View allAll Photos Tagged Local
Content description: Crowd of people looking up at 8 Cambridge Center foundation completion ceremony.
Local identifier: 020_01_03_033
Type of resource: still image
Genre/form: black-and-white prints (photographs)
Date: 1998-04
Physical description: 1 photograph : print, black and white ; 25.4 x 20.3 cm
Digital origin: reformatted digital
General notes: Title and content description from related item.
Date notes: Date from related item.
Acquisition notes: Donated by the Cambridge Redevelopment Authority in July 2014.
Description standard: dcrmg
Subject headings:
Cambridge Redevelopment Authority
Boston Properties, Inc.
Kendall Square (Cambridge, Mass.)
Construction industry
Urban renewal--Massachusetts--Cambridge
Host collection: Cambridge Redevelopment Authority Records, 1952-2000
Physical location: Cambridge Public Library
Conditions Governing Use: The material in this collection is subject to copyright and intellectual property restrictions. It is the responsibility of the researcher to understand and observe copyright law and to identify and satisfy the holders of all copyright. Researchers must obtain written permission from the copyright holder(s) if they wish to publish materials from this collection. Questions concerning copyright and permission to publish should be directed to the Cambridge Room, Cambridge Public Library Archives and Special Collections.
Please use the following format when citing materials from this collection: [Identification of item], Cambridge Redevelopment Authority Records, 1952-2000, 020, [Box#, Folder title], Cambridge Room, Cambridge Public Library Archives and Special Collections.
For more from this collection: cambridgeroomcollections.wordpress.com/2016/03/30/cambrid...
Local market in Cameroon.
Photo by Colince Menel/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Short freight train with PRR SW1200 #8539 passing through the left part of my US TT scale (1:120) layout
A visit to Beaumaris Castle on the Isle of Anglesey in Wales. Our 2nd visit in around 20 years.
Within the Inner Wall of Beaumaris Castle.
Beaumaris Castle (Welsh: Castell Biwmares), located in the town of the same name on the Isle of Anglesey in Wales, was built as part of Edward I's campaign to conquer the north of Wales after 1282. Plans were probably first made to construct the castle in 1284, but this was delayed due to lack of funds and work only began in 1295 following the Madog ap Llywelyn uprising. A substantial workforce was employed in the initial years under the direction of James of St George. Edward's invasion of Scotland soon diverted funding from the project, however, and work stopped, only recommencing after an invasion scare in 1306. When work finally ceased around 1330 a total of £15,000 had been spent, a huge sum for the period, but the castle remained incomplete.
Beaumaris Castle was taken by Welsh forces in 1403 during the rebellion of Owain Glyndŵr, but was recaptured by royal forces in 1405. Following the outbreak of the English Civil War in 1642, the castle was held by forces loyal to Charles I, holding out until 1646 when it surrendered to the Parliamentary armies. Despite forming part of a local royalist rebellion in 1648 the castle escaped slighting and was garrisoned by Parliament, but fell into ruin around 1660, eventually forming part of a local stately home and park in the 19th century. In the 21st century the ruined castle is managed by Cadw as a tourist attraction.
Historian Arnold Taylor described Beaumaris Castle as Britain's "most perfect example of symmetrical concentric planning". The fortification is built of local stone, with a moated outer ward guarded by twelve towers and two gatehouses, overlooked by an inner ward with two large, D-shaped gatehouses and six massive towers. The inner ward was designed to contain ranges of domestic buildings and accommodation able to support two major households. The south gate could be reached by ship, allowing the castle to be directly supplied by sea. UNESCO considers Beaumaris to be one of "the finest examples of late 13th century and early 14th century military architecture in Europe", and it is classed as a World Heritage site.
Grade I listed building
History
Beaumaris Castle was begun in 1295, the last of the castles built by Edward I to create a defensive ring around the N Wales coast from Aberystwyth to Flint. The master mason was probably James of St George, master of the king's works in Wales, who had already worked on many of Edward's castles, including Harlech, Conwy and Caernarfon. Previously he had been employed by Philip of Savoy and had designed for him the fortress palace of St Georges d'Esperanche.
Unlike most of its contemporaries, Beaumaris Castle was built on a flat site and was designed on the concentric principle to have 4 defensive rings - moat, outer curtain wall, outer ward and inner curtain wall. It was originally intended to have 5 separate accommodation suites. In the event they were not built as work ceased c1330 before the castle was complete. A survey made in 1343 indicates that little has been lost of the fabric in subsequent centuries, despite being besieged during the revolt of Owain Glyndwr. However it was described as ruinous in 1539 and in 1609 by successive members of the Bulkeley family, who had settled in Anglesey and senior officials at Beaumaris from the C15, although they were probably unaware that the castle had never been finished. During the Civil War the castle was held for the king by Thomas, Viscount Bulkeley, who is said to have spent £3000 on repairs, and his son Colonel Richard Bulkeley. After the Restoration it was partly dismantled. The castle was purchased from the crown by the 6th Viscount Bulkeley in 1807, passing to his nephew Sir Richard Bulkeley Williams-Bulkeley in 1822. Sir Richard opened the castle grounds to the public and in 1832 Princess Victoria attended a Royal Eisteddfod held in the inner ward. Since 1925 it has been in the guardianship of the state, during which time the ruins have been conserved and the moat reinstated.
Exterior
A concentrically planned castle comprising an inner ward, which is square in plan, with high inner curtain wall incorporating gatehouses and towers, an outer ward and an outer curtain wall which is nearly square in plan but has shallow facets to form an octagon. The outer curtain wall faces the moat. The castle is built mainly of coursed local limestone and local sandstone, the latter having been used for dressings and mouldings. Openings have mainly shouldered lintels.
The main entrance was the S side, or Gate Next the Sea. This has a central gateway with tall segmental arch, slots in the soffit for the drawbridge chains, loop above it and machicolations on the parapet. The entrance is flanked by round gatehouse towers which, to the L, is corbelled out over a narrower square base set diagonally, and on the R is corbelled out with a square projecting shooting platform to the front. The towers have loops in both stages, and L-hand (W) tower has a corbelled latrine shaft in the angle with the curtain wall. The shooting platform has partially surviving battlements, and is abutted by the footings of the former town wall, added in the early C15. On the R side of the gatehouse is the dock, where the curtain wall has a doorway for unloading provisions. The dock wall, projecting at R angles further R has a corbelled parapet, a central round tower that incorporated a tidal mill and, at the end, a corbelled shooting platform, perhaps for a trebuchet, with machicolations to the end (S) wall. The E side of the dock wall has loops lighting a mural passage.
The curtain walls have loops at ground level of the outer ward, some blocked, and each facet to the E, W and N sides has higher end and intermediate 2-stage round turrets, and all with a corbelled parapet. The northernmost facet of the W side and most of the northern side were added after 1306 and a break in the building programme. The towers at the NW and NE corners are larger and higher than the other main turrets. On the N side, in the eastern facet, is the N or Llanfaes Gate. This was unfinished in the medieval period and has survived much as it was left. The gateway has a recessed segmental arch at high level, a portcullis slot and a blocked pointed arch forming the main entrance, into which a modern gate has been inserted. To the L and R are irregular walls, square in plan, of the proposed gatehouse towers, the N walls facing the moat never having been built. Later arches were built to span the walls at high level in order to facilitate a wall walk. The NE tower of the outer curtain wall has a corbelled latrine shaft in the angle with the E curtain wall, and in the same stretch of wall is a corbelled shaft retaining a gargoyle. The SE tower also has a corbelled latrine shaft in the angle with the E curtain wall.
In the Gate Next the Sea the passage is arched with 2 murder slots, a loop to either side, and a former doorway at the end, of which draw-bar slots have survived. In the R-hand (E) gatehouse is an irregular-shaped room with garderobe chamber. On its inner (N) side are mural stair leading to the wall walk and to a newel stair to the upper chamber. The upper chamber has a fireplace with missing lintel, and a garderobe. The L-hand (W) gatehouse has an undercroft. Its lower storey was reached by external stone steps against the curtain wall, and retains a garderobe chamber and fireplace, formerly with projecting hood. The upper chamber was reached from the wall walk.
On the inner side facing the outer ward, the outer curtain wall is corbelled out to the upper level, except on the N side where only a short section is corbelled out. To the W of the gatehouse are remains of stone steps to the gatehouse, already mentioned, and stone steps to the wall walk. Further R the loops in the curtain wall are framed by an arcade of pointed arches added in the mid C14. The curtain wall towers have doorways to the lower stage, and were entered from the wall walk in the upper stage. In some places the wall walk is corbelled out and/or stepped down at the entrances to the towers. On the W side, the southernmost facet has a projecting former garderobe, surviving in outline form on the ground and with evidence of a former lean-to stone roof. Just N of the central tower on the W side are the footings of a former closing wall defining the original end of the outer ward before the curtain wall was completed after 1306. Further N in the same stretch of wall are stone steps to the wall walk. The NW corner tower has a doorway with draw-bar socket, passage with garderobe chamber to its L, and a narrow fireplace which formerly had a projecting hood. The upper stage floor was carried on a cross beam, of which large corbels survive, and corbel table that supported joists. In the upper stage details of a former fireplace have been lost.
In the Llanfaes Gate the proposed gatehouses both have doorways with ovolo-moulded surrounds. The L-hand (W) doorway leads to a newel stair. The NE curtain wall tower is similar to the NW tower, with garderobe, fireplaces and corbels supporting the floor of the upper stage. Both facets on the E side have remains of garderobes with stone lean-to roofs, of which the northernmost is better preserved. The SE tower was heated in the upper stage but the fireplace details are lost. In the dock wall, a doorway leads to a corbelled mural passage.
The inner ward is surrounded by higher curtain walls with corbelled parapets. It has S and N gatehouses, and corner and intermediate round towers in the E and W walls. The towers all have battered bases and in the angles with the curtain walls are loops lighting the stairs. The curtain walls have loops lighting a first floor mural passage, and the S and N sides also have shorter passages with loops in the lower storey. The inner curtain wall has a more finely moulded corbel table than the outer curtain wall, and embattlements incorporating arrow loops. The main entrance to the inner ward was by the S Gatehouse. It has an added barbican rectangular in plan. The entrance in the W end wall has a plain pointed arch, of which the voussoirs and jamb are missing on the L side. The S wall has 3 loops and 2 gargoyles, the L-hand poorly preserved, and has a single loop in the E wall. Inside are remains of stone steps against the E wall leading to the parapet. The 2-storey S gatehouse has a 2-centred arch, a pointed window above, retaining only a fragment of its moulded dressings, spanned by a segmental arch with murder slot at high level. The towers to the R and L are rounded and have loops in the lower stage, and square-headed windows in the middle stage.
The SW, W (Middle) and NW towers have similar detail, a loop in the lower stage and blocked 2-light mullioned window in the middle stage. The 3-storey N Gatehouse, although similar in plan and conception to the S Gatehouse, differs in its details. It has a central 2-centred arch and pintles of former double gates. In the middle storey is a narrow square-headed window and in the upper storey a 2-light window with cusped lights and remains of a transom. A high segmental arch, incorporating a murder slot, spans the entrance. The rounded towers have loops in the lower stage. The R-hand (W) has a window opening in the middle storey, of which the dressings are missing, and in the upper storey a single cusped light to the N and remains of a pair of cusped lights, with transom, on the W side. The L-hand (E) tower has a single square-headed window in the middle storey (formerly 2-light but its mullion is missing) and in the upper storey a single cusped light and square-headed window on the E side. The NE and SE towers are similar to the towers on the W side. In the middle of the E curtain wall is the chapel tower, which has 5 pointed windows in the middle storey.
The S gateway has a well-defended passage. The outer doorway has double draw-bar sockets, followed by a portcullis slot, 4 segmental arches between murder slots, loops in each wall, then another portcullis slot and a segmental arch where the position of a doorway is marked by double draw-bar sockets. Beyond, the passage walls were not completed, but near the end is the position of another doorway with draw-bar socket and the base of a portcullis slot.
The gatehouses have a double depth plan, but only the outer (S) half was continued above ground-floor level. The N side has the footings of guard rooms, each with fireplaces and NE and NW round stair turrets, of which the NW retains the base of a newel stair. Above ground floor level the N wall of the surviving building, originally intended as a dividing wall, has doorways in the middle storey. Both gatehouses have first-floor fireplaces, of which the moulded jambs and corbels have survived, but the corbelled hood has been lost.
Architectural refinement was concentrated upon the N gatehouse, which was the principal accommodation block, and the chapel. The S elevation of the N gatehouse has a central segmental arch to the entrance passage. To its R is a square-headed window and to its L are 2 small dressed windows, set unusually high because an external stone stair was originally built against the wall. In the 5-bay middle storey are a doorway at the L end and 4 windows to a first-floor hall. All the openings have 4-centred arches with continuous mouldings, sill band and string course at half height. The R-hand window retains a transom but otherwise no mullions or transoms have survived. Projecting round turrets to the R and L house the stairs, lit by narrow loops. To the N of the R-hand (E) stair tower the side wall of the gatehouse has the segmental stone arch of a former undercroft.
The N gate passage is best described from its outer side, and is similar to the S gate. It has a doorway with double draw-bar sockets, portcullis slot, springers of former arches between murder slots, loops in each wall, another portcullis slot, a pointed doorway with double draw-bar sockets, doorways to rooms on the R and L, and a 3rd portcullis slot. The gatehouses have, in the lower storey, 2 simple unheated rooms. The first-floor hall has pointed rere arches, moulded C14 corbels and plain corbel table supporting the roof, a lateral fireplace formerly with corbelled hood, and a similar fireplace in the E wall (suggesting that the hall was partitioned) of which the dressings are mostly missing. Rooms on the N side of the hall are faceted in each gatehouse, with fireplaces and window seats in both middle and upper storeys. Stair turrets have newels stairs, the upper portion of which is renewed in concrete on the W side.
The Chapel tower has a pointed rubble-stone tunnel vault in the lower storey. In the middle storey is a pointed doorway with 2 orders of hollow moulding, leading to the chapel. Above are 2 corbelled round projections in the wall walk. The chapel doorway opens to a small tunnel-vaulted lobby. Entrance to the chapel itself is through double cusped doorways, which form part of a blind arcade of cusped arches with trefoiled spandrels, 3 per bay, to the 2-bay chapel. The chapel has a polygonal apse and rib vault on polygonal wall shafts. The W side, which incorporates the entrance, also has small lancet openings within the arcading that look out to the mural passage. Windows are set high, above the arcading. The W bay has blind windows, into which small windows were built that allowed proceedings to be viewed from small chambers contained within the wall on the N and S sides of the chapel, reached from the mural passage and provided with benches.
The SW, NW, NE, SE and the Middle tower are built to a standard form, with round lower-storey rooms, octagonal above. They incorporate newel stairs, of which the NW has mostly collapsed, and the SW is rebuilt in concrete at the upper level. The lower storey, which has a floor level lower than the passage from the inner ward, was possibly used as a prison and has a single inclined vent but no windows. Upper floors were supported on diaphragm arches, which have survived supporting the middle storeys of the Middle and SE towers, whereas the SW and NE towers retain only the springers of former arches, and the NE tower has a diaphragm arch supporting the upper storey. In the middle storey of each tower is the remains of a fireplace with corbelled hood.
Each section of curtain wall contains a central latrine shaft, with mural passages at first-floor level incorporating back-to-back garderobes. The N and S walls also have short mural passages in the lower storey to single garderobes in each section of wall. Mural passages have corbelled roofs. The S side is different as it has tunnel-vaulted lobbies adjacent to the towers, between which are short sections of corbelled passage with garderobes. The wall walk also incorporates back-to-back latrines, in this case reached down stone steps.
There is evidence of buildings within the inner ward. Footings survive of a building constructed against the E end of the N wall. In the curtain wall are 2 fireplaces, formerly with corbelled hoods, to a first-floor hall. On the S side of the chapel tower is the stub wall of a larger building. On the N side of the W curtain wall are the moulded jambs of a former kitchen fireplace, and adjacent to it against the N wall is the base of a bake oven. On the E side of the S curtain wall the wall is plastered to 2-storey height.
Reasons for Listing
Listed grade I as one of the outstanding Edwardian medieval castles of Wales.
Scheduled Ancient Monument AN001
World Heritage Site
corridor - South-West Tower to North-West Tower. While here I also went up to the top of the walls for the Inner Wall Walk.
# Three :- The Local
the local off licence, a very familiar buliding with many trips made to it in the quest for alcohol during my youth. Only now have I really seen it for all its illuminated glory as one of the beautifully lit up shop fronts that make up st.ive's night time landmarks. Again I love how this is like a window into peoples lives, as the glowing curtains in the top window show this is the owners livelihood and there home. Shot with my Nikon 50mm
Learn how to make killer Bloody Marys through Local Social's workshop October 9th at Swarm. Sign up at local-social.net/
Photo by Melissa Kaseman
Local group companion M33 captured from Tierra Del Sol with a big RC scope and big (4k x 4K) CCD camera.
LRGB data captured with the DSI 14 RC scope donated by Terry Arnold (family) who was a great and generous astro imager and astronomer. Terry freely shared his knowledge and enthusiasm for the difficult process of high quality astro imaging. I was lucky enough to attend a few of the astro imagers interest group meetings with Terry few years ago. He accomplished amazing narrow-band imaging from San Diego city area.
Thanks to those who skillfully setup the image collection and shared it with the SDAA group. This was a nice set of data to work with.
This was started with pre calibrated L,R,G,B integrated frames. There seemed to be a good bit longer integration time on the G data so I combined as R+0.8G+B. That appeared to result in a better color balance.
There was Ha data available, chose not to use it as the Halpha regions show well already.
This celebration was started in the year 2005 as a revival and preservation of their cultural heritage. The legendary bac-bacarra is a freshwater fish abundant in the rivers of the town in the olden days. It is now extinct. The town’s name was derived from it. It was coined by a Spanish soldier who passed by. He asked the name of the place from a local who at that time was fishing. He did not understand his question and just answered bac-bacarra.
Fishing is the main industry in the town attributed to the presence of coastline and the Bacarra river where they get good catch of quality and high valued fish products. They owe the blessings they receive to their patron Saint Andrew the Fisherman. This celebration serves as a thanksgiving to the abundant fish catches. The highlight of the said event is the street dancing depicting the history of the town and fishing itself. In general it was not that exciting as compared to other festival celebrations because there were only nine groups of young boys and girls who participated.
TEXT SOURCE: Treasures of Ilocandia and the World by Dr Edwin Antonio
Local seafood at the Hisami (ひさみ) restaurant near Tateiwa Rock along the Sea of Japan in Kyōtango, Kyoto Prefecture, Japan.
My husband's union had it's annual retirement dinner celebration this weekend. This was the third year in a row they have ordered the cake from me. Congratulations brothers...I think the cake says it all!
Doing an experiment for my food blogging. This is one week's groceries when we just buy what we want with a focus on local stores and organic. Next week we'll set a fixed budget based on what the USDA says a family of two should be spending (which will be half of what we spent this week).
Here's what we bought this week.
Jumbo shrimp
Apples
Plums
Cilantro (fresh)
Cucumbers
Green onions
Lemon
Lime
Yellow onions
Vegetable stock
Red onions
Shallots
Pears
Bell peppers
Pie shells
White wine
Beer
Oatmeal packets
Canned black-eyed peas
Green tea
Half and Half
Canned cannellini beans
Butter
Tofu
Heavy whipping cream
Milk
Assorted flavored yogurts
Greek yogurt
Cherry tomatoes
Peanut butter
Carrots
Jicama
Kalamata olives
Bulgur
Feta cheese
Rice crackers
Mint (fresh)
Basil (fresh)
Oregano (fresh)
Italian parsley (fresh)
Fresh ziti
Shiitake mushroom
Fresh mushroom tortellini
Red Turkish lentils
Baguette
“Pain rustique” (bread)
“Pug roll” (bread)
Camembert
(Not in the photo)
Pizza dough, premade
1 dozen eggs from a local farm
This photograph is one of those taken by John Cooke in 1913 to illustrate the dreadful living conditions in Dublin. The Lightfoot family had run a business in Mary’s Lane for many years by the time this photograph was taken. They were potato merchants and had by 1914 moved from No. 37 to premises at numbers 13 and 43 Mary’s Lane. The business did well enough for the family to live in a large house in Drumcondra and employ a nurse and a general servant.
View the Lightfoot family on the 1911 census.
Read more about Derelict Dublin: Images of the City from 1913 | Copyright Notice.
Cos'è il localismo? E' giusto o sbagliato?
Ci sono tante cose da dire su questo argomento e tanti pareri contrastanti.
Vediamo di chiarire in maniera obiettiva e descrittiva che cos'è realmente il localismo, come nasce e come si è sviluppato.
Il localismo concettualmente consiste nell'azione esercitata dal locale per proteggere il proprio spot. Nasce come tutela dello spot. Chi è il locale?
Al contrario di quanto molti pensino, in realtà il locale non è il proprietario dello spot, e ancor meno del mare. Poche persone sanno veramente cosa significhi fare il “local”.
I veri locals si comportano in acqua come "capi tribù", aiutano le persone in difficoltà, pretendono rispetto e in cambio ne danno.
Tengono pulita la spiaggia, aiutano i principianti ad imparare, e fanno rispettare in acqua le regole del surf e il rispetto per il prossimo.
Non stanno sempre sul picco in attesa delle onde e rimproverano questo comportamento se qualcuno dovesse assumerlo.
In condizioni difficili dello spot invitano a surfare più vicino o ad uscire dall'acqua tutte le persone che non sono in grado di stare in acqua con tali condizioni.
In qualunque momento e condizione allontanano dallo spot le persone irrispettose delle regole del surf e del prossimo.
Se in un posto si usa rispetto, si riceve rispetto. Dice un motto “give respect, gain respect”.
Questo concetto purtroppo è in gran parte andato perduto nei giorni nostri, dove quello che è nella testa di molti locals lo possiamo riassumere con una frase:"lo spot è mio, le regole le faccio io, ci surfo solo io e chi mi va".
Il local appartenente a questa sempre più diffusa corrente di pensiero è convinto che lo spot gli appartenga di diritto, lui è il migliore, può surfare, può droppare. Si crede un figo e le onde sono tutte sue e di chi gli va a genio.
L'educazione e il rispetto nel dire le cose sparisce, anche quando vi si pone una situazione in cui potrebbe avere ragione (per esempio allontanare persone principianti in condizioni difficili) si riassume nel dire “sei merda, vai via”.
E così è facile capire che spesso il localismo si riduce ad una serie di violenti episodi in cui il locale può fare quello che gli pare, considerandosi il boss dello spot.
Ovviamente non è solo, e per fare il gradasso si ricopre vigliaccamente di altri deficenti che credendosi un gang di tipi tosti e in gamba trasforma lo spot in un ghetto dove vige la legge del più forte.
Il localismo interpretato in questo modo rovina lo spirito del surf, ed è una forma di male da combattere per ogni surfista che rispetta il mare e che ama il surf.
E' anche mancanza di rispetto per il prossimo, è regresso allo stato puro.
Links utili
-Sul sito wannasurf.com (sito di riferimento per la ricerca degli spot nel mondo) “localism” (localismo) viene addirittura messo sotto la voce “hazards”(cioè pericoli); alla stregua quindi degli squali, delle correnti e delle rocce!
-In america stanno prendendo provvedimenti in quanto il localismo rappresenta anche la rovina del turismo (in California molte persone vanno per surfare)tanto da aver richiesto provvedimenti legislativi in materia:
www.drdriving.org/rages/surf.htm
Surf rage hits the beach as California loses its cool.... could become newest HATE CRIME
-Il localismo e i locals sono persino stati presi in giro in un video da Donavon Frankereiter assieme a Ben Stiller(con un cameo di Andy Irons nel finale) nel video che trovate qui:
www.surfproject.it/surf/surf/55/donavon-frankereiter-e-be...
In Italia
Il localismo è molto frequente in molte parti del mondo(Canarie, California, Hawaii ecc..) e purtroppo anche in Italia è un fenomeno in crescita; il mare si riempie sempre più di queste persone inette capaci solo di voler affermare la propria padronanza sul mare e sugli spot che in realtà appartengono a tutte le persone che entrano in acqua col giusto spirito e col giusto rispetto.
Hats off to the Soul Bar one of the contributors to the local lockdown in Aberdeen, crammed with people the week-end previous including players from Aberdeen FC the result of that was cancellation of there next fixture due a positive COVID case with in the squad and the City put back into a hospitality lock-down and a 5 mile travel limit on leisure
Big Boi
Local Natives
Gayngs
Dr. Dog
Mavis Staples
Dan Deacon
!!!
The Pains of Being Pure at Heart
Portugal. The Man
Jessica Lea Mayfield
John Grant
Cut Chemist
A Place to Bury Strangers
White Denim
Big Freedia
Japanther
Royal Bangs
Damien Jurado
Viva Voce
Colour Revolt
Miami Horror
Pujol
Turbo Fruits
Parts & Labor
Nite Jewel
Kid Koala
Generationals
The Civil Wars
Secret Sisters
Davila 666
The Mumlers
Pterodactyl
How to Dress Well
Dave Smalley
Franz Nicolay
David Dondero
Reading Rainbow
Reggie Watts
Mondo Drag
Houses
No Joy
Dominique Young Unique
Beans
Grass Widow
Delicate Steve
Pictureplane
White Arrows
Esben and The Witch
David Mayfield Parade
O'Death
Ivan and Alyosha
Adventure
Possessed by Paul James
Mansions
Constants
Royal Thunder
Maneja Beto
Hooray For Earth
Drew Andrews & the Spectral Cities
In Tall Buildings
Hosannas
Coolrunnings
Mother Falcon
Santah
Now Now Every Children
Atlantic/Pacific
Young Buffalo
Southeast Engine
Sugar & Gold
Yip Deceiver
Mister Heavenly
Blissed Out
The Spring Standards
Lost in the Trees
Database
Pure X
Telegraph Canyon
Flowers of God
Giggle Party.
.357 Lover (Brooklyn, NY -- classic rock)
BRAINSTORM (Portland, OR -- indie-pop/art rock)
BrownChicken BrownCow String Band (Greenbrier County, WV -- bluegrass)
Cleemann (Copenhagen, Denmark -- electroacoustic/lyrical/pop)
Daniel Benjamin (Stuttgart, Germany -- pop/experimental)
G-Side (Athens, AL -- hiphop)
MiniBoone (Brooklyn, NY -- indie/rock)
North Highlands (Brooklyn, NY -- indie-folk)
Richard the Lionhearted (Columbia, MO -- country/folk/rock)
Sarah Renfro (Brooklyn, NY -- singer-songwriter/folk-pop)
Sugar Glyder (Charlotte, NC -- pop-rock)
Kelsey Waldon (Nashville, TN -- Americana)
Sun Hotel (New Orleans -- post-gospel/indie/rock)
Tidal Waves (Johannesburg, South Africa -- afro-beat)
Wesley Hartley & The Traveling Trees (Portland, ME -- country)
ACHTONE! (post-rock)
Alphabet (indie-pop)
Babar (post-rock)
Backside Pick (funk/jazz)
Baruch the Scribe (folk-pop)
Bosque Brown (country/soul)
Boxcar Bandits (skunkgrass)
Caleb Ian Campbell (singer-songwriter/experimental folk)
Curvette (experimental/post-punk/Southern rock)
Danny Rush and the Designated Drivers (country/rock)
Dear Human (post-rock)
Deep Snapper (post-punk)
Delmore Pilcrow (rock/country)
Depths (metal)
Dim Locator (avant-garde/Americana)
Drew Phelps (jazz)
Dust Congress (chamber folk)
Eaton Lake Tonics (experimental/folk/rock)
Ella Minnow (blues/pop/rock)
Final Club (rock)
Fishboy (indie-pop)
Jeremy Buller (singer-songwriter)
Jessie Frye (singer-songwriter/pop/rock)
Kaboom (rock)
Kampfgrounds (garage rock)
Land Mammals (psychedelic)
Magnum Octopus (hard rock)
Manned Missiles (garage rock/pop)
MATAS (indie/rock/pop)
Midnite Society (bloghaus)
Novaak (alternative/electronica/pop)
Oh Lewis (powerpop/Indie/rock)
On After Dark (indie/rock/new wave)
Paper Robot (rock)
Peoplodian (pop/electronic)
Pinebox Serenade (folk/rock)
Record Hop (rock)
Roy Robertson (experimental/folk)
RTB2 (experimental/ folk/rock/soul)
Sans Soleil (experimental/rock)
Seryn (folk/rock)
Sextape (ghettotech)
Shiny Around the Edges (experimental/punk)
Spooky Folk (indie-pop/rock)
Sundress (pop/psychedelic)
Swedish Teens (punk)
The Demigs (indie rock/pop)
The Hope Trust (rock/pop/country)
The Jakeys (acoustic/celtic/grunge)
The Slow Burners (folk/rock/psychedelic/roots)
The Wee-Beasties (alternative/punk/rock)
Violent Squid (experimental)
Westboro Butchers (rockabilly/instrumental)
Western Giants (Americana)
Western Skies (Americana)
Young and Brave (pop)
Adventures in Magnetism (Ft. Worth -- post-rock)
Air Review (Irving -- rock)
Analog Rebellion (Arlington -- stadium lo-fi)
AnonymousCulture (Dallas -- electronica/hip hop)
Baring Teeth (Dallas -- metal)
Broadcast Sea (Dallas -- rock)
Clint Niosi (Ft. Worth -- experimental/folk)
Cocky Americans (Dallas -- garage rock)
Diamond Age (Dallas -- acousmatic)
El Cento (Dallas -- rock)
Ethereal & the Queer Show (Dallas -- avant garde/pop)
Fate Lions (Ft. Worth -- pop/rock)
Here Holy Spain (Dallas -- skate punk/indie/rock)
Hormones (Dallas -- post-punk)
HOYOTOHO (Dallas -- alternative/big beat/live electronics)
Les Amercain (Dallas -- rock)
Man Factory (Grand Prairie -- powerpop/indie/rock)
Museum Creatures (Dallas -- concrete/garage /hard house)
myopic (Dallas -- ambient)
Nicolas Altobelli (Dallas -- folk)
Saboteur (Dallas -- emo/rock)
Salim Nourallah (Dallas -- folk)
Skeleton Coast (Ft. Worth -- rock/emo)
Somebody's Darling (Dallas -- country/rock)
Summer Ames (Dallas -- singer-songwriter/pop)
The Angelus (Dallas -- gospel/gothic/soul)
The Beaten Sea (Dallas -- country/folk/gothic)
The Bizarro Kids (Dallas -- experimental/psychedelic/trrash)
The Boom Boom Box (Plano -- post punk/rock)
The Burning Hotels (Ft. Worth -- rock/new wave)
The Hanna Barbarians (Ft. Worth -- psychedelic/blues/rock)
The Lo-fi Chorus (Dallas -- Americana/electroacoustic)
The Naptime Shake (Dallas -- country/folk/indie)
The Orbans (Ft. Worth -- alternative/folk/rock)
Two Knights (Arlington -- indie/rock/minimalist)
Whiskey Folk Ramblers (Ft. Worth -- Americana/folk/rock)
4th & Inchez (F.N.I.) (Houston -- hip-hop)
Crown Imperial (Norman, OK -- rock)
Fresh Millions (Austin -- experimental/electronic/instrumental/rock)
Horse Thief (Oklahoma City, OK -- folk/psychedelic)
Hotel Hotel (Austin -- ambient/blues/shoegaze)
KB the Boo Bonic (Austin -- hip hop)
Little Lo (Austin -- folk)
Moon (Oklahoma City, OK -- indie-pop/rock)
OK Sweetheart (Tulsa, OK -- indie-pop)
Paul Benjaman Band (Tulsa, OK -- funk/rock/Western swing)
People on Vacation (Austin -- pop)
Quiet Company (Austin -- indie rock/powerpop)
Sanctus Bellum (Houston -- doom metal)
Sphynx (Austin -- indie-pop)
The League of Extraordinary Gz (Austin -- hip hop)
The Lonesome Heroes (Austin -- Americana/folk)
The Manichean (Houston -- experimental/progressive)
The Non (Oklahoma City, OK -- experimental/instrumental/rock)
The Panda Resistance (Tulsa, OK -- indie rock/instrumental)
The Sour Notes (Austin -- folk rock/psychedelic/roots)
The Virgin Wolves (Bowie -- indie rock/pop)
The Zest of Yore (Austin -- lo-fi rock)
Tiger Darrow (Austin -- pop/folk)
Zorch (Austin -- experimental/electronic/instrumental/rock)
Engineer Blake and company take LCHI102 west through Lockport. The com-ed generating station provides a nice backdrop on this wet afternoon.
"Restored" in 2013, this old caboose now bears the familiar signs of life in an urban environment. Astute observers will note faux window treatments on the window plating.