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Amherstburg (2011 population 21,556; UA population 13,330) is a town near the mouth of the Detroit River in Essex County, Ontario, Canada. In 1796 Fort Malden was established here, becoming the heart of the settlement. It has been designated as a National Historic Site.
The city is approximately 25 kilometres (16 mi) south of the U.S. city of Detroit, Michigan, facing Wyandotte, Grosse Ile Township, Brownstown Charter Township, and Gibraltar, Michigan. It is part of the Windsor census metropolitan area.
Across the Detroit River from what developed as the state of Michigan in the United States, the town was permanently established in 1796 as a British military fort. Fort Malden was occupied as a garrison. The town was developed by Loyalists who were granted land by the Crown in Ontario after the British lost the American Revolutionary War. They built many of their houses in the French style of a century before, giving the new town a historic character.
During the days of the Underground Railroad before the American Civil War, fugitive African-American slaves often crossed the river to escape to freedom in Canada, after slavery was abolished there. They used Fort Malden as an entry point.
By 1869, the town of Amherstburg in the Township of Malden County Essex had a population of 2,500. Fort Malden was adapted for use as a Lunatic Asylum. Its main building was later used as a Port of Entry Money Order office and Post Office savings bank. Amherstburg was incorporated as a town in 1878.
Amherstburg is home to several tourist attractions, including Fort Malden and the North American Black Historical Museum. An Ontario Historical Plaque was erected in Amherstburg by the province to commemorate Bellevue House's role in Ontario's heritage. Bellevue House (c. 1816-19) was the home of Catherine Reynolds, a landscape painter and her brother Robert Reynolds. Additional tourist activities include the Park House Museum and the charming King's Navy Yard Park, both of which are located in the heart of old Amherstburg.
The Gibson Gallery is located in a former Michigan Central Railroad Station (c. 1896), which has been fully restored to its original beauty. The gallery operates year-round, featuring exhibits by local artists, the permanent collection of the Art Gallery of Windsor, traveling exhibits from Ontario museums and galleries, and student art/photography exhibits. A restored Essex Terminal railway caboose is operated as a railway museum. The restored Gordon House is another historic attraction of Amherstburg. Built as a residence in 1798 overlooking the Detroit River, it now houses a Marine exhibit.
The Holiday Beach Conservation Area is one of the best fall birding sites in North America. The 546-acre (2.21 km2) nature reserve contains over 2,000 feet (610 m) of beaches, picnic areas, a 2-kilometre (6,600 ft) trail along the edge of Big Creek Marsh. Holiday Beach is considered a premiere spot to view the fall migration of raptors (birds of prey). A 'Festival of Hawks' event takes place in September.
Amherstburg is a city of trade for regional agriculture. It has also become known for several wineries in the area.
Amherstburg has a high proportion of retirement residences and second homes.
Members of the Amherstburg industrial community include Diageo, a local whiskey distillery that produces the legendary Crown Royal Canadian whiskey, Windsor Mold's Precision Plastics, one of Ontario's largest full-service suppliers of industrial plastics and thermoplastic, and Honeywell Performance Materials and Technology. Marathon Oil has a coke storage site near the river.
en.wikipedia.org/wiki/Amherstburg
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
A hard day's work on the permanent way has seen reinstatement of much of the road surface at the double junction outside Tooting Common Station.
Here the printed stone setts are beginning to be laid between the rails and tracks,
This takes especial care around the moving point blades. I had to reposition one point motor slightly and sorted out a dry wiring joint at this stage.
Permanent Mission of Principality of Monaco to the UN, New York, 17 September 2022.
© ITU/ J. Gorlovetskaya
From left to right:
Luis Almagro, OAS Secretary General
Washington Abdala, Chair of the OAS Permanent Council and Permanent Representative of Uruguay to the OAS
Date: June 7, 2023
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
permanent ink markers, sharpie industrial super permanent black ink pen , paint pens= metallic gold, blue, light blue, and green, on glossy 3.5 inch X 5.6 inch stickers.
Cebu Province has one of three model courthouses in the country, the one located in Lapu-Lapu. While waiting for a decision on the Palace of Justice in the Capitol compound, “permanent” courtrooms are being prepared on the third and fourth floors of the Quimonda IT Center.
Source: livinghistories.newcastle.edu.au/nodes/view/46453
This image was scanned from the original glass negative taken by Ralph Snowball. It is part of the Norm Barney Photographic Collection, held by Cultural Collections at the University of Newcastle, NSW, Australia.
Notes:
The businesses occupying this building are: Northumberland Permanent Building Investment Land and Loan Society, Bennet and Yeomen's Architects, Austral Printing Works and Thomas Renn and Co.
This building was demolished in 1938.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.
If you have any information about this photograph, please contact us or leave a comment in the box below.
PictionID:54468714 - Catalog:Atlas 42D 1960 - Title:Array - Filename:Atlas 42D 1960-1.jpg - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Yellow indicates permanent structures in both the new and old spaces. Red diagonals are doorways. Red floor is oak, green floor is porcelain tile. Red lines are windows (see front elevation photos on this photostream).
New doorway at top between the bookshelf and the yellow-colored closet leads to the dining room and to the bath and bedrooms. There is an oak floor under these areas already. The doorway will be a pocket door with full-length glass so that we can keep the dog, smells, and sounds corralled when we need it and yet not isolate the kitchen when door is closed. We will need to reconcile the new floor with the old oak floor here.
Green area is front lobby and includes a long coat closet. Lobby windows are awning style overlooking driveway. Front door has full-length glass with blinds to increase natural light during daytime. In previous photos, many of the walls of this area are painted green as a test of the color. There is a door at top of green area in drawing which was the original front door position in 1951. (We retained a door here when we expanded the house into the former front step area in 1975. We will retain the hollowcore oak door at this postion for dog, smell, and sound control as well as to block view of interior of house from front door when we need to do this.) Beyond this door are the living room, another bedroom, and a deck door that is almost directly in line with this doorway. We will need to reconcile the old oak floor at this position with the new tile floor.
Stairway to basement will have windowless pocket door. Most of the time this doorway will be open to allow dog access to basement walkout, but closed when needed. Steve has redone the entire basement stairway to allow a safe, wide top step threshold before the first descending step and to even out the stair heights. This was a lot of work and it cost us the lower half of the existing coat closet (which is cut off in photo).
Pantry closet was planned to be angled but we decided to square-off the access route; door will be windowless hinged door (I would like louvers but we'll see.)
Door to garage is a steel firedoor to be painted to match something in the lobby. This door sees a lot of action because Steve works on autos in garage and washes hands in kitchen. The coat closet will have a blaze orange section. The blind cupboard corner of the kitchen abutting this closet will have an access door from inside the coat closet instead of access from the kitchen. This will allow offseason boot storage. Closet door is two sliding doors, not bifolds as shown.
We will commission a custom bookshelf in the area formerly a doorway leading to the bathroom and bedrooms at upper left in photo. A small eating table with a piece of art behind it will lie between refrigerator and bookcase--it will be viewed down the long hall from the garage, so it has to be attractive and inviting. Another piece of art will be mounted on the uninterupted wall of the pantry closet--it will be best seen from the inside of the G. Another piece of art will be positioned to the left of the awning windows in the lobby, which can be seen from stools or after entering from dining room or when removing coat in lobby.
In previous photos, the middle of walls inside of the G-shaped kitchen are painted red as a test. There are upper cupboards on the top and bottom of the G but not on window wall or peninsula. Decor of the room(s) will be eclectic: Spare Scandinavian-style pale cupboards, modern white glass pendant lights, probably "pewter" door hardware, and a minimal backsplash. All countertops will be laminate except two butcherblock 2' x 2' sections either side of the range. Art works may include a mix of Audubon birds, a Breckenridge watercolor of a heron rookery, a couple oil landscapes, and national park early photos. Display pieces on the bookshelf will include Old Sheffield Plate silver antiques and Benningtonware teapots. A wooden hayfork may make an appearance somewhere here. Lobby and desk and table chairs may be early 19th century "fancy chairs" or similar items. A repro mahogany utility cupboard will serve in the lobby under the window until we find something more suitable.
As of late May, 2010, we have come to the point where we must make some flooring final decisions. Steve will be reconciling the ceiling first (so the slop does not fall on oak floor) and then will begin laying tile and oak. We must use strong porcelain tile instead of ceramic because of the potential heaving of old fill under the house.
Because of personal preference and energy conservation, we have no recessed lights. The green area and hall toward patio have 3 successive ceiling-hugging lights. There is a matching utilitarian light to be positioned centrally off the pantry closet corner to give general light to the kitchen hall and there are two matching ceiling-hugging fixtures n the center of the G. There will be undercounter lights on the two ends of the kitchen. Three pendants will hang in front windows and two over the peninsula. A funky semi-antique small chandelier will hang over the table. Yes, that's a lot of lights. Not sure how much we will use any of them yet, but we know how much the ceiling-huggers will be workhorses because this space has so many different walkpaths. Wiring all this new stuff and removing vestigial wiring has been a challenge for Steve.
We have to have things done as much as possible for daughter Rebecca's visit from Alaska the 2nd week in June.
We bit the bullet at the end of May and commissioned someone else to put the finish on the cupboards. This will speed the work so that Steve can go to the Arctic in July.
____
Within the G, the wall on the left has two breadboards. The one next to refrigerator will make this a sandwich and toast station. It and the one under the window will also allow the countertop to expand in size to hold dishes coming and going to dinner parties in dining room. Lower left corner of G is the microwave and beverage station. Lower right corner is the baking area, with a breadboard, mixer on countertop and baking gear in drawers below. Peninsula of the G will have another breadboard and a drawer to accept peelings and such as we chop. Compost bucket goes under small sink. Double-trash is next to sink. We anticipate this to be the major veg chopping station. Although the range is simple electric range with hood above, there is access on both sides of it so two cooks should be happy. A portable induction plate can be used adjacent to range to expand cooking options during heavy use periods. We will countersink (pun!) two containers into the butcherblock to hold utensils to right of range and a large slit to hold knives left of range.
This kitchen and lobby should allow two people to enjoy it without feeling that the space is oversized, but when out of town family members come to stay for a period of time or when friends attend a party, they should be able to find a place here that is comfortable and welcoming. (Previously they were not allowed to stand about in the old kitchen.) When the muse attacks Linda and she announces a dinner party, she will no longer be restricted in the number of dishes or serving courses or wine glasses. In the summer when life is oriented toward the deck and the lake, it will be easier to move food and dishes from deck to kitchen via the hall by the green floor in the photo.
We have sacrificed a very large, beloved teak china cupboard in order to make the new entrance to the dining room. Items from it will be stored in kitchen. China, silverware, napkins, etc. will live in the lower drawers on the left side of this photo. Hope it all fits! Tablecloths were supposed to go into these drawers, but now they are designated to hang in the half-closet that was former coat closet. Flower arranging gear also will go into this closet, which still has a full-sized door on it, but someday, we may redo it as a true built-in cupboard (with attic access still in its ceiling!).
All it takes is money, time, expertise, and resolve!
Additional comment: Sept 2010...It should be noted that we extended the tile floor across the entrance to the basement. There is a nice looking piece of oak perpendicular to the walkpath, then the oak flooring that runs parallel to the front of the house.
L'exposition permanente...
Certes les haltes plus ou moins longues font le bonheur dans l'attente et l'action.
Mais venez libérer un artiste de mes toilettes qui méritent mieux que ce contexte ou les déperditions du son sont grandes!
40cm X 40cm / fine Art Canson Rag 310gr / Support Dibond : 150 euros
40cm X 40cm / fine Art Canson Rag 310gr / Support Dibond : 150 euros
- Kiko Ruiz - Bernardo Sandoval - Serge Lopez
30cm X 60cm / fine Art Canson Rag 310gr / Support Dibond : 150 euros
- There must be a balance as a whole
40cm X 40cm / fine Art Canson Rag 310gr / Support Dibond : 150 euros
Visible en grand en cliquant sur les photos dans la photo... Je vais pisser tiens
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In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.
de.wikipedia.org / wiki / Albertina_ (Vienna)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Caderno com desenhos de naufrágios feito sobre um catálogo com título homônimo.
Caneta permanente sobre impresso, 21 x 29 cm, 2017
Rodin sculptures in the Permanent Collection
(see catalogue French Sculpture II, 1999)
The Man with the Broken Nose (Mask). I.N. 1782
Bronze (cire perdue); verdigris green patina. H. 25,5. Modelled (1862/63).
Cast (before 1918).
Signed on the left side of the neck and at the same place inside on the plinth: A. Rodin.
Foundry stamp on the inside of the foot: Alexis Rudier/ Fondeur Paris.
Purchased February 1918 through the art-dealer Asta Moller (Paris).
Donated by Ny Carlsbergfondet in 1919.
The Age of Bronze. I.N. 606
Bronze (sand-cast); green patina. H. 180,5. Modelled (1875/76). Cast (1901).
Signed on top of the base and to the right: Rodin.
Ordered by Carl Jacobsen from Rodin in October 1900; sent to Copenhagen in
August 1901.
John the Baptist Preaching. I.N. 607
Bronze (sand-cast) green patina. H. 200,5. Modelled (1878/79?) Cast (1902).
Inscribed: on the base, between the feet: Rodin.
Ordered by Carl Jacobsen in December 1901; sent to Copenhagen in October 1902.
The Thinker. I.N. 605
Bronze (sand-cast); dark green patina. H. 73,3. Modelled (1880). Cast (1900/01).
Inscribed on the left side of the base at the bottom: A. Rodin.
Ordered by Carl Jacobsen from Rodin, October 1900; sent to Copenhagen June 1901.
The Thinker. I.N. 1341
Bronze (cire perdue) dark green patina. H. 181,0. Modelled (1880). Cast (1905/06)
Inscribed on the base at the bottom, underneath the right leg: A. Rodin.
Foundry mark on the back of the base, uppermost on the right: CIRE PERDUE/
A.A. HEBRARD/1904 and below to the left: A.A Hébrard/Cire Perdue.
Ordered by Carl Jacobsen, November 1905; brought to the Glyptotek July 1906.
Donated by Ny Carsbergfondet.
The Shade. I.N. 610
Plaster. H. 202,0. Modelled (1880). Cast (1903/04).
Ordered by Carl Jacobsen, August 1903; arrived in Copenhagen June 1904.
The Shade. I.N. 2749
Bronze (sand-cast); dark brown patina. H. 191,8. Modelled (1890). Cast (1902).
Inscribed on the upper part of the base, by the left foot: A. Rodin.
Foundry mark on the base behind the left foot: Alexis Rudier/ Fondeur Paris.
Ex-collection of Alphonse Kann (St. Germain-en-Laye, bought from Rodin in 1902).
Hermann Goering. Kann. Kleinman (Paris). Bougth from the last named's collection in
1953 through a Danish art dealer in Paris.
Donated by Ny Carlsbergfondet the same year.
Caryatid Sinking under the Weight of her Burden. I.N. 1397
Marble. H. 55,0. Modelled (before 1881). Cast (latest 1907).
Inscribed on the left side of the base, to the left: A. Rodin.
Ordered by Carl Jacobsen from Rodin in October 1907; delivered in January 1908.
Donated by Ny Carlsbergfondet.
Eve. I.N. 1380
Limestone. Sculptor's assistant: Bourdelle. H. 175. Modelled (1881). Carved (1901-06).
Inscribed on the right side of the base to the rigth: A. Rodin/ 1907.
Purchased by Carl Jacobsen from Rodin in July 1907; sent to Copenhagen in October
1907. Donated by Ny Carlsbergfondet the same year.
Jean-Paul Laurens. I.N. 1342
Bronze (cire perdue); dark brown patina. H. 57,4. Modelled (1881). Cast (1905/06).
Inscribed on the right side of the base and inside at the front of the rise: A. Rodin.
Ordered by Carl Jacobsen in November 1905; arrived in Copenhagen in July 1906.
Joan of Arc. I.N. 1396
Marble. H. 43,2. Modelled (1882). Carved (1906 at the latest).
Inscribed on the right side of the base: A. Rodin.
Ordered by Carl Jacobsen from Rodin in August 1907; delivered in January 1908.
Donated by Ny Carlsbergfondet.
Victor Hugo. I.N. 612
Plaster (original cast?). H. 48,3. Modelled (1883).
Promised by Rodin to Carl Jacobsen in October 1900: still undelivered in October 1904.
Victor Hugo. I.N. 611
Bronze (cire perdue); dark brown patina. H. 43,7. Modelled (1883). Cast (1900/01).
Inscribed behind the left shoulder: A. Rodin.
Ordered by Carl Jacobsen from Rodin in October 1900; sent to Copenhagen in
June 1901.
Aimé-Jules Dalou. I.N. 1545
Bronze (sand-cast); blue-black patina. H. 52,3. Modelled (1883). Cast (1908?).
Inscribed on the left shoulder, and inside at the back of the rise: A. Rodin.
Foudry mark on the back of the right shoulder: ALEXIS RUDIER/ FONDEUR PARIS.
Ordered by the Glyptotek from Rodin in October 1908.
Donated by By Carlsbergfondet in 1909.
Eternal Spring. I.N. 1647
Marble. H. 72,0. Modelled (1884). Carved (1910 at the latest).
Inscribed on the side beneath the support for the arm: A. Rodin.
Ordered by Carl Jacobsen from Rodin in July 1907; sent to Copenhagen in October 1910.
Donated by Ny Carlsbergfondet.
The Prodigal Son. I.N. 1393
Limestone. H. 138,4. Modelled (1884). Carved (1899 at the latest).
Inscribed uppermost on the left side of the base: A. Rodin.
Purchased by Carl Jacobsen from Rodin in October 1907; arrived in Copenhagen in
January 1908.
The Kiss. I.N. 609
Marble. Sculptor's assistants: Ganier (pointing) and Dolivet. H. 197,0.
Modelled (circa 1884). Carved (1901/03).
Inscribed on the base, beneath Francesca: A. Rodin.
Ordered by Carl Jacobsen from Rodin in October 1900; sent to Copenhagen in
February 1904. Donated by Carl Jacobsen in 1903.
Eros and Psyche. I.N. 3065
Plaster (possibly plaster original). H. 21,5. Modelled (before 1886). Carved (?).
Purchased in 1972 from an art dealer (Paris), who had acquired it at auction, Versailles,
26th October 1971.
The Burghers of Calais. I.N. 614
Bronze (cire perdue); green patina. H. 213,0. Modelled (1884/85). Cast (1902/03).
Inscribed on the rigt side of the base: A. Rodin. Foundry mark on the left side of the
base: FONDERIE NLE DES BRONZES/ ANCNE FIRME J. PETERMANN/ ST GILLES
BRUXELLES. Ordered by Carl Jacobsen from Rodin in October 1900; sent to
Copenhagen in July 1903.
The Danaid. I.N. 1811
Marble ("from Sinaya"). H.33,9. Modelled (mid 1880s). Carved (1900/01).
Inscribed on the base by the left foot: A. Rodin.
Ordered by Dr. Max Linde (Lübeck) in October 1900. Purchased in 1927;
donated by Ny Carlsbergfondet the same year.
Ovidian Metamorphosis. I.N. 1395
Marble. H. 33,8. Modelled (before 1886). Carved (1907 at the latest).
Inscribed on the rear of the base: A. Rodin.
Acquired by Carl Jacobsen from Rodin in October 1907; delivered in January 1908.
The Death of Adonis. I.N. 2608
Plaster (possibly original plaster cast). H. 15,0. Modelled (before 1888). Carved (?).
Illegible incised inscription on the base under the left side of Adonis. Charles Madvig.
Purchased in 1946 by Edith Madvig Fersing; donated by Ny Carlsbergfondet the same
year.
Three Sirens. I.N. 1812
Marble ("from Sinaya"). H. 76,0. Modelled (before 1888). Carved (1902?).
Inscribed on the front of the base: A. Rodin.
Ordered by Dr. Max Linde (Lübeck) from Rodin in 1901. Purchased in 1927;
donated by Ny Carlsbergfondet in 1927.
A Female Faun Embraching a Bacchante. I.N. 3072
Bronze (sand-cast); dark brown patina. H. 17,2. Modelled (late 1880s). Cast (1917).
Inscribed on the base underneath one of the hooves: A Escudier/ Rodin and inside on
the incline: A. Rodin.
Foundry stamp on the base along the edge: Alexis RUDIER./. Fondeur. Paris.
Paul Escudier. Acquired in 1973 through an art dealer (Paris) from Escudiers's family
(Suzanne Négretti).
Pygmalion and Galathea. I.N. 1590
Marble. H. 76,9. Modelled (1889). Carved (1907-10).
Inscribed on the modelling stand under Galthea: PYGMALION. A. RODIN.
Acquired by Carl Jacobsen from Rodin in July 1907; sent to Copenhagen 1910.
Donated by Ny Carlsbergfondet.
Monument to Victor Hugo. I.N. 1337 a,b,c
Plaster. Victor Hugo: H. 163,5. The Tragic Muse: H. 77,0. Meditation: H. 157,0.
Modelled (before 1889). Cast (1902-05).
Ordered by Carl Jacobsen in December 1901 and in August 1903 donated to the
Glyptotek by Rodin; received in October 1905.
Puvis de Chavannes. I.N. 613
Bronze (sand-cast) dark patina. H. 50,5. Modelled (1890). Cast (1900/01).
Inscribed on the left upper arm: A. Rodin.
Ordered by Carl Jacobsen from Rodin in October 1900; sent to Copenhagen in June
1901.
Paolo Maltesta and Francesca da Rimini. I.N. 1394
Marble. H. 74,6. Modelled (before 1894). Carved (at the latest 1907).
Inscribed on the right side of the base, to the left: A. Rodin. Ordered by Carl Jacobsen
from Rodin in August 1907; sent to Copenhagen in January 1908.
Donated by Ny Carlsbergfondet in 1912.
The Blessings. I.N. 1717
Marble. Sculptor's assistant: Mathet? H. 90,5. Modelled (1894). Carved (1907?-12).
Inscribed on the right side of the base: A. Rodin 1912.
Ordered by Carl Jacobsen in October 1907; delivered in July 1912.
Donated by Ny Carlsbergfondet.
Alexandre Falguière. I.N. 614
Bronze (cire perdue), brownish-black patina. H. 41. Modelled (1897). Cast (1900/01).
Inscribed on the left shoulder: A. Rodin. Foundry stamp on the right side:
MASRIERA & CAMPINS / FONDEURS-BARCELONE.
Ordered by Carl Jacobsen from Rodin in October 1900; sent to Copenhagen in June
1901.
The Good Genius. I.N. 1398
Marble. H. 73,3. Modelled (At the latest 1900). Carved (1907).
Inscribed on the rigth side of the base, beneath the figures' hands: A. Rodin.
Purchased by Carl Jacobsen from Rodin in October 1907; sent to Copenhagen in
January 1908. Donated by Ny Carlsbergfondet.
Marcelin Berthelot. I.N. 1917
Bronze (cire perdue); dark brown patina. H. 44,6. Modelled (1906). Cast (1930).
Inscribed on the inside, at the lowest part of the ascending side: A. Rodin.
Foundry stamp at the back at the bottom: Alexis Rudier Fondeur Paris.
Ordered from the Musée Rodin in 1930. Donated by Ny Carlsbergfondet in 1931.
Georges Clémenceau. I.N. 2849
Bronze (cire perdue); dark patina. H. 46,7. Modelled (1911). Cast (?).
Inscribed on the left shoulder: A. Rodin.
Foundry stamp on the back to the left: Montagutelli Fres. CIRE PERDUE PARIS.
Benny Dessau (acquired in 1930 from the Musée Rodin, Paris). Purchased in 1965.
Lonely Trainstation Blues – Poetry for the Lost Boys, Kindle: www.amazon.com/dp/B07ZB6K2JX
Lonely Trainstation Blues – Poetry for the Lost Boys, Paperback: www.amazon.com/dp/1692495518
Howling at a Slutwalk Moon, a collection of previous blog posts:
Vol 1 Paperback: www.amazon.com/dp/107571074X
Vol 1 Kindle: www.amazon.com/dp/B07TZTPDPR
Vol 2 Paperback: www.amazon.com/dp/1075714184
Vol 2 Kindle: www.amazon.com/dp/B07TZR25NL
Vol 1 Illustrated Paperback: www.amazon.com/dp/1075717094
Vol 2 Illustrated Paperback: www.amazon.com/dp/1075723078
Other links:
Redbubble shop: www.redbubble.com/people/Moiret/shop
Blog: moiretallegiere.wordpress.com/
YouTube: www.youtube.com/channel/UC3IaCxAXE3pQd7PCdvHoaaA
Bitchute: www.bitchute.com/channel/EvbGZyTZSraY/
twatter: twitter.com/MAllegiere
Minds: www.minds.com/Moiret
HISTORY UPDATED - Permanently retired.
Replacing an earlier scanned photo with a better version 05-Dec-21 (DeNoise AI).
'go again' titles, left side ('lets go' titles on the right side).
Note: Go Fly Ltd was a 'low-cost' airline founded by British Airways in 1998 to compete with other low-cost airlines such as easyJet. It was based at London-Stansted. The company was sold by BA in a Management 'Buy Out' in 2001. It didn't help and Go Air was bought by it's rival, easyJet, in Dec-02 and was completely merged into easyJet's operations by 2005.
This aircraft was delivered to the GPA Group Ltd and leased to Philippine Airlines as EI-BZK in May-90. ownership was transferred to GECAS Technical Services in Jul-97. The aircraft was returned to GECAS in Jun-98 and leased to Go Fly (UK) as G-IGOA the following month.
Go Fly was merged into the easyJet Airline Company in Dec-02 and the aircraft was returned to the lessor in Jun-04 and stored. It was leased to AirAsia (Malaysia) as 9M-AAY in Sep-04.
It was returned to the lessor in May-08 and sold on the same day to Nordic Aviation Contractor A/S as OY-JTD and leased to JetTime A/S a few days later. It was fitted with blended winglets in Nov-08.
The aircraft was wet-leased to Arkefly (TUI Airlines Netherlands) in Jul-15 for two months, returning to JetTime at the end of Aug-15. It was returned to the lessor in Oct-17 and stored at Lasham, UK.
In Dec-17 it was sold to TAG Aviation (Stansted) Ltd as G-CKTH and remained stored at Lasham until it was sold to Maleth Aero (Malta) as 9H-ZAK in May-18.
It was fitted with a CIP interior and painted at Bournemouth, UK. The aircraft entered service in Jul-18 and operated on behalf of Orix Jet (UK). It was stored at Stansted, UK in Mar-20 due to the COVID-19 Pandemic.
It was returned to Vallair Ltd as N539CC in Oct-21 after 31 years in service and donated to the Nanchang Hangkong University, China in Nov-21 for use as a ground trainer. Updated 05-Dec-21.
Market Colonnade in Karlovy Vary’s pedestrian area Tržiště street, Karlovy Vary, Czech Republic
Some background information:
Colonnades are classical-looking structures with long sequences of columns joined by their entablature. Sometimes they’re free-standing and sometimes even parts of buildings.
In the 19th century colonnades used to be important elements of spa style and the most sophisticated spa towns adorned themselves with beautiful colonnades, which were roofing the healing springs and serving the wealthy spa guests as pump rooms.
Market Colonnade (Tržní kolonáda) is a white wooden building designed in Swiss style, which was built in 1883 just to cover two important healing springs for a couple of years. But since then it’s still covering the Charles IV and Market Springs, because the town was always deciding in favour of its preservation and reconstruction.
Like the plans for many other buildings in Karlovy Vary, also the plans for Market Colonnade came from the architectural office of Fellner and Helmer in Vienna. Market Colonnade has a gabled roof and wooden walls on three sides. The façade opens up to an arcade, which contains both healing springs and is still used as a pump room. It’s decorated with various motifs, which are carved in wood and renowned from lace embroidery. Above the well of the Charles IV Spring a relief depicting the legend of the discovery of Karlovy Vary can be seen. According to this legend, it was the Charles IV Spring, which contributed to the decision of the emperor Charles IV to build a spa at this spot.
Karlovy Vary (also known as Carlsbad in English-speaking countries and Karlsbad in Germany), is a spa city situated in Western Bohemia with about 55,000 residents. It’s located on the confluence of the rivers Ohře and Teplá, approximately 81 miles (130 km) west of Prague. Karovy Vary is named after Charles IV, Holy Roman Emperor and King of Bohemia, who founded the town in 1370.
There are 13 main hot springs in the urban area and another 300 smaller springs. The city’s health spa business was given a first boost in the years 1711 and 1712, when the Russian tsar Peter the Great paid it two visits. In this respect very useful were also the publications of the then well-known doctor David Becher, which purported spa treatments in Karlovy Vary and encouraged the administration of sodium sulfate.
However it was not until the 19th century that Karlovy Vary came to real fame as a health spa. The city’s positive development was moved up by the completion of the railway lines to Eger and Prague in 1870. While in the 1756 season only 134 families visited the spa town, at the end of the 19th century already 26,000 guests could be welcomed. During this time Karlovy Vary became a main venue of European aristocracy and was much affected by aristocrats from both Central Europe and tsaristic Russia. By 1911, the figure of visitors had reached 71,000, but World War I put an end to tourism and also led to the collapse of the Austro-Hungarian Empire by late 1918.
Nowadays Karlovy Vary is again a very popular tourist destination and spa town. Many German visitors can be seen (and heard) in the city centre, but it’s also very popular with tourists from the US and Asia. One of the biggest groups of visitors are wealthy people from Russia, whose number steadily increased since the fall of the Soviet Union and the end of Communist rule in the Czech Republic. That’s why many local tradespeople already adapted themselves to the new moneyed aristocracy from Eastern Europe.
Today’s Karlovy Vary of course is not only famous for its hot springs, but also for its beautiful uniform appearance with many buidlings from the classicism, the founding and above all the art noveau period. Famous goods include glass products from the manufacturer Moser Glass, the round and filled Carlsbad spa wafers as well as the popular Czeck liqueur Karlovarská Becherovka.
Finally it should be mentioned that Karlovy Vary has been used as a set for a number of films, such as "Casino Royal", the first James Bond film starring Daniel Craig. In "Casino Royal" Karlovy Vary’s Grandhotel Pupp appeared in different scenes.
Uno dei palazzi più belli, se non il più bello, di Cantù, situato nella piazza principale, purtroppo massacrata da uno sciagurato intervento dell'Amministrazione comunale.
This is 'Kitty', a performance character from a theater piece choreographed years ago called "Canticles". She has been shamed into life in the blur of peripheral vision, perpetually apologetic and trepidacious. But also, she may have something sharp hidden in her jacket...
"All your life you live so close to truth, it becomes a permanent blur in the corner of your eye and when something nudges it into outline, it's like being ambushed by a grotesque."
Tom Stoppard 'Rosencrantz and Guildenstern are Dead"
(I don't have the exact quote handy, but that's pretty close.)
Lagss victorious saved the pakicetuses making fighter roar permanently female longest blue hair shiny triangle forehead mark evolved to whales at last ripped her clothes she are underwear bra panties now loves a blonde ryune zoldark with seolla schweizer super robot wars original generation ouka nagisa appears
PictionID:46169176 - Catalog:16_007391 - Title:Dornier "Falke" Nowarra Collection - Filename:16_007391.TIF - Image from the Ray Wagner Collection. Ray Wagner was Archivist at the San Diego Air and Space Museum for several years and is an author of several books on aviation --- ---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Veranstaltung mit Izabela Uhl – Professional Beauty in Hamburg Wandsbek.
Izabela Uhl – Professional Beauty
Permanent Make-Up auf höchstem Niveau mit Produkten des vielfach ausgezeichneten Unternehmen RISO. Für Allergiker und hypersensible Hauttypen. Die ersten Pigmentierfarben, die auch Ihr Arzt empfehlen würde. Kosmetische und medizinische Fußpflege mit Wellnessfaktor und hochwertiger Nails-Art und Nageldekorationen in Hamburg Wandsbek.
Izabela Uhl – Professional Beauty
Walddörferstrasse 92
22041 Hamburg
Telefon: 040 60 53 48 01
Mobil: 0173 2 33 08 11
E-Mail: beauty@izabela-uhl.de
Internet: www.izabela-uhl.de
© 2011 Thomas Ulrich / LoboStudio Hamburg
zur freien Verwendung im Rahmen der Berichterstattung über das Studio Izabela Uhl – Professional Beauty und der Kooperation zwischen diesem und der BEWEI Bodyform-Lounge. Bitte Autorenvermerk und Belegexemplar!!!
Permanence de l'artiste dans son expo à l'Espace Caboch'Art, à Draguignan, en janvier 2016
Pour voir les images Gif tirées du film : herve-germain.blogspot.fr/2016/12/state-of-progress-14.html
Film en entier sur YouTube : www.youtube.com/watch?v=eQUALKP_YXA
1ère Partie : www.flickr.com/photos/monsieur-g/31372615520/in/photostream/
lovelife.typepad.com/my_weblog/2010/02/permanent-goventur...
All I could think, when I thought of the word PERMANENT was how UN-permanent everything really is. I was struggling to find something to photograph, and I didn't want to stoop to the very permanent stain on my white quilt. But I knew there had to be something. And then I thought of it. The connection we have with each other. We may not always be together, and we may not always like each other, but there is a permanent line of connection and love and knowing that runs between us and always will.
On 17th November 1985 "Generator" 47416 climbs the gradient on the slow line at Low Fell heading for Tyne Yard with a permanent way train. A mooch out with a camera on Sundays in those days was often quite productive.
I don't know why, but I have a real soft spot for old RV's and motorhomes. I'd probably collect and restore them if I had unlimited funds and a ten acre garage.
Here's the always dependable Dodge Tradesman 300. It's a shame this is being left to rot.
Found at the strange-in-a-good-way Mira Monte Landing, Novato, CA
part of the permanent exhibition of the Jewish Museum Berlin - "It was as simple as that" is one of my favorite rooms in this fascinating, modern and interactive museum. I´ve been there in August for the second time and I´ll go there the next time when I´m in Berlin. For more information click www.juedisches-museum-berlin.de/site/EN/01-Exhibitions/01...
Shackles very thick and heavy which are scary and degrading to think a person can be shackled and manacled like this
My Mamiya 80mm f/1.9 decided that it would be better off in two pieces a couple weeks ago, so I planned out and built this tilt-shift deal with the important half of the lens. The bellows is a cut down VW beetle shift boot from ebay. It works surprisingly well! And is much more durable than version 1.0.
Veranstaltung mit Izabela Uhl – Professional Beauty in Hamburg Wandsbek.
Izabela Uhl – Professional Beauty
Permanent Make-Up auf höchstem Niveau mit Produkten des vielfach ausgezeichneten Unternehmen RISO. Für Allergiker und hypersensible Hauttypen. Die ersten Pigmentierfarben, die auch Ihr Arzt empfehlen würde. Kosmetische und medizinische Fußpflege mit Wellnessfaktor und hochwertiger Nails-Art und Nageldekorationen in Hamburg Wandsbek.
Izabela Uhl – Professional Beauty
Walddörferstrasse 92
22041 Hamburg
Telefon: 040 60 53 48 01
Mobil: 0173 2 33 08 11
E-Mail: beauty@izabela-uhl.de
Internet: www.izabela-uhl.de
© 2011 Thomas Ulrich / LoboStudio Hamburg
zur freien Verwendung im Rahmen der Berichterstattung über das Studio Izabela Uhl – Professional Beauty und der Kooperation zwischen diesem und der BEWEI Bodyform-Lounge. Bitte Autorenvermerk und Belegexemplar!!!
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”
A devotee.
My Experienceof Chhath
I am a permanent resident of Kolkata, but I never witnessed the celebration of Chhath Pooja here. Lakhs of migrant residents from Uttar Pradesh, Bihar and other states of India and Nepal as well, celebrated their most ancient festival along the bank of river Hoogly, the sacred river that flows through the city. On 6th November this year, around 2pm, I went to a famous ghat on the bank of river Hoogly opposite to Eden gardens. It was an unique photographic journey to witness how people performed their rituals with so much devotion and faith. I saw hundreds of devotees sitting on the banks quietly with their offerings to Sun God and some performing their rituals with half of their bodies immersed in the Ganges, and some with fire, called ‘Homas’. I was closely looking at them, and I was amazed by their dedication, devotion and complacency. Thousands of devotees were found proceeding towards the Ganges with their offerings, all cladded in bright clothes and ornaments, and many were found on their way to lay prone on the roads touching their whole body (Ashtanga or eight parts of the body) on the Earth and performing ‘Dondis’(Surya Namaskara -Sanskrit: सूर्यनमस्कार, Sun Salutation). Many of the family members, including newborn kids were found lying on the roads waiting for the main worshipper of the family to crossover their bodies as a way to get blessings from them. Most of the main family worshippers were found to be the eldest ladies of the family. Through Chhath, I rediscovered my religious India, in a new and beautiful way.
Chhath Pooja
Chhath is an ancient Hindu Vedic festival of worshiping Sun God, as the Rigveda contains hymns worshiping the Sun God and describes similar rituals.Historically it is native to eastern Uttar Pradesh, North Bihar of India and Mithila State of Nepal.The Chhath Puja is dedicated to the Sun and his wife Usha in order to thank them for bestowing the bounties of life on earth.The God is worshiped during the Chhath festival to promote well-being, prosperity and progress. In Hinduism, Sun worship is also believed to help cure a variety of diseases, including leprosy, and helps ensure the longevity and prosperity of family members, friends, and elders. Environmentalists claim that Chhath is the most eco-friendly Hindu festival.
Regions Celebrating Chhath
Although the festival is observed most elaborately in Mithila Province of Nepal,Terai-Madhesh region of Nepal, Indian states of Bihar, Jharkhand and UP, it is also more prevalent in areas where migrants from those areas have a presence.The festival is celebrated in the regions including but not exclusive to the northeast region of India, Madhya Pradesh, Uttar Pradesh, Chhattisgarh, Chandigarh, Gujarat, as well in various countries worldwide.
Timings
Chhath puja is performed on Kartika Shukla Shashthi, which is the sixth day of the month of Kartika in Bengali calender. This falls typically in the month of October or November in the Gregorian English Calendar.
History
The rituals also find reference in the Sanskrit epic poem Mahābhārata in which Draupadi is depicted as observing similar rites. It is assumed that the oldest Purohits were requested by the kings to come and perform the traditional pooja of the Lord Sun. They used to chant the ancient Rigveda texts and a variety of hymns for worshiping the God. In the ancient time of Mahabharata Chhath pooja was celebrated by Draupadi and Pandavas of Hastinapur (present Delhi) for solving their instant problem and regaining their lost kingdom. It is also assumed that the Chhath puja was first started by the Surya Putra (son of Sun God) Karna. He was a great warrior and had ruled over the Anga Desh (Munger district of Bihar) during the Mahabharata period.
Ethymology
The word chhath means sixth in Nepali, Maithili and Bhojpuri languages and the festival is celebrated on the sixth day of the month Kārtika of the Hindu lunar Bikram Sambat calendar.The word is a Prakrit derivation from the Sanskrit ṣaṣṭhi, meaning sixth.
The Goddess who is also worshipped during the famous Chhath Puja is known as Chhathi Maiya. Chhathi Maiya is known as Usha in the Vedas. She is believed to be the beloved younger wife of Surya, the sun god. The rituals signify rising sun as well as setting sun.
Rituals and Traditions of Chhath Puja
It is believed that worshipers of the Chhath take holy bath and follows a period of abstinence and become separate for 4 days from the main family. Throughout the period he is believed as the pure spirit and sleep on the floor having single blanket.
Devotees offer prasad to Sun at the Chhath such as sweets, Kheer, Thekua, bananas and other fruits included in a small bamboo tokari. The prasad is cooked without salt, onions or garlic with maintained purity. It is a four days festival which includes:
On the first day, devotees take bathe early in the morning in the holy water of Gange and bring some holy water to their home to prepare the offerings. The home and its surroundings should be cleaned at this day. They take only one meal a day known as kaddu-bhat cooked only by using the bronze or soil utensils and mango woods over the soil stove.
On the second day, the day before Chhath, devotees keeps fast for whole day and break their fast in the evening after sunset after the worship of Sun. They offer Rasiao-kheer, puris, fruits in the puja. After taking meal in the evening, they go on a fast without water for the next 36 hours.
On the third day (day of Chhath) they offer the Sanjhiya Arghya at the ghat of riverbank. After Arghya, they wear the single saree of turmeric color. Other family members are waiting for getting the blessings from worshiper. At the night of Chhath a vibrant event of Kosi is celebrated by lighting the lamps of clay diyas under the covering of five sugarcane sticks. The five sugarcane sticks indicate the Panchatattva (earth, water, fire, air and space) the human is body made up of.
On the early morning of the fourth day (Paarun), devotees along with their family and friends offer Bihaniya Aragh at the ghat of riverbank of Gange. Devotees end their festival through breaking the fast by having the Chhath prashad.
Six levels of purification in Chhath ( a belief)
The belief of fast and cleanliness of body on the festival identify the detoxification of the body and mind in order to set up the body and mind to accept the cosmic solar energy.
Standing in water with half of the body inside the water diminishes the escape of energy as well as facilitates the prana to elevate to the sushumna.
Then the entrance of cosmic solar energy takes place in the pineal gland, pituitary gland and hypothalamus (known as the Triveni complex) through the retina and optic nerves.
In the 4th stage Triveni complex gets activated.
After activation of the Triveni complex, spine gets polarized and body of devotee gets transformed into a cosmic powerhouse and gets the Kundalini Shakti.
At this stage the devotee is fully able to conduct, recycle and pass on the energy into entire universe.
Benefits of the rituals (a belief)
Devotee of the Chhath puja can improve the immunity of body.
A variety of skin infections can be cured through the safe radiations of sunlight.
It increases the fighting power of blood by improving the performance of WBC.
Solar energy provides the power to control the secretion of hormones.
Significance
Chhath puja has a special significance during the Sunrise and Sunset periods. The Sunrise and sunset are the most important periods of the day during which a human body can safely get the solar energy without any harm. That’s why there is a myth of offering the Sanjhiya Arghya and Bihaniya Arghya to the Sun at the Chhath festival. During this period the solar energy has low level of ultraviolet radiations so it is safe for the human body. People perform the Chhath puja in order to thank the Lord Sun for the lives on the earth as well as to get blessings.
The ritual of Chhath puja provides mental calmness (by detoxifying the body and mind), enhances the energy level and immunity, reduces the frequency of anger, greed and jealousy as well as lot of negative emotions. It is also believed that following the Chhath processes helps in slowing down the ageing process. Such beliefs and rituals of the Chhath make it the most significant festival in the Hindus ever.
[ Source: en.wikipedia.org/wiki/Chhath and www.varanasi.org.in/chhath-pooja ]
Permanent Secretary in the Ministry of Health, Elaine Foster Allen (2nd right), is engaged in discussion with Economic Programme Oversight Committee (EPOC) Co-Chairman, Richard Byles (2nd left), during a cocktail reception to officially mark Jamaica’s formal commitment to the Quality Assurance for the Health Sector towards Accreditation Initiative at the Terra Nova All-Suite Hotel in Kingston on Tuesday, September 20. Others (from left) are Principal of the University of the West Indies (UWI) Mona Campus, St. Andrew, Professor Archibald McDonald; and Executive Vice President and Actuary, Sagicor Life Jamaica Limited, Willard Brown.
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