Stena Line's RoRo Ferry STENA FORERUNNER is pictured at Birkenhead on October 7th 2018.

Oil on canvas; 72.4 x 60.0 cm.

 

Chaïm Soutine was a Jewish, expressionist painter from Belarus. He has been interpreted as a forerunner of Abstract Expressionism. From 1910–1913 he studied in Vilnius at the Vilna Academy of Fine Arts. In 1913 he emigrated to Paris, where he studied at the Ecole des Beaux-Arts under Fernand Cormon. He soon developed a highly personal vision and painting technique. For a time, he and his friends lived at La Ruche, a residence for struggling artists in Montparnasse, where he became friends with Amedeo Modigliani. Modigliani painted Soutine's portrait several times.

 

In 1923, the American collector Dr. Albert C. Barnes visited his studio and immediately bought 60 of Soutine's paintings. In February 2006, the oil painting of the series 'Le Boeuf Ecorche' (1924) sold for a record £7.8 million ($13.8 million) to an anonymous buyer at a Christies auction held in London - after it was estimated to fetch £4.8 million.

 

Soutine produced the majority of his works from 1920 to 1929. He seldom showed his works, but he did take part in the important exhibition The Origins and Development of International Independent Art held at the Galerie nationale du Jeu de Paume in 1937 in Paris, where he was at last hailed as a great painter. Soon thereafter France was invaded by German troops. As a Jew, Soutine had to escape from the French capital and hide in order to avoid arrest by the Gestapo. He moved from one place to another and was sometimes forced to seek shelter in forests, sleeping outdoors. Suffering from a stomach ulcer and bleeding badly, he left a safe hiding place for Paris in order to undergo emergency surgery, which failed to save his life. On August 9, 1943, Chaim Soutine died of a perforated ulcer.

Storm Over Warlock [review 181 - written 2011-01-30]

comments by CR

Andre Norton (1912-2005) was a prolific writer primarily in the field science fiction and fantasy. She has written well over 100 novels, an amazing fact in itself, but more impressive is the high regard readers have for her stories.

Norton wrote many novels in related series. The book under review "Storm Over Warlock (1960)" is the first in her Forerunner Series, which consist of the following additional novels: "Ordeal in Otherwhere (1964)", "Forerunner Foray (1973)", "Forerunner (1981)" and "Forerunner, Second Venture (1985)".

The story protagonist is a hard scrapping young man, Shann Lantee, who signs on as the roustabout and animal handler on an initial survey expedition to an Earth-like world. Surveys teams of Earth-type planets include highly trained mutated animals, in this case two wolverines, which are used as scouts and guards.

Other that a full measure of innate common sense and street-wise survival skills Shann has no professional expertise and is generally looked down upon by the expeditions highly trained crew members - Terran Survey Corps personnel. As the story opens the insect-like Throgs attack the Survey Corps encampment and kill all in the camp. The space faring Throgs are in a deadly competition with mankind for habitual planets which are scarce and far between.

By sheer luck Shann and his two Wolverines were away from camp and avoided the massacre. Shann only goal is to stay alive and evade the Throgs who suspect a survivor of their butchery. Shann eventually teams up with another Survey Corps officer that coincidentally crash lands near where he was hiding out. The officer, Thorvald, seems to have his owe agenda and assumes a condescending attitude towards Shann.

You may suppose upon reading the plot outline of this 50 plus year old story that it's just another dated "space-opera" of no interest other that to dedicated fans or academics.

Saying anything more about the plot would spoil the pleasure of discovery but I would make the case that this is a novel that admirers of intelligent and entertaining science fiction should consider reading. There are a number of reasons that lead me to make that statement: a sympathetic, believable character that propels the plot, a carefully crafted lurking, sense of unknown dangers beyond normal human experiences, detailed and credible encounters, some beneficial some deadly, with alien flora and fauna, enigmatic confrontations with mystic-like aliens and enough weirdness that begs additional explanations in future stories. The book ends with a evenhanded finale that does not short change the readers.

Reading this book will not change you life but it will provide a few hours of wonderful entertainment.

 

RemasterDirector_1a5c03258

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

  

Some background:

The Temco Model 63 "Buckskin" trainer was designed by Texas Engineering & Manufacturing Company (TEMCO) as a private venture to replace the US Navy's piston-engine, land-based Beech Model B45 'Mentor' primary trainers in the mid 1960ies, but with better performance and more likeliness to modern jet fighters.

The Model 63’s forerunner, the Temco Model 51, had been initially proposed to the US Air Force in response to an Air Force competition for a jet-powered primary trainer, which was eventually won by the Cessna T-37 Tweet. A small number of the Model 51 were built and put into service, powered by a Continental Motors J69-T-9 (a license-built Turbomeca Marboré) jet engine and officially designated TT-1 ‘Pinto, but only saw a limited career.

 

Like the Pinto, the Model 63 was a mid-wing, tricycle landing gear trainer with an enclosed cockpit. What made the Model 63 unusual was a pull/push tandem engine arrangement, similar to the Cessna 336/337 that was under development at the same time. The Temco Model 63 was driven by two small Turbomeca Bastan IV turboprop engines, each developing 650 shp (485 kW).

 

The rationale behind this layout were the compact dimensions, actually, the aircraft was not bigger than the single engine TT-1. Studies undertaken during the early design stages had shown that a classic layout with wing-mounted engines would have necessitated a considerably higher wing span and a longer fuselage, too. Another benefit was the improved safety of two engines, esp. during envisioned long navigation flights over the open sea, and the Bastan engines gave the Model 63 the ability to fly safely even with one of the engines shut down.

 

Compared with the TT-1’s small jet engine, the propellers gave the Model 63 a better responsiveness to pilot input and the turboprop engines offered a very good fuel economy, while enabling almost the same performance as the single jet precursor. Furthermore, the two engines gave instructors the option to simulate different flight regimes, while the tandem arrangement helped avoid torque and asymmetrical thrust issues. Besides, the T2T was equipped with many of the same features found in contemporary operational jets, including ejection seats, liquid oxygen equipment, speed brakes, along with typical flight controls and instrument panels.

 

Anyway, the unusual layout came at a price: it necessitated a totally different tail section with twin tail booms and a single, high stabilizer connecting them at the tips of the fins. Despite familiar outlines, only parts of the TT's outer wings and the cockpit could be used on the Model 63 - the rest had to be re-designed and/or strengthened, so that the aircraft's overall weight became markedly higher than the TT's. Despite this drawback, officials became interested enough in the turboprop trainer program to procure a pre-series for trials and direct comparison with jet- and piston-engine alternatives.

 

The aircraft received the official designation T2T. Like the Pinto, the T2T was intended as a primary trainer, so it carried no internal armament but could be outfitted with wing tip tanks and had two underwing hardpoints for 500 lb each, placed outside of the strengthened landing gear. These hardpoints were reserved for auxiliary tanks, cargo boxes, smoke generators or camera pods.

 

The first XT2T maiden flight took place in summer 1959. Flight characteristics were considered good, and, compared with the earlier TT-1, the machine was not as underpowered (which was a problem during landing abortions and touch-and-go manoeuvers). After initial tests with two more prototypes in summer 1960, a batch of five YT2T-1 pre-production aircraft, which were updated to the intended serial production standard and incorporated some minor modifications, was ordered and directly sent to the Naval Air Test Center (NATC) Patuxent River.

 

Results were generally positive, so that a further batch of 24 aircraft were produced as T2T-1s between 1962 and 1963. These aircraft served in the Air Training Command at Pensacola, Florida and used in a training program demonstration testing the feasibility of using jet- and turboprop-powered trainer for primary flight training.

 

The tests were not conclusive, though, and no further T2Ts ordered. The 'Buckskin', how the aircraft was christened unofficially, was pleasant to fly and offered very good performance. But the aircraft was – esp. for its limited role – complex. Maintenance costs were high, and the authorities were never really happy about the French engines on board of the home-grown trainer type.

 

The US Navy liked the turboprop engine, though, but wanted a less complex aircraft. This eventually materialized in the early Seventies with the T-34C Turbo-Mentor. After a production hiatus of almost 15 years, the Beech Model 45 returned, powered by a Pratt & Whitney Canada PT6A-25 turboprop engine. Mentor production restarted in 1975 for deliveries of T-34Cs to the USN and of the T-34C-1 armed version for export customers in 1977, this version featuring four underwing hardpoints. Since the late 1970s, T-34Cs have been used by the Naval Air Training Command to train numerous Naval Aviators and Naval Flight Officers for the U.S. Navy, U.S. Marine Corps, U.S. Coast Guard, and numerous NATO and Allied nations - and the small T2T fleet was phased out by 1979.

  

General characteristics:

Crew: two

Length: 32 ft 7 in (9.93 m)

Wingspan (incl. tip tanks): 29 ft 10 in (9.09 m)

Height: 8 ft 1 1/2 in (2.48 m)

Wing area: 150 sq ft (13.9 m2)

Empty weight: 2,848 lb (1,292 kg)

Loaded weight: 5,400 lb (2,448 kg)

 

Powerplant:

2× Turbomeca Bastan IV turboprop engines, rated at 650 shp (485 kW) each

 

Performance:

Maximum speed: 345 mph (300 knots, 556 km/h) at 15,000 ft (4,600 m)

Never exceed speed: 518 mph (450 knots, 834 km/h)

Cruise speed: 247 mph (215 knots, 398 km/h) at 25,000 ft (7,600 m)

Stall speed: 69 mph (60 knots, 111 km/hr)

Endurance: 2.5 hr

Service ceiling: 30,000 ft (9,145 m)

Rate of climb: 1,900 ft/min (9.7 m/s)

 

Armament:

2x underwing hardpoints for a total load of up to 1.000 lb (454 kg)

2x optional wing tip tanks

  

The kit and its assembly:

The final entry for the 2016 "In the Navy" Group Build at whatifmodelers.com, and a close call since I started work on this conversion only 5 days before the GB's deadline!

 

The original inspiration was the photoshopped picture of a private TT-1 in all-blue USN markings, created by artist "Stéphane Beaumort" in 2010 (check this illustration originally posted at AviaDesign: aviadesign.online.fr/images/temco-buckskin2.jpg).

 

A slightly bizarre aircraft with the tandem propellers and the twin tail booms, and IMHO with some fishy details in the CG rendition, e.g. including the idea of driving both propellers with a single engine through shafts and gearboxes. But the concept looked overall feasible and Special Hobby offers a very nice TT-1 Pinto kit, which I was able to procure from Poland an short notice. As a bonus, this kit comes with markings for this specific, blue aircraft (“13/S”), actually a re-constructed, privately owned machine.

 

The Special Hobby kit became the basis for my personal interpretation of the T2T, and it underwent some conversions, being outfitted with a variety of donation parts:

- The front engine once was a cut-away Merlin from a Hobby Boss Hawker Hurricane

- The tail booms and fins come from a Revell Focke Wulf Flitzer

- The stabilizer was created from two Hobby Boss He 162 tail elements

- Propellers come from a vintage, box scale Revell Convair Tradewind

- In order to attach them, styrene tubes were implanted and the props mounted on metal axis’

- The front wheel also belongs to a Hobby Boss He 162, longer than the OOB parts

- The main wheels are bigger, from a Matchbox Folland Gnat

 

Work started with the central fuselage, the added front engine and conversions for the rear pusher engine. Once the wings were in place and the propeller diameter clear, attachment points for the tail booms were scratched from styrene tube and added to the wings' upper sides (leaving the lower surface free, so that the OOB landing gear could be used). Then the tail booms and the tailored stabilizer were mounted, as well as the wing tip tanks.

 

The landing gear came next; the main struts and covers were used, but slightly bigger wheels chosen from the scrap box. For the front wheel well, a "hole" had to be dug out of the massive new nose section (consisting of 2C putty and lead beads) - the OOB covers were used, though, and a longer and more massive front wheel was mounted.

 

Sounds simple and conclusive, but things evolved gradually and the job involved a lot of body work - under dire time pressure. The fact that the kit fell from my workbench after day #2 and hit the floor in a nasty angle, so that the tails suffered severely and needed repair, did not help either...

Another issue became the canopy. I am not certain where the problem lies, but the canopy turned out to be 2mm too short for the fuselage? Could be the result of the massive rhinoplasty with the added front engine, but I am also a bit worried about the position of the cockpit tubs – when I mounted them, the appeared to be in the correct position, but once the fuselage was closed both seat positions appear to be too far to the back – even though the dashboards seem to be correct?

  

Painting and markings:

I used the CG drawing as benchmark, also because the Special Hobby kit came with the right decal set for an all-blue USN livery, which historically was about to be changed in the late Fifties to brighter schemes.

 

The interior surfaces, both cockpit and the landing gear, were painted in a very light gray (FS 36495, Humbrol 147), just as on the real world TT-1. All outside surfaces became Sea Blue FS 35042 (ModelMaster). Very simple, and some panel shading with was done for a more dramatic look on the otherwise uniform airframe.

 

The silver leading edges on wings and stabilizer, as well as the yellow canopy framing, were created from decal strips. The propeller spinners became, as a small highlight, bright red, and some of the OOB sheet’s red trim for “13/S” were used, too. No more weathering was done, and, finally, everything sealed under a coat of gloss acrylic varnish, except for the propeller blades and the black anti-glare panel, which became matt.

  

An odd creation, and taking into account the four and a half days time frame from sprues to beauty pics (including background research and text), as well as the body work involved in the building process with the new front engine and the tail booms, I am quite happy with the result. Could have been better, sure, but it was finished in time, just as planned/hoped for. ;)

 

Anyway, the T2T looks interesting; my build slightly differs from the benchmark CG renditions, but remains true to Stéphane Beaumort’s basic idea. Cheers!

Forerunner to John Browning’s Colt 1911

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

  

Some background:

In September 1939, the US Army was ill-prepared as far as armored vehicles, training and tactics went. Soon, it became clear that a new model, which could be favorably compared to the European models, had to be studied for mass production. The very early M1 Combat Car was nothing more than a very small tank with two machine guns. Its main purpose was scouting and as such ordered for “cavalry” units. This was in 1937, and became the forerunner of all light tanks to come.

In 1935, a new model, the M2 Light Tank, was designed. At first, it was an immediate upgrade of the M1, but with the heavier .50 (12.7 mm) caliber machine gun, immediately followed by the M2A2 with twin turrets equipped with .30 (7.62 mm) caliber M1919 machine guns. The “Mae West” gave way in 1938 to a small series of M2A3 37 mm (1.45 in) single turret tanks, and then to the final M2A4 in 1940, with improved armor, motorization and equipment. These fought at Guadalcanal with the US Marine Corps, and with the British Army through Lend-Lease, performing well in Burma and India against the Japanese, despite being obsolete.

 

The following M3 was built under the light of recent events in France. The quick fall of France, due to inadequate tactics, quickly led the US Army Corps to think about a new doctrine, which led to an independent US armored force. From the material point of view, the latest M2A4 and the M3 were both designed to be more effective than only infantry support units, their main duty was scouting and screening.

The M3 was, at first, a simple upgrade of the last M2, with a more powerful Continental petrol engine, a new vertical volute spring suspension system and up to four machine guns in addition to a main, quick-firing M5 (and later M6) 37 mm (1.45 in) anti-tank gun, with a new gun recoil system.

 

Most of the initial M3 tanks were provided to the British and Commonwealth forces through Lend-Lease. Some were immediately thrown into action in Northern Africa, where they immediately became popular for their speed, sturdiness and reliability. Although the official British designation was “Stuart”, paying homage to Civil War Confederate general J.E.B. Stuart, they found themselves affectuously dubbed “Honey”, because of their smooth ride.

Beyond British and Commonwealth forces, the US Forces used many M3s in their first major operation in the west, the North African invasion in November 1942 (Operation Torch). They had some success against Italian tanks, but were butchered by German 88 mm (3.46 in) artillery and the up-gunned Panzer IIIs and IVs. It was clear that their high profile and the flat squared hull was too vulnerable. However, the M3 was popular, reliable and mobile, and the introduction of a diesel engine in the M3A1 made the small tank even more suitable for reconnaissance missions, so that the British Army asked by late 1941 for a dedicated scout variant that would trade-in the weak cannon armament (and the fourth crewman associated with it) for more mobility and range. This led to the M3A2, better known under the British name “Parsival”, because it was never adopted and operated by the U.S. Army.

 

The Parsival Mk. I used the standard M3 hull, but the lateral sponsons that formerly housed fixed machine guns were outright deleted in order to save weight and to reduce manufacturing effort as well as frontal area. Another major modification concerned the running gear: in order to improve speed and handling at higher speed, the M3’s vertical springs were replaced by a modified Christie running gear, which consisted of the standard drive wheel at the front, four large road wheels and three return rollers per side. The last pair of road wheels was mounted on trailing swing arms for increased ground contact and also acted as idler wheels. The M3A1’s optional 9-cylinder Guiberson T-1020 diesel became the Parsival’s standard engine, and, beyond the internal tanks, two additional external fuel drums could be mounted to the rear hull, extending range from 100 to 150 miles.

 

A new cast turret, similar in shape to the airborne M22 Locust tank, was mounted, which had a much lower profile and offered better ballistic protection than the M3’s original turret with vertical side walls. The reduced height was a trade-off for firepower, though: the turret did not carry a full-fledged cannon anymore, only a medium 0.5” (12.7 mm) machine gun as well as a light, coaxial 0.303” (7.62 mm) machine gun, all operated by the commander. The machine gun in the front bow, handled by the radio operator, was retained, and another light machine gun could optionally be mounted on top of the turret against aircraft. The turret was furthermore equipped with a set of two smoke grenade launchers.

 

Through the different weight saving measures, the Parsival’s weight could be reduced from 12.7 to 10.8 tons, resulting in a slight improvement in overall performance but with a much better handling, esp. when moving off-road.

 

In the summer of 1942, the first Parsival Mk. Is arrived in the North African theatre of operations where they excelled in their dedicated reconnaissance role. Concerning the standard M3, the British usually kept the Stuarts out of direct tank-to-tank combat, using them primarily for reconnaissance, too. In consequence, the turret was removed from some British M3 examples to save weight and improve speed and range, but these were inferior to the Parsival and became known as "Stuart Recce". Some others were converted to armored personnel carriers known as the "Stuart Kangaroo", and some were converted into command vehicles and known as "Stuart Command".

After the Africa campaign, British Stuarts and Parsival took successfully part in the liberation of Italy. About 500 were produced, 160 of them were delivered to the Soviet Union under Lend-Lease, the rest was exclusively operated by the British Army in Europe. Parsivals, M3s, M3A3s, and M5s continued in British service until the end of the war.

  

Specifications:

Crew: Three (commander, driver, radio operator)

Weight: 10.8 tons

Length: 14ft 2in (4.33 m)

Width: 7ft 4in (2.33 m)

Height: 2.49 metres (8 ft 1 1/2 in)

Suspension: Christie system

Ground clearance: 16.5" (419 mm)

Fuel capacity: 54 US gal (200 l)

Armor:

0.52 - 2 in (13 - 51 mm)

 

Performance:

Speed:

- Maximum, road: 40 mph (65 km/h)

- Cross country: 22 mph (36 km/h)

Climbing capability:

- 40% side slope and 60% max grade

- Vertical obstacle of 24 inches (61 cm)

- 72 inches (1,8 m) trench crossing

Fording depth: 36 inches (91 cm)

Operational range: 100 ml (160 km) on road with internal fuel

Power/weight: 23.1 hp/t

 

Engine:

1× Guiberson T-1020 9-cylinder radial diesel engine with a 1,021 cu in (16.73 l) displacement,

delivering 250 hp (190 kW)

 

Transmission:

Hydramatic, 4 speeds forward, 1 reverse

 

Armament:

1× 0.5” (12.7) mm M2 machine gun with 900 rounds

3× 0.303” (7,62 mm) M1919A4 machine guns

(co-axial in the turret, in the front bow and as an AA weapon on top of the turret)

with a total of 6,750 rounds

2× smoke dischargers on the turret’s right side

  

The kit and its assembly:

This M3 conversion was spawned by the idea of a dedicated recce variant of the popular Stuart tank. Originally, I just planned to use the chassis from a Hasegawa 1:72 kit and replace the turret with a smaller option (including lighter armament), I already had organized a resin turret for/from an American T17 “Staghound” WWII recce car. But, as always, you can drive a simple idea easily further, so that I also thought about a different suspension and other modifications that would improve the tank’s agility. This led to a Christie-style running gear and the deletion of the M3’s machine gun sponsons, which were in practice used as storage space after the machine guns had been deleted.

 

The Staghound turret came from a ModelTrans/Silesian Models conversion set, which also includes a nice commander figure as well as two fuel drums. The sponsons were simply cut away and the gaps filled with 0.5 mm styrene sheet – a small modification, and thanks to the M3’s boxy hull design a simple affair. Only some small PSR on the side wall implants as well as on the mudguards (which are segmented) was necessary, and this modification changes the M3’s look considerably!

 

The running gear was scratched and more complicated, in particular because assembly and painting had to go hand in hand. The eight road wheels actually come from a 1:72 T-72 tank from ModelCollect, their width perfectly matched the track’s and they had the same size as the M3’s large idler wheel at the rear. The road wheels’ depth just looks a little disturbing, but not implausible. The trailing idler wheel (using the original suspension arm) defined the stance and the other wheels were mounted on plastic rods to the hull, with simulated suspensions arms (styrene profile) behind them. Since the drive and idler wheels’ position effectively remained unchanged, I was able to use the OOB vinyl tracks, which are really smooth and easy to handle. However, this move necessitated to retain the return wheels – I wanted to omit them, for an even more Christie-esque look, but without them the track would have been too long and slacked through, with a lot of space between the tracks and the mudguards. Nevertheless, the return wheels’ position was slightly changed, in order to reflect the modified road wheels’ position. And the whole affair simply looks different from the original, so I am fine with it.

 

In order to liven the small tank up, I added the fuel drums from the Staghound set to the rear fenders and added some more boxes and folded tarpaulins (made from paper tissue drenched in thinned white glue) on the mudguards, somewhat masking the new side walls from sight. I also mounted the M3’s OOB AA machine gun to the turret.

  

Painting and markings:

I wanted a Northern Africa paint scheme and at first considered the iconic Caunter scheme, but then I thought that, since this livery was also used on the real British Stuarts, I rather wanted something different.

I eventually settled for a simple two-tone scheme, used on British cruiser tanks like the Crusader as well as on M3 Lee medium tanks of American origin. The basic colors I used are Humbrol 168 (Hemp) for the Light Stone tone, and Humbrol 98 (Chocolate) for the dull, dark brown.

 

As common practice, the basic colors were separated with thin, white lines in order to emphasize the contrast between them. Sometimes in practice, an additional black line was added, too, but due to the model’s small size I just painted a white line.

Another common practice of the British army, esp. on cruiser tanks with large wheels, was to paint the front and rear road wheels in a uniform, light color, while the wheels between them became dark – an attempt to mimic a lorry, esp. when a light “Sunshield” canopy was mounted over the hull that resembled a truck’s outline.

 

The model received a light wash with a mix of black, grey and brown, the decals (taken from the OOB sheet) were applied next. Over this came some dry-brushing with light grey and ochre and the kit was sealed with matt acrylic varnish (from the rattle can). Once the tracks were mounted, the lower areas of the tank were finally dusted with a mix of sand and light grey pigments.

  

Even though the Hasegawa M3 was a simple basis to start with, the conversions, esp. the running gear, were quite challenging. But I like the result a lot: the Parsival looks like a slimmed-down race variant of the M3, just what I wanted to achieve, and the British camouflage suits the small tank well, too – the white contrast line adds an exotic touch.

 

10 сентября 2014, Всенощное бдение накануне дня памяти Усекновения главы Пророка, Предтечи и Крестителя Господня Иоанна / 10 September 2014, Vigil on the eve of The Beheading of the Glorious Prophet, Forerunner, and Baptist John

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

  

Some background:

In September 1939, the US Army was ill-prepared as far as armored vehicles, training and tactics went. Soon, it became clear that a new model, which could be favorably compared to the European models, had to be studied for mass production. The very early M1 Combat Car was nothing more than a very small tank with two machine guns. Its main purpose was scouting and as such ordered for “cavalry” units. This was in 1937, and became the forerunner of all light tanks to come.

In 1935, a new model, the M2 Light Tank, was designed. At first, it was an immediate upgrade of the M1, but with the heavier .50 (12.7 mm) caliber machine gun, immediately followed by the M2A2 with twin turrets equipped with .30 (7.62 mm) caliber M1919 machine guns. The “Mae West” gave way in 1938 to a small series of M2A3 37 mm (1.45 in) single turret tanks, and then to the final M2A4 in 1940, with improved armor, motorization and equipment. These fought at Guadalcanal with the US Marine Corps, and with the British Army through Lend-Lease, performing well in Burma and India against the Japanese, despite being obsolete.

 

The following M3 was built under the light of recent events in France. The quick fall of France, due to inadequate tactics, quickly led the US Army Corps to think about a new doctrine, which led to an independent US armored force. From the material point of view, the latest M2A4 and the M3 were both designed to be more effective than only infantry support units, their main duty was scouting and screening.

The M3 was, at first, a simple upgrade of the last M2, with a more powerful Continental petrol engine, a new vertical volute spring suspension system and up to four machine guns in addition to a main, quick-firing M5 (and later M6) 37 mm (1.45 in) anti-tank gun, with a new gun recoil system.

 

Most of the initial M3 tanks were provided to the British and Commonwealth forces through Lend-Lease. Some were immediately thrown into action in Northern Africa, where they immediately became popular for their speed, sturdiness and reliability. Although the official British designation was “Stuart”, paying homage to Civil War Confederate general J.E.B. Stuart, they found themselves affectuously dubbed “Honey”, because of their smooth ride.

Beyond British and Commonwealth forces, the US Forces used many M3s in their first major operation in the west, the North African invasion in November 1942 (Operation Torch). They had some success against Italian tanks, but were butchered by German 88 mm (3.46 in) artillery and the up-gunned Panzer IIIs and IVs. It was clear that their high profile and the flat squared hull was too vulnerable. However, the M3 was popular, reliable and mobile, and the introduction of a diesel engine in the M3A1 made the small tank even more suitable for reconnaissance missions, so that the British Army asked by late 1941 for a dedicated scout variant that would trade-in the weak cannon armament (and the fourth crewman associated with it) for more mobility and range. This led to the M3A2, better known under the British name “Parsival”, because it was never adopted and operated by the U.S. Army.

 

The Parsival Mk. I used the standard M3 hull, but the lateral sponsons that formerly housed fixed machine guns were outright deleted in order to save weight and to reduce manufacturing effort as well as frontal area. Another major modification concerned the running gear: in order to improve speed and handling at higher speed, the M3’s vertical springs were replaced by a modified Christie running gear, which consisted of the standard drive wheel at the front, four large road wheels and three return rollers per side. The last pair of road wheels was mounted on trailing swing arms for increased ground contact and also acted as idler wheels. The M3A1’s optional 9-cylinder Guiberson T-1020 diesel became the Parsival’s standard engine, and, beyond the internal tanks, two additional external fuel drums could be mounted to the rear hull, extending range from 100 to 150 miles.

 

A new cast turret, similar in shape to the airborne M22 Locust tank, was mounted, which had a much lower profile and offered better ballistic protection than the M3’s original turret with vertical side walls. The reduced height was a trade-off for firepower, though: the turret did not carry a full-fledged cannon anymore, only a medium 0.5” (12.7 mm) machine gun as well as a light, coaxial 0.303” (7.62 mm) machine gun, all operated by the commander. The machine gun in the front bow, handled by the radio operator, was retained, and another light machine gun could optionally be mounted on top of the turret against aircraft. The turret was furthermore equipped with a set of two smoke grenade launchers.

 

Through the different weight saving measures, the Parsival’s weight could be reduced from 12.7 to 10.8 tons, resulting in a slight improvement in overall performance but with a much better handling, esp. when moving off-road.

 

In the summer of 1942, the first Parsival Mk. Is arrived in the North African theatre of operations where they excelled in their dedicated reconnaissance role. Concerning the standard M3, the British usually kept the Stuarts out of direct tank-to-tank combat, using them primarily for reconnaissance, too. In consequence, the turret was removed from some British M3 examples to save weight and improve speed and range, but these were inferior to the Parsival and became known as "Stuart Recce". Some others were converted to armored personnel carriers known as the "Stuart Kangaroo", and some were converted into command vehicles and known as "Stuart Command".

After the Africa campaign, British Stuarts and Parsival took successfully part in the liberation of Italy. About 500 were produced, 160 of them were delivered to the Soviet Union under Lend-Lease, the rest was exclusively operated by the British Army in Europe. Parsivals, M3s, M3A3s, and M5s continued in British service until the end of the war.

  

Specifications:

Crew: Three (commander, driver, radio operator)

Weight: 10.8 tons

Length: 14ft 2in (4.33 m)

Width: 7ft 4in (2.33 m)

Height: 2.49 metres (8 ft 1 1/2 in)

Suspension: Christie system

Ground clearance: 16.5" (419 mm)

Fuel capacity: 54 US gal (200 l)

Armor:

0.52 - 2 in (13 - 51 mm)

 

Performance:

Speed:

- Maximum, road: 40 mph (65 km/h)

- Cross country: 22 mph (36 km/h)

Climbing capability:

- 40% side slope and 60% max grade

- Vertical obstacle of 24 inches (61 cm)

- 72 inches (1,8 m) trench crossing

Fording depth: 36 inches (91 cm)

Operational range: 100 ml (160 km) on road with internal fuel

Power/weight: 23.1 hp/t

 

Engine:

1× Guiberson T-1020 9-cylinder radial diesel engine with a 1,021 cu in (16.73 l) displacement,

delivering 250 hp (190 kW)

 

Transmission:

Hydramatic, 4 speeds forward, 1 reverse

 

Armament:

1× 0.5” (12.7) mm M2 machine gun with 900 rounds

3× 0.303” (7,62 mm) M1919A4 machine guns

(co-axial in the turret, in the front bow and as an AA weapon on top of the turret)

with a total of 6,750 rounds

2× smoke dischargers on the turret’s right side

  

The kit and its assembly:

This M3 conversion was spawned by the idea of a dedicated recce variant of the popular Stuart tank. Originally, I just planned to use the chassis from a Hasegawa 1:72 kit and replace the turret with a smaller option (including lighter armament), I already had organized a resin turret for/from an American T17 “Staghound” WWII recce car. But, as always, you can drive a simple idea easily further, so that I also thought about a different suspension and other modifications that would improve the tank’s agility. This led to a Christie-style running gear and the deletion of the M3’s machine gun sponsons, which were in practice used as storage space after the machine guns had been deleted.

 

The Staghound turret came from a ModelTrans/Silesian Models conversion set, which also includes a nice commander figure as well as two fuel drums. The sponsons were simply cut away and the gaps filled with 0.5 mm styrene sheet – a small modification, and thanks to the M3’s boxy hull design a simple affair. Only some small PSR on the side wall implants as well as on the mudguards (which are segmented) was necessary, and this modification changes the M3’s look considerably!

 

The running gear was scratched and more complicated, in particular because assembly and painting had to go hand in hand. The eight road wheels actually come from a 1:72 T-72 tank from ModelCollect, their width perfectly matched the track’s and they had the same size as the M3’s large idler wheel at the rear. The road wheels’ depth just looks a little disturbing, but not implausible. The trailing idler wheel (using the original suspension arm) defined the stance and the other wheels were mounted on plastic rods to the hull, with simulated suspensions arms (styrene profile) behind them. Since the drive and idler wheels’ position effectively remained unchanged, I was able to use the OOB vinyl tracks, which are really smooth and easy to handle. However, this move necessitated to retain the return wheels – I wanted to omit them, for an even more Christie-esque look, but without them the track would have been too long and slacked through, with a lot of space between the tracks and the mudguards. Nevertheless, the return wheels’ position was slightly changed, in order to reflect the modified road wheels’ position. And the whole affair simply looks different from the original, so I am fine with it.

 

In order to liven the small tank up, I added the fuel drums from the Staghound set to the rear fenders and added some more boxes and folded tarpaulins (made from paper tissue drenched in thinned white glue) on the mudguards, somewhat masking the new side walls from sight. I also mounted the M3’s OOB AA machine gun to the turret.

  

Painting and markings:

I wanted a Northern Africa paint scheme and at first considered the iconic Caunter scheme, but then I thought that, since this livery was also used on the real British Stuarts, I rather wanted something different.

I eventually settled for a simple two-tone scheme, used on British cruiser tanks like the Crusader as well as on M3 Lee medium tanks of American origin. The basic colors I used are Humbrol 168 (Hemp) for the Light Stone tone, and Humbrol 98 (Chocolate) for the dull, dark brown.

 

As common practice, the basic colors were separated with thin, white lines in order to emphasize the contrast between them. Sometimes in practice, an additional black line was added, too, but due to the model’s small size I just painted a white line.

Another common practice of the British army, esp. on cruiser tanks with large wheels, was to paint the front and rear road wheels in a uniform, light color, while the wheels between them became dark – an attempt to mimic a lorry, esp. when a light “Sunshield” canopy was mounted over the hull that resembled a truck’s outline.

 

The model received a light wash with a mix of black, grey and brown, the decals (taken from the OOB sheet) were applied next. Over this came some dry-brushing with light grey and ochre and the kit was sealed with matt acrylic varnish (from the rattle can). Once the tracks were mounted, the lower areas of the tank were finally dusted with a mix of sand and light grey pigments.

  

Even though the Hasegawa M3 was a simple basis to start with, the conversions, esp. the running gear, were quite challenging. But I like the result a lot: the Parsival looks like a slimmed-down race variant of the M3, just what I wanted to achieve, and the British camouflage suits the small tank well, too – the white contrast line adds an exotic touch.

 

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

  

Some background:

In September 1939, the US Army was ill-prepared as far as armored vehicles, training and tactics went. Soon, it became clear that a new model, which could be favorably compared to the European models, had to be studied for mass production. The very early M1 Combat Car was nothing more than a very small tank with two machine guns. Its main purpose was scouting and as such ordered for “cavalry” units. This was in 1937, and became the forerunner of all light tanks to come.

In 1935, a new model, the M2 Light Tank, was designed. At first, it was an immediate upgrade of the M1, but with the heavier .50 (12.7 mm) caliber machine gun, immediately followed by the M2A2 with twin turrets equipped with .30 (7.62 mm) caliber M1919 machine guns. The “Mae West” gave way in 1938 to a small series of M2A3 37 mm (1.45 in) single turret tanks, and then to the final M2A4 in 1940, with improved armor, motorization and equipment. These fought at Guadalcanal with the US Marine Corps, and with the British Army through Lend-Lease, performing well in Burma and India against the Japanese, despite being obsolete.

 

The following M3 was built under the light of recent events in France. The quick fall of France, due to inadequate tactics, quickly led the US Army Corps to think about a new doctrine, which led to an independent US armored force. From the material point of view, the latest M2A4 and the M3 were both designed to be more effective than only infantry support units, their main duty was scouting and screening.

The M3 was, at first, a simple upgrade of the last M2, with a more powerful Continental petrol engine, a new vertical volute spring suspension system and up to four machine guns in addition to a main, quick-firing M5 (and later M6) 37 mm (1.45 in) anti-tank gun, with a new gun recoil system.

 

Most of the initial M3 tanks were provided to the British and Commonwealth forces through Lend-Lease. Some were immediately thrown into action in Northern Africa, where they immediately became popular for their speed, sturdiness and reliability. Although the official British designation was “Stuart”, paying homage to Civil War Confederate general J.E.B. Stuart, they found themselves affectuously dubbed “Honey”, because of their smooth ride.

Beyond British and Commonwealth forces, the US Forces used many M3s in their first major operation in the west, the North African invasion in November 1942 (Operation Torch). They had some success against Italian tanks, but were butchered by German 88 mm (3.46 in) artillery and the up-gunned Panzer IIIs and IVs. It was clear that their high profile and the flat squared hull was too vulnerable. However, the M3 was popular, reliable and mobile, and the introduction of a diesel engine in the M3A1 made the small tank even more suitable for reconnaissance missions, so that the British Army asked by late 1941 for a dedicated scout variant that would trade-in the weak cannon armament (and the fourth crewman associated with it) for more mobility and range. This led to the M3A2, better known under the British name “Parsival”, because it was never adopted and operated by the U.S. Army.

 

The Parsival Mk. I used the standard M3 hull, but the lateral sponsons that formerly housed fixed machine guns were outright deleted in order to save weight and to reduce manufacturing effort as well as frontal area. Another major modification concerned the running gear: in order to improve speed and handling at higher speed, the M3’s vertical springs were replaced by a modified Christie running gear, which consisted of the standard drive wheel at the front, four large road wheels and three return rollers per side. The last pair of road wheels was mounted on trailing swing arms for increased ground contact and also acted as idler wheels. The M3A1’s optional 9-cylinder Guiberson T-1020 diesel became the Parsival’s standard engine, and, beyond the internal tanks, two additional external fuel drums could be mounted to the rear hull, extending range from 100 to 150 miles.

 

A new cast turret, similar in shape to the airborne M22 Locust tank, was mounted, which had a much lower profile and offered better ballistic protection than the M3’s original turret with vertical side walls. The reduced height was a trade-off for firepower, though: the turret did not carry a full-fledged cannon anymore, only a medium 0.5” (12.7 mm) machine gun as well as a light, coaxial 0.303” (7.62 mm) machine gun, all operated by the commander. The machine gun in the front bow, handled by the radio operator, was retained, and another light machine gun could optionally be mounted on top of the turret against aircraft. The turret was furthermore equipped with a set of two smoke grenade launchers.

 

Through the different weight saving measures, the Parsival’s weight could be reduced from 12.7 to 10.8 tons, resulting in a slight improvement in overall performance but with a much better handling, esp. when moving off-road.

 

In the summer of 1942, the first Parsival Mk. Is arrived in the North African theatre of operations where they excelled in their dedicated reconnaissance role. Concerning the standard M3, the British usually kept the Stuarts out of direct tank-to-tank combat, using them primarily for reconnaissance, too. In consequence, the turret was removed from some British M3 examples to save weight and improve speed and range, but these were inferior to the Parsival and became known as "Stuart Recce". Some others were converted to armored personnel carriers known as the "Stuart Kangaroo", and some were converted into command vehicles and known as "Stuart Command".

After the Africa campaign, British Stuarts and Parsival took successfully part in the liberation of Italy. About 500 were produced, 160 of them were delivered to the Soviet Union under Lend-Lease, the rest was exclusively operated by the British Army in Europe. Parsivals, M3s, M3A3s, and M5s continued in British service until the end of the war.

  

Specifications:

Crew: Three (commander, driver, radio operator)

Weight: 10.8 tons

Length: 14ft 2in (4.33 m)

Width: 7ft 4in (2.33 m)

Height: 2.49 metres (8 ft 1 1/2 in)

Suspension: Christie system

Ground clearance: 16.5" (419 mm)

Fuel capacity: 54 US gal (200 l)

Armor:

0.52 - 2 in (13 - 51 mm)

 

Performance:

Speed:

- Maximum, road: 40 mph (65 km/h)

- Cross country: 22 mph (36 km/h)

Climbing capability:

- 40% side slope and 60% max grade

- Vertical obstacle of 24 inches (61 cm)

- 72 inches (1,8 m) trench crossing

Fording depth: 36 inches (91 cm)

Operational range: 100 ml (160 km) on road with internal fuel

Power/weight: 23.1 hp/t

 

Engine:

1× Guiberson T-1020 9-cylinder radial diesel engine with a 1,021 cu in (16.73 l) displacement,

delivering 250 hp (190 kW)

 

Transmission:

Hydramatic, 4 speeds forward, 1 reverse

 

Armament:

1× 0.5” (12.7) mm M2 machine gun with 900 rounds

3× 0.303” (7,62 mm) M1919A4 machine guns

(co-axial in the turret, in the front bow and as an AA weapon on top of the turret)

with a total of 6,750 rounds

2× smoke dischargers on the turret’s right side

  

The kit and its assembly:

This M3 conversion was spawned by the idea of a dedicated recce variant of the popular Stuart tank. Originally, I just planned to use the chassis from a Hasegawa 1:72 kit and replace the turret with a smaller option (including lighter armament), I already had organized a resin turret for/from an American T17 “Staghound” WWII recce car. But, as always, you can drive a simple idea easily further, so that I also thought about a different suspension and other modifications that would improve the tank’s agility. This led to a Christie-style running gear and the deletion of the M3’s machine gun sponsons, which were in practice used as storage space after the machine guns had been deleted.

 

The Staghound turret came from a ModelTrans/Silesian Models conversion set, which also includes a nice commander figure as well as two fuel drums. The sponsons were simply cut away and the gaps filled with 0.5 mm styrene sheet – a small modification, and thanks to the M3’s boxy hull design a simple affair. Only some small PSR on the side wall implants as well as on the mudguards (which are segmented) was necessary, and this modification changes the M3’s look considerably!

 

The running gear was scratched and more complicated, in particular because assembly and painting had to go hand in hand. The eight road wheels actually come from a 1:72 T-72 tank from ModelCollect, their width perfectly matched the track’s and they had the same size as the M3’s large idler wheel at the rear. The road wheels’ depth just looks a little disturbing, but not implausible. The trailing idler wheel (using the original suspension arm) defined the stance and the other wheels were mounted on plastic rods to the hull, with simulated suspensions arms (styrene profile) behind them. Since the drive and idler wheels’ position effectively remained unchanged, I was able to use the OOB vinyl tracks, which are really smooth and easy to handle. However, this move necessitated to retain the return wheels – I wanted to omit them, for an even more Christie-esque look, but without them the track would have been too long and slacked through, with a lot of space between the tracks and the mudguards. Nevertheless, the return wheels’ position was slightly changed, in order to reflect the modified road wheels’ position. And the whole affair simply looks different from the original, so I am fine with it.

 

In order to liven the small tank up, I added the fuel drums from the Staghound set to the rear fenders and added some more boxes and folded tarpaulins (made from paper tissue drenched in thinned white glue) on the mudguards, somewhat masking the new side walls from sight. I also mounted the M3’s OOB AA machine gun to the turret.

  

Painting and markings:

I wanted a Northern Africa paint scheme and at first considered the iconic Caunter scheme, but then I thought that, since this livery was also used on the real British Stuarts, I rather wanted something different.

I eventually settled for a simple two-tone scheme, used on British cruiser tanks like the Crusader as well as on M3 Lee medium tanks of American origin. The basic colors I used are Humbrol 168 (Hemp) for the Light Stone tone, and Humbrol 98 (Chocolate) for the dull, dark brown.

 

As common practice, the basic colors were separated with thin, white lines in order to emphasize the contrast between them. Sometimes in practice, an additional black line was added, too, but due to the model’s small size I just painted a white line.

Another common practice of the British army, esp. on cruiser tanks with large wheels, was to paint the front and rear road wheels in a uniform, light color, while the wheels between them became dark – an attempt to mimic a lorry, esp. when a light “Sunshield” canopy was mounted over the hull that resembled a truck’s outline.

 

The model received a light wash with a mix of black, grey and brown, the decals (taken from the OOB sheet) were applied next. Over this came some dry-brushing with light grey and ochre and the kit was sealed with matt acrylic varnish (from the rattle can). Once the tracks were mounted, the lower areas of the tank were finally dusted with a mix of sand and light grey pigments.

  

Even though the Hasegawa M3 was a simple basis to start with, the conversions, esp. the running gear, were quite challenging. But I like the result a lot: the Parsival looks like a slimmed-down race variant of the M3, just what I wanted to achieve, and the British camouflage suits the small tank well, too – the white contrast line adds an exotic touch.

 

Jerry N. Uelsmann (born June 11, 1934) is an American photographer, and was the forerunner of photomontage in the 20th century in America.

"Jerry Uelsmann is said to be one of the few select group of artists who can be said to have altered the very language of their discipline. Through the use of composite print, this brilliant technician has invented a unique poetic universe that has extended the definition of what is photographic." [1]

 

Uelsmann was born in Detroit, Michigan. While attending public schools, at the age of fourteen, there sparked an interest in photography. He believed that through photography he could exist outside of himself, to live in a world captured through the lens. Despite poor grades, he managed to land a few jobs, primarily photographs of models. Eventually Uelsmann went on to earn a BA from the Rochester Institute of Technology and M.S. and M.F.A. degrees from Indiana University. Soon after, he began teaching photography at the University of Florida in 1960. In 1967, Uelsmann had his first solo exhibit at The Museum of Modern Art which opened doors for his photography career.[2]

Uelsmann is a master printer, producing composite photographs with multiple negatives and extensive darkroom work. He uses up to a dozen enlargers at a time to produce his final images, and has a large archive of negatives that he has shot over the years. The negatives that Uelsmann uses are known to reappear within his work, acting as a focal point in one work, and background as another. Similar in technique to Rejlander, Uelsmann is a champion of the idea that the final image need not be tied to a single negative, but may be composed of many. During the mid-twentieth century, when photography was still being defined, Uelsmann didn't care about the boundaries given by the Photo Secessionists or other realists at the time, he simply wished to share with the viewer the images from his imagination and saw photomontage as the means by which to do so. Unlike Rejlander, though, he does not seek to create narratives, but rather "allegorical surrealist imagery of the unfathomable". Uelsmann is able to subsist on grants and teaching salary, rather than commercial work.

Today, with the advent of digital cameras and Photoshop, photographers are able to create a work somewhat resembling Uelsmann's in less than a day, however, at the time Uelsmann was considered to have almost "magical skill" with his completely analog tools. At the time Uelsmann's work first came to popular attention, photos were still widely regarded as unfalsifiable documentary evidence of events. However, Uelsmann, along with Lucas Samaras, was considered an avant garde shatterer of this popular mindset and help to expand the artistic boundaries of photography.

Despite his works' affinity with digital techniques, Uelsmann continues to use traditional equipment. “I am sympathetic to the current digital revolution and excited by the visual options created by the computer. However, I feel my creative process remains intrinsically linked to the alchemy of the darkroom.”[3] Today he is retired from teaching and currently lives in Gainesville, Florida with his third wife, Maggie Taylor.[4] Uelsmann has one son, Andrew, who is a graduate student at the University of Florida. But to this day, Uelsmann still produces photos, sometimes creating more than a hundred in a single year. Out of these images, he likes to sit back and select the ten he likes the most, which is not an easy process.[3]

His photographs can be seen in the opening credits of the television series The Outer Limits (1995), and the illustrated edition of Stephen King's Salem's Lot. In addition, his artwork is featured in the progressive metal band Dream Theater's seventh studio album Train of Thought (2003).

en.wikipedia.org/wiki/Jerry_Uelsmann

  

Uelsmann received a Guggenheim Fellowship in 1967 and a National Endowment for the Arts Fellowship in 1972. He is a Fellow of the Royal Photographic Society of Great Britain, a founding member of the Society of Photographic Education and a former trustee of the Friends of Photography. Uelsmann's work as been exhibited in more than 100 individual shows in the United States and abroad over the past forty years. His photographs are in the permanent collections of many museums world wild, including the Metropolitan Museum of Art and the Museum of Modern Art in New York , the Chicago Art Institute, the Samuel P. Harn Museum in Gainesville, the International Museum of Photography and the George Eastman House, the Victoria and Albert Museum in London, the Bibliptheque National in Paris, the National Museum of American Art in Washington, the Moderna Museet in Stockholm, the National Gallery of Canada, the National Gallery of Australia, the Museum of Fine Arts in Boston, the National Galleries of Scotland, the Center of Creative Photography at the University of Arizona, the Tokyo Metropolitan Museum of Photography, the National Museum of Modern Art in Kyoto, and the Museum of Photography in Seoul, Korea.

www.peterfetterman.com/artists/jerry-uelsmann/

Jerry N. Uelsmann (born June 11, 1934) is an American photographer, and was the forerunner of photomontage in the 20th century in America.

"Jerry Uelsmann is said to be one of the few select group of artists who can be said to have altered the very language of their discipline. Through the use of composite print, this brilliant technician has invented a unique poetic universe that has extended the definition of what is photographic." [1]

 

Uelsmann was born in Detroit, Michigan. While attending public schools, at the age of fourteen, there sparked an interest in photography. He believed that through photography he could exist outside of himself, to live in a world captured through the lens. Despite poor grades, he managed to land a few jobs, primarily photographs of models. Eventually Uelsmann went on to earn a BA from the Rochester Institute of Technology and M.S. and M.F.A. degrees from Indiana University. Soon after, he began teaching photography at the University of Florida in 1960. In 1967, Uelsmann had his first solo exhibit at The Museum of Modern Art which opened doors for his photography career.[2]

Uelsmann is a master printer, producing composite photographs with multiple negatives and extensive darkroom work. He uses up to a dozen enlargers at a time to produce his final images, and has a large archive of negatives that he has shot over the years. The negatives that Uelsmann uses are known to reappear within his work, acting as a focal point in one work, and background as another. Similar in technique to Rejlander, Uelsmann is a champion of the idea that the final image need not be tied to a single negative, but may be composed of many. During the mid-twentieth century, when photography was still being defined, Uelsmann didn't care about the boundaries given by the Photo Secessionists or other realists at the time, he simply wished to share with the viewer the images from his imagination and saw photomontage as the means by which to do so. Unlike Rejlander, though, he does not seek to create narratives, but rather "allegorical surrealist imagery of the unfathomable". Uelsmann is able to subsist on grants and teaching salary, rather than commercial work.

Today, with the advent of digital cameras and Photoshop, photographers are able to create a work somewhat resembling Uelsmann's in less than a day, however, at the time Uelsmann was considered to have almost "magical skill" with his completely analog tools. At the time Uelsmann's work first came to popular attention, photos were still widely regarded as unfalsifiable documentary evidence of events. However, Uelsmann, along with Lucas Samaras, was considered an avant garde shatterer of this popular mindset and help to expand the artistic boundaries of photography.

Despite his works' affinity with digital techniques, Uelsmann continues to use traditional equipment. “I am sympathetic to the current digital revolution and excited by the visual options created by the computer. However, I feel my creative process remains intrinsically linked to the alchemy of the darkroom.”[3] Today he is retired from teaching and currently lives in Gainesville, Florida with his third wife, Maggie Taylor.[4] Uelsmann has one son, Andrew, who is a graduate student at the University of Florida. But to this day, Uelsmann still produces photos, sometimes creating more than a hundred in a single year. Out of these images, he likes to sit back and select the ten he likes the most, which is not an easy process.[3]

His photographs can be seen in the opening credits of the television series The Outer Limits (1995), and the illustrated edition of Stephen King's Salem's Lot. In addition, his artwork is featured in the progressive metal band Dream Theater's seventh studio album Train of Thought (2003).

en.wikipedia.org/wiki/Jerry_Uelsmann

  

Uelsmann received a Guggenheim Fellowship in 1967 and a National Endowment for the Arts Fellowship in 1972. He is a Fellow of the Royal Photographic Society of Great Britain, a founding member of the Society of Photographic Education and a former trustee of the Friends of Photography. Uelsmann's work as been exhibited in more than 100 individual shows in the United States and abroad over the past forty years. His photographs are in the permanent collections of many museums world wild, including the Metropolitan Museum of Art and the Museum of Modern Art in New York , the Chicago Art Institute, the Samuel P. Harn Museum in Gainesville, the International Museum of Photography and the George Eastman House, the Victoria and Albert Museum in London, the Bibliptheque National in Paris, the National Museum of American Art in Washington, the Moderna Museet in Stockholm, the National Gallery of Canada, the National Gallery of Australia, the Museum of Fine Arts in Boston, the National Galleries of Scotland, the Center of Creative Photography at the University of Arizona, the Tokyo Metropolitan Museum of Photography, the National Museum of Modern Art in Kyoto, and the Museum of Photography in Seoul, Korea.

www.peterfetterman.com/artists/jerry-uelsmann/

 

An earth castle from the period of the Magyar conquest was the forerunner of the stone castle which was under royal ownership in the 12th C. The settlement at the foot of the fortification received its charter in the 14th C. In 1534 the castle and town became the property of the influential Nádasdy family. Under Tamás Nádasdy Sárvár was the focus of the reformist and humanist struggle in West Hungary; he made possible the publication of the first Hungarian translation of the bible and a grammar in Hungarian by János Sylvester, a scholar of Erasmus. For the rebuilding of the castle he brought Italian experts in fortifications to Sárvár who designed the pentagonal Renaissance castle with its defensive ramparts. The famous Andrea Palladio is said to have been involved in the plans for the massive gate tower. Tamás's successor Ferenc Nádasdy, who completed the castle around 1650, was involved in the conspiracy of the Hungarian aristocracy against the Habsburgs ("Wesselényi conspiracy) and paid for it with his life; the Habsburgers took his art treasures with them to Vienna.

It was the later owners who gave the building its Classical façade.

 

The Renaissance tower has been preserved in its original style of 1598. There is an impressive palatial room with stucco-framed frescos decorating its walls. The ceiling paintings, by an artist with the signature H.R.M., commissioned by Ferenc Nádasdy portray the Nádasdys as commanders in the Turkish wars; on the walls are scenes from the Old Testament by Stefan Dorffmeister (1769). The allegorical paintings in the tower room, are also his work, in which the role of the lord of the castle as patron of the arts and sciences is emphasized - a logical continuation of the frescos in the palatial room. Other rooms of the castle are also decorated with frescos and 18th C furniture.

 

The Ferenc Nádasdy museum, housed in the castle, is devoted to the history of the family, regional folk art and the town's history.

 

hu.wikipedia.org/wiki/S%C3%A1rv%C3%A1ri_v%C3%A1r

Heres information about central florida broadcast stations

 

Broadcast Tower,WFTT-TV is the Telefutura affiliate for Tampa Bay, owned by Univision and operated by Entravision, owners of WVEA-TV. The station, which broadcasts on UHF channel 50, is based at WVEA's studios on Hillsborough Avenue in Tampa, and transmits from Riverview. WFTT can be seen on cable throughout the Bay Area on Bright House channel 5, and on Comcast in Sarasota County on channel 23.

 

With the completion of the 442.550 repeater in Riverview at 805ft in January, the western pointing antenna on the 442.825 repeater caused a expected overlap that was unnecessary. Since 442.550 now blankets Hillsborough County, we have as of April 11th taken the antenna off the west leg of the Pebbledale tower site at 800ft and moved it to the east leg of the tower. What does mean for users? The tower has a 7 foot wide face, which creates a null that is created behind the antenna. This null used to face a huge portion of Polk County. By moving this antenna to the east, the null is now facing essentially Brandon/Riverview, where 442.550 is now located at 805ft. So far we have gotten incredible results from users in eastern Polk County. Some users in Sebring reporting almost full scale signal, and mobile users with hand helds on 27 at 5 watts can use 442.825 now. None of this was previously possible. So with this move, expect to hear more Polk, Osceola and I-4 corridor area users making it into the network.

 

A nother tower WVEA (channel 62) is Tampa Bay, Florida's first Spanish-language TV station, which had its start in the early-1980s as low-powered W50AC ch.50, which offered programming from the Spanish International Network (SIN), the forerunner of today's Univision. In 1988, to make way for new HSN flagship WBHS (now WFTT-TV), the station relocated to channel 61 and became W61BL. In the mid-1990s, the station was re-called "WVEA-LP". In 2000, WVEA's parent company, Entravision, acquired Sarasota English independent WBSV channel 62, with the intent of moving the transmitter from Venice to the antenna farm at Riverview. WBSV signed on May 3, 1991 as the Sarasota area's own independent station, designed to compete against WWSB and the other stations in the Tampa Bay and nearby Ft. Myers markets. Licensed to Venice, Florida the call letters stood for Bradenton, Sarasota, Venice, the three cities it primarily served. WBSV had a variety of syndicated and local programming, plus infomercials and home shopping programs. early on, they also had its own newscast. But, WBSV was eternally in red ink, and relied more on home shopping and infomercials to keep the station afloat....

 

And then,WTVT, channel 13, is a television station in Tampa, Florida. It is an owned and operated station of the Fox Broadcasting Company, a subsdiary of the News Corporation. WTVT's studios are located in Tampa, and its transmitter is located in Riverview, Florida.

 

Overall the WUSF (89.7 FM) is an NPR-member radio station licensed to Tampa, Florida, USA. The station is currently owned by the University of South Florida. WUSF signed on in 1963, seven years after USF's founding in 1956.

 

WOPX channel 56 is a television station based in Orlando, Florida, USA. An affiliate of the ION Television network, it transmits its analog signal on UHF channel 56 and its digital signal on UHF channel 48, both from a transmitter located near Holopaw. The station signed on the air in 1986.

 

WIWA (1160 AM) is a radio station broadcasting a Spanish language Christian format. Licensed to St. Cloud, Florida, USA, it serves the greater Orlando area. The station is currently owned by Centro De La Familia Cristiana Inc.

 

WAFZ-FM (92.1 FM) is a radio station broadcasting a Regional Mexican format. Licensed to Immokalee, Florida, USA, the station is currently owned by Glades Media Company LLC. WAFZ's programming is also heard on WAFZ AM 1490 in Immokalee.

 

WTVY or WTVY News 4 is a CBS-affiliated television station broadcasting on channel 4 in Dothan, Alabama, owned by Gray Television. The station's signal, originating from a transmitter in Holmes County, Florida, reaches large portions of Alabama, Georgia and Florida. WTVY is also the designated CBS affiliate for the Panama City, Florida market, where Gray also owns that city's NBC affiliate, WJHG-TV. In exchange, WJHG is available in Dothan on cable since Dothan does not have its own NBC affiliate. In fact, WTVY's transmitter is located within the Panama City market. WTVY-DT uses digital subchannels to operate MyNetworkTV affiliate My 4 and CW affiliate Dothan's CW.

 

WJED (91.1 FM) is a radio station broadcasting a Christian radio format. Licensed to Dogwood Lakes Estate, Florida, USA. The station is currently owned by Bethany Bible College.

 

WTVJ, channel 6, is the NBC owned-and-operated television station for South Florida, licensed to Miami. Its analog transmitter is located in Redland. The station's digital transmitter is located near Dolphin Stadium in north Miami-Dade County. Owned by NBC Universal, the station is sister to South Florida's Telemundo owned-and-operated station, WSCV. The two share studios at Peacock Plaza in Miramar.

 

WOIR (1430 AM) is a radio station broadcasting a Spanish News/Talk format. Licensed to Homestead, Florida, USA, the station serves the Miami area. The station is currently owned by Amanecer Christian Network, Inc..

 

WTLH is a Fox television affiliate licensed to Bainbridge, Georgia and serves the Tallahassee, Florida television market. It broadcasts its analog signal on UHF channel 49 and its digital signal on UHF channel 50. The station began operations on November 25, 1989. Its transmitter is located in Metcalf, Georgia. The Station is owned by CP Media, LLC. The station runs a duopoly with WFXU, The CW station in Tallahassee. WTLH programming is also seen on a low-powered, Class-A repeater, WBVJ-LP channel 35 in Valdosta.

 

WTXL-TV is the ABC affiliate station for Tallahassee, Florida, Thomasville, Georgia, and Valdosta, Georgia, broadcasting on channel 27. The station is owned by Calkins Media, Inc., a Pennsylvania-based mass media company that owns several small newspapers in Pennsylvania and two other television stations: WWSB in Sarasota and WAAY-TV in Huntsville, Alabama. It was previously owned by Media Ventures Management, and operated by the Sinclair Broadcast Group pursuant to an outsourcing agreement (See: [1]), the first of its kind in the United States. This agreement merged virtually all of WTXL-TV's operations with that of Sinclair's NBC affiliate WTWC. Denis LeClair, General Manager of WTXL-TV and WBXT-TV at the time, was made General Manager for WTXL, WBXT and WTWC under this agreement. He would be followed by Chris Butterick and then Bob Franklin. Eventually, Kim Urbuteit (who was fired in May, 2007) would be named General Manager of WTXL only as Bob Franklin (now in Mobile, AL) oversaw WTWC. Gary Wordlaw is the current General Manager of WTXL-TV.

 

WFSU is the callsign (or variations thereon) for public radio stations operated by Florida State University in Tallahassee, Florida. WFSU also operates 3 radio stations that serve northern Florida: * WFSU-FM 88.9 FM: Tallahassee-based news/talk/public affairs station carrying several NPR programs and overnight BBC World Service programming. Also heard on these low-powered repeaters: * 97.1 - Carrabelle * 106.1 - Marianna * 96.7 - Apalachicola * 93.7 - Downtown Tallahassee (necessary because the main WFSU transmitter must conform its signal to protect WTSU in Troy, Alabama) * WFSQ-FM 91.5 FM: Tallahassee-based classical music station. Also heard on WFSL-FM 90.7 in Thomasville, Georgia, and on low-powered 92.7 FM in the northeast portion of the city of Tallahassee. * WFSW-FM 89.1 FM: Panama City-based news/talk/public affairs station. Offers many of the same programs as WFSU. Also heard on low-powered 91.1 FM in the Port St. Joe area along the Gulf of Mexico, as well as 94.5 FM in Fort Walton Beach.

 

WESH is the NBC affiliate in Orlando, Florida. It is licensed to Daytona Beach, with studio facilities in Winter Park. It transmits its analog signal on VHF channel 2 and its digital signal on VHF channel 11, when viewed over the air PSIP will display 2.1 for WESH DT and 2.2 for WESH Weather Plus. It is currently owned by Hearst-Argyle Television along with the area's CW affiliate, WKCF. WESH's transmitter is located in Orange City, Florida. The tower is the tallest man-made structure in Florida, at 1,740 feet (530 m). The station also serves as the default NBC affiliate for the Gainesville market, and can be seen on the fringes of the Tampa Bay and Jacksonville markets. WESH was the first station in Orlando to carry an on-site RADAR facility, SuperDoppler 2 as opposed to relying on National Weather Service RADARs. It is installed on top of the tower located at the Winter Park broadcast studio. Today it also promotes a VIPIR 3D RADAR system, taking advantage of the fact that the RADARs at Melbourne, Tampa, Jacksonville and Miami can all reach Orlando, in addition to SuperDoppler 2. The primary news anchors at WESH are Martha Sugalski and Jim Payne....

 

WOMX is a radio station located in the Orlando, Florida area and broadcasts at 105.1. WOMX 105.1 plays the "Best MIX of the 80s, 90s and Today," though the station programming focuses mostly on rock and modern rock music from the 90's and 2000's. Every Friday from 5:00 p.m. to 12:00 a.m., Mix 105.1 presents Friday Night 80's. The "Saturday Night Party MIX" airs every Saturday night from 7 p.m. to midnight. The "Saturday Night Party MIX" replaced the Orlando heritage show "Seventies Saturday Night" in 2005.

 

WOTF-TV Channel 43 is the TeleFutura station serving the Orlando/Daytona Beach/Melbourne, Florida television market. It is owned by Univision and managed by Entravision which owns Univision affiliate WVEN-TV 26 and radio station WNUE 98.1 FM and offers a Spanish language entertainment format featuring movies, dramas, comedy shows, and kids shows. The studios are located in Altamonte Springs which is also shared by WVEN.

 

WOFL, "Fox 35", is the Fox owned-and-operated television station serving the Orlando, Florida metropolitan area. It is licensed to Orlando, with studios located in Lake Mary. It broadcasts its analog signal on UHF channel 35, and its digital signal on UHF channel 22. Its transmitter is located in Bithlo, Florida. Its Digital TV transmitter has a power of 1,000 kW. Its Analog TV transmitter has a power of 2,570 kW. WOFL and sister station WTVT of the bordering Tampa market commonly share reporters and footage, as other station groups do.

 

WFTV channel 9 is a television station based in Orlando, Florida, affiliated with the ABC network. It transmits its analog signal on VHF channel 9 from a transmitter located in Bithlo, Florida, and its digital signal on UHF channel 39 from a transmitter located in Christmas, Florida. It is owned by Cox Enterprises along with independent station WRDQ TV 27. The primary news anchors at WFTV are Bob Opsahl and Martie Salt. They anchored the main afternoon newscasts from 1984 through 1994, when Ms. Salt transferred to WFTS, a TV station in Tampa (where she was known as "Martie Tucker"). She returned to anchor WFTV's news again with Opsahl in 2003. Opsahl is one of the longest-serving (at one station) local news anchors in Florida. Barbara West, a 20 year veteran at WFTV and the station's medical reporter is paired with Opsahl at 5:30. Marla Weech, a former anchor for WFTV, was paired up with Bob Opsahl during most of Salt's absence. Weech currently works for WKMG. Tom Terry is the "Chief Meteorologist". WFTV's Severe Weather Center 9 includes WFTV's own doppler weather radar station located at Joint Venture TV Tower Bithlo. Its radar has features that are...

 

WRBW-TV is the MyNetworkTV owned and operated station serving the Orlando/Daytona Beach/Melbourne, Florida television market. It is owned by the Fox Television Stations Group, along with Fox station WOFL Channel 35. Known on-air as "My65", the station offers sitcoms, cartoons, court shows, and talk/reality shows. Its transmitter is located in Christmas, Florida.

 

WNTF (1580 AM) is a radio station broadcasting a News Talk Information format. Licensed to Bithlo, Florida, USA, it serves the Orlando area. The station is currently owned by Rama Communications, Inc.

 

WBCC is an educational television station serving the Orlando television market. It broadcasts on UHF channel 68, with a digital signal on channel 30. It is one of the Orlando market's PBS member stations. WBCC's digital signal, on channel 30, offers programming from the University of Central Florida (channel 68.2) and BPS-TV from Brevard Public Schools (channel 68.3), in addition to WBCC's standard programming.

 

WRDQ, channel 27, is an independent television station in Orlando, Florida. Its analog transmitter is located in northeastern Osceola County. The station's digital transmitter is located in Christmas. Onwed by Cox Enterprises, WRDQ is sister to ABC affiliate WFTV. The two stations share studios on East South Street in downtown Orlando. WRDQ offers the Retro Television Network on its second digital subchannel. It can also be seen on Bright House digital channel 1028. Syndicated programming on WRDQ includes: South Park, Scrubs, Merv Griffin's Crosswords, Oprah, According to Jim, and George Lopez. The station can be considered an alternate ABC affiliate. As such, it may take on the responsibility of airing ABC programs whenever WFTV may not be able to do so as in a news-related emergency.

 

WXPX is a television station licensed to Bradenton, Florida. Operating on channel 66, it is an ION Television affiliate, owned and operated by ION Media Networks (formerly Paxson Communications), which has owned the station since its founding in 1994. Current programming on WXPX is virtually the same as other ION affiliates -- infomercials throughout the day and during the overnights, plus ION programming in the evenings. WXPX also shows Tampa Bay Lightning hockey, Orlando Magic basketball, some college football and Tampa Bay Rays baseball, though most of these games are in the evenings only, as WXPX tend to reserve non-prime-time hours for infomercials. Rays games air in high definition on WXPX in the 720p format, the same format as FSN Florida, the producers of the games (See: [1]). The only local programming on WXPX is i on Tampa (public affairs) and the aforementioned Rays and Magic games. The station once aired Miccosukee Magazine along with WPXM Miami and WPXP West Palm Beach, but no longer airs the program. (the latter two stations still do, along with WOPX Orlando) WXPX started in 1994 as WFCT, which featured infomercials at all hours under...

 

Wesh News Cast Bay News 9 Cast Weather Channel

Kristina

 

Abernathy

 

Stephanie

 

Abrams

 

Natalie

 

Allen

 

Tetiana

 

Anderson

 

Adam

 

Berg

 

Mike

 

Bettes

 

Vivian

 

Brown

 

Jim

 

Cantore

 

Jennifer

 

Carfagno

 

Kelly

 

Cass

 

Betty

 

Davis

 

Kristin

 

Dodd

 

Jorma

 

Duran

 

Dr Marcus

 

Eriksen

 

Paul

 

Goodloe

 

Ryan

 

Goswick

 

Rich

 

Johnson

 

Bill

 

Keneely

 

Danny

 

Lipford

 

Warren

 

Madden

 

Mark

 

Mancuso

 

Dr Anna

 

Marie

 

Julie

 

Martin

 

Jeff

 

Mielcarz

 

Jarod

 

Miller

 

Nicole

 

Mitchell

 

Samantha

 

Mohr

 

Jeff

 

Morrow

 

Carl

 

Parker

 

Kim

 

Perez

 

Sharon

 

Resultan

 

Kevin

 

Robinson

 

Marshall

 

Seese

 

Mike

 

Seidel

 

Alexandra

 

Steele

 

Heather

 

Tesch

 

Nick

 

Walker

 

Alex

 

Wallace

Dr Steve Lyons

 

Dr Greg Forbes

 

Dr Heidi Cullen

 

Stu Ostro

Aixa Diaz (NEWS ANCHORS

Jen Holloway

Al Ruechel

Leigh Moody

Erica Riggins

Rick Elmhorst

 

(METEOROLOGISTS)

Mike Clay

Juli Marquez

Josh Linker

Diane Kacmarik

Brian McClure

Alan Winfield

 

(NEWS REPORTERS

Jennifer Anderson

Dalia Dangerfield

Laurie Davison

Melissa Eichman

Samantha Hayes

Chuck Johnson

Troy Kinsey

Jason Lanning

Emily Maza

Carol Minn Vacca

Jonathan Petramala

Josh Rojas

Summer Smith

Kathryn Simmons

Melanie Snow

Melissa Sogegian

Anna Tataris

Ferdinand

Zogbaum

 

(EN ESPANOL

Lydia Guzmán

Roy De Jesús

Sandra Pinto

 

Jim Payne

Syan Rhodes

Martha Sugalski

Scott Walker

Eryka Washington

  

Weather:

Jason Brewer

Tony Mainolfi

Malachi Rodgers

Amy Sweezey

 

WESH.com Web Staff:

Jeff Cousins

Managing Editor

Jessica Seeley

   

Washington Reporters:

 

Sally Kidd

Nikole Killion

Laurie Kinney

 

Orlando Sentinel:

Roger Moore

Movie Critic

 

Sports:

 

Pat Clarke

Guy Rawlings

   

Reporters:

Danielle Bellini

Dan Billow

Greg Fox

Bob Kealing

Jeff Lennox

Craig Lucie

Dave McDaniel

Michelle Meredith

Claire Metz

Amanda Ober

Kendra Oestreich

Gail Paschall-Brown

Tim Trudell

Todd Wilson

 

Other Talent:

Jason Chepenik

Financial Analyst

Dr. Todd Husty

Dan McCarthy

Chopper 2 Pilot

Kimberly Williams

Traffic Reporter

 

List of the tallest towers.

 

1 Burj Dubai 2,684 feet 818 m 2009 Skyscraper

 

2 Warsaw Radio Mast 2,121 feet 646.4 m 1974 Guyed mast

 

3 KVLY/KTHI TV Mast 2,063 feet 628.8 m 1963 Guyed mast

 

4 KXJB-TV mast 2,060 feet 627.8 m 1998 Guyed mast

 

5 KXTV/KOVR Tower 2,049 feet 624.5 m 2000 Guyed mast UHF/VHF-transmission U.S. Walnut Grove, California Tallest structure in California

 

6 KATV Tower 2,000 feet 609.6 m 1965?1967? Guyed mast UHF/VHF-transmission U.S. Redfield, Arkansas

 

7 KCAU TV Tower 2,000 feet 609.6 m 1965 Guyed mast UHF/VHF-transmission U.S. Sioux City, Iowa

 

8 WECT TV6 Tower 2,000 feet 609.6 m 1969 Guyed mast UHF/VHF-transmission U.S. Colly Township, North Carolina

 

9 WHO-TV, KDIN-TV,WOI-FM Tower 2,000 feet 609.6 m 1972 Guyed mast VHF-TV, FM radio transmission U.S. Alleman, Iowa

 

10 Des Moines Hearst-Argyle Television Tower Alleman 2,000 feet 609.6 m 1974 Guyed mast UHF/VHF-transmission U.S. Alleman, Iowa

 

11 WEAU-Tower 2,000 feet 609.6 m 1981 Guyed mast UHF/VHF-transmission U.S. Fairchild, Wisconsin

 

12 Diversified Communications Tower 2,000 feet 609.6 m 1981 Guyed mast UHF/VHF-transmission U.S. Floyd Dale, South Carolina

 

13 AFLAC Tower 2,000 feet 609.6 m 1984 Guyed mast UHF/VHF-transmission U.S. Rowley, Iowa

 

14 WBTV-Tower 2,000 feet 609.6 m 1984 Guyed mast UHF/VHF-transmission U.S. Dallas, North Carolina

 

15 Hearst-Argyle Tower 2,000 feet 609.6 m 1985 Guyed mast UHF/VHF-transmission U.S. Walnut Grove, California

 

16 WTTO Tower 2,000 feet 609.6 m 1986 Guyed mast UHF/VHF-transmission U.S. Windham Springs, Alabama

 

17 WCSC-Tower 2,000 feet 609.6 m 1986 Guyed mast UHF/VHF-transmission U.S. Awendaw, South Carolina

 

18 KTVE-Tower 2,000 feet 609.6 m 1987 Guyed mast UHF/VHF-transmission U.S. Bolding, Arkansas

 

19 WCTV Tower 2,000 feet 609.6 m 1987 Guyed mast UHF/VHF-transmission U.S. Metcalf, Georgia

 

20 WCIX/CH6 TV Mast 2,000 feet 609.6 m 1992 Guyed mast UHF/VHF-transmission U.S. Homestead, Florida

 

21 KDLT Tower 2,000 feet 609.6 m 1998 Guyed mast UHF/VHF-transmission U.S. Rowena, South Dakota

 

22 KMOS TV Tower 2,000 feet 609.6 m 2002 Guyed mast UHF/VHF-transmission U.S. Syracuse, Missouri

 

23 Liberman Broadcasting Tower Era 2,000 feet 609.6 m 2006 Guyed mast UHF/VHF-transmission U.S. Era, Texas

 

24 Winnie Cumulus Broadcasting Tower 2,000 feet 609.6 m ? Guyed mast UHF/VHF-transmission U.S. Winnie, Texas

 

25 WRAL HDTV Mast 2,000 feet 609.5 m 1991 Guyed mast UHF/VHF-transmission U.S. Auburn, North Carolina

 

26 Perry Broadcasting Tower 2,000 feet 609.5 m 2004 Guyed mast UHF/VHF-transmission U.S. Alfalfa, Oklahoma

 

27 KY3 Tower 1,999 feet 609.4 m 2000 Guyed mast UHF/VHF-transmission U.S. Fordland, Missouri

 

28 SpectraSite Tower Thomasville 1,999 feet 609.4 m 2002 Guyed mast UHF/VHF-transmission U.S. Thomasville, Georgia

 

29 Pegasus Broadcasting Tower 1,999 feet 609.4 m Guyed mast UHF/VHF-transmission U.S. Metcalf, Georgia

 

30 CBC Real Estate Tower Auburn 1,999 feet 609.4 m Guyed mast UHF/VHF-transmission U.S. Auburn, North Carolina

 

32 KLDE Tower 1,999 feet 609.3 m 1986 Guyed mast UHF/VHF-transmission U.S. Liverpool, Texas

 

33 WCKW/KSTE-Tower 1,999 feet 609.3 m 1988 Guyed mast UHF/VHF-transmission U.S. Vacherie, Louisiana

 

34 American Towers Tower Elkhart 1,999 feet 609.3 m 2001 Guyed mast UHF/VHF-transmission U.S. Elkhart, Iowa

 

35 Salem Radio Properties Tower 1,999 feet 609.3 m 2002 Guyed mast UHF/VHF-transmission U.S. Collinsville, Texas

 

36 Stowell Cumulus Broadcasting Tower 1,999 feet 609.3 m ? Guyed mast UHF/VHF-transmission U.S. Stowell, Texas

 

37 WLBT Tower 1,998 feet 609 m 1999 Guyed mast UHF/VHF-transmission U.S. Raymond, Mississippi

 

38 Beasley Tower 1,997 feet 608.7 m Guyed mast UHF/VHF-transmission U.S. Immokalee, Florida

 

39 KYTV Tower 1,996 feet 608.4 m 1973 Guyed mast UHF/VHF-transmission U.S. Marshfield, Missouri

 

40 SpectraSite Tower Raymond 1,996 feet 608.4 m Guyed mast UHF/VHF-transmission U.S. Raymond, Mississippi

 

41 Hoyt Radio Tower 1,996 feet 608.38 m 2003 Guyed mast UHF/VHF-transmission U.S. Hoyt, Colorado

 

42 Service Broadcasting Tower Decatur 1,995 feet 608.1 m 2000 Guyed mast UHF/VHF-transmission U.S. Decatur, Texas

 

43 WTVD Tower 1,994 feet 607.8 m 1978 Guyed mast UHF/VHF-transmission U.S. Auburn, North Carolina

 

44 Channel 40 Tower 1,994 feet 607.8 m 1985 Guyed mast UHF/VHF-transmission U.S. Walnut Grove, California

 

45 Liberman Broadcasting Tower Devers 1,994 feet 607.7 m 2006 Guyed mast UHF/VHF-transmission U.S. Devers, Texas

 

46 KHYS Tower 1,992 feet 607.2 m 1997 Guyed mast UHF/VHF-transmission U.S. Devers, Texas

 

47 Clear Channel Broadcasting Tower Devers 1,992 feet 607 m 1988 Guyed mast UHF/VHF-transmission U.S. Devers, Texas

 

48 Media General Tower 1,992 feet 607 m 1987 Guyed mast UHF/VHF-transmission U.S. Awendaw, South Carolina

 

49 Eastern North Carolina Broadcasting Tower 1,989 feet 606.2 m 1980 Guyed mast UHF/VHF-transmission U.S. Trenton, North Carolina

 

50 WNCN Tower 1,989 feet 606.2 m 2000 Guyed mast UHF/VHF-transmission U.S. Garner, North Carolina

 

51 KELO TV Tower 1,985 feet 605 m 1974 Guyed mast UHF/VHF-transmission U.S. Rowena, South Dakota

 

52 WITN Tower 1,985 feet 605 m 1979 Guyed mast UHF/VHF-transmission U.S. Grifton, North Carolina

 

53 Noe Corp Tower 1,984 feet 604.7 m 1998 Guyed mast UHF/VHF-transmission U.S. Columbia, Louisiana

 

54 Pappas Telecasting Tower 1,980 feet 603.6 m 2000 Guyed mast UHF/VHF-transmission U.S. Plymouth County, Iowa

 

55 KHOU-TV Tower 1,975 feet 602 m 1992 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

56 Richland Towers Tower Missouri City 1,973 feet 601.3 m 2001 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

57 Senior Road Tower 1,971 feet 600.7 m 1983 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

58 KTRK-TV Tower 1,970 feet 600.5 m 1982 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

59 Houston Tower Joint Venture Tower 1,970 feet 600.5 m 1985 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

60 American Towers Tower Missouri City 1,970 feet 600.5 m 2000 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

61 Fox-TV Tower 1,970 feet 600.4 m 1982 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

62 Mississippi Telecasting Tower 1,969 feet 600 m 1982 Guyed mast UHF/VHF-transmission U.S. Inverness, Mississippi

 

63 WCNC-TV Tower 1,969 feet 600 m 1992 Guyed mast UHF/VHF-transmission U.S. Dallas, North Carolina

 

64 Capstar Radio Tower 1,969 feet 600 m 2001 Guyed mast UHF/VHF-transmission U.S. Middlesex, North Carolina

 

65 KDUH/CH4 TV Mast 1,965 feet 599 m 1969 Guyed mast UHF/VHF-transmission U.S. Hemingford, Nebraska

 

66 American Towers Tower Liverpool 1,963 feet 598.3 m 1992 Guyed mast UHF/VHF-transmission U.S. Liverpool, Texas

 

67 Media General Tower Dillon 1,962 feet 598 m 2001 Guyed mast UHF/VHF-transmission U.S. Dillon, South Carolina

 

68 Duffy-Shamrock Joint Venture Tower 1,960 feet 597.4 m 1990 Guyed mast UHF/VHF-transmission U.S. Bertram, Texas

 

69 AMFM Tower Collinsville 1,960 feet 597.4 m 2002 Guyed mast UHF/VHF-transmission U.S. Collinsville, Texas

 

70 KOLR/KOZK Tower 1,960 feet 597.3 m (orig. 609.6 m) 1971 Guyed mast UHF/VHF-transmission U.S. Fordland, Missouri

 

71 Cosmos Broadcasting Tower Winnabow 1,954 feet 595.6 m 1981 Guyed mast UHF/VHF-transmission U.S. Winnabow, North Carolina

 

72 Spectra Site Communications Tower Robertsdale 1,944 feet 592.6 m 2001 Guyed mast UHF/VHF-transmission U.S. Robertsdale, Alabama

 

73 CBC Real Estate Co. Inc Tower 1,944 feet 592.4 m 1985 Guyed mast UHF/VHF-transmission U.S. Dallas, North Carolina

 

74 Cosmos Broadcasting Tower Grady 1,935 feet 589.8 m 1977 Guyed mast UHF/VHF-transmission U.S. Grady, Alabama

 

75 American Towers Tower Columbia 1,929 feet 587.9 m 1986 Guyed mast UHF/VHF-transmission U.S. Columbia, Louisiana

 

76 Sonsinger Management Tower 1,928 feet 587.6 m 1988 Guyed mast UHF/VHF-transmission U.S. Splendora, Texas

 

77 Cedar Rapids TV Tower 1,927 feet 587.3 m 1974 Guyed mast UHF/VHF-transmission U.S. Walker City, Iowa

 

78 Channel 6 Tower Eddy 1,924 feet 586.4 m 1981 Guyed mast UHF/VHF-transmission U.S. Eddy, Texas

 

79 Entravision Texas Tower 1,920 feet 585.2 m 1998 Guyed mast UHF/VHF-transmission U.S. Greenwood, Texas

 

80 Multimedia Associates Tower 1,916 feet 584 m 1999 Guyed mast UHF/VHF-transmission U.S. Rio Grande City, Texas

 

81 American Towers Tower Randleman 1,910 feet 582.3 m 2004 Guyed mast UHF/VHF-transmission U.S. Randleman, North Carolina

 

82 KTUL Tower Coweta 1,909 feet 581.8 m 1988 Guyed mast UHF/VHF-transmission U.S. Coweta, Oklahoma

 

83 American Towers Tower Robertsdale 1,903 feet 579.9 m 2004 Guyed mast UHF/VHF-transmission U.S. Robertsdale, Alabama

 

84 Baldpate Platform 1,902 feet 579.7 m 1998 Offshore platform Oil drilling U.S. Garden Banks, Gulf of Mexico (Offshore)

 

85 WDJR-FM Tower 1,901 feet 579.42 m 1978 Guyed mast UHF/VHF-transmission U.S. Bethlehem, Florida

 

86 Clear Channel Broadcasting Tower Redfield 1,889 feet 578.8 m 1985 Guyed mast UHF/VHF-transmission U.S. Redfield, Arkansas

 

87 WFMY Tower 1,889 feet 575.9 m 2002 Guyed mast UHF/VHF-transmission U.S. Greensboro, North Carolina

 

88 Cox Radio Tower 1,879 feet 572.8 m 2000 Guyed mast UHF/VHF-transmission U.S. Shepard, Texas

 

89 Media General Tower Spanish Fort 1,879 feet 572.7 m 1986 Guyed mast UHF/VHF-transmission U.S. Spanish Fort, Alabama

 

90 WFTV Tower Saint Cloud 1,874 feet 571.1 m 2000 Guyed mast UHF/VHF-transmission U.S. Saint Cloud, Florida

 

91 Capstar Radio Operating Gray Court Tower 1,861 feet 567.1 m 1980 Guyed mast UHF/VHF-transmission U.S. Gray Court, South Carolina

 

92 KLKN Tower 1,854 feet 565.1 m 1965 Guyed mast UHF/VHF-transmission U.S. Genoa, Nebraska

 

93 Pinnacle Towers Tower Princeton 1,842 feet 561.3 m 1993 Guyed mast UHF/VHF-transmission U.S. Princeton, Florida

 

94 WTVJ Tower Princeton 1,841 feet 561.1 m 1993 Guyed mast UHF/VHF-transmission U.S. Princeton, Florida

 

95 Pappas Partnership Stations Tower Gretna 1,836 feet 559.6 m 1985 Guyed mast UHF/VHF-transmission U.S. Gretna, Nebraska

 

96 KBIM Tower 1,834 feet 559.02 m 1965 Guyed mast UHF/VHF-transmission U.S. Roswell, New Mexico

 

97 Tulsa Tower Joint Venture Tower Oneta 1,834 feet 559 m 1984 Guyed mast UHF/VHF-transmission U.S. Oneta, Oklahoma

 

98 KTBS Tower 1826 ft 556.5 m 2003 Guyed mast UHF/VHF-transmission U.S. Shreveport, Louisiana

 

99 CN Tower 1,814 feet 553 m 1976 Concrete tower Observation, UHF/VHF-transmission Canada Toronto, Ontario

 

100 SBA Towers Tower Haynesville 1,797 feet 547.7 m 1989 Guyed mast UHF/VHF-transmission U.S. Haynesville, Alabama

 

101 Channel 32 Limited Partnership Tower 1,797 feet 547.7 m 1990 Guyed mast UHF/VHF-transmission U.S. Haynesville, Alabama

 

102 KATC Tower Kaplan 1,793 feet 546.6 m 1978 Guyed mast UHF/VHF-transmission U.S. Kaplan, Louisiana

 

103 Cosmos Broadcasting Tower Egypt 1,793 feet 546.5 m 1981 Guyed mast UHF/VHF-transmission U.S. Egypt, Arkansas

 

104 Raycom Media Tower Mooringsport 1,791 feet 545.8 m 1975 Guyed mast UHF/VHF-transmission U.S. Mooringsport, Louisiana

 

105 Pinnacle Towers Tower Mooringsport 1,781 feet 542.8 m 1985 Guyed mast UHF/VHF-transmission U.S. Mooringsport, Louisiana

 

106 Bold Springs Salem Radio Properties Tower 1,779 feet 542.2 m 2005 Guyed mast UHF/VHF-transmission U.S. Bold Springs, Georgia

 

107 Branch Young Broadcasting Tower 1775 ft 541 m ? Guyed mast UHF/VHF-transmission U.S. Branch, Louisiana

 

108 Ostankino Tower 1,772 feet 540.1 m 1967 Concrete tower Observation, UHF/VHF-transmission Russia Moscow 2000 Fire led to renovation

 

109 KLFY TV Tower Maxie 1,772 feet 540 m 1970 Guyed mast UHF/VHF-transmission U.S. Maxie, Louisiana

 

110 American Towers Tower Eglin[5] 1,766 feet 538.3 m 2001 Guyed mast UHF/VHF-transmission U.S. 29045, South Carolina also known as WOLO TV Tower

 

111 Cusseta Richland Towers Tower 1,766 feet 538.2 m 2005 Guyed mast UHF/VHF-transmission U.S. Cusseta, Georgia

 

112 Cox Radio Tower Flowery Branch 1,765 feet 537.9 m 1984 Guyed mast UHF/VHF-transmission U.S. Flowery Branch, Georgia

 

113 Alabama Telecasters Tower 1,757 feet 535.5 m 1995 Guyed mast UHF/VHF-transmission U.S. Gordonsville, Alabama

 

114 WIMZ-FM-Tower 1,752 feet 534.01 m 1963 Guyed mast UHF/VHF-transmission U.S. Knoxville, Tennessee also known as WBIR TV-mast, World's tallest structure, 1963

 

115 Capitol Broadcasting Tower Broadway 1,749 feet 533.1 m 1985 Guyed mast UHF/VHF-transmission U.S. Broadway, North Carolina dismantled

 

116 Capitol Broadcasting Tower Columbia 1,749 feet 533.1 m 2000 Guyed mast UHF/VHF-transmission U.S. Columbia, North Carolina

 

117 WTVM/WRBL-TV & WVRK-FM Tower 1,749 feet 533 m 1962 Guyed mast UHF/VHF-transmission U.S. Cusseta, Georgia also known as WTVM TV Mast, World's tallest structure, 1962-1963

 

118 WAVE-Mast 1,739 feet 530.05 m 1990 Guyed mast UHF/VHF-transmission U.S. La Grange, Kentucky

 

119 Moody Centex Television Tower 1739 ft 530 m 1985 Guyed mast UHF/VHF-transmission U.S. Moody, Texas

 

120 Louisiana Television Broadcasting Tower Sunshine 1,737 feet 529.4 m 1972 Guyed mast UHF/VHF-transmission U.S. Sunshine, Louisiana

 

121 Bullwinkle Platform 1,736 feet 529.1 m 1989 Offshore platform Oil drilling Gulf of Mexico Manatee Field Located appr. 160 miles (257 km) southwest of New Orleans

 

122 Pinnacle Towers Tower Addis 1,735 feet 528.8 m 1986 Guyed mast UHF/VHF-transmission U.S. Addis, Louisiana

 

123 Richland Towers Tower Cedar Hill 1,731 feet 527.6 m 2004 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

124 Sears Tower 1,730 feet 527.3 m 1974 Skyscraper Office, observation, UHF/VHF-transmission U.S. Chicago, Illinois

 

125 World Trade Center, Tower 1 1,727 feet 526.3 m 1973 Skyscraper Office, UHF/VHF-transmission U.S. New York City destroyed on September 11, 2001

 

126 WAFB Tower Baton Rouge 1,725 feet 525.8 m 1965 Guyed mast UHF/VHF-transmission U.S. Baton Rouge, Louisiana

 

127 WAEO Tower 1,721 feet 524.5 m 1966 Guyed mast UHF/VHF-transmission U.S. Starks, Wisconsin destroyed on November 17, 1968 at aircraft collision

 

128 Media Venture Tower 1,714 feet 522.5 m 1999 Guyed mast UHF/VHF-transmission U.S. Fincher, Florida

 

129 Media Venture Management Tower Fincher 1,714 feet 522.5 m 1999 Guyed mast UHF/VHF-transmission U.S. Fincher, Florida

 

130 Orlando Hearst Argyle Television Tower 1,714 feet 522.5 m 1980 Guyed mast UHF/VHF-transmission U.S. Orange City, Florida

 

131 Pinnacle Towers Tower Moody 1,714 feet 522.4 m 1988 Guyed mast UHF/VHF-transmission U.S. Moody, Texas

 

132 Clear Channel Broadcasting Tower Rosinton 1,707 feet 520.3 m 1981 Guyed mast UHF/VHF-transmission U.S. Rosinton, Alabama

 

133 Pacific and Southern Company Tower Lugoff 1,707 feet 520.2 m 1985 Guyed mast UHF/VHF-transmission U.S. Lugoff, South Carolina

 

134 Young Broadcasting Tower Garden City 1,705 feet 519.7 m 1978 Guyed mast UHF/VHF-transmission U.S. Garden City, South Dakota

 

135 Gray Television Tower Carlos 1,705 feet 519.7 m 1983 Guyed mast UHF/VHF-transmission U.S. Carlos, Texas

 

136 South Dakota Public Broadcasting Network Tower 1,695 feet 516.7 m 1974 Guyed mast UHF/VHF-transmission U.S. Faith, South Dakota

 

137 Spectra Site Communications Tower Orange City 1,695 feet 516.6 m 1984 Guyed mast UHF/VHF-transmission U.S. Orange City, Florida Height reduced to 512.7 metres

 

138 Christmas Brown Road Tower 1,695 feet 516.6 m 2001 Guyed mast UHF/VHF-transmission U.S. Christmas, Florida

 

139 Gray Television Tower Madill 1,694 feet 516.3 m 1984 Guyed mast UHF/VHF-transmission U.S. Madill, Oklahoma

 

140 American Tower Christmas 1,684 feet 513.3 m 2001 Guyed mast UHF/VHF-transmission U.S. Christmas, Florida

 

141 Richland Towers Bithlo 1,682 feet 512.7 m 2002 Guyed mast UHF/VHF-transmission U.S. Bithlo, Florida

 

142 Northland Television Tower Rhinelander 1,682 feet 512.6 m 1979 Guyed mast UHF/VHF-transmission U.S. Rhinelander, Wisconsin

 

143 Gray Television Tower Moody 1,679 feet 511.8 m 1978 Guyed mast UHF/VHF-transmission U.S. Moody, Texas

 

144 KFVS TV Mast 1,677 feet 511.1 m 1960 Guyed mast UHF/VHF-transmission U.S. Cape Girardeau County, Missouri World's tallest structure, 1960-1961

 

145 Taipei 101 1,671 feet 509.2 m 2004 Skyscraper Office, observation, UHF/VHF-transmission Taiwan Taipei

 

146 Cox Radio Tower Verna 1,667 feet 508.1 m 1994 Guyed mast UHF/VHF-transmission U.S. Verna, Florida

 

147 WMTW TV Mast 1,667 feet 508.1 m 2001 Guyed mast UHF/VHF-transmission U.S. Baldwin, Maine

 

148 American Towers Tower Cedar Hill 1,661 feet 506.2 m 1999 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

149 American Towers Tower Oklahoma City 1,647 feet 502 m 1999 Guyed mast UHF/VHF-transmission U.S. Oklahoma City, Oklahoma

 

150 University of North Carolina Tower 1,642 feet 500.5 m 2000 Guyed mast UHF/VHF-transmission U.S. Columbia, North Carolina

 

151 Richland Towers Tower Cedar Hill 2 1,635 feet 498.4 m 2000 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

152 WWTV Tower 1,631 feet 497 m 1961 Guyed mast UHF/VHF-transmission U.S. Cadillac, Michigan Tallest Structure in Michigan

 

153 WWRR Renda Tower 1,631 feet 497 m 1987 Guyed mast UHF/VHF-transmission U.S. Kingsland, Georgia

 

154 QueenB Television Tower 1,627 feet 496 m 1964 Guyed mast UHF/VHF-transmission U.S. La Crosse, Wisconsin Height reduced to 484.3 metres

 

155 KDEB Tower 1,627 feet 496 m 1968 Guyed mast UHF/VHF-transmission U.S. Fordland, Missouri also known as American Towers Tower Fordland, dismantled

 

156 WPSD-TV Tower 1,627 feet 495.9 m 2004 Guyed mast UHF/VHF-transmission U.S. Kevil, Kentucky

 

157 NVG-Amarillo Tower 1,626 feet 495.6 m 1969 Guyed mast UHF/VHF-transmission U.S. Amarillo, Texas

 

158 WGME TV Tower 1,624 feet 495 m 1959 Guyed mast UHF/VHF-transmission U.S. Raymond, Maine World's tallest structure, 1959-1960

 

159 Sinclair Television Tower Oklahoma 1,619 feet 493.5 m 1979 Guyed mast UHF/VHF-transmission U.S. Oklahoma City, Oklahoma

 

160 Shanghai World Financial Center 1,614 feet 492 m 2008 Skyscraper Office, hotels, residential China Shanghai topped out

 

161 WFTV TV Tower Christmas 1,613 feet 491.6 m 2000 Guyed mast UHF/VHF-transmission U.S. Christmas, Florida

 

162 WJJY TV Mast 1,611 feet 491 m Guyed mast UHF/VHF-transmission U.S. Bluffs, Illinois collapsed in 1978

 

163 Media General Tower Jackson 1,611 feet 491 m 1989 Guyed mast UHF/VHF-transmission U.S. Jackson, Mississippi

 

164 WHNS TV-Tower 1,611 feet 491 m 2001 Guyed mast UHF/VHF-transmission U.S. Brevard, South Carolina

 

165 KOBR-TV Tower 1,610 feet 490.7 m 1956 Guyed mast UHF/VHF-transmission U.S. Caprock, New Mexico also known as KSWS-TV Transmitter, World's tallest structure, 1956-1959, collapsed in 1960 at storm, rebuilt afterwards

 

166 Joint Venture TV Tower Bithlo 1,608 feet 490.2 m 1992 Guyed mast UHF/VHF-transmission U.S. Bithlo, Florida

 

167 American Towers Tower Bithlo 1,605 feet 489.2 m 1984 Guyed mast UHF/VHF-transmission U.S. Bithlo, Florida

 

168 NYT Broadcast Holdings Tower Oklahoma 1,601 feet 488 m 1965 Guyed mast UHF/VHF-transmission U.S. Oklahoma City, Oklahoma also known as WKY TV Mast

 

169 Clear Channel Broadcasting Tower Boykin 1,600 feet 487.8 m 1997 Guyed mast UHF/VHF-transmission U.S. Boykin, Georgia

 

170 WVFJ Tower Saint Marks 1,600 feet 487.7 m 1998 Guyed mast UHF/VHF-transmission U.S. Saint Marks, Georgia

 

171 Paramount Tower Oklahoma 1,596 feet 486.4 m 1980 Guyed mast UHF/VHF-transmission U.S. Oklahoma City, Oklahoma

 

172 WTVA TV Tower 1,593 feet 485.5 m 1972 Guyed mast UHF/VHF-transmission U.S. Woodland, Mississippi

 

173 KTVT Tower 1,587 feet 483.7 m 2002 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

174 GBC LP DBA Tower 1,582 feet 482.2 m 1997 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas dismantled

 

175 WLFL Tower Apex 1,579 feet 481.3 m 1986 Guyed mast UHF/VHF-transmission U.S. Apex, North Carolina

 

176 WFAA Tower 1,578 feet 481 m 1998 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

177 Griffin Television Tower Oklahoma 1,576 feet 480.5 m 1954 Guyed mast UHF/VHF-transmission U.S. Oklahoma City, Oklahoma also known as KWTV Tower, World's tallest structure, 1954-1956

 

178 WCOM-TV Mansfield, Ohio 1,576 feet 480.5 m 1988 Guyed mast UHF/VHF-transmission U.S. Butler, Ohio Was the tallest structure in Ohio until it was dismantled in 1995

 

179 Viacom Tower Riverview 1,575 feet 480 m 1998 Guyed mast UHF/VHF-transmission U.S. Riverview, Florida

 

180 Tampa Tower General Partnership Tower Riverview 1,573 feet 479.4 m 1987 Guyed mast UHF/VHF-transmission U.S. Riverview, Florida

 

181 Riverview Florida West Coast Public Broadcasting Tower 1,572 feet 479.1 m 1999 Guyed mast UHF/VHF-transmission U.S. Riverview, Florida

 

182 American Towers Tower Riverview 1,568 feet 478 m 2001 Guyed mast UHF/VHF-transmission U.S. Riverview, Florida

 

183 KBSI TV Mast 1,567 feet 477.6 m 1983 Guyed mast UHF/VHF-transmission U.S. Cape Giradeau, Missouri

 

184 Media General Tower Saint Ansgar 1,565 feet 477.1 m 1964 Guyed mast UHF/VHF-transmission U.S. Saint Ansgar, Iowa

 

185 Red River Broadcast Tower Salem 1,565 feet 477 m 1976 Guyed mast UHF/VHF-transmission U.S. Salem, South Dakota

 

186 Hearst-Argyle Television Tower 1,563 feet 476.4 m 1963 Guyed mast UHF/VHF-transmission U.S. Oklahoma City, Oklahoma

 

187 Augusta Tower 1,561 feet 475.6 m 2003 Guyed mast UHF/VHF-transmission U.S. Jackson, South Carolina

 

188 WAGT TV Tower 1,560 feet 475.5 m 1985 Guyed mast UHF/VHF-transmission U.S. Beach Island, South Carolina

 

189 KPLX Tower 1,559 feet 475.1 m 1969 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

190 KTAL TV Tower 1,558 feet 474.9 m 1961 Guyed mast UHF/VHF-transmission U.S. Vivian, Louisiana

 

191 Mississippi Authority for Educational Television Tower 1,558 feet 474.9 m 2000 Guyed mast UHF/VHF-transmission U.S. Raymond, Mississippi

 

192 KRRT TV Tower 1,553 feet 473.3 m 1985 Guyed mast UHF/VHF-transmission U.S. Lake Hills, Texas

 

193 Hearst-Argyle Tower Watsonville 1,552 feet 473.1 m 1984 Guyed mast UHF/VHF-transmission U.S. Watsonville, California

 

194 Media General Tower Forest Hill 1,552 feet 473 m 1965 Guyed mast UHF/VHF-transmission U.S. Forest Hill, Louisiana

 

195 WVAH Tower 1,552 feet 473 m 1980 Guyed mast UHF/VHF-transmission U.S. Scott Depot, West Virginia destroyed on February 19, 2003

 

196 American Towers Tower Cedar Hill]] 2 1,551 feet 472.7 m 1980 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

197 KXTV/KOVR/KCRA Tower 1,549 feet 472.1 m 1962 Guyed mast UHF/VHF-transmission U.S. Walnut Grove, California

 

198 SpectraSite Tower Holopaw 1,549 feet 472.1 m 1997 Guyed mast UHF/VHF-transmission U.S. Holopaw, Florida

 

199 Troll A platform 1,549 feet 472 m 1996 Offshore platform Oil drilling Norway North Sea

 

200 Morris Tower Perkston 1,540 feet 469.4 m 1986 Guyed mast UHF/VHF-transmission U.S. Perkston, Mississippi

Taken from the Mersey Ferry Snowdrop

Members of the Joint Underwater Search Unit at work in 1991.

 

The unit was the forerunner of the current North West Police Underwater Search and Maine Unit that covers the Greater Manchester, Merseyside, Cheshire Cumbria, Lancashire and North Wales police force areas.

 

An image from the the archives of our Force Museum.

 

Please visit Greater Manchester Police Museum to find out more about our history.

 

To find out more about Greater Manchester Police please visit

www.gmp.police.uk

 

You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.

 

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

 

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

 

You can access many of our services online at www.gmp.police.uk

PHOTOGRAPH ABOVE;

The memorial to Hugh Montague Trenchard, 1st Viscount Trenchard outside the Ministry of Defence building in Whitehall situated on The Embankment. The Viscount was the First Commander of The Royal Flying Corps, the forerunner of today's Royal Air Force (RAF).

 

Photograph Copyright: Digital Expression UK (2022).

 

OVERVIEW:

Marshal of the Royal Air Force Hugh Montague Trenchard, 1st Viscount Trenchard, GCB, OM, GCVO, DSO (3 February 1873 – 10 February 1956) was a British officer who was instrumental in establishing the Royal Air Force. He has been described as the "Father of the Royal Air Force."

 

During his formative years, Trenchard struggled academically, failing many examinations and only just succeeding in meeting the minimum standard for commissioned service in the British Army.

 

As a young infantry officer, Trenchard served in India and with the outbreak of the Boer War, he volunteered for service in South Africa. While fighting the Boers, Trenchard was critically

wounded and as a result of his injury, he lost a lung, was partially paralysed and returned to Great Britain. On medical advice, Trenchard travelled to Switzerland to recuperate and boredom saw him taking up bobsleighing. After a heavy crash, Trenchard found that his paralysis was gone and that he could walk unaided. Following further recuperation, Trenchard returned to active service in South Africa.

 

After the end of the Boer War, Trenchard saw service in Nigeria where he was involved in efforts to bring the interior under settled British rule and quell intertribal violence. During his time in West Africa, Trenchard commanded the Southern Nigeria Regiment for several years.

 

In Summer 1912, Trenchard learned to fly and gained his aviator's certificate (No. 270) on 31 July flying a Henry Farman biplane of the Sopwith School of Flying at Brooklands. He was subsequently appointed as second in command of the Central Flying School. He held several senior positions in the Royal Flying Corps during First World War, serving as the Commander of the Royal Flying Corps in France from 1915 to 1917. In 1918, he briefly served as the first Chief of the Air Staff before taking up command of the Independent Air Force in France. Returning as Chief of the Air Staff under Winston Churchill in 1919, Trenchard spent the following decade securing the future of the Royal Air Force. He was Metropolitan Police Commissioner in the 1930s and a defender of the RAF in his later years. Trenchard is recognised today as one of the early advocates of strategic bombing.

Hoek van Holland 7-8-2023 , STENA FORERUNNER vervangt tijdelijk de STENA TRANSIT die voor onderhoud ligt bij Damen shipyard in de Botlek

s/n 1039GT

 

250 bhp at 7,000 rpm, 2,953 cc SOHC alloy block-and-head V-12 engine, triple Weber carburettors, four-speed manual gearbox, independent front suspension with A-arms and coil springs, live rear axle with semi-elliptic leaf springs, and four-wheel hydraulic drum brakes. Wheelbase: 2,600 mm

 

• One of the most desirable competition-bred Ferraris extant

• Alloy coachwork and V-12 power

• Desirable covered headlamps; one of 36 “single-louver” examples

• Ferrari Classiche-certified and matching numbers

• Restoration by marque specialists in Italy

 

The Ferrari 250 GT Berlinetta not only has breathtaking looks, it remains arguably the greatest and most important Ferrari road/racing car ever built. Its forerunner was the 250 MM, so-named after the famous Mille Miglia race, which hard-charging Italian hillclimb champion Giovanni Bracco won for Ferrari in 1952. That achievement, plus Ferrari’s first World Driver’s Championship win with Alberto Ascari driving the Type 500 and the company’s first collaboration with Pinin Farina (the 212 Inter cabriolet) combined to make the year 1952 a particularly significant one in the marque’s history.

 

THE 250 GT LWB BERLINETTA

 

The last 250 MMs had been built by 1954, and work began on what would become the 250 GT Berlinetta Tour de France. A new strengthened 2,600-mm tubular chassis was equipped with a modern wishbone/coil-spring suspension and the Colombo Tipo 112 “short-block” V-12 engine. Subsequently, this engine was developed further and re-designated Tipo 128B, C and D. Three more 250 GTs similar to the 250 MM followed the prototype Pinin Farina-bodied Berlinetta, 0369 GT, between April and July 1955.

 

That October, another car was shown at the Paris Salon and was the first design with many side louvers set within the rear sail-panels. Pinin Farina made two more prototypes, one of which was owned by the Marquis de Portago from Spain. At Nassau in December 1955, he scored the first victory for the car, a record that would reach epic proportions by the end of the decade. The Le Mans tragedy of 1955, where Peter Levegh’s Mercedes flew into a crowd of spectators, killing 80 and injuring another 200, prompted the creation of a new Gran Turismo category with an engine capacity of 3.0 litres, which would play directly into Ferrari’s hands in 1956.

 

Not to be outdone by Pinin Farina, Scaglietti appeared at the 1956 Geneva Motor Show with their own 250 GT prototype, which became known as the limited production, Series I, “14-louvre” 250 GT Berlinetta. The first production car was built in November 1956, and production was now the responsibility of Scaglietti in Modena.

 

There were five series of 250 GT Berlinettas in all. From mid-1957, the Series II cars were introduced, with three louvers and covered headlights. Just 15 were produced. Series III numbered 36 cars; these retained the covered headlights but had just a single vent louver. In 1959, eight single-louver cars were built with open headlights, a new Italian requirement. Zagato also made five superlight cars.

 

The real start of the 250 GT Berlinetta’s competition career began in 1956, and the car went on to win more races than either of its legendary successors, the 250 GT SWB and the GTO. Olivier Gendebien won the GT class in the Tour of Sicily at the beginning of 1956, but that year’s Tour de France was 250 GT Berlinetta’s most important race and propelled the car into the annals of motorsport history.

 

The Tour de France took five or six days and covered almost 5,000 gruelling kilometres around France, sometimes venturing into Italy, Belgium or Germany. The race consisted of up to six circuit races, two hillclimbs and a sprint. In 1956, in de Portago’s first attempt, with Edmund Nelson as co-driver in his Ferrari, he took the victory with Stirling Moss in a Mercedes 300SL second and Gendebien third in the first Pinin Farina ex-works development car, 0357 GT. With this win, ‘Fon’ de Portago earned the Ferrari 250 GT Berlinetta its enduring sobriquet, the Tour de France. In the hands of Olivier Gendebien, the 250 GT Tour de France was victorious for the next three straight years in the race whose name the car had now unofficially taken, and the car and its enviable competition record remain the stuff of legends today.

 

CHASSIS 1039 GT

 

The example offered here, 1039 GT, was supplied new via US Ferrari Importer Luigi Chinetti Motors of Greenwich, Connecticut to its first owner Hastings Harcourt of Santa Barbara, California on 26 November, 1958. Mr. Harcourt was the heir and owner of Harcourt Brace, the well known book publisher. Of particular note, 1039 GT is one of the 39 competition 250 GT LWB Berlinettas originally produced by Ferrari with all-alloy bodywork, the single vent and the desirable covered-headlamp configuration.

 

1039 GT remained in America for most of its life, and during this phase, it changed hands amongst a number of American collectors, as documented by Ferrari historian Marcel Massini. Early in its life in the United States, Ford units replaced the original engine and gearbox. The original 250 series V-12 engine was later reunited with the TdF, as confirmed by the Ferrari Classiche certification. In 1974, Charles W. Betz and Fred Peters of Orange, California acquired 1039 GT and re-united the TdF with its original Ferrari 250 series V-12 engine and gearbox.

 

The rare Ferrari remained in America for many years thereafter and was successfully campaigned a number of times at the world-famous Monterey Historic Automobile Races in Laguna Seca during the 1980s. In the early 1990s, 1039 GT was sold to Switzerland, and there, it joined an important Swiss-based private automobile collection. The prominent owner used the car sparingly in Switzerland and abroad, when it was driven on the Tour Auto in 1997 and in 1999. He retained 1039 GT for many years, and in 2005, it was certified by the Ferrari Classiche program, which confirms that the car retains its engine and all of its main components the way it was built by the factory, and therefore, it is indeed a true matching-numbers example.

 

The car was restored in Italy by some of the finest recognised Ferrari specialists in the Modena area, the birthplace of Ferrari. The engine was entrusted to Diena, who performed a full rebuild, Bacchelli & Villa handled the coachwork, and the interior was entrusted to the respected Selleria Luppi. Upon completion of the restoration, the car was tested and featured in Octane in January 2006, marking a thoroughly enjoyable and particularly satisfying drive for the magazine’s testers.

 

From Switzerland, the car was sold to its next and current English owner in late 2005, who is himself a fastidious collector. Upon acquisition of the car, he enrolled and was accepted to participate in that year’s edition of the Mille Miglia. Demanding perfection of all of the cars within his collection, the current owner recently commissioned UK-based Ferrari specialists GTO Engineering to perform a full, no-expense-spared service on 1039 GT at a cost of over GBP 10,000. Any mechanical part that was at all worn was changed, and as offered now, the 1039 GT runs beautifully and stands ready to be enjoyed. Of course, with its legendary pedigree, it will surely be welcomed at most any event the new owner chooses to enter.

 

RM Auctions has recently inspected the car, and we can confirm that 1039 GT presents very well. Some of the world’s premier Ferrari experts carried out its restoration, and it still shows today. The bodywork is straight, and the doors display proper fit. The paintwork is near-perfect, and the correctly trimmed tan leather upholstery presents beautifully, a true mark of Luppi’s workmanship, with the crackle-finished dash giving 1039 GT a true competition feel when you slip behind the wheel. The outside fuel filler, covered headlamps and single louver give the car an undeniable competition-bred presence, and as offered today, 1039 GT is correct in every way—a fact confirmed not only by marque specialists but also by the all-important Ferrari Classiche certification binder that accompanies it. Truly rare, purposefully beautiful and capable of performance that remains very impressive even today, this 250 GT Tour de France Berlinetta is steeped in Ferrari’s rich competition legacy and very capably represents one of the most highly coveted Ferrari models ever built.

 

[Text from RM Auctions]

 

www.rmauctions.com/lots/lot.cfm?lot_id=851162

 

This Lego miniland-scale Ferrari 250 GT LWB Berlinetta 'Tour de France' (1958 - Scaglietti), has been created for Flickr LUGNuts' 89th Build Challenge, - "Over a Million, Under a Thousand", - a challenge to build vehicles valued over one million (US) dollars, or under one thousand (US) dollars.

 

This particular vehicle was auctioned by the RM Auction house on Wednesday, October 26, 2012, where it sold for 2,240,000 British Pounds (US$3.342,080).

 

Jerry N. Uelsmann (born June 11, 1934) is an American photographer, and was the forerunner of photomontage in the 20th century in America.

"Jerry Uelsmann is said to be one of the few select group of artists who can be said to have altered the very language of their discipline. Through the use of composite print, this brilliant technician has invented a unique poetic universe that has extended the definition of what is photographic." [1]

 

Uelsmann was born in Detroit, Michigan. While attending public schools, at the age of fourteen, there sparked an interest in photography. He believed that through photography he could exist outside of himself, to live in a world captured through the lens. Despite poor grades, he managed to land a few jobs, primarily photographs of models. Eventually Uelsmann went on to earn a BA from the Rochester Institute of Technology and M.S. and M.F.A. degrees from Indiana University. Soon after, he began teaching photography at the University of Florida in 1960. In 1967, Uelsmann had his first solo exhibit at The Museum of Modern Art which opened doors for his photography career.[2]

Uelsmann is a master printer, producing composite photographs with multiple negatives and extensive darkroom work. He uses up to a dozen enlargers at a time to produce his final images, and has a large archive of negatives that he has shot over the years. The negatives that Uelsmann uses are known to reappear within his work, acting as a focal point in one work, and background as another. Similar in technique to Rejlander, Uelsmann is a champion of the idea that the final image need not be tied to a single negative, but may be composed of many. During the mid-twentieth century, when photography was still being defined, Uelsmann didn't care about the boundaries given by the Photo Secessionists or other realists at the time, he simply wished to share with the viewer the images from his imagination and saw photomontage as the means by which to do so. Unlike Rejlander, though, he does not seek to create narratives, but rather "allegorical surrealist imagery of the unfathomable". Uelsmann is able to subsist on grants and teaching salary, rather than commercial work.

Today, with the advent of digital cameras and Photoshop, photographers are able to create a work somewhat resembling Uelsmann's in less than a day, however, at the time Uelsmann was considered to have almost "magical skill" with his completely analog tools. At the time Uelsmann's work first came to popular attention, photos were still widely regarded as unfalsifiable documentary evidence of events. However, Uelsmann, along with Lucas Samaras, was considered an avant garde shatterer of this popular mindset and help to expand the artistic boundaries of photography.

Despite his works' affinity with digital techniques, Uelsmann continues to use traditional equipment. “I am sympathetic to the current digital revolution and excited by the visual options created by the computer. However, I feel my creative process remains intrinsically linked to the alchemy of the darkroom.”[3] Today he is retired from teaching and currently lives in Gainesville, Florida with his third wife, Maggie Taylor.[4] Uelsmann has one son, Andrew, who is a graduate student at the University of Florida. But to this day, Uelsmann still produces photos, sometimes creating more than a hundred in a single year. Out of these images, he likes to sit back and select the ten he likes the most, which is not an easy process.[3]

His photographs can be seen in the opening credits of the television series The Outer Limits (1995), and the illustrated edition of Stephen King's Salem's Lot. In addition, his artwork is featured in the progressive metal band Dream Theater's seventh studio album Train of Thought (2003).

en.wikipedia.org/wiki/Jerry_Uelsmann

  

Uelsmann received a Guggenheim Fellowship in 1967 and a National Endowment for the Arts Fellowship in 1972. He is a Fellow of the Royal Photographic Society of Great Britain, a founding member of the Society of Photographic Education and a former trustee of the Friends of Photography. Uelsmann's work as been exhibited in more than 100 individual shows in the United States and abroad over the past forty years. His photographs are in the permanent collections of many museums world wild, including the Metropolitan Museum of Art and the Museum of Modern Art in New York , the Chicago Art Institute, the Samuel P. Harn Museum in Gainesville, the International Museum of Photography and the George Eastman House, the Victoria and Albert Museum in London, the Bibliptheque National in Paris, the National Museum of American Art in Washington, the Moderna Museet in Stockholm, the National Gallery of Canada, the National Gallery of Australia, the Museum of Fine Arts in Boston, the National Galleries of Scotland, the Center of Creative Photography at the University of Arizona, the Tokyo Metropolitan Museum of Photography, the National Museum of Modern Art in Kyoto, and the Museum of Photography in Seoul, Korea.

www.peterfetterman.com/artists/jerry-uelsmann/

The 2002 is one of BMW's most famous automobile models. Its popularity cemented the company's reputation for compact sporting sedans and served as both forerunner of the BMW 3 Series and inspiration for the new 1 Series Coupe.

 

With its 1990 cc engine, it produced 108 bhp (81 kW; 109 PS) in the 2002, and 130 bhp (97 kW; 132 PS) in the high-performance 2002tii, offering a top speed of 185 km/h (115 mph). The 2002tii was based on the 2002ti that was never sold in the United States. Although almost exactly the same in appearance as a regular 2002, the tii had slightly wider wheels, larger front brakes, and a number of other mechanical modifications that made the car more fun and more desirable as a collector car. One result is that many of the highly desirable "tii"s appearing on eBay and sold throughout the country are fake; it is not uncommon to see tii engines installed in standard 2002s because there is a significant price difference between the two cars. The 2002ti (touring Internationale) is very rare, even more so than the 2002 turbo, as very few of these cars still survive. The 2002ti had two solex phh 40 side-draft carburettors and higher compression pistons resulting in 120 bhp (89 kW; 122 PS) and was made 68-71. The 2002ti was also very successful in racing and Hans Stuck won the Nurburgring 24-hour race in 1970, but the car also won many hill-climbs and rallies. This made the 2002 the cult car it is today. The 2002 Turbo was launched at the 1973 Frankfurt Motor Show. BMW's, and Europe's first production turbo, it produced 170 hp (127 kW) at 5,800 rpm, with 240 N·m (180 lb·ft) of torque.

 

A three-door 2002, the Touring, was also available. The Touring was not a full station wagon, resembling a modern hatchback. BMW would not offer a Touring model again until the late 1980s, with the 3 Series. A cabriolet version was produced in small numbers by Baur of Germany, which to this day as IVM Automotive, continues to convert BMWs. This version was never sold in the United States although a number were brought in by diplomatic staff, and recently they can be imported so more have come over.

 

(Wikipedia)

 

- - -

 

Die ursprüngliche Baureihe 114, auch als BMW-02-Serie bezeichnet, umfasst Mittelklassefahrzeuge, die BMW in den Jahren 1966 bis 1977 baute. Die BMW-02-Serie stellte die Abrundung des BMW-Programms nach unten dar. Sie wurde aus dem BMW 1600 der „Neuen Klasse“ abgeleitet, die Modelle hatten jedoch nur zwei Türen.

 

Es gab nur Vierzylinder-Modelle (Motortyp M10) mit den Bezeichnungen 1502, BMW 1600-2, 1602, 1600 ti, 1802 und 2002, 2002 ti, 2002 tii und BMW 2002 turbo, wobei die ersten beiden Ziffern jeweils den Hubraum angeben (außer beim 1502, der auch 1,6 Liter Hubraum hat). Die Entwicklungscodes sind Typ 114 für die Modelle 1502–1802, E6 für die touring-Modelle, E10 für den BMW 2002 inkl. ti und tii sowie E20 für den BMW 2002 turbo.

 

(Wikipedia)

Forerunner of the 3673M Dumptruk, ca.1954/55.

 

Scottish Land Development Corporation – SLDC – was the agent and sole distributor of AEC's dump trucks.

RoRo-vessel Stena Forerunner at Europoort, Rotterdam, Netherlands.

 

Stena Forerunner is the last of the three 4Runner Mk II-class RoRo vessel, operated by Stena Line.

 

Stena Forerunner [IMO 9227259] (2001)

 

Builder: Dalian Shipyard (#RO123-3)

Propulsion: 24000 kW diesel (4x Wärtsilä 8ZAL40S)

Length: 195.3 m

Width: 26.8 m

Draft: 7.5 m

This was for sale on eBay today.

 

Background:

www.nysm.nysed.gov/publications/record/vol_01/pdfs/CH04El...

 

IROQUOIS BEADWORK:

 

A Haudenosaunee Tradition and Art: by. Dolores Elliott

 

The Iroquois tradition of raised beadwork began in west- ern New York in the late eighteenth century. It is slightly older than the other great North American Indian bead- working tradition that the Lakota, Cheyenne, and other people of the Plains developed. Raised beadwork is unique to the Haudenosaunee; it is made nowhere else in the world. The Senecas, who decorated clothes, sashes, and small pincushions with small glass beads in the eigh- teenth century, probably invented the style of Iroquois beadwork that still exists today. They were making bead- ed pincushions by 1799 and purses by 1807. In the mid- nineteenth century, ethnohistorian Lewis H. Morgan noted in his League of the Ho-de’-no-sau-see, or Iroquois the “delicacy, even brilliancy of their bead-work embroidery” on women’s clothing (1851, Book 3:384), and he included illustrations of beadwork on a needle case, woman’s skirt, cradleboard, heart-shaped pincushion, and work bag, the forerunner of a modern purse. He reported that in 1849 he had purchased five varieties of work bags as well as three varieties of pin cushions and five varieties of needle books (Morgan 1850, 57).

 

(Figure 4.1). While they sold their goods at nearby Montreal, the Mohawks also traveled extensively throughout North America to sell at fairs, exhibitions, wild west shows, and Indian medicine shows. Some even sold their beadwork when they traveled to England to perform Indian dances at Earls Court, an exhibition ground in London. Photographs taken in 1905 show these performers attired in clothing decorated with Mohawk beadwork.

 

The Iroquois tradition of beadwork continued to evolve in the nineteenth century, and by 1860 Mohawks near Montreal and Tuscaroras near Niagara Falls were creating elaborate pincushions, purses, and wall hangings adorned with raised beadwork. Despite the similarity of items created, the two geographic areas developed different styles of beadwork (Table 4.1). Throughout the late nineteenth century and early twentieth century, at the height of beadwork production, the Tuscaroras sold their beadwork mostly at Niagara Falls, on their reservation, and at the New York State Fair. They preferred to use small clear and white beads. During this same period, the Mohawks used larger clear beads and also employed red, blue, green, and yellow beads on most of their early pieces

Figure 4.1. Two needle cases that illustrate differences in nineteenth- century Mohawk (left) and Niagara (right) beadwork.

 

My personal family experience illustrates typical Iroquois beadwork transactions in the twentieth century. My story starts in 1903 when my grandmother went to the Afton Fair, a small agricultural fair in central New York. She took my nine-year-old father, but his sister, then eleven, was sick and could not go. My grandmother brought her home a present from the fair. It was a beauti- ful pink satin-covered bird-shaped pincushion that sparkled with light green beads (Figure 4.2). My aunt treasured this bird throughout her long life and displayed it proudly in her china cabinet, where I saw it when I was a child. At her death this cherished heirloom was passed on to her daughter who later donated it to the Afton Historical Society in Chenango County, where it is presently on view.

 

My research indicates that this bird was made by a skilled Mohawk beadworker from a Mohawk community located near Montreal and several hundred miles from the Afton Fair. This pincushion probably got to the fair with a group of Mohawks who traveled by train or wagon to perform at fairs, medicine shows, and exhibi- tions. While at these venues, they also sold their hand- made baskets and beadwork.

 

In 1958 I bought a small red heart-shaped pincushion at a booth in the Indian Village at the New York State Fair, which is held near Syracuse (Figure 4.3). It was a present for my mother, who displayed it prominently on her bed- room dresser for the next twenty-five years until I inher- ited it. Mary Lou Printup, a leading Tuscarora sewer, later identified this pincushion as one she had made. She, like most Tuscarora beadworkers prefer to be called “sewers,” a term not popular with some other Iroquois beadwork- ers. In my research and writing, I use the word “bead- worker” to refer to all except those individuals who specifically prefer to be called “sewers.”

 

When I purchased the red heart I had no idea that this pincushion had anything in common with the bird that my grandmother acquired fifty-five years earlier. I knew that I wanted to get something special for my mother, and this pincushion was special because it was beautiful and made by a native artist. In buying it I shared something with my grandmother, who died before I was born, that is, the purchase of a piece of Iroquois beadwork. Most likely the purchase of the bird was my German-born grandmother’s only interaction with a Haudenosaunee woman, and my purchase at the State Fair was my first interaction with a Tuscarora sewer, the first of many.

 

In a similar manner Iroquois beadworkers and their non- Indian customers, often tourists or attendees at a public entertainment venue, have been brought together by bead-work for over two centuries. These transactions undoubtedly number in the tens of thousands.1 During honeymoon trips to Niagara Falls and visits to agricultural fairs, exhibitions, and other attractions, people purchased Iroquois beadwork as mementos to remember these places and experiences. The beads often form designs featuring birds and flowers, natural themes that appealed to the Victorian women who drove the market of souvenir sales in the nine- teenth century. Studies by Beverly Gordon (1984; 1986) and Ruth B. Phillips (1998) describe the souvenir trade and point out the importance of these items to the people on both sides of the transactions.

 

Souvenir beadwork was so treasured that the pieces were frequently kept in cedar chests or keepsake boxes. Therefore, when unwrapped one hundred or more years later, they are often in pristine condition. Ironically, few contemporary beadworkers have samples of their ancestors’ work because it was usually made for sale to strangers, although some beadwork was created as gifts for family and friends.

 

Because most pieces were made for sale to tourists, many people have dismissed Iroquois beadwork as “souvenir trinkets” not important enough to collect, study, or exhibit. In fact, they are often called whimsies, a term that I believe trivializes them and diminishes their artistic and cultural value. But within the last two decades Iroquois beadwork has become the subject of serious study and museum exhibitions. At least four traveling exhibits of Iroquois beadwork have been installed in over a dozen museums and seen by thousands of museum visitors in the United States and Canada since 1999.2 This scholarly recognition has resulted in an increased appreciation of these beadwork creations and the artists who made them. What were considered curious tourist souvenirs when they were made are now generating increased respect from both the general public and the Haudenosaunee.

ry pieces, the back is a colorful calico. Some pieces, mainly in the Niagara Tradition, have a silk or cotton binding around their perimeters to cover the cut edges and attach the front and back fabrics. Tight beadwork on the edging often binds Mohawk pieces together so a cloth binding is not necessary. Flat purses as well as fist and box purses are constructed in the same manner, with cardboard as the base.

 

Contemporary beadworkers see their work as a signif- icant part of Haudenosaunee culture and an important link to the past. In Haudenosaunee communities bead- workers are admired as continuing a revered tradition. Although there are a few male beadworkers, the majority are women, and in a matrilineal-society with powerful clan matrons, the economic benefit of beadwork sales increases the influence of the women even more.

 

Pincushions were usually stuffed with sawdust, but sweet grass, cotton, cattail fluff, newspapers, and poly- ester have also been used. Contemporary craftsmen remember that their mothers preferred pine sawdust because of the nice aroma.4 Small strawberry-shaped pin- cushions are traditionally filled with emery, used to sharpen and polish needles. Velvet and twill-covered pic- ture frames and other wall hangings on cardboard bases have polished cotton backs on earlier pieces and calico on more recent ones. European glass beads were often aug- mented with metal sequins on nineteenth-century pieces and with plastic sequins and other plastic novelty beads since the late twentieth century. Bone and shell beads and leather, which are often used in other American Indian beadwork, rarely occur in Iroquois beadwork.

 

Iroquois beadwork is still sold at Niagara Falls, the New York State Fair, and several pow wows and festivals in the northeast; the methods of beadwork distribution have changed little over two hundred years. The bead-work itself, however, has changed tremendously. Over the last two centuries the styles of beadwork have evolved from simple small pincushions and purses to highly elaborate shapes, becoming works of art in the tra- ditional sense. The beads selected have progressed from the very small seed beads used around 1800 to the larger seed beads of 1900 and finally, by 2000, to a wider variety of bead sizes and colours.

 

The most common form of Iroquois beadwork, and the form most easily recognizable by people who are not familiar with Iroquois beadwork, is the flat black purse or bag featuring identical colorful, beaded floral designs on both sides. Most flat bags have flaps on both sides, but the opening is across the top where the two sides meet. The face fabric is usually black or very dark brown velvet, and the interior is often a light-colored linen or polished cot- ton. A binding, usually red, is attached around the closed sides of the purses. A beaded fringe is sometimes added. The fringe is merely sewn to the binding and does not hold the two sides of the bag together; it is purely deco- rative. The flaps usually are edged with white beads that are larger than the beads that outline the flaps and body (Figure 4.4). The flaps and body are sometimes outlined with short parallel lines like a stockade. The faces of the flap and body are covered by stylized flowers in shades of blue, red, yellow, and white connected with green stems, which are sometimes striped in two shades of green. Some bags feature a small slit pocket under one of the flaps. It may have been meant to hold a comb or mirror.

Iroquois beadwork remains a unique art form distin- guished by several characteristics found only in work created by Haudenosaunee beadworkers. Iroquois beadwork features a design in glass beads that have been sewn on a fabric that is stretched over a backing of cardboard or cloth lining. The materials used in the beadwork are predominately small seed beads, cloth, cardboard, paper, and in pincushions, a stuffing. The beads are sewn onto the fabric in geometric or natural designs using waxed, doubled white thread.3 The beads are usually sewn over a paper pattern that remains in place under the beaded elements. Although not practiced at all times in the histo- ry of Iroquois beadwork, the most distinctive trait is that the beads are raised above the surface of the cloth face. Some pieces have raised beaded elements that are over an inch high. The beads are raised by putting more beads on the thread than is needed to span the pattern so that the beads form an arch above the pattern. The amount of extra beads determines how high the arches are, that is, how much the beadwork is raised. Various velvets were and still are the favored fabrics, but other fabrics such as wool, twills, silk, and satin are also used. Pincushions often have beaded velvet fronts and polished cotton backs. Polished cotton is a shiny stiff material that is also referred to as chintz or oilcloth. On the majority of late twentieth-century and contemporary twenty-first-century...

  

Preserving Tradition and Understanding the Past: Papers from the Conference on Iroquois Research, 2001–2005, Edited by Christine Sternberg Patrick, New York State Museum Record 1 © 2010, by The University of the State of New York, The State Education Department, Albany, New York 12230. All rights reserved. Click on top link for more.

Sirens and death

  

The Siren, by John William Waterhouse (circa 1900), depicted as a fish-chimera.

According to Ovid (Metamorphoses V, 551), the Sirens were the companions of young Persephone. They were given wings by Demeter to search for Persephone when she was abducted. However, the Fabulae of Hyginus has Demeter cursing the Sirens for failing to intervene in the abduction of Persephone.

The Sirens might be called the Muses of the lower world, Walter Copland Perry observed: "Their song, though irresistibly sweet, was no less sad than sweet, and lapped both body and soul in a fatal lethargy, the forerunner of death and corruption." Their song is continually calling on Persephone. The term "siren song" refers to an appeal that is hard to resist but that, if heeded, will lead to a bad conclusion. Later writers have implied that the Sirens were cannibals, based on Circe's description of them "lolling there in their meadow, round them heaps of corpses rotting away, rags of skin shriveling on their bones." As Jane Ellen Harrison notes of "The Ker as siren:" "It is strange and beautiful that Homer should make the Sirens appeal to the spirit, not to the flesh." The siren song is a promise to Odysseus of mantic truths; with a false promise that he will live to tell them, they sing,

Once he hears to his heart's content, sails on, a wiser man.

We know all the pains that the Greeks and Trojans once endured

on the spreading plain of Troy when the gods willed it so—

all that comes to pass on the fertile earth, we know it all!

"They are mantic creatures like the Sphinx with whom they have much in common, knowing both the past and the future," Harrison observed. "Their song takes effect at midday, in a windless calm. The end of that song is death." That the sailors' flesh is rotting away, suggests it has not been eaten. It has been suggested that, with their feathers stolen, their divine nature kept them alive, but unable to provide food for their visitors, who starved to death by refusing to leave.

According to Hyginus, sirens were fated to live only until the mortals who heard their songs were able to pass by them.

Appearance

  

Roman mosaic: Odysseus and the Sirens (Bardo National Museum)

Sirens were believed to combine women and birds in various ways. In early Greek art, Sirens were represented as birds with large women's heads, bird feathers and scaly feet. Later, they were represented as female figures with the legs of birds, with or without wings, playing a variety of musical instruments, especially harps. The 10th-century Byzantine encyclopedia Suda[17] says that from their chests up Sirens had the form of sparrows, below they were women, or, alternatively, that they were little birds with women's faces. Birds were chosen because of their beautiful voices. Later Sirens were sometimes depicted as beautiful women, whose bodies, not only their voices, are seductive.

The first century Roman historian Pliny the Elder discounted Sirens as pure fable, "although Dinon, the father of Clearchus, a celebrated writer, asserts that they exist in India, and that they charm men by their song, and, having first lulled them to sleep, tear them to pieces."[18] In his notebooks Leonardo da Vinci wrote of the Siren, "The siren sings so sweetly that she lulls the mariners to sleep; then she climbs upon the ships and kills the sleeping mariners."

In 1917, Franz Kafka wrote in The Silence of the Sirens, "Now the Sirens have a still more fatal weapon than their song, namely their silence. And though admittedly such a thing never happened, it is still conceivable that someone might possibly have escaped from their singing; but from their silence certainly never."

The so-called "Siren of Canosa"from Italy was said to accompany the dead among grave goods in a burial. She appeared to have some psychopomp characteristics, guiding the dead on the after-life journey. The cast terracotta figure bears traces of its original white pigment. The woman bears the feet, wings and tail of a bird. The sculpture is conserved in the National Archaeological Museum of Spain, in Madrid.

Encounters with the Sirens Odysseus and the Sirens, eponymous vase of the Siren Painter, ca. 480-470 BC, (British Museum) In Argonautica (4.891–919), Jason had been warned by Chiron that Orpheus would be necessary in his journey. When Orpheus heard their voices, he drew out his lyre and played his music more beautifully than they, drowning out their voices. One of the crew, however, the sharp-eared hero Butes, heard the song and leapt into the sea, but he was caught up and carried safely away by the goddess Aphrodite. Odysseus was curious as to what the Sirens sang to him, and so, on the advice of Circe, he had all of his sailors plug their ears with beeswax and tie him to the mast. He ordered his men to leave him tied tightly to the mast, no matter how much he would beg. When he heard their beautiful song, he ordered the sailors to untie him but they bound him tighter. When they had passed out of earshot, Odysseus demonstrated with his frowns to be released.

Some post-Homeric authors state that the Sirens were fated to die if someone heard their singing and escaped them, and that after Odysseus passed by they therefore flung themselves into the water and perished.It is also said that Hera, queen of the gods, persuaded the Sirens to enter a singing contest with the Muses. The Muses won the competition and then plucked out all of the Sirens' feathers and made crowns out of them. Out of their anguish from losing the competition, writes Stephanus of Byzantium, the Sirens turned white and fell into the sea at Aptera ("featherless"), where they formed the islands in the bay that were called Souda (modern Lefkai).Christian belief

The "Siren" of Canosa

By the fourth century, when pagan beliefs were overtaken by Christianity, belief in literal sirens was discouraged. Although Jerome, who produced the Latin Vulgate version of the Scriptures, used the word "sirens" to translate Hebrew tenim (jackals) in Isaiah 13:22, and also to translate a word for "owls" in Jeremiah 50:39, this was explained by Ambrose to be a mere symbol or allegory for worldly temptations, and not an endorsement of the Greek myth. The Early Christian euhemerist interpretation of mythologised human beings received a long-lasting boost from Isidore's Etymologiae. "They [the Greeks] imagine that 'there were three Sirens, part virgins, part birds,' with wings and claws. 'One of them sang, another played the flute, the third the lyre. They drew sailors, decoyed by song, to shipwreck. According to the truth, however, they were prostitutes who led travelers down to poverty and were said to impose shipwreck on them.' They had wings and claws because Love flies and wounds. They are said to have stayed in the waves because a wave created Venus."

Sirens continued to be used as a symbol for the dangerous temptation embodied by women regularly throughout Christian art of the medieval era; however, in the 17th century, some Jesuit writers began to assert their actual existence, including Cornelius a Lapide, who said of Woman, "her glance is that of the fabled basilisk, her voice a siren's voice—with her voice she enchants, with her beauty she deprives of reason—voice and sight alike deal destruction and death." Antonio de Lorea also argued for their existence, and Athanasius Kircher argued that compartments must have been built for them aboard Noah's Ark.

The theme of perilous mythical female creatures seeking to seduce men with their beautiful singing is repeated in the Danish ballad known as "Elvehøj", where the singers are Elves.

Odysseus and the Sirens. An 1891 painting by John William Waterhouse.

Charles Burney expounded c. 1789, in A General History of Music: "The name, according to Bochart, who derives it from the Phoenician, implies a songstress. Hence it is probable, that in ancient times there may have been excellent singers, but of corrupt morals, on the coast of Sicily, who by seducing voyagers, gave rise to this fable."John Lemprière in his Classical Dictionary (1827) wrote, "Some suppose that the Sirens were a number of lascivious women in Sicily, who prostituted themselves to strangers, and made them forget their pursuits while drowned in unlawful pleasures. The etymology of Bochart, who deduces the name from a Phoenician term denoting a songstress, favours the explanation given of the fable by Damm. This distinguished critic makes the Sirens to have been excellent singers, and divesting the fables respecting them of all their terrific features, he supposes that by the charms of music and song they detained travellers, and made them altogether forgetful of their native land."

Such euhemerist interpretations have been abandoned since the later 19th century, in favour of analyses of Greek mythology in terms of historical Greek social structure and their cultural system, and the Greek taxonomy of the spiritual world.

 

A master woman who prefers to have lovers to remain a sexual object, life is stronger than the boredom of a man father, a woman who has already lived the life of a mother flies away as an intriguing seducer in need of cuddles, she sings for sailors too but especially for lonely men who, like her, have already lived their life as a father, she clings to the branches of the beautiful bed of love and wants to Its orgasmic song awakens the ears of companions in need of physical affection...... it flies from empty bodies to others until the nothingness of the ocean bottom, an ode to the loneliness of the sailor traveller....Obsession

 

Obsessions are often mistaken for love because people rationalize the crazy feelings they are having. They assume that it must be love if the other person is always on their mind. Obsession is similar to lust but it is much more misleading and destructive. While lust is often fleeting, fading as two people come to know each other better, obsession sticks around.

The more time and effort invested in an unhealthy obsession the more intense the obsession can become. People in an obsessed state have a one track mind where the other person is concerned and they often lose touch with who they are as an individual. This loss of individuality creates a vicious circle of behavior where the obsessed person grows more and more dependant on the other person to bolster their sense of self.

 

Even unrequited love, love that is not returned, can become an overwhelming obsession. When one person believes they are in a relationship that doesn't really exist, or when one person is more invested in an existing relationship than the other, the foundation for an obsession has been laid.

 

Real love is nurturing and helps people grow but obsession is debilitating. If you feel like you have lost yourself, if you are always striving to please your partner without them doing the same for you, and if you find yourself making all decisions in your life based on the feelings and needs of the other person you could be dealing with obsession.

A forerunner of the combine harvester built by 'Dening' of Chard, agricultural engineers 1828 to 1965 and now in need of a little TLC.

 

An earth castle from the period of the Magyar conquest was the forerunner of the stone castle which was under royal ownership in the 12th C. The settlement at the foot of the fortification received its charter in the 14th C. In 1534 the castle and town became the property of the influential Nádasdy family. Under Tamás Nádasdy Sárvár was the focus of the reformist and humanist struggle in West Hungary; he made possible the publication of the first Hungarian translation of the bible and a grammar in Hungarian by János Sylvester, a scholar of Erasmus. For the rebuilding of the castle he brought Italian experts in fortifications to Sárvár who designed the pentagonal Renaissance castle with its defensive ramparts. The famous Andrea Palladio is said to have been involved in the plans for the massive gate tower. Tamás's successor Ferenc Nádasdy, who completed the castle around 1650, was involved in the conspiracy of the Hungarian aristocracy against the Habsburgs ("Wesselényi conspiracy) and paid for it with his life; the Habsburgers took his art treasures with them to Vienna.

It was the later owners who gave the building its Classical façade.

 

The Renaissance tower has been preserved in its original style of 1598. There is an impressive palatial room with stucco-framed frescos decorating its walls. The ceiling paintings, by an artist with the signature H.R.M., commissioned by Ferenc Nádasdy portray the Nádasdys as commanders in the Turkish wars; on the walls are scenes from the Old Testament by Stefan Dorffmeister (1769). The allegorical paintings in the tower room, are also his work, in which the role of the lord of the castle as patron of the arts and sciences is emphasized - a logical continuation of the frescos in the palatial room. Other rooms of the castle are also decorated with frescos and 18th C furniture.

 

The Ferenc Nádasdy museum, housed in the castle, is devoted to the history of the family, regional folk art and the town's history.

 

hu.wikipedia.org/wiki/S%C3%A1rv%C3%A1ri_v%C3%A1r

Jerry N. Uelsmann (born June 11, 1934) is an American photographer, and was the forerunner of photomontage in the 20th century in America.

"Jerry Uelsmann is said to be one of the few select group of artists who can be said to have altered the very language of their discipline. Through the use of composite print, this brilliant technician has invented a unique poetic universe that has extended the definition of what is photographic." [1]

 

Uelsmann was born in Detroit, Michigan. While attending public schools, at the age of fourteen, there sparked an interest in photography. He believed that through photography he could exist outside of himself, to live in a world captured through the lens. Despite poor grades, he managed to land a few jobs, primarily photographs of models. Eventually Uelsmann went on to earn a BA from the Rochester Institute of Technology and M.S. and M.F.A. degrees from Indiana University. Soon after, he began teaching photography at the University of Florida in 1960. In 1967, Uelsmann had his first solo exhibit at The Museum of Modern Art which opened doors for his photography career.[2]

Uelsmann is a master printer, producing composite photographs with multiple negatives and extensive darkroom work. He uses up to a dozen enlargers at a time to produce his final images, and has a large archive of negatives that he has shot over the years. The negatives that Uelsmann uses are known to reappear within his work, acting as a focal point in one work, and background as another. Similar in technique to Rejlander, Uelsmann is a champion of the idea that the final image need not be tied to a single negative, but may be composed of many. During the mid-twentieth century, when photography was still being defined, Uelsmann didn't care about the boundaries given by the Photo Secessionists or other realists at the time, he simply wished to share with the viewer the images from his imagination and saw photomontage as the means by which to do so. Unlike Rejlander, though, he does not seek to create narratives, but rather "allegorical surrealist imagery of the unfathomable". Uelsmann is able to subsist on grants and teaching salary, rather than commercial work.

Today, with the advent of digital cameras and Photoshop, photographers are able to create a work somewhat resembling Uelsmann's in less than a day, however, at the time Uelsmann was considered to have almost "magical skill" with his completely analog tools. At the time Uelsmann's work first came to popular attention, photos were still widely regarded as unfalsifiable documentary evidence of events. However, Uelsmann, along with Lucas Samaras, was considered an avant garde shatterer of this popular mindset and help to expand the artistic boundaries of photography.

Despite his works' affinity with digital techniques, Uelsmann continues to use traditional equipment. “I am sympathetic to the current digital revolution and excited by the visual options created by the computer. However, I feel my creative process remains intrinsically linked to the alchemy of the darkroom.”[3] Today he is retired from teaching and currently lives in Gainesville, Florida with his third wife, Maggie Taylor.[4] Uelsmann has one son, Andrew, who is a graduate student at the University of Florida. But to this day, Uelsmann still produces photos, sometimes creating more than a hundred in a single year. Out of these images, he likes to sit back and select the ten he likes the most, which is not an easy process.[3]

His photographs can be seen in the opening credits of the television series The Outer Limits (1995), and the illustrated edition of Stephen King's Salem's Lot. In addition, his artwork is featured in the progressive metal band Dream Theater's seventh studio album Train of Thought (2003).

en.wikipedia.org/wiki/Jerry_Uelsmann

  

Uelsmann received a Guggenheim Fellowship in 1967 and a National Endowment for the Arts Fellowship in 1972. He is a Fellow of the Royal Photographic Society of Great Britain, a founding member of the Society of Photographic Education and a former trustee of the Friends of Photography. Uelsmann's work as been exhibited in more than 100 individual shows in the United States and abroad over the past forty years. His photographs are in the permanent collections of many museums world wild, including the Metropolitan Museum of Art and the Museum of Modern Art in New York , the Chicago Art Institute, the Samuel P. Harn Museum in Gainesville, the International Museum of Photography and the George Eastman House, the Victoria and Albert Museum in London, the Bibliptheque National in Paris, the National Museum of American Art in Washington, the Moderna Museet in Stockholm, the National Gallery of Canada, the National Gallery of Australia, the Museum of Fine Arts in Boston, the National Galleries of Scotland, the Center of Creative Photography at the University of Arizona, the Tokyo Metropolitan Museum of Photography, the National Museum of Modern Art in Kyoto, and the Museum of Photography in Seoul, Korea.

www.peterfetterman.com/artists/jerry-uelsmann/

Heres information about central florida broadcast stations

 

Broadcast Tower,WFTT-TV is the Telefutura affiliate for Tampa Bay, owned by Univision and operated by Entravision, owners of WVEA-TV. The station, which broadcasts on UHF channel 50, is based at WVEA's studios on Hillsborough Avenue in Tampa, and transmits from Riverview. WFTT can be seen on cable throughout the Bay Area on Bright House channel 5, and on Comcast in Sarasota County on channel 23.

 

With the completion of the 442.550 repeater in Riverview at 805ft in January, the western pointing antenna on the 442.825 repeater caused a expected overlap that was unnecessary. Since 442.550 now blankets Hillsborough County, we have as of April 11th taken the antenna off the west leg of the Pebbledale tower site at 800ft and moved it to the east leg of the tower. What does mean for users? The tower has a 7 foot wide face, which creates a null that is created behind the antenna. This null used to face a huge portion of Polk County. By moving this antenna to the east, the null is now facing essentially Brandon/Riverview, where 442.550 is now located at 805ft. So far we have gotten incredible results from users in eastern Polk County. Some users in Sebring reporting almost full scale signal, and mobile users with hand helds on 27 at 5 watts can use 442.825 now. None of this was previously possible. So with this move, expect to hear more Polk, Osceola and I-4 corridor area users making it into the network.

 

A nother tower WVEA (channel 62) is Tampa Bay, Florida's first Spanish-language TV station, which had its start in the early-1980s as low-powered W50AC ch.50, which offered programming from the Spanish International Network (SIN), the forerunner of today's Univision. In 1988, to make way for new HSN flagship WBHS (now WFTT-TV), the station relocated to channel 61 and became W61BL. In the mid-1990s, the station was re-called "WVEA-LP". In 2000, WVEA's parent company, Entravision, acquired Sarasota English independent WBSV channel 62, with the intent of moving the transmitter from Venice to the antenna farm at Riverview. WBSV signed on May 3, 1991 as the Sarasota area's own independent station, designed to compete against WWSB and the other stations in the Tampa Bay and nearby Ft. Myers markets. Licensed to Venice, Florida the call letters stood for Bradenton, Sarasota, Venice, the three cities it primarily served. WBSV had a variety of syndicated and local programming, plus infomercials and home shopping programs. early on, they also had its own newscast. But, WBSV was eternally in red ink, and relied more on home shopping and infomercials to keep the station afloat....

 

And then,WTVT, channel 13, is a television station in Tampa, Florida. It is an owned and operated station of the Fox Broadcasting Company, a subsdiary of the News Corporation. WTVT's studios are located in Tampa, and its transmitter is located in Riverview, Florida.

 

Overall the WUSF (89.7 FM) is an NPR-member radio station licensed to Tampa, Florida, USA. The station is currently owned by the University of South Florida. WUSF signed on in 1963, seven years after USF's founding in 1956.

 

WOPX channel 56 is a television station based in Orlando, Florida, USA. An affiliate of the ION Television network, it transmits its analog signal on UHF channel 56 and its digital signal on UHF channel 48, both from a transmitter located near Holopaw. The station signed on the air in 1986.

 

WIWA (1160 AM) is a radio station broadcasting a Spanish language Christian format. Licensed to St. Cloud, Florida, USA, it serves the greater Orlando area. The station is currently owned by Centro De La Familia Cristiana Inc.

 

WAFZ-FM (92.1 FM) is a radio station broadcasting a Regional Mexican format. Licensed to Immokalee, Florida, USA, the station is currently owned by Glades Media Company LLC. WAFZ's programming is also heard on WAFZ AM 1490 in Immokalee.

 

WTVY or WTVY News 4 is a CBS-affiliated television station broadcasting on channel 4 in Dothan, Alabama, owned by Gray Television. The station's signal, originating from a transmitter in Holmes County, Florida, reaches large portions of Alabama, Georgia and Florida. WTVY is also the designated CBS affiliate for the Panama City, Florida market, where Gray also owns that city's NBC affiliate, WJHG-TV. In exchange, WJHG is available in Dothan on cable since Dothan does not have its own NBC affiliate. In fact, WTVY's transmitter is located within the Panama City market. WTVY-DT uses digital subchannels to operate MyNetworkTV affiliate My 4 and CW affiliate Dothan's CW.

 

WJED (91.1 FM) is a radio station broadcasting a Christian radio format. Licensed to Dogwood Lakes Estate, Florida, USA. The station is currently owned by Bethany Bible College.

 

WTVJ, channel 6, is the NBC owned-and-operated television station for South Florida, licensed to Miami. Its analog transmitter is located in Redland. The station's digital transmitter is located near Dolphin Stadium in north Miami-Dade County. Owned by NBC Universal, the station is sister to South Florida's Telemundo owned-and-operated station, WSCV. The two share studios at Peacock Plaza in Miramar.

 

WOIR (1430 AM) is a radio station broadcasting a Spanish News/Talk format. Licensed to Homestead, Florida, USA, the station serves the Miami area. The station is currently owned by Amanecer Christian Network, Inc..

 

WTLH is a Fox television affiliate licensed to Bainbridge, Georgia and serves the Tallahassee, Florida television market. It broadcasts its analog signal on UHF channel 49 and its digital signal on UHF channel 50. The station began operations on November 25, 1989. Its transmitter is located in Metcalf, Georgia. The Station is owned by CP Media, LLC. The station runs a duopoly with WFXU, The CW station in Tallahassee. WTLH programming is also seen on a low-powered, Class-A repeater, WBVJ-LP channel 35 in Valdosta.

 

WTXL-TV is the ABC affiliate station for Tallahassee, Florida, Thomasville, Georgia, and Valdosta, Georgia, broadcasting on channel 27. The station is owned by Calkins Media, Inc., a Pennsylvania-based mass media company that owns several small newspapers in Pennsylvania and two other television stations: WWSB in Sarasota and WAAY-TV in Huntsville, Alabama. It was previously owned by Media Ventures Management, and operated by the Sinclair Broadcast Group pursuant to an outsourcing agreement (See: [1]), the first of its kind in the United States. This agreement merged virtually all of WTXL-TV's operations with that of Sinclair's NBC affiliate WTWC. Denis LeClair, General Manager of WTXL-TV and WBXT-TV at the time, was made General Manager for WTXL, WBXT and WTWC under this agreement. He would be followed by Chris Butterick and then Bob Franklin. Eventually, Kim Urbuteit (who was fired in May, 2007) would be named General Manager of WTXL only as Bob Franklin (now in Mobile, AL) oversaw WTWC. Gary Wordlaw is the current General Manager of WTXL-TV.

 

WFSU is the callsign (or variations thereon) for public radio stations operated by Florida State University in Tallahassee, Florida. WFSU also operates 3 radio stations that serve northern Florida: * WFSU-FM 88.9 FM: Tallahassee-based news/talk/public affairs station carrying several NPR programs and overnight BBC World Service programming. Also heard on these low-powered repeaters: * 97.1 - Carrabelle * 106.1 - Marianna * 96.7 - Apalachicola * 93.7 - Downtown Tallahassee (necessary because the main WFSU transmitter must conform its signal to protect WTSU in Troy, Alabama) * WFSQ-FM 91.5 FM: Tallahassee-based classical music station. Also heard on WFSL-FM 90.7 in Thomasville, Georgia, and on low-powered 92.7 FM in the northeast portion of the city of Tallahassee. * WFSW-FM 89.1 FM: Panama City-based news/talk/public affairs station. Offers many of the same programs as WFSU. Also heard on low-powered 91.1 FM in the Port St. Joe area along the Gulf of Mexico, as well as 94.5 FM in Fort Walton Beach.

 

WESH is the NBC affiliate in Orlando, Florida. It is licensed to Daytona Beach, with studio facilities in Winter Park. It transmits its analog signal on VHF channel 2 and its digital signal on VHF channel 11, when viewed over the air PSIP will display 2.1 for WESH DT and 2.2 for WESH Weather Plus. It is currently owned by Hearst-Argyle Television along with the area's CW affiliate, WKCF. WESH's transmitter is located in Orange City, Florida. The tower is the tallest man-made structure in Florida, at 1,740 feet (530 m). The station also serves as the default NBC affiliate for the Gainesville market, and can be seen on the fringes of the Tampa Bay and Jacksonville markets. WESH was the first station in Orlando to carry an on-site RADAR facility, SuperDoppler 2 as opposed to relying on National Weather Service RADARs. It is installed on top of the tower located at the Winter Park broadcast studio. Today it also promotes a VIPIR 3D RADAR system, taking advantage of the fact that the RADARs at Melbourne, Tampa, Jacksonville and Miami can all reach Orlando, in addition to SuperDoppler 2. The primary news anchors at WESH are Martha Sugalski and Jim Payne....

 

WOMX is a radio station located in the Orlando, Florida area and broadcasts at 105.1. WOMX 105.1 plays the "Best MIX of the 80s, 90s and Today," though the station programming focuses mostly on rock and modern rock music from the 90's and 2000's. Every Friday from 5:00 p.m. to 12:00 a.m., Mix 105.1 presents Friday Night 80's. The "Saturday Night Party MIX" airs every Saturday night from 7 p.m. to midnight. The "Saturday Night Party MIX" replaced the Orlando heritage show "Seventies Saturday Night" in 2005.

 

WOTF-TV Channel 43 is the TeleFutura station serving the Orlando/Daytona Beach/Melbourne, Florida television market. It is owned by Univision and managed by Entravision which owns Univision affiliate WVEN-TV 26 and radio station WNUE 98.1 FM and offers a Spanish language entertainment format featuring movies, dramas, comedy shows, and kids shows. The studios are located in Altamonte Springs which is also shared by WVEN.

 

WOFL, "Fox 35", is the Fox owned-and-operated television station serving the Orlando, Florida metropolitan area. It is licensed to Orlando, with studios located in Lake Mary. It broadcasts its analog signal on UHF channel 35, and its digital signal on UHF channel 22. Its transmitter is located in Bithlo, Florida. Its Digital TV transmitter has a power of 1,000 kW. Its Analog TV transmitter has a power of 2,570 kW. WOFL and sister station WTVT of the bordering Tampa market commonly share reporters and footage, as other station groups do.

 

WFTV channel 9 is a television station based in Orlando, Florida, affiliated with the ABC network. It transmits its analog signal on VHF channel 9 from a transmitter located in Bithlo, Florida, and its digital signal on UHF channel 39 from a transmitter located in Christmas, Florida. It is owned by Cox Enterprises along with independent station WRDQ TV 27. The primary news anchors at WFTV are Bob Opsahl and Martie Salt. They anchored the main afternoon newscasts from 1984 through 1994, when Ms. Salt transferred to WFTS, a TV station in Tampa (where she was known as "Martie Tucker"). She returned to anchor WFTV's news again with Opsahl in 2003. Opsahl is one of the longest-serving (at one station) local news anchors in Florida. Barbara West, a 20 year veteran at WFTV and the station's medical reporter is paired with Opsahl at 5:30. Marla Weech, a former anchor for WFTV, was paired up with Bob Opsahl during most of Salt's absence. Weech currently works for WKMG. Tom Terry is the "Chief Meteorologist". WFTV's Severe Weather Center 9 includes WFTV's own doppler weather radar station located at Joint Venture TV Tower Bithlo. Its radar has features that are...

 

WRBW-TV is the MyNetworkTV owned and operated station serving the Orlando/Daytona Beach/Melbourne, Florida television market. It is owned by the Fox Television Stations Group, along with Fox station WOFL Channel 35. Known on-air as "My65", the station offers sitcoms, cartoons, court shows, and talk/reality shows. Its transmitter is located in Christmas, Florida.

 

WNTF (1580 AM) is a radio station broadcasting a News Talk Information format. Licensed to Bithlo, Florida, USA, it serves the Orlando area. The station is currently owned by Rama Communications, Inc.

 

WBCC is an educational television station serving the Orlando television market. It broadcasts on UHF channel 68, with a digital signal on channel 30. It is one of the Orlando market's PBS member stations. WBCC's digital signal, on channel 30, offers programming from the University of Central Florida (channel 68.2) and BPS-TV from Brevard Public Schools (channel 68.3), in addition to WBCC's standard programming.

 

WRDQ, channel 27, is an independent television station in Orlando, Florida. Its analog transmitter is located in northeastern Osceola County. The station's digital transmitter is located in Christmas. Onwed by Cox Enterprises, WRDQ is sister to ABC affiliate WFTV. The two stations share studios on East South Street in downtown Orlando. WRDQ offers the Retro Television Network on its second digital subchannel. It can also be seen on Bright House digital channel 1028. Syndicated programming on WRDQ includes: South Park, Scrubs, Merv Griffin's Crosswords, Oprah, According to Jim, and George Lopez. The station can be considered an alternate ABC affiliate. As such, it may take on the responsibility of airing ABC programs whenever WFTV may not be able to do so as in a news-related emergency.

 

WXPX is a television station licensed to Bradenton, Florida. Operating on channel 66, it is an ION Television affiliate, owned and operated by ION Media Networks (formerly Paxson Communications), which has owned the station since its founding in 1994. Current programming on WXPX is virtually the same as other ION affiliates -- infomercials throughout the day and during the overnights, plus ION programming in the evenings. WXPX also shows Tampa Bay Lightning hockey, Orlando Magic basketball, some college football and Tampa Bay Rays baseball, though most of these games are in the evenings only, as WXPX tend to reserve non-prime-time hours for infomercials. Rays games air in high definition on WXPX in the 720p format, the same format as FSN Florida, the producers of the games (See: [1]). The only local programming on WXPX is i on Tampa (public affairs) and the aforementioned Rays and Magic games. The station once aired Miccosukee Magazine along with WPXM Miami and WPXP West Palm Beach, but no longer airs the program. (the latter two stations still do, along with WOPX Orlando) WXPX started in 1994 as WFCT, which featured infomercials at all hours under...

 

Wesh News Cast Bay News 9 Cast Weather Channel

Kristina

 

Abernathy

 

Stephanie

 

Abrams

 

Natalie

 

Allen

 

Tetiana

 

Anderson

 

Adam

 

Berg

 

Mike

 

Bettes

 

Vivian

 

Brown

 

Jim

 

Cantore

 

Jennifer

 

Carfagno

 

Kelly

 

Cass

 

Betty

 

Davis

 

Kristin

 

Dodd

 

Jorma

 

Duran

 

Dr Marcus

 

Eriksen

 

Paul

 

Goodloe

 

Ryan

 

Goswick

 

Rich

 

Johnson

 

Bill

 

Keneely

 

Danny

 

Lipford

 

Warren

 

Madden

 

Mark

 

Mancuso

 

Dr Anna

 

Marie

 

Julie

 

Martin

 

Jeff

 

Mielcarz

 

Jarod

 

Miller

 

Nicole

 

Mitchell

 

Samantha

 

Mohr

 

Jeff

 

Morrow

 

Carl

 

Parker

 

Kim

 

Perez

 

Sharon

 

Resultan

 

Kevin

 

Robinson

 

Marshall

 

Seese

 

Mike

 

Seidel

 

Alexandra

 

Steele

 

Heather

 

Tesch

 

Nick

 

Walker

 

Alex

 

Wallace

Dr Steve Lyons

 

Dr Greg Forbes

 

Dr Heidi Cullen

 

Stu Ostro

Aixa Diaz (NEWS ANCHORS

Jen Holloway

Al Ruechel

Leigh Moody

Erica Riggins

Rick Elmhorst

 

(METEOROLOGISTS)

Mike Clay

Juli Marquez

Josh Linker

Diane Kacmarik

Brian McClure

Alan Winfield

 

(NEWS REPORTERS

Jennifer Anderson

Dalia Dangerfield

Laurie Davison

Melissa Eichman

Samantha Hayes

Chuck Johnson

Troy Kinsey

Jason Lanning

Emily Maza

Carol Minn Vacca

Jonathan Petramala

Josh Rojas

Summer Smith

Kathryn Simmons

Melanie Snow

Melissa Sogegian

Anna Tataris

Ferdinand

Zogbaum

 

(EN ESPANOL

Lydia Guzmán

Roy De Jesús

Sandra Pinto

 

Jim Payne

Syan Rhodes

Martha Sugalski

Scott Walker

Eryka Washington

  

Weather:

Jason Brewer

Tony Mainolfi

Malachi Rodgers

Amy Sweezey

 

WESH.com Web Staff:

Jeff Cousins

Managing Editor

Jessica Seeley

   

Washington Reporters:

 

Sally Kidd

Nikole Killion

Laurie Kinney

 

Orlando Sentinel:

Roger Moore

Movie Critic

 

Sports:

 

Pat Clarke

Guy Rawlings

   

Reporters:

Danielle Bellini

Dan Billow

Greg Fox

Bob Kealing

Jeff Lennox

Craig Lucie

Dave McDaniel

Michelle Meredith

Claire Metz

Amanda Ober

Kendra Oestreich

Gail Paschall-Brown

Tim Trudell

Todd Wilson

 

Other Talent:

Jason Chepenik

Financial Analyst

Dr. Todd Husty

Dan McCarthy

Chopper 2 Pilot

Kimberly Williams

Traffic Reporter

 

List of the tallest towers.

 

1 Burj Dubai 2,684 feet 818 m 2009 Skyscraper

 

2 Warsaw Radio Mast 2,121 feet 646.4 m 1974 Guyed mast

 

3 KVLY/KTHI TV Mast 2,063 feet 628.8 m 1963 Guyed mast

 

4 KXJB-TV mast 2,060 feet 627.8 m 1998 Guyed mast

 

5 KXTV/KOVR Tower 2,049 feet 624.5 m 2000 Guyed mast UHF/VHF-transmission U.S. Walnut Grove, California Tallest structure in California

 

6 KATV Tower 2,000 feet 609.6 m 1965?1967? Guyed mast UHF/VHF-transmission U.S. Redfield, Arkansas

 

7 KCAU TV Tower 2,000 feet 609.6 m 1965 Guyed mast UHF/VHF-transmission U.S. Sioux City, Iowa

 

8 WECT TV6 Tower 2,000 feet 609.6 m 1969 Guyed mast UHF/VHF-transmission U.S. Colly Township, North Carolina

 

9 WHO-TV, KDIN-TV,WOI-FM Tower 2,000 feet 609.6 m 1972 Guyed mast VHF-TV, FM radio transmission U.S. Alleman, Iowa

 

10 Des Moines Hearst-Argyle Television Tower Alleman 2,000 feet 609.6 m 1974 Guyed mast UHF/VHF-transmission U.S. Alleman, Iowa

 

11 WEAU-Tower 2,000 feet 609.6 m 1981 Guyed mast UHF/VHF-transmission U.S. Fairchild, Wisconsin

 

12 Diversified Communications Tower 2,000 feet 609.6 m 1981 Guyed mast UHF/VHF-transmission U.S. Floyd Dale, South Carolina

 

13 AFLAC Tower 2,000 feet 609.6 m 1984 Guyed mast UHF/VHF-transmission U.S. Rowley, Iowa

 

14 WBTV-Tower 2,000 feet 609.6 m 1984 Guyed mast UHF/VHF-transmission U.S. Dallas, North Carolina

 

15 Hearst-Argyle Tower 2,000 feet 609.6 m 1985 Guyed mast UHF/VHF-transmission U.S. Walnut Grove, California

 

16 WTTO Tower 2,000 feet 609.6 m 1986 Guyed mast UHF/VHF-transmission U.S. Windham Springs, Alabama

 

17 WCSC-Tower 2,000 feet 609.6 m 1986 Guyed mast UHF/VHF-transmission U.S. Awendaw, South Carolina

 

18 KTVE-Tower 2,000 feet 609.6 m 1987 Guyed mast UHF/VHF-transmission U.S. Bolding, Arkansas

 

19 WCTV Tower 2,000 feet 609.6 m 1987 Guyed mast UHF/VHF-transmission U.S. Metcalf, Georgia

 

20 WCIX/CH6 TV Mast 2,000 feet 609.6 m 1992 Guyed mast UHF/VHF-transmission U.S. Homestead, Florida

 

21 KDLT Tower 2,000 feet 609.6 m 1998 Guyed mast UHF/VHF-transmission U.S. Rowena, South Dakota

 

22 KMOS TV Tower 2,000 feet 609.6 m 2002 Guyed mast UHF/VHF-transmission U.S. Syracuse, Missouri

 

23 Liberman Broadcasting Tower Era 2,000 feet 609.6 m 2006 Guyed mast UHF/VHF-transmission U.S. Era, Texas

 

24 Winnie Cumulus Broadcasting Tower 2,000 feet 609.6 m ? Guyed mast UHF/VHF-transmission U.S. Winnie, Texas

 

25 WRAL HDTV Mast 2,000 feet 609.5 m 1991 Guyed mast UHF/VHF-transmission U.S. Auburn, North Carolina

 

26 Perry Broadcasting Tower 2,000 feet 609.5 m 2004 Guyed mast UHF/VHF-transmission U.S. Alfalfa, Oklahoma

 

27 KY3 Tower 1,999 feet 609.4 m 2000 Guyed mast UHF/VHF-transmission U.S. Fordland, Missouri

 

28 SpectraSite Tower Thomasville 1,999 feet 609.4 m 2002 Guyed mast UHF/VHF-transmission U.S. Thomasville, Georgia

 

29 Pegasus Broadcasting Tower 1,999 feet 609.4 m Guyed mast UHF/VHF-transmission U.S. Metcalf, Georgia

 

30 CBC Real Estate Tower Auburn 1,999 feet 609.4 m Guyed mast UHF/VHF-transmission U.S. Auburn, North Carolina

 

32 KLDE Tower 1,999 feet 609.3 m 1986 Guyed mast UHF/VHF-transmission U.S. Liverpool, Texas

 

33 WCKW/KSTE-Tower 1,999 feet 609.3 m 1988 Guyed mast UHF/VHF-transmission U.S. Vacherie, Louisiana

 

34 American Towers Tower Elkhart 1,999 feet 609.3 m 2001 Guyed mast UHF/VHF-transmission U.S. Elkhart, Iowa

 

35 Salem Radio Properties Tower 1,999 feet 609.3 m 2002 Guyed mast UHF/VHF-transmission U.S. Collinsville, Texas

 

36 Stowell Cumulus Broadcasting Tower 1,999 feet 609.3 m ? Guyed mast UHF/VHF-transmission U.S. Stowell, Texas

 

37 WLBT Tower 1,998 feet 609 m 1999 Guyed mast UHF/VHF-transmission U.S. Raymond, Mississippi

 

38 Beasley Tower 1,997 feet 608.7 m Guyed mast UHF/VHF-transmission U.S. Immokalee, Florida

 

39 KYTV Tower 1,996 feet 608.4 m 1973 Guyed mast UHF/VHF-transmission U.S. Marshfield, Missouri

 

40 SpectraSite Tower Raymond 1,996 feet 608.4 m Guyed mast UHF/VHF-transmission U.S. Raymond, Mississippi

 

41 Hoyt Radio Tower 1,996 feet 608.38 m 2003 Guyed mast UHF/VHF-transmission U.S. Hoyt, Colorado

 

42 Service Broadcasting Tower Decatur 1,995 feet 608.1 m 2000 Guyed mast UHF/VHF-transmission U.S. Decatur, Texas

 

43 WTVD Tower 1,994 feet 607.8 m 1978 Guyed mast UHF/VHF-transmission U.S. Auburn, North Carolina

 

44 Channel 40 Tower 1,994 feet 607.8 m 1985 Guyed mast UHF/VHF-transmission U.S. Walnut Grove, California

 

45 Liberman Broadcasting Tower Devers 1,994 feet 607.7 m 2006 Guyed mast UHF/VHF-transmission U.S. Devers, Texas

 

46 KHYS Tower 1,992 feet 607.2 m 1997 Guyed mast UHF/VHF-transmission U.S. Devers, Texas

 

47 Clear Channel Broadcasting Tower Devers 1,992 feet 607 m 1988 Guyed mast UHF/VHF-transmission U.S. Devers, Texas

 

48 Media General Tower 1,992 feet 607 m 1987 Guyed mast UHF/VHF-transmission U.S. Awendaw, South Carolina

 

49 Eastern North Carolina Broadcasting Tower 1,989 feet 606.2 m 1980 Guyed mast UHF/VHF-transmission U.S. Trenton, North Carolina

 

50 WNCN Tower 1,989 feet 606.2 m 2000 Guyed mast UHF/VHF-transmission U.S. Garner, North Carolina

 

51 KELO TV Tower 1,985 feet 605 m 1974 Guyed mast UHF/VHF-transmission U.S. Rowena, South Dakota

 

52 WITN Tower 1,985 feet 605 m 1979 Guyed mast UHF/VHF-transmission U.S. Grifton, North Carolina

 

53 Noe Corp Tower 1,984 feet 604.7 m 1998 Guyed mast UHF/VHF-transmission U.S. Columbia, Louisiana

 

54 Pappas Telecasting Tower 1,980 feet 603.6 m 2000 Guyed mast UHF/VHF-transmission U.S. Plymouth County, Iowa

 

55 KHOU-TV Tower 1,975 feet 602 m 1992 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

56 Richland Towers Tower Missouri City 1,973 feet 601.3 m 2001 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

57 Senior Road Tower 1,971 feet 600.7 m 1983 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

58 KTRK-TV Tower 1,970 feet 600.5 m 1982 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

59 Houston Tower Joint Venture Tower 1,970 feet 600.5 m 1985 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

60 American Towers Tower Missouri City 1,970 feet 600.5 m 2000 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

61 Fox-TV Tower 1,970 feet 600.4 m 1982 Guyed mast UHF/VHF-transmission U.S. Missouri City, Texas

 

62 Mississippi Telecasting Tower 1,969 feet 600 m 1982 Guyed mast UHF/VHF-transmission U.S. Inverness, Mississippi

 

63 WCNC-TV Tower 1,969 feet 600 m 1992 Guyed mast UHF/VHF-transmission U.S. Dallas, North Carolina

 

64 Capstar Radio Tower 1,969 feet 600 m 2001 Guyed mast UHF/VHF-transmission U.S. Middlesex, North Carolina

 

65 KDUH/CH4 TV Mast 1,965 feet 599 m 1969 Guyed mast UHF/VHF-transmission U.S. Hemingford, Nebraska

 

66 American Towers Tower Liverpool 1,963 feet 598.3 m 1992 Guyed mast UHF/VHF-transmission U.S. Liverpool, Texas

 

67 Media General Tower Dillon 1,962 feet 598 m 2001 Guyed mast UHF/VHF-transmission U.S. Dillon, South Carolina

 

68 Duffy-Shamrock Joint Venture Tower 1,960 feet 597.4 m 1990 Guyed mast UHF/VHF-transmission U.S. Bertram, Texas

 

69 AMFM Tower Collinsville 1,960 feet 597.4 m 2002 Guyed mast UHF/VHF-transmission U.S. Collinsville, Texas

 

70 KOLR/KOZK Tower 1,960 feet 597.3 m (orig. 609.6 m) 1971 Guyed mast UHF/VHF-transmission U.S. Fordland, Missouri

 

71 Cosmos Broadcasting Tower Winnabow 1,954 feet 595.6 m 1981 Guyed mast UHF/VHF-transmission U.S. Winnabow, North Carolina

 

72 Spectra Site Communications Tower Robertsdale 1,944 feet 592.6 m 2001 Guyed mast UHF/VHF-transmission U.S. Robertsdale, Alabama

 

73 CBC Real Estate Co. Inc Tower 1,944 feet 592.4 m 1985 Guyed mast UHF/VHF-transmission U.S. Dallas, North Carolina

 

74 Cosmos Broadcasting Tower Grady 1,935 feet 589.8 m 1977 Guyed mast UHF/VHF-transmission U.S. Grady, Alabama

 

75 American Towers Tower Columbia 1,929 feet 587.9 m 1986 Guyed mast UHF/VHF-transmission U.S. Columbia, Louisiana

 

76 Sonsinger Management Tower 1,928 feet 587.6 m 1988 Guyed mast UHF/VHF-transmission U.S. Splendora, Texas

 

77 Cedar Rapids TV Tower 1,927 feet 587.3 m 1974 Guyed mast UHF/VHF-transmission U.S. Walker City, Iowa

 

78 Channel 6 Tower Eddy 1,924 feet 586.4 m 1981 Guyed mast UHF/VHF-transmission U.S. Eddy, Texas

 

79 Entravision Texas Tower 1,920 feet 585.2 m 1998 Guyed mast UHF/VHF-transmission U.S. Greenwood, Texas

 

80 Multimedia Associates Tower 1,916 feet 584 m 1999 Guyed mast UHF/VHF-transmission U.S. Rio Grande City, Texas

 

81 American Towers Tower Randleman 1,910 feet 582.3 m 2004 Guyed mast UHF/VHF-transmission U.S. Randleman, North Carolina

 

82 KTUL Tower Coweta 1,909 feet 581.8 m 1988 Guyed mast UHF/VHF-transmission U.S. Coweta, Oklahoma

 

83 American Towers Tower Robertsdale 1,903 feet 579.9 m 2004 Guyed mast UHF/VHF-transmission U.S. Robertsdale, Alabama

 

84 Baldpate Platform 1,902 feet 579.7 m 1998 Offshore platform Oil drilling U.S. Garden Banks, Gulf of Mexico (Offshore)

 

85 WDJR-FM Tower 1,901 feet 579.42 m 1978 Guyed mast UHF/VHF-transmission U.S. Bethlehem, Florida

 

86 Clear Channel Broadcasting Tower Redfield 1,889 feet 578.8 m 1985 Guyed mast UHF/VHF-transmission U.S. Redfield, Arkansas

 

87 WFMY Tower 1,889 feet 575.9 m 2002 Guyed mast UHF/VHF-transmission U.S. Greensboro, North Carolina

 

88 Cox Radio Tower 1,879 feet 572.8 m 2000 Guyed mast UHF/VHF-transmission U.S. Shepard, Texas

 

89 Media General Tower Spanish Fort 1,879 feet 572.7 m 1986 Guyed mast UHF/VHF-transmission U.S. Spanish Fort, Alabama

 

90 WFTV Tower Saint Cloud 1,874 feet 571.1 m 2000 Guyed mast UHF/VHF-transmission U.S. Saint Cloud, Florida

 

91 Capstar Radio Operating Gray Court Tower 1,861 feet 567.1 m 1980 Guyed mast UHF/VHF-transmission U.S. Gray Court, South Carolina

 

92 KLKN Tower 1,854 feet 565.1 m 1965 Guyed mast UHF/VHF-transmission U.S. Genoa, Nebraska

 

93 Pinnacle Towers Tower Princeton 1,842 feet 561.3 m 1993 Guyed mast UHF/VHF-transmission U.S. Princeton, Florida

 

94 WTVJ Tower Princeton 1,841 feet 561.1 m 1993 Guyed mast UHF/VHF-transmission U.S. Princeton, Florida

 

95 Pappas Partnership Stations Tower Gretna 1,836 feet 559.6 m 1985 Guyed mast UHF/VHF-transmission U.S. Gretna, Nebraska

 

96 KBIM Tower 1,834 feet 559.02 m 1965 Guyed mast UHF/VHF-transmission U.S. Roswell, New Mexico

 

97 Tulsa Tower Joint Venture Tower Oneta 1,834 feet 559 m 1984 Guyed mast UHF/VHF-transmission U.S. Oneta, Oklahoma

 

98 KTBS Tower 1826 ft 556.5 m 2003 Guyed mast UHF/VHF-transmission U.S. Shreveport, Louisiana

 

99 CN Tower 1,814 feet 553 m 1976 Concrete tower Observation, UHF/VHF-transmission Canada Toronto, Ontario

 

100 SBA Towers Tower Haynesville 1,797 feet 547.7 m 1989 Guyed mast UHF/VHF-transmission U.S. Haynesville, Alabama

 

101 Channel 32 Limited Partnership Tower 1,797 feet 547.7 m 1990 Guyed mast UHF/VHF-transmission U.S. Haynesville, Alabama

 

102 KATC Tower Kaplan 1,793 feet 546.6 m 1978 Guyed mast UHF/VHF-transmission U.S. Kaplan, Louisiana

 

103 Cosmos Broadcasting Tower Egypt 1,793 feet 546.5 m 1981 Guyed mast UHF/VHF-transmission U.S. Egypt, Arkansas

 

104 Raycom Media Tower Mooringsport 1,791 feet 545.8 m 1975 Guyed mast UHF/VHF-transmission U.S. Mooringsport, Louisiana

 

105 Pinnacle Towers Tower Mooringsport 1,781 feet 542.8 m 1985 Guyed mast UHF/VHF-transmission U.S. Mooringsport, Louisiana

 

106 Bold Springs Salem Radio Properties Tower 1,779 feet 542.2 m 2005 Guyed mast UHF/VHF-transmission U.S. Bold Springs, Georgia

 

107 Branch Young Broadcasting Tower 1775 ft 541 m ? Guyed mast UHF/VHF-transmission U.S. Branch, Louisiana

 

108 Ostankino Tower 1,772 feet 540.1 m 1967 Concrete tower Observation, UHF/VHF-transmission Russia Moscow 2000 Fire led to renovation

 

109 KLFY TV Tower Maxie 1,772 feet 540 m 1970 Guyed mast UHF/VHF-transmission U.S. Maxie, Louisiana

 

110 American Towers Tower Eglin[5] 1,766 feet 538.3 m 2001 Guyed mast UHF/VHF-transmission U.S. 29045, South Carolina also known as WOLO TV Tower

 

111 Cusseta Richland Towers Tower 1,766 feet 538.2 m 2005 Guyed mast UHF/VHF-transmission U.S. Cusseta, Georgia

 

112 Cox Radio Tower Flowery Branch 1,765 feet 537.9 m 1984 Guyed mast UHF/VHF-transmission U.S. Flowery Branch, Georgia

 

113 Alabama Telecasters Tower 1,757 feet 535.5 m 1995 Guyed mast UHF/VHF-transmission U.S. Gordonsville, Alabama

 

114 WIMZ-FM-Tower 1,752 feet 534.01 m 1963 Guyed mast UHF/VHF-transmission U.S. Knoxville, Tennessee also known as WBIR TV-mast, World's tallest structure, 1963

 

115 Capitol Broadcasting Tower Broadway 1,749 feet 533.1 m 1985 Guyed mast UHF/VHF-transmission U.S. Broadway, North Carolina dismantled

 

116 Capitol Broadcasting Tower Columbia 1,749 feet 533.1 m 2000 Guyed mast UHF/VHF-transmission U.S. Columbia, North Carolina

 

117 WTVM/WRBL-TV & WVRK-FM Tower 1,749 feet 533 m 1962 Guyed mast UHF/VHF-transmission U.S. Cusseta, Georgia also known as WTVM TV Mast, World's tallest structure, 1962-1963

 

118 WAVE-Mast 1,739 feet 530.05 m 1990 Guyed mast UHF/VHF-transmission U.S. La Grange, Kentucky

 

119 Moody Centex Television Tower 1739 ft 530 m 1985 Guyed mast UHF/VHF-transmission U.S. Moody, Texas

 

120 Louisiana Television Broadcasting Tower Sunshine 1,737 feet 529.4 m 1972 Guyed mast UHF/VHF-transmission U.S. Sunshine, Louisiana

 

121 Bullwinkle Platform 1,736 feet 529.1 m 1989 Offshore platform Oil drilling Gulf of Mexico Manatee Field Located appr. 160 miles (257 km) southwest of New Orleans

 

122 Pinnacle Towers Tower Addis 1,735 feet 528.8 m 1986 Guyed mast UHF/VHF-transmission U.S. Addis, Louisiana

 

123 Richland Towers Tower Cedar Hill 1,731 feet 527.6 m 2004 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

124 Sears Tower 1,730 feet 527.3 m 1974 Skyscraper Office, observation, UHF/VHF-transmission U.S. Chicago, Illinois

 

125 World Trade Center, Tower 1 1,727 feet 526.3 m 1973 Skyscraper Office, UHF/VHF-transmission U.S. New York City destroyed on September 11, 2001

 

126 WAFB Tower Baton Rouge 1,725 feet 525.8 m 1965 Guyed mast UHF/VHF-transmission U.S. Baton Rouge, Louisiana

 

127 WAEO Tower 1,721 feet 524.5 m 1966 Guyed mast UHF/VHF-transmission U.S. Starks, Wisconsin destroyed on November 17, 1968 at aircraft collision

 

128 Media Venture Tower 1,714 feet 522.5 m 1999 Guyed mast UHF/VHF-transmission U.S. Fincher, Florida

 

129 Media Venture Management Tower Fincher 1,714 feet 522.5 m 1999 Guyed mast UHF/VHF-transmission U.S. Fincher, Florida

 

130 Orlando Hearst Argyle Television Tower 1,714 feet 522.5 m 1980 Guyed mast UHF/VHF-transmission U.S. Orange City, Florida

 

131 Pinnacle Towers Tower Moody 1,714 feet 522.4 m 1988 Guyed mast UHF/VHF-transmission U.S. Moody, Texas

 

132 Clear Channel Broadcasting Tower Rosinton 1,707 feet 520.3 m 1981 Guyed mast UHF/VHF-transmission U.S. Rosinton, Alabama

 

133 Pacific and Southern Company Tower Lugoff 1,707 feet 520.2 m 1985 Guyed mast UHF/VHF-transmission U.S. Lugoff, South Carolina

 

134 Young Broadcasting Tower Garden City 1,705 feet 519.7 m 1978 Guyed mast UHF/VHF-transmission U.S. Garden City, South Dakota

 

135 Gray Television Tower Carlos 1,705 feet 519.7 m 1983 Guyed mast UHF/VHF-transmission U.S. Carlos, Texas

 

136 South Dakota Public Broadcasting Network Tower 1,695 feet 516.7 m 1974 Guyed mast UHF/VHF-transmission U.S. Faith, South Dakota

 

137 Spectra Site Communications Tower Orange City 1,695 feet 516.6 m 1984 Guyed mast UHF/VHF-transmission U.S. Orange City, Florida Height reduced to 512.7 metres

 

138 Christmas Brown Road Tower 1,695 feet 516.6 m 2001 Guyed mast UHF/VHF-transmission U.S. Christmas, Florida

 

139 Gray Television Tower Madill 1,694 feet 516.3 m 1984 Guyed mast UHF/VHF-transmission U.S. Madill, Oklahoma

 

140 American Tower Christmas 1,684 feet 513.3 m 2001 Guyed mast UHF/VHF-transmission U.S. Christmas, Florida

 

141 Richland Towers Bithlo 1,682 feet 512.7 m 2002 Guyed mast UHF/VHF-transmission U.S. Bithlo, Florida

 

142 Northland Television Tower Rhinelander 1,682 feet 512.6 m 1979 Guyed mast UHF/VHF-transmission U.S. Rhinelander, Wisconsin

 

143 Gray Television Tower Moody 1,679 feet 511.8 m 1978 Guyed mast UHF/VHF-transmission U.S. Moody, Texas

 

144 KFVS TV Mast 1,677 feet 511.1 m 1960 Guyed mast UHF/VHF-transmission U.S. Cape Girardeau County, Missouri World's tallest structure, 1960-1961

 

145 Taipei 101 1,671 feet 509.2 m 2004 Skyscraper Office, observation, UHF/VHF-transmission Taiwan Taipei

 

146 Cox Radio Tower Verna 1,667 feet 508.1 m 1994 Guyed mast UHF/VHF-transmission U.S. Verna, Florida

 

147 WMTW TV Mast 1,667 feet 508.1 m 2001 Guyed mast UHF/VHF-transmission U.S. Baldwin, Maine

 

148 American Towers Tower Cedar Hill 1,661 feet 506.2 m 1999 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

149 American Towers Tower Oklahoma City 1,647 feet 502 m 1999 Guyed mast UHF/VHF-transmission U.S. Oklahoma City, Oklahoma

 

150 University of North Carolina Tower 1,642 feet 500.5 m 2000 Guyed mast UHF/VHF-transmission U.S. Columbia, North Carolina

 

151 Richland Towers Tower Cedar Hill 2 1,635 feet 498.4 m 2000 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

152 WWTV Tower 1,631 feet 497 m 1961 Guyed mast UHF/VHF-transmission U.S. Cadillac, Michigan Tallest Structure in Michigan

 

153 WWRR Renda Tower 1,631 feet 497 m 1987 Guyed mast UHF/VHF-transmission U.S. Kingsland, Georgia

 

154 QueenB Television Tower 1,627 feet 496 m 1964 Guyed mast UHF/VHF-transmission U.S. La Crosse, Wisconsin Height reduced to 484.3 metres

 

155 KDEB Tower 1,627 feet 496 m 1968 Guyed mast UHF/VHF-transmission U.S. Fordland, Missouri also known as American Towers Tower Fordland, dismantled

 

156 WPSD-TV Tower 1,627 feet 495.9 m 2004 Guyed mast UHF/VHF-transmission U.S. Kevil, Kentucky

 

157 NVG-Amarillo Tower 1,626 feet 495.6 m 1969 Guyed mast UHF/VHF-transmission U.S. Amarillo, Texas

 

158 WGME TV Tower 1,624 feet 495 m 1959 Guyed mast UHF/VHF-transmission U.S. Raymond, Maine World's tallest structure, 1959-1960

 

159 Sinclair Television Tower Oklahoma 1,619 feet 493.5 m 1979 Guyed mast UHF/VHF-transmission U.S. Oklahoma City, Oklahoma

 

160 Shanghai World Financial Center 1,614 feet 492 m 2008 Skyscraper Office, hotels, residential China Shanghai topped out

 

161 WFTV TV Tower Christmas 1,613 feet 491.6 m 2000 Guyed mast UHF/VHF-transmission U.S. Christmas, Florida

 

162 WJJY TV Mast 1,611 feet 491 m Guyed mast UHF/VHF-transmission U.S. Bluffs, Illinois collapsed in 1978

 

163 Media General Tower Jackson 1,611 feet 491 m 1989 Guyed mast UHF/VHF-transmission U.S. Jackson, Mississippi

 

164 WHNS TV-Tower 1,611 feet 491 m 2001 Guyed mast UHF/VHF-transmission U.S. Brevard, South Carolina

 

165 KOBR-TV Tower 1,610 feet 490.7 m 1956 Guyed mast UHF/VHF-transmission U.S. Caprock, New Mexico also known as KSWS-TV Transmitter, World's tallest structure, 1956-1959, collapsed in 1960 at storm, rebuilt afterwards

 

166 Joint Venture TV Tower Bithlo 1,608 feet 490.2 m 1992 Guyed mast UHF/VHF-transmission U.S. Bithlo, Florida

 

167 American Towers Tower Bithlo 1,605 feet 489.2 m 1984 Guyed mast UHF/VHF-transmission U.S. Bithlo, Florida

 

168 NYT Broadcast Holdings Tower Oklahoma 1,601 feet 488 m 1965 Guyed mast UHF/VHF-transmission U.S. Oklahoma City, Oklahoma also known as WKY TV Mast

 

169 Clear Channel Broadcasting Tower Boykin 1,600 feet 487.8 m 1997 Guyed mast UHF/VHF-transmission U.S. Boykin, Georgia

 

170 WVFJ Tower Saint Marks 1,600 feet 487.7 m 1998 Guyed mast UHF/VHF-transmission U.S. Saint Marks, Georgia

 

171 Paramount Tower Oklahoma 1,596 feet 486.4 m 1980 Guyed mast UHF/VHF-transmission U.S. Oklahoma City, Oklahoma

 

172 WTVA TV Tower 1,593 feet 485.5 m 1972 Guyed mast UHF/VHF-transmission U.S. Woodland, Mississippi

 

173 KTVT Tower 1,587 feet 483.7 m 2002 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

174 GBC LP DBA Tower 1,582 feet 482.2 m 1997 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas dismantled

 

175 WLFL Tower Apex 1,579 feet 481.3 m 1986 Guyed mast UHF/VHF-transmission U.S. Apex, North Carolina

 

176 WFAA Tower 1,578 feet 481 m 1998 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

177 Griffin Television Tower Oklahoma 1,576 feet 480.5 m 1954 Guyed mast UHF/VHF-transmission U.S. Oklahoma City, Oklahoma also known as KWTV Tower, World's tallest structure, 1954-1956

 

178 WCOM-TV Mansfield, Ohio 1,576 feet 480.5 m 1988 Guyed mast UHF/VHF-transmission U.S. Butler, Ohio Was the tallest structure in Ohio until it was dismantled in 1995

 

179 Viacom Tower Riverview 1,575 feet 480 m 1998 Guyed mast UHF/VHF-transmission U.S. Riverview, Florida

 

180 Tampa Tower General Partnership Tower Riverview 1,573 feet 479.4 m 1987 Guyed mast UHF/VHF-transmission U.S. Riverview, Florida

 

181 Riverview Florida West Coast Public Broadcasting Tower 1,572 feet 479.1 m 1999 Guyed mast UHF/VHF-transmission U.S. Riverview, Florida

 

182 American Towers Tower Riverview 1,568 feet 478 m 2001 Guyed mast UHF/VHF-transmission U.S. Riverview, Florida

 

183 KBSI TV Mast 1,567 feet 477.6 m 1983 Guyed mast UHF/VHF-transmission U.S. Cape Giradeau, Missouri

 

184 Media General Tower Saint Ansgar 1,565 feet 477.1 m 1964 Guyed mast UHF/VHF-transmission U.S. Saint Ansgar, Iowa

 

185 Red River Broadcast Tower Salem 1,565 feet 477 m 1976 Guyed mast UHF/VHF-transmission U.S. Salem, South Dakota

 

186 Hearst-Argyle Television Tower 1,563 feet 476.4 m 1963 Guyed mast UHF/VHF-transmission U.S. Oklahoma City, Oklahoma

 

187 Augusta Tower 1,561 feet 475.6 m 2003 Guyed mast UHF/VHF-transmission U.S. Jackson, South Carolina

 

188 WAGT TV Tower 1,560 feet 475.5 m 1985 Guyed mast UHF/VHF-transmission U.S. Beach Island, South Carolina

 

189 KPLX Tower 1,559 feet 475.1 m 1969 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

190 KTAL TV Tower 1,558 feet 474.9 m 1961 Guyed mast UHF/VHF-transmission U.S. Vivian, Louisiana

 

191 Mississippi Authority for Educational Television Tower 1,558 feet 474.9 m 2000 Guyed mast UHF/VHF-transmission U.S. Raymond, Mississippi

 

192 KRRT TV Tower 1,553 feet 473.3 m 1985 Guyed mast UHF/VHF-transmission U.S. Lake Hills, Texas

 

193 Hearst-Argyle Tower Watsonville 1,552 feet 473.1 m 1984 Guyed mast UHF/VHF-transmission U.S. Watsonville, California

 

194 Media General Tower Forest Hill 1,552 feet 473 m 1965 Guyed mast UHF/VHF-transmission U.S. Forest Hill, Louisiana

 

195 WVAH Tower 1,552 feet 473 m 1980 Guyed mast UHF/VHF-transmission U.S. Scott Depot, West Virginia destroyed on February 19, 2003

 

196 American Towers Tower Cedar Hill]] 2 1,551 feet 472.7 m 1980 Guyed mast UHF/VHF-transmission U.S. Cedar Hill, Texas

 

197 KXTV/KOVR/KCRA Tower 1,549 feet 472.1 m 1962 Guyed mast UHF/VHF-transmission U.S. Walnut Grove, California

 

198 SpectraSite Tower Holopaw 1,549 feet 472.1 m 1997 Guyed mast UHF/VHF-transmission U.S. Holopaw, Florida

 

199 Troll A platform 1,549 feet 472 m 1996 Offshore platform Oil drilling Norway North Sea

 

200 Morris Tower Perkston 1,540 feet 469.4 m 1986 Guyed mast UHF/VHF-transmission U.S. Perkston, Mississippi

The starting line of the marathon in the desert outside of Hami.

SAN FRANCISCO, CA - SEPTEMBER 07: Forerunner Ventures Managing Partner Kirsten Green speaks onstage during Day 3 of TechCrunch Disrupt SF 2018 at Moscone Center on September 7, 2018 in San Francisco, California. (Photo by Steve Jennings/Getty Images for TechCrunch)

✰ This photo was featured on The Epic Global Showcase here: bit.ly/1VxQ1QP

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

Title: Halo 5, forerunner world exploration Artist: John Wallin Liberto #picoftheday #instagood #digitalart #digitalpainting #fantasy #followme #sweet #ilovefantasyart #cool #inspiring #cgsociety #artstation #omg #best #followme #artwork #art #instadaily #painting #instamood #medieval #love #photography #storytelling

by @ilovefantasyart on Instagram.

 

On 30 March 1913, Faisanterie Buitenlust, the forerunner of today's modern animal park Burgers' Zoo, opened its doors to the public for the first time. Since its establishment by Johan Burgers, the first owner and namesake of the Arnhem Zoo, the park has always remained a true family business. Right from the early years, the zoo caused a stir with its bold innovations, naturally designed animal enclosures and the creation of visitor experiences. Burgers' Zoo has a colourful history that has shaped the zoo as you find it today in the wooded area north of Arnhem.

 

The ecodisplays recreate unique natural areas as naturally and accurately as possible, with animals often living in great freedom amid hundreds of plant species. In the Burgers' Zoo ecodisplays, visitors walk in pieces of reconstructed natural landscapes. While walking, you discover numerous animal and plant species that are optimally adapted to the natural environment

 

Spanish collectors card by I.G. Viladot, Barcelona. Photo: Metro-Goldwyn-Mayer. The Marx Brothers in At the Circus (Edward Buzzell, 1939) with Kenny Baker and Florence Rice.

 

The Marx Brothers was the name for a group of American-Jewish comedians from the first half of the 20th century who were actually brothers. Their career started in theatre, but they became world-famous through their films. They are known for their wild, anarchic and often surrealist humour. Their jokes consist of slapstick, but also puns and intelligent dialogue. With their rebellious jokes, they were the forerunners of generations of anti-sentimental comedians. Five brothers together formed The Marx Brothers, even though the five of them never actually performed at the same time: Harpo, Chico, Groucho, Gummo and Zeppo.

 

The eldest brother, Chico (1887-1961) was born Leonard Marx. Manfred was actually the eldest, but he died as a child. Chico was the one who decided to make musical comedies with his other brothers. At the time, he had learnt an Italian accent to convince any anti-Semites in the neighbourhood that he was Italian and not a Jew. This accent, along with his talent as a piano player, became one of his trademarks. In the films, he usually fulfilled the role of a sly and shady con man, the confidant of Harpo, a confident pianist and the sceptical assistant of Groucho.

 

Harpo (1888-1964) was born Adolph and changed his name to Arthur in WWI because he found the name too German. As an actor, Harpo played the role of a mute, who never speaks but expresses himself through sign language, whistling and using his horn. Like a cross between a child and a wild beast, he sets everything in motion, harassing everyone, pulling the most peculiar things out of his coat (such as a candle burning on two sides, a coiled rope, a pin-up poster, etc.), and chasing women with his horn. His pseudonym "Harpo" was derived from the fact that he played the harp, for which there was a musical interlude in almost every film.

 

Groucho (1890-1977) was born Julius Henry Marx. His trademarks were his grin, thick cigar, waddling gait and sarcastic remarks, insults and puns. In the films, he was constantly trying to get money or women, talking everyone under the table with his witty and intelligent remarks. He was also a singer and some of his songs have become classics, such as 'Lydia the Tattooed Lady'.

 

Gummo (1892-1977) was born Milton and was the least-known Marx Brother. He was the one who first performed with Groucho, but before the big Broadway success came he had stopped acting. For years, he was his brother's manager.

 

Zeppo (1901-1979) was born Herbert Marx and was the youngest of the Marx Brothers. He took over the role of Gummo when the latter quit. Zeppo was the romantic declarer. Though he could take on more versatile roles, he was typecast as the most serious of the four.

 

The Marx Brothers were the five surviving sons of Sam and Minnie Marx. The family lived in Yorkville on New York's Upper East Side, a neighbourhood sandwiched between the Irish-German and Italian quarters. Their career already began at the beginning of the century in vaudeville shows, with which their maternal uncle, Al Shean, had already been successful. Groucho was the first to embark on a career on stage, but initially with very little success. Their mother and sister also appeared on stage with their sons at times. However, the focus soon shifted from music and singing with humorous segues to comedy with musical interludes. The different roles of musicians and comedians crystallised relatively early. While Chico developed the stereotype of the womaniser with an Italian accent who was always chasing the chicks, Groucho dropped his accent as a German during the First World War due to a lack of popularity. Harpo remained speechless on stage, as he had the greatest successes playing his jokes as a mime in a red or, in films, blond curly wig, or playing his grandmother's old harp. A classroom sketch in which Groucho tried to teach his brothers evolved into the comedy show 'I'll Say She Is which became their first success on Bradway and in England. This was followed by two more Broadway hits: 'The Cocoanuts' and 'Animal Crackers'. The Marx Brothers' shows became popular at a time when Hollywood was experiencing the transition from silent film to talkies. The brothers signed a contract with Paramount Pictures and thus launched their film career.

 

The last two Broadway shows of The Marx Brothers became their first films, The Cocoanuts (Robert Florey, 1929) and Animal Crackers (Victor Heerman, 1930). Their next film was Money Business (Norman Z. McLeod, 1931). Between 1932 and 1933, a total of 26 episodes of the radio show 'Flywheel, Shyster & Flywheel' were made, with Groucho voicing the lawyer Waldorf T. Flywheel and Chico voicing his sidekick Emmanuel Ravelli. The first three episodes were broadcast under the title 'Beagle, Shyster & Beagle'. The title was then changed after a New York lawyer named "Beagle" threatened to sue. Some of the dialogue from the radio broadcasts was later used in the Marx Brothers films. Their most successful film of the early period was Horse Feathers (Norman Z. McLeod, 1932), a satire on the American college system. But Duck Soup (Leo McCarey, 1933), generally considered their masterpiece, had much less success. It marked their break with Paramount. Zeppo, who always played serious roles, stopped making films after this. The Marx Brothers' first five films are generally considered their best, expressing their surrealist and anarchic humour in its purest form. The three remaining brothers moved to Metro-Goldwyn-Mayer and changed the formula of their subsequent films. Their remaining films were given romantic plots and serious musical interludes, often intended as resting points between the often hilarious comic sketches. In A Night at the Opera (Sam Wood, 1935), a satire on the opera world, the brothers help two young singers in love. The film was very successful and was followed by the equally popular A Day at the Races (Sam Wood, 1937), where they kicked up a fuss at a race track. Several less memorable films followed until 1941. After the war, two more films A Night in Casablanca (Archie Mayo, 1946) and Love Happy (David Miller, 1949) followed to pay off Chico's gambling debts. This was followed by the mediocre film The Story of Mankind (Irwin Allen, 1957), and a television special The Incredible Jewel Robbery (1959). These productions were already interludes, while each brother had already picked up a career of his own. Chico and Harpo continued on stage and Groucho had started a career as a radio and television entertainer. With his television and radio show 'You Bet Your Life', he became one of the most popular show hosts of the 1950s in the USA. The first episodes of the show were still broadcast live, as was customary at the time. But because Groucho's unbridled wordplay caused headaches for those in charge of the show, they deviated from this for later episodes and the programme was broadcast as a recording. He also wrote a number of books. Gummo and Zeppo ran a theatre agency together. A final film project planned for 1960, starring the Marx Brothers once again and directed by Billy Wilder, did not materialise due to Chico's poor health. It was to be an anti-war satire in the style of Duck Soup. Even Groucho, who at the time was no longer very interested in further Marx Brothers films, is said to have been enthusiastic about the project because he considered Billy Wilder to be one of the best directors.

 

Sources: Wikipedia (Dutch and German) and IMDb.

 

And, please check out our blog European Film Star Postcards.

Castlefin Bridge

Castlefinn (Irish: Caisleán na Finne, meaning "castle of the (river) Finn") sometimes spelt Castlefin is a market town in the Finn Valley of County Donegal, Ireland.

Castlefin Bridge which span the River Finn on the R235 road and is the main access route from Castlefin (Republic of Ireland) to Castlederg (Northern Ireland).

This bridge originally dates to the late-eighteenth century, a period that saw a great deal of road and bridge-building in Ireland, particularly by the Grand Juries (the forerunners of the County Councils) a bridge is depicted on the Taylor and Skinner map of the area from 1777 - 1883, though not on Moll's map dated 1714, which suggests that the bridge dates to between these dates. According to the Ordnance Survey Memoirs of 1836 Castlefinn Bridge at the entrance of the town from Castlederg, is a structure of 6 water arches and 6 land ones, although only ten are visible today due to build-up of the land to the north end adjacent to the river. It was built by a Mr. Mason and cost about £900, raised by assessment from the county, and was built at little cost on account of the stones being procured from the ruins of a castle site to the north-west side of the bridge.

There is a record of repairs in 1774 costing £47, which indicates that the bridge dates to before this time. This bridge probably replaced an earlier fording point, hence the presence site of a castle to the north side, and there was a ferry here in the seventeenth century.

A large corn store and quay for loading and unloading (4 boats were usually employed) had been built at the bridge by Dr. Francis Rogan, who is the principal proprietor of Castlefin.

This bridge is one of a number of fine bridges over the River Finn, and is an important element of the built heritage and transport history of County Donegal.

 

O’Donnell Castles

The O’Donnell chieftains of Donegal built castles at fords on the River Finn. One castle was located at Killygordon which fell into the hands of the English during the Nine Years War in the early 1600s. The castle and surrounding lands were granted to a Captain Ralph Mansfield for his part in the war. Mansfield and his heirs owned the property up to the end of the 19th century.

Another O’Donnell castle was located on the river at Castlefin. After the Nine Years War the castle and estates adjacent to the castle were confiscated and granted to General Kingsmill for dispersing the O’Donnell forces in that area. The lands were inherited by Sir John Kingsmill’s daughters and later passed on to their husbands through marriage. The castle at Castlefin was eventually dismantled, and as mentioned previously its stones were used in building the bridge across the river.

 

The castle at Lifford belonged to Manus O’Donnell, Earl of Donegal, during the time of King Henry VIII. He built his castle in 1527. It was later occupied by his grandson, Red Hugh O’Donnell, who was defeated in the Nine Years War with England. After the war, the site of the castle became the administrative center for the plantation of Ulster in Donegal. The county courthouse and jail were built there in 1746. Lifford remained Donegal’s seat of power until 1938.

 

Tyrconnell (Irish: Tír Chonaill, meaning "Land of Conall"), also spelled Tirconnell, was a kingdom of Gaelic Ireland, associated geographically with present-day County Donegal, which has sometimes been called County Tyrconnell. At times it also included parts of County Fermanagh, County Sligo, County Leitrim, County Tyrone and County Londonderry at its greatest extent.

 

Niall Garve O'Donnell

Niall Garve O'Donnell (Irish: Niall Garbh Ó Domhnaill; 1569 – 1626) was an Irish chieftain, alternately an ally and rebel against English rule in Ireland. He is best known for siding with the English against his kinsman Hugh Roe O'Donnell during the Nine Years' War (1688–1697) often called the War of the Grand Alliance or the War of the League of Augsburg.

The Nine Years' War was a conflict between Louis XIV of France and a European coalition of the Holy Roman Empire (led by Austria), the Dutch Republic, Spain, England, and Savoy.

 

Niall Garbh was the son of Conn O'Donnell, the son of Calvagh O'Donnell the ruler of the lordship of Tyrconnell. Amongst his brothers were Hugh Boy, Donal and Conn. Niall Garbh was incensed at the elevation of his cousin Hugh Roe (Red Hugh) to the chieftainship in 1592 and was further alienated when the latter deprived him of his castle at Lifford, and a bitter feud between the two O’Donnell’s was the result.

While Red Hugh O'Donnell was engaged in the Nine Years' War against the English, Niall Garve exploited the political situation to his own advantage. Niall Garve made terms with the English government, to whom he rendered valuable service both against the O'Neills and against his cousin, enabling an English force to land at Derry under Sir Henry Docwra. For a time Docwra regarded Niall as an invaluable ally but in 1601 he quarrelled with the Lord Deputy of Ireland, who was willing to establish Niall Garve in the lordship of Tyrconnell, would not permit him to enforce his supremacy over Sir Cahir O'Doherty in Inishowen. Nonetheless the same year he led an Anglo-Irish force that captured Donegal which was then laid siege to by the rebels, but Niall Garve oversaw a successful defence.

 

After the departure of Hugh Roe from Ireland in 1602, Niall Garve tried to seize the chieftainship, and was "inaugurated" in 1603 as the 25th O'Donnell, but without the required full support of the derbfine (electoral kinship group). This was repudiated by Hugh Roe's surviving family, and especially by his younger brother Rory. To find a solution, Niall Garve, and Hugh Roe's brother Rory went to London in 1603, where the privy council endeavoured to arrange the family quarrel.

As a result, King James 1st of England granted some lands to Niall Garve, but raised Rory to the peerage as Rory O'Donnell, 1st Earl of Tyrconnell, and also granted him the territorial Lordship of Tyrconnell.

Niall Garve was later accused of turning against the Crown. When Sir Cahir O'Doherty launched an uprising by burning Derry (Londonderry) in 1608, Niall Garve was charged with complicity in the ensuing O'Doherty's Rebellion. He and his son Neachtain were sent to the Tower of London, where they remained until their deaths.

 

Niall Garve had married his cousin Nuala, sister of Hugh Roe and Rory O'Donnell. When Rory fled with Hugh O'Neill the Earl of Tyrone to Rome in 1607 (see the Flight of the Earls), Nuala, who had left her husband when he joined the English against her brother, accompanied him, taking with her daughter, Grania. She was the subject of an Irish poem, of which an English version was written by James Mangan from a prose translation by Eugene O'Curry.

 

Dr. Rogan

The Londonderry Journal in 1845 referred to Dr. Rogan as providing employment for 208 weavers on his estate at Castlefin. Dr, Rogan enterprise in Castlefin started in 1840. It was managed by one of William Scott’s sons, like his father’s business, combined weaving with shirt making. Dr. Rogan had established a similar a similar manufactory four years fr 1,000 wavers in Magherafelt. It involved moving a step away from the pattern described in 1838 by a Government Commissioner in the following terms

In 1845 the Londonderry Journal sought to dispel the impression that insufficient was being done to create employment in Derry and its district. It referred to Dr Rogan who was providing employment for 280 weavers on his estate at Castlefin. The Journal also mentioned:

 

In sewing we understand that Messrs. Wm. Scott & Co. of this town gave employment to no fewer than 250 weavers and upwards of 500 persons making shirts; and we believe that there is a great demand for hands on their part than they can readily procure.

 

Dr, Rogan’s enterprise in Castlefin had started in 1840. It was managed by one of Williams Scott’s sons and, like his father’s business, combined weaving with shirt making. Dr Rogan had established a similar ‘manufactory’ 4 years earlier for 1,000 weavers in Magherafelt.

 

River Finn

The River Finn starts at Lough Finn near Fintown in Co. Donegal. It flows east through the area known as Glenfin, past the towns of Ballanmore, Cloghan, Brockagh, and Welchtown and from here it runs through the twin towns of Ballybofey and Stranorlar. From there, it flows through the parish of Donaghmore, past Killygordon, Liscooley, Castlefin, Clady, and Lifford where it joins the River Mourne to form the River Foyle.

The river from Lough Finn to the River Mourne is 39 miles long. It is navigable up to Castlefin. In the 19th century, Dr. Francis Rogan, a surgeon at the Derry Hospital, operated a service that brought grain to the markets at Derry from Castlefin by boat once a week. Dr. Rogan was the landlord of many properties in Castlefin.

The River Finn is one of the best Atlantic salmon rivers in the locality. The main run of Grilse is between May through to July although the Finn has a reputation as a good spring salmon river. Spring salmon travel up the River Foyle from the Atlantic Ocean before arriving at the mouth of the River Finn (at Lifford) a distance of for 25 miles before head west up the Finn. Spring Salmon fishing is best in March through to May. A rod license is required to fish the River Finn with a number of beats being private thus requiring a day ticket.

 

Standing Stones - Menhir

A menhir (from Brittonic languages: maen or men, "stone"), standing stone, orthostat, or lith is a large man-made upright stone, typically dating from the European middle Bronze Age. They can be found solely as monoliths, or as part of a group of similar stones.

Menhirs' size can vary considerably, but they are generally uneven and squared, often tapering towards the top. They are widely distributed across Europe, Africa and Asia, but most numerous in Western Europe; particularly in Ireland, Great Britain, Brittany and France, where there are about 50,000 examples, while there are 1,200 menhirs in northwest France alone. Standing stones are usually difficult to date, but pottery, or pottery shards, found underneath some in Atlantic Europe connects them with the Beaker people. They were constructed during many different periods across pre-history as part of the larger megalithic cultures in Europe and near areas.

Almost nothing is known of the social organization or religious beliefs of the people who erected the menhirs. There’s no trace of these people's language however, we do know that they buried their dead and had the skills to grow cereal, farm and make pottery, stone tools and jewellery. Identifying the menhirs uses remains speculative as until recently they were associated with the Beaker people, who inhabited Europe during the European late Neolithic and early Bronze Age—later third millennium BC, c. 2800–1800 BC. However, recent research into the age of megaliths in Brittany strongly suggests a far older origin, perhaps back to 6,000 to 7,000 years ago.

The full version of this video is available on YouTube

www.youtube.com/watch?v=WkCKOqYH55I

  

Michael Joseph Jackson - R I P

 

* 29.08.1958

† 25.06.2009

__________

 

A forerunner and icon of our music culture left this world forever...

 

As far as I remember my very childhood, Jacko's music was the very first I really liked and listened to. Although my personal faves in music changed until today, and I'm not the kind of Jackson fan who likes every single song he made, but - hey, maybe he influenced my personal "development" of understanding music - and therefore maybe what music I like today too...? Who knows... For me it's worth honouring him for his art. :-)

I still like one of his earlier (and pretty sad) songs - it is the one that should make us think about our existence, our origin, our home... Our planet.

 

So, please please please take your time, take the stock of yourself and listen to it. Thanks!

 

Earth Song

 

By the way, this is another shot taken from the plane, on the way to Mexiko.

Jennie Jerome was in the forerunner of the Buccaneers, those American women who came to England and married titles.

 

Around the time of her marriage, two other American women had made grand matches, including Consuelo Ynaga (who Edith Wharton immortalized as Conchita Closson in The Buccaneers) and Minne Stevens, who married a good friend of the prince's, Arthur Paget. Even Randolph's brother wasn't immune, after his divorce, he later married the rich American widow, Lily Hammersly, and his son, Sunny, in 1895 married Consuelo Vanderbilt, bringing much needed money to Blenheim which ate money on an increasing basis.

 

Lady Randolph Churchill, born Jeanette Jerome, (9 January 1854 – 29 June 1921), was the American-born wife of Lord Randolph Churchill and the mother of British Prime Minister Winston Churchill.

 

Jeanette "Jennie" Jerome was born in the Cobble Hill section of Brooklyn in 1854, the second of three daughters of financier, sportsman, and speculator Leonard Jerome and his wife Clarissa (always called Clara), daughter of Ambrose Hall, a landowner and sometime New York State Assemblyman.

 

She was raised in Brooklyn and other parts of what would become New York City. She had two sisters, Clarita and Leonie. Leonard Jerome was rumored to also be the father of the American opera singer Minnie Hauk.

 

Long considered one of the most beautiful women of the time, she was married for the first time on April 15, 1874, aged 20, at the British Embassy in Paris, to Lord Randolph Churchill, the third son of John Winston Spencer-Churchill, 7th Duke of Marlborough and Lady Frances Anne Emily Vane. Although the couple became engaged within three days of their initial meeting, the marriage was delayed for months while their parents argued over settlements.

 

By this marriage, she was properly known as Lady Randolph Churchill and would have been referred to in conversation as Lady Randolph.

 

The Churchills had two sons. Winston (1874–1965), the future prime minister, was born less than eight months after the marriage. According to his biographer William Manchester, Winston was most likely conceived before the marriage, rather than born prematurely. (A recent biography has stated that he was born two months prematurely after Lady Randolph "had a fall.") When asked about the circumstances of his birth, he would reply, "Although present on the occasion, I have no clear recollection of the events leading up to it."

 

Lady Randolph's sisters believed that the biological father of the second son, John (1880–1947) was Evelyn Boscawen, 7th Viscount Falmouth. Lady Randolph is believed to have had numerous lovers during her marriage, including Karl Kinsky, the Prince of Wales (later King Edward VII of the United Kingdom) and Herbert von Bismarck.

 

As was the custom of the day, Lady Randolph played a limited role in her sons' upbringing, relying largely upon nannies, especially Elizabeth Everest. Winston worshipped his mother, writing her numerous letters during his time at school and begging her to visit him, which, however, she rarely did. He wrote about her in My Early Life: 'She shone for me like the evening star. I loved her dearly - but at a distance'.

 

After he became an adult, they became good friends and strong allies, to the point where Winston regarded her almost as a political mentor, more as a sister than as a mother. She was well-respected and influential in the highest British social and political circles. She was said to be intelligent, witty, and quick to laughter. It was said that Queen Alexandra especially enjoyed her company, despite the fact that Jennie had been involved in an affair with her husband, Edward VII, a fact that was well known by Alexandra. Through her family contacts and her extramarital romantic relationships, Jennie greatly helped Lord Randolph's early career, as well as that of her son Winston.

 

Lady Randolph was a talented amateur pianist, having been tutored as a girl by Stephen Heller, a friend of Chopin. Heller believed that his young pupil was good enough to attain 'concert standard' with the necessary 'hard work', which, according to Lovell, he was not confident she was capable of.

 

Lord Randolph died in 1895, aged 45. On 28th July 1900, Jennie married George Cornwallis-West (1874–1951), a captain in the Scots Guards who was the same age as her elder son, Winston. Around this time, she became well known for chartering a hospital ship to care for those wounded in the Boer War, and in 1908, she wrote The Reminiscences of Lady Randolph Churchill. She separated from her second husband in 1912, and they were divorced in April 1914, whereupon Cornwallis-West married the actress Mrs. Patrick Campbell. Jennie dropped the surname Cornwallis-West, and resumed, by deed poll, the name Lady Randolph Churchill.

 

Her third marriage, on 1st June 1918, was to Montagu Phippen Porch (1877–1964), a member of the British Civil Service in Nigeria, who was three years Winston's junior. At the end of World War I, Porch resigned from the colonial service, and after Jennie's death returned to West Africa where his business investments had proven successful.

 

In May 1921, while Montagu Porch was away in Africa, Jennie slipped while coming down a friend's staircase wearing new high-heeled shoes, breaking her ankle. Gangrene set in, and her left leg was amputated above the knee on 10 June. She died at her home in London on 29 June, following a haemorrhage of an artery in her thigh (resulting from the amputation). She was 67 years old.

 

She was buried in the Churchill family plot at St Martin's Church, Bladon, Oxfordshire, next to her first husband.

Founded in 1905

"Welcome, wild harbinger of spring!

To this small nook of earth;

Feeling and fancy fondly cling

Round thoughts which owe their birth

To thee, and to the humble spot

Where chance has fixed thy lowly lot."

Bernard Barton, To a Crocus

 

(Harbinger - a person or thing that announces or indicates the approach of something; forerunner, herald.)

Ace paperback - published July 1984

D19908. The forerunner to today's post buses that operate in rural and mountainous areas of Switzerland, this old stage coach is on display at the Stockalperschloss in Brig, Canton Wallis.

 

If you want to know more about the Stockalperschloss, you can read all about it here: en.wikipedia.org/wiki/Stockalper_Palace

 

Friday, 7th September, 2018. Copyright © Ron Fisher.

The P-35, a forerunner of the Republic P-47, was the U.S. Army Air Corps' (USAAC) first production single-seat, all-metal pursuit plane with retractable landing gear and an enclosed cockpit. The USAAC accepted 76 P-35s in 1937-1938, and assigned all but one of them to the 1st Pursuit Group at Selfridge Field, Mich.

 

Sweden also purchased 60 improved aircraft (designated EP-106), but the United States diverted a second order for 60 to the USAAC in 1940 and assigned them to the 17th and 20th Pursuit Squadrons in the Philippines. These aircraft, redesignated P-35As, were all lost in action early in the war. Ironically, the Japanese Navy ordered 20 two-seat versions of the P-35 in 1938, and these became the only American-built planes used operationally by the Japanese during World War II.

 

The aircraft on display, the only known surviving P-35, served with the 94th Pursuit Squadron, 1st Pursuit Group. The aircraft was restored by the 133rd Tactical Airlift Wing, Minnesota Air National Guard, with assistance from students of the Minneapolis Vocational Institute. It is marked as the P-35A flown by the 17th Pursuit Squadron commander, 1st Lt. Buzz Wagner, in the Philippines in the spring of 1941.

 

TECHNICAL NOTES:

Armament: One .50-cal. and one .30-cal. fuselage mounted machine gun plus 320 lbs. of bombs

Engine: Pratt & Whitney R-1830 of 850 hp

Maximum speed: 280 mph

Cruising speed: 260 mph

Range: 625 miles

Ceiling: 30,600 ft.

Span: 36 ft.

Length: 25 ft. 4 in.

Height: 9 ft. 9 1/2 in.

Weight: 5,600 lbs. maximum

 

www.nationalmuseum.af.mil/

Corn Binder

(Forerunner of the Corn Harvester)

Identification

Manufacturer: International Harvester

Brand/Model: N/A

Circa: 1930-1950

Remarks: Tractor Drawn with seat for Machine Operator

 

Purpose/Operation

It was used to do the following operations:

*Cut the corn stalks at the base

*Gather corn stalks into small bundles of 8-10 stalks

*Tie each bundle wit twine

*Deposit the bundle on the ground where it would be picked up & placed on a wagon by hand.

  

s/n 1039GT

 

250 bhp at 7,000 rpm, 2,953 cc SOHC alloy block-and-head V-12 engine, triple Weber carburettors, four-speed manual gearbox, independent front suspension with A-arms and coil springs, live rear axle with semi-elliptic leaf springs, and four-wheel hydraulic drum brakes. Wheelbase: 2,600 mm

 

• One of the most desirable competition-bred Ferraris extant

• Alloy coachwork and V-12 power

• Desirable covered headlamps; one of 36 “single-louver” examples

• Ferrari Classiche-certified and matching numbers

• Restoration by marque specialists in Italy

 

The Ferrari 250 GT Berlinetta not only has breathtaking looks, it remains arguably the greatest and most important Ferrari road/racing car ever built. Its forerunner was the 250 MM, so-named after the famous Mille Miglia race, which hard-charging Italian hillclimb champion Giovanni Bracco won for Ferrari in 1952. That achievement, plus Ferrari’s first World Driver’s Championship win with Alberto Ascari driving the Type 500 and the company’s first collaboration with Pinin Farina (the 212 Inter cabriolet) combined to make the year 1952 a particularly significant one in the marque’s history.

 

THE 250 GT LWB BERLINETTA

 

The last 250 MMs had been built by 1954, and work began on what would become the 250 GT Berlinetta Tour de France. A new strengthened 2,600-mm tubular chassis was equipped with a modern wishbone/coil-spring suspension and the Colombo Tipo 112 “short-block” V-12 engine. Subsequently, this engine was developed further and re-designated Tipo 128B, C and D. Three more 250 GTs similar to the 250 MM followed the prototype Pinin Farina-bodied Berlinetta, 0369 GT, between April and July 1955.

 

That October, another car was shown at the Paris Salon and was the first design with many side louvers set within the rear sail-panels. Pinin Farina made two more prototypes, one of which was owned by the Marquis de Portago from Spain. At Nassau in December 1955, he scored the first victory for the car, a record that would reach epic proportions by the end of the decade. The Le Mans tragedy of 1955, where Peter Levegh’s Mercedes flew into a crowd of spectators, killing 80 and injuring another 200, prompted the creation of a new Gran Turismo category with an engine capacity of 3.0 litres, which would play directly into Ferrari’s hands in 1956.

 

Not to be outdone by Pinin Farina, Scaglietti appeared at the 1956 Geneva Motor Show with their own 250 GT prototype, which became known as the limited production, Series I, “14-louvre” 250 GT Berlinetta. The first production car was built in November 1956, and production was now the responsibility of Scaglietti in Modena.

 

There were five series of 250 GT Berlinettas in all. From mid-1957, the Series II cars were introduced, with three louvers and covered headlights. Just 15 were produced. Series III numbered 36 cars; these retained the covered headlights but had just a single vent louver. In 1959, eight single-louver cars were built with open headlights, a new Italian requirement. Zagato also made five superlight cars.

 

The real start of the 250 GT Berlinetta’s competition career began in 1956, and the car went on to win more races than either of its legendary successors, the 250 GT SWB and the GTO. Olivier Gendebien won the GT class in the Tour of Sicily at the beginning of 1956, but that year’s Tour de France was 250 GT Berlinetta’s most important race and propelled the car into the annals of motorsport history.

 

The Tour de France took five or six days and covered almost 5,000 gruelling kilometres around France, sometimes venturing into Italy, Belgium or Germany. The race consisted of up to six circuit races, two hillclimbs and a sprint. In 1956, in de Portago’s first attempt, with Edmund Nelson as co-driver in his Ferrari, he took the victory with Stirling Moss in a Mercedes 300SL second and Gendebien third in the first Pinin Farina ex-works development car, 0357 GT. With this win, ‘Fon’ de Portago earned the Ferrari 250 GT Berlinetta its enduring sobriquet, the Tour de France. In the hands of Olivier Gendebien, the 250 GT Tour de France was victorious for the next three straight years in the race whose name the car had now unofficially taken, and the car and its enviable competition record remain the stuff of legends today.

 

CHASSIS 1039 GT

 

The example offered here, 1039 GT, was supplied new via US Ferrari Importer Luigi Chinetti Motors of Greenwich, Connecticut to its first owner Hastings Harcourt of Santa Barbara, California on 26 November, 1958. Mr. Harcourt was the heir and owner of Harcourt Brace, the well known book publisher. Of particular note, 1039 GT is one of the 39 competition 250 GT LWB Berlinettas originally produced by Ferrari with all-alloy bodywork, the single vent and the desirable covered-headlamp configuration.

 

1039 GT remained in America for most of its life, and during this phase, it changed hands amongst a number of American collectors, as documented by Ferrari historian Marcel Massini. Early in its life in the United States, Ford units replaced the original engine and gearbox. The original 250 series V-12 engine was later reunited with the TdF, as confirmed by the Ferrari Classiche certification. In 1974, Charles W. Betz and Fred Peters of Orange, California acquired 1039 GT and re-united the TdF with its original Ferrari 250 series V-12 engine and gearbox.

 

The rare Ferrari remained in America for many years thereafter and was successfully campaigned a number of times at the world-famous Monterey Historic Automobile Races in Laguna Seca during the 1980s. In the early 1990s, 1039 GT was sold to Switzerland, and there, it joined an important Swiss-based private automobile collection. The prominent owner used the car sparingly in Switzerland and abroad, when it was driven on the Tour Auto in 1997 and in 1999. He retained 1039 GT for many years, and in 2005, it was certified by the Ferrari Classiche program, which confirms that the car retains its engine and all of its main components the way it was built by the factory, and therefore, it is indeed a true matching-numbers example.

 

The car was restored in Italy by some of the finest recognised Ferrari specialists in the Modena area, the birthplace of Ferrari. The engine was entrusted to Diena, who performed a full rebuild, Bacchelli & Villa handled the coachwork, and the interior was entrusted to the respected Selleria Luppi. Upon completion of the restoration, the car was tested and featured in Octane in January 2006, marking a thoroughly enjoyable and particularly satisfying drive for the magazine’s testers.

 

From Switzerland, the car was sold to its next and current English owner in late 2005, who is himself a fastidious collector. Upon acquisition of the car, he enrolled and was accepted to participate in that year’s edition of the Mille Miglia. Demanding perfection of all of the cars within his collection, the current owner recently commissioned UK-based Ferrari specialists GTO Engineering to perform a full, no-expense-spared service on 1039 GT at a cost of over GBP 10,000. Any mechanical part that was at all worn was changed, and as offered now, the 1039 GT runs beautifully and stands ready to be enjoyed. Of course, with its legendary pedigree, it will surely be welcomed at most any event the new owner chooses to enter.

 

RM Auctions has recently inspected the car, and we can confirm that 1039 GT presents very well. Some of the world’s premier Ferrari experts carried out its restoration, and it still shows today. The bodywork is straight, and the doors display proper fit. The paintwork is near-perfect, and the correctly trimmed tan leather upholstery presents beautifully, a true mark of Luppi’s workmanship, with the crackle-finished dash giving 1039 GT a true competition feel when you slip behind the wheel. The outside fuel filler, covered headlamps and single louver give the car an undeniable competition-bred presence, and as offered today, 1039 GT is correct in every way—a fact confirmed not only by marque specialists but also by the all-important Ferrari Classiche certification binder that accompanies it. Truly rare, purposefully beautiful and capable of performance that remains very impressive even today, this 250 GT Tour de France Berlinetta is steeped in Ferrari’s rich competition legacy and very capably represents one of the most highly coveted Ferrari models ever built.

 

[Text from RM Auctions]

 

www.rmauctions.com/lots/lot.cfm?lot_id=851162

 

This Lego miniland-scale Ferrari 250 GT LWB Berlinetta 'Tour de France' (1958 - Scaglietti), has been created for Flickr LUGNuts' 89th Build Challenge, - "Over a Million, Under a Thousand", - a challenge to build vehicles valued over one million (US) dollars, or under one thousand (US) dollars.

 

This particular vehicle was auctioned by the RM Auction house on Wednesday, October 26, 2012, where it sold for 2,240,000 British Pounds (US$3.342,080).

 

Entry for S5 IS Weekend Challenge #60.

 

Time shown is for my 10 mile run, completed a week before I do the London Marathon. For more information go to my BHF fundraising page