View allAll Photos Tagged Culpability,
eramos uña y mugre...
no supe cuando te empece a kerer
pero te consedero mi amiga.
porque confiabas en mi , me decias te quiero viejaa
y eras la unica que cuando se emborrachaba me decia " sabes que vieja como tu no ahy dos, te kiero demasidoo" esa vez jams la olvidare..
porke eramos las unicas en subirnos ala mesa y bailar ¨mesa ke mas aplauda le mando ala niña¨ ..
eramos tachadas como las putas.
y me valia ke me catalogaran por ser tu amiga...
me siento tan culpablee.. de no haberte podido ayudar... de no ponertee a estudiar.. me siento tan culpable de ke yo pasara los examenes y no hacer nada por ti..
vieja perdonamee..:'(
¨perdoname por no cumplir nuestro dichoo.. ¨todas o ningunas´
Fuego, agua, explosiones de confetti, saltos de plataformas, y muchas cosas más hubo durante el rodaje en Banzai Studio de “Culpable” el recién estrenado video clip de David Bisbal dirigido por Dani de la Orden.
“Culpable” contiene un magnífico plano secuencia en el que aparecen unos 10 decorados. En Banzai Studio construimos todos los sets.
Productora: Playtime Movies
Director: Dani de la Orden
1r Ayudante dirección: Dídac Meya
2º Ayudante dirección: Júlia Martín
Auxiliar dirección: Carlota Meya
Directora de producción: Cristina Tapia
Ayudante producción: Armando J. Rios
Auxiliar de producción: Anna Salgado
DoP: Ricard Canyellas Guasch
Foquista: Andrea Leria
Co-Directora de Arte: Carla Moreno Coll
Co-Directora de Arte: Vicki Viñas
Ayudante de Arte: Marta Salazar
Ayudante de Arte: Guille Fernández Santana
Ayudante de arte: Gemma Tagliata Vinyals
Maquillaje y Peluquería: Ana Cano
Vestuario: Núria Sala Huguet
Supervisor MFX: Lluís Rivera
Actriz: Kimberley Tell
www.youtube.com/watch?v=X6FUrfHYRQE
www.vevo.com/watch/david-bisbal/culpable/ES1701400151
Making of:
letter of candidature to be invited with the BIENNALIST format to expose at the Vatican pavilion at the Venice Biennale 2013
dear Cardinal Gianfranco Ravasi ,
Please take in consideration my canditature to be include in the Vatican pavi
lion .
I am interest to exhibiti the BIENNALIST format activate the GENESIS .
I read you were looking for sponsors and I think it is an interesting issue as sometimes they can be the origin of our misery . I am also interest in the artistic work about Adam and EVE and culpability as well a reflection about power and encyclopedie .
I can come to a meeting at the Vatican and debate further proposition
best regards
Geoffroy
Fuego, agua, explosiones de confetti, saltos de plataformas, y muchas cosas más hubo durante el rodaje en Banzai Studio de “Culpable” el recién estrenado video clip de David Bisbal dirigido por Dani de la Orden.
“Culpable” contiene un magnífico plano secuencia en el que aparecen unos 10 decorados. En Banzai Studio construimos todos los sets.
Productora: Playtime Movies
Director: Dani de la Orden
1r Ayudante dirección: Dídac Meya
2º Ayudante dirección: Júlia Martín
Auxiliar dirección: Carlota Meya
Directora de producción: Cristina Tapia
Ayudante producción: Armando J. Rios
Auxiliar de producción: Anna Salgado
DoP: Ricard Canyellas Guasch
Foquista: Andrea Leria
Co-Directora de Arte: Carla Moreno Coll
Co-Directora de Arte: Vicki Viñas
Ayudante de Arte: Marta Salazar
Ayudante de Arte: Guille Fernández Santana
Ayudante de arte: Gemma Tagliata Vinyals
Maquillaje y Peluquería: Ana Cano
Vestuario: Núria Sala Huguet
Supervisor MFX: Lluís Rivera
Actriz: Kimberley Tell
www.youtube.com/watch?v=X6FUrfHYRQE
www.vevo.com/watch/david-bisbal/culpable/ES1701400151
Making of:
Hace demasiados meses que mis payasadas no provocan tus ganas de reír...
Duele verte removiendo la cajita de cenizas que el placer tras de sí dejó...
Mal y tarde estoy cumpliendo la palabra que te dí cuando juré escribirte una canción...
Un Dios triste y envidioso nos castigó por trepar juntos al árbol y atracarnos con la flor de la pasión, por probar aquel sabor...
El agua apaga al fuego, y al ardor, los años. "Amor" se llama el juego en el que un par de ciegos juegan a hacerse daño... Y cada vez peor y cada vez más rotos, y cada vez más "tú", y cada vez más "yo"; sin rastro de "nosotros"...
Ni inocentes ni culpables corazones que destroza el temporal, carnes de cañón... No soy yo, ni tú, ni nadie, son los dedos miserables que le dan cuerda a mi reloj...
Y no hay lágrimas que valgan para volver a meternos en el coche donde aquella noche en pleno carnaval te empecé a desnudar...
For too many months my nonsense doesn't provoke your desire to laugh... It hurts to see you removing the box of ashes that the pleasure left behind... Badly and late I'm fulfilling the word that I gave you when I swore to write to you a song... A sad and envious God punished us for climbing together to the tree and enjoying the flower of the passion, for proving that flavor... The water extinguishes to the fire, and to the passion, the years. "Love" is called the game in which a pair of blind persons they play at hurting... And every time worse and more broken, and more "you", and more and more "I" without track of "us"...
Not innocent not even guilty hearts that the storm destroys, cannon fodder... I am neither I, nor you, nor anybody, there are the miserable fingers that give him rope to my clock... And there are no tears that could put us again into the car where that night in full carnival I began you to undress...
lyrics by: Joaquín Sabina
canción / song: Amor se llama el juego
Duke Riley
Death to the Living - Long Live Trash
Through deep research and with a rollicking mischievous streak, Brooklyn-based artist Duke Riley consistently challenges dominant narratives around timely sociopolitical issues through his drawings, installations, and public art projects. In DEATH TO THE LIVING, Long Live Trash, Riley explores his longstanding passion for maritime history and New York's waterfront communities in the context of contemporary environmental dilemmas specifically the detrimental impacts of pollution and single-use plastics.
Rilev takes inspiration from scrimshaw-a maritime craft where sailors on board early American whaling ships would carve elaborate images into discarded whale teeth and bone, melding aesthetic and cultural references along the way - and replaces the medium's traditional materials with plastic waste collected from New York City's vast network of waterways. Bottles, toilet seats, food containers, and other found objects depict traditional maritime subject matter (such as sea animals and ships), but also poignantly incorporate portraits of lobbyists and CEOs from the oil, food, chemical, and plastics industries. In doing so, Riley's scrimshaw works draw attention to the culpability of corporations in the perpetuation of single-use plastics and the subsequent destruction of global waters. Similarly, Riley's sailor's valentines and fishing lures use discarded household objects like toothbrushes, tampon applicators, and electrical cords.
(From the Brooklyn Museum)
Desastre natural el meter una pala y un camión a modificar una baja natural de cientos de años, si querían proteger el chiringuito usar otros elementos, increible, lo siento maspalomas, culpables???
Amazing a track moving a natural reef of rolling stones with hundred of years,...Sorry maspalomas sorry
Fito, luego de una faena "de caza" con uno de sus juguetes favoritos.
Mirada fija, que delata quien fué el que cometió el delito.
Gato, en constante crecimiento
Portada Diario La Tercera, 28 de Sept. 2007.
Fotografía que tomé para Making of Video Clip "Culpables" de Nicole.
Fuego, agua, explosiones de confetti, saltos de plataformas, y muchas cosas más hubo durante el rodaje en Banzai Studio de “Culpable” el recién estrenado video clip de David Bisbal dirigido por Dani de la Orden.
“Culpable” contiene un magnífico plano secuencia en el que aparecen unos 10 decorados. En Banzai Studio construimos todos los sets.
Productora: Playtime Movies
Director: Dani de la Orden
1r Ayudante dirección: Dídac Meya
2º Ayudante dirección: Júlia Martín
Auxiliar dirección: Carlota Meya
Directora de producción: Cristina Tapia
Ayudante producción: Armando J. Rios
Auxiliar de producción: Anna Salgado
DoP: Ricard Canyellas Guasch
Foquista: Andrea Leria
Co-Directora de Arte: Carla Moreno Coll
Co-Directora de Arte: Vicki Viñas
Ayudante de Arte: Marta Salazar
Ayudante de Arte: Guille Fernández Santana
Ayudante de arte: Gemma Tagliata Vinyals
Maquillaje y Peluquería: Ana Cano
Vestuario: Núria Sala Huguet
Supervisor MFX: Lluís Rivera
Actriz: Kimberley Tell
www.youtube.com/watch?v=X6FUrfHYRQE
www.vevo.com/watch/david-bisbal/culpable/ES1701400151
Making of:
Fuego, agua, explosiones de confetti, saltos de plataformas, y muchas cosas más hubo durante el rodaje en Banzai Studio de “Culpable” el recién estrenado video clip de David Bisbal dirigido por Dani de la Orden.
“Culpable” contiene un magnífico plano secuencia en el que aparecen unos 10 decorados. En Banzai Studio construimos todos los sets.
Productora: Playtime Movies
Director: Dani de la Orden
1r Ayudante dirección: Dídac Meya
2º Ayudante dirección: Júlia Martín
Auxiliar dirección: Carlota Meya
Directora de producción: Cristina Tapia
Ayudante producción: Armando J. Rios
Auxiliar de producción: Anna Salgado
DoP: Ricard Canyellas Guasch
Foquista: Andrea Leria
Co-Directora de Arte: Carla Moreno Coll
Co-Directora de Arte: Vicki Viñas
Ayudante de Arte: Marta Salazar
Ayudante de Arte: Guille Fernández Santana
Ayudante de arte: Gemma Tagliata Vinyals
Maquillaje y Peluquería: Ana Cano
Vestuario: Núria Sala Huguet
Supervisor MFX: Lluís Rivera
Actriz: Kimberley Tell
www.youtube.com/watch?v=X6FUrfHYRQE
www.vevo.com/watch/david-bisbal/culpable/ES1701400151
Making of:
según BOLA S.L. +
(representantes de los principales partidos consultando la última oleda de encuentas)
September 30, 2018
Winnipeg, Manitoba
A round dance was held at Portage and Main to commemorate the damage wrought by the Canadian Indian residential school system.
Residential schools were boarding schools run by Canada's Department of Indian Affairs in conjunction with Christian churches, from about 1870 to 1996. Both Anglican and Catholic churches were culpable.
Attendance at residential schools was compulsory, and Indigenous children were forcibly removed from their homes by government agents. That made both the Government of Canada and the Church collaborators in one of the largest mass kidnappings in history.
The function of the schools was to 'erase the Indian' by forcing children into speaking English or French. Severe punishment was given to those who disobeyed and continued to speak their own language.
The residential schools also became known for unchecked and widespread physical and emotional abuse by clergy. St. Anne’s Indian Residential School even had its own electric chair, something the Canadian government was aware of and didn’t stop. This was only one of the horrors students were forced to endure. High rates of child mortality within the nationwide system went uninvestigated, with many of the dead buried in unmarked graves.
Within the last week, a Saskatchewan radio station broadcast an advertisement paid for by the Frontier Centre for Public Policy (FCPP), a Winnipeg-based organization. The ad, featuring Roger Currie, claims that the indignities perpetrated by residential schools are a myth. The terrible claims made by former students have been independently investigated and found to be true. The Church and the Government of Canada have both since apologised for their roles, with the latter having unilaterally paid financial recompense to those remaining survivors who were victimized by the system.
The generational ramifications of the Canadian Indian residential school system are still visible today; indigenous men and women are marginalised and discriminated against in what are becoming public spectacles. Despite promises made by our current Prime Minister, Justin Trudeau, very little has been done by his government to find common ground with the Indigenous population. At times it seems as though the Government of Canada is still at odds with the Indians, as it was in the old days.
Balaclava #05
It feels impossible to isolate the balaclava from its threatening symbolism. The anonymity of the mask allows the wearer to avoid culpability for their actions which makes it unsurprising that it is associated with violence and terror. The balaclava has essentially transcended its functional purpose and become purely symbolic. Similarly, masks are often used within the folkloric tradition when exploring concepts such as that of a monster, which, is often depicted wearing a mask as the idea of a monster is far scarier than its human representation. This intersection of materials and folklore is central to my practice. Hand-knitted textiles come with a lot of stereotypes as people expect the work to be comforting, non-confrontational and cosy. By considering ways of subverting these preconceived notions of knitted textiles the work became more uncanny.
pcarruthers21@gmail.com
Katya Todesco, 5-years old, was brutally attacked by a pit bull and died several days later due to her injuries. Initial reports from police indicated Katya lived at the home where the attack occurred. But her mother, Katia Todesco, said the tragedy occurred at a friend's house. Todesco said her daughter wandered into the backyard with the friend's 13-year-old daughter, and the dog attacked when Katya "bumped into it." Katya lost a massive amount of blood, but doctors at Simi Valley Hospital were able to revive her, and she lived for two more days at Childrens Hospital.
Police did not release information about Katya Todesco until 6 days after she was attacked and three days after she was pronounced dead. Police Capt. Roy Jones said that they did not report the incident partly because they did not find any criminal conduct in the matter. About 2 weeks later, police released a conflicting statement: "Information obtained during the early stages of the inquiry into this incident resulted in an immediate expansion of this investigation to determine any criminal culpability by the person(s) involved." The investigation continues to unfold.
La PAH Sabadell commemora el Dia dels Innocents assenyalant els que consideren culpables. Fotos: J.d.A
Para que tú me oigas,
mis palabras
se adelgazan a veces
como las huellas de las gaviotas en las playas.
Collar, cascabel ebrio
para tus manos suaves como las uvas.
Y las miro lejanas mis palabras.
Más que mías son tuyas.
Van trepando en mi viejo dolor como las yedras.
Ellas trepan así por las paredes húmedas.
Eres tú la culpable de este juego sangriento.
Ellas están huyendo de mi guarida oscura.
Todo lo llenas tú, todo lo llenas.
Antes que tú poblaron la soledad que ocupas,
y están acostumbradas más que tú a mi tristeza.
Ahora quiero que digan lo que quiero decirte
para que tú oigas como quiero que me oigas.
El viento de la angustia aún las suele arrastrar.
Huracanes de sueños a veces las tumban.
Escucha otras veces en mi voz dolorida.
Llanto de viejas bocas, sangre de viejas suplicas.
Amame compañera. No me abandones, sígueme.
Sígueme compañera, en esa ola de angustia.
Pero se van tiñendo de amor mis palabras.
Todo lo ocupas tú, todo lo ocupas.
Voy haciendo un collar infinito
para tus blancas manos, suaves como las uvas.
* * * * *
So that you hear me,
My words
Thin out sometimes.
Like the seagulls in lines on the shore.
A necklace, a drunken bell
For your hands smooth like grapes.
And I look at my words from a distance
They are yours more than mine.
They go climbing over my old pain like ivies.
They thus climb by the humid walls.
You are the guilty one of this bloody play.
They are fleeing my empty den.
You pervade everything, everything.
Before, they inhabited the solitude that you now enter,
They are accustomed more to my sadness than you.
Now I want them say what I want to tell you
So that you hear them what I want you to hear from me.
The wind of anguish still sometimes drag them.
Hurricanes of dreams still at times tumble them.
Listen to other voices in my painful voice.
Crying of old mouths, blood of old pleas.
Love me, companion. Do not abandon me. Follow me.
Follow me, companion, in this wave of anguish.
But they go on tainting your love with my words.
You enter everything, everything.
I am making from all this an infinite necklace
For your white hands, smooth as grapes.
Para que tu me oigas (Veinte poemas de amor) * [ Pablo Neruda ]
Model: Chez
Stylist: Pili Arias
Music (in the session): The Roots
Hasselblad 501 C
Carl Zeiss Planar CF 2.8/80 T*
16 E extension tube
Ilford HP5+ [+1 stop]
Sekonic 758 D
Manfrotto 055 CLB
Tetenal Ultrafin Plus
Barcelona - Spain
September - 2008
© Jordi Esteban 2008
All the materials contained in my gallery may not be reproduced, copied, edited, published, transmitted or uploaded in any way without my written permission. My images do not belong to the public domain.
Fotografía y edición: Emilia Picazo © 2015 All rights reserved by Emilia Picazo - Fotografía Downloading and using without permission is illegal.Todos los derechos reservados. La descarga y uso de las fotos sin permiso es ilegal.
Rotos.
Frágiles.
Doloridos.
Cuenta la leyenda que la Reina de las Nieves es la culpable de helar los corazones.
Sígueme en facebook: Emilia Picazo - Fotografía www.emiliapicazofotografia.com en mi blog: www.lachicadeluces.emiliapicazo.com
The Postcard
A postally unused postcard bearing no publisher's name.
Although the card was not posted, someone has written on the back:
"August 30th. 1950
by Seagull coach.
Showing the blacksmith's
shop across which weddings
took place from Robert Burns'
day up until 1943.
A man trap is also shown".
Gretna Green
Gretna Green is a village in the south of Scotland famous for runaway weddings.
It is in Dumfriesshire, near the mouth of the River Esk, and was historically the first village in Scotland, following the old coaching route from London to Edinburgh.
The Quintinshill Rail Disaster
The worst rail crash in British history (227 recorded deaths), occurred near Gretna Green.
It was a multi-train rail crash which occurred on the 22nd. May 1915 outside the Quintinshill signal box near Gretna Green.
Quintinshill box controlled two passing loops, one on each side of the double-track Caledonian Main Line linking Glasgow and Carlisle. At the time of the accident, both passing loops were occupied with goods trains, and a northbound local passenger train was standing on the southbound main line.
The first collision occurred when a southbound troop train travelling to Liverpool collided with the stationary local train.
A minute later the wreckage was struck by a northbound sleeping car express train travelling from London to Glasgow. Gas from the lighting system of the old wooden carriages of the troop train ignited, starting a fire which soon engulfed all five trains.
Such was the intensity of the fire that all the coal in the locomotive tenders was consumed. Gunfire added an eerie effect to the scene as small arms and rifle shells in the luggage vans began to explode in the intense heat.
Only half the soldiers on the troop train survived. Those killed were mainly Royal Scots soldiers heading for Gallipoli. The precise death toll was never established with confidence as some bodies were never recovered, having been wholly consumed by the fire, and the roll list of the regiment was also destroyed in the fire.
The last known survivor of the accident, Peter Stoddart, was interviewed by Michael Simkins in 1985. Simkins wrote in The Guardian in 2001:
I asked him about a story I had heard of an officer who went about the scene shooting men trapped in the burning wreckage. He replied:
"That was true. I saw that. He
was a Scottish gentleman.
But he had to".
There was a suspicion of a chuckle in his voice as he added:
"And there were one or two
other survivors who made
themselves scarce. They took
their opportunity".
The official death toll was 227 (215 soldiers, 9 passengers and three railway employees). Not counted in the 227 were four victims thought to be children, but whose remains were never claimed or identified. The soldiers were buried together in a mass grave in Edinburgh's Rosebank Cemetery, where an annual remembrance service is held.
An official inquiry, completed on the 17th. June 1915 for the Board of Trade, found the cause of the collision to be neglect of the rules by two signalmen. Both were charged with manslaughter in England, then convicted of culpable homicide after trial in Scotland. After they were released from a Scottish jail in 1916, they were re-employed by the railway company, although not as signalmen.
The Postcard
A postally unused M & L National Series postcard. The card was produced in Great Britain.
Gretna Green
Gretna Green is a village in the south of Scotland famous for runaway weddings.
It is in Dumfriesshire, near the mouth of the River Esk, and was historically the first village in Scotland, following the old coaching route from London to Edinburgh.
The Quintinshill Rail Disaster
The worst rail crash in British history (227 recorded deaths), occurred near Gretna Green.
It was a multi-train rail crash which occurred on the 22nd. May 1915 outside the Quintinshill signal box near Gretna Green.
Quintinshill box controlled two passing loops, one on each side of the double-track Caledonian Main Line linking Glasgow and Carlisle. At the time of the accident, both passing loops were occupied with goods trains, and a northbound local passenger train was standing on the southbound main line.
The first collision occurred when a southbound troop train travelling to Liverpool collided with the stationary local train.
A minute later the wreckage was struck by a northbound sleeping car express train travelling from London to Glasgow. Gas from the lighting system of the old wooden carriages of the troop train ignited, starting a fire which soon engulfed all five trains.
Such was the intensity of the fire that all the coal in the locomotive tenders was consumed. Gunfire added an eerie effect to the scene as small arms and rifle shells in the luggage vans began to explode in the intense heat.
Only half the soldiers on the troop train survived. Those killed were mainly Royal Scots soldiers heading for Gallipoli. The precise death toll was never established with confidence as some bodies were never recovered, having been wholly consumed by the fire, and the roll list of the regiment was also destroyed in the fire.
The last known survivor of the accident, Peter Stoddart, was interviewed by Michael Simkins in 1985. Simkins wrote in The Guardian in 2001:
I asked him about a story I had heard of an officer who went about the scene shooting men trapped in the burning wreckage. He replied:
"That was true. I saw that. He
was a Scottish gentleman.
But he had to".
There was a suspicion of a chuckle in his voice as he added:
"And there were one or two
other survivors who made
themselves scarce. They took
their opportunity".
The official death toll was 227 (215 soldiers, 9 passengers and three railway employees). Not counted in the 227 were four victims thought to be children, but whose remains were never claimed or identified. The soldiers were buried together in a mass grave in Edinburgh's Rosebank Cemetery, where an annual remembrance service is held.
An official inquiry, completed on the 17th. June 1915 for the Board of Trade, found the cause of the collision to be neglect of the rules by two signalmen. Both were charged with manslaughter in England, then convicted of culpable homicide after trial in Scotland. After they were released from a Scottish jail in 1916, they were re-employed by the railway company, although not as signalmen.
Cerca de los flamencos, cámara en mano, harta paciencia y una visita inesperada. Un can vecino, juguetón, cachorro presumo, se dedicó a espantar todas las aves cercanas. De todas maneras fue impresionante verles volar sobre nosotros.
Fuego, agua, explosiones de confetti, saltos de plataformas, y muchas cosas más hubo durante el rodaje en Banzai Studio de “Culpable” el recién estrenado video clip de David Bisbal dirigido por Dani de la Orden.
“Culpable” contiene un magnífico plano secuencia en el que aparecen unos 10 decorados. En Banzai Studio construimos todos los sets.
Productora: Playtime Movies
Director: Dani de la Orden
1r Ayudante dirección: Dídac Meya
2º Ayudante dirección: Júlia Martín
Auxiliar dirección: Carlota Meya
Directora de producción: Cristina Tapia
Ayudante producción: Armando J. Rios
Auxiliar de producción: Anna Salgado
DoP: Ricard Canyellas Guasch
Foquista: Andrea Leria
Co-Directora de Arte: Carla Moreno Coll
Co-Directora de Arte: Vicki Viñas
Ayudante de Arte: Marta Salazar
Ayudante de Arte: Guille Fernández Santana
Ayudante de arte: Gemma Tagliata Vinyals
Maquillaje y Peluquería: Ana Cano
Vestuario: Núria Sala Huguet
Supervisor MFX: Lluís Rivera
Actriz: Kimberley Tell
www.youtube.com/watch?v=X6FUrfHYRQE
www.vevo.com/watch/david-bisbal/culpable/ES1701400151
Making of:
letter of candidature to be invited with the BIENNALIST format to expose at the Vatican pavilion at the Venice Biennale 2013
dear Cardinal Gianfranco Ravasi ,
Please take in consideration my canditature to be include in the Vatican pavi
lion .
I am interest to exhibiti the BIENNALIST format activate the GENESIS .
I read you were looking for sponsors and I think it is an interesting issue as sometimes they can be the origin of our misery . I am also interest in the artistic work about Adam and EVE and culpability as well a reflection about power and encyclopedie .
I can come to a meeting at the Vatican and debate further proposition
best regards
Geoffroy
The Postcard
A postally unused postcard bearing no publisher's name.
Gretna Green
Gretna Green is a village in the south of Scotland famous for runaway weddings.
It is in Dumfriesshire, near the mouth of the River Esk, and was historically the first village in Scotland, following the old coaching route from London to Edinburgh.
The Quintinshill Rail Disaster
The worst rail crash in British history (227 recorded deaths), occurred near Gretna Green.
It was a multi-train rail crash which occurred on the 22nd. May 1915 outside the Quintinshill signal box near Gretna Green.
Quintinshill box controlled two passing loops, one on each side of the double-track Caledonian Main Line linking Glasgow and Carlisle. At the time of the accident, both passing loops were occupied with goods trains, and a northbound local passenger train was standing on the southbound main line.
The first collision occurred when a southbound troop train travelling to Liverpool collided with the stationary local train.
A minute later the wreckage was struck by a northbound sleeping car express train travelling from London to Glasgow. Gas from the lighting system of the old wooden carriages of the troop train ignited, starting a fire which soon engulfed all five trains.
Such was the intensity of the fire that all the coal in the locomotive tenders was consumed. Gunfire added an eerie effect to the scene as small arms and rifle shells in the luggage vans began to explode in the intense heat.
Only half the soldiers on the troop train survived. Those killed were mainly Royal Scots soldiers heading for Gallipoli. The precise death toll was never established with confidence as some bodies were never recovered, having been wholly consumed by the fire, and the roll list of the regiment was also destroyed in the fire.
The last known survivor of the accident, Peter Stoddart, was interviewed by Michael Simkins in 1985. Simkins wrote in The Guardian in 2001:
I asked him about a story I had heard of an officer who went about the scene shooting men trapped in the burning wreckage. He replied:
"That was true. I saw that. He
was a Scottish gentleman.
But he had to".
There was a suspicion of a chuckle in his voice as he added:
"And there were one or two
other survivors who made
themselves scarce. They took
their opportunity".
The official death toll was 227 (215 soldiers, 9 passengers and three railway employees). Not counted in the 227 were four victims thought to be children, but whose remains were never claimed or identified. The soldiers were buried together in a mass grave in Edinburgh's Rosebank Cemetery, where an annual remembrance service is held.
An official inquiry, completed on the 17th. June 1915 for the Board of Trade, found the cause of the collision to be neglect of the rules by two signalmen. Both were charged with manslaughter in England, then convicted of culpable homicide after trial in Scotland. After they were released from a Scottish jail in 1916, they were re-employed by the railway company, although not as signalmen.
Fuego, agua, explosiones de confetti, saltos de plataformas, y muchas cosas más hubo durante el rodaje en Banzai Studio de “Culpable” el recién estrenado video clip de David Bisbal dirigido por Dani de la Orden.
“Culpable” contiene un magnífico plano secuencia en el que aparecen unos 10 decorados. En Banzai Studio construimos todos los sets.
Productora: Playtime Movies
Director: Dani de la Orden
1r Ayudante dirección: Dídac Meya
2º Ayudante dirección: Júlia Martín
Auxiliar dirección: Carlota Meya
Directora de producción: Cristina Tapia
Ayudante producción: Armando J. Rios
Auxiliar de producción: Anna Salgado
DoP: Ricard Canyellas Guasch
Foquista: Andrea Leria
Co-Directora de Arte: Carla Moreno Coll
Co-Directora de Arte: Vicki Viñas
Ayudante de Arte: Marta Salazar
Ayudante de Arte: Guille Fernández Santana
Ayudante de arte: Gemma Tagliata Vinyals
Maquillaje y Peluquería: Ana Cano
Vestuario: Núria Sala Huguet
Supervisor MFX: Lluís Rivera
Actriz: Kimberley Tell
www.youtube.com/watch?v=X6FUrfHYRQE
www.vevo.com/watch/david-bisbal/culpable/ES1701400151
Making of:
Fuego, agua, explosiones de confetti, saltos de plataformas, y muchas cosas más hubo durante el rodaje en Banzai Studio de “Culpable” el recién estrenado video clip de David Bisbal dirigido por Dani de la Orden.
“Culpable” contiene un magnífico plano secuencia en el que aparecen unos 10 decorados. En Banzai Studio construimos todos los sets.
Productora: Playtime Movies
Director: Dani de la Orden
1r Ayudante dirección: Dídac Meya
2º Ayudante dirección: Júlia Martín
Auxiliar dirección: Carlota Meya
Directora de producción: Cristina Tapia
Ayudante producción: Armando J. Rios
Auxiliar de producción: Anna Salgado
DoP: Ricard Canyellas Guasch
Foquista: Andrea Leria
Co-Directora de Arte: Carla Moreno Coll
Co-Directora de Arte: Vicki Viñas
Ayudante de Arte: Marta Salazar
Ayudante de Arte: Guille Fernández Santana
Ayudante de arte: Gemma Tagliata Vinyals
Maquillaje y Peluquería: Ana Cano
Vestuario: Núria Sala Huguet
Supervisor MFX: Lluís Rivera
Actriz: Kimberley Tell
www.youtube.com/watch?v=X6FUrfHYRQE
www.vevo.com/watch/david-bisbal/culpable/ES1701400151
Making of:
Respirando tu aire soñando tus sueños hoy quiero que sepas que tu estas en ellos, que eres la culpable de todos mis desvelos quiero que comprendas que tu eres mi anelo me paso los dias,las noches enteras pensando en el amor que corre por mis venas pensando que buscaban y que me quiesiera y que al final encontre alguien que vale la pena y quiero confezarte que mi vida eres tu
el angel de mi guarda la que me entrega su luz el que ilumina el callejon sin salida el que le ha dado una esperanza a mi vida... ♫ ♥
A fairly standard (if somewhat blurry) picture of an late 19th century footballer. So why have I bothered to colourise him?
This is John McCoy (alias John McKie) of Southampton, a fairly competent right-back. Nothing to separate him from the bulk of players around in the late 1890s.
But on a Tuesday morning, October 23, 1906, the ex-Southampton footballer walked into Cumnock Police station in Ayrshire and, according to the Cumnock Chronicle, “quietly” informed the on-duty sergeant that he had “just cut his wife’s throat and he had called to give himself up”.
And so it was.
What had driven John McCoy to such a desperate act? Unfortunately, he chose not to take the stand during his trial, his defence team instead stating “that at the time when the accused is alleged to have committed the crime charged against him he was insane, and was subject to and acted under the influence of a maniacal paroxysm and sudden uncontrollable insane impulse which deprived him of his senses”.
The Southern Evening Echo – who were also reporting the story with great interest - remembered him as being “a dashing defender, just over average height, lithe in build and with curly flaxen hair; he was the ‘beau ideal’ of a footballer”.
A picture emerged of a tortured soul temporarily unbalanced by a massive sustained indulgence in alcohol, in the days leading up to the murder, a lack of any clear motive and the fact the case for the Crown did not produce sufficient medical evidence to “meet the special plea of the defence” was, just about, enough to spare John the hangman’s noose.
After just 20 minutes, the jury – following direction from the judge - returned with a verdict of culpable homicide and John McCoy, ex-Southampton and Hampshire County footballer was sentenced to ten years penal servitude.
We talk today of players under stress and acting out of character. Bear a thought for the tortured mind of John McCoy.
(Original image and background information from Duncan Holley)
letter of candidature to be invited with the BIENNALIST format to expose at the Vatican pavilion at the Venice Biennale 2013
dear Cardinal Gianfranco Ravasi ,
Please take in consideration my canditature to be include in the Vatican pavi
lion .
I am interest to exhibiti the BIENNALIST format activate the GENESIS .
I read you were looking for sponsors and I think it is an interesting issue as sometimes they can be the origin of our misery . I am also interest in the artistic work about Adam and EVE and culpability as well a reflection about power and encyclopedie .
I can come to a meeting at the Vatican and debate further proposition
best regards
Geoffroy