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I think this shot seems appropriate (an attendance medal) as Hans seemed to always be around the Macro Mondays group either posting, theme setting or moderating.
You will be missed Hans.
And as a tribute (as I’ve been pulled up on it many a time, I have correctly formatted my tags)
#AStarForHans
Christmas market 2021 in Frankfurt. People wearing masks but high attendance as people yearn for normality.
In attendance, at this lavish party of black attired Palamedes Swallowtails (30-50 males) are two Eastern Tiger Swallowtails (Pterourus glaucous).
Palamedes Swallowtails (Pterourus palamedes) Great Dismal Swamp National Wildlife Refuge, Virginia
St John the Baptist, Markyate, Hertfordshire, is an 18th century Anglican chapel that grew in size with the village's population growth. Today, its minister is also in charge of St Leonard in the neighbouring village of Flamstead. There are two more churches in the village (Baptist and Methodist respectively). All of them try to find various ways of dealing with the sociological fact that church attendance (which is different from belonging to the Christian tradition) is currently very low. Helios 44M-7 at approx. F5.6.
Mostly non-theistic Friends
The actual meeting house is adjacent to the school, which is pictured above.
# I attended here many Sunday mornings when I lived in Chester County. I went there primarily to meditate, as most of the time there was quiet. There were no priests and near the beginning of the hour someone would very briefly read from a verse from the Bible, but other than that there was no mention of God or Christ, hence the term “non-theistic”. On occasion someone in attendance might stand to say whatever was on their mind, but it was brief and their was no further discussion of the subject.
Meditation was very important to me, as I worked many hours in the week and had thee children who required my attention as well as my house that required constant upkeep.
So, these “meetings” was my time to calm myself and gain a bit of peace. I always came away refreshed. And I still practice meditation at home.
Everyone in attendance is happy and proud!!! They all showed up for the beautiful "Z"ebra to finally be complete!!!
An image of the Olympic Stadium in Berlin, Germany. It was originally built by Werner March for the 1936 Summer Olympics. During the Olympics, the record attendance was thought to be over 100,000. Today the stadium is part of the Olympiapark Berlin.
Since renovations in 2004, the Olympiastadion has a permanent capacity of 74,475 seats and is the largest stadium in Germany for international football matches. Olympiastadion is a UEFA category four stadium and one of the world's most prestigious venues for sporting and entertainment events.
The stadium has been used as the home venue for the Bundesliga's Hertha BSC since 1963. It has also hosted many international matches, and was a venue for the 2006 World Cup where it hosted 6 matches including the Final. It has also hosted many Rock concerts including The Rolling Stones, Bruce Springsteen, Genesis and U2.
1/25th second / F6.3 / 100iso / Sigma 10-20mm Lens @ 10mm
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Regular viewers will know that I have become a little obsessed - perhaps unhealthily so - with the fungus known as Devil's Fingers (Clathrus archeri) that originates from Australasia but which is becoming more common in the UK. I was therefore very happy indeed (understatement) to find its close relative, the Red Cage fungus, Clathrus ruber (possibly native or at least established for a long time) within walking distance of my Dorset cottage today. It was bigger than I had expected, around 12cm across, and for the moment was still a perfectly intact 'cage'. And yes, exactly the same smell of putrefying flesh as its relative, Clathrus archeri...
Indian Classical Dancer performing at Alliance Francaise during Attendance Awards Ceremony in Bengaluru city.
Namaskar is a greeting, often accompanied by a hand gesture in which the palms are together, used in Indian and other Southeast Asian cultures.
Fresh brick. Respect to those in attendance - Care, Beta, Dead, Rask, Bonzai, Kak, Epok, Smug, Alert, Bref, Cruel, Sin, Snot. All burnin up virgin brick. Cheers to Dead Snot and Beta for the extra colours.
Mad May Hares. We watched three Scottish Brown Hares this afternoon for some time. One female with a very attentive male in attendance, spent the afternoon shunning his advances. In this image she had attacked him with claws extended and he leapt out of the way. Another hare kept a close eye on the proceedings and was chased by the first male.
The community board meeting took place in order to discuss the proposed mosque to be built next to ground zero. While the project is usually referred to as the “mosque at ground zero”, the project’s official name is the Cordoba Initiative. The Imam and the developers were in attendance to present the project, and many politicians (or rather their representatives) were on hand, along with many of those in favor or opposed.
First spoke the elected officials, who—in the typical New York political elitist fashion— slandered and insulted their opposition. Councilwoman Margaret Chin spoke before a single opponent of the mosque ever came up to the microphone to state their position, but that didn’t stop her from accusing those against it of “bigotry”.
And while Margaret Chin chose to offend the opposition to the mosque (most of whom present were families of 9-11 victims and first responders) in person, other local figures sent their cronies. A representative of Scott Stringer, President of the Borough of Manhattan, handed out a letter to everyone prior to the meeting in which he refers to the mosque as a “multi-faith community and cultural center” and claims that this “center has been the subject of bigoted attacks that contain a strain of religious and racial hatred more extreme than anything we have seen in NYC for some time.” I guess an attempt to kill hundreds of New Yorkers and tourists at Times Square by an Islamist Faisal Shahzad less than a month prior was not extreme enough for Stringer and, instead of jihadism, Stringer seems to have identified the enemy as a TEA Party leader whom he rips apart throughout this unsolicited letter. While the TEA Party’s opposition is referred to as a “bigoted agenda”, the mosque itself is referred to as a “vibrant and world-class facility in NYC which will promote tolerance and pluralism”. Of course he fails to provide any example of mosques in NYC or in the world that have EVER promoted tolerance or pluralism, but perhaps he didn’t think that any attendee would dare question his superior judgment in the matter. Please be sure to read his disgusting letter
After the political cronies spoke, Feisal Abdul Rauf', the Imam in charge of this “community center” was given time to present his proposal. He started his speech with “for many years I’ve had a dream…” (I wonder what Dr. King would have thought of a ‘grand wizard’ proposing to build a “community center” at the site of the bombed 16th Street Baptist Church in Birmingham, Alabama). The Imam also claimed that this “community center” would promote multi-culturalism; he was so sure of it that his speech was sprinkled throughout with that deceiving phrase. But his presentation brought with it an unexpected turning point. Not because of anything he planned to share with us in his carefully prepared PC jargoned speech, but because of a question by one of the board members who wanted to know if the proposed “community center” would hold prayer. The Imam said “yes”, to which the board member replied, “then it is a house of worship, not a community center”.
Without any objection to that by the Imam or speakers that followed, the term “community center” began to very gradually disappear. But don’t think that anyone’s opinion actually changed as a result. The supporters of the project “formerly” known as a “community center” still believed that it was somehow related to diversity and that it would in no way be an insult to those who died due to Islamist ideology, nor would it serve as a monument of jihadist victory.
But neither the councilwoman nor the Imam were the most offensive or distasteful of the proponents of the mosque. Daisy Khan of the American Society for Muslim Advancement, who also happens to be Imam’s wife, blew their insults and lies out of the water. (I don’t recall her being introduced as Rauf’s wife at the meeting, but I can’t be sure.) She lectured and she yelled – yes, yelled – at the families of victims, the first responders, and her fellow New Yorkers. She yelled that she is “tired of bearing the cross [and will do so] no longer” because apparently she and the Muslim community were the real victims of the 9-11 attacks—not the families who lost their loved ones, not the cities that lost their monuments, and not the country that lost its feeling of security.
Without a single mosque destroyed and with very few anti-Muslim incidents, hearing from this woman about her supposed victimization in that auditorium was absolutely sickening. It didn’t help when for weeks after (and prior) she dominated the time on television appearing calm and together and claiming among other nonsense – I kid you not – that the reason they chose the ground zero site to build a mosque is to provide a “blow to the extremists”. I’m sure radical Muslims would just hate it if New York built a mosque on the ground where American buildings were destroyed and thousands of Americans were murdered by jihadists … right? READ HER RIDICULOUS QUOTE AGAIN. Now listen to it for yourself from the horse’s mouth because I wouldn’t have believed it either. (starts at 1:10) www.youtube.com/watch?v=q7WbTv_gsx4&playnext_from=TL&...
Other supporters of the mosque included two priests and a rabbi (no, it isn’t a start to a joke – although I wish it was) of the leftist “co-exist” variety all of whom supported the mosque. And while there were some clergy present that (judging by applause and reactions) opposed the mosque, they did not come up to the microphone. The supporting clergy seemed to have gone to the same rhetoric school as the Imam, using terms like “multi-culturalism”, “tolerance”, “community relations and understanding”, and other jargon that had no actual relevance to the topic.
There was also a Caucasian woman with a baby who introduced herself as someone who had converted to Islam … in 2006, if I’m not mistaken. She lied about how difficult it is to find information and resources on Islam in NY. I say she lied not only because there are hundreds of mosques in the 5 boroughs, but also because as a recent convert she is a prime example of someone who was able to find and act on this information. Of course, she didn’t specify why ground zero is a better location than any other for this apparently “valuable to the city” information about the religion all 911 hijackers belonged to.
Now that I have gone on and on about the supporters of the mosque (aka “community center”) and the temple’s money changers, let me talk about the opponents of a mosque being build at ground zero ... Not a single one of them opposed a mosque being built; the prevailing request was simply “build it somewhere else”.
First opponent to speak was the celebrated publisher, editor, and columnist Pamela Geller. She was the one to point out what Cordoba means to the Muslim world. Cordoba is a city in Spain that was the first major city to fall to Muslim conquerors and become an Islamic caliphate and a symbol of Islamic conquest of the West. She also called the mosque “a shrine to the very ideology that inspired 9-11”. Sure seems a lot more plausible than Daisy’s explanation for why the mosque has to overlook ground zero.
A gentleman who lost his brother in WTC and represents the largest ‘families of victims of 9-11’ groups introduced some of those present who lost loved ones at ground zero. He protested the lectures and the labels that were bestowed on these families for their “legitimate, legal opposition to this Muslim ‘multi-cultural center’”. He pointed out that while there is proposed building of this mosque at ground zero, the committees have refused to allow monuments to the tragedy of 9-11, including the WTC sphere which was heavily damaged during the terrorist attack and has become an iconic symbol of the tragedy. At this time the sphere is temporarily housed at Battery Park. “If we should honor multi-culturalism and diversity at ground zero, we should honor and remember victims of 9-11,” he concluded.
Tim Brown, a former NYC firefighter who lost dozens of his friends and colleagues, fellow first responders, to the jihadist terrorist attack, has been a tireless voice for memories of victims and their loved ones. He questioned where the money for the mosque was coming from. He had received “5 different answers on 5 different occasions from them”, which included my favorite “we don’t have to tell you, talk to our lawyers”, as well as “three different organizations, but [the Imam] refused to name them” and “from American taxpayers”. Mr. Brown also pointed out that Cordoba Initiative has been very deceiving in other ways, such as removing the word “mosque” from their web site despite the fact that they explicitly wrote initially that there will be a mosque at the top of the building (overlooking ground zero).
Questions were also raised about the Imam Rauf, his public statements, and his pro-Sharia stance as described in his publications and interviews. His travels to countries that openly support terrorism and forced Islamization of the West were also questioned and may indicate where funding from the mosque could be coming from.
Follow up note: Listening to the Imam Rauf speak to various news organizations in the days following the meeting, he offered even more non-specific answers to where the money comes from, such as it comes from people who “want to see peace between Muslims and non-Muslims”. Again, nice politically savvy keywords… but no actual answer to a rather direct question he obviously knows the answer to. Trying to hide something, Faisal Abdul?
One of the many victim’s families present was a woman with a photo of her son who was murdered by the Islamic terrorists. She didn’t yell like Daisy, the Imam’s wife, and she did not dish out insults like Congresswoman Chin. Her voice trembled as she mentioned her son’s name and held his photo towards the committee, “this is my son”, she said, “this is firefighter George Kane.” She held back tears as she spoke. She said that “the location [of the mosque] is insensitive to families. It is also insensitive to the voiceless victims the possibility that anyone who supports Islamic extremism could walk on graves of the victims … [it is] an outrage.”
Another woman spoke with a similar shaking voice about her 23-year-old son who “was murdered on September 11th”. She also wasn’t a bigot, but wanted to know “why are you suggesting that it be two blocks from ground zero?”
Mrs. Kane and the others who spoke through tears and with photos of their murdered children in their trembling hands, made me think of what they were being asked to do. Nine years later, they were being asked to “move on” or “heal”, as mosque supporters were suggesting. I can’t even begin to imagine what that ignorant request could do to an eternally grieving mother.
A sweet elderly couple’s last conversation with their son was via cell phone while he was on a hijacked plane… just before he was murdered. They mentioned that there were 20 mosques that located around the area where they lived, and that they would be ok with another one being built close to them, but they also asked for “understanding and sensitivity” when it comes to building one near ground zero.
Yet from the comments of NYC politicians and supporters of the mosque, we know that understanding and sensitivity will not be shown to the victims’ families nor reflect the wishes of voting New Yorkers. They will instead be shown to others who are apparently deemed more – not even equally but more – crucial to the future of NYC and the memories of those who perished in the terrorist attacks.
Here are a few youtube links on regarding this meeting:
Pamela Geller's full 2 minute speech from the meeting
a firefighter and first responder Tim Brown speaks A MUST SEE
EPCOT - International Flower & Garden Festival - 4/4/21
Easter Sunday - Spring 2021 - Orlando, Florida U.S.A.
Beautiful bright colors abound wherever you look during the
annual Flower and Garden Festival, held every March-May.
It features fantastic gardens and amazing Disney topiary.
Could not have been a more beautiful day! Come and visit!
White Peacock Butterfly
en.wikipedia.org/wiki/Anartia_jatrophae
*[left-double-click for a closer-look]
*[FYI: EPCOT means: Experimental
Prototype Community Of Tomorrow]
*[EPCOT is one of the four Disney theme
parks located in Orlando, Florida U.S.A.]
*[FYI: there were STRICT CDC guidelines & protocol rules in place and enforced; ALL DAY LONG! You didn't even THINK of 'lowering your mask' without an employee warning. - The Monorail was NOT
in use due to the Covid-19 pandemic. Park was at 35% attendance]
2021 International Flower & Garden Festival Video Overview:
disneyworld.disney.go.com/events-tours/epcot/epcot-intern...
Lateral left section of Sé de Braga (old Braga cathedral) during sunday mass.
Yes, I know I can go to hell for this! ;)
2021 International Flower & Garden Festival - 4/4/21
Easter Sunday - Spring 2021 - Orlando, Florida U.S.A.
Beautiful bright colors abound wherever you look during the
annual Flower and Garden Festival, held every March-May.
It features fantastic gardens and amazing Disney topiary.
Could not have been a more beautiful day! Come and visit!
*[left-double-click for a closer-look]
*[FYI: EPCOT means: Experimental
Prototype Community Of Tomorrow]
*[EPCOT is one of the four Disney theme
parks located in Orlando, Florida U.S.A.]
*[FYI: there were STRICT CDC guidelines & protocol rules in place and enforced; ALL DAY LONG! You didn't even THINK of 'lowering your mask' without an employee warning. - The Monorail was NOT
in use due to the Covid-19 pandemic. Park was at 35% attendance]
2021 International Flower & Garden Festival Video Overview:
disneyworld.disney.go.com/events-tours/epcot/epcot-intern...
Yesterday our photo class had our class field trip to the Ventura Pier. 3 of the 5 students made it, which by Cal State University terms is a passing amount. I also invited a few locals from the area, including some pretty well-known names. So in attendance besides myself and “Ev” were Geoff, Sarah, Glen, Shad, and Wendall. Here's a photo of Ev and I in action courtesy of Geoff.
We had a great time just hanging out, shooting strangers, bouncing ideas off each other and basically waiting for the sun to set so we could get some shots. I took a few different shots, but I’m using this one today, and might sprinkle a few others shots along during the week.
And in case you missed yesterdays photo/announcement, I’m organizing a trip to Death Valley in April and have created a group dedicated to the planning and eventual photos of it. Feel free to join it for advice or to eventually see the photos.
Hope your Valentine’s Day was fruitful, stimulating, relaxing or at least non-sad. Don’t worry, love is out there. Just a matter of finding the right website.
In attendance Pink-edged Sulphurs (Colias interior) and Clouded Sulphurs (Colias philodice) in Tucker County, West Virginia
A small ID hint... look for the circle on his (yes, they are males) hindwing... if the large circle has a small satellite spot, it is a Clouded Sulphur and if the butterfly has only one circle, it is a Pink-edged Sulphur. This is an important ID marker when the butterfly is worn and the pink edges are no longer so very obvious.
Sometimes habitat gives a hint, because the Pink-edged is present in bogs and heaths and brushy areas with wild blueberries, but in this location the two Sulphur species are flying together. One, a habitat specialist, the other a generalist.
In this puddle party, the Pink-edged is the single one to the left and the Cloudeds are the two to the right. The one flying and the one with open wings also seems to be Pink-edged. The one on the bottom left is a Clouded Sulphur.
The Polish government began planning a museum and memorial at Auschwitz almost immediately after the war ended. The Polish parliament passed an act creating the Auschwitz-Birkenau State Museum on July, 2, 1947. The first exhibition opened in that same year in Auschwitz I. The initial exhibit was expanded in 1950, and a new exhibition was installed in 1955. This latter exhibition is still on display today, though it has been modified and revised. The museum has undergone many changes marking sites in the camp to better illustrate the complexities of the victimization of Jews and others at Auschwitz.
The Auschwitz-Birkenau memorial, located today on the site of the former Birkenau death camp, was a difficult project.
The unveiling of the International Monument to the Victims of Fascism in Birkenau, as the memorial was originally called, occurred in 1967 with approximately 200,000 people in attendance. Polish state officials, prisoners' organizations from many countries, the Israeli welfare minister, the East German and Italian foreign ministers, and numerous ambassadors and journalists were present. The memorial, too, has changed throughout the years. The plaques indicating that "4 million people" were killed at Auschwitz were removed in 1990. They were replaced with plaques stating the more accurate figure of “one and a half million.”
Birkenau was the largest of the more than 40 camps and sub-camps that made up the Auschwitz complex. During its three years of operation, it had a range of functions. When construction began in October 1941, it was supposed to be a camp for 125 thousand prisoners of war. It opened as a branch of Auschwitz in March 1942, and served at the same time as a center for the extermination of the Jews. In its final phase, from 1944, it also became a place where prisoners were concentrated before being transferred to labor in German industry in the depths of the Third Reich.
The majority—probably about 90%—of the victims of Auschwitz Concentration Camp died in Birkenau. This means approximately a million people. The majority, more than nine out of every ten, were Jews. A large proportion of the more than 70 thousand Poles who died or were killed in the Auschwitz complex perished in Birkenau. So did approximately 20 thousand Roma and Sinti, in addition to Soviet POWs and prisoners of other nationalities.
"A trial of the 20th Century road grader
took place on the road in front of the
Glenlyon Shire Hall last Friday
(writes the 'Daylesford Advocate').
Six of the shire councillors were in
attendance - the president, Cr. Mc
Cathy, being unavoidably absent),
and expressed themselves as highly
pleased with the work performed,
five chains of very heavy forming
was carried out in four hours, a feat
that commended itself to the onlook-
ers. It is likely that the council will
purchase one of the machines, the
cost of which is £55."
From the Kyneton Guardian
Saturday 02 May 1914 p2
It's the first of May and Winston is just about to open his birthday present from all his pals. The Fortnum & Mason hamper arrived yesterday and he resisted the temptation to open it early. Also in attendance are the Dougie Mac Twins, Arnie the hamster, Peter the Puffin and little mouse who tidies up all the crumbs. "Stuffed Toys"... "Looking close on Friday"...
No urban (or desert) exploring without venturing into derelict buildings....
The Lake Dolores water park in the Mojave Desert was built in the early 1960s, but attendance eventually dwindled and it closed in 1990. It was renovated in 1998 with a hepcats retro theme, but had to close again after an accident with one of the water slides. It still stands but faces the usual decay and the sadly also usual vandalism - although some of the graffiti add a nice edge to it.
National Express Gemini 4651 in attendance at Wythall for the WMPTE50 event this past weekend
Vehicle Details
Operator: National Express West Midlands
Fleet Details: 4651
Registration: BX54 XRM
Vehicle Type: Volvo B7TL, Wright Eclipse Gemini
Vehicle History
New to Acocks Green 10/04
Lately, my attendance on Flickr has slipped, but it wasn`t due to me losing interest! From the 2nd to the 9th, I was taking part in a Canadian Youth Track competition, and had neither Flickr access nor my camera. After this, I was off to Europe! My family and I spent two weeks touring Amsterdam, Rome, and Paris! It was outstanding. This photo is of the Canal next to where we stopped for lunch.
Two Fire Engines in attendance at Stutton following the failure of Ipswich Buses ADL Enviro 200 LX58 LML with brake trouble. On the 92 service from Ipswich to Manningtree.
The day after Storm Dennis began to leave (heading east) the UK, I went with a friend to see this lovely rural location to see what pictures we could get.
Fortunately for us both the weather, though on the cold side, was good. We arrived at the Aquadrome just before the sun was rising at around 7.10am and saw lots of photo opportunities whilst there.
Not many people at that time of the morning. A few early morning joggers/runners; some individuals, and couples, walking their dogs and the odd person out for morning stroll before it got too busy.
Ducks, swans and birds were in attendance. And we also saw a lovely heron. We were told by one of the people we spoke to that there was a kingfisher in the vicinity. Sadly we didn’t get to see it.
The trees covered in moss and lichen; the water glistening and radiating the sunshine and we encountered a weir that was in full flow.
The waters had risen and I now wished I’d donned either my walking boots or the trusty wellies! My feet got wet and one stage and we decided that without the right footwear some of the puddles were too deep to walk through.
We had a lovely couple of hours and the pictures show how beautiful nature can be if you get out and see it!
Just back from Kenya after a great trip with Simon Kararei and a wonderful stay at Bella Camp, amongst others. I have to give him a plug and a recommendation if anyone plans a trip to Kenya. Simon runs, with the help of his family, the only Maasai owned camp in the Maasai Mara. It’s small, with only ten tented but wonderful tents. Each has two large beds, a bathroom, toilet and private shower. Local Maasai who work there are always in attendance to help carry and safeguard anyone needing to walk to the bar and dining area at night. (I tried several times to sneak past them but they were there when my zipper sounded.) The food is simple but the chef is very accommodating and, to a person, everyone is very personable and nice. Laundry service is available. I always took a boxed breakfast to avoid having to come back to the camp to eat and generally only had a light snack in the afternoon between game drives. Nothing is too far away from the camp and Simon is a wonderful guide. I also drove with Simon’s brother and with Kim, during the first few days of the safari. Everyone was great and tried their hardest to get me on action and in a good photographic position. Bottom line, I’m going back! If anyone is interested, here is Simon’s contact info:
Simon Kararei Safari,
Specialized in Photographic Safaris,
Masai Mara, Kenya.
+254 736-932 565.
+254 717-457-601.
He uses WhatsApp as well as email: skararei@gmail.com
Kenya, especially during migration period, which is when I was there in August, gets crowded. For the most part the guides cooperate and will move their car if it’s in the line of sight of action. The plus side is that they share information and that makes it possible to somewhat keep tabs on what the animals are up to. There was only one known lion pride that had small cubs and I was anxious to watch and photograph them. I finally got one momentary chance and, luckily, caught mom picking up one of her cubs. She was moving them into the bushes and I’m glad I got the one chance that I did, because it did not happen again. Memories like this, for me, last a lifetime and I’ll relive it every time I see the picture.
Happy to be home but wishing I was still there, Mike
Galloping Goose is the popular name given to a series of seven railcars (officially designated as "motors" by the railroad), built in the 1930s by the Rio Grande Southern Railroad (RGS) and operated until the end of service on the line in the early 1950s. They were derived from full-sized automobiles.
Originally running steam locomotives on narrow gauge railways, the perpetually struggling RGS developed the first of the "geese" as a way to keep its contract to run mail into towns in the Rocky Mountains in Colorado. There was not enough passenger or cargo income to justify continuing the expensive steam train service at then-current levels, but it was believed that a downsized railway would return to profitability. The steam trains would transport heavy cargo and peak passenger loads, but motors would handle lighter loads.
Motors were not only less expensive to operate, but were also significantly lighter, thus reducing impact on the rails and roadbeds. This cost saving meant that the first Goose was paid off and making a profit within three weeks of going into service. RGS built more Geese, and operated them until the company abandoned their right-of-way in 1952
History
The RGS built its first motor in 1913, as a track maintenance crew vehicle. This was wrecked in 1925, but inspired the idea of using motors for scheduled service.
All of the "geese" were built in the railroad's shops at Ridgway, Colorado. The first was built in 1931 from the body of a Buick "Master Six" four-door sedan. It was more conventional in its construction than the later geese, though it had a two-axle truck in place of the front axle. Part of the rear of the car was replaced by a truck stake-bed for carrying freight and mail; this was later enclosed and partially fitted with seating. It was used for two years to carry passengers, US Mail, and light freight before being scrapped. A second "goose" was built in the same year from another Buick, but later versions used Pierce-Arrow bodies except for No.6, which was constructed partly out of parts taken from the scrapped No.1.
No. 2 and No. 6 were constructed with two trucks, with the rear truck powered on both axles. No.2 had an enclosed freight compartment (like a very short boxcar), while No.6 had an open bed similar to No.1 (but larger). It was used only for work train service. The other four had three trucks and were articulated in the same manner as a tractor-trailer truck. In these, the second truck was powered, and the freight compartment was essentially a conventional boxcar.
Initially, the "geese" were painted in black and dark green. In 1935 they were all painted in a silver scheme which they retain to this day, though the style of lettering and heralds changed over the years. In 1945, No.3, No.4, and No.5 were rebuilt with Wayne bus bodies (at least the front half) replacing the old Pierce-Arrow bodies. This provided more passenger seating and comfort. A year later they also received new war surplus GMC engines.
In 1950, when the railroad finally lost its mail contract (in favor of highway mail carriers), No.3, No.4, No.5, and No.7 were converted for tourist operations, and the "Galloping Goose" name was officially recognized by the railroad. Large windows were cut in the sides of the freight compartments, and seating was added. A figure of a running goose and the words "Galloping Goose" were added to the carbody doors. This service lasted only two years, and the last work of the "geese" on their home line was to take up the rails.
It is unclear exactly where the name "Galloping Goose" comes from. It is mostly commonly suggested that it referred to the way the carbody and the freight compartment tended to rock back and forth on the line's sometimes precarious track. It is also suggested, though, that the name arose because the "geese" were equipped with air horns rather than the whistles of the steam locomotives. The name was used informally for years before the tourist operations, though the railroad officially referred to the units as "motors".
A similar unit was built for the San Cristobal Railroad, and was rebuilt by RGS in 1934–35. When the San Christobal folded in 1939, this unit was returned to the RGS railroad and dismantled, with some parts going to rebuild and maintain Goose No. 2.
The Galloping Goose Regional Trail on Vancouver Island was named after a similar unit that ran on the Vancouver Island section of the Canadian National Railway from 1922 to 1931.
Galloping Goose No.5 (along with many local landmarks) was popularized in C. W. McCall's song, "Gallopin' Goose".
Surviving units
Of the seven "geese", only No.1 does not survive; it was scrapped in 1933. However, a replica was built in 2000 for the Ridgway Railroad Museum and is operational today. The other six are located as follows:
*Geese No.2, No.6, and No.7 are preserved at the Colorado Railroad Museum and are operational.
*Goose No.3 was sold to Knott's Berry Farm and is operated regularly during off-season periods when park attendance is low.
*Goose No.4 was on static display in Telluride, Colorado. It was restored to operation in Ridgway, Colorado, as of June 2012. With the restoration of Goose No.4, all of the Geese are now operable. Goose No.4 was moved back to Telluride in May 2013.
*Goose No.5 was bought by the city of Dolores, Colorado. After restoration in 1998 it is now operated from time to time on the Cumbres and Toltec and Durango and Silverton tourist railroads, as well as at the Colorado Railroad Museum.
(Wikipedia)
The need for a National Gallery
With a vision of becoming a global city for the arts, Singapore has carefully nurtured its arts and culture scene over the past two decades. The island city has witnessed increasing attendance and participation in key events and festivals such as the Singapore Biennale, Singapore Arts Festival and Singapore Art Show. These events have helped propel Singapore onto the international scene, highlighting her prominence as an international arts hub – a place where the global arts community can come together for exchange and collaboration.
At his National Day Rally speech on 21 August 2005, Prime Minister Lee Hsien Loong mentioned the government's plan to convert the former Supreme Court building and City Hall into a new national gallery. On 2 September 2006, Dr. Lee Boon Yang, Minister for Information, Communications and the Arts officially announced the setting up of the National Gallery Singapore during the Singapore Biennale 2006 at the National Museum of Singapore.
The then Ministry of Information, Communications and the Arts (MICA) proceeded to implement a process designed to enable stakeholders and interested parties to contribute their expertise and their views to the project. A steering committee, initially chaired by Dr. Balaji Sadasivan, Senior Minister of State for the Ministry of Foreign Affairs and MICA, oversaw the art gallery's implementation plan. The steering committee was supported by an executive committee and four advisory groups. The advisory groups provided advice on museology, architectural conservation, finance and communications.
Design competition
On 23 February 2007, MICA, together with the Singapore Institute of Architects, launched a two-stage architectural design competition to identify the most suitable architect and design for the National Gallery. The first stage of the competition called for design and concept proposals, and began on 19 March with a site tour of the two buildings for competing architects to get design concepts and ideas.[9] It drew 111 entries from 29 countries worldwide, with five proposals shortlisted in May 2007. Members of the jury consisted of a panel of eminent local and international professionals headed by Tommy Koh, Singapore's Ambassador-at-Large and chairman of the National Heritage Board, and included officials from the Urban Redevelopment Authority, Musée national des Arts asiatiques-Guimet in France and the Asian Civilisations Museum.
For the second stage, the shortlisted candidates had to develop their designs, from which the winning proposal would be selected by the jury. Due to the status of the former Supreme Court Building and City Hall as national monuments, certain aspects of the buildings could not be altered, such as the façade, the Surrender Chamber, the office of Singapore's founding Prime Minister and the panelling in four rooms of the Supreme Court. However, this still left many design options open such as the addition of roof and basement floors. The participants also had to submit entries within a budget of S$320 million.
On 29 August 2007, the seven-member international jury panel named the top three designs out of the five shortlisted.[11] The three firms – Studio Milou Architecture from France, Ho + Hou Architects from Taiwan, and Chan Sau Yan Associates from Singapore – each received $150,000. The jury made their decision after appraising models and digital mock-ups, as well as engaging the five finalists in a presentation and question-and-answer session. The other two firms that were shortlisted in the first stage were DP Architects and Australia's Smart Design Studio.
An exhibition of the five finalists' proposals was held at City Hall in October 2007, and the public were invited to give feedback on the designs, programmes and events. The jury's decision was presented to MICA, which then decided on who to commission to design and build the art gallery. An announcement on the final design was made in the first quarter of 2008.
Competition winner and appointed contractor
In May 2008, Studio Milou Singapore, in partnership with CPG Consultants (Singapore), was appointed to design and build the Gallery.
Studio Milou Architecture is a French architectural firm, with branches in Paris and Singapore that specialise in the design of museums and cultural spaces. Led by principal architect and lead partner Jean-Francois Milou, the firm has a reputation for working with adaptive reuse of historical buildings, seeking imaginative solutions while respecting the building's historical fabric, meaning and surroundings.
CPG Consultants, a subsidiary of CPG Corporation, is a multi-disciplinary design consultancy firm. Headquartered in Singapore, CPG Consultants has extensive expertise in conservation and preservation of buildings. To date, the company has completed over 20 such projects in Singapore, most of which are gazetted monuments.
Studio Milou Architecture’s design consisted of a linear draped canopy supported by tree-like columns to link the former Supreme Court Building and City Hall at the roof level. The design incorporated an extended staircase linking the basement to the upper levels, making use of solar energy to provide electricity. Fine metal mesh had been proposed to cover most of City Hall. Panel members agreed it had "the most delightful design and appeal", and was ranked first among the top three designs.
On 21 December 2010, the Gallery appointed Takenaka-Singapore Piling Joint Venture as the main construction contractor for the new Gallery. The construction works on the buildings began in January 2011 and is predicted to be completed in about 44 months.
The buildings
City Hall[19] and the former Supreme Court buildings are national monuments and have played a significant role in Singapore's history. The buildings face an open field known as the Padang, which is a Malay word meaning "flat field". Through link bridges and a new basement level, the design for the new Gallery integrates the City Hall and former Supreme Court buildings, combining both old and new architecture.
Former Supreme Court
The Former Supreme Court building was built on the site of the former Grand Hotel de l'Europe, one of the most palatial hotels in Southeast Asia that was demolished in 1936. Designed by Frank Dorrington Ward, Chief Architect of the Public Works Department, the former Supreme Court building was built to house Supreme Court offices and courtrooms and was declared open on 3 August 1939.
This building is the former courthouse of the Supreme Court of Singapore, before it moved out and commenced operations in the new building on 20 June 2005.
The architecture of the former Supreme Court building is in harmony with that of its neighbour, City Hall. The general layout of the building exemplifies British colonial architecture, comprising four blocks of offices and courtrooms surrounding a central rotunda with a dome that was originally used to house a circular law library. It was to be the last classical building to be built in Singapore. United Engineers Ltd was the building contractor.
The Corinthian and Ionic columns, sculptures and relief panels were the works of Italian artist, Cavaliere Rudolfo Nolli.
City Hall
The City Hall building was built between 1926 and 1929 and was originally known as the Municipal Building. Designed by the British Municipal architects A. Gordon and S. D. Meadows, it was used to house the offices of the Municipal Council, which was responsible for the provision of water, electricity, gas, roads, bridges and street lighting.[19] From 1963 to 1991, City Hall came to house offices of several government departments and courtrooms. The building was vacated in 2006.
City Hall has been the focal point of many important events in the history of Singapore. It was in the City Hall building that Admiral Lord Louis Mountbatten, on behalf of the Allied forces, accepted the surrender of the Japanese forces on 12 September 1945.[23] The building also housed the office of Mr. Lee Kuan Yew, the first prime minister of Singapore. Mr. Lee and members of his Cabinet took their Oaths of Allegiance and Oaths of Office on 5 June 1959 in the City Hall Chamber. It was gazetted on 14 February 1992 as a national monument. The original layout of City Hall is a typical example of neoclassical British architecture. The building's interior is modestly proportioned, but its front façade is distinguished by 18 three-storey-high Corinthian columns facing the Padang.
The Galleries
Consisting of modern and contemporary art, National Gallery Singapore focuses on displaying Singapore and Southeast Asian art from the 19th century to present day. It will be home to two permanent galleries: the DBS Singapore Gallery and the UOB Southeast Asia Gallery. Through its collection, the Gallery will present the development of Singaporean and regional cultures – telling the story of their social, economic and political histories.
The Gallery mainly draws from Singapore’s National Collection, the world's largest public collection of modern and contemporary Southeast Asian art. The National Collection started with an original bequest of 93 works made to the National Museum in 1976, by the well-known cinema magnate and art patron, Dato Loke Wan Tho. Through careful nurturing over the years, this collection has grown significantly to approximately 8,000 pieces in 2010. The National Heritage Board is presently the custodian of this collection. National Gallery Singapore will feature works by major Singaporean artists such as Georgette Chen, Chen Chong Swee, Chen Wen Hsi, Cheong Soo Pieng and Liu Kang. The collection now spans from early-20th-century naturalistic paintings to contemporary video installations. The collection also holds pieces from Southeast Asian artists of international standing, such as Affandi (Indonesia), Latiff Mohidin (Malaysia), Le Pho (Vietnam), Montien Boonma (Thailand) and Fernando Cueto Amorsolo (Philippines).
DBS Singapore Gallery
The DBS Singapore Gallery will be an important platform for studying and presenting the cultural and aesthetic identity of Singapore from the colonial period to present day.
Starting from the 19th century, the narrative traces how local and regional contexts, international influences and individual creativity have shaped and transformed the development of Singapore art. The display will highlight the multiple facets of Singapore art, derived from the interweaving of diverse cultural values and expressions, fluid exchange of new ideas, and continuous experimentation by local artists.
UOB Southeast Asia Gallery
Housed in the former Supreme Court building, the UOB Southeast Asia Gallery will present the history of Southeast Asian art through artistic impulses shared across the region. Starting in the 19th century, the history of Southeast Asian art is characterised by negotiations between the region’s traditions and modernity. Art was conceived as an expanded field whereby Southeast Asian artists sought to incorporate and reinvent local expressions and aesthetic traditions as they approached the age of modern art.
The UOB Southeast Asia Gallery will share a compelling story of human culture, as seen through a region that has been the meeting point of major civilisations, religions, colonial powers, and the focus of struggles towards national independence and modernisation.
Special set of Research Galleries
These galleries will complement the core galleries, providing space for curators and researchers to experiment with ways of presenting materials from the Gallery's permanent collection, and to encourage greater dialogue between Singapore's national collection and those of other regional institutions.
Changing gallery spaces
The gallery has approximately 6,000 square metres (65,000 sq ft) of spaces to host international travelling exhibitions.
Facilities and programmes
Facilities
By day, the Gallery will offer learning and education opportunities for all, through its exhibition displays, artist talks, children's programmes and other related activities. By night, the Gallery will transform into a venue, with restaurants and cafés, as well as outdoor programmes, events, film screenings and concerts. The Gallery will provide venues for hire for conferences, seminars, film screenings, performances and private functions. It will house a 200-seat auditorium, function and seminar room spaces for various types of events and corporate functions.
Schools and families
National Gallery Singapore will offer learning programmes for students, ranging from pre-school to tertiary education level, to develop their observational and interpretative skills and appreciation for visual arts. Learning opportunities from the Gallery are also available for Educators, with a focus on professional development or planning a museum-based experience for their students. A Teachers’ Club will be established for educators in order to foster a culture of sharing and appreciation of art. The Gallery, in partnership with art practitioners from various disciplines, will hold a wide variety of programmes for families and children. Such activities include a monthly Family Weekend and School Holiday Specials.
Adult learning and community
Opportunities for adults to explore and learn about the arts will be provided by the Gallery through programmes inspired by its collections and resources. These include regular film screenings featuring Southeast Asian stories, theatrical and dance performances, guided tours in both English and Mandarin, art workshops and lectures. From a broader perspective, the Gallery’s Communities and Access initiatives will offer programmes to make art accessible for all audiences through community outreach, workshops and festivals.
Docents
One of the public programmes offered by the Gallery is the Docent Programme, a training workshop for individuals who have a passion in art, history and culture and wish to share this with visitors to the Gallery. The programme seeks to cultivate a pool of volunteer guides to act as the Gallery’s “ambassadors”. They are trained in public speaking and have extensive knowledge of Singaporean and Southeast Asian art, and the architecture and history of the Gallery buildings. Docents will serve as art educators by leading scheduled public tours, and will play a vital role in providing a personal Gallery experience by showing visitors the link between the rich history and collections of the Gallery.
Keppel Centre for Art Education
The Keppel Centre for Art Education [24] is a learning facility for families and schools. The Centre will provide an artistic environment that stimulates imagination, encourages active play and supports independent learning. Children and younger students will experience and interact with original artworks that are specially created to develop observation skills and tactile exploration.
The Centre will be located on the ground level of the Gallery's City Hall wing and occupy a total floor area of 910 square metres. It will comprise four distinct art spaces including a Children's Museum and an interactive Art Playscape. The theme for 2015 and 2016 is Homes: Present and Future. Invited artists will share their creative ideas and personal stories in response to the theme, creating new original artworks that encourage open interpretation and dialogue amongst visitors. A spectrum of art activities developed by the Gallery’s educators will provide learning experiences to support different learners and different age groups.
The Keppel Centre for Art Education will also offer programmes including a regular series of Studio-based workshops, artist talks, curator’s presentations, as well as complimentary Drop-in programmes conducted by artists, curators and museum educators.
Attendance on a Line and Light photography experience day brought exclusive access to the interiors of Elvaston Castle, near Derby. The Stanhope home fell into decline and became a teacher training college during World War Two. The college left in 1947 and since then it has been bearly used. The surrounding park became the UK's first country park managed by Derbyshire County Council. Some of the ground floor of the house is used for a cafe and weddings, the upper floors being derelict. More information here: www.futureelvaston.co.uk