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Prompt - repeating pattern. I used punches and maps to make a pattern and then shaded them with watercolor.
CHATSWORTH - A prompt call to 9-1-1 from a passerby brought the Los Angeles City Fire Department and allied agencies to quickly conquer a small non-injury brush fire in the 11500 block of North Topanga Canyon Boulevard on September 29, 2020.
© Photo by Austin Gebhardt
LAFD Incident: 092920-0711
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Seen as part of the annual Potawatomi Festival Parade, held in Attica, Indiana, Sunday, September 16th, 2012
The easy-to-use DTV Prompt digital shower system puts total control of your shower experience at your fingertips.
Created with ChatGPT
Prompt - 16:9, 64K, VAC1.2 ultra-photorealistic dark fantasy cinematic photography. A haunting First World War battlefield cemetery at sunset. In the foreground, a beautiful young brunette woman with tear-filled eyes sits against a shattered, moss-covered stone cross, wearing a delicate, mud-stained ivory Edwardian dress. She clutches a single crimson poppy against her chest, gazing sorrowfully toward the heavens. Behind her, spectral young WWI soldiers in historically accurate British uniforms and Brodie helmets emerge from drifting battlefield mist, their translucent figures fading into smoke, faces solemn and heartbreakingly youthful. Hundreds of weathered wooden grave crosses stretch across devastated, rain-soaked earth, scattered with vivid red poppies, abandoned military equipment and reflective muddy puddles. Beyond the cemetery, a magnificent ruined Gothic abbey rises against a dramatic storm-filled sky, pierced by the final amber rays of a dying sun. Extreme chiaroscuro, tenebrism, volumetric smoke, atmospheric perspective, physically accurate sunset illumination. Phase One XF IQ4 150MP, Schneider Kreuznach 45mm lens, f/8, ISO 200, 1/125s. Authentic skin pores, wet fabric, weathered stone, realistic mud and cinematic HDR. Razor-sharp foreground detail, natural optical depth, genuine live-action photographic realism. No CGI, illustration, painting or artificial rendering.
Pic and Prompt by Adrian
Eric & I only have had furry babies around us.
Two years ago our hen Grijs laid three eggs. Before the last egg hatched Grijs left the nest. This last egg was incubated by Eric and me. For a few months we were Hummies parents.
This little baby under mom's wing is Hummies brother Jippe.
Clarolyntopiastan's downstairs control center.
DOS prompt, TV, screen.
music: Primus.
Church Of The SubGenius. Church Of The Subgenius. DOS.
upstairs, Clint and Carolyn's house, Alexandria, Virginia.
February 24, 2017.
Pic by Sideshow Bob.
... Read my blog at ClintJCL at wordpress.com
... Read Carolyn's blog at CarolynCASL at wordpress.com
... View Sideshow Bob's photography repository at SSBproductions.com/
BACKSTORY: Rainbow Party #8: Gold: Carolyn's 41st birthday: 37 people: Clint & Carolyn, Vicky, Aaron, Dave N, John K, Jess, Akira, Zee, Puppy, Matthew & Julie, Sean, Sideshow Bob, Svetlana & Cam, Diane & Andrew, Christi, Cristin, Celia & Ben, Wendell & Aned, Dugard & Jenny, Effie & Jema, Lex, Lou, John O & Lauren, Shannon & Jessi, Maria, Alex, John F & Erin, Rachel. 8:00PM start time. Mostly socializing. Party went until 5am-ish. 21 person L-C-R game (John The Canadien won). Facebook event page: www.facebook.com/events/1725435251119484/
A mother is a person who is seeing there are only four pieces of pie for five people, promptly announces she never did care for pie. Happy Mother's Day!
CHATSWORTH - A prompt call to 9-1-1 from a passerby brought the Los Angeles City Fire Department and allied agencies to quickly conquer a small non-injury brush fire in the 11500 block of North Topanga Canyon Boulevard on September 29, 2020.
© Photo by Austin Gebhardt
LAFD Incident: 092920-0711
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
CHATSWORTH - A prompt call to 9-1-1 from a passerby brought the Los Angeles City Fire Department and allied agencies to quickly conquer a small non-injury brush fire in the 11500 block of North Topanga Canyon Boulevard on September 29, 2020.
© Photo by Austin Gebhardt
LAFD Incident: 092920-0711
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
This is a 2-page 8x8 layout for my niece's scrapbook with placeholders for the pics. I thought I'd have a whole crafty day today, but a sick kiddo and husband dealing with a broken down snow blower in 12+ inches of snow caused my day to be different than I envisioned! So, I'm off-prompt on Day 1, but tomorrow is yet another day!
The prompt... Right this Second... While you are sitting there with your journal I want you to tell me what is going on right this second!! What do you hear? What do you smell? What do you see? What are you wearing, everything...
This is me...Right now! Ok now I'm off for a bubbly bath!!!
The Prompt gallery and nightclub site is at promptgallery.space where there are event listings for shows in AltspaceVR - also see account.altvr.com/channels/abstraction. The world code for the Prompt is YQT013
There are videos of the Prompt Events here www.youtube.com/playlist?list=PLfzKgAP3NhxBe0FW2bXY5Xvk8h...
Capitol Protective Services Officers Awarded Certificates of Appreciation 3-21-18
Governor Justice thanks Capitol Police for keeping campus safe, incident-free amid record crowds
CHARLESTON, W.Va. – Governor Jim Justice is saluting the West Virginia Capitol Police and its leadership after daily throngs gathered safely during the recent legislative session.
Governor Justice has issued Certificates of Recognition to Capitol Police Director Kevin Foreman and Deputy Director Jack Chambers. Chief of Staff Mike Hall presented the honors during a Wednesday ceremony at the State Capitol.
The awards thank Foreman and Chambers “for outstanding and dedicated commitment in keeping both state employees and the public safe during the trying events that have taken place at the Capitol over the past several months.”
During a portion of the 60-day regular session of the Legislature, the Capitol saw daily crowds that routinely exceeded 5,000 visitors. On one Friday, the visitors entering through the building’s two Directed Public Access Points over the course of that day topped 7,000.
Crowds on another day during this period swelled to nearly 6,700 people, and were concentrated in a way that prompted safety concerns from both Capitol Police and the State Fire Marshal’s Office. As a result, the Public Access Points were closed for two hours before resuming operations.
Foreman recounted how Capitol Police officers worked 12- to 15-hour shifts for six or more consecutive days during the session gatherings.
“We had guys working six and seven hours without breaks, on their feet, and I never heard the first complaint from any of them,” Director Foreman said.
Throughout these massive daily gatherings, Foreman and Chambers met and kept in touch with the organizers. As the leaders of the Capitol Police, they have made it their practice to seek dialogue with participants ahead of and during on-campus events. Their goal is to ensure a safe and trouble-free environment as citizens assemble at the seat of their state government.
Organizers and legislators alike applauded Capitol Police for this approach and their service after the session crowds resulted in no arrests, property damage, disturbances or other incidents.
“We very much appreciate Governor Justice and the Chief of Staff recognizing the hard work of the men and women of this organization,” Director Foreman said after Wednesday’s ceremony. “They’re the ones who do it. We’ve just set them up, hopefully, to where they can be successful.”
Capitol Police, also known as the Division of Protective Services, is part of the Cabinet Department of Military Affairs and Public Safety. It fields 30 fully certified law enforcement officers as well as civilian support staff and other personnel. The Capitol Police oversee the safety and security of the State Capitol and its campus as well as other state government properties.
Morris Avenue Historic District, Morris Avenue, Mount Hope, Bronx, New York City, United States
The block of Morris Avenue between Tremont Avenue and East 179th Street in the Bronx, constructed between 1906 and 1910 by the speculative builder August Jacob to the designs of architect John Hauser, is a notable example of a uniformly planned streetscape. The resulting architectural homogeneity is rare in any urban situation. While the houses appear to take the form of the standard single-family rowhouse found throughout the urbanized sections of Manhattan and Brooklyn in the 19th century, these are in fact two-family dwellings. They are significant as examples of how law can effect design. Hauser's response to proposed changes in the building law is responsible for the three-story elevations of the houses on Morris Avenue and the unique interior arrangement behind them. Jacob's land acquisitions and the subsequent building history here reflect the Bronx's early urban development.
Bronx Development
This block of Morris Avenue, in the 17th century, had been but a minuscule and uncharted portion of the 3200 acre Manor of Fordham, the only Westchester County manor to be granted by Royal Charter, that of James, Duke of York, to John Archer, the first lord. In retrospect the manor's final dissolution in 1764 — sold in tracts by the Dutch Reformed Church — has been called the largest sale of real estate in the history of the Bronx. By mid-19th century this block was still a small part of a larger property owned by Thomas W. Ludlow, described as located at Fordham in the Town of West Farms. In 1846 Westchester was divided; east of the Bronx River remained part of Westchester County, but the area between the Bronx and Harlem Rivers became West Farms. In 1874 West Farms was annexed to the City of New York as the 24th Ward. Four years later Ludlow sold his holdings in four parcels, or sub-divisions, an area roughly approximated today by the Grand Concourse on the east, East Tremont on the south, University Avenue on the west, and Bumside Avenue on the north.
In 1889 three of these subdivisions were reunited and within a matter of months were sold together to one Augustus Kountze, who bought more property in the neighborhood a year later. Kountze died in 1894, leaving his widow Catherine and their children to consolidate most of the inherited holdings into ownership by a single entity of which the son, Herman Kountze, was president—the United Real Estate and Trust Company incorporated in the State of Nebraska and located in Omaha. Herman himself, and his brothers, Luther and Charles B. of Denver, joined their mother as trustees. As a consequence of their distant domiciles, legal transactions involving their Bronx property required a battery of notaries. The property increased in value in the seventeen years of their stewardship; in 1901 179th Street was opened from Jerome Avenue to Anthony Avenue; in 1904 Morris Avenue was opened from Tremont Avenue to Parkview Terrace. By 1906 Morris Avenue had been given its full length.
The urban development of the Bronx gained momentum after the introduction of the Interborough Rapid Transit in 1904. Although the area had been served by the Harlem and Hudson River Railroad for several decades already, the factor of public transportation was still a major one in the area's, transition from rural and suburban to .urban. . The IRT extended under nearby Jerome Avenue. In 1907, it was announced a trolley line would be
laid along Tremont Avenue
Convenient transportation encouraged residents of the more densely populated borough of Manhattan to seek more spacious accommodations in the Bronx. Real-estate speculators and builders were ready; indeed, it appears they were more than ready. The anticipated influx from Manhattan, though significant, didn't fill all of the brand new space available, especially the new tenements. Despite the cheaper rents and promotional headlines like "Flat hunting in the Bronx is now a seasonable pastime/Every taste can be suited," ^ many new tenements were still empty and loan companies refused to back further tenement construction. Manhattan tenement residents who did not have sufficient means to buy a single-family house were looking for a less congested environment. Realizing this, developers then turned their attention to building two-family dwellings. This block of Morris Avenue is a response to such trends.
The Builder and the Architect
At present little is known of August Jacob, the developer and builder of this block of Morris Avenue. Nor is it known if this was his first effort. When he began the Morris Avenue project, Jacob resided at 527 West 149th Street. He was married; his wife's name, Philipina C. Jacob, appears on the deeds conveying each of the new houses on Morris Avenue to its new owners. Jacob's frequent associate, George H. Jacob, is somewhat of a mystery as well. Based on the scant evidence which deeds and conveyances offer, it is posited that George Jacob was either August's brother or his son. Slim evidence points to the latter. At the time this block was developed, George was unmarried and living at the same address as the August Jacobs. Although the last six houses on the the east side of the street (extending to the corner of 179th Street) were erected on land bought by August but nominally George's when building permits were applied for, each was sold by August and Philipina C. Jacob.
By 1910 George was secretary of the August Jacob Construction Company, formed to erect the two five-story tenement buildings flanking the Tremont entrance to the block, while August was president. Yet, after this block had been developed all three Jacobs bought and sold property independently in the block west, on 179th Street. The large size of their undertaking on Morris Avenue, the complexity of coordinating the several building campaigns, the timely manner in which they arranged loans for both land acquisition and building construction, and the speed in which they accomplished it all leads to the assumption that the Jacobs had some previous experience in real-estate development.
John Hauser had been designing single residences and tenement buildings, predominantly in northern Manhattan, for more than a decade when he began his collaboration with August Jacob in the Bronx in 1906. Indeed, that year saw the completion of the residential row at 453-475 West 141st Street, Manhattan, which he designed for the Picken Realty Company These twelve four-story rowhouses were built of brick and limestone in the "free classical" style. The alternating pattern of three-sided and curved bays is of interest in the context of his designs for August Jacob on Morris Avenue.
August Jacob's initial purchase from the the United Real-Estate and Trust Company included three parcels: the whole eastern half of Tax Map
Block 2829 (i.e., the west side of Morris Avenue from Tremont Avenue to East 179th Street); the last five lots on the east side of Morris Avenue (Tax Map Block 2807, now the six lots numbered 11, 12, 13, 14, 15, and 96); and the first four and one half lots on the east side (lots 1, 90, 2, 3 and one half of 4 of Tax Map Block 2807). The first of the remaining seven and one half lots (half of lot 4 through lot 10 of Tax Map Block 2897) was bought from Catherine Kountze's surviving trustees, dwindled down to only Luther and Charles B. Kountze. The other lots were also bought individually or in pairs throughout 1907.^ All of these, on both sides of the street, were covered by protective covenants enforceable until 1910, restricting what could and could not be constructed on them: no slaughter houses, smiths' forges, furnaces, foundries, iron factories, breweries, distilleries, noxious or dangerous emissions, no building less than two stories, no building without a cellar except barns and outhouses, and no bams within sixty feet of the street.
Building History
Despite its common authorship and for all its apparent homogeneity, this block of Morris Avenue has a rather disjointed building history. Differences among the groups of houses best identify the five building campaigns which Jacob and Hauser undertook, sometimes overlapping, sometimes simultaneously, within the short four-year time span in which both sides of the street were developed.
The reasons for these differences are very basic. The property records demonstrate that Jacob could not acquire the land all at once. Consistently, from the same two mortgagors, he had to secure loans from one to buy the sites and from the other to build the houses. What with preparations like the probable demolition of a few existing structures, grading and excavating, he was unable to launch a single building campaign. Jacob purchased the three initial parcels in 1906, the remainder on the east side of the street throughout 1907. The first building campaign, from June 20, 1906 to January 1, 1907,? occurred on the last six lots on the west side of the street, now occupied by Nos. 1989 through 1999 (plate 1), and the adjacent lot, containing No. 60 East 179th Street (plate 2). The six, all abutting, were articulated as three buildings, as if Hauser's major concern at the outset was to differentiate between the houses, rather than to create uniform rows.
This appears to have been his intention when designing the row on West 141st Street in Manhattan for the Picken Realty Company. The alternating bays on West 141st Street are immediate predecessors of these six on Morris Avenue, which are two stories high set on high English basements. Here pairs with curved bows flank a pair with angled bays. Stoop and areaway railings are uniform in decorative pattern.
The second campaign, which began two months after the first, August 21, 1906, comprised the last six houses on the east side of Morris, Nos. 1988 through 1998, directly across the street from the first group, and a seventh, No. 108 East 179 Street (plates 3 and 4).^ Like those of the first campaign, these houses were designed as two-family dwellings. Like the first campaign, pairs of dwellings alternate brick shades, red and buff. But the overall design is different; this was the first group to be a full three stories. Stoop and areaway railings are uniform though a different pattern from those across the 'street." " -- -
The third campaign, the construction of Nos. 1970 through 1986, appears to have been started late in 1906 or early 1907 (plate 5). The earliest house sold was No. 1986, on October 27, 1907. This group of nine three-story houses is characterized by the greatest variety of brick shades, buff, dark honey and burnt orange. The wrought-iron stoop railings are similar to those of Nos. 1988 to 1998 and 108 East 179th Street, but the areaway railings are, again, a different pattern.
Nos. 1971 through 1987, the row of nine houses on the west side of Morris (plate 6), were constructed in a fourth campaign about mid-1907 — the earliest house in this group was sold on September 30, 1908. All of these houses have three stories, and there is no variation in color; they are all buff brick. However, stoop and areaway railings are yet a different pattern.
The two tenement buildings on Tremont (plates 7 and 8) and one house. No. 1968 Morris Avenue (plate 9), comprise the Jacobs' fifth and final building campaign. The plans for these three were all approved on January 27, 1909. However, No. 1968 was begun on April 1, while the tenements were begun four months later, on August 12. No. 1968 was finished on January 31, 1910, and the tenements were sold about two months later, on April 4. The wrought-iron sidewalk railings are chest height.
Evolution of the Design
Two major questions, unanswered in the buildings' history, remain. The first is why Hauser introduced a new design two months after his initial designs for the group of houses. The second, not unrelated to the first, is why Hauser shifted his earlier emphasis upon variety in facade design towards a greater homogeneity. Explanation of the rest of the inconsistencies and differences may depend on the resolution of these two questions.
August Jacob's earliest purchase of land on Morris Avenue, the west side of the street between Tremont and East 179th Street and the two separate parcels on the east side, suggests that, from the start, he intended to develop both sides of this block as a whole. But Hauser did not repeat his designs for the first group of houses in the succeeding building campaigns. The two-story dwellings on their high English basements were superceded by three-story houses. Yet both designs were for two-family houses. In the first group there was a floor for each family, and the family on the first floor also had use of the high basement. The slightly later three-story houses contained two units also; a duplex apartment with connecting interior staircase on the first and second stories, and the second apartment on the third story. No doubt, the three- story houses with their duplexes were an attractive alternative to two- family housing elsewhere. But might not some circumstance external to the design process have prompted this unconventional arrangement? Why this sudden generosity?
There was at this time (1906-07) a bill introduced before the New York State legislature to amend the Tenement House Law to exempt three-family dwellings. Proposed by builders predominantly active in the Bronx and called the Sheridan Bill, it was sponsored by Bronx Assemblyman Sheridan of the 39th Assembly District. Contemporary newspapers carried accounts of this effort daily. Proponents posited that land values in some sections were too high to build two-family houses profitably. They reasoned that three-family houses would attract the same class of tenant who was seeking single or two-family accommodation and that tenants would be willing to pay more for this semi-privacy than they would for comparable space in a tenement building. Although not often mentioned but basic to the builders' argument, building costs for exempt housing were much lower. Single or two-family dwellings were cheaper to construct; all supports could be of wood. Tenements, by law, had to employ masonry columns and girders of iron or steel.
And the builders argued that the return on one rental apartment was insufficient to maintain a family, a mortgage, and meet annual charges. Could it be that Jacob hoped to be in a position to take advantage of this amendment the minute it was approved? With little trouble his duplexes could be transformed to two single apartments. By 1911 the Sheridan Bill, and others like it before the legislature, had continued to meet with opposition. The staunchest opponent was the Tenement House Commission itself. The atrocious conditions existing before 1901, the year the Commission was established to supervise construction for multi-family use, had not been forgotten. The tenor of a contemporary report on the issue, was pro-Commission, describing the speculative builders as a self-seeking minority and encouraging the Commission to enforce protection. The hoped-for amendment was well on its way to becoming a dead issue only five years after it had seemed a mere legislative formality.
Hauser's three-story bowed facades, used from the second campaign on, perhaps a direct response to the promise held within the Sheridan Bill, became the module to be repeated the length of the block. But what about the second question; why had Hauser shifted his earlier emphasis from variety toward greater homogeneity? In successive building campaigns Hauser reduced the prominence of his earliest architectural features to a more subtle, syncopated rhythm of component elements. Indeed these undulating brick rows are reminiscent of the Soanian ashlar granite double- bowed facade of the David Sears house (1816) on Boston's Beacon Street, designed by Alexander Parris.
The reason Hauser eschewed variety in favor of homogeneity is most likely the same reason he shifted from a two- to a three-story dwelling. Jacob, aware of the hard economic facts of speculative building, requested him to do so. A repeated elevation is much cheaper than any kind of variation. A curved bow uses less brick than an angled bay. But Jacob did not forgo all amenities; the bows admitted more light and air than a simple flat facade.
Summary
This block of Morris Avenue represents a rare case of an intact, early 20th-century urban development where design responsibilities were limited to but one architect. The block is significant architecturally, as well, for it includes not only typical contemporary building types — tenement buildings and two variations of the two-family dwelling, but illustrates here in built form the architect's step by step solution to a unconventional program. The resultant homogeneity in itself is exceptional for its time and place. There is no conspicuous evidence here of the sporadic land acquisition and the five consequent building campaigns, all within five years. The building and design histories here on Morris Avenue reflect the hyperactivity that followed the introduction of rapid transit to and from Manhattan as developers sought to provide housing in accommodations more spacious than the congested Manhattan tenements.
Description
Tremont Avenue does not intersect Morris at a right angle but obliquely, descending from the ridge along which now runs the Grand Concourse (toward Jerome) roughly southeast to northwest (plate 10). Consequently, Hauser and Jacob were presented with an east side of the street a few feet longer than the west side. That is why there are seventeen dwellings on the east side and sixteen on the west. Both the northeast and southwest comers of the intersection of Tremont and Morris Avenues contain tenement buildings, their bulk occupying the legal percentage of their vaguely quadrilateral lots. Then follow two rows of houses, facing each other across the street. The lots here are twenty feet wide and 100 feet deep. The houses are the same width but only fifty-five feet in depth. That is until the last four lots on either side of the street are reached. Here the lots are but eighty feet deep to compensate for the two lots inserted behind them (Tax Map Block 2829, Lot 12, and Tax Map Block 2807, lot 96) which front East 179th Street. Each of the houses on East 179th Street, No. 60 and No. 108, is twenty feet wide and eighty feet deep. In total then, there are two tenements and thirty-five dwellings.
- From the 1986 NYCLPC Landmark Designation Report
Owiny Sigoma Band
Ippodromo del Galoppo - Milano
17 Luglio 2013
Jesse Hackett (keys)
Louis Hackett (bass)
Sam Lewis (guitar)
Chris Morphitis (bouzouki/guitar)
Tom Skinner (drums)
Joseph Nyamungo
Charles Okoko
© Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
In 2009, a handful of London-based musicians travelled to Nairobi in Kenya to collaborate with local musicians there. The project was set up by Hetty Hughes and her friend Aaron Abraham, co-founders of a voluntary organisation called Art of Protest established in order to promote local musicians and rappers. Hetty and Aaron were disheartened by the way they were being sidelined and overlooked, sothey set about inviting some London-based musicians to visit Nairobi and collaborate. It was a loose arrangement… there was no specific agenda other than to bring the musicians together, exchange ideas and enjoy the results.
The traditional folkloric music of Kenya has not received the same global exposure as that of Nigeria, Ethiopia, South Africa or North Africa for example and one of the objectives of this project was to try and build on this. The band draw on a broad spectrum of African influences, from Fela Kuti and Tony Allen to the likes of Thomas Mapfumo and Oumou Sangare, but bar Jesse’s participation with Damon Albarn’s Africa Express, this was the first opportunity for Jesse Hackett (keys), Louis Hackett (bass), Sam Lewis (guitar), Chris Morphitis (bouzouki/guitar) and Tom Skinner (drums) to visit specifically for a musical project.
The boys’ first trip to Nairobi was in January 2009 to meet and collaborate with two Kenyan musicians: Joseph Nyamungo and Charles Okoko who hail from a village up country called Owiny Sigoma. The workshop/rehearsals were a lot of fun and pretty fruitful – “They acted as a skills exchange and a way of sharing our music. We learned some of their songs and they learned some of our songs too,” explains Tom. Finding a studio that could accomodate a 7-piece live band wasn’t easy but eventually they holed up in an amazing disused factory space to record. The resulting four tracks made their way to Gilles Peterson who promptly signed the band to his Brownswood imprint and sent the boys back to Nairobi for another week-long recording session with Joseph, Charles and their extended musical family.
The results are documented on the band’s forthcoming album – a collection of gloriously hypnotic Afro grooves symbolic of the true culture clash between the Luo and London. The project will finally be released on 2nd May 2011, preceded by a 12” boasting a monstrous Theo Parrish remix available exclusively via Record Store Day on 16th April 2011. The Motor City legend stripped back the melodic content to the bare essentials and built one of his trademark twisted trips in a whirlwind session with Floating Points at Eglo Studios, London.
Spotted this cool collection of kid's riding toys at the Brimfield Antique Flea Market
For PA - Transport
Railroad bridge over the Bagbag River was damaged by the Filipino insurgents aided by Horace L. Higgins, superintendent of the road, and was promptly built up again by American troops, Bulacan province, Luzon, Philippines – 1899
Bagbag Bridge located at Calumpit, Bulacan, was the site of the first battle between Filipino and American soldiers during the retreat of Aguinaldo to the Ilocos Region and of the longest battle during the Filipino-American Wars led by Gen. Gregorio del Pilar on April 25, 1899. The bridge commemorates the bravery displayed by the Filipinos as they victor in the battle against the American forces.
en.wikipilipinas.org/index.php?title=Bagbag_Bridge
Photographs of the Philippines taken by United States military personnel.
University of Michigan Special Collections
CHATSWORTH - A prompt call to 9-1-1 from a passerby brought the Los Angeles City Fire Department and allied agencies to quickly conquer a small non-injury brush fire in the 11500 block of North Topanga Canyon Boulevard on September 29, 2020.
© Photo by Mark Lassman
LAFD Incident: 092920-0711
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Klick Link For Read Online Or Download Doodling for Foodies: 50 delectable doodle prompts and creative exercises for food aficionados Book : bit.ly/2hJ1oHK
Synopsis
Doodling for Foodies is the third in a new adult doodling series designed to appeal to both seasoned artists and first-time doodlers alike. Packed with more than 50 fun and inspirational tips, prompts, and exercises, professional illustrator Gemma Correll sparks the imagination and spurs artists to explore, experiment, and brainstorm ways to draw and doodle their favorite culinary delights with her cute and clever art style. The artist's simple, unique, and whimsical approach is sure to inspire, entertain, and guide artists of any skill level. Doodlers will find inspiration for drawing different types of food, including fruits and veggies, meats, dairy, desserts, breads, and even beverages. One part inspiration and one part instruction, this interactive book not only demonstrates how to draw whimsical dishes a