ...

by the side of a long and splendid curving

shore. This sea-town was my world."

 

"I do not need any friends. I prefer enemies.

They are better company, and their feelings

towards you are always genuine."

 

"This poem has been called obscure. I refuse

to believe that it is obscurer than pity, violence,

or suffering. But being a poem, not a lifetime,

it is more compressed."

 

"One: I am a Welshman; two: I am a drunkard;

three: I am a lover of the human race, especially

of women."

 

"I believe in New Yorkers. Whether they've ever

questioned the dream in which they live, I wouldn't

know, because I won't ever dare ask that question."

 

"These poems, with all their crudities, doubts and

confusions, are written for the love of man and in

praise of God, and I'd be a damn fool if they weren't."

 

"Before you let the sun in, mind he wipes his shoes."

 

"Nothing grows in our garden, only washing.

And babies."

 

"Make gentle the life of this world."

 

"A worm tells summer better than the clock,

the slug's a living calendar of days; what shall

it tell me if a timeless insect says the world

wears away?"

 

"Time passes. Listen. Time passes. Come

closer now. Only you can hear the houses

sleeping in the streets in the slow deep salt

and silent black, bandaged night."

 

"Rhianon, he said, hold my hand, Rhianon.

She did not hear him, but stood over his bed

and fixed him with an unbroken sorrow. Hold

my hand, he said, and then: Why are you

putting the sheet over my face?"

 

"Come on up, boys - I'm dead."

 

"Life is a terrible thing, thank God."

 

Rundetaarn (The Round Tower)

La 447-024 amb la 447-040 passant sense parar per l'estació de Vacarisses amb un R4 de Manresa a Martorell. L'estació ha estat remodelada recentment, recreixent les andanes en una longitud de 200 metres amb un nou pas superior amb ascensors, que encara no funcionen i per això es manté temporalment el pas a nivell entre vies.

 

La 447-024 con la 447-040 pasando sin parar por la estación de Vacarisses con un R4 de Manresa a Martorell. La estación ha sido remodelada recientemente, recreciendo los andenes en una longitud de 200 metros con un nuevo paso superior con ascensores, que aún no funcionan y por eso se mantiene temporalmente el paso a nivel entre vías.

 

The 447-024 and the 447-040 of renfe with a non stop train at Vacarisses station with a R4 line service from Manresa to Martorell. The station has been refubrished recently.

© Ben Heine | Facebook | Twitter | www.benheine.com

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Enlarge HERE

 

Pencil Vs Camera, Digital Circlism and Flesh and Acrylic exhibited together for the first time during the same event. The show happened at the Accessible Art Fair in Brussels, Belgium. All of them are limited edition prints already face mounted and bonded between 2 high quality acrylic glass panels (Diasec finishing). You can find more info about my limited editions prints and about Diasec here.

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For more information about my art: info@benheine.com

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Rotterdam - Depot Boijmans Van Beuningen, the world’s first fully accessible art depot, will open its doors in September 2021 at Museumpark in the centre of Rotterdam. With this construction completion, now the museum and the users can start to inhabit the building and fill its spaces with priceless art. Although it will take another year before the real opening, the completion is a special moment . 7,000 lucky persons can make a safe quick visit in 3 days in September 2020.

 

The assignment for MVRDV Architects was to offer a glimpse behind the scenes of the museum world and make the whole art collection accessible to the public. The reflective round volume responds to its surroundings. The Depot features exhibition halls, a rooftop garden, and a restaurant, in addition to an enormous amount of storage space for art and design.

Depot Boijmans Van Beuningen is the first depot in the world that offers access to a complete collection. The dynamics of the depot are different from those of the museum: no exhibitions are held here, but you can - independently or with a guide - browse through 151,000 art objects. You can also take a look at, for example, conservation and restoration.. Surface 15,000 m²

 

MVRDV has completed the bowl-like Depot Boijmans Van Beuningen in Rotterdam's Museumpark, which is covered in mirrored glass and topped by a rooftop forest. The art storage facility, which will open to the public in autumn 2021, has been built to house the art collection of the Museum Boijmans Van Beuningen in one place for the first time since 1935. Depot Boijmans Van Beuningen contains a mix of storage spaces alongside areas for art maintenance, both of which will be made accessible to visitors after the artwork has been moved there. This makes the facility the first publicly accessible art depot in the world, according to MVRDV Architects, and will offer a new type of experience for museum-goers in the Netherlands.

 

The Depot Boijmans Van Beuningen measures 12 metres in height and encompasses 15,000 m2. The budget was € 55,000,000. To help reduce its visual impact, MVRDV clad the depot in 1,664 reflective glass panels so that it blends in with its surroundings in the OMA-designed Museumpark. Its bowl-shape was also developed to minimise its footprint. The rooftop features 75 birch trees. Its reflective facade wears the trappings of whatever surrounds it: people passing by, Museumpark's leafy grounds, the clouds, and Rotterdam's dynamic city skyline. Thanks to this reflection, the building is already fully integrated into its surroundings, despite its not insignificant size.

 

Inside, the building contains several storage spaces alongside studios for the curators and areas for the maintenance of the art. The storage spaces are divided into five different climate zones so that the artefacts can be stored and exhibited according to their specific temperature and humidity requirements, which can vary depending on the materials used to make them. According to MVRDV, the focal point of the depot is its central atrium, which is filled with overlapping staircases and suspended glass display cases that will eventually be filled with art chosen by the museum's curators. This atrium will connect the storage and exhibition spaces to the curators' studios, and offer visitors rare access and insights into how the museum cares and maintains its collection. Once open to the public, the Museum Boijmans Van Beuningen's artwork will be displayed throughout the entire building, including on its rooftop restaurant and sculpture garden. The rooftop forest is covered with 75 tall birch trees and was incorporated by the studio to make up for the lost green space and provide views across the city.

 

MVRDV is an architecture studio based in Rotterdam, which was founded by Winy Maas, Jacob van Rijs and Nathalie de Vries in 1991. The studio won a competition to design the Depot Boijmans Van Beuningen in 2014.

It was developed by the studio with BAM Bouw & Techniek and will be made open to the public after its interiors are completed and the artwork has been moved inside.

 

Misson is a village in Nottinghamshire, England. It is located 12 miles north of Retford, and not directly accessible from the rest of Nottinghamshire, as it is on the north bank of the River Idle. Misson Springs, which lie north of the village itself, is the northernmost place within the county. The parish also includes the hamlet of Newington, at its western edge. According to the 2001 census it had a population of 698, increasing to 711 at the 2011 census.

 

The parish church of St John the Baptist was rebuilt after extensive damage by lightning in 1894. RAF Misson was located about a mile to the north-east of the village.

 

Permission was granted in 2016 to test for shale gas in Misson.

 

The place-name Misson is possibly a derivative of an Old English word, mos, 'moss, marsh, bog', hence 'mossy or marshy place'. Alternatively, the name may contain Old Norse mysni, 'a water-plant’, perhaps the water-arum.

 

Misson appears in the Domesday Book of 1086 as Misna and Misne.

 

When the Domesday survey was completed in 1086, Misson was mentioned, but there was no church building at that time. The first church building was constructed around 1150, and was made of limestone, probably shipped in on the River Idle, since this stone does not occur locally. The building belonged to Welbeck Abbey, but a Gilbertine Priory was established at Mattersey, around 1185, and the Canons argued that the church should belong to them. It is not clear what the grounds for this argument were, but the dispute was eventually referred to Pope Celestine III, who passed the decision back to local authorities. A meeting at Blyth in 1192 decided in favour of Mattersey Priory owning it. One hundred years later, John Clarell was the vicar, who as well as also being vicar of Babworth, East Bridgford, Lowdham and Harworth, found time to be chaplain to the Pope and to King Edward

 

The church was visited by the Archbishop of York, Thomas Wolsey, in 1530, after he fell out of favour with the king and was stripped of his other offices. Henry VIII's split with Rome and the Dissolution of the Monasteries let to Mattersey Priory being dissolved in 1538, and although most of its property was sold off, the church came under the patronage of the king from then onwards, and was valued at a little over £6. The village was devastated by fire on 8 August 1652, when 48 buildings were destroyed by the blaze, but most of the villagers were attending church, which was not affected by the fire.

 

Misson was the location for one of the first schools in Nottinghamshire, when in 1693 Thomas Mowbray and John Pinder sponsored the construction of a building in the churchyard. It was granted an income of £5 per year, raised from some land in the parish, and was to teach six children at a time to read. In 1745, the vicar John Foss reported to the Archbishop of York that there were 70 families in the village, 50 people who took communion, and over 20 children in the school. The population had increased to 99 families by 1764. More detailed figures are available for 1832, when 841 people lived in the village, although this had reduced to 719 people by 1912. In 1832 there were eight public houses in the village: The Green Dragon, Ferry Boat Inn, The White Horse, The Red Lion, The Globe, The Golden Ball, The Oddfellows Arms and Bull Hill.

 

A directory of 1853 stated that the village contained 5,783 acres (2,340 ha) of good sandy soil, and that most of this had previously been common land, but had been enclosed in 1769. However, the Enclosure Act was awarded on 11 June 1762, and a copy of it is held in the archive at the University of Nottingham . A map produced in 1761 shows that Misson was surrounded by three fields, East Field to the east, Butt Field to the west and Mill Field to the north-west. It shows how these were sub-divided as a result of the enclosures. To the north of them, the area remained common land, and was used for the grazing of animals, the production of hay, and probably also reeds for thatching. Part of Misson was in Nottinghamshire, and part was in Lincolnshire, but the boundary between the two counties was not well defined in 1853. There was a ferry across the River Idle, which ran from the bottom of Water Lane on the north bank to a point a little further downstream on the south bank. The ferry allowed villagers to reach Everton, and is thought to have operated from the 16th century until the mid-20th century. The Misson hub has images of two different boats used for the service, one a simple punt with four passengers, and one a steam boat, with large paddle wheels and a crew of three.

 

Significant repairs were carried out to the fabric of the church in 1882 and 1886, but on 23 September 1893 the tower was hit by lightning. Large pieces of masonry crashed down through the building, and four fires started, which caused considerable damage. The quick-thinking parish clerk, Robert Pinder, entered the building to rescue a chest of documents, including the parish registers and the insurance policy. Most of the building, apart from the chancel, was too damaged to be usable, but enough repairs had been made by June 1894 to allow the Bishop of Southwell to reopen it, although reconstruction continued for another two years.

 

Herbert H Skinner was the vicar from 1927 to 1933, and early in his term of office, the county council threatened to take over the Misson Church of England School because it did not meet the education authority's standards. This move seemed to be favoured by many in the village, but Skinner insisted that he was in the process of improving standards. In 1930 he was given a three-month ultimatum by many parents, who said they would withdraw their children from the school if things did not improve, but the threatened strike was called off at the last minute.

Resonance tension

Expanded position

Beyond feeling

Se dice que los objetos y espacios deben ser diseñados de manera que puedan ser utilizados, sin modificación alguna, por el mayor número posible de personas.

 

# # #

 

View On Black

 

Systems Set

Die Rallye WM ist zu Besuch in Trittenheim. Weinfest und Schnelle Autos. --- www.adac-rallye-deutschland.de/ ---- Alle Fotos entstanden an für jeden zugänglichen, öffentlichen Orten. Sofern ich an diesen Orten von einem Fotografierverbot Kenntnis hatte, habe ich dieses Fotografierverbot strikt beachtet! Es ist nicht meine Absicht, die Rechte Dritter zu verletzen.

  

Sollte dennoch eine Privatperson, Institution oder Firma ihre Rechte durch meine Fotos beeinträchtigt sehen, genügt ein freundlicher Hinweis und ich nehme das beanstandete Foto aus meinem Fotostream.

 

---

All photos were taken for every accessible, public place. If I had knowledge of a photography ban in these places, I strictly observed this photography ban! It is not my intention to violate the rights of third parties.

  

Should nevertheless a private person, institution or company see their rights impaired by my photos, a friendly note is sufficient and I take the offending photo from my photo stream.

Monte Testaccio or Monte dei cocci is an artificial mound in Rome composed almost entirely of fragments of broken ancient Roman pottery, nearly all discarded amphorae dating from the time of the Roman Empire. The hill is normally not freely accessible, and offers great views over parts of Rome.

 

Fujifilm X-E1 - Fujinon XF 35mm F1.4 R

Prints | FB | Soundcloud | Insta | Twitter | G+ | Blog | © Ben Heine

 

Invitation to my next exhibition... www.accessibleartfair.com

 

Find a selection of my best photos here. Please also subscribe to my Instagram page to see more.

 

PS: All my images are copyrighted, please do not use them without permission, thank you.

 

For more info about my projects, contact: info@benheine.com

© Ben Heine || Facebook || Twitter || www.benheine.com

________________________________________________

 

Enlarge HERE

 

Some of my creations ("Pencil Vs Camera" and "Digital Circlism", printed in limited editions) were exhibited from the 5th till the 7th of November 2010 at the Conrad Hotel in Brussels in the context of the Accessible Art Fair. The event gathered a selection of international artists and brought several thousands of visitors and art lovers. Many thanks to Rami for his precious help and to Stephanie for her invitation.

________________________________________________

 

For more information about my art: info@benheine.com

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Three-storey retablo, a distinctive nativity scene from Peru, seen in the Museum Würth during an exhibition of cribs from all over the world, Gaisbach, Franconia (Baden-Wuerttemberg)

 

Some backrground information:

 

Retablos are a sophisticated Peruvian folk art in the form of portable boxes which depict religious, historical, or everyday events that are important to the Indigenous people of the highlands. The Spanish word retablo comes from the Latin retro-tabulum ("behind the table or altar"). This is a reference to the fact that the first retablos were placed on or behind the altars of Catholic churches in Spain and Latin America. They were three-dimensional statues or images inside a decorated frame.

 

Retablos probably originated with the Christian knights of the Crusades and the Spanish reconquista (the 700-year struggle against the Moors on the Iberian Peninsula). The Christian warriors, who frequently found themselves far away from their home churches, carried small portable box-altars for worship and protection against their enemies. These earliest retablos usually featured religious themes, especially those involving Saint James, the patron saint-warrior in the fight against the Moors.

 

Retablos came to the New World as small portable altars depicting nativity scenes and other religious topics used by the early priests to evangelize the Indigenous. In a syncretic process, the early retablos brought by the Spanish merged with Indigenous beliefs in the Andean region to acquire certain magical or symbolic properties which had been the attributes of local spirits before the conquest. These early South and Central American retablos were wooden boxes with figures inside carved from stone, ivory or wood.

 

Later, retablos evolved to include daily scenes in the lives of the Andean people, such as harvests, processions, feasts, and tableaux depicting shops and homes. The use of wood for the outside box remained, but other materials, such as gypsum, clay, or a potato-gypsum-clay paste mix, were increasingly used for the figures because of their ease of handling and durability.

 

As you can see, the retablo in this picture shows the Nativity in its top floor. In the middle floor some kind of celebration is shown, with lots of female and male musicians playing traditional Peruvian instruments. And in the bottom floor, a hat shop is depicted. The hats there bear a close resemblance to the typical North American ten-gallon hats. The three-storey box is carved from wood, while all figures inside are made from clay. I guess that the whole ensemble has a height of 80 centimetres, which means that it’s definitely no pocket size retablo, but one that was perhaps used as some kind of home altar.

 

In the 1940s more and more artists were using retablos as a vehicle for affirming and recording the distinct identity of the Indigenous people of the Andean region. They are also a defense of Indigenous culture and values in the face of the modernization and the penetration of their culture by the one of the white Hispanic elites of Lima.

 

If you drive through the countryside of the rural district of Hohenlohe with its pastures and little villages in the northeast of the federal state of Baden-Wuerttemberg, you wouldn’t expect an art museum of international reputation being located in this area. However the museums Würth 1 and Würth 2 are and that has a particular reason: Both museums are attached to the headquarters of Würth Group, a multinational company and the biggest producer of screws in the world.

 

In 1954, the German billionaire Richard Würth took over a two-man business from his father at the age of 19 and made it a successful worldwide concern with almost 86,000 employees today. In the 70s, Würth began to collect art. Since then, he has collected roughly 18,500 works of art. His passion for collecting art even resulted in art becoming an important element of the Würth company culture. The most important works of art are made publicly available in altogether five museums of the Würth Group. All of them are freely accessible.

 

A Merry Christmas 2024 to all of you! Have a great festive season together with your families and friends!

I'd never intended to post these photos. 'Always wanted the Zeppelin print to just stand on it's own as a mysterious little pinhole "gem".

However,

Nine months ago while I was in the hospital undergoing chemotherapy and my stem cell transplant, 3 stooges set out to diss and debunk the Zeppelin image as not a pinhole image but, photoshopped (ugh). So, now in my defense (like, I should even have to...)

The location: Denver Public Works Building. I was attracted to this building from it's original construction. With it's German industrial look and saluting stormtroopers sculpture on the bridge, it seemed only right to have some form of airship in the image. I'd originally thought of an Albatros DIII (german biplane) or an Me-262 (german jet) but always fancied dirigibles.

The Zeppelin: LZ 129 Hindenburg 1:720 scale (about 13 inches or 33cm long) Revell 04802

The Boom (to suspend the zeppelin): Made of wood strips, angle aluminum, hardware, monofilament and mounted on a tripod.

The Camera: Polaroid pinhole conversion. 35mm focal length with 9mm rise. I converted this camera specifically for this project. Can be seen here.

Film: Polaroid Type 665 positive/negative.

Other notes: I had to pack everything in on my bike as the location was accessible by bike path only.

Total time and expense to final neg.: I'd rather not think about it.

 

....................................................................................................

 

Back to the stooges: kevinolson44, Airships and SouthWestDreams. You can read their comments here or at the Zeppelin image.

By the way, not one of them have a single pinhole image in their photostream.

  

kevinolson44 says:

The last Zeppelin that looked like this was destroyed in 1940. Please explain how you managed to photograph it in 2006.

Posted 10 months ago. ( permalink | delete )

 

Stefan G. Pro User says:

Very adequate way to capture a Zeppelin!

Posted 10 months ago. ( permalink | delete )

 

kevinolson44 says:

Doesn't anyone want to know how he shot this in 2006? Zeppelins like this no longer exist and have not existed in this form in 69 years! Also judging by the size of the "Zeppelin" in the shot it appears to be over the river. Where's the reflection in the water? Come on people, this is obviously Photoshop'd.

Posted 9 months ago. ( permalink | delete )

 

Gary M Pro User says:

Looks like many of the blimps that fly over the NYC/NJ area to me. Just looks like a fabulous pinhole camera image to me.

Posted 9 months ago. ( permalink | delete )

 

rustman Pro User says:

8^)

Posted 9 months ago. ( permalink | delete )

 

Airships Pro User says:

Sorry to spoil anyone's fun, but this is not a pinhole photograph taken in 2006, or any photograph taken in 2006.

 

The airship in this image looks nothing at all like a modern blimp. According to the shape of its hull, its size, and the location and design of its control gondola and engine cars, if this is a real airship at all (as opposed to a model or a computer generated image) it can only be one of two airships ever built, either the LZ-129 Hindenburg, or its near sister, the LZ-130 Graf Zeppelin II (and in either case, with the swastika flags digitally removed from the vertical stabilzers). The Hindenburg crashed in 1937, and the LZ-130 was dismantled in 1940.

 

It is still a very cool image, and I like it a lot, but it was made with Photoshop, not an oatmeal box.

Posted 9 months ago. ( permalink | delete )

 

Gary M Pro User says:

www.modern-airships.info/en/home.html The blimp is moving since it is a pinhole camera image. Probally a several second exposure. I see several ships posted that look similar in the link i posted. I hope the photographer chimes in on the discussion. I see nothing fake.

Posted 9 months ago. ( permalink | delete )

 

Airships Pro User says:

@ Gary:

 

This photo is almost certainly a fake.

 

Unless the photographer somehow came across a very large,

historically accurate, and flyable remote-control model (and I believe

I would be aware of any such model in existence), this is not a

pinhole photograph, but a digitally (or otherwise artificially)

contrived creation, using a photograph of the LZ-129 Hindenburg or its near sister ship, LZ-130. The zeppelin in this image can be no other ship.

 

Take a look for yourself.

 

Enlarge the photo. (Click "All Sizes").

 

And here is a photograph, and a drawing, of Hindenburg for comparison:

 

www.airships.net/wp-content/uploads/lz129-pro file.jpg

 

www.airships.net/wp-content/uploads/hindenb-f light051web.jpg

LZ-129

 

Now, look slightly to the left of the control car in the "pinhole photo." On both sides of the hull; you will see the "ledge" that was the promenade area on "A Deck" of the Hindenburg.

 

www.airships.net/wp-content/uploads/passenger s-arriving-1...

 

www.airships.net/hindenburg/interiors

 

Next, look a little father aft; you will see the four engine cars of the Hindenburg, two on either side of the hull.

 

www.airships.net/hindenburg/design-tec hnology)

 

Compare the engine cars in the "pinhole photo" to the engine cars in the photo and drawing of Hindenburg.

 

You said that you see blimps which look similar in the link you posted, but no modern airship (and none of the airships depicted in the link you posted) have external engine cars, nor could they structurally support them.

 

Now, look at the whole hull; you will see lines running the length of the hull, from bow to stern, which were the longitudinal girders of Hindenburg's internal duralumin frame.

 

FInally, look at the stern, at the shape of the fins, and also compare the size of the fins to the overall size of the hull, to get a sense of the length of the ship; Hindenburg was four times longer than the largest modern blimp.

 

The zeppelin in the "pinhole photo" is either the LZ-129 (destroyed in 1937) or the LZ-130 (dismantled in 1940); it can be no other airship.

 

I still think this is a great image, and my congratulations to its creator; he has a great artistic sense, and some great technical skills.

 

But it's not a pinhole photo.

Posted 9 months ago. ( permalink | delete )

 

Henry [6*3=?] Pro User says:

A fake ? So what ? It's a wonderful picture *a*n*y*w*a*y

Posted 9 months ago. ( permalink | delete )

 

Airships Pro User says:

@ Henry... as I said at the end of my post. :-)

Posted 9 months ago. ( permalink | delete )

 

kevinolson44 says:

@ Airships

Thanks for making this clear that the photo was a Photoshop creation. It annoys me that so many people bought into this fake. Does anyone really believe that there's a giant Zeppelin flying around in Colorado or Nebraska? And with no visible name anywhere to be seen? Wouldn't the presence of this draw a crowd? The bridge is completely deserted. Check any photos of actual Zeppelins and there are people crowding the rooftops to get a look. Wake up everyone!

Posted 9 months ago. ( permalink | delete )

 

guruveee says:

Hi, I'm an admin for a group called Pinholers, and we'd love to have this added to the group!

Posted 7 months ago. ( permalink | delete )

 

B.l.u.e.S.k.y. Pro User says:

fantastic... real or unreal...=))))

Posted 6 months ago. ( permalink | delete )

 

bob merco Pro User says:

Fuck em czak. this is one of your best. !!!

Posted 4 months ago. ( permalink | delete )

 

lepoSs says:

well the so long and never ending debate about photography = reality...

 

I really appreciate your picture from any way you did it.

It's poetic, futuristic (yes!), so well processed and even... neo-post-avantgardist ;-)

Posted 4 months ago. ( permalink | delete )

 

sixtåriis Pro User says:

Hi, I'm an admin for a group called je ne regrette rien (by invitation), and we'd love to have this added to the group!

Posted 3 months ago. ( permalink | delete )

 

SouthWestDreams Pro User says:

masterful! I can't imagine this scene looking better expressed any other way

Posted 2 months ago. ( permalink | delete )

 

skellum Pro User says:

damn, very cool, such a sharp image with apinhole

Posted 4 weeks ago. ( permalink | delete )

 

D.Ingraham Pro User says:

Had to revisit this one. One of your more epic shots.

Posted 4 weeks ago. ( permalink | delete )

 

D.Ingraham Pro User says:

Had to revisit this one. a real masterpiece.

Posted 4 weeks ago. ( permalink | delete )

 

kevinolson44 says:

If a photographer claims to have photographed something, pinhole camera or otherwise, and it turns out to be a Photoshop creation, he should say so. Since these airships don't exist it goes without saying that this is a Photoshop creation.

Posted 2 days ago. ( permalink | delete )

 

SouthWestDreams Pro User says:

Sad lie. I am revising my post from a masterful photo to a masterful CREATION. You need not have deceived and lied to enhance the image.

Posted 2 days ago. ( permalink | delete )

Bokkefort

 

This ramp is normally used by people in wheelchairs and other assisted walking to enter the park - but not when there's a layer of ice on it.

yeti products

Österreich / Vorarlberg - Kleinwalsertal

 

Ifen Cable Car - On the way to Hoher Ifen

 

Ifenbahn - Auf dem Weg zum Hohen Ifen

 

Kleinwalsertal is a part of Mittelberg in the Austrian province of Vorarlberg.

 

It is part of the Bregenz district and due to the geographic location in the Allgäu Alps with its alpine terrain, the Kleinwalsertal has no direct traffic connection to the rest of Vorarlberg. It is accessible only via Oberstdorf, Germany, to the north, and thus is an Austrian "practical exclave" or "pene-exclave". Prior to Austria joining the European Union, the area had tax-free status.

 

The local football club, SV Kleinwalsertal, has the distinction of being one of only a few clubs in Central Europe that play in a local league based outside of the club's country. They play in the 10th tier A-Klasse Allgäu 4 in 2016–17.

 

The name of the valley derives from the Walsers who moved there from the Valais (German: Wallis) in the 13th century (see also "Großwalsertal").

 

The Kleinwalsertal is a high valley in the Allgäu Alps and is located in the east of Vorarlberg. The Breitach river runs through the entire valley and is fed by a few side streams, which come from the side valleys of the Kleinwalsertal.

 

The Kleinwalsertal is almost completely surrounded by high mountains. These are part of the Allgäu Alps, which are part of the northern eastern Alps. Its highest elevation is the Großer Widderstein at 2,533 metres (8,310 ft). The Kleinwalsertal is cut off from the rest of Austria. A traffic connection exists only to the Bavarian town of Oberstdorf.

 

The Kleinwalsertal was populated by the Walsers in 1270, a group of people who migrated from Switzerland. This Alemannic origin still distinguishes the inhabitants from the inhabitants of the surrounding communities by their dialect.

 

From 1891, the Kleinwalsertal enjoyed a customs union with Germany, a free border, and used the German Marks as currency. Since Austria joined the European Union in 1995, followed by the signing of the Schengen Agreement (1997) and the introduction of the Euro (2002), this special status has no longer applied.

 

By the time of EU accession goods from Austria had to be cleared in Germany or the import turnover tax had to be paid while German goods were free of taxes. Taxes were to be paid to the Austrian tax office in D-Mark until the introduction of the Euro. A special tariff was also applied to Swiss Post. Shipments to Austria were calculated according to the domestic tariffs of Austrian Post, those to Germany were to be freed with domestic porti of the Federal Post.

 

The most important industry in the last century was agriculture, which currently has only a marginal importance. Now tourism plays the major role and as early as 1960 the number of overnight stays reached a million. In 2015, there were 792,026 overnight stays in summer and 816,240 in winter of 2015/2016.

 

The hiking and excursion tourism - especially of families with small children and seniors - is very pronounced. The choice of easy walks and moderately difficult hiking trails is correspondingly wide and well signposted. Mobility in the valley is ensured with the tightly driven Walserbus, which is free of charge to tourists paying the tourist tax via ownership of the Walsercard.

 

The good transport connections to the north also helped to strengthen tourism. So you only need about two and a half hours for the Stuttgart-Kleinwalsertal route.

 

In Central Europe, the region is known as a ski and hiking resort. The 5,000 inhabitants, who are called "Walser", can provide up to 10,300 beds for tourists.

 

In the summer, the guests usually come for mountain hiking. There are also two very popular climbing routes (Mindelheimer Klettersteig and Zweienland Klettersteig) on the border to the neighbouring commune area of Oberstdorf, which are mostly accessed via the Kleinwalsertal because of the shorter route and easier accessibility.

 

The conditions for mountaineering on the Hohen Ifen and the Bärenköpfle are very good. However, it is severely restricted or completely forbidden for hunting reasons.

 

(Wikipedia)

 

Das Kleinwalsertal (auch: Kleines Walsertal | walserdeutsch nur Walsertal) liegt in den Allgäuer Alpen und gehört zum österreichischen Bundesland Vorarlberg. Das Hochtal liegt im Gemeindegebiet von Mittelberg und ist Teil des Bezirks Bregenz. Aufgrund der geographischen Lage mit seiner alpinen Geländestruktur hat das Kleinwalsertal keine direkte Verkehrsverbindung zum übrigen Vorarlberger Land. Das Tal ist nur von der Nachbargemeinde Oberstdorf in Bayern auf einer Straße zu erreichen. Für die Bundesrepublik Deutschland handelt es sich damit um eine sogenannte funktionale Enklave (vgl. auch Jungholz).

 

Der Name des Tals kommt von den Walsern, die im 13. Jahrhundert aus dem Wallis hierher zogen (siehe auch Großwalsertal). Auch wenn die einzige Straßenverbindung über Oberstdorf führt, gehört das Kleinwalsertal nicht zum Allgäu.

 

Das Kleinwalsertal ist ein hochgelegenes Kerbtal im Osten von Vorarlberg. Es ist umgeben von den Nordwestlichen und Südöstlichen Walsertaler Bergen die im Osten und Südosten an die Allgäuer und Lechtaler Alpen, im Süden an den Tannberg und im Westen an den Bregenzerwald grenzen. Nach Norden hin öffnet sich das Alpenvorland. Die Breitach zieht sich durch das gesamte Tal und wird von einigen Seitenbächen gespeist, die aus den Seitentälern des Kleinwalsertals stammen.

 

Das Kleinwalsertal wird fast vollständig von hohen Bergen umschlossen. Von ihnen wird das Kleinwalsertal gegenüber dem übrigen Staatsgebiet Österreichs abgeschnitten. Deren höchste Erhebung ist der Große Widderstein (2536 m). Eine Verkehrsverbindung besteht lediglich zum auf bayerischer Seite liegenden Oberstdorf (Enklave). Aus dieser geographischen Sonderstellung ergaben und ergeben sich eine Reihe von Besonderheiten, siehe Geschichte und Wirtschaft.

 

Weitere Berge sind der Elferkopf (2387 m), der Hohe Ifen (2230 m), die Kanzelwand (2058 m), das Fellhorn (2038 m) und das Walmendinger Horn (1990 m) – siehe Nordwestliche und Südöstlichen Walsertaler Berge.

 

Im Kleinwalsertal treffen vier geologische Einheiten aufeinander. Das Helvetikum mit dem verkarsteten Schrattenkalk (Ifen, Gottesackerplateau), der Rhenodanubische oder Vorarlberger Flysch (Walmendingerhorn, Heuberg, Güntlispitze, Fellhorn) und die schroffen Felsen des Ostalpin (Nördliche Kalkalpen) aus Hauptdolomit (die Walser Kerle: Widderstein, Elfer, Schafalpköpfe, Kanzelwand). Die Arosazone bildet einen schmalen lückenhaften Gürtel zwischen Flysch und Ostalpin. Sie enthält die größte Vielfalt an Gesteinen und zieht sich vom Üntschenjoch, dem Bärenkopf entlang quer durchs Gemstel- und Wildental bis unter die Kanzelwand. Aber auch Lias-Gesteine am Elfer und Gesteine der Ultrahelvetikum-Mélange, in der Umgebung Mittelalp finden sich im Kleinwalsertal.

 

Die europäische Hauptwasserscheide zwischen Rhein/Nordsee und Donau/Schwarzem Meer verläuft über das Gottesackerplateau und den Hohen Ifen zum Gerachsattel und weiter zum Hochalppass beim Widderstein.

 

Das Kleinwalsertal wurde im Jahre 1270 von den Walsern besiedelt, einer Volksgruppe, die aus dem deutschsprachigen Oberwallis in der Schweiz zuwanderte. Diese alemannische Herkunft unterscheidet die Bewohner sprachlich noch heute von den Bewohnern der umliegenden Gemeinden. Ihr Dialekt wird dem Höchstalemannischen zugeordnet, während man im Allgäu einen niederalemannischen Dialekt und im restlichen Vorarlberg einen hochalemannischen Dialekt (Vorarlbergerisch) spricht.

 

Das Tal ist heute Österreichs drittgrößtes Tourismusziel. Der jahrhundertelang bedeutendste Wirtschaftszweig war die Landwirtschaft, die aktuell nur mehr eine marginale Bedeutung hat. Schon 1960 erreichte die Nächtigungszahl erstmals eine Million. Im Tourismusjahr 2001/02 gab es insgesamt 1.678.180 Übernachtungen bei einer Kapazität von 12.000 Betten.

 

Der Wander- und Ausflugstourismus – vor allem auch von Familien mit kleineren Kindern und Senioren – ist sehr ausgeprägt. Die Auswahl an einfachen Spazierwegen und mäßig schwierigen Wanderpfaden ist entsprechend breit und gut ausgeschildert. Mit dem eng getaktet fahrenden Walserbus, der den Kurtaxe zahlenden Touristen als Inhabern der Walsercard kostenlos zur Verfügung steht, ist die Mobilität im Tal ohne PKW gewährleistet.

 

Zur starken Ausprägung des Tourismus verhalf auch die gute Verkehrsanbindung nach Norden. So benötigt man für die Strecke Stuttgart–Kleinwalsertal nur etwa zweieinhalb Stunden.

 

Im Jahr 2003 gab es am Ort 243 Gewerbebetriebe mit 1573 Beschäftigten und 144 Lehrlingen; lohnsteuerpflichtige Erwerbstätige waren 2518 Personen.

 

Der Tourismus ist der wichtigste Wirtschaftsfaktor im Tal, wobei der Sommertourismus etwa gleich ausgeprägt ist wie der im Winter.

 

Im Tourismusjahr 2017/2018 (November 2017 bis Oktober 2018) erzielte das Kleinwalsertal über 1,7 Mio. Nächtigungen (+4,9 % im Vergleich zum Vorjahr 2016/2017). Es kamen rund 355.000 Gäste ins Kleinwalsertal (10.038 Gästebetten in der Sommersaison 2018).

 

Die Übernachtungszahlen betrugen im Winter 2018/19 828.180 (−1,5 % im Vergleich zum Vorjahr 2017/18) gegenüber 927.543 (+3 % im Vergleich zum Vorjahr 2017) in der Sommersaison 2018.

 

Im Sommer kommen die Gäste meist zum Wandern und Bergwandern. Die Wanderwege erstrecken sich über drei Höhenlagen zwischen 1.086 und 2.536 m. Das Wegenetz besteht aus 185 km naturbelassenen, markierten Wanderwegen. Sie werden von 40 Hütten, Sennalpen und Bergrestaurant flankiert. Das Kleinwalsertal ist auch Start- oder Zielpunkt des „Grossen Walserwegs“ von Zermatt ins Kleinwalsertal oder eben umgekehrt. Im Sommer sind 8 Lifte in Oberstdorf für einen erleichterten Auf- und Abstieg geöffnet.

 

Das Kleinwalsertal ist zudem Veranstaltungsort für Trailrunning Wettkämpfe und Trainingcamps.Drei verschiedene Höhenlagen zwischen 1.100 und 2.500 m erlauben ein Training der verschiedenen Höhen- und Bodenverhältnisse. Die Trails sind zudem in mehrere Schwierigkeitsgrade eingeteilt und ermöglicht so eine Anpassung an das eigene Leistungsniveau. Das nächste Trainingscamp "die Trampelpfadtage" für Anfänger und Fortgeschrittene findet Corona-bedingt vom 16. September – 19. September 2021 statt.

 

Relativ neu hinzugekommen sind zahlreiche Biketouren und -Trails. Vor allem eMountain-Bikes werden gerne von den Besuchern dazu benutzt etwas höher hinaufzufahren. Die Radtouren wurden von der Gemeinde entlang aussichtsreicher oder historischer Strecken errichtet. Typisch für das Kleinwalsertal ist die Route "kleiner Grenzverkehr" über die deutsch-österreichische Grenze. Diese Route führt über einen Panoramaweg nach Oberstdorf und entlang der Breitach zurück ins Kleinwalsertal.

 

In der Region gibt es zudem beliebte Klettersteige – der Mindelheimer Klettersteig (B–C) führt über die Schafalpköpfe im Wildental. 2007 wurde von der Bergschule Kleinwalsertal an der Kanzelwand der sportlich anspruchsvolle 2-Länder-Sportklettersteig (C–D) und der Walsersteig, der Erlebnissteig für Einsteiger (B), errichtet. Die Bedingungen für das Sportklettern am Hohen Ifen und am Bärenköpfle zählen zu den besten der Alpen. Es ist jedoch aus jagdlichen Gründen stark eingeschränkt oder ganz verboten. Diese Einschränkungen wurden besonders angesichts der umfangreichen Erschließungen der näheren Umgebung von Bergsteigerverbänden als unangebracht und fachlich nicht fundiert kritisiert. So schrieb die Zeitschrift Alpin, dass „[…] sich ein solches Sperrgebiet gut ins Gesamtkonzept des Kleinwalsertales einfügt: Harter und lauter Tourismus mit großem wirtschaftlichen Nutzen dort und eine Ruhezone hier, wo eben nichts zu holen ist“. Von Seiten der Jagdaufsicht wird hingegen die Notwendigkeit einer Ruhezone für das Wild in dem ganzjährig stark touristisch genutzten Tal betont.

 

(Wikipedia)

Stubb Falls is an interesting and very accessible waterfall in Arrowhead Provincial Park in Ontario Canada.

 

The sun rises and beams through the canopy of fall trees, colour version.

  

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The top of continental Portugal's highest mountain is unusual in that it is accessible by car (just barely, due to low oxygen at almost 2000 m). Not just that but it also features a restaurant and a small shopping center among other attractions. :)

Brooklands Museum - French Day

11th August 2024

 

A reasonable amount of French Cars gathered of all ages at the Brooklands Museum site, Weybridge, Surrey. UK. Sadly not as well attended as other French car events but it is quite an expensive venue to enter especially if you have been before and seen all the other areas included like the aeroplanes, bus museum and ground exhibits. The 1907 competition banked track is not longer accessible even on foot, sadly it's also no longer complete from local development in the area meaning only parts exist.

 

Accessible by boat or a small pathway, this stunning, pristine beach has fine-grained white sand and crystalline waters as well as magnificent jagged karsts. This is a highly secluded picture perfect beach that attracts thousands of visitors year round but is able to maintain its flawless appearance and relaxing ambience.

 

This beach is the location of the 5-star Rayavadee resort, a private property that occupies 26 acres of the beach and the only compound located near Phra Nang Beach.

 

The Inner and Outer Phra Nang Caves, and Phra Nang Lagoon, which are located nearby offer remarkable views against a stunning backdrop and a range of accommodations to suit every budget. Although these attractions are accessible only by boat, they still draw numerous visitors for recreational and adventurous activities such as diving, snorkeling, hiking and rock climbing.

 

View On Black

SideStixTM - a shock-absorbant crutch with attachable tips for navigating any kind of terrain - are helping people living with physical disabilities explore and enjoy the outdoors.

 

This made-in-BC solution and many others are included in the second-annual Accessibility 2024 progress update.

 

The Accessibility 2024 Two Year Progress Report recognizes work over the last year by government, the disability community and the business community towards BC's vision to be the most progressive jurisdiction in Canada for people with disabilities.

 

More information: www.gov.bc.ca/accessibility

 

Photo: Kerith Perreur-Lloyd (SideStixTM on the West Coast Trail)

Don't forget Closed Captioning! HTML5 needs to be accessible for the hearing disabled as well.

 

Feel free to use this logo for any presentations, web pages, or whatever else you can think of. it uses the Gallaudet font www.fontspace.com/category/ASL

 

Here's a braille version: www.flickr.com/photos/draket/5449654430/

  

The result of a 'CCBS only' build session with my son for Hero February! There is something uniquely intuitive and inspriring about CCBS for kids, it works perfectly for what it sets out to do - be an accessible system to create characters quickly! My son built the hero while I was on villain duty (of course) and he named his character and we came up with a scenario.

 

I quote: The hero is called 'Mutt', has lava, fire and plasma powers, is strong (!), and his silver armor pieces are 'instructible'. (sic)

 

That last bit apparently meant indestructible!

 

Also, technically a collab?

 

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When a group of archaeologists brought back an alien monolith from an uninhabited planet to Makuhero City's museum, little did they know it was an ancient containment device for a malevolent being whose body is fluid - and that they inadvertently unsealed it.

 

When the creature escaped after eons of imprisonment, it occupied another exhibit - an incomplete, ancient suit of armor - and went on a rampage while looking for a more suitable vessel, one it wouldn't be constantly dripping out of.

 

Rookie hero 'Mutt' was deployed to the location, where he used his lava and plasma powers to subdue the creature and seal it back. At least, most of it...

 

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More images: www.instagram.com/p/DF6dw7sIjci

© 2013 Christopher Stern - All Rights Reserved

So this week i am no longer self employed as have taken a job with Attain Travel . My first job was yesterday to Blackpool and as i have experience and am trained in using accessible coaches and clamping wheelchairs i was given this job. Seen at Sandbach services YP09NRF a Scania K320 / Irizar I4 C49FL. This was also my first drive of a I4. Photo taken 05/10/17

Everyone has a right to access our public lands, but few of Glacier's trails were created with accessibility in mind.

 

A first step to addressing limits to accessibility is to identify them.

 

Glacier and the National Park Service are using tools—like the orange, one-wheeled device pictured here in front of two people using hand cycles—to evaluate trails in the park using the High Efficiency Trail Assessment Process (HETAP).

 

HETAP identifies trail variables: grade, cross-slope, trail width, surface material, and more.

 

This data allows park managers to prioritize future trail improvements, and allow visitors in the future to make more informed decisions.

Accessible shops makes going to the mechanics easier. Visit Karl Knudsen Automotive now. karlknudsen.com.au

 

Having been surrounded all my life by people with special needs, this picnic table caught my attention in a good way.

The city of Lakeland has had a colorful history when it comes to train stations. Currently, rail passengers are served by a station opened in 1998 on lovely Lake Mirror in close proximity to downtown, but evidence of the previous station that served from 1960-1998 still hugs the rails just over a mile west of the current station. The station building was demolished in 2008, but the rail platforms are still intact and actually accessible to urban explorers.

 

Contrasting the two station locations, it is easy to see why its current location better serves rail passengers. George Jenkins Blvd., once a much more important thoroughfare in Lakeland, is now primarily home to outdated budget motels, closed business, and light industry, while the current location opens directly to Lakeland's increasingly vibrant downtown.

at the Jefferson Park transit center in Chicago

 

Nikon FM, Nikkor 105mm f/2.5 AI, Ektachrome E100. DSLR-scanned.

Desert View Amphitheater site covered with tarps prior to installation of stone steps and walkways with the goal of making the site accessible. NPS photo/A. Rehkopf

 

Image: a small white tractor with a large stone block suspended by chains from the bucket, is positioning the block, as three employees are working in the background, along the rim of the canyon. NPS Photo/Dan Pawlak

 

Desert View, a place that was initially created to introduce visitors to the Southwest’s diverse and rich cultural heritage, is transforming into a place very much in keeping with its origins. The site is becoming an “Inter-tribal Cultural Heritage Site”—the first in the National Park Service.

 

The site will provide provides opportunities for first-voice cultural interpretation from associated Native American Tribes - including cultural demonstrations - to enhance visitor orientation to both the cultural significance of the site and greater park, as well as information about tourism opportunities on surrounding tribal lands.

accessible yet filthy ramp in the Jefferson Park transit center, Chicago, USA

The Eiffel Tower is a wrought-iron lattice tower on the Champ de Mars in Paris, France. It is named after the engineer Gustave Eiffel, whose company designed and built the tower.

 

Locally nicknamed "La dame de fer" (French for "Iron Lady"), it was constructed from 1887 to 1889 as the centerpiece of the 1889 World's Fair and was initially criticised by some of France's leading artists and intellectuals for its design, but it has become a global cultural icon of France and one of the most recognisable structures in the world. The Eiffel Tower is the most visited monument with an entrance fee in the world; 6.91 million people ascended it in 2015. It was designated a monument historique in 1964, and was named part of a UNESCO World Heritage Site ("Paris, Banks of the Seine") in 1991.

 

The tower is 330 metres (1,083 ft) tall, about the same height as an 81-storey building, and the tallest structure in Paris. Its base is square, measuring 125 metres (410 ft) on each side. During its construction, the Eiffel Tower surpassed the Washington Monument to become the tallest man-made structure in the world, a title it held for 41 years until the Chrysler Building in New York City was finished in 1930. It was the first structure in the world to surpass both the 200-metre and 300-metre mark in height. Due to the addition of a broadcasting aerial at the top of the tower in 1957, it is now taller than the Chrysler Building by 5.2 metres (17 ft). Excluding transmitters, the Eiffel Tower is the second tallest free-standing structure in France after the Millau Viaduct.

 

The tower has three levels for visitors, with restaurants on the first and second levels. The top level's upper platform is 276 m (906 ft) above the ground – the highest observation deck accessible to the public in the European Union. Tickets can be purchased to ascend by stairs or lift to the first and second levels. The climb from ground level to the first level is over 300 steps, as is the climb from the first level to the second, making the entire ascent a 600 step climb. Although there is a staircase to the top level, it is usually accessible only by lift.

 

The design of the Eiffel Tower is attributed to Maurice Koechlin and Émile Nouguier, two senior engineers working for the Compagnie des Établissements Eiffel. It was envisioned after discussion about a suitable centerpiece for the proposed 1889 Exposition Universelle, a world's fair to celebrate the centennial of the French Revolution. Eiffel openly acknowledged that inspiration for a tower came from the Latting Observatory built in New York City in 1853. In May 1884, working at home, Koechlin made a sketch of their idea, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals". Eiffel initially showed little enthusiasm, but he did approve further study, and the two engineers then asked Stephen Sauvestre, the head of the company's architectural department, to contribute to the design. Sauvestre added decorative arches to the base of the tower, a glass pavilion to the first level, and other embellishments.

 

The new version gained Eiffel's support: he bought the rights to the patent on the design which Koechlin, Nougier, and Sauvestre had taken out, and the design was put on display at the Exhibition of Decorative Arts in the autumn of 1884 under the company name. On 30 March 1885, Eiffel presented his plans to the Société des Ingénieurs Civils; after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying the tower would symbolise

[n]ot only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude.

 

Little progress was made until 1886, when Jules Grévy was re-elected as president of France and Édouard Lockroy was appointed as minister for trade. A budget for the exposition was passed and, on 1 May, Lockroy announced an alteration to the terms of the open competition being held for a centrepiece to the exposition, which effectively made the selection of Eiffel's design a foregone conclusion, as entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars. (A 300-metre tower was then considered a herculean engineering effort). On 12 May, a commission was set up to examine Eiffel's scheme and its rivals, which, a month later, decided that all the proposals except Eiffel's were either impractical or lacking in details.

 

After some debate about the exact location of the tower, a contract was signed on 8 January 1887. Eiffel signed it acting in his own capacity rather than as the representative of his company, the contract granting him 1.5 million francs toward the construction costs: less than a quarter of the estimated 6.5 million francs. Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the next 20 years. He later established a separate company to manage the tower, putting up half the necessary capital himself.

 

The Crédit Industriel et Commercial (C.I.C.) helped finance the construction of the Eiffel Tower. According to a New York Times investigation into France's colonial legacy in Haiti, at the time of the tower's construction, the bank was acquiring funds from predatory loans related to the Haiti indemnity controversy – a debt forced upon Haiti by France to pay for slaves lost following the Haitian Revolution – and transferring Haiti's wealth into France. The Times reported that the C.I.C. benefited from a loan that required the Haitian Government to pay the bank and its partner nearly half of all taxes the Haitian government collected on exports, writing that by "effectively choking off the nation’s primary source of income", the C.I.C. "left a crippling legacy of financial extraction and dashed hopes — even by the standards of a nation with a long history of both."

 

Work on the foundations started on 28 January 1887. Those for the east and south legs were straightforward, with each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg. The west and north legs, being closer to the river Seine, were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft) to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a block of limestone with an inclined top to bear a supporting shoe for the ironwork.

 

Each shoe was anchored to the stonework by a pair of bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. The foundations were completed on 30 June, and the erection of the ironwork began. The visible work on-site was complemented by the enormous amount of exacting preparatory work that took place behind the scenes: the drawing office produced 1,700 general drawings and 3,629 detailed drawings of the 18,038 different parts needed. The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the position of rivet holes was specified to within 1 mm (0.04 in) and angles worked out to one second of arc. The finished components, some already riveted together into sub-assemblies, arrived on horse-drawn carts from a factory in the nearby Parisian suburb of Levallois-Perret and were first bolted together, with the bolts being replaced with rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit, it was sent back to the factory for alteration. In all, 18,038 pieces were joined together using 2.5 million rivets.

 

At first, the legs were constructed as cantilevers, but about halfway to the first level construction was paused to create a substantial timber scaffold. This renewed concerns about the structural integrity of the tower, and sensational headlines such as "Eiffel Suicide!" and "Gustave Eiffel Has Gone Mad: He Has Been Confined in an Asylum" appeared in the tabloid press. At this stage, a small "creeper" crane designed to move up the tower was installed in each leg. They made use of the guides for the lifts which were to be fitted in the four legs. The critical stage of joining the legs at the first level was completed by the end of March 1888. Although the metalwork had been prepared with the utmost attention to detail, provision had been made to carry out small adjustments to precisely align the legs; hydraulic jacks were fitted to the shoes at the base of each leg, capable of exerting a force of 800 tonnes, and the legs were intentionally constructed at a slightly steeper angle than necessary, being supported by sandboxes on the scaffold. Although construction involved 300 on-site employees, due to Eiffel's safety precautions and the use of movable gangways, guardrails and screens, only one person died.

 

The main structural work was completed at the end of March 1889 and, on 31 March, Eiffel celebrated by leading a group of government officials, accompanied by representatives of the press, to the top of the tower. Because the lifts were not yet in operation, the ascent was made by foot, and took over an hour, with Eiffel stopping frequently to explain various features. Most of the party chose to stop at the lower levels, but a few, including the structural engineer, Émile Nouguier, the head of construction, Jean Compagnon, the President of the City Council, and reporters from Le Figaro and Le Monde Illustré, completed the ascent. At 2:35 pm, Eiffel hoisted a large Tricolour to the accompaniment of a 25-gun salute fired at the first level.

 

There was still work to be done, particularly on the lifts and facilities, and the tower was not opened to the public until nine days after the opening of the exposition on 6 May; even then, the lifts had not been completed. The tower was an instant success with the public, and nearly 30,000 visitors made the 1,710-step climb to the top before the lifts entered service on 26 May. Tickets cost 2 francs for the first level, 3 for the second, and 5 for the top, with half-price admission on Sundays, and by the end of the exhibition there had been 1,896,987 visitors.

 

After dark, the tower was lit by hundreds of gas lamps, and a beacon sent out three beams of red, white and blue light. Two searchlights mounted on a circular rail were used to illuminate various buildings of the exposition. The daily opening and closing of the exposition were announced by a cannon at the top.

 

On the second level, the French newspaper Le Figaro had an office and a printing press, where a special souvenir edition, Le Figaro de la Tour, was made. There was also a pâtisserie.

 

At the top, there was a post office where visitors could send letters and postcards as a memento of their visit. Graffitists were also catered for: sheets of paper were mounted on the walls each day for visitors to record their impressions of the tower. Gustave Eiffel described some of the responses as vraiment curieuse ("truly curious").

 

Famous visitors to the tower included the Prince of Wales, Sarah Bernhardt, "Buffalo Bill" Cody (his Wild West show was an attraction at the exposition) and Thomas Edison. Eiffel invited Edison to his private apartment at the top of the tower, where Edison presented him with one of his phonographs, a new invention and one of the many highlights of the exposition. Edison signed the guestbook with this message:

To M Eiffel the Engineer the brave builder of so gigantic and original specimen of modern Engineering from one who has the greatest respect and admiration for all Engineers including the Great Engineer the Bon Dieu, Thomas Edison.

 

Eiffel had a permit for the tower to stand for 20 years. It was to be dismantled in 1909, when its ownership would revert to the City of Paris. The City had planned to tear it down (part of the original contest rules for designing a tower was that it should be easy to dismantle) but as the tower proved to be valuable for radio telegraphy, it was allowed to remain after the expiry of the permit, and from 1910 it also became part of the International Time Service.

 

Eiffel made use of his apartment at the top of the tower to carry out meteorological observations, and also used the tower to perform experiments on the action of air resistance on falling bodies.

 

Subsequent events

Eiffel had a permit for the tower to stand for 20 years. It was to be dismantled in 1909, when its ownership would revert to the City of Paris. The city had planned to tear it down (part of the original contest rules for designing a tower was that it should be easy to dismantle) but as the tower proved to be valuable for many innovations in the early 20th century, particularly radio telegraphy, it was allowed to remain after the expiry of the permit, and from 1910 it also became part of the International Time Service.

 

For the 1900 Exposition Universelle, the lifts in the east and west legs were replaced by lifts running as far as the second level constructed by the French firm Fives-Lille. These had a compensating mechanism to keep the floor level as the angle of ascent changed at the first level, and were driven by a similar hydraulic mechanism as the Otis lifts, although this was situated at the base of the tower. Hydraulic pressure was provided by pressurised accumulators located near this mechanism. At the same time the lift in the north pillar was removed and replaced by a staircase to the first level. The layout of both first and second levels was modified, with the space available for visitors on the second level. The original lift in the south pillar was removed 13 years later.

 

On 19 October 1901, Alberto Santos-Dumont, flying his No.6 airship, won a 100,000-franc prize offered by Henri Deutsch de la Meurthe for the first person to make a flight from St. Cloud to the Eiffel Tower and back in less than half an hour.

 

In 1910, Father Theodor Wulf measured radiant energy at the top and bottom of the tower. He found more at the top than expected, incidentally discovering what are known today as cosmic rays. Two years later, on 4 February 1912, Austrian tailor Franz Reichelt died after jumping from the first level of the tower (a height of 57 m) to demonstrate his parachute design. In 1914, at the outbreak of World War I, a radio transmitter located in the tower jammed German radio communications, seriously hindering their advance on Paris and contributing to the Allied victory at the First Battle of the Marne. From 1925 to 1934, illuminated signs for Citroën adorned three of the tower's sides, making it the tallest advertising space in the world at the time. In April 1935, the tower was used to make experimental low-resolution television transmissions, using a shortwave transmitter of 200 watts power. On 17 November, an improved 180-line transmitter was installed.

 

On two separate but related occasions in 1925, the con artist Victor Lustig "sold" the tower for scrap metal. A year later, in February 1926, pilot Leon Collet was killed trying to fly under the tower. His aircraft became entangled in an aerial belonging to a wireless station. A bust of Gustave Eiffel by Antoine Bourdelle was unveiled at the base of the north leg on 2 May 1929. In 1930, the tower lost the title of the world's tallest structure when the Chrysler Building in New York City was completed. In 1938, the decorative arcade around the first level was removed.

 

Upon the German occupation of Paris in 1940, the lift cables were cut by the French. The tower was closed to the public during the occupation and the lifts were not repaired until 1946. In 1940, German soldiers had to climb the tower to hoist a swastika-centered Reichskriegsflagge, but the flag was so large it blew away just a few hours later, and was replaced by a smaller one. When visiting Paris, Hitler chose to stay on the ground. When the Allies were nearing Paris in August 1944, Hitler ordered General Dietrich von Choltitz, the military governor of Paris, to demolish the tower along with the rest of the city. Von Choltitz disobeyed the order. On 25 August, before the Germans had been driven out of Paris, the German flag was replaced with a Tricolour by two men from the French Naval Museum, who narrowly beat three men led by Lucien Sarniguet, who had lowered the Tricolour on 13 June 1940 when Paris fell to the Germans.

 

A fire started in the television transmitter on 3 January 1956, damaging the top of the tower. Repairs took a year, and in 1957, the present radio aerial was added to the top. In 1964, the Eiffel Tower was officially declared to be a historical monument by the Minister of Cultural Affairs, André Malraux. A year later, an additional lift system was installed in the north pillar.

 

According to interviews, in 1967, Montreal Mayor Jean Drapeau negotiated a secret agreement with Charles de Gaulle for the tower to be dismantled and temporarily relocated to Montreal to serve as a landmark and tourist attraction during Expo 67. The plan was allegedly vetoed by the company operating the tower out of fear that the French government could refuse permission for the tower to be restored in its original location.

 

In 1982, the original lifts between the second and third levels were replaced after 97 years in service. These had been closed to the public between November and March because the water in the hydraulic drive tended to freeze. The new cars operate in pairs, with one counterbalancing the other, and perform the journey in one stage, reducing the journey time from eight minutes to less than two minutes. At the same time, two new emergency staircases were installed, replacing the original spiral staircases. In 1983, the south pillar was fitted with an electrically driven Otis lift to serve the Jules Verne restaurant.[citation needed] The Fives-Lille lifts in the east and west legs, fitted in 1899, were extensively refurbished in 1986. The cars were replaced, and a computer system was installed to completely automate the lifts. The motive power was moved from the water hydraulic system to a new electrically driven oil-filled hydraulic system, and the original water hydraulics were retained solely as a counterbalance system. A service lift was added to the south pillar for moving small loads and maintenance personnel three years later.

 

Robert Moriarty flew a Beechcraft Bonanza under the tower on 31 March 1984. In 1987, A. J. Hackett made one of his first bungee jumps from the top of the Eiffel Tower, using a special cord he had helped develop. Hackett was arrested by the police. On 27 October 1991, Thierry Devaux, along with mountain guide Hervé Calvayrac, performed a series of acrobatic figures while bungee jumping from the second floor of the tower. Facing the Champ de Mars, Devaux used an electric winch between figures to go back up to the second floor. When firemen arrived, he stopped after the sixth jump.

 

For its "Countdown to the Year 2000" celebration on 31 December 1999, flashing lights and high-powered searchlights were installed on the tower. During the last three minutes of the year, the lights were turned on starting from the base of the tower and continuing to the top to welcome 2000 with a huge fireworks show. An exhibition above a cafeteria on the first floor commemorates this event. The searchlights on top of the tower made it a beacon in Paris's night sky, and 20,000 flashing bulbs gave the tower a sparkly appearance for five minutes every hour on the hour.

 

The lights sparkled blue for several nights to herald the new millennium on 31 December 2000. The sparkly lighting continued for 18 months until July 2001. The sparkling lights were turned on again on 21 June 2003, and the display was planned to last for 10 years before they needed replacing.

 

The tower received its 200,000,000th guest on 28 November 2002.The tower has operated at its maximum capacity of about 7 million visitors per year since 2003. In 2004, the Eiffel Tower began hosting a seasonal ice rink on the first level. A glass floor was installed on the first level during the 2014 refurbishment.

 

Design

The puddle iron (wrought iron) of the Eiffel Tower weighs 7,300 tonnes, and the addition of lifts, shops and antennae have brought the total weight to approximately 10,100 tonnes. As a demonstration of the economy of design, if the 7,300 tonnes of metal in the structure were melted down, it would fill the square base, 125 metres (410 ft) on each side, to a depth of only 6.25 cm (2.46 in) assuming the density of the metal to be 7.8 tonnes per cubic metre. Additionally, a cubic box surrounding the tower (324 m × 125 m × 125 m) would contain 6,200 tonnes of air, weighing almost as much as the iron itself. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7 in) due to thermal expansion of the metal on the side facing the sun.

 

Wind and weather considerations

When it was built, many were shocked by the tower's daring form. Eiffel was accused of trying to create something artistic with no regard to the principles of engineering. However, Eiffel and his team – experienced bridge builders – understood the importance of wind forces, and knew that if they were going to build the tallest structure in the world, they had to be sure it could withstand them. In an interview with the newspaper Le Temps published on 14 February 1887, Eiffel said:

 

Is it not true that the very conditions which give strength also conform to the hidden rules of harmony? ... Now to what phenomenon did I have to give primary concern in designing the Tower? It was wind resistance. Well then! I hold that the curvature of the monument's four outer edges, which is as mathematical calculation dictated it should be ... will give a great impression of strength and beauty, for it will reveal to the eyes of the observer the boldness of the design as a whole.

 

He used graphical methods to determine the strength of the tower and empirical evidence to account for the effects of wind, rather than a mathematical formula. Close examination of the tower reveals a basically exponential shape.[69] All parts of the tower were overdesigned to ensure maximum resistance to wind forces. The top half was even assumed to have no gaps in the latticework. In the years since it was completed, engineers have put forward various mathematical hypotheses in an attempt to explain the success of the design. The most recent, devised in 2004 after letters sent by Eiffel to the French Society of Civil Engineers in 1885 were translated into English, is described as a non-linear integral equation based on counteracting the wind pressure on any point of the tower with the tension between the construction elements at that point.

 

The Eiffel Tower sways by up to 9 cm (3.5 in) in the wind.

 

Ground floor

The four columns of the tower each house access stairs and elevators to the first two floors, while at the south column only the elevator to the second floor restaurant is publicly accessible.

 

1st floor

The first floor is publicly accessible by elevator or stairs. When originally built, the first level contained three restaurants – one French, one Russian and one Flemish — and an "Anglo-American Bar". After the exposition closed, the Flemish restaurant was converted to a 250-seat theatre. Today there is the Le 58 Tour Eiffel restaurant and other facilities.

 

2nd floor

The second floor is publicly accessible by elevator or stairs and has a restaurant called Le Jules Verne, a gourmet restaurant with its own lift going up from the south column to the second level. This restaurant has one star in the Michelin Red Guide. It was run by the multi-Michelin star chef Alain Ducasse from 2007 to 2017. As of May 2019, it is managed by three-star chef Frédéric Anton. It owes its name to the famous science-fiction writer Jules Verne.

 

3rd floor

Originally there were laboratories for various experiments, and a small apartment reserved for Gustave Eiffel to entertain guests, which is now open to the public, complete with period decorations and lifelike mannequins of Eiffel and some of his notable guests.

 

From 1937 until 1981, there was a restaurant near the top of the tower. It was removed due to structural considerations; engineers had determined it was too heavy and was causing the tower to sag. This restaurant was sold to an American restaurateur and transported to New York and then New Orleans. It was rebuilt on the edge of New Orleans' Garden District as a restaurant and later event hall. Today there is a champagne bar.

 

Lifts

The arrangement of the lifts has been changed several times during the tower's history. Given the elasticity of the cables and the time taken to align the cars with the landings, each lift, in normal service, takes an average of 8 minutes and 50 seconds to do the round trip, spending an average of 1 minute and 15 seconds at each level. The average journey time between levels is 1 minute. The original hydraulic mechanism is on public display in a small museum at the base of the east and west legs. Because the mechanism requires frequent lubrication and maintenance, public access is often restricted. The rope mechanism of the north tower can be seen as visitors exit the lift.

 

Equipping the tower with adequate and safe passenger lifts was a major concern of the government commission overseeing the Exposition. Although some visitors could be expected to climb to the first level, or even the second, lifts clearly had to be the main means of ascent.

 

Constructing lifts to reach the first level was relatively straightforward: the legs were wide enough at the bottom and so nearly straight that they could contain a straight track, and a contract was given to the French company Roux, Combaluzier & Lepape for two lifts to be fitted in the east and west legs. Roux, Combaluzier & Lepape used a pair of endless chains with rigid, articulated links to which the car was attached. Lead weights on some links of the upper or return sections of the chains counterbalanced most of the car's weight. The car was pushed up from below, not pulled up from above: to prevent the chain buckling, it was enclosed in a conduit. At the bottom of the run, the chains passed around 3.9 m (12 ft 10 in) diameter sprockets. Smaller sprockets at the top guided the chains.

  

The Otis lifts originally fitted in the north and south legs

Installing lifts to the second level was more of a challenge because a straight track was impossible. No French company wanted to undertake the work. The European branch of Otis Brothers & Company submitted a proposal but this was rejected: the fair's charter ruled out the use of any foreign material in the construction of the tower. The deadline for bids was extended but still no French companies put themselves forward, and eventually the contract was given to Otis in July 1887. Otis were confident they would eventually be given the contract and had already started creating designs.

 

The car was divided into two superimposed compartments, each holding 25 passengers, with the lift operator occupying an exterior platform on the first level. Motive power was provided by an inclined hydraulic ram 12.67 m (41 ft 7 in) long and 96.5 cm (38.0 in) in diameter in the tower leg with a stroke of 10.83 m (35 ft 6 in): this moved a carriage carrying six sheaves. Five fixed sheaves were mounted higher up the leg, producing an arrangement similar to a block and tackle but acting in reverse, multiplying the stroke of the piston rather than the force generated. The hydraulic pressure in the driving cylinder was produced by a large open reservoir on the second level. After being exhausted from the cylinder, the water was pumped back up to the reservoir by two pumps in the machinery room at the base of the south leg. This reservoir also provided power to the lifts to the first level.

 

The original lifts for the journey between the second and third levels were supplied by Léon Edoux. A pair of 81 m (266 ft) hydraulic rams were mounted on the second level, reaching nearly halfway up to the third level. One lift car was mounted on top of these rams: cables ran from the top of this car up to sheaves on the third level and back down to a second car. Each car travelled only half the distance between the second and third levels and passengers were required to change lifts halfway by means of a short gangway. The 10-ton cars each held 65 passengers.

 

Engraved names

Gustave Eiffel engraved on the tower the names of 72 French scientists, engineers and mathematicians in recognition of their contributions to the building of the tower. Eiffel chose this "invocation of science" because of his concern over the artists' protest. At the beginning of the 20th century, the engravings were painted over, but they were restored in 1986–87 by the Société Nouvelle d'exploitation de la Tour Eiffel, a company operating the tower.

 

Aesthetics

The tower is painted in three shades: lighter at the top, getting progressively darker towards the bottom to complement the Parisian sky. It was originally reddish brown; this changed in 1968 to a bronze colour known as "Eiffel Tower Brown". In what is expected to be a temporary change, the tower is being painted gold in commemoration of the upcoming 2024 Summer Olympics in Paris.

 

The only non-structural elements are the four decorative grill-work arches, added in Sauvestre's sketches, which served to make the tower look more substantial and to make a more impressive entrance to the exposition.

 

A pop-culture movie cliché is that the view from a Parisian window always includes the tower. In reality, since zoning restrictions limit the height of most buildings in Paris to seven storeys, only a small number of tall buildings have a clear view of the tower.

 

Maintenance

Maintenance of the tower includes applying 60 tons of paint every seven years to prevent it from rusting. The tower has been completely repainted at least 19 times since it was built. Lead paint was still being used as recently as 2001 when the practice was stopped out of concern for the environment.

 

Communications

The tower has been used for making radio transmissions since the beginning of the 20th century. Until the 1950s, sets of aerial wires ran from the cupola to anchors on the Avenue de Suffren and Champ de Mars. These were connected to longwave transmitters in small bunkers. In 1909, a permanent underground radio centre was built near the south pillar, which still exists today. On 20 November 1913, the Paris Observatory, using the Eiffel Tower as an aerial, exchanged wireless signals with the United States Naval Observatory, which used an aerial in Arlington County, Virginia. The object of the transmissions was to measure the difference in longitude between Paris and Washington, D.C. Today, radio and digital television signals are transmitted from the Eiffel Tower.

 

Digital television

A television antenna was first installed on the tower in 1957, increasing its height by 18.7 m (61 ft). Work carried out in 2000 added a further 5.3 m (17 ft), giving the current height of 324 m (1,063 ft).[59] Analogue television signals from the Eiffel Tower ceased on 8 March 2011.

 

Taller structures

The Eiffel Tower was the world's tallest structure when completed in 1889, a distinction it retained until 1929 when the Chrysler Building in New York City was topped out. The tower also lost its standing as the world's tallest tower to the Tokyo Tower in 1958 but retains its status as the tallest freestanding (non-guyed) structure in France.

 

Transport

The nearest Paris Métro station is Bir-Hakeim and the nearest RER station is Champ de Mars-Tour Eiffel. The tower itself is located at the intersection of the quai Branly and the Pont d'Iéna.

 

Popularity

Number of visitors per year between 1889 and 2004

More than 300 million people have visited the tower since it was completed in 1889. In 2015, there were 6.91 million visitors. The tower is the most-visited paid monument in the world. An average of 25,000 people ascend the tower every day (which can result in long queues).

 

Illumination copyright

The tower and its image have been in the public domain since 1993, 70 years after Eiffel's death. In June 1990 a French court ruled that a special lighting display on the tower in 1989 to mark the tower's 100th anniversary was an "original visual creation" protected by copyright. The Court of Cassation, France's judicial court of last resort, upheld the ruling in March 1992. The Société d'Exploitation de la Tour Eiffel (SETE) now considers any illumination of the tower to be a separate work of art that falls under copyright. As a result, the SNTE alleges that it is illegal to publish contemporary photographs of the lit tower at night without permission in France and some other countries for commercial use. For this reason, it is often rare to find images or videos of the lit tower at night on stock image sites, and media outlets rarely broadcast images or videos of it.

 

The imposition of copyright has been controversial. The Director of Documentation for what was then called the Société Nouvelle d'exploitation de la Tour Eiffel (SNTE), Stéphane Dieu, commented in 2005: "It is really just a way to manage commercial use of the image, so that it isn't used in ways [of which] we don't approve". SNTE made over €1 million from copyright fees in 2002. However, it could also be used to restrict the publication of tourist photographs of the tower at night, as well as hindering non-profit and semi-commercial publication of images of the illuminated tower.

 

The copyright claim itself has never been tested in courts to date, according to a 2014 article in the Art Law Journal, and there has never been an attempt to track down millions of people who have posted and shared their images of the illuminated tower on the Internet worldwide. It added, however, that permissive situation may arise on commercial use of such images, like in a magazine, on a film poster, or on product packaging.

 

French doctrine and jurisprudence allows pictures incorporating a copyrighted work as long as their presence is incidental or accessory to the subject being represented, a reasoning akin to the de minimis rule. Therefore, SETE may be unable to claim copyright on photographs of Paris which happen to include the lit tower.

 

Replicas

As one of the most famous landmarks in the world, the Eiffel Tower has been the inspiration for the creation of many replicas and similar towers. An early example is Blackpool Tower in England. The mayor of Blackpool, Sir John Bickerstaffe, was so impressed on seeing the Eiffel Tower at the 1889 exposition that he commissioned a similar tower to be built in his town. It opened in 1894 and is 158.1 m (519 ft) tall. Tokyo Tower in Japan, built as a communications tower in 1958, was also inspired by the Eiffel Tower.[111]

 

There are various scale models of the tower in the United States, including a half-scale version at the Paris Las Vegas, Nevada, one in Paris, Texas built in 1993, and two 1:3 scale models at Kings Island, located in Mason, Ohio, and Kings Dominion, Virginia, amusement parks opened in 1972 and 1975 respectively. Two 1:3 scale models can be found in China, one in Durango, Mexico that was donated by the local French community, and several across Europe.

 

In 2011, the TV show Pricing the Priceless on the National Geographic Channel speculated that a full-size replica of the tower would cost approximately US$480 million to build. This would be more than ten times the cost of the original (nearly 8 million in 1890 Francs; ~US$40 million in 2018 dollars).

Accessible PowerScape 3D play system with shade structures, adaptive whirl and swings, musical instruments, motion activities and much more.

Photographed on July 25, 2015 at the Inn at St. John's in Plymouth, Michigan as cars were arriving on the show field for the Sunday's Concours d'Elegance show.

 

This sharp Bentley has been modified to be usable by a wheelchair bound driver, including custom hand controls installed and the 4-speed transmission replaced with an automatic. To make entry and exit possible for the wheelchair, the driver's side door has been modified to slide back sideways, the floor has been lowered and a power lift added. In order to lower the floor, the car has been converted from rear-wheel to front-wheel drive with an LT1 Corvette engine, Toronado transmission and differential and Chevy Blazer front axle, eliminating the drive shaft. It sounds to me like a rather peppy Bentley.

 

All of my classic car photos can be found here: Car Collections

 

Press "L" for a larger image on black.

Stipulate Lotus (hosackia stipularis var. stipularis) - endemic

 

I fell pretty far behind the group while waiting for the bee to come into a more accessible spot to photograph.

A lone leaf amongst bumps in the pavement at a crosswalk. This is the same location I photographed in 2016. www.flickr.com/photos/drew_makepeace/29349535613/

Part of the Azabudai Hills complex in Tokyo, Japan, this building showcases a refined approach to urban architecture. Its rounded vertical panels and golden-bronze facade create a striking interplay of light and shadow, adding depth and character to the structure. The building is seamlessly integrated into its surroundings, with a tiered base that connects to the pedestrian-friendly spaces of this mixed-use development. The metallic finish contrasts beautifully with the glass-and-steel skyscrapers nearby, emphasizing material diversity within Tokyo’s skyline.

 

Designed as a key element of Azabudai Hills, this structure reflects the complex’s emphasis on blending aesthetics with functionality. The accessible pathways and landscaped areas surrounding the building highlight a commitment to inclusive and thoughtful urban planning. The facade’s dynamic surface evolves throughout the day, capturing the essence of Tokyo’s ever-changing light and energy. As a part of one of the city’s newest and most ambitious redevelopment projects, this building exemplifies the forward-thinking design and attention to detail that define the Azabudai Hills complex.

Fremont Avenue

Sunnyvale, California

 

I was being deliberately selective when I composed what I hoped would be an incongruous image. The accessible parking spot is for disabled patrons of a restaurant and other businesses that are out of the shot, to the left.

Freedom to travel and explore the world around us. With today's technology, the world is truly a smaller place making far off lands accessible to experience and soak in their cultures!