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George Street is one of the main streets of the city of Sydney. Until 1810 George Street was generally referred to as High Street in the English custom. George Street was named for King George III of the United Kingdom by Governor Lachlan Macquarie in 1810. (Wikipedia)
3xp HDR
German postcard by Ross Verlag, no. 4345/1, 1929-1930. Photo: Paramount.
Burly, beefy and tall George Bancroft (1882-1956) was an American film and stage actor who played many ill-tempered tough guys. He received an Oscar nomination for his part as Thunderbolt Jim Lang in Josef von Sternberg's gangster film Thunderbolt (1929). Bancroft is also well remembered as Marshal Curly Wilcox in John Ford's Western Stagecoach (1939).
George Bancroft was born in 1882 in Philadelphia, Pennsylvania. He attended high school at Tomes Institute in Port Deposit, Maryland. After working on merchant marine vessels at age 14, Bancroft was an apprentice on the USS Constellation and later served on the USS Essex and the West Indies. Additionally, during the Battle of Manila Bay (1898), he was a gunner on the USS Baltimore. During his days in the Navy, he staged plays aboard ship. In 1900, he swam underneath the hull of the battleship USS Oregon to check the extent of the damage after it struck a rock off the coast of China. For this, he won an impressive appointment to the United States Naval Academy at Annapolis. He graduated as a commissioned officer, and served in the Navy for the prescribed period of required service but no more. He decided to turn to show business, first as a theatre manager. In 1901, Bancroft began acting in earnest, as he toured in plays and had juvenile leads in musical comedies. In vaudeville, he did blackface routines and impersonated celebrities. By 1923, he was good enough for Broadway and spent about a year there doing two plays, the musical comedies Cinders (1923) and The Rise of Rosie O'Reilly (1923). Two years earlier, he had already made his first appearance in the silent film The Journey's End (1921). Being a big man with dark features, he was a natural for heavies. And it seemed that early Westerns were an easy fit as well after his first four films. Through 1924 and into 1925, he did four, culminating with pay dirt in his appealing performance as rogue Jack Slade in the silent Western The Pony Express (James Cruze, 1925). With him was another up-and-coming character actor, Wallace Beery. Bancroft's acting made Paramount Pictures take a look at him as star material. He played an important supporting role in a cast including Wallace Beery and Charles Farrell in the period naval widescreen epic Old Ironsides (James Cruze, 1926). His roles as tough guy took on more flesh in his association with director Josef von Sternberg and his well-honed gangster films. The first of these was Underworld (Josef von Sternberg, 1927) with Clive Brook and Evelyn Brent. Journalist and screenwriter Ben Hecht won an Academy Award for Best Original Story. He next appeared in von Sternberg's The Docks of New York (Josef von Sternberg, 1928) with Betty Compson and Olga Baclanova, and their work culminated with Thunderbolt (Josef von Sternberg, 1929) for which Bancroft received an Oscar nomination. He was tops at the box office.
George Bancroft played the title role in The Wolf of Wall Street (Rowland V. Lee, 1929), released just prior to the Wall Street Crash. It was Bancroft's first talkie. He appeared in Paramount's all-star revue Paramount on Parade (Elsie Hanis, a.o., 1930) and the crime film Blood Money (Rowland Brown, 1933) with Frances Dee and Judith Anderson. His various on-screen personas as bigger-than-life strong man was not far from his off-screen character as Hollywood notability got to him. It was recalled that he became more difficult to deal with as his ego grew. William McPeak at IMDb: "At one point, he refused to obey a director's order that he fall down after being shot by the villain. Bancroft declared, 'One bullet can't kill Bancroft!'" He stayed busy through the 1930s as older and stouter featured characters. Bancroft was getting competition from younger character actors. In the early 1930s, his roles continued to typecast him as lead heavies, but increasingly, he was cast as second tier in later roles. He was paper editor MacWade in Mr. Deeds Goes to Town (Frank Capra, 1936), starring Gary Cooper and Jean Arthur, a doctor in A Doctor's Diary (Charles Vidor, 1937), a contracter in Angels with Dirty Faces (Michael Curtiz, 1938) with James Cagney and Humphrey Bogart, and a warden in Each Dawn I Die (William Keighley, 1939) with Cagney and George Raft. Most memorably is his Marshal Curly Wilcox in the classic Western Stagecoach (John Ford, 1939), opposite John Wayne. Here he is particularly engaging as a tough lawman with a big heart. Into the 1940s, he only did a handful of films. But he again had a rogue's spotlight with another name director, Cecil B. DeMille, in one of his epics. He played a Texas Ranger chasing a murderer over the Canadian border in North West Mounted Police (Cecil B. DeMille, 1940) with a stellar cast including Gary Cooper, Madeleine Carroll, and Paulette Goddard as fleeing criminal, Jacques Corbeau's (Bancroft) daughter. By 1942, Bancroft had decided to move on, retiring with the intention of becoming a Southern California rancher. He quietly assumed this new role for a long run of 14 years before his passing. George Bancroft passed away in 1956 in Santa Monica, California. He was married twice, first to Edna Brothers, and after their divorce to silent film actress Octavia Broske. They had a daughter Georgette.
Sources: William McPeak (IMDb), Wikipedia and IMDb.
George Lee was a traveller from Felling, who was caught and convicted for stealing money and was sentenced to 3 months at Newcastle City Gaol.
Age (on discharge): 39
Height: 5.12
Hair: Light
Eyes: Blue
Place of Birth: Felling
These photographs are of convicted criminals in Newcastle between 1871 - 1873.
Reference:TWAS: PR.NC/6/1/1246
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Heading eastwards down George Street towards Easington in March 1970 is Connor & Graham's Leyland PD2/12/East Lancs of 1956 vintage, which had recently been acquired from Southdown and repainted from the latter's apple green and cream livery into something akin Brighton Hove & District red and cream. Its identity is not clear but is possibly RUF189, 190, 192 or 193. The Easington service of Connor & Graham was the only stage service into Hull run by an independent operator. C&G did not have access to the joint KHCT/EYMS bus station but terminated some distance away in Baker Street, adjacent to Hull Central Library. Connor & Graham enjoyed a long 70-years' life as an independent, being finally taken over by East Yorkshire Motor Services in January 1993.
Let's take a closer look at the architectural backdrop: at the far left behind the bus is the handsome facade of Carmichael's, the most upmarket of Hull's department stores. My mother rated it highly, specifically for the coffee served in its cafeteria, better than Hammond's she reckoned - Mama was a connoisseur of these things. The late actor Ian Carmichael (1920-2010) was a scion of the family. The store closed some years ago but the building survives, used latterly as a nightclub.
But the eye is surely drawn to the art nouveau exhuberance of the Criterion cinema, flanked by its lions. These alas are all that survive today, in a Hornsea park. The Criterion opened as the Majestic in 1915, being renamed in 1935. It had closed forever its doors to patrons just before I grabbed my pic. Demolition followed soon afterwards, and the site is today occupied by the blandest of office developments.
I was fortunate enough to see one film before the Criterion's demise, and this may or may not have changed my life. As an impressionable 17-year old eager to make his mark in life, I viewed "Blow-Up" (1966), directed by Michelangelo Antonioni and starring David Hemmings, Vanessa Redgrave and the exotic model, Verushka. The film depicts a shallow - and darker - side to the 1960s Swinging London scene. The David Hemmings fashion photographer character (allegedly inspired by David Bailey) is weary and increasingly less involved with the frenetic world around him, but his life is jolted after he may - or may not - have been witness to a murder, with La Redgrave as a true femme fatale - or maybe not. But what the heck! This was definitely going to be the life for me: I was just taking the most tentative juvenile steps in photography, armed with my Kodak Bantam, but my future was marked out in lights. Just like David Hemmings, before too long I too would be having women hurl their bodies at me. Er, yes, well...fast forward 45 years. What happened exactly? I carried on photographing buses and trains, even endeavoured to become a Photographer With A Social Conscience as I explored the by-ways of Hull. But very few Vanessa Redgraves and Verushkas so far...
This is an island in the middle of Halifax Harbor. You can read more about George's Island here
Please take time to read about the Melanistic Garter Snakes of Georges Island
Casino. Pop 10,000. This historic town was named after a pastoral cattle estate on the Richmond River. In early 1840 George Stapleton and Mr Clay took out the Cassino run which Clay named after Monte Cassino in Italy. Stapleton and Clay were unsuccessful as squatters and sold the leasehold in 1844 to Clark Irving who renamed the station with an Aboriginal word Tomki. It comprised 30,700 acres. Irving was the first on the Richmond River to establish a boiling down works to produce tallow from his cattle for the Sydney market in 1847. Irving died in 1865 but his son kept the property. In 1880 most of this estate was subdivided for closer settlement. The district is an important beef region and calls itself the “Beef Capital”. Once a year it holds a “Beef Week” which includes markets, fairs, educational programs, livestock sales and social events including near naked young male body builders showing their “beef” in the Mr Beef competition! The Northern Cooperative Meat Company has an abattoir at Casino.
Casino is the oldest town along the Richmond River. This first settlement emerged in the early 1850s and was known as The Falls. The NSW government surveyed a town in 1853 and later that year a hotel, general store and a rudimentary police station opened. In 1854 the first Courthouse was erected and in 1855 the name was changed to Casino. By 1861 the town had a public school, a doctor and a second hotel- the Tattersalls. In the 1870s more permanent buildings were erected. The Commercial Bank of Sydney opened a branch in 1870; a newspaper began publication; a telegraph station began linking Casino to the world; the first bridge across the Richmond River was built (and a second one in 1908). Selectors came to take up small holdings around Casino after the passing of the Robertson Land Act in 1861. By 1875 Casino could boast an Anglican Church, a school, a Post Office, bank, newspaper, two hotels, saddlery, photographic studio, 3 blacksmiths, slaughter house, Courthouse, four stores etc. A Catholic Church was erected in 1876 and the town had around 600 residents. Once it became a municipality in 1880 the big issues were water supply, kerbing, street paving and drainage during downpours. The first Town Hall opened in 1890 but was replaced in 1937. Drought and three days of temperatures around 47 degrees made the Council do more work on water supply in 1903. One of the far sighted ideas of the local council was to encourage construction in brick rather than easily burnt wooden structures.
Big changes came with the arrival of the railway in 1894. The first wooden railway station opened in 1903 although the railway line from Murwillumbah had reached Casino in 1894. It was 1905 when Casino got a line southwards to Grafton but the Clarence River had no rail bridge until 1932. The Casino to Kyogle line was built in 1910. When it was extended to Brisbane trains could travel from Sydney via Casino to Brisbane from 1930. A new railway alignment and station with refreshment rooms was built in 1930. The old station closed in 1974 and became a museum. Casino has had a roundhouse for engine maintenance since 1928. Undoubtedly the biggest disaster to hit Casino was the Spanish flue pandemic in 1919. The first public hospital in Casino was built in 1886. Although there had been an outbreak of bubonic plague in 1905 the big disaster was 1919. In January 1919 Casino was ready for an outbreak of the flue with a temporary hospital in the showgrounds if needed. In February nursing staff were inoculated and citizens warned of the symptoms. On 5 February some Lismore residents fell ill with the flue and the first death in Sydney was recorded. Street patrols in Casino began late February in case people needed help at home. Confirmed cases were announced in Lismore and Kyogle. A horse race was cancelled and some no longer attended church. On 14th May two cases were confirmed in Casino. On the 21st May the first Casino death was recorded and hospital patients were moved to the Masonic Hall as Spanish flue cases were in the hospital. By then there were 26 cases in Casino. By July 2nd the showground pavilion was also in use for Spanish flue cases. By 9th July there were 150 cases in Casino and 13 people had died. The School of Arts was taken over as another pandemic hospital. Three days later there were 180 cases and 26 deaths. By July 23rd there were 37 deaths from influenza in Casino. Travellers needed clearance papers to enter Casino or leave it. By August the worse was over but 45 people had died out of a few hundred residents but 6,000 people died in NSW. Around 40% of Sydney’s population got the Spanish flue.
Unlike many towns in Australia Casino continued to grow and expand during the depression so it has an array of Art Deco buildings erected in the 1930s. Through much of the 20th century saw milling, the beef industry and slaughtering and dairying were the main economic supports of Casino. Our heritage walk begins at Canterbury Street.
"Extolling your might, O Lord, we humbly implore you, that, as Saint George imitated the Passion of the Lord, so he may lend us ready help in our weakness. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, one God, for ever and ever. Amen."
– Collect for the feast of St George (23 April).
Stained glass by Kempe from Winchester Cathedral.
Parry People Mover 139002 named George after the station cat( he has his own Facebook page) waits to return to Stourbridge Town.
When photographing the "profile" of suspension bridges, most people feel they are required to include the towers in the shot. I disagree.
My inclination is: Crop those towers out! Make the bridge "float"! Show off the bridge to its best advantage... and that is: That long-span suspension bridges apparently defy gravity.
Mauritius
Leica M9 - 50mm Summicron
George is a beach hawker who sold us some trashy bracelets while we were sunbathing and got his daughter to henna my daughter. He was really pushy, suppose you have to be selling stuff on the beach, but he was a nice guy. He agreed to allow me to take his photo after he had fleeced me of too many Mauritian Rupees.
Painting in acrylic, ink, and pencil on 6" × 8" canvas covered with vintage book pages.
For Velocity Art and Design in Seattle.
Player's Cigarettes "Ships Figure-Heads" large sized cards, issued in 1931.
#8 HMS Royal George, 1756
I first met George six months ago, in May 2014. He hopes to get to Florida before the bitter cold sets in.
One for Sunday morning. Sorry I haven't commented much lately - busy, busy, busy, but will catch up. Thanks for all your views and comments recently.
St George Wharf Tower, also known as the Vauxhall Tower or The Tower, is a residential skyscraper under construction in Vauxhall, London, as part of the St George Wharf development. At 181 metres (594 ft) tall with 50 storeys, when completed it will be the tallest solely residential building in the UK.
The building's construction crane was hit by a helicopter in January 2013, causing two deaths.
USS George Washington visits Brisbane for 4 days before heading up to Cape York for 2 weeks of war games with the Australian Defence Force. The closest you could get to the ship was from the other side of the Brisbane River. This shot was taken as a Panorama. Impressive ship
Nelson designed the first bubble lamp in 1947, incorporating a self-webbing plastic that was developed for military use. It was typical in the postwar era to incorporate these sorts of military materials in domestic products — even familiar materials like plywood had been greatly improved through military necessity. The result for Nelson was a lamp that was safer to produce and more durable than a paper lantern, cheaper and easier to produce than a silk lantern he had been inspired by, and which above all was incredibly versatile and created an warm glow when illuminated. Here's how he described it, and note how self-deprecating he was:
It was important to me to have certain status symbols around, and one of the symbols was a spherical hanging lamp made in Sweden. It had a silk covering that was very difficult to make; they had to cut gores and sew them onto a wire frame. But I wanted one badly.
We had a modest office and I felt that if I had one of those big hanging spheres from Sweden, it would show that I was really with it, a pillar of contemporary design. One day Bonniers, a Swedish import store in New York, announced a sale of these lamps. I rushed down with one of the guys in the office and found one shopworn sample with thumbmarks on it and a price of $125.
It is hard to remember what $125 meant in the late 'forties … I was furious and was stalking angrily down the stairs when suddenly an image popped into my mind which seemed to have nothing to do with anything. It was a picture in The New York Times some weeks before which showed Liberty ships being mothballed by having the decks covered with netting and then being sprayed with a self-webbing plastic … Whammo! We rushed back to the office and made a roughly spherical frame; we called various places until we located the manufacturer of the spiderwebby spray. By the next night we had a plastic-covered lamp, and when you put a light in it, it glowed, and it did not cost $125."
Source: Stanley Abercrombie, George Nelson: The Design of Modern Design, MIT Press (2000).
French postcard by Editions du Globe, no. 238. Photo: Studio Harcourt.
Singer-songwriter and poet Georges Brassens (1921-1981) is an iconic figure in France. He wrote and sang, with his guitar, more than a hundred of his poems, as well as texts from many others such as Victor Hugo, Paul Verlaine, or Louis Aragon. Between 1952 and 1976, he recorded fourteen albums that include several popular French Chansons. Most of his texts are black humour-tinged and often anarchist-minded. His most famous film is Porte des Lilas/Gates of Paris (René Clair, 1957).
Georges Charles Brassens was born in 1921 in the town of Sète, a town in southern France near Montpellier. Brassens grew up in the family home in Sète with his mother, Elvira Dagrosa, father, Jean-Louis, half-sister, Simone, and paternal grandfather, Jules. His mother was a devout Roman Catholic, while his father was an easy-going, generous, openminded, anticlerical man. Brassens grew up between these two starkly contrasting personalities, who nonetheless shared a love for music. His mother, Simone and Jules, were always singing. This environment imparted to Brassens a passion for singing that would come to define his life. A poor student, Brassens performed badly in school. Alphonse Bonnafé, his literature teacher strongly encouraged the 15-years-old Braassens’s apparent gift for poetry and creativity. Bonnafé would later write the first Brassens biography in 1963. Georges listened constantly to his early idols: Charles Trenet, Tino Rossi, and Ray Ventura. At age seventeen, Georges and his gang started to steal from their families and others. Georges stole a ring and a bracelet from his sister. The police found and caught him, which caused a scandal. The young men were publicly characterized as ‘voyous’ (high school scum). Brassens was expelled from school. Following a short trial as an apprentice mason in his father's business, he moved to Paris in 1940 to live with his aunt and work at the Renault car factory. In the meantime, he learned piano and wrote some of his first original compositions. He stayed there after World War II had broken out while he felt that this was where his future lay and wrote his first collection of poems. Brassens published two short poetry collections in 1942, thanks to the money of his family and friends. In 1943, he was forced by the Germans to work in a labor camp at a BMW aircraft engine plant in Basdorf near Berlin in Germany. Here Brassens met some of his future friends, such as Pierre Onténiente, whom he called Gibraltar because he was "steady as a rock." Onténiente later became his right-hand man and his private secretary. After being given ten days' leave in France, he took refuge in a small cul-de-sac called "Impasse Florimont," in the 14th arrondissement of Paris. Without much else to occupy him, Brassens spent his days composing songs and writing music, eventually teaching himself the guitar based on his prior experience with the mandolin. There he lived for several years with its owner, Jeanne Planche and her husband Marcel in relative poverty: without gas, running water, or electricity. Brassens remained hidden there until the end of the war five months later, but ended up staying for 22 years. Planche was the inspiration for Brassens's song Jeanne.
In 1946, after the war had ended, Georges Brassens published the first of a series of virulent, black humour-tinged articles in the anarchist journal Le Libertaire. The following year, he also published his first novel, La Lune Écoute Aux Portes, and met Joha Heiman, the woman he would love -- and write about -- for the remainder of his life. His friends who heard and liked his songs urged him to go and try them out in a cabaret, café or concert hall. He was shy and had difficulty performing in front of people. At first, he wanted to sell his songs to well-known singers such as "les frères Jacques". In 1952 he met the singer Patachou, owner of a very well known cafe, Les Trois Baudets. Though Brassens had never considered himself a singer, Patachou convinced him to try his hand at performing himself. A bass player present at the audition, Pierre Nicolas, quickly joined Brassens in support, and would serve in that capacity for the remainder of the singer's career. Jacques Brel and Léo Ferré came also into the music industry with the help of Patachou. With her help, Brassens met Polydor exec Jacques Canetti, and landed a record deal. His first single, Le Gorille, was released later in 1952, and stirred up controversy with its strong anti-death penalty stance; in fact, it was banned from French radio until 1955. In these years, Brassens achieved fame with his elegant songs with their harmonically complex music for voice and guitar and articulate, diverse lyrics. He won the prestigious Grand Prix du Disque de l'Academie Charles Cros in 1954 for his EP Le Parapluie, and spent much of the year touring Europe and northern Africa. In 1957, he made his film debut in Porte des Lilas/Gates of Paris (René Clair, 1957). An old bum (Pierre Brassens) becomes infatuated with a pretty young girl (Dany Carrel) who gets entangled with a young gangster (Henri Vidal). Brassens played an important part as an the bum’s friend, L'Artiste, a taciturn, solitary bard, whose character seems to have been based on Brassens himself. Peter Beagle at IMDb: “The film turned out to be a delightful, warmhearted work, holding up remarkably well on repeated viewings, and Brassens makes an excellent deadpan foil for the great Pierre Brasseur. And the songs he wrote for the film remain among the best of his classic repertoire.” Brassens performed his songs in several other films, but his main focus was live performing. He later on made several appearances at the Paris Olympia and at the Bobino music hall theater. He toured with Pierre Louki, who wrote a book of recollections entitled Avec Brassens. During these performances he accompanied himself on acoustic guitar. Most of the time the only other accompaniment came from his friend Pierre Nicolas with a double bass, and sometimes a second guitar (Barthélémy Rosso, Joël Favreau). He released several more LPs over the remainder of the 1950s, during which time chronic kidney ailments began to affect his health, resulting in periodic hospitalizations. In the following decades he continued to tour. His songs often decry hypocrisy and self-righteousness in the conservative French society of the time, especially among the religious, the well-to-do, and those in law enforcement. The criticism is often indirect, focusing on the good deeds or innocence of others in contrast. His elegant use of florid language and dark humor, along with bouncy rhythms, often give a rather jocular feel to even the grimmest lyrics. Brassens’s lyrics are difficult to translate, though his work is translated in more than 20 languages. Georges Brassens died of cancer in 1981, in Saint-Gély-du-Fesc, having suffered health problems for many years. He was 60. Brassens rests at the Cimetière le Py in Sète.Steve Huey at AllMusic: “Along with Jacques Brel, he became one of the most unique voices on the French cabaret circuit, and exerted a tremendous influence on many other singers and songwriters of the postwar era. His poetry and lyrics are still studied as part of France's standard educational curriculum.”
Sources: Peter Beagle (IMDb), Steve Huey (AllMusic), Wikipedia and IMDb.