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Felix Romuliana was built as a retirement home for emperor Galerius. When Diocletian created the tetrarchy the idea was to restore the Roman Empire by increasing the number of emperors so they could deal with problems on different fronts. There was a college of four emperors, two Augusti and two Caesars, and every ten years the Augusti would elevate their Caesars, put new ones in their place, and retire. This worked exactly once. And then Constantine's father died and he decided he wanted to become emperor in his place. So everything went to hell.

 

Galerius was Diocletian's Caesar and when the old man retired he became the senior Augustus. He had some successes, but ultimately he oversaw the collapse of the tetrarchic government. He's best known for being the force behind the Great Persecution, where the empire made one last attempt to exterminate Christianity. For that reason we get a wonderful description of Galerius' death from a Christian writer called Lactantius explaining how God placed maggots in the great persecutor's bowels and they ate him up from the inside. Lovely. One of the last acts before he died was to issue an edict of toleration in 311, officially ending the persecution.

 

The imperial retirement home was uniquely tetrarchic type of architecture. Diocletian built himself a retirement home that is now the core of his hometown of Split. His co-Augustus Maximian presumably built a similar one somewhere else, either in Italy or near his hometown of Sirmium (now covered under the city of Sremska Mitrovica). Maximinus Daza built a smaller one with a mausoleum in the isolated site of Šarkamen. Galerius' is the best preserved. Galerius may have been born in Felix Romuliana, although other sources identify his birthplace as Serdica (Sophia). One thing seems clear: he never had the chance to retire here. He was buried here along with his mother Romula, after whom the site was named, on a hill called Magura above the site. There are two mausoleums and burial mounds which mark the site where Galerius and his mum were deified.

 

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Androgyny is the combination of masculine and feminine characteristics into an ambiguous form. Androgyny may be expressed with regard to biological sex, gender identity, gender expression, or sexual identity.

 

When androgyny refers to mixed biological sex characteristics in humans, it often refers to intersex people. As a gender identity, androgynous individuals may refer to themselves as non-binary, genderqueer, or gender neutral. As a form of gender expression, androgyny can be achieved through personal grooming or fashion. Androgynous gender expression has waxed and waned in popularity in different cultures and throughout history.

  

Contents

1Etymology

2History

3Symbols and iconography

4Biological

5Psychological

5.1Bem Sex-Role Inventory

5.2Personal Attribues Questionnaire

6Gender identity

7Gender expression

7.1Androgyny in fashion

8Alternatives

9Contemporary trends

10See also

11References

12External links

Etymology[edit]

Androgyny as a noun came into use c. 1850, nominalizing the adjective androgynous. The adjective use dates from the early 17th century and is itself derived from the older French (14th Century) and English (c. 1550) term androgyne. The terms are ultimately derived from Ancient Greek: ἀνδρόγυνος, from ἀνήρ, stem ἀνδρ- (anér, andr-, meaning man) and γυνή (gunē, gyné, meaning woman) through the Latin: androgynus,[1] The older word form androgyne is still in use as a noun with an overlapping set of meanings.

 

History[edit]

See also: Sexuality in ancient Rome § Hermaphroditism and androgyny

Androgyny among humans – expressed in terms of biological sex characteristics, gender identity, or gender expression – is attested to from earliest history and across world cultures. In ancient Sumer, androgynous and hermaphroditic men were heavily involved in the cult of Inanna.[2]:157–158 A set of priests known as gala worked in Inanna's temples, where they performed elegies and lamentations.[2]:285 Gala took female names, spoke in the eme-sal dialect, which was traditionally reserved for women, and appear to have engaged in homosexual intercourse.[3] In later Mesopotamian cultures, kurgarrū and assinnu were servants of the goddess Ishtar (Inanna's East Semitic equivalent), who dressed in female clothing and performed war dances in Ishtar's temples.[3] Several Akkadian proverbs seem to suggest that they may have also engaged in homosexual intercourse.[3] Gwendolyn Leick, an anthropologist known for her writings on Mesopotamia, has compared these individuals to the contemporary Indian hijra.[2]:158–163 In one Akkadian hymn, Ishtar is described as transforming men into women.[3]

 

The ancient Greek myth of Hermaphroditus and Salmacis, two divinities who fused into a single immortal – provided a frame of reference used in Western culture for centuries. Androgyny and homosexuality are seen in Plato's Symposium in a myth that Aristophanes tells the audience.[4] People used to be spherical creatures, with two bodies attached back to back who cartwheeled around. There were three sexes: the male-male people who descended from the sun, the female-female people who descended from the earth, and the male-female people who came from the moon. This last pairing represented the androgynous couple. These sphere people tried to take over the gods and failed. Zeus then decided to cut them in half and had Apollo repair the resulting cut surfaces, leaving the navel as a reminder to not defy the gods again. If they did, he would cleave them in two again to hop around on one leg. Plato states in this work that homosexuality is not shameful. This is one of the earlier written references to androgyny. Other early references to androgyny include astronomy, where androgyn was a name given to planets that were sometimes warm and sometimes cold.[5]

 

Philosophers such as Philo of Alexandria, and early Christian leaders such as Origen and Gregory of Nyssa, continued to promote the idea of androgyny as humans' original and perfect state during late antiquity.”[6] In medieval Europe, the concept of androgyny played an important role in both Christian theological debate and Alchemical theory. Influential Theologians such as John of Damascus and John Scotus Eriugena continued to promote the pre-fall androgyny proposed by the early Church Fathers, while other clergy expounded and debated the proper view and treatment of contemporary “hermaphrodites.”[6]

 

Western esotericism’s embrace of androgyny continued into the modern period. A 1550 anthology of Alchemical thought, De Alchemia, included the influential Rosary of the Philosophers, which depicts the sacred marriage of the masculine principle (Sol) with the feminine principle (Luna) producing the "Divine Androgyne," a representation of Alchemical Hermetic beliefs in dualism, transformation, and the transcendental perfection of the union of opposites.[7] The symbolism and meaning of androgyny was a central preoccupation of the German mystic Jakob Böhme and the Swedish philosopher Emanuel Swedenborg. The philosophical concept of the “Universal Androgyne” (or “Universal Hermaphrodite”) – a perfect merging of the sexes that predated the current corrupted world and/or was the utopia of the next – also plays a central role in Rosicrucian doctrine[8][9] and in philosophical traditions such as Swedenborgianism and Theosophy. Twentieth century architect Claude Fayette Bragdon expressed the concept mathematically as a magic square, using it as building block in many of his most noted buildings.[10]

 

Symbols and iconography[edit]

 

The Caduceus

In the ancient and medieval worlds, androgynous people and/or hermaphrodites were represented in art by the caduceus, a wand of transformative power in ancient Greco-Roman mythology. The caduceus was created by Tiresias and represents his transformation into a woman by Juno in punishment for striking at mating snakes. The caduceus was later carried by Hermes/Mercury and was the basis for the astronomical symbol for the planet Mercury and the botanical sign for hermaphrodite. That sign is now sometimes used for transgender people.

 

Another common androgyny icon in the medieval and early modern period was the Rebis, a conjoined male and female figure, often with solar and lunar motifs. Still another symbol was what is today called sun cross, which united the cross (or saltire) symbol for male with the circle for female.[11] This sign is now the astronomical symbol for the planet Earth.[12]

  

Mercury symbol derived from the Caduceus

 

A Rebis from 1617

 

"Rose and Cross" Androgyne symbol

 

Alternate "rose and cross" version

Biological[edit]

See also: Sex differences in humans

Historically, the word androgynous was applied to humans with a mixture of male and female sex characteristics, and was sometimes used synonymously with the term hermaphrodite.[13] In some disciplines, such as botany, androgynous and hermaphroditic are still used interchangeably.

 

When androgyny is used to refer to physical traits, it often refers to a person whose biological sex is difficult to discern at a glance because of their mixture of male and female characteristics. Because androgyny encompasses additional meanings related to gender identity and gender expression that are distinct from biological sex, today the word androgynous is rarely used to formally describe mixed biological sex characteristics in humans. [14] In modern English, the word intersex is used to more precisely describe individuals with mixed or ambiguous sex characteristics. However, both intersex and non-intersex people can exhibit a mixture of male and female sex traits such as hormone levels, type of internal and external genitalia, and the appearance of secondary sex characteristics.

 

Psychological[edit]

Though definitions of androgyny vary throughout the scientific community, it is generally supported that androgyny represents a blending of traits associated with both masculinity and femininity. In psychological study, various measures have been used to characterize gender, such as the Bem Sex Role Inventory, the Personal Attributes Questionnaire.[15]

 

Broadly speaking, masculine traits are categorized as agentic and instrumental, dealing with assertiveness and analytical skill. Feminine traits are categorized as communal and expressive, dealing with empathy and subjectivity.[16] Androgynous individuals exhibit behavior that extends beyond what is normally associated with their given sex.[17] Due to the possession of both masculine and feminine characteristics, androgynous individuals have access to a wider array of psychological competencies in regards to emotional regulation, communication styles, and situational adaptability. Androgynous individuals have also been associated with higher levels of creativity and mental health.[18][19]

 

Bem Sex-Role Inventory[edit]

The Bem Sex-Role Inventory (BSRI) was constructed by the early leading proponent of androgyny, Sandra Bem (1977).[20][better source needed] The BSRI is one of the most widely used gender measures. Based on an individual's responses to the items in the BSRI, they are classified as having one of four gender role orientations: masculine, feminine, androgynous, or undifferentiated. Bem understood that both masculine and feminine characteristics could be expressed by anyone and it would determine those gender role orientations.[21]

 

An androgynous person is an individual who has a high degree of both feminine (expressive) and masculine (instrumental) traits. A feminine individual is ranked high on feminine (expressive) traits and ranked low on masculine (instrumental) traits. A masculine individual is ranked high on instrumental traits and ranked low on expressive traits. An undifferentiated person is low on both feminine and masculine traits.[20]

 

According to Sandra Bem, androgynous individuals are more flexible and more mentally healthy than either masculine or feminine individuals; undifferentiated individuals are less competent.[20] More recent research has debunked this idea, at least to some extent, and Bem herself has found weaknesses in her original pioneering work. Now she prefers to work with gender schema theory.

 

One study found that masculine and androgynous individuals had higher expectations for being able to control the outcomes of their academic efforts than feminine or undifferentiated individuals.[22]

 

Personal Attribues Questionnaire[edit]

The Personal Attributes Questionnaire (PAQ) was developed in the 70s by Janet Spence, Robert Helmreich, and Joy Stapp. This test asked subjects to complete to a survey consisting of three sets of scales relating to masculinity, femininity, and masculinity-femininity. These scales had sets of adjectives commonly associated with males, females, and both. These descriptors were chosen based on typical characteristics as rated by a population of undergrad students. Similar to the BSRI, the PAQ labeled androgynous individuals as people who ranked highly in both the areas of masculinity and femininity. However, Spence and Helmreich considered androgyny to be a descriptor of high levels of masculinity and femininity as opposed to a category in and of itself.[15]

 

Gender identity[edit]

An individual's gender identity, a personal sense of one's own gender, may be described as androgynous if they feel that they have both masculine and feminine aspects. The word androgyne can refer to a person who does not fit neatly into one of the typical masculine or feminine gender roles of their society, or to a person whose gender is a mixture of male and female, not necessarily half-and-half. Many androgynous individuals identify as being mentally or emotionally both masculine and feminine. They may also identify as "gender-neutral", "genderqueer", or "non-binary".[23] A person who is androgynous may engage freely in what is seen as masculine or feminine behaviors as well as tasks. They have a balanced identity that includes the virtues of both men and women and may disassociate the task with what gender they may be socially or physically assigned to.[24] People who are androgynous disregard what traits are culturally constructed specifically for males and females within a specific society, and rather focus on what behavior is most effective within the situational circumstance.[24]

 

Many non-western cultures recognize additional androgynous gender identities. Jewish culture recognizes the Tumtum and Androgynos genders. In Chinese culture exists the Yinyang ren gender. The Bugis of Indonesia recognize five genders, Bissu representing the androgynous category. In Hawaiian culture, the third gender Māhū is recognized. In Oaxacan Zapotec culture, the Muxe are recognized as a third gender. In India, the Hijra is the third androgynous gender. Samoans accept Fa’afafine as a third gender. Native American culture includes Two Spirit as a general third gender.

 

Gender expression[edit]

Gender expression, which includes a mixture of masculine and feminine characteristics, can be described as androgynous. The categories of masculine and feminine in gender expression are socially constructed, and rely on shared conceptions of clothing, behavior, communication style, and other aspects of presentation. In some cultures, androgynous gender expression has been celebrated, while in others, androgynous expression has been limited or suppressed. To say that a culture or relationship is androgynous is to say that it lacks rigid gender roles, or has blurred lines between gender roles.

 

The word genderqueer is often used by androgynous individuals to refer to themselves, but the terms genderqueer and androgynous are neither equivalent nor interchangeable.[25] Genderqueer is not specific to androgynes, and does not denote gender identity. It may refer to any person, cisgender or transgender, whose behavior falls outside conventional gender norms. Furthermore, genderqueer, by virtue of its ties with queer culture, carries sociopolitical connotations that androgyny does not carry. For these reasons, some androgynes may find the label genderqueer inaccurate, inapplicable, or offensive. Androgneity is considered by some to be a viable alternative to androgyn for differentiating internal (psychological) factors from external (visual) factors.[26]

 

Terms such as bisexual, heterosexual, and homosexual have less meaning for androgynous individuals who do not identify as men or women to begin with. Infrequently the words gynephilia and androphilia are used, and some describe themselves as androsexual. These words refer to the gender of the person someone is attracted to, but do not imply any particular gender on the part of the person who is feeling the attraction.[citation needed]

  

Louise Brooks exemplified the flapper. Flappers challenged traditional gender roles, had boyish hair cuts and androgynous figures.[27]

Androgyny in fashion[edit]

Throughout most of twentieth century Western history, social rules have restricted people's dress according to gender. Trousers were traditionally a male form of dress, frowned upon for women.[28] However, during the 1800s, female spies were introduced and Vivandières wore a certain uniform with a dress over trousers. Women activists during that time would also decide to wear trousers, for example Luisa Capetillo, a women's rights activist and the first woman in Puerto Rico to wear trousers in public.[29]

  

Coco Chanel wearing a sailor's jersey and trousers. 1928

In the 1900s, starting around World War I traditional gender roles blurred and fashion pioneers such as Paul Poiret and Coco Chanel introduced trousers to women's fashion. The "flapper style" for women of this era included trousers and a chic bob, which gave women an androgynous look.[30] Coco Chanel, who had a love for wearing trousers herself, created trouser designs for women such as beach pajamas and horse-riding attire.[28] During the 1930s, glamorous actresses such as Marlene Dietrich fascinated and shocked many with their strong desire to wear trousers and adopt the androgynous style. Dietrich is remembered as one of the first actresses to wear trousers in a premiere.[31]

  

Yves Saint Laurent, the tuxedo suit "Le Smoking", created in 1966

Throughout the 1960s and 1970s, the women's liberation movement is likely to have contributed to ideas and influenced fashion designers, such as Yves Saint Laurent.[32] Yves Saint Laurent designed the Le Smoking suit and first introduced in 1966, and Helmut Newton’s erotized androgynous photographs of it made Le Smoking iconic and classic.[33] The Le Smoking tuxedo was a controversial statement of femininity and has revolutionized trousers.

 

Elvis Presley, however is considered to be the one who introduced the androgynous style in rock'n'roll and made it the standard template for rock'n'roll front-men since the 1950s.[34] His pretty face and use of eye makeup often made people think he was a rather "effeminate guy",[35] but Elvis Presley was considered as the prototype for the looks of rock'n'roll.[34] The Rolling Stones, says Mick Jagger became androgynous "straightaway unconsciously" because of him.[35]

 

However, the upsurge of androgynous dressing for men really began after during the 1960s and 1970s. When the Rolling Stones played London's Hyde Park in 1969, Mick Jagger wore a white "man's dress" designed by British designer Mr Fish.[36] Mr Fish, also known as Michael Fish, was the most fashionable shirt-maker in London, the inventor of the Kipper tie, and a principal taste-maker of the Peacock revolution in men's fashion.[37] His creation for Mick Jagger was considered to be the epitome of the swinging 60s.[38] From then on, the androgynous style was being adopted by many celebrities.

  

Annie Lennox was known for her androgyny in the 1980s

During the 1970s, Jimi Hendrix was wearing high heels and blouses quite often, and David Bowie presented his alter ego Ziggy Stardust, a character that was a symbol of sexual ambiguity when he launched the album The Rise and Fall of Ziggy Stardust and Spiders from Mars.[39] This was when androgyny entered the mainstream in the 1970s and had a big influence in pop culture. Another significant influence during this time included John Travolta, one of the androgynous male heroes of the post-counter-culture disco era in the 1970s, who starred in Grease and Saturday Night Fever.[40]

 

Continuing into the 1980s, the rise of avant-garde fashion designers like Yohji Yamamoto,[41] challenged the social constructs around gender. They reinvigorated androgyny in fashion, addressing gender issues. This was also reflected within pop culture icons during the 1980s, such as David Bowie and Annie Lennox.[42]

 

Power dressing for women became even more prominent within the 1980s which was previously only something done by men in order to look structured and powerful. However, during the 1980s this began to take a turn as women were entering jobs with equal roles to the men. In the article “The Menswear Phenomenon” by Kathleen Beckett written for Vogue in 1984 the concept of power dressing is explored as women entered these jobs they had no choice but to tailor their wardrobes accordingly, eventually leading the ascension of power dressing as a popular style for women.[43] Women begin to find through fashion they can incite men to pay more attention to the seduction of their mental prowess rather, than the physical attraction of their appearance. This influence in the fashion world quickly makes its way to the world of film, with movies like "Working Girl" using power dressing women as their main subject matter.

 

Androgynous fashion made its most powerful in the 1980s debut through the work of Yohji Yamamoto and Rei Kawakubo, who brought in a distinct Japanese style that adopted distinctively gender ambiguous theme. These two designers consider themselves to very much a part of the avant-garde, reinvigorating Japanism.[44] Following a more anti-fashion approach and deconstructing garments, in order to move away from the more mundane aspects of current Western fashion. This would end up leading a change in Western fashion in the 1980s that would lead on for more gender friendly garment construction. This is because designers like Yamamoto believe that the idea of androgyny should be celebrated, as it is an unbiased way for an individual to identify with one's self and that fashion is purely a catalyst for this.[citation needed]

 

Also during the 1980s, Grace Jones's a famous singer and fashion model gender-thwarted appearance in the 1980s which startled the public, but her androgynous style of heavily derivative of power dressing and eccentric personality has inspired many, and has become an androgynous style icon for modern celebrities.[45] This was seen as controversial but from then on, there was a rise of unisex designers later in the 1990s and the androgynous style was widely adopted by many.

 

In 2016, Louis Vuitton revealed that Jaden Smith would star in their womenswear campaign. Because of events like this, gender fluidity in fashion is being vigorously discussed in the media, with the concept being articulated by Lady Gaga, Ruby Rose, and in Tom Hooper's film The Danish Girl. Jaden Smith and other young individuals, such as Lily-Rose Depp, have inspired the movement with his appeal for clothes to be non-gender specific, meaning that men can wear skirts and women can wear boxer shorts if they so wish.[46]

 

Alternatives[edit]

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This section needs expansion. You can help by adding to it. (August 2009)

An alternative to androgyny is gender-role transcendence: the view that individual competence should be conceptualized on a personal basis rather than on the basis of masculinity, femininity, or androgyny.[47]

 

In agenderism, the division of people into women and men (in the psychical sense), is considered erroneous and artificial.[48] Agendered individuals are those who reject genderic labeling in conception of self-identity and other matters.[49] [50][51][52] They see their subjectivity through the term person instead of woman or man.[49]:p.16 According to E. O. Wright, genderless people can have traits, behaviors and dispositions that correspond to what is currently viewed as feminine and masculine, and the mix of these would vary across persons. Nevertheless, it doesn't suggest that everyone would be androgynous in their identities and practices in the absence of gendered relations. What disappears in the idea of genderlessness is any expectation that some characteristics and dispositions are strictly attributed to a person of any biological sex.[53]

 

Contemporary trends[edit]

 

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Jennifer Miller, bearded woman

 

X Japan founder Yoshiki is often labelled androgynous, known for having worn lace dresses and acting effeminate during performances[54]

 

South Korean pop star G-Dragon is often noted for his androgynous looks[55][56]

Androgyny has been gaining more prominence in popular culture in the early 21st century.[57] Both fashion industries[58] and pop culture have accepted and even popularised the "androgynous" look, with several current celebrities being hailed as creative trendsetters.

 

The rise of the metrosexual in the first decade of the 2000s has also been described as a related phenomenon associated with this trend. Traditional gender stereotypes have been challenged and reset in recent years dating back to the 1960s, the hippie movement and flower power. Artists in film such as Leonardo DiCaprio sported the "skinny" look in the 1990s, a departure from traditional masculinity which resulted in a fad known as "Leo Mania".[59] This trend came long after musical superstars such as David Bowie, Boy George, Prince, Pete Burns and Annie Lennox challenged the norms in the 1970s and had elaborate cross gender wardrobes by the 1980s.[citation needed] Musical stars such as Brett Anderson of the British band Suede, Marilyn Manson and the band Placebo have used clothing and makeup to create an androgyny culture throughout the 1990s and the first decade of the 2000s.[60]

 

While the 1990s unrolled and fashion developed an affinity for unisex clothes there was a rise of designers who favored that look, like Helmut Lang, Giorgio Armani and Pierre Cardin, the trends in fashion hit the public mainstream in the 2000s (decade) that featured men sporting different hair styles: longer hair, hairdyes, hair highlights.[citation needed] Men in catalogues started wearing jewellery, make up, visual kei, designer stubble. These styles have become a significant mainstream trend of the 21st century, both in the western world and in Asia.[61] Japanese and Korean cultures have featured the androgynous look as a positive attribute in society, as depicted in both K-pop, J-pop,[62] in anime and manga,[63] as well as the fashion industry.[64]

 

See also[edit]

List of androgynous people

Bigender

Epicenity

Futanari

Gender bender

Gender dysphoria

Gender neutrality

Gonochorism

Gynandromorph

Gynomorph

Hermaphrodite

List of transgender-related topics

Non-binary gender

Pangender

Postgenderism

Sexual Orientation Hypothesis

Third gender

Transsexualism

Trigender

True hermaphroditism

References[edit]

^ "Online Etymology Dictionary: androgynous". Retrieved 13 July 2013.

^ Jump up to: a b c Leick, Gwendolyn (2013) [1994]. Sex and Eroticism in Mesopotamian Literature. New York City, New York: Routledge. ISBN 978-1-134-92074-7.

^ Jump up to: a b c d Roscoe, Will; Murray, Stephen O. (1997). Islamic Homosexualities: Culture, History, and Literature. New York City, New York: New York University Press. pp. 65–66. ISBN 0-8147-7467-9.

^ The Symposium: and, The Phaedrus; Plato's erotic dialogues. Translated and with introduction and commentaries by William S. Cobb. Albany: State University of New York Press. 1993. ISBN 978-0-7914-1617-4.

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^ Atkinson, William Walker (2012). Marsh, Clint (ed.). The Secret Doctrine of the Rosicrucians. San Francisco, CA: Weiser Books. pp. 52–61. ISBN 9781578635344. OCLC 792888485.

^ Rosicrucian Order, AMORC (13 December 2011). "Rosicrucian Prophecies" (PDF). rose-croix.org. Retrieved 4 December 2017.

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^ William Wallace Atkinson, The Secret Doctrines of the Rosicrucians (London: L.N. Fowler & Co., 1918), 53-54.

^ "Solar System Symbols". Solar System Exploration: NASA Science. Retrieved 31 December 2018.

^ www.britannica.com/topic/androgyny

^ www.isna.org/faq/what_is_intersex

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^ Sargent, Alice G. (1981). The Androgynous Manager. New York: AMACOM. ISBN 0-8144-5568-9.

^ Rogers, Kara (6 February 2009). "Androgyny". Encyclopedia Britannica. Retrieved 4 November 2019.

^ Gartzia, Leire; Pizzaro, Jon; Baniandres, Josune. "Emotional Androgyny: A Preventive Factor of Psychosocial Risks at Work?". Frontiers in Psychology. 9 – via PMC.

^ Kaufman, Scott Barry (1 September 2013). "Blurred Lines, Androgyny and Creativity". Scientific American Blog Network. Retrieved 10 October 2019.

^ Jump up to: a b c Santrock, J. W. (2008). A Topical Approach to Life-Span Development. New York, NY: The McGraw-Hill Companies. 007760637X[page needed]

^ DeFrancisco, Victoria L. (2014). Gender in Communication. SAGE Publications. p. 11. ISBN 978-1-4522-2009-3.

^ Choi, N. (2004). Sex role group differences in specific, academic, and general self-efficacy. Journal of Psychology, 138, 149–159.

^ "Definition of androgynous: Dictionary and Thesaurus". Retrieved 13 July 2013.

^ Jump up to: a b Woodhill, Brenda; Samuels, Curtis (2004). "DESIRABLE AND UNDESIRABLE ANDROGYNY: A PRESCRIPTION FOR THE TWENTY-FIRST CENTURY". Journal of Gender Studies.

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^ "Psychological Androgyny -- A Personal Take". Retrieved 13 July 2014.

^ New world coming: the 1920s and the making of modern America. New York: Scribner, 2003, p. 253, ISBN 978-0-684-85295-9.

^ Jump up to: a b Ewing, E.; Mackrell, A. (2002). History of Twentieth Century Fashion. LA: Quite Specific Media Group Ltd.

^ Valle-Ferrer, Norma (1 June 2006). Luisa Capetillo, Pioneer Puerto Rican Feminist: With the collaboration of students from the Graduate Program in Translation, The University of Puerto Rico, Río Piedras, Spring 1991. Peter Lang Publishing Inc. ISBN 9780820442853.

^ Köksal, Duygu; Falierou, Anastasia (10 October 2013). A Social History of Late Ottoman Women: New Perspectives. BRILL. ISBN 9789004255258.

^ "Harriet Fisher". The Queen of Androgyny – Marlene Dietrich – Blog. Archived from the original on 16 June 2016. Retrieved 22 May 2016.

^ Commentator, Sally Kohn, CNN Political. "The Seventies: The sex freakout". CNN. Retrieved 22 May 2016.

^ Moet, Sophie (1 May 2014). "Androgyny and Feminism". Sophie Moet. Retrieved 22 May 2016.

^ Jump up to: a b "Elvis Never Gets Credit for One of His Greatest Gifts to Rock 'n Roll". Observer. 8 January 2016. Retrieved 23 May 2016.

^ Jump up to: a b Daniel, Pete (1 January 2000). Lost Revolutions: The South in the 1950s. Univ of North Carolina Press. ISBN 9780807848487.

^ Baker, Lindsay. "His or hers: Will androgynous fashion catch on?". www.bbc.com. Retrieved 22 May 2016.

^ Elan, Priya (13 March 2016). "Peacock revolution back with label that dressed Mick Jagger and David Bowie". The Guardian. London.

^ "Mick Jagger's white dress cast him as a romantic hero". The Daily Telegraph. Retrieved 22 May 2016.

^ Lalovic, Itana (19 November 2013). "Androgyny in the fashion world". Wall Street International. Retrieved 22 May 2016.

^ Rehling, Nicola (21 June 2010). Extra-Ordinary Men: White Heterosexual Masculinity and Contemporary Popular Cinema. Lexington Books. ISBN 9781461633426.

^ "Global Influences: Challenging Western Traditions". London: Berg.

^ Andrew Anthony (10 October 2010). "Annie Lennox: the interview". The Observer. London, UK. Retrieved 2 October 2012.

^ "The Menswear Phenomenon". Vogue; Conde Nast.

^ "Global Influences: Challenging Western Traditions". London: Berg.

^ "Androgynous Fashion Moments". Highsnobiety. 14 May 2015. Retrieved 23 May 2016.

^ "Gender Fluidity in the Fashion Industry". Cub Magazine. 8 February 2016. Retrieved 19 February 2017.

^ Pleck, J. H. (1995). The gender-role strain paradigm. In R. F. Levant & W. S. Pollack (Ed.s), A new psychology of men. New York: Basic Books.

^ Butler, Judith P. (1993). Bodies that Matter: On the Discursive Limits of 'Sex'. New York: Routledge. pp. 2–3. ISBN 9780415903660. Retrieved 12 October 2014.

^ Jump up to: a b Galupo, M. Paz; Pulice-Farrow, Lex; Ramirez, Johanna L. (2017). "Like a Constantly Flowing River": Gender Identity Flexibility Among Nonbinary Transgender Individuals. pp. 163–177. doi:10.1007/978-3-319-55658-1_10. ISBN 978-3-319-55656-7.

^ Johanna Schorn. "Taking the "Sex" out of Transsexual: Representations of Trans Identities in Popular Media" (PDF). Inter-Disciplinary.Net. Universität zu Köln. p. 1. Archived from the original (PDF) on 25 October 2014. Retrieved 6 February 2017.

^ Galupo, M. Paz; Henise, Shane B.; Davis, Kyle S. (2014). "Transgender microaggressions in the context of friendship: Patterns of experience across friends' sexual orientation and gender identity". Psychology of Sexual Orientation and Gender Diversity. 1 (4): 462. CiteSeerX 10.1.1.708.6228. doi:10.1037/sgd0000075.

^ Sumerau, J. E.; Cragun, R. T.; Mathers, L. A. B. (2015). "Contemporary Religion and the Cisgendering of Reality". Social Currents. 3 (3): 2. doi:10.1177/2329496515604644.

^ Erik Olin Wright (2011). "In defense of genderlessness (The Sex-Gender Distinction)". In Axel Gosseries, Philippe Vanderborght (ed.). Arguing about justice. Louvain: Presses universitaires de Louvain. pp. 403–413. ISBN 9782874632754. Retrieved 6 February 2017.

^ Ian Chapman, Henry Johnson, ed. (2016). Global Glam and Popular Music: Style and Spectacle from the 1970s to the 2000s. Routledge. pp. 203–205. ISBN 9781317588191.

^ "Move over, Psy! Here comes G-Dragon style". The Independent. 17 August 2014. Retrieved 5 April 2015.

^ "K-pop: a beginner's guide". The Guardian. 3 March 2014. Retrieved 5 April 2015.

^ "Androgyny becoming global?". uniorb.com. Archived from the original on 26 December 2010. Retrieved 17 December 2010.

^ Wendlandt, Astrid. "Androgynous look back for spring". Reuters. Retrieved 17 December 2010.

^ Peter Hartlaub (24 February 2005). "The teenage fans from 'Titanic' days jump ship as Leonardo DiCaprio moves on". sfgate.com. Retrieved 17 December 2010.

^ Cavendish, Marshall (2010). Sex and Society, Vol 1. Paul Bernabeo. p. 69.

^ "Androgynous look catches on". The Himalayan Times. 13–16 September 2010. Retrieved 17 December 2010.

^ "Harajuku Girls Harajuku Clothes And Harajuku Gothic fashion Secrets". Tokyo Top Guide. Retrieved 17 December 2010.

^ "Profile of Kagerou". jpopasia.com. Retrieved 17 December 2010.

^ Webb, Martin (13 November 2005). "Japan Fashion Week in Tokyo 2005. A stitch in time?". The Japan Times. Retrieved 17 December 2010.

External links[edit]

Look up androgyny in Wiktionary, the free dictionary.

Wikimedia Commons has media related to Androgyny.

Androgyny: study and collection of articles

Androgyne Online

Sandra Bem and androgyny

The Two-Spirit Tradition

  

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Lesbian, gay, bisexual, and transgender (LGBT) topics

Authority control Edit this at Wikidata

BNE: XX538802 BNF: cb11960041p (data) GND: 7654104-6

Categories: AndrogynyNon-binary genderHuman appearanceFashion aestheticsLGBT

 

en.wikipedia.org/wiki/Androgyny

Man with the plan: Joe Edelman

 

Photographer: Justin Bonaparte​

@justin.bonaparte.creative

www.modelmayhem.com/488132

 

Copyright 2019 by Justin Bonaparte. All Rights Reserved.

This locomotive has something of an identity problem. When built it was 2C1092 Wells. The name was later changed to "City of Wells". Under British Railways it was numbered 34092. When purchased by one of heritage railways in the UK it retained it's BR identity until quite recently when it was renumbered 34081. The name that is attached to that number is "92 Squadron". The gap in the yellow line in the centre is where the nameplate should be - obviously it is yet to be attached.

Canon SX-60

It's a fairly common problem among the stainless steel Phicens that the left wrist peg comes loose, so much so that you'll pull the wrist peg out of its socket while popping hands off the figure. Someone on a Phicen Facebook forum said the root cause was that the wrist peg had come loose from its socket and needed to be re-seated.

 

With this in mind, I peeled back the skin of a Phicen that had a loose left wrist peg and saw this. The socket for the wrist peg has a split design that clamps onto the wrist peg and holds it in place. If it this socket pulls loose, the two sides of the clamp don't engage and the wrist peg pops out.

 

Take a look at how much of the wrist socket is exposed from the metal tube that's containing it. This is the "Before" shot.

Quoting Smithsonian National Air and Space Museum | Concorde, Fox Alpha, Air France:

 

The first supersonic airliner to enter service, the Concorde flew thousands of passengers across the Atlantic at twice the speed of sound for over 25 years. Designed and built by Aérospatiale of France and the British Aviation Corporation, the graceful Concorde was a stunning technological achievement that could not overcome serious economic problems.

 

In 1976 Air France and British Airways jointly inaugurated Concorde service to destinations around the globe. Carrying up to 100 passengers in great comfort, the Concorde catered to first class passengers for whom speed was critical. It could cross the Atlantic in fewer than four hours - half the time of a conventional jet airliner. However its high operating costs resulted in very high fares that limited the number of passengers who could afford to fly it. These problems and a shrinking market eventually forced the reduction of service until all Concordes were retired in 2003.

 

In 1989, Air France signed a letter of agreement to donate a Concorde to the National Air and Space Museum upon the aircraft's retirement. On June 12, 2003, Air France honored that agreement, donating Concorde F-BVFA to the Museum upon the completion of its last flight. This aircraft was the first Air France Concorde to open service to Rio de Janeiro, Washington, D.C., and New York and had flown 17,824 hours.

 

Gift of Air France.

 

Manufacturer:

Societe Nationale Industrielle Aerospatiale

British Aircraft Corporation

 

Dimensions:

Wingspan: 25.56 m (83 ft 10 in)

Length: 61.66 m (202 ft 3 in)

Height: 11.3 m (37 ft 1 in)

Weight, empty: 79,265 kg (174,750 lb)

Weight, gross: 181,435 kg (400,000 lb)

Top speed: 2,179 km/h (1350 mph)

Engine: Four Rolls-Royce/SNECMA Olympus 593 Mk 602, 17,259 kg (38,050 lb) thrust each

Manufacturer: Société Nationale Industrielle Aérospatiale, Paris, France, and British Aircraft Corporation, London, United Kingdom

 

Physical Description:

Aircaft Serial Number: 205. Including four (4) engines, bearing respectively the serial number: CBE066, CBE062, CBE086 and CBE085.

Also included, aircraft plaque: "AIR FRANCE Lorsque viendra le jour d'exposer Concorde dans un musee, la Smithsonian Institution a dores et deja choisi, pour le Musee de l'Air et de l'Espace de Washington, un appariel portant le couleurs d'Air France."

Pardon me!

The Royal Air Force unveiled impressive images of a unique aircraft formation to celebrate the forty years of service of the Panavia "Tornado GR4" attack jet.

  

From Wikipedia, the free encyclopedia

 

The Panavia "Tornado" is a family of twin-engine, variable-sweep wing multirole combat aircraft, jointly developed and manufactured by Italy, the United Kingdom, and West Germany. There are three primary "Tornado" variants: the "Tornado IDS" (interdictor/strike) fighter-bomber, the suppression of enemy air defences "Tornado ECR" (electronic combat/reconnaissance) and the "Tornado ADV" (air defence variant) interceptor aircraft.

 

The "Tornado" was developed and built by Panavia Aircraft GmbH, a tri-national consortium consisting of British Aerospace (previously British Aircraft Corporation), MBB of West Germany, and Aeritalia of Italy. It first flew on 14 August 1974 and was introduced into service in 1979–1980. Due to its multirole design, it was able to replace several different fleets of aircraft in the adopting air forces. The Royal Saudi Air Force (RSAF) became the only export operator of the "Tornado" in addition to the three original partner nations. A tri-nation training and evaluation unit operating from RAF Cottesmore, the Tri-National "Tornado" Training Establishment, maintained a level of international co-operation beyond the production stage.

 

The "Tornado" was operated by the Royal Air Force (RAF), Italian Air Force, and RSAF during the Gulf War of 1991, in which the "Tornado" conducted many low-altitude penetrating strike missions. The "Tornado's" of various services were also used in conflicts in the former Yugoslavia during the Bosnian War and Kosovo War, the Iraq War, Libya during the Libyan civil war, as well as smaller roles in Afghanistan, Yemen, and Syria. Including all variants, 992 aircraft were built.

  

Development

 

Origins

 

During the 1960s, aeronautical designers looked to variable-geometry wing designs to gain the manoeuvrability and efficient cruise of straight wings with the speed of swept wing designs. The United Kingdom had cancelled the procurement of the TSR-2 and subsequent F-111K aircraft, and was still looking for a replacement for its Avro "Vulcan" and Blackburn "Buccaneer" strike aircraft. Britain and France had initiated the AFVG (Anglo French Variable Geometry) project in 1965, but this had ended with French withdrawal in 1967. Britain continued to develop a variable-geometry aircraft similar to the proposed AFVG, and sought new partners to achieve this. West German EWR had been developing the swing-wing EWR-Fairchild-Hiller "A400 AVS (Advanced Vertical Strike) (which has a similar configuration to the "Tornado").

 

In 1968, West Germany, the Netherlands, Belgium, Italy and Canada formed a working group to examine replacements for the Lockheed F-104 "Starfighter", initially called the Multi Role Aircraft (MRA), later renamed as the Multi Role Combat Aircraft (MRCA). The participating nations all had ageing fleets that required replacing; but, as the requirements were so diverse, it was decided to develop a single aircraft that could perform a variety of missions that were previously undertaken by a fleet of different aircraft. Britain joined the MRCA group in 1968, represented by Air Vice-Marshal Michael Giddings, and a memorandum of agreement was drafted between Britain, West Germany, and Italy in May 1969.

 

By the end of 1968, the prospective purchases from the six countries amounted to 1,500 aircraft. Canada and Belgium had departed before any long-term commitments had been made to the programme; Canada had found the project politically unpalatable; there was a perception in political circles that much of the manufacturing and specifications were focused on Western Europe. France had made a favorable offer to Belgium on the Dassault "Mirage 5", which created doubt as to whether the MRCA would be worthwhile from Belgium's operational perspective.

 

Panavia Aircraft GmbH

 

On 26 March 1969, four partner nations – United Kingdom, Germany, Italy and the Netherlands, agreed to form a multinational company, Panavia Aircraft GmbH, to develop and manufacture the MRCA. The project's aim was to produce an aircraft capable of undertaking missions in the tactical strike, reconnaissance, air defence, and maritime roles; thus allowing the MRCA to replace several different aircraft then in use by the partner nations. Various concepts, including alternative fixed-wing and single-engine designs, were studied while defining the aircraft. The Netherlands pulled out of the project in 1970, citing that the aircraft was too complicated and technical for the RNLAF's preferences, which had sought a simpler aircraft with outstanding manoeuvrability. An additional blow was struck by the German requirement reduced from an initial 600 aircraft to 324 in 1972. It has been suggested that Germany deliberately placed an unrealistically high initial order to secure the company headquarters and initial test flight in Germany rather than the UK, so as to have a bigger design influence.

 

When the agreement was finalised, the United Kingdom and West Germany each had a 42.5% stake of the workload, with the remaining 15% going to Italy; this division of the production work was heavily influenced by international political bargaining. The front fuselage and tail assembly was assigned to BAC (now BAE Systems) in the United Kingdom; the centre fuselage to MBB (now EADS) in West Germany; and the wings to Aeritalia (now Alenia Aeronautica) in Italy. Similarly, tri-national worksharing was used for engines, general and avionic equipment. A separate multinational company, Turbo-Union, was formed in June 1970 to develop and build the RB199 engines for the aircraft, with ownership similarly split 40% Rolls-Royce, 40% MTU, and 20% FIAT.

 

At the conclusion of the project definition phase in May 1970, the concepts were reduced to two designs; a single seat Panavia 100 which West Germany initially preferred, and the twin-seat Panavia 200 which the RAF preferred (this would become the "Tornado"). The aircraft was briefly called the Panavia "Panther", and the project soon coalesced towards the two-seat option. In September 1971, the three governments signed an Intention to Proceed (ITP) document, at which point the aircraft was intended solely for the low-level strike mission, where it was viewed as a viable threat to Soviet defences in that role. It was at this point that Britain's Chief of the Defence Staff announced "two-thirds of the fighting front line will be composed of this single, basic aircraft type".

  

Prototypes and testing

 

The first of more than a dozen "Tornado" prototypes took flight on 14 August 1974 at Manching, Germany; the pilot, Paul Millett described his experience: "Aircraft handling was delightful... the actual flight went so smoothly that I did begin to wonder whether this was not yet another simulation". Flight testing led to the need for minor modifications. Airflow disturbances were responded to by re-profiling the engine intakes and the fuselage to minimise surging and buffeting experienced at supersonic speeds.

 

According to Jim Quinn, programmer of the "Tornado" development simulation software and engineer on the "Tornado" engine and engine controls, the prototype was safely capable of reaching supercruise, but the engines had severe safety issues at high altitude while trying to decelerate. The triple shaft engine, designed for maximum power at low altitude, resulted in severe vibrations while attempting to decelerate at high altitude. At high altitude and low turbine speed the compressor did not provide enough pressure to hold back the combustion pressure and would result in a violent vibration as the combustion pressure backfired into the intake. To avoid this effect the engine controls would automatically increase the minimum idle setting as altitude increased, until at very high altitudes the idle setting was so high, however, that it was close to maximum dry thrust. This resulted in one of the test aircraft being stuck in a mach 1.2 supercruise at high altitude and having to reduce speed by turning the aircraft, because the idle setting at that altitude was so high that the aircraft could not decelerate.

 

The British Ministry of Supply ordered Chief Engineer Ted Talbot from the Concorde development team to provide intake design assistance to the "Tornado" development team in order to overcome these issues, which they hesitantly agreed to after noting that the "Concorde" intake data had apparently already been leaked to the Soviet Union. The German engineers working on the "Tornado" intake were unable to produce a functional "Concorde" style intake despite having data from the "Concorde" team. To make the problem worse, their management team incorrectly filed a patent on the "Concorde" design, and then tried to sue the British engineers who had provided the design to them. The German lawyers realized that the British had provided the designs to the German team, and requested further information to help their engineers overcome the problems with the "Tornado" intake, but Chief Engineer Talbot refused. According to Talbot, the "Concorde" engineers had determined the issue with the "Tornado" intake was that the engine did not respond to unexpected changes in the intake position, and therefore the engine was running at the wrong setting for a given position of the intake ramps. This was because the "Concorde" had similar issues due to control pressure not being high enough to maintain proper angles of the intake ramps. Aerodynamic forces could force the intakes into the improper position, and so they should have the ability to control the engines if this occurs. The "Tornado" intake system did not allow for this. Due to the behaviour of the German management team, the British engineers declined to share this information, and so the "Tornado" was not equipped with the more advanced intake design of the "Concorde".

 

Testing revealed that a nose-wheel steering augmentation system, connecting with the yaw damper, was necessary to counteract the destabilising effect produced by deploying the thrust reverser during landing rollouts.

 

From 1967 until 1984 Soviet KGB agents were provided details on the "Tornado" by the head of the West German Messerschmitt-Bölkow-Blohm Planning department, Manfred Rotsch.

 

Two prototypes were lost in accidents, both of which had been primarily caused by poor piloting decisions and errors leading to two ground collision incidents; a third "Tornado" prototype was seriously damaged by an incident involving pilot-induced pitch oscillation. During the type's development, aircraft designers of the era were beginning to incorporate features such as more sophisticated stability augmentation systems and autopilots. Aircraft such as the "Tornado" and the General Dynamics F-16 "Fighting Falcon" made use of these new technologies. Failure testing of the "Tornado's" triplex analogue command and stability augmentation system (CSAS) was conducted on a series of realistic flight control rigs; the variable-sweep wings in combination with varying, and frequently very heavy, payloads complicated the clearance process.

  

Production

 

The contract for the Batch 1 aircraft was signed on 29 July 1976. The first aircraft were delivered to the RAF and German Air Force on 5 and 6 June 1979 respectively. The first Italian "Tornado" was delivered on 25 September 1981. On 29 January 1981, the Tri-National "Tornado" Training Establishment (TTTE) officially opened at RAF Cottesmore, remaining active in training pilots from all operating nations until 31 March 1999. The 500th "Tornado" to be produced was delivered to West Germany on 19 December 1987.

 

Export customers were sought after West Germany withdrew its objections to exporting the aircraft; Saudi Arabia was the only export customer of the "Tornado". The agreement to purchase the "Tornado" was part of the controversial Al-Yamamah arms deal between British Aerospace and the Saudi government. Oman had committed to purchasing "Tornado's" and the equipment to operate them for a total value of £250 million in the late 1980s, but cancelled the order in 1990 due to financial difficulties.

 

During the 1970s, Australia considered joining the MRCA programme to find a replacement for their ageing Dassault "Mirage IIIs"; ultimately the McDonnell Douglas F/A-18 "Hornet" was selected to meet the requirement. Canada similarly opted for the F/A-18 after considering the "Tornado". Japan considered the "Tornado" in the 1980s, along with the General Dynamics F-16 "Fighting Falcon" and F/A-18, before selecting the "Mitsubishi F-2", a domestically produced design based on the F-16. In the 1990s, both Taiwan and South Korea expressed interest in acquiring a small number of "Tornado ECR" aircraft. In 2001, EADS proposed a "Tornado ECR" variant with a greater electronic warfare capability for Australia.

 

Production came to an end in 1998; the last batch of aircraft being produced went to the Royal Saudi Air Force, who had ordered a total of 96 IDS "Tornado's". In June 2011, it was announced that the RAF's "Tornado" fleet had flown collectively over one million flying hours. Aviation author Jon Lake noted that "The Trinational Panavia Consortium produced just short of 1,000 Tornados, making it one of the most successful postwar bomber programs". In 2008, AirForces Monthly said of the "Tornado": "For more than a quarter of a century ... the most important military aircraft in Western Europe."

Last time i talked about capturing towards the sun , many people argued that it is not a bad idea ... I don't mean that it is a bad idea as sometimes capturing towards the sun might make the photo really interesting but the problem that you face is with the lens flare and there are many things that might need to edit and corrected as any dust in the lens will appear as white spots ...etc Also for the long run it might damage your sensor ... so capturing towards the sun or not is something depends on you .

 

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Wow , thanks everyone ... my video " Australia " exceeded 1000+ views. If you didn't see it yet , check this out : www.youtube.com/watch?v=zcpgFtPSoaU

  

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To follow me on twitter :

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Van's US Open 2014 Huntington Beach with pro surfers Alana Blanhard, Lakey Peterson, Laura Enever, Sally Fitzgibbons, Coco Ho, Stephanie Gilmore, newcomers Nikki Van Dijk and Tatiana Weston-Web, and more!

 

The new Nikon D810 rocks for sports photogrphy New Instagram!

instagram.com/45surf

 

Goddess videos! vimeo.com/45surf

 

Follow me!

facebook.com/elliot.mcgucken

 

Nikon D810 Photos Pro Women's Surfing Van's US Open Sports Photography Tamron SP 150-600mm F/5-6.3 Di VC USD !

 

I shot in DX mode which crops away the extra pixels and takes me 1.5X closer while allowing for up to 7 FPS with the Nikon D810's Nikon MB-D12 Battery Grip using the 8 AA battery option! 8 Duracles took me through around 3,000 shots no problem--maybe more! I was shooting at the equivalent of 900mm with the 1.5x crop factor! Pretty close! Had I gone with the Nikon D4s, I would have gotten 12 fps, but no DX crop factor, as the sensor has only around 14mp, compared to the d810's 36 megapixels! Sure the larger pixel size on the Nikon D4s full frame sensor comes in handy indoors or at night, but in the brigth sun, there's more than enough light for the smaller pixels in crop mode! Sure we lose some pixels from the outer edges when shooting in DX crop mode, but most of those pixels would be cropped away in lightroom anyway. And the smaller files make the memory cards last longer, while also upping the FPS to 7 shots per second! Not quite 12 FPS< but still awesome and enough I felt!

 

What a beautiful way to test the Nikon D810 and Tamron 150-600mm zoom lens for sports photography!

 

Athletic graceful girl goddesses! Tall, thin, fit and in shape! Pro women's surfers form the van's us open wearing both long wetsuits and bikini bottoms with shorty wetsuit tops/summer wetsuits. Sexy, beautiful beach babes and water goddesses all! Many are professional swimsuit bikini / surf lifestyle models too!

 

Tamron SP 150-600mm F/5-6.3 Di VC USD Autofocus lens for Nikon AF-D Cameras.

   

blackbook

Wasp hiding in the vent of an old Volkswagen

After a new vehicle drought Arriva Yorkshire is transforming the single deck fleet with brand new and second hand enviro 200s from all manner of sources. Perhaps "ducks in a row" but time will tell. Here brand new Enviro 200 No 3008 is photographed between Hambleton and Monk Fryston operating the Selby to Leeds service. Generally these brand new e200s are being used on the Pontefract / Castleford - Leeds routes but a by-product of that is the Selby service interworks with some of those diagrams, result is a nice new bus where you might not expect one. The bus was running around 20 minutes late here, simply because of traffic congestion. This has a significant knock on effect on routes like this as the bus works a 140 from Leeds to Pontefract on arrival at Leeds. Needless to say that didn't operate, the bus having to run empty to near the end of the route to try catch up. In some countries that incident alone would make the local press front pages, but then again they have transport authorities who are switched on to the everyday problems operators face.

Madrid, España

once again i was approached by a mall cop and told to cease taking pictures... this is so ridiculous as everyone has their phones out and could be taking any pictures all the time...we had a conversation and i asked him why and he said security reasons, like someone could be photographing a jewellery store planning to rob it.

Even more absurd! If someone was casing the place, mall security would never know as anyone could have a gopro hidden on them. The last person who is a security problem is the woman with a big camera taking pictures of shiny things... just drives me mad when the world doesn't make sense.

at coquitlam centre

Downtown drug problems

Piazza San Marco

 

Venezia

No checkout lane soda

 

Edwardsville, PA. February 2020.

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online shops:

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The photographer rarely gets his/her picture taken...problem solved. Self portrait on Front Street in historic Natchitoches, LA. Minolta Autocord on JCH Streetpan 400 medium format film.

Thankfully has since been fixed.

 

Olean, NY. March 2022.

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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com

The International Space Station flies through the constellation Orion in the skies over downtown Grand Rapids, Michigan on a chilly and windy October evening.

 

This was a low pass in the southern sky (maximum altitude 34 degrees) so I decided to drive downtown to see if I could get a shot as the spacecraft flew over the buildings. I had done something similar in March of 2010, and figured if I could do it once, a second time wouldn't be a problem.

 

Using timings and coordinates from Heaven's Above.com via their Android app, I was able to determine where the flyover would begin and end. I set up my camera and did a few test shots before the actual time, and was ready by the time ISS was visible over the south-southwestern horizon.

 

I timed it so the light from the station would already be in the FOV of the lens, and opened the shutter until it disappeared a short time later. Then it was home to the computer to see if I could make anything out of the image. I guess I did.

 

Who says you can't do astrophotography from the city? :)

 

View On Black

and last but not least :D

 

I had big problems to make a windlight that would make her body shine, but wouldn't cause the whole enviroment to vanish in white blur...

Fazit: if you stand inside prim rays of light and take a picture you GLOW ~(^-^)~

 

@Lost World (SIMname: Beguile)

particlemagic by Cole the Great

 

view on black

 

skin - Fire Salamander xx by FallenGods Inc.

Claws - [ni.ju] Vitani~:D

wings - Zoe Misteltoe(Marketplace)

dance - sinewave

Faunlegs - Gauze (not visible in this picture)

black(dyed)Horns - Gauze

darkred (dyed) Horns -Trap

Tail (dyed and part of a unicornfurry) - Mutation Industries

Primtop (part of an outfit) - barerose

ripped web top - deviant girls

curly black Hair - FNKY Cake

braided reddish(dyed) hair - discord designs

Eyes - negaposi

 

this is my entry for the FGI11(Fallen Gods and Goddesses 2011) contest

Judging by the battery box and its position relative to the rest this is having problems this morning!

The interior of the waiting hall in Los Angeles Union Station, Los Angeles, CA (LAUS) in 2009. Union Station was built in the late 1930's (opened 1939...) for the UP, and was first named the "Los Angeles Union Pacific Terminal". (LAUPT) It also served the SP and the A.T.&S.F.: this station was the west end-of-the-line for the SF's Super Chief, the SP's Sunset Limited, and UP's City of Los Angeles; the south end-of-the-line for the SP's Daylight/Starlight, and the north end-of-the-line for the SF (and, later, Amtrak) San Diegan. LA Union Station has sometimes been called "The last great train station built in the US".

 

Taken by a Nikon D40x at ISO 1600 with an 18-55mm Nikon non-VR kit lens (at 18) ( ... and I would'a used a wider lens, if I had had one at the time! [even four years on, I only have a lens 1mm wider...] [I now {2014} have a much wider lens, a 20mm for full-frame, I'll be taking a similar picture from as close to where I was standing for this one with it and a full-frame camera, the next time I get to the station with time to kill...])

 

Station now (9/2013...) serves: Amtrak, (Coast Daylight, Sunset Limited, Southwest Chief, & Texas Eagle) Surfliner, (Amtrak crews...) Metrolink, LA Metro (3 lines) (rail); Amtrak California via a bus connection to Bakersfield; and several non-rail-connected bus services, including Greyhound.

 

Best viewed large: farm4.static.flickr.com/3325/4581945038_78b810404c_b.jpg or original: farm4.static.flickr.com/3325/4581945038_bb21c97e44_o.jpg

 

Having been built as an end-of-the-line terminal for all those runs, Union Station is a back in, pull out station (or pull in, back out...) - there are no run-thru heavy rail lines. (the one platform-level L.A. Metro line is a different matter: those [light] rails are newer [2008],. and do run thru... on the two subway Metro lines, L.A.U.S is also an end of the line terminal) This is now a problem with both some of the Surfliner runs and some of the Metrolink trains, where L.A.U.S. (as the name is abbreviated...) is a middle of the line station, NOT the end of the line. For these lines, which are always equipped with a "cab-car" (a passenger car with controls for the engine, used in a "push-pull" operation) the train engineer has to switch ends: the engine pulls into the station and pushes out, or vice-versa... Construction is now under way to remedy this "problem"... (2011, still underway 1/2013, first phase complete 6/2014)

 

Another problem with the station's configuration, especially for trains arriving from the south, is the north/south arrangement of the heavy rail tracks: trains arriving from the south have to make a rather tight U turn into the station. Trains arriving from the east also have to make this U-ey, as they join the tracks from the south about a football field length (100 yards, about 91 meters) short of the U turn. Complicating matters is that the station is only about ½ a mile from the Los Angeles River to the east and a major freeway (US 101) to the south, and that trains have either to work with the existing bridges over (river) or under (freeway) those obstructions, or build a new bridge or tunnel.

 

You see LAUS used as an abbreviation for the station all the time: you still occasionally see LAUPT used, too!

Maybe there is someone lucky out there

 

Maybe there is someone stupid out there

 

BUT

 

im sure that there is someone learn his lesson

Hans Rudi Erdt (Germany 1883-1918)

Been working on a spring swing coat for Skipper. There were many problems to fix including this shoulder seam problem. Once side matched up perfectly the first time. I had to do the second sleeve over twice to get it to line up.

 

more pics to follow of Skipper's new coat

"Whoga, ma arrrggh!" asked Chewie,

"Oh, I see Chewie, well I am sorry but the little bird helicopter wasn't designed with Wookie's in mind as pilots" answered Jake.

essa é a blend do concurso da nicolau q é freira do meu convento rs

e aproveitando para fazer propaganda: ENTREM NO CONVENTO DA HAAH!!1

lá vc pode rezar com padres e freiras e até virar um deles

pode beber da água benta que cura até os problemas mais difíceis

venham aprender a palavra de deus rezando muito!!1

enfim, quanto tempo, não?

sl, acho que é um novo estilo (?) enfim, era para ser um ft, mas eu n tinha gostado muito do back que a minha parceira do feat mandou, aí refiz a blend do 0

espero que tenham gostado, sl q

+++ qualidade: i.imgur.com/crlJg.png

versão 2: i.imgur.com/Ck5Ee.png

but designs AIN'T one!!

After deciding to have a little meetup at Morton Grove for the Lollapalooza extras as well as the WSOR, the last thing we expected was a locomotive breaking down right at Morton Grove. Before leaving the house, it was mentioned that 2153 experienced a mechanical failure. Whaddiya know, it turns out that METX 403 decided to go kaput in nearly the exact spot that METX 215 decided to light ablaze. The rest was history, with METX 420 towing the train downtown long hood forward.

Apollo has been the "secret" unofficial nudist beach on the Canaveral National Seashore north side in Volusia County.

 

Years ago, in an attempt to escape humans, I headed towards Apollo covered in UV protective clothing and toting my 15-300 lens. A man in the distance wearing a thong should have been a clue, but I was deep into the beach area before I was reminded that it was a nudist hangout. I was probably the most overdressed person to visit that beach. I made sure not to use the camera until I was out of sight.

 

On a recent visit I was surprised when the park ranger mentioned the nude beach when I inquired about accessible ramps for Mum. We were even more surprised to see an official warning sign. So, I decided to do a bit of research.

 

I learned two unofficial nude beaches had been established before the federal National Seashore was created in 1975. Apollo is located in Volusia county and Playalinda is in Brevard. There is not a federal law against simple nudity. Under Florida law, public nudity is largely a misdemeanor offense.

 

In 1985 Brevard Sheriff Miller's look-the-other-way policy changed when he launched "Operation Cover-up" after the number of nudists at Playalinda exceeded 600. Arrests would only be made if nudists refused to get dressed. Miller planned to bill the federal government for expenses since it would not designate an area for nude sunbathing nor authorize park rangers to enforce state laws against nudity. He felt it was unfair to have his deputies deal with a problem on federal land. Volusia Sheriff Duff ordered his deputy sheriffs to arrest all nude sunbathers.

 

There is not much news until 1995 when conservatives in Brevard County pushed to ban nudity and "insufficient" beach attire. Sheriff Miller decided not to have his deputies enforce the law where they would have to distinguish legal attire from "dental floss" and to only focus on full nudity. He stated that he felt his deputies had better things to do than going to the beach to find naked people. Advisories were handed out, but not enforced, and a nude sunbather challenged the ordinance and lost. Both beaches continued to attract nudists.

 

Finally signs were added to alert park visitors and per the park's public information officer the clothing-optional park of the beach isn't official.

 

A Miami Senator has sponsored a bill this year which would allow being naked at a clothing-optional beach.

 

Legal hot potato?

 

Feel free to fall into our mask law kerfuffle rabbit hole.

 

© All Rights Reserved

 

Solving the Worlds Problems

Covent Garden (/ˈkɒvənt/) is a district in London on the eastern fringes of the West End, between St. Martin's Lane and Drury Lane. It is associated with the former fruit and vegetable market in the central square, now a popular shopping and tourist site, and the Royal Opera House, which is also known as "Covent Garden". The district is divided by the main thoroughfare of Long Acre, north of which is given over to independent shops centred on Neal's Yard and Seven Dials, while the south contains the central square with its street performers and most of the elegant buildings, theatres and entertainment facilities, including the Theatre Royal, Drury Lane, and the London Transport Museum.

 

Though mainly fields until the 16th century, the area was briefly settled when it became the heart of the Anglo-Saxon trading town of Lundenwic. After the town was abandoned, part of the area was walled off by 1200 for use as arable land and orchards by Westminster Abbey, and was referred to as "the garden of the Abbey and Convent". The land, now called "the Covent Garden", was seized by Henry VIII, and granted to the Earls of Bedford in 1552. The 4th Earl commissioned Inigo Jones to build some fine houses to attract wealthy tenants. Jones designed the Italianate arcaded square along with the church of St Paul's. The design of the square was new to London, and had a significant influence on modern town planning, acting as the prototype for the laying-out of new estates as London grew. A small open-air fruit and vegetable market had developed on the south side of the fashionable square by 1654. Gradually, both the market and the surrounding area fell into disrepute, as taverns, theatres, coffee-houses and brothels opened up; the gentry moved away, and rakes, wits and playwrights moved in. By the 18th century it had become a well-known red-light district, attracting notable prostitutes. An Act of Parliament was drawn up to control the area, and Charles Fowler's neo-classical building was erected in 1830 to cover and help organise the market. The area declined as a pleasure-ground as the market grew and further buildings were added: the Floral Hall, Charter Market, and in 1904 the Jubilee Market. By the end of the 1960s traffic congestion was causing problems, and in 1974 the market relocated to the New Covent Garden Market about three miles (5 km) south-west at Nine Elms. The central building re-opened as a shopping centre in 1980, and is now a tourist location containing cafes, pubs, small shops, and a craft market called the Apple Market, along with another market held in the Jubilee Hall.

 

Covent Garden, with the postcode WC2, falls within the London boroughs of Westminster and Camden, and the parliamentary constituencies of Cities of London and Westminster and Holborn and St Pancras. The area has been served by the Piccadilly line at Covent Garden tube station since 1907; the journey from Leicester Square, at 300 yards, is the shortest in London.

 

Early history

 

The route of the Strand on the southern boundary of what was to become Covent Garden was used during the Roman period as part of a route to Silchester, known as "Iter VII" on the Antonine Itinerary. Excavations in 2006 at St Martin-in-the-Fields revealed a Roman grave, suggesting the site had sacred significance. The area to the north of the Strand was long thought to have remained as unsettled fields until the 16th century, but theories by Alan Vince and Martin Biddle that there had been an Anglo-Saxon settlement to the west of the old Roman town of Londinium were borne out by excavations in 1985 and 2005. These revealed Covent Garden as the centre of a trading town called Lundenwic, developed around 600 AD, which stretched from Trafalgar Square to Aldwych. Alfred the Great gradually shifted the settlement into the old Roman town of Londinium from around 886 AD onwards, leaving no mark of the old town, and the site returned to fields.

 

Around 1200 the first mention of an abbey garden appears in a document mentioning a walled garden owned by the Benedictine monks of the Abbey of St. Peter, Westminster. A later document, dated between 1250 and 1283, refers to "the garden of the Abbot and Convent of Westminster". By the 13th century this had become a 40-acre (16 ha) quadrangle of mixed orchard, meadow, pasture and arable land, lying between modern-day St. Martin's Lane and Drury Lane, and Floral Street and Maiden Lane. The use of the name "Covent"—an Anglo-French term for a religious community, equivalent to "monastery" or "convent" —appears in a document in 1515, when the Abbey, which had been letting out parcels of land along the north side of the Strand for inns and market gardens, granted a lease of the walled garden, referring to it as "a garden called Covent Garden". This is how it was recorded from then on.

 

The Bedford Estate (1552–1918)

 

After the Dissolution of the Monasteries in 1540, Henry VIII took for himself the land belonging to Westminster Abbey, including the convent garden and seven acres to the north called Long Acre; and in 1552 his son, Edward VI, granted it to John Russell, 1st Earl of Bedford. The Russell family, who in 1694 were advanced in their peerage from Earl to Duke of Bedford, held the land from 1552 to 1918.

 

Russell had Bedford House and garden built on part of the land, with an entrance on the Strand, the large garden stretching back along the south side of the old walled-off convent garden. Apart from this, and allowing several poor-quality tenements to be erected, the Russells did little with the land until the 4th Earl of Bedford, Francis Russell, an active and ambitious businessman, commissioned Inigo Jones in 1630 to design and build a church and three terraces of fine houses around a large square or piazza. The commission had been prompted by Charles I taking offence at the condition of the road and houses along Long Acre, which were the responsibility of Russell and Henry Carey, 2nd Earl of Monmouth. Russell and Carey complained that under the 1625 Proclamation concerning Buildings, which restricted building in and around London, they could not build new houses; the King then granted Russell, for a fee of £2,000, a licence to build as many new houses on his land as he "shall thinke fitt and convenient". The church of St Paul's was the first building, begun in July 1631 on the western side of the square. The last house was completed in 1637.

 

The houses initially attracted the wealthy, though when a market developed on the south side of the square around 1654, the aristocracy moved out and coffee houses, taverns, and prostitutes moved in. The Bedford Estate was expanded in 1669 to include Bloomsbury, when Lord Russell married Lady Rachel Vaughan, one of the daughters of the 4th Earl of Southampton.

 

By the 18th century, Covent Garden had become a well-known red-light district, attracting notable prostitutes such as Betty Careless and Jane Douglas. Descriptions of the prostitutes and where to find them were provided by Harris's List of Covent Garden Ladies, the "essential guide and accessory for any serious gentleman of pleasure". In 1830 a market hall was built to provide a more permanent trading centre. In 1913, Herbrand Russell, 11th Duke of Bedford agreed to sell the Covent Garden Estate for £2 million to the MP and land speculator Harry Mallaby-Deeley, who sold his option in 1918 to the Beecham family for £250,000.

 

Modern changes

 

Charles Fowler's 1830 neo-classical building restored as a retail market.

The Covent Garden Estate was part of Beecham Estates and Pills Limited from 1924 to 1928, after which time it was managed by a successor company called Covent Garden Properties Company Limited, owned by the Beechams and other private investors. This new company sold some properties at Covent Garden, while becoming active in property investment in other parts of London. In 1962 the bulk of the remaining properties in the Covent Garden area, including the market, were sold to the newly established government-owned Covent Garden Authority for £3,925,000.

 

By the end of the 1960s, traffic congestion had reached such a level that the use of the square as a modern wholesale distribution market was becoming unsustainable, and significant redevelopment was planned. Following a public outcry, buildings around the square were protected in 1973, preventing redevelopment. The following year the market moved to a new site in south-west London. The square languished until its central building re-opened as a shopping centre in 1980. An action plan was drawn up by Westminster Council in 2004 in consultation with residents and businesses to improve the area while retaining its historic character. The market buildings, along with several other properties in Covent Garden, were bought by a property company in 2006.

 

Geography

 

Historically, the Bedford Estate defined the boundary of Covent Garden, with Drury Lane to the east, the Strand to the south, St. Martin's Lane to the west, and Long Acre to the north. However, over time the area has expanded northwards past Long Acre to High Holborn, and since 1971, with the creation of the Covent Garden Conservation Area which incorporated part of the area between St Martins Lane and Charring Cross Road, the Western boundary is sometimes considered to be Charring Cross Road. Shelton Street, running parallel to the north of Long Acre, marks the London borough boundary between Camden and Westminster. Long Acre is the main thoroughfare, running north-east from St Martin's Lane to Drury Lane.

 

The area to the south of Long Acre contains the Royal Opera House, the market and central square, and most of the elegant buildings, theatres and entertainment facilities, including the Theatre Royal, Drury Lane, and the London Transport Museum; while the area to the north of Long Acre is largely given over to independent retail units centred on Neal Street, Neal's Yard and Seven Dials; though this area also contains residential buildings such as Odhams Walk, built in 1981 on the site of the Odhams print works, and is home to over 6,000 residents.

 

Governance

The Covent Garden estate was originally under the control of Westminster Abbey and lay in the parish of St Margaret. During a reorganisation in 1542 it was transferred to St Martin in the Fields, and then in 1645 a new parish was created, splitting governance of the estate between the parishes of St Paul Covent Garden and St Martin, both still within the Liberty of Westminster. St Paul Covent Garden was completely surrounded by the parish of St Martin in the Fields. It was grouped into the Strand District in 1855 when it came within the area of responsibility of the Metropolitan Board of Works.

 

In 1889 the parish became part of the County of London and in 1900 it became part of the Metropolitan Borough of Westminster. It was abolished as a civil parish in 1922. Since 1965 Covent Garden falls within the London boroughs of Westminster and Camden, and is in the Parliamentary constituencies of Cities of London and Westminster and Holborn and St Pancras. For local council elections it falls within the St James's ward for Westminster, and the Holborn and Covent Garden ward for Camden.

 

Economy

 

The area's historic association with the retail and entertainment economy continues. In 1979, Covent Garden Market reopened as a retail centre; in 2010, the largest Apple Store in the world opened in The Piazza. The central hall has shops, cafes and bars alongside the Apple Market stalls selling antiques, jewellery, clothing and gifts; there are additional casual stalls in the Jubilee Hall Market on the south side of the square. Long Acre has a range of clothes shops and boutiques, and Neal Street is noted for its large number of shoe shops. London Transport Museum and the side entrance to the Royal Opera House box office and other facilities are also located on the square. During the late 1970s and 1980s the Rock Garden music venue was popular with up and coming punk rock and New Wave artists.

 

The market halls and several other buildings in Covent Garden were bought by CapCo in partnership with GE Real Estate in August 2006 for £421 million, on a 150-year head lease. The buildings are let to the Covent Garden Area Trust, who pay an annual peppercorn rent of one red apple and a posy of flowers for each head lease, and the Trust protects the property from being redeveloped. In March 2007 CapCo also acquired the shops located under the Royal Opera House. The complete Covent Garden Estate owned by CapCo consists of 550,000 sq ft (51,000 m2), and has a market value of £650 million.

 

Landmarks

 

The Royal Opera House, often referred to as simply "Covent Garden", was constructed as the "Theatre Royal" in 1732 to a design by Edward Shepherd. During the first hundred years or so of its history, the theatre was primarily a playhouse, with the Letters Patent granted by Charles II giving Covent Garden and Theatre Royal, Drury Lane exclusive rights to present spoken drama in London. In 1734, the first ballet was presented; a year later Handel's first season of operas began. Many of his operas and oratorios were specifically written for Covent Garden and had their premières here. It has been the home of The Royal Opera since 1945, and the Royal Ballet since 1946.

 

The current building is the third theatre on the site following destructive fires in 1808 and 1857. The façade, foyer and auditorium were designed by Edward Barry, and date from 1858, but almost every other element of the present complex dates from an extensive £178 million reconstruction in the 1990s. The Royal Opera House seats 2,268 people and consists of four tiers of boxes and balconies and the amphitheatre gallery. The stage performance area is roughly 15 metres square. The main auditorium is a Grade 1 listed building. The inclusion of the adjacent old Floral Hall, previously a part of the old Covent Garden Market, created a new and extensive public gathering place. In 1779 the pavement outside the playhouse was the scene of the murder of Martha Ray, mistress of the Earl of Sandwich, by her admirer the Rev. James Hackman.

 

Covent Garden square

 

Balthazar Nebot's 1737 painting of the square before the 1830 market hall was constructed.

The central square in Covent Garden is simply called "Covent Garden", often marketed as "Covent Garden Piazza" to distinguish it from the eponymous surrounding area. Laid out in 1630, it was the first modern square in London, and was originally a flat, open space or piazza with low railings. A casual market started on the south side, and by 1830 the present market hall was built. The space is popular with street performers, who audition with the site's owners for an allocated slot. The square was originally laid out when the 4th Earl of Bedford, Francis Russell, commissioned Inigo Jones to design and build a church and three terraces of fine houses around the site of a former walled garden belonging to Westminster Abbey. Jones's design was informed by his knowledge of modern town planning in Europe, particularly Piazza d'Arme, in Leghorn, Tuscany, Piazza San Marco in Venice, Piazza Santissima Annunziata in Florence, and the Place des Vosges in Paris. The centrepiece of the project was the large square, the concept of which was new to London, and this had a significant influence on modern town planning in the city,[56] acting as the prototype for the laying-out of new estates as the metropolis grew. Isaac de Caus, the French Huguenot architect, designed the individual houses under Jones's overall design.

 

The church of St Paul's was the first building, and was begun in July 1631 on the western side of the square. The last house was completed in 1637. Seventeen of the houses had arcaded portico walks organised in groups of four and six either side of James Street on the north side, and three and four either side of Russell Street. These arcades, rather than the square itself, took the name Piazza; the group from James Street to Russell Street became known as the "Great Piazza" and that to the south of Russell Street as the "Little Piazza". None of Inigo Jones's houses remain, though part of the north group was reconstructed in 1877–79 as Bedford Chambers by William Cubitt to a design by Henry Clutton.

 

Covent Garden market

 

The first record of a "new market in Covent Garden" is in 1654 when market traders set up stalls against the garden wall of Bedford House. The Earl of Bedford acquired a private charter from Charles II in 1670 for a fruit and vegetable market, permitting him and his heirs to hold a market every day except Sundays and Christmas Day. The original market, consisting of wooden stalls and sheds, became disorganised and disorderly, and the 6th Earl requested an Act of Parliament in 1813 to regulate it, then commissioned Charles Fowler in 1830 to design the neo-classical market building that is the heart of Covent Garden today. The contractor was William Cubitt and Company. Further buildings were added—the Floral hall, Charter Market, and in 1904 the Jubilee Market for foreign flowers was built by Cubitt and Howard.

 

By the end of the 1960s, traffic congestion was causing problems for the market, which required increasingly large lorries for deliveries and distribution. Redevelopment was considered, but protests from the Covent Garden Community Association in 1973 prompted the Home Secretary, Robert Carr, to give dozens of buildings around the square listed-building status, preventing redevelopment. The following year the market relocated to its new site, New Covent Garden Market, about three miles (5 km) south-west at Nine Elms. The central building re-opened as a shopping centre in 1980, with cafes, pubs, small shops and a craft market called the Apple Market. Another market, the Jubilee Market, is held in the Jubilee Hall on the south side of the square. The market halls and several other buildings in Covent Garden have been owned by the property company Capital & Counties Properties (CapCo) since 2006.

 

Theatre Royal, Drury Lane

 

The current Theatre Royal on Drury Lane is the most recent of four incarnations, the Second of which opened in 1663, making it the oldest continuously used theatre in London. For much of its first two centuries, it was, along with the Royal Opera House, a patent theatre granted rights in London for the production of drama, and had a claim to be one of London's leading theatres. The first theatre, known as "Theatre Royal, Bridges Street", saw performances by Nell Gwyn and Charles Hart. After it was destroyed by fire in 1672, English dramatist and theatre manager Thomas Killigrew engaged Christopher Wren to build a larger theatre on the same spot, which opened in 1674. This building lasted nearly 120 years, under leadership including Colley Cibber, David Garrick, and Richard Brinsley Sheridan. In 1791, under Sheridan's management, the building was demolished to make way for a larger theatre which opened in 1794; but that survived only 15 years, burning down in 1809. The building that stands today opened in 1812. It has been home to actors as diverse as Shakespearean actor Edmund Kean, child actress Clara Fisher, comedian Dan Leno, the comedy troupe Monty Python (who recorded a concert album there), and musical composer and performer Ivor Novello. Since November 2008 the theatre has been owned by composer Andrew Lloyd Webber and generally stages popular musical theatre. It is a Grade I listed building.

 

London Transport Museum

 

The London Transport Museum is in a Victorian iron and glass building on the east side of the market square. It was designed as a dedicated flower market by William Rogers of William Cubitt and Company in 1871, and was first occupied by the museum in 1980. Previously the transport collection had been held at Syon Park and Clapham. The first parts of the collection were brought together at the beginning of the 20th century by the London General Omnibus Company (LGOC) when it began to preserve buses being retired from service. After the LGOC was taken over by the London Electric Railway (LER), the collection was expanded to include rail vehicles. It continued to expand after the LER became part of the London Passenger Transport Board in the 1930s and as the organisation passed through various successor bodies up to TfL, London's transport authority since 2000. The Covent Garden building has on display many examples of buses, trams, trolleybuses and rail vehicles from 19th and 20th centuries as well as artefacts and exhibits related to the operation and marketing of passenger services and the impact that the developing transport network has had on the city and its population.

 

St Paul's Church

 

St Paul's, commonly known as the Actors' Church, was designed by Inigo Jones as part of a commission by Francis Russell in 1631 to create "houses and buildings fitt for the habitacons of Gentlemen and men of ability". Work on the church began that year and was completed in 1633, at a cost of £4,000, with it becoming consecrated in 1638. In 1645 Covent Garden was made a separate parish and the church was dedicated to St Paul. It is uncertain how much of Jones's original building is left, as the church was damaged by fire in 1795 during restoration work by Thomas Hardwick; though it is believed that the columns are original—the rest is mostly Georgian or Victorian reconstruction.

 

Culture

 

The Covent Garden area has long been associated with both entertainment and shopping, and this continues. Covent Garden has 13 theatres, and over 60 pubs and bars, with most south of Long Acre, around the main shopping area of the old market. The Seven Dials area in the north of Covent Garden was home to the punk rock club The Roxy in 1977, and the area remains focused on young people with its trendy mid-market retail outlets.

 

Street performance

 

Street entertainment at Covent Garden was noted in Samuel Pepys's diary in May 1662, when he recorded the first mention of a Punch and Judy show in Britain. Impromptu performances of song and swimming were given by local celebrity William Cussans in the eighteenth century. Covent Garden is licensed for street entertainment, and performers audition for timetabled slots in a number of venues around the market, including the North Hall, West Piazza, and South Hall Courtyard. The courtyard space is dedicated to classical music only. There are street performances at Covent Garden Market every day of the year, except Christmas Day. Shows run throughout the day and are about 30 minutes in length. In March 2008, the market owner, CapCo, proposed to reduce street performances to one 30-minute show each hour.

 

Pubs and bars

 

The Covent Garden area has over 60 pubs and bars; several of them are listed buildings, with some also on CAMRA's National Inventory of Historic Pub Interiors; some, such as The Harp in Chandos Place, have received consumer awards. The Harp's awards include London Pub of the Year in 2008 by the Society for the Preservation of Beers from the Wood, and National Pub of the Year by CAMRA in 2011. It was at one time owned by the Charrington Brewery, when it was known as The Welsh Harp; in 1995 the name was abbreviated to just The Harp, before Charrington sold it to Punch Taverns in 1997. It has been owned by the landlady since 2010.

 

The Lamb and Flag in Rose Street has a reputation as the oldest pub in the area, though records are not clear. The first mention of a pub on the site is 1772 (when it was called the Cooper's Arms – the name changing to Lamb & Flag in 1833); the 1958 brick exterior conceals what may be an early 18th-century frame of a house replacing the original one built in 1638.[94] The pub acquired a reputation for staging bare-knuckle prize fights during the early 19th century when it earned the nickname "Bucket of Blood". The alleyway beside the pub was the scene of an attack on John Dryden in 1679 by thugs hired by John Wilmot, 2nd Earl of Rochester, with whom he had a long-standing conflict.

 

The Salisbury in St. Martin's Lane was built as part of a six-storey block around 1899 on the site of an earlier pub that had been known under several names, including the Coach & Horses and Ben Caunt's Head; it is both Grade II listed, and on CAMRA's National Inventory, due to the quality of the etched and polished glass and the carved woodwork, summed up as "good fin de siècle ensemble". The Freemasons Arms on Long Acre is linked with the founding of the Football Association in 1896; however, the meetings took place at The Freemasons Tavern on Great Queen Street, which was replaced in 1909 by the Connaught Rooms.

 

Other pubs that are Grade II listed are of minor interest, they are three 19th century rebuilds of 17th century/18th century houses, the Nell Gwynne Tavern in Bull Inn Court, the Nag's Head on James Street, and the White Swan on New Row; a Victorian pub built by lessees of the Marquis of Exeter, the Old Bell on the corner of Exeter Street and Wellington Street; and a late 18th or early 19th century pub the Angel and Crown on St. Martin's Lane.

 

Cultural connections

 

Covent Garden, and especially the market, have appeared in a number of works. Eliza Doolittle, the central character in George Bernard Shaw's play, Pygmalion, and the musical adaptation by Alan Jay Lerner, My Fair Lady, is a Covent Garden flower seller. Alfred Hitchcock's 1972 film Frenzy about a Covent Garden fruit vendor who becomes a serial sex killer, was set in the market where his father had been a wholesale greengrocer. The daily activity of the market was the topic of a 1957 Free Cinema documentary by Lindsay Anderson, Every Day Except Christmas, which won the Grand Prix at the Venice Festival of Shorts and Documentaries.

 

Transport

 

Covent Garden is served by the Piccadilly line at Covent Garden tube station on the corner of Long Acre and James Street. The station was opened by Great Northern, Piccadilly and Brompton Railway on 11 April 1907, four months after services on the rest of the line began operating on 15 December 1906. Platform access is only by lift or stairs; until improvements to the exit gates in 2007, due to high passenger numbers (16 million annually), London Underground had to advise travellers to get off at Leicester Square and walk the short distance (the tube journey at less than 300 yards is London's shortest) to avoid the congestion. Stations just outside the area include the Charing Cross tube station and Charing Cross railway station, Leicester Square tube station, and Holborn tube station. While there is only one bus route in Covent Garden itself—the RV1, which uses Catherine Street as a terminus, just to the east of Covent Garden square—there are over 30 routes which pass close by, mostly on the Strand or Kingsway.

 

en.wikipedia.org/wiki/Covent_Garden

陰沉的下雪天 我們安靜地觀察樹上的貓頭鷹 他突然飛到我右前方的樹叢中抓住獵物 有些人為了想拍到照片馬上追去圍住他 我和另一位朋友開口要求大家退後不可驚擾牠或給他壓力 更不要自私地使用閃光燈去拍非常敏感的貓頭鷹 因為閃光燈會造成它們失去視覺而傷亡 (關於閃光燈對貓頭鷹造成傷亡的問題 全球已經有許多鳥類獸醫發表過報告)

 

希望大家都能尊重野生動物 給予它們原有的自由和空間 不要只為了拍照或得到掌聲而不擇手段 無論是擅自進入禁區 或是以食物引誘!

 

We watched the owl on the trees quietly in a cloudy snowy day. He flew into the trees in right front of me and caught the prey. Some people wanted to take the photo and immediately chased him around. I and another friend requested them to back off and not to disturb him and not to give him pressure.

 

We also asked people not to selfishly use the flash to shoot owls. Owls are very sensitive. Using flash will cause them to lose sight and could cause injuries and casualties. (Flash on owls could cause injuries and casualties problem, many bird experts published reports globally)

 

I hope we can respect wild animals and give them the inherent freedom and space. Do not just for taking pictures to get applause regardless of the means to enter the restricted area or to induce them by food

 

148A5896

Classic Problem: A farmer needs to cross a river, but his boat can only hold one other passenger or item. He can't leave the grain with the chicken for the chicken will eat the grain. He can't leave the fox with the chicken for the fox will eat the chicken.

How can he manage to get the fox, the chicken, and the sack of grain safely across the river?

  

If Taylor had bothered to look behind him...his problems would have been solved.