LILLOOET, formerly Cayoosh Flat, is a community on the Fraser River in British Columbia, Canada, about 240 km (150 mi) up the British Columbia Railway line from Vancouver. Situated at an intersection of deep gorges in the lee of the Coast Mountains, it has a dry climate with an average of 329.5 mm (12.97 in) of precipitation being recorded annually. Lillooet has a long growing season, and once had prolific market gardens and orchard produce. It often vies with Lytton and Osoyoos for the title of "Canada's Hot Spot" on a daily basis in summer.

 

The traditional name of the the site of today's Lillooet was Pap-shil-KWA-KA-meen, translated as "place where the three rivers meet". Originally called Cayoosh Flat because the body of a dead cayuse (Indian Pony) was found in the river here. In 1862 Lillooet became "Mile Zero" for the numbering of the mile houses along the Cariboo Wagon Road." Lillooet is a First Nations word which may be translated as "wild onion". It appears on Anderson's map of 1849.

 

The LILLOOET Post Office was established - 1 July 1872 / (1859).

 

LINK to a list of the Postmasters who served at the LILLOOET Post Office - recherche-collection-search.bac-lac.gc.ca/eng/home/record...

 

- sent from - / LILLOOET / DE 18 / 00 / B.C. / - split ring cancel - the split ring hammer (A1-3 / left and right arcs about 9.0 mm with oval O's) was not listed in the Proof Book - it was most likely proofed c. 1895 - (RF A).

 

via - / LYTTON / DE 19 / 00 / B.C. / - cds transit backstamp.

 

- sent by - In ten days return to

JAS. B. UREN,

General Blacksmith.

HORSESHOEING, REPAIR-

ING AND ALL KINDS OF

WORK PROMPTLY

EXECUTED

LILLOOET, - - B. C. (illustrated corner card)

 

James Bottrell Uren

(b. 4 May 1862 in Hope, British Columbia - d. 15 August in Savona, British Columbia)

 

His wife - Mary Adams (nee Kelly) Uren

(b. 27 November 1867 in Barkerville, Cariboo, British Columbia – d. 20 March 1945 at age 77 in Kimberley, British Columbia) - they were married - 20 February 1889 in Barkerville District, B.C., Canada. They had 2 sons and one daughter.

 

(June 11th 1900) - Dissolution Notice. Notice is hereby given that the partnership heretofore existing between JAMES B. UREN and JOHN G. MITCHELL, carrying on a general blacksmith business, at Clinton and Lillooet, has this day been dissolved by mutual consent. All accounts against and all debts due said firm will be settled by Stuart Henderson, Ashcroft, B.C.

 

(clipped from the Nicola Valley News paper - 16 September 1910) - James B. Uren spent a few days in Savona last week after a lengthy absence. Mr. Uren is in charge of the steel work on the new Lillooet bridge on which, he says, satisfactory progress is being made.

 

Addressed to: Mr. J. Jane / Savona, B.C.

 

John Jane

(b. 3 March 1833 at Lanbyrock, Cornwall, England - d. 8 July 1907 at age 74 at Savona, British Columbia)

 

His wife - Harriet (nee McNeill) Jane

(b. 7 November 1850 in Victoria, B.C. - d. 21 February 1934 at age 83 in Oak Bay, British Columbia) - they were married - 9 October 1889 in the Kamloops District, British Columbia. After the death of her husband John Jane she married - John David Jones on - 20 December 1910 in Kamlopps, B.C.

 

Clipped from - The Victoria Daily Times newspaper - Victoria, British Columbia, Canada - 12 July 1907 - PIONEER DEAD. John Jane, Who Resided In Province for Half a Century, Died at Savona. John Jane, a merchant at Savona, died at that place on Monday last at the age of 74 years and four months. Mr. Jane was born at Lanbyrock, Cornwall, England, March 3rd, 1833, and in 1857 came to British Columbia with the Royal Engineers. He was engaged on the boundary survey and ran a number of roads and survey lines in the lower Fraser district. Later he was with the Moberly survey, locating the line cf the C. P. R. through the Selkirk and Rocky mountains, and afterwards was through Creek and Boundary country. About 26 years ago he moved to Savona and went Into business there as a general merchant and succeeded In building up an extensive trade. About 18 years ago he married Miss McNeill, of Victoria, who survives him.

 

The Influence of the Royal Engineers on the Development of British Columbia - by FRANCES M. WOODWARD - JOHN JANE, (1833 - 1907), Corporal: received Crown Grant, March 24, 1874, for Lot 118, Group 2, New Westminster District, 154 acres (150-acre military grant). Surveyor with Boundary Commission. Worked under Walter Moberley in the Selkirks; surveyed roads, ranches, mining properties throughout the Interior. 1865, constable at Derby; May 1865, constable Fort Shepherd; 1866-1867 chief constable and Postmaster at Fort Shepherd. 1880, opened General Store Savona; 1893, appointed Justice of the Peace. Married Miss H. McNeill, daughter of Capt. William McNeill, H.B.C. of Victoria; died Kamloops, 1907.

----------------------------------------------------------------------------------------

Corporal John Jane, R.E., British Columbia Land Surveyor.

 

John Jane was born in Lanbyrock, Cornwall, England on March 3, 1833 and he came to British Columbia in 1857 as one of the Royal Engineers working on the Boundary Commission surveying the international boundary. Later he surveyed various roads and boundary lines in the Fraser Valley. In 1865, after his discharge from the Royal Engineers, he worked as a police constable in Derby (old Fort Langley) after which he then moved to Fort Shepherd where he was the police constable and postmaster for several years. Still later he worked with Walter Moberly surveying the CPR through the Rocky and Selkirk Mountains and then afterwards surveying mineral claims and roads in the Rock Creek area.

 

In 1874, while working with Edward Stephens, LS, he was involved in the first surveys of the Nicola Valley and in 1877, he was the surveyor in charge for the Government surveys in the Savona area. In 1880, when the construction of the CPR started in Yale, numerous people thought that Savona's Ferry would be the main city in the interior. John Jane was one of those and in 1881 he decided to give up his surveying career, became a general merchant, and eventually built up an extensive trade. In the early years of his store, he received payment from the Indians with furs and from the miners with gold dust. When the railway did come through, the rails were laid on the south side of Kamloops Lake, on the opposite side from the village. This proved to be an inconvenience and so Corporal Jane closed his store in 1891 and moved with the rest of the population of Savona's Ferry to a new community near the CPR station known briefly as Van Horne, after the President of the CPR. They also took the old name of Savona with them.

 

In September 1889, at the age of 56, he married Miss Harriet McNeill of Victoria and took his new bride back to Savona. He was well acquainted with the country and highly respected by everyone and it was undoubtedly because of this excellent reputation that he was appointed Justice of the Peace in 1893. In 1905, just two years prior to his death, he brought into the area one of the newest inventions, the cash register. Early in 1907, John Jane became ill and spent some months at the Royal Inland Hospital in Kamloops. Later he returned home to Savona, going home for the last time, as he and his family and friends knew that the end was not too far away. Corporal John Jane, of the Royal Engineers passed away in his 74th year on Monday, July 8, 1907 and was laid to rest two days later in the small Savona cemetery overlooking Kamloops Lake.

 

John Jane was a quiet efficient pioneer who helped lay the foundations of prosperity for the young British Columbia. His obituary, in part, in the Kamloops Sentinel of July 9, 1907 probably best summarized his character: "John Jane was a man of kindly disposition, somewhat self-contained, and possessing a fund of information about the Province; knowledge gained during his journeying through it in years gone by. While taking a keen interest in public matters he took no active part in public movements, but attended strictly to his own business. He had many warm friends, but no enemies."

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What craziness is this, a day in that London on a weekday? Well, working one day last weekend, and another next weekend, meant I took a day in Lieu.

 

So there.

 

And top of my list of places to visit was St Magnus. This would be the fifth time I have tried to get inside, and the first since I wrote to the church asking whether they would be open a particular Saturday, and then any Saturday. Letters which were ignored

 

So, I walked out of Monument Station, down the hill there was St Magnus: would it be open?

 

It was, and inside it was a box, nay a treasure chest of delights.

 

--------------------------------------------------------------

 

St Magnus the Martyr, London Bridge is a Church of England church and parish within the City of London. The church, which is located in Lower Thames Street near The Monument to the Great Fire of London,[1] is part of the Diocese of London and under the pastoral care of the Bishop of London and the Bishop of Fulham.[2] It is a Grade I listed building.[3] The rector uses the title "Cardinal Rector". [4]

St Magnus lies on the original alignment of London Bridge between the City and Southwark. The ancient parish was united with that of St Margaret, New Fish Street, in 1670 and with that of St Michael, Crooked Lane, in 1831.[5] The three united parishes retained separate vestries and churchwardens.[6] Parish clerks continue to be appointed for each of the three parishes.[7]

St Magnus is the guild church of the Worshipful Company of Fishmongers and the Worshipful Company of Plumbers, and the ward church of the Ward of Bridge and Bridge Without. It is also twinned with the Church of the Resurrection in New York City.[8]

Its prominent location and beauty has prompted many mentions in literature.[9] In Oliver Twist Charles Dickens notes how, as Nancy heads for her secret meeting with Mr. Brownlow and Rose Maylie on London Bridge, "the tower of old Saint Saviour's Church, and the spire of Saint Magnus, so long the giant-warders of the ancient bridge, were visible in the gloom". The church's spiritual and architectural importance is celebrated in the poem The Waste Land by T. S. Eliot, who adds in a footnote that "the interior of St. Magnus Martyr is to my mind one of the finest among Wren's interiors".[10] One biographer of Eliot notes that at first he enjoyed St Magnus aesthetically for its "splendour"; later he appreciated its "utility" when he came there as a sinner.

 

The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April in or around 1116 (the precise year is unknown).[12] He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival.[13] Magnus had a reputation for piety and gentleness and was canonised in 1135. St. Ronald, the son of Magnus's sister Gunhild Erlendsdotter, became Earl of Orkney in 1136 and in 1137 initiated the construction of St. Magnus Cathedral in Kirkwall.[14] The story of St. Magnus has been retold in the 20th century in the chamber opera The Martyrdom of St Magnus (1976)[15] by Sir Peter Maxwell Davies, based on George Mackay Brown's novel Magnus (1973).

 

he identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926.[16] Following this decision a patronal festival service was held on 16 April 1926.[17] In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century).[18] However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades."[19] For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea.[20] The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age',[21] and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus".[22] A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century,[23] but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921

 

A metropolitan bishop of London attended the Council of Arles in 314, which indicates that there must have been a Christian community in Londinium by this date, and it has been suggested that a large aisled building excavated in 1993 near Tower Hill can be compared with the 4th-century Cathedral of St Tecla in Milan.[25] However, there is no archaeological evidence to suggest that any of the mediaeval churches in the City of London had a Roman foundation.[26] A grant from William I in 1067 to Westminster Abbey, which refers to the stone church of St Magnus near the bridge ("lapidee eccle sci magni prope pontem"), is generally accepted to be 12th century forgery,[27] and it is possible that a charter of confirmation in 1108-16 might also be a later fabrication.[28] Nonetheless, these manuscripts may preserve valid evidence of a date of foundation in the 11th century.

 

Archaeological evidence suggests that the area of the bridgehead was not occupied from the early 5th century until the early 10th century. Environmental evidence indicates that the area was waste ground during this period, colonised by elder and nettles. Following Alfred's decision to reoccupy the walled area of London in 886, new harbours were established at Queenhithe and Billingsgate. A bridge was in place by the early 11th century, a factor which would have encouraged the occupation of the bridgehead by craftsmen and traders.[30] A lane connecting Botolph's Wharf and Billingsgate to the rebuilt bridge may have developed by the mid-11th century. The waterfront at this time was a hive of activity, with the construction of embankments sloping down from the riverside wall to the river. Thames Street appeared in the second half of the 11th century immediately behind (north of) the old Roman riverside wall and in 1931 a piling from this was discovered during the excavation of the foundations of a nearby building. It now stands at the base of the church tower.[31] St Magnus was built to the south of Thames Street to serve the growing population of the bridgehead area[32] and was certainly in existence by 1128-33.[33]

The small ancient parish[34] extended about 110 yards along the waterfront either side of the old bridge, from 'Stepheneslane' (later Churchehawlane or Church Yard Alley) and 'Oystergate' (later called Water Lane or Gully Hole) on the West side to 'Retheresgate' (a southern extension of Pudding Lane) on the East side, and was centred on the crossroads formed by Fish Street Hill (originally Bridge Street, then New Fish Street) and Thames Street.[35] The mediaeval parish also included Drinkwater's Wharf (named after the owner, Thomas Drinkwater), which was located immediately West of the bridge, and Fish Wharf, which was to the South of the church. The latter was of considerable importance as the fishmongers had their shops on the wharf. The tenement was devised by Andrew Hunte to the Rector and Churchwardens in 1446.[36] The ancient parish was situated in the South East part of Bridge Ward, which had evolved in the 11th century between the embankments to either side of the bridge.[37]

In 1182 the Abbot of Westminster and the Prior of Bermondsey agreed that the advowson of St Magnus should be divided equally between them. Later in the 1180s, on their presentation, the Archdeacon of London inducted his nephew as parson.

 

Between the late Saxon period and 1209 there was a series of wooden bridges across the Thames, but in that year a stone bridge was completed.[39] The work was overseen by Peter de Colechurch, a priest and head of the Fraternity of the Brethren of London Bridge. The Church had from early times encouraged the building of bridges and this activity was so important it was perceived to be an act of piety - a commitment to God which should be supported by the giving of alms. London’s citizens made gifts of land and money "to God and the Bridge".[40] The Bridge House Estates became part of the City's jurisdiction in 1282.

 

Until 1831 the bridge was aligned with Fish Street Hill, so the main entrance into the City from the south passed the West door of St Magnus on the north bank of the river.[41] The bridge included a chapel dedicated to St Thomas Becket[42] for the use of pilgrims journeying to Canterbury Cathedral to visit his tomb.[43] The chapel and about two thirds of the bridge were in the parish of St Magnus. After some years of rivalry a dispute arose between the church and the chapel over the offerings given to the chapel by the pilgrims. The matter was resolved by the brethren of the chapel making an annual contribution to St Magnus.[44] At the Reformation the chapel was turned into a house and later a warehouse, the latter being demolished in 1757-58.

The church grew in importance. On 21 November 1234 a grant of land was made to the parson of St Magnus for the enlargement of the church.[45] The London eyre of 1244 recorded that in 1238 "A thief named William of Ewelme of the county of Buckingham fled to the church of St. Magnus the Martyr, London, and there acknowledged the theft and abjured the realm. He had no chattels."[46] Another entry recorded that "The City answers saying that the church of ... St. Magnus the Martyr ... which [is] situated on the king's highway ... ought to belong to the king and be in his gift".[47] The church presumably jutted into the road running to the bridge, as it did in later times.[48] In 1276 it was recorded that "the church of St. Magnus the Martyr is worth £15 yearly and Master Geoffrey de la Wade now holds it by the grant of the prior of Bermundeseie and the abbot of Westminster to whom King Henry conferred the advowson by his charter.

 

In 1274 "came King Edward and his wife [Eleanor] from the Holy Land and were crowned at Westminster on the Sunday next after the Feast of the Assumption of Our Lady [15 August], being the Feast of Saint Magnus [19 August]; and the Conduit in Chepe ran all the day with red wine and white wine to drink, for all such as wished."[50] Stow records that "in the year 1293, for victory obtained by Edward I against the Scots, every citizen, according to their several trade, made their several show, but especially the fishmongers" whose solemn procession including a knight "representing St Magnus, because it was upon St Magnus' day".

An important religious guild, the Confraternity de Salve Regina, was in existence by 1343, having been founded by the "better sort of the Parish of St Magnus" to sing the anthem 'Salve Regina' every evening.[51] The Guild certificates of 1389 record that the Confraternity of Salve Regina and the guild of St Thomas the Martyr in the chapel on the bridge, whose members belonged to St Magnus parish, had determined to become one, to have the anthem of St Thomas after the Salve Regina and to devote their united resources to restoring and enlarging the church of St Magnus.[52] An Act of Parliament of 1437[53] provided that all incorporated fraternities and companies should register their charters and have their ordinances approved by the civic authorities.[54] Fear of enquiry into their privileges may have led established fraternities to seek a firm foundation for their rights. The letters patent of the fraternity of St Mary and St Thomas the Martyr of Salve Regina in St Magnus dated 26 May 1448 mention that the fraternity had petitioned for a charter on the grounds that the society was not duly founded.

 

In the mid-14th century the Pope was the Patron of the living and appointed five rectors to the benefice.[56]

Henry Yevele, the master mason whose work included the rebuilding of Westminster Hall and the naves of Westminster Abbey and Canterbury Cathedral, was a parishioner and rebuilt the chapel on London Bridge between 1384 and 1397. He served as a warden of London Bridge and was buried at St Magnus on his death in 1400. His monument was extant in John Stow's time, but was probably destroyed by the fire of 1666.[57]

Yevele, as the King’s Mason, was overseen by Geoffrey Chaucer in his capacity as the Clerk of the King's Works. In The General Prologue of Chaucer's The Canterbury Tales the five guildsmen "were clothed alle in o lyveree Of a solempne and a greet fraternitee"[58] and may be thought of as belonging to the guild in the parish of St Magnus, or one like it.[59] Chaucer's family home was near to the bridge in Thames Street.

 

n 1417 a dispute arose concerning who should take the place of honour amongst the rectors in the City churches at the Whit Monday procession, a place that had been claimed from time to time by the rectors of St Peter Cornhill, St Magnus the Martyr and St Nicholas Cole Abbey. The Mayor and Aldermen decided that the Rector of St Peter Cornhill should take precedence.[61]

St Magnus Corner at the north end of London Bridge was an important meeting place in mediaeval London, where notices were exhibited, proclamations read out and wrongdoers punished.[62] As it was conveniently close to the River Thames, the church was chosen by the Bishop between the 15th and 17th centuries as a convenient venue for general meetings of the clergy in his diocese.[63] Dr John Young, Bishop of Callipolis (rector of St Magnus 1514-15) pronounced judgement on 16 December 1514 (with the Bishop of London and in the presence of Thomas More, then under-sheriff of London) in the heresy case concerning Richard Hunne.[64]

In pictures from the mid-16th century the old church looks very similar to the present-day St Giles without Cripplegate in the Barbican.[65] According to the martyrologist John Foxe, a woman was imprisoned in the 'cage' on London Bridge in April 1555 and told to "cool herself there" for refusing to pray at St Magnus for the recently deceased Pope Julius III.[66]

Simon Lowe, a Member of Parliament and Master of the Merchant Taylors' Company during the reign of Queen Mary and one of the jurors who acquitted Sir Nicholas Throckmorton in 1554, was a parishioner.[67] He was a mourner at the funeral of Maurice Griffith, Bishop of Rochester from 1554 to 1558 and Rector of St Magnus from 1537 to 1558, who was interred in the church on 30 November 1558 with much solemnity. In accordance with the Catholic church's desire to restore ecclesiastical pageantry in England, the funeral was a splendid affair, ending in a magnificent dinner.

 

Lowe was included in a return of recusants in the Diocese of Rochester in 1577,[69] but was buried at St Magnus on 6 February 1578.[70] Stow refers to his monument in the church. His eldest son, Timothy (died 1617), was knighted in 1603. His second son, Alderman Sir Thomas Lowe (1550–1623), was Master of the Haberdashers' Company on several occasions, Sheriff of London in 1595/96, Lord Mayor in 1604/05 and a Member of Parliament for London.[71] His youngest son, Blessed John Lowe (1553–1586), having originally been a Protestant minister, converted to Roman Catholicism, studied for the priesthood at Douay and Rome and returned to London as a missionary priest.[72] His absence had already been noted; a list of 1581 of "such persons of the Diocese of London as have any children ... beyond the seas" records "John Low son to Margaret Low of the Bridge, absent without licence four years". Having gained 500 converts to Catholicism between 1583 and 1586, he was arrested whilst walking with his mother near London Bridge, committed to The Clink and executed at Tyburn on 8 October 1586.[73] He was beatified in 1987 as one of the eighty-five martyrs of England and Wales.

 

Sir William Garrard, Master of the Haberdashers' Company, Alderman, Sheriff of London in 1553/53, Lord Mayor in 1555/56 and a Member of Parliament was born in the parish and buried at St Magnus in 1571.[74] Sir William Romney, merchant, philanthropist, Master of the Haberdashers' Company, Alderman for Bridge Within and Sheriff of London in 1603/04[75] was married at St Magnus in 1582. Ben Jonson is believed to have been married at St Magnus in 1594.[76]

The patronage of St Magnus, having previously been in the Abbots and Convents of Westminster and Bermondsey (who presented alternatively), fell to the Crown on the suppression of the monasteries. In 1553, Queen Mary, by letters patent, granted it to the Bishop of London and his successors.[77]

The church had a series of distinguished rectors in the second half of the 16th and first half of the 17th century, including Myles Coverdale (Rector 1564-66), John Young (Rector 1566-92), Theophilus Aylmer (Rector 1592-1625), (Archdeacon of London and son of John Aylmer), and Cornelius Burges (Rector 1626-41). Coverdale was buried in the chancel of St Bartholomew-by-the-Exchange, but when that church was pulled down in 1840 his remains were removed to St Magnus.[78]

On 5 November 1562 the churchwardens were ordered to break, or cause to be broken, in two parts all the altar stones in the church.[79] Coverdale, an anti-vestiarian, was Rector at the peak of the vestments controversy. In March 1566 Archbishop Parker caused great consternation among many clergy by his edicts prescribing what was to be worn and by his summoning the London clergy to Lambeth to require their compliance. Coverdale excused himself from attending.[80] Stow records that a non-conforming Scot who normally preached at St Magnus twice a day precipitated a fight on Palm Sunday 1566 at Little All Hallows in Thames Street with his preaching against vestments.[81] Coverdale's resignation from St Magnus in summer 1566 may have been associated with these events. Separatist congregations started to emerge after 1566 and the first such, who called themselves 'Puritans' or 'Unspottyd Lambs of the Lord', was discovered close to St Magnus at Plumbers' Hall in Thames Street on 19 June 1567.

 

St Magnus narrowly escaped destruction in 1633. A later edition of Stow's Survey records that "On the 13th day of February, between eleven and twelve at night, there happened in the house of one Briggs, a Needle-maker near St Magnus Church, at the North end of the Bridge, by the carelessness of a Maid-Servant setting a tub of hot sea-coal ashes under a pair of stairs, a sad and lamentable fire, which consumed all the buildings before eight of the clock the next morning, from the North end of the Bridge to the first vacancy on both sides, containing forty-two houses; water then being very scarce, the Thames being almost frozen over."[83] Susannah Chambers "by her last will & testament bearing date 28th December 1640 gave the sum of Twenty-two shillings and Sixpence Yearly for a Sermon to be preached on the 12th day of February in every Year within the Church of Saint Magnus in commemoration of God's merciful preservation of the said Church of Saint Magnus from Ruin, by the late and terrible Fire on London Bridge. Likewise Annually to the Poor the sum of 17/6."[84] The tradition of a "Fire Sermon" was revived on 12 February 2004, when the first preacher was the Rt Revd and Rt Hon Richard Chartres, Bishop of London.

 

Parliamentarian rule and the more Protestant ethos of the 1640s led to the removal or destruction of "superstitious" and "idolatrous" images and fittings. Glass painters such as Baptista Sutton, who had previously installed "Laudian innovations", found new employment by repairing and replacing these to meet increasingly strict Protestant standards. In January 1642 Sutton replaced 93 feet of glass at St Magnus and in June 1644 he was called back to take down the "painted imagery glass" and replace it.[86] In June 1641 "rail riots" broke out at a number of churches. This was a time of high tension following the trial and execution of the Earl of Strafford and rumours of army and popish plots were rife. The Protestation Oath, with its pledge to defend the true religion "against all Popery and popish innovation", triggered demands from parishioners for the removal of the rails as popish innovations which the Protestation had bound them to reform. The minister arranged a meeting between those for and against the pulling down of the rails, but was unsuccessful in reaching a compromise and it was feared that they would be demolished by force.[87] However, in 1663 the parish resumed Laudian practice and re-erected rails around its communion table.[88]

Joseph Caryl was incumbent from 1645 until his ejection in 1662. In 1663 he was reportedly living near London Bridge and preaching to an Independent congregation that met at various places in the City.[89]

During the Great Plague of 1665, the City authorities ordered fires to be kept burning night and day, in the hope that the air would be cleansed. Daniel Defoe's semi-fictictional, but highly realistic, work A Journal of the Plague Year records that one of these was "just by St Magnus Church"

 

Despite its escape in 1633, the church was one of the first buildings to be destroyed in the Great Fire of London in 1666.[91] St Magnus stood less than 300 yards from the bakehouse of Thomas Farriner in Pudding Lane where the fire started. Farriner, a former churchwarden of St Magnus, was buried in the middle aisle of the church on 11 December 1670, perhaps within a temporary structure erected for holding services.[92]

The parish engaged the master mason George Dowdeswell to start the work of rebuilding in 1668. The work was carried forward between 1671 and 1687 under the direction of Sir Christopher Wren, the body of the church being substantially complete by 1676.[93] At a cost of £9,579 19s 10d St Magnus was one of Wren's most expensive churches.[94] The church of St Margaret New Fish Street was not rebuilt after the fire and its parish was united to that of St Magnus.

 

The chancels of many of Wren’s city churches had chequered marble floors and the chancel of St Magnus is an example,[95] the parish agreeing after some debate to place the communion table on a marble ascent with steps[96] and to commission altar rails of Sussex wrought iron. The nave and aisles are paved with freestone flags. A steeple, closely modelled on one built between 1614 and 1624 by François d'Aguilon and Pieter Huyssens for the church of St Carolus Borromeus in Antwerp, was added between 1703 and 1706.[97] London's skyline was transformed by Wren's tall steeples and that of St Magnus is considered to be one his finest.[98]

The large clock projecting from the tower was a well-known landmark in the city as it hung over the roadway of Old London Bridge.[99] It was presented to the church in 1709 by Sir Charles Duncombe[100] (Alderman for the Ward of Bridge Within and, in 1708/09, Lord Mayor of London). Tradition says "that it was erected in consequence of a vow made by the donor, who, in the earlier part of his life, had once to wait a considerable time in a cart upon London Bridge, without being able to learn the hour, when he made a promise, that if he ever became successful in the world, he would give to that Church a public clock ... that all passengers might see the time of day."[101] The maker was Langley Bradley, a clockmaker in Fenchurch Street, who had worked for Wren on many other projects, including the clock for the new St Paul's Cathedral. The sword rest in the church, designed to hold the Lord Mayor's sword and mace when he attended divine service "in state", dates from 1708.

Duncombe and his benefactions to St Magnus feature prominently in Daniel Defoe's The True-Born Englishman, a biting satire on critics of William III that went through several editions from 1700 (the year in which Duncombe was elected Sheriff).

 

Shortly before his death in 1711, Duncombe commissioned an organ for the church, the first to have a swell-box, by Abraham Jordan (father and son).[103] The Spectator announced that "Whereas Mr Abraham Jordan, senior and junior, have, with their own hands, joinery excepted, made and erected a very large organ in St Magnus' Church, at the foot of London Bridge, consisting of four sets of keys, one of which is adapted to the art of emitting sounds by swelling notes, which never was in any organ before; this instrument will be publicly opened on Sunday next [14 February 1712], the performance by Mr John Robinson. The above-said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said Church, to accommodate all those gentlemen who shall have a curiosity to hear it".[104]

The organ case, which remains in its original state, is looked upon as one of the finest existing examples of the Grinling Gibbons's school of wood carving.[105] The first organist of St Magnus was John Robinson (1682–1762), who served in that role for fifty years and in addition as organist of Westminster Abbey from 1727. Other organists have included the blind organist George Warne (1792–1868, organist 1820-26 until his appointment to the Temple Church), James Coward (1824–80, organist 1868-80 who was also organist to the Crystal Palace and renowned for his powers of improvisation) and George Frederick Smith FRCO (1856–1918, organist 1880-1918 and Professor of Music at the Guildhall School of Music).[106] The organ has been restored several times - in 1760, 1782, 1804, 1855, 1861, 1879, 1891, 1924, 1949 after wartime damage and 1997 - since it was first built.[107] Sir Peter Maxwell Davies was one of several patrons of the organ appeal in the mid-1990s[108] and John Scott gave an inaugural recital on 20 May 1998 following the completion of that restoration.[109] The instrument has an Historic Organ Certificate and full details are recorded in the National Pipe Organ Register.[110]

The hymn tune "St Magnus", usually sung at Ascensiontide to the text "The head that once was crowned with thorns", was written by Jeremiah Clarke in 1701 and named for the church.

 

Canaletto drew St Magnus and old London Bridge as they appeared in the late 1740s.[112] Between 1756 and 1762, under the London Bridge Improvement Act of 1756 (c. 40), the Corporation of London demolished the buildings on London Bridge to widen the roadway, ease traffic congestion and improve safety for pedestrians.[113] The churchwardens’ accounts of St Magnus list many payments to those injured on the Bridge and record that in 1752 a man was crushed to death between two carts.[114] After the House of Commons had resolved upon the alteration of London Bridge, the Rev Robert Gibson, Rector of St Magnus, applied to the House for relief; stating that 48l. 6s. 2d. per annum, part of his salary of 170l. per annum, was assessed upon houses on London Bridge; which he should utterly lose by their removal unless a clause in the bill about to be passed should provide a remedy.[115] Accordingly, Sections 18 and 19 of 1756 Act provided that the relevant amounts of tithe and poor rate should be a charge on the Bridge House Estates.[116]

A serious fire broke out on 18 April 1760 in an oil shop at the south east corner of the church, which consumed most of the church roof and did considerable damage to the fabric. The fire burnt warehouses to the south of the church and a number of houses on the northern end of London Bridge.

 

As part of the bridge improvements, overseen by the architect Sir Robert Taylor, a new pedestrian walkway was built along the eastern side of the bridge. With the other buildings gone St Magnus blocked the new walkway.[117] As a consequence it was necessary in 1762 to 1763 to remove the vestry rooms at the West end of the church and open up the side arches of the tower so that people could pass underneath the tower.[118] The tower’s lower storey thus became an external porch. Internally a lobby was created at the West end under the organ gallery and a screen with fine octagonal glazing inserted. A new Vestry was built to the South of the church.[119] The Act also provided that the land taken from the church for the widening was "to be considered ... as part of the cemetery of the said church ... but if the pavement thereof be broken up on account of the burying of any persons, the same shall be ... made good ... by the churchwardens"

 

Soldiers were stationed in the Vestry House of St Magnus during the Gordon Riots in June 1780.[121]

By 1782 the noise level from the activities of Billingsgate Fish Market had become unbearable and the large windows on the north side of the church were blocked up leaving only circular windows high up in the wall.[122] At some point between the 1760s and 1814 the present clerestory was constructed with its oval windows and fluted and coffered plasterwork.[123] J. M. W. Turner painted the church in the mid-1790s.[124]

The rector of St Magnus between 1792 and 1808, following the death of Robert Gibson on 28 July 1791,[125] was Thomas Rennell FRS. Rennell was President of Sion College in 1806/07. There is a monument to Thomas Leigh (Rector 1808-48 and President of Sion College 1829/30,[126] at St Peter's Church, Goldhanger in Essex.[127] Richard Hazard (1761–1837) was connected with the church as sexton, parish clerk and ward beadle for nearly 50 years[128] and served as Master of the Parish Clerks' Company in 1831/32.[129]

In 1825 the church was "repaired and beautified at a very considerable expense. During the reparation the east window, which had been closed, was restored, and the interior of the fabric conformed to the state in which it was left by its great architect, Sir Christopher Wren. The magnificent organ ... was taken down and rebuilt by Mr Parsons, and re-opened, with the church, on the 12th February, 1826".[130] Unfortunately, as a contemporary writer records, "On the night of the 31st of July, 1827, [the church's] safety was threatened by the great fire which consumed the adjacent warehouses, and it is perhaps owing to the strenuous and praiseworthy exertions of the firemen, that the structure exists at present. ... divine service was suspended and not resumed until the 20th January 1828. In the interval the church received such tasteful and elegant decorations, that it may now compete with any church in the metropolis.

 

In 1823 royal assent was given to ‘An Act for the Rebuilding of London Bridge’ and in 1825 John Garratt, Lord Mayor and Alderman of the Ward of Bridge Within, laid the first stone of the new London Bridge.[132] In 1831 Sir John Rennie’s new bridge was opened further upstream and the old bridge demolished. St Magnus ceased to be the gateway to London as it had been for over 600 years. Peter de Colechurch[133] had been buried in the crypt of the chapel on the bridge and his bones were unceremoniously dumped in the River Thames.[134] In 1921 two stones from Old London Bridge were discovered across the road from the church. They now stand in the churchyard.

Wren's church of St Michael Crooked Lane was demolished, the final service on Sunday 20 March 1831 having to be abandoned due to the effects of the building work. The Rector of St Michael preached a sermon the following Sunday at St Magnus lamenting the demolition of his church with its monuments and "the disturbance of the worship of his parishioners on the preceeding Sabbath".[135] The parish of St Michael Crooked Lane was united to that of St Magnus, which itself lost a burial ground in Church Yard Alley to the approach road for the new bridge.[136] However, in substitution it had restored to it the land taken for the widening of the old bridge in 1762 and was also given part of the approach lands to the east of the old bridge.[137] In 1838 the Committee for the London Bridge Approaches reported to Common Council that new burial grounds had been provided for the parishes of St Michael, Crooked Lane and St Magnus, London Bridge.

 

Depictions of St Magnus after the building of the new bridge, seen behind Fresh Wharf and the new London Bridge Wharf, include paintings by W. Fenoulhet in 1841 and by Charles Ginner in 1913.[139] This prospect was affected in 1924 by the building of Adelaide House to a design by John James Burnet,[140] The Times commenting that "the new ‘architectural Matterhorn’ ... conceals all but the tip of the church spire".[141] There was, however, an excellent view of the church for a few years between the demolition of Adelaide Buildings and the erection of its replacement.[142] Adelaide House is now listed.[143] Regis House, on the site of the abandoned King William Street terminus of the City & South London Railway (subsequently the Northern Line),[144] and the Steam Packet Inn, on the corner of Lower Thames Street and Fish Street Hill,[145] were developed in 1931.

 

By the early 1960s traffic congestion had become a problem[147] and Lower Thames Street was widened over the next decade[148] to form part of a significant new east-west transport artery (the A3211).[149] The setting of the church was further affected by the construction of a new London Bridge between 1967 and 1973.[150] The New Fresh Wharf warehouse to the east of the church, built in 1939, was demolished in 1973-4 following the collapse of commercial traffic in the Pool of London[151] and, after an archaeological excavation,[152] St Magnus House was constructed on the site in 1978 to a design by R. Seifert & Partners.[153] This development now allows a clear view of the church from the east side.[154] The site to the south east of The Monument (between Fish Street Hill and Pudding Lane), formerly predominantly occupied by fish merchants,[155] was redeveloped as Centurion House and Gartmore (now Providian) House at the time of the closure of old Billingsgate Market in January 1982.[156] A comprehensive redevelopment of Centurion House began in October 2011 with completion planned in 2013.[157] Regis House, to the south west of The Monument, was redeveloped by Land Securities PLC in 1998.[158]

The vista from The Monument south to the River Thames, over the roof of St Magnus, is protected under the City of London Unitary Development Plan,[159] although the South bank of the river is now dominated by The Shard. Since 2004 the City of London Corporation has been exploring ways of enhancing the Riverside Walk to the south of St Magnus.[160] Work on a new staircase to connect London Bridge to the Riverside Walk is due to commence in March 2013.[161] The story of St Magnus's relationship with London Bridge and an interview with the rector featured in the television programme The Bridges That Built London with Dan Cruickshank, first broadcast on BBC Four on 14 June 2012.[162] The City Corporation's 'Fenchurch and Monument Area Enhancement Strategy' of August 2012 recommended ways of reconnecting St Magnus and the riverside to the area north of Lower Thames Street.

 

A lectureship at St Michael Crooked Lane, which was transferred to St Magnus in 1831, was endowed by the wills of Thomas and Susannah Townsend in 1789 and 1812 respectively.[164] The Revd Henry Robert Huckin, Headmaster of Repton School from 1874 to 1882, was appointed Townsend Lecturer at St Magnus in 1871.[165]

St Magnus narrowly escaped damage from a major fire in Lower Thames Street in October 1849.

 

During the second half of the 19th century the rectors were Alexander McCaul, DD (1799–1863, Rector 1850-63), who coined the term 'Judaeo Christian' in a letter dated 17 October 1821,[167] and his son Alexander Israel McCaul (1835–1899, curate 1859-63, rector 1863-99). The Revd Alexander McCaul Sr[168] was a Christian missionary to the Polish Jews, who (having declined an offer to become the first Anglican Bishop in Jerusalem)[169] was appointed professor of Hebrew and rabbinical literature at King's College, London in 1841. His daughter, Elizabeth Finn (1825–1921), a noted linguist, founded the Distressed Gentlefolk Aid Association (now known as Elizabeth Finn Care).[170]

In 1890 it was reported that the Bishop of London was to hold an inquiry as to the desirability of uniting the benefices of St George Botolph Lane and St Magnus. The expectation was a fusion of the two livings, the demolition of St George’s and the pensioning of "William Gladstone’s favourite Canon", Malcolm MacColl. Although services ceased there, St George’s was not demolished until 1904. The parish was then merged with St Mary at Hill rather than St Magnus.[171]

The patronage of the living was acquired in the late 19th century by Sir Henry Peek Bt. DL MP, Senior Partner of Peek Brothers & Co of 20 Eastcheap, the country's largest firm of wholesale tea brokers and dealers, and Chairman of the Commercial Union Assurance Co. Peek was a generous philanthropist who was instrumental in saving both Wimbledon Common and Burnham Beeches from development. His grandson, Sir Wilfred Peek Bt. DSO JP, presented a cousin, Richard Peek, as rector in 1904. Peek, an ardent Freemason, held the office of Grand Chaplain of England. The Times recorded that his memorial service in July 1920 "was of a semi-Masonic character, Mr Peek having been a prominent Freemason".[172] In June 1895 Peek had saved the life of a young French girl who jumped overboard from a ferry midway between Dinard and St Malo in Brittany and was awarded the bronze medal of the Royal Humane Society and the Gold Medal 1st Class of the Sociâetâe Nationale de Sauvetage de France.[173]

In November 1898 a memorial service was held at St Magnus for Sir Stuart Knill Bt. (1824–1898), head of the firm of John Knill and Co, wharfingers, and formerly Lord Mayor and Master of the Plumbers' Company.[174] This was the first such service for a Roman Catholic taken in an Anglican church.[175] Sir Stuart's son, Sir John Knill Bt. (1856-1934), also served as Alderman for the Ward of Bridge Within, Lord Mayor and Master of the Plumbers' Company.

 

Until 1922 the annual Fish Harvest Festival was celebrated at St Magnus.[176] The service moved in 1923 to St Dunstan in the East[177] and then to St Mary at Hill, but St Magnus retained close links with the local fish merchants until the closure of old Billingsgate Market. St Magnus, in the 1950s, was "buried in the stink of Billingsgate fish-market, against which incense was a welcome antidote".

 

A report in 1920 proposed the demolition of nineteen City churches, including St Magnus.[179] A general outcry from members of the public and parishioners alike prevented the execution of this plan.[180] The members of the City Livery Club passed a resolution that they regarded "with horror and indignation the proposed demolition of 19 City churches" and pledged the Club to do everything in its power to prevent such a catastrophe.[181] T. S. Eliot wrote that the threatened churches gave "to the business quarter of London a beauty which its hideous banks and commercial houses have not quite defaced. ... the least precious redeems some vulgar street ... The loss of these towers, to meet the eye down a grimy lane, and of these empty naves, to receive the solitary visitor at noon from the dust and tumult of Lombard Street, will be irreparable and unforgotten."[182] The London County Council published a report concluding that St Magnus was "one of the most beautiful of all Wren's works" and "certainly one of the churches which should not be demolished without specially good reasons and after very full consideration."[183] Due to the uncertainty about the church's future, the patron decided to defer action to fill the vacancy in the benefice and a curate-in-charge temporarily took responsibility for the parish.[184] However, on 23 April 1921 it was announced that the Revd Henry Joy Fynes-Clinton would be the new Rector. The Times concluded that the appointment, with the Bishop’s approval, meant that the proposed demolition would not be carried out.[185] Fr Fynes-Clinton was inducted on 31 May 1921.[186]

The rectory, built by Robert Smirke in 1833-5, was at 39 King William Street.[187] A decision was taken in 1909 to sell the property, the intention being to purchase a new rectory in the suburbs, but the sale fell through and at the time of the 1910 Land Tax Valuations the building was being let out to a number of tenants. The rectory was sold by the diocese on 30 May 1921 for £8,000 to Ridgways Limited, which owned the adjoining premises.[188] The Vestry House adjoining the south west of the church, replacing the one built in the 1760s, may also have been by Smirke. Part of the burial ground of St Michael Crooked Lane, located between Fish Street Hill and King William Street, survived as an open space until 1987 when it was compulsorily purchased to facilitate the extension of the Docklands Light Railway into the City.[189] The bodies were reburied at Brookwood Cemetery.

 

The interior of the church was restored by Martin Travers in 1924, in a neo-baroque style,[191] reflecting the Anglo-Catholic character of the congregation[192] following the appointment of Henry Joy Fynes-Clinton as Rector.[193] Fr Fynes, as he was often known, served as Rector of St Magnus from 31 May 1921 until his death on 4 December 1959 and substantially beautified the interior of the church.[194]

Fynes-Clinton held very strong Anglo-Catholic views, and proceeded to make St Magnus as much like a baroque Roman Catholic church as possible. However, "he was such a loveable character with an old-world courtesy which was irresistible, that it was difficult for anyone to be unpleasant to him, however much they might disapprove of his views".[195] He generally said the Roman Mass in Latin; and in personality was "grave, grand, well-connected and holy, with a laconic sense of humour".[196] To a Protestant who had come to see Coverdale's monument he is reported to have said "We have just had a service in the language out of which he translated the Bible".[197] The use of Latin in services was not, however, without grammatical danger. A response from his parishioners of "Ora pro nobis" after "Omnes sancti Angeli et Archangeli" in the Litany of the Saints would elicit a pause and the correction "No, Orate pro nobis."

 

In 1922 Fynes-Clinton refounded the Fraternity of Our Lady de Salve Regina.[198] The Fraternity's badge[199] is shown in the stained glass window at the east end of the north wall of the church above the reredos of the Lady Chapel altar. He also erected a statue of Our Lady of Walsingham and arranged pilgrimages to the Norfolk shrine, where he was one of the founding Guardians.[200] In 1928 the journal of the Catholic League reported that St Magnus had presented a votive candle to the Shrine at Walsingham "in token of our common Devotion and the mutual sympathy and prayers that are we hope a growing bond between the peaceful country shrine and the church in the heart of the hurrying City, from the Altar of which the Pilgrimages regularly start".[201]

Fynes-Clinton was General Secretary of the Anglican and Eastern Orthodox Churches Union and its successor, the Anglican and Eastern Churches Association, from 1906 to 1920 and served as Secretary to the Archbishop of Canterbury's Eastern Churches Committee from 1920 to around 1924. A Solemn Requiem was celebrated at St Magnus in September 1921 for the late King Peter of the Serbs, Croats and Slovenes.

At the midday service on 1 March 1922, J.A. Kensit, leader of the Protestant Truth Society, got up and protested against the form of worship.[202] The proposed changes to the church in 1924 led to a hearing in the Consistory Court of the Chancellor of the Diocese of London and an appeal to the Court of Arches.[203] Judgement was given by the latter Court in October 1924. The advowson was purchased in 1931, without the knowledge of the Rector and Parochial Church Council, by the evangelical Sir Charles King-Harman.[204] A number of such cases, including the purchase of the advowsons of Clapham and Hampstead Parish Churches by Sir Charles, led to the passage of the Benefices (Purchase of Rights of Patronage) Measure 1933.[205] This allowed the parishioners of St Magnus to purchase the advowson from Sir Charles King-Harman for £1,300 in 1934 and transfer it to the Patronage Board.

 

St Magnus was one of the churches that held special services before the opening of the second Anglo-Catholic Congress in 1923.[207] Fynes-Clinton[208] was the first incumbent to hold lunchtime services for City workers.[209] Pathé News filmed the Palm Sunday procession at St Magnus in 1935.[210] In The Towers of Trebizond, the novel by Rose Macauley published in 1956, Fr Chantry-Pigg's church is described as being several feet higher than St Mary’s Bourne Street and some inches above even St Magnus the Martyr.[211]

In July 1937 Fr Fynes-Clinton, with two members of his congregation, travelled to Kirkwall to be present at the 800th anniversary celebrations of St Magnus Cathedral, Kirkwall. During their stay they visited Egilsay and were shown the spot where St Magnus had been slain. Later Fr Fynes-Clinton was present at a service held at the roofless church of St Magnus on Egilsay, where he suggested to his host Mr Fryer, the minister of the Cathedral, that the congregations of Kirkwall and London should unite to erect a permanent stone memorial on the traditional site where Earl Magnus had been murdered. In 1938 a cairn was built of local stone on Egilsay. It stands 12 feet high and is 6 feet broad at its base. The memorial was dedicated on 7 September 1938 and a bronze inscription on the monument reads "erected by the Rector and Congregation of St Magnus the Martyr by London Bridge and the Minister and Congregation of St Magnus Cathedral, Kirkwall to commemorate the traditional spot where Earl Magnus was slain, AD circa 1116 and to commemorate the Octocentenary of St Magnus Cathedral 1937"

 

A bomb which fell on London Bridge in 1940 during the Blitz of World War II blew out all the windows and damaged the plasterwork and the roof of the north aisle.[213] However, the church was designated a Grade I listed building on 4 January 1950[214] and repaired in 1951, being re-opened for worship in June of that year by the Bishop of London, William Wand.[215] The architect was Laurence King.[216] Restoration and redecoration work has subsequently been carried out several times, including after a fire in the early hours of 4 November 1995.[217] Cleaning of the exterior stonework was completed in 2010.

 

Some minor changes were made to the parish boundary in 1954, including the transfer to St Magnus of an area between Fish Street Hill and Pudding Lane. The site of St Leonard Eastcheap, a church that was not rebuilt after the Great Fire, is therefore now in the parish of St Magnus despite being united to St Edmund the King.

Fr Fynes-Clinton marked the 50th anniversary of his priesthood in May 1952 with High Mass at St Magnus and lunch at Fishmongers' Hall.[218] On 20 September 1956 a solemn Mass was sung in St Magnus to commence the celebration of the 25th anniversary of the restoration of the Holy House at Walsingham in 1931. In the evening of that day a reception was held in the large chamber of Caxton Hall, when between three and four hundred guests assembled.[219]

Fr Fynes-Clinton was succeeded as rector in 1960 by Fr Colin Gill,[220] who remained as incumbent until his death in 1983.[221] Fr Gill was also closely connected with Walsingham and served as a Guardian between 1953 and 1983, including nine years as Master of the College of Guardians.[222] He celebrated the Mass at the first National Pilgrimage in 1959[223] and presided over the Jubilee celebrations to mark the 50th anniversary of the Shrine in 1981, having been present at the Holy House's opening.[224] A number of the congregation of St Stephen's Lewisham moved to St Magnus around 1960, following temporary changes in the form of worship there.

 

In 1994 the Templeman Commission proposed a radical restructuring of the churches in the City Deanery. St Magnus was identified as one of the 12 churches that would remain as either a parish or an 'active' church.[226] However, the proposals were dropped following a public outcry and the consecration of a new Bishop of London.

The parish priest since 2003 has been Fr Philip Warner, who was previously priest-in-charge of St Mary's Church, Belgrade (Diocese in Europe) and Apokrisiarios for the Archbishop of Canterbury to the Serbian Orthodox Church. Since January 2004 there has been an annual Blessing of the Thames, with the congregations of St Magnus and Southwark Cathedral meeting in the middle of London Bridge.[227] On Sunday 3 July 2011, in anticipation of the feast of the translation of St Thomas Becket (7 July), a procession from St Magnus brought a relic of the saint to the middle of the bridge.[228]

David Pearson specially composed two new pieces, a communion anthem A Mhànais mo rùin (O Magnus of my love) and a hymn to St Magnus Nobilis, humilis, for performance at the church on the feast of St Magnus the Martyr, 16 April 2012.[229] St Magnus's organist, John Eady, has won composition competitions for new choral works at St Paul's Cathedral (a setting of Veni Sancte Spiritus first performed on 27 May 2012) and at Lincoln Cathedral (a setting of the Matin responsory for Advent first performed on 30 November 2013).[230]

In addition to liturgical music of a high standard, St Magnus is the venue for a wide range of musical events. The Clemens non Papa Consort, founded in 2005, performs in collaboration with the production team Concert Bites as the church's resident ensemble.[231] The church is used by The Esterhazy Singers for rehearsals and some concerts.[232] The band Mishaped Pearls performed at the church on 17 December 2011.[233] St Magnus featured in the television programme Jools Holland: London Calling, first broadcast on BBC2 on 9 June 2012.[234] The Platinum Consort made a promotional film at St Magnus for the release of their debut album In the Dark on 2 July 2012.[235]

The Friends of the City Churches had their office in the Vestry House of St Magnus until 2013.

 

Martin Travers modified the high altar reredos, adding paintings of Moses and Aaron and the Ten Commandments between the existing Corinthian columns and reconstructing the upper storey. Above the reredos Travers added a painted and gilded rood.[237] In the centre of the reredos there is a carved gilded pelican (an early Christian symbol of self-sacrifice) and a roundel with Baroque-style angels. The glazed east window, which can be seen in an early photograph of the church, appears to have been filled in at this time. A new altar with console tables was installed and the communion rails moved outwards to extend the size of the sanctuary. Two old door frames were used to construct side chapels and placed at an angle across the north-east and south-east corners of the church. One, the Lady Chapel, was dedicated to the Rector's parents in 1925 and the other was dedicated to Christ the King. Originally, a baroque aumbry was used for Reservation of the Blessed Sacrament, but later a tabernacle was installed on the Lady Chapel altar and the aumbry was used to house a relic of the True Cross.

The interior was made to look more European by the removal of the old box pews and the installation of new pews with cut-down ends. Two new columns were inserted in the nave to make the lines regular. The Wren-period pulpit by the joiner William Grey[238] was opened up and provided with a soundboard and crucifix. Travers also designed the statue of St Magnus of Orkney, which stands in the south aisle, and the statue of Our Lady of Walsingham.[239]

On the north wall there is a Russian Orthodox icon, painted in 1908. The modern stations of the cross in honey-coloured Japanese oak are the work of Robert Randall and Ashley Sands.[240] One of the windows in the north wall dates from 1671 and came from Plumbers' Hall in Chequer Yard, Bush Lane, which was demolished in 1863 to make way for Cannon Street Railway Station.[241] A fireplace from the Hall was re-erected in the Vestry House. The other windows on the north side are by Alfred Wilkinson and date from 1952 to 1960. These show the arms of the Plumbers’, Fishmongers’ and Coopers’ Companies together with those of William Wand when Bishop of London and Geoffrey Fisher when Archbishop of Canterbury and (as noted above) the badge of the Fraternity of Our Lady de Salve Regina.

The stained glass windows in the south wall, which are by Lawrence Lee and date from 1949 to 1955, represent lost churches associated with the parish: St Magnus and his ruined church of Egilsay, St Margaret of Antioch with her lost church in New Fish Street (where the Monument to the Great Fire now stands), St Michael with his lost church of Crooked Lane (demolished to make way for the present King William Street) and St Thomas Becket with his chapel on Old London Bridge.[242]

The church possesses a fine model of Old London Bridge. One of the tiny figures on the bridge appears out of place in the mediaeval setting, wearing a policeman's uniform. This is a representation of the model-maker, David T. Aggett, who is a Liveryman of the Worshipful Company of Plumbers and was formerly in the police service.[243]

The Mischiefs by Fire Act 1708 and the Fires Prevention (Metropolis) Act 1774 placed a requirement on every parish to keep equipment to fight fires. The church owns two historic fire engines that belonged to the parish of St Michael, Crooked Lane.[244] One of these is in storage at the Museum of London. The whereabouts of the other, which was misappropriated and sold at auction in 2003, is currently unknown.

In 1896 many bodies were disinterred from the crypt and reburied at the St Magnus's plot at Brookwood Cemetery, which remains the church's burial ground.

 

Prior to the Great Fire of 1666 the old tower had a ring of five bells, a small saints bell and a clock bell.[246] 47 cwt of bell metal was recovered[247] which suggests that the tenor was 13 or 14 cwt. The metal was used to cast three new bells, by William Eldridge of Chertsey in 1672,[248] with a further saints bell cast that year by Hodson.[249] In the absence of a tower, the tenor and saints bell were hung in a free standing timber structure, whilst the others remained unhung.[250]

A new tower was completed in 1704 and it is likely that these bells were transferred to it. However, the tenor became cracked in 1713 and it was decided to replace the bells with a new ring of eight.[251] The new bells, with a tenor of 21 cwt, were cast by Richard Phelps of the Whitechapel Bell Foundry. Between 1714 and 1718 (the exact date of which is unknown), the ring was increased to ten with the addition of two trebles given by two former ringing Societies, the Eastern Youths and the British Scholars.[252] The first peal was rung on 15 February 1724 of Grandsire Caters by the Society of College Youths. The second bell had to be recast in 1748 by Robert Catlin, and the tenor was recast in 1831 by Thomas Mears of Whitechapel,[253] just in time to ring for the opening of the new London Bridge. In 1843, the treble was said to be "worn out" and so was scrapped, together with the saints bell, while a new treble was cast by Thomas Mears.[254] A new clock bell was erected in the spire in 1846, provided by B R & J Moore, who had earlier purchased it from Thomas Mears.[255] This bell can still be seen in the tower from the street.

The 10 bells were removed for safe keeping in 1940 and stored in the churchyard. They were taken to Whitechapel Bell Foundry in 1951 whereupon it was discovered that four of them were cracked. After a long period of indecision, fuelled by lack of funds and interest, the bells were finally sold for scrap in 1976. The metal was used to cast many of the Bells of Congress that were then hung in the Old Post Office Tower in Washington, D.C.

A fund was set up on 19 September 2005, led by Dickon Love, a member of the Ancient Society of College Youths, with a view to installing a new ring of 12 bells in the tower in a new frame. This was the first of three new rings of bells he has installed in the City of London (the others being at St Dunstan-in-the-West and St James Garlickhythe). The money was raised and the bells were cast during 2008/9 by the Whitechapel Bell Foundry. The tenor weighed 26cwt 3qtr 9 lbs (1360 kg) and the new bells were designed to be in the same key as the former ring of ten. They were consecrated by the Bishop of London on 3 March 2009 in the presence of the Lord Mayor[256] and the ringing dedicated on 26 October 2009 by the Archdeacon of London.[257] The bells are named (in order smallest to largest) Michael, Margaret, Thomas of Canterbury, Mary, Cedd, Edward the Confessor, Dunstan, John the Baptist, Erkenwald, Paul, Mellitus and Magnus.[258] The bells project is recorded by an inscription in the vestibule of the church.

 

The first peal on the twelve was rung on 29 November 2009 of Cambridge Surprise Maximus.[260] Notable other recent peals include a peal of Stedman Cinques on 16 April 2011 to mark the 400th anniversary of the granting of a Royal Charter to the Plumbers' Company,[261] a peal of Cambridge Surprise Royal on 28 June 2011 when the Fishmongers' Company gave a dinner for Prince Philip, Duke of Edinburgh at their hall on the occasion of his 90th birthday[262] and a peal of Avon Delight Maximus on 24 July 2011 in solidarity with the people of Norway following the tragic massacre on Utoeya Island and in Oslo.[263] On the latter occasion the flag of the Orkney Islands was flown at half mast. In 2012 peals were rung during the Thames Diamond Jubilee Pageant on 3 June and during each of the three Olympic/Paralympic marathons, on 5 and 12 August and 9 September.

The BBC television programme, Still Ringing After All These Years: A Short History of Bells, broadcast on 14 December 2011, included an interview at St Magnus with the Tower Keeper, Dickon Love,[264] who was captain of the band that rang the "Royal Jubilee Bells" during the Thames Diamond Jubilee Pageant on 3 June 2012 to celebrate the Diamond Jubilee of Queen Elizabeth II.[265] Prior to this, he taught John Barrowman to handle a bell at St Magnus for the BBC coverage.

The bells are currently rung every Sunday around 12:15 (following the service) by the Guild of St Magnus.

 

Every other June, newly elected wardens of the Fishmongers' Company, accompanied by the Court, proceed on foot from Fishmongers' Hall[267] to St Magnus for an election service.[268] St Magnus is also the Guild Church of The Plumbers' Company. Two former rectors have served as master of the company,[269] which holds all its services at the church.[270] On 12 April 2011 a service was held to commemorate the 400th anniversary of the granting of the company's Royal Charter at which the Bishop of London, the Rt Revd and Rt Hon Richard Chartres KCVO, gave the sermon and blessed the original Royal Charter. For many years the Cloker Service was held at St Magnus, attended by the Coopers' Company and Grocers' Company, at which the clerk of the Coopers' Company read the will of Henry Cloker dated 10 March 1573.[271]

St Magnus is also the ward church for the Ward of Bridge and Bridge Without, which elects one of the city's aldermen. Between 1550 and 1978 there were separate aldermen for Bridge Within and Bridge Without, the former ward being north of the river and the latter representing the City's area of control in Southwark. The Bridge Ward Club was founded in 1930 to "promote social activities and discussion of topics of local and general interest and also to exchange Ward and parochial information" and holds its annual carol service at St Magnus.

 

en.wikipedia.org/wiki/St_Magnus-the-Martyr

 

------------------------------------------------------------

 

The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April 1118. He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival. Magnus had a reputation for piety and gentleness and was canonised in 1135.

 

The identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926. Following this decision a patronal festival service was held on 16 April 1926. In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century). However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades." For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea. The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age', and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus". A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century, but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921.

 

A metropolitan bishop of London attended the Council of Arles in 314, which indicates that there must have been a Christian community in Londinium by this date, and it has been suggested that a large aisled building excavated in 1993 near Tower Hill can be compared with the 4th-century Cathedral of St Tecla in Milan. However, there is no archaeological evidence to suggest that any of the mediaeval churches in the City of London had a Roman foundation. A grant from William I in 1067 to Westminster Abbey, which refers to the stone church of St Magnus near the bridge ("lapidee eccle sci magni prope pontem"), is generally accepted to be 12th century forgery, and it is possible that a charter of confirmation in 1108-16 might also be a later fabrication. Nonetheless, these manuscripts may preserve valid evidence of a date of foundation in the 11th century.

 

Archaeological evidence suggests that the area of the bridgehead was not occupied from the early 5th century until the early 10th century. Environmental evidence indicates that the area was waste ground during this period, colonised by elder and nettles. Following Alfred's decision to reoccupy the walled area of London in 886, new harbours were established at Queenhithe and Billingsgate. A bridge was in place by the early 11th century, a factor which would have encouraged the occupation of the bridgehead by craftsmen and traders. A lane connecting Botolph's Wharf and Billingsgate to the rebuilt bridge may have developed by the mid-11th century. The waterfront at this time was a hive of activity, with the construction of embankments sloping down from the riverside wall to the river. Thames Street appeared in the second half of the 11th century immediately behind (north of) the old Roman riverside wall and in 1931 a piling from this was discovered during the excavation of the foundations of a nearby building. It now stands at the base of the church tower. St Magnus was built to the south of Thames Street to serve the growing population of the bridgehead area and was certainly in existence by 1128-33.

 

The small ancient parish extended about 110 yards along the waterfront either side of the old bridge, from 'Stepheneslane' (later Churchehawlane or Church Yard Alley) and 'Oystergate' (later called Water Lane or Gully Hole) on the West side to 'Retheresgate' (a southern extension of Pudding Lane) on the East side, and was centred on the crossroads formed by Fish Street Hill (originally Bridge Street, then New Fish Street) and Thames Street. The mediaeval parish also included Drinkwater's Wharf (named after the owner, Thomas Drinkwater), which was located im

via Instagram ift.tt/2falCrU

 

La Vero s.n.c. di Girardi Lucio e Bardelle Domenico realizza artigianalmente mosaici in vetro interamente a mano, utilizzando tessere in vetro tagliate su misura, da vetri molto pregiati, opalescenti e carichi di colore.

Il binomio mosaico e specchio nasce dall'esigenza di possedere qualcosa di fatto a mano, dal design unico ed inimitabile come può essere ogni oggetto Italian style che sia anche uno strumento d'utilizzo quotidiano.

Ogni mosaico è realizzabile su misura ed esigenza.

 

Vero s.n.c. di Girardi Lucio e Bardelle Domenico company

realizes handmade glass mosaics entirely by hand using glass tiles cut to size, from very fine glass, opalescent and loads of color.

The binomial mosaic mirror stems from the need to have something handmade and unique design and unique as each object can Italian style that is also an instrument of daily use.

Each mosaic is made to measure and need.

 

Non è facile stabilire con precisione l'origine del mosaico: l'uomo ha da sempre manifestato una naturale inclinazione a decorare suppellettili o architetture, utilizzando sia pigmenti sia pietruzze già colorate dalla natura stessa.

Lo stesso termine mosaico è di origine incerta: alcuni lo fanno derivare dal greco µουσαικόν (musaikòn), "opera paziente degna delle Muse"; in latino veniva chiamato opus musivum, cioè "opera delle Muse" oppure "rivestimento applicato alle grotte dedicate alle Muse stesse". Il richiamo alle Muse è dovuto all'usanza degli antichi romani di costruire, nei giardini delle ville, grotte e anfratti dedicati alle Ninfe (ninpheum) o Muse (musaeum), decorandone le pareti con sassi e conchiglie. Quindi musaeum o musivum indica la grotta e opus musaeum o opus musivum indica il tipo di decorazione murale. In seguito si affermò l'uso dell'aggettivo musaicus ad indicare l'opera musiva.

Potrebbe derivare anche dall'arabo muzauwaq, che significa "decorazione". C'è chi, invece, vi ha visto la radice di un vocabolo semita, soprattutto quando la parola viene usata come aggettivo, che potrebbe legarsi al termine "Mosè", quindi "pertinente a Mosè".

Sono state indicate anche altre locuzioni, quali musium che significa esprimere qualcosa con diversi colori, oppure museos nel senso di elegante. Le ipotesi però sono molte e nessuna sembra avere titoli sufficienti per prevalere sulle altre.

Le tessere erano chiamate in greco ἀβακίσκοι (abakìskoi)[1], quadrelli (da ἄβαξ (àbax), tavoletta), mentre in latino abaculi, tesserae, tessellae.

 

tessere in pasta vitrea: tessere di vetro colorato nel quale sono disperse fasi (parti omogenee di un sistema che risultano delimitate da una superficie di separazione fisicamente definita, come ad esempio olio più acqua) cristalline o gassose per ridurne la trasparenza e modificarne la tonalità di colore. Possono essere semitrasparenti o opache; si producono in 4 o 5 toni di colore; le più intensamente colorate sono costituite da vetro trasparente, perché la colorazione impedisce di vedere la malta di fondo, mentre le gradazioni più chiare sono ottenute con la dispersione di un minerale cristallino bianco che aumenta l'opacità, con minor quantità di colorante.

 

tessere opache: tessere in pasta vitrea nelle quali l'abbondanza di fasi cristalline rende completamente opaco il vetro.

  

Mosaic is the art of creating images with an assemblage of small pieces of colored glass, stone, or other materials. It may be a technique of decorative art, an aspect of interior decoration, or of cultural and spiritual significance as in a cathedral. Small pieces, normally roughly cubic, of stone or glass of different colors, known as tesserae, (diminutive tessellae), are used to create a pattern or picture.

 

Modern mosaics

A modern example of mosaic is the Museum of Natural History station of the New York Subway. Some modern mosaics are the work of modernisme style architects Antoni Gaudí and Josep Maria Jujol, for example the mosaics in the Park Güell in Barcelona. Today, among of the leading figures of the mosaic world are Emma Biggs (UK), Marcelo de Melo (Brazil), Sonia King (USA) and Saimir Strati (Albania).

 

Venice

 

In parts of Italy, which were under eastern artistic influences, like Sicily and Venice, mosaic making never went out of fashion in the Middle Ages. The whole interior of the St Mark's Basilica in Venice is clad with elaborate, golden mosaics. The oldest scenes were executed by Greek masters in the late 11th century but the majority of the mosaics are works of local artists from the 12-13th centuries. The decoration of the church was finished only in the 16th century. One hundred and ten scenes of mosaics in the atrium of St Mark's were based directly on the miniatures of the Cotton Genesis, a Byzantine manuscript that was brought to Venice after the sack of Constantinople (1204). The mosaics were executed in the 1220s.

Other important Venetian mosaics can be found in the Cathedral of Santa Maria Assunta in Torcello from the 12th century, and in the Basilical of Santi Maria e Donato in Murano with a restored apse mosaic from the 12th century and a beautiful mosaic pavement (1140). The apse of the San Cipriano Church in Murano was decorated with an impressive golden mosaic from the early 13th century showing Christ enthroned with Mary, St John and the two patron saints, Cipriano and Cipriana. When the church was demolished in the 19th century, the mosaic was bought by Frederick William IV of Prussia. It was reassembled in the Friedenskirche of Potsdam in the 1840s.

Trieste was also an important center of mosaic art. The mosaics in the apse of the Cathedral of San Giusto were laid by master craftsmen from Veneto in the 12-13th centuries.

 

Mosaic is an art form which uses small pieces of materials placed together to create a unified whole. The materials commonly used are marble or other stone, glass, pottery, mirror or foil-backed glass, or shells.

The term for each piece of material is Tessera (plural: tesserae). The term for the spaces in between where the grout goes is the Interstices. Andamento is the word used to describe the movement and flow of Tesserae. The 'opus', the Latin for ‘work’, is the way in which the pieces are cut and placed varies and is known.

Went for a walk along the promenade yesterday, and photographed this monument on the Danube shore. It's a long line of iron shoes. They're there to commemorate people executed during the Second World War by being made to "walk" in the river. A shivering reminder of a troubled history.

 

shot executed by pinhole Auloma Superpanorama 6x17, Filter auloma ND4, negative scanned by Canon EOS 1100D, 120 film Kodak ektar 100

< Executed under spirit guidance searching for a sense of wholeness, balance, within >

 

" Art is an outlet towards regions that are not governed by time and space "

- Marcel Duchamp 1960s

 

( Michael St.Mark 2024 )

 

< ink and graphite on paper >

180 x 250mm

nfs

"In art, the hand can never execute anything higher than the heart can imagine."

  

Misery Hill derives its name from a time in history when the corpses of those executed at Gallows Hill near Upper Baggot Street were carted here and strung up to rot as a warning to other would-be troublemakers.

 

In the early 13th century there was a leper hospital not far from from where the High Tech companies are now located in Dublin. Sufferers who were unable to gain entrance to the hospital would spend the night at Misery Hill well away from the town and its citizens. Lazer Lane is nearby, the name relates to Lazarus who was cured by Jesus, and the area was the location of a Leper’s Hospital [Lazer Hill] from which pilgrims with leprosy sailed to religious sites in Europe hoping for miraculous cures.

 

Like most countries around the world, Ireland has a long history of leprosy. While leprosy has been eliminated here, Ireland has contributed to the ongoing the fight against the disease especially as an Irish chemist discovered part of the cure. It was while working on tuberculosis in the 1950s Vincent C. Barry and his team at Trinity College Dublin synthesised a compound called B663 (clofazimine) that proved effective against the bacterium that causes leprosy.

Vince executes.

 

After dinner at Rendezous, an amazing local Memphis BBQ joint, Vince hooked us all up with a limo so we could go drink bourbon on the banks of the Mississippi. He negotiated the driver to $25 and a half rack of dry rub ribs for about an hour of slow cruising. It totally made the whole trip. Afterwards the mantra of the vacation was 'what would vince do?'

174/365

  

need more time to execute ideas

ahhh

Image of Nickel Plate Road 2-8-4 No. 767 doing a photo runby on the Cuyahoga Valley Scenic Railroad made at Boston Mill.

Revenge! The redcoats are executing their pirate prisoners, to avenge their fallen comrades. All seems lost for the pirates as the last three of the crew line up down range of the imperial muskets. In a last ditch effort Peg-leg Pasco kicks a banana peel under the foot of his executioner and jumps off the side of the building into the churning seas below. He begins swimming for land with one thought on his mind, Revenge!

 

Other than that, this is a normal day in the city filled with fishing, toads, drinking and much much more

Two Orcas execute a double breech at Sea World in San Diego, where they are still called Killer Whales. These huge creatures are incredibly graceful and agile. I have actually seen this happen once in the wild, where two humpback whales in Glacier Bay, Alaska did the same thing. Unfortunately, I wasn't quick enough to get a shot of that one.

The whole lower section of the seating area is called "the splash zone," for very good reason. If you sit there, you will most certainly get wet, if not completely soaked!

1/1250 sec

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

 

is the critical run

and other emergency art format

 

CRITICAL RUN / Debate Format

 

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

 

www.emergencyroomscanvas todo .org/criticalrun.html

 

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

 

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

 

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

 

----

 

Interesting publication for researches on running and art

 

www.emergencyrooms.org/formats.html

 

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Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.

  

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Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.

 

Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and

 

Company, 1895.

 

Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.

 

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Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State

 

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Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.

 

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Chicago Press, 1992.

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spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.

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Modernity. University Park, PA: The Pennsylvania State University, 2009.

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1960-2010. Cambridge: MIT Press, 2012.

 

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----

  

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

  

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

 

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

  

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

 

—-

 

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.​

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

 

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

 

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

 

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

 

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

-------

In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

------

for activating the format or for inviting the installation

please contact 1@colonel.dk

 

www.colonel.dk/

 

-----

 

critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

 

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

 

,now art,copenhagen,denmark

 

A formation in executing the nearly extinct Gotipua Dance at our Durga Puja Cultural Festival of 2013 - of South Madras Cultural Association, Chennai, India.

  

______________________________________________________________________ _______________

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Gotipua is a traditional dance form in the state of Orissa, India, and the precursor of Odissi classical dance. It has been performed in Orissa for centuries by young boys, who dress as women to praise Jagannath and Krishna. The dance is executed by a group of boys who perform acrobatic figures inspired by the life of Radha and Krishna. The boys begin to learn the dance at an early age until adolescence, when their androgynous appearance changes. In the Oriya language Gotipua, means "single boy" (goti-pua). Raghurajpur, Orissa (near Puri) is an historic village known for its Gotipua dance troupes.

 

To transform into graceful feminine dancers the boys do not cut their hair, instead styling it in a knot and weaving garlands of flowers into it. They make up their faces with mixed white and red powder. Kajal (black eyeliner) is broadly applied around the eyes to give them an elongated look. The bindi usually round, is applied to the forehead, surrounded with a pattern made from sandalwood. Traditional paintings adorn the face, which are unique to each dance school.

 

The costume has evolved over time. The traditional dress is a Kanchula, a brightly coloured blouse with shiny decorations. An apron-like, embroidered silk cloth (nibibandha) is tied around the waist like a ruffle and worn around the legs. Some dancers still adhere to tradition by wearing a pattasari: a piece of thin fabric about 4 metres (13 ft 1 in) long, worn tightly with equal lengths of material on both sides and a knot on the navel. However, this traditional dress is often replaced by a newly designed cloth which is easier to put on.

 

Dancers wear specially designed, beaded jewelry: necklaces, bracelets, armbands and ear ornaments. Nose-piercing jewelry has been replaced with a painted motif. Ankle bells are worn, to accentuate the beats tapped out by the feet. The palms of the hands and soles of the feet are painted with a red liquid known as alta. The costume, jewelry and bells are considered sacred.

 

Long ago, the temples in Orissa had female dancers known as devadasi (or mahari), who were devoted to Jagannath, which gave rise to Mahari dance. Sculptures of dancers on bas-reliefs in temples in Orissa (and the Konark Sun and Jagannath Temples in Puri) demonstrate this ancient tradition. With the decline of mahari dancers around the 16th century during the reign of Rama Chandra Dev (who founded the Bhoi dynasty), boy dancers in Orissa continued the tradition. Gotipua dance is in the Odissi style, but their technique, costumes and presentation differ from those of the mahari; the singing is done by the dancers. Present-day Odissi dance has been influenced by Gotipua dance. Most masters of Odissi dance (such as Kelucharan Mohapatra, from Raghurajpur) were Gotipua dancers in their youth.

 

Odissi dance is a combination of tandava (vigorous, masculine) and lasya (graceful, feminine) dances. It has two basic postures: tribhangi (in which the body is held with bends at the head, torso and knees) and chouka (a square-like stance, symbolizing Jagannath). Fluidity in the upper torso is characteristic of Odissi dance, which is often compared to the gentle sea waves which caress the Orissa beaches.

 

Each year, the Guru Kelucharan Mohapatra Odissi Research Centre organizes the Gotipua Dance Festival in Bhubaneswar.

 

Source : en.wikipedia.org/wiki/Gotipua

Order 66 MOC

 

I hope you enjoy, here is a MOC I made recently. It may be small but I tried to fit as much detail as possible into it. I wanted to use some building techniques that I have never used in a MOC before.

 

Dear New Views, welcome to my public profile, I have been designing and building LEGO for a long as I can remember, and it’s become a part of my life. I will be uploading every time I have a new digital design or build. If you like what you see please consider following and turning on notifications so you don’t miss future fantastic builds. Got any suggestions for future builds, questions, or feedback feel free to leave a comment, I read every all comments every week.

Thank you.

Avon Park City Hall, located at 110 E Main Street, is a historic municipal building constructed between 1928 and 1934 as a hallmark of Central Florida’s civic expansion. It stands as one of the contributing landmarks of the Avon Park Historic District, which was officially listed on the U.S. National Register of Historic Places on March 22, 1990.

 

Architectural Design

Style: The building is a classic Neoclassical masterpiece.

 

Architects: It was designed by noted architects W.J. Heim and John McMichael.

 

Key Features: The facade features grand structural columns, symmetric brickwork, and a formal entryway.

 

The Basement: Uniquely for the flat terrain and high-water tables of Florida, the building includes a functional basement level.

 

Construction and Growth

The Boom Era: Construction began in 1928, shortly after the City of Avon Park officially incorporated in 1926.

 

The Depression: Completion took six years (stretching into 1934), due to the economic constraints of the Great Depression.

 

Modern Expansion: The city expanded and upgraded the building through dedicated preservation and renovation projects executed between 1992 and 2015 under restoration architect Terry A. Hunter.

 

Civic Significance

The City Hall serves as the central administrative hub for the "City of Charm". It accommodates the city council chambers, municipal leadership, and critical utility management operations. Over the decades, it has stood at the center of the town's historical milestones, including its ongoing downtown revitalization and centennial celebrations.

 

Credit for the data above is given to the following websites:

www.google.com/search?q=history+of+avon+park+city+hall&am...

www.avonpark.city/community/page/avon-park-then-and-now

 

© All Rights Reserved - you may not use this image in any form without my prior permission.

  

This beautifully executed sculpture was erected in 2001 close to Minehead harbour, marking the start (or end) of the South West Coastal Path. It was designed by Sarah Ward, a student at West Somerset College who was only 19 at the time, and made by established metal sculptor Owen Cunningham. It's simple and effective and although mentions on Google don't say what it's made of (one said bronze, which it isn't), I'm pretty sure it's galvanised steel. We set out to find it a year or so back but didn't walk close enough to the harbour, so coming across it at last was a bonus.

Christo Vladimirov Javacheff (1935–2020) and Jeanne-Claude Denat de Guillebon (1935–2009), known as Christo and Jeanne-Claude, were artists noted for their large-scale, site-specific environmental installations, often large landmarks and landscape elements wrapped in fabric, including the Wrapped Reichstag, The Pont Neuf Wrapped, Running Fence in California, and The Gates in New York City's Central Park. Born on the same day in Bulgaria and Morocco, respectively, the pair met and married in Paris in the late 1950s. Originally working under Christo's name, they later credited their installations to both "Christo and Jeanne-Claude". Until his own death in 2020, Christo continued to plan and execute projects after Jeanne-Claude's death in 2009. Their work was typically large, visually impressive, and controversial, often taking years and sometimes decades of careful preparation – including technical solutions, political negotiation, permitting and environmental approval, hearings and public persuasion. The pair refused grants, scholarships, donations or public money, instead financing the work via the sale of their own artwork. Christo and Jeanne-Claude described the myriad elements that brought the projects to fruition as integral to the artwork itself, and said their projects contained no deeper meaning than their immediate aesthetic impact; their purpose being simply for joy, beauty, and new ways of seeing the familiar.

Christo and Jeanne-Claude met in October 1958 when he was commissioned to paint a portrait of her mother, Précilda de Guillebon. Their first show, in Cologne, 1961, showcased the three types of artworks for which they would be known: wrapped items, oil barrels, and ephemeral, large-scale works.[3] Near Christo's first solo show in Paris, in 1962, the pair blocked an alley with 240 barrels for several hours in a piece called Iron Curtain, a poetic reply to the Berlin Wall. They developed consistent, longtime terms of their collaboration. They together imagined projects, for which Christo would create sketches and preparatory works that were later sold to fund the resulting installation. Christo and Jeanne-Claude hired assistants to do the work of wrapping the object at hand. They originally worked under the name "Christo" to simplify dealings and their brand, given the difficulties of establishing an artist's reputation and the prejudices against female artists,[6] but they would later retroactively credit their large-scale outdoor works to both "Christo and Jeanne-Claude". They eventually flew in separate planes such that, in case one crashed, the other could continue their work. Within a year of Wrapped Coast, Christo began work on Valley Curtain: an orange curtain of fabric to be hung across the mountainous Colorado State Highway 325.[ They simultaneously worked on Wrapped Walk Ways (Tokyo and Holland) and Wrapped Island (South Pacific), neither of which came to fruition. The artists formed a corporation to benefit from tax and other liabilities, a form they used for later projects. Following a failed attempt to mount the curtain in late 1971, a new engineer and builder-contractor raised the fabric in August 1972. The work only stood for 28 hours before the wind again destroyed the fabric. This work, their most expensive to date and first to involve construction workers, was captured in a documentary by David and Albert Maysles. Christo's Valley Curtain was nominated for Best Documentary Short in the 1974 Academy Awards.[15] The Maysles would film many of the artists' later projects.Inspired by a snow fence, in 1972, Christo and Jeanne-Claude began preparations for Running Fence: a 24.5- mile fence of white nylon, supported by steel posts and steel cables, running through the Californian landscape and into the ocean. In exchange for temporary use of ranch land, the artists agreed to offer payment and use of the deconstructed building materials. Others challenged its construction in 18 public hearings and three state court sessions. The fence began construction in April 1976 and the project culminated in a two-week display in September, after which it was deconstructed. Christo and Jeanne-Claude planned a project based on Jeanne-Claude's idea to surround eleven islands in Miami's Biscayne Bay with 603,850 m2 (6,499,800 sq ft) of pink polypropylene floating fabric. Surrounded Islands was completed on May 7, 1983, with the aid of 430 workers and could be admired for two weeks. The workers were outfitted with pink long sleeve shirts with pale blue text written on the back reading “Christo Surrounded Islands”, and then in acknowledging the garment's designer, "designed and produced by Willi Smith". Their 1991 The Umbrellas involved the simultaneous setup of blue and gold umbrellas in Japan and California, respectively. The 3,100-umbrella project cost US$26 million and attracted three million visitors. Christo closed the exhibition early after a woman was killed by a windblown umbrella in California. Separately, a worker was killed during the deconstruction of the Japanese exhibit. Christo and Jeanne-Claude wrapped the Berlin Reichstag building in 1995 following 24 years of governmental lobbying across six Bundestag presidents. Wrapped Reichstag's 100,000 square meters of silver fabric draped the building, fastened with blue rope. Christo described the Reichstag wrapping as autobiographical based on his Bulgarian upbringing. The wrapping became symbolic of unified Germany and marked Berlin's return as a world city. The Guardian posthumously described the work as their "most spectacular achievement". In 1998, the artists wrapped trees at the Beyeler Foundation and its nearby Berower Park. Prior attempts had failed to secure government support in Saint Louis, Missouri, and Paris. The work was self-funded through sale of photographic documentation and preparatory works, as had become standard for the couple. Work began on the installation of the couple's most protracted project, The Gates, in New York City's Central Park in January 2005. Its full title, The Gates, Central Park, New York, 1979–2005, refers to the time that passed from their initial proposal until they were able to go ahead with it with the permission of the new mayor Michael R. Bloomberg. The Gates was open to the public from February 12–27, 2005. A total of 7,503 gates made of saffron-colored fabric were placed on paths in Central Park. They were five meters (16 ft) high and had a combined length of 37 km (23 mi). The mayor presented them with the Doris C. Freedman Award for public art.[30] The project cost an estimated US$21 million, which the artists planned to recoup by selling project documentation. Christo filled the Gasometer Oberhausen from March 16 until December 30, 2013 with the installation Big Air Package. After The Wall (1999) as the final installation of the Emscher Park International Building Exhibition, Big Air Package was his second work of art in the Gasometer. The "Big Air Package – Project for Gasometer Oberhausen, Germany" was conceived by Christo in 2010 (for the first time without his wife Jeanne-Claude). The sculpture was set up in the interior of the industrial monument and was made of 20,350 m3 (719,000 cu ft) of translucent fabric and 4,500 m (14,800 ft) of rope. In the inflated state, the envelope, with a weight of 5.3 tonnes (5.8 short tons), reached a height of more than 90 m (300 ft), a diameter of 50 m (160 ft) and a volume of 177,000 m3 (6,300,000 cu ft). The monumental work of art was, temporarily, the largest self-supporting sculpture in the world. In the accessible interior of Big Air Package, the artist generated a unique experience of space, proportions, and light. The Floating Piers were a series of walkways installed at Lake Iseo near Brescia, Italy. From June 18 to July 3, 2016, visitors were able to walk just above the surface of the water from the village of Sulzano on the mainland to the islands of Monte Isola and San Paolo. The floating walkways were made of around 200,000 polyethene cubes covered with 70,000 m2 (750,000 sq ft) of bright yellow fabric: 3 km (1.9 mi) of piers moved on the water; another 1.5 km (0.93 mi) of golden fabric continued along the pedestrian streets in Sulzano and Peschiera Maraglio. After the exhibition, all components were to be removed and recycled.[33] The installation was facilitated by the Beretta family, owners of the oldest active manufacturer of firearm components in the world and the primary sidearm supplier of the U.S. Army.[34] The Beretta family owns the island of San Paolo, which was surrounded by Floating Piers walkways. The work was a success with the Italian public and critics as well. The London Mastaba was a temporary floating installation exhibited from June to September 2018 on The Serpentine in London. The installation consisted of 7,506 oil barrels, in the shape of a mastaba, a form of an early bench in use in ancient Mesopotamia, with a flat roof and inward sloping sides. It sat on a floating platform of high-density polyethene, held in place by 32 anchors. It was 20 m (66 ft) in height and weighed 600 tonnes (660 short tons). The vertical ends were painted in a mosaic of red, blue and mauve, whilst the sloping sides were in red with bands of white. Simultaneously with the display of The London Mastaba, the nearby Serpentine Gallery presented an exhibition of the artists' work, entitled Christo and Jeanne-Claude: Barrels and The Mastaba 1958–2018. The exhibition comprised sculptures, drawings, collages, scale-models and photographs from the last 60 years of the artists' work. Christo and Jeanne-Claude announced plans for a future project, titled Over The River, to be constructed on the Arkansas River between Salida, Colorado, and Cañon City, Colorado, on the eastern slope of the Rocky mountains. Plans for the project call for horizontally suspending 10.8 km (6.7 mi) of reflective, translucent fabric panels high above the water, on steel cables anchored into the river's banks. Project plans called for its installation for two weeks during the summer of 2015, at the earliest, and for the river to remain open to recreation during the installation. Reaction among area residents was intense, with supporters hoping for a tourist boom and opponents fearing that the project would ruin the visual appeal of the landscape and inflict damage on the river ecosystem. One local rafting guide compared the project to "hanging pornography in a church." The U.S. Bureau of Land Management released a Record of Decision approving the project on November 7, 2011. Work on the project cannot begin, however, until the Bureau of Land Management issues a Notice to Proceed. A lawsuit against the Colorado Division of Parks and Wildlife was filed on July 22, 2011, by Rags Over the Arkansas River (ROAR), a local group opposed to the project. The lawsuit is still awaiting a court date.[ Christo and Jeanne-Claude's inspiration for Over the River came in 1985 as they were wrapping the Pont-Neuf and a fabric panel was being elevated over the Seine. The artists began a three-year search for appropriate locations in 1992, considering some eighty-nine river locations. They chose the Arkansas River because its banks were high enough that recreational rafters could enjoy the river at the same time. Christo and Jeanne-Claude spent more than $6 million on environmental studies, design engineering, and wind tunnel testing of fabrics. As with past projects, Over The River would be financed entirely by Christo and Jeanne-Claude, through the sale of Christo's preparatory drawings, collages, scale models, and early works of the 1950s/1960s. On July 16, 2010, the U.S. Bureau of Land Management released its four-volume Draft Environmental Impact Statement, which reported many potentially serious types of adverse impact but also many proposed "mitigation" options. In January 2017, after the election of President Trump, Christo canceled the controversial project citing protest of the new administration as well as tiring from the hard-fought legal battle waged by local residents.

 

L'Arc de Triomphe, Wrapped

 

Continuing their series of monumental "wrapping" projects, the Arc de Triomphe in Paris is to be wrapped in 30,000 square meters of recyclable polypropylene fabric in silvery blue, and 7,000 meters (23,000 feet) of red rope, originally scheduled for autumn of 2020.[54] This was postponed a year to Saturday, September 18 to Sunday, October 3, 2021, due to the COVID-19 pandemic in France and its impact on the arts and cultural sector worldwide. Following Christo's death, his office stated that the project would nevertheless be completed.

 

Reception

Christo and Jeanne-Claude's work is held by many major public collections. The artists received the 1995 Praemium Imperiale, the 2006 Vilcek Prize,[59] and the 2004 International Sculpture Center's Lifetime Achievement in Contemporary Sculpture Award. Art critic David Bourdon described Christo's wrappings as a "revelation through concealment."[61] Unto his critics Christo replied, "I am an artist, and I have to have courage ... Do you know that I don't have any artworks that exist? They all go away when they're finished. Only the preparatory drawings, and collages are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to create things that will remain."[ Jeanne-Claude was a firm believer in the aesthetic beauty of works of art; she said, "'We want to create works of art of joy and beauty, which we will build because we believe it will be beautiful.'"

 

Biographies

Christo

 

Young Christo

Christo Vladimirov Javacheff (Bulgarian: Христо Владимиров Явашев, [xrisˈtɔ vlɐˈdimirof jaˈvaʃɛf]) was born on June 13, 1935, in Gabrovo, Bulgaria, as the second of three sons to Tzveta Dimitrova (a Macedonian Bulgarian from Thessaloniki) and Vladimir Javacheff, who worked at a textile manufacturer. Christo was shy and had a predilection for art. He received private art instruction at a young age and the support of his parents, who invited visiting artists to their house.[65] Christo was particularly affected by events from World War II and the country's fluid borders. During evacuations, he and his brothers stayed with a family in the rural hills outside town, where Christo connected with nature and handicraft. While Bulgaria was under repressive totalitarian rule, and Western art was suppressed, Christo pursued realistic painting through the mid-1950s. He was admitted into the Sofia Academy of Fine Arts in 1953[68] but found the school dull and stifling. Instead, he found inspiration in Skira art books, and visiting Russian professors who were older than he and once active in Russian modernism and the Soviet avant-garde. On the weekends, academy students were sent to paint propaganda and Christo unhappily participated. He found work as a location scout for the state cinema and served three tours of duty during summer breaks. In 1956, he used an academy connection to receive permission to visit family in Prague, where the theater of Emil František Burian reinvigorated him. Amid fears of further Russian suppression in Hungary, Christo decided to flee to Vienna as a railcar stowaway. He had little money after paying the bribe, did not speak the language, had deserted during his Bulgarian military service, and feared being trapped in a refugee camp. In Vienna, he stayed with a family friend (who had not expected him), studied at the Vienna Fine Arts Academy, and surrendered his passport to seek political asylum as a stateless person. There, he supported himself with commissions and briefly visited Italy with the academy, whose program he found equally unhappy as the one before it. At the behest of a friend relocated from Sofia, he saved up to visit Geneva in late 1957. In violation of his visa, he continued to pursue commissions (whose works he would sign with his family name, reserving his given name for more serious work) and was transformed after visiting the Kunstmuseum Basel and Kunsthaus Zürich. In January 1958, he first began to wrap things, as would become his trademark, starting with a paint can. His collection of wrapped household items would be known as his Inventory. In February 1958, Christo left for Paris, having received a visa with the assistance of a Sofia academy connection. In 1973, after 17 stateless years, Christo became a United States citizen.[80] He died at his home in New York City on May 31, 2020, at 84. No cause of death was specified.[81] L’Arc de Triomphe, Wrapped, a planned work by Christo and Jeane-Claude, is to go ahead posthumously in Paris in September 2021.

 

Jeanne-Claude

Jeanne-Claude Denat de Guillebon (French: [ʒan klod dəna də gijəbɔ̃]) was born in Casablanca, Morocco, where her father, an army officer, was stationed. Her mother, Précilda, was 17 when she married Jeanne-Claude's father, Major Léon Denat. Précilda and Léon Denat divorced shortly after Jeanne-Claude was born, and Précilda remarried three times. Jeanne-Claude earned a baccalauréat in Latin and philosophy in 1952 from the University of Tunis.[5] After Précilda married the General Jacques de Guillebon in 1947, the family lived in Bern (1948–1951) and Tunisia (1952–1957) before returning to Paris.[ Jeanne-Claude was described as "extroverted" and with natural organizational abilities. Her hair was dyed red, which she claimed was selected by her husband.[84] She took responsibility for overseeing work crews and for raising funds. Jeanne-Claude died in New York City on November 18, 2009, from complications due to a brain aneurysm. Her body was to be donated to science, one of her final wishes.[85] When she died, she and Christo were at work on Over the River[86] and the United Arab Emirates project, The Mastaba.[5] She said, "Artists don't retire. They die. That's all. When they stop being able to create art, they die."

 

Marriage

Christo and Jeanne-Claude met in October 1958 when he was commissioned to paint a portrait of her mother, Précilda de Guillebon. Initially, Christo was attracted to Jeanne-Claude's half-sister, Joyce. Jeanne-Claude was engaged to Philippe Planchon.Shortly before her wedding, Jeanne-Claude became pregnant by Christo. Although she married Planchon, Jeanne-Claude left him immediately after their honeymoon. Christo and Jeanne-Claude' s son, Cyril, was born on May 11, 1960. Jeanne-Claude became an American citizen in March 1984.[19] The couple received permission to wrap the Pont Neuf, a bridge in Paris, in August and the wrapped the bridge in for two weeks in August 1985. The Pont Neuf Wrapped attracted three million visitors. Wrapping the Pont Neuf continued the tradition of transforming a sculptural dimension into a work of art. The fabric maintained the principal shapes of the Pont Neuf but it emphasized the details and the proportions. As with Surrounded Islands, workers who assisted with the installation and deinstallation of Pont Neuf Wrapped wore uniforms designed by Willi Smith.

 

The couple relocated to New York City, the new art world capital, in 1964. Christo began to make Store Fronts, wooden facades made to resemble shop windows, which he continued for four years. His largest piece was shown in the 1968 Documenta 4. In the mid-1960s, they also created Air Packages,[8] inflated and wrapped research balloons.[9] In 1969, at the invitation of the museum director Jan van der Marck they wrapped the Chicago Museum of Contemporary Art while it remained open.[10] It was panned by the public and ordered to be undone by the fire department, which went unenforced.[11] With the help of Australian collector John Kaldor, Christo and Jeanne-Claude and 100 volunteers wrapped the coast of Sydney's Little Bay as Wrapped Coast, the first piece for Kaldor Public Art Projects.[12]

There are many smaller stories within the larger sweep of history. Christo, the Bulgarian-born artist who died on 31 May 2020, famous for his gigantic wrapping works at the scale of Paris’s Pont Neuf in 1985 and the Berlin Reichstag ten years later, first came into existence thanks to a hairdresser. When Christo was a young artist, this hairdresser, René Bourgeois, introduced him to rich ladies whose portraits he painted to survive. And it was within this context that he was introduced to Précida Guillebon who had a daughter named Jeanne Claude; a young upper class girl who would eventually become Christo’s wife, his accomplice, and the linchpin of his sprawling projects, whose name would end up appearing with his on their works. She died in 2009. Between 1958 and 1964 Christo lived in Paris, before going to spend the rest of his life in New York. The Centre Pompidou’s exhibition focuses on this particular period, which would determine the rest of his creative output, followed by two large rooms homing in on the “making of” the project that remains etched in memory but which lasted only two weeks (like all of his monumental works): the wrapping of the Pont Neuf. It was in 1958 that Christo, a young refugee from Eastern Europe who crossed the border hidden in the back of a truck, began wrapping objects. He was interested in their volume and he talks about this as a process of “mummifying”, a practice he performed unconsciously: “I don’t know why I wrapped things”. At the time it was interpreted as the actions of a nomad figuratively packing his bags. Christo went off to explore different directions, including the “Wall of Oil Barrels” which the influential art critic of the time Pierre Restany referred to as “cathedrals of an unknown religion”. This description also perfectly encapsulates the artist’s future monumental practice. On 18 September 2021 he was due to wrap the Arc de Triomphe in Paris over a period of two weeks. The project, the ultimate ephemeral cathedral to the cult of Christo, had to be delayed owing to rare birds nesting on top of the Napoleonic edifice.

 

judithbenhamouhuet.com/centre-pompidou-why-did-christo-wr...

 

en.wikipedia.org/wiki/Christo_and_Jeanne-Claude

Execute Order 66

 

Commander Bly decals by me.

Tomorrow I will upload a detail picture of Commander Bly :)

No correspondence.

 

One of three photographs depicting Austro-Hungarians executing what appear to be Russian or Ukrainian peasants.

 

The military justification for the massacre of civilians was that many were “partisans” engaged in a guerrilla war against the invading forces. As early as 17 August 1914, the Austro-Hungarian general, Lothar von Hortstein, complained that it was impossible to send reconnaissance patrols into Serb territory because “all were killed by the rural people”.

 

"According to various sources, between 11,400 and 36,000 civilians were condemned to the gallows in the early months of the war already. Additional hangmen had to be recruited and trained by the authorities as early as 1914 in order to carry out the numerous death penalties. Oftentimes no particular event was needed to set in motion the martial law machine: a thoughtless comment, a flimsy suspicion or a hint dropped by an informer was mostly more than enough to ensure an innocent civilian swung from the gallows. Moreover, there were increasingly ‘wild’ executions occurring outside of the military tribunals. In such cases, sentence was passed by the commanding officer alone."

MOST PEOPLE DON'T KNOW THE TRUTH ABOUT THIS PICTURE.

 

Gen Nguyen Ngoc Loan, South Vietnamese chief of the national police, fires his pistol into the head of Van Lem aka Bay Lop (Viet Cong death squad Captain), on a Saigon street early on in the Tet offensive on 1 February 1968.

 

Van Lem led a sabotage unit, with Viet Cong tanks alongside him, with the purpose of attacking the Armor Camp in Go Vap at approximately 4.30am. After his troops took command of the base, Van Lem arrested Lieutenant Colonel Nguyen Tuan, along with his family and made him show him and his troops how to drive tanks. When Tuan refused to help, VAN LEM KILLED ALL MEMBERS OF TUAN'S FAMILY, INCLUDING HIS MOTHER WHO WAS 80 YEARS OLD. Only one member survived this slaughter, a 10-year-old boy who was seriously injured.

 

Van Lem was caught close to a mass grave that held 34 innocent bodies of civilians. He admitted that he was proud of killing these people, carrying out orders from his unit leader to do so. Loan had personally witnessed one of his officers being murdered, along with his three small children and wife in cold blood so when Van Lem was brought to him following his capture Loan executed him using his own sidearm (a .38 Smith & Wesson Model 38) right before the NBC News television Cameraman Vo Suu and AP photographer Eddie Adams. This meant the image and video of this execution was broadcast worldwide and bolstered the anti-war movement.

 

Photographer Eddie Adams reported that after the shooting, Loan approached him and said: “They killed many of my people, and yours too,” then walked away.

 

The photographic image enabled Eddie Adams to win the 1969 Pulitzer Prize in the category ‘Spot News Photography’ although Adams was later to regret the images impact (supposedly). The image went on to be used as an anti-war icon. Adams went on to write in Time Magazine ‘The general killed the Viet Cong; I killed the general with my camera. Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths. What the photograph didn’t say was, “What would you do if you were the general at that time and place on that hot day, and you caught the so-called bad guy after he blew away one, two or three American soldiers?”’

 

A few months after the execution picture was taken, Loan was seriously wounded by machine gun fire that led to the amputation of his leg. Again his picture hit the world press, this time as Australian war correspondent Pat Burgess carried him back to his lines. In addition to his military service, Loan was an advocate for hospital construction.

 

In 1975, during the fall of Saigon, Loan fled South Vietnam. He moved to the United States. When he arrived, the Immigration and Nationalization Services wanted to deport him partially because of the photo taken by Adams. They approached Adams to testify against Loan, but Adams instead testified in his favor and Loan was allowed to stay, and opened a pizza restaurant in the Washington, D.C. suburb of Burke, Virginia at Rolling Valley Mall called "Les Trois Continents". In 1991, he was forced into retirement when publicity about his past led to a sharp decline in business. Adams recalled that on his last visit to the pizza parlor, he had seen written on a toilet wall, "We know who you are, fucker".

 

Nguyễn was married to Chinh Mai, with whom he raised five children. Nguyễn Ngọc Loan died of cancer on 14 July 1998, aged 67, in Burke, Virginia.

 

Eddie Adams apologized in person at a later date to Loan and his immediate family for any damage the picture and his statements about it had done to Loan’s reputation. After Loan passed away of cancer in Virginia, Adams said of him ‘The guy was a hero. America should be crying. I just hate to see him go this way, without people knowing anything about him.’ Loan was married to Chinh Mai and together they raised 5 children, Loan succumbed to cancer and died on July 14th, 1998 aged 67 in Burke, Virginia.

  

This be Olathe in her Tech 2 photo I liked the concept better in my head rather than the way I executed it lol xD

 

comments and faves highly appreciated! :D

West window by Ninian Comper (assisted by Christopher Webb), installed in 1925 as a memorial to the sacrifices of the Great War.

 

St Albans claims to be the earliest site of Christian pilgrimage in England, being named after our first martyr, who was executed at some point in the 3rd century AD (when the city was still known by its Roman name, Verulanium) having sheltered a persecuted Christian priest, St Amphibalus, and been impressed by his faith, offering himself for arrest in his place. Both men were buried here and Alban's tomb was venerated and marked in some form long before the present cathedral was built.

 

The cathedral is nonetheless one of the most ancient of our major churches, though its cathedral status dates only to 1877 when the new diocese of St Albans was formed. The church was originally founded as St Alban's Abbey, and built close to the presumed site of Alban's martyrdom. Founded in 793 by King Offa, the abbey was rebuilt several times with the earliest parts of the present cathedral dating back to the late 11th century. Much use was made of recycled material from the abandoned Roman city of Verulanium, and the handsome Romanesque tower appears to be entirely constructed of reused Roman bricks. The Abbey was built on an impressive scale, and must have once been a very wealthy institution owing to pilgrimages to the shrine of St Alban behind the high altar. However its fortunes had begun to decline even before the Reformation swept medieval monastic life away.

 

The abbey church miraculously survived the Dissolution in its entirety and was sold to the town for use as their parish church. The monastic buildings however were completely erased aside from the splendid Abbey Gatehouse near the west end, and only the weathered remains of arcading on the south side of the nave remains of the former cloisters. Upkeep thereafter seems to have been a serious challenge and the huge church spent much of the following centuries in poor repair, thus much work was done by a succession of architects in the Victorian period prior to the abbey church being raised to the status of cathedral. The most obvious interventions are those made by Edmund Beckett / Lord Grimthorpe, an amateur architect who paid for much of the work in the 1870s in return for a free hand in redesigning parts of the building. His are the strange turrets on ends of the transepts, along with their facade windows below and the west front, which is clearly a Victorian confection, though the medieval facade it replaced had been left in a rather bare, unfinished state.

 

The cathedral we see today is thus a rather surprising mixture of styles and materials, everything from Roman brick, flint and rubble to fine white limestone., which gives it a rather patchy appearance. Its great length however is remarkable, being the second longest medieval church in the country (only Winchester is longer, but St Albans has a longer nave). The oldest parts are the towers and transepts from the end of the 11th century, along with much of the north side of the nave, all fine examples of early Romanesque architecture. Most of the rest was rebuilt in the Gothic style in various phases throughout the 14th century, including the greater part of the nave and all of the choir and Lady Chapel (though the east end was heavily renewed externally in the Victorian restoration).

 

Entering the cathedral one cannot fail to be impressed by the enormous length of the nave,, mostly of late 13th and early 14th century date aside from the strikingly austere north arcade in the more easterly section, where the raw unadorned early Norman architecture contrasts dramatically with the more ornate Gothic arcade opposite. The Norman columns have the added appeal of retaining substantial remains of medieval mural decoration, with a succession of Crucifixion scenes that may have originally served as reredos to long vanished side altars. The medieval pulpitum screen remains and separates the eastern bays for use as the choir beyond it. This area also retains its flat late medieval wooden ceiling complete with painted panels of angels holding shields.

 

The transepts and crossing beneath the tower form an especially memorable interior space, again the architecture is of the more raw, auster Norman variety, but the tower arches are enlivened with painted decoration simulating brickwork and much Roman and Saxon material is incorporated in the transepts. Beyond is the fully Gothic eastern limb with the presbytery covered by a handsome medieval wooden vault, again replete it medieval painted decoration, and the striking altar reredos, a towering late medieval screen populated with elaborate niches and statuary (the latter being Victorian replacements for originals long lost). Behind this is the re-assembled shrine of St Alban (along with that of St Amphibalus in the south choir aisle nearby). The Lady Chapel beyond is a handsome example of 14th century Decorated Gothic, though much restored following centuries of use as a schoolroom separated from the rest of the church.

 

There is much of interest to see in the cathedral, though most of the furnishings are Victorian (the originals having long vanished) and there are few monuments of note aside from the two late medieval chantry chapels of Abbot Ramryge and Humphrey Duke of Gloucester, the latter overlooking the shrine of St Alban and balanced by a 15th century wooden watching loft on the opposite side (a rare survival). There is a mixture of glass, the most notable pieces being the most recent additions in the south aisle and north transept rose window. The best features are the unusually extensive remnants of medieval mural painting in various parts of the church, a quite remarkable survival, making a thorough exploration of this cathedral all the more rewarding.

 

This was my third visit, and longest one, though my attempt at a fuller photographic record was severely compromised by accidents with my camera, which at one point fell from my tripod onto the stone floor in one of the chantry chapels. I was lucky it survived at all given the dreadful crash it made, but it was seriously affected and my photos were very hit and miss from that point onwards. My day however ended on a happier note, returning in the evening to attend a lovely performance of Mozart's Requiem, and the acoustics in there are indeed impressive.

 

For more about the cathedral see below.

en.wikipedia.org/wiki/St_Albans_Cathedral

For the Tranquility, Peace, and Safety of all the American people of Puerto Rico who were in harm's way and have been devastated by hurricane Irma....

 

May The Lord Of Hosts speedily show our government how to execute a complete Military Logistics Campaign for all urgently needed necessities of life for the people of American Puerto Rico.

 

Tehillim - Psalms - Chapter 20

 

When New Orleans was hit by a terrible hurricane, the President of United States at that time immediately appointed a general of the army to direct a major military logistical campaign to swiftly provide what was necessary to mitigate suffering and save lives.

 

That's what this president needs to do for millions of suffering American citizens. The Atlantic Ocean is no excuse for feeble and undirected inaction. This is just a normal military logistics operation for which we provide the money.

 

Please call your Senators and Representatives to demand that Congress does something immediately, without further delay.

 

These are the days of awe leading up to Yom Kippur, the Day of Atonement. Even the undefeatable Sandy Koufax didn't pitch on that holy baseball day!

 

Every human being on earth is written into and sealed in the book of life for the coming New Year.

 

May you be inscribed and sealed for a good, tranquil, peaceful, safe, productive, and satisfying New Year.

 

Keep in mind that each of us, regardless of religion or ethnicity or affiliation, will be held accountable in the new year if we say and do nothing!

Biagio d'Antonio Tucci or Cosimo Rosselli

"The Crossing of the Red Sea" is a fresco executed in 1481–1482 and located on the South wall in the Sistine Chapel, Vatican City.

 

Description:

The scene is part of the chapel's Stories of Moses cycle, and, like other frescoes there, shows several scenes at the same time. The sequence begins from the right background, where Moses and Aaron are begging the pharaoh to free the Israelites. On the right are the Egyptian soldiers, shown in typical Italian Renaissance military garments, armor and weapons, who are drowning after the Red Sea waters, which had miraculously opened to allow the Israelites to cross them, close around them. The pharaoh is portrayed in a frantic scream, while other figures try to return to the Egyptian shore by swimming. Before the army is a column hovering over the waters: this is a representation of the fire pillar sent by Yahweh to scare the Egyptians.

 

In the upper central area is a hail storm, sent by God to punish the Egyptians. Also depicted are some sunrays and, more to the left, a rainbow, symbols of the upcoming liberation for the Israelite people. Similar representation of meteorological phenomena were not uncommon in the 15th-century Italian art: other examples are Fra Angelico's Martyrdom of St. Mark on the Tabernacle of the Linaioli, and several Paolo Uccello's St. George and the Drake.

 

On the left bank are the Israelites, led by a young Moses with the typical yellow garment and green cloak, and a command baton, after they have just crossed the sea. Their safeness is testified by the presence of recreational activities, such as the prophetess Miriam playing a chordophone in the foreground. They continue their trip in procession, disappearing on the left, in a naturalistic landscape. Details include a pet dog in the foreground (probably a Chihuahua of the painter Cosimo Rosselli), reminiscent of Benozzo Gozzoli's paintings in the Magi Chapel.

 

Source;

en.wikipedia.org/wiki/The_Crossing_of_the_Red_Sea_(Sistine_Chapel)

From Wikipedia, the free encyclopedia

 

F-84 Thunderjet

 

RoleFighter-bomber

ManufacturerRepublic Aviation

First flight28 February 1946

IntroductionNovember 1947

Retired1964 (USAF)

1974 (Yugoslavia)

Primary userUnited States Air Force

Number built7,524

Unit cost

US$237,247 (F-84G)[1]

US$769,330 (F-84F)

VariantsRepublic F-84F Thunderstreak

Republic XF-84H Thunderscreech

Republic XF-91 Thunderceptor

The Republic F-84 Thunderjet was an American turbojet fighter-bomber aircraft. Originating as a 1944 United States Army Air Forces (USAAF) proposal for a "day fighter", the F-84 first flew in 1946. Although it entered service in 1947, the Thunderjet was plagued by so many structural and engine problems that a 1948 U.S. Air Force review declared it unable to execute any aspect of its intended mission and considered canceling the program. The aircraft was not considered fully operational until the 1949 F-84D model and the design matured only with the definitive F-84G introduced in 1951. In 1954, the straight-wing Thunderjet was joined by the swept-wing F-84F Thunderstreak fighter and RF-84F Thunderflash photo reconnaissance aircraft.

 

The Thunderjet became the USAF's primary strike aircraft during the Korean War, flying 86,408 sorties and destroying 60% of all ground targets in the war as well as eight Soviet-built MiG fighters. Over half of the 7,524 F-84s produced served with NATO nations, and it was the first aircraft to fly with the U.S. Air Force Thunderbirds demonstration team. The USAF Strategic Air Command had F-84 Thunderjets in service from 1948 through 1957.

 

The F-84 was the first production fighter aircraft to utilize inflight refueling and the first fighter capable of carrying a nuclear weapon, the Mark 7 nuclear bomb. Modified F-84s were used in several unusual projects, including the FICON and Tom-Tom dockings to the B-29 Superfortress and B-36 bomber motherships, and the experimental XF-84H Thunderscreech turboprop.

 

The F-84 nomenclature can be somewhat confusing. The straight-wing F-84A to F-84E and F-84G models were called the Thunderjet. The F-84F Thunderstreak and RF-84F Thunderflash were different airplanes with swept wings. The XF-84H Thunderscreech (not its official name) was an experimental turboprop version of the F-84F. The F-84F swept wing version was intended to be a small variation of the normal Thunderjet with only a few different parts, so it kept the basic F-84 number. Production delays on the F-84F resulted in another order of the straight-wing version; this was the F-84G.

 

Design and development

 

An F-84G at Chaumont-Semoutiers Air Base, France, in 1953

In 1944, Republic Aviation's chief designer, Alexander Kartveli, began working on a turbojet-powered replacement for the P-47 Thunderbolt piston-engined fighter. The initial attempts to redesign the P-47 to accommodate a jet engine proved futile due to the large cross-section of the early centrifugal compressor turbojets. Instead, Kartveli and his team designed a new aircraft with a streamlined fuselage largely occupied by an axial compressor turbojet engine and fuel stored in rather thick unswept wings.[1]

 

On 11 September 1944, the USAAF released General Operational Requirements for a day fighter with a top speed of 600 mph (521 kn, 966 km/h), combat radius of 705 miles (612 nmi, 1,135 km), and armament of either six 0.50 in (12.7 mm) or four 0.60 in (15.2 mm) machine guns. In addition, the new aircraft had to use the General Electric TG-180 axial turbojet which entered production as the Allison J35.

 

On 11 November 1944, Republic received an order for three prototypes of the new XP-84—Model AP-23.[1] Since the design promised superior performance to the Lockheed-built P-80 Shooting Star and Republic had extensive experience in building single-seat fighters, no competition was held for the contract. The name Thunderjet was chosen to continue the Republic Aviation tradition started with the P-47 Thunderbolt while emphasizing the new method of propulsion. On 4 January 1945, even before the aircraft took to the air, the USAAF expanded its order to 25 service test YP-84As and 75 production P-84Bs (later modified to 15 YP-84A and 85 P-84B).

 

Meanwhile, wind tunnel testing by the National Advisory Committee for Aeronautics revealed longitudinal instability and stabilizer skin buckling at high speeds.[1] The weight of the aircraft, a great concern given the low thrust of early turbojets, was growing so quickly that the USAAF had to set a gross weight limit of 13,400 lb (6,080 kg). The results of this preliminary testing were incorporated into the third prototype, designated XP-84A, which was also fitted with a more powerful J35-GE-15 engine with 4,000 lbf (17.79 kN) of thrust.[1]

 

The first prototype XP-84 was transferred to Muroc Army Air Field (present-day Edwards Air Force Base) where it flew for the first time on 28 February 1946 with Major Wallace A. "Wally" Lien at the controls. It was joined by the second prototype in August, both aircraft flying with J35-GE-7 engines producing 3,745 lbf (16.66 kN). The 15 YP-84As delivered to Patterson Field (present-day Wright-Patterson Air Force Base) for service tests differed from XP-84s by having an upgraded J35-A-15 engine, carrying six 0.50 in (12.7 mm) M2 Browning machine guns (four in the nose and one in each wing root), and having the provision for wingtip fuel tanks holding 226 U.S. gal (856 L) each.

 

Due to delays with delivery of jet engines and production of the XP-84A, the Thunderjet had undergone only limited flight testing by the time production P-84Bs began to roll out of the factory in 1947. In particular, the impact of wingtip tanks on aircraft handling was not thoroughly studied. This proved problematic later.[1]

 

After the creation of the United States Air Force by the National Security Act of 1947, the Pursuit designation was replaced with Fighter, and the P-84 became the F-84.

 

F-84s were assigned to the 27th Fighter Wing, 27th Fighter Escort Wing, 27th Strategic Fighter Wing, 31st Fighter Escort Wing, 127th Fighter Day Wing, 127th Fighter Escort Wing, 127th Strategic Fighter Wing, 407th Strategic Fighter Wing and the 506th Strategic Fighter Wing of the Strategic Air Command from 1947 through 1958.[2]

 

Operational history

The F-84B, which differed from YP-84A only in having faster-firing M3 machine guns, became operational with 14th Fighter Group at Dow Field, Bangor, Maine in December 1947. Flight restrictions followed immediately, limiting maximum speed to Mach 0.8 due to control reversal, and limiting maximum acceleration to 5.5 g (54 m/s²) due to wrinkling of the fuselage skin. To compound the problem, parts shortages and maintenance difficulties earned the aircraft the nickname, "Mechanic's Nightmare".[1] On 24 May 1948, the entire F-84B fleet was grounded due to structural failures.

  

P-84Bs of the 48th Fighter Squadron, 14th Fighter Group, 1948.

A 1948 review of the entire F-84 program discovered that none of the F-84B or F-84C aircraft could be considered operational or capable of executing any aspect of their intended mission. The program was saved from cancellation because the F-84D, whose production was well underway, had satisfactorily addressed the major faults. A fly-off against the F-80 revealed that while the Shooting Star had a shorter takeoff roll, better low altitude climb rate and superior maneuverability, the F-84 could carry a greater bomb load, was faster, had better high altitude performance and greater range.[1] As a temporizing measure, the USAF in 1949 committed US$8 million to implement over 100 upgrades to all F-84Bs, most notably reinforcing the wings. Despite the resultant improvements, the F-84B was withdrawn from active duty by 1952.[1]

 

The F-84C featured a somewhat more reliable J35-A-13 engine and had some engineering refinements. Being virtually identical to the F-84B, the C model suffered from all of the same defects and underwent a similar structural upgrade program in 1949. All F-84Cs were withdrawn from active service by 1952.[1]

 

The structural improvements were factory-implemented in the F-84D, which entered service in 1949. Wings were covered with thicker aluminum skin, the fuel system was winterized and capable of using JP-4 fuel, and a more powerful J35-A-17D engine with 5,000 lbf (22.24 kN) was fitted. It was discovered that the untested wingtip fuel tanks contributed to wing structural failures by inducing excessive twisting during high-"g" maneuvers.[1] To correct this, small triangular fins were added to the outside of the tanks. The F-84D was phased out of USAF service in 1952 and left Air National Guard (ANG) service in 1957.[1]

 

The first effective and fully capable Thunderjet was the F-84E model which entered service in 1949. The aircraft featured the J35-A-17 engine, further wing reinforcement, a 12 in (305 mm) fuselage extension in front of the wings and 3 in (76 mm) extension aft of the wings to enlarge the cockpit and the avionics bay, an A-1C gunsight with APG-30 radar, and provision for an additional pair of 230 gal (870 L) fuel tanks to be carried on underwing pylons.[1] The latter increased the combat radius from 850 to 1,000 miles (740 to 870 nmi; 1,370 to 1,610 km).

 

One improvement to the original F-84 design was rocket racks that folded flush with the wing after the 5-inch HVAR rockets were fired, which reduced drag over the older fixed mounting racks. This innovation was adopted by other U.S. jet fighter-bombers.[3]

  

A Portuguese F-84 being loaded with ordnance in the 1960s, at Luanda Air Base, during the Portuguese Colonial War.

Despite the improvements, the in-service rates for the F-84E remained poor with less than half of the aircraft operational at any given time.[1] This was primarily due to a severe shortage of spares for the Allison engines. The expectation was that F-84Es would fly 25 hours per month, accumulating 100 hours between engine overhauls. The actual flight hours for Korean War and NATO deployments rapidly outpaced the supply and Allison's ability to manufacture new engines.[1] The F-84E was withdrawn from USAF service in 1956, lingering with ANG units until 1959.

 

The definitive straight-wing F-84 was the F-84G which entered service in 1951. The aircraft introduced a refueling boom receptacle in the left wing,[4] autopilot, Instrument Landing System, J35-A-29 engine with 5,560 lbf (24.73 kN) of thrust, a distinctive framed canopy (also retrofitted to earlier types), and the ability to carry a single Mark 7 nuclear bomb.[1] The F-84G was retired from USAF in the mid-1960s.

 

Starting in the early 1960s, the aircraft was deployed by the Força Aérea Portuguesa (FAP) during the Portuguese Colonial War in Africa. By 1972, all four operating F-84 aircraft were supplementing the FAP in Angola.[5]

 

Flying the Thunderjet

Typical of most early jets, the Thunderjet's takeoff performance left much to be desired. In hot Korean summers with a full combat load, the aircraft routinely required 10,000 ft (3,000 m) of runway for takeoff even with the help of RATO bottles (two or four of these were carried, each producing 1,000 lbf (4.4 kN) of thrust for 14 seconds).[1] All but the lead aircraft had their visibility obscured by the thick smoke from the rockets. Early F-84s had to be pulled off the ground at 160 mph (140 kn, 260 km/h) with the control stick held all the way back. Landings were made at a similar speed, for comparison the North American P-51 Mustang landed at approximately 120 mph (100 kn, 190 km/h). Despite the "hot" landing speeds, the Thunderjet was easy to fly on instruments and crosswinds did not present much of a problem.[6]

  

An F-84E launching rockets.

Thanks to the thick straight wing the Thunderjet rapidly reached its Mach 0.82 limitation at full throttle and low altitude. The aircraft had sufficient power to fly faster, but exceeding the Mach limit at low altitudes resulted in a violent pitch-up and structural failure causing the wings to break off.[6] Above 15,000 ft (4,600 m), the F-84 could be flown faster but at the expense of severe buffeting. However, the airspeed was sufficiently easy to control to make safe dive bombing from 10,000 ft (3,000 m) possible.[6] The top speed limitation proved troublesome against Soviet Mikoyan-Gurevich MiG-15s in Korea. Slower than the MiG, the F-84 was also unable to turn tightly with a maximum instantaneous-turn load of only 3 Gs followed by rapid loss of airspeed. One F-84E pilot credited with two MiG kills achieved his second victory by intentionally flying his aircraft into pitch-up.[6] The MiGs chasing him were unable to follow the violent maneuver and one crashed into the ground. Luckily for the F-84E pilot, the aircraft did not disintegrate but the airframe did suffer heavy warping. The F-84 was a stable gun platform and the computing gunsight aided in accurate gunnery and bombing. Pilots praised the aircraft for Republic's legendary ruggedness.[6]

 

Pilots nicknamed the Thunderjet "The Lead Sled".[2] It was also called "The Iron Crowbar", "a hole sucking air", "The Hog" ("The Groundhog"), and "The World's Fastest Tricycle", "Ground Loving Whore" as a testament to its long takeoff rolls.[2] F-84 lore stated that all aircraft were equipped with a "sniffer" device that, upon passing V2, would look for the dirt at the end of the runway. As soon as the device could smell the dirt, the controls would turn on and let the pilot fly off the ground. In the same vein, it was suggested a bag of dirt should be carried in the front landing gear well. Upon reaching V2, the pilot would dump the dirt under the wheels, fooling the sniffer device.[2]

 

Korean War

The Thunderjet had a distinguished record during the Korean War. Although the F-84B and F-84C could not be deployed because their J35 engines had a service life of only 40 hours, the F-84D and F-84E entered combat with 27th Fighter Escort Group on 7 December 1950.[1] The aircraft were initially tasked with escorting the B-29 Superfortress bombers. The first Thunderjet air-to-air victory was scored on 21 January 1951 at the cost of two F-84s.[2] The F-84 was a generation behind the swept-wing Soviet Mikoyan-Gurevich MiG-15 and outmatched, especially when the MiGs were flown by more-experienced pilots, and the MiG counter-air mission was soon given to the F-86 Sabre. Like its famous predecessor, the P-47, the F-84 switched to the low-level interdiction role at which it excelled.

  

A KB-29M tanker refueling an F-84E over Korea. F-84Es could only refuel the wingtip tanks separately.

 

F-84G-26-RE Thunderjet 51-16719 while assigned to the 3600th Air Demonstration Team (USAF Thunderbirds), 1954.

The F-84 flew a total of 86,408 missions, dropping 55,586 tons (50,427 metric tons) of bombs and 6,129 tons (5,560 metric tons) of napalm.[2] The USAF claimed F-84s were responsible for 60% of all ground targets destroyed in the war. Notable F-84 operations included the 1952 attack on the Sui-ho Dam. During the war, the F-84 became the first USAF fighter to utilize aerial refueling. In aerial combat, F-84 pilots were credited with eight MiG-15 kills against a Soviet-claimed loss of 64 aircraft. The total losses were 335 F-84D, E and G models.[2]

 

Portuguese Overseas War

In 1961, the Portuguese Air Force sent 25 of their remaining F-84G to Angola. There they formed the Esquadra 91 (91st Squadron), based at Luanda Air Base. From then on, the F-84s were engaged in the Angolan Theater of the Portuguese Overseas War, being mainly employed in air strike missions against the separatist guerrillas.

 

The last F-84 were kept operational in Angola until 1974.

 

Notable achievements

The F-84 was the first aircraft flown by the U.S. Air Force Thunderbirds, which operated F-84G Thunderjets from 1953 to 1955 and F-84F Thunderstreaks from 1955 to 1956. The F-84E was also flown by the Skyblazers team of United States Air Forces Europe (USAFE) from 1950 to 1955.[1]

On 7 September 1946, the second XP-84 prototype set a national speed record of 607.2 mph (527.6 kn, 977.2 km/h), slightly slower than the world record 612.2 mph (532.0 kn, 985.2 km/h) held by the British Gloster Meteor.[1]

On 22 September 1950, two EF-84Es, flown by David C. Schilling and Col. William Ritchie, flew across the North Atlantic from Great Britain to the United States. Ritchie's aircraft ran out of fuel over Newfoundland but the other successfully made the crossing which took ten hours two minutes and three aerial refuelings. The flight demonstrated that large numbers of fighters could be rapidly moved across the Atlantic.[1]

F-84G was the first fighter with built-in aerial refueling capability and the first single-seat aircraft capable of carrying a nuclear bomb.[1]

On 20 August 1953, 17 F-84Gs using aerial refueling flew from the United States to the United Kingdom. The 4,485-mile (3,900 nmi, 7,220 km) journey was the longest-ever nonstop flight by jet fighters.[1]

In 1955, an F-84G became the first aircraft to be zero-length launched from a trailer.[7]

By the mid-1960s, the F-84/F-84F was replaced by the F-100 Super Sabre and the RF-84F by the RF-101 Voodoo in USAF units, being relegated to duty in the Air National Guard. The last F-84F Thunderflash retired from the ANG in 1971. Three Hellenic Air Force RF-84Fs that were retired in 1991 were the last operational F-84s.

 

Costs

F-84BF-84CF-84DF-84EF-84GF-84FRF-84F

Airframe139,863139,863150,846562,715482,821

Engine41,65441,65441,488146,02795,320

Electronics7,1657,1654,7619,62321,576

Armament23,55923,55937,43341,71363,632

Ordnance2,7199,2524,529

Flyaway cost286,407 for the first 100

163,994 for the next 141147,699212,241212,241237,247769,300667,608

Cost per flying hour390

Maintenance cost per flying hour185185

Notes: The costs are in approximately 1950 United States dollars and have not been adjusted for inflation.[1]

 

Variants

Straight-wing variants

 

The XP-84A (foreground) and YP-84As

XP-84

The first two prototypes.

XP-84A

The third prototype with a more powerful J35-GE-15 engine. This airframe was subsequently modified with a pointed fairing over the intake and lateral NACA intakes were installed into the intake trunks.

YP-84A

Service test aircraft; 15 built.

P-84B (F-84B)

First production version, J35-A-15 engine; 226 built.

F-84C

Reverted to the more reliable J35-A-13 engine, improved fuel, hydraulic and electrical systems; 191 built.

F-84D

J35-A-17 engine, various structural improvements. The pitot tube was moved from the tail fin to the splitter in the air intake with fins added to the wingtip fuel tanks; 154 built.

 

F84 E&G Thunderjet French Air Force 1951–1955

EF-84D

Two F-84Ds, EF-84D 48-641 and EF-84D 48-661 were modified with coupling devices; 641 starboard wing, 661 port wing for "Tip-Tow Project MX106 Wing Coupling Experiments." An EB-29A 44-62093 was modified with coupling devices on both wings. Because of the difference in landing gear lengths, the three aircraft took off separately and couple/uncoupled in flight. The pilot of 641 was Major John M. Davis and the pilot of 661 was Major C.E. "Bud" Anderson.

"One of the more interesting experiments undertaken to extend the range of the early jets in order to give fighter protection to the piston-engine bombers, was the provision for inflight attachment/detachment of fighter to bomber via wingtip connections. One of the several programs during these experiments was done with a B-29 mother ship and two F-84D 'children', and was code named 'Tip Tow'. A number of flights were undertaken, with several successful cycles of attachment and detachment, using, first one, and then two F-84s. The pilots of the F-84s maintained manual control when attached, with roll axis maintained by elevator movement rather than aileron movement. Engines on the F-84s were shut down in order to save fuel during the 'tow' by the mother ship, and inflight engine restarts were successfully accomplished. The experiment ended in disaster during the first attempt to provide automatic flight control of the F-84s, when the electronics apparently malfunctioned. The left hand F-84 rolled onto the wing of the B-29, and the connected aircraft both crashed with loss of all on board personnel (Anderson had uncoupled so did not crash with the other two aircraft)."[8]

F-84E

J35-A-17D engine, Sperry AN/APG-30 radar-ranging gunsight, retractable attachments for RATO bottles, inboard wing hardpoints made "wet" to permit carrying an additional pair of 230 U.S. gal (870 L) fuel tanks. Most aircraft were retrofitted with F-84G-style reinforced canopies. The fuselage was stretched 15"; the canopy was lengthened 8", the canopy frame was lengthened 12" (accounting for another 4"), and a 3" splice panel was added aft of the canopy. The stretch was not done to enlarge the cockpit but rather to enable a larger fuel tank, provide additional space for equipment under the canopy behind the pilot's seat, and to improve aerodynamics. This can be distinguished from earlier models by the presence of two fuel vents on ventral rear fuselage, the added radar in the nose splitter, and the pitot tube was moved downward from mid-height in the splitter (as on the F-84D) to clear the radar installation. 843 built. F-84E 49-2031 was a test aircraft for air-to-air missiles. F-84E 50-1115 was a test aircraft for the FICON project.

EF-84E

Two F-84Es were converted into test prototypes, to test various methods of air-to-air refueling. EF-84E 49-2091 was used as a probe-and-drogue test aircraft. The probe was mid-span on the port wing. Production aircraft with probes (removable) had the probe fitted to the auxiliary wing tanks. EF-84E 49-2115 was used as a FICON test aircraft with a B-36 host. EF-84E 49-1225 and EF-84E 51-634 were test aircraft for the ZELMAL (Zero-length launch, Mat landing) experiments version for point defense, used the booster rocket from MGM-1 Matador cruise missile.

F-84G

Single-seat fighter-bomber capable of delivering the Mark 7 nuclear bomb using the LABS, J35-A-29 engine, autopilot, capable of inflight refueling using both the boom (receptacle in left wing leading edge) and drogue (probe fitted to wingtip fuel tanks), introduced the multi-framed canopy which was later retrofitted to earlier straight-winged F-84s. A total of 3,025 were built (1,936 for NATO under MDAP). The larger engine had a higher airflow at its take-off thrust than the intake had been designed for. This caused higher flow velocities, increased pressure losses and thrust loss. Commencing with block 20, auxiliary "suck-in" doors were added ahead of the wing leading edge to regain some of the thrust loss. At high engine rpm and low aircraft speeds, such as take-off, the spring-loaded doors were sucked open by the partial vacuum created in the duct. When the aircraft reached sufficient airspeed the ram pressure rise in the duct closed the auxiliary doors.[9] F-84G 51-1343 was modified with a periscope system to test the periscope installation proposed for the Republic XF-103.

F-84KX

Eighty ex-USAF F-84Bs converted into target drones for the United States Navy.

RF-84G

F-84G Thunderjets converted by France and Yugoslavia for recon duty with cameras in the ventral fuselage and modified auxiliary wing tanks.

YF-96A aka YF-84F aka YRF-84K

F-84E 49-2430 converted to swept wing configuration. The "first prototype" for the F-84F Thunderstreak. Canopy and ventral speed brake carried over from Thunderjet. Originally with a V-windscreen, later reverted to the standard Thunderjet flat windscreen. Modified by adding a fixed hook at the weapons bay and anhedral horizontal tailplane to enable FICON tests (trapeze capture) with GRB-36D mother ship. The airframe was capable of higher speeds than the Thunderjet engine could deliver. The YF-84F was a follow on with a larger engine and deepened fuselage.

YF-84F

F-84G 51-1344 converted to swept wing configuration. The "second prototype" for the F-84F Thunderstreak. Fuselage deepened by 7 inches (180 mm) to accommodate larger engine. Canopy and ventral speed brake carried over from Thunderjet, tail configuration same as YF-96A.

YF-84F aka YRF-84F

F-84G 51-1345 converted to swept wing configuration with a pointed nose and lateral intakes. This was a test airframe to evaluate the effects of moving the intakes to the wing roots. Like 1344, the fuselage was deepened by 7 inches (180 mm) to accommodate larger engine. Canopy and ventral speed brake carried over from Thunderjet, tail configuration same as YF-96A. For the swept wing versions of the F-84 series, see Republic F-84F Thunderstreak

Tip-Tow

See EF-84D above, did not become operational. See FICON project

Tom-Tom

Two RF-84K and B-36 wingtip coupling experiment, did not become operational. See FICON project

FICON

F-84E and GRB-36D trapeze system, became operational. See FICON project

Swept-wing variants

Main articles: Republic F-84F Thunderstreak and Republic XF-84H

YF-84F

Two swept-wing prototypes of the F-84F, initially designated YF-96A.

F-84F Thunderstreak

Swept wing version with Wright J65 engine.

RF-84F Thunderflash

Reconnaissance version of the F-84F, 715 built.

RF-84K FICON project

Reconnaissance version of the F model, 25 built to hang from the Consolidated B-36 Peacemaker.

XF-84H Thunderscreech

Experimental supersonic-turboprop version.

YF-84J

Two conversions with the General Electric J73 engine.

Operators

 

Republic F-84 Thunderjet in the Royal Military Museum at the Jubelpark, Brussels.

 

Imperial Iranian Air Force F-84G of the Golden Crown aerobatic team.

 

Republic F-84 Thunderjet at the en:Italian Air Force Museum, Vigna di Valle in 2012.

 

Royal Norwegian Air Force Republic F-84G Thunderjet.

 

Portuguese Air Force F-84 Thunderjet.

Belgium

Belgian Air Force operated 213 Republic F-84G from March 1952 until September 1957 and 21 Republic RF-84E

Denmark

Danish Air Force operated 240 Republic F-84G fromApril 1952 until January 1962 and 6 Republic F-84E[10]

France

French Air Force operated 335 F-84G from April 1952 until November 1956 and 46 Republic F-84E

Greece

Hellenic Air Force operated 234 Republic F-84G from March 1952 until June 1960. They equipped the 335, 336, 337, 338, 339 and 340 Squadrons (Μοίρα Δίωξης)

Iran Iran

Imperial Iranian Air Force operated 69 Republic F-84G from May 1957 until September 1961

Italy

Italian Air Force operated 256 Republic F-84G from March 1952 until May 1957[11][12]

Netherlands

Netherlands Air Force operated 166 Republic F-84G from April 1952 until December 1957 and 21 Republic RF-84E

Norway

Norwegian Air Force operated 208 Republic F-84G from June 1952 until Jun 1960 and 6 Republic F-84E from 1951 until 1956 and 35 Republic RF-84F from 1956 until 1970

Portugal

Portuguese Air Force operated 125 Republic F-84G from January 1953 until July 1974

Taiwan (Republic of China)

Republic of China Air Force operated 246 Republic F-84G from June 1953 until April 1964

Thailand

Royal Thai Air Force operated 31 Republic F-84G from November 1956 until 1963

Turkey

Turkish Air Force operated 489 Republic F-84G from March 1952 until June 1966

United States

United States Air Force operated 226 Republic F-84B, 191 Republic F-84C, 154 Republic F-84D, 743 Republic F-84E, 789 Republic F-84G

Yugoslavia

Yugoslavian Air Force operated 231 Republic (R)F-84G from June 1953 until July 1974

Major USAF operational F-84 units

 

Republic F-84E-15-RE Thunderjet Serial 49-2338 of the 136th Fighter-Bomber Wing, Korea

10th Tactical Reconnaissance Wing: RF-84F (1955–1958)

12th Fighter Escort Wing/Group: F-84E/G/F (1950–1957;1962–1964)

14th Fighter Wing/Group: P/F-84B (1947–1949)

15th Tactical Fighter Wing: F-84F (1962–1964)

20th Fighter Bomber Wing/Group: F-84B/C/D/E/F/G (1958–1959)

27th Fighter Escort Wing/Group: F-84E/G/F (1950–1958)

31st Fighter Escort Wing/Group: F-84C/E/F (1948–1950; 1951–1957)

49th Fighter Bomber Wing/Group: F-84E/G (1951–1953)

58th Fighter Bomber Group: F-84E/G (1952–1954)

66th Tactical Reconnaissance Wing: RF-84F (1955–1959)

67th Tactical Reconnaissance Wing: (15th & 45th TRS5) RF-84F/K (1955–1958)

71st Strategic Reconnaissance Wing: RF-84F/K (1955–1956)

81st Fighter Bomber Wing/Group: F-84F (1954–1959)

136th Fighter Bomber Wing/Group F-84E (1951–1952) @ K2, also J-13

312th Fighter Bomber Group: F-84E/G (1954–1955)

363rd Tactical Reconnaissance Wing: RF-84F (1954–1958)

366th Fighter Bomber Wing/Tactical Fighter Wing: F-84E,F (1954–1958;1962–1965)

401st Fighter Bomber Wing/Tactical Fighter Wing: F-84F (1957)

405th Fighter Bomber Wing/Tactical Fighter Wing: F-84F (1953–1956)

407th Strategic Fighter Wing: F-84F (1954–1957)

474th Fighter Bomber Wing: F-84D/E/G (1952–1953)

506th Strategic Fighter Wing: F-84F (1953–1957)

508th Strategic Fighter Wing: F-84F (1952–1956)

3540th Combat Crew Training Wing: F-84E (1952–1953)

3600th Combat Crew Training Wing: F-84D/E/G/F (1952–1957)

Redesignated 4510th CCTW with F-84D/F (1958)

3645th Combat Crew Training Wing: F-84E/G (1953–1957)

4925th Test Group (Atomic): F-84E/F/G (1950–1963)

Royal Netherlands Air Force operational F-84 units

JVS-2 (Jacht Vlieger School): RF-84E (1953)

306 Squadron: F-84G (1953–1954) / RF-84E (1954-1957)

311 Squadron: RF-84E (1951-1952) / F-84G (1952-1956)

312 Squadron: RF-84E (1951-1954) / F-84G (1952-1956)

313 Squadron: RF-84E (1953-1954) / F-84G (1953-1956)

314 Squadron: F-84G (1952-1956)

315 Squadron: F-84G (1952-1956)

Aircraft on display

 

A F-84 during Zero-length launch testing

Croatia

F-84G

10676 Ex-USAF – Rijeka Airport, Omišalj.[13]

Denmark

F-84G

51-9966/KR-A – Aalborg Defence and Garrison Museum, Aalborg[14]

51-10622/KU-U – Aalborg Defence and Garrison Museum[14]

A-777/SY-H – Danmarks Tekniske Museum, Helsingør[15]

KP-X – Danish Collection of Vintage Aircraft, Skjern[16]

RF-84F

C-581 – Flyvestation Karup Historiske Forening Museet, Karup[17]

C-264 – Danish Collection of Vintage Aircraft, Skjern[16]

Netherlands

F-84G

K-171 – Nationaal Militair Museum, Soesterberg.[18]

Norway

F-84G

51-10161 – Flyhistorisk Museum, Sola, Stavanger Airport, Sola, near Stavanger.[19]

51-11209 – Forsvarets flysamling Gardermoen, Oslo Airport, Gardermoen near Oslo.[20]

52-2912 - Ørland Main Air Station

52-8465 – Royal Norwegian Air Force Museum, Bodø[21]

 

Portugal

F-84G

5131 – Museu do Ar, Sintra Air Base, Sintra.[22]

5201 - Military and Technical Training Center of the Air Force, Ota (Alenquer).[23]

 

Serbia

F-84G

10501 – Ex-USAF 52-2936, c/n 3050-1855B Museum of Aviation, Nikola Tesla Airport, Belgrade.[24][verification needed]

10525 – Ex-USAF 52-2939, c/n 3050-1858B Museum of Aviation, Nikola Tesla Airport, Belgrade.[25][verification needed]

10530 – Ex-USAF 52-8435, c/n 3250-2260B Museum of Aviation, Nikola Tesla Airport, Belgrade.[26][verification needed]

Slovenia

F-84G

10642 Ex-USAF 52-2910, c/n 3050-1829B – Pivka Military History Park, Pivka.[27]

Thailand

 

F-84G at the Royal Thai Air Force Museum

F-84G

51-10582 Ex-USAF and retired Royal Thai Air Force fighter in Royal Thai Air Force Museum

Turkey

 

110572 F-84G at Atatürk Airport.

F-84G

10572 – Istanbul Aviation Museum.

19953 – Atatürk Airport, İstanbul.

RF-84F

1901 – Istanbul Aviation Museum.

1917 – Istanbul Aviation Museum.

United States

YP-84A

45-59494 – Discovery Park of America, Union City, Tennessee. Formerly at Octave Chanute Aerospace Museum at the former Chanute Air Force Base in Rantoul, Illinois.[28][29]

F-84B

45-59504 – Cradle of Aviation Museum in Garden City, New York.[30]

45-59556 – Planes of Fame Museum in Chino, California.[31]

46-0666 – Mid-Atlantic Air Museum in Reading, Pennsylvania.[32]

F-84C

47-1433 – Pima Air and Space Museum, adjacent to Davis-Monthan Air Force Base in Tucson, Arizona.[33]

47-1486 – Goldwater Air National Guard Base, Sky Harbor International Airport in Phoenix, Arizona.[34]

47-1498 – EAA Airventure Museum in Oshkosh, Wisconsin.[35]

47-1513 – Kansas Aviation Museum at McConnell Air Force Base in Wichita, Kansas.[36]

47-1530 – Cannon Air Force Base, New Mexico.[37]

47-1562 – Pueblo Weisbrod Aircraft Museum in Pueblo, Colorado.[38]

47-1595 – March Field Air Museum at March Air Reserve Base (former March Air Force Base) in Riverside, California.[39]

F-84E

 

F-84E at the USAF Museum

49-2155 – Yanks Air Museum in Chino, California.[40]

49-2285 – Texas Military Forces Museum in Austin, Texas.[41]

49-2348 – American Airpower Museum in East Farmingdale, New York.[42]

50-1143 – National Museum of the United States Air Force at Wright-Patterson Air Force Base in Dayton, Ohio. It was obtained from Robins Air Force Base, Georgia, in October 1963.[43]

51-0604 – Museum of Aviation at Robins Air Force Base, Georgia.[44]

F-84G

51-0791 – Springfield Air National Guard Base, Springfield, Ohio.[45]

51-11126 - under restoration to airworthiness by a Vulcan Warbirds Inc. for the Flying Heritage Collection in Seattle, Washington.[46][47]

52-3242 – Hill Aerospace Museum, Hill Air Force Base, Utah.[48]

52-8365 - under restoration to airworthiness by a private owner in Edmonds, Washington.[49][50]

Specifications (F-84G Thunderjet)

 

Line drawing of F-84C

Data from Encyclopedia of US Air Force Aircraft and Missile Systems[1]

 

General characteristics

 

Crew: one

Length: 38 ft 1 in (11.60 m)

Wingspan: 36 ft 5 in (11.10 m)

Height: 12 ft 7 in (3.84 m)

Wing area: 260 ft² (24 m²)

Empty weight: 11,470 lb (5,200 kg)

Loaded weight: 18,080 lb (8,200 kg)

Max. takeoff weight: 23,340 lb (10,590 kg)

Powerplant: 1 × Allison J35-A-29 turbojet, 5,560 lbf (24.7 kN)

Performance

 

Maximum speed: 622 mph (540 kn, 1,000 km/h,Mach .81)

Cruise speed: 475 mph (413 kn, 770 km/h)

Range: 1,000 mi (870 nmi, 1,600 km) combat

Ferry range: 2,000 mi (1,700 nmi, 3,200 km) with external tanks

Service ceiling: 40,500 ft (12,350 m)

Rate of climb: 3,765 ft/min (19.1 m/s)

Wing loading: 70 lb/ft² (342 kg/m²)

Thrust/weight: 0.31 lbf/lb

Armament

6 × .50 in (12.7 mm) M3 Browning machine guns, 300 rpg

Up to 4,450 lb (2,020 kg) of rockets and bombs, including 1 × Mark 7 nuclear bomb

Avionics

A-1CM or A-4 gunsight with APG-30 or MK-18 ranging radar

 

F-84F Thunderstreak

Republic XF-91 Thunderceptor

XF-84H Thunderscreech

Aircraft of comparable role, configuration and era

 

Dassault Ouragan

de Havilland Venom

Gloster Meteor

Grumman F9F Cougar

Grumman F9F Panther

McDonnell XF-85 Goblin

Bus Operator: Victory Liner, Inc.

Fleet Number: 834

Area of Operation: Provincial Operation

Seating Configuration: 2x2

Seating Capacity: 49

 

Bus Manufacturer: Nissan Diesel Philippines Corp.

Model: NDPC Euro

Chassis: Nissan Diesel JA430SAN

Engine: Nissan Diesel PE6-T

Suspension: Air Suspension

 

Taken at: Km. 147, McArthur Highway, Paniqui, Tarlac, Philippines

 

*Specifications are subjected for verification and may be changed without prior notice.

 

*note: ---

Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.

The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.

Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]

Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.

Simple delicious steak that is grilled right without distracting elements that take the focus away from the fine meat itself. I'm so happy to be able to taste this well-executed steak by Chef Simmons that is better than most expensive steaks I get at other highly rated places.

 

Chef Austin Simmons, Hubbell & Hudson Bistro and Cureight, 24 Waterway Ave #125, The Woodlands, TX 77380

This is the first panorama I've ever done and it was surprisingly easy to execute. This is an old abandoned farmhouse in Floyd County, Virginia. I took this from the end of it's driveway.

 

I did the panorama from 4 handheld shots. I processed each raw image in Camera Raw and used the same ACR settings on each. I used the lens adjustment, took the sharpening to zero and added some vibrance and clarity. I changed the exposures in ACR, producing a -1/0/+1 image for each of the 4 raw files.

 

I processed each set of 3 exposures in Photomatix Pro 4.2 to produce a pseudo HDR image with the most natural looking output I could get. This was to bring out as much detail as I could in each image. At this point I had 4 TIF files ready to stitch.

 

I used Photoshop's Photomerge tool to stitch the shots and it worked very well. It took about a minute and built a really well matched panoramic image for me to then mess with. The rest of the processing was done with Topaz Adjust to pop the image, Topaz Detail to add microcontrast detail to everyplace but the sky, Nik Color Efex Pro 4 to get the color palette that I wanted and finally a blend of a Topaz Simplify layer to take out the business in some areas.

 

Hit the "L" key to see it a little larger... :D

The Nuva archer is a skilled warrior and technological wonder. The concept was brought about by General Taka's imagination and executed by the hands of the most skilled matoran. This archer differs from traditional archer units in that he does not need to carry his ammunition on his body during battle. His "arrows" or bolts are stored, generated, and replinished within his technologically advanced left arm which coordinates with the "crossbow" or bolt thrower that he wields. The bolt thrower is one of a kind and is viewed as a breakthrough in modern weaponry. Though quite bulky, the bolt thrower allows the archer to fire single highly charged energy bolts, which have the power to penetrate light/medium armor, at a rate of 1.5 seconds. After firing 10 bolts the archer's arm requires a cool down period which lasts approximately 8 to 10 seconds. Once completed, the archer may continue raining destruction down upon the enemy. The archer's built-in optical system allows the archer to target enemy's from a greater distance than the typical archer. The Nuva archer's advanced weaponry and overal engineering give the Nuva army a great advantage on the battlefied when facing overwhelming numbers.

 

I hope you guys enjoy this one! Building him really inspired me to go back and revamp General Taka and the Nuva Infantry, so stay tuned for those guys in the future! Thanks for all of your support this past year! Looking forward to the next year!

Salon-la-Tour is a commune in the Corrèze department in central France.

 

Violette Szabo, a 22-year-old British agent who was parachuted a second time into France, on 7 June 1944 (where she was to try to help obstructing the movement of German SS units from the south of France to Normandy), was captured near Salon-la-Tour.

---

Violette Reine Elizabeth Szabo GC (née Bushell; 26 June 1921 – c. 5 February 1945) was a British-French Special Operations Executive (SOE) agent during the Second World War and a posthumous recipient of the George Cross. On her second mission into occupied France, Szabo was captured by the German army, interrogated, tortured and deported to Ravensbrück concentration camp in Germany, where she was executed.

 

Violette Szabo was born on 26 June 1921 in Paris, France, of parents Charles George Bushell and Reine Blanche Leroy, as the second child of five and the only daughter.

 

Szabo's father, son of a publican from Hampstead Norreys, was serving as a British Army driver in France during the First World War when he met her mother, a dressmaker originally from Pont-Remy, Somme. After the war the couple lived in London, where Charles worked as a taxi-driver, car salesman and shopkeeper.

 

During the early 1930s, as a result of the Great Depression, Violette and her youngest brother, Dickie, lived with their maternal aunt in Picardy, northern France. The family was reunited in South London when Violette was 11 years old. She was an active and lively girl, enjoying gymnastics, long-distance bicycling and ice-skating with four brothers and several male cousins. Violette was regarded as a tomboy, especially after being taught to shoot by her father; her shooting was reputedly very accurate.

 

While she had temporarily lost the ability to speak English in Picardy, Violette quickly relearned the language while attending school in Brixton. There she was reportedly popular and regarded as exotic owing to her ability to speak another language. Her home life was loving, though she often clashed with her strict father and once ran away to France after an argument. The family, except her monolingual father, would often converse in French.

 

At the age of 14, Violette went to work for a French corsetière in South Kensington and later worked at retailer Woolworths in Oxford Street. At the outbreak of World War II she was working at Le Bon Marché, a Brixton department store.

 

In early 1940 Violette joined the Women's Land Army and was sent to carry out strawberry picking in Fareham, Hampshire, but she soon returned to London to work in an armaments factory in Acton. She met Étienne Szabo, a decorated non-commissioned officer in the French Foreign Legion of Hungarian descent, at the Bastille Day parade in London in 1940, where Violette had been sent by her mother, accompanied by her friend Winnie Wilson, to bring home a homesick French soldier for dinner. They married at Aldershot Register Office in Manor Park on 21 August 1940 after a 42-day romance; Violette was 19, Étienne was 31. They enjoyed a week's honeymoon before Étienne set off from Liverpool to fight in the abortive Free French attack on Dakar, Senegal. From there, he went to South Africa before seeing action, again against the Vichy French, in the successful Anglo-Free French campaigns in Eritrea and Syria in 1941. He returned to the UK for a brief leave later in the year.

 

After her marriage, Violette became a switchboard operator for the General Post Office in central London, working throughout the Blitz. Bored by the job, she enlisted in the Auxiliary Territorial Service (ATS) on 11 September 1941. She was posted to Leicester for initial training before being sent to one of the first mixed anti-aircraft batteries of the 7th Heavy Anti-Aircraft Training Regiment, Royal Artillery in Oswestry, Shropshire for specialised instruction as a predictor and then to the 481st Heavy (Mixed) Anti-Aircraft Battery. After further training in Anglesey, Gunner Szabo and her unit were posted to Frodsham, Cheshire, near Warrington, from December 1941 to February 1942. Szabo found within weeks that she was pregnant, so she left the ATS to return to London for the birth.

 

Szabo took a flat in Notting Hill, which was to be her home until she left for her second mission to France in June 1944. On 8 June 1942, she gave birth to Tania Damaris Desiree Szabo at St Mary's Hospital while Étienne was stationed at Bir Hakeim in North Africa. The following day, he took part in a valiant defence against the Afrika Korps, escaping with his battalion from the assault of the 15th Panzer Division on 10 June.

 

Violette sent her baby to childminders while she worked at the South Morden aircraft factory where her father was stationed. During this period, she was informed of her husband's death in action. Étienne had died on 24 October 1942 from chest wounds received while leading his men in a diversionary attack on Qaret el Himeimat, at the beginning of the Second Battle of El Alamein; he had never seen his daughter. It was Étienne's death that made Violette accept an offer to train as a field agent in the British Special Operations Executive (SOE) as her best way of fighting the enemy that killed her husband.

 

Special Operations Executive

 

It is unclear how or why Szabo was recruited by F-Section, as her surviving official file is thin, but her fluency in French and her previous service in the ATS probably brought her to the attention of SOE. She would have been invited to an interview regarding war work with E. Potter, the alias of Selwyn Jepson, a detective novelist and the F-Section recruiter. Szabo was given security clearance on 1 July 1943 and selected for training as a field agent on 10 July. She was commissioned as a section leader in the First Aid Nursing Yeomanry, a civilian service often used by SOE as a cover for female agents.

 

After an assessment for fluency in French and a series of interviews, Szabo was sent from 7–27 August to STS 4, a training school at Winterfold House, and after a moderately favourable report, to Special Training School 24 of Group A at Arisaig in the Scottish Highlands in September and October. Szabo received intensive instruction in fieldcraft, night and daylight navigation, weapons and demolition. Again her reports were mixed, but she passed the course and moved on to Group B.

 

Szabo was sent to the SOE "finishing school" at Beaulieu, Hampshire, where she learnt escape and evasion, uniform recognition, communications and cryptography, and had further training in weaponry. The final stage in training was parachute jumping, which was taught at Ringway Airport near Manchester. On her first attempt, Szabo badly sprained her ankle and was sent home for recuperation, spending some time in Bournemouth (it was this ankle that was to fail her later in France). She was able to take the parachuting course again and passed with a second class in February 1944. On 24 January 1944, Szabo made her will, witnessed by Vera Atkins and Major R. A. Bourne Paterson of SOE, naming her mother, Reine, as executrix and her daughter Tania as sole beneficiary.

 

In 2012 Max Hastings wrote that Szabo was "adored by the men and women of SOE both for her courage and endless infectious Cockney laughter", while Leo Marks remembered her as "A dark-haired slip of mischief....She had a Cockney accent which added to her impishness".

 

First mission

 

Due to the ankle injury, Szabo's first deployment was delayed, but it was during her second course at Ringway that she first met Philippe Liewer (d. c. 1948). While in London she also socialised with Bob Maloubier, so SOE decided she would work as a courier for Liewer's Salesman circuit. However, the mission was postponed when F Section received a signal from Harry Peulevé's (codename Jean) Author circuit warning that several members of the Rouen-Dieppe group had been arrested, including Claude Malraux (codename Cicero; brother of novelist Andre Malraux) and radio operator Isidore Newman. This extra time meant Szabo could be sent for a refresher course in wireless operation in London, and it was then that Leo Marks, SOE's cryptographer, seeing her struggle with her original French nursery rhyme, gave Szabo his own composition, The Life That I Have as her code poem.

 

On 5 April 1944, Szabo and Liewer were flown from RAF Tempsford in Bedfordshire in a US B-24 Liberator bomber and parachuted into German-occupied France, near Cherbourg. Her cover was that she was a commercial secretary named Corinne Reine Leroy (the latter two names being her mother's first and maiden names), who was born on 26 June 1921 (her real birthdate) in Bailleul, and who was a resident of Le Havre, which gave her reason to travel to the Restricted Zone of German occupation on the coast.

 

Under the code name "Louise", which happened to be her nickname (she was also nicknamed "La P'tite Anglaise", as she stood only 5'3" tall), she and SOE colleague Philippe Liewer (under the name "Major Charles Staunton"), organiser of the Salesman circuit, tried to assess the damage made by the German arrests, with Szabo travelling to Rouen, where Liewer could not go as a wanted man (both he and Maloubier were on wanted posters with their codenames), and to Dieppe to gather intelligence and carry out reconnaissance. It soon became clear that the circuit, which originally involved over 120 members (80 in Rouen and 40 on the coast) had been exposed beyond repair. Szabo returned to Paris to brief Liewer, and in the two days, before they were due to depart, she bought a dress for Tania, three frocks and a yellow sweater for herself, and perfume for her mother and herself. While the destruction of Salesman was a heavy blow to SOE, her reports on the local factories producing war materials for the Germans were important in establishing Allied bombing targets.

 

She returned to England by Lysander, piloted by Bob Large, DFC, of the RAF, on 30 April 1944, landing after a stressful flight in which the plane was hit by anti-aircraft fire over Chateaudun, and Szabo was thrown about the body of the plane. Large had turned off the intercom when attacked and did not turn it back on for the rest of the flight, so when the plane landed heavily due to a burst tyre, and he went to get Szabo out, she (thinking they had been shot down and not having seen her blond pilot) let Large have a volley of abuse in French, mistaking him for a German. When she realised what had really happened, he was rewarded with a kiss. Philippe Liewer returned at the same time in another Lysander. On 24 May 1944 Szabo was promoted to Ensign in the FANY.

 

After two aborted attempts, due to stormy weather on the night of 4/5 June and the abandonment of the intended landing ground on 5/6 June by the Resistance reception committee because of German patrols, Szabo and three colleagues were dropped by parachute from a USAAF Liberator flown from RAF Harrington in Northamptonshire onto a landing field near Sussac on the outskirts of Limoges early on 8 June 1944 (immediately following D-Day, and Tania Szabo's second birthday).

Szabo was part of a four-person team sent to operate in the department of Haute Vienne with the circuit codename 'Salesman II', led by her SOE commander Philippe Liewer (now codenamed Hamlet), whose rolled-up Rouen circuit had been 'Salesman', and including Second Lieutenant Jean-Claude Guiet (codenames Claude and Virgile) of the US Army as wireless operator (W/O), and Bob Maloubier (alias Robert 'Bob' Mortier; codenames Clothaire and Paco), Violette and Liewer's friend and comrade of SOE who was to act as military instructor to the local Maquis, and who had worked as weapons instructor and explosives officer for Liewer on the original Salesman I circuit. For this mission, Szabo's cover was that she was a Mme Villeret, the young widow of an antiques dealer from Nantes. It is possible Szabo had twisted an ankle on landing.

 

Upon arrival, she was sent to co-ordinate the activities of the local maquis in sabotaging communication lines during German attempts to stem the Normandy landings. When he arrived in the Limousin, Philippe Liewer found the local maquis to be poorly led and less prepared for action than he expected. To better co-ordinate Resistance activity against the Germans, he decided to send his courier, Szabo, as his liaison officer to the more active Maquis of Correze and the Dordogne, led by Jacques Poirier (SOE), head of the renamed Digger circuit, who had taken over from Harry Peulevé of the Author circuit, upon the latter's arrest. However, due to poor intelligence gathering by the local Resistance, Liewer was unaware that the 2nd SS Panzer Division was making its slow journey north to the Normandy battlefields through his area.

 

At 9.30 am on 10 June Szabo set off on her mission, not inconspicuously by bicycle as Liewer would have preferred, but in a Citroen driven by a young maquis section leader, Jacques Dufour ('Anastasie'). He had insisted upon using the car, even though the Germans had forbidden the use of cars by the French after D-Day, to drive her half of the 100 kilometres (62 mi) of her journey. At her request to Liewer, Szabo was armed with a Sten gun and eight magazines of ammunition. She was dressed in a light suit, flat-heeled shoes and no stockings. On their way across the sunlit fields of south-central France they picked up Jean Bariaud, a 26-year-old Resistance friend of Dufour, who was meant to accompany them on the return journey.

 

Their car raised the suspicions of German troops at an unexpected roadblock outside of Salon-la-Tour that had been set up to find Sturmbannführer Helmut Kämpfe, a battalion commander of the 2nd SS Panzer Division, who had been captured by the local resistance. When Dufour slowed the car, the unarmed Bariaud was able to escape and later warn the Salesman team of the arrest of his two companions.

 

According to Minney and Vickers, when they had stopped, Szabo and Dufour leapt from the car, he to the left and she to the right and the cover of a tree, as Dufour opened fire. A gun battle ensued during which a woman emerging from a barn was killed by the Germans. As armoured cars arrived at the scene, Szabo crossed the road to join Dufour, and they leapt a gate, before running across a field towards a small stream. They then ran up a hill towards some trees, when Szabo fell and severely twisted an ankle. She refused Dufour's offer of help, urging him to flee, and, dragging herself to the edge of the cornfield, she struggled to an apple tree. Standing behind the tree, she then provided Dufour with covering fire, allowing him to make his escape to hide in a friend's barn. Szabo fought the Germans for thirty minutes, killing a corporal, possibly more, and wounding some others. Eventually, she ran out of ammunition and was captured by two men who dragged her up the hill to a bridge over a railway. She was hot, dishevelled, and in pain. Szabo was questioned by a young officer whose armoured car had drawn up nearby. She was then taken away. Szabo's captors were most likely from the 1st Battalion of 3rd SS Panzer Grenadier Regiment Deutschland (Das Reich Division) whose commanding officer was the missing Sturmbannführer Kämpfe.

 

In R.J. Minney's biography, as above, she is described as putting up fierce resistance with her Sten gun, although German documents of the incident record no German injuries or casualties. A recent biography of Vera Atkins, the intelligence officer for the French section of SOE, notes that there was a great deal of confusion about what happened to Szabo—the story was revised four times—and states that the Sten gun incident "was probably a fabrication". Szabo's most recent biographer, Susan Ottaway, includes the battle in her book, as does Tania Szabo in hers, and Philip Vickers in his book on Das Reich. Authors Sarah Helm and Max Hastings express doubt about the story of the battle.

 

Violette Szabo was transferred to the custody of the Sicherheitsdienst (SD, the SS Security Service) in Limoges, where she was interrogated for four days by SS-Sturmbannführer Kowatch. She gave her name as "Vicky Taylor", the name she had intended to use if she needed to return to England via Spain. (Her reason for choosing this name is unknown, but it may have been a play on szabo being the Hungarian word for "tailor".) From there, she was moved to Fresnes Prison in Paris and brought to Gestapo headquarters at 84 Avenue Foch for interrogation and torture by the Sicherheitsdienst, who by now knew of her true identity and activities as an SOE agent.

 

With the Allies driving deep into France and George Patton's Third US Army heading towards Paris, the decision was taken by the Germans to send their most valuable French prisoners to Germany. On 8 August 1944, Szabo, shackled to SOE wireless operator Denise Bloch, was entrained with other male and female prisoners, including several SOE agents she knew, for transfer. At some point in the journey, probably outside Chalons-sur-Marne, an Allied air raid caused the guards to temporarily abandon the train, allowing Szabo and Bloch to get water from a lavatory to the caged male prisoners in the next carriage, the two women both providing inspiration and a morale boost to the suffering men. When the train reached Reims, the prisoners were taken by lorries to a large barn for two nights, where Szabo, still tied at the ankle to Bloch, who was in good spirits, was able to wash some of her clothes in a rudimentary fashion and to speak about her experiences to her SOE colleague Harry Peulevé.

 

From Reims, via Strasbourg, the prisoners went by train to Saarbrücken and a transit camp in the suburb of Neue Bremm, where hygiene facilities were nonexistent, and food was only indigestible bread crusts. After about ten days, Szabo and most of the other women were sent on to Ravensbrück concentration camp, where over 92,000 women were to die during the war. The exhausted women arrived at this notorious place of disease, starvation, and violence on 25 August 1944 after a terrible eighteen-day journey.

 

Although she endured hard labour and malnutrition, she helped save the life of Belgian resistance courier Hortense Daman, kept up the spirits of her fellow detainees, and, according to fellow inmate American Virginia d'Albert-Lake, constantly planned to escape. While at Ravensbrück, Szabo, Denise Bloch, Lilian Rolfe and Lake were among 1,000 French women sent to the Heinkel factory at the sub-camp of Torgau. Here they protested and refused to make munitions, and were forced to work in the vegetable cellar outside the camp walls and then to dig potatoes. The British women also made contact with French prisoners at a nearby POW camp who, being better fed, provided them with extra rations and offered to send messages to London with a transmitter they had built (there is no evidence they were successful).

 

After the Torgau incident, Szabo, Bloch, Rolfe and Lake were part of a group of around 250 prisoners sent back to Ravensbrück on 6 October, where Violette was put to work in the fabric store. In late October 1944, the protest women were transferred to a punishment camp at Königsberg, where they were forced into harsh physical labour felling trees, clearing rock-hard icy ground for the construction of an airfield and digging a trench for a narrow-gauge railway. Violette volunteered for tree-felling in the forest, where the trees gave some shelter from the bitter winds (Lilian and Denise were too ill to join her). In the bitter East Prussian winter of 1944, each day the women were forced to stand for Appell (roll-call) in the early morning for up to five hours before being sent to work, many of them freezing to death. Szabo was dressed only in the summer clothes she had been wearing when sent to Germany and the women received barely any food and slept in frozen barracks without blankets. According to Christine Le Scornet, a seventeen-year-old French girl whom Violette befriended, and Jeannie Rousseau, the co-leader of the Torgau revolt, she maintained her morale, was optimistic about liberation and continued to plan to escape. On 19 or 20 January 1945, the three British agents were recalled to Ravensbrück and sent first to the Strafblock, where they were possibly brutally assaulted and then to the punishment bunker, where they were kept in solitary confinement. The women were already in poor physical condition—Rolfe could barely walk—and the abuse finally weakened Szabo's morale.

 

Szabo was killed in the execution alley at Ravensbrück, aged 23, on or before 5 February 1945. She was shot in the back of the head while kneeling down, by SS-Rottenführer Schult in the presence of camp commandant Fritz Suhren (who pronounced the death penalty), camp overseer and deputy commandant Johann Schwarzhuber, SS-Scharführer Zappe, SS-Rottenführer Schenk (responsible for the crematorium), chief camp doctor Dr Trommer and dentist Dr Martin Hellinger, from the deposition of Schwarzhuber recorded by Vera Atkins 13 March 1946. Denise Bloch and Lilian Rolfe – neither of whom could walk and were carried on stretchers – were shot at the same time, by order of the highest Nazi authorities; the bodies were disposed of in the camp crematorium. Their clothes were not returned to the camp Effektenkammer (property store) as usually happened after executions.

 

Along with Szabo, Bloch, and Rolfe, one other member of the SOE was also executed at Ravensbrück: Cecily Lefort. She was killed in the gas chamber sometime in February 1945. Forty-one female Section F SOE agents served in France, some for more than two years, most for only a few months. Twenty-six of them survived World War II. Twelve were executed including Szabo, one was killed when her ship was sunk, two died of disease while imprisoned, and one died of natural causes. Female agents ranged in age from 20 to 53 years.

 

While there is some confusion about the precise circumstances of her execution, Szabo, along with her male and female colleagues who died in the concentration camps, is recorded by the War Office as having been killed in action. As an agent dressed in civilian clothes operating behind enemy lines, Szabo was regarded by the Germans as a franc-tireur not protected by the Geneva Convention and liable to summary execution. Though she was treated harshly at Ravensbrück, there is no conclusive proof that she was tortured or sexually assaulted by the Germans; her biographer, Susan Ottaway, thinks it unlikely.

---

www.youtube.com/watch?app=desktop&v=A8Zrq6FHmt0

 

Once again I had been called into the field for a last minute operation for the Triumvirate, I had my orders to go to Iridonia, a planet covered in rocks sand and acid pools. The planet was an important one to capture as it had access to many useful hyper lanes, leading straight to the hearts of some of our greatest threats, so it was key that we executed the orders without fail.

 

Once landing, I had been dispatched from the main group with a squad of elite death troopers, who were to help me target a specific group of rebels while the rest rounded out other rebels. We arrived at the house, which was surrounded by an acid lake, typical of this part of the planet, where we entered peacefully, the Zabrak I talked claimed he knew nothing but I k ew who he was, Baak Chiser, freedom fighter of Iridonia, as I continued to pursue answers from him about the hideouts located around the planet, the remainder of my squad located those that were there and executed them without question. We had them all where we wanted them except for one, there was a child of Chiser’s who was hidden from us, I tapped into their fins but found nothing, my troopers arrived back to me and reported they had done what they had asked. “I will escort Chiser back the ship personally, he has a child find it!”

Dance music has no excuse for being a boys' club. Though they don’t always get their due in a patriarchal industry, there’s no shortage of talented women who can hold their own behind the turntables. From seasoned veterans to rising stars, here are the Top 10 Female DJ's 2015 you can’t afford to be clueless about.

 

The moment you walk into a party or a nightclub, it is the music that takes you by surprise. It defines the theme of the party. The beats either turn you on or energizes the mood at the party. But, what gives the party an extra zing is when the DJ is no ordinary person but someone who is well dressed and looks incredibly stunning and hot.

Let’s find out who made the list of Top 10 Female DJ's 2015.

#10 - Maya Jane Coles

  

At number 10 on the Top 10 Female DJ's 2015 list is Maya Jane Coles. Life has been changing quite dramatically for a 25 year old British-Japanese, producer/dj by the name of Maya Jane Coles and having recently released her biggest body of work to date; her debut album “Comfort” things look set to keep on changing...

 

Born and bred in London, by any standards Maya has enjoyed a rather unique start to her career; from global spectacles like playing under the World’s largest mirror ball at the Tate Modern (UK) or charting internationally with her DJ Kicks mix for K7! to making the Resident Advisor top 10 DJ Chart 2011 & 2012.

 

In the last 24 months alone, Maya has already graced the cover of over 14 magazines in 8 different countries including Mixmag (UK), Village Voice (USA), Trax (France), Groove (Germany) and Vicious (Spain), alongside coverage in magazine’s as diverse as Vogue and Nylon through to Rolling Stone and Men’s Health with the likes of KCRW, BBC Radio 1, Per Se playing her tracks on radio.

#9 - Tenashar

  

Next on the Top 10 Female DJ's 2015 List, from Europe to Asia and beyond, the Tenashar bombshell is a force to be reckoned with, with a desire to shake up the world. Chaining a galaxy of EDM to her belt from electro, trance, progressive to big room house, this model and DJ’s raging energy and musical sass has shone dynamically. With energy to spark any party and epic excitement from her thousands of fans, the Singaporean starlet will turn any dance floor she touches to gold.

 

Currently based in Hong Kong, Tenashar has occupied the studio as of late, where her mashups and mixes have attracted over 300,000 fans to her Facebook page, over 450,000 views on YouTube and claimed the #1 most downloaded Podcast on iTunes. As one of Asia’s most sought after cover models for FHM, Playboy and Hypertune, its without a doubt beauty mingles so well with a beat, lining up Playboy next. Sitting pretty at #1 on Starcount and ranked #5 globally in one of Malaysia’s top nightlife websites, not only does she radiate but also attracts a magnetic clique like no other- a crowd pleasing phenomena.

#8 - Magda

  

Coming into the mix under the encouragement and instruction of Dan Bell and Claude Young, Magda began djing in 1996 working her way through the underground party circuit, via promoters, such as: Syst3m, and joining the all female dj collective: Women on Wax, it was only a short while before she began appearing regularly at Detroit area events and clubs.

 

1999 saw Magda’s initial forays into techno, electro and house evolve. Her dj sets were becoming increasingly minimal and the records in her box reflected a love of weird, challenging music. Invited by Richie Hawtin to open for him at his millennium celebration: Epok, Magda was entering a new phase in her career.

 

In the time since, Magda has expanded her work with Hawtin, becoming his sole choice to open many of his recent Detroit and international events, including: Jak DEMF weekend :2001, Control. labor day weekend: 2001, as well as earning an envious position on the line up of “From Our Minds To Yours” the Plus 8 ten year anniversary party.

 

The next few months will see Magda going on her third european tour alongside Richie Hawtin and making the jump from dj to producer, releasing music under the moniker: Run/Stop Restore on the Minus label.

#7 - Nicole Moudaber

  

A true force to be reckoned with as a DJ and producer, Nicole Moudaber's rise through the ranks of the DJ elite has been swift, purposeful and striking. Propelled by her flawlessly executed, sleazy, edgy house and tough, soulful techno sound, she picked up no less than Carl Cox and Steve Lawler as early fans.

 

Carl snapped up her early tracks for INTEC and Steve featured her music on VIVa & iVAV. Since then she's supplied killer tracks for labels like 8Sided Dice, Kling Klong, Monique Musique and Waveform Recordings, while remixing names including Santos, Martin Eyer, Mauro Picotto and Fergie.

 

Pretty much a perfect start to an artist career that began relatively recently.

#6 - Mari Ferrari

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Starting way back in ‘07 when she started touring extensively around the world, mentioning countries like: America (Las Vegas, Los Angeles,Dallas, Miami, Honduras, Brazil etc.), Europe (Switzerland, France, Germany, Spain, Portugal, Finland, Italy, Iceland, etc.), Asia and the Middle East (UAE, Malaysia, Singapore, Indonesia, Thailand, Vietnam, Turkey,etc.).

 

Mari Ferrari nowadays works with the prestigious promoters and producers in San Tropez, Papagayo, VIP room. Besides her charm, this talented DJ is certainly known, respected and liked in the world of clubs life for her skills on the decks. She already attracted thousands of fans all over the world and her fame always keeps on rising. Coming in at number six on the Top 10 Female DJ's 2015 list.

#5 - Miss K8

  

Miss K8 is mixing up a storm around the world and number 5 on our Top 10 Female DJ's 2015 list. There aren’t many female DJ's in the DJ Mag Top 100 – and there aren’t many Ukrainians for that matter, either. One such lady clearly keen to ruffle a few feathers and do things a bit differently, however, is Miss K8. A native of Kiev, this hardcore techno loving temptress is more than capable with mixing it with the best in the business.

 

The so-called ‘Goddess of Hardcore’ has had a pretty spellbinding year too – as is evidenced by performances on influential hardcore techno stages a la Masters of Hardcore, Dominator, Syndicate and Defqon.1. Something tells us this lady is just getting started…

#4 - Nina Kraviz

  

As an artist, Nina Kraviz is the complete package. She sings, she produces, she DJs, and it’s for that reason that she is one of the most influential voices in the underground electronic world. Since breaking through with standout releases on Underground Quality, she has become an essential member of the Rekids family, releasing a string of EPs and a very personal debut album on the long running label. Coming in at number four on the Top 10 Female DJ's 2015 list.

 

There are hypnotic and sensuous qualities to all the music this Siberian makes: it stems from the way she works, using her voice as an instrument and preferring to ”record from the first take, because that is how I can capture the moment. The vibe. The feeling.” Listen to deep, stripped back but emotionally resonant tracks like those that made up her self titled debut album and you will find it hard to disagree. There sure is something in Nina’s music that stands it out from the crowd – an intimacy and honesty maybe, but always is it unique and creative.

#3 - Krewella

  

Jahan Yousaf, Yasmine Yousaf, and Kris Trindl (aka Rain Man) formed the EDM trio Krewella in Chicago, Illinois. At number three on the Top 10 Female DJ's 2015 list they got together in 2007 but didn’t release their first material until 2011, when they uploaded a handful of songs — including the jagged, celebratory “Life of the Party” — to their Soundcloud page. In 2012, they self-released their first two EPs: Play Hard (June), featuring the reggae-flavored “Killin It,” and Play Harder (December). The former reached number ten on Billboard’s Top Dance/Electronic Albums chart. The same year, the trio became a staple of the festival circuit, including New York’s Electric Zoo and Texas’ Meltdown. 2013 saw the release of the groups first full-length, the bombastic Get Wet. The album spawned several singles and videos, including the sensational underground anthem “Live for the Night.”

 

“There is no bigger compliment than to have our amazing support system, our KREW, vote for us without even being asked to do so. THAT is real love”. So says Krewella – and to give the guys their dues you would indeed be hard pressed to find a more loved female duo in the EDM world right now. Consisting of sisters Jahan and Yasmine Yousaf, this all-conquering pair have a style that’s very much their own. And in spite of Kristopher "Rain Man" Trindl’s much publicised resignation, the Krewella party rolls with distinction…

#2 - Hannah Wants

  

A child of the garage generation Hannah Wants has validated herself as a world renowned DJ with some serious credentials.

 

In 2014 alone Hannah picked up the Best Breakthrough DJ title at the DJ Mag awards and became Mixmag’s Best Breakthrough DJ and Star Of The Year. Armed with an innate desire and passion to practice the art of DJ’ing from a young age Hannah has worked tirelessly for over a decade to pursue her DJ dream. Throughout this journey Wants has acquired an individual hard-hitting style and true competence behind the decks.

 

Nourishing her addiction to music the Birmingham (UK) born DJ dedicated the summer of 2010 to Ibiza. Following a number competition wins, an unexpected headline opportunity at Es Paradis and an invitation to run her own weekly night at Viva, it was there on the White Isle that Hannah really started to make a name for herself. Hannah’s main aim is to build a solid yet unique reputation for her live DJ sets and after a record amount of sell out events over the last twelve months she has dramatically risen from self-taught DJ to an unquestionable worldwide name on the house and bass music scene.

#1 - Nervo

  

At number one on the Top 10 Female DJ's 2015 list is Australian sisters NERVO are big news. While some have questioned the lack of women in the DJ Mag Top 100 DJ's poll, these DJ and production siblings have consistently placed in the upper reaches. Starting out as songwriters for everyone from Britney Spears to Kelly Rowland and Armin van Buuren, they’ve a natural knack for well-placed hooks, which pepper their productions.

 

In July 2015, they finally released their debut album ‘Collateral’, which features music royalty of the calibre of Chic’s Nile Rodgers and Kylie Minogue just for starters.

 

And while a clever pop sensibility is evident in their style, they’re not afraid of getting a little deeper musically, throwing in some groovier house during their DJ sets, which are clearly in high demand. They’ll play London, Las Vegas, Zurich and Sao Paulo before the year is out. dancegeo.com/top-10-female-djs-2015/

"We thought he was there to help us".

A scene from 'Obi-Wan Kenobi' that greatly depicts Anakin/Darth Vader leading the 501st Legion in a direct siege on the Jedi Temple, executing Order 66. Presenting that not all were killed by clones, but some by lightsaber.

Follow me on Instagram for more frequent uploads: www.instagram.com/joycie_mocs

NEW YORK (Feb. 8, 2019) A U.S. Marine Corps CH-53E Super Stallion helicopter flies around the Statue of Liberty in New York City, Feb. 8, 2019. Marine Heavy Helicopter Squadron (HMH) 464 is participating in a cold weather training exercise in Brunswick, Maine. Executing this training ensures that HMH-464 is prepared to support the Marine Air-Ground Task Force (MAGTF) commander during all phases of expeditionary operations. The aircraft is assigned to HMH-464, Marine Aircraft Group 29, 2nd Marine Aircraft Wing. (U.S. Marine Corps photo by Cpl. Jered T. Stone/Released)

On the Road

From Wikipedia, the free encyclopedia

"Marylou" redirects here. For the album by Anna Rossinelli, see Marylou (album).

For other uses, see On the Road (disambiguation).

On the Road

 

1st edition

On the Road is a novel by American writer Jack Kerouac. On the Road is based on the travels of Kerouac and his friends across America. It is considered a defining work of the postwar Beat and Counterculture generations, with its protagonists living life against a backdrop of jazz, poetry and drug use.

The idea for On the Road formed during the late 1940s. It was to be Kerouac's second novel, and it underwent several drafts before he completed it in April 1951. It was first published by Viking Press in 1957.

When the book was originally released, The New York Times hailed it as "the most beautifully executed, the clearest and the most important utterance yet made by the generation Kerouac himself named years ago as 'beat,' and whose principal avatar he is."[1] In 1998, the Modern Library ranked On the Road 55th on its list of the 100 best English-language novels of the 20th century. The novel was chosen by Time magazine as one of the 100 best English-language novels from 1923 to 2005.[2]

 

This section is written like a personal reflection or opinion essay rather than an encyclopedic description of the subject. Please help improve it by rewriting it in an encyclopedic style. (December 2012)

Many aspects go into understanding the context of On the Road, and they must be viewed cohesively in order to appreciate why the book was as relevant and pertinent as it was. The following issues are important to consider as the foundation for the book and its reception by the public.

Kerouac biography[edit]

Kerouac was born in a French-Canadian neighborhood of Lowell, Massachusetts, and learned English at age six. (He had difficulty with the language into his teens.) He grew up in a devout Catholic home, and this influence manifested itself throughout the work. During high school, Kerouac was a star football player and earned a scholarship to Columbia University. After dropping out following a conflict with the football coach, he then served on several different sailing vessels before returning to New York in search of inspiration to write. Here he met the likes of Allen Ginsberg and William Burroughs who would not only become characters in the book but also form the core of the Beat Generation.[3]

Many of the events depicted in the book are the experiences that shaped both its content and production. Kerouac met Neal Cassady, who would become Dean Moriarty, in December 1946 and began his road adventures in 1947 while writing what would become The Town and the City. The adventures themselves, which took place between 1947 and 1950, were meant to help him overcome writers block during early attempts to write the book. It was through letters and other interactions with his friends that Kerouac decided to write the first person narrative that became On the Road as we know it today.[3]

The publication process was another adventure unto itself, which took a major psychological toll on Kerouac. He was discouraged by the struggle (even though he continued to write during the period) and finally agreed to substantially revise the original version after years of failed negotiations with different publishers. He removed several parts in order to focus the story and also to protect himself from potential issues of libel. He also continued to write feverishly after its publication in spite of attacks from critics.[3]

Historical context[edit]

On the Road portrays the story of a fierce personal quest for meaning and belonging. This comes at an interesting point in American history when conformity was praised and outsiders were suspect. The Beat Generation arose out of a time of intense conflict, both internally and externally.

The issues of the Cold War, the Second Red Scare and McCarthyism took center stage of the cultural arena in the 1950s. As the U.S government cracked down on left-wing influences at home and abroad, the sentiment of unifying and banding together led to extreme measures of censorship and control.

The Cold War was the backdrop for this fight. In a short time after defeating Germany, the Soviet Union fell from ally to threat in the eyes of the United States. In the postwar reconstruction process, the two powers found themselves continually at odds. The sentiment arose clearly as a struggle between two opposing ways of life. Contention over Soviet support for alleged communist revolution in Iran, then Turkey and Greece, led to the American policy of containment and the Truman Doctrine. Before a joint session of Congress on March 12, 1947, President Harry S. Truman stated, "I believe it must be the policy of the United States to support the people who are resisting attempted subjugation by armed minorities or by outside pressures."[4] That summer, Secretary of State George C. Marshall proposed a plan for the economic reconstruction of Europe. While Western European countries planned how to go about rebuilding with American help, the Soviets walked away and forced the Eastern European countries to do the same. A Soviet aid and recovery plan followed for these countries and would mark the beginning of a punch and counterpunch pattern that would typify the early years of the Cold War. This laid a foundation for the tension that would define the period.[4]

Beat Generation summary[edit]

It was in this climate that some individuals of the young generation were seeking meaning outside the mainstream worldview. Amidst all the conflict and contradiction, the Beats were seeking out a way to navigate through the world. As John Clellon Holmes put it, "Everywhere the Beat Generation seems occupied with the feverish production of answers—some of them frightening, some of them foolish—to a single question: how are we to live?"[5]

The idea of what it means to be "beat" is still difficult to accurately describe. While many critics still consider the word "beat" in its literal sense of "tired and beaten down," others, including Kerouac himself promoted the generation more in sense of "beatific" or blissful.[6] "Beat" can also be read as a 'rhythm' such as in music, as in Jazz - a rhythmic beat or 'the rhythm of life' itself.

Holmes and Kerouac published several articles in popular magazines in an attempt to explain the movement. In the November 16, 1952 New York Times Sunday Magazine, he wrote a piece exposing the faces of the Beat Generation. "[O]ne day [Kerouac] said, 'You know, this is a really beat generation' ... More than mere weariness, it implies the feeling of having been used, of being raw. It involves a sort of nakedness of mind, and ultimately, of soul: a feeling of being reduced to the bedrock of consciousness. In short, it means being undramatically pushed up against the wall of oneself."[7] He distinguishes Beats from the Lost Generation of the 1920s pointing out how the Beats are not lost but how they are searching for answers to all of life's questions. Kerouac's preoccupation with writers like Ernest Hemingway shaped his view of the beat generation. He uses a prose style which he adapted from Hemingway and throughout On the Road he alludes to novels like The Sun Also Rises. "How to live seems much more crucial than why."[7] In many ways, it is a spiritual journey, a quest to find belief, belonging, and meaning in life. Not content with the uniformity promoted by government and consumer culture, the Beats yearned for a deeper, more sensational experience.

Holmes expands his attempt to define the generation in a 1958 article in Esquire magazine. This article was able to take more of a look back at the formation of the movement as it was published after On the Road. "It describes the state of mind from which all unessentials have been stripped, leaving it receptive to everything around it, but impatient with trivial obstructions. To be beat is to be at the bottom of your personality, looking up."[5]

Literary context[edit]

At the time of publication, On the Road was not the first book to criticize contemporary American culture. A nonconformist sentiment characterized the arts and popular culture of the 1950s as a way of rejecting societal norms. Many of the best selling books of the time achieved this same mission.[4]

J. D. Salinger produced the first shock to the tranquil suburban landscape with the publication of The Catcher in the Rye in 1951. His protagonist Holden Caulfield struck a chord with young readers also at odds with the adult world. Caulfield's rejection of the regimentation and "phoniness" of the world around him resonated with the struggle for meaning that drove the Beat Generation. Salinger's rejection of traditional middle-class values signaled the first widely recognized public stand against the cultural conformist pressure.[4]

Among the best-selling novels of 1950s was Peyton Place by Grace Metalious. Published in September 1956, it managed to be the second most sold book in the country that year and then to top the chart in 1957. In fact, it went on to be the best-selling book in American history up to that point.[8] Often cited as the prime example of the decline in American culture of the decade, the novel examines the traditional values of a New England mill town by introducing the complications of extramarital sexual affairs. A book that received a broad range of reviews after publication, Peyton Place's popularity shows that popular culture was ready for a break from their traditional expectations.[8]

Another popular contemporary was Sloan Wilson's The Man in the Gray Flannel Suit (1955) that dealt with the increasing suburbanization of American society. Tom Rath struggles with the dilemma of following his conscience or pursuing the big salary and lush lifestyle typically portrayed of the 1950s family. In the end, though, he discovers that he can have both. While Wilson can be seen as chastising the societal norms at times, he concludes with his character achieving them. This shows the dichotomy of attitudes toward the middle-class values of the day.[9]

Production and publication[edit]

  

The scroll, exhibited at the Boott Cotton Mills Museum in Lowell, Massachusetts, summer 2007

Kerouac often promoted the story about how in April 1951 he wrote the novel in three weeks, typing continuously onto a 120-foot roll of teletype paper.[10] Although the story is true per se, the book was in fact the result of a long and arduous creative process. Kerouac carried small notebooks, in which much of the text was written as the eventful span of road trips unfurled. He started working on the first of several versions of the novel as early as 1948, based on experiences during his first long road trip in 1947. However, he remained dissatisfied with the novel.[11] Inspired by a thousand-word rambling letter from his friend Neal Cassady, Kerouac in 1950 outlined the "Essentials of Spontaneous Prose" and decided to tell the story of his years on the road with Cassady as if writing a letter to a friend in a form that reflected the improvisational fluidity of jazz.[12]

The first draft of what was to become the published novel was written in three weeks in April 1951 while Kerouac lived with Joan Haverty, his second wife, at 454 West 20th Street in Manhattan, New York. The manuscript was typed on what he called "the scroll"—a continuous, one hundred and twenty-foot scroll of tracing paper sheets that he cut to size and taped together.[13] The roll was typed single-spaced, without margins or paragraph breaks. In the following years, Kerouac continued to revise this manuscript, deleting some sections (including some sexual depictions deemed pornographic in the 1950s) and adding smaller literary passages.[14] Kerouac authored a number of inserts intended for On the Road between 1951 and 1952, before eventually omitting them from the manuscript and using them to form the basis of another work, Visions of Cody.[15] On the Road was championed within Viking Press by Malcolm Cowley and was published by Viking in 1957, based on revisions of the 1951 manuscript.[16] Besides differences in formatting, the published novel was shorter than the original scroll manuscript and used pseudonyms for all of the major characters.

Viking Press released a slightly edited version of the original manuscript on 16 August 2007 titled On the Road: The Original Scroll corresponding with the 50th anniversary of original publication. This version has been transcribed and edited by English academic and novelist Dr. Howard Cunnell. As well as containing material that was excised from the original draft due to its explicit nature, the scroll version also uses the real names of the protagonists, so Dean Moriarty becomes Neal Cassady and Carlo Marx becomes Allen Ginsberg, etc.[17]

In 2007, Gabriel Anctil, a journalist of the Montreal's daily Le Devoir discovered, in Kerouac's personal archives in New York, almost 200 pages of his writings entirely in Quebec French, with colloquialisms. The collection included ten manuscript pages of an unfinished version of On the Road, written on January 19, 1951. The date of the writings makes Kerouac one of the earliest known authors to use colloquial Quebec French in literature.[18]

Plot summary[edit]

 

The two main characters of the book are the narrator, Salvatore "Sal" Paradise, and his new friend Dean Moriarty, much admired for his carefree attitude and sense for adventure, a free-spirited maverick eager to explore all kicks and an inspiration and catalyst for Sal's travels. The novel contains five parts, three of them describing road trips with Moriarty. The narrative takes place in the years 1947 to 1950, is full of Americana, and marks a specific era in jazz history, "somewhere between its Charlie Parker Ornithology period and another period that began with Miles Davis." The novel is largely autobiographical, Sal being the alter ego of the author and Dean standing for Neal Cassady. The epic nature of the adventures and the text itself creates a tremendous sense of meaning and purpose for the themes and lessons.

Part One[edit]

The first section describes Sal's first trip to San Francisco. Disheartened after a divorce, his life changes when he meets Dean Moriarty, who is "tremendously excited with life," and begins to long for the freedom of the road: "Somewhere along the line I knew there would be girls, visions, everything; somewhere along the line the pearl would be handed to me." He sets off in July 1947 with fifty dollars in his pocket. After taking several buses and hitchhiking, he arrives in Denver, where he hooks up with Carlo Marx, Dean, and their friends. There are parties — among them an excursion to the ghost town of Central City. Eventually Sal leaves by bus and gets to San Francisco, where he meets Remi Boncoeur and his girlfriend Lee Ann. Remi arranges for Sal to take a job as a night watchman at a boarding camp for merchant sailors waiting for their ship. Not holding this job for long, Sal hits the road again. "Oh, where is the girl I love?" he wonders. Soon he meets Terry, the "cutest little Mexican girl," on the bus to Los Angeles. They stay together, traveling back to Bakersfield, then to Sabinal, "her hometown," where her family works in the fields. He meets Terry's brother Ricky, who teaches him the true meaning of "mañana" ("tomorrow"). Working in the cotton fields, Sal realizes that he is not made for this type of work. Leaving Terry behind, he takes the bus back to New York and walks the final stretch from Times Square to Paterson, just missing Dean, who had come to see him, by two days.

In this section, Kerouac not only introduces many of the book's characters but also its central conflicts and dilemmas. He initially shows Sal as the deep thinking writer who yearns for greater freedom. As the plot unfolds he shows the depth and degree of Sal's internal conflict in the pursuit of "kicks," torn between the romanticized freedom of the open road and practicality of a more settled, domestic life. Dean appears as the "yellow roman candle" that catalyzes the action of the novel. His uncontainable spirit invites Sal to follow but also foreshadows problems of commitment and devotion that will reappear later on.

Part Two[edit]

In December 1948 Sal is celebrating Christmas with his relatives in Testament, Virginia when Dean shows up with Marylou (having left his second wife, Camille, and their newborn baby, Amy, in San Francisco) and Ed Dunkel. Sal's Christmas plans are shattered as "now the bug was on me again, and the bug's name was Dean Moriarty." First they drive to New York, where they meet Carlo and party. Dean wants Sal to make love to Marylou, but Sal declines. In Dean's Hudson they take off from New York in January 1949 and make it to New Orleans. In Algiers they stay with the morphine-addicted Old Bull Lee and his wife Jane. Galatea Dunkel joins her husband in New Orleans while Sal, Dean, and Marylou continue their trip. Once in San Francisco, Dean again leaves Marylou to be with Camille. "Dean will leave you out in the cold anytime it is in the interest of him," Marylou tells Sal. Both of them stay briefly in a hotel, but soon she moves out, following a nightclub owner. Sal is alone and on Market Street has visions of past lives, birth, and rebirth. Dean finds him and invites him to stay with his family. Together, they visit nightclubs and listen to Slim Gaillard and other jazz musicians. The stay ends on a sour note: "what I accomplished by coming to Frisco I don't know," and Sal departs, taking the bus back to New York.

In this section, Marylou sums up the dilemma of Dean's lack of commitment and selfishness when she says that he will always leave you if it isn't in his interest. This central conflict appears again after Dean returns to Camille in San Francisco, abandoning his two travel companions. Sal again finds himself at a loss for purpose and direction. He has spent his time following the other characters but is unfulfilled by the frantic nature of this life. Much of the euphoria has worn off as he becomes more contemplative and philosophical.

Part Three[edit]

In the spring of 1949, Sal takes a bus from New York to Denver. He is depressed and "lonesome"; none of his friends are around. After receiving some money, he leaves Denver for San Francisco to see Dean. Camille is pregnant and unhappy, and Dean has injured his thumb trying to hit Marylou for sleeping with other men. Camille throws them out, and Sal invites Dean to come to New York, planning to travel further to Italy. They meet Galatea, who tells Dean off: "You have absolutely no regard for anybody but yourself and your kicks." Sal realizes she is right — Dean is the "HOLY GOOF" — but also defends him, as "he's got the secret that we're all busting to find out." After a night of jazz and drinking in Little Harlem on Folsom Street, they depart. On the way to Sacramento they meet a "fag," who propositions them. Dean tries to hustle some money out of this but is turned down. During this part of the trip Sal and Dean have ecstatic discussions having found "IT" and "TIME." In Denver a brief argument shows the growing rift between the two, when Dean reminds Sal of his age, Sal being the older of the two. They get a '47 Cadillac from the travel bureau that needs to be brought to Chicago. Dean drives most of the way, crazy, careless, often speeding over 100 miles per hour, bringing it in a disheveled state. By bus they move on to Detroit and spend a night on Skid Row, Dean hoping to find his homeless father. From Detroit they share a ride to New York and arrive at Sal's aunt's new flat in Long Island. They go on partying in New York, where Dean meets Inez and gets her pregnant while his wife is expecting their second child.

After seeing how he treats Camille and Marylou, Sal finally begins to realize the nature of his relationship with Dean. While he cares greatly about him, several times discussing future plans to live on the same street, he recognizes that the feeling may not be mutual. The situations are beginning to change, though, as Sal has received some money from his recently published book and can begin to support himself and also Dean when he comes to New York. Sal is taking a more active role in his freedom as opposed to just following Dean.

Part Four[edit]

In the spring of 1950, Sal gets the itch to travel again while Dean is working as a parking lot attendant in Manhattan, living with his girlfriend Inez. Sal notices that he has been reduced to simple pleasures — listening to basketball games and looking at erotic playing cards. By bus Sal takes to the road again, passing Washington, Ashland, Cincinnati, St. Louis, and eventually reaching Denver. There he meets Stan Shephard, and the two plan to go to Mexico City when they learn that Dean had bought a car and is on the way to join them. In a rickety '37 Ford sedan the three set off across Texas to Laredo, where they cross the border. They are ecstatic, having left "everything behind us and entering a new and unknown phase of things." Their money buys more (10 cents for a beer), police are laid back, cannabis is readily available, and people are curious and friendly. The landscape is magnificent. In Gregoria, they meet Victor, a local kid, who leads them to a bordello where they have their last grand party, dancing to mambo, drinking, and having fun with prostitutes. In Mexico City Sal becomes ill from dysentery and is "delirious and unconscious." Dean leaves him, and Sal later reflects that "when I got better I realized what a rat he was, but then I had to understand the impossible complexity of his life, how he had to leave me there, sick, to get on with his wives and woes."

In this section we see Dean's selfishness finally extend to Sal, as he leaves Sal abandoned in Mexico City. Sal has sunk to the bottom of his reality having seen Victor put his family obligations over the freedom of the road and Dean was not ready to do the same thing. This is the moment where the paths diverge and Sal realizes that he has more to live for than just constantly moving.

Part Five[edit]

Dean, having obtained divorce papers in Mexico, had first returned to New York to marry Inez, only to leave her and go back to Camille. After his recovery from dysentery in Mexico, Sal returns to New York in the fall. He finds a girl, Laura, and plans to move with her to San Francisco. Sal writes to Dean about his plan to move to San Francisco. Dean writes back saying that he's willing to come and accompany Laura and Sal. Dean arrives over five weeks early but Sal is out taking a late-night walk alone. Sal returns home to Laura and sees a copy of Proust and knows that it is Dean's. Sal realizes that his friend has arrived, but at a time when Sal doesn't have the money to relocate to San Francisco. On hearing this Dean makes the decision to head back to Camille and Sal's friend Remi Boncoeur denies Sal's request to give Dean a short lift to 40th Street on their way to a Duke Ellington concert at the Metropolitan Opera House. Sal's girlfriend Laura realises that this is a painful moment for Sal and prompts him for a response as the party drives off without Dean; to which he replies "He'll be alright". Sal later reflects as he sits on a river pier under a New Jersey night sky about the roads and lands of America that he has travelled and states ". . . I think of Dean Moriarty, I even think of Old Dean Moriarty the father we never found, I think of Dean Moriarty."

Character key[edit]

Kerouac often based his fictional characters on friends and family.[19][20]

"Because of the objections of my early publishers I was not allowed to use the same person's name in each work."[21]

Real-life personCharacter name

Jack KerouacSal Paradise

Gabrielle KerouacSal's Aunt

Alan AnsenRollo Greb

William S. BurroughsOld Bull Lee

Joan VollmerJane

Lucien CarrDamion

Neal CassadyDean Moriarty

Carolyn CassadyCamille

Hal ChaseChad King

Henri CruRemi Boncoeur

Bea Franco (Beatrice Kozera)Terry

Allen GinsbergCarlo Marx

Diana HansenInez

Alan HarringtonHal Hingham

Joan HavertyLaura

Luanne HendersonMarylou

Al HinkleEd Dunkel

Helen HinkleGalatea Dunkel

Jim HolmesTom Snark

John Clellon HolmesIan MacArthur

Ed StringhamTom Saybrook

Herbert HunckeElmer Hassel

Frank JeffriesStan Shephard

Gene PippinGene Dexter

Allan TemkoRoland Major

Bill TomsonRoy Johnson

Helen TomsonDorothy Johnson

Ed UhlEd Wall

Helen GullionRita Betancourt

Major themes[edit]

 

The main ideas of the Beat Generation, the longing for belief and meaning in life, are reflected in On the Road. While interest in the book initially revolved more around Kerouac's personal life rather than the literary nature of the text, critical attention has burgeoned in recent years. Although the book can be viewed through many lenses, several major themes rise up from a deeper study.

Kerouac has admitted that the biggest of these themes is religion. In a letter to a student in 1961, he wrote:

"Dean and I were embarked on a journey through post-Whitman America to FIND that America and to FIND the inherent goodness in American man. It was really a story about 2 Catholic buddies roaming the country in search of God. And we found him."

[22]

This idea of an inward adventure is illustrated in all of the experimentation. The Beats had a more liberal definition of God and spirituality closely related to personal experience.

All of the travel and personal interaction in the book permit an examination of the ideas of masculinity and mobility in the 1950s. While these concepts may seem unrelated, Kerouac weaves them together to provide another form of rebellion against the social norm of conformity. Mary Pannicia Carden examines this and proposes that traveling was a way for the characters to assert their independence. "[Sal and Dean] attempt to replace the model of manhood dominant in capitalist America with a model rooted in foundational American ideals of conquest and self-discovery."[23] Travel is a very symbolic act both in history and in literature of coming of age and self-realization, especially for males. But not only do they see conformity as restricting, but in many senses, they view women this way as well. "Reassigning disempowering elements of patriarchy to female keeping, they attempt to substitute male brotherhood for the nuclear family and to replace the ladder of success with the freedom of the road as primary measures of male identity."[23] The interactions of the book come down to balances of power and gains and losses of masculinity. Even though they seek to defy its traditional markers, Dean and Sal also rely on this masculinity in their self-definition. In the end, their divergence to different paths reflects Sal's understanding of the limitations of complete freedom that is sought on the road in so far as it pertains to relations to culture and identity.

In a broader sense, On the Road's major lesson is about the proper way of growing up. Unlike Holden Caulfield, Sal Paradise is struggling with getting through adolescence and maturity rather than delaying it. We see this contrasted with Dean Moriarty who is portrayed as the depiction of a child, always on the move. Sal's struggle is how to balance these opposing forces. We saw these exact issues in Holmes's definition of the Beat Generation as a whole, of which Sal Paradise becomes the metaphorical face.

Language[edit]

 

In addition to the themes and controversial topics addressed in On the Road, Kerouac's apparently erratic writing style garnered much attention for the novel. Some have said that On the Road was merely a transitional phase in between the traditional narrative structure of The Town and the City (1951) and the so-called "wild form" of Kerouac's later books like Visions of Cody (1972).[24]

Kerouac's own explanation of his style begins with the publication of "Essentials of Spontaneous Prose" (1953) in which he outlines the core features of his techniques. He likens his writing to Impressionist painters who sought to create art through direct observation. He endeavored to present a raw version of truth which did not lend itself to the traditional process of revision and rewriting but rather the emotionally charged practice of spontaneity he pursued.[25]

This spontaneity produced a book that was not only readable in 1957 but still captures the attention of audiences today. The personal nature of the text helps foster a direct link between Kerouac and the reader. Because he is writing about actual experiences, conveying appropriately the environment provided this connection. Kerouac chose to do this through his detailed descriptions, rarely pausing for a breath between sentences. His more casual diction and very relaxed syntax, although viewed as less than serious by some, was an intentional attempt to depict events as they happened and to convey all of the energy and emotion of the experiences.[25]

Reception[edit]

 

The book received a mixed reaction from the media in 1957. Some of the earlier reviews spoke highly of the book, but the backlash to these was swift and strong. Although this was discouraging to Kerouac, he still received great recognition and notoriety from the work. Since its publication, critical attention has focused on issues of both the context and the style, addressing the actions of the characters as well as the nature of Kerouac's prose.

Initial reaction[edit]

In his review for The New York Times, Gilbert Millstein wrote, "its publication is a historic occasion in so far as the exposure of an authentic work of art is of any great moment in an age in which the attention is fragmented and the sensibilities are blunted by the superlatives of fashion" and praised it as "a major novel."[1] Millstein was already sympathetic toward the Beat Generation and his promotion of the book in the Times did wonders for its recognition and acclaim. Not only did he like the themes, but also the style, which would come to be just as hotly contested in the reviews that followed. "There are sections of On the Road in which the writing is of a beauty almost breathtaking...there is some writing on jazz that has never been equaled in American fiction, either for insight, style, or technical virtuosity."[1] Kerouac and Joyce Johnson, a younger writer he was living with, read the review shortly after midnight at a newsstand at 69th Street and Broadway, near Joyce's apartment in the Upper West Side. They took their copy of the newspaper to a neighborhood bar and read the review over and over. "Jack kept shaking his head," Joyce remembered later in her memoir Minor Characters, "as if he couldn’t figure out why he wasn’t happier than he was." Finally, they returned to her apartment to go to sleep. As Joyce recalled: "Jack lay down obscure for the last time in his life. The ringing phone woke him the next morning, and he was famous.”[26]

The backlash began just a few days later in the same publication. David Dempsey published a review that contradicted most of what Millstein had promoted in the book. "As a portrait of a disjointed segment of society acting out of its own neurotic necessity, "On the Road", is a stunning achievement. But it is a road, as far as the characters are concerned, that leads to nowhere." While he did not discount the stylistic nature of the text (saying that it was written "with great relish"), he dismissed the content as a "passionate lark" rather than a novel."[27]

Other reviewers were also less than impressed. Phoebe Lou Adams in Atlantic Monthly wrote that it "disappoints because it constantly promises a revelation or a conclusion of real importance and general applicability, and cannot deliver any such conclusion because Dean is more convincing as an eccentric than as a representative of any segment of humanity."[28] While she liked the writing and found a good theme, her concern was repetition. "Everything Mr. Kerouac has to say about Dean has been told in the first third of the book, and what comes later is a series of variations on the same theme."[28]

The review from Time exhibited a similar sentiment. "The post-World War II generation—beat or beatific—has not found symbolic spokesmen with anywhere near the talents of Fitzgerald, Hemingway, or Nathaniel West. In this novel, talented Author Kerouac, 35, does not join that literary league, either, but at least suggests that his generation is not silent. With his barbaric yawp of a book, Kerouac commands attention as a kind of literary James Dean."[29] It considers the book partly a travel book and partly a collection of journal jottings. While Kerouac sees his characters as "mad to live...desirous of everything at the same time," the reviewer likens them to cases of "psychosis that is a variety of Ganser Syndrome" who "aren't really mad—they only seem to be."[29]

Current reactions[edit]

On the Road has been the object of much study since its publication. In celebration of the 50th anniversary of publication, several critics took a fresh look at the text in 2007. It is interesting to consider how the perception has evolved in the last half century.

David Brooks of the New York Times compiled several of these opinions and summarized them in an Op-Ed from October 2, 2007. Where as Millstein saw it as a story in which the heroes took pleasure in everything, George Mouratidis, an editor of a new edition, claimed "above all else, the story is about loss." "It's a book about death and the search for something meaningful to hold on to — the famous search for 'IT,' a truth larger than the self, which, of course, is never found," wrote Meghan O'Rourke in Slate. "Kerouac was this deep, lonely, melancholy man," Hilary Holladay of the University of Massachusetts Lowell told The Philadelphia Inquirer. "And if you read the book closely, you see that sense of loss and sorrow swelling on every page." "In truth, 'On the Road' is a book of broken dreams and failed plans," wrote Ted Gioia in The Weekly Standard.[30]

John Leland, author of Why Kerouac Matters: The Lessons of On the Road (They're Not What You Think), says "We're no longer shocked by the sex and drugs. The slang is passé and at times corny. Some of the racial sentimentality is appalling" but adds "the tale of passionate friendship and the search for revelation are timeless. These are as elusive and precious in our time as in Sal's, and will be when our grandchildren celebrate the book's hundredth anniversary."[31]

To Brooks, this characterization seems limited. "Reading through the anniversary commemorations, you feel the gravitational pull of the great Boomer Narcissus. All cultural artifacts have to be interpreted through whatever experiences the Baby Boomer generation is going through at that moment. So a book formerly known for its youthful exuberance now becomes a gloomy middle-aged disillusion."[30] He laments how the book's spirit seems to have been tamed by the professionalism of America today and how it has only survived in parts. The more reckless and youthful parts of the text that gave it its energy are the parts that have "run afoul of the new gentility, the rules laid down by the health experts, childcare experts, guidance counselors, safety advisers, admissions officers, virtuecrats and employers to regulate the lives of the young."[30] He claims that the "ethos" of the book has been lost.

Influence[edit]

 

On the Road has been a major influence on many poets, writers, actors and musicians, including Bob Dylan, Van Morrison, Jim Morrison, Hunter S. Thompson, and many more.

"It changed my life like it changed everyone else's," Dylan would say many years later. Tom Waits, too, acknowledged its influence, hymning Jack and Neal in a song and calling the Beats "father figures." At least two great American photographers were influenced by Kerouac: Robert Frank, who became his close friend — Kerouac wrote the introduction to Franks' book, The Americans — and Stephen Shore, who set out on an American road trip in the 1970s with Kerouac's book as a guide. It would be hard to imagine Hunter S. Thompson's road novel Fear and Loathing in Las Vegas had On the Road not laid down the template; likewise, films such as Easy Rider, Paris, Texas, and even Thelma and Louise.[32]

In his book Light My Fire: My Life with The Doors, Ray Manzarek (keyboard player of The Doors) wrote "I suppose if Jack Kerouac had never written On the Road, The Doors would never have existed."

Since the mobile lifestyle popularized by "On The Road" had a strong influence on the large market segment of baby boomers who joined the hippie movement the death of Jack Kerouac was of interest to the readers of the pioneering new journalism publication Rolling Stone. As a result, editor and publisher of the tabloid, Jann Wenner, printed a detailed account of the funeral of the "On The Road" author by writers Stephen Davis and Eric Ehrmann. According to the Rolling Stone article, Jack Kerouac's open casket viewing at the Archambault Funeral Home and subsequent burial funeral at the Edson Cemetery in Lowell, Massachusetts were attended by few of his "On The Road" era friends. Neal Cassady (Dean Moriarty in the book) had died the year before in 1968. San Francisco poet Lawrence Ferlinghetti chose not to come east to attend. Allen Ginsberg (Carlo Marx in the book) showed up with Peter Orlovsky and Gregory Corso was there filming the event. Author Terry Southern sent a floral arrangement that was on display near the bier. One writer in attendance not associated with the "On The Road" group or Beatnik crowd was New York Daily News columnist Jimmy Breslin, who, like Kerouac, came from a working-class background. Breslin, who had been inspired by "On The Road" in his youth, journeyed up to Lowell to pay his respects, his feelings about Kerouac's appearing as part of the Rolling Stone coverage. Many writers, actors and artists including Ann Charters and Hettie Jones, inter alia, would later share their feelings about how they were influenced by "On The Road" and the Beat culture in the Rolling Stone Book of The Beats edited by Holly George Warren published by Hyperion in 1999.

 

Greater Manchester Police have made 18 arrests, seized a substantial amount of Class A drugs and shut down a cannabis farm after executing a series of warrants in Salford.

 

This morning, Wednesday 14 October 2015, more than 200 officers executed warrants at 22 addresses across Eccles and Pendleton as part of a Project Gulf operation designed to tackle organised crime.

 

Gulf is part of Programme Challenger, the Greater Manchester approach to tackling organised criminality across the region.

 

The raids are the result of an intelligence-led operation conducted over a number of months into offences such as supplying Class A drugs and other criminality. Searches at a number of properties are still on-going.

 

Fifteen men and three women have so far been arrested on suspicion of supplying Class A drugs. They remain in custody for questioning.

 

Searches of the 22 properties also uncovered a cannabis farm, and have resulted in officers seizing a substantial amount of cocaine, crack cocaine, heroin, cannabis, a stolen motorbike and some cash.

 

Superintendent Mark Kenny, of Salford Division, said: “These warrants are a result of a sustained and in-depth operation into the supply of Class A drugs not just in Salford, but Greater Manchester as a whole.

 

“They have utilised some excellent work by my officers in the gathering of intelligence and information, which has allowed us to seize a significant amount of drugs which would soon have been poisoning our streets.

 

“We have also been successful in confiscating a large amount of cash, hitting the dealers where it hurts.

 

“We would not have been able to carry out these warrants had it not been for members of the public coming to us with information and intelligence, and that is very pleasing.

 

“However, our investigations are continuing and if anyone has any information they think will assist I would encourage them to contact us.

 

“Our communities have already shown they are prepared to work with us in the fight against drugs and organised crime and I would like to express my thanks to those who came forward and helped us reduce the amount of dangerous narcotics in their areas.

 

“But there is still more to do and, as with any fight against organised crime groups embedded in our communities, we need residents to come to us with information so we can put a stop to this criminality.

 

“If you see drug dealing taking place in your area, come to us, we can help to put a stop to it and help to make Greater Manchester a safer place to live.”

 

Anyone with information is asked to call police on 101 or the independent charity Crimestoppers, anonymously, on 0800 555 111.

 

Lord Krishna playing his Flute.

A formation in executing the nearly extinct Gotipua Dance at our Durga Puja Cultural Festival of 2013 - of South Madras Cultural Association, Chennai, India.

  

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Gotipua is a traditional dance form in the state of Orissa, India, and the precursor of Odissi classical dance. It has been performed in Orissa for centuries by young boys, who dress as women to praise Jagannath and Krishna. The dance is executed by a group of boys who perform acrobatic figures inspired by the life of Radha and Krishna. The boys begin to learn the dance at an early age until adolescence, when their androgynous appearance changes. In the Oriya language Gotipua, means "single boy" (goti-pua). Raghurajpur, Orissa (near Puri) is an historic village known for its Gotipua dance troupes.

 

To transform into graceful feminine dancers the boys do not cut their hair, instead styling it in a knot and weaving garlands of flowers into it. They make up their faces with mixed white and red powder. Kajal (black eyeliner) is broadly applied around the eyes to give them an elongated look. The bindi usually round, is applied to the forehead, surrounded with a pattern made from sandalwood. Traditional paintings adorn the face, which are unique to each dance school.

 

The costume has evolved over time. The traditional dress is a Kanchula, a brightly coloured blouse with shiny decorations. An apron-like, embroidered silk cloth (nibibandha) is tied around the waist like a ruffle and worn around the legs. Some dancers still adhere to tradition by wearing a pattasari: a piece of thin fabric about 4 metres (13 ft 1 in) long, worn tightly with equal lengths of material on both sides and a knot on the navel. However, this traditional dress is often replaced by a newly designed cloth which is easier to put on.

 

Dancers wear specially designed, beaded jewelry: necklaces, bracelets, armbands and ear ornaments. Nose-piercing jewelry has been replaced with a painted motif. Ankle bells are worn, to accentuate the beats tapped out by the feet. The palms of the hands and soles of the feet are painted with a red liquid known as alta. The costume, jewelry and bells are considered sacred.

 

Long ago, the temples in Orissa had female dancers known as devadasi (or mahari), who were devoted to Jagannath, which gave rise to Mahari dance. Sculptures of dancers on bas-reliefs in temples in Orissa (and the Konark Sun and Jagannath Temples in Puri) demonstrate this ancient tradition. With the decline of mahari dancers around the 16th century during the reign of Rama Chandra Dev (who founded the Bhoi dynasty), boy dancers in Orissa continued the tradition. Gotipua dance is in the Odissi style, but their technique, costumes and presentation differ from those of the mahari; the singing is done by the dancers. Present-day Odissi dance has been influenced by Gotipua dance. Most masters of Odissi dance (such as Kelucharan Mohapatra, from Raghurajpur) were Gotipua dancers in their youth.

 

Odissi dance is a combination of tandava (vigorous, masculine) and lasya (graceful, feminine) dances. It has two basic postures: tribhangi (in which the body is held with bends at the head, torso and knees) and chouka (a square-like stance, symbolizing Jagannath). Fluidity in the upper torso is characteristic of Odissi dance, which is often compared to the gentle sea waves which caress the Orissa beaches.

 

Each year, the Guru Kelucharan Mohapatra Odissi Research Centre organizes the Gotipua Dance Festival in Bhubaneswar.

 

Source : en.wikipedia.org/wiki/Gotipua

Hm, I had an idea for Ronove, and executed it pretty accurately, but I'm not sure if I like it after all... plus, I had to hurry, so I didn't bother to redo the mark on his forehead even though it looks like crap. XD

 

Usually I blush him with pretty strong pinks, and leave his eyes very natural. But I've been thinking that he's a completely average looking El, so I wanted to bring him up to the quality of my other Els. :P I gave him more eye makeup, and even though it doesn't suit his character I do like it a lot! I also like the lips and color scheme, but... somehow it isn't quite clicking with me. In any case, he's likely to be stuck with it for a couple years. Maybe a new wig will help pull it all together. :D (I've been itching to get him a blond Jojo for years, so he'll have the same hairstyle as Paimon!)

The Divino Rostro (an easel painting executed in Spain depicting the legendary Veronica clad in gold, holding a white veil on which is imprinted Christ's face) inside the Penafrancia Basilica ready for the traslacion procession (September 12, 2008).

 

The Divino Rostro's inclusion in the Traslacion procession for the Nuestra Senora de Penafrancia can be traced back to the 18th Century when cholera "colera morbo" spread to Bicol. Casimiro Herrero, then Bishop of Caceres, in a letter dated August 26, 1882, ordered that the votive Mass "Ad Vitendam Mortalitate" be celebrated throughout the diocese. The vicar Pedro dela Torre, a native of Osa de la Vega in Spain, suggested to Herrero to enshrine an image of the Divino Rostro (a copy of the image which was enshrined in the parish of Osa de la Vega in Spain where inhabitants turn to for protection when the cholera epidemic struck Spain in 1834, 1853 and 1855) in the Naga Metropolitan Cathedral for the duration of the epidemic. The bishop agreed to the vicar's suggestion. On 26 August, the image of the Nuestra Senora de Penafrancia and the Divino Rostro were enshrined in the cathedral. Since then the two images were inseparable and were carried aloft to the Penafrancia procession.