Colonel Stephens Railway Museum
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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.
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.
The Germania Building, built as the headquarters of the German Mutual Insurance Company in 1877, stands as a vivid symbol of Cincinnati’s German heritage.German-born builder and architect Johann Bast designed and constructed this richly ornamented Italian Renaissance Revival structure. The building’s iron storefront and cornice werecast by Cincinnati ironworker Leonhard Schreiber. A second story niche facing Walnut Street holds the work of Cincinnati German sculptor, Leopold Fettweis, “Germania”, a sculpture of a female figure representing the spirit and culture of Germany. A smaller statue of Apollo, the god of music and poetry, driving four horses overlooks the 12th Street entrance.
The Germania Building reflected the cultural interests of the founder of the German Mutual Insurance Company, Heinrich A. Rattermann. Rattermann was largely self-educated, yet became Cincinnati’s most prominent German-American literary figure and promoter of German art, music, and literature in the United States. The editor of Der Deutsche Pionier, the journal of the German Pioneer Club, Rattermann was one of the country’s leading historians on German settlement in America.
OBSERVE Collective
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BAKER’S FOLLY on East Pentire Headland is well known among Newquay residents as the house built on the wrong side of the headland. Locals couldn`t understand why someone would build a house that bore the brunt of the Atlantic Ocean and saw very little sun, hence the name Folly.
But less well-known is the colourful history of the family that built the house – the Bakers, namely Frederick (Fred) Baker.
According to Arthur Edwards, Fred Baker’s nephew once removed, the Baker family were an "interesting bunch."
Company promoter Fred was the black sheep of the bunch and built the house between 1910 and 1927. He wanted to use it to hold house parties for his clients and wealthy friends who might be persuaded to invest in the clients’ projects.
But rumour has it that when his wife was entertaining Fred used to hide in the tower house with his books until the guests were gone.
He bought the plot of land on the East Pentire Headland in 1910 and slowly began developing it. Unusually he began building the terrace and pool before laying the foundations of the house. It is rumoured that Mr Baker ran out of money and was unable to resume working on the house until after the First World War, completing it in 1927.
The house featured a seawater swimming pool and changing rooms and has now been converted into apartments.
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.
This is a fading mural on the east side of an old foursquare house on Bay Avenue in Ocean Park, Washington. I titled it "A North Beach Peninsula Story" because that was the name of this peninsula until after World War II, when business promoters in the beach resort town of Long Beach succeeded in having the whole area named after its principal commercial center.
What remains of this mural reads like a memory in salt air. The paint has thinned to a pale wash of sea-green and sand, as if the weather itself were collaborating in the storytelling. Centered across the plywood panels is a modest waterfront scene: a small house or cannery building perched above pilings, ladders leaning at angles, a dock stitched together from planks and posts, and a workboat nosed up alongside. In the foreground, the tide flats are rendered in loose swaths of ocher, rust, and gray — the colors of Willapa Bay at low water. A few scattered forms suggest oyster barrels or floats, and the whole composition feels suspended between land and sea, permanence and erosion.
It is not a romanticized harbor with tall ships and heroic skies. Instead, it captures the working edge of the bay — the quiet infrastructure that sustained generations here. The North Beach Peninsula’s economy long depended on gillnetting, salmon trollers, and especially oysters from Willapa Bay. Oyster culture shaped both the landscape and the rhythm of life: tide tables mattered more than clocks; docks were built high and practical; boats were compact and purposeful. The laddered pilings and rough decking in the mural evoke the racks, floats, and work platforms used in oyster cultivation, while the small vessel suggests the shallow-draft boats that moved seed, harvested oysters, and ferried crews across the flats.
The muted palette reinforces the working character of the place. These are not postcard blues but the milky grays of a Pacific Northwest morning. The flats in front — streaked and mottled — resemble the exposed beds at minus tide, when oyster crews once labored bent over in rubber boots, filling sacks and baskets. The barrels or drums in the lower right hint at storage and transport — oysters headed for canneries, restaurants, and rail depots that linked this quiet peninsula to distant markets.
Now the mural itself is weathering, much like the industries it depicts. As tourism and branding shifted the name from North Beach Peninsula to Long Beach, the identity of the place tilted toward recreation. Yet this fading wall still honors the earlier story: a peninsula built not on souvenir shops but on tide, timber, fish, and shellfish. The peeling paint becomes part of the narrative — a reminder that the working waterfront, like the mural, is vulnerable to time, salt air, and reinvention.
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
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Thank-you for your visit, and please know that any faves or comments are always greatly appreciated!
Sonja
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
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.
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NameMONJASA PROMOTER
FlagLiberia
IMO9341421
MMSI636018716
Call signD5KA8
home Port Monrovia
vessel typeOil Products Tanker
Gross tonnage 2143 tons
Deadweight 3600 tons
Length 83 m
Breadth 12 m
Year of build 2008
Builder HANGZHOU DONGFENG SHIPYARD
55009 "Alycidon" (running as 55013 "The Black Watch") t&t 47813 - 1Z55 (0752 SO STP Kings Cross - Scarborough, which was formed of 12 coaches & named "The Coronation Deltic" by promoter UK Railtours) - Welwyn North - 0841 (1 late, due to the slack timings requiring a stop not pass at Digswell Jn) - 19/08/23.
I remember over 40 years ago when "Deltics" occassionly worked 1S12 throughout (0550 Kings Cross - Aberdeen), if there wasn't an "ETH Duff" at Haymarket for the leg from Edinburgh, but it took me two attempts to get "The Black Watch" to the granite city, as the first time it was removed at Edinburgh due to defective fuel gauges.
1S12 at Edinburgh
www.flickr.com/photos/151904976@N08/41150894912/in/photol...
1S12 at Aberdeen
www.flickr.com/photos/151904976@N08/49461227273/in/photol...
Finally at Scarborough almost 42 years ago
www.flickr.com/photos/151904976@N08/49743040376/in/photol...
Nice to see & chat to "Jenks" this morning, who with me formed the gallery on the London end of platform 1 (I was exoecting more). We thought 9S13 (0753 CBG - BTN) might get in the wat as it left Stevenage 3 minutes late, but ARS held it at Woolmer Green Jn to follow 1A07., resulting in it passing Welwyn North 7 minutes late! I love watching ARS & bet trains signalled by signalboxes suffer less delays, than those signalled by ARS, because on Thursday the late running 6Y06 was looped at Broxbourne (booked via Down Passenger Loop), only to be let out again right in front of 2H20 Cambridge, which was delayed in platform three!!
Ive seen this chap around several time and he has a totally different look each time - great sense of style. Kensington Gardens Brighton
I worked many years for Bill Graham Presents en.wikipedia.org/wiki/Bill_Graham_(promoter).
Backstage security is important and we always had competent people working the backstage positions. James and Nicholas were cool and we talked a little bit about the job before they let me take this photo.
I miss Bill.
Note: Though the geotagged map says "Lower Nob Hill," this venue is part of an area called "Polk Gulch," a moderately less dangerous neighborhood bordering the west end of the relatively high crime "Tenderloin" neighborhood. Further, this venue is far closer to the equally wealthy "Pacific Heights" neighborhood than to "Nob Hill." It's a wonder why the digital cartographers default to, and mimic, the real estate industry thieves, phonies and liars (like Donald Trump) rather than actually doing some work for themselves...
Hold the command key and click the link.
The Velvet Underground: www.youtube.com/watch?v=iz38xvjQORw
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
For some, it is important to show everyone what they have to offer. And hence, such self-promoters often sprawl in their self-made limelight just to show that they are supposedly better.
Though such self-promoters often achieve their goal to stand out and gain attention, they quickly get forgotten if left unattended. But just because someone can show off, it doesn’t mean that it is also worthwhile for others to take a look!
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:
en.wikipedia.org/wiki/Miami_Beach,_Florida
© All Rights Reserved - you may not use this image in any form without my prior permission.
Looking down the Birmingham and Fazeley Canal towards Wiggins Hill Bridge, on the very edge of the city boundary in Minworth, Sutton Coldfield, Birmingham, West Midlands.
The story of the Birmingham and Fazeley begins in 1770, when the Birmingham Canal Company was seen as having a monopoly. At the time, the coalfields at Walsall did not have canal access, and a public meeting was held at Lichfield on 18 August, to discuss an independent link from Walsall to Fradley Junction on the Trent and Mersey Canal, passing through Lichfield. Opposition from local landowners resulted in the plan being shelved, but a further plan was proposed at a meeting held in Warwick in August 1781, for a canal to run from Wednesbury through Fazeley to Atherstone, which was the end of the Coventry Canal at the time. The plans were changed somewhat in October, but shareholders in the Birmingham Canal saw it as a serious threat.
Two bills were put before Parliament in 1782, one for the Birmingham and Fazeley, and a rival one from the Birmingham Canal for a branch from Wednesbury to Walsall. Both sides opposed the other's proposal, and both bills were defeated. The promoters then opened negotiations with other canal companies, to ensure that when the canal was built, it would be part of a larger network. In 1782, they obtained an agreement from the Oxford Canal Company that they would complete the route to the River Thames at Oxford, one from the Coventry Canal that they would extend their canal from Atherstone to Fazeley, and agreed that they would complete the Coventry Canal's route from Fazeley as far as Whittington, as the Coventry Canal company could not finance the whole route. The Trent and Mersey would finish that link by building the remainder of the route to Fradley Junction. A second bill was put before Parliament, and at the same time, the Birmingham Canal presented a scheme for a canal from Riders Green to Broadwaters, near Walsall, with eight branches, and a second canal from Newhall to Fazeley. The Birmingham and Fazeley was authorised by an Act of Parliament obtained in 1784. The new company and the Birmingham Canal merged soon afterwards, becoming the awkwardly named Birmingham & Birmingham & Fazeley Canal Company.
John Smeaton was the engineer employed by the Birmingham and Fazeley, but work did not start immediately, as he was also responsible for the Riders Green to Broadwaters line, which was completed first. The project did not go smoothly, as there were disputes between James Bough, the superintendent of the canal company, and Pinkertons, who were the civil engineering contractors employed to carry out the work. The issue concerned the cement that the Pinkertons were using. Work on the Fazeley line began in April 1786, with Bough still acting as superintenent, and the Pinkertons responsible for the construction of the section between Minworth and Fazeley. In late 1786, George Pinkerton found out that the levels, which had been surveyed by Bough, were wrong. Samuel Bull, the engineer for the canal company, investigated and reported that Pinkerton was right. The Pinkertons started to work on the project from January 1787, even though the contracts were not signed until May. Bough made a series of allegations that Pinkertons' workmanship and the materials used were of poor quality.
The company stopped paying Pinkerton in late 1788, as the costs were exceeding the original estimates, and the contract was taken away from them in February 1789. There was then a financial dispute over money which had been paid to Pinkerton as "extras", but which the company then claimed were overpayments. Some £2,750 was at issue, and the case rumbled on for a decade, until a court case in 1801 gave him only £436 of the claim. Unhappy with the outcome, Pinkerton justified his position, but his remarks about John Houghton, the Company Clerk, were deemed to be libellous, for which he was fined and spent some time in prison.
The canal was completed in August 1789. The benefits of the co-operation with the other canal companies were that when all the links were completed in 1790, it immediately generated a great deal of freight traffic. This created problems, as the flights of locks at Aston and Farmer's Bridge became congested, and this became worse when the Warwick Canal built a junction onto the Digbeth Branch. The problem was not solved until 1844, when the Birmingham and Warwick Junction Canal to the south east and the Tame Valley Canal to the north west were opened. The name of the Birmingham & Birmingham & Fazeley Canal Company was changed to Birmingham Canal Navigations in 1794.
Hostess, Promoter, Entertainer.. Thats Me! I love hosting my nights with a Passion! It is my life ambition to meet people and touch everyones lives in a positive way. I Love It and nothing makes me happier :) Thanks to all of you for making my life such a special one! Love, Jamie
Denise Spaulding Promoter at The Original Zanzibar Blues Jazz Club 11th Street between Spruce and Pine Philadelphia PA B&W November 1993
Vienna Baroque
Doris Binder
The center of Baroque art was undisputable Vienna, as a special promoter appeared the Emperor Charles VI., under whose reign not only the Karlskirche was built, but also numerous buildings have been newly planned or built. The passion for building of the High Baroque is not only founded by the destructions of the Turks, but also has its causes in the backward economic structure and its lack of production plants. Whether nobleman, cleric or commoner, all those with sufficient capital put it rather in construction funds into practice than not make use of it. Responsible for this was a deep distrust to the imperial fiscal policy and concern about the currency and a possible bankruptcy.
The Baroque emerged within the civil peace (*) Burgfrieden) of the city of Vienna, had at the beginning of the High Baroque era still dominated religious buildings, so the cityscape changed in just four decades. Vienna was transformed into a "palace city", by the year 1740, the number of pleasure palaces, gardens and belvederes had doubled. The Baroque style, which by crown, church and nobility was forced upon the citizens, is considered of Felix Czeike as "authority art". The existing social gap should be camouflaged by the rubberneck culture in festivities, receptions and parades.
*) Burgfrieden (The term truce or Castle peace referred to a jurisdiction in the Middle Ages around a castle, in which feuds, so hostilities of private individuals among themselves, under penalty of ostracism were banned. Today the term is mainly used in a figurative sense.
Due to the return of Fischer von Erlach to Vienna in 1686 and a decade later, Lukas von Hildebrandt, the primacy of the Italians in architecture was broken and the victory parade of Austrian Baroque began. The connection between the spiritual and secular powers found its mode of expression in the Baroque, which the appearance of the city of Vienna should characterize in a decisive manner.
Construction of Charles Church
The Karlskirche was built by Emperor Charles VI. commemorating the plague saint, Charles Borromeo. In 1713 the plague raged in Vienna and claimed about 8,000 human lives, in February 1714 the plague disappeared and as a sign of gratitude was began with the construction of the church, this should become the most important religious building of Vienna in the 18th century.
In a contest was decided on the builder - participants were Johann Bernhard Fischer von Erlach, Johann Lukas von Hildebrandt and Ferdinando Galli-Bibienas. As winner emerged the famous architect Johann Bernhard Fischer von Erlach, he died in 1723 and did not live to the achievement of the Church. The supervision was transferred to the imperial court architect Anton Erhard Martinelli, as Fischer von Erlach died, his son, Joseph Emmanuel, finished his work. On 28 October 1737 St. Charles Church was solemnly by the Archbishop of Vienna, Cardinal Sigismund Count Kollowitz, inaugurated. The spiritual care ceded Emperor Karl VI. to the chivalric Order of the Cross with the Red Star, since 1783 is the Karlskirche imperial patronage parish.
The church at that time lay still behind the regulated river Wien (Wienfluss) and in the open field. The directed towards the city face side of the Charles Church, which stood on the edge of the suburb of Wieden, was target point of a line of sight the Hofburg and St. Charles Church in the sense of a "via triumphalis" connecting. On the temple-like front building of the Karlskirche the dedication inscription is clearly visible "Vota mea Reddam in conspectu timentium Deum" - "I will fulfill my vow before those who fear God."
Already during the construction by Fischer von Erlach (senior), there were several project phases, three of which have been preserved:
1. Medaillon by Daniel Warou for the groundbreaking ceremony
2. Fore stitches in Fischer's draft of a historical architecture 1721
3. Viennese view of work by Klein and Pfeffel 1722 (1724)
Due to the death of Fischer von Erlach, occured recent changes made by his son, Joseph Emmanuel most of all being concerned the dome (much higher and steeper), the priest choir (omitted) and the interior (simpler). The entire project took a total of 21 years and the costs amounted to 304 045 guilders and 22 ¼ cruisers. The construction costs were shouldered by all crown lands of the Empire, but also Spain, Milan and the Netherlands had to make a contribution.
The Karlskirche is the most important Baroque building of the city and represents the most convincing the so-called Empire style in which for the last time an empire awareness in the architecture of the capital of the Holy Roman Empire after the victorious ended wars against the Turks and the French was expressed.
Symbolism of the Karlskirche
The Karlskirche consists of a central rotunda with a dome, preceded by a column structure like a Greek temple, of two high pillars illustrated on the model of Trajan's Column in Rome and of two lateral gate pavilions. The illustrated columns represent Charles VI. as a wise and strong secular ruler, the two great pillars were created by Marder and Matielli. The columns are crowned by golden eagles, symbolizing the two virtues of the Emperor - fortitudo (bravery) and constantia (resistance). The two pillars are evocative of the two pillars before the temple in Jerusalem - Jachin and Boaz. However, the illustration of the two columns does not match the model of the Trajan columns in Rome, portraying war deeds, but these tell the life story of St. Borromeo. In the front view of the Karlskirche a wide range of different symbols become one whole - the Roman emperors Trajan and Augustus, the Temple of Solomon, St. Peter's Church in Rome, Hagia Sophia, Charlemagne and the Empire of Charles V. - through the skillfully used symbols should be shown the claim of the house of Habsburg to the European domination.
The plan view of the church is, as in baroque typical, ellipsoid. In the interior of the Karlskirche the great Baroque sculpture is immediately noticeable, representing St. Borromeo. At the base the four Latin Fathers of the Church are depicted. The interior of the Karlskirche is dominated by the tremendous fresco in the oval dome room, it was created by the eminent Baroque painter Johann Michael Rottmayr between 1725-1730. The fresco shows the Mother of God representing the intercession of the patron Saint of the Church to help head off the plague, surrounded is the scene by the cardinal virtues (faith, hope and love). In the left entrance wing is situated the tomb for the Austrian poet Heinrich Joseph von Collin (17771-1811).
Inside the St. Charles Church, there is a museum where the most valuable pieces are exhibited.
These include: the vestments of St. Borromeo, a reliquary of gold and silver - a donation of Emperor Charles VI. and a rococo monstrance (1760) containing a drop of blood of the saint. Thomas Aquinas.
Even the image of the architect Fischer von Erlach, painted by Jacob von Schuppen, is one of the church treasures.
The iconographic program of the Charles Church was written by Carl Gustav Haerus, by this the Saint Charles Borromeo should be connected to the imperial founder.
www.univie.ac.at/hypertextcreator/ferstel/site/browse.php...
A lover of jazz, a promoter of European creativity above
America's tendency to replace us as the globalisers, he was
a serious man who was always humorous, a cool dresser and dancer, a lover of jazz and cinema.
Among his works that have already stood the test of time are Terezin, The Atomic Yard and Lovers Rock.
He is survived by his two charming and talented daughters and hugely supportive partner Celia. www.johngoto.org.uk
www.theguardian.com/artanddesign/2023/aug/18/john-goto-ob...
(I am now the only survivor from my close art school peer group. Who's going to write my obituary? Actually a completely invented one would be fine, including being stalked as a teenager by Brigitte Bardot and having my entire style stolen by Bob Geldof.)