1962 Sears Christmas Catalog.

CNW GP7 1518 has received a new cab floor, control stand, extensive cab work, and some back dating work. Found inside is this tag. EMD LaGrange had an open house in 1997. CNW 1518 was on static. Display. Hmmm....

Just added to Melissa's family - Twig! She's wearing an original GR dress by Jam Fancy.

She's only been here a day and she's already the star in a puchi tutorial on styling bangs.

She has a very industrious personality and enjoys working as long as the sun is up. She enjoys basketweaving, throwing pottery, and collecting found objects in her spare time.

Birthday: May 31, 2007

Authentic Old Town

The Authentic Old Drugstore takes you back to the early days when St. Augustine was but a Spanish hamlet.

It was built by Antonio Gomaas in 1739. He built it as a place of revelry, within the the jurisdiction of the city, for protection, but away from the actual settlement. They sold liquor, tobacco, medicine and Indian remedies.

They also sold their own medical concoctions

..Wisconsin's Supper Club disqualifies being labeled steakhouse

Since have Burgundy velvet walls!

.., accenting goldrope trim...and unusedstone fireplace!

Capri steakhouse.. ?

Columbus

Wisconsin

Looking for bloggers who can create posts for Authentic Design Event Items or new Items if you would like to join the family please send an IM to Alasia Powers- LilAlasia Ansia

maps.secondlife.com/secondlife/Mardi%20Gras/136/69/25

authenticallyalasia.wordpress.com/authentic-design-blogge...

The fastest way is to send me the application in world♥

In some places prefabs, put up as an emergency measure to re-house bombed-out families during the war, have proved more enduring than was at first envisaged. Countrywide I suppose most must have gone by now, but in Bristol at least, one or two pockets survive. Those that are owned by the local authority have been renovated with pitched roofs and uPVC windows, which should guarantee their survival for some time to come ...albeit in an inauthentic form.

A few, presumably purchased from the authorities by their tenants under the Thatcherite "right to buy" scheme, perpetuate original appearances with some fidelity. This one still has a flat roof covered only by roofing felt and what look like aluminium window frames.

EQ: 5D, 50mm, AL

Was sind das denn bitte für Augen, dachte ich als ich direkt an ihm vorbei lief. Ich hielt sofort an und versuchte ihn aufzuhalten, was nicht ganz einfach war, da er schnellen Schrittes unterwegs war. Nach einigen Metern, hatte ich ihn dann aber eingeholt und angesprochen. Freundlich, wie immer, erklärte ich ihm mein Vorhaben und sprach ihn auf seine Augen an. Alles echt, meinte er worauf es gleich ein Kompliment von mir gab.

Viele Grüße

Markus

day.fotowusel.de/2010/09/29/authentic-282/

2015 - Leslie Philips - 24h du Swing à Monségur - Gironde - France

Ceremonies..Buffalo Bill's carriageway.

Leaving after another successful exhibition!

Manitowoc County Historical Society's

Pinecrest Historical Village

Manitowoc Wisconsin

The speaker, horn is odd. I don't know what it's for.

How to Identify an Authentic Chanel bag? We not only want to observe the appearance of the package, but also to observe the package material.

An authentic chanel bag Included with bag, Tag, Box, Ribbon, Authenticity & Care Cards, Dust Bag, and Felt protective Cloth.Its workmanship is very fine.Chanel's logo are printed on the hardware.Its materials include lambskin ,calf,crocodile.Shop for chanel bags on chanelauthenticbag.com

more photos here

Authentic LEGO AT-AT

Ⓒ Sony A7

Ⓛ Pentax-FA SMC 43/1.9 Limited

Ⓕ Capture One Pro + Film Simulated ICC

These very colourful authentic wooden boats can be found alongside the corniche near the beautiful city of Doha, Qatar.

This photo was taken handheld in the evening when it was completely dark, the only light source in this photo was provided by the boat itself.

Work in progress: This thing keeps changing but hopefully I'll get the right idea soon.

Blogged here

We're staying in an authentic English castle. Welcome to Vegas. This place is weird.

So Saturday night was quite exciting for us this weekend. A bird got in the house and darted into the playroom and hung out in the girls Christmas tree. Of course before I got it out, I had to take a few pics!

Authentic Antique Lumber in Chester on September 1, 2015.

ERIK GLIEDMAN/Times Herald-Record

Mercedes SLS AMG Coupe Electric Drive

With the new Mercedes-Benz SLS AMG Coupé Electric Drive, Mercedes-AMG is entering a new era: the locally emission-free super sports car featuring advanced technology from the world of Formula 1 is the most exclusive and dynamic way in which to drive an electric car. The most powerful AMG high-performance vehicle of all time has four electric motors producing a total output of 552 kW and a maximum torque of 1000 Nm. As a result, the gullwing model has become the world's fastest electrically-powered series production vehicle: the Mercedes-Benz SLS AMG Coupé Electric Drive accelerates from zero to 100 km/h in 3.9 seconds.

A new dimension of driving performance - a convincing synonym for the AMG brand promise are the outstanding driving dynamics which come courtesy of AMG Torque Dynamics as well as torque distribution to individual wheels, which is made possible by means of wheel-selective all-wheel drive. The most "electrifying" gullwing model ever has been developed in-house by Mercedes-AMG GmbH. The high-voltage battery for the SLS AMG Coupé Electric Drive is the result of cooperation between Mercedes-AMG and Mercedes AMG High Performance Powertrains in Brixworth (GB). This is an area in which the British Formula 1 experts were able to contribute their extensive know-how with KERS hybrid concepts.

"The SLS AMG Coupé Electric Drive is setting new standards for cars with electric drives. As the most powerful gullwing model ever, it is also representative of the enduring innovational strength of Mercedes-AMG. Our vision of the most dynamic electric vehicle has become a reality. With the help of our colleagues at Mercedes AMG High Performance Powertrains in Brixworth, we are bringing exciting advanced technology from the world of Formula 1 to the road", according to Ola Källenius, Chairman of the Board of Management of Mercedes-AMG GmbH.

Mercedes SLS AMG Coupe Electric Drive (2014)

2014 Mercedes-Benz SLS AMG Coupe Electric Drive

Pioneering, visionary, electrifying: the powerful and locally emission-free super sports car with electric drive also embodies the development competence of Mercedes-AMG GmbH. With this innovative and unique drive solution, AMG - as the performance brand of Mercedes-Benz - is demonstrating its technological leadership in this segment. The Mercedes-Benz SLS AMG Coupé Electric Drive is aimed at technology-minded super sports car fans who are open to new ideas and enthusiastic about ambitious high-tech solutions for the future of motoring.

Enormous thrust thanks to 1000 Nm of torque

The pioneering drive package in the SLS AMG Coupé Electric Drive is impressive and guarantees a completely innovative and electrifying driving experience: enormous thrust comes courtesy of four synchronous electric motors providing a combined maximum output of 552 kW and maximum torque of 1000 Nm. The very special gullwing model accelerates from zero to 100 km/h in 3.9 seconds, and can reach a top speed of 250 km/h (electronically limited). The agile response to accelerator pedal input and the linear power output provide pure excitement: unlike with a combustion engine, the build-up of torque is instantaneous with electric motors - maximum torque is effectively available from a standstill. The spontaneous build-up of torque and the forceful power delivery without any interruption of tractive power are combined with completely vibration-free engine running characteristics.

The four compact permanent-magnet synchronous electric motors, each weighing 45 kg, achieve a maximum individual speed of 13,000 rpm and in each case drive the 4 wheels selectively via a axially-arranged transmission design. This enables the unique distribution of torque to individual wheels, which would normally only be possible with wheel hub motors which have the disadvantage of generating considerable unsprung masses.

Powerful, voluminous, dynamic, emotional and authentic: the characteristic sound of the Mercedes-Benz SLS AMG Coupé Electric Drive embodies the sound of the 21st century. After an elaborate series of tests as well as numerous test drives, the AMG experts have created a sound which captures the exceptional dynamism of this unique super sports car with electric drive. Starting with a characteristic start-up sound, which rings out on pressing the "Power" button on the AMG DRIVE UNIT, the occupants can experience a tailor-made driving sound for each driving situation: incredibly dynamic when accelerating, subdued when cruising and as equally characteristic during recuperation. The sound is not only dependent on road speed, engine speed and load conditions, but also reflects the driving situation and the vehicle's operating state with a suitable driving noise. Perfect feedback for the driver is guaranteed thanks to a combination of the composed sound, the use of the vehicle's existing inherent noises and the elimination of background noise - this is referred to by the experts as "sound cleaning". The impressive sound comes courtesy of the standard sound system with eleven loudspeakers.

Advanced Formula 1 technology: high-voltage lithium-ion battery

Battery efficiency, performance and weight: in all three areas Mercedes-AMG is setting new standards. The high-voltage battery in the SLS AMG Coupé Electric Drive boasts an energy content of 60 kWh, an electric load potential of 600 kW and weighs 548 kg - all of which are absolute best values in the automotive sector. The liquid-cooled lithium-ion high-voltage battery features a modular design and a maximum voltage of 400 V.

Advanced technology and know-how from the world of Formula 1 have been called on during both the development and production stages: the battery is the first result of the cooperation between Mercedes-AMG GmbH in Affalterbach and Mercedes AMG High Performance Powertrains Ltd. Headquartered in Brixworth in England, the company has been working closely with Mercedes-AMG for a number of years. F1 engine experts have benefited from its extensive expertise with the KERS hybrid concept, which made its debut in the 2009 Formula 1 season. At the Hungarian Grand Prix in 2009, Lewis Hamilton achieved the first historic victory for a Formula 1 vehicle featuring KERS hybrid technology in the form of the Mercedes-Benz KER System. Mercedes AMG High Performance Powertrains supplies the Formula 1 teams MERCEDES AMG PETRONAS, Vodafone McLaren Mercedes and Sahara Force India with Mercedes V8 engines and the KERS.

The high-voltage battery consists of 12 modules each comprising 72 lithium-ion cells. This optimised arrangement of a total of 864 cells has benefits not only in terms of best use of the installation space, but also in terms of performance. One technical feature is the intelligent parallel circuit of the individual battery modules - this helps to maximise the safety, reliability and service life of the battery. As in Formula 1, the battery is charged by means of targeted recuperation during deceleration whilst the car is being driven.

High-performance control as well as effective cooling of all components

A high-performance electronic control system converts the direct current from the high-voltage battery into the three-phase alternating current which is required for the synchronous motors and regulates the energy flow for all operating conditions. Two low-temperature cooling circuits ensure that the four electric motors and the power electronics are maintained at an even operating temperature. A separate low-temperature circuit is responsible for cooling the high-voltage lithium-ion battery. In low external temperatures, the battery is quickly brought up to optimum operating temperature with the aid of an electric heating element. In extremely high external temperatures, the cooling circuit for the battery can be additionally boosted with the aid of the air conditioning. This also helps to preserve the overall service life of the battery system.

Quick charge function via special wall box

Ideally the Mercedes-Benz SLS AMG Coupé Electric Drive is charged with the aid of a so-called wall box. Installed in a home garage, this technology provides a 22 kW quick-charge function, which is the same as the charging performance available at a public charging station. A high-voltage power cable is used to connect the vehicle to the wall box, and enables charging to take place in around three hours. Without the wall box, charging takes around 20 hours. The wall box is provided as an optional extra from Mercedes-AMG in cooperation with SPX and KEBA, two suppliers of innovative electric charging infrastructures for the automotive industry.

Eight-stage design for maximum safety

To ensure maximum safety, the SLS AMG Coupé Electric Drive makes use of an eight-stage safety design. This comprises the following features:

•all high-voltage cables are colour-coded in orange to prevent confusion

•comprehensive contact protection for the entire high-voltage system

•the lithium-ion battery is liquid-cooled and accommodated in a high-strength aluminium housing within the carbon-fibre zero-intrusion cell

•conductive separation of the high-voltage and low-voltage networks within the vehicle and integration of an interlock switch

•active and passive discharging of the high-voltage system when the ignition is switched to "off"

•in the event of an accident, the high-voltage system is switched off within fractions of a second

•continuous monitoring of the high-voltage system for short circuits with potential compensation and insulation monitors

•redundant monitoring function for the all-wheel drive system with torque control for individual wheels, via several control units using a variety of software

By using this design, Mercedes-AMG ensures maximum safety during production of the vehicle and also during maintenance and repair work. Of course the Mercedes-Benz SLS AMG Coupé Electric Drive also meets all of the statutory and internal Mercedes crash test requirements.

All-wheel drive with AMG Torque Dynamics enables new levels of freedom

Four motors, four wheels - the intelligent and permanent all-wheel drive of the SLS AMG Coupé Electric Drive guarantees driving dynamics at the highest level, while at the same time providing the best possible active safety. Optimum traction of the four driven wheels is therefore ensured, whatever the weather conditions. According to the developers, the term "Torque Dynamics" refers to individual control of the electric motors, something which enables completely new levels of freedom to be achieved. The AMG Torque Dynamics feature is permanently active and allows for selective distribution of forces for each individual wheel. The intelligent distribution of drive torque greatly benefits driving dynamics, handling, driving safety and ride comfort. Each individual wheel can be both electrically driven and electrically braked, depending on the driving conditions, thus helping to

•optimise the vehicle's cornering properties,

•reduce the tendency to oversteer/understeer,

•increase the yaw damping of the basic vehicle,

•reduce the steering effort and steering angle required,

•increase traction,

•and minimise ESP® and ASR intervention.

The AMG Torque Dynamics feature boasts a great deal of variability and individuality by offering three different transmission modes:

•Comfort (C): comfortable, forgiving driving characteristics

•Sport (S): sporty, balanced driving characteristics

•Sport plus (S+): sporty, agile driving characteristics

AMG Torque Dynamics enables optimum use of the adhesion potential between the tyres and the road surface in all driving conditions. The technology allows maximum levels of freedom and as such optimum use of the critical limits of the vehicle's driving dynamics. Outstanding handling safety is always assured thanks to the two-stage Electronic Stability Program ESP®.

"AMG Lightweight Performance" design strategy

The trailblazing body shell structure of the Mercedes-Benz SLS AMG Coupé Electric Drive is part of the ambitious "AMG Lightweight Performance" design strategy. The battery is located within a carbon-fibre monocoque which forms an integral part of the gullwing model and acts as its "spine". The monocoque housing is firmly bolted and bonded to the aluminium spaceframe body. The fibre composite materials have their roots in the world of Formula 1, among other areas. The advantages of CFRP (carbon-fibre reinforced plastic) were exploited by the Mercedes-AMG engineers in the design of the monocoque. These include their high strength, which makes it possible to create extremely rigid structures in terms of torsion and bending, excellent crash performance and low weight. Carbon-fibre components are up to 50 percent lighter than comparable steel ones, yet retain the same level of stability. Compared with aluminium, the weight saving is still around 30 percent, while the material is considerably thinner. The weight advantages achieved through the carbon-fibre battery monocoque are reflected in the agility of the SLS AMG Coupé Electric Drive and, in conjunction with the wheel-selective four-wheel drive system, ensure true driving enjoyment. The carbon-fibre battery monocoque is, in addition, conceived as a "zero intrusion cell" in order to meet the very highest expectations in terms of crash safety. It protects the battery modules inside the vehicle from deformation or damage in the event of a crash.

The basis for CFRP construction is provided by fine carbon fibres, ten times thinner than a human hair. A length of this innovative fibre reaching from here to the moon would weigh a mere 25 grams. Between 1000 and 24,000 of these fibres are used to form individual strands. Machines then weave and sew them into fibre mats several layers thick, which can be moulded into three-dimensional shapes. When injected with liquid synthetic resin, this hardens to give the desired structure its final shape and stability.

Optimum weight distribution and low centre of gravity

The purely electric drive system was factored into the equation as early as the concept phase when the super sports car was being developed. It is ideally packaged for the integration of the high-performance, zero-emission technology: by way of example, the four electric motors and the two transmissions can be positioned as close to the four wheels as possible and very low down in the vehicle. The same applies to the modular high-voltage battery. Advantages of this solution include the vehicle's low centre of gravity and balanced weight distribution - ideal conditions for optimum handling, which the electrically-powered gullwing model shares with its petrol-driven sister model.

New front axle design with pushrod damper struts

The additional front-wheel drive called for a newly designed front axle: unlike the series production vehicle with AMG V8 engine, which has a double wishbone axle, the SLS AMG Coupé Electric Drive features an independent multi-link suspension with pushrod damper struts. This is because the vertically-arranged damper struts had to make way for the additional drive shafts. As is usual in a wide variety of racing vehicles, horizontal damper struts are now used, which are operated via separate push rods and transfer levers. Thanks to this sophisticated front-axle design, which has already been tried and tested in the world of motorsport, the agility and driving dynamics of the Mercedes-Benz SLS AMG Coupé Electric Drive attain the same high levels as the V8 variant. Another distinguishing feature is the speed-sensitive power steering with rack-and-pinion steering gear: the power assistance is implemented electrohydraulically rather than just hydraulically.

AMG ceramic composite brakes for perfect deceleration

The SLS AMG Coupé Electric Drive is slowed with the aid of AMG high-performance ceramic composite brakes, which boast direct brake response, a precise actuation point and outstanding fade resistance, even in extreme operating conditions. The over-sized discs - measuring 402 x 39 mm at the front and 360 x 32 mm at the rear - are made of carbon fibre-strengthened ceramic, feature an integral design all round and are connected to an aluminium bowl in a radially floating arrangement.

The ceramic brake discs are 40 percent lighter in weight than the conventional, grey cast iron brake discs. The reduction in unsprung masses not only improves handling dynamics and agility, but also ride comfort and tyre grip. The lower rotating masses at the front axle also ensure a more direct steering response - which is particularly noticeable when taking motorway bends at high speed.

Exclusive, high-quality design and appointments

Visually, the multi-award-winning design of the SLS AMG is combined with a number of specific features which are exclusive to the Electric Drive variant. The front apron has a striking carbon-look CFRP front splitter which generates downforce on the front axle. The radiator grille and adjacent air intakes adorn special areas painted in the vehicle colour and with bionic honeycomb-shaped openings. They are not only a visual highlight but, thanks to their aerodynamically optimised design, also improve air flow over the cooling modules mounted behind them. Darkened headlamps also impart a sense of independence to the front section. Viewed from the side, the "Electric Drive" lettering stands out on the vehicle side, as do the AMG 5-twin-spoke light-alloy wheels with their specific paint design. The SLS AMG Electric Drive comes as standard with 265/35 R 19 tyres on the front and 295/30 R 20 tyres on the rear. The overall look is rounded off to dynamic effect by the new diffuser-look rear apron, and the darkened rear lamps. One feature reserved exclusively for the SLS AMG Coupé Electric Drive is the "AMG electricbeam magno" matt paint finish. A choice of five other colours is available at no extra cost.

When the exterior colour AMG electricbeam magno is chosen, the high-quality, sporty interior makes use of this body colour for the contrasting stitching - the stitching co-ordinates perfectly with designo black Exclusive leather appointments. AMG sports seats and numerous carbon-fibre trim elements in the interior underscore the exclusive and dynamic character of what is currently the fastest electric car. Behind the new AMG Performance steering wheel there is a newly designed AMG instrument cluster: instead of a rev counter, there is a power display providing information on the power requirements, recuperation status, transmission modes and battery charge.

AMG Performance Media as standard

The AMG DRIVE UNIT comprises the electronic rotary switch for selecting the three transmission modes of "C" (Controlled Efficiency), "S" (Sport) and "S+" (Sport plus), which the driver can use to specify different performance levels from the electric motors, which in turn also changes the top speed and accelerator pedal response. Behind the buttons for "power" and "ESP On/Off", there are also buttons for AMG Torque Dynamics and AMG Setup.

In addition to carbon-fibre exterior mirrors, AMG carbon-fibre engine compartment cover, COMAND APS, Media Interface, Blind Spot Assist and reversing camera, the standard equipment also includes the AMG Performance Media system. Besides full high-speed mobile internet access, the system provides information on engine performance, lateral and longitudinal acceleration, tyre pressure, vehicle setup and lap times, as well displaying a variety of additional information such as:

•vehicle energy flow

•battery charge status

•burrent range

•AMG Torque Dynamics

•temperatures of the battery and motors

•energy consumption kWh/100 km

The Mercedes-Benz SLS AMG Coupé Electric Drive will be celebrating its market launch in 2013. The price in Germany (incl. 19% VAT) will be 416,500 EUR.

Authentic Antique Lumber in Chester on September 1, 2015.

ERIK GLIEDMAN/Times Herald-Record

Portion of the tree from the infamous axe murder incident (Korean: 판문점 도끼살인사건, 板門店도끼殺人事件,도끼蠻行事件) which involved the killing of two United States Army officers by North Korean soldiers on August 18, 1976, in the Joint Security Area (JSA) located in the Korean Demilitarized Zone (DMZ). The U.S. officers had been part of a work party cutting down a tree in the JSA.

Three days later, the U.S. and South Korea launched Operation Paul Bunyan, an operation that combined a return to cut down the tree with a show of force to intimidate North Korea into backing down. North Korea then accepted responsibility for the earlier killings.

The incident is also known as the hatchet incident and the poplar tree incident and "The Tree Trimming Incident" because the object of the conflict was a poplar tree standing in the JSA.

---http://en.wikipedia.org/wiki/Axe_Murder_Incident

Civil War Reanacter Freehold NJ

By Aaron Cruse. He also painted a Bonafide, but I took these photos before it got hung. For Genuine Authentic Hand Painted Signs show at the Peek Gallery, 10 Feb - 24 Mar 2011.

The Museum of the Moon was still supposed to be on. Or, to be more accurate, I had not checked that it was still on, but would be a good excuse to return to Rochester for the first time in over a decade.

Last time here I took seven or so shots, I was hoping to improve on that.

But, as I was to find, the Moon moved out on Wednesday, so there was just the cathedral to look at and record, and I pretty much had the cathedral to myself.

There was a service in the chancel, so that and the Quire were out of bounds for a while, but once over I was given the nod I could go in.

How do you describe a cathedral? Especially one as grand and old as Rochester?

From the west, the cathedral doesn't look too big, but there is a viewing place from the High Street that shows the cathedral to be a large and complicated building.

Inside the nave is huge, with the organ towering over the altar. Through the doorway into the quire and the sanctuary beyond, and all the while, above the white vaulted ceiling reached from the high walls and columns.

All around the walls are memorials to the great and good of Kent, some tombs too. The step leading from the aisles to the sanctuary are worn down by the millions of feet that have climbed them over the centuries.

-------------------------------------------

The church is the cathedral of the Diocese of Rochester in the Church of England and the seat (cathedra) of the Bishop of Rochester, the second oldest bishopric in England after that of the Archbishop of Canterbury. The edifice is a Grade I listed building (number 1086423)

The Rochester diocese was founded by Justus, one of the missionaries who accompanied Augustine of Canterbury to convert the pagan southern English to Christianity in the early 7th century. As the first Bishop of Rochester, Justus was granted permission by King Æthelberht of Kent to establish a church dedicated to Andrew the Apostle (like the monastery at Rome where Augustine and Justus had set out for England) on the site of the present cathedral, which was made the seat of a bishopric. The cathedral was to be served by a college of secular priests and was endowed with land near the city called Priestfields.[3][a][b]

Under the Roman system, a bishop was required to establish a school for the training of priests.[4] To provide the upper parts for music in the services a choir school was required.[5] Together these formed the genesis of the cathedral school which today is represented by the King's School, Rochester. The quality of chorister training was praised by Bede.

The original cathedral was 42 feet (13 m) high and 28 feet (8.5 m) wide. The apse is marked in the current cathedral on the floor and setts outside show the line of the walls. Credit for the construction of the building goes to King Æthelberht rather than St Justus. Bede describes St Paulinus' burial as "in the sanctuary of the Blessed Apostle Andrew which Æthelberht founded likewise he built the city of Rochester."[c][7]

Æthelberht died in 617 and his successor, Eadbald of Kent, was not a Christian. Justus fled to Francia and remained there for a year before he was recalled by the king.[8]

In 644 Ithamar, the first English-born bishop, was consecrated at the cathedral.[d] Ithamar consecrated Deusdedit as the first Saxon Archbishop of Canterbury on 26 March 655.[9]

The cathedral suffered much from the ravaging of Kent by King Æthelred of Mercia in 676. So great was the damage that Putta retired from the diocese and his appointed successor, Cwichelm, gave up the see "because of its poverty".[10]

In 762, the local overlord, Sigerd, granted land to the bishop, as did his successor Egbert.[e][11] The charter is notable as it is confirmed by Offa of Mercia as overlord of the local kingdom.

Following the invasion of 1066, William the Conqueror granted the cathedral and its estates to his half-brother, Odo of Bayeux. Odo misappropriated the resources and reduced the cathedral to near-destitution. The building itself was ancient and decayed. During the episcopate of Siward (1058–1075) it was served by four or five canons "living in squalor and poverty".[12] One of the canons became vicar of Chatham and raised sufficient money to make a gift to the cathedral for the soul and burial of his

Gundulf's church

Lanfranc, Archbishop of Canterbury, amongst others, brought Odo to account at the trial of Penenden Heath c. 1072. Following Odo's final fall, Gundulf was appointed as the first Norman bishop of Rochester in 1077. The cathedral and its lands were restored to the bishop.

Gundulf's first undertaking in the construction of the new cathedral seems to have been the construction of the tower which today bears his name. In about 1080 he began construction of a new cathedral to replace Justus' church. He was a talented architect who probably played a major part in the design or the works he commissioned. The original cathedral had a presbytery of six bays with aisles of the same length. The four easternmost bays stood over an undercroft which forms part of the present crypt. To the east was a small projection, probably for the silver shrine of Paulinus which was translated there from the old cathedral.[f] The transepts were 120 feet long, but only 14 feet wide. With such narrow transepts it is thought that the eastern arches of the nave abuted the quire arch.[14] To the south another tower (of which nothing visible remains) was built. There was no crossing tower.[15] The nave was not completed at first. Apparently designed to be nine bays long, most of the south side but only five bays to the north were completed by Gundulf. The quire was required by the priory and the south wall formed part of its buildings. It has been speculated that Gundulf simply left the citizens to complete the parochial part of the building.[16] Gundulf did not stop with the fabric, he also replaced the secular chaplains with Benedictine monks, obtained several royal grants of land and proved a great benefactor to his cathedral city.

In 1078 Gudulf founded St Bartholomew's Hospital just outside the city of Rochester. The Priory of St Andrew contributed daily and weekly provisions to the hospital which also received the offerings from the two altars of St James and of St Giles.[17]

During the episcopates of Ernulf (1115–1124) and John (I) (1125–1137) the cathedral was completed. The quire was rearranged, the nave partly rebuilt, Gundulf's nave piers were cased and the west end built. Ernulf is also credited with building the refectory, dormitory and chapter house, only portions of which remain. Finally John translated the body of Ithamar from the old Saxon cathedral to the new Norman one, the whole being dedicated in 1130 (or possibly 1133) by the Archbishop of Canterbury, assisted by 13 bishops in the presence of Henry I, but the occasion was marred by a great fire which nearly destroyed the whole city and damaged the new cathedral. It was badly damaged by fires again in 1137 and 1179. One or other of these fires was sufficiently severe to badly damage or destroy the eastern arm and the transepts. Ernulf's monastic buildings were also damaged.

Probably from about 1190, Gilbert de Glanville (bishop 1185–1214) commenced the rebuilding of the east end and the replacement on the monastic buildings. The north quire transept may have been sufficiently advanced to allow the burial of St William of Perth in 1201, alternatively the coffin may have lain in the north quire aisle until the transept was ready. It was then looted in 1215 by the forces of King John during siege of Rochester Castle. Edmund de Hadenham recounts that there was not a pyx left "in which the body of the Lord might rest upon the altar".[14] However, by 1227, the quire was again in use when the monks made their solemn entry into it. The cathedral was rededicated in 1240 by Richard Wendene (also known as Richard de Wendover) who had been translated from Bangor.[14][18]

The shrines of Ss Paulinus and William of Perth, along with the relics of St Ithamar, drew pilgrims to the cathedral. Their offerings were so great that both the work mentioned above and the ensuing work could be funded.

Unlike the abbeys of the period (which were led by an abbot) the monastic cathedrals were priories ruled over by a prior with further support from the bishop.[19] Rochester and Carlisle (the other impoverished see) were unusual in securing the promotion of a number of monks to be bishop. Seven bishops of Rochester were originally regular monks between 1215 and the Dissolution.[20] A consequence of the monastic attachment was a lack of patronage at the bishop's disposal. By the early 16th century only 4% of the bishop's patronage came from non-parochial sources.[21] The bishop was therefore chronically limited in funds to spend on the non-monastic part of the cathedral.

The next phase of the development was begun by Richard de Eastgate, the sacrist. The two eastern bays of the nave were cleared and the four large piers to support the tower were built. The north nave transept was then constructed. The work was nearly completed by Thomas de Mepeham who became sacrist in 1255. Not long after the south transept was completed and the two bays of the nave nearest the crossing rebuilt to their current form. The intention seems to have been to rebuild the whole nave, but probably lack of funds saved the late Norman work.

The cathedral was desecrated in 1264 by the troops of Simon de Montfort, during sieges of the city and castle. It is recorded that armed knights rode into the church and dragged away some refugees. Gold and silver were stolen and documents destroyed. Some of the monastic buildings were turned into stables.[22] Just over a year later De Montfort fell at the Battle of Evesham to the forces of Edward I. Later, in 1300, Edward passed through Rochester on his way to Canterbury and is recorded as having given seven shillings (35p) at the shrine of St William, and the same again the following day. During his return he again visited the cathedral and gave a further seven shillings at each of the shrines of Ss Paulinus and Ithamar.

The new century saw the completion of the new Decorated work with the original Norman architecture. The rebuilding of the nave being finally abandoned. Around 1320 the south transept was altered to accommodate the altar of the Virgin Mary.

There appears to have been a rood screen thrown between the two western piers of the crossing. A rood loft may have surmounted it.[23] Against this screen was placed the altar of St Nicholas, the parochial altar of the city. The citizens demanded the right of entrance by day or night to what was after all their altar. There were also crowds of strangers passing through the city. The friction broke out as a riot in 1327 after which the strong stone screens and doors which wall off the eastern end of the church from the nave were built.[24] The priory itself was walled off from the town at this period. An oratory was established in angulo navis ("in the corner of the nave") for the reserved sacrament; it is not clear which corner was being referred to, but Dr Palmer[25] argues that the buttress against the north-west tower pier is the most likely setting. He notes the arch filled in with rubble on the aisle side; and on nave side there is a scar line with lower quality stonework below. The buttress is about 4 feet (1.2 m) thick, enough for an oratory. Palmer notes that provision for reservation of consecrated hosts was often made to the north of the altar which would be the case here.

The central tower was at last raised by Hamo de Hythe in 1343, thus essentially completing the cathedral. Bells were placed in the central tower (see Bells section below). The chapter room doorway was constructed at around this time. The Black Death struck England in 1347–49. From then on there were probably considerably more than twenty monks in the priory.

The modern paintwork of the quire walls is modelled on artwork from the Middle Ages. Gilbert Scott found remains of painting behind the wooden stalls during his restoration work in the 1870s. The painting is therefore part original and part authentic. The alternate lions and fleurs-de-lis reflect Edward III's victories, and assumed sovereignty over the French. In 1356 the Black Prince had defeated John II of France at Poitiers and took him prisoner. On 2 July 1360 John passed through Rochester on his way home and made an offering of 60 crowns (£15) at the Church of St Andrew.[27]

The Oratory provided for the citizens of Rochester did not settle the differences between the monks and the city. The eventual solution was the construction of St Nicholas' Church by the north side of the cathedral. A doorway was knocked through the western end of the north aisle (since walled up) to allow processions to pass along the north aisle of the cathedral before leaving by the west door.[27][28]

In the mid-15th century the clerestory and vaulting of the north quire aisle was completed and new Perpendicular Period windows inserted into the nave aisles. Possible preparatory work for this is indicated in 1410–11 by the Bridge Wardens of Rochester who recorded a gift of lead from the Lord Prior. The lead was sold on for 41 shillings.[g][29] In 1470 the great west window at the cathedral was completed and finally, in around 1490, what is now the Lady Chapel was built.[27] Rochester Cathedral, although one of England's smaller cathedrals, thus demonstrates all styles of Romanesque and Gothic architecture.[30]

In 1504 John Fisher was appointed Bishop of Rochester. Although Rochester was by then an impoverished see, Fisher elected to remain as bishop for the remainder of his life. He had been tutor to the young Prince Henry and on the prince's accession as Henry VIII, Fisher remained his staunch supporter and mentor. He figured in the anti-Lutheran policies of Henry right up until the divorce issue and split from Rome in the early 1530s. Fisher remained true to Rome and for his defence of the Pope was elevated as a cardinal in May 1535. Henry was angered by these moves and, on 22 June 1535, Cardinal Fisher was beheaded on Tower Green.

Henry VIII visited Rochester on 1 January 1540 when he met Ann of Cleves for the first time and was "greatly disappointed".[31] Whether connected or not, the old Priory of St Andrew was dissolved by royal command later in the year, one of the last monasteries to be dissolved.

The west front is dominated by the central perpendicular great west window. Above the window the dripstone terminates in a small carved head at each side. The line of the nave roof is delineated by a string course above which rises the crenelated parapet. Below the window is a blind arcade interrupted by the top of the Great West Door. Some of the niches in the arcade are filled with statuary. Below the arcade the door is flanked with Norman recesses. The door itself is of Norman work with concentric patterned arches. The semicircular tympanum depicts Christ sitting in glory in the centre, with Saints Justus and Ethelbert flanking him on either side of the doorway. Supporting the saints are angels and surrounding them are the symbols of the Four Evangelists: Ss Matthew (a winged man), Mark (a lion), Luke (an ox) and John (an eagle).[52] On the lintel below are the Twelve Apostles and on the shafts supporting it King Soloman and the Queen of Sheba.[53] Within the Great West Door there is a glass porch which allows the doors themselves to be kept open throughout the day.

Either side of the nave end rises a tower which forms the junction of the front and the nave walls. The towers are decorated with blind arcading and are carried up a further two stories above the roof and surmounted with pyramidal spires. The aisle ends are Norman. Each has a large round headed arch containing a window and in the northern recess is a small door. Above each arch is plain wall surmounted by a blind arcade, string course at the roof line and plain parapet. The flanking towers are Norman in the lower part with the style being maintained in the later work. Above the plain bases there are four stories of blind arcading topped with an octagonal spire.[54]

The outside of the nave and its aisles is undistinguished, apart from the walled up north-west door which allowed access from the cathedral to the adjacent St Nicholas' Church.[28] The north transept is reached from the High Street via Black Boy Alley, a medieval pilgrimage route. The decoration is Early English, but reworked by Gilbert Scott. Scott rebuilt the gable ends to the original high pitch from the lower one adopted at the start of the 19th century. The gable itself is set back from the main wall behind a parapet with walkway. He also restored the pilgrim entrance and opened up the blind arcade in the northern end of the west wall.[55]

To the east of the north transept is the Sextry Gate. It dates from Edward III's reign and has wooden domestic premises above. The area beyond was originally enclosed, but is now open to the High Street through the memorial garden and gates. Beyond the Sextry Gate is the entrance to Gundulf's Tower, used as a private back door to the cathedral.

The north quire transept and east end are all executed in Early English style, the lower windows light the crypt which is earlier. Adjoining the east end of the cathedral is the east end of the Chapter Room which is in the same style. The exact form of the east end is more modern than it appears, being largely due to the work of Scott in the 19th century. Scott raised the gable ends to the original high pitch, but for lack of funds the roofs have not been raised; writing in 1897 Palmer noted: "they still require roofs of corresponding pitch, a need both great and conspicuous".[56]

On the south side of the cathedral the nave reaches the main transept and beyond a modern porch. The aisle between the transepts is itself a buttress to the older wall behind and supported by a flying buttress. The unusual position of this wall is best explained when considering the interior, below. The southern wall of the presbytery is hidden by the chapter room, an 18th-century structure.

he western part of the nave is substantially as Gundulf designed it. According to George H. Palmer (who substantially follows St John Hope) "Rochester and Peterborough possess probably the best examples of the Norman nave in the country".[60] The main arcade is topped by a string course below a triforium. The triforium is Norman with a further string course above. The clerestory above is of perpendicular style. From the capitals pilasters rise to the first string course but appear to have been removed from the triforium stage. Originally they might have supported the roof timbers, or even been the springing of a vault.[61]

The easternmost bay of the triforium appears to be Norman, but is the work of 14th-century masons. The final bay of the nave is Decorated in style and leads to the tower piers. Of note is the north pier which possibly contains the Oratory Chapel mentioned above.[62]

The aisles are plain with flat pilasters. The eastern two bays are Decorated with springing for vaulting. Whether the vault was ever constructed is unknown, the present wooden roof extends the full length of the aisles.

The crossing is bounded to the east by the quire screen with the organ above. This is of 19th-century work and shows figures associated with the early cathedral. Above the crossing is the central tower, housing the bells and above that the spire. The ceiling of the crossing is notable for the four Green Men carved on the bosses. Visible from the ground is the outline of the trapdoor through which bells can be raised and lowered when required. The floor is stepped up to the pulpitum and gives access to the quire through the organ screen.

The north transept is from 1235 in Early English style. The Victorian insertion of windows has been mentioned above in the external description. Dominating the transept is the baptistery fresco. The fresco by Russian artist Sergei Fyodorov is displayed on the eastern wall. It is located within an arched recess. The recess may have been a former site of the altar of St Nicholas from the time of its construction in 1235 until it was moved to the screen before the pulpitum in 1322. A will suggests that "an altar of Jesu" also stood here at some point, an altar of some sort must have existed as evidenced by the piscina to the right of the recess.[64] The vaulting is unusual in being octpartite, a development of the more common sexpartite. The Pilgrim Door is now the main visitor entrance and is level for disabled access.

he original Lady Chapel was formed in the south transept by screening it off from the crossing. The altar of the Blessed Virgin Mary was housed in the eastern arch of the transept. There are traces of painting both on the east wall and under the arch. The painting delineates the location of the mediaeval north screen of the Lady Chapel. Around 1490 this chapel was extended westwards by piercing the western wall with a large arch and building the chapel's nave against the existing south aisle of cathedral. From within the Lady Chapel the upper parts of two smaller clerestory windows may be seen above the chapel's chancel arch. Subsequently, a screen was placed under the arch and the modern Lady Chapel formed in the 1490 extension.

The south transept is of early Decorated style. The eastern wall of it is a single wide arch at the arcade level. There are two doorways in the arch, neither of which is used, the northern one being hidden by the memorial to Dr William Franklin. The south wall starts plain but part way up is a notable monument to Richard Watts, a "coloured bust, with long gray beard".[65] According to Palmer there used to be a brass plaque to Charles Dickens below this but only the outline exists, the plaque having been moved to the east wall of the quire transept.[66] The west wall is filled by the large arch mentioned above with the screen below dividing it from the present Lady Chapel.

The Lady Chapel as it now exists is of Decorated style with three lights along southern wall and two in the west wall. The style is a light and airy counterpart to the stolid Norman work of the nave. The altar has been placed against the southern wall resulting in a chapel where the congregation wraps around the altar. The window stained glass is modern and tells the gospel story.

The first, easternmost, window has the Annunciation in the upper light: Gabriel speaking to Mary (both crowned) with the Holy Spirit as a dove descending. The lower light shows the Nativity with the Holy Family, three angels and shepherds. The next window shows St Elizabeth in the upper light surrounded by stars and the sun in splendour device. The lower light shows the Adoration of the Magi with Mary enthroned with the Infant. The final window of the south wall has St Mary Magdelene with her ointment surrounded by Tudor roses and fleurs-de-lis in the upper light with the lower light showing the Presentation in the Temple. The west wall continues with St. Margaret of Scotland in the upper light surrounded by fouled anchor and thistle roundels. The reference is to the original dedication of the cathedral as the Priory of St Andrew. The lower light shows the Crucifixion with Mary and St Peter. The final window is unusual, the upper light is divided in three and shows King Arthur with the royal arms flanked by St George on the left and St Michael on the right. The lower light shows the Ascension: two disciples to the left, three women with unguents to the right and three bare crosses top right.

en.wikipedia.org/wiki/Rochester_Cathedral

because this food makes you morbidly obese.

Just getting started here and I'd love your feedback!

This is a logo for an upcoming 8-week series on the Book of James. To be more specific, the messages will address the practical relevance of living authentically in a world that is skeptical of Christians and their faith (often rightly so!).

So why the denim look? I'm not exactly sure, but from the get-go I liked the idea of a brand being imprinted on something, kind of like a "Grade A beef" stamp. So I started with a few approaches.

Let me know what you think!

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on authentic facts. BEWARE!

Some background:

The РТАК-30 attack vintoplan (also known as vintokryl) owed its existence to the Mil Mi-30 plane/helicopter project that originated in 1972. The Mil Mi-30 was conceived as a transport aircraft that could hold up to 19 passengers or two tons of cargo, and its purpose was to replace the Mi-8 and Mi-17 Helicopters in both civil and military roles. With vertical takeoff through a pair of tiltrotor engine pods on the wing tips (similar in layout to the later V-22 Osprey) and the ability to fly like a normal plane, the Mil Mi-30 had a clear advantage over the older models.

And this was just about to happen: Despite the РТАК-30’s development problems, the innovative attack vintoplan was included in the Soviet Union’s 5-year plan for 1989-1995, and the vehicle was eventually expected to enter service in 1996. However, due to the collapse of the Soviet Union and the dwindling economics, neither the РТАК-30 nor its civil Mil Mi-30 sister did soar out in the new age of technology. In 1990 the whole program was stopped and both surviving РТАК-30 prototypes were mothballed – one (the 3rd prototype) was disassembled and its components brought to the Rostov-na-Donu Mil plant, while the other, prototype No. 1, is rumored to be stored at the Central Russian Air Force Museum in Monino, to be restored to a public exhibition piece some day.

General characteristics:

Crew: Two (pilot, copilot/WSO) plus space for up to three passengers or cargo

Length: 45 ft 7 1/2 in (13,93 m)

Rotor diameter: 20 ft 9 in (6,33 m)

Wingspan incl. engine nacelles: 42 ft 8 1/4 in (13,03 m)

Total width with rotors: 58 ft 8 1/2 in (17,93 m)

Height: 17 ft (5,18 m) at top of tailfin

Disc area: 4x 297 ft² (27,65 m²)

Wing area: 342.2 ft² (36,72 m²)

Empty weight: 8,500 kg (18,740 lb)

Max. takeoff weight: 12,000 kg (26,500 lb)

Powerplant:

4× Klimov VK-2500PS-03 turboshaft turbines, 2,400 hp (1.765 kW) each

Performance:

Maximum speed: 275 knots (509 km/h, 316 mph) at sea level

305 kn (565 km/h; 351 mph) at 15,000 ft (4,600 m)

Cruise speed: 241 kn (277 mph, 446 km/h) at sea level

Stall speed: 110 kn (126 mph, 204 km/h) in airplane mode

Range: 879 nmi (1,011 mi, 1,627 km)

Combat radius: 390 nmi (426 mi, 722 km)

Ferry range: 1,940 nmi (2,230 mi, 3,590 km) with auxiliary external fuel tanks

Service ceiling: 25,000 ft (7,620 m)

Rate of climb: 2,320–4,000 ft/min (11.8 m/s)

Glide ratio: 4.5:1

Disc loading: 20.9 lb/ft² at 47,500 lb GW (102.23 kg/m²)

Power/mass: 0.259 hp/lb (427 W/kg)

Armament:

1× 30 mm (1.18 in) 2A42 multi-purpose autocannon with 450 rounds

7 external hardpoints for a maximum ordnance of 2.500 kg (5.500 lb)

The kit and its assembly:

This exotic, fictional aircraft-thing is a contribution to the “The Flying Machines of Unconventional Means” Group Build at whatifmodelers.com in early 2019. While the propulsion system itself is not that unconventional, I deemed the quadrocopter concept (which had already been on my agenda for a while) to be suitable for a worthy submission.

The Mil Mi-30 tiltrotor aircraft, mentioned in the background above, was a real project – but my alternative combat vintoplan design is purely speculative.

I had already stashed away some donor parts, primarily two sets of tiltrotor backpacks for 1:144 Gundam mecha from Bandai, which had been released recently. While these looked a little toy-like, these parts had the charm of coming with handed propellers and stub wings that would allow the engine nacelles to swivel.

The search for a suitable fuselage turned out to be a more complex safari than expected. My initial choice was the spoofy Italeri Mi-28 kit (I initially wanted a staggered tandem cockpit), but it turned out to be much too big for what I wanted to achieve. Then I tested a “real” Mi-28 (Dragon) and a Ka-50 (Italeri), but both failed for different reasons – the Mi-28 was too slender, while the Ka-50 had the right size – but converting it for my build would have been VERY complicated, because the engine nacelles would have to go and the fuselage shape between the cockpit and the fuselage section around the original engines and stub wings would be hard to adapt. I eventually bought an Italeri Ka-52 two-seater as fuselage donor.

In order to mount the four engines to the fuselage I’d need two pairs of wings of appropriate span – and I found a pair of 1:100 A-10 wings as well as the wings from an 1:72 PZL Iskra (not perfect, but the most suitable donor parts I could find in the junkyard). On the tips of these wings, the swiveling joints for the engine nacelles from the Bandai set were glued. While mounting the rear wings was not too difficult (just the Ka-52’s OOB stabilizers had to go), the front pair of wings was more complex. The reason: the Ka-52’s engines had to go and their attachment points, which are actually shallow recesses on the kit, had to be faired over first. Instead of filling everything with putty I decided to cover the areas with 0.5mm styrene sheet first, and then do cosmetic PSR work. This worked quite well and also included a cover for the Ka-52’s original rotor mast mount. Onto these new flanks the pair of front wings was attached, in a mid position – a conceptual mistake…

The cockpit was taken OOB and the aircraft’s nose received an additional thimble radome, reminiscent of the Mi-28’s arrangement. The radome itself was created from a German 500 kg WWII bomb.

At this stage, the mid-wing mistake reared its ugly head – it had two painful consequences which I had not fully thought through. Problem #1: the engine nacelles turned out to be too long. When rotated into a vertical position, they’d potentially hit the ground! Furthermore, the ground clearance was very low – and I decided to skip the Ka-52’s OOB landing gear in favor of a heavier and esp. longer alternative, a full landing gear set from an Italeri MiG-37 “Ferret E” stealth fighter, which itself resembles a MiG-23/27 landing gear. Due to the expected higher speeds of the vintoplan I gave the landing gear full covers (partly scratched, plus some donor parts from an Academy MiG-27). It took some trials to get the new landing gear into the right position and a suitable stance – but it worked. With this benchmark I was also able to modify the engine nacelles, shortening their rear ends. They were still very (too!) close to the ground, but at least the model would not sit on them!

However, the more complete the model became, the more design flaws turned up. Another mistake is that the front and rear rotors slightly overlap when in vertical position – something that would be unthinkable in real life…

With all major components in place, however, detail work could proceed. This included the completion of the cockpit and the sensor turrets, the Ka-52 cannon and finally the ordnance. Due to the large rotors, any armament had to be concentrated around the fuselage, outside of the propeller discs. For this reason (and in order to prevent the rear engines to ingest exhaust gases from the front engines in level flight), I gave the front wings a slightly larger span, so that four underwing pylons could be fitted, plus a pair of underfuselage hardpoints.

The ordnance was puzzled together from the Italeri Ka-52 and from an ESCI Ka-34 (the fake Ka-50) kit.

Painting and markings:

With such an exotic aircraft, I rather wanted a conservative livery and opted for a typical Soviet tactical four-tone scheme from the Eighties – the idea was to build a prototype aircraft from the state acceptance trials period, not a flashy demonstrator. The scheme and the (guesstimated) colors were transferred from a Soviet air force MiG-21bis of that era, and it consists of a reddish light brown (Humbrol 119, Light Earth), a light, yellowish green (Humbrol 159, Khaki Drab), a bluish dark green (Humbrol 195, Dark Satin Green, a.k.a. RAL 6020 Chromdioxidgrün) and a dark brown (Humbrol 170, Brown Bess). For the undersides’ typical bluish grey I chose Humbrol 145 (FS 35237, Gray Blue), which is slightly lighter and less greenish than the typical Soviet tones. A light black ink wash was applied and some light post-shading was done in order to create panels that are structurally not there, augmented by some pencil lines.

The cockpit became light blue (Humbrol 89), with medium gray dashboard and consoles. The ejection seats received bright yellow seatbelts and bright blue pads – a detail seen on a Mi-28 cockpit picture.

Some dielectric fairings like the fin tip were painted in bright medium green (Humbrol 101), while some other antenna fairings were painted in pale yellow (Humbrol 71).

The landing gear struts and the interior of the wells became Aluminum Metalic (Humbrol 56), the wheels dark green discs (Humbrol 30).

The decals were puzzled together from various sources, including some Begemot sheets. Most of the stencils came from the Ka-52 OOB sheet, and generic decal sheet material was used to mark the walkways or the rotor tips and leading edges.

Only some light weathering was done to the leading edges of the wings, and then the kit was sealed with matt acrylic varnish.

A complex kitbashing project, and it revealed some pitfalls in the course of making. However, the result looks menacing and still convincing, esp. in flight – even though the picture editing, with four artificially rotating proprotors, was probably more tedious than building the model itself!

Baltimore wandering

I originally planned to go into New York City to photograph counterfeit Louis Vuitton bags. I wanted to blog about the frequent sightings of Coach, Burberry, and Louis Vuitton handbags at CVS. In my naivety, I used to believe all the bags were authentic. However, I believe now that while the majority of the Coach and Burberry bags were real, the clear majority of Louis Vuitton fashions were counterfeit. My suspicions were confirmed upon my numerous conversations with customers about their handbags. Many of them would mention they "fell off the truck" at Canal Street when I commented about their pretty handbags. In fact, the only confirmation of an authentic Louis Vuitton fashion was from a man who had a Vuitton wallet. When I asked him about the plethora of counterfeits running around, he also mentioned Canal Street. He has seen the counterfeits himself and they look absolutely authentic. I, too, had to see these gorgeous counterfeits. Thus, began an excursion to Canal Street to start my Blackout Day!

Paul accompanied me on this excursion to the City. We were supposed to have lunch with our friend Peter, but he was unavailable and would soon disappear into a cellular void. We headed into NYC via the Newport/Pavonia PATH station and then hopped out on Christopher Street only to hop into a subway to take us to Chinatown and into the heart of mystery.

We noticed alot of scenes like this on Canal Street. Hordes of people would gather around in a small circle while a Chinese merchant would quickly lift up a tarp covering a table in order to reveal the counterfeit merchandise beneath; all the while, the merchant would nervously glance up and around the sidewalk area. Presumably they were looking for cops, but maybe they were just looking for suspicious activity counter to their own. The merchant in this picture quickly closed up shop and sent the customers away after he caught me taking pictures of his business.

Paul and I continued to walk along Canal Street observing the suspicious activities of the day. Merchants would often not even have the counterfeit merchandise underneath the tarp. They would just have a paper with pictures of all the products with them. After a customer chose a product, the merchant would then retrieve the fake Vuitton bag. I found it extremely difficult to photograph a bag because there weren't any around! I was also afraid that merchants would try to seize my camera or break my legs if they caught me taking pictures of them.

I walked into a store and saw this woman clutching a Vuitton bag. My eyes immediately lit up and I asked her (in spanish) if I could photograph her bag. I finally had a photo of a Vuitton bag! Her companion insisted that it was a real bag when I asked about its authenticity. I'm not sure whether to believe him or not. Later in the day, I would continue to ask people if I could photograph their Vuitton bags, only to receive strange looks in return. I would end up just photographing their bags without their permission.

We then made a quick stop at City Hall to photograph the infrastructure in order to "examine" its vulnerabilities and weaknesses. After I took this photo, the officer of the USMS SDNY (United States Marshal Service - Southern District of New York) who is pointing on the left, walked up to me and ordered me to stop photographing government property. I burned with rage as I wished again for a hidden camera. After this encounter, we went to Union Square for a drink at the Heartland brewery. We both had their Indiana Pale Ale, which was pretty good. Paul and I planned to head over to the Williamsburg section of Brooklyn for a drink, then head back here to buy a gallon of beer to take home. Little did we know what was in store for us on the subway to Brooklyn.

This is the subway car I was trapped in for over an hour. This L-line subway left the 1st Avenue station and was heading over to Brooklyn when at about 4:20 the subway stopped and the lights went off. The crew reassured us that it was just the subway line and that things we were going to start moving very soon. However, it was soon apparent we weren't going anywhere, and the problem was probably larger than we expected. After all, where were the cops and fire department to help us? The man in the forefront of this photograph pointed this out. The chickens on the train grew restless as the air got really fucking thick and the temperature must've been around 100 degrees inside the car. People from the cars in front of us began an exodus to the back of the train - it was a light trickle of people at first and then it became quite obvious that people were trying to leave. Some gangbangers in the back of our car climbed out onto the catwalk and disappeared into the darkness. Eventually everyone realized this subway train had to be evacuated. Oh boy!

The procession to the back of the train was slow and aggravating. Apparently only the front and the back of the train had doors open to the catwalk. So we made a run for the back of the train and encountered a mass of humanity in the second to last car, where there was an opening. It was even hotter inside this car than the car we were stuck in because there were so many people jammed together trying to get out. We were all penned in and sharing bodyheat and it was nasty. People in the car started losing their nerves and tried prying other doors open and yelling for people to push and get out of the way. Quite scary. Eventually we all got out onto the catwalk.

The catwalk was narrow and dirty to the max. I refused to touch anything except the girl in front of me ;) Paul would later emerge out of the train station with hands that were black as night. I felt like I was in the Temple of Doom. The tunnel was pitch black, save for a few flashlights of the engine company that was there to assist us. The catwalk would go from narrow to extremely narrow without warning and there were multiple "dirty" obstacles in the way. I luckily used my LCD screen on my camera to help light my way (which unfortunately used the battery power I wish I had later in the night). I tried to shut my camera off for a second to conserve the battery, but I found myself horribly frightened at negotiating the catwalk in pitch black darkness.

After emerging from the darkness back onto the surface, we headed back to Union Square (and we'd be back again!). It was amazing to see all the throngs of people walking uptown on the avenue. It was like thousands of salmon pushing upstream to spawnsville. Cars tried to wrest back control of the streets with intermittent success, but the humans put up fierce resistance. Eventually, the machines were allowed one lane, and pedestrians controlled the rest of the avenue.

We marched onto Times Square, where there were thousands of more people milling around. It was so strange to see the place without electricity. This Square is notorious for light pollution that makes the night seem like the afternoon. John Stossel from ABC's 20/20 was there to work the crowd and report about the courageous self-control the humans have displayed in not looting and actually helping other people out. At this point in time, I was fully expecting a riot come nightfall.

Paul and I decided to check out the Ferry to see if it was a viable means to return to New Jersey. However, it was quite a mess. The lines had to be at least 10 blocks long with no movement in sight. Another pedestrian we talked to said that she had been on line for half an hour and didn't move anywhere - and she even cut the line! So, with that in mind, our next alternative was to walk to the Lincoln tunnel and see if we could walk the tunnel to New Jersey. Who would've thought that it would come to this!?

When we reached the tunnel, it was apparent that there would be no walking, and apparently very limited driving inside the tunnel. Floods of buses came through the tunnel and into New York. Probably every bus in the region came to lend a hand. They lined the streets for blocks and people would walk up to the bus driver's window and ask where the bus was heading. If the destination was suitable, the pedestrians would hop on in. What convenience! We had an opportunity to exit New York and take a bus to Hoboken. Fortunately, we burned that bridge and opted to wait for nightfall and the possibility of social unrest.

There was an obscene number of people sprawled on the ground at the makeshift refugee camp aka Madison Square Garden. I do not know what they were waiting for, but there were alot of them to negotiate through. At this point, we began to scour for food. New York City's resources were being rapidly depleted, we had to get our share. Many bodegas and deli's were closed. Some ingenious entrepreneurs moved all of their perishable foodstuffs and drinks outside onto the sidewalk. The Happy Blackout Day streetfair had begun!

Even more ingenious storeowners parked cars on vertically on the sidewalk with their headlights beaming into this store. One deli that we inexplicably frequented numerous times yesterday had a jeep parked on the sidewalk with its high-beams shining inside. They really ripped us off price-wise, but hey, you pay for the atmosphere.

Radios also played a critical part in hearing about news from the outside world. On more than one occasion, Paul and I would stop to listen in on Julia Poppa of 10/10 WINS The news was never good, but the communal experience of sharing a radio with fellow transient peoples on a pitch black street was comforting.

Sometime during the night, we eventually made our way back to Union Square a third time. We were drawn by the hint of light and the loud sound of rhythmic drum beats. There was a huge orgy of dancing and merriment in the square. The closest thing I can relate it to is the Zion rave scene in the Matrix Reloaded. This place was off the wall - it was a huge celebration of societal goodwill. At this point in time, Paul and I were resting up - Paul bought a 6-pack of Beck's and we eagerly took long swigs in front of the Po-Po! It was a great place to have some beers, eat some Pirate's booty and take in the atmosphere. There would be no rioting tonight, just alot of orgies. After Union Square, we dropped by Washington Square and saw the same festivities being led by NYU frat boys.

Paul and I wandered around for a long time in the dark and kept walking in circles. Eventually we made our way to the Christopher Street station to take the Path home - as usual, there were police officers outside it. However, Paul wanted to go to Battery Park and take the ferry back from there. I relented - I wanted to extend the experience too, but not as long as it would eventually turn out. We first dropped by this park on the Hudson river and watched the Jersey City skyline while drinking beer and sitting on the grass like hippies.

Then there was this hour long trek to Battery Park only to find out the ferry wasn't operating. I think Paul lost his cool here, but he'll really lose it in Hoboken! After a cabbie offered to take us to Newark for $40 (then $30), we found a cool cabbie that would take us back to Christopher Street station for whatever price we found fit. This cabbie was actually heading to Jersey himself since he was low on gas - I hope he found some. Anyway, we finally got on the Path and opted to get off in Hoboken. What a mistake! We anticipated that the car garage would be closed at this hour (1AM) and it would be easier for Jason to pick us up from here. However, Jason wasn't able to pick us up, and Paul's dad would be able to...in Newark. So we went back into the station, waited a little longer in the sweatbox (the entire station was being run on by generator) and finally Paul talked to a PATH employee and found out there would be no more trains coming into Hoboken because the train signals were not working. We got off the last train in Hoboken! Ahhh! Prudence and Expediency were on our side at last when NJ Transit offered to take us and 3 other people to Newark Penn Station, for free! Hooray for NJ Transit! They were the super happy ending to this 15 hour journey of mystery and excitement!

This is my favorite picture of the evening; it was snapped while we were aimlessly wandering the city. In the afternoon I was at unease because I was having negative fantasies about the origins of this event. I felt much more at peace during the dark evening. Yesterday I logged the most miles in a day for my feet, and yet I enjoyed every moment of it. Maybe it was because I will never experience another day like this again. I will never be able to see the stars from the middle of New York City like I did that night. I will never again be able to be in the middle of the financial district, and look up to see the only illumination comes from the moon. What a beautiful sight that was.

There were also some less metaphysical achievements accomplished yesterday. When is the next time I will be able to take a public leak in Battery Park, Greenwich village, Financial District, and some other place in lower Manhattan? I also probably won't be able to walk in the middle of an unlit street while drinking a beer again. Everyone had free reign of the city yesterday, and everyone had a good time at it. Oh yeah, we also saw Jay-Z leave a bar ;)

Covered with the patina of everyday work and age; this Leyland Beaver makes for a very authentic exhibit at the former Farrington Works site. Formerly used for manufacture and assembly of axles and transmissions by Leyland Motors and its successors, it was demolished some years ago and now awaits the inevitable redevelopment.

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