had a blast this afternoon dolly play with Anj (who delivered my newly ravened Flawless Elise) and we decided to pit the new Aria against the Poppies... well, am proud that she held her own against the tweenxens! (thats teen queen vixens)

 

:)

I'ma be what I set out to be

without a doubt undoubtedly

and all those who looked down on me

I'm tearin down your balcony

 

-Lyrics from the song, "Not Afraid" by Eminem

Seen in Warrington

2nd September 2020

Gringotts Wizarding Bank is the only bank of the wizarding world, and is owned and operated by goblins. It was created by a goblin called Gringott, in 1474.

 

Goblins are extremely greedy and would protect their money and valuables at any cost, which makes them ideal guardians for the valuables of the wizarding world. The goblins have a code that forbids them to speak of the bank's secrets, and would consider it "base treachery" to break any part of that code.

 

Gringotts is an imposing snow-white multistoried marble building located partway down Diagon Alley, near its intersection with Knockturn Alley, that towers over the neighbouring shops. It is the place where British witches and wizards store their money and other valuables, in heavily-guarded vaults miles below ground.

 

From Diagon Alley, a set of white stairs leads up to a set of burnished bronze doors. The doors are flanked by a goblin in a uniform of scarlet and gold. This is the entrance to Gringotts, and it leads into a small entrance hall and another set of doors. Engraved on these silver doors are the words:

 

Enter, stranger, but take heed

Of what awaits the sin of greed

For those who take, but do not earn,

Must pay most dearly in their turn.

So if you seek beneath our floors

A treasure that was never yours,

Thief, you have been warned, beware

Of finding more than treasure there.

 

texture by .. pareeerica

 

“To be a star, you must shine your own light, follow your own path, and don't worry about the darkness, for that is when the stars shine brightest”

55002 "Kings Own Yorkshire Light Infantry" back in Edinburgh with a passenger train for the 1st time in over 30 years! 55002 KOYLI waits to depart Edinburgh Waverley to head south on 1Z60 Aberdeen - York just over 30 years since it last stood here, a place it stood many a time headed for Kings X on regular mainline duties.

Seen in Warrington

12th March 2020

Owned by local businessman Andrew Longfield this arrived in a convoy of vintage police cars - mostly the more collectable American types. This example has made various television appearances of late.

Kormakitis (Cypriot Arabic: Kurmajit; Greek: Κορμακίτης, Kormakítis; Turkish: Kormacit or Koruçam) is a small village in Cyprus. It is under the de facto control of Northern Cyprus. Kormakitis is one of four traditionally Maronite villages in Cyprus, the other three being Asomatos, Agia Marina and Karpaseia. The Maronites of Kormakitis traditionally speak their own variety of Arabic called Cypriot Maronite Arabic (CMA) in addition to Greek and recently Turkish and they follow the Catholic Maronite Church. Cape Kormakitis is named after the village.

 

All of the remaining Maronites villagers are elderly. The Republic of Cyprus government gives those who stayed in the north pensions of $670 a month per couple and around $430 for an individual. It also pays instructors to teach CMA, and funds week-long summer visits by young Maronites to put them in touch with their communal roots. Maronites also receive help from the United Nations. Every two weeks UN troops make the trip from Nicosia to deliver food, water, fuel and medical supplies across the border to the north's Maronite population. The UN aid convoy is manned by soldiers from the 12 Regiment Royal Artillery. Aid is funded by the Republic of Cyprus government but is delivered by the UN.

 

During the weekends the population of Kormakitis increases to more than 600 as displaced former residents return to visit relatives and celebrate Mass. Access has been made easier since 2003 when the Turkish Cypriot authorities relaxed rules on visits to Northern Cyprus. Many Maronites who were displaced from Kormakitis have renovated and upgraded the village and homes for weekend use.

 

There are several versions for the name of the village. The most common instance of folk etymology is related to the Maronites who arrived from Kour, Batroun. Feeling nostalgic, they used to repeat the sentence "Nahni jina wa Kour ma jit" "We came (to Cyprus) but Kour hasn't come". Another instance of folk etymology is related to the Phoenician settlement of Kormia. The present village would take its name from the expression Kormia jdide, or "New Kormia". These hypotheses seem consistent with the pronunciation of the village in Cypriot Greek (Κορματζίτης /Korma'dʒitis/) and Cypriot Turkish (Kormacit /Korma'dʒit/). The standard Greek name Kormakitis is an attempt to adjust the name to standard Greek pronunciation, whereas the new Turkish name Koruçam was made up after 1974 for political reasons.

 

Originally from Lebanon and Syria, today's Maronite community in Cyprus was shaped by four successive waves of emigration that started in the 8th century. With the Islamic conquests radiating outward from the Arab Peninsula, many Maronites abandoned Syria and Lebanon[dubious – discuss] and settled in Cyprus. In 938, the destruction of St Maron's Monastery[citation needed][dubious – discuss] in Lebanon prompted a second wave of refugees. Another three centuries passed and Crusader king Guy of Lusignan purchased Cyprus from Richard the Lionheart, leading the former to import Maronite warriors to the island to protect its coastlines. The last wave of emigration came 100 years later when Acre, last outpost of the Crusader edifice, collapsed leading to the last migration of Maronites to Cyprus. Kormakitis was originally built near Cape Kormakitis, but because of Arab raids the village was moved to its current location. The new location of the village was chosen because it provided better protection against raids and contained an ample supply of water and lush vegetation for agriculture and livestock. During the period of 1191–1489, the village of Kormakitis was one of the richest fiefs of the island, which belonged to the French feudal Denores. The Maronites at the time held 60 villages with a reported number of 60,000 and was the second largest community after the Greek Cypriots. In 1570, Kormakitis had 850 inhabitants.

 

During the Ottoman rule of Cyprus, the number of residences decreased; in 1841, there were only 200 inhabitants. Villagers who remained were highly taxed and harassed by Ottoman Turks and Greek Cypriots alike. The number of Maronites across Cyprus decreased simultaneously: In 1572, there were between 7,000 and 8,000 Maronites, living in 23 villages, while, in 1596, there were 4.000 Maronites, living in 19 villages. Under the British administration in Cyprus, the Maronite Community was promoted by the British government, whose policy was to support minorities. This resulted in better living conditions for the population of Kormakitis. By 1910, Kormakitis relied on agriculture and livestock, which produced grain, olives, beans, cotton, cocoons and other crops.

 

After Cyprus gained independence in 1960, projects were carried out within the village. In 1962, the village school was constructed, which was able to enrol 210 students and employ seven teachers. In 1965, the village was connected to the electric grid and houses were connected to water mains for the first time.

 

Following years of intercommunal violence, on 15 July 1974, there was an attempted coup d'état led by the Greek military junta to unite the island with Greece. The coup ousted president Makarios III and replaced him with pro-enosis nationalist Nikos Sampson. On 20 July 1974, the Turkish army invaded the island in response to the coup d'état. Despite the restoration of constitutional order and the return of Archbishop Makarios III to Cyprus in December 1974, the Turkish troops remained on the island occupying the northeastern portion of the island. This resulted in the island being divided into its Greek and Turkish Cypriot communities respectively. Many of Kormakitis's residents choose to migrate to the internationally recognised Republic of Cyprus.

 

Before the Turkish invasion of Cyprus, Kormakitis had around 1,000 inhabitants. The number of Maronites has since decreased. It is estimated that between 100 and 165 Maronites remained in the TRNC. The decline in population has been attributed to a lack of jobs and secondary education, leading to migration, migrating mainly to Nicosia and Limassol. During the school year 1999–2000, the Kormakitis Primary School was forced to close down, due to a lack of pupils, providing evidence of Kormakitis's declining young population.

 

In 2006, TRNC officials announced that Maronites from the village of Kormakitis have been given an opportunity to return to the village. This has been made possible by the fact that the houses and properties in question at Kormakitis, were not seized by Turkish settlers and Turkish Cypriots during the aftermath of the Turkish invasion of Cyprus. However, the Maronites have to meet a certain criteria. Firstly, they need to be the legitimate owner of a house or property in the village to be allowed to resettle. Secondly, they also have to move back to the village and reside there. Maronites are not allowed to reclaim their property and then commute to and from Kormakitis to the Republic of Cyprus controlled areas. Some 40 people, mainly elderly couples, meanwhile, have permanently resettled in the village.

 

Several churches and chapels have been built within Kormakitis and the surrounding fields. These churches and chapels belong to the Maronite Church, a denomination of the Catholic Church. Saint George's Church, located within Kormakitis was built in 1930. Devoted to the patron saint of the village the Church, construction started in 1900. The designs and plans of the church were prepared by the Maltese architect Fenec and the Maltese Civil Engineer Cafiero. The inhabitants of the village offered donations for the construction of the church. The church constituted as the official church of the Maronite Church of Cyprus, prior 1974. Today, Saint George's Church is used by the remaining inhabitants. Icons and religious items dating from the 12th century are located within the cathedral.

 

The Chapel of Saint George, often referred as Chapel of Saint George of the seeds, is a chapel situated near the Mediterranean Sea, north of Kormakitis. It was built in 1852. Every year, on 3 November, a Mass is celebrated by the Maronite Community dedicated to Saint George. This is done to coincide with the start of the agricultural season, the farmers pray to Saint George for a successful harvest. According to the tradition, after Mass, the Maronites have lunch by the sea to celebrate Saint George.

 

The Chapel of the Holy Virgin is a small chapel situated in the west of the village. The chapel was thought to have been built in 1453. Recently renovated it is frequently visited.

 

The Chapel of Saint George, often referred as Chapel of Saint George of the Nuns, is a chapel situated next to the monastery of the Franciscan sisters, in the center of the village. It was built in 1534 and was the first chapel to be built inside the village. The monastery of the Franciscan sisters was built in 1936, next to the village's square.

 

Northern Cyprus, officially the Turkish Republic of Northern Cyprus (TRNC), is a de facto state that comprises the northeastern portion of the island of Cyprus. It is recognised only by Turkey, and its territory is considered by all other states to be part of the Republic of Cyprus.

 

Northern Cyprus extends from the tip of the Karpass Peninsula in the northeast to Morphou Bay, Cape Kormakitis and its westernmost point, the Kokkina exclave in the west. Its southernmost point is the village of Louroujina. A buffer zone under the control of the United Nations stretches between Northern Cyprus and the rest of the island and divides Nicosia, the island's largest city and capital of both sides.

 

A coup d'état in 1974, performed as part of an attempt to annex the island to Greece, prompted the Turkish invasion of Cyprus. This resulted in the eviction of much of the north's Greek Cypriot population, the flight of Turkish Cypriots from the south, and the partitioning of the island, leading to a unilateral declaration of independence by the north in 1983. Due to its lack of recognition, Northern Cyprus is heavily dependent on Turkey for economic, political and military support.

 

Attempts to reach a solution to the Cyprus dispute have been unsuccessful. The Turkish Army maintains a large force in Northern Cyprus with the support and approval of the TRNC government, while the Republic of Cyprus, the European Union as a whole, and the international community regard it as an occupation force. This military presence has been denounced in several United Nations Security Council resolutions.

 

Northern Cyprus is a semi-presidential, democratic republic with a cultural heritage incorporating various influences and an economy that is dominated by the services sector. The economy has seen growth through the 2000s and 2010s, with the GNP per capita more than tripling in the 2000s, but is held back by an international embargo due to the official closure of the ports in Northern Cyprus by the Republic of Cyprus. The official language is Turkish, with a distinct local dialect being spoken. The vast majority of the population consists of Sunni Muslims, while religious attitudes are mostly moderate and secular. Northern Cyprus is an observer state of ECO and OIC under the name "Turkish Cypriot State", PACE under the name "Turkish Cypriot Community", and Organization of Turkic States with its own name.

 

Several distinct periods of Cypriot intercommunal violence involving the two main ethnic communities, Greek Cypriots and Turkish Cypriots, marked mid-20th century Cyprus. These included the Cyprus Emergency of 1955–59 during British rule, the post-independence Cyprus crisis of 1963–64, and the Cyprus crisis of 1967. Hostilities culminated in the 1974 de facto division of the island along the Green Line following the Turkish invasion of Cyprus. The region has been relatively peaceful since then, but the Cyprus dispute has continued, with various attempts to solve it diplomatically having been generally unsuccessful.

 

Cyprus, an island lying in the eastern Mediterranean, hosted a population of Greeks and Turks (four-fifths and one-fifth, respectively), who lived under British rule in the late nineteenth-century and the first half of the twentieth-century. Christian Orthodox Church of Cyprus played a prominent political role among the Greek Cypriot community, a privilege that it acquired during the Ottoman Empire with the employment of the millet system, which gave the archbishop an unofficial ethnarch status.

 

The repeated rejections by the British of Greek Cypriot demands for enosis, union with Greece, led to armed resistance, organised by the National Organization of Cypriot Struggle, or EOKA. EOKA, led by the Greek-Cypriot commander George Grivas, systematically targeted British colonial authorities. One of the effects of EOKA's campaign was to alter the Turkish position from demanding full reincorporation into Turkey to a demand for taksim (partition). EOKA's mission and activities caused a "Cretan syndrome" (see Turkish Resistance Organisation) within the Turkish Cypriot community, as its members feared that they would be forced to leave the island in such a case as had been the case with Cretan Turks. As such, they preferred the continuation of British colonial rule and then taksim, the division of the island. Due to the Turkish Cypriots' support for the British, EOKA's leader, Georgios Grivas, declared them to be enemies. The fact that the Turks were a minority was, according to Nihat Erim, to be addressed by the transfer of thousands of Turks from mainland Turkey so that Greek Cypriots would cease to be the majority. When Erim visited Cyprus as the Turkish representative, he was advised by Field Marshal Sir John Harding, the then Governor of Cyprus, that Turkey should send educated Turks to settle in Cyprus.

 

Turkey actively promoted the idea that on the island of Cyprus two distinctive communities existed, and sidestepped its former claim that "the people of Cyprus were all Turkish subjects". In doing so, Turkey's aim to have self-determination of two to-be equal communities in effect led to de jure partition of the island.[citation needed] This could be justified to the international community against the will of the majority Greek population of the island. Dr. Fazil Küçük in 1954 had already proposed Cyprus be divided in two at the 35° parallel.

 

Lindley Dan, from Notre Dame University, spotted the roots of intercommunal violence to different visions among the two communities of Cyprus (enosis for Greek Cypriots, taksim for Turkish Cypriots). Also, Lindlay wrote that "the merging of church, schools/education, and politics in divisive and nationalistic ways" had played a crucial role in creation of havoc in Cyprus' history. Attalides Michael also pointed to the opposing nationalisms as the cause of the Cyprus problem.

 

By the mid-1950's, the "Cyprus is Turkish" party, movement, and slogan gained force in both Cyprus and Turkey. In a 1954 editorial, Turkish Cypriot leader Dr. Fazil Kuchuk expressed the sentiment that the Turkish youth had grown up with the idea that "as soon as Great Britain leaves the island, it will be taken over by the Turks", and that "Turkey cannot tolerate otherwise". This perspective contributed to the willingness of Turkish Cypriots to align themselves with the British, who started recruiting Turkish Cypriots into the police force that patrolled Cyprus to fight EOKA, a Greek Cypriot nationalist organisation that sought to rid the island of British rule.

 

EOKA targeted colonial authorities, including police, but Georgios Grivas, the leader of EOKA, did not initially wish to open up a new front by fighting Turkish Cypriots and reassured them that EOKA would not harm their people. In 1956, some Turkish Cypriot policemen were killed by EOKA members and this provoked some intercommunal violence in the spring and summer, but these attacks on policemen were not motivated by the fact that they were Turkish Cypriots.

 

However, in January 1957, Grivas changed his policy as his forces in the mountains became increasingly pressured by the British Crown forces. In order to divert the attention of the Crown forces, EOKA members started to target Turkish Cypriot policemen intentionally in the towns, so that Turkish Cypriots would riot against the Greek Cypriots and the security forces would have to be diverted to the towns to restore order. The killing of a Turkish Cypriot policeman on 19 January, when a power station was bombed, and the injury of three others, provoked three days of intercommunal violence in Nicosia. The two communities targeted each other in reprisals, at least one Greek Cypriot was killed and the British Army was deployed in the streets. Greek Cypriot stores were burned and their neighbourhoods attacked. Following the events, the Greek Cypriot leadership spread the propaganda that the riots had merely been an act of Turkish Cypriot aggression. Such events created chaos and drove the communities apart both in Cyprus and in Turkey.

 

On 22 October 1957 Sir Hugh Mackintosh Foot replaced Sir John Harding as the British Governor of Cyprus. Foot suggested five to seven years of self-government before any final decision. His plan rejected both enosis and taksim. The Turkish Cypriot response to this plan was a series of anti-British demonstrations in Nicosia on 27 and 28 January 1958 rejecting the proposed plan because the plan did not include partition. The British then withdrew the plan.

 

In 1957, Black Gang, a Turkish Cypriot pro-taksim paramilitary organisation, was formed to patrol a Turkish Cypriot enclave, the Tahtakale district of Nicosia, against activities of EOKA. The organisation later attempted to grow into a national scale, but failed to gain public support.

 

By 1958, signs of dissatisfaction with the British increased on both sides, with a group of Turkish Cypriots forming Volkan (later renamed to the Turkish Resistance Organisation) paramilitary group to promote partition and the annexation of Cyprus to Turkey as dictated by the Menderes plan. Volkan initially consisted of roughly 100 members, with the stated aim of raising awareness in Turkey of the Cyprus issue and courting military training and support for Turkish Cypriot fighters from the Turkish government.

 

In June 1958, the British Prime Minister, Harold Macmillan, was expected to propose a plan to resolve the Cyprus issue. In light of the new development, the Turks rioted in Nicosia to promote the idea that Greek and Turkish Cypriots could not live together and therefore any plan that did not include partition would not be viable. This violence was soon followed by bombing, Greek Cypriot deaths and looting of Greek Cypriot-owned shops and houses. Greek and Turkish Cypriots started to flee mixed population villages where they were a minority in search of safety. This was effectively the beginning of the segregation of the two communities. On 7 June 1958, a bomb exploded at the entrance of the Turkish Embassy in Cyprus. Following the bombing, Turkish Cypriots looted Greek Cypriot properties. On 26 June 1984, the Turkish Cypriot leader, Rauf Denktaş, admitted on British channel ITV that the bomb was placed by the Turks themselves in order to create tension. On 9 January 1995, Rauf Denktaş repeated his claim to the famous Turkish newspaper Milliyet in Turkey.

 

The crisis reached a climax on 12 June 1958, when eight Greeks, out of an armed group of thirty five arrested by soldiers of the Royal Horse Guards on suspicion of preparing an attack on the Turkish quarter of Skylloura, were killed in a suspected attack by Turkish Cypriot locals, near the village of Geunyeli, having been ordered to walk back to their village of Kondemenos.

 

After the EOKA campaign had begun, the British government successfully began to turn the Cyprus issue from a British colonial problem into a Greek-Turkish issue. British diplomacy exerted backstage influence on the Adnan Menderes government, with the aim of making Turkey active in Cyprus. For the British, the attempt had a twofold objective. The EOKA campaign would be silenced as quickly as possible, and Turkish Cypriots would not side with Greek Cypriots against the British colonial claims over the island, which would thus remain under the British. The Turkish Cypriot leadership visited Menderes to discuss the Cyprus issue. When asked how the Turkish Cypriots should respond to the Greek Cypriot claim of enosis, Menderes replied: "You should go to the British foreign minister and request the status quo be prolonged, Cyprus to remain as a British colony". When the Turkish Cypriots visited the British Foreign Secretary and requested for Cyprus to remain a colony, he replied: "You should not be asking for colonialism at this day and age, you should be asking for Cyprus be returned to Turkey, its former owner".

 

As Turkish Cypriots began to look to Turkey for protection, Greek Cypriots soon understood that enosis was extremely unlikely. The Greek Cypriot leader, Archbishop Makarios III, now set independence for the island as his objective.

 

Britain resolved to solve the dispute by creating an independent Cyprus. In 1959, all involved parties signed the Zurich Agreements: Britain, Turkey, Greece, and the Greek and Turkish Cypriot leaders, Makarios and Dr. Fazil Kucuk, respectively. The new constitution drew heavily on the ethnic composition of the island. The President would be a Greek Cypriot, and the Vice-President a Turkish Cypriot with an equal veto. The contribution to the public service would be set at a ratio of 70:30, and the Supreme Court would consist of an equal number of judges from both communities as well as an independent judge who was not Greek, Turkish or British. The Zurich Agreements were supplemented by a number of treaties. The Treaty of Guarantee stated that secession or union with any state was forbidden, and that Greece, Turkey and Britain would be given guarantor status to intervene if that was violated. The Treaty of Alliance allowed for two small Greek and Turkish military contingents to be stationed on the island, and the Treaty of Establishment gave Britain sovereignty over two bases in Akrotiri and Dhekelia.

 

On 15 August 1960, the Colony of Cyprus became fully independent as the Republic of Cyprus. The new republic remained within the Commonwealth of Nations.

 

The new constitution brought dissatisfaction to Greek Cypriots, who felt it to be highly unjust for them for historical, demographic and contributional reasons. Although 80% of the island's population were Greek Cypriots and these indigenous people had lived on the island for thousands of years and paid 94% of taxes, the new constitution was giving the 17% of the population that was Turkish Cypriots, who paid 6% of taxes, around 30% of government jobs and 40% of national security jobs.

 

Within three years tensions between the two communities in administrative affairs began to show. In particular disputes over separate municipalities and taxation created a deadlock in government. A constitutional court ruled in 1963 Makarios had failed to uphold article 173 of the constitution which called for the establishment of separate municipalities for Turkish Cypriots. Makarios subsequently declared his intention to ignore the judgement, resulting in the West German judge resigning from his position. Makarios proposed thirteen amendments to the constitution, which would have had the effect of resolving most of the issues in the Greek Cypriot favour. Under the proposals, the President and Vice-President would lose their veto, the separate municipalities as sought after by the Turkish Cypriots would be abandoned, the need for separate majorities by both communities in passing legislation would be discarded and the civil service contribution would be set at actual population ratios (82:18) instead of the slightly higher figure for Turkish Cypriots.

 

The intention behind the amendments has long been called into question. The Akritas plan, written in the height of the constitutional dispute by the Greek Cypriot interior minister Polycarpos Georkadjis, called for the removal of undesirable elements of the constitution so as to allow power-sharing to work. The plan envisaged a swift retaliatory attack on Turkish Cypriot strongholds should Turkish Cypriots resort to violence to resist the measures, stating "In the event of a planned or staged Turkish attack, it is imperative to overcome it by force in the shortest possible time, because if we succeed in gaining command of the situation (in one or two days), no outside, intervention would be either justified or possible." Whether Makarios's proposals were part of the Akritas plan is unclear, however it remains that sentiment towards enosis had not completely disappeared with independence. Makarios described independence as "a step on the road to enosis".[31] Preparations for conflict were not entirely absent from Turkish Cypriots either, with right wing elements still believing taksim (partition) the best safeguard against enosis.

 

Greek Cypriots however believe the amendments were a necessity stemming from a perceived attempt by Turkish Cypriots to frustrate the working of government. Turkish Cypriots saw it as a means to reduce their status within the state from one of co-founder to that of minority, seeing it as a first step towards enosis. The security situation deteriorated rapidly.

 

Main articles: Bloody Christmas (1963) and Battle of Tillyria

An armed conflict was triggered after December 21, 1963, a period remembered by Turkish Cypriots as Bloody Christmas, when a Greek Cypriot policemen that had been called to help deal with a taxi driver refusing officers already on the scene access to check the identification documents of his customers, took out his gun upon arrival and shot and killed the taxi driver and his partner. Eric Solsten summarised the events as follows: "a Greek Cypriot police patrol, ostensibly checking identification documents, stopped a Turkish Cypriot couple on the edge of the Turkish quarter. A hostile crowd gathered, shots were fired, and two Turkish Cypriots were killed."

 

In the morning after the shooting, crowds gathered in protest in Northern Nicosia, likely encouraged by the TMT, without incident. On the evening of the 22nd, gunfire broke out, communication lines to the Turkish neighbourhoods were cut, and the Greek Cypriot police occupied the nearby airport. On the 23rd, a ceasefire was negotiated, but did not hold. Fighting, including automatic weapons fire, between Greek and Turkish Cypriots and militias increased in Nicosia and Larnaca. A force of Greek Cypriot irregulars led by Nikos Sampson entered the Nicosia suburb of Omorphita and engaged in heavy firing on armed, as well as by some accounts unarmed, Turkish Cypriots. The Omorphita clash has been described by Turkish Cypriots as a massacre, while this view has generally not been acknowledged by Greek Cypriots.

 

Further ceasefires were arranged between the two sides, but also failed. By Christmas Eve, the 24th, Britain, Greece, and Turkey had joined talks, with all sides calling for a truce. On Christmas day, Turkish fighter jets overflew Nicosia in a show of support. Finally it was agreed to allow a force of 2,700 British soldiers to help enforce a ceasefire. In the next days, a "buffer zone" was created in Nicosia, and a British officer marked a line on a map with green ink, separating the two sides of the city, which was the beginning of the "Green Line". Fighting continued across the island for the next several weeks.

 

In total 364 Turkish Cypriots and 174 Greek Cypriots were killed during the violence. 25,000 Turkish Cypriots from 103-109 villages fled and were displaced into enclaves and thousands of Turkish Cypriot houses were ransacked or completely destroyed.

 

Contemporary newspapers also reported on the forceful exodus of the Turkish Cypriots from their homes. According to The Times in 1964, threats, shootings and attempts of arson were committed against the Turkish Cypriots to force them out of their homes. The Daily Express wrote that "25,000 Turks have already been forced to leave their homes". The Guardian reported a massacre of Turks at Limassol on 16 February 1964.

 

Turkey had by now readied its fleet and its fighter jets appeared over Nicosia. Turkey was dissuaded from direct involvement by the creation of a United Nations Peacekeeping Force in Cyprus (UNFICYP) in 1964. Despite the negotiated ceasefire in Nicosia, attacks on the Turkish Cypriot persisted, particularly in Limassol. Concerned about the possibility of a Turkish invasion, Makarios undertook the creation of a Greek Cypriot conscript-based army called the "National Guard". A general from Greece took charge of the army, whilst a further 20,000 well-equipped officers and men were smuggled from Greece into Cyprus. Turkey threatened to intervene once more, but was prevented by a strongly worded letter from the American President Lyndon B. Johnson, anxious to avoid a conflict between NATO allies Greece and Turkey at the height of the Cold War.

 

Turkish Cypriots had by now established an important bridgehead at Kokkina, provided with arms, volunteers and materials from Turkey and abroad. Seeing this incursion of foreign weapons and troops as a major threat, the Cypriot government invited George Grivas to return from Greece as commander of the Greek troops on the island and launch a major attack on the bridgehead. Turkey retaliated by dispatching its fighter jets to bomb Greek positions, causing Makarios to threaten an attack on every Turkish Cypriot village on the island if the bombings did not cease. The conflict had now drawn in Greece and Turkey, with both countries amassing troops on their Thracian borders. Efforts at mediation by Dean Acheson, a former U.S. Secretary of State, and UN-appointed mediator Galo Plaza had failed, all the while the division of the two communities becoming more apparent. Greek Cypriot forces were estimated at some 30,000, including the National Guard and the large contingent from Greece. Defending the Turkish Cypriot enclaves was a force of approximately 5,000 irregulars, led by a Turkish colonel, but lacking the equipment and organisation of the Greek forces.

 

The Secretary-General of the United Nations in 1964, U Thant, reported the damage during the conflicts:

 

UNFICYP carried out a detailed survey of all damage to properties throughout the island during the disturbances; it shows that in 109 villages, most of them Turkish-Cypriot or mixed villages, 527 houses have been destroyed while 2,000 others have suffered damage from looting.

 

The situation worsened in 1967, when a military junta overthrew the democratically elected government of Greece, and began applying pressure on Makarios to achieve enosis. Makarios, not wishing to become part of a military dictatorship or trigger a Turkish invasion, began to distance himself from the goal of enosis. This caused tensions with the junta in Greece as well as George Grivas in Cyprus. Grivas's control over the National Guard and Greek contingent was seen as a threat to Makarios's position, who now feared a possible coup.[citation needed] The National Guard and Cyprus Police began patrolling the Turkish Cypriot enclaves of Ayios Theodoros and Kophinou, and on November 15 engaged in heavy fighting with the Turkish Cypriots.

 

By the time of his withdrawal 26 Turkish Cypriots had been killed. Turkey replied with an ultimatum demanding that Grivas be removed from the island, that the troops smuggled from Greece in excess of the limits of the Treaty of Alliance be removed, and that the economic blockades on the Turkish Cypriot enclaves be lifted. Grivas was recalled by the Athens Junta and the 12,000 Greek troops were withdrawn. Makarios now attempted to consolidate his position by reducing the number of National Guard troops, and by creating a paramilitary force loyal to Cypriot independence. In 1968, acknowledging that enosis was now all but impossible, Makarios stated, "A solution by necessity must be sought within the limits of what is feasible which does not always coincide with the limits of what is desirable."

 

After 1967 tensions between the Greek and Turkish Cypriots subsided. Instead, the main source of tension on the island came from factions within the Greek Cypriot community. Although Makarios had effectively abandoned enosis in favour of an 'attainable solution', many others continued to believe that the only legitimate political aspiration for Greek Cypriots was union with Greece.

 

On his arrival, Grivas began by establishing a nationalist paramilitary group known as the National Organization of Cypriot Fighters (Ethniki Organosis Kyprion Agoniston B or EOKA-B), drawing comparisons with the EOKA struggle for enosis under the British colonial administration of the 1950s.

 

The military junta in Athens saw Makarios as an obstacle. Makarios's failure to disband the National Guard, whose officer class was dominated by mainland Greeks, had meant the junta had practical control over the Cypriot military establishment, leaving Makarios isolated and a vulnerable target.

 

During the first Turkish invasion, Turkish troops invaded Cyprus territory on 20 July 1974, invoking its rights under the Treaty of Guarantee. This expansion of Turkish-occupied zone violated International Law as well as the Charter of the United Nations. Turkish troops managed to capture 3% of the island which was accompanied by the burning of the Turkish Cypriot quarter, as well as the raping and killing of women and children. A temporary cease-fire followed which was mitigated by the UN Security Council. Subsequently, the Greek military Junta collapsed on July 23, 1974, and peace talks commenced in which a democratic government was installed. The Resolution 353 was broken after Turkey attacked a second time and managed to get a hold of 37% of Cyprus territory. The Island of Cyprus was appointed a Buffer Zone by the United Nations, which divided the island into two zones through the 'Green Line' and put an end to the Turkish invasion. Although Turkey announced that the occupied areas of Cyprus to be called the Federated Turkish State in 1975, it is not legitimised on a worldwide political scale. The United Nations called for the international recognition of independence for the Republic of Cyprus in the Security Council Resolution 367.

 

In the years after the Turkish invasion of northern Cyprus one can observe a history of failed talks between the two parties. The 1983 declaration of the independent Turkish Republic of Cyprus resulted in a rise of inter-communal tensions and made it increasingly hard to find mutual understanding. With Cyprus' interest of a possible EU membership and a new UN Secretary-General Kofi Annan in 1997 new hopes arose for a fresh start. International involvement from sides of the US and UK, wanting a solution to the Cyprus dispute prior to the EU accession led to political pressures for new talks. The believe that an accession without a solution would threaten Greek-Turkish relations and acknowledge the partition of the island would direct the coming negotiations.

 

Over the course of two years a concrete plan, the Annan plan was formulated. In 2004 the fifth version agreed upon from both sides and with the endorsement of Turkey, US, UK and EU then was presented to the public and was given a referendum in both Cypriot communities to assure the legitimisation of the resolution. The Turkish Cypriots voted with 65% for the plan, however the Greek Cypriots voted with a 76% majority against. The Annan plan contained multiple important topics. Firstly it established a confederation of two separate states called the United Cyprus Republic. Both communities would have autonomous states combined under one unified government. The members of parliament would be chosen according to the percentage in population numbers to ensure a just involvement from both communities. The paper proposed a demilitarisation of the island over the next years. Furthermore it agreed upon a number of 45000 Turkish settlers that could remain on the island. These settlers became a very important issue concerning peace talks. Originally the Turkish government encouraged Turks to settle in Cyprus providing transfer and property, to establish a counterpart to the Greek Cypriot population due to their 1 to 5 minority. With the economic situation many Turkish-Cypriot decided to leave the island, however their departure is made up by incoming Turkish settlers leaving the population ratio between Turkish Cypriots and Greek Cypriots stable. However all these points where criticised and as seen in the vote rejected mainly by the Greek Cypriots. These name the dissolution of the „Republic of Cyprus", economic consequences of a reunion and the remaining Turkish settlers as reason. Many claim that the plan was indeed drawing more from Turkish-Cypriot demands then Greek-Cypriot interests. Taking in consideration that the US wanted to keep Turkey as a strategic partner in future Middle Eastern conflicts.

 

A week after the failed referendum the Republic of Cyprus joined the EU. In multiple instances the EU tried to promote trade with Northern Cyprus but without internationally recognised ports this spiked a grand debate. Both side endure their intention of negotiations, however without the prospect of any new compromises or agreements the UN is unwilling to start the process again. Since 2004 negotiations took place in numbers but without any results, both sides are strongly holding on to their position without an agreeable solution in sight that would suit both parties.

Owned and operated by the Shuttleworth Collection, Hawker Hind K5415 (G-AENP) is seen flying with the Collection's 1937 Hawker Demon, K8203 (G-BTVE) at the Collection's 50th Anniversary Air Show.

 

The British Hawker Hind was an RAF light bomber of the inter-war years produced by Hawker Aircraft. It was a development of the Hawker Hart day-bomber that had been introduced in 1931.

 

It was purchased by the RAF as an interim aircraft while more modern monoplane bombers such as the Fairey Battle were still in development. Structural elements were a mixture of steel and duralumin with the wings being fabric-covered while the main differences compared to the earlier Hart was a new powerplant, the Rolls Royce Kestrel V, and the inclusion of refinements from the earlier derivatives such as the cut-down rear cockpit developed for the Demon.

 

The Hind went into service in November 1935 and eventually equipped 20 RAF bomber squadrons. A number were also sold to foreign customers. By 1937, the Hind was being phased out of front-line service, replaced by the Fairey Battle and Bristol Blenheim, and with many of the Auxiliary Air Force squadrons changing role to fighter or maritime patrol units.

 

The Hawker Demon was a fighter variant of the Hart light bomber. During air defence exercises, the RAF's Siskin and Bulldog fighters were often unable to intercept the new Hart bombers, which were sometimes instructed to restrict their height and speed in order to give the fighters a chance(!), which prompted the development of a fighter variant of the Hart.

 

The new fighter variant added a second Vickers machine-gun, while the coaming of the rear cockpit was angled to give a better field of fire, and a supercharged Kestrel IS engine was fitted. The Demon's first flight was on 10 February 1933.

 

305 were built, including 232 for the RAF. The Demon was powered by varying versions of the Kestrel engine. It had an armament of a single rear .303-inch Lewis Gun with two fixed .303-inch Vickers machine-guns in the nose. Many were fitted with a hydraulically-powered turret in the rear gunner's position. Demons were also sold to the RAAF. It saw only second-line operations during the Second World War.

Warhol’s Own Thing

 

“This is the spirit of The Factory. This is the energy of The Factory. Let people come together and see what happens. Turn on the film camera, we don’t have a script, but you put on a cowboy hat and you take off your clothes, and let the screenplay happen in front of the lens of the camera.”

 

In 1968, Joe Dallesandro starred in Warhol’s film “Flesh” as a male prostitute. His second starring vehicle, “Trash,” was declared the “Best Film of 1970” by Rolling Stone magazine, making him a star of the youth culture and sexual revolution. He also starred in 1972’s “Heat,” another Warhol film, conceived as a parody of the film “Sunset Boulevard.” Later, Dallesandro crossed over into mainstream roles such as mobster Lucky Luciano in “The Cotton Club” (1984). [Source: Wikipedia]

 

Dallesandro as Lucky Luciano: www.youtube.com/watch?v=MQf7esKj4OE

 

Up close...and personal?

Digital images from rawpixel's own physical collection of antique chromolithographic plates

 

Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.

 

Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/board/427285/rawpixel-original-lithographs

I was on a flight back from Las Vegas that stopped over in Minneapolis for a connecting flight. For the three hours while I was at the airport I took photos.

 

I don't expect everyone to understand what I'm trying to do here, I agree it can be pretty boring on first or second glance. There's no pretty trees or glorious sunset, that's just not my cup of custard. This is the sort of thing I like to do, that I enjoy watching. Moments like this in airports are everywhere and just not explored enough.

 

It's a social documentary in a photo, the title probably gives that away. This is the sort of scene that I wait and wait for. Being in the right position to take a straight on, or 2D picture that has depth. In some ways, very similar to the very first upload on this stream.

Things I'd like you to notice: The appropriate use of thirds, subtle reflections and lack of any distortion at the edge of the frames. But mostly, I'd like you to make your own mind up about it and tell me what you notice that I may have not.

 

I'd also like to mention Arty in the same breath. It is reminiscent of his quirky Martin Parr like style street photography, although he doesn't lack the words that I do.

 

Canon 1Dm3, f/4, 24-105mm@65mm, ISO500.

Owned and managed by Sam Edwards.

 

Owned By: Troje's Trash

Unit Number: N/A

Type of Truck: Rear Loader

Body: Leach 2RII

Chassis: CCC

Fuel Type: Diesel

Additional Notes:

The Simpsons is an American animated sitcom created by Matt Groening for the Fox Broadcasting Company. Developed by Groening, James L. Brooks, and Sam Simon, the series is a satirical depiction of American life, epitomized by the Simpson family, which consists of Homer, Marge, Bart, Lisa, and Maggie. Set in the fictional town of Springfield, it caricatures society, Western culture, television, and the human condition.

 

The family was conceived by Groening shortly before a solicitation for a series of animated shorts with producer Brooks. He created a dysfunctional family and named the characters after his own family members, substituting Bart for his own name; he thought Simpson was a funny name in that it sounded similar to "simpleton". The shorts became a part of The Tracey Ullman Show on April 19, 1987. After three seasons, the sketch was developed into a half-hour prime time show and became Fox's first series to land in the Top 30 ratings in a season (1989–1990).

 

Since its debut on December 17, 1989, 762 episodes of the show have been broadcast. It is the longest-running American animated series, longest-running American sitcom, and the longest-running American scripted primetime television series, both in seasons and individual episodes. A feature-length film, The Simpsons Movie, was released in theaters worldwide on July 27, 2007, to critical and commercial success, with a sequel in development as of 2018. The series has also spawned numerous comic book series, video games, books, and other related media, as well as a billion-dollar merchandising industry. The Simpsons is a joint production by Gracie Films and 20th Television.

 

On January 26, 2023, the series was renewed for its 35th and 36th seasons, taking the show through the 2024–25 television season. Both seasons contain a combined total of 51 episodes. Seven of these episodes are season 34 holdovers, while the other 44 will be produced in the production cycle of the upcoming seasons, bringing the show's overall episode total up to 801. Season 35 premiered on October 1, 2023.

 

The Simpsons received widespread acclaim throughout its early seasons in the 1990s, which are generally considered its "golden age". Since then, it has been criticized for a perceived decline in quality. Time named it the 20th century's best television series, and Erik Adams of The A.V. Club named it "television's crowning achievement regardless of format". On January 14, 2000, the Simpson family was awarded a star on the Hollywood Walk of Fame. It has won dozens of awards since it debuted as a series, including 35 Primetime Emmy Awards, 34 Annie Awards, and 2 Peabody Awards. Homer's exclamatory catchphrase of "D'oh!" has been adopted into the English language, while The Simpsons has influenced many other later adult-oriented animated sitcom television series.

 

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

Warrington's Own Buses SN11FFR 220 seen coming into Altrincham Interchange on CatX5 to Manchester Airport

“Do What U Want” ―Lady Gaga & Christina Aguilera, 2013

 

vimeo.com/82168652

 

“You can't stop my voice cause 🎶

You don't own my life but 💃

Do what you want with my body

(Do what you want) with my body” 🌺

I took my own advice (www.the-digital-picture.com/Pictures/Picture.aspx?Picture...) and left the crazy cold N 40° latitude (-4° F/-20° C) for the warmer weather of Florida and just over a week of (primarily) bird photography. Although I had a 5D Mark III and 1D X along, the Canon EOS 7D Mark II was glued to my hand for most of this trip and the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens was glued to the camera most of that time. As noted in the title, this combination rocked and with relatively-cooperative birds, my take-home is a bit voluminous.

 

The subject shown here is a Great Blue Heron in breeding plumage. To capture this image, my first priority was to get in line between the sun and the bird with the low, late-day sun creating good subject lighting. By maneuvering to a slightly lower vantage point than the bird, I was able to create a background composed completely of blue sky. No distractions there.

 

A big challenge remaining was to get the bird properly aligned for a pleasing composition. A side-on angle to the bird with the head straight or turned slightly towards the camera usually works great. The challenge in getting that angle was that the bird, especially its head and neck, was constantly moving. I selected the top-right AF point in the center block of AF points (closely aligned with the bird's eye) and when the bird was in a position that worked for me, I quickly captured the image.

 

I was shooting handheld for maneuverability and setup speed reasons. The 7D II and 100-400 L II combo's size and weight are especially nice for this type of shooting.

 

Some are asking if the 7D II images are sharp enough for serious work and I can assure you that the answer is "Yes." EOS 7D II images are very sharp. Because ultimate image sharpness capabilities are not completely discernible from reduced-size images, I have made the full-size version of this image available for download. Get more information here: www.the-digital-picture.com/Pictures/Picture.aspx?Picture...

 

Gear Used:

Canon EOS 7D Mark II

Canon EF 100-400mm f/4.5-5.6L IS II USM Lens

 

Camera and Lens Settings:

182mm f/8.0 1/500s ISO 100 5472 x 3648px

 

Click on the image to view large. Get more camera gear and photo information at www.the-digital-picture.com/

 

#canon #canonphotographers #canon7dmarkii #telephoto

#bird #birds #birdphotography #birdphoto #birdsunlimited #beautifulbeautifulbirds #birdsinfocus #birds4all #birdsgallery #hqspbirds #heron #greatblueheron

#usa #florida #southwestflorida #swflorida #captiva #sanibel #sanibelisland #photo #photography #showyourbestwork

Parco Naturale Regionale Sirente-Velino

950001 2Q08 Serco Railtest Track Recording Unit (TRU). Owned by Network Rail but operated by Serco Rail Operations, the TRU was purpose-built and utilised the final class 150/1 unit from the original batch built at York. The TRU comprises vehicles DB999600 and DB999601 and is designed to monitor and record track geometry. This trip was unusual in the sense in that in ran in daylight, we don't get many daylight test trains in the Valleys and it's even more unusual it ran on a Saturday, I can't remember the last test train I saw on a Saturday. 2Q08 ran from ADJ to ADJ via Pontypridd and Machen Quarry seen northbound through Taffs Well nr Cardiff on Saturday 01.11.2014

Owned by: Pendpac Mfg.

Chassis: Autocar Xpeditor WXLL

Body: Pendpac (Sprinter)

Type of truck: Automated Side Loader

Additional notes: N/A

Location of photo: found on Pendpac FB page

I’ve been so caught up in my own life of weddings, real work, kids, buying my first house and everything else that I almost forgot that the coming weeks will be peak season for California Wildflowers. I know there is a good group on here dedicated to Fall color but nothing dedicated to those precious few weeks where California gets carpets of amazing wild flowers. So, I decided to create one:

SoCal Wildflower Hunters

 

Feel free to join and add. I put up some links to some resources to find out where you can go to see these wildflowers, and if I get my act together (and a free weekend), I might even try to coordinate a field trip up to one of these spots.

 

I am/was going to organize a group meet tomorrow down at the beach, but right now it’s looking like it’s going to rain.. But if it’s nice inland, I might do some wildflower hunting. Or do the right thing, and start packing up my house.

 

Have a warm weekend all! Make sure you take the time to smell the flowers.

  

Matt owns the long boat Huckleberry which is moored on the River Thames for 6 months of the year. Matt then moves the boat around the country for the next 6 months. It was a cold misty day at the top lock at Hillmorton when I met Matt. We engaged in a long conversation about his travels through the canal network. He was coming into Hillmorton to have some work done on Huckleberry at the boat yard. What started our conversation was the wooden stump with a top surface display of beer caps.

 

This picture is #31 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page.

www.flickr.com/groups/100strangers/

Mirvac has backed its own development by taking up a lease in its new 200 George Street site for the next 10 years.

 

It will be a new era for the diversified developer, which relocated to its 60 Margaret Street head office about 10 years ago from the original home at North Sydney.

 

Mirvac will join Ernst & Young, which, with 81 per cent, is the anchor for 200 George Street, now under construction.

 

The new tower at 200 George Street is owned jointly by Mirvac Property Trust and the AMP Capital Wholesale Office Fund, but Mirvac has earmarked the adjoining properties at 210-220 George Street for sale as part of its capital "recycling" strategy.

Source SMH

 

Client: Mirvac

Architect: FJMT

Contractor: Mirvac Construction

Year: 2012 - Current

Location: Sydney

Type: Commercial

Image Credit: Mirvac/FJMT

Source: Surface Design

I do not own this wonderful surviver, On occasion am asked my experienced opinion of the Value of such a rare find ! I'm not an auctioneer nor an appraiser ! even with the depth of my experience ! what was asked if there was any evidence of originality ! this I can handle, the only observed flaw was an intermittent headlight cover door, with minor easily corrected engine compartment lamp, re- pluged the wire to the lamp assembly, as it was also noted this sample was serial numbered identification was within 65 units as left the assembly plant in Bowling Green compared to my own ! needed was spray wash the vehicle and a few noted area's how to maintain, as well a resourceful official business's to acquire replacements. would correctly identify " Value " ! one note also is current Market Value with authenticating there is no evidence of rust ( New Mexico ) point in trade ! no abuse and none of the hardware shows evidence of ever been disassembled ! then Given advice, run it or remove all traces of fuel, and disconnect the battery for storage ! also noted no activity with jacking, noted, and one of the greatest is the rarity of option 4+3 = 7 speed manual transmission ! Meanwhile I'll continue my time consuming Project 1993 Starcraft Custom Sports Van, Enjoy the moment !

Swiss-German-British postcard by News Productions, Baulmes / Filmwelt Berlin, Bakede / News Productions, Stroud, no. 56550. Photo: MGM / Collection Cinémathèque Suisse, Lausanne.

 

Stone-faced Buster Keaton (1895-1966) was one of the three greatest comedians of Silent Hollywood.

 

Buster Keaton was born Joseph Frank Keaton in 1895 into a vaudeville family. His father was Joseph Hallie ‘Joe’ Keaton, who owned a travelling show with Harry Houdini called the Mohawk Indian Medicine Company. Keaton was born in Piqua, Kansas, the small town where his mother, Myra Keaton (née Myra Edith Cutler), happened to go into labour. By the time he was 3, Keaton began performing with his parents in The Three Keatons. He was being thrown around the stage and into the orchestra pit, or even into the audience. His little suits even had a handle concealed at the waist, so Joe could sling him like luggage. "It was the roughest knockabout act that was ever in the history of the theatre," Keaton told the historian Kevin Brownlow. It led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. Noticing that his laughing drew fewer laughs from the audience, Keaton adopted his famous deadpan expression whenever he was working. For the rest of his career, Keaton was "the great stone face," with an expression that ranged from the impassive to the slightly quizzical. By the time he was 21, his father's alcoholism threatened the reputation of the family act, so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film. In February 1917, Keaton met Roscoe ‘Fatty’ Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. He was hired as a co-star and gag man, making his first appearance in the short The Butcher Boy (Roscoe 'Fatty' Arbuckle, 1917). He appeared in a total of 14 Arbuckle shorts, running into 1920. They were popular and, Keaton and Arbuckle became close friends. Keaton was one of few people to defend Arbuckle's character during accusations that he was responsible for the death of actress Virginia Rappe in 1921. In The Saphead (Herbert Blaché, Winchell Smith, 1920), Keaton had his first starring role in a full-length feature. It was a success and Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week (Edward F. Cline, Buster Keaton, 1920), The Boat (Edward F. Cline, Buster Keaton, 1921), Cops (Edward F. Cline, Buster Keaton, 1922), and The Paleface (Edward F. Cline, Buster Keaton, 1922). Keaton then moved to full-length features. His first feature, Three Ages (Edward F. Cline, Buster Keaton, 1923), was produced similarly to his short films, and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the story lines and characterization. His most enduring features include Our Hospitality (John G. Blystone, Buster Keaton, 1923), The Navigator (Donald Crisp, Buster Keaton, 1924), Sherlock Jr. (Buster Keaton, 1924), College (James W. Horne, Buster Keaton, 1927), and The General (Clyde Bruckman, Buster Keaton, 1927). The General, set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline re-enacted an actual wartime incident. Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy. It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements.

 

Buster Keaton endured this treatment for two more feature films, including Steamboat Bill Jr. (Charles Reisner, Buster Keaton, 1928), and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, In 1921, Keaton had married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. She co-starred with Keaton in Our Hospitality. The couple had two sons, James (1922-2007) and Robert (1924–2009), but after the birth of Robert, the relationship began to suffer. Influenced by her family, Talmadge decided not to have any more children and this led to the couple staying in separate bedrooms. Her financial extravagance (she would spend up to a third of his salary on clothes) was another factor in the breakdown of the marriage. Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that MGM’s studio system would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage (Edward Sedgwick, Buster Keaton, 1929), as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton some creative participation on his last originally developed/written silent film The Cameraman (Edward Sedgwick, Buster Keaton, 1928). which was his first project under contract with them. Keaton was forced to use a stunt double during some of the more dangerous scenes, something he had never done in his heyday, as MGM wanted badly to protect its investment. Some of his most financially successful films for the studio were during this period. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber (Edward Sedgwick, 1932), Speak Easily (Edward Sedgwick, 1932), and What! No Beer? (Edward Sedgwick, 1933). In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. In 1932, Nathalie Talmadge had divorced Keaton, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. With the failure of his marriage, and the loss of his independence as a filmmaker, Keaton lapsed into a period of alcoholism.

 

Buster Keaton was so demoralized during the production of What! No Beer? (Edward Sedgwick, 1933) that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing. Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. When they divorced in 1936, it was again at great financial cost to Keaton. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées/The King of the Champs Elysees (Max Nosseck, 1934) with Paulette Dubost. In England, he made another film, The Invader/An Old Spanish Custom (Adrian Brunel, 1936). Upon Keaton's return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself, often recycling ideas from his family vaudeville act and his earlier films. The high point in the Educational series is Grand Slam Opera (Buster Keaton, Charles Lamont, 1936), featuring Buster in his own screenplay as a contestant in a radio amateur hour show hoping to win the first price... by dancing and juggling. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films At the Circus (Edward Buzzell, 1939) and Go West (Edward Buzzell, 1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television. In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for two years. The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's Three Stooges comedies. Keaton's personal favourite was the series' debut entry, Pest from the West (Del Lord, 1939), a shorter, tighter remake of The Invader (1936). Keaton's Columbia shorts rank as the worst comedies he made.

 

Buster Keaton's personal life stabilized with his 1940 marriage with Eleanor Norris, a 21-year-old dancer. She stopped his heavy drinking, and helped to salvage his career. He abandoned Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in features. He made his last starring feature El Moderno Barba Azul/Boom In The Moon (Jaime Salvador, 1946) in Mexico. Critics rediscovered Keaton in 1949. He had cameos in such films as In the Good Old Summertime (Robert Z. Leonard, 1949), Sunset Boulevard (Billy Wilder, 1950), and Around the World in 80 Days (Michael Anderson, 1956), and did innumerable TV appearances. Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952). In 1954, Keaton and his wife met film programmer Raymond Rohauer, with whom the couple would develop a business partnership to re-release Keaton's films. Around the same time, after buying the comedian's house, the actor James Mason found numerous cans of Keaton's films. Keaton had prints of the features Three Ages, Sherlock, Jr., Steamboat Bill, Jr., College (missing one reel) and the shorts The Boat and My Wife's Relations, which Keaton and Rohauer transferred to safety stock from deteriorating nitrate film stock. Unknown to them at the time, MGM also had saved some of Keaton's work: all his 1920-1926 features and his first eight two-reel shorts. In 1962 came a retrospective at the Cinematheque Francaise in Paris, and in 1965 a tribute at the Venice Film Festival. "I can't feel sorry for myself," he said in Venice. "It all goes to show that if you stay on the merry-go-round long enough you'll get another chance at the brass ring. Luckily, I stayed on." In 1960, Keaton had returned to MGM for the final time, playing a lion tamer in an adaptation of Mark Twain's The Adventures of Huckleberry Finn (Michael Curtiz, 1960). Later Keaton played a cameo in It's a Mad, Mad, Mad, Mad World (Stanley Kramer, 1963) and starred in four films for American International Pictures: Pajama Party (Don Weis, 1964), Beach Blanket Bingo (William Asher, 1965), How to Stuff a Wild Bikini (William Asher, 1964) and Sergeant Deadhead (Norman Taurog, 1964). As he had done in the past, Keaton also provided gags for the four AIP films. In 1965, Keaton starred in the short film The Railrodder (Gerald Potterton, Buster Keaton, 1965) for the National Film Board of Canada. Wearing his traditional pork pie hat, he travelled from one end of Canada to the other on a railway motorcar, performing a few stunts similar to those in films he did 50 years earlier. The film was Keaton's last silent screen performance. He also played the central role in Samuel Beckett's Film (Alan Schneider, 1965) and travelled to Italy to play a role in Due Marines e un Generale/War Italian Style (Luigi Scattini, 1965), with Italian comedy duo Franco Franchi and Ciccio Ingrassia. Keaton's final film was A Funny Thing Happened on the Way to the Forum (Richard Lester, 1966) which was filmed in Spain in September-November 1965. He amazed the cast and crew by doing many of his own stunts. Shortly after completing the film, Keaton died of lung cancer in 1966 at his home in Woodland Hills, California. He was 70. In 1987, the documentary, Buster Keaton: A Hard Act to Follow, directed by Kevin Brownlow and David Gill, won two Emmy Awards.

 

Sources: Roger Ebert, Nicolette Olivier (IMDb), New York Times, Wikipedia, and IMDb.

 

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

Warrington Interchange

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Canon AV-1 , Lucky SHD 100 .

Often I think we're our own worst critics (I know I am), but I think sometimes it's important that we're our own biggest cheerleaders, as well. Although this photo probably isn't perfect, I think it's probably as close as I've gotten. It wasn't until about a week ago that I even thought anything of it, though. After reviewing my Spectro long exposure shots from August, I knew instantly that my favorite (and still my all-time favorite shot) was the one I posted the day after I returned. That shot really overshadowed the rest, and I hadn’t looked at them until recently. When I saw this one, I thought it might have some potential. Since that viewing, it’s continued to grow on me.

 

What I think is so great about it, and what sets it apart from the other shot is that it embodies Disney Magic (whereas I think the other shot looks “magical”, it’s more impressive from a flowing, river of colors perspective, not because it particularly says "Disney"). First, you have the same flowing rivers of almost ethereal color, albeit interrupted; nothing says Disney Magic more than dream-inspired colors and fantasy-like “illusions”. Second, you have a couple of floats in the front that are distinguishable for what they actually are, rather than just as streaks; this adds to the shot and informs that this is Walt Disney World's famed SpectroMagic! parade. Finally, those same distinct floats in the front are low, making the crowd, complete with their flashes firing, visible; this is probably the only time I’ll ever say I’m glad people used their flashes during a parade, it really is something to see those, and just how still people stand for this long of a shot as they are awe-inspired by the parade.

 

Now, obviously we all have our own takes on the images we see, so your mileage may vary here. I’m not trying to impose my impression of this shot onto anyone, nor am I trying to ascribe some deep meaning to what’s likely a simple Disney shot for many. However, for the above reasons, I think this shot just whispers “magic.” I think most Disney fans viewing it will feel the same way.

 

If you want tips for taking better photos at Disney, read this article! In it, I share advice applicable for everyone (from amateurs with iPhones to pros with DSLRS) heading to Disney!

 

View my Disney Photo Gallery for thousands of Disney photos that aren't on Flickr!

 

DisneyTouristBlog | Facebook | Twitter | Photo Gallery | Google+ | ISO 5571 - Podcast

Lugo's Grill is a highly rated, cash-only Cuban eatery located at 20583 W Pennsylvania Ave, Dunnellon, FL 34431.

 

Menu Highlights

Cuban Sandwich: Pressed Cuban bread with slow-roasted pork, ham, Swiss cheese, mustard, and pickles.

 

Pollo Relleno: Breaded chicken breast stuffed with shrimp and Swiss cheese, topped with lemon garlic sauce.

 

Ropa Vieja: Shredded beef simmered with garlic, onions, peppers, and tomatoes.

 

Tostones Rellenos: Fried plantain cups topped with seasoned beef (picadillo), cheddar, and pico de gallo.

 

Desserts: Traditional flan, coconut pecan crusted flan, and guava puff pastries.

 

Quick Details

Vibe: Casual, cozy, family-friendly, and BYOB (Bring Your Own Beverage).

 

Payment: Strictly cash-only, so plan ahead before visiting.

 

Price: Budget-friendly, typically averaging $10–$20 per person.

 

Service: Dine-in and takeout options are available; they do not offer delivery.

 

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

www.google.com/search?q=lugo%27s+grill&sca_esv=3b4cc2...

www.google.com/search?q=when+was+the+building+at+20583+w+...

www.google.com/search?q=who+was+the+architect+of+20583+w+...

 

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

pictionid73605462 - title-mikoyen mig-15 civilian owned - catalogpeebles0106 - filename-mikoyen mig-15 civilian owned---Image from the Carl Peeble's Collection-----Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum

Just experimenting with facial skin tighteners - needs more work, gives me the startled rabbit in the headlights look. But "oh dear" I'm getting old, arm flab, grey hair ( I badly need a recolour) and my lippy smeared, but apart from that not bad in hot weather

When I stopped at the traffic light across this classic car dealership earlier this evening. I wanted to take a shot of the car in the showroom using the Nightshot mode from my "vintage" Sony Digicam. For some reasons, its flash fired and a car just went past in the opposition direction. I happened to catch a glimpse of the driver. Forget about the classic car. I kind of like the final result though.

A Great-horned Own and her two Owlets at Griffith-woods, #Calgary. Unfortunately one of the twins died a few days later.

Owned by: WM Waste Management Inc.

Chassis: Peterbilt 320

Body manufacturer: Amrep (Octo)

Type of truck: Automated Side Loader

Additional notes: WM of NM

Location of photo: Asset Auctions/Asset Nations

Owned by: Dick's Sanitation

Chassis: International/ Autocar

Body: Labrie Top Select/ McNeilus ZR

Truck number: 31, 25, 43

Type of truck: Recycler/ Automated Side Loader

Notes:

 

File: M07-02

  

My own illustrations.

  

About the images.

 

This is my own artwork of the Egyptian goddess called Ma’at.

 

This was my first serious Vector based artwork done using CorelDRAW (either version 3 or 4) graphic design software on Windows 98 back in approximately around c1998 to c2000.

 

I started by doing a pencil sketching on paper, then tidy up by turning it into a proper line drawing. When it was done, I used a marker pen and drew over the pencil lines.

 

After that, I scanned the artwork to my computer, using a flatbed scanner. That was the reason for using the marker pen, to ensure the lines shows up on screen.

 

The scanned image was saved as a .BMP file and it was imported into CorelDRAW as a background layer.

 

I placed a new layer on top of the background, and traced the original pencil drawing, the reason for using marker pen was to ensure the lines shows clearly on the screen.

 

However at that time, I was using a mouse to do that drawing, as I did not buy a pen tablet until so many years later. The work took days. Likely to be couple of hours per day, over a matter of many days, until the outline was completed, then I coloured it in.

 

-

 

This one was done using Adobe Illustrator Draw app on 6th generation Apple iPad running on iOS 11, and was done using the first generation Apple Pencil.

 

Unlike the first one (M07-01), I did not do any pencil sketching on paper, as I can do rough sketching on a layer in the app. Simply sketch out the outlines, then add another layer on top of it, and try to draw tidy lines.

 

When that was done, I added another layer, this time below the outlines, and coloured it in. Not sure how long it took, likely to be an hour per day, over a matter of few days.

 

The finished illustration was then exported to my desktop Adobe Photoshop, and saved as file.

  

About the subject of Ma’at.

 

Ma’at can be spelt in various different forms, including Maat, Mayet, Maet, and Maut among few other possible variations.

 

Ma’at was one of the many Egyptian goddesses during the Ancient Egypt days.

 

Records of Ma’at can be found dating back as early as the Old Kingdom, which is c 2700 to c 2100 BCE.

 

Ma’at is considered to be the goddess of truth, order, law, and justice.

 

In the Ancient Egypt mythology, it was said that when Egyptians dies, they would meet Ma’at in the Underworld. Legend had it that Ma’at would weigh the hearts of the decedents against her feather to judge their souls.

 

If the heart is lighter or equals in weight to her feather, the decedent would be allowed to go on to the Afterlife, but if the heart was heavier, they would stay in the Underworld.

 

She can be seen with or without the wings, and always with an ostrich feather tucked into headband.

 

She is said to be the daughter of Ra, whom is the god of sun.

  

NOTICE:

 

The Comment Box for my photo is NOT an advertising billboard for any Groups. Canned Comments and award codes will be deleted as they are clickable adverts, thus counts as spam. You are free to comment with your own words for yourself, but don’t do it for the groups.

 

Interesting hillside garden with year-round features

Charming Emmetts Garden is an Edwardian estate that was owned by Frederic Lubbock, becoming both a plantsman's passion and a much-loved family home.

 

The garden was laid out in the late 19th century, and was nfluenced by William Robinson.It contains many exotic and rare trees and shrubs from across the world.

 

Standing on one of the highest spots in Kent, Emmetts Garden offers panormaic views over the unspoilt Weald as well as some great walking opportunities.

 

When you visit, you can explore the rose and rock gardens, take in the views and enjoy shows of spring flowers and shrubs, followed by vibrant autumn colours.

Warrington’s Own Buses B7RLE 235 is pictured on Legh Street, Warrington whilst working on Route 62

What if Ulysses 31 had had its own MSX game? Wait a second. You’ve never heard about Ulysses 31. You don’t know what MSX is. Then maybe this post isn’t for you. It’s nerd time again. I spent a lot of time playing cartridge games in my MSX computer when I was a kid. Mainly shoot ‘em up games like Sky Jaguar or Nemesis 2, which was a big hit at the time (it came with an integrated music chip which enabled “8 polyphonic voices” instead of the usual 3). Ha. Obviously this sort of stuff looks ridiculously cheap and irrelevant now –but maybe charming at the same time. When later I switched to a PC I stopped playing games for some reason and I’ve never played on a regular basis again. So you can say somehow I’m still stuck in MSX. And what about Ulysses 31? It had cool spaceships, mythology, light sabers and pretty much I could ask for as a kid. I’m not sure if the ship I’ve drawn here had a name. This was the ‘field ship” Ulysses used when he needed to set foot on a planet, and the cool thing about it was that it was composed of three independent spacecrafts. So yes, this is something like the cover artwork for a MSX game that never existed. When you regurgitate old childhood memories they tend to mix up a bit. Some credit is due. I searched for blueprints of the spaceship in vain, so my main sources of reference have been the episodes themselves and pictures found online: a few sketchy model sheets, photos of a toy model that existed at the time (and you can still buy on eBay), and (specially) these cool pictures of an improved model made by French artist Alexis Tallone. I added the original MSX and MSX-related logos in hopes that nobody will worry too much about that (not sure if there still are any copyright holders for them), and made a couple of Ulysses 31 logos you can see above. Also: while searching for reference I found this picture of the original design for the Odyssey (Ulysses’ mothership) which I reblogged right away in my inspiration blog. It was posted originally by Manchu in his blog. Apparently he was responsable for many of the designs in the series - which explains why they looked so good.

Preserved British Railways Class 55 'Deltic' diesel locomotive D9002 (55 002) 'The King's Own Yorkshire Light Infantry' is pictured on display at the National Railway Museum, York.

youtu.be/ThWsbQzi47A

”She soars on her own wings.”

~

Socrates

Philosopher

Socrates was a Greek philosopher from Athens who is credited as the founder of Western philosophy and as among the first moral philosophers of the ethical tradition of thought.

~

ai and gimp creation

Even before the 2020 presidential election, Donald Trump refused to agree to abide by the results, but only if he lost. As the pandemic made it more difficult for people to vote and mail-in voting was encouraged, he suggested the possibility of mass fraud should people be allowed to vote by mail. And when he lost the election by almost 8 million votes and 74 Electoral College votes, he refused to concede. In fact, he broadcasted loud and clear, the election was stolen from him. He and his legal team filed 63 lawsuits in 5 battleground states. Courts dismissed or rejected all of them. And, when that didn’t produce the results he wanted, he unsuccessfully pressured the Georgia Secretary of State, Republican Brad Raffensperger, of find 11,780 votes (one more than Joe Biden’s victory) to overturn the state’s election results. In Trump’s mind, the only thing left was to lean on the Senate and the House and on Vice President Mike Pence to reject the certified Electoral College votes in his favor. The Congressional counting of the votes, which, in the past had been a pro forma event signifying the peaceful transfer of power, became a lightning rod for conspiracy theorists who vowed to protest this January 6, 2021 ceremony.

 

Earlier that day, Donald Trump gave an impassioned speech, filled with lies, to thousands of supporters. Riled up by his words, they walked down Pennsylvania Avenue to the US Capitol yelling “Take back the steal!” Hundreds went further and broke into the Capitol building, breaking glass windows, yelling and screaming, while Congress had counted the Electoral votes. They broke into the Senate and House Chambers as the Capitol police spirited away legislators. And four civilians and one Capitol police officer died in the violence.

 

We must hold Donald Trump accountable for inciting this insurrection. He was not alone. His son, Donald Jr., Rudy Giuliani, and Alabama Congressman Mo Brooks also stoked discontent at that rally. They, too, are responsible, as are legislators like Senators Ted Cruz and Josh Hawley.

 

Characteristically, Trump refused to take any responsibility for his actions. He stated, “If you analyze my speech…everyone said it was totally appropriate.” He reiterated his claim that attempts to impeach him (now, for the second time) is “the greatest and most vicious witch hunt in American history.”

 

For some Republican legislators, this was the straw that broke the camel’s back. Outgoing Senate Majority Leader, Mitch McConnell, made it clear his disdain for the president’s actions and stated that he would allow any Senator in the Republican caucus to vote as they saw fit on an impeachment vote. The third-ranking Republican in the House, Lynne Cheney (R-WY) announced she would vote for impeachment stating, “The President of the United States summoned this mob, assembled the mob, and lit the flames of this attack. … None of this would have happened without the President. The President could have immediately and forcefully intervened to stop the violence. He did not. There has never been a greater betrayal by a President of the United States of his office and his oath to the Constitution.”

 

Donald Trump is now losing the support of his Republican Party. If GOP leaders in Congress want to rid the party of Trump’s influence and the autocratic effects of his rule and rhetoric, now’s the time to do it. If they refuse to convict him for impeachable offenses, he will continue to define the Republican Party and steer it towards the extreme edge. This will give white supremacists a toe-hold on American politics for years to come. Donald Trump has trampled America's democracy, and he has taken part in sedition and encouraging insurrection. This time, his actions are clear.

  

Feel free to pass this poster on. It's free to download here (click on the down arrow just to the lower right of the image).

 

See the rest of the posters from the Chamomile Tea Party! Digital high res downloads are free here (click the down arrow on the lower right side of the image). Other options are available. And join our Facebook group.

 

Follow the history of our country's political intransigence from 2010-2020 through a seven-part exhibit of these posters on Google Arts & Culture.