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The Kellogg Community College Foundation's 2019-20 Gold Key Scholars include Rachel Harvey, of Coldwater, a senior at Coldwater High School. Harvey plans to take courses with an interest toward the medical field. She was awarded the Mildred E. Hoover Gold Key Scholarship.
For more information about the KCC Foundation or Gold Key Scholarships or to contribute to scholarships, please contact KCC Foundation Executive Director Teresa Durham at 269-965-4161 or visit www.kellogg.edu/foundation.
Fun photos of the Class of 2023 competing by advisory for the olympics! Thank you to Mrs. Maria Found and Ms. Childers for contributing photos to this album!
Photo contributed by the Capistrano Beach Chamber of Commerce.
This is just one sample of the many items included in the time capsule placed at Dana Point Harbor during the harbor's "rock placing" (groundbreaking) in 1966. The capsule was opened during a special ceremony in Aug. 2016.
There are no known copyright restrictions on this image. All future uses of this photo should include the courtesy line, "Photo courtesy Orange County Archives."
Comments are welcome after reading our Comment Policy.
THE "HOPEFUL DAUGHTER" AND THE PSYCHOGENIC CUL-DE-SAC
Since for most of history mothers raise boys who then go off and hunt, farm, build things and fight wars rather than directly contributing much new to the psyche of the next generation, the course of evolution of the psyche has overwhelmingly been dependent upon the way mothers have treated their daughters, who become the next generation of mothers. Since early emotional relationships organize the entire range of human behavior, all cultural traits do not equally affect the evolution of the psyche-those that affect the daughter's psyche represent the main narrow bottleneck through which all other cultural traits must pass. The study of the evolution of the psyche depends more on developing a maternal ecology than on studying variations in the physical environment.
The evolution of the psyche and culture has been crucially dependent upon turning the weak bonds between mother and daughter of apes and early humans34 into genuine love for daughters (and sons). This means that historical societies that create optimal conditions for improving the crucial mother-daughter relationship by surrounding the mother with support and love soon begin to show psychological innovation and cultural advances in the next generations-so that history begins to move in progressive new directions. In contrast, societies that cripple the mother-daughter emotional relationship experience psychogenic arrest and even psychogenic devolution. Only in modern times have fathers, too, begun to contribute to the evolutionary task of growing the young child's mind.
Paralleling the term "hopeful monster" that biologists use to indicate speciating biological variations,35 the idea that the mother-daughter emotional relationship is the focal point of epigentic evolution and the main source of novelty in the psyche can be called the "hopeful daughter" concept. When mothers love and support particularly their daughters, a series of generations can develop new childrearing practices that grow completely new neural networks, hormonal systems and behavioral traits. If hopeful daughters are instead emotionally crippled by a society, a psychogenic cul-de-sac is created, generations of mothers cannot innovate, epigenetic arrest is experienced and meaningful cultural evolution ends.36
For instance, in China before the tenth century A.D. men began to footbind little girls'feet as a sexual perversion, making them into sexual fetishes, penis-substitutes which the men would suck on and masturbate against during sex play.37 Chinese literature reports the screaming cries of the five-year-old girl as she hobbles about the house for years to do her tasks while her feet are bound, because in order to make her foot tiny, her foot bones are broken and the flesh deteriorates. She loses several toes as they are bent under her foot, to emphasize the big toe as a female penis. This practice was added to the many brutal practices of what was perhaps the world's most anti-daughter culture, where over half the little girls were murdered at birth without remorse and special girl-drowning pools were legion, where beating little girls until bloody was a common parental practice, and where girl rape and sex slavery were rampant.38 This vicious anti-daughter emotional atmosphere extreme even for a time that was generally cruel and unfeeling towards daughters was obviously not conducive to mothers producing innovations in childrearing when the little girls grew up. Therefore China which was culturally ahead of the West in many ways at the time of the introduction of footbinding-became culturally and politically "frozen" until the twentieth century, when footbinding was stopped and boy-girl sex ratios in many areas dropped from 200/100 to near equality.39 The result was that whereas for much of its history China punished all novelty,40 during the twentieth century rapid cultural, political and economic evolution could resume. Japan, which shared much of Chinese culture but did not adopt footbinding of daughters, avoided the psychogenic arrest of China and could therefore share in the scientific and industrial revolution as it occurred in the West.
The same kind of epigenetic arrest can be seen in the damage caused by genital mutilation of girls among circum-Mediterranean peoples that began thousands of years ago and continues today. Since "hopeful daughters" do not thrive on the chopping off of their clitorises and labias, the present cultural and political problems of those groups who still mutilate their daughters' genitals are very much a direct result of this psychogenic arrest.41 Much of the remainder of this chapter will analyze the conditions for psychogenic arrest, when childrearing has failed to evolve and culture remains in a psychogenic cul-de-sac, static for millennia.
The historical evolution of the psyche is a process that mainly involves removing developmental distortions, so that each psyche can develop in its own way optimally. The evolution of childhood, as will be extensively documented, mainly consists of parents slowly giving up killing, abandoning, mutilating, battering, terrorizing, sexually abusing and using their children for their own emotional needs and instead creating loving conditions for growth of the self. The evolution of the psyche is first of all accomplished by removing terrible abuses of children and their resulting developmental distortions, allowing the psyche to produce historical novelty and achieve its own inherent human growth path. Civilization is not, as everyone including Freud has assumed, a historical "taming of the instincts." Nor does "the evolution of mankind proceed from bad to worse," as Roheim thought,42 with early societies being "indulgent" toward their children and modern societies more often abusive. It will be the burden of the remainder of this book to provide evidence that just the reverse is true, that culture evolves through the increase of love and freedom for children, so that when they grow up they can invent more adaptive and happier ways of living. Because we were all children before we were adults, childhood evolution must precede social evolution, psychogenesis must precede sociogenesis." (demause, lloyd, The Emotional Life of Nations--chapter 7) www.psychohistory.com
Brian Eno visited the Long Now Salon construction site at Fort Mason Center in January, 02014 prior to his Seminar About Long-term Thinking with Danny Hillis. Brian Eno is contributing sound & light installations for the Salon space.
Photo: Alexander Rose
2019 NCAA Division 1 Wrestling National Championships. Held at the PPG Arena in Pittsburgh, PA, USA. Photos by Tech-Fall contributing photographers
September
VINKOVAČKE JESENI (VINKOVCI AUTUMN) is the greatest folklore event in this part of Europe. It represents the popular-scholarly gathering of original national culture and stimulates the preservation of cultural heritage through song and the playing of instruments, and contributes greatly towards preventing many customs from falling into oblivion. Organized by Grad Vinkovci
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54. Vinkovačke jeseni (13. - 22. rujna 2019.)
21.08.2019 - 30.09.2019
Već više od pedeset godina Vinkovačke jeseni najveći su čuvar tradicijske kulture, izvornog folklora, pjesme, plesa, ali i puno više od toga.
Od svog osnutka, 1966. godine, manifestacija je prerasla u jedan od najpoznatijih festivala ovakve vrste u Hrvatskoj, a tome ponajprije pridonose temeljne svečanosti koje se održavaju u sklopu Vinkovačkih jeseni.
Na 54. Vinkovačkim jesenima nastupit će oko 8.000 izvođača i sudionika programa. Njih će, prema procjenama baziranim na dosadašnjoj posjeti, gledati više od 100.000 posjetitelja
Kao i svake godine tako će i ove najveću pažnju privući Svečanost otvorenja, koja će se na velikoj pozornici u središtu Vinkovaca održati 20. rujna. I ovo će otvorenje, kao i brojna do sada okupiti akademske i glumce amatere, pjevače i pjevačke skupine, plesače i kulturno-umjetnička društva iz cijele Hrvatske. Tema ovogodišnjeg otvorenja je „Tri nam drage riječi“, pri čemu se misli na Slavoniju, Srijem i Baranju. Prvi dio priprema s glumcima i KUD-ovima, je odrađen, a zajednička proba svih sudionika otvorenja u vinkovačkom gradskom kazalištu započet će polovinom rujna.
Prva tradicijska manifestacija u sklopu Vinkovačkih jeseni bit će, kao i obično Folklorne večeri. Manifestacija, koja će okupiti više od 50 kulturno-umjetničkih društava iz cijele Vukovarsko-srijemske županije. Folklorne večeri započet će 13. i trajat će do 18. rujna, a prema riječima voditelja organizacije Folklornih večeri i Svečanog mimohoda, Franje Japelja, prijave zainteresiranih KUD-ova još uvijek pristižu. O deset najboljih KUD-ova Županijske smotre folklora, u velikom šatoru Vinkovačkih jeseni, odlučivat će prosudbena komisija, a izabrane skupine predstavljat će Županiju na smotrama folklora širom Hrvatske.
Tijekom drugog vikenda Vinkovačkih jeseni, 21. i 22. rujna, bit će održana Državna smotra hrvatskoga izvornog folklora. Prvog dana u večernjim satima na Trgu bana Josipa Šokčevića predstavit će se gostujući KUD-ovi, slijedi drugi dio manifestacije u nedjelju u 12 sati, nakon Svečanog mimohoda, a Smotra će završiti posljednjim, trećim dijelom na trgu Vinkovačkih jeseni pod Velikim šatorom u nedjelju navečer.
Svečani mimohod svih sudionika, a na kojem će sudjelovati oko 80 folklornih skupina, počinje u nedjelju, 22. rujna u 10 sati. Nakon prolaska preko svečane pozornice, mimohod se nastavlja do stadiona HNK “Cibalia” Vinkovci gdje će sudionici zaplesati najveće šokačko kolo. No neće se plesati samo na stadionu. U kolo će se uhvatiti sudionici i gledatelji po cijelom gradu.
Također, 14. i 15. rujna, održat će se Dječje Vinkovačke jeseni. Prvoga dana u večernjim satima održat će se prvi dio Međužupanijske smotre dječjih folklornih skupina, u nedjelju slijedi Središnji mimohod dječjih skupina, koji će svoj cilj imati u Velikom šatoru, gdje će nakon mimohoda održati drugi dio Međužupanijske smotre.
NASA Goddard Space Flight Center employees volunteered at Maryland Day on Saturday, April 30, 2016. Maryland Day is an annual, one-day open house held at the University of Maryland in College Park, Maryland. The event features free, entertaining events geared toward learning and exploration.
At the NASA exhibits, Maryland Day attendees could explore interactive displays related to Earth science, heliophysics, planetary science, engineering and technology, and exploration and space communications.
Guests at the Engineering and Technology booth had the opportunity to drive a 14-inch robot with four motors and a gripper to pick up objects. They also could ask engineers at the exhibit questions about NASA technology, robots and their applications in space.
Credit: NASA/Goddard/Jenny Hottle
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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More than 300 scholarship recipients and the local organizations and individuals who contributed to scholarship funds at USG were honored during our fifth annual Scholarship and Donor Recognition Luncheon on November 14, 2014. Over $850,000 in scholarship aid was awarded this fall to numerous deserving students at USG.
Two scholarship recipients spoke at this year’s luncheon on behalf of their fellow scholars: Andrew Richardson of the University of Maryland, Baltimore School of Nursing, and Yancy Padilla, an alumni of the University of Maryland, Baltimore County's social work program at USG. Remarks were offered by Crystal Carr Townsend, President of the Healthcare Initiative of Montgomery County, as well as Dr. Stewart Edelstein, Executive Director of the Universities at Shady Grove. The luncheon was emceed by Steve Hull, the Vice-Chair of USG's Board of Advisors and the editor and publisher of Bethesda Magazine.
USG would like to congratulate this year's scholarship recipients, and extend our sincere gratitude to the donors, partners, faculty and staff for their continuing support of a positive learning experience for students on our campus.
Photo Credit: Lloyd Wolf
Stella Darby was the madam of the Cozy Rooms bordello from 1928 to 1967. Her bronze statue stands outside its former entrance door. The Medernach Building (built ca. 1898), located at 333-339 South Main Street in Pendleton, Oregon, is a contributing property of the South Main Street Commercial Historic District, recognized on the U.S. National Register of Historic Places. As of 2014, some rather kitschy storefronts were removed, and a statue of the mid-20th century brothel madam Stella Darby was placed out in front. A town once famous for its bootlegging and bordellos, Pendleton was considered by cowboys of the time to be the entertainment capital of the Northwest. Among the 32 saloons and 18 brothels that called Pendleton home, the most notorious of these was Madame Darby’s Cozy Rooms. This statue of Madame Darby, though a bit controversial, reminds visitors of a more colorful part of Pendleton’s history. Stella Darby stands proudly at the entrance to her risqué establishment. The Stella Darby bronze is also the only privately owned statue on the Pendleton Bronze Trail, and is dedicated to Pam Severe, who established the Working Girls Hotel and dedicated her life to preserving Pendleton’s underground history / Pendleton is a city and the county seat of Umatilla County, Oregon. A European-American commercial center began to develop here in 1851, when Dr. William C. McKay established a trading post at the mouth of McKay Creek. A United States Post Office named Marshall (for the owner, and sometime gambler, of another local store) was established April 21, 1865, and later renamed Pendleton, after politician and diplomat George H. Pendleton (1825–1889), who served as a U.S. Representative and Senator from Ohio. The city was incorporated by the Oregon Legislative Assembly on October 25, 1880. By 1900, Pendleton was the fourth-largest city in Oregon. The Pendleton Woolen Mills and Pendleton Round Up became features of the city captured in early paintings by Walter S. Bowman. Like many cities in Eastern Oregon, where thousands of Chinese immigrant workers built the transcontinental railroad, it had a flourishing Chinatown that developed as the workers settled here. The sector is supposed to have been underlain by a network of tunnels, which are now a tourist attraction. The authenticity as a Chinese tunnel system has been questioned. The town is the cultural center of Eastern Oregon. Pendleton's "Old town" is listed as a Historic District on the National Register of Historic Places. The Confederated Tribes of the Umatilla Indian Reservation (CTUIR) have their property nearby. They have established the Wildhorse Resort & Casino and golf course on the reservation to generate revenue for development and welfare. They have also built the Tamástslikt Cultural Institute, for education and interpretation of their cultures. Pendleton Woolen Mills is a maker of wool blankets, shirts, and an assortment of other woolen goods. Founded in 1909 by Clarence, Roy and Chauncey Bishop, the company built upon earlier businesses related to the many sheep ranches in the region. A wool-scouring plant opened in Pendleton in 1893 to wash raw wool for shipping. In 1895, the scouring mill was converted into a mill that made wool blankets and robes for Native Americans. Both businesses failed to survive, but the Bishops, with the help of a local bond issue, enlarged the mill and improved its efficiency. They developed a successful line of garments and blankets with "vivid colors and intricate patterns."
Contributed by the Laguna Beach Panhellenic Club.
This is just one sample of the many items included in the time capsule placed at Dana Point Harbor during the harbor's "rock placing" (groundbreaking) in 1966. The capsule was opened during a special ceremony in Aug. 2016.
There are no known copyright restrictions on this image. All future uses of this photo should include the courtesy line, "Photo courtesy Orange County Archives."
Comments are welcome after reading our Comment Policy.
Tree Nursery
The tree nursery provides stock for rehabilitating historic hedges at Aspet, and is not a contributing feature of the historic landscape.
Saint-Gaudens Farm
Saint-Gaudens National Historic Site
Description and Transcription from Henry Paget-Lowe (Juha-Matti Rajala):
[this 2nd page continues the letter (from HPL to Price, 18 November1932) from here: www.flickr.com/photos/cthulhuwho1/6943903575/ in/photostream/] basis of this type of psychosis. As to further Derlethiana—if you’re game to pay the postage on some 190 pages of thin onion-skin second sheets, I’ll send you (for later return to Derleth) the kid’s real masterpiece—“Evening in Spring”—when he sends me the new & revised version he is just finishing. If that isn’t a real book of art I’ll never utter a critical opinion again! As for the financial side—Pagany, The Midland, & other high-grade experimental magazines of this type do not pay for contributions at all. It is a matter of art, not of business. Their standards are very high, & Derleth bombarded them for six years before they would accept anything of his. Look at the tables of contents & see the type of author that contributes. Derleth’s business is writing cheap junk for W.T. & the pulp detective magazines, plus working in a canning factory at odd seasons. That is one thing. His literary work—the effort of a sensitive personality to live fully & satisfactorily through adequate & finely-modelled self-expression—is something altogether different. One’s business is only a disagreeable means to an end. Dissinterested self-expression is life itself—the thing in order to enjoy which undergo the loathsome process of commercial endeavour. It is an end in itself—not a means toward anything else. If we’re paid for it, that’s just so much ‘velvet’, as the Babbitt’s say.
I note your reasoning on the subject of revision of stories already accepted, but can’t quite concur with all its points. The wish to change a tale which as editor has approved is by no means a reflection on his judgement. The tale, as taken, was good—but there may be a way of making it still better. The editor would, we may assume, have himself thought the new better if he had seen it. In sending it you could make that point quite clear—confidently expecting the editor to like the new version still more than he liked the original fairly-good version. Surely it is generally recognised thing that there are degrees of merit among soundly meritorious items. As for the all-rights business—I dare say you know best about that. I’m no business-man—in fact, I am conspicuously lacking in all that pertains to the commercial mood & psychology.
I am hoping to get at Randolph Carter before many more weeks fly past—but hades, what a turmoil of work I am in! Have been too tied to the house to get any kind of view of the autumn foliage this year. Haven’t seen The Magic Carpet, but must try to get hold of the issue with your Ismeddin story. As a matter of fact, I haven’t had a chance to look at the last three issues of W.T. or the final issue of S.T. I shall shim them through before long—though I can’t bother with the serials.
[continued here: www.flickr.com/photos/cthulhuwho1/6797824810/ in/photostream/]
Randolph Carter = "Through the Gates of the Silver-Key"
S.T. = Strange Tales of Mystery and Terror
W.T. = Weird Tales
See and hear more Lovecraftian Items at the sister sites to these Flickr collections at:
and
Seminar audience hears low levels of physical activity in Ireland are contributing to serious long term health problems
Delegates attending a public health seminar today learned that low levels of physical activity are contributing to long term health problems. The comments were made by Professor James Sallis, Director of Active Living Research and Professor at San Diego State University and Ms Teresa Lavin, Institute of Public Health in Ireland (IPH), at a seminar jointly hosted by IPH and the UKCRC Centre of Excellence for Public Health (Northern Ireland).
The seminar looked at why levels of physical activity are low in Ireland. It focused on how the built environment influences opportunities for being active.
Ms Lavin said: “Enhancing opportunities for physical activity is essential. Across Ireland levels of physical activity are low which has many implications for public health. While there are many reasons for low levels of physical activity one important factor is how the built environment is designed and maintained – this in turn facilitates how we move around our environment.
“We need to create more roads and pathways suited to cycling and walking as well as quality green spaces to encourage people to take physical exercise. We need to locate shops and services – such as schools – nearer to housing schemes and ensure road systems within these estates are engineered to reduce car dependency.”
Ms Lavin continued: “A recent IPH study forecasts a dramatic 40% increase in the number of people living with hypertension, coronary heart disease, stroke and diabetes in the Republic of Ireland by 2020. It is essential we reverse this trend and one way is by creating environments which are conducive to physical activity such as walking and cycling.
“To enable this to happen, there is a real need for intersectoral action – involving public health specialists, local authorities, developers and construction professionals such as architects, engineers and planners – to enhance opportunities for physical activity in the built environment across the population and especially for vulnerable groups.
“For example, in Ireland, half as many girls aged 15-17 as boys of the same age are likely to exercise four or more times weekly. Unfortunately, this trend continues through to adulthood and we need to develop specific strategies to tackle this issue.”
Professor Sallis has pioneered an extensive research programme into the environmental and policy influences on physical activity, nutrition and obesity in the United States and said: “Physical activity is a key risk factor for chronic disease; other high risk factors include poverty, unemployment, the environment, smoking, alcohol consumption and diet. The reality is that these factors are distributed unevenly across society. Ensuring that all neighbourhoods have safe and attractive places for physical activity and have shops that sell affordable healthy foods is one way to reduce these inequalities.”
Dr Mark Tully, UKCRC Centre of Excellence for Public Health (NI) who is leading a large research project on the benefits of green space to health and wellbeing said: “The visit of Prof Sallis to Ireland is very timely. We have been inspired by his research to continue our efforts to develop research into how we can help increase levels of physical activity through designing more attractive environments that support the messages our health professionals are promoting.”
Further Information
Ronan Cavanagh, Montague Communications: (01) 830 3116 or (086) 317 9731.
Jemma Hogan, Montague Communications: (01) 830 3116 or (085) 722 9024.
The Institute of Public Health in Ireland
The Institute of Public Health in Ireland (IPH) promotes cooperation for public health across the island of Ireland. It aims to improve health by working to combat health inequalities and influence public policy in favour of health. Further information can be found at www.publichealth.ie.
UKCRC Centre of Excellence for Public Health (NI)
The UKCRC Centre of Excellence for Public Health (NI) is the Northern Ireland based part of the UK Clinical Research Collaboration (UKCRC). It aims to strengthen public health research capacity in Northern Ireland and improve the health of the public by translating research into policy and public health practice.
Arlene McKay
Communications Officer
Institute of Public Health in Ireland
Forestview
Purdy's Lane
Belfast
BT8 7ZX
Email: arlene.mckay@publichealth.ie
Tel: +44 (0)28 90 648494
Numerous European firms contribute to deforestation and tree plantations through their role in wood and paper pulp producing activities. The World Rainforest Movement will apply its knowledge of nearly 100 cases of conflicts over tree plantations to the Map of Environmental Injustice. Complemented with in-depth case studies, this area of EJOLT work will provide valuable input into the biofuel debate for European civil society and policy-makers. The European Union Biofuels Directive has been controversial since its inception, with many (including UN officials) arguing that fuel production for European cars is displacing food crops in the developing world. Our work will help answer questions such as: ‘are biofuel plantations leading to conflict in third countries?’ ‘What volumes of imports are involved and what amount of environmental space is being taken up through this biofuel policy?’ Similar questions will be raised in relations to landgrabbing, sourced from our partner GRAIN. They support the position of Via Campesina in favor of “food sovereignty”.
Photo contributed by the Estate of Dr. & Mrs. J.L. Beebe.
This is just one sample of the many items included in the time capsule placed at Dana Point Harbor during the harbor's "rock placing" (groundbreaking) in 1966. The capsule was opened during a special ceremony in Aug. 2016.
There are no known copyright restrictions on this image. All future uses of this photo should include the courtesy line, "Photo courtesy Orange County Archives."
Comments are welcome after reading our Comment Policy.
Photo contributed by the Capistrano Beach Chamber of Commerce.
This is just one sample of the many items included in the time capsule placed at Dana Point Harbor during the harbor's "rock placing" (groundbreaking) in 1966. The capsule was opened during a special ceremony in Aug. 2016.
There are no known copyright restrictions on this image. All future uses of this photo should include the courtesy line, "Photo courtesy Orange County Archives."
Comments are welcome after reading our Comment Policy.
Photo contributed by the Capistrano Beach Chamber of Commerce.
This is just one sample of the many items included in the time capsule placed at Dana Point Harbor during the harbor's "rock placing" (groundbreaking) in 1966. The capsule was opened during a special ceremony in Aug. 2016.
There are no known copyright restrictions on this image. All future uses of this photo should include the courtesy line, "Photo courtesy Orange County Archives."
Comments are welcome after reading our Comment Policy.
Thank you to all who contributed to our 2013 campaign this year. Because of you we are able to help more people in our community!
So.
At one point, we were uploading and sharing pics on a semi-regular basis. One day we turned around, and it had been over a year since we contributed any photos. Although we still watched our friends' photostreams, we seemed to never sit down and keep our pics updated. As time went by, we continued to take pictures and they piled up, waiting to be posted and organized; trips to Mexico (multiple), holidays, updates w/ careers and students, a trip to Barbados. So much happening, and no update to Flickr.
It was during the trip to Barbados in April of this year that, apparently, a little us was conceived (musta been the rum). Initially, this was not as exciting news as one might think. Anyone who knows us knows we (and let's be honest here... She) have experienced six failed pregnancies, including an ectopic resulting in a burst fallopian tube and emergency surgery.
Karen promptly scheduled a doctor's visit for 8 weeks and then a 'post-' visit to Mexico for the expected 7th failed pregnancy. Lo and behold, the report from her OB/Gyn (who rocks) said that there was good growth and soon enough, a heartbeat (never had that)! We spent the first four months waiting for the other shoe to drop... and going to Mexico, where at least one of us thoroughly enjoyed the local tequila.
Fast forward a couple of months, and we've FINALLY started to think this might happen. To say we're scared ****less doesn't even cover it, but we've also pleasantly discovered what it feels like to be excited as well.
We've missed interacting w/ all of you, and can't think of a better way to reinvigorate our picstream. We'll be posting and trying to catch up w/ all the pics.
Photo contributed by the Capistrano Beach Chamber of Commerce.
This is just one sample of the many items included in the time capsule placed at Dana Point Harbor during the harbor's "rock placing" (groundbreaking) in 1966. The capsule was opened during a special ceremony in Aug. 2016.
There are no known copyright restrictions on this image. All future uses of this photo should include the courtesy line, "Photo courtesy Orange County Archives."
Comments are welcome after reading our Comment Policy.
Our volunteers contineu to contribute important projects to the valley. Here replacing an old fence to protect an area of woodland planting.
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During his trip to Rwanda, Arsenal's David Luiz visited Singita Kwitonda Lodge at the foothills of Rwanda's Volcanoes National Park. David planted a trees as a symbol of conservation and the partnership between Visit Rwanda and Arsenal Football Club. The tree planted efforts are contributing to reforestation efforts to expand the habitat of the mountain gorilla and enhance biodiversity.
Photo contributed by the Capistrano Beach Community Association.
This is just one sample of the many items included in the time capsule placed at Dana Point Harbor during the harbor's "rock placing" (groundbreaking) in 1966. The capsule was opened during a special ceremony in Aug. 2016.
There are no known copyright restrictions on this image. All future uses of this photo should include the courtesy line, "Photo courtesy Orange County Archives."
Comments are welcome after reading our Comment Policy.
The Boiler, Pipe, and Tin Shop, known as Building No. 1, was built in sections starting in 1882. The one story, cream-colored brick section was constructed first. The most recent addition was the south extension built in 1917. The roof skylights were added at a later date. The brick section has almost floor to ceiling windows and along its facade are several large bays with track entrances for locomotives and rail cars. Building No. 1 housed a variety of shop operations including paint, cab, flue, and boiler repairs. By 1964, the Building No. 1 was devoted to manufacture and repairs of tank work, bridge and ore dock, earth moving, right-of-way equipment, and other phases of steel, sheet metal, and pipe work.
Northern Pacific Railway was merged with several other lines in 1970 to form Burlington Northern Railroad. Starting around 1973, Burlington Northern moved work from the Brainerd Shops before closing the facility in 1981. Burlington Northern sold the site in 1983 and the shops stood vacant until in 1988. Building No. 1 is located in the Northern Pacific Railway Shops Historic District listed on the National Register of Historic Places and is a contributing property. (Source: National Register of Historic Places Registration Form No. 88003024)
Oceanwise Whale Shark Expedition 21-07-13
A big thank you to everyone for coming on board and contributing directly towards our whale shark research and conservation efforts!
For our research, Jen did a plankton tow to understand more about whale sharks and the food they eat. Jess and Sandy used the GoPro stereo camera frame, which is used to measure the whale sharks and understand more about the role they play for other fish at Ningaloo. Jess also collected information on the fish associated with coral Porites bommies in the Ningaloo lagoon for her Honours research. The whole team took photographs for our marine biodiversity database for Ningaloo!
One of the best ways to support us is to write a positive Trip Advisor review so that we can build up momentum for our research and conservation projects!! www.tripadvisor.com.au/Attract ion_Review-g488342-d3139329...
To see these geotagged photos on a google map please click the following link imapflickr.com/f1a565.
To download individual photos click on each photo, for the entire set click the following link and follow the prompts flickandshare.com/s/bqmSNM.
If you have been on this tour, feel free to share these photos with your friends and family on facebook/email/twitter etc. We would love to have them on board and are happy to give a 10% discount by mentioning your name. We aim to build a community of like-minded people who care about the Ningaloo Coast and the magnificent whale sharks!
(See the top right of this photo set for details on how to share).
If you would like to donate any of your own photos of whale sharks and marine life to our biodiversity database for Ningaloo please send to the following email address east24works+private@photos.fli ckr.com.
Follow our latest research and expedition updates at:
www.oceanwiseexpeditions.com info@oceanwiseexpeditions.com
Facebook: 'Oceanwise Expeditions'
Twitter: 'Oceanwiseexp'
Contributing Building - Green Cove Springs Historic District - National Register of Historic Places
NRIS #91000281
Contributing Building - Brunswick Old Town Historic District - National Register of Historic Places
NRIS #79000727
The Ritz Theatre, located within the "Old Town Brunswick" National Register Historic District, was built in 1898 to house the Grand Opera House, retail establishments, and the general offices of the Brunswick and Birmingham Railroad. Originally, the Grand Opera House, a three-story Victorian building featuring ornate brick and stone work, was built for the legitimate stage. Later, it served as a theatre for vaudeville.
In the 1930s, as motion pictures became the rage, the Opera House was converted into a movie palace. To give the building a more modern art deco look, the first-story brick work was covered with carrara glass, and an elaborate marquee and cascading sign were added. Thus, the Grand Opera House became the Ritz Theatre. (from www.glynncounty.com/ritz/)
The Bride of Frankenstein (Universal, 1935). Full Feature. www.veoh.com/watch/v68308074se9ajHpk
Universal Pictures followed up their highly successful Frankenstein with what has to be one of the best sequels out of Hollywood. James Whale's Bride of Frankenstein (BoF) had many factors contributing to its success. For some of those, see the Notes section below. It is a bigger, richer tale. Two key cast members reprised their roles. Colin Clive again played the obsessed and tormented Henry Frankenstein. Boris Karloff again played the monster. Other lesser characters were picked up by new faces. A couple of new characters were added. To some, BoF surpasses the original. Few sequels get such acclaim.
Synopsis
The film opens on a suitably dark and stormy night in the early 1800s. Mary Shelley, Percy Shelley and Lord Byron sit around a fire talking of Mary's story. Was that how it ended? No. Mary tells what happened next. (cross fade to burning windmill). The crowds filter on home. Maria's father insists on seeing the body of the monster, so goes into the smoking rubble. He falls into the water filled cellar. The monster is there too, much alive. He drowns Hans. The monster emerges. The crowd took Henry back to his family castle, thinking he was dead, but he moves his hand. He's Alive! He swears to never dabble in man-making again. Just then, a sketchy former classmate arrives. Dr. Pretoreous heard of Henry's work and wants him to partner, to make a perfect man. Henry goes to Pretorious' lab to see his work. Six glass jars, each with a miniature person inside. A queen, a king, a bishop, a devil, a ballerina and a mermaid. Pretorious makes them from raw materials, not dead body parts, but can only make smaller things. He wants Henry to make a full-sized body again. Pretorious would supply the brain. Meanwhile, the monster roams the woods. A shepherdess sees him, screams and falls in a river. The monster rescues her, but hunters heard her screams and shoots the Monster in the arm. A new mob combs the woods finally capturing the monster. They haul him into town and chain him in a jail cell. Stronger than his chains, the monster escapes and rampages around the village awhile before fleeing into the woods again. Tired, hurt and hungry, the monster comes to the shack of an old blind hermit. The hermit befriends the monster, eventually teaching him to talk. Hunters find the monster in the shack, so he flees again. Yet another mob chases him through the woods. The monster goes down into a crypt to hide. There, he sees Pretorious and henchmen stealing body parts (bones). When henchmen leave, Pretorious entertains the monster and suggests Henry should build him a woman, a mate. The monster likes that idea. Pretorious tells Henry it's time to start building. Henry refuses. Pretorious has the monster kidnap Elizabeth and take her to a cave. Her ransom is to build the new woman. Henry, under duress, starts working in the old tower again. They have the "bride" done and exposed to dramatic sparks. She's Alive! When the monster comes in to meet his bride, she screams and runs from him. Enraged that even his own kind rejects him, the monster rampages around the lab. This lab is equipped with a self-destruct lever, (for some reason). The monster starts to pull it. He tells Henry to get away with Elizabeth (now free). "You go. You live." He pulls the lever and the tower blows up dramatically, crumbling to rubble. Henry and Elizabeth embrace on an adjacent hilltop. The End.
Much of Henry's prior electro-biology technology is reused. The equipment is ramped up a bit, though. Henry uses two 3-winged kites (ala Ben Franklin) to gather lightening. Pretorious' process is more akin to alchemy, and in that way similar to the "science" used in Edison's 1910 version.
The plot in BoF is an expansion on elements in Mary's original novel. In her story, the monster demands that Victor create a mate for him. In BoF, it was Pretorious who pushes the idea. The scene with the hermit befriending the monster is a good parallel to the DeLacy family whom Mary's monster lived with for awhile, there learning to talk, etc.
BoF is such a close sequel, it is more like the second part of a single story. It picks up immediately where the first film left off. After all the action, things return to pretty much where they started. A notable exclusion is Henry's father, the old baron. Suddenly, even though it is the "same night", the old baron is gone and Henry is "now" the baron. Despite all the action, BoF ends as it began. Henry and Elizabeth survive and want to put all the nastiness behind them. The monster is, again, presumed to have died in a dramatic architectural collapse.
Superior Sequel -- Where most sequels falter is that they try to do the same thing as the original, with just a little variation. It is as if the writers or producers don't dare tamper with "success". James Whale was bold. He continued the story in the same time line. He kept the 2 main characters. They start out as they left off, but change (grow) during the film. Whale introduces a key antagonist and some potent sub-plots. The 1931 film was spartan and a bit claustrophobic, with two worlds -- one sane, one unstable. This befit the birth of the creature. BoF is a wider tale, with more characters and much more going on. This is befitting the monster's growth into personhood. BoF is clearly not just a retread, Frankenstein II.
Ernest Thesiger plays Dr. Pretorious, who is a Mephistopheles-like character. This lends a very Faustian flavor to the saga. When Pretorius is showing off his miniature people, he shows off his miniature bishop, the voice of morality. Then he shows his fourth. "This one is the very devil. There is a certain resemblance to me, don't you think? Or do I flatter myself?"
In a broadening of the monster character from the first movie, the monster learns to speak. Granted, they're rudimentary sentences. "Friend…Good." But, even with just a few words, a deep range of the monster's thoughts and desires become known. It is said that Boris Karloff objected, at first, to having "his" monster speak. But he did and it made the monster much more "human" and sympathetic.
Consider how the screenwriters and Whale made the monster an allegory of Jesus. Note these parallels. He did not have the usual mom-dad-birth, but has a creator. He was befriended by the poor, but rejected by the better-off. Some of the visuals are too obvious to ignore. He was hung on a pole (half a cross). Watch the scene where they're hammering in the chain rings in the jail. This is a strong parallel to the nailing of Christ's hands. Then, note at the end of the film, the monster acts noticeably out-of-character for a horror film monster. Instead, he (again) parallel's Christ, in that he voluntarily gives up his own life to save someone else, and to wipe away that person's "sins" and the devilish power of temptation over them. All this Christ-parallel is a very curious inclusion, but it clearly adds depth to the BoF story.
BoF exacerbates the name confusion over who is "Frankenstein" -- the man or the monster. When the female creature is unveiled, Pretorious declares, "Behold, the bride of Frankenstein." Most people take that to mean the bride of the monster. Yet, it could still mean the "bride" that Henry created. The poster adds another layer of ambiguity, by suggesting that the monster ("frankenstein") might chose either Elizabeth or the new woman as his bride. (The monster does kidnap Elizabeth at one point -- the primeval bride-selection method). Yet, Elizabeth is also the bride of Henry. More ambiguity!
James Whale made his sequel much more complex by weaving in occasional comic moments. Some of it verges on camp, as with most of the scenes with Minnie (Henry's old biddy house keeper). Even the monster drinking and smoking, saying lines like "Smoke… Good." were designed to get a laugh. Some humor was more subtle, such as Pretorious saying that each vice, wine, cigars, etc. were "his only weakness." Happily, the humor and camp did not overtake the deeper plot. This early bit of comic relief, though, does open the door for later films like Abbott and Costello Meet Frankenstein.
BoF is another classic that should be seen. Perhaps the best way is to watch the 1931 film and BoF as a double feature. Much of what "worked" in the original is still in the sequel, but BoF adds new, vibrant material. Whale weaves a complex, yet not confusing, plot and paces it very quickly. Bride of Frankenstein is a movie milestone that even all old movie fans should experience.
Meiji Shrine (明治神宮 or Meiji Jingū), located in Shibuya, Tokyo, is the Shinto shrine that is dedicated to the deified spirits of Emperor Meiji and his wife, Empress Shōken. The shrine does not contain the emperor's grave, which is located at Fushimi-momoyama, south of Kyoto.
Construction began in 1915 under Itō Chūta, and the shrine was built in the traditional nagare-zukuri style, using primarily Japanese cypress and copper. The building of the shrine was a national project, mobilizing youth groups and other civic associations from throughout Japan, who contributed labor and funding.
Information from: en.wikipedia.org/wiki/Meiji_Shrine
This photograph was taken by Nicholson Museum curator William J Woodhouse in Greece between 1890 and 1935.
Can you help us catalogue the Woodhouse photographic archive? Contribute by adding tags and answering the following questions in the comments below:
•What do you see? Write a brief description for this image.
•Where was this photograph taken?
•Can you find the geo co-ordinates (latitude and longitude) of this exact place? Let us know by linking to the google maps or add the co-ordinates in your comment.
•Do you know what year this photograph was taken?
About the archive:
The Nicholson Museum holds over 1800 glass-plate negatives taken by Woodhouse while in Greece in 1890s and early 1900s. A small portion of the archive also includes photographs of his family in the Blue Mountains, NSW, Australia. The collection documents important archaeological sites, significant landscapes of the Greek mainland, contemporary buildings and the people he met along the way. His archive is a rich resource capturing many sites pre-archaeological excavation and before modern industrial development. Some of the photographs were published by Woodhouse in his book 'Aetolia: its geography, topography, and antiquities' published in 1897. His desire to capture Greece on 'film', was simply put in his introduction: "History only attains its full value by borrowing actuality from geography and topography". The archive shows his love not only for the sites but also for the people and spirit of Greece.
About the project:
We are asking you to contribute to our documentation of this collection and assist us with the identification of the hundreds of different monuments and places in Greece. The title of each photograph will include the museum registration number (NM2007.##.##) and may already include a place name where museum staff or Woodhouse himself have titled the image.
All of our flikr contributors will be acknowledged when the collection is published through our online collections at the completion of the project.
Contributing Building - Macon Historic District - National Register of Historic Places
NRIS #74000658
Built 1915
855 Mulberry St
The Eiffel Tower (French: La Tour Eiffel, nickname La dame de fer, the iron lady) is an iron lattice tower located on the Champ de Mars in Paris, named after the engineer Gustave Eiffel, whose company designed and built the tower. Erected in 1889 as the entrance arch to the 1889 World's Fair, it has become both a global cultural icon of France and one of the most recognizable structures in the world. The tower is the tallest structure in Paris and the most-visited paid monument in the world; 7.1 million people ascended it in 2011. The third level observatory's upper platform is at 279.11 m the highest accessible to public in the European Union and the highest in Europe as long as the platform of the Ostankino Tower, at 360 m, remains closed as a result of the fire of August 2000. The tower received its 250 millionth visitor in 2010.
The tower stands 320 metres (1,050 ft) tall, about the same height as an 81-storey building. During its construction, the Eiffel Tower surpassed the Washington Monument to assume the title of the tallest man-made structure in the world, a title it held for 41 years, until the Chrysler Building in New York City was built in 1930. However, because of the addition, in 1957, of the antenna atop the Eiffel Tower, it is now taller than the Chrysler Building. Not including broadcast antennas, it is the second-tallest structure in France, after the Millau Viaduct.
The tower has three levels for visitors. Tickets can be purchased to ascend, by stairs or lift (elevator), to the first and second levels. The walk from ground level to the first level is over 300 steps, as is the walk from the first to the second level. The third and highest level is accessible only by lift - stairs exist but they are not usually open for public use. Both the first and second levels feature restaurants.
The tower has become the most prominent symbol of both Paris and France, often in the establishing shot of films set in the city.
History
Origin
First drawing of the Eiffel Tower by Maurice Koechlin
The design of the Eiffel Tower was originated by Maurice Koechlin and Émile Nouguier, two senior engineers who worked for the Compagnie des Establissments Eiffel after discussion about a suitable centrepiece for the proposed 1889 Exposition Universelle, a World's Fair which would celebrate the centennial of the French Revolution. In May 1884 Koechlin, working at his home, made an outline drawing of their scheme, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals". Initially Eiffel himself showed little enthusiasm, but he did sanction further study of the project, and the two engineers then asked Stephen Sauvestre, the head of company's architectural department, to contribute to the design. Sauvestre added decorative arches to the base, a glass pavilion to the first level and other embellishments. This enhanced version gained Eiffel's support, and he bought the rights to the patent on the design which Koechlin, Nougier and Sauvestre had taken out, and the design was exhibited at the Exhibition of Decorative Arts in the autumn of 1884 under the company name. On 30 March 1885 Eiffel read a paper on the project to the Société des Ingiénieurs Civils: after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying that the tower would symbolise "not only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude."
Little happened until the beginning of 1886, when Jules Grévy was re-elected as President and Édouard Lockroy was appointed as Minister for Trade. A budget for the Exposition was passed and on 1 May Lockroy announced an alteration to the terms of the open competition which was being held for a centerpiece for the exposition, which effectively made the choice of Eiffel's design a foregone conclusion: all entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars. On 12 May a commission was set up to examine Eiffel's scheme and its rivals and on 12 June it presented its decision, which was that all the proposals except Eiffel's were either impractical or insufficiently worked out. After some debate about the exact site for the tower, a contract was finally signed on 8 January 1887. This was signed by Eiffel acting in his own capacity rather than as the representative of his company, and granted him one and a half million francs toward the construction costs: less than a quarter of the estimated cost of six and a half million francs. Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the following twenty years. Eiffel later established a separate company to manage the tower, putting up half the necessary capital himself.
The "Artists Protest"
Caricature of Gustave Eiffel comparing the Eiffel tower to the Pyramids.
The projected tower had been a subject of some controversy, attracting criticism both from those who did not believe that it was feasible and also from those who objected on artistic grounds. Their objections were an expression of a longstanding debate about relationship between architecture and engineering. This came to a head as work began at the Champ de Mars: A "Committee of Three Hundred" (one member for each metre of the tower's height) was formed, led by the prominent architect Charles Garnier and including some of the most important figures of the French arts establishment, including Adolphe Bouguereau, Guy de Maupassant, Charles Gounod and Jules Massenet: a petition was sent to Charles Alphand, the Minister of Works and Commissioner for the Exposition, and was published by Le Temps.
"We, writers, painters, sculptors, architects and passionate devotees of the hitherto untouched beauty of Paris, protest with all our strength, with all our indignation in the name of slighted French taste, against the erection…of this useless and monstrous Eiffel Tower … To bring our arguments home, imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream. And for twenty years … we shall see stretching like a blot of ink the hateful shadow of the hateful column of bolted sheet metal"
Gustave Eiffel responded to these criticisms by comparing his tower to the Egyptian Pyramids : "My tower will be the tallest edifice ever erected by man. Will it not also be grandiose in its way ? And why would something admirable in Egypt become hideous and ridiculous in Paris ?" These criticisms were also masterfully dealt with by Édouard Lockroy in a letter of support written to Alphand, ironically saying "Judging by the stately swell of the rhythms, the beauty of the metaphors, the elegance of its delicate and precise style, one can tell that …this protest is the result of collaboration of the most famous writers and poets of our time", and going on to point out that the protest was irrelevant since the project had been decided upon months before and was already under construction. Indeed, Garnier had been a member of the Tower Commission that had assessed the various proposals, and had raised no objection. Eiffel was similarly unworried, pointing out to a journalist that it was premature to judge the effect of the tower solely on the basis of the drawings, that the Champ de Mars was distant enough from the monuments mentioned in the protest for there to be little risk of the tower overwhelming them, and putting the aesthetic argument for the Tower: "Do not the laws of natural forces always conform to the secret laws of harmony?"
Some of the protestors were to change their minds when the tower was built: others remained unconvinced. Guy de Maupassant[20] supposedly ate lunch in the Tower's restaurant every day. When asked why, he answered that it was the one place in Paris where one could not see the structure. Today, the Tower is widely considered to be a striking piece of structural art.
Construction
Foundations of the Eiffel Tower
Eiffel Tower under construction between 1887 and 1889
Work on the foundations started in January 1887. Those for the east and south legs were straightforward, each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg but the other two, being closer to the river Seine were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft)[21] to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a block built of limestone each with an inclined top to bear a supporting shoe for the ironwork. Each shoe was anchored into the stonework by a pair of bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. The foundations were complete by 30 June and the erection of the ironwork began. The very visible work on-site was complemented by the enormous amount of exacting preparatory work that was entailed: the drawing office produced 1,700 general drawings and 3,629 detailed drawings of the 18,038 different parts needed:
The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the position of rivet holes was specified to within 0.1 mm (0.04 in) and angles worked out to one second of arc. The finished components, some already riveted together into sub-assemblies, arrived on horse-drawn carts from the factory in the nearby Parisian suburb of Levallois-Perret and were first bolted together, the bolts being replaced by rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit it was sent back to the factory for alteration. In all there were 18,038 pieces of puddle iron using two and a half million rivets.
At first the legs were constructed as cantilevers but about halfway to the first level construction was paused in order to construct a substantial timber scaffold. This caused a renewal of the concerns about the structural soundness of the project, and sensational headlines such as "Eiffel Suicide!" and "Gustave Eiffel has gone mad: he has been confined in an Asylum" appeared in the popular press. At this stage a small "creeper" crane was installed in each leg, designed to move up the tower as construction progressed and making use of the guides for the lifts which were to be fitted in each leg. The critical stage of joining the four legs at the first level was complete by March 1888. Although the metalwork had been prepared with the utmost precision, provision had been made to carry out small adjustments in order to precisely align the legs: hydraulic jacks were fitted to the shoes at the base of each leg, each capable of exerting a force of 800 tonnes, and in addition the legs had been intentionally constructed at a slightly steeper angle than necessary, being supported by sandboxes on the scaffold.
No more than three hundred workers were employed on site, and because Eiffel took safety precautions, including the use of movable stagings, guard-rails and screens, only one man died during construction.
Inauguration and the 1889 Exposition
The 1889 Exposition Universelle for which the Eiffel Tower was built
The main structural work was completed at the end of March 1889 and on the 31st Eiffel celebrated this by leading a group of government officials, accompanied by representatives of the press, to the top of the tower. Since the lifts were not yet in operation, the ascent was made by foot, and took over an hour, Eiffel frequently stopping to make explanations of various features. Most of the party chose to stop at the lower levels, but a few, including Nouguier, Compagnon, the President of the City Council and reporters from Le Figaro and Le Monde Illustré completed the climb. At 2.35 Eiffel hoisted a large tricolore, to the accompaniment of a 25-gun salute fired from the lower level. There was still work to be done, particularly on the lifts and the fitting out of the facilities for visitors, and the tower was not opened to the public until nine days after the opening of the Exposition on 6 May, and even then the lifts had not been completed.
The tower was an immediate success with the public, and lengthy queues formed to make the ascent. Tickets cost 2 francs for the first level, 3 for the second and 5 for the top, with half-price admission on Sundays, and by the end of the exhibition there had been nearly two million visitors.
Eiffel had a permit for the tower to stand for 20 years; it was to be dismantled in 1909, when its ownership would revert to the City of Paris. The City had planned to tear it down (part of the original contest rules for designing a tower was that it could be easily demolished) but as the tower proved valuable for communication purposes, it was allowed to remain after the expiry of the permit. In the opening weeks of the First World War the powerful radio transmitters using the tower were used to jam German communications, seriously hindering their advance on Paris and contributing to the Allied victory at the First Battle of the Marne.
Subsequent events
10 September 1889 Thomas Edison visited the tower. He signed the guestbook with the following message— To M Eiffel the Engineer the brave builder of so gigantic and original specimen of modern Engineering from one who has the greatest respect and admiration for all Engineers including the Great Engineer the Bon Dieu, Thomas Edison.
19 October 1901 Alberto Santos-Dumont in his Dirigible No.6 won a 10,000-franc prize offered by Henri Deutsch de la Meurthe for the first person to make a flight from St Cloud to the Eiffel tower and back in less than half an hour.
1910 Father Theodor Wulf measured radiant energy at the top and bottom of the tower. He found more at the top than expected, incidentally discovering what are today known as cosmic rays.[28]
4 February 1912 Austrian tailor Franz Reichelt died after jumping 60 metres from the first deck of Eiffel tower with his home-made parachute.
1914 A radio transmitter located in the tower jammed German radio communications during the lead-up to the First Battle of the Marne.
1925 The con artist Victor Lustig "sold" the tower for scrap metal on two separate, but related occasions.
1930 The tower lost the title of the world's tallest structure when the Chrysler Building was completed in New York City.
1925 to 1934 Illuminated signs for Citroën adorned three of the tower's four sides, making it the tallest advertising space in the world at the time.
1940–1944 Upon the German occupation of Paris in 1940, the lift cables were cut by the French so that Adolf Hitler would have to climb the steps to the summit. The parts to repair them were allegedly impossible to obtain because of the war. In 1940 German soldiers had to climb to the top to hoist the swastika[citation needed], but the flag was so large it blew away just a few hours later, and was replaced by a smaller one. When visiting Paris, Hitler chose to stay on the ground. It was said that Hitler conquered France, but did not conquer the Eiffel Tower. A Frenchman scaled the tower during the German occupation to hang the French flag. In August 1944, when the Allies were nearing Paris, Hitler ordered General Dietrich von Choltitz, the military governor of Paris, to demolish the tower along with the rest of the city. Von Choltitz disobeyed the order. Some say Hitler was later persuaded to keep the tower intact so it could later be used for communications. The lifts of the Tower were working normally within hours of the Liberation of Paris.
3 January 1956 A fire damaged the top of the tower.
1957 The present radio antenna was added to the top.
1980s A restaurant and its supporting iron scaffolding midway up the tower was dismantled; it was purchased and reconstructed on St. Charles Avenue and Josephine Street in the Garden District of New Orleans, Louisiana, by entrepreneurs John Onorio and Daniel Bonnot, originally as the Tour Eiffel Restaurant, later as the Red Room and now as the Cricket Club (owned by the New Orleans Culinary Institute). The restaurant was re-assembled from 11,000 pieces that crossed the Atlantic in a 40-foot (12 m) cargo container.
31 March 1984 Robert Moriarty flew a Beechcraft Bonanza through the arches of the tower.
1987 A.J. Hackett made one of his first bungee jumps from the top of the Eiffel Tower, using a special cord he had helped develop. Hackett was arrested by the Paris police upon reaching the ground.
27 October 1991 Thierry Devaux, along with mountain guide Hervé Calvayrac, performed a series of acrobatic figures of bungee jumping (not allowed) from the second floor of the Tower. Facing the Champ de Mars, Thierry Devaux was using an electric winch between each figure to go back up. When firemen arrived, he stopped after the sixth bungee jump.
New Year's Eve 1999 The Eiffel Tower played host to Paris's Millennium Celebration. On this occasion, flashing lights and four high-power searchlights were installed on the tower, and fireworks were set off all over it. An exhibition above a cafeteria on the first floor commemorates this event. Since then, the light show has become a nightly event. The searchlights on top of the tower make it a beacon in Paris's night sky, and the 20,000 flash bulbs give the tower a sparkly appearance every hour on the hour.
28 November 2002 The tower received its 200,000,000th guest.
2004 The Eiffel Tower began hosting an ice skating rink on the first floor each winter.
Design of the tower
Material
The Eiffel Tower from below
The puddle iron structure of the Eiffel Tower weighs 7,300 tonnes, while the entire structure, including non-metal components, is approximately 10,000 tonnes. As a demonstration of the economy of design, if the 7,300 tonnes of the metal structure were melted down it would fill the 125-metre-square base to a depth of only 6 cm (2.36 in), assuming the density of the metal to be 7.8 tonnes per cubic metre. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7.1 in) because of thermal expansion of the metal on the side facing the sun.
Wind considerations
At the time the tower was built many people were shocked by its daring shape. Eiffel was criticised for the design and accused of trying to create something artistic, or inartistic according to the viewer, without regard to engineering. Eiffel and his engineers, however, as experienced bridge builders, understood the importance of wind forces and knew that if they were going to build the tallest structure in the world they had to be certain it would withstand the wind. In an interview reported in the newspaper Le Temps, Eiffel said:
Now to what phenomenon did I give primary concern in designing the Tower? It was wind resistance. Well then! I hold that the curvature of the monument's four outer edges, which is as mathematical calculation dictated it should be […] will give a great impression of strength and beauty, for it will reveal to the eyes of the observer the boldness of the design as a whole.[37]
Researchers have found that Eiffel used empirical and graphical methods accounting for the effects of wind rather than a specific mathematical formula. Careful examination of the tower shows a basically exponential shape; actually two different exponentials, the lower section overdesigned to ensure resistance to wind forces. Several mathematical explanations have been proposed over the years for the success of the design; the most recent is described as a nonlinear integral equation based on counterbalancing the wind pressure on any point on the tower with the tension between the construction elements at that point. As a demonstration of the tower's effectiveness in wind resistance, it sways only 6–7 cm (2–3 in) in the wind.
Accommodation
When built, the first level contained two restaurants: an "Anglo-American Bar", and a 250 seat theatre. A 2.6 m (8 ft 6 in) promenade ran around the outside.
On the second level, the French newspaper Le Figaro had an office and a printing press, where a special souvenir edition, Le Figaro de la Tour, was produced. There was also a pâtisserie.
On the third level were laboratories for various experiments and a small apartment reserved for Gustave Eiffel to entertain guests. This is now open to the public, complete with period decorations and lifelike models of Gustave and some guests.
Engraved names
Gustave Eiffel engraved on the tower seventy-two names of French scientists, engineers and other notable people. This engraving was painted over at the beginning of the twentieth century but restored in 1986–1987 by the Société Nouvelle d'exploitation de la Tour Eiffel, a company contracted to operate business related to the Tower.
Maintenance
Maintenance of the tower includes applying 50 to 60 tonnes of paint every seven years to protect it from rust. The height of the Eiffel Tower varies by 15 cm due to temperature.
Aesthetic considerations
In order to enhance the impression of height, three separate colours of paint are used on the tower, with the darkest on the bottom and the lightest at the top. On occasion the colour of the paint is changed; the tower is currently painted a shade of bronze. On the first floor there are interactive consoles hosting a poll for the colour to use for a future session of painting.
The only non-structural elements are the four decorative grillwork arches, added in Stephen Sauvestre's sketches, which served to reassure visitors that the structure was safe, and to frame views of other nearby architecture.
One of the great Hollywood movie clichés is that the view from a Parisian window always includes the tower. In reality, since zoning restrictions limit the height of most buildings in Paris to 7 storeys, only a very few of the taller buildings have a clear view of the tower.
Popularity
More than 200,000,000 people have visited the tower since its construction in 1889, including 6,719,200 in 2006. The tower is the most-visited paid monument in the world.
Passenger lifts
Ground to the second level
The original lifts (elevators) to the first and second floors were provided by two companies. Both companies had to overcome many technical obstacles as neither company (or indeed any company) had experience with installing lifts climbing to such heights with large loads. The slanting tracks with changing angles further complicated the problems. The East and West lifts were supplied by the French company Roux Combaluzier Lepape, using hydraulically powered chains and rollers. The North and South lifts were provided by the American company Otis using car designs similar to the original installation but using an improved hydraulic and cable scheme. The French lifts had a very poor performance and were replaced with the current installations in 1897 (West Pillar) and 1899 (East Pillar) by Fives-Lille using an improved hydraulic and rope scheme. Both of the original installations operated broadly on the principle of the Fives-Lille lifts.
The Fives-Lille lifts from ground level to the first and second levels are operated by cables and pulleys driven by massive water-powered pistons. The hydraulic scheme was somewhat unusual for the time in that it included three large counterweights of 200 tonnes each sitting on top of hydraulic rams which doubled up as accumulators for the water. As the lifts ascend the inclined arc of the pillars, the angle of ascent changes. The two lift cabs are kept more or less level and indeed are level at the landings. The cab floors do take on a slight angle at times between landings.
The principle behind the lifts is similar to the operation of a block and tackle but in reverse. Two large hydraulic rams (over 1 metre diameter) with a 16 metre travel are mounted horizontally in the base of the pillar which pushes a carriage (the French word for it translates as chariot and this term will be used henceforth to distinguish it from the lift carriage) with 16 large triple sheaves mounted on it. There are 14 similar sheaves mounted statically. Six wire ropes are rove back and forth between the sheaves such that each rope passes between the 2 sets of sheaves 7 times. The ropes then leave the final sheaves on the chariot and pass up through a series of guiding sheaves to above the second floor and then through a pair of triple sheaves back down to the lift carriage again passing guiding sheaves.
This arrangement means that the lift carriage, complete with its cars and passengers, travels 8 times the distance that the rams move the chariot, the 128 metres from the ground to the second floor. The force exerted by the rams also has to be 8 times the total weight of the lift carriage, cars and passengers, plus extra to account for various losses such as friction. The hydraulic fluid was water, normally stored in three accumulators, complete with counterbalance weights. To make the lift ascend, water was pumped using an electrically driven pump from the accumulators to the two rams. Since the counterbalance weights provided much of the pressure required, the pump only had to provide the extra effort. For the descent, it was only necessary to allow the water to flow back to the accumulators using a control valve. The lifts were operated by an operator perched precariously underneath the lift cars. His position (with a dummy operator) can still be seen on the lifts today.
The Fives-Lille lifts were completely upgraded in 1986 to meet modern safety requirements and to make the lifts easier to operate. A new computer-controlled system was installed which completely automated the operation. One of the three counterbalances was taken out of use, and the cars were replaced with a more modern and lighter structure. Most importantly, the main driving force was removed from the original water pump such that the water hydraulic system provided only a counterbalancing function. The main driving force was transferred to a 320 kW electrically driven oil hydraulic pump which drives a pair of hydraulic motors on the chariot itself, thus providing the motive power. The new lift cars complete with their carriage and a full 92 passenger load weigh 22 tonnes.
Owing to elasticity in the ropes and the time taken to get the cars level with the landings, each lift in normal service takes an average of 8 minutes and 50 seconds to do the round trip, spending an average of 1 minute and 15 seconds at each floor. The average journey time between floors is just 1 minute.
The original Otis lifts in the North and South pillars in their turn proved to be inferior to the new (in 1899) French lifts and were scrapped from the South pillar in 1900 and from the North pillar in 1913 after failed attempts to repower them with an electric motor. The North and South pillars were to remain without lifts until 1965 when increasing visitor numbers persuaded the operators to install a relatively standard and modern cable hoisted system in the north pillar using a cable-hauled counterbalance weight, but hoisted by a block and tackle system to reduce its travel to one third of the lift travel. The counterbalance is clearly visible within the structure of the North pillar. This latter lift was upgraded in 1995 with new cars and computer controls.
The South pillar acquired a completely new fairly standard electrically driven lift in 1983 to serve the Jules Verne restaurant. This was also supplied by Otis. A further four-ton service lift was added to the South pillar in 1989 by Otis to relieve the main lifts when moving relatively small loads or even just maintenance personnel.
The East and West hydraulic (water) lift works are on display and, at least in theory, are open to the public in a small museum located in base of the East and West tower, which is somewhat hidden from public view. Because the massive mechanism requires frequent lubrication and attention, public access is often restricted. However, when open, the wait times are much less than the other, more popular, attractions. The rope mechanism of the North tower is visible to visitors as they exit from the lift.
Second to the third level
The original spiral stairs to the third floor which were only 80 centimetres wide. Note also the small service lift in the background.
The original lifts from the second to the third floor were also of a water-powered hydraulic design supplied by Léon Edoux. Instead of using a separate counterbalance, the two lift cars counterbalanced each other. A pair of 81-metre-long hydraulic rams were mounted on the second level reaching nearly halfway up to the third level. A lift car was mounted on top of the rams. Ropes ran from the top of this car up to a sheave on the third level and back down to a second car. The result of this arrangement was that each car only travelled half the distance between the second and third levels and passengers were required to change lifts halfway walking between the cars along a narrow gangway with a very impressive and relatively unobstructed downward view. The ten-ton cars held 65 passengers each or up to four tons.
One interesting feature of the original installation was that the hoisting rope ran through guides to retain it on windy days to prevent it flapping and becoming damaged. The guides were mechanically moved out of the way of the ascending car by the movement of the car itself. In spite of some antifreeze being added to the water that operated this system, it nevertheless had to close to the public from November to March each year.
The original lifts complete with their hydraulic mechanism were completely scrapped in 1982 after 97 years of service. They were replaced with two pairs of relatively standard rope hoisted cars which were able to operate all the year round. The cars operate in pairs with one providing the counterbalance for the other. Neither car can move unless both sets of doors are closed and both operators have given a start command. The commands from the cars to the hoisting mechanism are by radio obviating the necessity of a control cable. The replacement installation also has the advantage that the ascent can be made without changing cars and has reduced the ascent time from 8 minutes (including change) to 1 minute and 40 seconds. This installation also has guides for the hoisting ropes but they are electrically operated. The guide once it has moved out of the way as the car ascends automatically reverses when the car has passed to prevent the mechanism becoming snagged on the car on the downward journey in the event it has failed to completely clear the car. Unfortunately these lifts do not have the capacity to move as many people as the three public lower lifts and long lines to ascend to the third level are common. Most of the intermediate level structure present on the tower today was installed when the lifts were replaced and allows maintenance workers to take the lift halfway.
The replacement of these lifts allowed the restructuring of the criss-cross beams in upper part of the tower and further allowed the installation of two emergency staircases. These replaced the dangerous winding stairs that were installed when the tower was constructed.
Restaurants
The tower has two restaurants: Le 58 tour Eiffel, on the first floor 311 ft (95 m) above sea level; and the Le Jules Verne, a gastronomical restaurant on the second floor, with a private lift. This restaurant has one star in the Michelin Red Guide. In January 2007, the multi-Michelin star chef Alain Ducasse was brought in to run Jules Verne.
Attempted relocation
According to interviews given in the early 1980s, Montreal Mayor Jean Drapeau negotiated a secret agreement with French President Charles de Gaulle for the tower to be dismantled and temporarily relocated to Montreal to serve as a landmark and tourist attraction during Expo 67. The plan was allegedly vetoed by the company which operated the tower out of fear that the French government could refuse permission for the tower to be restored to its original location.
Economics
The American TV show Pricing the Priceless speculates that in 2011 the tower would cost about $480,000,000 to build, that the land under the tower is worth $350,000,000, and that the scrap value of the tower is worth $3,500,000. The TV show estimates the tower makes a profit of about $29,000,000 per year, though it is unlikely that the Eiffel Tower is managed so as to maximize profit.
It costs $5,300,000 to repaint the tower, which is done once every seven years. The electric bill is $400,000 per year for 7.5 million kilowatt-hours.
The Tokyo Tower in Japan is a very similar structure of very similar size. It was finished in 1958 at a final cost of ¥2.8 billion ($8.4 million in 1958).
Source Wikipedia
Contributing Building - Ocala Historic District - National Register of Historic Places
NRIS #84000912
Built ca 1894
Style: Queen Anne
These family photographs were taken by Nicholson Museum curator William J Woodhouse in Australia, primarily in Sydney and the Blue Mountains.
Can you help us catalogue the Woodhouse photographic archive? Contribute by adding tags and answering the following questions in the comments below:
•What do you see? Write a brief description for this image.
•Where was this photograph taken?
•Can you find the geo co-ordinates (latitude and longitude) of this exact place? Let us know by linking to the google maps or add the co-ordinates in your comment.
•Do you know what year this photograph was taken?
About the archive:
The Nicholson Museum holds over 1800 glass-plate negatives taken by Woodhouse while in Greece in 1890s and early 1900s. A small portion of the archive also includes photographs of his family in the Blue Mountains, NSW, Australia. The collection documents important archaeological sites, significant landscapes of the Greek mainland, contemporary buildings and the people he met along the way. His archive is a rich resource capturing many sites pre-archaeological excavation and before modern industrial development. Some of the photographs were published by Woodhouse in his book 'Aetolia: its geography, topography, and antiquities' published in 1897. His desire to capture Greece on 'film', was simply put in his introduction: "History only attains its full value by borrowing actuality from geography and topography". The archive shows his love not only for the sites but also for the people and spirit of Greece.
About the project:
We are asking you to contribute to our documentation of this collection and assist us with the identification of the hundreds of different monuments and places in Greece. The title of each photograph will include the museum registration number (NM2007.##.##) and may already include a place name where museum staff or Woodhouse himself have titled the image.
All of our flikr contributors will be acknowledged when the collection is published through our online collections at the completion of the project.
These family photographs were taken by Nicholson Museum curator William J Woodhouse in Australia, primarily in Sydney and the Blue Mountains.
Can you help us catalogue the Woodhouse photographic archive? Contribute by adding tags and answering the following questions in the comments below:
•What do you see? Write a brief description for this image.
•Where was this photograph taken?
•Can you find the geo co-ordinates (latitude and longitude) of this exact place? Let us know by linking to the google maps or add the co-ordinates in your comment.
•Do you know what year this photograph was taken?
About the archive:
The Nicholson Museum holds over 1800 glass-plate negatives taken by Woodhouse while in Greece in 1890s and early 1900s. A small portion of the archive also includes photographs of his family in the Blue Mountains, NSW, Australia. The collection documents important archaeological sites, significant landscapes of the Greek mainland, contemporary buildings and the people he met along the way. His archive is a rich resource capturing many sites pre-archaeological excavation and before modern industrial development. Some of the photographs were published by Woodhouse in his book 'Aetolia: its geography, topography, and antiquities' published in 1897. His desire to capture Greece on 'film', was simply put in his introduction: "History only attains its full value by borrowing actuality from geography and topography". The archive shows his love not only for the sites but also for the people and spirit of Greece.
About the project:
We are asking you to contribute to our documentation of this collection and assist us with the identification of the hundreds of different monuments and places in Greece. The title of each photograph will include the museum registration number (NM2007.##.##) and may already include a place name where museum staff or Woodhouse himself have titled the image.
All of our flikr contributors will be acknowledged when the collection is published through our online collections at the completion of the project.
President Kagame meets 57 Japanese delegates to discuss how the private sector can contribute to development. 24 July 2018.
I've been contributing to this fairly new printed magazine in Australia for a year or so I guess. They had some of my Shikari pics for this article as well as a photo of Rou that was included in the mag as a pull out poster....a first for me.
Going to be doing more work for them over the summer, maybe even some band portrait cover shoots. I've had cover shots on a few online magazines but never a printed one - I'd say it was about time that happened eh.
Traceries of the east window designed by Sir Ninian Comper, c1950, also known as 'the Bride's Window' after newly weds at the church following the War were asked to contribute funds towards it's installation.
Holy Trinity would have been the star attraction in any other town or city, it is a majestic cruciform 15th century Perpendicular church with a tapering central tower and spire, the second of Coventry's famous 'Three Spires'. However it has always been overshadowed by larger neighbours, having been encircled by no less than three separate cathedrals through it's history, a unique distinction! Holy Trinity was founded by the monks of the adjoining priory to act as a parish church for it's lay tenants, thus it is ironic that it has long outlived the parent building.
The earliest part is the north porch, which dates from the 13th century, but the majority of the building dates from a more ambitious phase in 15th century Perpendicular style. The 15th century rebuilding has given us the present cruciform arrangement with small transepts and extra chapels on the north side giving an overall roughly rectangular footprint. These chapels were some of many in the church that served the city's separate guilds in medieval times.
The church has gone through much restoration, most notably the rebuilding of it's spire after it was blown down in a storm in 1665. The east end of the chancel was extended in 1786 (in sympathetic style) and much of the exterior was refaced in the early 19th century in then fashionable Bath stone (which clashes with the original red sandstone).
The church luckily escaped major damage during the Coventry Blitz in 1940, largely thanks to the vigilance of Canon Clitheroe and his team of firewatchers who spent a perilous night on the roof tackling incendaries. The main loss was the Victorian stained glass in the east and west windows, which were replaced with much more fetching glass in the postwar restoration.
The most recent restoration involved the uncovering of the 15th century Doom painting over the chancel arch in 2004. Hidden under blackened varnish since it's rediscovery in the early Victorian period, it has now been revealed to be one of the most complete and important medieval Last Judgement murals in the country. There is further painting contemporary with this on the exquisite nave ceiling, painted a beautiful dusty blue with large kneeling angels flanking coats of arms on every rafter.
There are only a handful of monuments and most of the furnishings date from G.G.Scott's 1850s restoration (as does the magnificent vaulted ceiling high above the crossing) but there are some notable medieval survivals in the rare stone pulpit and the brass eagle lectern, both 15th century, along with a fine set of misericords originating from the former Whitefriars monastery church. Just a few fragments of medieval glass survive in the north west chapel.
The church is happily normally open and welcoming to visitors every day.
For more detail on this church see it's entry on the Warwickshire Churches website below:-
warwickshirechurches.weebly.com/coventry---holy-trinity.html
Her Excellency Sheikh Hasina, Hon’ble Prime Minister, Government of the People’s Republic of Bangladesh, delivers her opening remarks at the International Conference on the IAEA Technical Cooperation Programme: Sixty Years and Beyond – Contributing to Development. IAEA, Vienna, Austria. 30 May 2017.
Photo Credit: Dean Calma / IAEA
Still 8"x10"Bride of Frankenstein. Full Feature. www.veoh.com/watch/v68308074se9ajHpk
Universal Pictures followed up their highly successful Frankenstien with what has to be one of the best sequels out of Hollywood. James Whale's Bride of Frankenstein (BoF) had many factors contributing to its success. For some of those, see the Notes section below. It is a bigger, richer tale. Two key cast members reprised their roles. Colin Clive again played the obsessed and tormented Henry Frankenstein. Boris Karloff again played the monster. Other lesser characters were picked up by new faces. A couple of new characters were added. To some, BoF surpasses the original. Few sequels get such acclaim.
Synopsis
The film opens on a suitably dark and stormy night in the early 1800s. Mary Shelley, Percy Shelley and Lord Byron sit around a fire talking of Mary's story. Was that how it ended? No. Mary tells what happened next. (cross fade to burning windmill). The crowds filter on home. Maria's father insists on seeing the body of the monster, so goes into the smoking rubble. He falls into the water filled cellar. The monster is there too, much alive. He drowns Hans. The monster emerges. The crowd took Henry back to his family castle, thinking he was dead, but he moves his hand. He's Alive! He swears to never dabble in man-making again. Just then, a sketchy former classmate arrives. Dr. Pretoreous heard of Henry's work and wants him to partner, to make a perfect man. Henry goes to Pretorious' lab to see his work. Six glass jars, each with a miniature person inside. A queen, a king, a bishop, a devil, a ballerina and a mermaid. Pretorious makes them from raw materials, not dead body parts, but can only make smaller things. He wants Henry to make a full-sized body again. Pretorious would supply the brain. Meanwhile, the monster roams the woods. A shepherdess sees him, screams and falls in a river. The monster rescues her, but hunters heard her screams and shoots the Monster in the arm. A new mob combs the woods finally capturing the monster. They haul him into town and chain him in a jail cell. Stronger than his chains, the monster escapes and rampages around the village awhile before fleeing into the woods again. Tired, hurt and hungry, the monster comes to the shack of an old blind hermit. The hermit befriends the monster, eventually teaching him to talk. Hunters find the monster in the shack, so he flees again. Yet another mob chases him through the woods. The monster goes down into a crypt to hide. There, he sees Pretorious and henchmen stealing body parts (bones). When henchmen leave, Pretorious entertains the monster and suggests Henry should build him a woman, a mate. The monster likes that idea. Pretorious tells Henry it's time to start building. Henry refuses. Pretorious has the monster kidnap Elizabeth and take her to a cave. Her ransom is to build the new woman. Henry, under duress, starts working in the old tower again. They have the "bride" done and exposed to dramatic sparks. She's Alive! When the monster comes in to meet his bride, she screams and runs from him. Enraged that even his own kind rejects him, the monster rampages around the lab. This lab is equipped with a self-destruct lever, (for some reason). The monster starts to pull it. He tells Henry to get away with Elizabeth (now free). "You go. You live." He pulls the lever and the tower blows up dramatically, crumbling to rubble. Henry and Elizabeth embrace on an adjacent hilltop. The End.
Much of Henry's prior electro-biology technology is reused. The equipment is ramped up a bit, though. Henry uses two 3-winged kites (ala Ben Franklin) to gather lightening. Pretorious' process is more akin to alchemy, and in that way similar to the "science" used in Edison's 1910 version.
The plot in BoF is an expansion on elements in Mary's original novel. In her story, the monster demands that Victor create a mate for him. In BoF, it was Pretorious who pushes the idea. The scene with the hermit befriending the monster is a good parallel to the DeLacy family whom Mary's monster lived with for awhile, there learning to talk, etc.
BoF is such a close sequel, it is more like the second part of a single story. It picks up immediately where the first film left off. After all the action, things return to pretty much where they started. A notable exclusion is Henry's father, the old baron. Suddenly, even though it is the "same night", the old baron is gone and Henry is "now" the baron. Despite all the action, BoF ends as it began. Henry and Elizabeth survive and want to put all the nastiness behind them. The monster is, again, presumed to have died in a dramatic architectural collapse.
Superior Sequel -- Where most sequels falter is that they try to do the same thing as the original, with just a little variation. It is as if the writers or producers don't dare tamper with "success". James Whale was bold. He continued the story in the same time line. He kept the 2 main characters. They start out as they left off, but change (grow) during the film. Whale introduces a key antagonist and some potent sub-plots. The 1931 film was spartan and a bit claustrophobic, with two worlds -- one sane, one unstable. This befit the birth of the creature. BoF is a wider tale, with more characters and much more going on. This is befitting the monster's growth into personhood. BoF is clearly not just a retread, Frankenstein II.
Ernest Thesiger plays Dr. Pretorious, who is a Mephistopheles-like character. This lends a very Faustian flavor to the saga. When Pretorius is showing off his miniature people, he shows off his miniature bishop, the voice of morality. Then he shows his fourth. "This one is the very devil. There is a certain resemblance to me, don't you think? Or do I flatter myself?"
In a broadening of the monster character from the first movie, the monster learns to speak. Granted, they're rudimentary sentences. "Friend…Good." But, even with just a few words, a deep range of the monster's thoughts and desires become known. It is said that Boris Karloff objected, at first, to having "his" monster speak. But he did and it made the monster much more "human" and sympathetic.
Consider how the screenwriters and Whale made the monster an allegory of Jesus. Note these parallels. He did not have the usual mom-dad-birth, but has a creator. He was befriended by the poor, but rejected by the better-off. Some of the visuals are too obvious to ignore. He was hung on a pole (half a cross). Watch the scene where they're hammering in the chain rings in the jail. This is a strong parallel to the nailing of Christ's hands. Then, note at the end of the film, the monster acts noticeably out-of-character for a horror film monster. Instead, he (again) parallel's Christ, in that he voluntarily gives up his own life to save someone else, and to wipe away that person's "sins" and the devilish power of temptation over them. All this Christ-parallel is a very curious inclusion, but it clearly adds depth to the BoF story.
BoF exacerbates the name confusion over who is "Frankenstein" -- the man or the monster. When the female creature is unveiled, Pretorious declares, "Behold, the bride of Frankenstein." Most people take that to mean the bride of the monster. Yet, it could still mean the "bride" that Henry created. The poster adds another layer of ambiguity, by suggesting that the monster ("frankenstein") might chose either Elizabeth or the new woman as his bride. (The monster does kidnap Elizabeth at one point -- the primeval bride-selection method). Yet, Elizabeth is also the bride of Henry. More ambiguity!
James Whale made his sequel much more complex by weaving in occasional comic moments. Some of it verges on camp, as with most of the scenes with Minnie (Henry's old biddy house keeper). Even the monster drinking and smoking, saying lines like "Smoke… Good." were designed to get a laugh. Some humor was more subtle, such as Pretorious saying that each vice, wine, cigars, etc. were "his only weakness." Happily, the humor and camp did not overtake the deeper plot. This early bit of comic relief, though, does open the door for later films like Abbott and Costello Meet Frankenstein.
BoF is another classic that should be seen. Perhaps the best way is to watch the 1931 film and BoF as a double feature. Much of what "worked" in the original is still in the sequel, but BoF adds new, vibrant material. Whale weaves a complex, yet not confusing, plot and paces it very quickly. Bride of Frankenstein is a movie milestone that even all old movie fans should experience.