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Pub, former townhall / Pulheim / Rhein-Erft-Kreis / North Rhine-Westphalia / Germany
Album of Germany (the west): www.flickr.com/photos/tabliniumcarlson/albums/72157713209...
One of those days where you question the choices in life you made. It is a big day for me as I am finally off orientation. A day where I will no longer have the comfort of knowing that their is someone behind you every step of the way. Like the feeling of taking off those training wheels; using only your knowledge and your courage to ride forward. The fact that today was my last day, I would have wanted it to end with a bang, but that was not the case. I found myself questioning my decisions and all that I have worked so hard for. I felt so incompetent, and so stupid at the same time. These are the days that will challenge my fortitude and my desire to pursue this career. I am so nervous and unsure now, I feel like my confidence has rebounded deep within me, and finding it will take time.
Almost everyone, at one time or another, wants to "see behind the curtain".
It can be career related -- what's going on with the ownership and what does my boss think of me?
It can be spiritual -- wanting to know is there a heaven, is there a hell, is God really there?
It can be financial -- am I going to have enough money to survive?
It can be a health issue -- why me, why do I have this illness?
It can be the future -- what is going to happen to me, to my family, to my friends, to our country?
I believe the truth is, if we were allowed to "see behind the curtain" as often as we wanted to, it would spoil the wonderful gift of not knowing what is coming. I also believe we were created to live one day at a time, to enjoy the mysteries of life and death, and to understand that one day we will certainly "see behind the curtain" at our appointed time.
Bloomington, IN
2023
© James Rice, All Rights Reserved
She enjoys the beach so much, Merry thinks she will try selling sea shells down by the sea shore.
This is Prima Dolly Marigold, one of my older Blythe dolls. I usually reach for a new girl when it's photo time, so she is one of many who don't get as much exposure as I wish they did. Her sunny coloring is perfect for this "sea shore" theme in the Blythe a Day group.
Gatwick Memories
Delta Air Lines leased a couple of standard bodied TriStars to inaugurate their Atlanta-Gatwick flights in 1978. By 1979, they had their own fleet of three L-1011-500s delivered to operate the service. N753DA - the third of these new L-1011-500s is seen here at London Gatwick on the daily flight DL011 to Atlanta. In the distance, through the heat haze, is one of the Laker Boeing 707s, seen without titles.
N753DA c/n 1189 - L-1011-500 - delivered new to Delta Airlines in August 1980, the aircraft operated with the airline for 20 years before being withdrawn and stored at Victorville in 2001. The aircraft was sold and gained a number of identities throughout the 2000s, eventually being withdrawn in 2013 after a flying career of 33 years!
Apparently, the last commercial TriStar flight was operated on January 7, 2019. More info on the Aircraft design here: en.wikipedia.org/wiki/Lockheed_L-1011_TriStar
Taken with a Soviet made Zenith E camera and 300mm lens.
You can see a random selection of my aviation memories here: www.flickriver.com/photos/heathrowjunkie/random/
Opie had to be tricked into getting his H1N1 shot today...
Annie didn't seem to mind doing the "dirty work."
Located between village Liepa and the primeval valley of River Gauja.
Lode clay deposit was discovered in 1953 by the geologist J.Slienis. Ten years later industrial extraction of clay for brick-making was started. The clay-pit became world famous when the geologist V.Kuršs in 1970 first time in the history of the world discovered well preserved fossils of Upper Devonian armoured fish and Strunius kurshi fish. Still nowhere else fish fossils in such good condition have been discovered; part of the fossils can be viewed in the expositions and funds of Latvian Museum of Natural History. Nowadays clay is extracted by the company „Lode“ which produces finishing, oven-chimney, and construction bricks, as well as other clay items. The Lode armoured fish deposit is a protected nature monument.
Information taken from www.entergauja.com/
Over 50 years ago as a young farm teenager, baling hay, milking cows and cleaning out hog sheds by hand guided my career decisions more than almost anything. In this photo, the past and the present of farming lie side by side. Round bales replaced the back breaking work of loading and unloading bales on a hay trailer. Few windmills in Minnesota still pump water and the old graineries have been largely replaced by newer methods of drying crops.
Located between village Liepa and the primeval valley of River Gauja.
Lode clay deposit was discovered in 1953 by the geologist J.Slienis. Ten years later industrial extraction of clay for brick-making was started. The clay-pit became world famous when the geologist V.Kuršs in 1970 first time in the history of the world discovered well preserved fossils of Upper Devonian armoured fish and Strunius kurshi fish. Still nowhere else fish fossils in such good condition have been discovered; part of the fossils can be viewed in the expositions and funds of Latvian Museum of Natural History. Nowadays clay is extracted by the company „Lode“ which produces finishing, oven-chimney, and construction bricks, as well as other clay items. The Lode armoured fish deposit is a protected nature monument.
Information taken from www.entergauja.com/
iss069e005732 (April 28, 2023) --- NASA astronaut and Expedition 69 Flight Engineer Stephen Bowen is pictured in his Extravehicular Mobility Unit, or spacesuit, outside the International Space Station during his eighth career spacewalk. He and UAE (United Arab Emirates) astronaut Sultan Alneyadi (out of frame) would spend seven hours and one minute in the vacuum of space routing cables and installing insulation readying the orbital outpost for its next set of roll-out solar arrays due to be installed after their delivery on the next SpaceX Dragon cargo mission.
Amedeo Modigliani
Italian, 1884 - 1920
Woman with a Necklace, 1917
Oil on canvas
(closeup)
Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was a Jewish-Italian painter and sculptor who pursued his career for the most part in France. Modigliani was born in Livorno, Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and movements, and by primitive art, Modigliani's oeuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis—exacerbated by a lifestyle of excess—at the age of 35.
Early life
Modigliani was born into a Jewish family in Livorno, Italy.
Livorno was still a relatively new city, by Italian standards, in the late nineteenth century. The city on the Tyrrhenian coast dates from around 1600, when it was transformed from a swampy village into a seaport. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee.
Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. When bailiffs entered the family home, just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of the expectant mother.
Modigliani had a particularly close relationship with his mother, who taught her son at home until he was ten. Beset with health problems after a bout of typhoid at the age of fourteen, two years later he contracted the tuberculosis which would affect him for the rest of his life. To help him recover from his many childhood illnesses, she took him to Naples in Southern Italy, where the warmer weather was conducive to his convalescence.
His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was eleven years of age, she had noted in her diary that:
“The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?"
Art student years
Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote, even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.
At the age of fourteen, while sick with the typhoid fever, he raved in his delirium that he wanted, above all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum only housed a sparse few paintings by the Italian Renaissance masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enroll him with the best painting master in Livorno, Guglielmo Micheli.
Micheli and the Macchiaioli
Modigliani worked in the studio of Micheli from 1898 to 1900. Here his earliest formal artistic instruction took place in an atmosphere deeply steeped in a study of the styles and themes of nineteenth-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art, can still be seen: artists such as Giovanni Boldini figure just as much in this nascent work as do those of Toulouse-Lautrec.
Modigliani showed great promise while with Micheli, and only ceased his studies when he was forced to, by the onset of tuberculosis.
In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli, a painter of melodramatic Biblical studies and scenes from great literature. It is ironic that he should be so struck by Morelli, as this painter had served as an inspiration for a group of iconoclasts who went by the title, the Macchiaioli (from macchia—"dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This minor, localised art movement was possessed of a need to react against the bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the followers of Monet, and are today largely forgotten outside of Italy.
Modigliani's connection with the movement was through Micheli, his first art teacher. Micheli was not only a Macchiaioli himself, but had been a pupil of the famous Giovanni Fattori, a founder of the movement. Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterised the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never really got a taste for this style of working, sketching in cafes, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist), Modigliani chose a proto-Cubist palette more akin to Cézanne than to the Macchiaioli.
While with Micheli, Modigliani not only studied landscape, but also portraiture, still-life, and the nude. His fellow students recall that the latter was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid.
Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spake Zarathustra. Fattori himself would often visit the studio, and approved of the young artist's innovations.
In 1902, Modigliani continued what was to be a life-long infatuation with life drawing, enrolling in the Accademia di Belle Arti (Scuola Libera di Nudo, or "Free School of Nude Studies") in Florence. A year later while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Istituto di Belle Arti.
It is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism that was almost expected of artists of the time; his pursuit of the seedier side of life appears to have roots in his appreciation of radical philosophies, such as those of Nietzsche.
Early literary influences
Having been exposed to erudite philosophical literature as a young boy under the tutelage of Isaco Garsin, his maternal grandfather, he continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire, Carduzzi, Comte de Lautréamont, and others, and developed the belief that the only route to true creativity was through defiance and disorder.
Letters that he wrote from his 'sabbatical' in Capri in 1901 clearly indicate that he is being more and more influenced by the thinking of Nietzsche. In these letters, he advised friend Oscar Ghiglia,
“(hold sacred all) which can exalt and excite your intelligence... (and) ... seek to provoke ... and to perpetuate ... these fertile stimuli, because they can push the intelligence to its maximum creative power.”
The work of Lautréamont was equally influential at this time. This doomed poet's Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani's generation, and the book became Modigliani's favourite to the extent that he learnt it by heart. The poetry of Lautréamont is characterised by the juxtaposition of fantastical elements, and by sadistic imagery; the fact that Modigliani was so taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery.
Modigliani wrote to Ghiglia extensively from Capri, where his mother had taken him to assist in his recovery from the tuberculosis. These letters are a sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's senior, and it is likely that it was he who showed the young man the limits of his horizons in Livorno. Like all precocious teenagers, Modigliani preferred the company of older companions, and Ghiglia's role in his adolescence was to be a sympathetic ear as he worked himself out, principally in the convoluted letters that he regularly sent, and which survive today.
“Dear friend
I write to pour myself out to you and to affirm myself to myself. I am the prey of great powers that surge forth and then disintegrate... A bourgeois told me today - insulted me - that I or at least my brain was lazy. It did me good. I should like such a warning every morning upon awakening: but they cannot understand us nor can they understand life...”
Paris
Arrival
In 1906 Modigliani moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the epicentre of artistic experimentation coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris.
He settled in Le Bateau-Lavoir, a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterised by generalised poverty, Modigliani himself presented - initially, at least - as one would expect the son of a family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times.
When he first arrived in Paris, he wrote home regularly to his mother, he sketched his nudes at the Colarossi school, and he drank wine in moderation. He was at that time considered by those who knew him as a bit reserved, verging on the asocial. He is noted to have commented, upon meeting Picasso who, at the time, was wearing his trademark workmen's clothes, that even though the man was a genius, that did not excuse his uncouth appearance.
Transformation
Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of prince of vagabonds.
The poet and journalist Louis Latourette, upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that the studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point.
Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work. He explained this extraordinary course of actions to his astonished neighbours thus:
“Childish baubles, done when I was a dirty bourgeois."
The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. For Modigliani such behavior may have been a response to a lack of recognition; it is known that he sought the company of other alcoholic artists such as Utrillo and Soutine, seeking acceptance and validation for his work from his colleagues.
Modigliani's behavior stood out even in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk he would sometimes strip himself naked at social gatherings. He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent van Gogh.
During the 1920s, in the wake of Modigliani's career and spurred on by comments by Andre Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his 'success' by embarking on a path of substance abuse and bohemian excess. Salmon claimed—erroneously—that whereas Modigliani was a totally pedestrian artist when sober,
“...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art.”
While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them.
In fact, art historians suggest that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.
Output
During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost - destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.
He was first influenced by Henri de Toulouse-Lautrec, but around 1907 he became fascinated with the work of Paul Cézanne. Eventually he developed his own unique style, one that cannot be adequately categorized with other artists.
He met the first serious love of his life, Russian poet Anna Akhmatova, in 1910, when he was 26. They had studios in the same building, and although 21-year-old Anna was recently married, they began an affair. Tall (Modigliani was only 5 foot 5 inches) with dark hair (like Modigliani's), pale skin and grey-green eyes, she embodied Modigliani's aesthetic ideal and the pair became engrossed in each other. After a year, however, Anna returned to her husband.
Experiments with sculpture
In 1909, Modigliani returned home to Livorno, sickly and tired from his wild lifestyle. Soon he was back in Paris, this time renting a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume, an ambitious young art dealer, took an interest in his work and introduced him to sculptor Constantin Brancusi.
Although a series of Modigliani's sculptures were exhibited in the Salon d'Automne of 1912, he abruptly abandoned sculpting and focused solely on his painting.
Question of influences
In Modigliani's art, there is evidence of the influence of primitive art from Africa and Cambodia which he may have seen in the Musée de l'Homme, but his stylisations are just as likely to have been the result of his being surrounded by Mediaeval sculpture during his studies in Northern Italy (there is no recorded information from Modigliani himself, as there is with Picasso and others, to confirm the contention that he was influenced by either ethnic or any other kind of sculpture). A possible interest in African tribal masks seems to be evident in his portraits. In both his painting and sculpture, the sitters' faces resemble ancient Egyptian painting in their flat and masklike appearance, with distinctive almond eyes, pursed mouths, twisted noses, and elongated necks. However these same chacteristics are shared by Medieval European sculpture and painting.
Modigliani painted a series of portraits of contemporary artists and friends in Montparnasse: Chaim Soutine, Moise Kisling, Pablo Picasso, Diego Rivera, Marie "Marevna" Vorobyev-Stebeslka, Juan Gris, Max Jacob, Blaise Cendrars, and Jean Cocteau, all sat for stylized renditions.
At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.
The war years
Known as Modì, which roughly translates as 'morbid' or 'moribund', by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention.
Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years, was the subject for several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.
When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening there the smiling man at the next table in the café introduced himself as Modigliani; painter and Jew. They became great friends.
In 1916, Modigliani befriended the Polish poet and art dealer Leopold Zborovski and his wife Anna.
Jeanne Hébuterne
The following summer, the Russian sculptor Chana Orloff introduced him to a beautiful 19-year-old art student named Jeanne Hébuterne who had posed for Foujita. From a conservative bourgeois background, Hébuterne was renounced by her devout Roman Catholic family for her liaison with the painter, whom they saw as little more than a debauched derelict, and, worse yet, a Jew. Despite her family's objections, soon they were living together, and although Hébuterne was the love of his life, their public scenes became more renowned than Modigliani's individual drunken exhibitions.
On December 3, 1917, Modigliani's first one-man exhibition opened at the Berthe Weill Gallery. The chief of the Paris police was scandalized by Modigliani's nudes and forced him to close the exhibition within a few hours after its opening.
After he and Hébuterne moved to Nice, she became pregnant and on November 29, 1918 gave birth to a daughter whom they named Jeanne (1918-1984).
Nice
During a trip to Nice, conceived and organized by Leopold Zborovski, Modigliani, Tsuguharu Foujita and other artists tried to sell their works to rich tourists. Modigliani managed to sell a few pictures but only for a few francs each. Despite this, during this time he produced most of the paintings that later became his most popular and valued works.
During his lifetime he sold a number of his works, but never for any great amount of money. What funds he did receive soon vanished for his habits.
In May of 1919 he returned to Paris, where, with Hébuterne and their daughter, he rented an apartment in the rue de la Grande Chaumière. While there, both Jeanne Hébuterne and Amedeo Modigliani painted portraits of each other, and of themselves.
Last days
Although he continued to paint, Modigliani's health was deteriorating rapidly, and his alcohol-induced blackouts became more frequent.
In 1920, after not hearing from him for several days, his downstairs neighbor checked on the family and found Modigliani in bed delirious and holding onto Hébuterne who was nearly nine months pregnant. They summoned a doctor, but little could be done because Modigliani was dying of the then-incurable disease tubercular meningitis.
Modigliani died on January 24, 1920. There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse.
Hébuterne was taken to her parents' home, where, inconsolable, she threw herself out of a fifth-floor window two days after Modigliani's death, killing herself and her unborn child. Modigliani was interred in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest beside Modigliani.
Modigliani died penniless and destitute—managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants. Had he lived through the 1920s when American buyers flooded Paris, his fortunes might well have changed. Since his death his reputation has soared. Nine novels, a play, a documentary and three feature films have been devoted to his life.
"All right lads, today we have a very special guest to talk about the exciting career possibilities of being a bounty hunter. Now let's give a warm Stormtrooper High welcome to Mr. Boba Fett!"
(inspired by Mr. 8 Skeins of Danger's photos of Boba!) :D
(Just found out this was explored on April 27, currently ranked at #393! Woo Hoo!
Thanks from me, Boba Fett, and the Stormtroopers!) :D
Apollo Career Center in Lima, Ohio. These Ford Crown Victoria's are training cars and have been worn from years of sitting outside.
British postcard in the Picturegoer Series, London, no. D 475. Photo: Associated British.
Janette Scott (1938) is a retired English actress, who started her career as a child actress at the age of 3. From the late 1950s to the mid-1960s, she was a leading lady in British films in which she co-starred with Terry-Thomas, Ian Carmichael, and Laurence Olivier. She is best remembered from the line "And I really got hot When I saw Janette Scott fight a triffid that spits poison and kills" in the opening song of The Rocky Horror Picture Show (1975). Scott gave up her film career upon marrying singer Mel Torme.
Thora Janette Scott was born in 1938 in Morecambe, Lancashire, England. She is the daughter of actors Jimmy Scott and Thora Hird and began her acting career as a child actress known as Janette Scott. She made her film debut only 3-years-old in the British war film Went the Day Well? (Alberto Cavalcanti, 1942), adapted from a story by Graham Greene. The film was produced by Michael Balcon of Ealing Studios and served as unofficial propaganda for the war effort. It tells of how an English village is taken over by German paratroopers. After a few bit roles, she had her first big part as Jennifer in No Place for Jennifer (Henry Cass, 1950) with Leo Genn and Rosamund John. She played a young girl, who experiences a trauma when her parents' divorce. Another big role followed in the sports comedy The Galloping Major (Henry Cornelius, 1951), starring Basil Radford. The title is taken from the song 'The Galloping Major', and the plot was centered on gambling at the horse racing track. She also co-starred in the British 20th Century Fox production No Highway in the Sky/No Highway (Henry Koster, 1951), starring James Stewart and Marlene Dietrich. Scott appeared in the British Technicolor biographical drama The Magic Box (John Boulting, 1951). The film stars Robert Donat as William Friese-Greene, who first designed and patented one of the earliest working cinematic cameras. Told in flashback, the film details Friese-Greene's tireless experiments with the 'moving image', leading inexorably to a series of failures and disappointments, as others hog the credit for the protagonist's discoveries. Scott was briefly (along with Jennifer Gay) one of the so-called 'Children's Announcers' providing continuity links for the BBC's children's TV programs in the early 1950s. At the age of 14, Scott wrote her autobiography, 'Act One'. During the 1950s, she also appeared in such films as the divorce drama Background/Edge of Divorce (Daniel Birt, 1953) starring Valerie Hobson, the musical comedy As Long as They're Happy (J. Lee Thompson, 1955) starring Jack Buchanan and Diana Dors, and as Cassandra in the Hollywood epic Helen of Troy (Robert Wise, 1956), based on Homer's Iliad and Odyssey. Scott also had the leading role in the romance Now and Forever (Mario Zampi, 1956). It was Scott's first adult role in which she got her first screen kiss.
In the late 1950s, Janette Scott became a popular leading lady. She appeared with Ian Carmichael in the comedy Happy Is the Bride (Roy Boulting, 1958), and with Anna Neagle and Frankie Vaughan in The Lady Is a Square (Herbert Wilcox, 1958). She is known to American audiences for her role as the parson's wife in The Devil's Disciple (Guy Hamilton, 1959) starring Burt Lancaster, Kirk Douglas, and Laurence Olivier. One of her other well-known roles is April Smith in the British comedy School for Scoundrels (Robert Hamer, 1960), based on the 'one-upmanship' books by Stephen Potter, in which Ian Carmichael and Terry-Thomas competed for her attention. Scott is referenced to in the song 'Science Fiction/Double Feature', the opening number from The Rocky Horror Show and its film version The Rocky Horror Picture Show (Jim Sharman, 1975) for her participation in The Day of the Triffids (Steve Sekely, 1962): "And I really got hot When I saw Janette Scott fight a triffid that spits poison and kills." The British Science Fiction film stars Howard Keel and Nicole Maurey and was loosely based on the 1951 novel of the same name by John Wyndham. She later appeared in the Hammer thriller Paranoiac (Freddie Francis, 1963) with Oliver Reed, Siege of the Saxons (Nathan H. Juran, 1963), set in the time of King Arthur, and the American horror-comedy The Old Dark House (William Castle, 1963), a remake of the 1932 film by James Whale. The photo of the postcard was produced for The Beauty Jungle/ Contest Girl (Val Guest, 1964), about " the beauty profession and all of its hypocrisy and sordid publicity stunts", according to Wikipedia. Ordinarily a brunette, Scott dyed her hair blonde to take on a sort of sex bomb persona for the film. Her final films were the American Science-Fiction Crack in the World (Andrew Marton, 1965) a 'doomsday disaster movie' filmed in Spain, and the American comedy Bikini Paradise/White Savage (Gregg Tallas, 1967). In the meantime, she had married American Jazz singer Mel Torme and gave up her career to raise a family. Janette Scott has been married three times: to Canadian singer and TV host Jackie Rae (1959-1965; divorced), Mel Tormé (1966-1977; divorced), and William Rademaekers (since 1981). With Mel Tormé, she has two children, actress Daisy Tormé (1969) and songwriter James Tormé (1973). In 1997, she returned to the screen for a cameo in the popular TV series Last of the Summer Wine in the episode There Goes the Groom. Although she is credited in the cast of the British film How to Lose Friends & Alienate People (Robert B. Weide, 2008), Scott did not return to the cinema. Her character - the deceased mother of the Simon Pegg character - is seen only in flashbacks as a very young woman, extracts from her film Now and Forever (Mario Zampi, 1956).
Sources: Brian Drive-in's Theater, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
My Career Path
When I graduated from high school in 2003 I was a very confused young man. I did not know much about life but I knew few things about Jesus Christ. I did not have street smarts—I matured very late!--but I knew few Biblical principles. One of the things I knew was that God has a plan for my life and being a new high school graduate I wanted to know His will for my career. So I decided after high school I would work wherever until I discern my God-given talents, and once I know His will for my career then I would pursue getting an education that prepares me for that career path. My high school teachers did not understand why would a student whose overall average never dropped below 90% would want to be a general labourer.
Anyway, after graduating I went to few temporary work agencies to find work. I had to buy steel toed safety shoes because most general labour jobs require them. Pretty soon I found myself working in the warehouse of a clothing company. My boss was a Chinese man who had spent 30 years working there, and my supervisor was an older Chinese man who been working there for many years too. They soon liked me and hired me after 6 months, while temporary workers who have been working there for years were still working for the agency. Two months after being hired the company had their annual wages raise and I did not qualify for it because I had to be working as a full-timer for a full year to qualify for it. But my boss called me into his office and told me that he liked the work I did and wanted to help me and so he gave me a 6% raise which I really appreciated. When I left the office the senior full time workers asked me how much I had gotten for a raise so I told them 6% and suddenly they disliked me! I did not know why their attitude changed toward me until the next day when I found out that the reason was becausethat all full-time workers had gotten only a 3% raise. Like I said, I was very naive and I did not know better as not to disclose this information. Anyway, in the next 3 years my boss had given me about 45% raise, while they had gotten anywhere between 1-3% annual raise.
The reason my boss liked me is that I did every and anything without complaining—I simply did whatever they asked me no matter how menial it was. The Bible says in Colossians 3:23, “Whatever you do, work at it with all your heart, as working for the Lord, not for men.” And my mottos were, “I get paid by hour so I work by hour”, and, “There is a reason why it is called ‘general labour’”—so I never complained about the type of work I had to do or the pay because when I accepted a general labour position I understood two things: I will get paid little, and I will have to do a physical and dirty work.
Anyway, my boss realized I loved to fix mechanical things: paper shredder, lift truck, a table, a cart. So over 3 years he kept asking me to fix broken things around the warehouse, and I realized how much I loved working with gears and mechanical things in general. These experiences brought back memories of how in my teenage years in Iraq I spent all my summer breaks building remote controlled cars, airplanes, and making toy guns and foosball tables, and so on! So I knew I wanted to become a mechanical engineer and therefore 4 years after working in the warehouse I started studying mechanical engineer at UofT.
What I really want to draw attention to is God’s goodness. See, I did not choose the warehouse I worked at but our heavenly Father put me in the right place working for the right boss. People told me that I was working in the wrong place because of their limited wisdom, but God in His infinite wisdom knew what He was doing. God knew what I needed, and so He put me where I needed to be. Being a stubborn person I knew better than listening to people—no matter how well intended their intentions were—because I knew few things:
1) God is real—He exists! (Hebrews 11:6)
2) He is the God of the Bible and I know Him because He revealed Himself in the person of Jesus Christ. Whenever I wondered, “Who is this God I am waiting for?” I realized I knew who He is because I knew who Jesus Christ is. (John 14:9)
3) He is a good, loving, faithful, wise and powerful God, and He is my heavenly Father.
4) He has His own timing and ways of doing things.
So working at the warehouse was His way of helping me find my God-given talent. When I applied to UofT I was told that it was a good thing I had applied then because any high school diplomas older than 4 years old would not be accepted; I did not know that but God did and that was His timing.
***
I worked at the warehouse for 2 summer breaks while I was a student at university. In the third summer, in 2010, the clothing company was going through bankruptcy and so they did not have work for me. I needed work because I needed money for the next school year so I applied to some summer engineering internship. I got an interview so I went to it. The interview lasted 2.5 hours and it was by far the worst interview I had ever heard of! It was so bad that it did not matter what I answered to the questions of the engineer who was interviewing me, the answers were wrong! I mean, he even criticized the font size I used in my resume—which was 11 points instead of 12! I wanted to be out of there so bad, and I hoped he would not hire me because I was too embarrassed to see him again! At the end of the interview he told me that his career was delayed 4 years also because when he graduated, some 30 years earlier, Canada was going through a recession and he could not find a job for 4 years.
After the interview my sister asked, “How did the interview go?” And I told her, “Don’t even ask. If he hired me it would truly be a miracle!” And she said, “That’s right. We have a God who works on our behave.” Two weeks later he called me offering the job alongside one of my classmates. He initially just wanted to hire one student—which was my classmate--but decided to hire me anyway. My boss (the interviewer) turned out to be a very cool and nice man who I learned a lot from. I think I did a good job there and I was offered a full-year internship but I really wanted to go back to school and finish it as soon as possible. Of course this 4 months long engineering experience helped me a lot to include an actual engineering experience on my resume.
For some reason I never felt qualified to do that job, even though I believe I did a good job. I think it is because the engineer who hired me did so more because he felt sorry for me than needed my services. (I think he also hired me because he was able to associate with the experience of having your career delayed 4 years.) I want you to keep this in mind because I will touch back on this point later.
After graduating in 2011 I was desperate for a job, any job, and after few months I found myself working at a government company. I worked there for 6 months and I did not like the job even though the people were nice and the pay was good. My task in the last 2 weeks was so boring that on the last day I was afraid my boss would extend my contract! I so wanted to be out of there even though I knew that would mean I would be unemployed and without money!
After a couple of weeks and getting bored of staying at home I prayed a short and simple prayer asking for two things:
1) I told God that the point of studying mechanical engineering was not to become any engineer or to make money, but to put the talents He had given me into practice. That means I want a design position, and engineering is such a broad field that you can do so many things that are not related to your God-given talents.
2) I told God that I wanted to work at a company that wants to hire. A company that believes I am valuable to it. A company where I feel appreciated.
Few weeks ago I saw this job advertisement on the internet seeking a mechanical designer at an office furniture company. The job required the candidate to have 2-3 years experience and knowledge of sheet metal and a design software called AutoCAD. I did not have any of the requirements so I did not apply to that position, and I can still remember thinking, “This sounds like the job I want, but too bad I don’t qualify otherwise I would’ve applied to it!” Next day a staffing agency called me and told me to come see them about that same position. I was very surprised and so I went to the agency. I was so surprised by the whole ordeal that at the end of the interview with the agency personnel I asked him, “How did you get my resume?” He looked surprise and said, “What do you mean? You sent it to me!” I am sure I sent him my resume and I don’t remember it because I applied to quite few jobs, but the strange thing is that I only remember not sending the resume!
I told the agency that I have no experience in design and I have no knowledge with sheet metal or AutoCAD, but they told me it is ok because the company wants to interview me. So I went to the interview and half way through the interview the senior engineer and hiring manager asked me, “When can you start?” And I was taken aback by his question because they usually ask that question after the interview is over and they usually ask it very casually like, “If you are the successful candidate, what date are you available to start?” So I asked, “Me?” And he laughed and said, “Yes!” And his expression was like, “Who else?!” And I felt like the senior engineer really wanted to hire me, not because he felt sorry for me, but because he believed I can be a valuable member of his team.
The week after I was interview by a human resources lady and half way through the interview she said, “That’s impressive.” And again I felt like I was being valued at this company. That is when I remembered the request in my prayer.
***
Christians we often say, “Trust and obey.” In my life I noticed that is not the complete picture because it is more like, “Trust, obey and trust.” See our obedience is not the end of the story because our obedience is not what gets things done. Our obedience is only an expression of our faith; you say you trust God? Ok then act on this trust by obeying Him. But it is God who gets things done—God’s work is the end of the story. That is why after obedience we still need to trust again to see Him complete His work. For example Gideon trusted God will bring victory though him so he obeyed by downsizing his army to mere 300 men, and then he trusted again as he saw God defeating the enemy—trust, obey, and trust again.
There are few things I want to draw your attention to:
1) We must pray according to God’s will. Supposed that I had prayed for God to make me a successful singer, do you think He will honour my request? The answer is no, because singing is not my talent. When you pray according to God’s will then you do not have to beg and you can pray with confidence. You cannot disobey God and expect Him to fix your deliberate mistakes by simply praying about it.
See, I like classical music but that does not mean I have to become a musician—I can simply enjoy the music of others. I like tennis but that does not mean I have to become a tennis player—I can simply enjoy the game of others. I like cars but that does not mean I have to build my own car—I can simply enjoy the cars made by others. It is wonderful and freeing to know and accept God’s will for our lives. If we do then we can accept ourselves and others, appreciate our talents and the talents of others, and be confident of the path we are to take.
2) Focus on God’s goodness. When I was a new Christian I thought that I was saved by grace but I am to live by works, but we are both saved and are to live the Christian life by God’s grace. If I told you how imperfect and sinless I am then you would say, “Fadi, there is no way God was involved in answering your prayers or your career path!” But this is not about me but about God’s goodness. I have come to the point if life when I do not worry much because I trust in the goodness of God. I am not saying this to encourage you to sin but to free you from worry and the false teaching of living by works.
See, our God is a good God. We are His children not because of our works but because of the Cross of Jesus Christ. For example, suppose that you are Christian and you are an alcoholic and you are struggling with quitting drinking and suppose that your marriage is in trouble and your family needs a healing. Do you think God is going to say, “Gee! Look at this Christian! He can’t stop getting drunk and now He needs my help to heal his marriage! There is no way I am doing that for him! Let him fix himself first then come asking for My help! I am so going to destroy his marriage in the meantime!” No, of course not! At least that is not how the God of the Bible operate and He is the only real God.
Suppose if I am holding the hand of my nephew and we are walking on the side walk but he really wants to run into the busy street to play, do you think I will let him do so just because he wants to? Of course not! I won’t act based on his attitude or actions, but based on my goodness and the fact that I am his uncle and he is my nephew and that I love him! For you this may not be big news but to me it is because I grew up in a Middle Eastern culture where there is no Biblical understanding of who God is. That is why I want to stress the goodness and love of God to you.
3) We are not ruled by the ways this world rule. We are God’s children born by the power of the Holy Spirit, and therefore we do not belong to this world. The principles of this world do not apply to us because we are governed by spiritual principles such as God’s goodness, obedience, and glorifying our heavenly Father. The way God works in our lives is not the same way the world strive to achieve their dreams. Recently I offered to help a Christian facebook friend with her resume because she did not have one and she was about to give up applying to better jobs because she had no resume. The first thing she told me is that people have told her that she needs a really good resume to get a job as a hospital pharmacist. And that made me reflect on my career path and I answered her saying that if God wants her to work somewhere He can do it even if she had no resume at all! That is what He did to me: I got a job I am so unqualified for! He made me find favour in the eyes of the engineers who interviewed me; they knew I was not qualified for the original job posting so maybe they created a junior job position for me.
4) Do not worry. My mom says it is not good that I am worry free (I do worry, of course, but much less than the average person) because she wants me to hurry and get married, and have kids, and buy a house, etc. But why should I worry? If, motivated by love, God sent His only and beloved Son to die for my sins before I was even born, then what can separate me from the love of my heavenly Father? See, my attitude toward life does not come from self-confident (if you had read my older writings you will realize I grew up with no self-confidence), nor my careless attitude toward life as some people think I am, but from my trust “that in all things God works for the good of those who love him, who have been called according to his.” (Romans 8:28) It is good to read the Bible and understand it, but a time must come when we start living it.
I talked about God’s goodness toward me and my career path, but His goodness extends to all areas of our lives: spiritually, physically, emotionally, mentally, financially, relationships, and so on. He wants to take care of you whether it is in regard to your career, marriage, big decisions such as buying expensive things like a house or a car, or planning a career move or even finding the right mechanic for your car!
Few years ago I asked, “How can I get to know God as my heavenly Father since I do not have an idea what a good father is?” I asked that question because I rarely saw my earthly father while growing up because he had to spend most of his time in the army. I learned about what is it like to have a good father from God Himself; God did not need someone to go ahead of Him to show the way—He showed the way! He set the pattern of love, goodness, generosity, and serving and He set the pattern of how to be a good Father.
(Toronto, ON; summer 2012.)
British postcard in the Picturegoer Series, London, no. W 153. Photo: Gainsborough.
Anne Crawford (1920-1956) was a beautiful, sadly short-lived British leading lady with a gentle, good-humoured personality. From 1938 through 1954 she starred in 24 films.
Anne Crawford was born in 1920 in Haifa, Palestine (now Israel) as Imelda Anne Crawford. She was the child of an English mother and a Scottish father, who worked as a paymaster for the Palestine Railway. The family returned to Britain when she was 7 years old. Raised in Edinburgh, she went to school at St. Margrets convent in Marchmont. Afterward, she studied drama in Edinburgh and at the Royal Academy of Dramatic Arts (RADA) in London. Her professional career started at a repertory theatre in Manchester where she soon was playing juvenile leads. She changed her name from Imelda to Anne. She had a tiny role in Prison Without Bars (Brian Desmond Hurst, 1938) with Corinne Luchaire and Edna Best, and a better role in They Flew Alone (Herbert Wilcox, 1942) starring Anna Neagle. It was the smash hit Millions Like Us (Frank Launder, Sydney Gilliat, 1943) that crystalised her star persona: posh, selfish but basically a good sort. During her career, there were a few attempts to get away from this template, notably her poor mill worker in Master of Banksdam. During the war, she also appeared in such women's pictures as Two Thousand Women (Frank Launder, 1944) with Phyllis Calvert and Flora Robson, and They Were Sisters (Arthur Crabtree, 1945) with James Mason.
After the war, Anne Crawford became known for the wild Gainsborough melodrama Caravan (Arthur Crabtree, 1946) starring Stewart Granger and Jean Kent, and the classic horror film Daughter of Darkness (Lance Comfort, 1948). In his Guide to British Cinema, Geoff Mayer writes, "Daughter of Darkness, with a budget of two hundred thousand pounds and three weeks of location shooting in Cornwall, was not a financial success and represented a setback to Comfort's career, which saw him relegated to low-budget films in the 1950s and 1960s. Yet the film's mixture of gothic and horror establishes it as one of the most startling British films of the 1940s." In 1953 she starred as Morgan Le Fay in Knights of the Round Table (Richard Thorpe, 1953), with Robert Taylor and Ava Gardner. She made her West End debut in 1949 in 'Western Wind' at the Piccadilly Theatre, followed by a not very successful stint on Broadway in 1951 in 'The Green Bay Tree'. Her television career ran in parallel to her film career, and in 1955 she topped a viewers poll for her performance in the BBC teleplay The Leader of the House. She died in 1956 in London of leukemia. She was 35. At the time of her death, she was appearing in the Agatha Christie play 'The Spider's Web', at the Savoy Theatre, London. Co-stars Margaret Lockwood, Patrick Barr, and Ronald Howard attended her funeral. Her resting place is the Kensal Green Cemetery. Anne Crawford was married to James Hartley (1939-?) and stage and television producer/director Wallace Douglas (1953-1956). David Absalom at British Pictures: "For modern audiences, Crawford's perceived poshness can seem a bit distancing, and it's hard to judge how her career would have panned out had she not died so early. I suspect she would have done okay. She showed enough wit and timing in her few comedy outings and there was always something of the grande dame about her to suggest that she would have only improved with age."
Sources: David Absalom (British Pictures), Fritz Tauber (Find A Grave), Find A Grave, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
About 15 centimeters tall frosted glass horse head figure with metal ring on base, 1929
The Corning Museum of Glass is dedicated to the art, history and science of glass. It was founded in 1951 by Corning Glass Works and currently has a collection of more than 45,000 glass objects, some over 3,500 years old.
I was very lucky to visit the museum when they were having a special exibition of the work of René Lalique (France, 1860─1945). As a successful jeweler Lalique experimented with glass in his designs, which eventually led to a career in which he fully embraced the material. His aesthetic choices in his designs informed the styles of Art Nouveau and Art Deco in France, and the objects he created have become iconic reflections of these periods. Lalique also embraced industrial innovations, like mass production, allowing luxury glass to be placed in more and more households around the world.
My write up on photographing the new Cosmopolitan of Las Vegas here
On the weekend of November 20-21, 2010, I was invited to photograph the new Cosmopolitan of Las Vegas prior to their opening December 15, 2010 in Las Vegas NV.
This set of images represents my efforts that weekend to showcase this newest resort property opening up on the Las Vegas Strip. Thanks to David Scherer from The Cosmopolitan of Las Vegas for showing me around, to Miiko Mentz at Katalyst Films for helping to arrange the shoot, and to my wife for modeling for me.
To learn more about The Cosmpolitan of Las Vegas, check out their website here or their Facebook page here.
Apollo Career Center in Lima, Ohio. These Ford Crown Victoria's are training cars and have been worn from years of sitting outside.
Arnish Point Lighthouse, the Northern Lighthouse Board's first prefabricated Lighthouse, was built in 1853 to mark the entrance to the bay in which Stornoway is situated. The light was established and lit in 1853 and gave a flash every 30 seconds, visible for 12 Nautical Miles. Today the Light gives the character of 1 flash every 15 seconds, visible for 21 Nautical Miles. The Lighthouse is also notable for being the last tower designed by Alan Stevenson, who designed 13 Lighthouses for the Northern Lighthouse Board, during his career.
"what have those two done ?"
"nothing but the King finally bought a television"
requirements: need for money, tough skin
earning prospects: very low but, if lucky, may have some influence on the king
professional risks: humiliations, injuries at the hand of the Courtiers, imprisonment, death
fun potential: probably low
usefulness to society: high
... now, in the modern world may be difficult to find a suitable King + Court but you can always resort to employment with a multi-billionaire businessman and his court ...
If humiliating yourself to entertain powerful people is not attractive, more Career Advice is available.
More MBTA equipment finding post-Boston careers elsewhere, in this case New York's Metro-North Commuter Railroad. Picture No. T411 features MNCR No. 411, an FP10 previously known as MBTA No. 1113. In a reunion scene, the F-unit is seen pushing three Boise Budds, former B&M RDCs rebuilt by Morrison-Knudsen. These cars left the T and spent some time working for the Virginia Railway Express, for which they are still lettered in this 18 August 1995 scene at Manitou NY on the Hudson Line.