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OK, it's just in a Legal Journal's "Fiction Edition" (legal fiction?), but it's still pretty cool. Unfortunately, the printing process did a number on the photo itself. It looks better here than in reality, since I did some post processing.
Fine Art Ballet Photography: Nikon D810 Elliot McGucken Fine Art Ballerina Dancer Dancing Classical Ballet Seascape Landscape Photography!
www.instagram.com/elliotmcgucken/
Dancing for Dynamic Dimensions Theory dx4/dt=ic: The fourth dimension is expanding relative to the three spatial dimensions at the rate of c!
New ballet & landscape instagrams!
Nikon D810 Epic Fine Art Ballerina Goddess Dancing Ballet! Dr. Elliot McGucken Fine Art Ballet!
Marrying epic landscape, nature, and urban photography to ballet!
Nikon D810 with the Nikon MB-D12 Multi Battery Power Pack / Grip for D800 and D810 Digital Cameras allows one to shoot at a high to catch the action FPS! Ballerina Dance Goddess Photos! Pretty, Tall Ballet Swimsuit Bikini Model Goddess! Captured with the AF-S NIKKOR 70-200mm f/2.8G ED VR II from Nikon, and the Sigma 50mm f/1.4 DG HSM Art Lens for Nikon! Love them both!
www.facebook.com/45surfAchillesOdysseyMythology
A pretty goddess straight out of Homer's Iliad & Odyssey!
New Instagram! instagram.com/45surf
New facebook: www.facebook.com/45surfAchillesOdysseyMythology
Join my new fine art ballet facebook page! www.facebook.com/fineartballet/
The 45EPIC landscapes and goddesses are straight out of Homer's Iliad & Odyssey!
I'm currently updating a translation with the Greek names for the gods and goddesses--will publish soon! :)
"RAGE--Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Zeus fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. " --Homer's Iliad capturing the rage of the 45EPIC landscapes and seascapes! :)
Ludwig van Beethoven: "Music/poetry/art should strike fire from the heart of man, and bring tears from the eyes of woman."
The Birth of Venus! Beautiful Golden Ratio Swimsuit Bikini Model Goddess! Helen of Troy! She was tall, thin, fit, and quite pretty!
Read all about how classical art such as The Birth of Venus inspires all my photography!
www.facebook.com/Photographing-Women-Models-Portrait-Swim...
"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
Published in In 2014, The Mobile Web Will Die—And Other Mobile Predictions – ReadWrite
Published in Google Glass Isn't Ready For Prime Time, Says, Uh, Google – ReadWrite
Published in Google Glass Moves On From Google X, Lands In Tony Fadell's Nest - ReadWrite
Published in Google Glass Is Edging Toward A Reimagining—And A Relaunch - ReadWrite
Published in Monday 7 September's Flickr page in the Daily Post www.dangerousdisco.com Copyright © 2009 All rights reserved.
1966 Ford F3L / P68 Sportscar.
All of photographs published here are copyright © Anthony Fosh All Rights Reserved. They may not be reproduced and/or used in any form of publication, print or the Internet without my written permission
Copyright Danielle Earl/Skate Canada
Photos may not be published, used, or reposted without permission.
The Postcard
A Real Photograph Series postcard published by Raphael Tuck and Sons. The photography was by Langfier. Waller's statement and signature have been printed over the photograph.
The card has an undivided back. The divided back for postcards was introduced in the UK in 1902, so it it likely that the card was published in 1901 or earlier.
Mr. Lewis Waller
William Waller Lewis (3rd. November 1860 – 1st. November 1915), known on stage as Lewis Waller, was an English actor and theatre manager, well known on the London stage and in the English provinces.
After early stage experience with J. L. Toole's and Helena Modjeska's companies from 1883, Waller became known, by the late 1880's, for romantic leads, both in Shakespeare and in popular costume dramas of the Victorian and Edwardian eras.
He attracted a large number of female admirers, who formed themselves into a vocal and conspicuous fan club. He also tried his hand at management of tours in 1885 and 1893, and then became an actor-manager at the Theatre Royal, Haymarket in the mid-1890's.
Waller remained an actor-manager for the rest of his career, both in London and on tour.
Despite his commercial success in Booth Tarkington's 'Monsieur Beaucaire' and Arthur Conan Doyle's 'Brigadier Gerard', Waller greatly preferred acting in Shakespeare, in which his roles ranged from Romeo to Othello.
Among the roles he created was Sir Robert Chiltern in Oscar Wilde's 1895 comedy 'An Ideal Husband'.
Lewis Waller - The Early Years
Waller was born in Bilbao, Spain, the eldest son of an English civil engineer, William James Lewis, and his wife, Carlotta née Vyse. He was educated at King's College School in south west London, after which, intending to pursue a commercial career, he studied languages on the Continent. From 1879 to 1883 he was a clerk in a London firm owned by his uncle.
After acting in amateur performances, Waller decided to make a career on the stage, and was engaged by J. L. Toole in 1883. His first role was the Hon. Claude Lorrimer in H. J. Byron's 'Uncle Dick's Darling', in which he was billed as "Waller Lewis".
By May of the same year, he had adopted the stage name Lewis Waller. In that month he appeared at the Theatre Royal, Drury Lane, in a charity matinee for the Actors' Benevolent Fund with Toole's company and such contemporary stars as Rutland Barrington, Lionel Brough, Arthur Cecil, Nellie Farren, George Grossmith, Henry Irving and Ellen Terry.
He remained in Toole's company for a year, playing light comedy and juvenile parts. During this year, he married a young actress, Florence West (1862–1912).
He joined a touring company, playing the central role, the blind Gilbert Vaughan, in 'Called Back' by Hugh Conway.
Waller returned to London in March 1885 to play at the Lyceum Theatre in Helena Modjeska's company, as the Abbé in 'Adrienne Lecouvreur', and then toured with her, playing such roles as Mortimer in 'Mary Stuart', and Orlando in 'As You Like It'.
The Manchester Guardian said of the latter:
"He kept Orlando properly ingenuous,
and made him a taking and gallant
young wooer."
Towards the end of 1885, Waller ventured into management for the first time, touring a production of 'Called Back', taking the role of Dr. Basil North, in which The Manchester Guardian thought him:
"A trifle too melodramatic".
The tour was modestly successful, but not such as to lead Waller to mount further productions for some time.
Waller returned to the West End, working for a succession of managements. At the Strand Theatre in early 1887, he played Roy Carlton in 'Jack-in-the-Box', which his biographer describes as his first substantial success in London.
At the Opera Comique he played Ernest Vane in 'Masks and Faces', and Captain Absolute in 'The Rivals'. At the Gaiety Theatre he played Jacques Rosney in 'Civil War'.
Waller then joined William Hunter Kendal and John Hare at the St. James's Theatre, where he played the Duc de Bligny in 'The Ironmaster', Sir George Barclay in 'Lady Clancarty', and Lord Arden in 'The Wife's Secret'.
When Rutland Barrington took over the management of the St. James's in 1888, Waller played George Sabine in 'The Dean's Daughter', and Ralph Crampton in 'Brantinghame Hall'.
Rudolph de Cordova, in a 1909 biographical sketch noted:
"During this period, few theatres
played regular afternoon performances,
so that the actors were, for the most part,
engaged only in the evening. Many
matinees were, however, given to introduce
new plays and new players; and in this way
Mr. Waller acted a large number of new parts,
all of an ephemeral character."
In particular he played several Ibsen roles in these matinees in the early 1890's, bringing him to the attention of people of influence in the theatre such as William Archer, Jacob Grein and Bernard Shaw.
Waller played Oswald in 'Ghosts', Lovborg in 'Hedda Gabler', Rosmer in 'Rosmersholm' and Solness in 'The Master Builder'. The ODNB commented that:
"Archer was delighted that an established
West End actor had contributed to the Ibsen
revival, but was aware that Waller could
overcome neither the play's inadequate
rehearsal period nor his background of
florid West End performances."
Lewis Waller - The Later Years
In October 1893, Waller returned to management, mounting a tour of Wilde's 'A Woman of No Importance', in which he played Lord Illingworth. The Manchester Guardian called it:
"A tolerable travelling company in
which nobody gains great distinction."
Returning to London, Waller, in partnership with H. H. Morrell, leased the Theatre Royal, Haymarket while its regular tenant, Herbert Beerbohm Tree was on tour in the US. He began with the premiere of Wilde's 'An Ideal Husband', playing Sir Robert Chiltern in a cast that included his wife as Mrs. Cheveley, Julia Neilson as Lady Chiltern and Charles Hawtrey as Lord Goring.
Waller and Morrell remained in management until 1897, when Tree invited Waller to join his company at the newly rebuilt Her Majesty's Theatre.
Waller remained with Tree for three years, playing a wide range of roles, including romantic leads in popular costume dramas and, in Tree's lavish Shakespeare productions, Laertes in 'Hamlet', Brutus in 'Julius Caesar', Faulconbridge in 'King John' and Lysander in 'A Midsummer Night's Dream'.
After leaving Tree's company, Waller returned to management. Although he loved playing Shakespeare, adding the roles of Romeo, Othello and Henry V to his repertoire, for commercial reasons he was best known as the star of swashbuckling romances. He was particularly identified with the title roles in the stage versions of Booth Tarkington's 'Monsieur Beaucaire' and Arthur Conan Doyle's 'Brigadier Gerard'. He starred in a film of the latter in 1915.
The critic Hesketh Pearson praised Waller for:
"His good looks and virile acting,
and his vibrant voice which rang
through the theatre like a bell and
stirred like a trumpet".
Waller had a large following of enthusiastic women fans, who formed a club known as the K.O.W. [Keen On Waller] Brigade. Pearson lamented:
"The puerile nature of the plays he
usually put on, and the adolescent
behaviour of his female admirers,
prevented many people from
appreciating his superb gift as a
declaimer of Shakespeare's rhetoric,
and frequently exposed him to ridicule."
In 1911 and 1912, Waller made a tour of the US, Canada and Australia. In his absence his wife died. His last play was May Martindale's 'Gamblers All', which opened at Wyndham's Theatre, London in June 1915, with Gerald du Maurier and Madge Titheradge co-starring.
The Manchester Guardian called the production:
"A personal acting triumph
for Lewis Waller".
Death of Lewis Waller
After the West End run, Waller took the play on tour, during which he contracted pneumonia, from which he died in Nottingham two days short of his 55th birthday.
Published by O Globo, Brazil 1941
One of the rarest Timely Comics ever published in the world, and among the earliest Timely Publications Globally outside the US.
O Globo is among the earliest publishers of MLJ Comics, Smash Comics, National Comics and Timely Comics in our genres history.
just had a copy of a new book "growing barn owls in my garden " by paul hackney sent to me ,and they have used (with my permission) these two barn owl photo's of mine .i am very pleased as these are my first pics published in a book .gives you the will to continue
Georg Baselitz *1938 (seen from left, Ede, 1993 - Lena, 1992 - Hage, 1993). Albertina, Sammlung Batliner (Batliner Collection)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
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Con 5 album e oltre 60 milioni di dischi venduti hanno scritto la storia del rock. I Simple Minds arrivano dal vivo in Italia con un nuovo disco e tutti i loro più grandi successi per un’unica data evento del loro Big Music Tour, il 21 novembre al Mediolanum Forum di Assago.
Dopo il trionfo dei concerti estivi in tutta la penisola, la band di Glasgow arriva con un nuovissimo album ed un nuovissimo tour; uno show durante il quale sarà possibile gustare tutti i loro più grandi successi, vecchi e nuovi.
Nati sul finire degli anni ’70 ed esplosi a livello mondiale negli anni ’80, gli scozzesi Simple Minds hanno scritto alcune tra le migliori pagine della musica anni ’80 diventando, dopo l’uscita del capolavoro New Gold Dream, vero e proprio inno new wave, uno tra i gruppi più popolari dell’epoca. Scopritori di suoni, innovatori e rivoluzionari, tra avant-garde ed art-rock, pop ed ambient, i Simple Minds hanno raggiunto numerose volte le vette delle album charts con dischi come Life In A Day, Real To Real Cacophony, New Gold Dream (81, 82, 83, 84), Sons And Fascination/Sister Fellings Calling, Empire And Dance.
Album considerati pietre miliari della storia del rock, e contenuti in uno speciale box-set pubblicato nel 2012. Questi cinque dischi hanno avuto un impressionante impatto sulla scena musicale dell’epoca, incrociando per primi la new-wave con accenni di elettronica, e continuando ad influenzare negli anni band come Manic Street Preachers, Primal Scream, The Killers fino ai più recenti The Horrors, a dimostrazione di quanto siano ancora forti gli echi dei primi cinque lavori targati Simple Minds.
Jim Kerr - Voce
Charlie Burchill - Chitarra
Mel Gaynor - Batteria
Andy Gillespie - Tastiere
Ged Grimes - Basso
Catherine Anne Davies - cori
Published in the Unicef Desk Diary 2008 worldwide.
Original picture: www.flickr.com/photos/ashish_tibrewal/193981908/
One sunday morning, while passing from a flyover somewhere in Mumbai, I observed these children playing on the streets. As soon as I focused my camera, they imitated me and thus this candid picture.
This photograph was published in the Illustrated Chronicle on the 9th of December 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
The home front -
29th Dec 1940 - While fire fighters watch from the dome of St. Paul's, the city burns.
[MHS & MI]
British Short S.29 Stirling Bomber
More Infomation on the Stirling can be found at: en.wikipedia.org/wiki/Short_Stirling.
Flickr user Kaz Hayles has a collection of Stirling pictures at www.flickr.com/photos/kaz_and_martin/ he has been collecting Stirling parts for 20 years.
Bulmer, Phil, email discussion, December 4, 2011
There are four particular pictures which I have studied almost to the point of obsession this weekend. I've done quite a bit of research and I know who's aircraft it was (Sqn Ldr John Overton DFC from 218 Sqn), but the pictures raise more questions than they answer. These pictures are the highest quality of any pictures I have seen of a Stirling aircraft though there are still tantilising details barely visible in the the fim grain. There's a discussion going on at the Britmodeller website regarding these pictures: www.britmodeller.com/forums/index.php?showtopic=234908321...
Online forum comments on Britmodeller.com at www.britmodeller.com/forums/index.php?showtopic=234908321...
HP42, Online posting, Dec 3, 2011
I've sat about studying these pics and trawled the interwebnet, this is what I've gleaned so far:
It was almost certainly taken at RAF Mendlesham which was a US airbase, and hence why there's a Jeep and US servicemen studying the aircraft.
The aircaft appears to be LF133 which belonged to 218 Sqn and was the aircraft used by Sqn Leader John Overton DFC who was the commander of A flight.
The aircraft has the names G H Dennis, AWH Aubrey and J Overton written in what appears to be red paint by the crew entrance door. Also written is '32 not out' which is a reference to the aircraft having completed a 32 mission tour of ops. There appear to be other names as well but I can't make them out. There's a 'AWH Aubrey' on the CWWCC site, presumably this is the same person and sadly he was killed in 1945 in the far east.
The tour was completed in 1944 and I'm guessing this picture is a summer 1944 shot. There's no invasion stripes, so it's presumably pre-invasion (did every allied aircraft get stripes?) There's leaves on the trees and the guys appear to be standing in the shade of the starboard wing, presumably to escape the heat of the sun. I've looked on Google Earth to try an pinpoint the spot with the help of landmarks such as the house in the edge of one shot but I can't place it. Mendlesham today is a very different place and the 1945 GE image wasn't much help.
This aircraft took part in the D-day deception 'operation Glimmer', where chaff was dropped in patterns to simulate a spoof invasion fleet in the channel.
The aircraft shows 42 missions on the nose (rows of 8 not 10) so presumably not all the missions of this aircraft were with John Overton.
The nose art shows a clown/harlequin figure, the best I can come up with is a suggestion on another website of the figure being a cartoon character called 'Reilly Fowl', a play on words. I've put permutations of this into Google and it comes up with nothing.
The aircraft appears to have been struck off charge at the end of the war -if only I could go back in time and get it preserved, hey ho!
Two points to note, the rear turret appears to have the central section of glass removed, I know Lancasters were famous for this to improve vision but it never dawned on me that Stirling crews might do the same. The other point is just how many wires and whip aerials adorn the aircraft, the one extending from the port elevator to just above the crew entrance is of modelling interest. Oh and point '3' the windows are oval not rectangular.
Aero John, December 3, 2011
It could be Kokos flying circus (an alternative spelling of Coco the clown). The vents in the leading edge I think are the oil coolers on the mk 1 and on this machine (Mk 3) they are under the engines.
bentwaters81tfw, December 4, 2011
The writing on the jeep says "Caution Left Hand Drive"
Details of Operation Glimmer from Wikipedia en.wikipedia.org/wiki/Operation_Glimmer
Operation Glimmer was the codename for one of the deception operations used by the Allied forces during World War II in connection with the Normandy landings (Operation Overlord). In conjunction with Operation Taxable, this was conducted by aircraft of the Royal Air Force and small ships of the Royal Navy to trick the Germans into holding their forces in the wrong place. The aim of diversionary operations was to convince the defenders that the main invasion of France was directed at the Pas de Calais rather than Normandy.
The operation was carried out by G-H-equipped bombers flying tight circles at very low altitudes while dropping metal-foil strips of chaff (aka 'window' by the British at the time). Six 70-foot launches equipped with G-H transponders sailed beneath the aircraft, adding radio "chatter". The foil appeared on German radar as though a huge fleet of ships was approaching.
Operation Glimmer was undertaken by the Short Stirling bombers of No. 218 (Gold Coast) Squadron RAF aiming for Pas de Calais, at the same time as Operation Taxable was under way by the Avro Lancasters of the famous No. 617 Squadron RAF heading towards Cap d'Antifer. Both squadrons were tasked with precise, accurate flying, with the replacement aircraft having to fall into the circuits perfectly, so that the routine dropping of the "window" continued with neither overlap nor gap in the pattern.
218 Squadron were directed by the civilian physicist Sebastian Pease of Bomber Command's Operational Research Section to ensure that the deception was authentic.[1] It is to the credit of the pilots and navigators of 218 Squadron that the German shore batteries actually opened fire on the "ghost" fleet that they created. The German 2nd Panzer Division and 116th Panzer Division remained at the Pas de Calais for at least fourteen days after the invasion.
The RAF conducted another deception operation at the same time Operation Titanic which involved the dropping of dummy parachutists in the areas to the west and east of the Normandy landings.
The Postcard
A postally unused Martotype Series postcard that was published by Ray & Co. of London E.C. The card was produced at the Fine Art Works in Berlin. The card has a divided back.
Miss Jessie Bateman
Jessie Eliza Bateman (2nd. August 1877 – 14th. November 1940) was an English stage actress. After early success on tour in Shakespearean roles, she built her career both in London and abroad. She had her greatest success in the early years of the 20th century, and her career spanned over half a century.
Bateman made her first professional appearance aged ten at the Alhambra Theatre in a series of ballets. In 1889, she had her first dramatic role at the Globe Theatre as Cobweb in 'A Midsummer Night's Dream'.
In 1890, she appeared at The Prince of Wales Theatre in 'The Rose and the King', and in 1891 in Arthur Sullivan's grand opera, 'Ivanhoe' at The Royal English Opera House.
Bateman spent the next five years with F. R. Benson's Shakespearean touring company, playing increasingly important roles, including Titania in 'A Midsummer Night's Dream', and Celia in 'As You Like It'.
In 1894 she married George Augustus Ashfordby-Trenchard. He began a military career but soon turned to acting. In 1896, she returned to London and played at the Comedy Theatre, appearing in 'The Guinea Stamp' and 'Mr Martin'.
She was then employed by George Edwardes for a tour of South Africa. There she played a variety of leading roles in such works as 'The Little Minister', a comedy by J. M. Barrie, 'Secret Service', a serio-drama, and 'Under the Red Robe', a romantic drama.
After a brief return to London in 1898, she toured the United States in the title role of 'Peggy Stubbs' and in H. Reeves-Smith's play, 'A Brace of Partridges'. She returned to London with Reeves-Smith, starring with him at the Royalty Theatre as Connie in 'A Little Ray of Sunshine'.
In 1899, she joined Charles Hawtrey's company at the Avenue Theatre in the role of Minnie Templar in 'A Message from Mars', then touring in that role in America, and playing it again at The Prince of Wales Theatre in London.
When the Second Boer War began in 1899, Bateman's husband resumed his military career, but died in South Africa in 1902.
In 1904, Bateman starred as Fairy Rosebud in W. S. Gilbert's 'The Fairy's Dilemma' at the Garrick Theatre. Around this time, she also starred as Fanny in 'The Clandestine Marriage', Nell in 'Everybody's Secret', Imogen in 'The Cabinet Minister', and Acacia Dean in 'Lucky Miss Dean', and with Cyril Maude in 'Beauty and the Barge'.
She joined Gerald du Maurier in 1906 as Gwendoline Conran in 'Raffles' at the Comedy Theatre, which ran for 351 performances, her greatest success to that date. When the run ended in 1907, she married Wilfred G. Chancellor with whom she had three children.
In 1909 she returned to the stage, appearing in 'The Merry Devil' at the Playhouse Theatre as Madame de Tessenari. She appeared in a revival of 'The Whip', by Cecil Raleigh and Henry Hamilton, at Theatre Royal, Drury Lane in 1910 (in which she rode a horse astride).
Playgoer and Society Illustrated wrote,
'It would be difficult to find a
sweeter Lady Diana Sartorys
than Miss Jessie Bateman".
Bateman continued her stage career for more than twenty years thereafter, and also appeared as Mrs. Wayne in a short film, 'Account Rendered', in 1932. She made her last major appearance on stage in 1933 at the Queen's Theatre in 'Spendlove Hall'.
Jessie died in 1940 at the age of 63.
2013 D2 Nationals - Tomahawk, WI
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Leather bound presentation copies of the Poetical Works of Wordsworth & Milton . Published by Ward Lock & Co about 1908.
Wordsworth was presented to 'Miss Doris Jones' at Geelong High School, Victoria for Conduct in 1911, and Milton to Doris for Dux of school in 1913.
Published in January 1894 by The Historical Publishing Company, author J. W. Buel, this book contains 300 photographs of every aspect of the fair.
The World's Fair: Columbian Exposition (also known as the Chicago World's Fair) was a world's fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. At the core of the fair was an area that quickly became known as the White City for its buildings with white stucco siding and its streets illuminated by electric lights.
The Postcard
A postcard that was published by F. Frith & Co. Ltd. of Reigate.
The card was posted in Farnham, Surrey on Monday the 18th. February 1907 to:
Miss Barnett,
'The Laurels',
Brighton Road,
Worthing.
The message on the divided back of the card was as follows:
"Pleased to get your
letter.
Shall be writing soon.
Best love to all,
Yours,
Will".
Alfred, Lord Tennyson
Alfred Tennyson, 1st. Baron Tennyson FRS (6 August 1809 – 6 October 1892) was a British poet. He was the Poet Laureate during much of Queen Victoria's reign, and remains one of the most popular British poets.
In 1829, Tennyson was awarded the Chancellor's Gold Medal at Cambridge University for one of his first pieces, "Timbuktu". He published his first solo collection of poems, Poems Chiefly Lyrical in 1830.
"Claribel" and "Mariana", which remain two of Tennyson's most celebrated poems, were included in this volume. Although decried by some critics as overly sentimental, his verse soon proved popular and brought Tennyson to the attention of well-known writers of the day, including Samuel Taylor Coleridge.
Tennyson's early poetry, with its medievalism and powerful visual imagery, was a major influence on the Pre-Raphaelite Brotherhood.
Tennyson also excelled at penning short lyrics, such as "Break, Break, Break", "The Charge of the Light Brigade", "Tears, Idle Tears", and "Crossing the Bar".
Much of his verse was based on classical mythological themes, such as "Ulysses", although "In Memoriam A.H.H." was written to commemorate his friend Arthur Hallam, a fellow poet and student at Trinity College, Cambridge, after he died of a stroke at the age of 22.
Tennyson also wrote some notable blank verse including Idylls of the King, "Ulysses", and "Tithonus". During his career, Tennyson attempted drama, but his plays enjoyed little success.
Two thoughts from Lord Tennyson:
'Tis better to have loved and lost
Than never to have loved at all'.
'Knowledge comes, but wisdom
lingers'.
Aldworth House
Aldworth House, in Tennyson's Lane, Haslemere was designed by Sir James Knowles for Lord Tennyson and built in 1869.
It was occupied by Tennyson until his death, chiefly in the summer months when he wished to escape from the Isle of Wight visitors whom he found had become trouble-
some.
Tennyson died in the house on the 6th. October 1892. It is in semi-Gothic style, with two storeys and an attic.
The house is Grade I listed because of its historical associations.
Billy De Wolfe
So what else happened on the day that Will posted the card?
Well, the 18th. February 1907 marked the birth In Quincy, Mass. of Billy De Wolfe.
Born William Andrew Jones, he became known as Billy De Wolfe. Billy was an American character actor who was active in films from the mid-1940's until his death in 1974.
Billy De Wolfe - The Early Years
Billy was the son of a Welsh bookbinder who encouraged him to become a Baptist minister. Instead, Billy developed an interest in the theatre, and found work as an usher before becoming a dancer with the Jimmy O'Connor Band.
It was at this point that he changed his last name to De Wolfe, which was the last name of the manager of the Massachusetts theatre where he worked.
Billy went on to tour Europe with a dance team, appearing in a London revue called "Revels in Rhythm". He served in the United States Navy during WWII until he was discharged for medical reasons in 1944.
De Wolfe signed with Paramount Pictures in 1943 and became a comedian. His pencil-moustached and often pompous character contrasted humorously with the films' romantic leads.
His best-known role of his Paramount tenure is probably the ham actor-turned-silent movie villain in the 1947 fictionalized Pearl White biography The Perils of Pauline.
De Wolfe became known for his portrayal of fussy, petty men ("Never touch!," he would say imperiously whenever someone accosted him physically). The New York Times review of his 1948 film Isn't It Romantic? strongly criticized the way the other actors' material limited their performances, contrasting their performances with his:
"But Mr. De Wolfe is nothing daunted.
He rips up the place with great delight.
The material is at his mercy. Likewise
the scenery. And he chews it to bits."
He was a good friend of Doris Day until his death, from the time of their meeting during the filming of Tea for Two (1950), also appearing with Day in Lullaby of Broadway the following year.
After his Paramount contract lapsed, De Wolfe returned to the stage. He appeared in the revue John Murray Anderson's Almanac in 1953 and 1954, and starred in the last edition of the Ziegfeld Follies in 1957.
Billy appeared regularly in guest roles on television, including the first two episodes of NBC's The Imogene Coca Show. He portrayed Mr. Jarvis on CBS's The Doris Day Show, and co-starred with Larry Storch in a short-lived TV sitcom, The Queen and I.
He often appeared on talk shows and in TV commercials, doing his "Mrs. Murgatroyd" drag routine. Wearing a hat and a shawl (but still sporting his moustache), De Wolfe (as old maid Phoebe Murgatroyd) would claim to be an expert on romance and answered questions from the lovelorn.
De Wolfe's closeted homosexuality has been discussed by John Gielgud, author David Kaufman, and The Advocate.
Generations of TV viewers know Billy De Wolfe only by his voice: his is the voice of the inept magician Professor Hinkle in the 1969 Christmas special Frosty the Snowman. De Wolfe gave the role his usual fussy diction:
"Mess-y, mess-y, mess-y!
Sill-y, sill-y, sill-y!
Bus-y, bus-y, bus-y!"
In 1967–68 (one season, 26 episodes), he co-starred with Joby Baker and Ronnie Schell in the TV sitcom Good Morning World as Roland Hutton, the fussy manager at a radio station.
In 1972, De Wolfe was scheduled to return to Broadway portraying Madame Lucy in the musical revival of Irene starring Debbie Reynolds. However, during the early stages of rehearsals, De Wolfe learned that he was ill with cancer, and was replaced by George S. Irving.
The Death of Billy De Wolfe
Later that year, he recorded a vocal track for the New York cast album of Free to Be... You and Me, starring Marlo Thomas, reprising the role in the animated ABC Television special filmed a year later. The TV show aired on March 11, 1974, six days after his death.
Billy died just after his 67th birthday, from lung cancer, on the 5th. March 1974, at UCLA Medical Center where he had been hospitalized since February 26.
He was laid to rest in Mount Wollaston Cemetery, Quincy.
First published on The Blog Herald this infographic looks at the history of Twitter and how the microblogging service became so popular.
If you are in need of your own infographic, visit us at Infographiclabs.
The Postcard
A postcard published by Coastal Cards Ltd. of Clacton-on-Sea. The artwork was by Trow.
The card was posted in Hastings, Sussex on Wednesday the 12th. July 1961 to:
Mr. Lacey,
51, Middle Park Avenue,
Eltham,
London S.E. 9.
The message on the divided back of the card was as follows:
"Dear Mr. Lacey,
Having a grand time, and
the weather has been great
up until now.
The children love the sea,
and we don't see them when
the tide is out.
Hope you are keeping well -
John sends his regards.
Best wishes,
Mr. & Mrs. Heath".
Trow
"Trow" has been claimed as the pseudonym of Frank Eric Smith, who was born in Salisbury on the 2nd. March 1908, and who lived most of his life in Dorset and Wiltshire. He died on the 5th. October 1985.
According to Smith's family, he drew many seaside postcards in the late 40's and early 50's, and derived his pseudonym from 'Trowbridge', the county town of Wiltshire.
However, Smith claimed to have stopped drawing in 1952, whilst new cards signed "Trow" continued to appear in large numbers until the late 1960's.
It seems that the cards prosecuted by the DPP for indecency in the 1950's were in fact drawn by Thomas Trow (1909-1971) of Stoke on Trent, whose address appears on the reverse of surviving artwork, as the Greyfriars Art Studio.
The Crash of ČSA Flight 511
So what else happened on the day that the card was posted?
Well, on the 12th. July 1961, ČSA Flight 511 crashed near Casablanca-Anfa Airport in Morocco. The 8 crew and 64 passengers who were on the Ilyushin II-18 were all killed. The flight had originated in Zurich.
The accident investigation determined that the crash resulted from a controlled flight into terrain, but the reason why the aircraft did this was never determined.
106 days earlier, on the 28th. March 1961, another Ilyushin Il-18 operating on the same flight, ČSA OK-511, crashed near Nuremberg, Germany, killing all 52 passengers and crew on board.
'Temptation'
Also on that day, the Number One chart hit in the UK was 'Temptation' by the Everly Brothers.
Their version was a re-working of the old standard that was first published in 1933, with music written by Nacio Herb Brown and lyrics by Arthur Freed.
The song was introduced by Bing Crosby in the 1933 film Going Hollywood. Crosby recorded the song with Lennie Hayton's orchestra on the 22nd. October 1933, and it reached the No. 3 spot in the charts during a 12-week stay.
The song was used in the film Singin' in the Rain (1952) and later in the 1983 musical based on the film.
The song is also prominently featured in Valerio Zurlini's Violent Summer (1959).
An interpretation was featured in the first episode of The Muppet Show, with Miss Piggy, four chickens, four frogs, and two male pigs being led by Kermit the Frog in the Muppet Glee Club.
The Everly Brothers
The Everly Brothers were an American country rock duo, known for steel-string acoustic guitar playing and close harmony singing.
Consisting of Isaac Donald "Don" Everly (born 1st. February 1937) and Phillip "Phil" Everly ( born 19th. January 1939), the duo combined elements of rock and roll with country and pop, becoming pioneers of country rock.
The duo was raised in a musical family, first appearing on radio singing along with their father Ike Everly and mother Margaret Everly as "The Everly Family" in the 1940's.
When the brothers were still in high school, they gained the attention of prominent Nashville musicians like Chet Atkins, who began to promote them for national attention.
They began writing and recording their own music in 1956, and their first hit song came in 1957, with "Bye Bye Love", written by Felice and Boudleaux Bryant. The song hit No. 1 in the spring of 1957, and additional hits followed through 1958, many of them written by the Bryants, including "Wake Up Little Susie", "All I Have to Do Is Dream", and "Problems".
In 1960, they signed with the major label Warner Bros. Records and recorded "Cathy's Clown", written by the brothers themselves, which was their biggest-selling single.
The brothers enlisted in the United States Marine Corps Reserve in 1961, and their output dropped off, though additional hit singles continued through 1962, with "That's Old Fashioned (That's the Way Love Should Be)" being their last top-10 hit.
Long-simmering disputes with Wesley Rose, the CEO of Acuff-Rose Music which managed the group, a growing drug usage in the 1960's, as well as changing tastes in popular music, led to the brothers' decline in popularity in its native U.S.
However Don and Phil continued to release hit singles in the U.K. and Canada, and had many highly successful tours throughout the 1960's.
In the early 1970's, the brothers began releasing solo recordings, and in 1973 they officially broke up. Starting in 1983, the brothers got back together, and continued to perform periodically until Phil's death in 2014.
The brothers were highly influential on the music of the generation that followed it. Many of the top acts of the 1960's were heavily influenced by the close-harmony singing and acoustic guitar playing of the Everly Brothers, including the Beatles, the Beach Boys, the Bee Gees, and Simon & Garfunkel.
In 2015, Rolling Stone ranked the Everly Brothers No. 1 on its list of the 20 Greatest Duos of All Time.
They were inducted into the Rock and Roll Hall of Fame as part of the inaugural class of 1986, and into the Country Music Hall of Fame in 2001.
Don was inducted into the Musicians Hall of Fame and Museum in 2019, earning the organization's first Iconic Riff Award for his distinctive rhythm guitar intro to the brothers' massive 1957 hit "Wake Up Little Susie".
The Deaths of the Everly Brothers
Phil Everly died at Providence Saint Joseph Medical Center in Burbank, California, on the 3rd. January 2014, 16 days before his 75th. birthday, of lung disease.
Phil's widow Patti blamed her husband's death on his smoking habit, which caused him to develop chronic obstructive pulmonary disease, and recounted Phil's spending his final years having to carry oxygen tanks with him wherever he went and taking 20 different types of medications per day.
Don Everly claimed in a 2014 interview with the Los Angeles Times that he had given up smoking in the late 1960's and that Phil had stopped too, but started again during their breakup and had continued until 2001.
Don said that weak lungs ran in the family, as their father, Ike, had died of black lung disease.
He admitted that he had lived "a very difficult life" with his brother, and that he and Phil had become estranged once again in later years, something that was mainly attributed to their vastly different views on politics and life.
Music was the one thing they shared closely, with Don saying:
"It's almost like we could read each
other's minds when we sang."
Don also stated that despite their differences, he had not gotten over Phil's death:
"I always thought about him every day,
even when we were not speaking to
each other. It still just shocks me that
he's gone."
Don added that he had always firmly believed he would die before his brother, because he was older. In a 2016 interview, Don said he was still coping with the loss of Phil, and that he had kept some of his brother's ashes in his home. He added that he would pick up the ashes every morning and say "Good Morning", while admitting that it was a peculiar ritual.
On August 21, 2021, Don Everly died at his home in Nashville, Tennessee at the age of 84.
Centro Habana
January 2017
Habana, Cuba
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ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
my first contribution for " le monde " definitly the best and my favorite french newspaper has been published on the last ay of 2009, with a front page page photos as well ( see comments ) , the subject is about chongqing, mafia and kind of new urban changes....
The paving outside The REP and around the Hall of Memory in Centenary Square is complete / open, while other sections have been hoarded off that were previously open.
Been a long time since the part around the Hall of Memory has been open!
Looks nice!
But a lot of temporary tarmac around as well!
Hall of Memory is a Grade I listed building.
List entry Description
Summary of Building
War memorial. 1923-5, by S.N. Cooke and W. Norman Twist; bronze statuary and panels by Albert Toft and William Bloye.
Reasons for Designation
The Hall of Memory, Birmingham, is listed at Grade I for the following principal reasons: * Historic interest: as an eloquent witness to the tragic impacts of world events on this community, and the sacrifices it made in the conflicts of the C20; * Architectural interest: as an unusual and ambitious architectural memorial to the city's war dead * Sculptural: for the notable bronze figures of service personnel by Albert Toft; * Setting: as a key element of Centenary Square, one of Birmingham's principal civic spaces.
History
During the First World War 150,000 men and women from Birmingham served; 12,320 were killed and 35,000 wounded. In 1920 a design competition among Birmingham architects (judged by Sir Reginald Blomfield) for a war memorial was won by S.N. Cooke and W. Norman Twist. Their winning design was The Hall of Memory. They also designed a Portland Stone (a material then new to Birmingham) colonnade which originally stood opposite it. That was moved to the Peace Gardens (formerly St Thomas’s church) in Bath Row when Centenary Square – intended as a grand civic space - began to be laid out soon after. The foundation stone was laid on 12 June 1923 by the Prince of Wales, and the Hall was opened by HRH Prince Arthur of Connaught on 4 July 1925. The overall cost was £60,000 which was raised entirely by public donations, and almost all the design and construction work, along with the memorial fittings, was by Birmingham craftsmen. The Hall was built by John Barnsley and Sons, and John Bowen and Sons.
Details
MATERIALS: exterior of Portland stone on a granite base, with bronze statuary and doors. Interior in Beer stone
EXTERIOR: the Hall of Memory, a classical octagon, stands in Centenary Square in the centre of Birmingham. It has a heavy Doric entablature and attic, and a low dome. There are pedimented projections on the four long sides, that to the south-east forming the entrance. The short diagonal faces are set back, framing four bronze seated figures on Cornish granite pedestals by Albert Toft (1862-1949), a native of Handsworth, representing the Services. One, a bare-chested sailor in a crouching position and holding a coil of rope in one hand and a ship's wheel in the other, represents the Navy. Another bare-chested figure is of a soldier, representing the Army. He is also in a crouching position and rests his tin helmet on his left leg with his right hand on the barrel of a machine gun. The Air Force figure, again bare-chested and crouching, holds a blade and aerlions of an aircraft in his left hand. The fourth figure represents the Nursing Service and here a woman crouches down whilst holding a wreath in her left hand.
INTERIOR: visitors enter the Hall of Memory through huge cast bronze doors. Inside the Hall, which has a ribbed and coffered dome set below the outer one and Doric detailing, a sarcophagus-shaped dais or tomb of Siena marble stands in the centre of the marble floor. A glass and bronze casket made by the Birmingham Guild rests on its top containing two books: the First World War and Second World War Rolls of Honour. A third Roll of Honour contains the names of Birmingham citizens who have died in campaigns since the end of the Second World War. Marble paving and seats occupy the angles of the Hall with bronze flambeaux above. Facing the main entrance is a stained-glass window with a cross designed by Richard Stubington (1885-1966). High on the walls over the three doorways are three carved Art Deco bas-relief plaques by William Bloye (1890-1975), a Birmingham sculptor, depicting scenes from the First World War. ‘Call’ shows men leaving home to join up; ‘Front Line’ represents a party of men in the firing line; ‘Return’ shows men, several badly wounded, returning to their homes. The plaques carry three inscriptions: Panel 1: OF THE 150,000 WHO ANSWERED THE CALL TO ARMS / 12,320 FELL / 35,000 CAME HOME DISABLED Panel 2: AT THE GOING DOWN OF THE SUN AND IN / THE MORNING WE WILL REMEMBER THEM Panel 3: SEE TO IT THAT THEY SHALL NOT HAVE / SUFFERED AND DIED IN VAIN
Published in the Birmingham Mail on Monday 10th December 2018.
the book was just published in the winter of 2009, and it showcases an amazing and beautiful technique that uses needle felting but applies the process to fabric, so wool is applied to the cloth using a felting needle.
the effect is stunning, like embroidery or even sometimes similar to painting on fabric.
the colors and textures are very rich, and projects have a great variety that is sure to inspire. the contrast of bright wool felted onto natural linen is a repeating feeling that always looks great.
the projects and scenes created in the book included detailed diagrams that show to how to recreate them, including fine details about colors and shades of wool that are combined to create depth.
written directions are in japanese, but the diagrams, and very clear step by step instructions with photos show how to create this effect. it's probably easier is you have had a little experience needle felting, just so you understand how that tool works, but that being said, you will be able to pick this up quickly, especially if you have some experience with felt, or embroidery, or even sewing