View allAll Photos Tagged Published
1931 6th print; Tales of Foreign Lands by Lewis Marsh. Cover art and illustrations by John Campbell. First published in 1913 by Humphrey Milford London
While photographing a pirate spider on my door this morning (you'll have to wait till October to see him ;-), I noticed this speck wander by, about the size of this period ->. I took a bunch of photos of it, having no idea what it could be.
I almost let out a squeal when I looked at it on my computer monitor - how cute can a bug be?? Look at that big head and those big eyes!
But I had NO idea even what Order it was, so didn't know where to start looking for it on BugGuide. So I just posted it.
Those guys are fast! Within a minute I had a response suggesting it to be in the Genus Baeus, a tiny flightless wasp that parasitizes spider eggs. Well, there are plenty of spiders around my house, so I wouldn't be surprised! But - that tiny cute little thing is a wasp?? Insects will never cease to amaze me!
Baeus
Published by LiveScience! :)
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/
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.
Thank you very much for the visits, faves and comments. Cheers.
Published in Cornell Lab of Ornithology Handbook of Bird Biology, Third Edition, 2016, p. 42
Emu (The name 'emu' is not an Aboriginal word. It may have been derived from an Arabic word for large bird and later adopted by early Portuguese explorers and applied to cassowaries in eastern Indonesia. The term was then transferred to the Emu by early European explorers to Australia.)
Scientific Name: Dromaius novaehollandiae
Description: The Emu is Australia's tallest native bird, reaching between 1.6 m and 1.9 m when standing erect. Adult Emus are covered with shaggy grey-brown feathers except for the neck and head, which are largely naked and bluish-black. The wings are greatly reduced, but the legs are long and powerful. Each foot has three forward-facing toes and no hind toe. Most people see Emus along roadsides, near fences or other barriers, giving the impression of close association. However, Emus are not really social, except for young birds, which stay with their father.
Similar species: The Emu (30 - 45 kg) is lighter than its closest living relative, the Southern Cassowary Casuarius casuarius, but is taller and less heavy set in appearance. It is also much more widely distributed throughout Australia.
Distribution: The Emu is found only in Australia. It lives throughout most of the continent, ranging from coastal regions to high in the Snowy Mountains. Emus were once found in Tasmania, but were exterminated soon after Europeans arrived. Two dwarf species of emus that lived on Kangaroo Island and King Island also became extinct.
Habitat: The main habitats of the Emu are sclerophyll forest and savanna woodland. These birds are rarely found in rainforest or very arid areas.
Seasonal movements: Emus move within their range according to climatic conditions. If sufficient food and water are present, birds will reside in one area. Where these resources are more variable, Emus move as needed to find suitable conditions. They are known to move hundreds of kilometres, sometimes at rates of 15 km to 25 km per day.
Feeding: Emus eat fruits, seeds, growing shoots of plants, insects, other small animals, and animal droppings.
Breeding: Nesting takes place in winter. The male and female remain together for about five months, which includes courtship, nest building and egg-laying. The nest consists of a platform of grass on the ground, about 10 cm thick and 1 m - 2 m in diameter. The large eggs (130 mm x 90 mm) are laid at intervals of two to four days. These are dark bluish-green when fresh, becoming lighter with exposure to the sun. The shells are thick, with paler green and white layers under the dark outer layer. The female dominates the male during pair formation but once incubation begins, the male becomes aggressive to other Emus, including his mate. The female wanders away and leaves the male to perform all the incubation. Sometimes she will find another mate and breed again. The male incubates the eggs without drinking, feeding, defecating or leaving the nest. During this time, eggs often roll out of the nest and are pulled back in by the male. Newly hatched chicks are cream-coloured with dark brown stripes. They leave the nest when they are able to feed themselves. Young birds stay close together and remain with the male for four months. They finally leave at about six months. During this period, the stripes fade and the downy plumage is replaced by dull brown feathers. Emus are nearly fully grown at one year, and may breed at 20 months. Sometimes eggs that have not hatched remain in the nest after the male and young have left and become sun-bleached. Bleaching takes about three months.
Calls: Booming, drumming and grunting. Booming is created in an inflatable neck sac, and can be heard up to 2 km away.
Minimum Size: 160cm
Maximum Size: 200cm
Average size: 180cm
Average weight: 37 500g
Breeding season: April to June
Clutch Size: 5 to 15
Incubation: 55 days
Nestling Period: 7 days
(Source: www.birdsinbackyards.net and and "The Slater Field Guide to Australian Birds - Second Edition")
© Chris Burns 2014
__________________________________________
All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Il 6 aprile 2016 gli Scott Bradlee’s Postmodern Jukebox, la rivelazione swing americana già fenomeno di Youtube grazie alla cover di Miley Cyrus “We can’t stop”, saranno in concerto in Italia all’Alcatraz di Milano, per l’unica tappa italiana del tour.
Un fenomeno ormai mondiale, con 200 Milioni di visualizzazioni su Youtube e 1 Milione di iscritti al canale.
Un tour che parte nel 2015 dagli Stati Uniti passando per l’Asia ed approdando in Europa nel 2016 con oltre 80 date confermate. Immaginate canzoni di Beyoncé, Britney Spears or Taylor Swift riportate indietro di 70-80 anni…
Gli Scott Bradlee’s Postmodern Jukebox (o PMJ, come ormai vengono chiamati in tutto il mondo) sono una mini-big band swing a tutti gli effetti, ma con qualcosa in più: uniscono il perfetto stile “d’epoca” ai brani moderni di Beyoncé, Britney Spears, White Stripes o Taylor Swift rielaborandoli come se fossero arrangiati per Louis Armstrong, Ella Fitzgerald, Judy Garland o Nina Simone. I PMJ colmano il divario tra le generazioni, suonando melodie a tutti familiari con arrangiamenti che intrigano tutte le età.
Scenes from New Westminster Quay on Canada Day.
Appeared in July 14, 2016 edition of the New Westminster Record "Snapped".
Contrails.
National Geographic Magazine published photo.
See clouds album www.flickr.com/photos/whitecontrail/albums/72157719504928025
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.
Today Friday 19th April 2019 I visited the beautiful fishing town of Buckie, on the Moray coast about 50 miles from my home, Scotland enjoyed magnificent weather and with 22 degrees of sunshine heat I made the most of my day , I packed my car early leaving for my adventure , I arrived back home at 2130pm , I had a great day .
Buckie (Scottish Gaelic: Bucaidh
is a burgh town (defined as such in 1888) on the Moray Firth coast of Scotland.
Historically in Banffshire, Buckie was the largest town in the county by some thousands of inhabitants before 1975, when the administrative county was abolished.
The town is the third largest in the Moray council area after Elgin and Forres and within the definitions of statistics published by the General Register Office for Scotland was ranked at number 75 in the list of population estimates for settlements in Scotland mid-year 2006.
Buckie lies virtually equidistant to Banff to the east and Elgin to the west with both communities being approximately 17 miles (27 kilometres) distant whilst Keith lies 12 mi (19 km) to the south by road.
Etymology
The origin of the name of the town has caused some debate and although the folk etymology is that Buckie is named after a seashell (genus buccinum) the reality is that the shared marine background is merely a coincidence.
The name Buckie would originally have occurred in identifying a place that was not immediately adjacent to the sea so we must seek alternative etymological sources.
Unfortunately, in one of the earlier books on Scottish place names, Buckie on the Moray Firth does not receive a mention although Buckie, spelt the same way, in the Balquhidder district of Perthshire is described as being derived from the Gaelic word boc or Welsh bowk, both meaning a buck or male deer, so this would suggest the meaning of Buckie as place where male deer gather and this specifically would most likely have been the valley of what is known today as the Buckie Burn.
In an article by a Dr Cramond in 1936[5] he speaks of the earliest mention of Buckie being in 1362 when the lands of Rove Bucky in le Awne were leased by John Hay to John Young, vicar of Fordyce.
The Hays, of whom the Rannes family have descended, had acquired through Royal favour a footing in the district at a still earlier age when the greater part from the Deveron to the Spey was embraced in the Forest of Awne or Ainie (now Enzie) and the Boyne. Rove Bucky is far from understandable and could be a scribe's error and should perhaps read Over Bucky as occurs in older title deeds, in contra distinction to Nether Buckie. It has been spelt in different ways, Robert Burns called it Bucky in his poem Lady Onlie - Lady Lucky. This was the form at the end of the 18th century.
Robert Gordon’s map Aberdeen, Banf, Murrey &c. to Inverness: [and] Fra the north water to Ross, which is dated at some time between 1636-1652, shows Buckie in its own right as a community some small distance from the coast with the community of Freuchny sitting nearer the shore to the north. Robert Gordon and Joan Blaeu’s Duo Vicecomitatus Aberdonia & Banfia, una cum Regionibus & terrarum tractibus sub iis comprehensis published in Amsterdam 1654 clearly shows Buckie and Freuchny with the addition of Nether Buckie.
James Robertson’s Topographical and military map of the counties of Aberdeen, Banff and Kincardine,
London, 1822 seems geographically inaccurate in its relative positioning of Buckie, Nether Buckie and Freuchny, but is significant in that the new label of Rotten Slough is given equal importance in terms of size of community with Buckie; however, in Thomson’s Atlas of Scotland,
Edinburgh, 1832 Rotten Slough is fairly unimportant by size so one of these two reference publications is distorted, probably the former. This community, which would later come to be known as Portessie, was reportedly formed when "Porteasie.....became a fishing station in 1727, when 5 houses were built by the proprietor of Rannes for the accommodation of the original fishers from Findhorn" and the 1731 Rathven Session Minutes shows that Rotten Slough already has a population of 40 with ten households and subsequent minutes show the community growing until the 1791 entry records 177 souls in 44 households.
By the time of the publication of the 1891 First Series Ordnance Survey Map of Elgin, which reflects the 1866-1870 survey, Buckie has developed markedly with areas named Seatown, Newtown, Ianstown and Portessie.
The 19th century OS Six Inch series further shows Gordonsburgh, Craig Bow and Strathlene.
The 1910 OS 3rd Edition one-inch map of Elgin has settled on the name of Ianstown and all other parts of Buckie are named as they are known today but then, just to confuse the issue, the Bartholomew Survey Atlas of Scotland,
Edinburgh, 1912 uses the label Ianston. The conflicting nomenclature continued with the issue of the 1929 OS One-inch Popular edition and the 1933 JG Bartholomew & Son, Half-inch to the Mile maps of Scotland.
Layout today
Geographically, the town is, broadly speaking, laid out in a linear fashion, following the coastline. There is a lower shore area and an upper area. Fundamentally Buckie itself is the central part of the community lying between the Victoria Bridge under which flows the Buckie Burn at the western end of West Church Street, the eastern end of Cluny Harbour and above the shore area.
To the west of Victoria Bridge and the Buckie Burn is Buckpool, which was formerly known as Nether Buckie, and on the shoreline, west of Cluny Harbour, between Baron Street and the Buckie Burn mouth, there is The Yardie. Immediately above The Yardie on the Buckie side of the burn is The Seatown. To the west of The Yardie is Harbourhead. To the east of Cluny Harbour lie Ianstown, Gordonsburgh and Portessie also known locally as The Sloch (historically The Rotten Slough), which reaches towards Strathlene.
These communities were, to all intents and purposes, separate fishing settlements that gradually merged over the course of time. A new town was laid out above the shoreline in the 19th century and this is the rump of Buckie.
The 2001 UK Census reported that, from Buckie’s total population 92.11%, were born in Scotland with the largest single minority being those born in England (5.58%.) In terms of declared ethnic allegiance the Scottish figure rose to 93.61%.
As a port
Cluny Harbour is probably still the true heart of Buckie and this project was built by the Cluny family in 1877 to replace the town's first stone harbour in Nether Buckie, which was constructed in 1857 1 mile (2 km) or so to the west but had a tendency to silt up and become unusable.
The Laird of Letterfourie had contributed £5,000 of the construction costs at Nether Buckie but the main investor with the balance of £10,000 was the Board of Fisheries. The engineers were D.&T. Stevenson of Edinburgh, the family firm of the author Robert Louis Stevenson.
It was and remains a very sturdily built edifice with the main walls of considerable thickness being built of quartzite, quarried locally at Strathlene, capped with a very hard type of sandstone, which was also used to form the walls at the entrance and of the harbour proper.
As regards stability the harbour has remained a monument to engineering science with very little maintenance ever being necessary. It had a design fault, however, in that the entrance opened to the north east and was subject to infill with shingle, moving westwards by longshore drift.
Later known as Buckpool Harbour, this earlier port became something of an eyesore and eventually the silted basin became overgrown and dangerously swampy. The decision was taken to fill in the basin and this work was undertaken in the 1970s.
The resulting park includes a pebble beach and the original quartzite harbour walls remain completely intact.
Industry
Once a thriving fishing and shipbuilding port, these industries have declined. Indeed, although Peterhead and Aberdeen are more readily associated with the fishing industry in Northeast Scotland, by 1913 Buckie had the largest steam drifter fleet in Scotland.
Food processing remains important, with large fish factories and smoke houses found around the harbour. Buckie can properly be regarded as one of the main points of origin of the modern Scottish shellfish industry.
A Mancunian, Charles Eckersley, who moved to Buckie in the 1950s and started trading as a fish merchant, noticed that many of the varieties of shellfish that were regarded as economically useless by Buckie fishing vessels (prawns, scallops etc.) were in fact the same species that he had enjoyed whilst completing his National Service in Palestine. He seized the opportunity to exploit this gap in the market and he built a thriving processing and packing business, which eventually expanded to include factories as far afield as Barcelona and Alicante in Spain.
The Buckie Shipyard now repairs and refits RNLI lifeboats for much of the United Kingdom[26] and operates service contracts for various other clients including the MoD as well as building new vessels but boatbuilding was a major industry in the town for decades. Until recent years there were three quite separate boatyards building traditional wooden clinker fishing vessels. Leaving Cluny Square and heading down North High Street, also locally known as the Bowling Green Brae, the view of the sea would have been interrupted by a huge grey corrugated iron shed.
This was Thomsons and vessels were launched directly into the Moray Firth from a slipway. Heading east to Cluny Harbour it would have been impossible to miss Herd and Mackenzie on the fourth or lifeboat basin of the harbour. Directly behind their large sheds and across Blantyre Terrace was Jones with their private harbour into which they launched their vessels.
Thomsons is gone but the premises of Herd and McKenzie and Jones are part of the modern day Buckie Shipyard. It was Herd and McKenzie, a firm with its roots in Dunbartonshire from where Messrs Herd and Mackenzie sortied north, which built and launched the training schooner Captain Scott in 1972.
At the time of its launch, this vessel was the largest of its type in the world. In earlier years, there were further boat construction operations dotted along the shoreline from The Yardie to Ianstown and on to Portessie but these had mostly been amalgamated into the three main firms or had gone out of business by the interwar period.
A significant part of the population works in the offshore oil industry although Buckie somewhat missed the boat with the North Sea boom. In the late 1970s, there were extensive plans drawn up to extend Cluny Harbour out to the Mucks reef with the intention of serving oilfield supply vessels. Nothing came of this but every now and then the idea rears its head once more to be met with great enthusiasm before failing to get off the ground again.
Buckie was home to a specialist electric lamp factory of Thorn EMI until 1987 when it was closed and production moved to a new plant in Leicestershire. All of the predominantly female staff were offered jobs at the new facility in the East Midlands but, as the vast majority of the labour force were second wage earners in families, this offer was almost universally rejected.
Buckie is home to the Inchgower Distillery,which sits 1 mile (2 km) or so inland from the town and is best known for the Inchgower Single Malt.
Herd & McKenzie Shipbuilders
Type - Private
IndustryShipbuilding
Founded1903
FounderJames Herd & Thomas McKenzie
HeadquartersBuckie, UK
Services
Buckie Shipyard built, converted, refitted and repaired ferries, tugs, workboats, yachts, pilot boats, MOD vessels, small cruise vessels, diving vessels, lifeboats, fishing boats and fish farm cages. They slipped vessels up to 850 tonnes in displacement and 70 metres in length.
A new 1,600 sq. metres refit facility opened in 2003, including a state-of-the-art temperature and humidity controlled paint spray booth, capable of taking vessels up to 21m in length, 6m in beam and up to 50 tonnes.
A 50-ton hydraulic slipway hoist transported vessels directly from the inner basin at Buckie Harbour into the refit hall.
The Royal National Lifeboat Institution had been a major client for over 60 years, with all classes of RNLI lifeboat undergoing refit.
In its last few years the yard delivered two aluminium windfarm service catamarans, Penmon Point[6] and Lynas Point to Turbine Transfers, for work in Belgiu] and similar vessels followed.
Big Ant TV Media LLC ©
Published Pro Freelance Photographer
PAID SHOOTS ARE 1st PRIORITY
(PORTFOLIO BUILDING” SHOOTS aka MUTUALLY BENEFITING PHOTOGRAPHER & MODEL 2ND)
“PLEASE INQUIRE WITHIN”
#fffweek #sbfw #nyfw #stylefw #stylefwny
#fashionphotographer
#canon5DMarkIV
#UrbanModeling
#plussizemodeling
#sportsphotographers
#BigAntTVMedia #editorialphotographers
#RetinaMacBookPro #BiggsthePhotographer
#lens4fashion
The Postcard
A postcard published by J. Beagles of London E.C. The photography was by W. & D. Downey.
The firm of J. Beagles & Co. was started by John Beagles (1844-1909). The company produced a variety of postcards including an extensive catalogue of celebrity (stage and screen) portrait postcards. After Beagle’s death, the business continued under its original name until it closed in 1939.
The card was posted on Tuesday the 8th. September 1903 to:
Miss Beryl Turner,
'Dunstead',
Langley Mill,
Nr. Nottingham.
The message on the divided back of the card was as follows:
"You forgot to give me
your Brighton address,
and therefore I send
these home.
J.G.N."
Sir Johnston Forbes-Robertson
Sir Johnston Forbes-Robertson (16th. January 1853 – 6th. November 1937) was an English actor and theatre manager.
He was considered the finest Hamlet of the Victorian era and one of the finest actors of his time, despite his dislike of the job and his lifelong belief that he was temperamentally unsuited to acting.
Forbes-Robertson's Early Years
Born in London, Johnston was the eldest of the eleven children of John Forbes-Robertson, a theatre critic and journalist from Aberdeen, and his wife Frances.
One of his sisters, Frances (1866–1956), and three of his brothers, Ian Forbes-Robertson (1859–1936), Norman Forbes-Robertson (1858–1932) and John Kelt (Eric Forbes-Robertson) (1865–1935), also became actors.
He was educated at Charterhouse School. Originally intending to become an artist, he trained for three years at the Royal Academy. He began a theatrical career out of a desire to be self-supporting, when the dramatist William Gorman Wills, who had seen him in private theatricals, offered him a role in his play 'Mary Queen of Scots'.
His many performances led him into, among other things, travel to the U.S., and work with Sir Henry Irving. He was hailed as one of the most individual and refined of English actors.
Johnston was a personal friend of the Duke of Sutherland and his family, and often stayed with them at Trentham Hall; he is known to have recommended to them various writers and musicians in dire need of assistance.
Forbes-Robertson first came to prominence playing second leads to Henry Irving before making his mark in the role of Hamlet. One of his early successes was in W. S. Gilbert's 'Dan'l Druce, Blacksmith'.
In 1882, he starred with Lottie Venne and Marion Terry in G. W. Godfrey's comedy 'The Parvenu' at the Court Theatre.
George Bernard Shaw wrote the part of Caesar in 'Caesar and Cleopatra' for him. Shaw stated:
"I wrote 'Caesar and Cleopatra' for Forbes-Robertson,
because he is the classic actor of our day, and had
a right to require such a service from me.
Forbes-Robertson is the only actor I know who can
find out the feeling of a speech from its cadence.
His art meets the dramatist’s art directly, picking it
up for completion and expression without
explanations or imitations … Without him 'Caesar
and Cleopatra' would not have been written".
Forbes-Robertson's other notable roles were Romeo, Othello, Leontes in 'The Winter's Tale', and the leading role in 'The Passing of the Third Floor Back'; performed on Broadway in 1908.
Forbes-Robertson's Later Years
Johnston did not play Hamlet until he was 44 years old, but after his success in the part he continued playing it until 1916, including a surviving silent film (1913).
In a theatre review of Forbes-Robertson’s performance in Hamlet published in The Saturday Review (2nd. October 1897) George Bernard Shaw wrote:
"Nothing half so charming has been seen
by this generation. It will bear seeing again
and again. … His intellect is the organ of his
passion.
His eternal self-criticism is alive and thrilling
as it can possibly be. Mr. Forbes-Robertson’s
own performance has a continuous charm,
interest and variety, which are the result not
only of his well-known grace and
accomplishment as an actor, but of a genuine
delight — the rarest thing on our stage —
in Shakespeare’s art, and a natural familiarity
with the plane of his imagination".
Forbes-Robertson The Artist
Forbes-Robertson was also a talented artist who painted a portrait of his mentor Samuel Phelps that currently hangs in the Garrick Club in London.
Forbes-Robertson - Relationships and Marriage
Forbes-Robertson acted in plays with the actress Mary Anderson in the 1880's. He became smitten with her, and asked her hand in marriage. She kindly turned him down, though they remained friends.
Later he and actress Beatrice Campbell enjoyed a brief affair during the time she starred with him in a series of Shakespearean plays in the mid-1890's.
In 1900, at the age of 47, he married American-born actress Gertrude Elliott (1874–1950), sister of Maxine Elliott, with whom he had four daughters.
Daughters of Forbes-Robertson and Gertrude Elliott
Their first daughter was Maxine Forbes-Robertson, known as 'Blossom', who married the aircraft designer F. G. Miles and became a director and designer of the Miles Aircraft company.
Their second daughter Jean Forbes-Robertson became an accomplished actress.
Their third daughter was Chloe Forbes-Robertson (1909–1947), an artist.
Diana Forbes-Robertson (1914–1988), their fourth daughter, was a writer who later wrote a biography of her aunt Maxine Elliott.
Knighthood
Johnston Forbes-Robertson was knighted in 1913 at the age of 60, at which point he retired briefly from acting.
American Farewell Tours
Johnston returned to the stage, however, for his first farewell tour of the US in 1914–1915. It began in with a three month run in New York, then travelled the country using eight railroad freight cars to carry the sets, costumes and props for eight shows.
There were also two passenger cars for the actors and personnel. His last appearance was at the Sanders Theatre in Boston with a performance of 'Hamlet'.
A second US farewell tour followed; it travelled to 122 towns, beginning in Detroit in October 1915, with four plays. The tour travelled to Chicago, Indianapolis, St. Louis, Kansas City, Salt Lake City, and San Francisco — where he learned of the birth of his fourth daughter, Diana.
At this point they decided to reduce the itinerary to only three plays, by eliminating 'Caesar and Cleopatra' from the repertoire. In his autobiography he describes how, on one early morning, the set, including the sphinx, was piled onto a beach and set on fire.
The tour continued into Canada. His last performance as both Hamlet and as an actor, was in 1916 at the Sheldon Lecture Theatre of the University of Harvard, the stage of which had been made to replicate the stage of the Elizabethan Fortune Theatre especially for the Forbes-Robertson’s performance.
Forbes-Robertson's Literary Works
Johnston's literary works include 'The Life and Life-Work of Samuel Phelps' (actor and theatre manager) as well as his own autobiography 'A Player Under Three Reigns' (1925).
Death of Forbes-Robertson
On the 6th. November 1937 Forbes-Robertson died at St. Margaret's Bay, near Dover, Kent, and was cremated at Golders Green Crematorium, London on the 9th. November. Memorial services were held at St. Martin-in-the-Fields, Westminster, London.
A statue of Forbes-Robertson by Brenda Putnam (1932) can be found at the Folger Shakespeare Library in Washington D.C.
Miss Gertrude Elliott
Gertrude Elliott (December 14th. 1874 — December 24th. 1950), later Lady Forbes-Robertson, was an American stage actress, part of an extended family of theatre professionals including her husband, Sir Johnston Forbes-Robertson, and her elder sister, Maxine Elliott.
Gertrude Elliott - The Early Years
May Gertrude Dermott was born in Rockland, Maine, a daughter of Thomas and Adelaide Hall Dermott. Her father was a sea captain born in Ireland, and her mother had been a schoolteacher.
Her older sister Maxine left the household for New York City at 16, and Gertrude soon followed. Both of them began using the surname "Elliott" as young women.
The Career of Gertrude Elliott
Elliott's career on stage began in 1894, with a role in Oscar Wilde's 'A Woman of No Importance', in a company that was touring New York state.
Both Elliotts joined a company in San Francisco that toured Australia in 1896. The company was run by Nat C. Goodwin, an actor who soon married Maxine Elliott.
Their company went to London in 1899, and the next year Gertrude was hired into the company of Johnston Forbes-Robertson; Gertrude Elliott and Forbes-Robertson married at the end of 1900, and continued to work together for much of their careers. She was, literally, Ophelia to his Hamlet, Desdemona to his Othello, and Cleopatra to his Caesar.
Away from the stage, Gertrude Elliott starred with her husband in a silent film version of 'Hamlet' in 1913, directed by their friend J. H. Ryley. She also appeared in a 1917 silent film, 'Masks and Faces'.
Gertrude Elliott was a co-founder and president of the Actresses' Franchise League.
Gertrude Elliott and the Great War
During World War I she managed the 'Shakespeare Hut' in Bloomsbury, a project of the YMCA for entertaining and raising morale among war workers.
In 1923, New Zealand gave Gertrude Elliott an award for her work with ANZAC troops during the war.
Personal life of Gertrude Elliott
Gertrude Elliott married English actor Johnston Forbes-Robertson in 1900. They had four daughters, including aircraft designer Maxine (Blossom) Miles, writer Diana Forbes-Robertson, and actress Jean Forbes-Robertson.
Johnston was knighted in 1913, making Gertrude 'Lady Forbes-Robertson' from that time. She was widowed when her husband died in 1937, and Gertrude died in 1950, aged 76 years. Her grandchildren include actress Joanna Van Gyseghem.
There is a plaque marking the birthplace of the Elliott sisters in the Trackside Station in Rockland, Maine.
Jane Arbor
So what else happened on the day that the card was posted?
Well, the 8th. September 1903 marked the birth in Yeovil of Eileen Norah Murphy. Eileen was a British writer who under the pseudonym Jane Arbor wrote 57 romances for Mills & Boon between 1948 and 1985.
Jane wrote primarily doctor-nurse and foreign romances. Many of her doctor-nurse romances have been re-edited with different titles which include medical terms.
Jane lived in Preston, Sussex.
The Death of Jane Arbor
Jane died on the 4th. February 1994 aged 90 in Worthing, West Sussex.
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.
**************************
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.
**************************
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."
**************************
- Photograph from the collections of the Ohio County Public Library Archives.
➤ Visit the Library's Wheeling History website
The photos on the Ohio County Public Library's Flickr site may be freely used by non-commercial entities for educational and/or research purposes as long as credit is given to the "Ohio County Public Library, Wheeling WV." These photos may not be reproduced in any format for profit or other presentation without the permission of The Ohio County Public Library.
➤ Contact the Ohio County Public Library to request permission for use or publication of materials.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
L’11 marzo 2016, la band romana Stanley Rubik avrà il privilegio di aprire la prima tappa del “Lunga Attesa Tour” dei Marlene Kuntz che si terrà al Fabrique di Milano, uno degli eventi di TIMmusic Onstage Awards Week in collaborazione con Rai Radio2.
Solo pochi mesi fa i Marlene Kuntz decidevano di coinvolgere altri musicisti in un’appassionante iniziativa: mettendo a disposizione il testo del brano che ha dato il titolo al loro ultimo lavoro discografico, “Lunga attesa”, chiedevano ad altri creativi di qualunque genere e tipologia di musicare le immaginifiche parole di Cristiano Godano. I giornalisti di Ondarock, Onstage e Rockol avrebbero poi ascoltato le versioni pubblicate e scelto i brani migliori.
Le tre versioni vincitrici, rispettivamente “Versione più originale”, “Miglior arrangiamento” e “Miglior esecuzione”, hanno visto i Respiro primeggiare per l’originalità della loro.
1) Miglior arrangiamento: Stanley Rubik (scelti da Ondarock).
2) Versione più originale: Respiro (scelta da Onstage).
3) Miglior esecuzione: Astral Week (scelti da Rockol).
Gli Astral Week sono una band alternative rock con base a Roma. Nascono nel 2013 dall’incontro di quattro dei membri fondatori degliYour Hero (gruppo cardine nel panorama post-hardcore italiano, in attività dal 2005 al 2010) con Jacopo Volpe, attuale batterista anche dei Vanilla Sky (pop-punk band di rilievo internazionale).
I musicisti appartenenti a queste due realtà distinte, sono cuciti assieme negli Astral Week con un unico filo conduttore: una passione per la musica sbocciata sin dall’infazia, legata alle leggende del rock blues, del funky e del rock psichedelico degli anni ’60, ’70 e ’80.
Anche il nome “Astral Week”, citazione del secondo album di Van Morrison (Astral Weeks, 1968), allude all’intento di reinterpretare le sonorità tanto care ai membri del gruppo ma troppo spesso messe da parte nella loro precedente carriera. Alla riscoperta delle proprie radici culturali e alla ricerca di un sound fresco e caratteristico, decidono quindi di unire l’esperienza acquisita dopo annidi registrazioni, pubblicazioni di album, tour in giro per il mondo e partecipazioni a festival insieme ad artisti di fama mondiale. Il risultato è un mix tra riff e melodie decisamente rock blues, ritmiche decise a volte riconducibili al funky o all’hip hop e varie intrusioni psichedeliche. Tutto questo è avvolto in un suono garage potente e ricercato ma pur sempre pervaso da un gusto pop nelle strutture e nelle melodie.
Ermanno Finotti - Lead Vocals
Valerio Brunori - Guitar, Vocals
Federico Nardelli - Guitar, Vocals
Dario Gambioli - Bass, Vocals
I got one of my photos published in this magazine: Landscape Trades .
It's in April's edition and it will be available online in May =)
I'm really proud and excited about it :)
Big thanks to Melissa Steep (art director).
This is my first actual book which was printed in 1000 copies on high quality photo paper. The size is 17x24 cm.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Gli Hurts, il duo synthpop proveniente da Manchester, a due anni di distanza dall’ultima data italiana, arrivano, per un unico, imperdibile, show fissato per il 23 febbraio all’Alcatraz di Milano, tappa italiana del loro Surrender Tour.
Theo Hutchcraft e Adam Anderson, dopo un lunghissimo tour costellato da successi, quasi 3 milioni di singoli venduti e svariate certificazioni oro e platino, sono tornati in studio per registrare il terzo album, Surrender.
Rispetto ai lavori precedenti, il terzo disco avrà sonorità più pop ed esplosive, tuttavia non mancheranno le atmosfere cupe ed introspettive tipiche del duo.
Stuart Price (Madonna, The Killers), Ariel Rechtshaid (Haim, Vampire Weekend), insieme al fedele Jonas Quant figurano tra i produttori di Surrender, che è stato anticipato dall’esplosivo singolo Some Kind Of Heaven.
Dopo l’acclamato concerto alla Scala di Londra, la critica ed il pubblico concordano: gli Hurts sono pronti a conquistare il mondo.
This is a production I did from top to bottom.
From taking the photos in flight (you know the photos :)) to the design guidance and to the final large print.
As a photographer I’m used to stick to taking photos, but this is a production I did for a good friend that just graduated with honor the U.S Air Force test pilot school(Edwards), and as a token of appreciation he gave this print to the school experimental test pilots command, and it’s now on its wall.
Gave me a strong feeling of pride when I got the mail last night with the photo of the print hanging on the school wall, and I felt I needed to share this with you.
Great thanks and appreciation to my good friend major S’
Published by W. H. Burton
American News Company Litho-Chrome
Postmark 1907. Litho-Chrome postcards were published by ANC 1906-1909.
The Kaiser Permanente Center for Total Health is looking forward to a day of service. Martin Luther King, Jr. Monument, Washington, DC USA
Published in Weekend Flashback: 1/17-1/20 | We Love DC