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Graffiti street art on the Alcester Road in Moseley.
2016 RIP's.
I think they are all by the artist Mohammed Ali.
Next to the Prince of Wales pub. A housing development has been given the go ahead here.
Muhammad Ali 1942-2016
USA 1776-2016
Donald Trump - 45th President of the United States of America from 2017.
Alex Keogh 1988-2016
Jo Cox 1974-2016
This view is looking directly west from the Empire State Building in New York City. There are two busy streets below, the busiest, to the far right of the picture, is West 34th Street and to the left of it, West 33rd Street. The photo was shot in August 1986.
What attracted my attention the most looking in that direction was the round building (mostly hidden behind another building which is part of the same complex). This is the famous Madison Square Garden where countless world class shows and sporting events took place over the years. I remember being riveted to the radio (that event was not televised) when Muhammad Ali fought Joe Frazier in what became known as the fight of the century on March 8, 1971 in that arena. Couldn't watch it then, but thanks to YouTube we can watch it now! Here's a sample: youtu.be/Jt-vjZTVLV0
I was also a hockey fan when I was a kid, but by the time the New York Rangers moved here in 1968 (that's the year the MSG opened) I had lost interest in the sport. That happened in 1967 when the NHL expanded from six to twelve teams. For me, hockey was never the same afterwards!
The tall building on the right is One Penn Plaza built in 1972. The two smokestacks to the left of MSG seem to be gone now (not sure what they were). The little church in the middle of the greenery is the Holy Apostle Episcopal Church, built in 1846. It was added to the National Register of Historic Places in 1972.
Ali once confided in his longtime adviser and friend Gene Kilroy that fighting Inoki could lead to similar bouts in the future. He was right. Ali and Inoki weren’t the first fighters take part in a hybrid bout. But their match inspired a generation of fighters and promoters to create mixed martial arts as we know it today. Bobby Razak, The History of MMA®
www.newsweek.com/2016/07/15/muhammad-ali-antonio-inoki-mi...
The title fight between Sonny Liston and Ali was scheduled On February 25, 1964 in Miami Florida. Ali was not widely expected to defeat Sonny Liston who was favorite to win (7–1 odds). When Liston failed to answer the bell for the seventh r...ound, stating he had a shoulder injury Ali became the youngest boxer ever to take the title from a reigning heavyweight champion, until Mike Tyson won the title from Trevor Berbick.
For more visit www.boxingmemories.com/
The Museum of UnCut Funk Collection includes original production cels and drawings and limited edition cels from a turning point in cartoon history where Black and White animators created positive Black characters and Black stories for all to enjoy, including: Fat Albert And The Cosby Kids; The Jackson 5ive; The Harlem Globetrotters; Valerie – Josie and The Pussy Cats; Lt. Uhuru – Star Trek Animated Series; Muhammad Ali – I Am The Greatest; Billy Jo Jive – Sesame Street; Verb: That’s What’s Happening – School House Rock and Franklin – Peanuts.
Please visit www.museumofuncutfunk.com to view the film on black animation and the collection.
1 of 20 historic covers photographed by Annie Leibovitz for the "Africa: A Special Issue" of Vanity Fair
Al-Rifa‘i (Ahmad ibn ʽAli al-Rifaʽi) 1119-1183, was an Iraqi Sunni Muslim preacher, ascetic, mystic, jurist, and theologian, known for being the eponymous founder of the Rifaʽi tariqa (Sufi order) of Islam. Although this mosque is named after him, the shrine contains the burials of his grandson, 'Ali Abu Shibbak al-Rifai and another Sufi mystic, 'Abd Allah al-Ansari.
The Mosque of al-Rifa'i replaced a zawiya (shrine) of the sufi saint, al-Rifa'i. It is also the royal mausoleum of Muhammad 'Ali's family, in addition to Hosh al-Basha (the Courtyard of the Pasha), in the Southern Cemetery.
Patron: commissioned by Hoshiyar Qadin (Hoşyar Kadın) ?-1885, consort to Ibrahim Pasha & Walida Pasha to their son, Isma'il Pasha.
Original architect: Hussein Pasha Fahmi (a distant cousin of Muhammad 'Ali), Minister of Awqaf, who died in 1880 when work stopped.
Construction Supervisor: Khalil Agha chief eunuch & director of estates for Isma'il Pasha.
Completed: work resumed in 1905 when the Khedive, Abbas II, ordered its completion. Work was supervised by architect Max Herz (Herz Miksa, Hungarian) 1856-1919, head of the Comité de Conservation des Monuments de l'Art Arabe.
Tomb: Hussein Kamel 1853-1917, second son of Khedive Ismail Pasha, Sultan of Egypt & Sudan (r.1914-1917).
Islamic Monument #U103
Patron: Muhammad 'Ali (Muhammad Ali Pasha al-Mas'ud ibn Agha) 1769-1849, Wāli of Egypt, Sudan, Sham (Greater Syria), Hejaz, Morea, Thasos, Crete (r.1805-1848).
Islamic Monument #606
The great Mosque of Muhammad Ali Pasha or Alabaster Mosque is a mosque situated in the Citadel of Cairo in Egypt and commissioned by Muhammad Ali Pasha between 1830 and 1848.
Patron: Muhammad 'Ali (Muhammad Ali Pasha al-Mas'ud ibn Agha) 1769-1849, Wāli of Egypt, Sudan, Sham (Greater Syria), Hejaz, Morea, Thasos, & Crete (r.1805-1848).
Islamic Monumant #612
Now, the National Military Museum.
[5dmk2, 35mm f1.4L CS3]
Street art by artist "Aerosol Arabic" who has done a lot of murals. Check out his website:
www.aerosolarabic.com/v2/index.php
This mural is on the side wall of a Bangla saree shop called "srithi."
The 14th century Mamluk Sultan, Al-Nasir Muhammad ibn Qalawoon (r.1293-1294; 1299-1309; 1309-1341) left behind a number of monumental mosques, funerary complexes and sabil-kotabs throughout Cairo in Fustat and Fatimid Cairo. Nevertheless, his mosque in the Citadel is the best known and most colossal of the monuments al-Nassir left behind.
Built in 1318 during his third and longest reign (1309-1340), the mosque was intended to become the imperial, or royal mosque at the heart of the Citadel and replace Salah al-Din's modest Ayyubis mosque. The Citadel, at the time, lacked majestic and imperial mosques to proclaim the glory of the state atop of the city.
The mosque forms a free-standing, rectangular block, the austere exterior of which might be accounted for by the military nature of its setting and the Mamluk state in general. It follows the hypostyle scheme with the standard pattern of a rectangular courtyard, with a sanctuary on the qibla side and arcades surrounding its other three sides. The arcades of the sanctuary and around the courtyard are formed by marble columns with pre-Islamic capitals carrying pointed arches with ablaq voussoirs. Above each arch is a pair of pointed-arched windows. These windows form the lower part of the crenellated wall which was probably added above the arcades in 1335.
The two minarets exhibit features unique among the extant minarets of Egypt. The shafts and tops are believed to have been built in 1335. They are the only minarets in Egypt whose bases are below the level of the roof of the mosque. A possible explanation is that these bases predate the raising of the roof in 1335.
According to Maqrizi, Amir Qawsun hired a Tabrizi architect to build his mosque (1329-30), which had two minarets modeled after the minarets on the Mosque of Vizier 'Ali Shah Ghilani at Tabriz (none of these exist today). Also fashionable in Ilkhanid Persia were faience mosaics, which, on this bulbous top, are executed in green, white and blue, like those on the sabil attached by al-Nasir Muhammad to the madrasa of his father Qalawun (sabil 1326, mosaics probably after 1348), with an inscription band of white faience mosaic around the neck of the bulb.
The circular shaft of the western minaret's first story is carved with a herringbone or vertical zigzag pattern; that of the second story, which is also circular, is carved with a horizontal zigzag motif or chevrons. These zigzag motifs make their first appearance around the shafts of Egyptian minarets at this mosque. The western minaret continues the Cairene tradition of placing minarets at the portals of foundations. Its location at the western portal, which was the ceremonial entrance facing the sultan's apartments, accounts for the distinguishing of its shafts from those of the eastern minaret by lavish stone carving.
The mosque's height was increased, roof rebuilt, and green-tiled wooden dome added over the maqsura in 1335. It was the royal mosque of the Mamluk sultans where their Friday prayers were performed. It was one of the most spectacular mosques of the city until the original tiled wooden dome over the nine-bay maqsura in front of the mihrab collapsed in the 16th c. and the marble dado was carried off by Sultan Selim to Istanbul.
For more visit ArchNet
The Mosque of Muhammad Ali Pasha or Alabaster Mosque (Arabic: مسجد محمد علي, Turkish: Mehmet Ali Paşa Camii) is a mosque situated in the Citadel of Cairo in Egypt and commissioned by Muhammad Ali Pasha between 1830 and 1848.
Situated on the summit of the citadel, this Ottoman mosque, the largest to be built in the first half of the 19th century, is, with its animated silhouette and twin minarets, the most visible mosque in Cairo.
en.wikipedia.org/wiki/Mosque_of_Muhammad_Ali
Cairo (Arabic: القاهرة al-Qāhira; French: Le Caire, literally "The Vanquisher" or "The Conqueror") is the capital of Egypt, the largest city in Africa and the 16th most populated metropolitan area in the world.
Nicknamed "The City of a Thousand Minarets" for its preponderance of Islamic architecture, Cairo has long been a centre of the region's political and cultural life.
Cairo is also associated with Ancient Egypt due to its proximity to the ancient cities of Memphis, Giza and Fustat which are nearby to the Great Sphinx and the pyramids of Giza.
The great islamic architecture lines are well clarified in this photo.
It is for the Muhammad Ali Mosque in Cairo.
The angle looks interesting for me.
Being a beginner, [ :) ], the post processing may be not a professional one ..
Beginning in 2001, the Louisville Downtown Management District commissioned local artists to create one-of-a-kind bike rack sculptures or benches to be placed in the public right-of-way in various locations throughout Downtown Louisville. In addition to serving as functioning bike racks or benches, they provide 34 pieces of original art for the enjoyment of the general public, parking for bikers and enhancement of the Downtown streetscape experience.
Bibelhauser Bike Rack Sculpture, 4th & Muhammad Ali
Bikehauser, under the careful hand of sculptor and functional designer David Bibelhauser, works to design and fabricate custom, built to order, permanent, outdoor sculpture and bicycle racks. Our company’s goal is to create a more visually pleasing alternative to traditional bike stands. As an artist, Bibelhauser recognizes that form truly is as important as function. Bike racks as well as all urban landscape furniture should look as if they were designed with surroundings in mind. It is our intention to work with our clients on a job-by-job basis, to design and implement bike parking that will best suit your city or company needs. If your time line does not allow for a custom design, all of our existing designs are available for reproduction. Photos of these designs can be viewed in the gallery section of our site.
Cities rack up public artwork with bike racks
Cyclists can chain their bikes to a dollar sign on New York City's Wall Street, a pair of giant toothbrushes in Portland, Ore., and sea creatures in Louisville and Mount Clemens, Mich. Bicycle racks that combine the utility of security with the aesthetics of art are popping up across the USA.
"It creates a better environment for people who live here and visit here, and it gives people a place to park their bikes," says Lacy LaBorde of the Downtown Austin Alliance.
In Louisville, there are 22 sculptures downtown for bike parking, and plans for 10 more by next spring, says Ken Herndon, director of operations for the Louisville Downtown Management District.
Artists received $2,000 per piece, a rate which may increase to $2,500 for the next sculptures, Herndon says. Regular racks can cost from $200 to $500, he adds. The Louisville Downtown Management District pays for the racks, and they become the property of the city once they are installed.
Patron, begun 1848: Muhammad 'Ali (Muhammad Ali Pasha al-Mas'ud ibn Agha) 1769-1849, Wāli of Egypt, Sudan, Sham, Hejaz, Morea, Thasos, Crete (r.1805-1848).
Patron, completed 1857: Sa‘id (Mohamed Sa'id Pasha) 1822-1863, 4th son of Muhammad 'Ali, Wāli of Egypt & Sudan (r.1854-1863).
Architect: Yusuf Bushnak, an otherwise unknown Greek architect from Istanbul, who is thought to have modelled it on the Mosque of Sultan Ahmed (Blue Mosque) in Istanbul.
Islamic Monument #503
Patron: Zaynab Khatun, wife of Sulayman Agha al-Silahdar ?-1824
Sulayman Agha al-Silahdar, Minister under Muhammad 'Ali (Muhammad Ali Pasha al-Mas'ud ibn Agha) 1769-1849, Wāli of Egypt, Sudan, Sham, Hejaz, Morea, Thasos, Crete (r.1805-1848).
Al-Rifa‘i (Ahmad ibn ʽAli al-Rifaʽi) 1119-1183, was an Iraqi Sunni Muslim preacher, ascetic, mystic, jurist, and theologian, known for being the eponymous founder of the Rifaʽi tariqa (Sufi order) of Islam. Although this mosque is named after him, the shrine contains the burials of his grandson, 'Ali Abu Shibbak al-Rifai and another Sufi mystic, 'Abd Allah al-Ansari.
The Mosque of al-Rifa'i replaced a zawiya (shrine) of the sufi saint, al-Rifa'i. It is also the royal mausoleum of Muhammad 'Ali's family, in addition to Hosh al-Basha (the Courtyard of the Pasha), in the Southern Cemetery.
Patron: commissioned by Hoshiyar Qadin (Hoşyar Kadın) ?-1885, consort to Ibrahim Pasha & Walida Pasha to their son, Isma'il Pasha.
Original architect: Hussein Pasha Fahmi (a distant cousin of Muhammad 'Ali), Minister of Awqaf, who died in 1880 when work stopped.
Construction Supervisor: Khalil Agha chief eunuch & director of estates for Isma'il Pasha.
Completed: work resumed in 1905 when the Khedive, Abbas II, ordered its completion. Work was supervised by architect Max Herz (Herz Miksa, Hungarian) 1856-1919, head of the Comité de Conservation des Monuments de l'Art Arabe.
Islamic Monument #U103
Al-Rifa‘i (Ahmad ibn ʽAli al-Rifaʽi) 1119-1183, was an Iraqi Sunni Muslim preacher, ascetic, mystic, jurist, and theologian, known for being the eponymous founder of the Rifaʽi tariqa (Sufi order) of Islam. Although this mosque is named after him, the shrine contains the burials of his grandson, 'Ali Abu Shibbak al-Rifai and another Sufi mystic, 'Abd Allah al-Ansari.
The Mosque of al-Rifa'i replaced a zawiya (shrine) of the sufi saint, al-Rifa'i. It is also the royal mausoleum of Muhammad 'Ali's family, in addition to Hosh al-Basha (the Courtyard of the Pasha), in the Southern Cemetery.
Patron: commissioned by Hoshiyar Qadin (Hoşyar Kadın) ?-1885, consort to Ibrahim Pasha & Walida Pasha to their son, Isma'il Pasha.
Original architect: Hussein Pasha Fahmi (a distant cousin of Muhammad 'Ali), Minister of Awqaf, who died in 1880 when work stopped.
Construction Supervisor: Khalil Agha chief eunuch & director of estates for Isma'il Pasha.
Completed: work resumed in 1905 when the Khedive, Abbas II, ordered its completion. Work was supervised by architect Max Herz (Herz Miksa, Hungarian) 1856-1919, head of the Comité de Conservation des Monuments de l'Art Arabe.
Tomb: Isma'il (İsmail Paşa, Ismail the Magnificent) 1830-1895, grandson of Muhammad 'Ali, Wali of Egypt & Sudan (r.1863-1867).
Islamic Monument #U103
This plant was within walking distance of the Detroit Institute of Arts, Detroit Main Library and Wayne State University. I worked here for about 15 years and during those years the plant built Cadillac Limousines. The production was very low about 12 a day but it was still on an assembly line maybe the slowest in the world.
2414,
23andMe had a story to tell.
The genetic research company 23andMe is a
major player in the effort to understand and defeat Parkinson’s Disease. Having
recently launched a major research project, 23andMe needs thousands of people already
diagnosed with the disease to contribute a genetic
sample for cutting edge analysis. The
company needed to spread the word. To that end, they partnered with Muhammad Ali to raise
awareness among people with the disease about their current study.
They hired me to create an ad that
celebrated the partnership of 23andMe with Ali, with a call to action for the viewer to find out more information at 23andme.com/pd.
In addition to the layout, I retouched the
archival photos used.
The mosque was commissioned by Muhammad Ali Pasha between 1830 and 1848 and is situated on the summit of the Citadel. This Ottoman mosque, the largest to be built in the first half of the 19th century, is, with its animated silhouette and twin minarets, the most visible mosque in Cairo. The mosque was built in memory of Tusun Pasha, Muhammad Ali's oldest son, who died in 1816.
The mosque was built on the site of old Mamluk buildings in Cairo's Citadel between 1830 and 1848, although not completed until the reign of Said Pasha in 1857. The architect was Yusuf Bushnak from Istanbul and its model was the Yeni Mosque
It is built on the site of Mamluk palaces destroyed at the behest of the patron, an act reminiscent of that of Saladin who wiped out all traces of Fatimid power by dismantling their palaces, and it also superseded the adjacent Mosque of al-Nasir Muhammad as the new state mosque. This first independent ruler of Egypt chose to build his state mosque entirely in the architectural style of his former overlords, the Ottomans, unlike the Mamluks who, despite their political submission to the Ottomans, tenaciously stuck to the architectural styles of the two Mamluk dynasties. But then, as an Ottoman governor of Albanian origin, his primary identification was with the Ottomans rather than his local subjects and he even had designs on the Sultanate for a time.
This mosque, with its general scheme consisting of a square sanctuary covered by a central dome flanked by four half-domes, is a conscious revival of Ottoman imperial style. The style, however, was not the only imperial aspect that the architect strived to emulate. The monumental scale of the sanctuary rivals that of Sultan Ahmet (1609-17); the adjoining courtyard surrounded by the typical domed porticoes is of a larger area than that of the Süleymaniye (1550-57); the slightly pointed dome, although of a diameter smaller than its Ottoman counterparts, has a profile equal in height to that of the Süleymaniye and higher than that of the Selimiye (1569-74); the height of the minarets is unrivaled by any of their Ottoman counterparts.
The mosque's decoration styles shows strong influence from the European and Ottoman renaissance, characteristic of Ottoman architecture in Istanbul from this period. The clock tower and abolition fountain are examples of this influence as are the alabaster panels, the interior design and the inside decoration of the dome.
More info available on <a href="http://archnet.org/library/sites/one-site.jsp?site_id=2080"ArchNet