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Two issues
1. The Flickr system isn't allowing me to upload the entire description with this postcard. However, I have been able to upload it separately in its entirety this morning (3/20/2016). You can see it here.
www.flickr.com/photos/hoosier_recollections/25836557491/i...
2. (A few hours after posting this postcard to Flickr.) The paragraphs below represent only a portion of the description I wrote for this postcard. So far, Flickr isn't letting me add the remainder.
However, it could be a moot issue. A friend has found another copy of this postcard for sale online. It was postmarked at Sedalia, Indiana, about ten miles north of Frankfort! She is wondering if this postcard title was meant to be "Nr. Frankfort," that is, near Frankfort in Clinton County. I had tried to contact Clinton County Historical Society a few weeks ago when I began work on this postcard. At that time, I thought the "N. Frankfort" was probably "North Frankfort," but could find no reference to a North Frankfort in Indiana and thought CCHS might be able to help. I didn't get a response, but did find New Frankfort while waiting and the New Frankfort possibility seemed to fit the information I had. I'll make another effort to contact CCHS and will make changes here if warranted.
Stay tuned!
Fictional postcards weren’t uncommon in the early postcard era. Many were humorous and used methods to achieve effects we would call “photoshopping” today. Other examples included postcards with the same scene sold in multiple cities or towns (and sometimes in multiple states) with the only difference being the city or town name in the title. This postcard appears to be the latter type where the photograph upon which it was based came from elsewhere and had a new title applied by the printer. However, this example is unusual. The following is the story I’ve pieced together.
This postcard view of an interurban stop is titled, “Interurban Railroad, N. Frankfort, Ind.” and it was postmarked in 1910. The “N. Frankfort” was probably referring to New Frankfort in Scott County. There was no North Frankfort in Indiana, and New Frankfort probably would have been on the interurban route between Madison and Scottsburg that was first proposed two years earlier. However, that route was never constructed and this postcard was probably created as an advertising piece for the proposed interurban route. It is possible that similar postcards for other communities along the proposed route exist.
Scottsburg was on the busy interurban line that connected Louisville and Indianapolis. Madison, however, was never connected to the interurban system that linked so many other communities in Indiana. Two separate efforts to bring interurban service to Madison materialized in 1903. One of these involved the creation of the Madison, Greensburg & Indianapolis Railway Company that proposed a new interurban rail line extending north from Madison to Greensburg via Versailles and Osgood. The other interurban route involving Madison was proposed by the Southern Traction Company of Indiana. This route would have connected Madison and Columbus via Hanover and North Vernon. However, both projects were among more than 250 proposed interurban routes in Indiana that were never constructed.
A third proposal involving Madison arose In 1908 when the Cincinnati, Madison & Western Traction Company (C. M. & W.) incorporated and proposed construction of an interurban line between Scottsburg and Cincinnati via Madison. The following announcement was published on February 8, 1908.[1]
RECENT INCORPORATIONS.
Cincinnati, Madison, & Western Traction Company. — Incorporated in Indiana to build a number of short lines radiating from Scottsburg to surrounding cities and towns in Indiana and Ohio. These new lines will be built as extensions of the Indianapolis & Louisville Traction Company's line from Seymour to Jeffersonville, now in operation. The different routes as outlined in the articles of incorporation are as follows:
From Scottsburg through Scott and Jefferson counties to Madison, and thence in a northeasterly direction through Switzerland, Ohio, Ripley and Dearborn counties in Indiana to Cincinnati; also in a westerly direction from Scottsburg through Salem in Washington county and through Paoli to West Baden and French Lick; also northwesterly from Scottsburg to Bedford, Ind. It is announced that construction work will be started in the spring. Capital stock, $50,000. Incorporators: J. E. Greeley, Louisville, Ky.; S. D. Miller. Maurice Cahill, G. B. Gaston and G. N. Owen, Indianapolis, Ind.
John E. Greeley was one of the C. M. & W. founders. Mr. Greeley was also involved in other southern Indiana interurban activities. A 1908 directory listed J. E. Greeley as vice-president of the Indianapolis & Louisville Traction Co. In 1912, he was president and general manager when the successor to that company sold at foreclosure.
Over the course of the next few years, several C. M. & W. announcements of corporate activities appeared in various publications. This first group appeared in a weekly industry journal[2] between January and July, 1910.
Breaking news about current breast cancer research. News articles are continually updated with reviews and commentary from our breastcancer.org experts
Three drinks a day ups breast cancer risk: study:
Last Updated: 2007-09-27 7:49:07 -0400 (Reuters Health)
By Michael Kahn
NEW YORK (Reuters Health) - Postmenopausal women with elevated white blood cell (WBC) counts appear to be at increased risk of developing certain types of cancer, including breast, colorectal, endometrial, and lung cancers, a new study shows. Higher WBC counts also raise the risk of dying from cancer, according to the study.
The proportion of white blood cells (WBC) in the circulation can be used as an indicator of infection or inflammation.
Dr. Karen L. Margolis from HealthPartners Research Foundation, Minneapolis, Minnesota and colleagues studied the relation between the baseline WBC count and newly diagnosed breast, colorectal, endometrial, and lung cancers in 143,748 women enrolled in the Women's Health Initiative (WHI). All of the women were between the ages of 50 and 79 years old, and cancer-free at the outset.
Women with the highest WBC counts had a 15 percent higher risk of breast cancer, 19 percent higher risk of colorectal cancer, 42 percent higher risk of endometrial cancer, and 63 percent higher risk of lung cancer than did women with the lowest WBC counts, the authors report.
Death from breast cancer, colorectal cancer, and lung cancer was higher among women with the highest WBC counts (compared with women with the lowest), the investigators say, as was non-lung cancer and total-cancer mortality.
"A WBC in the upper range of normal (above 7 or so) should be on (doctors') radar, especially if it is persistent and unrelated to any known cause," Margolis said.
"Of course," Margolis emphasized, "most people with a WBC in this range will not develop cancer or cardiovascular disease in the next 5-10 years, and the relative risk increase for cancer is quite small -- relative to smoking, for instance."
SOURCE: Archives of Internal Medicine, September 24, 2007.
Source: www.breastcancer.org/risk/environmental/new_research/2007...
Lewis Hine, who was best known for his use of photography as a means to achieve social reform, was first a teacher of botany and nature studies at the Ethical Culture School in New York. It was while he was teaching that he was given a camera by the head of the school. In his hand, the camera became a powerful means of recording social injustice and labor abuses.
Hine's interest in social welfare and in reform movements led him in 1905 to begin his first documentary series; immigrants on Ellis Island. In 1908 he left teaching to become an investigator and photographer for the National Child Labor Committee (NCLC), and between 1908 and 1916 he traveled extensively photographing child-labor abuses. Hine would manage to gain access to the sweatshops and factories where children were employed, and then, if he could, photograph them at work. Hine inveigled his way into factories by posing as an insurance agent, bible salesman, postcard seller, or industrial photographer. Once inside, Hine quickly would go about his business of photographing the children working. Having been a teacher, Hine was comfortable talking with children and would attempt to get as much information as possible regarding their living conditions, the circumstances under which they were forced to work, and their name and age. If he was unable to determine a child’s age by speaking to him, Hine would surreptitiously measure the child’s height against the buttons on his vest and estimate the child’s age by his height. If Hine was not able to gain admittance to a factory, he would wait outside the gates and photograph the children as the came to work. He visited children and families who worked at home and he wrote with impassioned sarcasm of the "opportunities for the child and family to enlist in the service of Industry."
Hine's photographs were used to make lantern slides for lectures and to illustrate pamphlets, magazine articles, and exhibitions. Through his photographs, Hine was able to inspire social change. His photos documenting the horrid conditions under which children were employed, made real the plight of these children. This led to the passage of child labor laws. Not only did Hine document the horrors of work, he also depicted the dignity of labor. This is best seen in his photos of the construction of the Empire State Building. From 1930 to 1931 he took hundreds of pictures of the Empire State Building under construction. These photos, as well as photographs of factory workers and other laborers, were published in Men at Work. While Hine's early photographs were often published, by the 1930s, interest in his work had declined. In 1938 he was denied a grant to photograph American crafts people at work. The Photo League in New York publicized his work, but it was not until a number of years after his death that he again received wide recognition. A new monograph was recently printed entitled, Lewis W. Hine Children At Work by Vicki Goldberg.
Crete, Greece, 2016
... you can find them erverywhere in crete - cicadas. The typical insect of the island.
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This 1933 Cyustom V8 Coupe is based on a real-life custom conversion. as detailed below.
The text is taken from Hotrod.com:
www.hotrod.com/articles/1209sr-1933-ford-coupe/
After two failures at rounding up a good ’33 Ford coupe body, Tim Kirby was able to make “lemonade out of lemons”
There are hot rods that are flashy and loaded with one-of-a-kind details, and it’s these incredible attributes we remember. And then there are those hot rods that are so subtle you walk past them the first time but when you get the hamburger out of your mouth you realize this is the one. Such may just be the case for Tim Kirby of Fountain Hills, Arizona, and his channeled ’33 Ford three-window coupe expertly crafted and assembled at Hot Rods By Dean (HRBD) of Phoenix.
Flashy it isn’t. There’s enough black to make you look for a light switch. It’s well detailed but as a driver there will be the rock chips and bugs on the windshield shortly. There’s plenty of imagination. Yet you realize there’s a great deal of traditional hot rod resting on the axles and buttoned up between the headlights and taillights. Craftsmanship, well that’s something all of us understand and strive for when we build our own ride. Complex or simple the craftsmanship is readily seen. As for stance all of us have seen enough hot rods so that you would think we could all “nail” the look with our own ride. Such isn’t always the case, but we do strive.
When we first look at Tim’s ’33 it’s the lack of flash and its subtleness that makes an immediate impression. As for the detail, imagination, craftsmanship, and stance, this channeled three-window has it in spades. There’s no denying the coupe was built in a traditional theme with the ’50s-era 303-inch Olds V-8 topped with an Edelbrock intake supporting a triple-play of modern Stromberg 97s fed by an EELCO fuel block equipped with a fuel pressure gauge. The awaiting gas rests in a ’34 Chevy passenger car gas tank that was modified by HRBD to fit within the ’33 trunk. Take a close look at the air cleaners—fabricated by Tim he made them from ’53 Caddy air ducts. (Speaking of imagination!) The NASCAR ’57 Olds valve covers are other vintage items outfitted with the telltale “bump,” allowing the use of a high-lift cam by giving the rockers the necessary clearance. The exhaust system was fabricated at HRBD using 1-5/8-inch primary tubes with 2-inch pipe and Smithy’s mufflers. If you have looked closely at the engine photo (look again) you will see what appear to be two alternators. Hmm, probably not but what gives? One of the “generators” is a PowerGEN alternator from Powermaster Performance while the second generator housing is just that, a “house” for the Vintage Air compressor. A clever and masterful way to give the car modern electrics and A/C all the while keeping the engine in its traditional appearance. The cooling system (brass radiator and fan) was fabricated at HRBD while the ignition is a Vertex magneto using steel core wires.
Backing the vintage eight is an ’80s-era Chevy S-10 Tremec T5 via an EELCO trans adaptor sandwiching a Hays clutch and flywheel package. The shifter was modified and employs HRBD-fabricated mechanical linkage. At the corners more vintage hot rodding is on view with Kelsey Hayes (milk truck) wheels adapted with ’33 V-8 caps measuring 18×3-1/2 wrapped with Excelsior 4.50s in front and Firestone 7.00s in the rear.
The chassis began life as a ’33 Ford but has undergone many HRBD mods that include a custom-made centersection, flipped rear framehorns, and a modified front crossmember to the 113-inch wheelbase. The front suspension is based on a HRBD straight-axle using ’37 Ford spindles with SO-CAL Speed Shop tube shocks, ’39 Lincoln Zephyr drum brakes, and F-1 steering. The rear suspension is built around a V-8 quick-change with an open differential spinning 4.60 gears, 31-spline axles, and ’39 Zephyr drum brakes. Locating the rearend are ’37 Zephyr split wishbones, custom springs, and SO-CAL Speed Shop tube shocks.
Resting on top of this HRBD chassis is a gennie Ford ’33 three-window coupe body with 3 inches taken out of the front and 2 inches from the rear by Jonathan Williams of HRBD along with a top insert by HRBD’s Ron McCorkle who also fabricated the working cowl vent. The body was then channeled by HRBD with a boatload of other sheetmetal mods. These modifications include a custom firewall, doorsills, windshield laid back, louvered decklid (lots!), replaced quarter-panels, a modified four-door sedan floor fit to the three-window, front and rear functional windows, and a modified ’33 Ford grille and insert. The headlights are ’35 Nash while the taillights are custom-made by HRBD with stock ’33 Ford stands. From here the bodywork was handled by HRBD’s Chris Walker and afterward the PPG black paint was sprayed on by HRBD’s Frank Bennett.
Inside the sheetmetal is a dashboard that began life as a ’33 with a ’36 dash top flipped 180 degrees and used on the bottom of the ’33 while utilizing the “waterfall.” The traditional combo of five Stewart-Warner mechanical gauges (speedo, water, oil, fuel, amp) were housed in the engine-turned dash insert while an EZ Wiring kit was put to use by HRBD’s Tony Arme. From here the Vintage Air A/C unit and lots of Dynamat insulation is used to control the creature comfort temps. The ’40 Ford steering column that operates the F-1 box is twisted through a ’50s boat wheel—a Sheller two-spoke that was most commonly used from 1940 to 1957 on Chris Craft boats.
The modified bench seat is covered in black vinyl as are the door panels, all by Glenn Kramer of Hot Rod Interiors, while the floor covering is rubber mat neatly trimmed with metal rings and stitched edges. The pedal assembly is another HRBD effort.
This ’33 is as traditional looking as they come but it’s sprinkled with enough modern goodies to make this something any hot rodder worth his toolbox would thoroughly enjoy driving cross-country. Be on the lookout when in the Phoenix area and see if a very evil-looking channeled ’33 coupe is coming up fast in your rearview mirror.
Balloonist and aeronautics engineer Joseph-Eustache Croce-Spinelli was born on this day in 1843 in Dordogne, France. Croce-Spinelli was deeply interested in manned flight and had not only made several balloon expeditions but had published articles on propeller design when on April 15, 1875, with Gaston Tissandier and an assistant named Henri-Theodore Sivel, he flew to 29,000 feet over India in the helium-balloon Zenith -- short of the altitude record set by James Glaisher and Henry Coxwell. Although the men had been advised by Paris physiologist Paul Bert about the supplemental oxygen required at such altitude, in the excitement they failed to heed the advice, and Croce-Spinelli and Sivel asphyxiated in the inhospitably thin air. Tissandier miraculously survived to tell the tale.
Croce-Spinelli's claim to fame, however, stems not so much from his contributions to aeronautics but from the design of his much-visited tomb at Pere Lachaise in Paris: the monument displays lifesized effigies of Croce-Spinelli and Sivel lying side-by-side, holding hands, bare-chested and otherwise covered in a shroud. The sculpture is obviously a tribute to their comradeship, but some have asserted, without further evidence, that Croce-Spinelli and Sivel were gay lovers. Heroic death in the company of one's peers was a heady theme for the post-Romantic French. Who's to say?
(from Ron Schuler's parlour tricks - blog - july 12 2006)
cnum.cnam.fr/CGI/fpage.cgi?4KY28.2/306/100/432/0/0
www.appl-lachaise.net/appl/article.php3?id_article=1320
.
Philadelphia - 2012
Mamiya RB67 Pro-S shown with the waist level finder and Mamiya-Sekor 90mm F3.8
Camera porn!
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From the onset the questions about the nature of humanity has always been a thing that comes from the mind of human beings as a group.
Talking about the traits of human characters; humane qualities and the aspect of our life.
What long-standing aspiration do you have? What Vision, ideas, or dreams do you today? What do you constantly imagine yourself doing? Meaning that is your motivation for doing it for positive or selfish interest?
What do you imagine yourself becoming? What do you likely or really desire to do that you may not have told anybody about it. That is, it may be something you think about a lot while you’re awake or at your work place and may be wishing to do something else for humanity instead of your current job.
Probably it is something you lie awake at night and imagine yourself building, writing articles, journals, books, drawing, paintings, constructing, baking, doctor, lawyer, or performing arts etc. You have dreamed about doing this ever since you were born or were a child.
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This 1933 Cyustom V8 Coupe is based on a real-life custom conversion. as detailed below.
The text is taken from Hotrod.com:
www.hotrod.com/articles/1209sr-1933-ford-coupe/
After two failures at rounding up a good ’33 Ford coupe body, Tim Kirby was able to make “lemonade out of lemons”
There are hot rods that are flashy and loaded with one-of-a-kind details, and it’s these incredible attributes we remember. And then there are those hot rods that are so subtle you walk past them the first time but when you get the hamburger out of your mouth you realize this is the one. Such may just be the case for Tim Kirby of Fountain Hills, Arizona, and his channeled ’33 Ford three-window coupe expertly crafted and assembled at Hot Rods By Dean (HRBD) of Phoenix.
Flashy it isn’t. There’s enough black to make you look for a light switch. It’s well detailed but as a driver there will be the rock chips and bugs on the windshield shortly. There’s plenty of imagination. Yet you realize there’s a great deal of traditional hot rod resting on the axles and buttoned up between the headlights and taillights. Craftsmanship, well that’s something all of us understand and strive for when we build our own ride. Complex or simple the craftsmanship is readily seen. As for stance all of us have seen enough hot rods so that you would think we could all “nail” the look with our own ride. Such isn’t always the case, but we do strive.
When we first look at Tim’s ’33 it’s the lack of flash and its subtleness that makes an immediate impression. As for the detail, imagination, craftsmanship, and stance, this channeled three-window has it in spades. There’s no denying the coupe was built in a traditional theme with the ’50s-era 303-inch Olds V-8 topped with an Edelbrock intake supporting a triple-play of modern Stromberg 97s fed by an EELCO fuel block equipped with a fuel pressure gauge. The awaiting gas rests in a ’34 Chevy passenger car gas tank that was modified by HRBD to fit within the ’33 trunk. Take a close look at the air cleaners—fabricated by Tim he made them from ’53 Caddy air ducts. (Speaking of imagination!) The NASCAR ’57 Olds valve covers are other vintage items outfitted with the telltale “bump,” allowing the use of a high-lift cam by giving the rockers the necessary clearance. The exhaust system was fabricated at HRBD using 1-5/8-inch primary tubes with 2-inch pipe and Smithy’s mufflers. If you have looked closely at the engine photo (look again) you will see what appear to be two alternators. Hmm, probably not but what gives? One of the “generators” is a PowerGEN alternator from Powermaster Performance while the second generator housing is just that, a “house” for the Vintage Air compressor. A clever and masterful way to give the car modern electrics and A/C all the while keeping the engine in its traditional appearance. The cooling system (brass radiator and fan) was fabricated at HRBD while the ignition is a Vertex magneto using steel core wires.
Backing the vintage eight is an ’80s-era Chevy S-10 Tremec T5 via an EELCO trans adaptor sandwiching a Hays clutch and flywheel package. The shifter was modified and employs HRBD-fabricated mechanical linkage. At the corners more vintage hot rodding is on view with Kelsey Hayes (milk truck) wheels adapted with ’33 V-8 caps measuring 18×3-1/2 wrapped with Excelsior 4.50s in front and Firestone 7.00s in the rear.
The chassis began life as a ’33 Ford but has undergone many HRBD mods that include a custom-made centersection, flipped rear framehorns, and a modified front crossmember to the 113-inch wheelbase. The front suspension is based on a HRBD straight-axle using ’37 Ford spindles with SO-CAL Speed Shop tube shocks, ’39 Lincoln Zephyr drum brakes, and F-1 steering. The rear suspension is built around a V-8 quick-change with an open differential spinning 4.60 gears, 31-spline axles, and ’39 Zephyr drum brakes. Locating the rearend are ’37 Zephyr split wishbones, custom springs, and SO-CAL Speed Shop tube shocks.
Resting on top of this HRBD chassis is a gennie Ford ’33 three-window coupe body with 3 inches taken out of the front and 2 inches from the rear by Jonathan Williams of HRBD along with a top insert by HRBD’s Ron McCorkle who also fabricated the working cowl vent. The body was then channeled by HRBD with a boatload of other sheetmetal mods. These modifications include a custom firewall, doorsills, windshield laid back, louvered decklid (lots!), replaced quarter-panels, a modified four-door sedan floor fit to the three-window, front and rear functional windows, and a modified ’33 Ford grille and insert. The headlights are ’35 Nash while the taillights are custom-made by HRBD with stock ’33 Ford stands. From here the bodywork was handled by HRBD’s Chris Walker and afterward the PPG black paint was sprayed on by HRBD’s Frank Bennett.
Inside the sheetmetal is a dashboard that began life as a ’33 with a ’36 dash top flipped 180 degrees and used on the bottom of the ’33 while utilizing the “waterfall.” The traditional combo of five Stewart-Warner mechanical gauges (speedo, water, oil, fuel, amp) were housed in the engine-turned dash insert while an EZ Wiring kit was put to use by HRBD’s Tony Arme. From here the Vintage Air A/C unit and lots of Dynamat insulation is used to control the creature comfort temps. The ’40 Ford steering column that operates the F-1 box is twisted through a ’50s boat wheel—a Sheller two-spoke that was most commonly used from 1940 to 1957 on Chris Craft boats.
The modified bench seat is covered in black vinyl as are the door panels, all by Glenn Kramer of Hot Rod Interiors, while the floor covering is rubber mat neatly trimmed with metal rings and stitched edges. The pedal assembly is another HRBD effort.
This ’33 is as traditional looking as they come but it’s sprinkled with enough modern goodies to make this something any hot rodder worth his toolbox would thoroughly enjoy driving cross-country. Be on the lookout when in the Phoenix area and see if a very evil-looking channeled ’33 coupe is coming up fast in your rearview mirror.
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