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Two bicyclists pass by as Iowa Interstate train SASI (South Amana, Iowa – Silvis, Illionis) rolls off the Government Bridge onto Arsenal Island in Rock Island, Illinois. Leading this June 6, 2020 afternoon is ES44AC 513, painted as a tribute to the late Chicago, Rock Island & Pacific Railroad that once operated where this train is seen.
Brian Carlson, of Rolling Meadows, Illinois, writes that the “unprecedented pause” of 2020 has allowed him to work from home, slow down, and consider his future. “With the arrival of warmer weather, I was feeling the itch to get out and made three photographic expeditions within a few hours’ drive from home. While I haven’t been able to go on any multi-day, multi-state travel extravaganzas in 2020, this welcomed pause has given me the ability to get caught up on nearly everything else…and the time to ponder where I want to go and what I want to see next.”
To see additional member work made during the Covid-19 pandemic, see “Creativity & Covid” in the Fall 2020 issue of Railroad Heritage.
By Hannah Shergold at Leicester Square and probably my favourite of the 17 (out of 27) I finally got to see.
Next to Brian is Kumuro by Ian Davenport and, further back, Nathan by Helen Downie. And even further back Mary Poppins taking to the skies…
London Tusk lion sculptures 2 of 2.
The Summer Set
January 8th, 2010
Mad Maggies. Elgin, IL
This is the second time seeing The Summer Set live, they're amazing!
Brian Jones Coaches, Abbey Wood, Volvo B58-61 Plaxton Supreme TDB 372R was in Brighton on 11th August, 1993. It was new to Titterington, Blencowe, as RHH 355R.
French postcard by Edition Ross, no. 5549/1, 1930-1931. Photo: Paramount.
Mary Brian (1906-2002) was an American actress and film star with dark brown curls and blue/grey eyes, who made the transition from silent films to sound films. She was dubbed 'The Sweetest Girl in Pictures'.
Mary Brian was born Louise Byrdie Dantzler, in Corsicana, Texas, in 1906. She was the daughter of Taurrence J. Dantzler and Louise B. Dantzler. Her brother was Taurrence J. Dantzler, Jr. Her father died when she was one month old and the family later moved to Dallas. In the early 1920s, they moved to Long Beach, California. Mary had intended to become an illustrator but that was laid aside when at age 16 she was discovered in a local bathing beauty contest. One of the judges was famous film star Esther Ralston who was to play her mother in the upcoming Peter Pan and who became a lifelong friend. She didn't win the $25 prize in the contest but Ralston said, "you've got to give the little girl something." So, her prize was to be interviewed by director Herbert Brenon for a role in Peter Pan. Brenon was recovering from eye surgery, and she spoke with him in a dimly lit room. "He asked me a few questions, Is that your hair? Out of the blue, he said, I would like to make a test. Even to this day, I will never know why I was that lucky. They had made tests of every ingénue in the business for Wendy. He had decided he would go with an unknown. It would seem more like a fairy tale. It wouldn't seem right if the roles were to be taken by someone they (the audience) knew or was divorced. I got the part. They put me under contract." The studio renamed her Mary Brian and cast her as Wendy Darling in the silent film version of J. M. Barrie's Peter Pan (Herbert Brenon, 1924). There she starred with Betty Bronson and Esther Ralston, and the three of them stayed close for the rest of their lives. Ralston described both Bronson and Brian as 'very charming people'. The studio said she was age 16 instead of 18, because the latter sounded too old for the role, then signed her to a long-term motion picture contract. Brian played Fancy Vanhern, daughter of Percy Marmont, in Brenon's The Street of Forgotten Men (Herbert Brenon, 1925), which had newcomer Louise Brooks in an uncredited debut role as a moll.
Mary Brian was dubbed "The Sweetest Girl in Pictures." On loan-out to MGM, she played a college belle, Mary Abbott, opposite William Haines and Jack Pickford in Brown of Harvard (1926). She was named one of the WAMPAS Baby Stars in 1926, along with Mary Astor, Dolores Costello, Joan Crawford, Dolores del Río, Janet Gaynor, and Fay Wray. During her years at Paramount, Brian appeared in more than 40 films as the lead, the ingenue or co-star. She worked with Brenon again when she played Isabel in P. C. Wren's Beau Geste (Herbert Brenon, 1926) starring Ronald Colman. That same year she made the war comedy Behind the Front (Eddie Sutherland, 1926) with Wallace Beery, and Harold Teen (1926). In 1928, she played ingenue Alice Deane in Forgotten Faces (Ewald André Dupont, 1928) opposite Clive Brook, her sacrificing father, with Olga Baclanova as her vixen mother and William Powell as Froggy. Brian's first sound film was Varsity (Frank Tuttle, 1928), with part-sound and talking sequences, opposite Buddy Rogers. After successfully making the transition to sound, she co-starred with Gary Cooper, Walter Huston and Richard Arlen in one of the earliest Westerns with sound, The Virginian (Victor Fleming, 1929). In it, she played a spirited frontier heroine, schoolmarm Molly Stark Wood, who was the love interest of the Virginian (Cooper).
Mary Brian co-starred in several hits during the 1930s. She played Gwen Cavendish in George Cukor’s comedy The Royal Family of Broadway (1930) with Ina Claire and Fredric March. A thinly disguised caricature of the private lives of the Barrymore dynasty, it hit the mark to the extent that Ethel Barrymore even threatened to sue Paramount. Brian then appeared as herself in Paramount's all-star revue Paramount on Parade (Edmund Goulding, a.o., 1930), as Peggy Grant in Lewis Milestone’s comedy The Front Page (1931) with Adolphe Menjou and Pat O'Brien. After her contract with Paramount ended in 1932, Brian decided to freelance, which was unusual in a period when multi-year contracts with one studio were common. That same year, she appeared on the vaudeville stage at New York's Palace Theatre. Also in the same year, she starred in Manhattan Tower. Arguably her last good picture was the romantic comedy Hard to Handle (Mervyn LeRoy, 1933), with James Cagney as a grifter. Other film roles include Murial Ross, aka Murial Rossi, in Shadows of Sing Sing (Phil Rosen, 1933), in which she received top billing, Gloria Van Dayham in College Rhythm (Norman Taurog, 1934), Yvette Lamartine in Charlie Chan in Paris (Lewis Seiler, 1935) with Warner Oland, Hope Wolfinger, W. C. Fields’s daughter, in Man on the Flying Trapeze (Clyde Bruckman, 1935), Sally Barnaby in Spendthrift (Raoul Walsh, 1936) opposite Henry Fonda, and Doris in Navy Blues (Ralph Staub, 1937), in which she received top billing. In 1936, she went to England and made three films, including The Amazing Quest of Ernest Bliss (Alfred Zeisler, 1936) in which she starred opposite Cary Grant, to whom she became engaged at one stage. Her final film of the 1930s was Affairs of Cappy Ricks (Ralph Staub, 1937) although she auditioned unsuccessfully for the part that would go to Janet Gaynor in A Star is Born (William A. Wellman, 1937).
When World War II hit in 1941, Mary Brian began traveling to entertain the troops, ending up spending most of the war years traveling the world with the U.S.O., and entertaining servicemen from the South Pacific to Europe, including Italy and North Africa. Commenting on those events that had occurred over fifty years ago, she said in 1996, I was with Charlie Ruggles in Okinawa. And I was on the island of Tinian when they dropped the atomic bomb. Colonel Paul Tibbets, who was the pilot and the officer in charge [of dropping the bomb] took Charlie and me on the plane the next day, and nobody had been allowed in that encampment. So I was on the Enola Gay. Flying to England on a troop shoot, Mary got caught in the Battle of the Bulge and spent the Christmas of 1944 with the soldiers fighting that battle. She made several pictures for Poverty Row companies such as Majestic and Monogram, including the low-budget potboiler I Escaped from the Gestapo (Harold Young, 1943). Her last performance on the silver screen was in Dragnet (Leslie Goodwins, 1947), a B-movie in which she played Anne Hogan opposite Henry Wilcoxon. Over the course of 22 years, Brian had appeared in more than 79 films. Like many 'older' actresses, during the 1950s Brian created a career for herself in television. Perhaps her most notable role was playing the title character's mother in Meet Corliss Archer in 1954. She also dedicated much time to portrait painting after her acting years. Though she was engaged numerous times and was linked romantically to numerous Hollywood men, including Cary Grant and silent film actor Jack Pickford, Brian had only two husbands: magazine illustrator Jon Whitcomb (for six weeks in 1941) and film editor George Tomasini (from 1947 until his death in 1964). After retiring from the screen for good, she devoted herself to her husband's career; Tomasini worked as film editor for Alfred Hitchcock on the classics Rear Window (1954) and Psycho (1960). She died of natural causes in 2002 at a retirement home in Del Mar, California at the age of 96. She is interred in the Eternal Love Section at the Hollywood Hills Cemetery, Los Angeles, overlooking Burbank.
Sources: I.S. Mowis (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Brian Clough statue, Old Market Square, Nottingham.
The Brian Clough statue stands proudly in Nottingham city centre just off Old Market Square. It was unveiled on 6th November 2008 by Brian’s widow Barbara in front of an estimated crowd of 4,000 people. The statue was paid for thanks to the efforts of the Brian Clough Statue Fund, a group of volunteers who raised nearly £70,000 by selling ‘Cloughie’ related merchandise, organising fund-raising events and accepting donations from the public.
Brian Clough managed Nottingham Forest Football Club for 18 years between 1975 and 1993 and presided over the club's most successful spell in their history. During his reign two European Cups, a European Super Cup, a League Championship and 4 League Cups were all won.
Sadly, Nottingham’s hero passed away on 20th September 2004 so never got to see his statue
source: www.visit-nottinghamshire.co.uk/things-to-do/brian-clough...
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No Group Awards/Banners, thanks
Brian's bagged mustang in a Nardo Gray Avery Dennison wrap.
IG @truthcanbebought
Nikon D810
Superwide
Light Painted
Copyright (C) 2019. Ryan S Burkett. All Rights Reserved.
Brian Wilson with Al Jardine, Laxson Auditorium, CSU, Chico, California, November 29, 2015
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Brian loves wrapping paper and bows, and once this present was opened, the wrapping paper was his to play with!
I don’t often ride home on my bike from downtown via Dundas Street. Gerrard is a bit more direct with less traffic. Today, I had an errand on Dundas and I’m glad I did because it allowed me to meet Brian. He passed me walking the other way on the sidewalk and I was struck by his over-all look, highlighted by his dreadlocks and orange sunglasses. After a moment’s hesitation I stopped and backtracked on the sidewalk, trying to get his attention.
When I caught up with him he appeared a bit reticent (I’m sure I would be too if I were in his shoes and a stranger hurried after me with a request). He warmed gradually, however, and was receptive to my project request once I explained it and showed him my contact card. I suggested a laneway we had just walked past because I felt the brick walls would work and the light was good. Meet Brian.
I had a feeling that I had caught Brian at a slightly awkward moment and initial eye contact did not come easily and he seemed very precise about where he would stand. I commented that he seemed a particular person but he accommodated my request as to where I needed him to stand (of course, after suggesting he was particular, I became particular myself). My initial photos of him with the orange sunglasses turned out to feature me as much as they did him (reflective lenses) so I’m glad I asked him to take off the sunglasses for a few more photos – some against a reddish brick wall, and some against a more neutral brick wall on the other side of the alley). Once Brian saw that I was working hard to get the best result, he became equally motivated and didn’t object at all that I was taking a bit of extra time and asking if I could position his dreadlocks out of his eyes etc. I was pleased when he hung his sunglasses over his collarbones because that let me include that splash of color while not blocking his eyes which were very expressive.
Brian, 25, was born and raised in Toronto and his parents are from Jamaica. When I asked what activity I had interrupted when I appeared he said “Oh, nothing really. I was just out for a walk.” When I asked what he is doing in life he said he is hoping to be able to return to school in the near future. He started a business-oriented program but had to drop out when life got in the way (he said he had to move, etc.) His interest is in web design and graphic design. His goal in life is to invent a beverage and then create the packaging and marketing concept. “It will be a very high quality drink and I want the graphics to be equally good.”
When I asked his advice to his younger self he paused and then said “Try harder in school and keep focused on my main goal.” This is when he elaborated on his business aspirations. His biggest challenge in life? “Being stereotyped.” When I asked what he meant, he said “some people have told me I will never amount to much and I’ve had to work extra-hard to remain strong in my belief in myself.” When I told him about some research I have read about people who have overcome adversity and succeeded, it was identified that most of them had at least one role model who believed in them when they were young. I said I hoped this has been the case for him. He smiled and said “I did have someone who believed in me… actually, more than one person. I guess I am lucky there.” His message to the project? “Shoot for the moon.”
When I told Brian how glad I was to have stopped to meet him he said he was just as glad. “This has been a real good experience for me” he said. “Actually, it turned out to be a great way to start my Monday.” Thinking back to when we first met, I think he had been rather drawn into himself and perhaps not in the best of moods. When we parted, he seemed much more outgoing and repeated how much he appreciated meeting me and being in my project. He wished me a nice day as well as wishing me luck with my project. I wished him luck returning to school and said I hoped he succeeds with his personal goals.
Every so often a stranger encounter proves especially well-timed and meaningful for the person I meet. Those encounters are particularly rewarding. This was one of those.
This is my 516th submission to The Human Family Group on Flickr.
You can view more street portraits and stories by visiting The Human Family.
Church Door II
Downtown Raleigh
From my photowalk yesterday.
Cheers,
Wade
#ArtByWadeBrooks
#raleighnc #architecture #doors
Spread 123 – The Stage
16 March 2013
Vintage papers, acrylic paint, metal tape, Sigano white and black gel pens, pencil.
Blogged here:http://apaperbear.wordpress.com/2013/03/19/spread-123-the-stage/
Brian's bagged mustang in a Nardo Gray Avery Dennison wrap.
IG @truthcanbebought
Nikon D810
Superwide
Light Painted
Copyright (C) 2019. Ryan S Burkett. All Rights Reserved.
Library of Congress Innovator in Residence and "Citizen DJ" creator Brian Foo, February 27, 2020. Photo by Shawn Miller/Library of Congress.
Lighting info: Speedlight at 1/4 power on floor down the hallway with heavy blue gel, speedlight with heavy red gel up and camera left in shoot through umbrella at 1/2 power.
I love my local bar early in the day. It's never crowded. Some days it's empty. Which is good for this introvert. A good book - A Dreadful Man by Brian Ahern. Biography about George Sanders. Erdinger Weisbier and me on my own.
Brian Jones Coaches of Gravesend, Kent R257LGH coach seated Volvo Olympian / Northern Counties. New 1997 to London Central as NV57. At Colchester Zoo coach park.
#9's crew heads for beans after tying up at the station in Cass, West Virginia, on November 2, 2019. © Brian Wong
Brian Kobilka’s lab at Stanford is not a place of spectacle. There are no giant particle accelerators or robotic arms dancing through the air. Instead, there are tubes, screens, quietly humming machines, and at the center of it all, a man whose work has illuminated one of the most important molecular communication systems in the human body.
Kobilka didn’t set out to become a molecular biologist. He trained as a physician, and it was only later, while working in Robert Lefkowitz’s lab at Duke, that he found himself pulled into the intricate puzzle of G-protein-coupled receptors (GPCRs). These receptors sit on the surface of nearly every cell in the body, receiving signals—from hormones, neurotransmitters, even light—and translating them into cellular action. They’re the gateway through which the body listens and responds to its environment. They’re also the target of roughly a third of all modern medicines.
But in the 1980s, GPCRs were a black box. Kobilka was the one who helped pry it open.
He was the first to clone the gene for the beta-2 adrenergic receptor, a feat that required more than just technical skill. It required tenacity, a tolerance for failure, and the kind of stubborn optimism that keeps a person working late into the night long after others would’ve given up. Decades later, he would win the Nobel Prize in Chemistry—shared with Lefkowitz—for work that revealed the 3D structure of these receptors and how they function at the atomic level.
What’s striking about Kobilka is how unassuming he is. He doesn’t speak in grand pronouncements. He listens. He thinks before he talks. And when he does talk, he often downplays his role, crediting his collaborators, his students, and the field itself for its collective progress.
In person, he’s calm and deliberate, with the air of someone who’s spent a lifetime walking narrow paths between biology, chemistry, and physics. The lab behind him, filled with chromatography systems and delicate instrumentation, looks less like a cathedral of science and more like a watchmaker’s bench—an apt metaphor, really, for the kind of precision work that defines his career.
Beyond the bench, Kobilka is also a builder of teams. He and his wife, Dr. Tong Sun Kobilka, run the lab together, a partnership that has spanned decades of discovery. Many of their former trainees now lead labs of their own. The scientific lineage continues.
There’s something quietly radical in what Kobilka has done: he’s helped transform a once-intractable mystery—the invisible chatter between cells—into something we can see, understand, and even manipulate. His work has implications for everything from heart disease to mental health, from vision loss to cancer. Yet he remains focused not on the accolades but on the unanswered questions.
I photographed him in 2024 at his lab at Stanford. He stood in front of the machinery like it was an old friend—arms crossed, expression thoughtful, surrounded by the elegant tangle of tubes and wires that translate molecular whispers into data. The light came in softly through a side window. It felt quiet in the room. Focused. Like the man himself.