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English Version below.
Foto aérea da página do meu novo livro "Aéreas do Brasil", editado pela Editora BEI.
"Com mais de 150 fotos aéreas, o livro é uma viagem por vários cantos do Brasil, apresentando paisagens e cenas que impressionam pelo imprevisível das formas captadas. Assim, o leitor passa a perceber de forma diferente lugares familiares – como a praia de Ipanema e os arranha-céus paulistanos – e também a reconhecer a beleza em paisagens desconhecidas ou irreconhecíveis, como salinas, dunas do rosado e plantações de laranjas. Com mais de 700 horas de voos como fotógrafo e algumas horas também como piloto de helicóptero, Cássio é autor do maior acervo de IMAGENS AÉREAS do País."
Saiba mais e veja as fotos em um mapa interativo em www.aereasdobrasil.com.br
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Aerial photography from my new book "Aéreas do Brasil" (Brazilian Aerials), published by Editora BEI. Page .
"With more than 150 aerial photographies, this book is a trip over Brazil, presenting impressive landscapes and scenes with surprising forms. Allowing the reader to perceive familiar places - like Ipanema beaches or São Paulo skyscrapes - in a different way, as to recognize the beauty of unknown or unreconizable landscapes. With more than 700 hours shooting aerial pictures, Cássio is the author of the largest aerial images catalogo in Brazil."
More about the book and an interactive map/gallery can be found on www.aereasdobrasil.com.br
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Published by W. H. Burton
American News Company Litho-Chrome
Postmark 1907. Litho-Chrome postcards were published by ANC 1906-1909.
Published photograph in The Trace on July 29th, 2015 to illustrate an article by Adam Weinstein "Why Military Security Experts Know That Arming More Troops is Not The Answer"
www.thetrace.org/2015/07/military-bases-chattanooga-gun-f...
published in Buzz
Photographer: Fayyaz Ahmed
Model: Iffy Zafar
Hair & Makeup: Asma Zuberi @Depilex
Label: Arsalan & Yahseer
through the sandstone 'jali' in the new wing of the palace under restoration, in the fort of jaisalmer.
see more WINDOWs here.
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this page without written permission and consent.
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Davide, Enrica, Giosada e gli Urban Strangers, i quattro finalisti di #XF9, in diretta dal Mediolanum Forum di Assago, Milano, giovedì 10 Dicembre 2015, avranno l’onore di condividere lo stesso palco con giganti della musica come i Coldplay, in vetta alle classifiche in 53 paesi. Chris Martin & Co si esibiranno live in esclusiva per l’Italia proprio sul palco della Finale per regalare al pubblico ben due successi del nuovo album: "A Head Full of Dreams" e "Adventure of a Lifetime".
X Factor Italia vuole siglare un altro primato: l’intera giuria si esibirà sulle note dei propri successi e con le proprie band: Elio e le Storie Tese, Skunk Anansie e Fedez e Mika.
Alessandro Cattelan vi racconterà questo grandissimo evento musicale scandendo i ritmi di una serata che si preannuncia veramente intensa. Avrete modo di assistere a una sfida davvero speciale tra Enrica, Davide, Giosada e Urban Strangers al fianco di un grande artista italiano: Cesare Cremonini. Dopo 34 date del Logico Tour, la pop star bolognese accompagnerà al pianoforte i ragazzi nella prima manche dedicata ai duetti, al termine della quale uno di loro lascerà la gara, oltre ad eseguire "Lost in weekend".
La sfida proseguirà con la manche degli inediti, appena presentati e già in cima alla classifica iTunes. Per lo scontro decisivo, i due super finalisti si giocheranno il podio con un brano scelto da ciascuno di loro tra quelli interpretati durante il lungo percorso ad X Factor. Solo uno di loro si aggiudicherà un contratto con Sony Music Italia e la possibilità di pubblicare un album.
Non finisce qui: un inedito duetto infiammerà il Forum, quello di Fedez & Mika, che si esibiranno per la prima volta live nel loro "Beautiful Disaster". Elio e le Storie Tese si porteranno al Forum uno dei classici storici della band, "Servi della gleba", mentre gli Skunk Anansie la nuovissima "Love Someone Else".
Il vincitore della nona edizione di X Factor Italia è Giosada.
Rijks Museum - National Museum of Netherlands
Vision
The Rijksmuseum links individuals with art and history.
Mission
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.
É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente
.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
Published on my Birthday !!
This is my 18th submission for the October 2012 A month in Pictures project.
www.flickr.com/groups/photoadayforamonth/
My complete set of pictures for this challenge can be found here - MY OCTOBER 2012 SET
Well yesterday I took some pictures of the burning bus in Chelmsford City centre - see my pictures from yesterday HERE and HERE also
I contacted the Essex Chronicle news desk and met up with one of their people - and gave them a couple of my shots and guess what they have published one of them along with the story and some quotes from myself - I also got my name against my picture as well !!!!
My picture is the main one at the top !!
Essex Chronicle - Page 11 on Thursday 18th October 2012
Original picture
Nikon D7000
Nikon 35mm lens
F3.5 @ 1/40 second exposure
ISO 1250 (yes really)
While having lunch on national highway with Zahid Ali Khan I took a random click which got sold for a hefty amount. I took this photograph from my mobile phone camera and had curiosity that where it got published. Last week I was passing outside liberity books when spotted my photograph behind their display window. It always feels good when you see your work published and this time it got published on a cover page of a book published by Other press Newyork (www.amazon.com/Shahan-Mufti/e/B00E0N1T30).
Trade paperback - Ballantine Books-Del Rey - ISBN 978-0-345-46151-3 - first edition published 2003
comments by CR:
The Coming of Conan The Cimmerian - [0745 - 2017-03-27]
My first introduction to "Conan" were the Lancer paperbacks I starting buying in 1966. All of the Lancer editions were edited by or co-written with other authors mostly L. Sprague deCamp. How this "editing and co-authorship" took place 30 years after Howard's death was never adequately explained. Nonetheless I found in the Conan tales a creditable character that excited my teen-age imagination.
Howard was a prolific writer and his Conan stories were one of many characters and general themes he wrote about.
Fortunately readers appreciation for Howard's Conan stories took root and starting approximately 2002 a handsome series of trade paperbacks were published by Ballantine Books. Robert E. Howard (1906-36) is know today primarily as the author who introduced Conan to the reading public which in turn created the genre of sword and sorcery fiction. What is not as well known is that Howard in his short life had published a couple hundred stories. The majority were supernatural themed fictions with gallant protagonists but were not all "Conan" stories.
Ten of the thirteen stories in this Ballantine edition, "The Coming of Conan The Cimmerian" were first published in Wierd Tales magazine during 1932-34. The remaining three were resurrected and published in various publication after his death.
The Stories in the order they appear with first publication in ():
The Phoenix on the Sword (1932)
Conan the barbarian is King(!) and is the subject of a palace coup d'état. An ancient wizard impresses the sign of the phoenix on his sword giving him the measured advantage in a duel with a supernatural foe.
The Frost-Giants Daughter (1976)
After a bloody battle in the frozen north Conan, the sole survivor, is mesmerized by the erotic vision of an ice maiden. Driven by his lust he follows her relentlessly until the Frost-Giant cools his ardor.
The God in the Bowl (1975)
Conan is hired by a foppish courtesan to pilfer a jewel from a museum of mystical artifacts. The museums overseer is found strangled and Conan is suspected but a minion of Set, the evil snake god, is the true perpetrator of the strangulation.
The Tower of the Elephant (1933)
A 150 foot tower houses an evil wizard and his mysterious jewel with magical powers. The tower is enchanted with spells and ghostly guards to deter foolish individuals intend on stealing the Elephant Eyes. Conan is undeterred and seek his fortune at the wizards expense.
The Scarlet Citadel (1933)
Palace intrigue finds Conan usurped from his throne and captive of a very malevolent sorcerer. Armies are on the move - pontoon bridges are employed - fortified cities are under siege - Conan find an unlikely ally in a fellow prisoner who employees mystical means to restore the cosmic balance.
Queen of the Black Coast (1934)
Conan falls in with a vivacious Pirate Queen with a unquenchable lust for plunder - especially jewels. An abandoned city in ruins surrounded by jungle along a turgid river leads to the Queen's undoing. Conan barely survives after battling a gigantic flying ape!
Black Colossus (1933)
A oracle tells a Queen regent to employ the first man she meets to save the kingdom from an the impend peril of invasion let by the devil himself. Conan, a man with no common sense, instead of jumping out the nearest window says "yes, I'll save the kingdom".
Iron Shadows of the Moon (1934)
Mysterious ruins with menacing statues that come to life in moonlight gives Conan ample opportunity to hack and bash his way to freedom.
Xuthal of the Dark (1933)
Escaping into a barren desert region with a clinging wench is almost Conan undoing until an oasis is spotted. Said oasis is a horror house of drugged pleasure seekers and the demon that feeds off them. Conan is fortunate to break out of the prison-like town with his life.
Pool of the Black One (1933)
Fished out of the ocean after escaping a misunderstanding ashore Conan falls in with a band of freebooters. A uncharted island, a scheming damsel and an evil entity keep Conan busy in this entertaining tale.
Rogues in the House (1934)
As a price for being sprung from prison Conan must dispatch a conniving priest and his half-man half-ape. Complications set it and much blood is spilt.
Vale of Lost Woman (first publication 1967)
A high principled princess is captured by a band of lusty natives. Seeing Conan as her only hope for rescue - and the preserving of her virtue - the princess promises him her "desirable quality" if he can liberate her. Conan obliges but said princess eludes Conan's embrace only to fall in with some "Lost Women" which necessitates a second rescue by Conan..
Devil in Iron (1934)
Another swampy island with a ruined temple leads Conan to an encounter with a supernatural daemon. A magical knife, an encounter with a 40 foot snake(!) and a reluctant half naked damsel in distress cannot deter Conan!
There is something gratifying to possess a book that reflects a publishers and editors respect and admiration for the author and the subject matter; " The Coming of Conan The Cimmerian " is such a book. This Del Ray trade paperback is an original edition published in 2002. The 464-page book includes in addition to the stories outlined above, approximately 100 pages of Conan reference material. These includes Howard's drafts for several of the stories, maps, notes etc. This is a definitive reference for the Howard student and for just curious readers. Quality paper and a very readable font make this a worthy book for fans and collectors.
Each story is illustrated with several quarter page drawings and a near full-page illustration by Mark Schultz. Mr. Schultz provided an article about how he approached drawing Conan.
The majority of the stories were first published in Wierd Tales magazine during 1925-37. The executors of his estate published another group of stories well after Howard's death.
Howard's character Conan is deceptively simple: likes to drink, wench and fight. He is dubious of the gods, uneasy when in the presence of supernatural evil and for the most part a loner. He is also very, very lucky. Howard is a master story teller with a outstanding talent for narrative pacing and descriptive prose. For the most part the stories are entertaining and colorfully written.
The question of genuine significance for potential readers or just the curious is: are the stories worth reading - or are they just historical literary curiosities. answer of course is subjective but if your inclined to these type stories you would do well not to pass up on this collection.
Self-published hand-made book Did we ever meet? Winner of Rock your dummy Award 2013. Full info, edition, price - www.offonroad.com/books/did-we-ever-meet/
MANITOBA CO-OPERATOR April 19, 2007
CUTE CALF: The camera's glass eye drew the curiosity of this two-day-old Charolais calf at Deerwood.
Bain News Service,, publisher.
Kay Laurell
1915 May 16 (date created or published later by Bain)
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title and date from data provided by the Bain News Service on the negative.
Photograph shows American actress Kay Laurell (1894-1927). (Source: Flickr Commons project, 2012)
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.19104
Call Number: LC-B2- 3479-7
Hennepin Avenue is pretty cool.
This picture was published in the arts section of themacweekly, along with my cooresponding article on the show:
www.themacweekly.com/articles/20061120/the_arts/10923
By Aaron Brown
Contributing Writer
Photographer
“This is the biggest venue we’ve ever played at in Minnesota. I feel like, we’re getting closer, you know? I’m glad we’re taking this step together. Not like Milwaukee; fuck Milwaukee, she doesn’t mean anything to me! I’m not lookin’ ahead to marriage or anything, I just wanted to say, I like the direction this is going, I have a good feeling about this.”
Indeed, lead singer Ryan Miller and his band Guster lit up Minneapolis two weeks ago, playing to a large crowd of over 2000 at the State Theatre. The band is currently in the midst of an enormous tour in support of their new album, Ganging Up on the Sun.
Ryan Miller, Adam Gardner, and Brian “Thunder God” Rosenworcel met at Tufts University over fifteen years ago and independently produced their first CD “Parachutes.” Their early work is reminiscent of those stereotypical collegiate floormates down the hall that jam on weekends; upbeat guitars, intelligent lyrics and furiously audacious bongo drums helped define their act. The trio continued to refine their sound over the next couple years, signing with a major label in 1999 and achieving national recognition with Lost and Gone Forever, an album that signaled a change in direction for the band’s music, including their first use of electric guitars and drum kits. While many fans were disappointed about the new, “mainstream” sound of the band and their departure from the acoustic-guitar-and-bongo-drums vibe, singles “Amsterdam” and “Careful” from 2003’s Keep it Together received moderate airplay and garnered national attention. Ganging Up on the Sun continues this trend; their latest album reflects their distance from the collegiate scene, and it builds on themes of growing up, dealing with responsibilities and adulthood.
Miller’s gag about playing in a large venue explains a lot about how the band reacts to their successful transformation from teenage jam band to nationally credible band, recently exemplified by Guster’s involvement with the television show The OC and a Nissan commercial. Despite their fame, the band still maintains their humor and wit, and the set list Friday combined elements of their newer, “rock-band” sound (such as the recent single “Satellite”) with classic Guster songs “Either Way” and “Great Escape.”
Perhaps most revealing was the final encore, in which Guster returned to an applauding crowd to demand that everyone “be entirely silent” as the band finished with a one-mic acoustic version of “Jesus on the Radio.” In spite of co-lead singer Adam Gardner’s bout with pneumonia, Ryan’s admittance that “We’ve never tried this in such a large venue,” and the subsequent uneasy hush of the audience, the band pulled off the folksy, banjo-led ballad with astonishingly clear harmonies and the wild approval of the audience. While somewhat of an anticlimactic ending, the acoustic finish solidified the status of a group caught somewhere between “that college band” playing in Harvard Square in front of friends and “that up-and-coming indie band” playing in the State Theatre in front of the Twin Cities. Say what you want about the band becoming too mainstream, these guys can still pull out the stops and bring back the quirky, acoustic roots that brought them success, even in front of a large audience.
In short, while Guster may not be “your” band anymore, and while they aren’t quite as young as they used to be, the band and their music have aged well, and they continue to entertain fans with onstage spontaneity and ever-changing music.
these are my pictures from the photo walk on saturday.
to tell you the truth, since this was my first time as a leader, i was much more worried that everyone was having fun than shooting. but fun, they had, and shoot, i did... a few shots, at least.
thanks, Scott Kelby , thanks RC Concepcion
thanks, everyone who worked on the Scott Kelby Worldwide Photo Walk
and thanks everyone who came and made it wonderful!
i so want to do this again!
The Wheeling Intelligencer published on Wednesday, July 15th, 1908:
An historic landmark, probably one of the most important remaining in West Virginia, has been removed. The demolition of the Betty Zane cabin, located on Market alley, between Main and Market streets, was completed yesterday, negotiations for the purchase of the place by the local chapter of the Daughters and Sons of the Revolution having fallen flat.
Offers to Mr Feinler were far below the value of the ground occupied by the historic old cabin. It is understood that a number of offers were made by private parties who hoped to secure the property and sell it to the City or state for a large sum.
Many public spirited citizens of Wheeling extensively discussed the advisability of purchasing the property and presenting it to the city to be retained and preserved as a memorial of Wheeling’s early days and the stirring times of Indian warfares. Their offer for the property, however, is said to have been, far below its real value.
Work is soon to he started on a handsome new brick structure that is to replace the old relic.
The famous old building will not be lost to history, however, as M.r Feinler has artfully stored away the logs and in fact every visage of the structure. Many additional relics, bearing out the theory that it was without doubt the original Betty Zane cabin or “powder house,” were discovered when the workmen were excavating in the crude foundations.
Mr. Feinler will begin work on the new building as soon as practicable. It will be a three-story brick structure. The first floor will be used as a business house, and the second and third for flats. The plans will be prepared by Architect Leiner. The brickwork contract has been awarded to Contractor Hamilton and the woodwork will be done by McDonald Brothers.
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On Saturday, May 18th, 1946, the Intelligencer further reported:
Wheeling’s early history is inseparably tied up with Betty Zane’s girlish heroics and one Andrew Christian Maximilian Hess, is seeing to it that the remaining vestige of her sojourn here are preserved for posterity.
When it became known that the logs from the original Betty Zane cabin, which stood for years and years in the Stone & Thomas alley, were stored in an old residence in North Wheeling; a house that was to be razed for the building materials it contained, Andrew bought them and turned them over to Oglebay Park.
The timbers are about 18 inches wide and four inches thick and are excellently preserved, being of walnut. Just what disposition of them will be made at the park is not determined at this time, but they will likely be utilized in a special Betty Zane room for one of the buildings on Oglebay’s blueprints for the future. There are too few of the Zane logs to reconstruct a complete cabin. During the years, some of the cabin’s original logs were used for making gavels for various organizations.
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In the July 2, 1976, Bicentennial edition of the Wheeling News-Register/Intelligencer, the newspaper reported:
"The cabin, located in Stone's Alley, was dismantled about 1910, the logs stored by Mrs. Gibson Caldwell, later by Andrew C. M. Hess. They were presented to Oglebay Park when Wilson Lodge was built and today are an integral part of the Betty Zane room there."
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- Photograph from the collections of the Ohio County Public Library Archives.
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