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Secret Solstice Festival
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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.
Published in Monday 7 September's Flickr page in the Daily Post www.dangerousdisco.com Copyright © 2009 All rights reserved.
This photograph was published in the Illustrated Chronicle on the 29th of October 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.
ALL RIGHTS RESERVED
All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission
Model : Miss Scare
Makeup by : Valeri Spiga
Photo, lights, editing : Giacomo Macis
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Vienna Regional Court for Criminal Matters
The Vienna Regional Court for Criminal Matters (colloquially referred to as "landl" (Landesgericht)) is one of 20 regional courts in Austria and the largest court in Austria. It is located in the 8th District of Vienna, Josefstadt, at the Landesgerichtsstraße 11. It is a court of first respectively second instance. A prisoners house, the prison Josefstadt, popularly often known as the "Grey House" is connected.
Court Organization
In this complex there are:
the Regional Court for Criminal Matters Vienna,
the Vienna District Attorney (current senior prosecutor Maria-Luise Nittel)
the Jurists association-trainee lawer union (Konzipientenverband) and
the largest in Austria existing court house jail, the Vienna Josefstadt prison.
The Regional Criminal Court has jurisdiction in the first instance for crimes and offenses that are not pertain before the district court. Depending on the severity of the crime, there is a different procedure. Either decides
a single judge,
a senate of lay assessors
or the jury court.
In the second instance, the District Court proceeds appeals and complaints against judgments of district courts. A three-judge Court decides here whether the judgment is canceled or not and, if necessary, it establishes a new sentence.
The current President Friedrich Forsthuber is supported by two Vice Presidents - Henriette Braitenberg-Zennenberg and Eve Brachtel.
In September 2012, the following data have been published
Austria's largest court
270 office days per year
daily 1500 people
70 judges, 130 employees in the offices
5300 proceedings (2011) for the custodial judges and legal protection magistrates, representing about 40 % of the total Austrian juridical load of work
over 7400 procedures at the trial judges (30 % of the total Austrian juridical load of work)
Prosecution with 93 prosecutors and 250 employees
19,000 cases against 37,000 offenders (2011 )
Josefstadt prison with 1,200 inmates (overcrowded)
History
1839-1918
The original building of the Vienna Court House, the so-called civil Schranne (corn market), was from 1440 to 1839 located at the Hoher Markt 5. In 1773 the Schrannenplatz was enlarged under Emperor Joseph II and the City Court and the Regional Court of the Viennese Magistrate in this house united. From this time it bore the designation "criminal court".
Due to shortcomings of the prison rooms in the Old Court on Hoher Markt was already at the beginning of the 19th Century talk of building a new crime courthouse, but this had to be postponed because of bankruptcy in 1811.
In 1816 the construction of the criminal court building was approved. Although in the first place there were voices against a construction outside the city, as building ground was chosen the area of the civil Schießstätte (shooting place) and the former St. Stephanus-Freithofes in then Alservorstadt (suburb); today, in this part Josefstadt. The plans of architect Johann Fischer were approved in 1831, and in 1832 was began with the construction, which was completed in 1839. On 14 May 1839 was held the first meeting of the Council.
Provincial Court at the Landesgerichtsstraße between November 1901 and 1906
Johann Fischer fell back in his plans to Tuscan early Renaissance palaces as the Pitti Palace or Palazzo Pandolfini in Florence. The building was erected on a 21,872 m² plot with a length of 223 meters. It had two respectively three floors (upper floors), the courtyard was divided into three wings, in which the prisoner's house stood. In addition, a special department for the prison hospital (Inquisitenspital ) and a chapel were built.
The Criminal Court of Vienna was from 1839 to 1850 a city court which is why the Vice Mayor of Vienna was president of the criminal courts in civil and criminal matters at the same time. In 1850 followed the abolition of municipal courts. The state administration took over the Criminal Court on 1 Juli 1850. From now on, it had the title "K.K. Country's criminal court in Vienna".
1851, juries were introduced. Those met in the large meeting hall, then as now, was on the second floor of the office wing. The room presented a double height space (two floors). 1890/1891 followed a horizontal subdivision. Initially, the building stood all alone there. Only with the 1858 in the wake of the demolition of the city walls started urban expansion it was surrounded by other buildings.
From 1870 to 1878, the Court experienced numerous conversions. Particular attention was paid to the tract that connects directly to the Alserstraße. On previously building ground a three-storey arrest tract and the Jury Court tract were built. New supervened the "Neutrakt", which presented a real extension and was built three respectively four storied. From 1873 on, executions were not executed publicly anymore but only in the prison house. The first execution took place on 16 December 1876 in the "Galgenhof" (gallow courtyard), the accused were hanged there on the Würgegalgen (choke gallow).
By 1900 the prisoners house was extended. In courtyard II of the prison house kitchen, laundry and workshop buildings and a bathing facility for the prisoners were created. 1906/1907 the office building was enlarged. The two-storied wing tract got a third and three-storied central section a fourth floor fitted.
1918-1938
In the early years of the First Republic took place changes of the court organization. Due to the poor economy and the rapid inflation, the number of cases and the number of inmates rose sharply. Therefore, it was in Vienna on 1 October 1920 established a second Provincial Court, the Regional Court of Criminal Matters II Vienna, as well as an Expositur of the prisoner house at Garnisongasse.
One of the most important trials of the interwar period was the shadow village-process (Schattendorfprozess - nomen est omen!), in which on 14th July 1927, the three defendants were acquitted. In January 1927 front fighters had shot into a meeting of the Social Democratic Party of Austria, killing two people. The outrage over the acquittal was great. At a mass demonstration in front of the Palace of Justice on 15th July 1927, which mainly took place in peaceful manner, invaded radical elements in the Palace of Justice and set fire ( Fire of the Palace Justice), after which the overstrained police preyed upon peaceful protesters fleeing from the scene and caused many deaths.
The 1933/1934 started corporate state dictatorship had led sensational processes against their opponents: examples are the National Socialists processes 1934 and the Socialists process in 1936 against 28 "illegal" socialists and two Communists, in which among others the later leaders Bruno Kreisky and Franz Jonas sat on the dock.
Also in 1934 in the wake of the February Fights and the July Coup a series of processes were carried out by summary courts and military courts. Several ended with death sentences that were carried out by hanging in "Galgenhof" of the district court .
1938-1945
The first measures the Nazis at the Regional Criminal Court after the "Anschluss" of Austria to the German Reich in 1938 had carried out, consisted of the erection of a monument to ten Nazis, during the processes of the events in July 1934 executed, and of the creation of an execution space (then space 47 C, today consecration space where 650 names of resistance fighters are shown) with a guillotine supplied from Berlin (then called device F, F (stands for Fallbeil) like guillotine).
During the period of National Socialism were in Vienna Regional Court of 6 December 1938 to 4th April 1945 1.184 persons executed. Of those, 537 were political death sentences against civilians, 67 beheadings of soldiers, 49 war-related offenses, 31 criminal cases. Among those executed were 93 women in all age groups, including a 16-year-old girl and a 72-year-old woman who had both been executed for political reasons.
On 30 June 1942 were beheaded ten railwaymen from Styria and Carinthia, who were active in the resistance. On 31 July 1943, 31 people were beheaded in an hour, a day later, 30. The bodies were later handed over to the Institute of Anatomy at the University of Vienna and remaining body parts buried later without a stir at Vienna's Central Cemetery in shaft graves. To thein the Nazi era executed, which were called "Justifizierte" , belonged the nun Maria Restituta Kafka and the theology student Hannsgeorg Heintschel-Heinegg.
The court at that time was directly subordinated to the Ministry of Justice in Berlin.
1945-present
The A-tract (Inquisitentrakt), which was destroyed during a bombing raid in 1944 was built in the Second Republic again. This was also necessary because of the prohibition law of 8 May 1945 and the Criminal Law of 26 June 1945 courts and prisons had to fight with an overcrowding of unprecedented proportions.
On 24 March 1950, the last execution took place in the Grey House. Women murderer Johann Trnka had two women attacked in his home and brutally murdered, he had to bow before this punishment. On 1 July 1950 the death penalty was abolished in the ordinary procedure by Parliament. Overall, occured in the Regionl Court of Criminal Matters 1248 executions. In 1967, the execution site was converted into a memorial.
In the early 1980s, the building complex was revitalized and expanded. The building in the Florianigasse 8, which previously had been renovated, served during this time as an emergency shelter for some of the departments. In 1994, the last reconstruction, actually the annex of the courtroom tract, was completed. In 2003, the Vienna Juvenile Court was dissolved as an independent court, iIts agendas were integrated in the country's criminal court.
Prominent processes since 1945, for example, the Krauland process in which a ÖVP (Österreichische Volkspartei - Austrian People's Party) minister was accused of offenses against properties, the affair of the former SPÖ (Sozialistische Partei Österreichs - Austrian Socialist Party) Minister and Trade Unions president Franz Olah, whose unauthorized financial assistance resulted in a newspaper establishment led to conviction, the murder affairs Sassak and the of the Lainzer nurses (as a matter of fact, auxiliary nurses), the consumption (Konsum - consumer cooporatives) process, concerning the responsibility of the consumer Manager for the bankruptcy of the company, the Lucona proceedings against Udo Proksch, a politically and socially very well- networked man, who was involved in an attempted insurance fraud, several people losing their lives, the trial of the Nazi Holocaust denier David Irving for Wiederbetätigung (re-engagement in National Socialist activities) and the BAWAG affair in which it comes to breaches of duty by bank managers and vanished money.
Presidents of the Regional Court for Criminal Matters in Vienna since 1839 [edit ]
Josef Hollan (1839-1844)
Florian Philipp (1844-1849)
Eduard Ritter von Wittek (1850-1859)
Franz Ritter von Scharschmied (1859-1864)
Franz Ritter von Boschan (1864-1872)
Franz Josef Babitsch (1873-1874)
Joseph Ritter von Weitenhiller (1874-1881)
Franz Schwaiger (1881-1889)
Eduard Graf Lamezan -Salins (1889-1895)
Julius von Soos (1895-1903)
Paul von Vittorelli (1903-1909)
Johann Feigl (1909-1918)
Karl Heidt (1918-1919)
Ludwig Altmann (1920-1929)
Emil Tursky (1929-1936)
Philipp Charwath (1936-1938)
Otto Nahrhaft (1945-1950)
Rudolf Naumann (1951-1954)
Wilhelm Malaniu (1955-1963)
Johann Schuster (1963-1971)
Konrad Wymetal (1972-1976)
August Matouschek (1977-1989)
Günter Woratsch (1990-2004)
Ulrike Psenner (2004-2009)
Friedrich Forsthuber (since 2010)
de.wikipedia.org/wiki/Landesgericht_f%C3%BCr_Strafsachen_...
Icones ornithopterorum :.
[London] :Published by the author ... Upper Norwood, London, S.E.,1898-1906 [i.e. 1907].
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.
Description: No published or copyright date listed on postcard.
Manufacturer: A. C. Bosselman & Co., New York
Date Postmarked: 1908
Rights: This item is in the public domain. Acknowledgement of the Virginia Commonwealth University Libraries as a source is requested.
"Reference URL: https://scholarscompass.vcu.edu/postcard/51
Collection: Rarely Seen Richmond: Early twentieth century Richmond as seen through vintage postcards"
The Postcard
A postcard that was published by the Photochrom Co. Ltd. of London. The image is a glossy real photograph.
The card was posted in Northampton on Friday the 26th. October 1906 to:
Miss A. Swindall,
41, Queen's Road,
Loughborough,
Leicestershire.
The message on the divided back of the card was as follows:
"Dear Alice,
Thanks for letter.
Could you meet me at
Leicester about 4.
I think it would be much
better, so we could go
& see E. Tompkins &
have tea.
I have promised to go
several times and would
very much like you to go
as well. Now be game
and try.
My train arrives at four
prompt. If I don't hear
from you I will meet at
8.15.
Love from Will."
Wilhelm Voigt
So what else happened on the day that Will posted the card to Alice?
Well, on the 26th. October 1906, Wilhelm Voigt was arrested.
Friedrich Wilhelm Voigt, who was born on the 13th. February 1849, was a German impostor who, in 1906, masqueraded as a Prussian military officer, rounded up a number of soldiers under his "command", and "confiscated" more than 4,000 marks from the municipal treasury.
Although he served two years in prison, he became a folk hero as "The Captain of Köpenick," and was pardoned by Kaiser Wilhelm II.
Wilhelm Voigt - The Early Years
Voigt was born in Tilsit, Prussia. In 1863, at the age of 14, he was sentenced to 14 days in prison for theft, which led to his expulsion from school. He learned shoemaking from his father.
Between 1864 and 1891, Voigt was sentenced to prison for a total of 25 years for thefts, forgery and burglary. The longest sentence was a 15-year conviction for an unsuccessful burglary of a court cashier's office. He was released on the 12th. February 1906.
Voigt drifted from place to place until he went to live with his sister in Rixdorf near Berlin. He was briefly employed by a well-reputed shoemaker until the local police expelled him from Berlin on the 24th. August 1906. They claimed that he was an undesirable, based solely on the fact that he was an ex-convict. Officially he left for Hamburg, although he remained in Berlin as an unregistered resident.
The Captain of Köpenick
On the 16th. October 1906, having resigned from the shoe factory ten days earlier, Voigt was ready for his next caper. He had previously purchased parts of used captain's uniforms from different shops.
He took the uniform out of baggage storage, put it on and went to the local army barracks, stopped four grenadiers and a sergeant on their way back to barracks and told them to come with him and they followed. He dismissed the commanding sergeant to report to his superiors, and later commandeered six more soldiers from a shooting range.
Then he took a train to Köpenick, east of Berlin, occupied the local city hall with his soldiers and told them to cover all exits. He told the local police to "care for law and order" and to "prevent calls to Berlin for one hour" at the local post office.
He had the treasurer von Wiltberg and the mayor Georg Langerhans arrested, citing suspicion of crooked bookkeeping, and confiscated 4002 marks and 37 pfennigs, issuing a receipt for the money signed with his former jail director's name.
He then commandeered two carriages and told the grenadiers to take the arrested men to the Neue Wache in Berlin for interrogation. He told the remaining guards to stand in their places for half an hour and then left for the train station. He later changed into civilian clothes and disappeared.
The Arrest of Wilhelm Voigt
In the following days, the German press speculated on what had really happened. At the same time the army ran its own investigation. The public seemed to be positively amused by the daring deeds of the culprit.
Voigt was arrested on the 26th. October 1906 after a former cellmate who knew about Voigt's plans had tipped off the police, hoping for the high reward.
On the 1st. December 1906 Voigt was sentenced to four years in prison for forgery, impersonating an officer and wrongful imprisonment. However, much of public opinion was on his side, and Kaiser Wilhelm II pardoned him on the 16th. August 1908.
Even the Kaiser was amused by the incident, referring to him as an amiable scoundrel, and being pleased with the authority and feelings of reverence that he obviously commanded in the general population.
The British press were also amused, seeing it as confirmation of their stereotypes about Germans. In its 27th. October 1906 issue, the editors of The Illustrated London News noted gleefully:
"For years the Kaiser has been instilling into his people
reverence for the omnipotence of militarism, of which
the holiest symbol is the German uniform. Offences
against this fetish have incurred condign punishment.
Officers who have not considered themselves saluted
in due form have drawn their swords with impunity on
offending privates."
In that same issue, writer G. K. Chesterton pointed out:
"The most absurd part of this absurd fraud (at least,
to English eyes) is one which, oddly enough, has
received comparatively little comment. I mean the
point at which the Mayor asked for a warrant, and
the Captain pointed to the bayonets of his soldiery
and said, 'These are my authority'. One would have
thought anyone would have known that no soldier
would talk like that."
Aftermath
Voigt decided to capitalize on his fame. His wax figure appeared in the wax museum in Unter den Linden four days after his release. He appeared in the museum to sign his pictures, but public officials banned the appearances on the same day.
He appeared in small theatres in a play that depicted his exploit, and signed more photographs as the Captain of Köpenick. In spite of the ban he toured in Dresden, Vienna and Budapest in variety shows, restaurants and amusement parks.
In 1909, he published a book in Leipzig, How I became the Captain of Köpenick, which sold well. Although his United States tour almost failed because the immigration authorities refused to grant him a visa, he arrived in 1910 via Canada. He also inspired a waxwork in Madame Tussaud's museum in London.
In 1910, he moved to Luxembourg and worked as a waiter and shoemaker. He received a life pension from a rich Berlin dowager. Two years later, he bought a house and retired, but was ruined financially in the post–World War I recession.
Voigt died at the age of 72 in Luxembourg on the 3rd. January 1922. His grave is in the Cimetière Notre-Dame in Luxembourg.
Wilhelm Voigt in Popular Culture
Voigt's exploits became the subject of literary references as early as 1911, when British satirical writer Saki defined the term "to koepenick" as "to replace an authority by a spurious imitation that would carry just as much weight for the moment as the displaced original" in his short story "Ministers of Grace".
A silent film was made in German in 1926. In 1931, German author Carl Zuckmayer wrote a play about the affair called The Captain of Köpenick, which shifts the focus from the event at Köpenick itself to the prelude, showing how his surroundings and his situation in life had helped Voigt form his plan. An English-language adaptation was written by John Mortimer, and first performed by the National Theatre company at the Old Vic on the 9th. March 1971 with Paul Scofield in the title role.
Several more films were produced about Wilhelm Voigt, most based on Zuckmayer's play; among them Der Hauptmann von Köpenick (1931); The Captain from Köpenick (1945), starring Albert Bassermann; Der Hauptmann von Köpenick (1956), with Heinz Rühmann; a 1956 U.S. TV adaptation starring Emmett Kelly, the circus clown; the 1960 TV movie Der Hauptmann von Köpenick, featuring Rudolf Platte; and the 1997 TV movie Der Hauptmann von Köpenick, starring Harald Juhnke.
In 1943 the German Air Force mistakenly thought that a bombing attack which had been carried out on Düren, with the bombers then returning, was a diversion, and the bombers were actually heading for the ball-bearing factory at Schweinfurt.
When Schweinfurt was not attacked, they were concerned about the Leuna synthetic fuel refinery, then the Skoda Works at Pilsen. They scrambled large numbers of fighters everywhere, whose engine noise sounded like an invading force. After the debacle, Head of the Air Force Hermann Göring sent an ironic telegram to all concerned congratulating them on "the successful defence of the fortress of Koepenick".
The basic line of stage plays and movies was the pitiful catch-22 situation of Voigt trying to earn his living honourably in Berlin:
"No residence address – no job.
No job – no residence (rented room).
No residence – no passport.
No passport – getting ousted."
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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.
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this page without written permission and consent.
-----------------------------
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.
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this page without written permission and consent.
-----------------------------
Davide, Enrica, Giosada e gli Urban Strangers, i quattro finalisti di #XF9, in diretta dal Mediolanum Forum di Assago, Milano, giovedì 10 Dicembre 2015, avranno l’onore di condividere lo stesso palco con giganti della musica come i Coldplay, in vetta alle classifiche in 53 paesi. Chris Martin & Co si esibiranno live in esclusiva per l’Italia proprio sul palco della Finale per regalare al pubblico ben due successi del nuovo album: "A Head Full of Dreams" e "Adventure of a Lifetime".
X Factor Italia vuole siglare un altro primato: l’intera giuria si esibirà sulle note dei propri successi e con le proprie band: Elio e le Storie Tese, Skunk Anansie e Fedez e Mika.
Alessandro Cattelan vi racconterà questo grandissimo evento musicale scandendo i ritmi di una serata che si preannuncia veramente intensa. Avrete modo di assistere a una sfida davvero speciale tra Enrica, Davide, Giosada e Urban Strangers al fianco di un grande artista italiano: Cesare Cremonini. Dopo 34 date del Logico Tour, la pop star bolognese accompagnerà al pianoforte i ragazzi nella prima manche dedicata ai duetti, al termine della quale uno di loro lascerà la gara, oltre ad eseguire "Lost in weekend".
La sfida proseguirà con la manche degli inediti, appena presentati e già in cima alla classifica iTunes. Per lo scontro decisivo, i due super finalisti si giocheranno il podio con un brano scelto da ciascuno di loro tra quelli interpretati durante il lungo percorso ad X Factor. Solo uno di loro si aggiudicherà un contratto con Sony Music Italia e la possibilità di pubblicare un album.
Non finisce qui: un inedito duetto infiammerà il Forum, quello di Fedez & Mika, che si esibiranno per la prima volta live nel loro "Beautiful Disaster". Elio e le Storie Tese si porteranno al Forum uno dei classici storici della band, "Servi della gleba", mentre gli Skunk Anansie la nuovissima "Love Someone Else".
Il vincitore della nona edizione di X Factor Italia è Giosada.
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 in UK by Gollancz - trade paperback - copyright 1959
comments by CR:
"The time is out of joint; O cursed spite!/That ever I was born to set it right!"...Hamlet
Speaking Vic: "The time" Ragle said, "is out of joint - I think we should compare notes" from Time Out Of Joint
"Time Out of Joint", first published in 1959, is not one of his PKD's better known or critically acclaimed novels. Nonetheless it is a story I greatly admire. It concerns a man, Ragle Gumm, who makes his living by consistently correctly solving a newspaper puzzle contest: "Where Will the Little Green Man be Next?"
At first this odd story appears quite mundane. Set against the background of small town suburbia life in the 1950's - nothing appears to out of the ordinary. Ragle Gumm's brother-in-law is a grocer, his young nephew gets into minor schoolboy mischief, he plays cards in the evening and there is an undercurrent of infidelity with the neighbor's wife. Slowly like a cat creeping across the lawn on a moonless night the weirdness starts to set in. Someone looks for a pull cord for a bathroom light they swore was always there and finds a wall switch. Small slips of paper with item names are found under or near where the item previously was thought to be located. Televisions are found in homes but no radios.
A modestly paced story that engaged this reader as the plot unfolds but, unfortunately, marred by an ending that seem forced and out of place. It is my oppinion that the more you know about PKD the better you can appreciate this story.
Additional comments August 2012
I re-read this novel recently and it occurred to me that part of its charm is the "period" the story is set in. Dick wrote it in 1957-8 and peppers his story with references to then popular culture and politics. The seemingly abrupt "science-fiction" endings becomes more credible upon another reading.
A strange and intriguing book worth another read if you're so inclined.
This photograph was published in the Illustrated Chronicle on the 23rd 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.
Photo by Matt Bearup
This photo is licensed All Rights Reserved. If you wish to use, copy, or publish it you must receive written permission from Matt Bearup.
First of all I am sorry for not uploading recently but my flickr was all messed but yahoo has fixed it know so I am back! Anyway I was published again this time with my toad shot this time in Digital SLR magazine!
This image comes from a published volume, which was rephotographed and then archived in a series of historic Post Office prints.
The caption notes that this image shows the "Bomb Factory" at Anzac. Men of the British Navy, Australians, and one New Zealander are cutting up captured or useless ammunition for insertion, in the form of small scraps, into "jam-tin" bombs. These were then stored in the "bomb factory" close above General Birdwood's HQ.
Archives Reference: AAME W5603 Box 118/ 11/17/21
collections.archives.govt.nz/web/arena/search#/?q=R20939672
Material from Archives New Zealand