Colonel Stephens Railway Museum
Sponsored images from 
View allAll Photos Tagged Promoter
These Budweiser Clydesdales, world-renowned promoters of InBev's Anheuser-Busch beer brands, are part of an eight-horse hitch that visited P.A. Short Distributing in Hollins, Va., on Thursday, March 10. Each of these beasts weighs about a ton (900 kg.) and stand well more than 6 feet tall (2 meters) at the shoulder. The harnesses, yokes, bridles and bits that they wear amounts to another 130 pounds (60 kg) per horse. ©2022 John M. Hudson | jmhudson1.com
Promoters of Echinacea believe it boosts the immune system. Seeing these first thing on a dewy morning certainly boosted my mood even without ingesting any of it.
The Royal York Cresent at Clifton,the construction of the Georgian terrace was started in 1791,but due to bankruptcy of the promoter was brought to a standstill. In 1801 the unfinished part of the cresent was bought by the Government intended to build barracks. Local opposition frustrated this plan and the Crescent was completed in 1820 as originally planned.
Declared a National Monument in 1931, its promoter was Juan Vázquez de Molina, nephew of the very powerful secretary for Castilian affairs, Francisco de los Cobos. He succeeded his uncle in the position of Secretary of State for the monarchs Charles V and Philip II. The palace was built in the mid-sixteenth century by the Renaissance architect Andrés de Vandelvira. The local stonemasons Miguel Calvyde, Antón Sánchez, Alonso Fernández and the grille Francisco López participated in its construction. It is strange that an architect gives the same importance to a construction of a civil nature as to one of a religious nature. With the construction of this palace, Andrés de Vandelvira made his culminating work in civil architecture, representing the maturity of the artist. The plan and elevation of the façade is influenced by the model of the "Roman house" of the Latin edition of Vitruvius published by Fra Giocondo of Verona in 1511. It is one of the most beautiful Renaissance palaces in Spain and one of the ones that best follows the principle of eurythmy proposed by the Roman architect, who advocates the good arrangement of the different parts of a building in terms of proportion, harmony and symmetry. The façades are arranged horizontally in three bodies, with different architectural orders, Corinthian for the first, Ionic for the second and in the last, caryatids together with telamones, as tenants bearing the coats of arms of the Molina, Mendoza, Vázquez, Cobos, Manuel and Quiñones. It is curious that on the façade he inverts the usual order of Doric, Ionic and Corinthian. In addition, he uses the large human figure in the last body, believed to have been influenced by the French-born sculptor Esteban Jamete, possibly carved by him. Vertically it divides into seven streets of different widths barely perceptible to achieve an appearance of solidity. The openings are different in the three bodies: windows with wrought iron and festoons in the first, balconies with triangular pediment in the second and in the third oval portholes, influenced by Machuca and his Palace of Charles V. A cantilevered cornice finishes off the building and, at the corners, there are two turrets that are believed to have been added to act as a counterweight, which gives it a very elegant character. Here Vandelvira was inspired by the classical temples of isolated columns crowned by small domes – tholoi.
Ladies and gentlemen, let me introduce you to Mr. Maka Orion.
He is a very talented sl artist photographer and an active promoter of interesting social media initiatives related to SL photography.
Maka is also a special friend of mine, who helped me to develop this little idea about a talk show interview after he noticed my inclination to curiosity and to make a lot of questions ^^'.
So, after he teased me a little calling me nosey-rosey and asking what school of journalism did I attend :D
we have come to create this first (and probably last :D) episode of the "Cla Jones Not so Late Show".
Hope you'll enjoy!
Cla:Hi Maka, glad to have you here and thank you for letting me interview you
Maka:Hi Claudia, Thanks for having me!
C.:Could you tell us a little more about yourself? Like how did you find SL and when did you start going on SL?
M.:Well, I'm Maka and I'm a 30 year old guy from the Netherlands who loves making photographs and being artistic on SL.
I stumbled upon SL by accident really, i googled "Online open world games that are free" and after scrolling down a few boring options there was "Second Life". I checked it out and i found it interesting from the very beginning to create your own Avatar and basically do whatever you want to do.
And that was in 2014, somewhere in August so i believe i have my Rez day coming up soon!
The funny thing is after i created a avatar, somehow i teleported to this London sim and i literally thought that sim was all of SL! So i stayed there for a good week until people told me about this thing called teleporting and showed me different sims!
C.: Haha I guess we experience the funniest and weirdest things when we are newbies... How has your sl changed after 8 years? What's your vision of sl to day, do you think it's a game or something different?
M.: My vision of SL, hmm...I treat it mostly as a game but with real people behind the screens and real feelings and emotions while being aware and respect the fact that for some people it is literally a second life for them, and for some a escape from reality and all the drama that has happened there.
For me it was about meeting new people, doing fun things, explore new sims and hang out. But for the last few years i have been keeping myself busy in SL with other things, like photography and talking to friends.
C.: You certainly are a great SL photographer and you also are the manager of four Flickr groups: the three themed ones "A Black & White Second Life", "Cosplayers of Second Life", "A Sexy Second Life" and the very popular "Free Spirits of Second Life". How do you like this experience?
M.: Thank you for the compliment, i still see myself as a ordinary photographer who is still very much a student of the game. Yes, I do run them groups, I loved the idea of getting to see people's work and passion and i loved the idea of them sharing it in a group that i created as i felt i wanted to be a source of connection for these amazing artists. Where they could enjoy eachothers work and connect through that group with one another. I love that idea and i hope in some way i have achieved that, even if it's just a tiny bit.
C.: I believe you surely did, Maka! In addition to your groups, you also created the SundayFunday Photo Challenge. Every two weeks you invite all the sl photography's lovers to challenge themselves about a theme you propose.
Of all the themes you launched over these years, do you remember which ones have been particularly loved by the participants?
M.:Yes, and i recently expanded it to a 3 weeks event. The themes that seem most popular among the participants are the more serious ones like Black and white, Poems, quotes, portraits and stuff like that. They are also my favorite types of themes.
C.: Tell us about your SL photographs. What does inspire you and what type of photos do you like to take?
M.: Well, allot can inspire me actually. Sometimes i listen to a song and i get inspired, or read something, or see something on tv, quotes, poems, other people, you name it.
Mostly i like to take pictures with a deeper meaning, accompanied by a quote or poem. Something that puts my thoughts on camera and make a image out of them. Pictures that people might need to look at twice or more to get it or see the meaning behind it..That's what i love most, but i also love to challenge myself with other kinds of pictures.
C.:Which is the picture you took you love the most?
M.:It's hard to say what picture i love the most because they all have different meaning to me in different periods of my life and all in a different state of mind. I ahve taken pics when i was struggling with depression that are darker, and i have taken pictures when i was feeling really good that look really bright and happy.
But there is definetly one i cherish allot, and that is this one flickr.com/photos/141139571@N08/51713560748/in/dateposted/
C.:Thank you so much for being so open with us Maka and for taking the time to do this interview. I feel that the viewer has gotten to know you a bit better and got a glimpse of how the mind of an artist works. I thank you for your time and for wanting to answer my questions!
ᶜˡᵃ'ˢ ᵒᵘᵗᶠⁱᵗ ᵇʸ ᵛᵃˡᵉⁿᵗⁱⁿᵃ ᵉ.
ʰᵃⁱʳ ᵇʸ ᵈᵒᵘˣ
Cause when that morning sun comes beating down
You're going to wake up in your town
But we'll be scheduled to appear
A thousand miles away from here
People stay just a little bit longer
We want to play, just a little bit longer
Now the promoter don't mind
And the union don't mind
If we take a little time
And we leave it all behind and sing
One more song.
Excerpt from Jackson Browne's song Stay
Before the 19th century, the wilderness was viewed as desolate and forbidding. As Romanticism developed in the United States, the view of wilderness became more positive, as seen in the writings of James Fenimore Cooper, Henry David Thoreau and Ralph Waldo Emerson.
The 1849 publication of Joel Tyler Headley's Adirondack; or, Life in the Woods triggered the development of hotels and stage coach lines. William Henry Harrison Murray's 1869 wilderness guidebook depicted the area as a place of relaxation and pleasure rather than a natural obstacle.
Financier and railroad promoter Thomas Clark Durant acquired a large tract of central Adirondack land and built a railroad from Saratoga Springs to North Creek. By 1875, there were more than two hundred hotels in the Adirondacks including Paul Smith's Hotel. About this time, the Great Camps were developed.
Early in the 1900s, recreational use increased dramatically. The State Conservation Department (now the DEC) responded by building more facilities: boat docks, tent platforms, lean-tos, and telephone and electrical lines. With the building of the Interstate 87 in the 1960s, private lands came under great pressure for development. This growing crisis led to the 1971 creation of The Adirondack Park Agency (APA) to develop long-range land-use plans for both the public and private lands within the Blue Line.
In consultation with the DEC, the APA formulated the State Land Master Plan which was adopted into law in 1973. The plan is designed to channel much of the future growth in the Park around existing communities, where roads, utilities, services, and supplies already exist
OBSERVE Collective
All images are © Copyrighted and All Rights Reserved
germanstreetphotography.com/michael-monty-may/
Tralasciando le vicende storiche della torre campanaria precedente si riporta la sola data di sua demolizione in quanto “grosse fessurazioni lasciavano presagire un crollo imminente”, avvenuta nel 1913.
Negli anni cinquanta tra diverse proposte viene scelto il progetto più ardito, quello del campanile più alto d’Italia.
Grande promotore è l’arciprete Valentino Buiatti, figura importante per la capacità che ha avuto di stimolare la popolazione ad aiutare in ogni modo per il compimento dell’opera.
Nel 1955 iniziarono i primi lavori di scavo delle fondazioni sull’antico cimitero
20 settembre 1959 Inaugurazione del campanile con benedizione dell’arcivescovo Giuseppe Zaffonato, con grande entusiasmo della popolazione.
Veniva così completato il campanile che, coi sui 113,2 m, superava il Torrazzo di Cremona (111 m) divenendo il campanile più alto d’Italia.
Il campanile a base ottagonale presenta una struttura portante costituita da un telaio in cemento armato, mentre i tamponamenti sono in laterizio intonacato. Il piano terra è invece rivestito in pietra ed è sede di una ampia cappella.
La cella campanaria è una loggia a colonne di c.a. recintata da una balaustra in pietra.
È stato data particolare attenzione allo studio delle proporzionalità apparente degli elementi decorativi e di massa che compongono il campanile, come ad esempio la graduale riduzione di altezza dei conci di pietra che rivestono il piano terra e la leggera rastremazione del campanile lungo tutta la sua altezza.
La morte di mons. Buiatti nel Natale successivo e l’aggravarsi dei debiti maturati, però, frenarono gli entusiasmi.
I continui interventi sulle campane, la vulnerabilità ai fulmini e l’esposizione eccessiva agli agenti atmosferici dovevano essere dei segnali d’allarme, che però non furono colti in tempo.
Il degrado continuò finché, a causa dei continui crolli di porzioni di cemento, il Comune decise di transennare il campanile nell’estate del 1989.
Nell’anno successivo iniziarono i lavori di ristrutturazione delle strutture in c.a. tramite la rimozione delle parti pericolanti, la pulitura delle superfici esposte e il ripristino delle geometrie con malte epossidiche, per poi rivestire tutte le superfici con pitture protettive. I lavori dureranno circa 10 mesi, per terminare il 21 ottobre 1990.
Leaving aside the historic events of the bell tower above, here is the only date of its demolition as a "big cracks left presage an imminent collapse", which took place in 1913.
In the fifties several proposals will be selected the most hardy, the highest tower of Italy.
Great promoter is the archpriest Valentino Buiatti, appears important for the capacity it had to encourage people to help in any way for the completion of the work.
In 1955 began the first excavation of foundations over the cemetery
20 September 1959 Opening of the tower with the blessing of Archbishop Joseph Zaffonato, with great enthusiasm of the population.
Was completed so that the bell tower, with about 113.2 m, more than Torrazzo of Cremona (111 m), becoming the highest tower of Italy.
The octagonal tower has a base structure consisting of a reinforced concrete frame, while the rear is plastered brick. The ground floor is clad in stone and is home to a large chapel.
The belfry is a loggia with columns of about enclosed by a stone balustrade.
It has been given particular attention to the study of the apparent proportionality of the decorative elements and mass that make up the tower, such as the gradual reduction in height of the concrete stone covering the ground floor and the slight taper of the tower along its height.
The death of Msgr. Buiatti at Christmas next el'aggravarsi debts accrued, however, hamper their enthusiasm.
The continuous action on the bells, the vulnerability to excessive lightning and exposure to weather had to be some warning signs, but were not caught in time.
The deterioration continued until, because of the continual collapse of portions of cement, the municipality decided to transenna the bell tower in the summer of 1989.
In the following year they began work on the renovation of structures in ca through the removal of the parties at risk, cleaning the exposed surfaces and the restoration of geometries with epoxy mortar, and then coat all surfaces with protective paint. The work will last approximately 10 months to end October 21 1990.
A female hygiene promoter delivering health & hygiene sessions to female community members.
Pakistan Floods 2010, Muzaffargarh, Punjab.....
© Images by Waqas-Z
Connect on Facebook! | Connect on Twitter! | Connect on Google+!
Sagrada Família Barcelona, Spain - situation 2017
Construction of the Temple Expiatori de la Sagrada Família began in 1882. The temple is still under construction, with completion expected in 2026. It is perhaps the best known structure of Catalan Modernism, drawing over three million visitors annually. Architect Antoni Gaudi worked on the project until his death in 1926, in full anticipation he would not live to see it finished.
Gaudi was appointed architect in 1883 at 31 years of age, following disagreements between the temple’s promoters and the original architect, Francisco de Paula del Villar y Lozano. He maintained del Villar’s Latin cross plan, typical of Gothic cathedrals, but departed from the Gothic in several significant ways. Most notably, Gaudi developed a system of angled columns and hyperbolical vaults to eliminate the need for flying buttresses. Rather than relying on exterior elements, horizontal loads are transferred through columns on the interior. La Sagrada Familia utilizes three-dimensional forms comprised of ruled surfaces, including hyperboloids, parabolas, helicoids, and conoids. These complex shapes allow for a thinner, finer structure, and are intended to enhance the temple’s acoustics and quality of light. Gaudi used plaster models to develop the design, including a 1:10 scale model of the main nave measuring five meters in height and width by two meters in depth. He also devised a system of strings and weights suspended from a plan of the temple on the ceiling. From this inverted model he derived the necessary angles of the columns, vaults, and arches. This is evident in the slanted columns of the Passion facade, which recall tensile structures but act in compression.
Gaudi embedded religious symbolism in each aspect of La Sagrada Familia, creating a visual representation of Christian beliefs. He designed three iconic facades for the basilica, the Glory, Nativity, and Passion facades, facing south, east, and west, respectively. The sculpting of the Nativity facade recalls smooth, intricate corbelling and was overseen by Gaudi. The Passion Facade is characterized by the work of Josep Maria Subirachs, whose angular sculptures extend the modernist character of the temple. The sculptor Etsuro Sotoo is responsible for the window ornaments and finials, which symbolize the Eucharist. The central nave soars to a height of 45 meters, and is designed to resemble a forest of multi-hued piers in Montjuïc and granite. The piers change in cross section from base to terminus, increasing in number of vertices from polygonal to circular. The slender, bifurcating columns draw the eye upward, where light filters through circular apertures in the vaults. These are finished in Venetian glass tiles of green and gold, articulating the lines of the hyperboloids.
Once completed, La Sagrada Familia will feature eighteen towers. Four bell towers representing the Apostles crown each facade, reaching approximately 100 meters in height. At the north end, a tower representing the Virgin Mary will stand over the apse. The central tower will reach 72 meters in height and symbolize Christ, surrounded by four towers representing the Evangelists. Even as construction continues, older portions are undergoing cleaning and restoration. The temple has relied entirely on private donations since its inception, and has seen many delays due to lack of funding. A particularly significant setback occurred during the Spanish Civil War, when Gaudi’s workshop was destroyed, including much of the documentation he left behind. Subsequent generations of craftsman and architects have relied on the remaining drawings and plaster models to advance the project, adhering to Gaudi’s vision as closely as possible. As a result, the design of the temple is a collaboration spanning centuries. Gaudi himself viewed the project as the collective work of generations. "I will grow old but others will come after me. What must always be conserved is the spirit of the work, but its life has to depend on the generations it is handed down to and with whom it lives and is incarnated."
In recent decades, La Sagrada Familia has adopted contemporary digital design and construction technologies. Architects and craftsmen use Rhinoceros, Cadds5, Catia, and CAM to understand the complex geometries and visualize the building as a whole. Plaster models are still used as a design tool, now generated by a 3-D printer to accelerate the process.
Architect: Antoni Gaudi
Present Chief Architect: Jordi Fauli
Former Chief Architects: Jordi Bonet, Francesc de Paula Quintana i Vidal, Isidre Puig i Boada, Lluís Bonet i Garí, , Francesc de Paula del Villar y Lozano
Deputy Chief Architects: Carles Buxadé, Joan Margarit, Josep Gómez Serrano
Technical Consultants: Universitat Politècnica de Catalunya, Royal Melbourne Institute of Technology
Project Department: Jordi Coll, Andrés de Mesa
Sculptors: Etsuro Sotoo, Josep Maria Subirachs
Stained Glass: Joan Vila-Grau
Area: 4.500 m2
Ali Afsad, a Bangladeshi immigrant who hails from the city of Chittagong. We found him in the streets of New York distributing flyers for a nearby restaurant. He was one of the more kind souls out in the busy streets who didn't mind having his picture taken.
New York, 2014.
Campbell River, BC Canada
Registry #1: 396176 (Canada)
Year Built: 1981
Place: Port Alberni
Area: BC
Country: Canada
Designer:A.G. McIllwaineMeasurement: (imp) 44.2' x 19' x 10.6
Builder: Alberni Engineering & Shipyards Ltd.
Measurement (metric):13.47m x 6.10m x 2.04m
Hull:Steel
Gross Tonnage: 39.49
Type 1:Tug
Registered Tonnage: 21.43
Engine:2-470bhp diesel engine (1981)
Engine Manufacture: Cummins Engine Co., Columbus IL USA
Propulsion: Twin Screw
--In 1999-2001 she was owned by Hub Towing Co. Ltd., Nanaimo BC. In 2003-2004 she was owned by Hub Towing Ltd., Nanaimo BC.
--In 2005 she was owned by Inlet Holdings, Campbell River BC. In 2011-2019 she was owned by West Coast Tug & Barge Ltd., Campbell River BC.
Reference: nauticapedia.ca/dbase/Query/Shiplist5.php?id=42936
This image is best viewed in Large screen.
Thank-you for your visit, and please know that any faves or comments are always greatly appreciated!
Sonja
Purchase this poster on Amazon at: www.amazon.com/gp/product/B003NN9SBS?ie=UTF8&seller=A...
One of the finest new Western Swing bands the West Coast has to offer, The Lucky Stars! 11"x17" Poster for their 7/24/2009 show at The Beehive in Boston, MA (Their first East Coast appearance). Special guests The Stumbleweeds. Poster Design © 2009 Jerry Clayworth www.AtomicJukebox.com
Are you a musician, band, clubowner, or promoter, who would like to have a classic custom event poster, webflyer, or CD package designed? Perhaps you would like to own an original print of one of the concert posters that you've seen here.... Please Visit my Website at www.AtomicJukebox.com
I didn't get the composition that I wanted from the wresters, so instead I turned my attention to the promoter with his microphone. He had a real ‘tough guy’, ‘street-savvy’ look about him that I liked. When he saw that I was pointing my camera at him, he came very close with his finger pointing at me (that is the blurry bit under his chin). His game seemed a little too real, so I gave him the thumbs up after taking this photo to defuse any potential bad feelings :)
Supernova cosplay and comic con convention
Homebush, Olympic Park
June, 2019
ENGLISH
The promoter Campo Volantín S.L. was the Company that extracted to contest the construction of a bridge that was saving the river Nervión not far from the emplacement where there is located today the prestigious Museum Guggenheim, in Bilbao, work of another recognized architect of international prestige, Frank O. Gehry.
The principal characteristic of the above mentioned project was consisting also of the fact that the bridge would have to be the sufficiently high thing as to stop to go on to the ships under his underpass. Santiago Calatrava, which gained the project, designed an impressive gangplank thanks to the great parabolic arch of steel that inclined and unfolded it crosses the gangplank across.
The arch of steel, with a circular section of 50 cm. Of thickness, it reaches a final height of 15 meters. The gangplank, with a total length of 75 meters, rises up to 8.5 meters of height with regard to his tide to open way to the ships under his underpass.
Two ramps of access in two sections of 2 meters of width each one and with a slope of 7 %, save the high difference that offers the gangplank her to cross of a side to other one. A few cables tightened of 30 mm. Of diameter they anchor to the arch of a white immaculate color for the sustenance of the surprising gangplank.
The architect endowed to this pedestrian gangplank of modern and innovative design by means of the employment a material of precious colorations, the translucent glass, and that together with the artificial lighting by means of a few areas lodged under the board, produce every night the visual only and authentic spectacular spectacle.
SPANISH
La promotora Campo Volantín S.L. fue la Empresa que sacó a concurso la construcción de un puente que salvase el río Nervión no lejos del emplazamiento donde se encuentra ubicado hoy día el prestigioso Museo Guggenheim, en Bilbao, obra de otro reconocido arquitecto de prestigio internacional, Frank O. Gehry.
La característica principal de dicho proyecto consistía también en que el puente tendría que ser lo suficientemente alto como para dejar pasar a los barcos bajo su paso inferior. Santiago Calatrava, que ganó el proyecto, diseñó una pasarela sobrecogedora gracias al gran arco parabólico de acero que inclinado y desdoblado cruza la pasarela de un lado a otro.
El arco de acero, con una sección circular de 50 cm. de espesor, alcanza una altura final de 15 metros. La pasarela, con una longitud total de 75 metros, se eleva a 8.5 metros de altura con respecto a su pleamar para dejar paso a los barcos bajo su paso inferior.
Dos rampas de acceso en dos tramos de 2 metros de ancho cada una y con una pendiente del 7%, salvan el alto desnivel que ofrece la pasarela para cruzarla de un lado al otro. Unos cables tensados de 30 mm. de diámetro se anclan al arco de un color blanco inmaculado para el sustento de la sorprendente pasarela.
El arquitecto dotó a esta pasarela peatonal de diseño moderno e innovador mediante el empleo un material de preciosas coloraciones, el vidrio translúcido, y que junto con la iluminación artificial mediante unos focos alojados bajo el tablero, producen cada noche un espectáculo visual único y auténticamente espectacular.
Copyright © José Miguel Hernández Hernández
Dudley Canal Line No 1 as it passes by the Black country Living Museum, in Dudley, West Midlands
It was created as part of a scheme to transport coal from coalfields near Dudley to Stourbridge where it would be used for industry. Limestone and ironstone were other potential cargos.
A meeting was held in Stourbridge in February 1775 at which Robert Whitworth was commissioned to survey a route and the whole cost of the project was promised. The principal promoter was Lord Dudley and the route ran from Dudley to Stourton on the Staffordshire and Worcestershire. A bill was placed before Parliament in the spring but there was opposition from the Birmingham Canal Company and the promoters withdrew it.
They then presented separate bills for the Stourbridge Canal and the Dudley Canal, both of which became Acts of Parliament on 2 April 1776 despite further opposition from the Birmingham Canal Company.
The first short section, which connected to the Stourbridge Canal, opened in 1779. This was then connected to the Birmingham Canal system in 1792 via Dudley Tunnel.
Almost immediately, work started on an extension, called Line No. 2, which ran through another long tunnel at Lapal to reach the Worcester and Birmingham Canal. This was completed in 1798 but significant trade had to wait until the Worcester and Birmingham was completed in 1802.
In 1846, the company amalgamated with the Birmingham Canal Navigations and various improvements followed including the Netherton Tunnel. This was of a similar length to and parallel to the Dudley Tunnel but it was much bigger with towpaths on both sides and gas lighting. It was the last canal tunnel built in England.
Subsidence from coal mining was a significant problem for much of the life of the canal. The Lapal Tunnel was regularly affected and a section near Blackbrook Junction fell into mine workings in 1894. The route was restored but the short Two Locks Line nearby was abandoned in 1909 and the Lapal Tunnel suffered the same fate in 1917.
Most of rest of the canal was abandoned in the 1960s but a committee was formed, later becoming the Dudley Canal Trust, and restoration took place culminating in the reopening of Dudley Tunnel in 1973. Lapal Tunnel remains closed and although the Lapal Canal Trust originally campaigned for it to be reopened, they have modified their plans to include a surface route following the conclusion of an engineering study.
Information Source:
It was lovely to meet Elza in Centenary Square the other day. Not only is Elza a talented and accomplished artist, she is also a highly successful promoter of the creative arts with events coming up at the Rep Theatre on 20th July and in September this year.
The Chesterfield Canal in Clayworth in Nottinghamshire.
Known locally as Cuckoo Dyke, the Chesterfield Canal was opened in 1777 and ran 46 miles (74 km) from the River Trent at West Stockwith, Nottinghamshire to Chesterfield, Derbyshire. It is currently only navigable as far as Kiveton Park near Rotherham, South Yorkshire, plus an isolated section near Chesterfield. The canal was built to export coal, limestone, and lead from Derbyshire, iron from Chesterfield, and corn, deals, timber, groceries, etc. into Derbyshire. The stone for the Palace of Westminster was quarried in North Anston, Rotherham, and transported via the canal.
The route of the canal was surveyed by James Brindley and John Varley, who estimated the cost at £94,908 17s. Brindley presented his proposals to a meeting in Worksop on 24 August 1769. The investors asked John Grundy to carry out a second survey. He proposed a rather shorter course, from Stockwith in a straight line to Bawtry and then by Scrooby, Blyth and Carlton, to join Brindley's line at Shire Oaks. Grundy's line was 5 1⁄2 miles (8.9 km) shorter, and the cost estimated at £71,479, 6s. 9½d. Although Grundy's line was considerably cheaper, it achieved this by missing Worksop and Retford, and the investors decided in favour of Brindley's route.
The promoters consisted of one hundred and seventy-four persons, amongst whom were the Duke of Devonshire, the Duke of Newcastle, Lord Scarsdale, the Dean of York, and Sir Cecil Wray. They were incorporated by the name of The Company of Proprietors of the Canal Navigation from Chesterfield to the River Trent, and empowered to raise among themselves the sum of £100,000, in one thousand shares of £100 each, to fund the construction.
Immediately on the passing of the act, construction began under the direction of Brindley. Upon his death in September 1772, John Varley moved from Clerk of Works to Resident Engineer with Hugh Henshall, Brindley's brother-in-law, appointed Chief Engineer in 1773. The canal was to be built as a narrow canal, but in 1775, nine shareholders offered to fund the extra cost of making it a broad canal from Retford to Stockwith. Retford Corporation joined them, and each contributed £500. The additional cost exceeded £6000. The canal was opened throughout in 1777, but the only record of wide-beamed boats using it at Retford is prior to 1799.
There were 65 locks in all, with two tunnels: a short 154 yards (141 m) tunnel near Gringley Beacon, and the major 2,880 yard long Norwood Tunnel. At the time of construction, Norwood Tunnel was the joint longest canal tunnel in Britain, and it was sixth longest by the time it collapsed. The canal was a typical Brindley contour canal, following the contours to avoid costly cuttings and embankments, which resulted in a less than direct route in places.
The canal was initially fairly successful, with dividends being returned to the investors. However, the building of the Manchester, Sheffield and Lincolnshire Railway line parallel to the canal (1849) left much of the navigation redundant, and the Worksop to Chesterfield stretch ceased to serve commercial traffic in 1908, when problems with mining subsidence necessitated the closure of Norwood Tunnel. The stretch between the tunnel and Worksop subsequently fell into ruin and became un-navigable, while parts of the isolated section from the tunnel to Chesterfield were infilled and redeveloped.
Ive seen this chap around several time and he has a totally different look each time - great sense of style. Kensington Gardens Brighton
Description: Stanley, a newspaper reporter and tireless self-promoter, was hired by the New York Herald to find the missing Livingstone in 1871, winning himself wealth and reputation.
Creator/Photographer: London Stereoscopic & Photographic Company
Medium: Carte-de-visite
Dimensions: 4 in x 2.5 in
Date: 1872
Persistent URL: www.sil.si.edu/imagegalaxy/imagegalaxy_imageDetail.cfm?id...
Repository: Smithsonian Institution Libraries
Collection: Russell E. Train Africana Collection - The Russell E. Train Africana Collection includes approximately 2,000 books and an extensive array of manuscripts, photographs, watercolors, sketches, maps, newspaper clippings, artifacts and other ephemera ranging from the late 18th to mid-20th centuries, with a concentration on items relating to early British and American explorers. The famous missionary David Livingstone and journalist Henry Stanley, as well as President Theodore Roosevelt, a renowned conservationist of his time, are well represented with numerous books by and about them, manuscript letters, privately printed materials, dozens of photographs and other ephemera. Some of the published books in the collection are presentation copies autographed by the author, while others have original artwork or engravings.
Gift line: Gift of Russell E. Train
Accession number: SIL28-277-01
View more collections from the Smithsonian Institution.
Related blog posts:
HDR image.
Club promoters selling tickets.
I always avoid these people but fine for a photo.
September 2015.
67006 & 017 - 1Z21 (0742 SO STP Charter from Watford Junction to York, which was formed of c12 coaches [tour name & promoter not known]) - Brookmans Park - 28/11/09.
A picture taken a few seconds earlier can be found here:-
www.flickr.com/photos/151904976@N08/51210351375/in/photol...
East Side Gallery, Kreuzberg, Berlin.
East Side Gallery es una galería de arte al aire libre situada sobre una sección de 1.316 metros en la cara este del muro de Berlín, que fueron salvados del derribo con dicha finalidad. Está situada cerca del centro de Berlín, en la calle Mühlenstraße del distrito Friedrichshain-Kreuzberg, a lo largo de la rivera del río Spree. Se considera que es la galería de arte al aire libre de mayor longitud y duración del mundo.
La galería consta de 103 murales pintados por artistas de todo el mundo rindiendo homenaje a la libertad y documentando la euforia y esperanza por un mundo mejor que se produjeron con el fin de la guerra fría. Fue fundada tras la unión de dos asociaciones de artistas alemanas, la "Federal Association of Artists - BBK" y la "GDR - Artists Association". Los principales promotores fueron Bodo Sperling, Barbara Greul Aschanta, Jörg Kubitzki y David Monti.
En julio de 2006, con el fin de facilitar el acceso a río Spree, se movió una sección de 40 metros alejándola hacia el oeste, en paralelo a su posición original.
Con motivo de la preparación del vigésimo aniversario de la caída del muro de Berlín, se realizó programa de renovación que consistió en tapar la mayoría de los murales, que se encontraban en un lamentable estado debido al vandalismo y la erosión propias de las obras expuestas al aire libre, y pedir a los autores que volviesen a pintar sus obras. Algunos artistas se negaron a tener que repetir sus obras, indicando que la galería debió haber realizado una restauración y prevenido la destrucción de las obras originales.
East Side Gallery is an outdoor art gallery located on a 1,316 meter section on the east face of the Berlin Wall, which were saved from demolition for that purpose. It is located near the center of Berlin, on the Mühlenstraße street of the Friedrichshain-Kreuzberg district, along the banks of the River Spree. It is considered to be the longest and longest outdoor art gallery in the world.
The gallery consists of 103 murals painted by artists from around the world paying homage to freedom and documenting the euphoria and hope for a better world that occurred with the end of the Cold War. It was founded after the union of two associations of German artists, the "Federal Association of Artists - BBK" and the "GDR - Artists Association". The main promoters were Bodo Sperling, Barbara Greul Aschanta, Jörg Kubitzki and David Monti.
In July 2006, in order to facilitate access to the river Spree, a section of 40 meters was moved away to the west, parallel to its original position.
On the occasion of the preparation of the twentieth anniversary of the fall of the Berlin Wall, a renovation program was carried out that consisted of covering most of the murals, which were in an unfortunate state due to the vandalism and erosion of the works exposed to the outdoors, and ask the authors to come back and paint their works. Some artists refused to have to repeat their works, indicating that the gallery should have made a restoration and prevented the destruction of the original works.
The coming of the railway to Winton in 1899 revolutionised the transport of freight and passenger services.
Prior to 1899, horse and bullock teams, and later Cobb & Co coach services, were the principal means of transport. In times of drought or prolonged wet weather, they were severely disrupted.
The construction of the Great Northern Railway west of Townsville was approved by the Queensland Parliament in the late 1870s, and the first section, from Townsville to Charters Towers, was opened in 1884. Charters Towers to Hughenden was completed in 1887, but work did not begin on the Hughenden to Winton branch line until 1896. The Gregory News reports that a win party was held in Wood's (formerly Steele's) Hall, to honour the railway contractor and officials, and attended by 200 townspeople.
A gala official opening was held in Winton on the 25th of July 1899, with two Government ministers and other official guests arriving by train. Three mail trains ran weekly between Townsville and Winton, and three goods trains weekly between Hughenden and Winton.
The Winton Railway Station was completed in September 1899. According to the Gregory News.. "the Winton Station is one of the biggest and most complete...... Even on the hottest days, the big span of the carriage shed, with its splendid ventilation, makes the passenger platform a desirable place to visit .......the offices are decorated in pink and blue finishes and there has been careful consideration to ventilation throughout"
29 years after the Townsville/Winton line was completed, an extension of the Central Railway System from Rockhampton to Longreach, reached Winton in 1928.
Winton, Queensland:
Winton, in Central West Queensland, is 750km west of Rockhampton on the Landsborough Highway between Longreach and Cloncurry.
The Winton district was traversed by three exploration parties to search for members of the Burke and Wills expedition during 1861: Frederick Walker, in the Aramac district and the headwaters of the Thomson River; John McKinlay, along the Diamantina watercourse, west of Winton; and William Landsborough, along the Flinders and Barcoo watercourses, also west of Winton. Their reports led to pastoral occupation during the mid and late 1860s. By the mid-1870s, pastoral stations occupied most of the district, necessitating a postal delivery system for regular communication.
A former police sergeant from Aramac, Robert Allen, opened a hotel/store in 1876 at ‘Pelican Waterhole’, a convenient transit point for mail deliveries. He renamed the place Winton, probably after a village 3km north of Bournemouth, England. Another hotel, the North Gregory (the name of the pastoral district) was opened in 1878. The Winton town reserve was gazetted in 1879. With a population of about 150 and numerous pastoral employees in the district, Winton established a hospital in 1882. Three years later a primary school was opened, and a newspaper, the Winton Herald, began publication in 1886. The Winton local-government division was proclaimed in 1886.
During the mid-1890s Winton's outback remoteness lessened. The railway out of Townsville reached Hughenden in 1887, and the line out of Rockhampton reached Longreach in 1892. Cobb and Co coaches ran services further west. In 1895 Andrew Barton 'Banjo' Paterson was a popular poet. He visited the outback Dagworth Station, 100km northwest of Winton where he heard Christina Macphearson play the tune 'Craiglea'. Impressed with its rhythm, Paterson wrote words to accompany it, basing the verses on a story told locally about the misadventures of a swagman. Thus was 'Waltzing Matilda' written and performed at country gatherings before its first public performance at the North Gregory Hotel on the 6th of April 1895.
With a population approaching 1000 at the end of the 1890s, Anglican and Catholic churches were opened and the railway extended from Hughenden (1899). Reticulated bore water was laid on in 1902.
Winton's economy was dependent on pastoral prosperity, which went in step with drought periods and good seasons. Some droughts were severe, in 1902 and later in the 1930s. During better times improvements were made: a Catholic school (1911), the town's first moving picture show (1913) and an attractive shire hall (1914, but damaged by fire and replaced by a utilitarian structure in the 1960s). Remoteness was still significant when youthful aviators and local promoters registered Qantas in Winton and held their first company meeting in the Winton Club in 1921. Qantas later moved to Longreach, to which Winton was connected by another railway extension in 1928.
Pastoral traffic then had a choice of either Townsville or Rockhampton for port facilities. Whilst the 1930s were hard times for both seasons and wool sales, war time, and postwar sales brought unprecedented prosperity.
Fire had destroyed two North Gregory Hotels, and the third burnt down in 1946. Although there were three other hotels, the town's people wanted the "first class" hotel replaced. The shire council got special powers to build and run a fourth new Gregory, and the 1950s wool cheques supplied the loan funds for a modern all brick and masonry building (1955). Wool cheques also funded a swimming pool (1956) and town sewerage, and the 1950s ushered in a CWA students hostel, a bowling green, an RSL hall and three new motor garages. Winton's "golden age" lasted until the mid-1960s, when there was drought and a fall in wool prices. A tourist promotion association was formed in 1966, and the Qantilda Folk Museum was opened in 1972, just as wool needed rescuing by the reserve price scheme.
Winton has a showground, racecourse, golf, bowls club, and swimming facilities, two churches, a hospital, a combined primary-high school, a Catholic primary school and an aerodrome. Its tourist attractions include the Waltzing Matilda (severely damaged by fire in June 2015) and Qantilda museums, an open air picture theatre, the Matilda country races and a mineral collection in the former Corfield and Fitzmaurice Emporium (1916); a heritage-listed building. The Elderslie homestead (1882), 60km west of Winton, is on the Queensland Heritage Register.
Source: Winton District Historical Society & Museum, Winton Shire Council, & Queensland Places (queenslandplaces.com.au/winton).
This shot was taken when I was waiting for a friend at a bus stop near Plaza Singapura a few weeks ago.
I was scanning and trying to figure out what to shoot for the weekly street walkabout, when two Vitagen promoter came out to the bus stop to promote the Vitagen bottle drink.
I patiently waited until there was a group of people coming to see what the fuss is all about. At that point, the lady promoter turned her head around, as if to signal more people to come to her for the bottles. That was when I took the shot.
ENGLISH
The promoter Campo Volantín S.L. was the Company that extracted to contest the construction of a bridge that was saving the river Nervión not far from the emplacement where there is located today the prestigious Museum Guggenheim, in Bilbao, work of another recognized architect of international prestige, Frank O. Gehry.
The principal characteristic of the above mentioned project was consisting also of the fact that the bridge would have to be the sufficiently high thing as to stop to go on to the ships under his underpass. Santiago Calatrava, which gained the project, designed an impressive gangplank thanks to the great parabolic arch of steel that inclined and unfolded it crosses the gangplank across.
The arch of steel, with a circular section of 50 cm. Of thickness, it reaches a final height of 15 meters. The gangplank, with a total length of 75 meters, rises up to 8.5 meters of height with regard to his tide to open way to the ships under his underpass.
Two ramps of access in two sections of 2 meters of width each one and with a slope of 7 %, save the high difference that offers the gangplank her to cross of a side to other one. A few cables tightened of 30 mm. Of diameter they anchor to the arch of a white immaculate color for the sustenance of the surprising gangplank.
The architect endowed to this pedestrian gangplank of modern and innovative design by means of the employment a material of precious colorations, the translucent glass, and that together with the artificial lighting by means of a few areas lodged under the board, produce every night the visual only and authentic spectacular spectacle.
SPANISH
La promotora Campo Volantín S.L. fue la Empresa que sacó a concurso la construcción de un puente que salvase el río Nervión no lejos del emplazamiento donde se encuentra ubicado hoy día el prestigioso Museo Guggenheim, en Bilbao, obra de otro reconocido arquitecto de prestigio internacional, Frank O. Gehry.
La característica principal de dicho proyecto consistía también en que el puente tendría que ser lo suficientemente alto como para dejar pasar a los barcos bajo su paso inferior. Santiago Calatrava, que ganó el proyecto, diseñó una pasarela sobrecogedora gracias al gran arco parabólico de acero que inclinado y desdoblado cruza la pasarela de un lado a otro.
El arco de acero, con una sección circular de 50 cm. de espesor, alcanza una altura final de 15 metros. La pasarela, con una longitud total de 75 metros, se eleva a 8.5 metros de altura con respecto a su pleamar para dejar paso a los barcos bajo su paso inferior.
Dos rampas de acceso en dos tramos de 2 metros de ancho cada una y con una pendiente del 7%, salvan el alto desnivel que ofrece la pasarela para cruzarla de un lado al otro. Unos cables tensados de 30 mm. de diámetro se anclan al arco de un color blanco inmaculado para el sustento de la sorprendente pasarela.
El arquitecto dotó a esta pasarela peatonal de diseño moderno e innovador mediante el empleo un material de preciosas coloraciones, el vidrio translúcido, y que junto con la iluminación artificial mediante unos focos alojados bajo el tablero, producen cada noche un espectáculo visual único y auténticamente espectacular.
Copyright © José Miguel Hernández Hernández
Weeki Wachee Springs is a natural tourist attraction located in Weeki Wachee, Florida, where underwater performances by "mermaids," women wearing fish tails as well as other fanciful outfits, can be viewed in an aquarium-like setting in the spring of the Weeki Wachee River. A waterpark, Buccaneer Bay, river boat rides, kayak and paddleboard rental are some of the other activities offered at Weeki Wachee Springs.
The spring was named "Weeki Wachee" by Seminole Indians, which means "Little Spring" or "Winding River" in their language. The attraction was created in 1947 by stunt swimmer and attraction promoter Newt Perry, who based the show on underwater air hose breathing techniques. First an 18-seat theater, then later a newer theater with a capacity of 50, were embedded in the lime rock of the spring with viewing windows below the surface of the water, to allow visitors to watch the mermaids perform in the spring. In 1982, Buccaneer Bay was opened with water slides, a lazy river, and a white sand beach for visitors to enjoy alongside the theater with the mermaid shows.
Guests to the park have included Elvis Presley, Don Knotts, Esther Williams, Arthur Godfrey, Kevin Smith, and Larry the Cable Guy. Hollywood has occasionally used the attraction and its mermaids in the filming of movies such as Mr. Peabody and the Mermaid (1948), Neptune's Daughter (1949), and many television shows like Bobcat Goldthwait's Misfits & Monsters (2018). At one point, the attraction was owned by broadcast network ABC, and this led to an increase in publicity for the attraction. Currently, the park is owned by the Florida Department of Environmental Protection, and is a member of the Florida State Park System.
In 2005, English rock band Supergrass filmed their video for their song "Low C" at the Springs. They filmed a short documentary about the spring, as well as playing at a local bar and swimming with the mermaids.
In summer of 2006, stand up comedian Thomas J. Kelly became the park's first ever male mermaid. His adventures were chronicled in a Web television series called "The Little Merman".
On November 1, 2008, the state of Florida took over Weeki Wachee Springs as a state park.
From May 22 until August 30, 2007, the discharge level at Weeki Wachee spring dropped to a level that allowed for cave divers to gain effective entry into the cave system at the spring. The Karst Underwater Research team successfully executed exploration dives and the necessary in-water decompression to explore approximately 6,700 feet in multiple passages at an average depth of 265 Feet Fresh Water (ffw) with a maximum depth of 407 ffw. The 407 ffw depth makes the cave system under Weeki Wachee springs the deepest known freshwater cave system in the United States.
Scenes from Kelly Clarkson's video "Stronger (What Doesn't Kill You)" include the mermaids of Weeki Wachee Springs.
Key scenes from Amy Seimetz's directorial debut Sun Don't Shine take place at the Springs and include the mermaids.
The 2017 documentary Mermaids featured the attraction as well as a number of former and serving mermaids.
Miami Beach is a coastal resort city in Miami-Dade County, Florida, United States. It was incorporated on March 26, 1915. The municipality is located on natural and man-made barrier islands between the Atlantic Ocean and Biscayne Bay, the latter of which separates the Beach from the mainland city of Miami. The neighborhood of South Beach, comprising the southernmost 2.5 square miles (6.5 km2) of Miami Beach, along with downtown Miami and the Port of Miami, collectively form the commercial center of South Florida. Miami Beach's estimated population is 92,307 according to the most recent United States census estimates. Miami Beach is the 26th largest city in Florida based on official 2017 estimates from the US Census Bureau. It has been one of America's pre-eminent beach resorts since the early 20th century.
In 1979, Miami Beach's Art Deco Historic District was listed on the National Register of Historic Places. The Art Deco District is the largest collection of Art Deco architecture in the world and comprises hundreds of hotels, apartments and other structures erected between 1923 and 1943. Mediterranean, Streamline Moderne and Art Deco are all represented in the District. The Historic District is bounded by the Atlantic Ocean on the East, Lenox Court on the West, 6th Street on the South and Dade Boulevard along the Collins Canal to the North. The movement to preserve the Art Deco District's architectural heritage was led by former interior designer Barbara Baer Capitman, who now has a street in the District named in her honor.
Miami Beach is governed by a ceremonial mayor and six commissioners. Although the mayor runs commission meetings, the mayor and all commissioners have equal voting power and are elected by popular election. The mayor serves for terms of two years with a term limit of three terms and commissioners serve for terms of four years and are limited to two terms. Commissioners are voted for citywide and every two years three commission seats are voted upon.
A city manager is responsible for administering governmental operations. An appointed city manager is responsible for administration of the city. The City Clerk and the City Attorney are also appointed officials.
In 1870, a father and son, Henry and Charles Lum, purchased the land for 75 cents an acre. The first structure to be built on this uninhabited oceanfront was the Biscayne House of Refuge, constructed in 1876 by the United States Life-Saving Service at approximately 72nd Street. Its purpose was to provide food, water, and a return to civilization for people who were shipwrecked. The next step in the development of the future Miami Beach was the planting of a coconut plantation along the shore in the 1880s by New Jersey entrepreneurs Ezra Osborn and Elnathan Field, but this was a failed venture. One of the investors in the project was agriculturist John S. Collins, who achieved success by buying out other partners and planting different crops, notably avocados, on the land that would later become Miami Beach. Meanwhile, across Biscayne Bay, the City of Miami was established in 1896 with the arrival of the railroad, and developed further as a port when the shipping channel of Government Cut was created in 1905, cutting off Fisher Island from the south end of the Miami Beach peninsula.
Collins' family members saw the potential in developing the beach as a resort. This effort got underway in the early years of the 20th century by the Collins/Pancoast family, the Lummus brothers (bankers from Miami), and Indianapolis entrepreneur Carl G. Fisher. Until then, the beach here was only the destination for day-trips by ferry from Miami, across the bay. By 1912, Collins and Pancoast were working together to clear the land, plant crops, supervise the construction of canals to get their avocado crop to market, and set up the Miami Beach Improvement Company. There were bath houses and food stands, but no hotel until Brown's Hotel was built in 1915 (still standing, at 112 Ocean Drive). Much of the interior land mass at that time was a tangled jungle of mangroves. Clearing it, deepening the channels and water bodies, and eliminating native growth almost everywhere in favor of landfill for development, was expensive. Once a 1600-acre, jungle-matted sand bar three miles out in the Atlantic, it grew to 2,800 acres when dredging and filling operations were completed.
With loans from the Lummus brothers, Collins had begun work on a 2½-mile-long wooden bridge, the world's longest wooden bridge at the time, to connect the island to the mainland. When funds ran dry and construction work stalled, Indianapolis millionaire and recent Miami transplant Fisher intervened, providing the financing needed to complete the bridge the following year in return for a land swap deal. That transaction kicked off the island's first real estate boom. Fisher helped by organizing an annual speed boat regatta, and by promoting Miami Beach as an Atlantic City-style playground and winter retreat for the wealthy. By 1915, Lummus, Collins, Pancoast, and Fisher were all living in mansions on the island, three hotels and two bath houses had been erected, an aquarium built, and an 18-hole golf course landscaped.
The Town of Miami Beach was chartered on March 26, 1915; it grew to become a City in 1917. Even after the town was incorporated in 1915 under the name of Miami Beach, many visitors thought of the beach strip as Alton Beach, indicating just how well Fisher had advertised his interests there. The Lummus property was called Ocean Beach, with only the Collins interests previously referred to as Miami Beach.
Carl Fisher was the main promoter of Miami Beach's development in the 1920s as the site for wealthy industrialists from the north and Midwest to and build their winter homes here. Many other Northerners were targeted to vacation on the island. To accommodate the wealthy tourists, several grand hotels were built, among them: The Flamingo Hotel, The Fleetwood Hotel, The Floridian, The Nautilus, and the Roney Plaza Hotel. In the 1920s, Fisher and others created much of Miami Beach as landfill by dredging Biscayne Bay; this man-made territory includes Star, Palm, and Hibiscus Islands, the Sunset Islands, much of Normandy Isle, and all of the Venetian Islands except Belle Isle. The Miami Beach peninsula became an island in April 1925 when Haulover Cut was opened, connecting the ocean to the bay, north of present-day Bal Harbour. The great 1926 Miami hurricane put an end to this prosperous era of the Florida Boom, but in the 1930s Miami Beach still attracted tourists, and investors constructed the mostly small-scale, stucco hotels and rooming houses, for seasonal rental, that comprise much of the present "Art Deco" historic district.
Carl Fisher brought Steve Hannagan to Miami Beach in 1925 as his chief publicist. Hannagan set-up the Miami Beach News Bureau and notified news editors that they could "Print anything you want about Miami Beach; just make sure you get our name right." The News Bureau sent thousands of pictures of bathing beauties and press releases to columnists like Walter Winchell and Ed Sullivan. One of Hannagan's favorite venues was a billboard in Times Square, New York City, where he ran two taglines: "'It's always June in Miami Beach' and 'Miami Beach, Where Summer Spends the Winter.'"
Post–World War II economic expansion brought a wave of immigrants to South Florida from the Northern United States, which significantly increased the population in Miami Beach within a few decades. After Fidel Castro's rise to power in 1959, a wave of Cuban refugees entered South Florida and dramatically changed the demographic make-up of the area. In 2017, one study named zip code 33109 (Fisher Island, a 216-acre island located just south of Miami Beach), as having the 4th most expensive home sales and the highest average annual income ($2.5 million) in 2015.
South Beach (also known as SoBe, or simply the Beach), the area from Biscayne Street (also known as South Pointe Drive) one block south of 1st Street to about 23rd Street, is one of the more popular areas of Miami Beach. Although topless sunbathing by women has not been officially legalized, female toplessness is tolerated on South Beach and in a few hotel pools on Miami Beach. Before the TV show Miami Vice helped make the area popular, SoBe was under urban blight, with vacant buildings and a high crime rate. Today, it is considered one of the richest commercial areas on the beach, yet poverty and crime still remain in some places near the area.
Miami Beach, particularly Ocean Drive of what is now the Art Deco District, was also featured prominently in the 1983 feature film Scarface and the 1996 comedy The Birdcage.
The New World Symphony Orchestra is based in Miami Beach, under the direction of Michael Tilson Thomas.
Lincoln Road, running east-west parallel between 16th and 17th Streets, is a nationally known spot for outdoor dining and shopping and features galleries of well known designers, artists and photographers such as Romero Britto, Peter Lik, and Jonathan Adler. In 2015, the Miami Beach residents passed a law forbidding bicycling, rollerblading, skateboarding and other motorized vehicles on Lincoln Road during busy pedestrian hours between 9:00am and 2:00am.
Credit for the data above is given to the following website: