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With a model database of more than 100 dogs and cats I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database of more than 1000 images, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
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© Elke Vogelsang
20190705_Callisto_HighFiveWithCallisto
I've been using Lightroom very heavily on a daily basis over the past year or so. While I absolutely love the software, I think that there is room for improvement and thought I'd jot down some of my ideas on the best ways to improve the software.
I took a brief look at the new Lightroom 3.0 beta and my initial impression was lukewarm. Many of the features like watermarking, printing features, and online publishing from Lightroom, I didn't really care about. Some of the architectural changes that have been mentioned didn't feel all that powerful to me based on my initial testing. I found that in many regards, LR Beta 3.0 performed much slower and worse for me than LR 2.6, so I've largely abandoned using the beta at this point.
The final LR 3.0 product, of course, will likely be much more robust (hopefully) than the beta and ought to be a stronger product. And many, especially performance based, improvements that I mention in this post may actually be included in the final product. That said, here are the 10 most significant ways I think Adobe could improve the Lightroom product.
At present I am doing all of my Lightroom processing on a MacBook Pro running Snow Leopard with a 3.06 GHz intel Core 2 Duo processor and 4GB of RAM.
1. Performance drag when keywording (possible memory leaks?). One of the things that I've found with LR 2.6 is that keywording seems to be especially taxing on the system. If you keyword a photo, maybe 60% of the time after keywording it you get the little beach ball and have to wait several seconds before LR will free up and let you keyword the next photo. Keywording is already a horribly mundane chore, but having to do it with beach ball delays in Lightroom is especially frustrating. If I restart LR I'll be able to keyword seamlessly again, but typically within 5 minutes the delays between keywording photos begin again. This is my number one biggest gripe with Lightroom today.
2. Improving keyword autocomplete. When you keyword photos it is nice that LR uses your keyword list to auto complete possible keywords. As you start typing it searches previously used keywords and offers them up to you. You can highlight the word you are intereseted in and press enter, saving you time and typing. For some reason LR treats both the apostrophe and the enter key as one in the same. So, for instance, when you are keywording Joe's Pizza, It might actually autocomplete the keyword as Joe's hamburgers as soon as you hit the apostrophe in Joe's. Apostrophes are commonly used in keywording and it is counter intuitive to have the apostrophe trigger an auto-complete entry. Auto-complete should be restricted to the enter key.
3. Importing large numbers of photos from your memory card into LR can be horrendous. I've stopped using LR to import photos directly altogether. Sometimes the import will take place reasonably quickly, but many times it can take literally an hour to import what should take 5-10 minutes. I'm not sure why it takes so much more time to import photos into LR directly from a card, but it is *much* faster if I actually copy my images from my cards from the Mac finder and then synch the folder up manually with Lightroom later. When you are offloading images from a card you want this done very quickly. Adobe should optimize this import process focusing only on first copying the files and then adding them to the catalog or whatever else is slowing imports down after the copying is done, freeing up your memory card faster.
4. Lightroom's adjustment brush needs work. One of my favorite features with Lightroom 2.6 is the adjustment brush, you can use this brush to burn and dodge and affect key areas of a photo including exposure, contrast, brightness, clarity etc. by selectively painting an area of the photograph and then adjusting the sliders. Unfortunately though, I have found the adjustment brush to be much weaker than the general development tools in Lightroom. If I use the exposure slider for the entire photo (for instance) I have a wide latitude of exposure range with my RAW image. If I have a photo that is too dark in areas and too light in other areas I can use the total photo exposure tool to get either part (the too dark part or too light part) properly exposed. But when I try to use the exposure slider on the adjustment brush to treat the area not exposed to my satisfaction I find I frequently get pixelization if crank it up or down too hard. It would be good if Adobe could use the same technology that they are using to adjust, say, exposure at the entire photo level, with the adjustment brush to get better results when using it.
5. Lightroom needs more ways to stimulate the imperfection of film. One of my favorite recent ways to shoot has been using Hipstamatic with my iPhone. Hipstamatic does a tremendous job of creating a lofi film like aesthetic with digital photos from my iPhone. The only problem is that they are digital photos from my iPhone. I'd love to be able to have similar options that incorporate to a much greater degree the vintage effects of film from within lightroom. Scratches on photos, old polaroid borders, smudges, and other imperfections can create an entirely different photograph. While I'm sure some of these sorts of effects can be implemented in Photoshop, Photoshop is much more difficult to master. Adobe should follow the trend of Hipstamatic and make very easy to apply vintage film effects for Lightroom. While the LR 3 beta does include a way to sort of get a bit more grain to effect a vintage look in photos, this is a far cry from the effects that a little $1.99 app like Hipstamatic can provide.
6. Improved vignetting control. While Adobe has improved the post crop vignetting available in the 3.0 beta, it is still seriously lacking. In post cropped photos the vignetting is applied perfectly on photographs. With 100% precision and accuracy. The problem is that when people want to add vignetting, they are frequently doing so to give the photograph a more natural film like feel. In camera vignetting is never 100% precise, it is subtly different in every area, in some ways random. LR's vignetting control pre crop is much more natural feeling than post crop. While the 3.0 beta gives a touch more flexibility in how you can vignette it still does not provide for the sort of natural random vignetting that occurs naturally in camera.
7. Better preset directories. I love my presets. I use them constantly. I've got some really good ones. But damn they are hard to find. And there are so many bad ones out there floating around. Presets are a great place to start with your photo editing process, I've just had a hard time finding a very strong database or collection of the best ones.
8. When selecting multiple images in the film strip Loupe view, Lightroom should apply keywords to all images. Right now the only way to keyword multiple images in Lightroom is to use the Grid view. But if you want to keyword as you select images looking at them full size (grid view can only get you to half size) then you have to keyword them one at a time. Lightroom should allow me to select multiple images from the film strip in the Loupe view and apply keywords to all images selected.
9. A good in Lightroom geotagging feature that uses Google Maps. At present I am using Geotagger for the Mac and Google earth to geotag my images. It would be nice if Adobe could as seamlessly interact with Google Earth. Some external app might be out there right now that I'm not aware of for this yet with Google Earth, but nothing that I've seen.
10. Color analysis. One of the things that I've done on Flickr is to create sets of images based on primary colors in the images. It would be nice if I could filter my images in LR by color. I'd like to be able to filter all of my finished images by dominant color, blue, red, pink, etc. This would better allow me to select these images and keyword them selectively.
So those are my top 10 requests for Lightroom. My views of course are only mine and while my desire for things like more natural post crop vignetting etc. may be important to me and maybe a small minority vs. features like watermarking, web publishing and printing, I certainly recognize that Lightroom is built for a much larger audience that may be much more interested in some of the new features in the LR 3.0 beta than I am.
What are the features that you would like to see in LR 3.0? What would be the killer features for you. Are there ways to get some of what I want out of the existing product that I'm just not aware of? Are they ways to better optimize for performance with keywording, for instance. Do you have any good Lightroom tips that you've uncovered worth sharing?
The ONLY editing I did to the pictures was reducing them from the size I shoot in SL (4000×3500) down to a 1024 size manageable for the blog and Flickr. There’s been no cropping, no liquifying, no adjusting contrast or color balances or any of the other Photoshop tools I use on a regular basis.
slicesoflifesl.wordpress.com/2014/04/02/sooc-the-void-par...
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Helwan Aircraft HA-410 (Arabic: حلوان ٤٠٠) was an indigenous supersonic jet fighter aircraft developed in Egypt during the late 1960s. Its design took place in the wake of the less successful lightweight HA-300 interceptor, designed by famous German aircraft engineer Willy Messerschmitt. Like its smaller stable mate, the HA-410 was an ambitious project for Egypt, at the time seeking to expand both its aerial civilian and defence industry.
Compared to the HA-300, the HA-400, how the project was initially called, was a much bigger aircraft, comparable to the North American F-100 ‘Super Sabre’ and similar in operational and political respects to the Indian Hindustan Industries ‘Marut’ fighter. The aircraft was planned as a home-grown alternative to the Soviet Su-7 fighter bomber, which had been acquired by the Egyptian Air Force (EAF; Arabic: القوات الجوية المصرية, Al-Qūwāt al-Gawwīyä al-Miṣrīyä) and employed in the Six Day War in 1967. This event uncovered certain deficiencies of the type, like the Su-7’s relatively poor ordnance load and range, as well as its high landing speed.
Under the influence of the ensuing War of Attrition with Israel, the HA-400 prototype was designed around the same Lyulka AL-7 turbojet engine as the Su-7, inheriting its power but also the poor reliability – even though the engine’s high resilience against FOD, sand and dust was a vital aspect for the EAF.
The HA-400’s design was conventional, with a barrel-shaped (non-area-ruled) fuselage, reminiscent of the US-American North American F-100 Super Sabre or the French Dassault Super Mystère B2. But the HA-400 incorporated different features like a translating centerbody, a movable cone in the air intake for managing airflow to the engine at supersonic speeds. It also featured clipped delta mid-wings with a 60° sweep, not unlike those of the MiG-21 and a one-piece, all-moving tailplane.
The main landing gear retracted inwards, partly into the lower fuselage, the twin-wheeled front landing gear retracted forward. The landing gear was rigid and suitable for operations on semi-prepared airfields. The pilot sat in a pressurized cockpit, offering better for- and downward vision than the Su-7.
The Armament comprised two 30mm cannons in the lower forward fuselage, plus sevem ordnance hardpoints for a total external weapon load of about 3 tons.
The first prototype flew on August 6th 1968, two additional airframes followed. The EAF’s operational evaluation from November 1968 to December 1996 found the new fighter to have superior performance but declared it not ready for wide-scale deployment due to various deficiencies. These findings were subsequently confirmed during operational suitability tests. Particularly troubling was the poor directional instability in certain regimes of flight. The aircraft could develop a sudden yaw and roll which would happen too fast for the pilot to correct and would eventually overstress the aircraft structure to disintegration. As a remedy, the fin was enlarged and a ventral fin for better longitudinal stability added. Another critical point was field performance: the initially pure delta-winged HA-400 showed poor take-off and landing characteristics, offering almost no improvement in comparison with the Su-7.
Helwan Aircraft investigated a new wing design with extended wingtips for an increased wing area and boundary layer control. The result was a new "cranked" wing, with wingtips at a shallower sweep of only 45° just outboard of the wing fence. The new wing also featured a boundary-layer control (BLC, "blown flaps") system, with engine air bleed blown over the flaps to keep them effective at lower speeds. These improvements made takeoffs and landings less ‘hot’ and intimidating. Unfortunately, the Lyulka AL-7F-1 didn't provide enough bleed air to make the BLC system very effective, but the new wing alone improved slow speed flying characteristics enough to justify its use. An additional brake parachute, housed in a fairing at the fin’s base, reduced landing distance even further.
Under the lingering tense atmosphere with Israel, serial production of the modified aircraft, which had been re-designated HA-410 by November 1969, started in early 1970. Soon the new aircraft saw their baptism in fire in 1973 during the Yom Kippur War. Success was limited, though, due to teething troubles with the hydraulic and BLC system, general engine unreliability and the lack of a powerful radar which would allow true all-weather/night attack capability - the HA-410 only featured a RP-21 ‘Sapfir’ radar system, the same as used in export versions of the MiG-21. Consequently, the HA-410 was almost exclusively used in the daylight ground attack role, even though some machines were, equipped with up to four IR-guided K-13 AAMs, used for point defence around air bases. EAF HA-410 were later also actively deployed in the Egyptian-Libyan War, a border skirmish in July 1977.
A total of 75 aircraft were built, including 13 two-seated trainers, equipping three EAF squadrons, made exclusively up from this type. The EAF was the only user of the HA-410. Yugoslavia showed interest in the type in the late 70ies, as well as India, but no plane was ever exported. The HA-410, as an aircraft, proved to be tough and capable, despite its reliability shortcomings and stability problems which called for an alert pilot. No aircraft were ever lost in air-to-air combat. However, twelve were lost due to accidents and technical failures, six were lost to ground fire and three were lost due to friendly AA fire, since the HA-410’s silhouette was easily mistaken for an Israeli Super Mystère B2.
The last examples were withdrawn from service in 1988 and consequently scrapped, being replaced by Su-20/22 and F-16.
General characteristics:
Crew: 1
Length (fuselage only): 50 ft. 8 in (15.48m),
Length incl. pitot: 57 ft 8½ in (17.57 m)
Wingspan: 28 ft 7¼ in (8.71 m)
Wing area: 394 ft² (36.6 m²)
Wing loading: 77.4 lb/ft² (379 kg/m²)
Height: 16 ft 9 in (5.11 m)
Empty weight: 21,000 lb (9,500 kg)
Loaded weight: 28,847 lb (13,085 kg)
Powerplant:
1× Lyulka AL-7F-1 turbojet with 66.6 kN (14,980 lbs) of dry thrust of and 94.1 kN (22,150 lbs) with afterburner
Performance:
Maximum speed: 1.025 mph (895 knots/1.650 km/h/Mach 1.52) at 36,000 ft (11,000 m)
Cruise speed: 570 mph (495 knots/915 km/h)
Service ceiling: 59.000 ft (18.000 m)
Range: 1.580 km (981 miles)
Ferry range: 3.200 km (2.000 mi) with drop tanks
Rate of climb: 31,950 ft/min (162.3 m/s)
Armament:
2× 30 mm Nudelmann-Richter NR-30 cannons (120 rounds per gun) in the lower front fuselage.
Seven hardpoints (3× under-fuselage, 4× under-wing, outer pair “wet” for drop tanks) for a total of 7,040 lbs (3,190 kg) of ordnance, including drop tanks, unguided missiles, iron bombs, napalm tanks and K-13 AAMs.
The kit and its assembly
If you recognize what’s behind the fictional HA-410, you are well-informed about aircraft history indeed! Believe it or not, this model was derived from a real-life, Cold War era cruise missile! Sick idea? Maybe, but a nice challenge!
The HA-410 is actually a Raduga/OKB MiG Kh-20M (AS-3 “Kangaroo”) nuclear warhead missile, which had been developed from the unsuccessful MiG I-7 jet fighter from the late 50ies. The mighty Kh-20 had exclusively been carried by Tu-95K (“Bear B”) bombers until the late 70ies. The basis for this model is A Model’s 1:72 scale Kh-20M kit, which includes the massive ground handling trolley for this huge weapon - the kit is about 21cm long!
I had hoped that just changing the vertical fin would be enough, but all wing areas are much too small for a plane that actually takes off of the ground by its own power. At first I considered wings from an A-7 and the tail fin of an F-16, but when I recently was given a Su-15 from PM Models from a friend – a rather crude and basic kit – I just found what I needed to create a complete aircraft.
Bashing both kits was an efficient solution, since the Su-15 not only provided wings and stabilizer parts, but also a complete landing gear with wells, as well as a clear canopy that would fit well onto the bare Kh-20M. As a side note, I decided to attribute this plane to Helwan Aircraft as a kind of tribute - calling it a MiG or Suchoj design would have been too obvious, and using Egypt as part of the whif game made the contsruction of the background easier.
But back to the subject: Biggest challenge was to outfit the bulgy missile with anything an operational, manned aircraft would need: a cockpit plus canopy, a complete landing gear including their respective wells, and accessories like weapon hardpoints.
Any such “extras” were collected from the scrap box:
● All tail areas come from the PM Model Su-15
● Wings and lower fuselage also come from the Su-15, but had to be modified (see below)
● Main landing gear struts and wheels were taken 100% from the PM Su-15, too
● The double front wheel was also taken from the Su-15, the well is from an Italeri IAI Kfir
● Cockpit canopy comes from the Su-15
● Cockpit tub is also a part of an Italeri Kfir, with some extensions
● The dashboard comes from a Heller Alpha Jet
● Not certain where the seat comes from, the pilot figure is from a vintage Matchbox kit
● All weapon hardpoints come from the scrap box
● Ordnance is a collection of spare parts:
- Drop tanks come from a KP Su-25 kit
- Bombs are modified Matchbox 1.000 lbs bombs, with clipped fins and an added balistic rings
Lots of work, despite the plane’s rather simple look. Especially the integration of the lower fuselage was a tough job, since it is one piece with the wings. Not only the part's width had to be trimmed, stability also had to be guaranteed, and fitting this part with a square diameter into the circular Kh-20M's body was not a simple task! had to fit a basically square part into the round Kh-20 fuselage… But the result looks IMHO good.
Many surface details like air scoops, antennae, the two guns and weapon stations were added, and the Su-15 canopy needed a matching fairing on the Kh-20's hull, which was built with polystyrene strips.
Painting
I settled for an indigenous Egyptian camouflage paint scheme for the HA-410, which is called "Nile" or “Nile Valley”. This scheme has been used by the EAF on various planes like MiG-17 and -21, as well as Su-7, -17/20 and even Tu-16 bombers. With its wavy lines and strong color contrast, "nile Valley" is very unique and attractive, IMHO, and even authentic for the model’s era. There seems to be no defined pattern or even color paradigm, just that sand is involved, a dark contrast color which ranges from dark brown to drak grey, and a demarkation line between these colors which ranges from light green through slate grey to blue-grey. AFAIK, any available paint was used in Egypt, even car paint, so choice of color is a true 'free for all'.
The basic colours I chose are Humbrol 74 (Linen), 78 (Cockpit Green) and 98 (Chocolate), but that was only the beginning. Some layers of dry painting with lighter shades like Humbrol 103 (Cream), 121 (Light Sand) and 71 (Beige), RLM 02 on the green areas and a mix of 98 and 64 as well as pure 168 (Hemp) on the brown areas, lightened everything up. Lower sides were painted in Humbrol 65, a light blue with a greenish hue, and treated with FS 36320. Overall, the kit received a light black ink wash and a weathering touch with dry-brushed light grey (Humbrol 64) and Hemp (Humbrol 168).
EAF markings come from a vintage Matchbox MiG-21MF (PK-41). The arabic number comes from a Su-24 aftermarket decal sheets. Stencils and warning signs come from the vast OOB decal sheet for the Kh-20M.
Overall, the fictious HA-410 looks either like a fat MiG-21 or a short Su-7, but features details uncommon to both! Very Soviet, but unlike anything that rolled off of Cold War fabrication lines. Really subtle... o.-
Well, somewhat meh build, I think.
The BASIS is one of the largest spaceships built by mankind in the Perry Rhodan series. It is an ultra long distance (300 million lightyears and back being one of the longest voyages undertaken) carrier ship, 9 miles long. The color of the hull is pinkish due to the ynkelonium-terkonit steel alloy used in the ship's construction.
The front section contains the crew compartments, the command and control center, and the FTL drive. The central disc contains laboratories and hangars. Smaller ships (up to 1.5 miles diameter) can land on top for servicing. The rear section contains the sublight engines.
Manufacturer/Model: Carl Zeiss Jena blc Rm-F 12X60 für Em 4m R40
Field of View: 5 deg = 86.6 m/1,000 m; APFOV 60 deg
Weight: 5.4 kg
Exit Pupil: 5mm
Serial #/Year of Manufacture: 299584 = 1943-1944
Notes: Although the data plate is missing from the top of the binocular, the serial number, 299584, remains on the underside indicating (according to the production information in the red pages of Seeger’s grey book) it was one of a batch of approximately 1,300 marked: “blc X 5° Rm.-F 12X60 für Em4mR40”: blc = 3 letter wartime German coding for the manufacturer Carl Zeiss Jens; X = a lubricant coding; 5°= field of view; Rm.-F 12X60 für Em4mR40 = Richtungsweiser-Fernrohr 12X60 zum Entfernungsmesser mit 4m-Basis i.e.direction finder binocular for the 4 meter R40 rangefinder.
This 12X60 60° inclined binocular was used for sighting the Zeiss four meter R40 stereoscopic rangefinder which was equipped with three 12X60’s (see View 2: www.flickr.com/photos/binocwpg/9548682719/in/photostream/ ). They were also mounted on other model rangefinders and sighting devices and are found with variations in color (grey or tan), reticle type, regenrohre (rainguard/sunshield) build, and markings. Unlike the D.F.10X80 flak glass (see: www.flickr.com/photos/46330704@N08/6063248432/in/photolis... ), all blc 12X60 60° inclined binoculars had anti-reflective coated optics.
This binocular has some unusual and interesting features: 1. Interpupillary distance (IPD) is adjusted by moving a lever underneath the left eyepiece assembly which eccentrically turns the assembly to the required IPD (see: View 3: www.flickr.com/photos/binocwpg/9548678013/in/photostream/ and View 4: www.flickr.com/photos/binocwpg/9548671307/in/photostream/ ). 2. Each barrel uses an Amici roof and 60° deviation prism cemented together (see View 5: www.flickr.com/photos/binocwpg/9548656535/in/photostream/ ). This prism system has two air-glass surfaces instead of the four present on most Porro I and roof prism binoculars which improves light transmission for a brighter image. Also, it deviates the image to a 60 degree angle making it suitable for an inclined binocular such as this one. 3. There is a Farbgläser (colored filter) knob (A) above the left eyepiece which is adjustable for dark grey, light grey and clear settings (see View 5). 4. There is a fixture (B) above the right eyepiece for an attachment to illuminate the reticle (see View 2). 5. A metal quicksight (missing from this example – only its screws (C) remain) was fitted to aid in locating a target. 6) The faceshield (D) can be raised or lowered for correct eye relief by turning the center knob (E). Moreover, its rubber pads can be flipped to either side (see View 6: www.flickr.com/photos/binocwpg/9548644135/in/photostream/ ), or the entire shield can be folded fully upward for easier viewing. 7. There are Trocken luft (dry air) ports (F) on each side of the binocular for dry air purging. Also, near the front there is a plate (G) which was probably removed for desiccation purposes – most likely the insertion of a Trockenpatrone (silica gel desiccant cartridge). 8. The large knob at the front (H) tightens a clamp at the bottom for fastening the binocular to the rangefinder (see View 7: www.flickr.com/photos/binocwpg/9548627963/in/photostream/ ). 9. A long regenrohre (rainguard/sunshield) (see View 2) was attached to the front of the binocular. Many Rm-F 12X60’s such as this example are missing this part possibly because they were removed by soldiers for ease of packing in sending the souvenirs home after the war. On this example only the latch (I) for disengaging it to fold downward remains. 10. Not visible in the photograph, there are two circular covers on the lower right side below the right eyepiece - one behind and one to the right of it - which can be rotated to access a Robertson (square) screw in each. These screws are for centering the reticle (see View 3).
The optical performance of this binocular is, as with almost everything made by Zeiss during the war, excellent. Compared to the cxn D.F. 10X80 45° inclined binocular, its image is brighter, has much better sharpness to the edge and shows more detail having an extra 2X magnification. However, the D.F. 10X80 has the advantages of a much wider 7.5 degrees field of view and a larger 8 mm exit pupil. It has a quickly found and exceptionally easy view while getting a good view with the RM-F 12X60 involves (for me, at least) a lot of IPD and eye relief adjustment before it’s just right. Actually, I find it easiest to use when the faceshield is folded fully upwards as in View 3.
Seeger reviews this binocular on pages 226-227 of his book, "Military Binoculars and Telescopes for Land, Air and Sea Service” 3rd Edition, Hamburg, 2005, and in the same book on pages 248-249 there is an excellent description of its optical design written by Kevin Kuhne.
Note: If you have a vintage binocular you either wish to sell or would just like some information about, I can be contacted at flagorio12@gmail.com .
OK so I have somewhere around 2 weeks left of this second year project. Although the image hasn’t been posted daily, the shots have continued to snap away on a daily basis as scheduled. I look at it this way; if I never actually catch up on posting images, I’ll always have something to do….right?! Needles to say life has been pretty busy over the last 8 weeks. Let’s catch up for a second shall we? Baby awake, baby eating, baby sleep…and repeat. WHEW, that was exhausting. Sounds pretty easy huh; kind of like child’s play? Yea, let’s just say it’s not as simple as it sounds. NOT BY A LOOOOONG SHOT! At this very moment, I’m listening to her through the monitor vehemently upset because she’s too tired to fall asleep. “Daddy….I can’t sleep! My diaper doesn’t need to be changed, I’m not hungry and I’m so tired my crying sounds somber and exhausted. Please daddy….help me sleep!”
Setup shot:
The Rubenshuis (Dutch for 'Rubens House') is the former home and workshop of Peter Paul Rubens (1577–1640) in Antwerp. Purchased in 1610, Rubens had the Flemish townhouse renovated and extended on the basis of designs by Rubens himself. After the renovations, the house and its courtyard garden had the outlook of an Italian palazzo, which reflected the artistic ideals of Rubens. The ensemble is now a museum dedicated mainly to the work of Rubens and his contemporaries.
A year after marrying Isabella Brant in 1609, Rubens began construction of an Italian-style villa on the then-Vaartstraat (now the Wapper, 9–11), at the time located at the banks of the Herentalse Vaart canal. Rubens designed the building himself, based on studies of Italian Renaissance palace architecture that also formed the basis of his Palazzi di Genova. The layout included his home, studio, a monumental portico and an interior courtyard. The courtyard opens into a Baroque garden that he also planned.
In the adjacent studio, he and his students executed many of the works for which Rubens is famous. He had established a well-organised workshop that met the demands of his active studio, including large commissions from England, France, Spain and Bavaria and other locations. He relied on students and collaborators for much of the actual work. Rubens himself, however, guaranteed the quality and often finished paintings with his own hand. In a separate private studio he made drawings, portraits and small paintings without the assistance of his students and collaborators.
Rubens spent most of his lifetime in this building. After his death, his wife Helena Fourment let the building to William Cavendish and his wife. After the latter left in 1660, the house was sold.[2][3] On the World's Fair Brussels International 1910 there was a real-size reconstruction of the house of P.P. Rubens, built by the architect Henri Blomme. The reconstruction was a romantic interpretation of what the building used to be, full of ornaments, but it promoted the idea to save the building. After his death in 1921, the architect Henri Blomme left an important legacy to the city of Antwerp to buy the house.[4] This happened finally in 1937.
The city bought the house in 1937 and after an extensive restoration the Rubenshuis was opened to the public in 1946. Dozens of paintings and artworks by Rubens and his contemporaries were installed in the rooms, as well as period furniture. Paintings include his early Adam and Eve (c. 1600) and a self portrait made when he was about fifty.
The Rubenianum, a centre and archive dedicated to the study of Rubens, is in a building at the rear of the garden.
La Maison de Rubens en néerlandais la Rubenshuis, actuellement un musée, est l'ancienne demeure et l'atelier de Pierre Paul Rubens (1577-1640) à Anvers en Belgique.
C‘C‘-dh, KHD 1959/56955, Typ: DG 1600 CCM, NVR-Nummer: 98 80 0421 002-3 D-HEB
1959 Auslieferung an KFBE - Kölner Verkehrs-Betriebe, Köln-Frechen-Benzelrather Eisenbahn, Köln, als "V 82"
01.06.1970-31.03.1971 Vermietung an Kleinbahn Kassel-Naumburg AG
01.04.1971 Verkauf an Kleinbahn Kassel-Naumburg AG, als "V 166"
11.08.1983 Umfirmierung in Kassel-Naumburger Eisenbahn AG
11.1985-06.1986 Neuaufbau auf vorhandenem Fahrwerk mit neuen Motoren durch Thyssen Industrie AG, Thyssen Henschel, Kassel, und Umzeichnung in "DG 202"
01.01.2005 Verschmelzung auf Frankfurt-Königsteiner Eisenbahn AG, Frankfurt (Main)
08.03.2006 Umfirmierung in HLB Basis AG, Frankfurt (Main)
09.01.2020 Verschrottung nach Drehgestellschaden
Date of Interview: September 23, 1929 (2012)
Interviewer: Zoe Foodiboo
Sein Loire (photographer)
Interviewee(s): Dora Duchamp Mills
Location: Home of Dora Duchamp, Behrenstrasse 3, 1920s Berlin Project (owned and managed by Frau Jo Yardley), Second Life.
Abstract: A tenant of 1920s Berlin for nearly two years and the wife of Herr Aldo Mills, Dora Duchamp Mills is a member of the dance troupe ‘The Flapperettes’ as well as the founder of two groups: the Berlin Ladies’ Social Club and the Jazz Babies. Her other projects include organizing a men’s leg competition and hosting two baby showers. She is the founder of Jazz Age Music, which releases music collections for the recently released Matova Vintage Radio. The Stephanie Helstein case is also mentioned. Other tenants mentioned in this interview include: Aldo Mills, Taena Matova, Frau Jo Yardley, Crispin Sturges, Cuthbert Helendale, Morganic Clarrington, Sonatta Morales, Aloysia Moyet, Pola Solo, Desireme Fallen, Wulfride Blitzen, Adele, Kling, Luzie Cheng, Tequila Mockingbird, Sasa Steigerweld, Victoria “Lulu” Weibes, Zeno McAuley, Gustov Chesnokov, Paul vonTrumper, Sein Loire, Max Beckert, and Annett Jameson (Boehme).
**********
Zoe Foodiboo: Alright. So how did you discover Berlin?
DoraDuchamp: I heard about it from a friend...
Zoe Foodiboo nods
DD: She only came in once or twice but when she told me about it I felt I had to come and investigate. (I will put ooc [out of character] stuff in parentheses)
ZF: perfect
DD: (As a kid I always wanted to be a flapper...so how could I resist a 1920s Berlin sim?) I came in January of 2011 and was immediately hooked. I got an apartment right away...my first place was 7D Frederichstrasse...really a dump...the attic of the building.
Zoe Foodiboo nods and scribbles
DD: The apartments in that building are quite nice, but not mine.
Zoe Foodiboo chuckles.
DD: It was just one sparse room. I met Zeno [Zeno McAuley] my first couple of weeks and he gave me an old bed he wasn't using anymore.
ZF: kind of him!
DD: Yes Zeno was very kind to me from the beginning. The only other furniture I had was a table, and a rug with some throw pillows, and a chair. Before I came here I was in Paris - (that is backstory not SL reality)- staying with my cousin, and then I came here. My friend Taena [Taena Matova] followed shortly (we knew each other from other sims)
Zoe Foodiboo smiles, remembering her own humble beginnings in Berlin
DD: she was my roommate for a short while until I met Aldo [Aldo Mills]
Zoe Foodiboo nods
DD: ...then I moved into his place which was a couple doors down on Frederichstrasse
ZF: How long were you there?
DD: The second place? Oh I can't recall exactly..not that long
Zoe Foodiboo nods
DD: I met Aldo at Der Keller. He pretty much swept me off my feet.
Dora giggles
Zoe Foodiboo snuggles in, ready to hear a good love story
DD: Yes well I did not plan on getting married...but it just happened. I always say dancing is dangerous because it can lead to marriage.
Zoe Foodiboo grins
DD: He also rented a castle at that point
Zoe Foodiboo eyes widen, "Oh my!"
DD: Anyway he was courting me and proposed to me...twice actually. Once at the castle, and then once in the Eiffel Tower in Paris.
ZF: A castle? He must be someone important...?
DD: Well he's an Italian nobleman. (he actually comes from a noble family in real life)
Zoe Foodiboo nods
DD: ....his family is not all that wealthy. They have some money but you know the gentry are not as well-off as they once were. They have business interests in Italy.
ZF: So you stayed with him at the castle...
DD: In any case he proposed at the Eiffel Tower, and I said yes...and we were married April 1. Well the castle was more like our vacation house. The apartment here was actually quite humble. Once we decided to get married we figured we'd get a nicer place. And here's a funny story...
ZF: Would you describe the apartment a little? Where you got your furnishings...
DD: Oh...Aldo's apartment...Haha...It was fairly small. I can't really remember that well we didn't stay there all that long. I remember it being small and very gray inside.
Zoe Foodiboo nods
DD: ...and he had a red leather sofa and a round table for eating. It was tastefully decorated but definitely a bit of a bachelor pad.
Zoe Foodiboo giggles
ZF: Needed a woman's touch?
DD: The castle was much nicer...Yes! So once we decided we wanted to move into a bigger place, there was of course the usual race for Berlin Real Estate. We were checking the gazette on a regular basis. Oh I want to say one other thing about when I first came here...
ZF: sure
DD: Everyone was so helpful. People were very nice and welcoming - like Zeno. And they told me about the gazette which is how I got my first place. So anyway we were checking the Real Estate Gazette on a regular basis and entirely independently of each other we ended up putting a down payment on TWO places!
Zoe Foodiboo laughs
DD: Aldo found this place, and I found a really nice apartment in the Bauhaus building. The rent was the same. By this point Taena was living in my old place on Frederichstrasse...which she HATED. She comes from an affluent family in Russia...
Zoe Foodiboo: ah.....
DD: So Aldo and I decided to keep the villa and give the Bauhaus apartment to Taena. Naturally she fell in love with it immediately.
ZF: Interesting!
DD: Well I wanted a garden....and also this is a quiet, private street, suitable for a married couple. And there's the park which is lovely.
ZF: yes, very lovely
DD: So that's how we ended up here. We decorated together initially...with the red leather couch. :)
ZF: hee hee
DD: and then eventually I decided I wanted to redecorate the whole place.
ZF: of course. Did you use any RL resources as reference?
DD: I needed an outlet for my creativity. Oh...haha not really except the kitchen. I was thinking about going for a modern, Bauhaus style
ZF: And what did you model the kitchen after.....tell me again?
DD: I probably would have done that if we ended up taking the apartment ((The kitchen is actually modeled in part after my rw kitchen when I lived in New York in an old railroad flat. It also fits my backstory))
ZF: ((perfect))
DD: The kitchen is very typical of a New York design with the stamped tin ceiling and hexagonal tile floor...you see that in apartments throughout New York.
Zoe Foodiboo nods and flips her notepad
DD: After we announced our engagement we had a big engagement party at the castle....most of Berln was there. Then we let it go since this place was so much more expensive than the old one...well he let it go...it was his castle really. ;)
ZF: who catered your party?
DD: Oh that's funny...the engagement party we did ourselves I think. But the wedding was catered by Morgy [Morganic Clarrington] of course
ZF: tell me about the wedding....
DD: The castle was on a beach so that was a beach party. Well we got married in the church of course. It took a lot of planning - Taena was a big help with that. Aldo took care of the judge and the priest and all that. I more or less handled everything else.
ZF: Judge and the priest were not from Berlin?
DD: My dress was a white evening gown of Sonatta's. Oh yes they were both from Berlin
ZF: Do you remember their names?
DD: Father Cuthbert [Cuthbert Helendale] blessed us. The judge is the woman judge who works here...and I apologize but I've completely forgotten her name.
It might be in the album.
Zoe Foodiboo grins
ZF: I'll check
DD: (she's based on a real woman judge from the period) Frau Jo [Frau Jo Yardley] will know.
ZF: okay. and your dress was a Sonatta Morales? How chic!
DD: Yes...well, originally I had wanted Aloysia to make my dress...but she never got around to it. So I had my eye on this gown at Sonatta's. I purchased that and then after searching high and low found a veil to go with it. (I should tell you some rl background that is relevant...my grandmother was a seamstress...and the dress I wore was very similar to the wedding dress she wore when she married my grandfather, which she made herself)
Zoe Foodiboo nods
DD: (You sometimes hear me talking about my ic mother...that character is a french version of my Italian grandmother)
ZF: ahhh
DD: (I weave a lot of real life references into my backstory)
ZF: fabulous
DD: So the wedding was at the church and then the reception took place at the Adlon. I decorated the church with white and purple roses to match the bridesmaid dresses, which were from Curious Seamstress. I wanted them to have gowns they could wear on other occasions. I have one myself! ;)
ZF: :)
DD: I bought all the dresses for them. One vivid memory I have...
Zoe Foodiboo nods
DD: When we were getting ready for the ceremony all the bridesmaids and myself gathered in the library, we were peeking out the windows trying not to be seen. Taena was outside orchestrating everything and sending me messages when relevant.
Zoe Foodiboo flips a page
DD: So I have fond memories of that library
Zoe Foodiboo grins
DD: (I've never been married in rl and have no intention to do so, so it was sort of fun to see what that would be like)
ZF: Who were your bridesmaids and groomsmen?
DD: Oh I mentioned the bridesmaids...Aloysia (which is Pola's [Pola Solo] alt, my sister (rl), my friend Katherine Barthe (both sl and rl friend), and Taena
The groomsman was...oh dear! I can't remember how silly of me!
Zoe Foodiboo giggles
DD: This is all the bridesmaids [points to a photo in her wedding album]
ZF: Did you reference any RL resources for your wedding?
DD: See there we are in the library waiting for it to start. Oh yes!
Zoe Foodiboo looks carefully through the album
DD: (Well I used my grandmother's wedding dress as a reference but I spent hours looking at 1920s wedding dresses...)
DoraDuchamp squints to see if she can find the groomsman
DD: As you can see Taena took a lot of these photos
DoraDuchamp frowns...maybe there was not a groomsman
Zoe Foodiboo nods
ZF: Aldo was new to Berlin when you two met?
DD: Fairly new...I think he was here about a month or two before me
ZF: Were there any SL limitations/challenges during your wedding?
DD: I think there must not have been a groomsman otherwise he'd be in that photo. Well the poses...Aldo took care of all that - he had to find good poses
Zoe Foodiboo nods
DD: That was difficult. Taena helped him with that too. The reception. [points out another photo in the album] He danced with Frau Jo
ZF: Who else attended your wedding?
DD: Anyway I will close this you can look at it later. Oh wait there is one picture I want to show you. This one! This is my favorite picture.
ZF: cute!
DD: On Aldo's motorbike in our wedding duds. Anyway you have one... :)
[Dora shows me a photo of her and Aldo on a motorbike in wedding attire]
...Can you excuse me one moment I have to powder my nose!
ZF: sure
DD: back. Haha...oh this song... [stops to hum along with a song on the radio]...it's called "redhead"
ZF: Great. Now that we've talked about one big Berlin event...let's switch gears to another. The Stephanie Helstein case.....What do you remember about that?
DD: Oh...before we talk about that...I wanted to say one other thing that's very important
ZF: Sure.
DD: One of the things that brought Aldo and I together was our love of Berlin. When we were courting and even after we got married we had a lot of adventures in Berlin together. On one date we took a rowboat down the spree and discovered the crypt under the church...
ZF: oh?
DD: ...then we made our way up the church tower all the way to the top and rang the church bell. We explored the warehouse district and various other nooks and crannies...and always went to the carnivals and such
ZF: any favorites?
DD: So our romance is very much tied to Berlin. Well we loved the carnival and the first year Morgan had it he made a poster for us. The married couple joined at the hip - "Doraldo" - he was the one that coined that nickname for us. Anyway...
ZF: Were you the first married couple in Berlin? or the first wedding, rather?
DoraDuchamp looks a little forlornly toward the foyer. No we were the second
DD: Zeno and gStone [GStone Turas] were the first. They were already divorced by the time I came here.
ZF: Ah. Enough said. :) So you were saying....
DD: Anyway...Aldo has not been around much lately as you know. He has been detained in Italy dealing with political and family matters. I see him rarely.
Zoe Foodiboo pats Dora's hand
DD: I hope he will come back soon, but in the meanwhile I keep myself busy with creative projects...and mysteries! :)
Zoe Foodiboo smiles
DD: Stephanie Helstein for instance!
ZF: You were friends with her?
DD: Yes very close friends...she confided in me often. As I've lived here a long time and people are so nice to me I try to make a point of welcoming newcomers
Zoe Foodiboo nods
DD: Stephanie and I became friends and she confided in me that she had escaped from...was it Breman? I can't remember which town...that she had run away from an abusive husband.
ZF: oh dear.....
DD: Yes....Also I think that experience made her have a preference for ladies....she would tell me about women she liked in Berlin.
DoraDuchamp smiles
Zoe Foodiboo returns Dora’s smile
DD: As it was all told to me in confidence...I kept it to myself. Annett was quite close to her as well...
ZF: Of course :)
DD: in some way I think her death brought Annett [Annett Jameson née Boehme] and I closer. Yes so Stephanie and I became friends and then one day a body was found underneath the bridge, badly beaten to death...it was very violent
Zoe Foodiboo's eyes widen
DD: I was very upset to learn that the body had been identified as Stephanie's and I immediately suspected her husband. Annett also had gotten some threatening letters telling her to stay away from Stephanie....
ZF: oh my!
DD: I went right down to the police station and told them all I knew! And I did suspect her husband all the while only because of what she'd told me...he was violent and was a brownshirt.
ZF: hmmmm
DD: The sad thing was that no one claimed the body from the morgue. So Desi [Desire Fallen] and I got together and claimed the body and arranged and paid for the funeral...Desi paid for most of it. Desi who lives next door
Zoe Foodiboo nods
DD: I can't remember if that was before the divorce...anyway there was a lovely funeral in the church...a number of people came. Then we had a luncheon catered by...who else...Clarrington! [Morganic Clarrington]
ZF: Did Father Helendale give the service?
DD: Yes. I read the Eulogy. I may have a copy of it...I wrote it myself. Father Cuthbert [Helendale] would not do the ceremony for our wedding, but he did it for the funeral. And he's done it since I think.
ZF: ((she actually gave me some documents and I can't find them in my inventory...I met her when I first arrived))
DoraDuchamp shuffles around in a drawer
DD: Here you go.
ZF: Perfect, thank you.
DD: Yes well there were some newspaper articles and eventually what happened was that the husband was arrested in the town they were from for bribing a police officer. Then he was charged with the murder of his wife. So as I suspected all along it was the husband.
Zoe Foodiboo nods
DD: (But here is the interesting part!)(A few months before this happened Morgan [Morganic Clarrington] and I were in Der Keller talking to Frau Jo and we suggested it would be fun to have a murder mystery in Berlin! I found out a few months after the Helstein incident that the whole thing was entirely planned by Frau Jo!
ZF: Interesting!
DD: (Stephanie was brought in as a special RP person to play the story out...and it was based on a real murder case). (YES) (What was amazing was to find myself at the cetner of it!)(I don't know who else was in on it, I suppose the police were, but it was a load of fun)
Zoe Foodiboo smiles
DD: Did you have any other questions about that?
ZF: None that I can think of....What happened to her husband? Was there a trial?
DD: Oh well he never came here but there was a newspaper article circulated that he was arrested and convicted of the murder. Not in Berlin...just the newspaper story.
ZF: ah...
DD: There have been other trials here but I have missed them all!
Zoe Foodiboo nods
ZF: Now, I have in my notes that you organized some sort of competition for the men of Berlin?
DD: Yes! Haha that was going to be my next topic.
ZF: Tell me about that.
DD: Yes well...It all started because I was spending a lot of time at the Eldorado...and always on stage there were scantily clad ladies....
Zoe Foodiboo chuckles
DD: ...and then one day I was talking to some folks about this at Der Keller...and I hatched a plan together with Crispin [Sturges] (the truth is it was really HIS idea!)
Zoe Foodiboo is not surprised in the least
DD: ...to have a men's leg competition. Everyone loved the idea except of course Frau Jo who thought we were all a bunch of perverts ...she's so Victorian...and Sonatta agreed immediately to host it at the Eldorado
ZF: she can be a bit stuffy...
DD: My theory was that men should be treated equally as sex objects to the women
ZF: I agree!
DD: So each of the men came and had to show off their legs and do a little routine of some sort. Aldo actually came which was hilarious. He showed a Rosecrucian tattoo he has on his thigh
ZF: oh my!
DD: And let's see who else...
DD checks some notes in a notebook
DD: (I'm looking in inventory since I still have all the tip hats!)
Zoe Foodiboo grins
DD: We put a tip hat in front of each contestant and the winner was whoever got the most tips! all the proceeds went to the sim! It was a benefit. We made a nice chunk of change...I can't remember exactly how much but it was a couple of thousand lindens. Here is the lineup: Sturges [Crispin Sturges], vonTrumper [Paul vonTrumper], Mills [Aldo Mills], Loire [Sein Loire], Gedenspire [Desmond Gedenspire aka Desireme Fallen Gedenspire]. Gus [Gustov Chesnokov] didn't participate sadly. Rose [Rosemary Thyme Chesnokova] said he could but he couldn't make it. Anyway you probably know that Sein won! We still tease him to this day about it!
ZF: Well, he does have stunning legs :) Gedenspire...Desireme.....as "Desmond", right?
DD: Oh...That's right, it was Desi! haha! Crispy was second...he wore stockings and a garter belt, which I thought was quite bold...Crispy has nice gams too!
ZF: I believe Wulfi [Wulfride Blitzen] helped him a lot with his costume...
DD: It was very close between the two of them. I'd already seen him in his liederhosen.
ZF: ((Yes, I was dumping gobs of money in both!))
DD: Anyway that was a lot of fun...I want to do another one. That was really my first Berlin project. Now I have two more....
ZF: Oh?
DD: the radio project and the Flapperettes.
ZF: Ah. Which shall we talk about first?
DD: The radio I think. So that is Taena's project....
ZF: Is that a prototype in the corner there?
DD: Yes exactly...the final looks nothing like that. There's the final vendor art...that's what the final one will look like
Zoe Foodiboo: thank you!
DD: Frau Jo and Taena made it together. Frau Jo wouldn't let us use this one because she felt it was not authentic 1929
ZF: It's smashing!
DD: So Taena did all the engineering...she's a genius! She came up with the system to play songs as sound effects and we iterated and tested it to death.
I spent hours listening to it and taking notes and sending them to her and I was put in charge of music. So we will have four collectsions, Broadway 1 and 2 and Cotton Club 1 and 2
ZF: Very nice!
DD: It can hold up to 50 songs! It's a technical marvel. I also did all the graphics and logos and the ad art
Zoe Foodiboo looks visibly impressed
DD: :) Yes I'm very proud of it...it's taken ages to finish. I think it will be out soon though...just in time for Christmas! Haha. We started on it last summer!
ZF: lovely!
DD: and Taena worked on it before that. DD: Now in terms of your earlier question, I did a TON of historical research on this. The music of course...I spent hours in song archives
ZF: online or in person?
DD: Online. And then also did a ton of research to get the graphics right
Zoe Foodiboo nods
DD: I also have a friend who is a 78 expert and he has re-released a number of 20's albums. I will use his stuff for the next set of collections. I also researched the graphics...I really wanted the graphics to be authentic
Zoe Foodiboo nods
ZF: So the Flapperettes...
ZF: Tell me about them?
DD: Yes so the Flapperettes...Zeno sent a call out for auditions for a dance troupe...it never even crossed my mind to audition...
Zoe Foodiboo nods
DD: but then he contacted me and told me he had hoped I would audition. I was quite flattered. Adele [Kling] and Tequila [Mockingbird aka Krovac] were both it it as well. We are good friends and neighbors
ZF: perfect!
DD: Adele more or less talked me into it! So the way it is working now is that the three of us are more or less running it. I do all the music, Adele interfaces with Zeno on booking gigs and publicity. Tequila does the choreography and the sets. And all three of us work on costumes. I'm also the stage manager so I boss people around on stage. hehe
ZF: You make your own costumes?
DD: ...and call all the queues. No no...we buy them all. Zeno has a budget
ZF: Nice.
DD: But the sets are all made by Tequila
ZF: wow!
DD: I also book the DJ's and such. And then Sasa [Sasa Steigerwald] and Luzie [Cheng] and the three of us are the "Principals" and we have some understudies
Zoe Foodiboo nods and scribbles
DD: Right now we have Lulu (victoriaweibes)and we will probably add one or two more. I think Annett will join after she has her baby...which I hope is soon!
It's fun being a Flapperette!
Zoe Foodiboo nods and smiles
DD: Zeno always said he would make us big stars...we do get a lot of attention
ZF: If anyone can, it's him!
DD: We are doing our first show outside of Berlin on October 11. I've also thrown a couple of parties. We had a Baby Shower for Rose at Tequila's and one for Annett here
ZF: how lovely
DD: (Now the only problem is that I found out AFTER I'd gotten them all organized that baby showers didn't really start until later)(apparently they had parties after the baby was born since the infant mortality rate was so high...it wasn't until later...I think the 40s or even 50s that they staarted having parties before the birth)(BUT...my invitations are authentic...I did a ton of research on those) :)
ZF: Oh I think I remember having that discussion with someone....
DD: I really love doing graphics and old timey images
Zoe Foodiboo nods
DD: Here is our wedding invitation(I hope it's okay I'm giving you all this stuff) That was my own design but based on graphics of the time and fonts and such. I spent hours and hours collecting 20s appropriate fonts. (You can tell when you look at the graphics) Oh and I started two groups:
ZF: sure, I’ll pass them on to Sein
DD: The Berlin Ladies Social Club, and the Jazz Babies group which is for 20s aficionados
ZF: What sort of activities do these groups do?
DD: Haha..well the baby showers were Ladies Social Club events. We haven't really had any others although we've talked about having "teas"(where we drink martinis) but I suppose I ought to do something with it eh? The Jazz Babies group is more for announcements like dances and such
Zoe Foodiboo grins
DD: And then I also do something I call the Berlin Breakfast Club. I noticed that people are in Berlin between around 7 and 9pm SLT. So if I come in and see a lot of people online I go over to the Cafe Elektric and announce the Berlin Breakfast Club is meeting there. Usually anywhere from two to five or six people show up
ZF: Nice!
DD: I haven't done it in a couple of weeks but it's become a little late night event...early morning Berlin time...sometimes we sit there until the sun comes up
ZF: Sounds marvelous!
DD: Is there anything else you wanted to ask me about?
ZF: hmmm.....I can't think of anything....is there anything else you'd like to share?
DD: Nothing that I can think of....
Zoe Foodiboo smiles
DD: I think I told you I volunteered to take over the museum
ZF: Well, this has been fascinating, Dora - thank you!
DD: I hope Frau Jo agrees! :) ...but that's the future! Thank you Zoe....I'm glad we finally got to do it!
ZF: It's always good to have something to look forward to.
DD: Yes!
Zoe Foodiboo drains her drink
DD: Well I really love Berlin...I think you can see that!
DoraDuchamp smiles
ZF: Indeed. Well, thank you again. I won't keep you any longer.
DD: I was so thrilled when you started the project and the archive. Thank you so much for coming over!
ZF: Oh it's been wonderful! I just adore Berlin!
DD: Yes it's a wonderful place. Have a nice evening! I look forward to hearing from you with the results!
DoraDuchamp waves
Zoe Foodiboo smiles and waves
DD: Ciao
ADDENDUM:
*Herr Mills was subsequently overtaken by the realis vita virus and never returned to Berlin. The two were divorced a month following this interview.
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Xiao Xiang-Yu, China:
Xiang Yu (Chinese: 項羽; pinyin: Xiàng yǔ, c. 232–202 BC), born Xiang Ji (項籍), was the Ba Wang (霸王) or Hegemon-King of Western Chu during the Chu–Han Contention period (206–202 BC) of China. A noble of the Chu state, Xiang Yu rebelled against the Qin dynastyand became a prominent warlord. He was granted the title of "Duke of Lu" (魯公) by King Huai II of the restoring Chu state in 208 BC. The following year, he led the Chu forces to victory at the Battle of Julu against the Qin armies led by Zhang Han. After the fall of Qin, Xiang Yu was enthroned as the "Hegemon-King of Western Chu" (西楚霸王) and ruled a vast area covering modern-day central and eastern China, with Pengcheng as his capital. He engaged Liu Bang, the founding emperor of the Han dynasty, in a long struggle for power, known as the Chu–Han Contention, which concluded with his eventual defeat at the Battle of Gaixia. He committed suicide at the bank of the Wu River.
Names and titles:
Xiang Yu's family name was Xiang (项; 項; Xiàng; Hsiang; Hong6) while his given name was Ji (籍; Jí; Chi; Zik6) and his courtesy name was Yu (羽; Yǔ; Yü; Jyu5). He is best known as Xiang Yu.
Xiang Yu is popularly known as "Xi Chu Ba Wang" (西楚霸王; Xī Chǔ Bà Wáng; Hsi Ch'u Pa Wang; Sai1 Co2 Baa3 Wong4), which has been translated as "Overlord of Western Chu", "Hegemon-King of Western Chu", "Conqueror of Western Chu", "King of Kings of Western Chu", and other renditions. This title is sometimes simplified to "Ba Wang" (霸王; Bà Wáng; Pa Wang; Baa3 Wong4), without the link to "Western Chu". Since Xiang Yu's death, the term Ba Wang has come to be used specifically to refer to him. Xiang Yu's subjects sometimes address him as "Xiang Wang" (项王; 項王; Xiàng Wáng; Hsiang Wang; Hong6 Wong4), which literally means "King Xiang".
Family background:
There are two accounts of Xiang Yu's family background. The first claimed that Xiang Yu was from the house of Mi (羋), the royal family of the Chu state in the Zhou dynasty. His ancestors were granted the land of Xiang (項) by the king of Chu and had since adopted "Xiang" as their family name. The other account claimed that Xiang Yu was a descendant of a noble clan from the Lu state and his family had served in the Chu military for generations. Xiang Yu's grandfather Xiang Yan [zh] was a well known general who led the Chu army in resisting the Qin invaders led by Wang Jian, and was killed in action when Qin conquered Chu in 223 BC.
Xiang Yu was born in 232 BC in the late Warring States period when the Qin state started unifying the other six major states. According to the descendants of the Xiang family in Suqian, Xiang Yu's father was Xiang Chao (項超), Xiang Yan's eldest son. Xiang Yu was raised by his elder uncle Xiang Liangbecause his father died early. In 221 BC, when Xiang Yu was about 11 years old, the Qin state unified China and established the Qin dynasty.
Xiang Yu had a double pupil in one of his eyes[1] just like the mythical Emperor Shunand Duke Wen of Jin. He was thus seen as an extraordinary person because his unique double pupil was a mark of a king or sage in Chinese tradition. Xiang Yu was slightly taller than eight chi (approximately 1.85 metres, about 6' 1") and possessed unusual physical strength as he could lift a ding (an ancient Chinese vessel resembling a giant cauldron on tripods).[1]
Early life:
In his younger days, Xiang Yu was instructed in scholarly arts and swordsmanship but he did not manage to master what he was taught, and his uncle Xiang Liang was not very satisfied with him.[1] Xiang Yu said, "Books are only useful in helping me remember my name. Mastering swordsmanship allows me to face only one opponent, so it's not worth learning. I want to learn how to defeat thousands of enemies."[1]Hence, his uncle tried to educate him in military strategy and the art of war instead, but Xiang Yu stopped learning after he had grasped the main ideas; Xiang Liang was disappointed with his nephew, who showed no sign of motivation or apparent talent apart from his great strength, so he gave up and let Xiang Yu decide his own future.[1][2]
When Xiang Yu grew older, Xiang Liang killed someone so they fled to Wu to evade the authorities. At the time, Qin Shi Huang was on an inspection tour in that area and Xiang Yu and his uncle watched the emperor's procession pass by. Xiang Yu said, "I can replace him."[1] Xiang Liang was shocked and immediately covered his nephew's mouth with his hand. Afterwards, Xiang Liang began to see his nephew in a different light.
Revolution against the Qin dynasty:
In 209 BC, during the reign of Qin Er Shi, peasant rebellions erupted throughout China to overthrow the Qin dynasty, plunging China into a state of anarchy. Yin Tong [zh], the Administrator of Kuaiji, wanted to start a rebellion as well, so he invited Xiang Liang to meet him and discuss their plans. However, the Xiangs lured Yin Tong into a trap and killed him instead, with Xiang Yu personally striking down hundreds of Yin's men. Xiang Liang initiated the rebellion himself and rallied about 8,000 men to support him. Xiang Liang proclaimed himself Administrator of Kuaijiwhile appointing Xiang Yu as a general. Xiang Liang's revolution force grew in size until it was between 60,000 and 70,000. In 208 BC, Xiang Liang installed Mi Xin as King Huai II of Chu to rally support from those eager to help him overthrow the Qin Dynasty and restore the former Chu state. Xiang Yu distinguished himself as a competent marshal and mighty warrior on the battlefield while participating in the battles against Qin forces.
Later that year, Xiang Liang was killed at the Battle of Dingtao against the Qin army led by Zhang Han and the military power of Chu fell into the hands of the king and some other generals. In the winter of 208 BC, another rebel force claiming to restore the Zhao state, led by Zhao Xie, was besieged in Handan by Zhang Han. Zhao Xie requested for reinforcements from Chu. King Huai II granted Xiang Yu the title of "Duke of Lu" (魯公), and appointed him as a second-in-command to Song Yi, who was ordered to lead an army to reinforce Zhao Xie. At the same time, the king placed Liu Bang in command of another army to attack Guanzhong, the heartland (capital territory) of Qin. The king promised that whoever managed to enter Guanzhong first will be granted the title "King of Guanzhong".
Battle of Julu:
Main article: Battle of Julu
The Chu army led by Song Yi and Xiang Yu reached Anyang, some distance away from Julu (巨鹿; in present-day Xingtai, Hebei), where Zhao Xie's forces had retreated to. Song Yi ordered the troops to lay camp there for 46 days and he refused to accept Xiang Yu's suggestion to proceed further. Xiang Yu took Song Yi by surprise in a meeting and killed him on a charge of treason. Song Yi's other subordinates were afraid of Xiang Yu so they let him become the acting commander-in-chief. Xiang Yu sent a messenger to inform King Huai II and the king approved Xiang's command.
In 207 BC, Xiang Yu's army advanced towards Julu and he sent Ying Bu and Zhongli Mo to lead the 20,000 strong vanguard army to cross the river and attack the Qin forces led by Zhang Han, while he followed behind with the remaining majority of the troops. After crossing the river, Xiang Yu ordered his men to sink their boats and destroy all but three days worth of rations, in order to force his men to choose between prevailing against overwhelming odds within three days or die trapped before the walls of the city with no supplies or any hope of escape. Despite being heavily outnumbered, Chu forces scored a great victory after nine engagements, defeating the 300,000 strong Qin army. After the battle, other rebel forces, including those not from Chu, came to join Xiang Yu out of admiration for his martial valour. When Xiang Yu received them at the gate, the rebel chiefs were so fearful of him that they sank to their knees and did not even dare to look up at him.
Zhang Han sent his deputy Sima Xin to Xianyang to request for reinforcements and supplies from the Qin imperial court. However, the eunuch Zhao Gao deceived the emperor and the emperor dismissed Zhang Han's request. Zhao Gao even sent assassins to kill Sima Xin when the latter was returning to Zhang Han's camp, but Sima managed to escape alive. In dire straits, Zhang Han and his 200,000 troops eventually surrendered to Xiang Yu in the summer of 207 BC. Xiang Yu perceived the surrendered Qin troops as disloyal and a liability, and had them executed by burying them alive at Xin'an (新安; in present-day Yima, Henan). Zhang Han, along with Sima Xin and Dong Yi, were spared from death. Xiang Yu appointed Zhang Han as "King of Yong", while Sima Xin and Dong Yi were respectively conferred the titles of "King of Sai" and "King of Di".
Feast at Hong Gate:
Main article: Feast at Hong Gate
After his victory at the Battle of Julu, Xiang Yu prepared for an invasion on Guanzhong, the heartland of the Qin dynasty. In the winter of 207 BC, the last Qin ruler Ziying surrendered to Liu Bang in Xianyang (Qin's capital), bringing an end to the Qin Dynasty. When Xiang Yu arrived at Hangu Pass, the eastern gateway to Guanzhong, he saw that the pass was occupied by Liu Bang's troops, a sign that Guanzhong was already under Liu's control. Cao Wushang (曹無傷), a subordinate of Liu Bang, sent a messenger to see Xiang Yu, saying that Liu would become King of Guanzhong in accordance with King Huai II's earlier promise, while Ziying would be appointed as Liu's chancellor. Xiang Yu was furious after hearing that. At that time, he had about 400,000 troops under his command while Liu Bang only had a quarter of that number.
As strongly encouraged by his advisor Fan Zeng, Xiang Yu invited Liu Bang to attend a feast at Hong Gate and plotted to kill Liu during the banquet. However, Xiang Yu later listened to his uncle Xiang Bo and decided to spare Liu Bang. Liu Bang escaped during the banquet under the pretext of going to the latrine.
Xiang Yu paid no attention to Liu Bang's presumptive title and led his troops into Xianyang in 206 BC. He ordered the execution of Ziying and his family, as well as the destruction of the Epang Palace by fire. It was said that Xiang Yu would leave behind a trail of destruction in the places he passed by, and the people of Guanzhong were greatly disappointed with him.[3]
Despite advice from his subjects to remain in Guanzhong and continue with his conquests, Xiang Yu was insistent on returning to his homeland in Chu. He said, "To not return home when one has made his fortune is equivalent to walking on the streets at night in glamourous outfits. Who would notice that?"[1] One of his followers said, "It is indeed true when people say that the men of Chu are apes dressed in human clothing." Xiang Yu had that man boiled alive when he heard that insult.[1]
Division of the empire:
See also: Eighteen Kingdoms:
After the downfall of the Qin dynasty, Xiang Yu offered King Huai II the more honourable title of "Emperor Yi of Chu" and announced his decision to divide the former Qin Empire. Xiang Yu declared himself "Hegemon-King of Western Chu" (西楚霸王) and ruled nine commanderies in the former Liang and Chu territories, with his capital at Pengcheng. In the spring of 206 BC, Xiang Yu divided the former Qin Empire into the Eighteen Kingdoms, to be granted to his subordinates and some leaders of the former rebel forces. He moved some of the rulers of other states to more remote areas and granted the land of Guanzhong to the three surrendered Qin generals, ignoring Emperor Yi's earlier promise to appoint Liu Bang as king of that region. Liu Bang was relocated to the remote Hanzhongarea and given the title of "King of Han" (漢王).
Xiang Yu appointed several generals from the rebel coalition as vassal kings, even though these generals were subordinates of other lords, who should rightfully be the kings in place of their followers. Xiang Yu also left out some other important rebel leaders who did not support him earlier, but did contribute to the overthrow of Qin. In winter, Xiang Yu moved Emperor Yi to the remote region of Chen, effectively sending the puppet emperor into exile. At the same time, he issued a secret order to the vassal kings in that area and had the emperor assassinated during his journey in 205 BC. The emperor's death was later used by Liu Bang as political propaganda to justify his war against Xiang Yu.
Shortly after the death of Emperor Yi, Xiang Yu had Han Cheng (King of Hán) put to death and seized Han's lands for himself. Several months later, Tian Rong (chancellor of Qi) took control over the Three Qis (Jiaodong, Qi and Jibei) from their respective kings and reinstated Tian Fu as the King of Qi, but he took over the throne himself afterwards. Similarly, Chen Yu, a former vice chancellor of Zhao, led an uprising against the King of Changshan, Zhang Er, and seized Zhang's domain and reinstalled Zhao Xie as the King of Zhao.
Chu–Han Contention:
Battle of Pengcheng:
In 206 BC, Liu Bang led his forces to attack Guanzhong. At that time, Xiang Yu was at war with Qi and did not focus on resisting the Han forces. The following year, Liu Bang formed an alliance with another five kingdoms and attacked Western Chu with a 560,000 strong army, capturing Xiang Yu's capital of Pengcheng. Upon hearing this, Xiang Yu led 30,000 men to attack Liu Bang and defeated the latter at the Battle of Pengcheng, with the Han army suffering heavy casualties.
Battle of Xingyang:
Liu Bang managed to escape after his defeat with Xiang Yu's troops on pursuit. Han troops retreated to Xingyang and defended the city firmly, preventing Chu forces from advancing west any further, but only managed to hold on until 204 BC. Liu Bang's subordinate Ji Xindisguised himself as his lord and surrendered to Xiang Yu, buying time for Liu Bang to escape. When Xiang Yu learned that he had been fooled, he became furious and had Ji Xin burned to death. After the fall of Xingyang, Chu and Han forces were divided on two fronts along present-day Henan. However, Xiang Yu's forces were not faring well on the battlefront north of the Yellow River, as the Han army led by Han Xin defeated his troops in every single battle. At the same time, Liu Bang's ally Peng Yue led his men to harass Xiang Yu's rear.
Treaty of Hong Canal:
By 203 BC, the tide had turned in favour of Han. Xiang Yu managed to capture Liu Bang's father after a year-long siege and he threatened to boil Liu's father alive if Liu refused to surrender. Liu Bang remarked that he and Xiang Yu were oath brothers,[4] so if Xiang killed Liu's father, he would be guilty of patricide. Xiang Yu requested for an armistice, known as the Treaty of Hong Canal, and returned the hostages he had captured to Liu Bang as part of their agreement. The treaty divided China into east and west under the Chu and Han domains respectively.
Battle of Guling:
Shortly after, as Xiang Yu was retreating eastwards, Liu Bang renounced the treaty and led his forces to attack Western Chu. Liu Bang sent messengers to Han Xin and Peng Yue, requesting for their assistance in forming a three-pronged attack on Xiang Yu, but Han Xin and Peng Yue did not mobilise their troops and Liu Bang was defeated by Xiang Yu at the Battle of Guling. Liu Bang retreated and reinforced his defences, while sending emissaries to Han Xin and Peng Yue, promising to grant them fiefs and titles of vassal kings if they would join him in attacking Western Chu.
Defeat and downfall:
Main article: Battle of Gaixia:
In 202 BC, Han armies led by Liu Bang, Han Xin and Peng Yue attacked Western Chu from three sides and trapped Xiang Yu's army, which was low on supplies, at Gaixia. Liu Bang ordered his troops to sing folk songs from the Chu region to create a false impression that Xiang Yu's native land had been conquered by Han forces. The morale of the Chu army plummeted and many of Xiang Yu's troops deserted in despair. Xiang Yu sank into a state of depression and he composed the Song of Gaixia. His wife Consort Yu committed suicide. The next morning, Xiang Yu led about 800 of his remaining elite cavalry on a desperate attempt to break out of the encirclement, with 5,000 enemy troops pursuing them.
After crossing the Huai River, Xiang Yu was only left with a few hundred soldiers. They were lost in Yinling (陰陵) and Xiang Yu asked for directions from a farmer, who directed him wrongly to a swamp. When Xiang Yu reached Dongcheng (東城), only 28 men were left, with the Han troops still following him. Xiang Yu made a speech to his men, saying that his downfall was due to Heaven's will and not his personal failure. After that, he led a charge out of the encirclement, killing one Han general in the battle. Xiang Yu then split his men into three groups to confuse the enemy and induce them to split up as well to attack the three groups. Xiang Yu took the Han troops by surprise again and slew another enemy commander, inflicting about 100 casualties on the enemy, while he only lost two men.
Death:
Xiang Yu retreated to the bank of the Wu River (near present-day He County, Maanshan, Anhui) and the ferryman at the ford prepared a boat for him to cross the river, strongly encouraging him to do so because Xiang Yu still had the support of the people from his homeland in the south. Xiang Yu said that he was too ashamed to return home and face his people because none of the first 8,000 men from Jiangdong who followed him on his conquests survived. He refused to cross and ordered his remaining men to dismount, asking the ferryman to take his warhorse, Zhui (騅), back home.
Xiang Yu and his men made a last stand against wave after wave of Han forces until only Xiang himself was left alive. Xiang Yu continued to fight on and slew over 100 enemy soldiers, but he had also sustained several wounds all over his body. Just then, Xiang Yu saw an old friend Lü Matong among the Han soldiers, and he said to Lü, "I heard that the King of Han (Liu Bang) has placed a price of 1,000 gold and the title of "Wanhu Marquis" (萬戶侯; lit. "marquis of 10,000 households") on my head. Take it then, on account of our friendship." Xiang Yu then committed suicide by slitting his throat with his sword, and a brawl broke out among the Han soldiers at the scene due to the reward offered by Liu Bang, and Xiang Yu's body was said to be dismembered and mutilated in the fight. The reward was eventually claimed by Lü Matong and five others.
After Xiang Yu's death, Western Chu surrendered and China was united under Liu Bang's rule, marking the victory of the Han dynasty. Liu Bang held a grand state funeral for Xiang Yu in Gucheng (穀城; in Dongping County, Taian, Shandong), with the ceremony befitting Xiang's title "Duke of Lu". Xiang Yu's relatives were spared from death, including Xiang Bo, who saved Liu Bang's life at the Feast at Hong Gate, and they were granted marquis titles.
Depiction of character:
Xiang Yu is depicted as a ruthless leader, in sharp contrast to his rival, Liu Bang. He was a mass murderer, ordering the massacres of entire cities even after they surrendered peacefully. This often led to cities putting up strong resistance, as they knew they would be killed even if they surrendered. The most notorious example of his cruelty was when he ordered the 200,000 surrendered Qin troops to be buried alive after the Battle of Julu,[5][verification needed][6][verification needed] and the gruesome methods of execution he employed against his enemies and critics. Conversely, Liu Bang is portrayed as a shrewd and cunning ruler who could be brutal at times,[7] but forbade his troops from looting the cities they captured and spared the lives of the citizens, earning their support and trust in return. Xiang Yu's story became an example for Confucianists to advocate the idea that leaders should rule with benevolence and not govern by instilling fear in the people. However, his ambitions ended with the collapse of Western Chu, his defeat by Liu Bang, and his death at the early age of around 30.
Song of Gaixia:
The Song of Gaixia (垓下歌), translated as The Hegemon's Lament by Burton Watson,[8]was a song composed by Xiang Yu while he was trapped by Liu Bang's forces at Gaixia.[citation needed]
The lyrics in English as follows are based on Burton Watson's translation:[9]
^ "Dapple" is Watson's translation of the name of Xiang Yu's warhorse Zhui (騅)
^ This "Yu" refers to Xiang Yu's wife Consort Yu
EvaluationEdit
The historian Sima Qian, who wrote Xiang Yu's biography in the Records of the Grand Historian, described Xiang as someone who boasted about his achievements and thought highly of himself. Xiang Yu preferred to depend on his personal abilities as opposed to learning with humility from others before him. Sima Qian thought that Xiang Yu had failed to see his own shortcomings and to make attempts to correct his mistakes, even until his death. Sima Qian thought that it was ridiculous when Xiang Yu claimed that his downfall was due to Heaven's will and not his personal failure.[1]
Liu Bang's general Han Xin, who was one of Xiang Yu's opponents on the battlefield, made a statement criticising Xiang, "A man who turns into a fierce warrior when he encounters a rival stronger than he is, but also one who is sympathetic and soft hearted when he sees someone weaker than he is. Neither was he able to make good use of capable generals nor was he able to support Emperor Yi of Chu, as he killed the emperor. Even though he had the name of a Conqueror, he had already lost the favour of the people."[10][verification needed]
The Tang dynasty poet Du Mu mentioned Xiang Yu in one of his poems Ti Wujiang Ting (題烏江亭): "Victory or defeat is common in battle. One who can endure humiliation is a true man. There are several talents in Jiangdong, who knows if he (Xiang Yu) can make a comeback?"[11][verification needed] However, the Song dynasty poet Wang Anshi had a different opinion, as he wrote, "The warrior is already tired after so many battles. His defeat in the Central Plains is hard to reverse. Although there are talents in Jiangdong, are they willing to help him?"[12][verification needed] The Song Dynasty female poet Li Qingzhao wrote: "A hero in life, a king of ghosts after death. Until now we still remember Xiang Yu, who refused to return to Jiangdong."[13][verification needed]
Mao Zedong also once mentioned Xiang Yu, "We should use our remaining strength to defeat the enemy, instead of thinking about achieving fame like the Conqueror."[14][verification needed] In 1964, Mao also pointed out three reasons for Xiang Yu's downfall: not following Fan Zeng's advice to kill Liu Bang at the Feast at Hong Gate and letting Liu leave; adhering firmly to the terms of the peace treaty (without considering that Liu Bang might betray his trust); building his capital at Pengcheng.
Xiang Yu is popularly viewed as a leader who possessed great courage but lacked wisdom, and his character is aptly summarised using the Chinese idiom you yong wu mou(simplified Chinese: 有勇无谋; traditional Chinese: 有勇無謀; pinyin: yǒu yǒng wú móu),[15]meaning "has courage but lacks tactics", "foolhardy". Xiang Yu's battle tactics were studied by later military leaders while his political blunders served as cautionary tales for later rulers.[citation needed] Another Chinese idiom, si mian chu ge (Chinese: 四面楚歌; pinyin: sì miàn chǔ gē; lit.: 'surrounded by Chu songs'), was also derived from the Battle of Gaixia, and used to describe someone in a desperate situation without help. Another saying by Liu Bang, "Having a Fan Zeng but unable to use him" (有一范增而不能用), was also used to describe Xiang Yu's reliance on his advisor Fan Zeng and failure to actually listen to Fan's advice.[citation needed]
《垓下歌》
力拔山兮氣蓋世。
時不利兮騅不逝。
騅不逝兮可奈何！
虞兮虞兮奈若何！
The Hegemon's Lament
My strength plucked up the hills,
My might shadowed the world;
But the times were against me,
And Dapple[a] runs no more;
When Dapple runs no more,
What then can I do?
Ah, Yu,[b] my Yu,
What will your fate be?
Cultural references:
Xiang Yu's might and prowess in battle has been glorified in Chinese folk tales, poetry, and novels, and he has been the subject of films, television, plays, Chinese operas, video games and comics. His classic image is that of a heroic and brave, but arrogant and bloodthirsty warrior-king. His romance with his wife Consort Yu and his suicide have also added a touch of a tragic hero to his character.[original research?][citation needed]
Poetry, folk tales, novels:
Xiang Yu's might and prowess in battle appears in Chinese folk tales and poetry, e.g., in his final battle.[16] The Meng Ch'iu, an 8th-century Chinese primer, contains the four-character rhyming couplet: "Ji Xin impersonates the Emperor". It referred to the episode in the Battle of Xingyang when Ji Xin and 2,000 women disguised themselves as Liu Bang and his army, to distract Xiang Yu in order to buy time for Liu Bang to escape from the city of Xingyang.[17]
In Romance of the Three Kingdoms, one of the Four Great Classical Novels of Chinese literature, Sun Ce is nicknamed "Little Conqueror" (小霸王) and is often compared favourably to Xiang Yu by his contemporaries.[citation needed] Sun Ce is best known for his conquests in the Jiangdong region that laid the foundation of the state of Eastern Wu in the Three Kingdoms era. In Water Margin, another of the Four Great Classical Novels, Zhou Tong, one of the 108 outlaws, is nicknamed "Little Conqueror" for his resemblance to Xiang Yu in appearance.
In Jin Ping Mei, (Ci Hua edition) Xiang Yu (项籍) is mentioned as an example of a tragic character in the song at the opening of the first chapter.[18]
The character Mata Zyndu in Ken Liu's epic fantasy novel The Grace of Kings is based on Xiang Yu.
Operas:
A famous Beijing opera, The Hegemon-King Bids His Lady Farewell, depicts the events of Xiang Yu's defeat at the Battle of Gaixia. The title of the play was borrowed as the Chinese title for Chen Kaige's award-winning motion picture Farewell My Concubine.[citation needed]
Television:
Portrayed by Shek Sau in the 1985 Hong Kong television series The Battlefield.
Portrayed by Hu Jun in the 2003 Chinese television series The Story of Han Dynasty.
Portrayed by Kwong Wah in the 2004 Hong Kong television series The Conqueror's Story.
Portrayed by Tan Kai in the 2010 Chinese television series The Myth.
Portrayed by Peter Ho in the 2012 Chinese television series King's War.
Portrayed by Ming Dao in the 2012 Chinese television series Beauties of the Emperor.
Portrayed by Qin Junjie in the 2015 Chinese television series The Legend of Qin.
Portrayed by Tim Yu in the 2018 Chinese television series Hero's Dream.
Film:
Portrayed by Ray Lui in the 1994 Hong Kong film The Great Conqueror's Concubine.
Portrayed by Feng Shaofeng in the 2011 Chinese film White Vengeance.
Portrayed by Daniel Wu in the 2012 Chinese film The Last Supper.
Video games:
Xiang Yu is one of the thirty-two historical figures who appear as special characters in the video game Romance of the Three Kingdoms XI by Koei.[citation needed] He is also featured as a non-playable character (NPC) in the action role-playing game Prince of Qin.[citation needed] Xiang Yu is one of the main two characters in the 1990s Super Nintendo historical simulation game Rise of the Phoenix by the Koei corporation, the other being Liu Bang. Xiang Yu is a playable character in the online mobile role-playing game Fate/Grand Order.
References:
Citations:
^ a b c d e f g h i Sima Qian. Records of the Grand Historian, Volume 7, Annals of Xiang Yu.
^ "Xiang Yu - Famous Leader of Uprising in Ancient China". Cultural China. Archived from the original on October 14, 2013. Retrieved November 20, 2014.
^ Sima Qian. Records of the Grand Historian, Volume 1, Biography of Emperor Gaozu.
^ Liu Bang and Xiang Yu became sworn brothers in a ceremony with King Huai II of Chu as their witness in 208 BC.
^ 王杰. 项羽坑杀了二十万秦朝降兵吗? (in Chinese).
^ “火烧阿房”：蒙的什么冤，平的什么反？ (in Chinese). 陕西新闻网.
^ Sima Qian. Records of the Grand Historian, Volume 8.
^ "Archived copy" (PDF). Archived from the original (PDF) on June 6, 2011. Retrieved January 14, 2010. Writing Sima Qian's Rhetorical Style into English—On Burton Watson's Translation of Records of the Grand Historian. Xiuying Li, Dalian University of Technology.
^ Minford, John, ed. (2000). An Anthology of Translations Classical Chinese Literature Volume I: From Antiquity To The Tang Dynasty. Columbia University Press. pp. 414–415. ISBN 0-231-09676-3.
^ (遇強則霸的匹夫之勇，和遇弱則憐的婦人之仁。既不能任用賢能將帥，又曾遷逐楚義帝，用兵趕盡殺絕。雖名為霸王，其實民心盡失。)
^ (勝敗兵家事不期，包羞忍恥是男兒。江東弟子多才俊，捲土重來未可知。)
^ (百戰疲勞壯士衰，中原一敗勢難回。江東子弟今雖在，肯與君王捲土來。)
^ (生當作人傑，死亦為鬼雄，至今思項羽，不肯過江東。)
^ (宜將剩勇追窮寇，不可沽名學霸王。)
^ 看《神话》穿越历史 西楚霸王项羽有勇无谋 (in Chinese). 半岛网 (www.bandao.cn). January 27, 2010. Archived from the original on October 9, 2011.[verification needed]
^ Xiang Yu (Chinese rebel leader) Britannica Online Encyclopedia
^ David Johnson, The City-God Cults of T'ang and Sung China, Harvard Journal of Asiatic Studies, Vol. 45, No. 2 (Dec., 1985), pp. 363-457
^ "Text of Jin Ping Mei". Chinese Text Project. Retrieved 6 December 2014.
Sources:
Sima Qian. Records of the Grand Historian, Volume 7.
Ban Gu et al. Book of Han, Volume 31.
Sima Guang. Zizhi Tongjian, volumes 8, 9, 10, 11.
Hegemon-King of Western Chu
House of Xiang
Born: 232 BC Died: 202 BC
Titles in pretence:
Preceded by: Emperor Yi of Chu— TITULAR —
Hegemon-King of Western Chu. 206–202 BC
Reason for succession failure:
Chu–Han Contention Succeeded by: Han Xin as King of Chu
— TITULAR —
Emperor of China: 206–202 BC
Reason for succession failure:
Chu–Han Contention Succeeded by: Emperor Gaozu of Han.
Gilles Fuchs, France:
Enjoy the last segment of the series, introducing Gilles Fuchs--founder of the Marcel Duchamp Award, which is a key point of this exhibition, and currently a representative of the Association for the International Diffusion of French Art (ADIAF)--whose responses exude his abundant love of art.
Profile:
Establishing the Association for the International Diffusion of French Art (ADIAF) in 1994, serving as a representative of that organization since 1998, and establishing the Marcel Duchamp Award in 2000, Gilles Fuchs serves as a spokesman for the development of French contemporary art.
Q: Please describe about your profession?
A: I am now retired (I previously was in the fashion and perfume business) but I have been for nearly fifty years an "addict" art collector.
Upon my retirement I created with some friends an Association to promote French artists abroad. (ADIAF)
We were convinced that the French way of life or "civilisation" should be taken with more consideration than it is presently the case.
The main art stream (under the fallacious reason that it should be better understood by" every one") has aimed at being spectacular, "sensational" and out of measure with some tendency to vulgarity.
French art is by tradition based on reflection, elegance and sense of measure. It is a humanism. Two different aims; one, provocative to the extreme; the other one discreet and trying to convince.
Our association is composed exclusively of contemporary art collectors (about 300).
We wish to underline the choices of collectors, with modest means, what play an active part in the present art world distinct from the overwhelming institutions or "institutional collectors".
Their choices are not based on speculation but on their deep taste and reflection. The value or symbolic financial status of a work of art is far from their main preoccupation.
They never forget Leonardo Da Vinci: "art is cosa mentale"
It is a sort of democratic alternative.
Q: Frankly why do you collect the art?
A: Collectors are "maniac"; it is part of their character and they cannot live without indulging in this side of themselves.
You may collect everything from stamps to "white elephants" but it is theoretically a finished world. There is a day when your collection is completed.
This is not the case when you collect contemporary art. There is always something new happening and like mushroom in autumn, new artists spring from anywhere with something new to say or a new way to say it.
This is the interest of collecting an art that is always challenging
Art is the soul of its time:To be in close contact with it is essential. To learn about it when it has become historical loses some impact.
Art is a choice of society .There is no aesthetics without ethics.
Q: Among many high-profile artists, whom are you keeping eyes on?
As I told previously I am more interested in emerging artists than in celebrities. It is then that you may feel the vulnerability of a work as well as its raw boldness. Creation is always stimulating. I am not a prophet, I like to discover.
Celebrities have to consolidate their works, to make them more understandable, more acceptable. But there may be repetitions (with no real meaning) or even complaisance.
It is like the story of the 3 little pigs.
One builds his house quickly in straw.
The second one is more cautious and makes it in wood.
The third one works for eternity and builds it in stone.
I may often prefer the first one.
Relevant information:
・The answer from the collector participating in "French Window" exhibition
- File01. Jerome and Emmanuelle de Noirmont
- File02. Alex and Greta Vanden Berghe
- File03. Michel Poitevin
- File04. Gilles Fuchs:
・The Answer from the artist participating in "French Window" exhibition.
- File01. Mathieu Mercier
- File02. Pierre Ardouvin
- File03. Thomas Hirschhorn
- File04. Camille Henrot
- File05. Claude Closky
- File06. Valerie Belin
- File07. Philippe Mayaux
・"French Window: Looking at Contemporary Art through the Marcel Duchamp Prize"
・Mori Art Museum on Flickr:
Images of "French Window: Looking at Contemporary Art through the Marcel Duchamp Prize"-1
Images of "French Window: Looking at Contemporary Art through the Marcel Duchamp Prize"-2
Images of "French Window: Looking at Contemporary Art through the Marcel Duchamp Prize"-3.
Günther Jauch, Germany:
Günther Johannes Jauch (German pronunciation: [ˈɡʏntɐ joˈhanəs ˈjaʊx]; born 13 July 1956) is a German television presenter, television producer, and journalist.
Biography:
Jauch was born in Münster. He is known for a unique style of informing and entertaining people that is generally considered witty and funny. He won several awards for his appearances in German television. Jauch also owns the production company "i&u TV", which stands for Information und Unterhaltung("information and entertainment"). He is known to make large donations to charity from money he receives from his appearances in advertisements and other promotional work.
Jauch has used his personal wealth to purchase and restore several historic buildings in and around Potsdam, his current town of residence.
In the 1980s, Jauch worked for radio programs of Bayerischer Rundfunk. Jauch has produced and hosted the prime time TV programme stern TV [de], a television news magazine programme, on the private German RTL national TV network since 1990. The programme caused some sensation due to the transmission of falsified articles delivered by the journalist Michael Born who was subsequently convicted to a four-year prison sentence in 1996, a few other prominent German TV networks had also been deceived with such material.[1] In January 2011, after celebrating the end of his 21-year reign hosting stern TV [de], Jauch will now host a weekly political talkshow on the national German public TV network Das Erste ("The First").[2]
In 2005, Jauch was named by Stern magazine the most famous German in the world. In late 2006, Jauch announced that he would only host the first broadcast of the Four Hills Tournament (from Oberstdorf) and celebrate New Year's Eve with his family. Jauch had hosted all events of the Four Hills Tournament since 2000. The 2007 season tournaments from Garmisch-Partenkirchen, Innsbruck and Bischofshofen were hosted by Marco Schreylinstead.[3]
Jauch, together with Thomas Gottschalk, is also part of the German TV show Die 2 - Gottschalk und Jauch gegen alle.[4]
In 2015, shortly after Stefan Raab had announced the end of his TV career, Jauch declared publicly that he intends to gradually reduce his appearance on TV too; stating that he will eventually give up his political talk show Günther Jauch on ARD and to focus on his other TV shows such as Wer wird Millionär? on RTL.[5][6]
Personal life:
After 18 years of common-law marriage, Jauch married Thea in the Orangerie at Schloss Sanssouci in Potsdam in 2006.[7][8] He is a member of the Hamburg Jauch family.
Jauch and Thea have two biological daughters, Svenja (born in 1989) and Kristin (born in 1993). The couple adopted two orphaned daughters in 1997 and 2000, named Katja and Masha.[9][3]
Philanthropy:
Jauch is characterised by his secluded lifestyle. He stated in interviews that he takes the liberty of leading a life that does not correspond to his supposed economic possibilities. According to his own statement, he has spent considerable amounts of his income, including all the profit from advertising jobs, on charitable causes since the early years of his career.[10] In 2002, he made significant financial contributions to the reconstruction of the Fortunaportal (Gate of the Fortuna) at the Potsdam Stadtschloss city palace. Jauch has also given financial support to other projects in Potsdam, e.g. the Belvedere on the Pfingstberg, (where he got married in 2006), the Potsdam city canal, the Kloebersaal,[11] a hall in the north wing of the Marmorpalais (Marble Palace), which is opposite his villa at Heiligen See lake, as well as the restoration of the Neptungrotte (Neptune Grotto) in the palace gardens of Schloss Sanssouci.[12] Furthermore, he supported the construction of the Marienschule Potsdam, a co-educational Roman-Catholic school for primary and secondary education, which belongs to the archdiocese of Berlin.[13][14] The prime minister of Brandenburg, Matthias Platzeck, called him a citizen every mayor could ever wish for.[15] Jauch was an ambassador for the Berlin Pro-Reli-Kampagne, a petition which aimed to change the Education Act of the state of Berlin in order to introduce religious studies as an elective subject instead of ethics as a sole compulsory subject. The campaign eventually failed in April 2009.
Jauch’s ancestress on his grandmother’s side, Anna Weißebach, founded the CaritasKonferenzen, the German branch of the International Association of Charities. Jauch’s own family set up soup kitchens in Hamburg as early as the 19th and 20th century and founded and maintained poorhouses in Hamburg and other places. In line with his family’s tradition of charitable foundations, Jauch endowed the founding of a branch of Die Arche in Drewitz(Potsdam) in 2009, which provides free meals for children in need. He also covers ongoing property and personnel expenses.[16] Die Arche – Christliches Kinder- und Jugendwerk e.V. is a Christian organisation for children and adolescents.
Vineyard owner:
Günther Jauch is also continuing a 200 year-old family tradition of wine-growing.[17] In 2010, he successfully applied for membership in the German Prädikat Wine Estates VDP (German: “Verband Deutscher Prädikats- und Qualitätsweingüter”), in order to acquire a relative’s vineyard (Othegraven in Kanzem) which was approved by VDP that certifies Germany’s wines that meet the organizations requirements.[18] The entire property, including a mansion and an English Garden, has been subject to preservation orders since 2003.
Günther Jauch’s family has been running the winery since 1805, when his ancestor and merchant Emmerich Grach bought the property. Jauch’s grandmother Elsa von Othegraven, his grandfather Hans Jauch and his father Ernst-Alfred Jauch were part of the community of heirs. However, in 1996 the winery was inherited by a distant relative.
In order to ensure that the winery was not going to be sold to a party outside the family, Günther Jauch decided to buy it.[19] One of the previous owners had been Jauch's famous great-great-uncle, Franz Weißebach. According to the VDP, the vineyard is a gem of a vineyard, rare in its quality and attractive location.[17] In 2011, Jauch acquired a further vineyard (Wawerner Herrenberg) in Wawern that is 3.5 acres.[20] It had also belonged to his ancestor Emmerich Grach. Günther Jauch also co-produced wines that supermarket chain Aldi has been selling under his name since 2018.[21]
Dispute about privacy:
Günther Jauch wanted to legally prohibit any type of media coverage in the preparation of his wedding in July 2006. The Landgericht Berlin granted him an interim injunction against the newspaper Bild and other publications of the Springer publishing house.[22] The Kammergericht Berlin, however, decided against a prohibition of general media coverage in June 2006 due to his celebrity status. According to the judges, they were allowed to report about the date and place of the wedding.[23] After the magazine Bunte published photos of the wedding and details about the ceremony, Thea Jauch went to court against the publishing house to demand damages and compensation for pain and suffering totalling 325,000 Euros. The Landgericht Hamburg awarded her only 25,000 Euros compensation in January 2008. The judgment was set aside by the Hanseatisches Oberlandesgericht in October 2008. As a public figure, interest in Jauch’s wedding was legitimate, it said. An anew appeal was refused by the Federal Constitutional Court. The demand for damages by Günther Jauch in a separate lawsuit was in vain as well.
The couple then went before the European Court of Human Rights to claim that the German justice system did not protect Jauch's right to privacy sufficiently and breached his right to protection of property, because they did not award him damages for the published photos. The court in Strasbourg affirmed the public’s interest in his wedding and therefore, their claims were without cause. German justice had carefully weighed between the right to privacy and the freedom of the press, it said. The complaint was declared inadmissible.[24]
Shows hosted:
1985–1987: Live aus dem Alabama
1988–1997: Das aktuelle sportstudio (Up-to-date Sport news)
since 1989: Menschen, Bilder, Emotionen (People, Pictures, Emotions)
1990–2010: Stern TV
since 1999: Wer wird Millionär? (German version of Who Wants to Be a Millionaire?)
2000–2006: RTL-Skispringen (ski jumping)
2001–2004: Der Große IQ-Test (The Big IQ Test)
2001–2009: 5-Millionen SKL Show
2002–2004: Grips-Show (Brain Show)
since 2009: 5 gegen Jauch (5 against Jauch)
2011–2015: Günther Jauch (Sunday evening political talkshow on Das Erste)
2013–2017: Die 2 – Gottschalk & Jauch gegen alle (with Thomas Gottschalk and Barbara Schöneberger)
2016–2017: 500 – Die Quiz-Arena
since 2018: Denn sie wissen nicht, was passiert – Die Jauch-Gottschalk-Schöneberger-Show (with Thomas Gottschalk and Barbara Schöneberger)
since 2019: Bin ich schlauer als Günther Jauch? (Am I smarter than Günther Jauch?)
Awards:
1988: Goldene Kamera
1989: Bayerischer Fernsehpreis
1990: Bambi
1998: Bayerischer Fernsehpreis together with Marcel Reif
2001: Goldene Kamera, Bayerischer Fernsehpreis, Bambi for Wer wird Millionär?
2002: Adolf-Grimme-Preis
2003: Unsere Besten, Rank 29, Osgar, Bambi
2006: Deutscher Fernsehpreis
2010: Deutscher Fernsehpreis
2011: Goldene Kamera, red dot design award
2012: Goldene Kamera
Products advertised:
Krombacher (beer)
Karstadt Quelle (a department store / mail-order company)
Süddeutsche Klassenlotterie [de] (a lottery)
DHL (a postal service owned by Germany's Deutsche Post alongside Thomas Gottschalk)
World Wide Fund for Nature (a nature preserve organization)
References in popular culture:
Jauch is mentioned in the song Rot by Markus Henrik, in his role as the host of the show Wer wird Millionär? (Who Wants to Be a Millionaire?).
Jauch is also mentioned in the Blumentopf song "Warum eigentlich nicht?"
References:
^ Thomas Pritzl: Der Fake-Faktor. Spurensuche im größten Betrugsfall des deutschen Fernsehens. kopäd, 2006, ISBN 3-938028-69-6
^ "Günther Jauch ab 2011 im Ersten". Das Erste (in German). Archived from the original on 13 June 2010. Retrieved 22 January 2011.
^ a b "Der Familie zuliebe: Jauch tritt kürzer". Der Spiegel (in German). 27 December 2006. Retrieved 27 December 2006.
^ "RTL: Die 2: Gottschalk und Jauch gegen alle" (in German).
^ "Südddeutsche: Zum Rückzug von Günther Jauch" (in German).
^ "Spiegel: Abschied von Jauchs ARD-Talk: Es wurde Zeit" (in German).
^ "Günther Jauch heiratet seine Thea" (in German). 28 March 2006.
^ "IMDb: Günther Jauch - Biography".
^ "Günther Jauch adoptiert zweites Waisenkind" (in German). 7 May 2000.
^ "Jauch verschenkt "jeden Cent"" (in German). Archived from the original on 2005-02-03.
^ "Ein Fall für Jauch: Kloebersaal wieder geöffnet" (in German). 27 June 2003.
^ "Schlosspark Sanssouci: Günther Jauch spendet eine Million für Grottensanierung"(in German).
^ "Opus Dei erhält Schulverbot". F (in German).
^ "Günther Jauch und Katherina Reiche stehen Pate" (in German).
^ "Montblanc de la Culture Arts Patronage Award 2003" (in German).
^ "Geldflut für die "Arche"" (in German).
^ a b "VDP Prädikatsweingüter: Günther Jauch aufgenommen | News | DER DEUTSCHE WEINBAU".
^ "Günther Jauch wird Winzer" (in German).
^ "Spiegel-Gespräch : "Ich bin angstfrei" - Der Spiegel 26/2011" (in German).
^ "Günther Jauch: "Ich dachte, ich werde da mal ebenso rotnasig wie freundlich auf der Veranda sitzen"". Die Zeit (in German). 21 September 2011. ISSN 0044-2070.
^ "Jauch verrät neue Details zu seinem Aldi-Wein" (in German). 3 April 2018.
^ "Bild darf keine Einzelheiten über Jauchs Hochzeit verbreiten" (in German).
^ "Netzeitung Medien: Jauchs Berichterstattungsverbot eingeschränkt" (in German). Archived from the original on 2006-07-01.
^ "Günther Jauch und seine Frau scheitern mit Klage vor Menschenrechtsgerichtshof" (in German).
Andy Lou, Hong Kong:
Andy Lau Tak-wah BBS MH JP[3] (traditional Chinese: 劉德華; simplified Chinese: 刘德华, born 27 September 1961), is a Hong Kong actor, singer-songwriter and film producer. He has been one of Hong Kong's most commercially successful film actors since the mid-1980s, performing in more than 160 films while maintaining a successful singing career at the same time.[4] In the 1990s, Lau was branded by the media as one of the Four Heavenly Kings of Cantopop and was named as "Fourth Tiger" among the Five Tiger Generals of TVBduring the 1980s[5]
Lau was entered into the Guinness World Records for the "Most Awards Won by a Cantopop Male Artist". By April 2000, he had already won an unprecedented total of 292 awards.[6] Lau also holds numerous film acting awards, having won the Hong Kong Film Award for Best Actorthree times and the Golden Horse Award for Best Leading Actor twice. In 2005, Lau received the "No.1 Box office Actor 1985–2005" award of Hong Kong,[7] yielding a box office total of HK$1,733,275,816 for shooting 108 films in the past 20 years,[6][8] and in 2007, he received the "Nielsen Box Office Star of Asia" award by the Nielsen Company (ACNielsen).[3] On 25 June 2018, Lau was invited to be a member of the Academy of Motion Picture Arts and Sciences.[9][10]
Early life:
Andy Lau was born in Tai Po, Hong Kong, a son of a fireman Lau Lai (劉禮). He was the fourth child of the family; he has three elder sisters, one younger sister, and a younger brother named Lau Tak-sing. His family was considered to be wealthy as his grandfather was a landowner, but his father left with him to the slums of Diamond Hill when he was six, where the area was full of wooden houses, and was burnt down when he was eleven. As a young boy, Lau had to fetch water for his family up to eight times a day because their house was not equipped with plumbing.[6] He graduated from a Band One secondary school, Ho Lap College in San Po Kong, Kowloon.[11] He was named as Lau Fook-wing (劉福榮) during his academic years. He also practices Chinese calligraphy.[8] Lau converted to Buddhism in the 1980s.[citation needed] He was raised in a nominally Buddhist household and is now a follower of the Lingyan Mountain Temple in Taiwan.[12]
Career: Actor
See also: Andy Lau filmography
In 1981, Lau signed up for the artist training program offered by TVB, which is where his acting career began.[1] The lead role which led to his initial popularity was in the 1982 TVB series The Emissary. In 1983, Lau's role as "Yang Guo" in the TVB wuxia series, The Return of the Condor Heroes (神鵰俠侶) further increased his popularity. From then on, he would take on many of the lead roles in many TVB series.
In September 1983, TVB was looking to increase their ratings in competition with Korea and Japan for the best variety show. The station then created the show TVB All-star challenge (星光熠熠勁爭輝) featuring almost the entire line-up of the most popular actors and singers at the time.[13] Lau, along with Tony Leung, Michael Miu, Felix Wong, and Kent Tongwere branded as the "Five Tiger Generals of TVB" (無線五虎將) due to their popularity on the show.[13]
In the late '80s, Lau left TVB due to contract problems. TVB wanted to bind him to an exclusive five-year contract which Lau refused to sign, so TVB blacklisted him. He then focused on his film career.[6]
In 1981, Lau made a guest appearance in one of Susanna Kwan's music videos and caught the eye of the manager Teddy Robin.[14] Teddy Robin then gave Lau a chance to play a small role in the film, Once Upon a Rainbow.[14] This was the first step in Lau's film acting career.[14] He landed a role in Ann Hui's 1982 film, Boat People.[1] Later in 1983 he had his first leading role in the Shaw Brothers-produced action film, On the Wrong Track.[15]
One of his early leading roles included the more serious 1988 film, The Truth (法內情).
However, Lau is best known in films for his (often) recurring roles as a "Heroic Gangster", such as Wong Kar-wai's 1988 film As Tears Go By, and Benny Chan's 1990 film A Moment of Romance.
Though a respectable actor, Lau was initially known more for his handsome features. Some people he has worked with have called him a matinee idol, but he has claimed to be an artist.[4] Lau has proved his acting skills in many of his films. His first major acting prize came with A Fighter's Blues, which was his first Golden Bauhinia Award for Best Actor.[16]He would win the Hong Kong Film Award for Best Actor award that year for Running Out of Time.[17] In 2004, he won the prestigious Golden Horse Award for Best Leading Actor for his performance in Infernal Affairs III, the second sequel to the popular Infernal Affairs.[18]He is also known to Western audiences for starring in wuxia films such as House of Flying Daggers, which was nominated for an Academy Award for Best Cinematography.
In 2005, Lau received the "No.1 Box office Actor 1985–2005" award of Hong Kong, yielding a box office total of HKD 1,733,275,816 for shooting 108 films in the past 20 years.[6][8] The aforementioned figure is as compared to the first runner-up Stephen Chow's (HKD 1,317,452,311) and second runner-up Jackie Chan's (HKD 894,090,962). "I've never imagined that it would be as much as 1.7 billion!" he told reporters. For his contributions, a wax figure of Lau was unveiled on 1 June 2005 at the Madame Tussauds Hong Kong.[19] In 2007, Lau also received the "Nielsen Box Office Star of Asia" award by the Nielsen Company (ACNielsen).[3]
Film producer:
In 1991, Lau set up his own film production company, Teamwork Motion Pictures, which in 2002 was renamed to Focus Group Holdings Limited. His contributions in the film industry as well as his involvement in nurturing new talent in the Asian film industry led him to winning the "Asian Filmmaker of the Year" award in the Pusan International Film Festival in 2006.[3] Some of the films Lau has produced include award-winning films, Made in Hong Kong and A Simple Life, his 100th film, A Fighter's Blues, the Chinese digital film Crazy Stone, and big budget action blockbusters, Firestorm and Shock Wave.
Musical career:
Lau released his first album "Only Know that I Still Love You" (只知道此刻愛你) under Capital Artists in 1985.[6] This album was not a big hit,[6] but despite having a voice not traditionally associated with popular music, Lau's hard work and perseverance resulted in him becoming one of the most successful singers in Cantopop. His singing career reached stellar status in 1990 with the release of the album
entitled "Would It Be Possible" (可不可以), and his subsequent releases only solidified his status as a marketable singer.[6] For that song, he would win his first 1990 RTHK Top 10 Gold Songs Awards. He would then win at least one RTHK award category every year consecutively until the year 2007.
From Jade Solid Gold Top 10 Awards he has won the "Most Popular Hong Kong Male Artist" award 7 times and the "Asia Pacific Most Popular Hong Kong Male Artist" award 15 times.[6]He was also entered into the Guinness World Records for "Most Awards Won by a Cantopop Male Artist". By April 2000, he had already won an unprecedented total of 292 awards.[6]
Many of Lau's songs quickly topped the music charts not only in Hong Kong, but also in Taiwan, Mainland China, and in many different parts of Asia. Some of his most notable hits include "The Days We Spent Together" (一起走過的日子), "If You Are My Legend" (如果你是我的傳說), "The Tide" (潮水), "Forget Love Potion" (忘情水), "True Forever" (真永遠), "Chinese people" (中國人), "Love You Forever" (愛你一萬年), "You Are My Woman" (你是我的女人), and "Secret Admiration" (暗裡著迷). Besides singing in Cantonese and Mandarin, he has also sung in other languages such as English, Japanese, Malay, and Taiwanese Hokkien. One example of a Hokkien song was (世界第一等), and he has also performed a Cantonese cover of Joan Jett's "I Hate Myself for Loving You" (我恨我痴心).
Since the early 1990s, Lau, along with Jacky Cheung, Aaron Kwok, and Leon Lai have been referred to by the Chinese media as the Cantopop Four Heavenly Kings.[5]
Lau sang alongside Jackie Chan during a part of the 2008 Summer Olympics closing ceremony on 24 August 2008. In addition, Lau, who has been supporting disabled athletes in Hong Kong for more than a decade, was appointed as the Goodwill ambassador for the 2008 Summer Paralympics.[20] He led other performers in singing and performing the song "Everyone is No.1" at the Beijing National Stadium just a few hours before the 2008 Paralympics opening ceremony began.[21] He also sang the theme song "Flying with the Dream" with Han Hong during the Paralympics opening ceremony on 6 September 2008.[20]
As a songwriter, most of Lau's creative works are as a lyricist. To date, Lau has composed five songs, which include "Missing You Everyday" (天天想你), co-composed with Eric Moo,[22] "If One Day" (如果有一天),[23] "Happiness Is So Far... So Sweet" (幸福.這麼遠.那麼甜),[24] "Spending the Rest Our Lives Together" (餘生一起過),[25] all of which he also sang and wrote the lyrics, and "Brothers" (兄弟), the theme song of his 2004 film, Jiang Hu, which he wrote the lyrics for but was sung by co-star Chapman To.[26] Most of the songs he has written have been for himself.
Books written:
To date, Lau has written and published two books. They include his 1995 autobiography, This Is How I Grew Up (我是這樣長大的) written in prose,[27] and his 2012 book, My 30 Work Days (我的30個工作天), which is a collection of his 30 personal diaries he wrote while working on the 2011 film, A Simple Life.[28]
Appearance in other media:
Lau is alleged to have been featured as a non-player character (NPC) as a random pedestrian in a sandbox-style action video game called Prototype. On 6 July, the Hong Kong local newspapers Headline Daily and Sing Tao Daily reported on Lau's cameo.[29]
Community service:
In 1994, Lau established the Andy Lau Charity Foundation which helps people in need and promotes a wide range of youth education services.[3] In 1999, he received the Ten Outstanding Young Persons of the World award, being the third person from Hong Kong at that time to receive this distinguished honour.[3] In 2008, Lau took a main role in putting together the Artistes 512 Fund Raising Campaign for relief toward the victims of the 2008 Sichuan earthquake.[30] It was one of the largest and most ambitious charity events ever assembled in the territory.
Lau was noted for his active involvement in charity works throughout his 30 years in showbiz and honoured as a "Justice of Peace" by the Hong Kong SAR government in 2008.[31] In May 2010, he received the "World Outstanding Chinese" award and an "honorary doctorate" from the University of New Brunswick, Canada.[32] On 14 December 2017, Lau was awarded a Doctor of Letters degree from the Hong Kong Shue Yan University, with the citation highlighting his popularity among locals which stated: "His low-key, modest, friendly and approachable personality has endeared him to millions of fans and ordinary folks alike, who also consider him to be a 'heartthrob' and the 'unofficial Chief Executive of Hong Kong".[33]
Lau was also named in the Panama Papers leak.[34]
Personal life:
In 2008, Lau married Malaysian Chinese Carol Chu (朱麗倩) after 24 years of speculation over their relationship, both are vegetarian and devout Buddhists.[35] The couple married in Las Vegas.[35] On 9 May 2012, Chu gave birth to their first child, a daughter, Hanna.[36] In January 2017, Lau was seriously injured after being thrown off and stomped by a horse during a commercial shoot in Khao Lak, an area three hours outside of Thailand's capital city, Bangkok.[37][38] However, Lau was able to make a full return to work in August 2017, stating he has recovered 95 per cent from his injuries and has fully recovered by the end of the year.[39][40].
Lau never had a motorcycle-class driving license, so most of the scenes on Full Throttlewere done by a stunt double. When he performs with one, the engine is never on.[41][42]
Awards and nominations:
Year, Award, Category Nominated work, Result:
1983 Hong Kong Film Awards Best New Performer Boat People Nominated
1989 Best Actor As Tears Go By Nominated
1990 Golden Horse Film FestivalBest Supporting ActorKawashima Yoshiko Nominated
1992 Hong Kong Film Awards Best ActorLee Rock Nominated
Best Original Film Song (Singer) Casino Raiders II Nominated
1995 Best Original Film Song (Singer)Tian Di Nominated
1996 Best Actor Full Throttle Nominated
Best Original Film Song (Singer/Lyricist) Nominated
1998 Best Film (Producer) Made in Hong Kong Won
Best Original Film Song (Singer) Island of Greed Nominated
1999 Best Original Film Song (Singer) The Longest Summer Nominated
A True Mob Story Nominated
Best Film (Producer) The Longest Summer Nominated
2000 Best ActorRunning Out of Time Won
Golden Bauhinia Awards Nominated
2001 Hong Kong Film Awards Best Actor A Fighter's Blues Nominated
Golden Bauhinia Awards A Fighter's Blues Won
Golden Horse Film Festival Love on a Diet Nominated
2002 Hong Kong Film Awards Nominated
Best Original Film Song (Singer/Lyricist) Shaolin Soccer Nominated
2003 Best Actor Infernal Affairs Nominated
Best Original Film Song (Singer with Tony Leung) Nominated
Golden Horse Film Festival Best Actor Nominated
Golden Bauhinia Awards Nominated
2004 Hong Kong Film Awards Best Actor Running on Karma Won
Golden Horse Film Festival Infernal Affairs III Won
Golden Bauhinia Awards Nominated
Running on Karma Nominated
2005 Golden Bauhinia Awards A World Without Thieves Nominated
2006 Hong Kong Film Awards Wait 'Til You're Older Nominated
Best Original Film Song (Singer/Lyricist).Nominated
Golden Bauhinia Awards Best Actor Nominated
2007 Hong Kong Film Awards Best Asian Film (Producer) Crazy Stone Nominated
Golden Bauhinia Awards Best Actor Battle of Wits Nominated
2007 Asian Film Awards Best Actor Battle of Wits Nominated
2008 Hong Kong Film Awards Best Supporting Actor Protégé Won
Best Actor The Warlords Nominated
Best Original Film Song (Singer with Eason Chan/Lyricist) Brothers Nominated
2011 Best Film (
The Porsche Panamericana is an automobile produced by Porsche AG. It was designed by Dutchman Harm Lagaay (designer) and Ulrich Bez (technical director) to renew the design of the 911. Lagaay was known for his work in Porsche's Weissach R&D center from 1970 to 1977 as a member of the Anatole Lapine design team that designed the 924. He also worked for Ford to develop the design of their models Escort, Sierra, and Scorpio and for BMW Research and Technology developing the BMW Z1 in 1985.
The Porsche Panamericana was intended to be only a concept car, and although Lagaay hoped that his creation would be produced at least in small series in 1992, the growing financial crisis at Porsche put an end to his wishes. However the car had an influence in the development of the 911 Targa and Boxster. The Panamericana was shown at Frankfurt Car Exhibition, after a development period of only six months.
(Wikipedia)
- - -
Der Porsche Panamericana ist eine Studie von Porsche. Sie wurde 1989 auf der IAA in Frankfurt am Main vorgestellt. Die Basis war der Porsche 911 Carrera 4. Das Design stammt vom Niederländer Harm Lagaay. Der Name stammt von dem Autorennen Carrera Panamericana. Das futuristische Design, vor allem das Konzept der horizontalen Dachstruktur beeinflusste stark die weitere Entwicklung des 911 Targa. Außerdem gab er den Denkanstoß für den neuen Porsche Boxster. Vom Panamericana wurden nur zwei Modelle gebaut. Eines davon bekam Ferry Porsche zu seinem 80. Geburtstag von der gesamten Belegschaft geschenkt.
(Wikipedia)
“How many people have ever lived?” That's the question this graphic tries to answer. I've recently updated it for 2011.
The numbers in this piece are speculative but are as accurate as modern research allows. It’s widely accepted that prior to 2002 there had been somewhere between 106 and 140 billion homo sapiens born to the world. The graphic below uses the conservative number (106 bn) as the basis for a circle graph. The center dot represents how many people are currently living (red) versus the dead (white). The dashed vertical line shows how much time passed between milestones. The spectral graph immediately below this text illustrates the population ‘benchmarks’ that were used to estimate the population over time. Adding the population numbers gets you to 106 billion. The red sphere is then used to compare against other data.
What's different in the 2011 version of Population of the Dead? To start I've included both all time population estimates. White represents the 106 billion conservative estimate while the more liberal estimation of 140 billion is represented by the gray outer zone.
A number of corrections have been included this time around. First, the red circle is actually to scale throughout the image, so all the circles can be easily compared to one another.
When I originally published this, I was eviscerated by a few select mathematicians who pointed out that using the radius or diameter as the basis for scaling the circles was incorrect. One blogger gave me a much appreciated math lesson which motivated me to update the graphic. I'm still not a math guy, so if the numbers are still wrong forgive me. I did use the area this time, not the diameter.
However, I'd also like to restate that proper math isn't exactly the point of this image. One viewer, Andrew Liebchen, says this far more elegantly than I can in a comment he left for me, "In some ways, the circle within the circle is poetic. It implies that in time, all the living will die; the that is red will become white. Meanwhile, new births will forever increase the overall area." In short, the point is to reflect on the scale of life and death. ;-)
Finally, I'd like to thank everyone who's viewed or promoted this image! 111,920 have viewed it on Flickr alone, but it's been posted and reposted all over the web on sites like Visual.ly, Digg, Reddit, Dzone, and DesignFloat. I've also spotted prints in the wild. Thanks everyone, truly flattering!
Research Notes: The research used to create largely came from this article from The Scientific American, published by Ciara Curtin on March 1, 2007. Her article cites Carl Haub, a demographer at the Population Reference Bureau, and Joel Cohen, a professor of populations at the Rockefeller and Columbia Universities in New York City, as sources. A number of other sources were used including research from the Forum of the Future, the Population Reference Bureau, Jeffery Sachs Blog and publications by the United Nations.
View the High Res copy
Update Jan 29, 2010: Fixed Spelling Mistake
Update Feb 11, 2010: Proceeds from this graphic now being donated to One Million Bones
Update Aug 27, 2011: 2011 version released
Originally published at appfrica.net/blog/2009/11/16/population-of-the-dead/
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
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Beauty is not real. Beauty only exists in perception.
© 2010 Lloyd Thrap Photography for Halo Media Group
Lloyd-Thrap-Creative-Photography
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The MBR-04 series were the first combat-ready Destroids and the most successful land-combat weapon Destroids that were built with OverTechnology of Macross. The abbreviation MBR (Main Battle Robot) indicates the model was developed as a walking humanoid weapon emphasizing the heavy armor firepower of an artillery combat vehicle, designed to replace mainline battle tanks.
Despite inferior anti-aircraft abilities, the Tomahawk boasted firepower like no other biped vehicle from the Destroid series. Originally, the Tomahawk was just called "MBR Mk. I", but once its systems and structural elements became the basis for other models, its designation changed into the "Type 04" Destroid. The main frame from the waist down was common to the Type 04 series, which included the the Defender and the Phalanx, a module which consolidated the thermonuclear reactor and ambulatory OverTechnology system of the Destroids. Production line integration using this module was a key goal of Destroid development.
The Type 04 series was developed jointly by Viggers and Chrauler and became also the basis of the MBR-04 Tomahawk. Unlike the variable fighters (which had to be designed to accommodate transformation mechanisms), the MBR series featured a structure with a large capacity that allowed plenty of room for machinery and armor.
Projectile resistance was stressed in the design, but the Tomahawk did not have the armor strength to withstand a direct hit from a Zentraedi mobile weapon. However, the Tomahawk made use of heaviness to add firepower and versatility such that it came to symbolize those features of the Destroid.
First development began in May 2001 and trial production began in December 2003. The decision to formally introduce the MBR-04 series of Destroids was made in June 2006, mass production began and the MBR-04-Mk I rollout occurred in February 2007. The Mk VI Tomahawk's and Mk X Defender's rollouts were in November 2007 and March 2009, respectively.
The MBR-04-Mk. I's initial weaponry consisted of rocket launchers and two arms for use in close-quarters combat. Eventually, the Tomahawk's arms evolved into fixed armaments unsuitable for hand-to-hand combat and thus it was best fielded in a combined arms role with cooperating Destroid models and the VF-1.
The Type 04 design led to expansion of installed armaments and achieved improvement in productivity and serviceability which contributed to the rapid development of the Destroid variations. The Tomahawk itself underwent a rapid development. Earlier variants, which mainly differed in the design of the arms and the weapon package, were only produced in limited numbers. The Mk. III introduced the first heavy particle beam cannon to the Destroids, and the following Mk IV. achieved excellent results in maneuvers and an enhanced output. The Mk. VI became the eventual mass production type, and some of the earlier models were later brought to Mk. VI standard.
Eventually, a considerable number 440 units (initially, 500 were envisioned) were deployed aboard the SDF-1 Macross and operated by the U.N. Spacy as well as the U.N.S. Marine Corps. Most of the Destroid Tomahawks were deployed upon the surface of SDF-1 to perform close-range interception and also to operate as an immediate combat force. A small number - primarily from the early variants with full arms and articulated hands for bigger field versatility in small combat groups - was operated by the UNSMC for landing operations and special tasks.
The Tomahawk operated as a core ground combat unit during the Great Stellar War (Space War I) and - when paired with the VF-1 variable fighter - achieved impressive military gains against the Zentraedi army.
General characteristics:
Equipment Type: main battle robot, series 04
Government: U.N. Spacy
Manufacturer: Viggers/Chrauler
Introduction: February 2007
Accommodation: 1 pilot plus space for a second crew member
Dimensions:
Height 12.7 meters (overall)
11.27 meters (up to head unit)
Length 5.1 meters
Width 7.9 meters
Mass: 31.3 metric tons
Power Plant:
Kranss-Maffai MT808 thermonuclear reactor, developing 2800 bhp output;
Auxiliary GE EM9G fuel generator, rated at 450 kW
Propulsion:
2x thrust nozzles mounted in the lower back region, allowing the capability to perform jumps,
plus several vernier nozzles around the hull for Zero-G manoeuvers
Performance:
Maximum speed: 180 km/h
Design features:
- Detachable weapons bay (attaches to the main body via two main locks);
- Extending/retractable periscope telescope (in weapon bay directly above the cockpit);
- Option pack featuring missiles or searchlight (can be mounted on either side of the weapon bay);
- Coolant tank (installed within the upper left side of the back torso);
- Capable of performing jumps via 2 x thrust nozzles (mounted in the lower back torso);
- Radiators with exhaust ports in the rear on the left and right hips
- Cockpit can be separated from the body in an emergency (only the cockpit block is recovered);
- Head unit equipped with 2 camera eyes, upper eye moving along a slit,
the lower protected by a polarized light shield
Armament:
1x Mauler PBG-07 liquid-cooled electrically-charged twin particle beam gun
2x Bifors close-in self-guided rocket launchers in the shoulders
with 12 rockets per launcher (24 rockets total)
2x Astra TZ-III gun clusters in the lower chest with each cluster featuring:
- 1x laser gun
- 1x 25 mm heavy machine gun
- 1x 180 mm grenade launcher
- 1 x flamethrower
2x Ramington M-89 12.7 mm air-cooled machine guns, mounted within the head unit
Option packs:
1x Erlikon anti-aircraft self-guided missile launcher with 6 missiles (shoulder mount)
1x Rheinstahl 35 mm automatic rapid-fire cannon (lower arm pod)
1x Stonewell 20 mm six-barrel gatling gun (lower arm pod)
The kit and its assembly:
After a long time, a Macross mecha kit again. The idea behind this modified Tomahawk was that I always wondered about the clumsy "cannon arms" of the Mk. VI variant, and what an earlier version - with complete arms and hands - could have looked like? When I delved through my Macross donor parts bank I came across two lower arms from former VF-1 conversions (from different kits, though...), and I tested them on my authentic 1:100 Tomahawk Mk. VI model that I have built about 20 years ago: they seemed to work in size and volume!
An extensive spare parts and sprues safari followed and yielded two complete hands/fists from a VF-1 Gerwalk Arii kit (these appear to be totally outsized!), as well as lower arms/elbow sections, so that a transplantation to the Tomahawk’s arm stumps, which would later even allow a lengthwise axis mobility. And with some extra vinyl caps the transformation experiment could begin.
The basis is a Bandai re-issues of Imai’s 1982 1:100 Tomahawk kit, in specific from Macross' 30th anniversary merchandise. They seem to pop up every five years!?
However, having built and re-built several of the Imai/Arii Destroid kits, I made some changes beyond the arm transplantation, since there’s a lot of space for improvement, even though the kit as such is decent for its age. But you have to expect PSR almost everywhere, and the kit’s vintage “Matryoshka” construction of the model (build one element from two halves, place it between two more halves, etc.) does not make the assembly process easy – but there are ways to evade this inherent problem, see below.
One important improvement measure was a completely now hip joint arrangement. OOB, the Tomahawk's posture is pretty stiff, with the legs and feet straight forward - it's supposed to just stand upright, and with the model’s OOB joint options it is really hard to create a vivid poise. Furthermore, the bolts that hold the legs are prone to break off, even more so because the Tomahawk kit is from the 1st generation of mecha kits, without vinyl caps and just very tight joint fit.
My solution was the implantation of a new hip “bone” made from plastic-coated steel, which is stiff in itself but can be bent in two dimensions. The thighs had to be modified accordingly, since the wire is much thinner than the original bolts. As a convenient trick, the receptor holes in the thighs were simply filled with small vinyl rings - their outer AND inner diameter fit perfectly for the new arrangement. With this trick, a much more dynamic and "natural" leg position could be achieved, also thanks to the Tomahawk’s large feet and their joints. This tuning measure improves the model considerably.
Another change is the Tomahawk's weaponry, which is OOB pretty impressive. Since my fictional Mk. III lost its main arm weapons, I decided to give it at least a major cannon on the shoulder. A convenient donor came from a Dorvack 1:24 PA-36K "Berlon" kit, placed on a scratched mount on the right shoulder,. Which allows the weapon to be moved up and down. To make place for the new twin gun, the OOB sextuple missile launcher was moved to the left side, necessitating a modification of its holder, too.
As mentioned above, the arms use donor parts from the Arii VF-1 Gerwalk kit, but there are also less obvious changes. While the shoulder mounts and the upper arms were taken OOB from the Tomahawk kit, I modified their attachment system. Instead of the "put the arms between the fuselage halves" solution, I modified the arms so that they can be stuck independently into their respective hull openings. This has the benefit that they are actually movable (remember the tight fit of the model’s joints, add some paint and nothing will ever move), and they can be built and painted separately from the rest of the model. In order to stabilize the arms when in place and prevent them from falling out too easily, I added an interlaced styrene tube axis arrangement between them. Very simple and effective, and it works well.
The VF-1 Gerwalk lower arms were taken OOB. Upon test-fitting I found that the bulky Tomahawk could even take some more muscle on its new arms, so I added a pair of FAST packs from a Super Valkyrie kit to them (also found in the spares box…). These would, however, not contain AAMs, as on the VF-1, but rather more guns. I went for a medium machine cannon in the left arm and a gatling gun (scratched from syringe needles, fiddly affair...) against soft and aerial targets in the right arm.
In order to provide the model with some more details and depth I added a lot of small styrene bits everywhere – this is actually only necessary on the front sides of the lower legs for an authentic improvement, but all those other tiny bits and pieces just underline the mecha’s sturdiness and provide visual detail for the later painting process.
The machine guns above the cockpit were replaced with hollow steel needles; since these are thinner than the OOB barrels, I filled the gaps with paper tissues drenched in thinned white glue. Flexible cables (elastic braid) were added to the twin beam cannon and to the legs/hip joints.
Painting and markings:
Basically a simple affair, because I wanted to stay true to the original look of a typical Macross Destroid. These tend to carry a uniform livery, esp. the Tomahawk/Defender/Phalanx family is kept in murky/dull tones of green, brown and ochre: unpretentious "mud movers". Anything else or even complex camouflage patterns are rare. The OOB MBR-04-Mk. VI carries a reddish-brown livery, and Yamato also did an 1:60 Tomahawk action figure in an overall olive drab tone, which appears canonical.
However, for a personal touch I chose a greyish dark green as basic overall tone, Field Grey (Tamiya XF-65). The missile launcher covers on the shoulders were painted in NATO olive green (RAL 6014, Gelboliv, Revell 46), but the different tone became, after weathering, harder and harder to tell, so that the Tomahawk ended up with a relatively uniform livery.
Otherwise there's hardly any other color on the Tomahawk’s hull. The hands/fists were painted with Polished Steel metallizer, the bellows in the knees became anthracite (Revell 06). The characteristic white trim on the lower legs that many Destroids carry was painted with white - unfortunately none of the Destroid kits offers them as a decal. However, due to the legs' uneven underground, these would be difficult to apply, anyway. The lower camera visor was created with simple clear red paint on top of a basic coat with silver. The other small camera windows at the top and back are small decal squares in dayglo orange.
The model was thoroughly weathered with a heavier black ink wash and a total of three dry brushing turns: the first, generous treatment with acrylic Revell 67 (Grüngrau, RAL 7009), followed by the second, moer careful turn around the edges and other details with acrylic Revell 45 (Helloliv, a yellowish variant of RLM 02). The decals followed next, mostly taken from the OOB sheet, just with a few extra stencils, new tactical codes and the "Trixie” nose art (it actually belongs to a P-40F, piloted by Joseph A Bloomer Jr of the 318th FS/325th FG in the MTO) on the lower left leg – a typical detail of many Destroids.
The third dry brushing turn followed, this time with acrylic Revell 75 (a yellowish light grey), esp. on the edges and concentrated around the lower areas of the Tomahawk, simulating wear and dust/mud residue.
Finally, the model received an overall coat with acrylic matt varnish from the rattle can. Some bare metal showing through at a few edges was added, too, again through dry-brushing with silver. After final assembly of the elements, some mineral pigments were dusted onto the model with a soft, big brush. Around the feet, pigments were also applied into small patches of wet matt acrylic varnish, forming stable mud crusts.
In the end, I am quite happy with the outcome, even though the Field Grey turned out to be darker/more murky than expected, even though the color itself suits the Tomahawk well. The transplanted arms also blend well into this mecha which bristles with weapons: this fictional (I had no reference material for earlier Tomahawk versions except the official short texts from the Macross publications) result looks pretty plausible and complements the 20-years-old Mk. VI in my collection well.
Public transportation in parts of the province Utrecht is operated by Syntus (part of the French Keolis group). For some of the lines these midibuses from Rošero on Iveco basis are used.
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
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Ao Dai
Vietnamese traditional long gown
There are many things traditional to Vietnam yet deeply impress people from all over the world. Ao dai is one of them.
The exact origin of Ao dai is still controversial. Ao dai is thought to be influenced by the imperial Chinese garb of the Qing Dynasty, known as Cheongsam. It is a fitted, full-length dress worn over black or white loose-fitting trousers. Unlike Cheongsam, however, Ao dai is split all the way from the waist down, contouring the pants. In 1744, the Nguyen Dynasty required that both men and women should wear both pants and gown, though not until 1930 that Ao dai takes a similar shape to what it is right now.
Ao dai has experienced many modifications since its original version. Ao tu than, which had been worn by Vietnamese women centuries before the Ao dai evolved into the five-paneled dress which is known as the closest form to the Ao dai. The older version of Ao dai then has five flaps: two in the back, two in the front and one under the front lap. Ao dai, however, is more tight fitted and has higher collar without a bodice underneath.
The public was inclined to think that in 1930, the Vietnamese fashion designer Cat Tuong (a.k.a Le Mur) – a graduate from French Fine Arts College of Indochina, modified Ao dai, which had the top lengthened to reach the floor, less material to be made and slimmer flaps. Consequently, Ao dai was then called Le Mur tunic.
Throughout the 20th century, there has been numerous changes in the design of Ao dai: from floral to checkered patterns, the use of transparent fabric, variations in the neck collar (between boat and mandarin style), the shortening of the gown’s length and different colors of the loose pants. The modern Ao dai we see today is tight-fitting, which accentuates and flatters the women’s curves. Therefore, Ao dai is interestingly considered to cover everything, but hide nothing, especially when it is made of thin or see-through fabric.
Unlike many other traditional costumes, Ao dai still remained popular and influencial in the modern day Vietnamese culture. Although Ao dai is no longer worn by men, nor do women on a daily basis, in special occasions, they are still used widely. Ao dai is still women favorite dress in traditional festivities or occasions such as Tet, wedding or graduation. In some high schools and universities in Vietnam, the white ao dai is considered school uniform for female students.
The beauty of Vietnamese women is honoured thanks to Ao dai, so it is hard to think of any outfit better-suited the Vietnamese than Ao dai itself. Ao dai, therefore, is an ideal souvenir for foreign tourists upon leaving Vietnam, to remind them of a beautiful country that they have been to.
Basis : Jaguar E-Type V12 Series 3 2+2 Coupé
Chassis n° UC1S73059BW
Estimated : CHF 170.000 - 220.000
Unsold
The Bonmont Sale
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Switzerland - Suisse - Schweiz
September 2019
"What we've done is give an E-Type Jaguar the total functionality of an XKR. The Beacham E-Type is destined for the classic enthusiast who requires reliability along with modern technology and all mod cons, plus a serious fun factor." - Beacham Ltd.
One of the biggest names in the classic Jaguar world, Beacham first caught the motoring public's imagination back in the late 1980s when the company, based at Hawke's Bay in New Zealand's North Island, began offering its comprehensively restored, re-engineered and updated Jaguar Mark 2 saloons. Since then Dr Greg Beacham's company has expanded its activities to include restoration and upgrades for the Jaguar XK150, Aston Martin DB4, various Rolls-Royce and Bentley models and, of course, the immortal E-Type.
Automotive technology, though, does not stand still and today, more than half a century since the E-Type's launch, there is a growing market for improved versions of this iconic model combining its beautiful classic looks with modern performance, handling and comfort. Beacham's approach is to build the V8 engine, driver train and running gear of the Jaguar XKR sports car into an original E-Type bodyshell.
Firstly, it must be said that the Beacham E-type is very rapid, travelling from 0-60 mph in around six seconds. Plus, it features superb steering and handling because it has been re-engineered from the wheels up. Externally the Beacham looks very familiar, the only real give-aways for the sharp-eyed being the contemporary Jaguar mirrors and door handles; the air scoop under the front bumper; and the bigger tyres and chrome wire wheels. (The latter are genuine, and original, Jaguar factory options.) However, it is beneath the skin and inside the cabin where the most obvious changes are to be found.
The Beacham E-type is crammed full of technology: ABS brakes, traction control, anti-dive suspension geometry and more. Included is a full complement of comfort and safety systems: power-adjustable steering wheel and side mirrors, all with memory function; climate control and electric windows; SRS/airbag systems; and a power-operated convertible roof. In addition there is a premium sound system and GPS, all set into a bespoke polished wood-veneer dashboard. Trimmed in supple new leather, the modern seats have all the power controls from current Jaguars.
A new sub-frame was devised to house the XKR V8 engine and front suspension, and the integration of the mechanical components must be considered a remarkable engineering feat. Underneath, the car is a work of art. The stainless-steel exhaust system is of the highest order, and everywhere there is evidence of the closest attention to detail. But exchanging modern technology for old involves more than fabricating new engine mounts and re-routing exhaust systems. Combining the electronics of modern engines, transmissions, and systems such as airbags and ABS with existing electronics is a startling achievement for a small manufacturer.
Based on a US-market Series 3 V12 2+2 Coupé, the example offered here was completed in 2015 and first registered in the UK on 21st July of that year, since when it has had two owners. Finished in dark blue metallic with tan leather interior, this E-Type has automatic transmission and features power steering, air conditioning, electric folding roof, ABS, electrically operated seats and boot lid, removable hard top, electric windows, trip computer, CD player, and an alarm. Only 1,144 km have been covered from new and the car is presented in commensurately good condition.
A primary school in Kerala/India that a friend of us set up. If you want to support the project, please visit
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
The In Flames Desktop :-)
Wallpaper: selfmade -> basis-> In Flames "Sounds Of A Playground Fading" Coverart
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Rainmeter Weather upper right: Notes
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Yes, the big clock works, but unfortunately I still have some problems with it. Hour and Minute hands are not running centered around middlepoint, and surely the clock was meant to be running backwards. So 'Ill need some time to fix and adjust this with the help of Rainmeter forums. Leave a comment if you're interested to have this clock running with the wallpaper.
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This is a painting by the French artist H.H. Flère and was one of a series depicting London types. In this case the 1905 painting depicts shoeblacks, Bootblacks or shoeshine boys. The shoeblack brigades or societies, nine in all which covered the whole of London were the idea of three Ragged school teachers, J. MacGregor, J.R. Fowler and R.J. Snape who saw the need for an occupation for their pupils other than criminality. The Ragged school pupils attended school on a part time basis usually the evening and had the rest of the day to get into trouble. The first shoeblack brigade started work at the end of March 1851 just in time to take advantage of the influx of visitors to the Great Exhibition. The Central London brigade wore red jerseys which later became jackets. They were Licensed by the Commissioner of the Metropolitan Police and the City of London Commissioner.
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I visit this magnificent nature reserve on a regular basis as it is less than a 10 minute drive from my home , many visitors to our city miss its glorious offerings, thinking all we have to offer is the beach front at the main boulevard , its a pity as this reserve is a short drive from the main tourist area and has its own charm, attraction and wealth of nature on offer, I love it .
Donmouth Local Nature Reserve is a beach site in the historic Old Aberdeen part of the City where the River Don meets the sea.
A great place to see seals and a range of interesting birds. The beach area has changed over time as the river has changed its course. There are lots of interesting plants in the dunes and beach area. Bird hide is an excellent shelter from which to watch the wildlife. The paths run across King Street to the Brig 'o Balgownie., the original bridge in to the City from the North, then down the other side of the river to the sea.
The site was designated a Local Nature Reserve in 1992
Paths are good although wheelchair access to the beach would be difficult as the boardwalk can get covered with sand.
There is plenty of free car parking on the Beach Esplanade and at the car park in Donmouth Road. There are cycle racks on Beach Esplanade
Bridge Of Don has five spans of dressed granite, and rounded cutwaters that carry up to road level to form pedestrian refuges. The spans are 75 feet (23 m), with a rise of 25 feet (7.6 m).
It was widened in 1958-59, from 24 feet (7.3 m), to 66 feet (20 m) by the construction of a new concrete bridge adjacent to the old one.
It now carries four lanes of the A956 road, and is the last bridge on the River Don before it meets the sea. The bridge is just downstream from a substantial island in the river. Around the area of the bridge is the Donmouth Local Nature Reserve, designated as a LNR in 1992.
Near to the bridge are a number of World War II era coastal defences, including a pill box.
Mudflats
Mudflats are formed when fine particles carried downstream by the river are deposited as it slows down before entering the sea, and to a lesser extent by fine particles washed in by the tide. The sand spit at the mouth of the Don provides shelter from the wind and waves allowing this material to build up. The mud flats are a very rich and fertile environment. Despite their rather barren appearance they support a surprisingly diverse invertebrate fauna which includes; worms, molluscs and crustacea. These invertebrates are vitally important to wildfowl and wading birds within the estuary.
Salt marsh
Along the upper shore of the south bank saltmarsh has developed. This habitat would once have been much more extensive prior to the tipping of domestic and other refuse in the area and the formation in 1727 of an artificial embankment to prevent flooding of the river into the Links. This habitat is now reduced to a narrow strip of vegetation along the river margins upstream from the Powis Burn.
The species composition of the salt marsh varies according to the salinity of the water i.e. the proximity to the sea. Close to the Powis Burn this habitat is dominated by reed sweet-grass (Glyceria maxima) with reed canary-grass (Phalaris arundinacea), sea club-rush (Scirpus maritimus), spike-rush (Eleocharis palustris), hemlock water-dropwort (Oenanthe crocata) and common scurvygrass (Chochlearia officinalis).
Further inland reed sweet-grass continues to dominate but hemlock water-dropwort is more abundant with meadowsweet (Filipendula ulmaria) and valarian (Valariana officinalis),
Sand dunes
Sand dunes are found in the more exposed parts of the estuary at the river mouth. Again, this habitat was once much more extensive in this locality with dune grasslands stretching from Aberdeen Beach inland as far as King Street, southwards from the estuary of the Dee, northwards to the Sands of Forvie and beyond. Many of the dunes formed part of Seaton Tip, and following tipping the area was grassed over. Other areas have been formally landscaped to form golf courses or planted with native trees in 2010 to create a new woodland area.
Some remnants of the natural dune flora can be seen in the 'roughs' on the Kings Links golf course and near the mouth of the river.
Above the high water mark, fore dunes with thick clumps of the pioneer grass species including sea lyme grass (Elymus arenarius) and marram grass (Ammophila arenaria) occur. Few other species are able to cope with the shifting sand. The largest area of these young dunes is to the north and west of the headland. Further inland where the dunes are sheltered from the actions of the wind and waves, and soils are more developed, more stable dunes are present supporting a more diverse grassland habitat.
Strand line plants which are able to tolerate occasional coverage by sea water include sea rocket (Cakile maritima), frosted orache (Atriplex laciniata), sea sandwort (Honkenya peploides) and knotgrass (Polygonum aviculare). Bur-reed (Sparganium sp.) has been recorded; presumably washed down by the river.
Marram grass (Ammophila arenaria) and sea lyme grass (Elymus arenarius) dominate the fore dunes. The latter species is not native to this area but appeared in 1802. It is thought to have been unintentionally introduced into the area by fishing boats. For a number of years it remained uncommon but from 1870 onwards it spread rapidly along the coastline (Marren, 1982).
In the more stable dunes red fescue (Festuca rubra), sand sedge (Carex arenaria), yellow rattle (Rhinanthus minor), wild pansy (Viola tricolour), harebell (Campanula rotundifolia), bird's-foot-trefoil (Lotus corniculatus) and lesser meadow-rue (Thalictrum minus) are abundant. Small amounts of kidney vetch (Anthyllis vulneraria), valerian (Valeriana officinalis) and spring vetch (Vicia lathyroides) are present.
Scattered willows (Salix sp.) and sycamore (Acer pseudoplantanus) have seeded into this area. Gorse (Ulex europaeus) scrub has colonised the dunes in some areas and appears to be spreading.
Scrub
This habitat is almost entirely artificial with only the gorse scrub on the inner dunes being a semi-natural habitat. Alder and willow were planted along the south bank of the river in about 1970 and these shrubs are now generally well established. Further shrub planting on the south bank was carried out in 1990.
Willow (Salix sp.) and alder (Alnus glutinosa) were planted in the 1970's along the south bank of the River Don eastwards of the Bridge of Don. The trees to the west of this strip are doing considerably better than those to the east. More recent planting was carried out in 1990 with hawthorn (Crataegus monogyna), blackthorn (Prunus spinosa) elder (Sambucus nigra), goat willow (Salix caprea) and alder.
Underneath the scrub neutral grassland is present with cocksfoot (Dactylis glomerata), false oat-grass (Arrhenatherum elatius), cow parsley (Anthriscus sylvestris), sweet cicely (Myrrhis odorata), hedge woundwort (Stachys sylvatica) and hedge bindweed (Calystegia sepium).
Grassland
Much of the grassland within the reserve is formed on imported soil and is intensively managed. This includes grassland on the north and south sides of the Esplanade. Daffodils are present in the grassland on the north side of the road. On the north bank to the east of the Bridge of Don is rank grassland on a steep south-facing slope. This is unmanaged and contains some patches of scrub.
Rough grassland is present on the headland. This area has been modified by tipping, with rubble to the east and with grass cuttings to the west. The grassland contains a mixture of neutral grassland, dune grassland, ruderal, and introduced garden species. This area attracts flocks of seed eating birds in late summer and autumn.
Improved grassland is present on the headland and along the south bank of the estuary downstream from the bridge of Don. Much of this vegetation has developed on imported soil and contains a high proportion of ruderal species and garden escapes. On the headland, broadleaved dock (Rumex obtusifolius), nettle (Urtica dioica), coltsfoot (Tussilago farfara), spear thistle (Cirsium vulgare), cow parsley (Anthriscus sylvestris), hemlock (Conium maculatum) and hogweed (Heracleum sphondylium) are abundant. Sweet cicely (Chaerophyllum bulbosum) is widespread and in late summer fills the air with the scent of aniseed.
To the south of the Esplanade the grassland is managed with an annual cut.. The grassland does flood to form pools. Early in the year cuckoo flower (Cardamine pratensis) is common, meadow foxtail (Alopecuris pratensis)is known to occur around the margins of these pools.
Woodland
Semi-mature woodland is present on the steep sided south bank of the river upstream from the Bridge of Don. Most of this woodland has been planted in the mid 1930's though some older oak and elm trees are present. These may be relicts of former woodland cover. The woodland in the reserve is part of a strip of woodland along the River Don corridor which continues upstream from the Brig 'o' Balgownie.
Woodland is present on the south bank upstream from the Bridge of Don.
Much of the woodland consists of even aged stands with willow (Salix sp.), sycamore (Acer pseudoplatanus), ash (Fraxinus excelsior), beech (Fagus sylvatica) and alder (AInus glutinosa). At the top of the slope mature oak (Quercus sp.) and elm (Ulmus glabra) are present. The ground flora contains tufted hair-grass (Deschampsia caespitosa), red campion (Silene dioica), ramsons (Allium ursinum) and lady fern (Athyrium felix-femina) .In a few areas dense shading is caused by the trees and in these areas the ground flora is poor.
On the north bank scattered trees are present, mainly willow and sycamore with some scrub.
Een aantal jaar geleden werd de naam van Moskee Arrahmaan aangepast naar Centrum Arrahmaan. Dat was een bewuste keuze omdat de organisatie naast religieuze ook sociaal-culturele activiteiten organiseert voor de islamitische geloofsgemeenschap van Turnhout die grotendeels, maar niet alleen, bestaat uit leden met een Marokkaanse achtergrond. De naamsverandering gebeurde in het kielzog van de verhuis van de moskee van de Bentelstraat naar de huidige locatie. Enkele jaren geleden kocht hier de gemeenschap een groter gebouw dat eerst grondig werd gerenoveerd.
Het interieur van de gebedsruimte bestaat uit sierlijke islamitische kunst met kalligrafie, tegelwerk en stucco op basis van Noord-Afrikaanse invloeden. Hierbij vormt het één van de mooiste moskeeën in de Kempen.
A primary school in Kerala/India that a friend of us set up. If you want to support the project, please visit
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Kent State May 4 Shooting Site, Kent State University, Kent, Portage County, Ohio
THE MAY 4 SHOOTINGS AT KENT STATE UNIVERSITY: THE SEARCH FOR HISTORICAL ACCURACY
BY JERRY M. LEWIS and THOMAS R. HENSLEY
On May 4, 1970, members of the Ohio National Guard fired into a crowd of Kent State University demonstrators, killing four and wounding nine Kent State students. The impact of the shootings was dramatic. The event triggered a nationwide student strike that forced hundreds of colleges and universities to close. H. R. Haldeman, a top aide to President Richard Nixon, suggests the shootings had a direct impact on national politics. In The Ends of Power, Haldeman (1978) states that the shootings at Kent State began the slide into Watergate, eventually destroying the Nixon administration. Beyond the direct effects of the May 4, the shootings have certainly come to symbolize the deep political and social divisions that so sharply divided the country during the Vietnam War era.
In the nearly three decades since May 4, l970, a voluminous literature has developed analyzing the events of May 4 and their aftermath. Some books were published quickly, providing a fresh but frequently superficial or inaccurate analysis of the shootings (e.g., Eszterhas and Roberts, 1970; Warren, 1970; Casale and Paskoff, 1971; Michener, 1971; Stone, 1971; Taylor et al., 1971; and Tompkins and Anderson, 1971). Numerous additional books have been published in subsequent years (e.g., Davies, 1973; Hare, 1973; Hensley and Lewis, 1978; Kelner and Munves, 1980; Hensley, 1981; Payne, 1981; Bills, 1988; and Gordon, 1997). These books have the advantage of a broader historical perspective than the earlier books, but no single book can be considered the definitive account of the events and aftermath of May 4, l970, at Kent State University.(1)
Despite the substantial literature which exists on the Kent State shootings, misinformation and misunderstanding continue to surround the events of May 4. For example, a prominent college-level United States history book by Mary Beth Norton et al. (1994), which is also used in high school advanced placement courses.(2) contains a picture of the shootings of May 4 accompanied by the following summary of events: "In May 1970, at Kent State University in Ohio, National Guardsmen confronted student antiwar protestors with a tear gas barrage. Soon afterward, with no provocation, soldiers opened fire into a group of fleeing students. Four young people were killed, shot in the back, including two women who had been walking to class." (Norton et al., 1994, p. 732) Unfortunately, this short description contains four factual errors: (1) some degree of provocation did exist; (2) the students were not fleeing when the Guard initially opened fire; (3) only one of the four students who died, William Schroeder, was shot in the back; and (4) one female student, Sandy Schreuer, had been walking to class, but the other female, Allison Krause, had been part of the demonstration.
This article is an attempt to deal with the historical inaccuracies that surround the May 4 shootings at Kent State University by providing high school social studies teachers with a resource to which they can turn if they wish to teach about the subject or to involve students in research on the issue. Our approach is to raise and provide answers to twelve of the most frequently asked questions about May 4 at Kent State. We will also offer a list of the most important questions involving the shootings which have not yet been answered satisfactorily. Finally, we will conclude with a brief annotated bibliography for those wishing to explore the subject further.
WHY WAS THE OHIO NATIONAL GUARD CALLED TO KENT?
The decision to bring the Ohio National Guard onto the Kent State University campus was directly related to decisions regarding American involvement in the Vietnam War. Richard Nixon was elected president of the United States in 1968 based in part on his promise to bring an end to the war in Vietnam. During the first year of Nixon's presidency, America's involvement in the war appeared to be winding down. In late April of 1970, however, the United States invaded Cambodia and widened the Vietnam War. This decision was announced on national television and radio on April 30, l970, by President Nixon, who stated that the invasion of Cambodia was designed to attack the headquarters of the Viet Cong, which had been using Cambodian territory as a sanctuary.
Protests occurred the next day, Friday, May 1, across United States college campuses where anti-war sentiment ran high. At Kent State University, an anti-war rally was held at noon on the Commons, a large, grassy area in the middle of campus which had traditionally been the site for various types of rallies and demonstrations. Fiery speeches against the war and the Nixon administration were given, a copy of the Constitution was buried to symbolize the murder of the Constitution because Congress had never declared war, and another rally was called for noon on Monday, May 4.
Friday evening in downtown Kent began peacefully with the usual socializing in the bars, but events quickly escalated into a violent confrontation between protestors and local police. The exact causes of the disturbance are still the subject of debate, but bonfires were built in the streets of downtown Kent, cars were stopped, police cars were hit with bottles, and some store windows were broken. The entire Kent police force was called to duty as well as officers from the county and surrounding communities. Kent Mayor Leroy Satrom declared a state of emergency, called Governor James Rhodes' office to seek assistance, and ordered all of the bars closed. The decision to close the bars early increased the size of the angry crowd. Police eventually succeeded in using tear gas to disperse the crowd from downtown, forcing them to move several blocks back to the campus.
The next day, Saturday, May 2, Mayor Satrom met with other city officials and a representative of the Ohio National Guard who had been dispatched to Kent. Mayor Satrom then made the decision to ask Governor Rhodes to send the Ohio National Guard to Kent. The mayor feared further disturbances in Kent based upon the events of the previous evening, but more disturbing to the mayor were threats that had been made to downtown businesses and city officials as well as rumors that radical revolutionaries were in Kent to destroy the city and the university. Satrom was fearful that local forces would be inadequate to meet the potential disturbances, and thus about 5 p.m. he called the Governor's office to make an official request for assistance from the Ohio National Guard.
WHAT HAPPENED ON THE KENT STATE UNIVERSITY CAMPUS ON SATURDAY MAY 2 AND SUNDAY MAY 3 AFTER THE GUARDS ARRIVED ON CAMPUS?
Members of the Ohio National Guard were already on duty in Northeast Ohio, and thus they were able to be mobilized quickly to move to Kent. As the Guard arrived in Kent at about 10 p.m., they encountered a tumultuous scene. The wooden ROTC building adjacent to the Commons was ablaze and would eventually burn to the ground that evening, with well over 1,000 demonstrators surrounding the building. Controversy continues to exist regarding who was responsible for setting fire to the ROTC building, but radical protestors were assumed to be responsible because of their actions in interfering with the efforts of firemen to extinguish the fire as well as cheering the burning of the building. Confrontations between Guardsmen and demonstrators continued into the night, with tear gas filling the campus and numerous arrests being made.
Sunday, May 3 was a day filled with contrasts. Nearly 1,000 Ohio National Guardsmen occupied the campus, making it appear like a military war zone. The day was warm and sunny, however, and students frequently talked amicably with Guardsmen. Ohio Governor James Rhodes flew to Kent on Sunday morning, and his mood was anything but calm. At a press conference, he issued a provocative statement calling campus protestors the worst type of people in America and stating that every force of law would be used to deal with them. Rhodes also indicated that he would seek a court order declaring a state of emergency. This was never done, but the widespread assumption among both Guard and University officials was that a state of martial law was being declared in which control of the campus resided with the Guard rather than University leaders and all rallies were banned. Further confrontations between protesters and guardsmen occurred Sunday evening, and once again rocks, tear gas, and arrests characterized a tense campus.
WHAT TYPE OF RALLY WAS HELD AT NOON ON MAY 4?
At the conclusion of the anti-war rally on Friday, May 1, student protest leaders had called for another rally to be held on the Commons at noon on Monday, May 4. Although University officials had attempted on the morning of May 4 to inform the campus that the rally was prohibited, a crowd began to gather beginning as early as 11 a.m. By noon, the entire Commons area contained approximately 3,000 people. Although estimates are inexact, probably about 500 core demonstrators were gathered around the Victory Bell at one end of the Commons, another 1,000 people were "cheerleaders" supporting the active demonstrators, and an additional 1,500 people were spectators standing around the perimeter of the Commons. Across the Commons at the burned-out ROTC building stood about 100 Ohio National Guardsmen carrying lethal M-1 military rifles.
Substantial consensus exists that the active participants in the rally were primarily protesting the presence of the Guard on campus, although a strong anti-war sentiment was also present. Little evidence exists as to who were the leaders of the rally and what activities were planned, but initially the rally was peaceful.
WHO MADE THE DECISION TO BAN THE RALLY OF MAY 4?
Conflicting evidence exists regarding who was responsible for the decision to ban the noon rally of May 4. At the 1975 federal civil trial, General Robert Canterbury, the highest official of the Guard, testified that widespread consensus existed that the rally should be prohibited because of the tensions that existed and the possibility that violence would again occur. Canterbury further testified that Kent State President Robert White had explicitly told Canterbury that any demonstration would be highly dangerous. In contrast, White testified that he could recall no conversation with Canterbury regarding banning the rally.
The decision to ban the rally can most accurately be traced to Governor Rhodes' statements on Sunday, May 3 when he stated that he would be seeking a state of emergency declaration from the courts. Although he never did this, all officials -- Guard, University, Kent -- assumed that the Guard was now in charge of the campus and that all rallies were illegal. Thus, University leaders printed and distributed on Monday morning 12,000 leaflets indicating that all rallies, including the May 4 rally scheduled for noon, were prohibited as long as the Guard was in control of the campus.
WHAT EVENTS LED DIRECTLY TO THE SHOOTINGS?
Shortly before noon, General Canterbury made the decision to order the demonstrators to disperse. A Kent State police officer standing by the Guard made an announcement using a bullhorn. When this had no effect, the officer was placed in a jeep along with several Guardsmen and driven across the Commons to tell the protestors that the rally was banned and that they must disperse. This was met with angry shouting and rocks, and the jeep retreated. Canterbury then ordered his men to load and lock their weapons, tear gas canisters were fired into the crowd around the Victory Bell, and the Guard began to march across the Commons to disperse the rally. The protestors moved up a steep hill, known as Blanket Hill, and then down the other side of the hill onto the Prentice Hall parking lot as well as an adjoining practice football field. Most of the Guardsmen followed the students directly and soon found themselves somewhat trapped on the practice football field because it was surrounded by a fence. Yelling and rock throwing reached a peak as the Guard remained on the field for about 10 minutes. Several Guardsmen could be seen huddling together, and some Guardsmen knelt and pointed their guns, but no weapons were shot at this time. The Guard then began retracing their steps from the practice football field back up Blanket Hill. As they arrived at the top of the hill, 28 of the more than 70 Guardsmen turned suddenly and fired their rifles and pistols. Many guardsmen fired into the air or the ground. However, a small portion fired directly into the crowd. Altogether between 61 and 67 shots were fired in a 13-second period.
HOW MANY DEATHS AND INJURIES OCCURRED?
Four Kent State students died as a result of the firing by the Guard. The closest student was Jeffrey Miller, who was shot in the mouth while standing in an access road leading into the Prentice Hall parking lot, a distance of approximately 270 feet from the Guard. Allison Krause was in the Prentice Hall parking lot; she was 330 feet from the Guardsmen and was shot in the left side of her body. William Schroeder was 390 feet from the Guard in the Prentice Hall parking lot when he was shot in the left side of his back. Sandra Scheuer was also about 390 feet from the Guard in the Prentice Hall parking lot when a bullet pierced the left front side of her neck.
Nine Kent State students were wounded in the 13-second fusillade. Most of the students were in the Prentice Hall parking lot, but a few were on the Blanket Hill area. Joseph Lewis was the student closest to the Guard at a distance of about 60 feet; he was standing still with Four men sit staring at a candle-lit stage, on which there are portraits of the four Kent State students who died as a result of the firing by the Guard.his middle finger extended when bullets struck him in the right abdomen and left lower leg. Thomas Grace was also approximately 60 feet from the Guardsmen and was wounded in the left ankle. John Cleary was over 100 feet from the Guardsmen when he was hit in the upper left chest. Alan Canfora was 225 feet from the Guard and was struck in the right wrist. Dean Kahler was the most seriously wounded of the nine students. He was struck in the small of his back from approximately 300 feet and was permanently paralyzed from the waist down. Douglas Wrentmore was wounded in the right knee from a distance of 330 feet. James Russell was struck in the right thigh and right forehead at a distance of 375 feet. Robert Stamps was almost 500 feet from the line of fire when he was wounded in the right buttock. Donald Mackenzie was the student the farthest from the Guardsmen at a distance of almost 750 feet when he was hit in the neck.
WHY DID THE GUARDSMEN FIRE?
The most important question associated with the events of May 4 is why did members of the Guard fire into a crowd of unarmed students? Two quite different answers have been advanced to this question: (1) the Guardsmen fired in self-defense, and the shootings were therefore justified and (2) the Guardsmen were not in immediate danger, and therefore the shootings were unjustified.
The answer offered by the Guardsmen is that they fired because they were in fear of their lives. Guardsmen testified before numerous investigating commissions as well as in federal court that they felt the demonstrators were advancing on them in such a way as to pose a serious and immediate threat to the safety of the Guardsmen, and they therefore had to fire in self-defense. Some authors (e.g., Michener, 1971 and Grant and Hill, 1974) agree with this assessment. Much more importantly, federal criminal and civil trials have accepted the position of the Guardsmen. In a 1974 federal criminal trial, District Judge Frank Battisti dismissed the case against eight Guardsmen indicted by a federal grand jury, ruling at mid-trial that the government's case against the Guardsmen was so weak that the defense did not have to present its case. In the much longer and more complex federal civil trial of 1975, a jury voted 9-3 that none of the Guardsmen were legally responsible for the shootings. This decision was appealed, however, and the Sixth Circuit Court of Appeals ruled that a new trial had to be held because of the improper handling of a threat to a jury member.
The legal aftermath of the May 4 shootings ended in January of 1979 with an out-of-court settlement involving a statement signed by 28 defendants(3) as well as a monetary settlement, and the Guardsmen and their supporters view this as a final vindication of their position. The financial settlement provided $675,000 to the wounded students and the parents of the students who had been killed. This money was paid by the State of Ohio rather than by any Guardsmen, and the amount equaled what the State estimated it would cost to go to trial again. Perhaps most importantly, the statement signed by members of the Ohio National Guard was viewed by them to be a declaration of regret, not an apology or an admission of wrongdoing:
In retrospect, the tragedy of May 4, 1970 should not have occurred. The students may have believed that they were right in continuing their mass protest in response to the Cambodian invasion, even though this protest followed the posting and reading by the university of an order to ban rallies and an order to disperse. These orders have since been determined by the Sixth Circuit Court of Appeals to have been lawful.
Some of the Guardsmen on Blanket Hill, fearful and anxious from prior events, may have believed in their own minds that their lives were in danger. Hindsight suggests that another method would have resolved the confrontation. Better ways must be found to deal with such a confrontation.
We devoutly wish that a means had been found to avoid the May 4th events culminating in the Guard shootings and the irreversible deaths and injuries. We deeply regret those events and are profoundly saddened by the deaths of four students and the wounding of nine others which resulted. We hope that the agreement to end the litigation will help to assuage the tragic memories regarding that sad day.
A starkly different interpretation to that of the Guards' has been offered in numerous other studies of the shootings, with all of these analyses sharing the common viewpoint that primary responsibility for the shootings lies with the Guardsmen. Some authors (e.g., Stone, 1971; Davies, 1973; and Kelner and Munves, 1980) argue that the Guardsmen's lives were not in danger. Instead, these authors argue that the evidence shows that certain members of the Guard conspired on the practice football field to fire when they reached the top of Blanket Hill. Other authors (e.g., Best, 1981 and Payne, 1981) do not find sufficient evidence to accept the conspiracy theory, but they also do not find the Guard self-defense theory to be plausible. Experts who find the Guard primarily responsible find themselves in agreement with the conclusion of the Scranton Commission (Report , 1970, p. 87): "The indiscriminate firing of rifles into a crowd of students and the deaths that followed were unnecessary, unwarranted, and inexcusable."
WHAT HAPPENED IMMEDIATELY AFTER THE SHOOTINGS?
While debate still remains about the extent to which the Guardsmen's lives were in danger at the moment they opened fire, little doubt can exist that their lives were indeed at stake in the immediate aftermath of the shootings. The 13-second shooting that resulted in four deaths and nine wounded could have been followed by an even more tragic and bloody confrontation. The nervous and fearful Guardsmen retreated back to the Commons, facing a large and hostile crowd which realized that the Guard had live ammunition and had used it to kill and wound a large number of people. In their intense anger, many demonstrators were willing to risk their own lives to attack the Guardsmen, and there can be little doubt that the Guard would have opened fire again, this time killing a much larger number of students.
A man and young boy stare up at a May 4th Memorial.Further tragedy was prevented by the actions of a number of Kent State University faculty marshals, who had organized hastily when trouble began several days earlier. Led by Professor Glenn Frank, the faculty members pleaded with National Guard leaders to allow them to talk with the demonstrators, and then they begged the students not to risk their lives by confronting the Guardsmen. After about 20 minutes of emotional pleading, the marshals convinced the students to leave the Commons.
Back at the site of the shootings, ambulances had arrived and emergency medical attention had been given to the students who had not died immediately. The ambulances formed a screaming procession as they rushed the victims of the shootings to the local hospital.
The University was ordered closed immediately, first by President Robert White and then indefinitely by Portage County Prosecutor Ronald Kane under an injunction from Common Pleas Judge Albert Caris. Classes did not resume until the Summer of 1970, and faculty members engaged in a wide variety of activities through the mail and off-campus meetings that enabled Kent State students to finish the semester.
WHAT IS THE STORY BEHIND THE PULITZER PRIZE-WINNING PHOTO OF THE YOUNG WOMAN CRYING OUT IN HORROR OVER THE DYING BODY OF ONE OF THE STUDENTS?
A photograph of Mary Vecchio, a 14-year-old runaway, screaming over the body of Jeffery Miller appeared on the front pages of newspapers and magazines throughout the country, and the photographer, John Filo, was to win a Pulitzer Prize for the picture. The photo has taken on a life and importance of its own. This analysis looks at the photo, the photographer, and the impact of the photo.
The Mary Vecchio picture shows her on one knee screaming over Jeffrey Miller's body. Mary told one of us that she was calling for help because she felt she could do nothing (Personal Interview, 4/4/94). Miller is lying on the tarmac of the Prentice Hall parking lot. One student is standing near the Miller body closer than Vecchio. Four students are seen in the immediate background.
John Filo, a Kent State photography major in 1970, continues to works as a professional newspaper photographer and editor. He was near the Prentice Hall parking lot when the Guard fired. He saw bullets hitting the ground, but he did not take cover because he thought the bullets were blanks. Of course, blanks cannot hit the ground.
WHAT WAS THE LONG-TERM FACULTY RESPONSE TO THE SHOOTINGS?
Three hours after the shootings Kent State closed and was not to open for six weeks as a viable university. When it resumed classes in the Summer of 1970, its faculty was charged with three new responsibilities, their residues remaining today.
A student holds a candle at night to remember the victims of the May 4th shootings.First, we as a University faculty had to bring aid and comfort to our own. This began earlier on with faculty trying to finish the academic quarter with a reasonable amount of academic integrity. It had ended about at mid-term examinations. However, the faculty voted before the week was out to help students complete the quarter in any way possible. Students were advised to study independently until they were contacted by individual professors. Most of the professors organized their completion of courses around papers, but many gave lectures in churches and in homes in the community of Kent and surrounding communities. For example, Norman Duffy, an award-winning teacher, gave off-campus chemistry lectures and tutorial sessions in Kent and Cleveland. His graduate students made films of laboratory sessions and mailed them to students.
Beyond helping thousands of students finish their courses, there were 1,900 students as well who needed help with gradation. Talking to students about courses allowed the faculty to do some counseling about the shootings, which helped the faculty as much in healing as it did students.
Second, the University faculty was called upon to conduct research about May 4 communicating the results of this research through teaching and traditional writing about the tragedy. Many responded and created a solid body of scholarship as well as an extremely useful archive contributing to a wide range of activities in Summer of 1970 including press interviews and the Scranton Commission.
Third, many saw as one of the faculty's challenges to develop alternative forms of protest and conflict resolution to help prevent tragedies such as the May 4 shootings and the killings at Jackson State 10 days after Kent State.
WHAT ARE THE MOST IMPORTANT UNANSWERED QUESTIONS ABOUT THE MAY 4 SHOOTINGS?
Although we have attempted in this article to answer many of the most important and frequently asked questions about the May 4 shootings, our responses have sometimes been tentative because many important questions remain unanswered. It thus seems important to ask what are the most significant questions which yet remain unanswered about the May 4 events. These questions could serve as the basis for research projects by students who are interested in studying the shootings in greater detail.
(1) Who was responsible for the violence in downtown Kent and on the Kent State campus in the three days prior to May 4? As an important part of this question, were "outside agitators" primarily responsible? Who was responsible for setting fire to the ROTC building?
(2) Should the Guard have been called to Kent and Kent State University? Could local law enforcement personnel have handled any situations? Were the Guard properly trained for this type of assignment?
(3) Did the Kent State University administration respond appropriately in their reactions to the demonstrations and with Ohio political officials and Guard officials?
(4) Would the shootings have been avoided if the rally had not been banned? Did the banning of the rally violate First Amendment rights?
(5) Did the Guardsmen conspire to shoot students when they huddled on the practice football field? If not, why did they fire? Were they justified in firing?
(6) Who was ultimately responsible for the events of May 4, l970?
WHY SHOULD WE STILL BE CONCERNED ABOUT MAY 4, 1970 AT KENT STATE?
In Robert McNamara's (1995) book, "In Retrospect:The Tragedy and Lessons of Vietnam" is a way to begin is an illustration of the this process. In it he says that United States policy towards Vietnam was "... terribly wrong and we owe it to future generations to explain why."
The May 4 shootings at Kent State need to be remembered for several reasons. First, the shootings have come to symbolize a great American tragedy which occurred at the height of the Vietnam War era, a period in which the nation found itself deeply divided both politically and culturally. The poignant picture of Mary Vecchio kneeling in agony over Jeffrey Miller's body, for example, will remain forever Students gather in a circle, holding hands around a May 4th memorial to remember the victims of the Guard shootings.as a reminder of the day when the Vietnam War came home to America. If the Kent State shootings will continue to be such a powerful symbol, then it is certainly important that Americans have a realistic view of the facts associated with this event. Second, May 4 at Kent State and the Vietnam War era remain controversial even today, and the need for healing continues to exist. Healing will not occur if events are either forgotten or distorted, and hence it is important to continue to search for the truth behind the events of May 4 at Kent State. Third, and most importantly, May 4 at Kent State should be remembered in order that we can learn from the mistakes of the past. The Guardsmen in their signed statement at the end of the civil trials recognized that better ways have to be found to deal with these types of confrontations. This has probably already occurred in numerous situations where law enforcement officials have issued a caution to their troops to be careful because "we don't want another Kent State." Insofar as this has happened, lessons have been learned, and the deaths of four young Kent State students have not been in vain.
Basis des Fleckensteins ist ein rund 90 m langer, nur 6 bis 8 m schmaler und 30 m hoher Felsen aus rotem Buntsandstein, eine sog. „Barre“, die eindrucksvoll aus dem Wald emporragt. Die ganze Anlage misst inkl. der teilweise auf der Nordseite erhaltenen Unterburg etwa 120 m in der Länge und 60 m in der Breite; die Bebauung umfasste im 16. Jahrhundert das gesamte Plateau.
Erhalten sind Mauerreste verschiedener Wohn- und Wirtschaftsgebäude, Teile des Treppenturms und des Brunnenturms (mit in den Fels gehauenem Raum für das Tretrad) sowie Teile der Ringmauer um die Unterburg und deren Tor mit Resten von zwei Türmen. Besonders eindrucksvoll sind auf der Oberburg die zahlreichen in die Felsbarre geschlagenen Kellerräume sowie Aufgänge im Fels. Die heute noch erhaltenen Mauerreste stammen überwiegend aus dem Spätmittelalter (15./16. Jahrhundert), während die Ringmauer im Nordwesten noch aus dem 13. Jahrhundert datiert. Den interessantesten Hinweis auf das Aussehen der Burg im Hochmittelalter liefern geringe Mauerreste und Fundamentabdrücke eines Bergfrieds in der Mitte des obersten Felsplateaus. Dieser Turm wurde im Spätmittelalter zugunsten von Wohngebäuden abgebrochen.
Auf der Südseite der Felsbarre errichtete man um 1500 eine hohe Mauer mit zwei halbrunden, schlanken Türmen. Der Hauptzweck dieser aufwendigen Baumaßnahme war wohl, den hier überhängenden Fels der Oberburg gegen weitere Verwitterung zu schützen. Der südwestliche der beiden kleinen Türme besitzt zudem eine kleine Ausfallpforte.
Das Festungslehrbuch „Architectura von Vestungen“ des elsässischen Festungsbaumeisters Daniel Specklin aus dem Jahre 1589 zeigt eine Burg, für die offenbar der Fleckenstein als Vorbild fungierte; die hohen und schlanken Proportionen sind jedoch stark überzeichnet.
Wikipedia
Another dock and another interesting mobile crane -this time a MOL chassis sits beneath the Gottwald crane.
Seen in Marsa, Malta but by the looks of it recently imported from Italy.
Schweiz / Schwyz- Vierwaldstättersee
seen from Morschach
gesehen von Morschach
Lake Lucerne (German: Vierwaldstättersee, literally "Lake of the four forested settlements" (in English usually translated as forest cantons), French: lac des Quatre-Cantons, Italian: lago dei Quattro Cantoni) is a lake in central Switzerland and the fourth largest in the country.
Geography
The lake has a complicated shape, with several sharp bends and four arms. It starts in the south–north bound Reuss Valley between steep cliffs above the Urnersee from Flüelen towards Brunnen to the north before it makes a sharp bend to the west where it continues into the Gersauer Becken. Here is also the deepest point of the lake with 214 m (702 ft). Even further west of it is the Buochser Bucht, but the lake sharply turns north again through the narrow opening between the Unter Nas (lower nose) of the Bürgenstock to the west and the Ober Nas (upper nose) of the Rigi to the east to reach the Vitznauer Bucht. In front of Vitznau below the Rigi the lake turns sharply west again to reach the center of a four-arm cross, called the Chrütztrichter (Cross Funnel). Here converge the Vitznauer Bucht with the Küssnachtersee from the north, the Luzernersee from the west, and the Horwer Bucht and the Stanser Trichter to the south, which is to be found right below the northeast side of the Pilatus and the west side of the Bürgenstock. At the very narrow pass between the east dropper of the Pilatus (called Lopper) and Stansstad the lake reaches its southwestern arm at Alpnachstad on the steep southern foothills of the Pilatus, the Alpnachersee. The lake drains its water into the Reuss in Lucerne from its arm called Luzernersee (which literally translates as Lake of Lucerne).
The entire lake has a total area of 114 km² (44 sq mi) at an elevation of 434 m (1,424 ft) a.s.l., and a maximum depth of 214 m (702 ft). Its volume is 11.8 km³. Much of the shoreline rises steeply into mountains up to 1,500 m above the lake, resulting in many picturesque views including those of the mountains Rigi and Pilatus.
The Reuss enters the lake at Flüelen, in the part called Urnersee (Lake of Uri, in the canton of Uri) and exits at Lucerne. The lake also receives the Muota at Brunnen, the Engelberger Aa at Buochs, and the Sarner Aa at Alpnachstad.
It is possible to circumnavigate the lake by train and road, though the railway route circumvents the lake even on the north side of the Rigi via Arth-Goldau. Since 1980, the A2 motorway leads through the Seelisberg Tunnel in order to reach the route to the Gotthard Pass in just half an hour in Altdorf, Uri right south of the beginning of the lake in Flüelen.
Steamers and other passenger boats ply between the different villages and towns on the lake. It is a popular tourist destination, both for native Swiss and foreigners, and there are many hotels and resorts along the shores. In addition, the meadow of the Rütli, traditional site of the founding of the Swiss Confederation, is on the Urnersee shore. A 35 km commemorative walkway, the Swiss Path, was built around the Lake of Uri to celebrate the country's 700th anniversary in 1991.
Archaeologists surveying the lake-bed (during the construction of a pipeline) from 2019 to 2021 found the remains of a Bronze Age village with artifacts dating to around 1000 BC. Later, the new findings indicated that the area was settled 2,000 years earlier than historians previously thought.
Lake Lucerne borders on the three original Swiss cantons of Uri, Schwyz, and Unterwalden (which today is divided into the cantons of Obwalden and Nidwalden), as well as the canton of Lucerne, thus the name Vierwaldstättersee (lit.: Lake of the Four Forested Settlements). Many of the oldest communities of Switzerland are along the shore, including Küssnacht, Weggis, Vitznau, Gersau, Brunnen, Altdorf, Buochs, and Treib.
Lake Lucerne is singularly irregular and appears to lie in four different valleys, all related to the conformation of the adjoining mountains. The central portion of the lake lies in two parallel valleys whose direction is from west to east, the one lying north, the other south of the ridge of the Bürgenstock. These are connected through a narrow strait, scarcely one kilometre wide, between the two rocky promontories called respectively Unter Nas and Ober Nas (Lower and Upper Nose). It is not unlikely that the southern of these two divisions of the lake—called Buochser Bucht—formerly extended to the west over the isthmus whereon stands the town of Stans, thus forming an island of the Bürgenstock. The west end of the main branch of the lake, whence a comparatively shallow bay extends to the town of Lucerne, is intersected obliquely by a deep trench whose south-west end is occupied by the branch called Alpnachersee, while the north-east branch forms the long arm of Küssnacht, Küssnachtersee. These both lie in the direct line of a valley that stretches with scarcely a break in between the Uri Alps and the Emmental Alps. At the eastern end of the Gersauer Becken, where the containing walls of the lake-valley are directed from east to west, it is joined at an acute angle by the arm of Uri, or the Urnersee, lying in the northern prolongation of the deep cleft that gives a passage to the Reuss, between the Uri Alps and the Glarus Alps.
The Urnersee occupies the northernmost and deep portion of the great cleft of the Reuss Valley, which has cut through the Alpine ranges from the St Gotthard Pass to the neighbourhood of Schwyz. From its eastern shore the mountains rise in almost bare walls of rock to a height of from 3,000 to 4,000 ft (910 to 1,220 m) above the water. The two highest summits are the Fronalpstock and the Rophaien (2078 m). Between them the steep glen or ravine of the Riemenstaldener Tal descends to Sisikon, the only village with Flüelen right on the shore on that side of the Urnersee. On the opposite or western shore, the mountains attain still greater dimensions. The Niederbauen Chulm is succeeded by the Oberbauenstock, and farther south, above the ridge of the Scharti, appear the snowy peaks of the Gitschen and the Uri Rotstock (2,928 m). In the centre opens the Reuss Valley, backed by the rugged summits of the Urner and Glarner Alps.
The breadth of these various sections of the lake is very variable, but is usually between one and two miles (3 km). The lake's surface, whose mean height above the sea is 434 metres, is the lowest point of the cantons of Uri, Obwalden and Nidwalden. Originally the lake was susceptible to variations in level and flooding along its shoreline. Between 1859 and 1860, the introduction of a needle dam in the Reuss in the city of Lucerne, just upstream from the Spreuerbrücke, allowed the lake level to be stabilised.
The culminating point of the lake's drainage basin, as well as Central Switzerland, is the Dammastock at 3,630 metres above sea level.
Name
The name of Vierwaldstättersee is first used in the 16th century. Before the 16th century, the entire lake was known as Luzerner See "Lake Lucerne", as remains the English (and partly Italian, as Lago di Lucerna) usage. The (three) "Waldstätte(n)" (lit.: "forested sites/settlements", in English usually translated as forest cantons[6]) since the 14th century were the confederate allies of Uri, Schwyz and Unterwalden. The notion of "Four Waldstätten" (Vier Waldstätten), with the addition of the canton of Lucerne, is first recorded in the 1450s, in an addition to the "Silver Book" of Egloff Etterlin of Lucerne.
The nine different parts of the lake have individual designations:
Urnersee ("Lake of Uri"): The first part of the lake, at the mouth of the Reuss between Flüelen and Brunnen.
Gersauer Becken ("Basin of Gersau") next to Gersau below the Rigi massif is the deepest part of the lake.
Buochser Bucht ("Bay of Buochs"): The bay of Bouchs, where the Engelberger Aa enters the lake.
Vitznauer Bucht ("Bay of Vitznau"): The part between the Bürgenstock and Rigi.
Alpnachersee ("Lake of Alpnach"): the almost separate, southern arm below the southern mountainside of Pilatus near Alpnach.
Stanser Trichter ("Funnel of Stans"): The part north of the Pilatus, west of Bürgenstock, and in front of Hergiswil and Stansstad.
Küssnachtersee ("Lake of Küssnacht"): The most northern arm, west of the Rigi with Küssnacht SZ at its northern end.
Chrütztrichter ("Cross Funnel"): The meeting point of Stanser Trichter, Luzernersee, Küssnachtersee, and Vitznauer Bucht.
Luzernersee ("Lake of Lucerne"): in German usage now limited to the bay at Lucerne as far as Meggenhorn, with its effluence of the Reuss.
Navigation
The lake is navigable, and has formed an important part of Switzerland's transport system for many centuries, and at least since the opening of the first track across the Gotthard Pass in 1230. This trade grew with the opening of a new mail coach road across the pass in 1830. This road had its northern terminus at Flüelen at the extreme eastern end of the lake, and the lake provided the only practical onward link to Lucerne, and hence the cities of northern Switzerland and beyond.
Whilst the development of Switzerland's road and rail networks has relieved the lake of much of its through traffic, it continues to be used by a considerable number of vessels, both private and public. Much of this usage is tourist or leisure oriented, but the lake continues to provide practical public and cargo transport links between the smaller lakeside communities.
Passenger boats of the Schifffahrtsgesellschaft des Vierwaldstättersees (SGV) provide services on the lake, including many run by historic paddle steamers. The SGV serves 32 places along the shore of the lake, with interchange to both main line and mountain railways at various points. Under separate management, the Autofähre Beckenried-Gersau provides a car ferry service between Beckenried, on the south bank of the lake, and Gersau on the north.
Cargo barges, to a local design known as Nauen, are still used on the lake. Some have been converted for use as party boats. Other barges are used by the gravel dredging industry that operates on the lake, using large dredgers to obtain sand and gravel for use in the construction industry.
Cultural references
Beethoven's Moonlight Sonata derives its name from an 1832 description of the first movement by poet and music critic Ludwig Rellstab, who compared it to moonlight shining upon Lake Lucerne.
Gioacchino Rossini uses this in his William Tell Overture Section A: Sunrise over the Alps.
Rowing
Lake Lucerne has twice been used as a venue for the European Rowing Championships: in 1908 and then in 1926. The nearby Rotsee has since 1933 been used for rowing regattas instead.
Tourism
On the way south, the English discovered the mountains of central Switzerland. Several spa and bathing resorts such as Weggis or Gersau were created. In 1871, the very first rack railway in Europe, the Vitznau-Rigi Railway, was opened. In 1889 the steepest cog railway in the world was built from Alpnachstad to Mount Pilatus. Mark Twain described an ascent to the Rigi, which led to the blossoming of Swiss tourism in the United States in the 19th century. One of the largest steamship fleets in Europe operates with five steamships on Lake Lucerne.
In the area surrounding the lake and on terraces at medium height (for example Morschach and Seelisberg) there are numerous places for tourists. The Rigi, Pilatus, the Bürgenstock, the Stanserhorn, the Buochserhorn, and the two legends, the Urirotstock and the Fronalpstock are attractive panoramic mountains near Lake Lucerne. Most of them can be reached by mountain railways, some of which have their valley station near boat stations on the lake.
There are numerous locations on the lake that are important in Swiss cultural and tourism history: Rütli, Tellsplatte, Tell Chapel, Carving Tower of Stansstad, Neu-Habsburg, Schillerstein, Treib, Astrid Chapel (Küssnacht) and Meggenhorn Castle.
Watersports
Different sports are possible in some separate areas due to the water and wind conditions. The lake is accessible from boat and yacht harbors, to lake resorts and pools (e.g. the Lido pool in Lucerne, built in 1929 by Arnold Berger). Therefore, the lake can be easily accessible from both shores. The See-Club Luzern was founded in 1881, which is now Switzerland's largest rowing club, as well as the Reuss Luzern rowing club (Ruderclub Reuss Luzern) in 1904. The Lucerne Yacht Club (Yachtclub Luzern) has existed since 1941 and has been running since 1966 a boathouse and buoy field on Churchill-Quai in Lucerne.
The Brunnen water sports club (Wassersportclub Brunnen), founded in 1958, held on Lake Lucerne in the first years of its existence international motorboat races and water ski championships. In 1965 the association chose a new name for the club: Lake Lucerne Water Sports Club (Wassersport-Club Vierwaldstättersee). The Central Switzerland Motorboat Club (Motorbootclub Zentralschweiz) was established in 1980 and the Hergiswil Water Sports Club (Wassersportclub Hergiswil) in 1986. SchweizMobil has created a canoe tour across Lake Lucerne between Brunnen and Gersau. Due to the wind in the Reuss Valley, the southern part of Lake Uri between the campground at Gruonbachstrand in Flüelen and Isleten is a center of windsurfing.
Diving
There are about ten places where you can dive without a boat in Lake Lucerne. The water is rather chilly all year round and therefore mostly very clear. In Lake Uri, at Sisikon, one can dive to a fragmented steep vertical wall, at the northern portal of the Schieferneggtunnel. The Lediwrack Bruno lies in front of Brunnen at a depth of 15 meters. Other well-known diving spots are in front of Vitznau, Weggis, Gersau and Hergiswil.
(Wikipedia)
Der Vierwaldstättersee (französisch Lac des Quatre-Cantons; italienisch Lago dei Quattro Cantoni, Lago di Lucerna; rätoromanisch Lai dals Quatter Chantuns) ist ein von Bergen der Voralpen umgebener Alpenrandsee in der Zentralschweiz. Er liegt auf dem Gebiet der Kantone Uri, Schwyz, Unterwalden (d. h. Nid- und Obwalden) und Luzern. Die grössten Orte am Ufer sind Luzern, Küssnacht, Horw und Brunnen. Der See ist 114 km² gross, liegt auf einer Höhe von 433 m ü. M. und ist 214 m tief. Da es sich um einen charakteristischen Zungenbeckensee mit mehreren Zweigbecken handelt, ist die Uferlänge im Bezug zur Seefläche mit etwa 150 km relativ gross.
Name
Seinen Namen hat der Vierwaldstättersee von den vier an ihn angrenzenden Waldstätten (heutige Kantone). Bis ins 16. Jahrhundert wurde die Bezeichnung Luzerner See verwendet.
Entstehung
Der Vierwaldstättersee entstand in den Eiszeiten, u. a. der letzten Eiszeit, durch Erosion des Reussgletschers. Der See bildete sich als Gletscherrandsee am Ende der Eiszeit vor rund 12'000 Jahren. Im Gletschergarten Luzern zeigt eine Dokumentation die Geschichte der Alpen, der Eiszeiten und der Gletscher in den Zentralalpen.
Geographie
Zufluss
Die Hauptzuflüsse des Vierwaldstättersees sind die Reuss mit der Einmündung bei Flüelen und Seedorf, die Engelberger Aa bei Buochs, die Sarner Aa bei Alpnachstad und die Muota bei Brunnen. Die Reuss fliesst mit einem starken Gefälle aus dem Gotthardmassiv und führt grosse Mengen Geschiebe mit sich, so dass sich das Reussdelta im Laufe der Zeit um 10 km nach Norden in den Urnersee hinein erweitert hat.
Im Urnersee im Bereich des Reussdeltas zwischen Flüelen und Seedorf wurde von 2001 bis 2005 mit dem Ausbruchmaterial des Umfahrungstunnels Flüelen und des Gotthard-Basistunnels der Seegrund teilweise wieder aufgeschüttet. Es entstanden Flachwasserzonen, die durch den Kiesabbau verschwunden waren, und einige neue Inseln: die Neptuninseln und die Inselgruppe Lorelei. Einige der Inseln sind Vogelschutzgebiet. Im Naturschutzgebiet erlaubt der Reussdeltaturm die Beobachtung der Fauna.
Kleinere in den Vierwaldstättersee einmündende Gewässer sind der Gruonbach, der Isitaler Bach, der Riemenstaldnerbach, der Cholbach von Emmetten, der Lielibach bei Beckenried, der Teuffibach, der Melbach, die Kleine Schliere bei Alpnachstad, zehn Bäche am Ostabhang des Pilatus (darunter Mülibach, Steinibach bei Horw, Widenbach, Fridbach, Feldbach und Steinibach bei Hergiswil) und der Würzenbach in Luzern.
Gliederung
Der Vierwaldstättersee besteht aus mehreren Seebecken und Buchten:
Der Urnersee erstreckt sich von der Einmündung der Reuss bei Seedorf 11 km in nördlicher Richtung bis nach Brunnen
Der Gersauer See (auch Gersauer Becken oder Gersauerbecken) führt 14 km von Ost nach West von Brunnen nach Ennetbürgen, wo die Engelberger Aa in den See mündet. In der Mitte zwischen Beckenried und Gersau erreicht der See mit 214 m Tiefe seine tiefste Stelle.
Der Chrüztrichter (Kreuztrichter) bildet im Westen des Weggiser Beckens das eigentliche Zentrum des nördlichen Seeteils. Von ihm zweigen vier Hauptarme (Trichter) ab:
Das Weggiserbecken (östlicher Arm des Kreuztrichters) liegt südlich von Weggis und verläuft von Ost nach West. Es führt zwischen Hertenstein im Norden und dem Bürgenstock im Süden hin zur Seemitte. Es wird auch Vitznauerbecken genannt.
Der Stanser Trichter (südwestlicher Arm des Kreuztrichters). Im Südwesten davon liegen
die Horwerbucht und
der Alpnachersee, der zwischen Acheregg und Stansstad durch eine nur 100 Meter breite Engstelle, über die eine Brücke führt, vom restlichen See abgetrennt wird und am Südfuss des Pilatus liegt.
der Küssnachtersee (nordöstlicher Arm aus dem Kreuztrichter) zweigt zwischen Hertenstein und Meggenhorn in nordöstlicher Richtung nach Küssnacht, am Nordrand des Rigimassivs gelegen, ab.
der relativ kurze Luzernersee (auch Luzerner Bucht) ist zugleich nordwestlicher Arm des Kreuztrichters und Schlussteil des Sees. Er verläuft nach Nordwesten nach Luzern.
Abfluss
In Luzern verlässt die Reuss den See, kontrolliert mit einem Regulierwehr, und fliesst durch das Mittelland zur Aare.
Strömungen
Durch das verhältnismässig warme Wasser der Reuss und den Föhn, der das Wasser ständig umschichtet, ist der Urnersee am Grund wärmer und leichter als das Wasser im Gersauer Becken. Durch diesen Temperaturunterschied strömen jeden Frühling gewaltige Wassermassen vom Gersauer Becken in die Tiefen des Urnersees. Ähnliche Tiefenwasserströmungen bestehen auch vom Alpnachersee in das Gersauer Becken.
Wasserqualität und Temperaturen
Das Wasser bleibt durchschnittlich dreieinhalb Jahre im Seebecken und hat Trinkwasserqualität. Die Eidgenössische Forschungsanstalt für Limnologie der Eawag überwacht die Wasserqualität. Im Sommer erreicht der See eine Temperatur von 22 °C. 1929 und 1963 froren der Alpnachersee und die Luzerner Bucht zu. Aus dem 17. und 19. Jahrhundert sind Vereisungen des ganzen Vierwaldstättersees dokumentiert. 1684 und 1685 konnte das Gersauer Becken auf dem Eis überquert werden.
Klima und Vegetation
Das Klima rund um den föhnbegünstigten und von Bergen geschützten Vierwaldstättersee ist im Vergleich zu anderen Regionen der deutschsprachigen Schweiz relativ mild; die Vegetation gleicht zum Teil derjenigen des Kantons Tessin. Die mittlere Tageshöchst-/-tiefsttemperatur beträgt in Luzern 2,6 °C (Januar) und 23,5 °C (Juli). In Altdorf südlich des Sees liegen die Werte bei 3,9 °C (Januar) und 23,0 °C im Juli (Klimamittel der Jahre 1961–1990). An den Seeufern wachsen Hanfpalmen, Feigen, Yuccas, Zypressen, Opuntien, Edelkastanien und andere südländische Pflanzenarten.
Die Edelkastanien wurden bis ins 19. Jahrhundert wirtschaftlich als Nahrungsmittel genutzt. Mit der Verbreitung der Kartoffel nahm die Bedeutung der Kastanie jedoch ab. Noch heute findet in Greppen regelmässig ein Kastanienmarkt, die sogenannte Chestene-Chilbi statt. An den Marktständen werden Kastanienprodukte und regionale Spezialitäten angeboten.
Naturgefahren
Hochwasser in Luzern August 2005
Nach dem Erdbeben vom 18. September 1601 entstanden Tsunamis im Vierwaldstättersee mit vermutlich bis zu 4 Meter hohen Flutwellen. Ein weiteres solches Ereignis soll im Jahr 1687 stattgefunden haben. Auch vom Genfersee ist ein Binnentsunami-Ereignis aus dem Jahr 563 bekannt, und vom Lauerzersee aus dem Jahr 1806.
Die Folgen der allgemeinen Erderwärmung in den Alpen werden auch für den Vierwaldstättersee und seine Umgebung diskutiert. Das Hochwasser 2005 mit diversen Muren und Erdrutschen könnte als Warnsymptom verstanden werden.
Seit 1861 wird der Wasserspiegel des Vierwaldstättersees durch die Reusswehranlage in Luzern etwa zwei bis drei Meter über dem natürlichen mittleren Wasserstand gehalten.
Verkehr
Schifffahrt
Auf dem See verkehren die Schiffe der Schifffahrtsgesellschaft des Vierwaldstättersees (SGV) zu den zahlreichen Schiffstationen. Bis zum Bau der Axenstrasse in den Jahren 1863 bis 1865 war der Wasserweg die einzige aus dem Norden mögliche Verbindung zum Kanton Uri, zum Gotthardpass und damit auch der einzige Weg von den Städten im Nordwesten Europas nach Mailand und zu den italienischen Häfen am Mittelmeer. Das gilt auch für die Pilgerwege des Mittelalters nach Rom. Noch heute verkehren auf dieser Strecke die grossen Raddampfer der SGV Stadt Luzern (das Flaggschiff der SGV) Uri, Unterwalden, Gallia und Schiller.
Autofähre Beckenried–Gersau
Zwischen Beckenried und Gersau verkehrt die Autofähre Beckenried–Gersau. Auf dem See fahren ausserdem Lastschiffe privater Transportunternehmen.
Beim Zusammenstoss des Nauens Schwalmis mit dem Motorschiff Schwalbe vor Horw starben am 12. Oktober 1944 zwanzig Gäste einer 33-köpfigen Hochzeitsgesellschaft aus der Region Entlebuch. Die Unfallursache konnte nicht restlos geklärt werden. Es war das bislang grösste Unglück der Schweiz mit einem motorisierten Schiff.
Strasse und Schiene
Seit dem Bau der Gotthardstrasse, der Gotthardbahn (Eröffnung 1882), der Gotthardautobahn (1982) und der Eisenbahnschnellfahrstrecken von AlpTransit (NEAT) zum Gotthard-Basistunnel (2016) tangieren grosse internationale Verkehrswege die Gegend um den Vierwaldstättersee. In Flüelen wechselten vor dem Bau der Eisenbahn die Reisenden von den Bergpässen vom Maultier oder der Postkutsche auf das Schiff. Am östlichen Ufer führt die Axenstrasse mit vielen Tunnels und Galerien von Flüelen über Sisikon nach Brunnen. Sie ist Bestandteil der A4. Die Bahnlinie führt mehrheitlich unterirdisch von Flüelen nach Brunnen. Auf dem Weg nach Küssnacht erinnern alte, restaurierte Hotelbauten an die Zeit des frühen Tourismus im 19. Jahrhundert.
Zwischen Hergiswil und Stansstad führen Strassenbrücken (Kantonsstrasse und Autobahn A2) und eine Eisenbahnbrücke der Luzern-Stans-Engelberg-Bahn bei der Lopper-Halbinsel über eine Landenge im See.
Der 1991 auf alten Verkehrswegen angelegte Wanderweg mit der Bezeichnung Weg der Schweiz führt rund um den südlichsten Teil des Sees, den Urnersee.
Luftverkehr
Zwischen Buochs und Ennetbürgen bei Stans liegt der Flugplatz Buochs, der früher fast nur von der Schweizer Armee und den Pilatus-Flugzeugwerken benutzt wurde. Heute steht der Flugplatz dem zivilen Flugverkehr offen. Der Militärflugplatz Alpnach wird von der Schweizer Armee als Helikopterbasis genutzt.
Hängegleiter und Gleitschirme nutzen bei geeignetem Wetter die Thermik der Felswände über den steilen Ufern des Sees. Die beliebtesten Fluggebiete für Gleitschirme um den Vierwaldstättersee sind der Pilatus, die Rigi, das Gebiet von Emmetten, das Stanserhorn und das ganze Engelbergertal. Beim Fliegen sind die Kontrollzonen der Flugplätze Alpnach, Buochs und Emmen zu beachten.
Geschichte
Zu den frühesten menschlichen Spuren am See gehörten die neolithischen Seeufersiedlungen aus dem 5. bis 4. Jahrtausend v. Chr. bei Stansstad-Kehrsiten. Zahlreiche Ortsnamen weisen auf eine keltische, später gallorömische Besiedlung hin. In Alpnach fand sich eine römische Villa. Spätestens im 7. Jahrhundert liessen sich Alemannen nieder.
Am Ausfluss der Reuss entstand im 12. und 13. Jahrhundert die Stadt Luzern, rund um den See die Länderorte Uri, Schwyz und Unterwalden. Diese erlangten die Hoheit über das sie verbindende Gewässer bis hin zur Seemitte, sieht man von der Fläche in der Verlängerung des Bürgenbergs bis vor Hertenstein ab. Diese gelangte 1378 zusammen mit dessen Nordflanke an Luzern. Dennoch kam es bis 1967 – zwischen Nidwalden und Luzern – zu Auseinandersetzungen um Fischereirechte und Grenzstreitigkeiten. Da es extrem schwierig war, Strassen um den See zu bauen, war das Gewässer zugleich eine Hauptverkehrsader.
Kirchlich bildete der Raum vom Hochmittelalter bis 1821 das Dekanat Luzern bzw. das Vierwaldstätterkapitel im Bistum Konstanz. Danach wurde der Raum auf die Bistümer Chur und Basel aufgeteilt. Über den See oder an ihm entlang führten früher Pilgerwege nach Rom. Auch der westwärts nach Santiago de Compostela führende Jakobsweg führt von Einsiedeln nach Brunnen. Von hier führt er weiter westlich mit dem Schiff nach Luzern oder über den Alpnachersee nach Süden zum Brünigpass.
Im Gegensatz zum offenen See, auf dem frei gefischt werden durfte, gehörten die Uferstreifen zur Gemeinmarch der Siedlungsgenossen. Nur ihre Fischer durften dort ausfahren. Daneben bestanden herrschaftliche Rechte wie die Fischämter von St. Leodegar in Luzern. Aus derlei Organisationsformen gingen etwa 1465 die Luzerner Rohrgesellen oder 1607 die St.-Niklausen-Bruderschaft von Stansstad hervor. Auch hier konnten Fischereirechte zu heftigen Auseinandersetzungen führen, wie 1655 zwischen Luzern und Nidwalden. Statuten für den Fischmarkt finden sich in Luzern schon im ältesten Ratsbüchlein (um 1318).
Nach der Helvetik wurde die Fischerei in allen Orten zu einem Hoheitsrecht der Kantone. 1890 schlossen sich die Kantone zum Fischereikonkordat Vierwaldstättersee zusammen. Noch Ende des 20. Jahrhunderts beschäftigten 27 Betriebe rund 40 Vollzeitarbeitskräfte.
Der regionale Markt mit Luzern als Mittelpunkt und der Verkehr über den Gotthard führten zum Aufbau eines Transportwesens. In Flüelen wurde 1313 ein Reichszoll erwähnt, Anfang des 14. Jahrhunderts sind in Luzern Lagerhäuser bezeugt, ähnlich wie in anderen Orten.
Im 17. Jahrhundert bestanden in Alpnach fünf Fahrrechte, in Brunnen arbeiteten 60 Schiffsleute. 1687 kam es zum Abschluss eines Schifffahrtsvertrags, der bis ins 19. Jahrhundert Bestand hatte. 1837 begann die Dampfschifffahrt, 1870 entstand die Schifffahrtsgesellschaft des Vierwaldstättersees. Sie verdrängte die lokalen Schifffahrtsgenossenschaften. Ab 1859 entstand im Einzugsgebiet des Sees ein Eisenbahn-, Bergbahn- und Strassennetz, was den Tourismus stark anwachsen liess und eine entsprechende Infrastruktur hervorbrachte. Ab Ende des 19. Jahrhunderts wurde die Sand- und Kiesgewinnung zu einem expandierenden Industriezweig.
1859–1860 wurde mit dem Bau des Luzerner Nadelwehrs die Basis für eine Regulierung des Wasserpegels gelegt. Zugleich belasteten Kiesabbau, das Wachstum der Orte und der unkontrollierte Häuserbau, dazu Gewässerverschmutzung und Wassersport den See. Daher entstand 1916 das Hydrobiologische Laboratorium (1960 in die ETH Zürich integriert), das im Bereich des Gewässerschutzes tätig wurde und bis heute die Kantone berät. 1953 wurde der Gewässerschutz in der Bundesverfassung verankert, aber erst das revidierte Gewässerschutzgesetz von 1971 ermöglichte es schliesslich die Sanierung des Sees bis 1987 voranzutreiben. Bereits ab 1980 versorgten sich Luzern, Bürgenstock sowie Küssnacht, Horw und Weggis mit Trinkwasser aus dem See. 1973 setzten die Uferkantone einen Landschaftsschutzplan in Kraft, dessen Umsetzung der 1984 gegründete Landschaftsschutzverband Vierwaldstättersee vorantreibt.
Kulturelle und historische Eigenheiten des Seegebietes sind der Kommunalismus, die eigenständige Rezeption der italienischen Renaissance und des Barock oder der Einfluss der Gegenreformation, aber auch die Kleinräumigkeit des lokalen Brauchtums und der Mundarten.
Tourismus
Fremdenverkehr
Auf dem Weg in den Süden entdeckten Engländer die Bergwelt der Innerschweiz. Es entstanden mehrere Kur- und Badeorte wie Weggis oder Gersau. 1871 eröffnete man die allererste Zahnradbahn Europas, die Vitznau-Rigi-Bahn. 1889 baute man von Alpnachstad auf den Pilatus die heute immer noch steilste Zahnradbahn der Welt. Einen Aufstieg auf die Rigi beschrieb Mark Twain, was in den USA des 19. Jahrhunderts zum Aufblühen des Schweizer Tourismus führte. Auf dem Vierwaldstättersee verkehrt mit fünf Dampfschiffen eine der grössten Dampfschiffflotten Europas.
In der Umgebung des Sees und auf Terrassen in mittlerer Höhe (wie z. B. Morschach und Seelisberg) liegen zahlreiche Tourismusorte. Attraktive Aussichtsberge nahe am Vierwaldstättersee sind die Rigi, der Pilatus, der Bürgenstock, das Stanserhorn, das Buochserhorn, die beiden Mythen, der Uri Rotstock und der Fronalpstock. Die meisten davon sind mit Bergbahnen erreichbar, die teilweise ihre Talstation in der Nähe von Schiffstationen am See haben.
Am See befinden sich zahlreiche Örtlichkeiten mit Bedeutung in der Schweizer Kultur- und Tourismusgeschichte: Rütli, Tellsplatte, Tellskapelle, Schnitzturm von Stansstad, Neu-Habsburg, Schillerstein, Treib, Astrid-Kapelle (Küssnacht) und Schloss Meggenhorn.
Wassersport
In den einzelnen Seebereichen sind wegen den Wasser- und den Windverhältnissen verschiedene Sportarten möglich.Von Boots- und Yachthäfen, See- und Strandbädern (z. B. das 1929 von Arnold Berger gebaute Strandbad Lido in Luzern) und von andern Uferabschnitten aus ist der See zugänglich. 1881 wurde der See-Club Luzern gegründet, der heute der grösste Ruderclub der Schweiz ist, 1904 der Ruderclub Reuss Luzern. Seit 1941 besteht der Yachtclub Luzern, der am Churchill-Quai in Luzern seit 1966 ein Bootshaus und ein Bojenfeld betreibt. Der im Jahr 1958 gebildete Wassersportclub Brunnen führte in den ersten Jahren seines Bestehens auf dem Vierwaldstättersee internationale Motorbootrennen und Wasserskimeisterschaften durch. 1965 wählte der Verein den neuen Namen Wassersport-Club Vierwaldstättersee. 1980 entstand der Motorbootclub Zentralschweiz, 1986 der Wassersportclub Hergiswil. SchweizMobil hat eine Kanutour über den Vierwaldstättersee zwischen Brunnen und Gersau beschrieben. Der südliche Teil des Urnersees zwischen dem Campingplatz am Gruonbachstrand in Flüelen und Isleten ist wegen des Windes im Reusstal ein Zentrum des Windsurfens.
Tauchsport
Es gibt etwa zehn Plätze, an denen man ohne Boot im Vierwaldstättersee tauchen kann. Das Wasser ist ganzjährig eher kühl und deshalb meist sehr klar. Die zerklüftete Steilwand bei Sisikon, am nördlichen Portal des Schieferneggtunnels, kann man seit einem Erdrutsch und dem Verschütten eines Parkplatzes, der auch als Einstieg genutzt wurde, nicht mehr von Land aus betauchen. Vor Brunnen liegt das Lediwrack Bruno auf 15 Meter Tiefe. Weiter bekannte Tauchplätze liegen vor Vitznau, Weggis, Gersau und Hergiswil.
Wirtschaft
In mehreren Gemeinden am Vierwaldstättersee befinden sich an den leicht zugänglichen Bergflanken im Uferbereich seit Jahrhunderten Steinbrüche, die teilweise noch heute genutzt werden. Das Gestein gelangt auf dem Seeweg kostengünstig zu Verbrauchern oder Bahnhöfen. Die auffälligen Eingriffe in die Naturlandschaft stiessen schon früh auf Kritik seitens der Landschaftschutzorganisationen. 1930 wies ein Bericht auf die Zunahme der Grossanlagen hin: «Zwei Steinbrüche [liegen] im Urner See zwischen Seedorf und Isleten, vier zwischen Beckenried und Treib, einer in der Matt unter dem Bürgenstock, einer zwischen Kehrsiten und Stansstad, fünf im Alpnachersee, einer am Lopperberg zwischen Stansstad und Hergiswil, einer bei Greppen, einer zwischen Vitznau und Gersau, zwei zwischen Gersau und Brunnen». Bei Kehrsiten am Bürgenstock baut die Holcim in einem Schotterwerk harten Kieselkalk ab, der auch in den Brüchen Schwibogen und Rotzloch gewonnen wird, während vier andere Nidwaldner Steinbrüche im Uferbereich aufgelassen sind. Der Landschaftschutzverband Vierwaldstättersee begleitet die Entwicklung einzelner Steinbruchprojekte.
Seit 1891 baut das Unternehmen Arnold & Co. Sand- und Kieswerk AG bei Flüelen mit Schwimmbaggern Kies aus dem Schwemmfächer vor dem Delta der Reuss ab, wofür sie dem Kanton Uri Konzessionsgebühren entrichtet. Heute sind nur noch der vierte und fünfte Schwimmbagger aus den 1950er und 1960er Jahren in umgebautem Zustand im Einsatz. Die Flotte der Arnold + Co. AG umfasst etwa fünfzehn Nauen. Zwischen 2001 und 2005 legte das Unternehmen im Urnersee mit Schutt aus dem NEAT-Stollen Amsteg und der Umfahrung Flüelen sechs Inseln an.
Auch bei Beckenried und anderen Stellen wird vor den Flussmündungen Kies abgebaut.
Mitte April 1957 wurde ein Telefonkabel von Spissenegg nach Stansstad im See verlegt. Die Teilverkabelung des Vierwaldstättersees hatte zwei Gründe: Die damalige Bezirkskabelanlage war durch den Bau des neuen Autobahnabschnittes Horw-Stans erheblich gefährdet. Der Schutz der Kabel hätte aber zu kostspieligen Sicherungsmassnahmen geführt. Da die Seekabellegung in diesem Fall preiswerter und der Bedarf an zusätzlichen Leitungen gross war, bewilligte die Telefondirektion in Bern das Projekt.
100 Jahre zuvor, 1854, wurde exakt auf dieser Strecke das erste, in den Telegrafenwerkstätten in Bern eigens hergestellte Seetelefonkabel verlegt. Es diente zur Verbindung der anschliessenden oberirdischen Telegrafenlinien Luzern-Brünig-Interlaken.
Belastung mit Munition
Zwischen 1918 und 1967 entsorgten Schweizer Munitionsfabriken ihre Produktionsabfälle im Vierwaldstätter-, Brienzer- sowie Thunersee. Die Gesamtmenge, welche in bis zu 200 Metern Tiefe im Vierwaldstättersee versenkt wurde, wird auf 3'300 Tonnen geschätzt, 2'800 Tonnen im Urnersee sowie 500 Tonnen im Gersauer Becken.
Namensverwandtschaften
Der Jacobiweiher im Stadtwald von Frankfurt am Main wird im Volksmund seiner Form wegen Vierwaldstättersee genannt.
Auch ein künstlicher See im Zoo Berlin wird aus dem gleichen Grund Vierwaldstättersee genannt.
(Wikipedia)
This series of pictures show Parnell Street midway through the building developments which transformed the street during the years of the Celtic Tiger. The street was originally called Great Britain Street and was developed during the latter part of the 18th century. During the 19th century it was a thriving business street, with any number of retail businesses, covering every need from hats to hard liquor. By the beginning of the 20th century the street was in decline, with smaller, less permanent businesses in situ, and a large number of provision stores serving a less wealthy neighbourhood. The number of vacant and demolished premises listed increase in number throughout the 20th century, until the influx of investment and a growth in population in the early 21st century resulted in a transformation of the street with new building stock, both residential and business.
This photo is from the Dublin City Photographic Collection. This unique collection is an educational resource and provides a basis for original research on the history of Dublin in the second half of the twentieth century.
Rolls Royce Silver Spirit II (1989-93) Engine 6750cc V8 OHV
Registration Number K 610 JNV (Northampton)
ROLLS ROYCE SET
www.flickr.com/photos/45676495@N05/sets/72157623690651737...
The original Silver Spirit was introduced in 1980 as the first of a new generation of models for the company. It formed the basis for the Flying Spur, Silver Dawn, Touring Limousine and Park Ward. The same chassis was also used by sister company, Bentley for their new Mulsanne/Eight series. The new car shared the basic floor pan of the Silver Shadow as well as that car's 6.75 L V8 engine and GM transmission
The Silver Spirit II and longer wheelbase Silver Spur II were introduced at the 1989 Frankfurt Motor Show. Again, the suspension was the main innovation, with "Automatic Ride Control", a fully automatic system adjusting the dampers at all four wheels in real time.[ The dashboard was redesigned and other major innovations included the introduction of ABS braking and fuel injection as standard on all models. Originally retaining the three-speed Turbo Hydramatic GM400 transmission from earlier Spirits/Spurs, a four-speed unit (the GM 4L80E) was introduced in the winter of 1991.
he Silver Spirit III and Silver Spur III, introduced in 1993 with improvements to the traditional V8 A new intake manifold and cylinder heads upped power output, which was still stated simply as "adequate" in company literature. Dual airbags were another new feature, and the rear seats now adjusted independently. The active suspension system was also tweaked engine
Many Thanks for a fan'dabi'dozi 29,525,700 views
Shot 17:08:2014 at Lupin Farm Classic Car Show, Orgreave, Staffordshire Ref 102-790b